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From the Editor

From the Editor After the ramlila special issue in Spring, we return to regular content with a full range of memorial essay, translation, articles, reports, emerging scholar essays, and performance and book reviews. We start with an essay by Boreth Ly and Suppya Hélène Nut in memory of the recently deceased Princess Norodom Buppha Devi (1943–2019) of Cambodia, celebrating her life and contribution to the preservation of Khmer court dance, especially its revival in the aftermath of destruction by the Khmer Rouge. By chance, there is a small cluster on the Chinese theatre, starting with Janne Risum’s significant translation of the complete April 1935 minutes of the forum between Mei Lanfang and Soviet experts, at the end of Mei’s Moscow tour, on Chinese theatre and its impact on Russian theatre, film, and dance. I highly recommend Risum’s extensive and methodical introduction. She not only delineates and contextualizes the debate between Meyerhold and his supporters (including Eisenstein) on the one side and those with more official views on the other, but also Soviet censorship of the original transcript that resulted in various incomplete, even imagined versions in the following decades that have affected the narratives around this historic episode of intercultural exchange in 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 37 (2) – Oct 13, 2020
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Publisher
University of Hawai'I Press
Copyright
Copyright © The University of Hawai'i Press.
ISSN
1527-2109

Abstract

After the ramlila special issue in Spring, we return to regular content with a full range of memorial essay, translation, articles, reports, emerging scholar essays, and performance and book reviews. We start with an essay by Boreth Ly and Suppya Hélène Nut in memory of the recently deceased Princess Norodom Buppha Devi (1943–2019) of Cambodia, celebrating her life and contribution to the preservation of Khmer court dance, especially its revival in the aftermath of destruction by the Khmer Rouge. By chance, there is a small cluster on the Chinese theatre, starting with Janne Risum’s significant translation of the complete April 1935 minutes of the forum between Mei Lanfang and Soviet experts, at the end of Mei’s Moscow tour, on Chinese theatre and its impact on Russian theatre, film, and dance. I highly recommend Risum’s extensive and methodical introduction. She not only delineates and contextualizes the debate between Meyerhold and his supporters (including Eisenstein) on the one side and those with more official views on the other, but also Soviet censorship of the original transcript that resulted in various incomplete, even imagined versions in the following decades that have affected the narratives around this historic episode of intercultural exchange in

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Oct 13, 2020

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