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From the Editor

From the Editor This issue focuses on theatre history, and the authors show ability to rethink what went on and/or may be outcomes of Asian performances owing to the political and economic demands of the period. The play Cry to Heaven (2007) by Nick Rongjun Yu, which is translated and introduced by Shiao-ling Yu, was presented as part of the hundredth anniversary of Chinese huaju. I believe it will appeal to those who teach the history of spoken drama to students. Not only does it present significant figures of huaju in ways that humanize their ideas, but also it is an interesting study in cross-cultural appropriation. The play reminds us that Uncle Tom's Cabin (rarely staged in today's politically correct America because of its association with black face and stereotypes) is alive and fighting for freedom of speech in contemporary China! Siyuan Liu's article "Paris and the Quest for National Stage in Meiji Japan and Late-Qing China" shows how political forces gave birth to national (and nationalistic) theatre movements in both Japan and China from the 1870s. This article explains part of what made Black Slave's Cry to Heaven (1907) such a politically important experiment when it premiered with its Chinese http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

From the Editor

Foley, Kathy
Asian Theatre Journal , Volume 26 (1) – Apr 1, 2008
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Publisher
University of Hawai'I Press
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Copyright © University of Hawai'I Press
ISSN
1527-2109
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Abstract

This issue focuses on theatre history, and the authors show ability to rethink what went on and/or may be outcomes of Asian performances owing to the political and economic demands of the period. The play Cry to Heaven (2007) by Nick Rongjun Yu, which is translated and introduced by Shiao-ling Yu, was presented as part of the hundredth anniversary of Chinese huaju. I believe it will appeal to those who teach the history of spoken drama to students. Not only does it present significant figures of huaju in ways that humanize their ideas, but also it is an interesting study in cross-cultural appropriation. The play reminds us that Uncle Tom's Cabin (rarely staged in today's politically correct America because of its association with black face and stereotypes) is alive and fighting for freedom of speech in contemporary China! Siyuan Liu's article "Paris and the Quest for National Stage in Meiji Japan and Late-Qing China" shows how political forces gave birth to national (and nationalistic) theatre movements in both Japan and China from the 1870s. This article explains part of what made Black Slave's Cry to Heaven (1907) such a politically important experiment when it premiered with its Chinese

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Apr 1, 2008

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