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         Japanese Theatre & Kabuki:     more books (31)
  1. Staging Japanese Theatre: Noh and Kabuki by John Mitchell, 1996-01-01
  2. History of the Japanese Theatre: Kabuki and Bunraku Pt. 2 by Yoshinobu Inoura, 1973-10
  3. KABUKI,the Resplendet Japanese Theatre
  4. Noh & Kabuki: Staging Japanese Theatre by John D. And Miyoko Watanabe Mitchell, 1994
  5. Japanese Theatre: Origin - Non Drama - Puppets - Kabuki Spectacle by Faubion Bowers, 1954
  6. Japanese Theatre: Origin - Non Drama - Puppets - Kabuki Spectacle
  7. Japanese Theatre Noh Drama, Puppets, kabui 3 kabuki plays in translation by fabian bowers, 1964
  8. Japanese Theatre in Highlight A Pictorial Commentary: Noh, Bunraku, Kabuki by Francis Haar, 1952
  9. The Kabuki theatre of Japan by A. C Scott, 1966
  10. Kabuki Drama (Kegan Paul Japanese Tourist Library) by MIYAKE, 2006-10-11
  11. Sukeroku's Double Identity: The Dramatic Structure of Edo Kabuki (Michigan Papers in Japanese Studies) by Barbara E. Thornbury, 1982-04
  12. Kabuki-Backstage, Onstage: An Actor's Life by Matazo Nakamura, 1990-08
  13. A Kabuki Reader: History and Performance (Japan in the Modern World)
  14. The Man Who Saved Kabuki: Faubion Bowers and Theatre Censorship in Occupied Japan by Okamoto Shiro, 2001-05

81. Session 90
This panel seeks these answers across four different japanese theatregenres Noh, kabuki, Bunraku, and the 20thcentury avant-garde.
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Session 90: Crones, Courtesans, and Vampires: Male Representations of "Woman" in Japanese Theatre
Organizer and Chair: Patricia Pringle , Oglethorpe University Discussant: J. Thomas Rimer , University of Pittsburgh Classical Japanese theatre has been staged and performed exclusively by men for centuries, yet it has created a number of powerful female roles. These roles are accepted by audiences, both male and female, as representations of "woman." This panel examines various male appropriations of the feminine voice in Japanese theatre, both classical and modern. Four presenters will examine four different genres: (1) Noh plays about crones, written by male authors in the Muromachi period, and performed exclusively by males; (2) Portrayal of courtesans in Bunraku puppet plays on love suicide themes which were popular in the Edo period, and also performed exclusively by males; (3) Female roles in Kabuki plays, performed by special male actors called "onnagata"; and (4) Portrayal of mothers in the plays of Terayama Shuji, Japanese avant-garde playwright of the 1960s and 1970s. These papers analyze the disjunction between the fictional voices and bodies of "woman" presented on stage and women’s actual cultural circumstances. They also consider why these fictional male creations were accepted by the audience as representations of women. What relationship exists between male-created stage presentation of "woman" and women’s self-perceptions? Is there any special theatrical consensus between the artists and the audience about the portrayal of "woman" on stage? This panel seeks these answers across four different Japanese theatre genres: Noh, Kabuki, Bunraku, and the 20th-century avant-garde.

82. Week 1
Mark Oshima, a Doctoral Student studying kabuki and a classical japanese theatreperformer spoke about the history of kabuki before the perfromance.
Week 1: Tokyo Day 1: San Francisco Sheraton Airport Hotel in San Francisco Day 2: San Francisco to Japan Waiting for the plane in the S.F. Airport. 100 chatty teachers about to get on board. Day 2: San Francisco to Tokyo Our transport - a Boeing 747. That's a big plane Mr. Q! Day 3: New Otani Hotel Day 2 - 3?: New Otani Hotel, Tokyo, Japan. It is now Tuesday night - The New Otani Hotel is one of the nicest hotels I have ever seen, let alone stayed in. Day 3, New Otani Hotel, Tokyo: My Home for the next five days! This hotel is gorgeous. We are having meetings and seminars fo the next six days. Day 4: Tokyo Fish Market, 5:00am Want some fish? Day 4: Tokyo Fish Market, 5:00am Does this guy work here? Day 4: Tokyo Fish Market, 5:00am Raw fish is the way to go in Japan. Sushi...yum! Day 4: Tokyo Fish Market, 5:00am I think these are Marlin. Day 3: Tokyo Sightseeing. This was a small temple off from where we were doing some sightseeing. Ancient temples and historic landmarks abound in Tokyo, blending the high-tech city with ancient traditions. Day 3: Tokyo Sightseeing.

