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From the Editor

From the Editor The articles, emerging scholar essays, and reports in this issue fall into three categories: ritual and religious theatre, contemporary theatre and the state, and the performance of identity. The first two articles and one of the reports are devoted to religious and ritual performance, all based on performance observations and analyses, in addition to historical and literary analysis in the case of the articles. Among them, Pamela Lothspeich uses ras (or rasa) and affect to explain the popularity of a particular version of the Ramayan(a) story from the early twentieth century, known as the “Radheshyam Ramayan,” in the devotional dramatic festival of Ramlila in Bareilly, hometown of the version’s author Pandit Radheshyam Kathavachak. Writing on a similarly archetypal Buddhist story in China titled Mulian Rescues His Mother, Josh Stenberg uses its 2017 revival in Fujian Province to examine the changing fate of religious and ritual theatre in the country, from its censorship in the early years of the People’s Republic to its revival in recent years as intangible cultural heritage. Completing this thematic cluster is Jian Xie’s report on local community ritual theatre in Guangxi Province in south China, with focus on Taoism-based rituals performed within a specific kingship http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

From the Editor

Liu, Siyuan
Asian Theatre Journal , Volume 36 (1) – Mar 13, 2019
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

The articles, emerging scholar essays, and reports in this issue fall into three categories: ritual and religious theatre, contemporary theatre and the state, and the performance of identity. The first two articles and one of the reports are devoted to religious and ritual performance, all based on performance observations and analyses, in addition to historical and literary analysis in the case of the articles. Among them, Pamela Lothspeich uses ras (or rasa) and affect to explain the popularity of a particular version of the Ramayan(a) story from the early twentieth century, known as the “Radheshyam Ramayan,” in the devotional dramatic festival of Ramlila in Bareilly, hometown of the version’s author Pandit Radheshyam Kathavachak. Writing on a similarly archetypal Buddhist story in China titled Mulian Rescues His Mother, Josh Stenberg uses its 2017 revival in Fujian Province to examine the changing fate of religious and ritual theatre in the country, from its censorship in the early years of the People’s Republic to its revival in recent years as intangible cultural heritage. Completing this thematic cluster is Jian Xie’s report on local community ritual theatre in Guangxi Province in south China, with focus on Taoism-based rituals performed within a specific kingship

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Mar 13, 2019

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