The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism

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Princeton University Press, 1995 - Всего страниц: 375
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Widely recognized as the standard history of Japanese theatre for Western readers, this work by Benito Ortolani is now available for the first time in paperback. From ancient folk and ritual performances to modern dance theatre, it provides concise summaries about each major theatrical form, situating the genre in its particular social, political, and cultural contexts and integrating a vast array of detail on such topics as staging, costuming, masks and properties, repertory, acting techniques, and noteworthy actors. Complete with illustrations and an extensive bibliography, this book serves undergraduates and specialists both as a reference and as a cultural history of Japan seen from the perspective of the performing arts.Widely recognized as the standard history of Japanese theatre for Western readers, this work by Benito Ortolani is now available for the first time in paperback. From ancient folk and ritual performances to modern dance theatre, it provides concise summaries about each major theatrical form, situating the genre in its particular social, political, and cultural contexts and integrating a vast array of detail on such topics as staging, costuming, masks and properties, repertory, acting techniques, and noteworthy actors. Complete with illustrations and an extensive bibliography, this book serves undergraduates and specialists both as a reference and as a cultural history of Japan seen from the perspective of the performing arts.
 

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Содержание

THE BEGINNINGS
1
Kofun Period ca 300 AD710 AD The Haniwa
3
Kojiki and Nihongi Eighth Century
4
Umisachis Pantomime
8
Utagaki
9
Indigenous versus Imported
10
Notes
12
KAGURA
13
A New Perspective
150
The Theories of Okura Toraaki
152
Classification of Plays
153
The Performance of Kyogen
154
Mystery Plays and School Theatre of the Jesuits
155
Notes
157
KABUKI
162
An Overview
174

Use of the Name Kagura
14
Division of Kagura
16
Mikagura
17
Satokagura
22
Notes
28
GIGAKU
29
Controversy about the Origins
35
Survival of Gigaku
37
Notes
38
BUGAKU
39
The Words Bugaku and Gagaku
40
History of Gagaku and Bugaku
41
Division of Bugaku
44
Historical Outline of Bugaku Dances
45
Bugaku Costumes
46
Bugaku Masks
48
Bugaku Props
49
Musical Instruments
50
The Bugaku Stage
51
Notes
53
THEATRICAL ARTS IN THE NINTH TO THIRTEENTH CENTURY
54
The Sangaku and Sarugaku Traditions
55
The Words Sangaku and Sarugaku
56
Relation between Sangaku and Sarugaku
58
Heian Shin Sarugaku in Performance
62
The Shushi Sarugaku
64
The Okina Sarugaku
67
The Furyu Tradition
69
The Ennen Tradition
70
The Dengaku Tradition
73
The Shugen Tradition
74
Kusemai Shirabyoshi Kouta and Rambu
75
Social Position of the Performers
79
Notes
82
NOGAKU
85
A Kanami
93
Zeamis Secret Tradition of the No
109
Basic Concepts of Zeamis Aesthetics
120
E Rojaku
126
The No Plays
132
The Performance of No
142
The No Stage
144
Costumes Props and Masks
146
Kabuki in Performance
187
Costumes and Makeup
192
Theatre Buildings Stage and Decor
194
Kabuki and Joruri Playwrights
198
Kabuki Juhachiban
200
Actors Memoirs
203
Notes
206
THE PUPPET THEATRE
208
History of Joruri
209
Bunraku after the Meiji Restoration
226
The Stage
228
Bunraku Aesthetics
230
Notes
231
THE MODERN THEATRE SHIMPA
233
Kawakami Otojiro
235
Seibikan and Other Companies
238
The Golden Age of Shimpa
239
The Decadence of Shimpa
240
Shimpa from World War II
241
Notes
242
SHINGEKI THE NEW DRAMA
243
The Period of Commercialization 19141923
247
The Early Tsukiji Little Theatre Movement 19241927
248
The Leftist Propaganda Plays 19281932
250
The Artistic Period 19331940
251
Shingeki after World War II 19441994
253
The Underground Theatre Movement 19601985
258
Notes
265
MODERN MUSIC AND DANCE THEATRE
268
The Takarazuka Revue Company
271
Revue Operetta Miscellaneous Entertainments
275
Buto and the Phenomenon of Circularity
277
Notes
279
HISTORY OF WESTERN RESEARCH ON THE JAPANESE THEATRE
280
From the MidNineteenth Century to Showa
282
The Showa Period to the End of World War II
284
Following World War II
285
Japanese Contributions to Western Languages
292
GLOSSARY
297
BIBLIOGRAPHY
327
INDEX
359
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Об авторе (1995)

Benito Ortolani is Professor of Theatre at Brooklyn College and at the Graduate Center of the City University of New York. An internationally known authority on Japanese theatre, he is also the founder and editor of the yearly International Bibliography of Theatre and the editor of Pirandello's Love Letters to Marta Abba (Princeton).

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