83. Welcome To Lycoming College On The Web!
him. The play is adapted to the traditional japanese kabuki styletheatre, featuring highly stylized dance and motions. The form
March 17 8:00 P.M. Clarke Chapel FREE Lycoming College Hosts Kabuki Theatre Production t Japanese theatre comes to Williamsport when the Department of Drama, Theatre, and Dance of Queen’s College CUNY presents a Kabuki-style performance of Oscar Wilde’s "Salome" at Lycoming College at 8 p.m. on March 17. The play is directed by Dr. Dallas McCurley and is part of Lycoming’s spring symposium titled "East/West: Points of Contact." The performance is free and will be held in Clarke Chapel Wilde’s play relates the legend of Salome, the young princess and stepdaughter of King Herod, who has great affection for John the Baptist. When John the Baptist resists her advances, she asks Herod to have him beheaded. Herod agrees, but only if Salome will dance for him. She performs the famous Dance of the Seven Veils, and John the Baptist’s head is delivered to her so she can finally kiss him. The play is adapted to the traditional Japanese Kabuki style theatre, featuring highly stylized dance and motions.

84. Readings - Introduction To Asian Theatre
PN 2924.5 Kab.T. Toshio, Kawatake. A History of japanese theatre Bunraku andKabuki. PN 2921 His. General. Go To Top. Bowers, Faubion. theatre in the East.
Reading List
Course Info
Course Introduction Reading List Required On Reserve
Richmond, Farley et. Al., eds. Indian Theatre: Tradition of Performance.
Honolulu: Univ. of Hawaii Press, 1990. Mackerras, Colin, eds. Chinese Theatre from its Origins to the Present.
Honolulu: Univ. of Hawaii Press, 1990. Ortolani, Benito. The Japanese Theatre.
Princeton: Princeton Univ. Press, 1995.
On Reserve
Barriedale, Keith A. PK 2931 Kei Sanskrit Drama in Performance. PN 2881 San Bowers, Faubion. Dance in India. GV 1693 Bow Emigh John. Masked Performance: The Play of Self and Other in Ritual and Theatre. Philadelphia: University of Pennsylvania Press, 1996. Gupta, Chaandra Bhan The Indian Theatre. PN 2881 Gup Lal, P., Ed. Great Sanskrit Plays in Modern Translation.
Marasinghe, E.W. PN 2882 Mar Narayan, R.K. trans. The Ramayana. Narayan, R.K., trans. The Mahabharata. Rao, Shanta, trans. The Mahabharata. PK 3633 Ram Tarlekar, G.H. Studies in the Natyasastra. PK 2931 Tar Wells, Herry. Six Sanskrit plays. PK 4474 Wel Wells, Henry.

85. BBC News | REVIEWS | Muddled Amaterasu
theatre would probably be better advised to attend one of the other Japanesecultural festival events which give an unadulterated version of the kabuki
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Friday, 25 May, 2001, 12:46 GMT 13:46 UK Muddled Amaterasu
Efforts to merge British and Japanese traditions backfire
By BBC News Online's Steve Schifferes Amaterasu, or the Sun Goddess, opens the Japan 2001 Festival at the Theatre Royal Drury Lane. Unfortunately, the production, described as a dance, music and theatre spectacular, is a mishmash of styles which weakens, rather than strengthens, the two cultural tradtions (British and Japanese) it is attempting to marry. The attempt to combine the Japanese tradition of Noh and Kabuki with Britain's Shakespearean tradition badly misfires, producing a kind of Kabuki-lite. In particular, Peter Bayliss's role as Sir M, a retired actor, fares poorly compared with the visually exciting images of the Japanese theatre. His Shakespearean soliloquy on a bare stage, followed by a role as narrator in the Japanese myth of Amaterasu, is more ham than substance. It is not helped by the poor sound system which blasts his amplified voice to every corner of the theatre.

