Rising from the Flames: The Rebirth of Theater in Occupied Japan, 1945-1952Samuel L. Leiter Rowman & Littlefield, 2009 - Всего страниц: 429 On August 15, 1945, when the war ended, almost all of Tokyo and Osaka's theaters had been destroyed or heavily damaged by American bombs. The Japanese urban infrastructure was reduced to dust, and so, one might have thought, would be the nation's spirit, especially in the face of nuclear bombing and foreign occupation. Yet, less than two weeks after the atom bombs had been dropped, theater began to show signs of life. Before long, all forms of Japanese theater were back on stage, and from death's ashes arose the flower of art. Rising from the Flames contains sixteen essays, many accompanied by photographic illustrations, by thirteen specialists. They explore the triumphs and tribulations of Occupation-period (1945-1952) theater, and cover not only such traditional forms as kabuki, no, kyogen, bunraku puppet theater (as well as the traditional marionette theater, the Yuki-za), and the comic narrator's art of rakugo, but also the modern genres of shingeki, musical comedy, and the all-female Takarazuka Revue. Among the numerous topics discussed are censorship, theater reconstruction, politics, internationalization, unionization, the search for a national identity through drama, and the treatment of the emperor on the pre- and postwar stage. The essays in this volume examine how Japanese theater, subject to oppressive thought control by prewar authorities, responded to the new--if temporarily limited--freedom allowed by the American occupiers, attesting to Japan's remarkable resilience in the face of national defeat. |
Содержание
Introduction | 1 |
Kabuki | 9 |
From Bombs to Booms When the Occupation Met Kabuki | 11 |
Playing for the Majors and the Minors Ichikawa Girls Kabuki on the Postwar Stage | 75 |
The Good Censors Evading the Threat to Postwar Kabuki | 89 |
The Mitsukoshi Gekijō The Little Theater That Could | 109 |
Performing the Emperors New Clothes The Mikado The Tale of Genji and Lèse Majesté on the Japanese Stage | 125 |
Other Traditional Theaters | 173 |
Mitsuwa Kai vs Shōchiku Occupation Reforms and the Unionization of Bunraku | 185 |
Surviving and Succeeding The Yūkiza Marionette Theater Company | 217 |
Laughter after Wars Rakugo during the Occupation | 231 |
Modern Theater | 257 |
SCAPs Problem Child American Aesthetics the Shingeki Stage and the Occupation of Japan | 259 |
From War Responsibility to the Red Purge Politics Shingeki and the Case of Kubo Sakae | 279 |
A Fabulous Fake Folklore and the Search for National Identity in Kinoshita Junjis Twilight Crane | 317 |
To the Rhythm of Jazz Enokens Postwar Musical Comedies | 335 |
Часто встречающиеся слова и выражения
American Apple Orchard Diary artistic audiences Bandō Brandon bunraku Bunraku-za censors censorship Chinami CI&E comedy criticism Culture dance Danjūrō December drama Ebizō emperor engeki Engekikai Ennosuke Enoken Faubion Bowers February film Gekidan gendai Genji monogatari hanashika Hata Hisamatsu History Ichikawa January Japanese theater kabuki kabuki actors kabuki plays Kabuki-za Kamigata Kanpei Kansai Kawatake Kichiemon Kikugorō Kinoshita Kōshirō Kubo Sakae Kubo's kyōgen Leiter Loyal Retainers Meiji-za Mikado Minosuke Mitsukoshi Gekijō Mitsuwa modern Murayama Murayama Tomoyoshi musical Nakamura National nendaiki NGES Nihon Ningyō Occupation of Japan Occupied Japan Okaru onnagata Osaka Osome Ōtani performance playwright political Postwar Kabuki prewar production Puppet Theater rakugo role Samuel L SCAP script Shin shingeki Shinkyō shinpa Shirai Shobō Shōchiku Shōjo Shōjo Kabuki Shōwa Sōjūrō stage stars story Takarazuka Takechi Takemoto Tale of Genji theatrical tion Tōhō Tokyo Tōkyō Gekijō traditional Treasury of Loyal troupe wartime yose Yoshida