Use Of Asian Theatre For Modern Western Theatre

This book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W.B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V.E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self- )reflection or, more precisely, a (self- )projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.

This book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W. B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V. E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self-)reflection or, more precisely, a (self-)projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.

Intercultural theater is a prominent phenomena of twentieth-century international theater. This books views intercultural theatre as a process of displacement and re-placement of various cultural and theatrical forces, a process which the author describes as 'the poetics of displacement'.

Modern Japanese Theatre and Performance is a collection of sixteen essays on Japanese theatre, including historical overviews of twentieth century theatre, analyses of specific productions and individuals, and consideration of the intercultural nature of modern Japanese theatre. Also included is a new translation of a 'Superkyogen' play.

This volume focuses on the theatre history of Asian countries, and discusses the specific context of theatre modernization in Asia. While Asian theatre is one of the primary interests within theatre scholarship in the world today, knowledge of Asian theatre history is very limited and often surprisingly incorrect. Therefore, this volume addresses a major gap in contemporary theatre studies. The volume discusses the conflict between tradition and modernity in theatre, suggesting that the problems of modernity are closely related to the idea of tradition. Although Asian countries preserved the traditional form and values of their respective theatres, they had to also confront the newly introduced values or mechanisms of European modernity. Several papers in this volume therefore provide critical surveys of the history of theatre modernization in Asian countries or regions—Japan, Korea, Taiwan, Hong Kong, India Malaysia, Singapore, and Uyghur. Other papers focus on specific case studies of the history of modernization, discussing contemporary Taiwanese performances, translations of modern French comedy into Chinese, the modernization of Chinese Xiqu, modern Okinawan plays, Malaysian traditional performances, Korean national theatre, and Japanese plays during World War II. Renowned academics and theatre critics have contributed to this volume, making it a valuable resource for researchers and students of theatre studies, literature, and cultural studies.

Modern Asian Theatre and Performance 1900 – 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society. Organised by period, nation and region, each chapter provides: ·a historical overview of the culture; ·an outline of theatre history; ·a survey of significant playwrights, actors, directors, companies, plays and productions. With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.

A comprehensive and authoritative single-volume reference work on the theatre arts of Asia-Oceania. Nine expert scholars provide entries on performance in twenty countries from Pakistan in the west, through India and Southeast Asia to China, Japan and Korea in the east. An introductory pan-Asian essay explores basic themes - they include ritual, dance, puppetry, training, performance and masks. The national entries concentrate on the historical development of theatre in each country, followed by entries on the major theatre forms, and articles on playwrights, actors and directors. The entries are accompanied by rare photographs and helpful reading lists.

An astonishing variety of theatrical performances may be seen in the eight countries of Southeast Asia-Burma, Cambodia, Indonesia, Laos, Malaysia, the Philippines, Thailand, and Vietnam. Brandon's lively, wide-ranging discussion points out interesting similarities and differences among the countries. Many of his photographs are included here.

This book contains unique information about Bertolt Brecht and East Asian theatre. It focuses in particular on China and offers first and detailed accounts of important Brecht productions from those directly involved. Hence it grants remarkable insight into the problems of modern Chinese theatre and its relationship to Western theatre and into possible future developments. The book also throws light on Brecht's work and suggests ways of 're-producing' Brecht in the West. It consists of papers presented at a Hong Kong conference by distinguished Western critics (John Willett, Klaus Volker) and prominent practitioners of the theatre in China - directors (Huang Zuolin, Chen Yong), stage designers, translators and scholars. There are also accounts of Brecht productions in Japan and India, which form a stimulating contrast with the Chinese experience. With a wealth of practical examples, the book enables us to appreciate how theatre develops within different social structures. Presenting examples of cultural affinity and cultural disjunction, it also makes a useful contribution to intercultural study.