Category Archives: Asian Theatre Journal

Asian Theatre Journal, vol. 33, no. 2 (2016)

The yueju production of The Good Person of Jiangnan presents the Haipai culture style, with its elaborate costumes and magnificent sets and props. (Photo: Zhejiang Xiao Baihua Yueju Company)

The fall 2016 edition of the Asian Theatre Journal includes the following works:

IN MEMORIAM

Celebration of Life for James R. Brandon by Elizabeth Wichmann-Walczak

Asep Sunandar Sunarya: Dalang of Wayang Golek Sunda (1955–2014) by Arthur S. Nalan

TRANSLATION

Timizi nu in (The Bond of Water in Hands): An Early Modern Ryūkyūan Kumi Odori, as Staged by the National Theatre Okinawa by James Rhys Edwards and Nakazato Masao Continue reading

Asian Theatre Journal, vol. 33, no. 1 (2016)

Plate 4. You and Me, directed by Zhang Yimou. (Photo: Courtesy of the Chinese Committee of the Sixth Theatre Olympics)

You and Me, directed by Zhang Yimou.
(Photo: Courtesy of the Chinese Committee of the Sixth Theatre Olympics)

The spring 2016 edition of the Asian Theatre Journal includes the following works:

The Cross Currents of Modern Theatre and China’s National Theatre Movement of 1925–1926 Siyuan Liu

The Eternal Thread: Gunsam Lee’s First Play in English
Wook-Dong Kim Continue reading

Asian Theatre Journal, vol. 32, no. 2 (2015)

From the Editor, v

Special Issue Section: Women in Asian Theatre

Introduction: Women in Asian Theatre: Conceptual, Political, and Aesthetic Paradigms
Arya Madhavan, 34532.2.tuan_fig01f

A conference titled Women in Asian Theatre was held at the University of Lincoln in September 2013, and papers from that gathering form the core of this issue. The rationale in organizing the conference was to explore differences across Asia and note that theories from Western feminists do not necessarily transfer to Asian models. This conference was a first step toward mapping histories of the female in Asian theatre, and this is a line of inquiry that deserves more attention.

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Asian Theatre Journal, vol. 32, no. 1 (2015)

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Lord Takadēra and entourage in Manzai Tichiuchi

From the Editor, iii

PLAYS

Manzai Tichiuchi (Vendetta of Performers of “Myriad-Year” Felicity): A Kumi Odori by Tasato Chōchoku, as Staged by Kin Ryōshō in 1982
Nobuko Miyama Ochner, 1

In addition to a translation of the play Manzai Tichiuchi, or Vendetta of Performers of “Myriad-Year” Felicity, this article gives background on this 1759 work by Tasato Chōchoku, the kumi odori genre in which he wrote, and the practice of the art, and the performance of this particular work in the Okinawan community in Hawai‘i.

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Asian Theatre Journal, vol. 31, no. 2 (2014)

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The scholar Wang Shen (Huang Jun Cheng) is seduced by a nasty ghost disguised as a woman in Painted Face, a Cantonese opera scripted by Chua Soo Pong and performed by the Nanning Theatre Academy, China

Special Issue on Global Encounters in Southeast Asian Performing Arts

Guest Editor: Matthew Isaac Cohen with the assistance of Kirsten Brockman, Chua Soo Pong, Catherine Diamond, and William Peterson

 From the Editor, iii

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ARTICLES

Introduction: Global Encounters in Southeast Asian Performing Arts
Matthew Isaac Cohen, 353

Long considered an isolated backwater of global cultural flows, a proud possessor of artistic traditions seemingly immune to international fashions, Southeast Asia is now coming into its own as a cultural powerhouse, refashioning old traditions and taking on new forms and ideas, with connections being rapidly formed between ASEAN member states in anticipation of the region’s Economic Community in 2015. This introduction positions this volume’s articles and the World Symposium on Global Encounters in Southeast Asian Performing Arts, where they were presented, in relation to the region’s cultural shifts. It argues that the critique and subversion of tradition is a sign of its vitality and future viability. A new paradigm is emerging in which Southeast Asian theatre and performance are not being treated as the West’s exotic “Other” or in relation to nation building but as a site drawing interested parties into a conversation regarding both local and global issues..
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Asian Theatre Journal, vol. 31, no. 1 (2014)

The character of Tokio, the son in Yakiniku Dragon, acts as narrator.

The character of Tokio, the son in Yakiniku Dragon, acts as narrator. (Photo: Courtesy the Japan National Theatre)

From the Editor, v

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IN MEMORIAM

Beate Sirota Gordon: Producing Performance at the Asia Society
Kathy Foley, 1

Beate Sirota Gordon (1923–2012) of the Asia Society became a major producer, promoting Japanese and Asian performance in New York and across the United States from the 1950s through the 1990s. Her work contributed to education about Asia in the United States, garnered support for Asian artists both in their home country and in global venues, contributed to intercultural explorations in avant garde circles, and was a contributor to cultural diplomacy through performance in the Cold War era.
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Asian Theatre Journal, vol. 30, no. 2 (2013)

ATJ 30.2 dancer image

Opening dance of The Little Clay Cart by Epic Actors Workshop of New Jersey, 2010

From the Editor, iii

Color Insert follows page 361

IN MEMORIAM

A Kabuki Innovator, Nakamura Kanzaburō XVIII, Dies Too Young: Where Does Kabuki Go from Here?
Laurence Kominz, 267

Kabuki actor, producer, and director Nakamura Kanzaburō XVIII passed away on 5 December 2012, at age fifty-seven, of acute respiratory failure following a half-year battle with throat cancer. Kanzaburō was not just another kabuki star, he was the soul of the art for a huge number of fans, and the hope for kabuki moving in new directions in the future. The “XVIII” indicates that he was the eighteenth-generation actor to bear this name, and his branch of the Nakamura family has owned theaters, managed companies, and directed plays since the early seventeenth century, as well as occasionally providing star actors for the stage.

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