86. Kabuki Story: Theatre Design
In Kyoto the first licenses were granted in 1617, whereas in Edo, it wasnot until 1624. Early kabuki theatre. Mid Edo period kabuki theatre. Design.htm
Theatre Design The first performing spaces were no more than raised platforms on a riverbed. As kabuki became more popular rudimentary fences were constructed to give some element of crowd control. It was not until the authorities started to issue performing licences that the opportunity presented itself for more permanent theatre structures. In Kyoto the first licenses were granted in 1617, whereas in Edo, it was not until 1624. Early kabuki theatre Because city officials wanted to keep kabuki a simple affair and control its development, they did not allow theatres to be roofed until 1724. This meant that until this time it was impossible to hold a performance if the weather was inclement. The resourceful stage managers had to devise a way to stretch mats across the void constructing makeshift shelters to give some protection from the elements. Noh theatre The first developments in stage construction owed much to the Noh theatre. It consisted of a stage area covered by a thatched roof supported at the four corners of the stage. The hashigakari of the Noh theatre (stage right) which led from the dressing rooms to the performing area was widened, lost its handrails, and was extended to become a second performing area (

87. Introduction To Japanese Theatre
Introduction to japanese theatre. Noh theatre. Kabukitheatre. Bunraku. Vocabulary List. Back to lessons. Home.
Introduction to Japanese Theatre Noh Theatre Kabuki Theatre Bunraku Vocabulary List ... Home

88. In Eastern Dreams - Kabuki & Noh Theatre
kabuki Noh theatre kabuki originated at the start of the Edo period and developedinto an elaborate stage spectacle with complex plots and spectacular

89. Community Asian Theatre Of The Sierra
A classic tragedy of eternal love, incorporating the essence of traditionalJapanese theatre, including kabuki, Noh, and Butoh.
Elly Awards for CATS!! Scholarship winners
Promoting Cultural Diversity through Multicultural Theater, Events, and Workshops in Western Nevada County THE LOVE SUICIDES AT SONEZAKI … no one is there to tell the tale, but the wind that blows through Sonezaki a Japanese story of eternal love … Written by Chikamatsu Monzaemon Translated by Donald Keene Directed by Amber Jo Manuel Holli Hiroaka (left) Daniel Douros (right) Art Lai (center) WHEN: January 17, 2003 to February 8, 2003 Friday and Saturday evenings at 8:00 pm. Matinees on Saturdays, Jan. 25 and Feb. 1, at 2:00 pm. WHERE: Nevada Theatre, 401 Broad St, Nevada City, CA WHY: The Love Suicides at Sonezaki is a masterpiece. A classic tragedy of eternal love, incorporating the essence of traditional Japanese theatre, including Kabuki, Noh, and Butoh. Actors will create an intercultual experience, a fusion of techniques and a fusion of space and time. The production will integrate the influences of these theatre forms in its set, costumes, hair, makeup, sound, music and movement. 2003 marks the 300th anniversary of this play and the 10th anniversary of the Community Asian Theatre of the Sierra (CATS).

90. Andrew T. Tsubaki
At the University of Kansas and elsewhere he presented a number of authentic Japaneseclassical theatre pieces kabuki in '73 at KU, '74 (at Carleton College
Andrew T. Tsubaki Dr. Tsubaki
He also assisted Dr. Heinz-Uwe Haus, German director, as choreographer and movement coach in the production of Antigone by Sophocles ('87 and '88) in Greece and Cyprus; in Shakespeare's Hamlet ('89) in Kaiserslauten, Germany; in The Resistible Rise of Arturo Ui by Bertolt Brecht ('91) at KU; in Ernst Toller's Man and the Masses ('93) and Caldron de la Barca's Das grosse Welt teater ('94) for the regional theatre of Trier, Germany; and in Sophocles' Oedipus Rex ('94) at Villanova Univ. In a similar capacity Dr. Tsubaki assisted Istavan Pinczes in the production of rewritten Greek tragedy of Oedipus and his children, Children of Fate ('94) for the state theatre of Debrecen, Hungary.
Aside from the above-mentioned countries, his activities took him to Holland, Monaco, Poland, Brazil, Paraguay, Argentina, and Italy, as well as many locations in the U.S.A., to stage productions and/or to conduct lecture/demonstration/workshop sessions. His interest in and work with a masked folk dance theatre form of East India called Chau resulted in a '82 KU dance production under his direction. He led as the Director the KU Second Greek Theatre Program in Greece for summer of '97 for which he directed Euripides' Iphigenia in Tauris.
More recently, in November of '98 he presented a lecture with demonstration on Japanese traditional theatre forms for the Culture Center of the Japan Foundation in Sao Paulo and a similar lecture for the Kouhou Bunka Center of the Japanese Embassy in Buenos Aires, Argentina in December, '98 and in October, '99. In May, '99, he presented a similar lecture for the Consulate General of Japan in Montreal, Canada. In addition he conducted a series of workshops for Univ. of Sao Paulo, a theatre group in Florianopolis, other in Porte Alegre, Brazil, in November '98.

