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Mahābhārata Senki (review)

Mahābhārata Senki (review) reviews Performance Review MAHĀBHĀRATA SENKI. Presented by Shochiku Co., Ltd. Kabuki-za Theatre, Tokyo, Japan. 1–25 October 2017. As part of the celebration for the 60th anniversary of the 1957 cultural agreement between Japan and India, a Hindu masterpiece was adapted for the Japanese audience in 2017. Mahābhārata Senki (The War Chronicles of the Mahabharata) demonstrates the extent to which kabuki theatre has reinvented itself and yet remains an integral part of Japanese tradition. The play’s opening scene presents a visual treat as spectators are wonderstruck by the transformation of kabuki and its age-old repertoires into a foreign atmosphere depicting the garden of heaven. The splendid mise-en-scène of act 1, scene 1, reveals an assembly of the Hindu gods Surya, Indra, Brahma, Vishnu, and Shiva, who are all solemnly seated, wearing resplendent kathakali-style costumes and glittery makeup, typical of the Indian dance-drama form (Fig. 1). The Indian epic Mahabharata, which depicts the power struggles between two branches of a royal family, the Pandavas and the Kauravas, has found expression in various versions of drama, literature, theatre, and film, including Peter Brook’s stage play and subsequent film in the 1980s. Shochiku’s grand kabuki is adapted from an earlier Indian storyline. In http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Mahābhārata Senki (review)

Park, Sang Mi
Asian Theatre Journal , Volume 39 (1) – Mar 16, 2022
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Publisher
University of Hawai'I Press
Copyright
Copyright © The University of Hawai'i Press.
ISSN
1527-2109

Abstract

reviews Performance Review MAHĀBHĀRATA SENKI. Presented by Shochiku Co., Ltd. Kabuki-za Theatre, Tokyo, Japan. 1–25 October 2017. As part of the celebration for the 60th anniversary of the 1957 cultural agreement between Japan and India, a Hindu masterpiece was adapted for the Japanese audience in 2017. Mahābhārata Senki (The War Chronicles of the Mahabharata) demonstrates the extent to which kabuki theatre has reinvented itself and yet remains an integral part of Japanese tradition. The play’s opening scene presents a visual treat as spectators are wonderstruck by the transformation of kabuki and its age-old repertoires into a foreign atmosphere depicting the garden of heaven. The splendid mise-en-scène of act 1, scene 1, reveals an assembly of the Hindu gods Surya, Indra, Brahma, Vishnu, and Shiva, who are all solemnly seated, wearing resplendent kathakali-style costumes and glittery makeup, typical of the Indian dance-drama form (Fig. 1). The Indian epic Mahabharata, which depicts the power struggles between two branches of a royal family, the Pandavas and the Kauravas, has found expression in various versions of drama, literature, theatre, and film, including Peter Brook’s stage play and subsequent film in the 1980s. Shochiku’s grand kabuki is adapted from an earlier Indian storyline. In

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Mar 16, 2022

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