91. MDN: City Guide
kabukiza theatre kabuki is arguably the most well known form of traditional Japanesetheater, the first documented performance taking place in Kyoto at the
document.write(style); Japanese Top Page
Restaurants Hotels Shopping ... Shibuya
In the Edo era, Ginza was a town for craftmen, and people went to neighboring Nihonbashi to shop.
But today, the streets of "The Ginza" as it is known to foreigners, are lined with neon signs, department stores, boutiques, bars and restaurants.
The name "Ginza" comes from the fact that in the Edo Period the town was home to the government silver foundry. "Gin" means "silver mint" in Japanese.
Ginza is also known for having the most expensive land prices not only in Japan, but in the whole world!
Kabuki-za Theatre
Kabuki is arguably the most well known form of traditional Japanese theater, the first documented performance taking place in Kyoto at the beginning of the 17th century.

NOH Noh is a classical Japanese performance form which combines elements of dance, drama, music and poetry into one highly aesthetic stage art. Largely based in the cities of Tokyo, Osaka, and Kyoto, it is performed throughout the country by professional artists, mainly men, who have passed down the art among family members for numerous generations. There is also a wide following of both male and female amateurs who practice and perform its chant, dance, and instruments.
KYOGEN Kyogen is the classical comic theater which balances the more serious Noh. While Noh is musical in nature, Kyogen emphasizes dialogue. The two are traditionally performed alternately on the same program and they share a common heritage. In addition to their own Kyogen repertoire of comic plays, Kyogen actors usually appear in interlude roles in Noh plays. Similarly, Noh instrumentalists also sometimes appear in Ky gen plays. The training methods of the two forms are also similar.
HISTORY Noh developed into its present form during the 14th and 15th centuries under the leadership of the distinguished performer -playwrights Kannami and his son Zeami. Zeami, in particular, wrote numerous plays which are still performed in today's classical reper-tory of some 250 plays. He also wrote a number of secret works which explain the aesthetic principles governing Noh and give details on how the art should be composed, acted, directed, taught, and produced.
Noh flourished during Zeami's time under the patronage of the mili-tary shogun Ashikaga Yoshimitsu. Later during the Edo period (1603-1868), Noh became the official performance art of the military government. Feudal military lords throughout the country supported their own troupes and many studied and performed the art themselves.

93. Kabuki
The Art of kabuki Five Famous Plays Book by Samuel L. Leiter. Staging JapaneseTheatre Noh kabuki Book by John D. Mitchell and Miyoko Watanabe.
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Kabuki is a traditional Japanese form of theater with its origins in the Edo period . Kabuki, in contrast to the older surviving Japanese art forms such as No , was the popular culture of the townspeople and not of the higher social classes. Kabuki plays are about historical events, moral conflicts in love relationships and the like. The actors use an old fashioned language which is difficult to understand even for some Japanese people. They speak in a monotonous voice and are accompanied by traditional Japanese instruments The kabuki stage (kabuki no butai) is a rotating stage and is further equipped with several gadgets like trapdoors through which the actors can appear and disappear. Another speciality of the kabuki stage is a footbridge (hanamichi) that leads through the audience. In the early years, both, men and women acted in Kabuki plays. Later during the Edo period, the

94. Who's
Modern kabuki(?), although probably the most wellknown form of Japanesetheatre, was strongly influenced by kyo?gen, noh, and bunraku.
Japanese Theatre
There are five major types of Japanese theatre, all of which are still performed today. They are bugaku, noh, kyogen, bunraku, and kabuki. Although they differ in many respects, they share some common characteristics; the main one being an integral relationship between dance, music, and lyrical elements.
Each noh play involves a main character (shite), a supporting character (waki), a six or eight member chorus, and four musicians. Noh relies largely on colourful props and ornate costumes to communicate moods and actions to the audience. Props consist of letters, umbrellas, rosaries, bamboo branches, but the folding fan(chukei) is the most important. Depending on if it is open or closed and where it is placed it can symbolize a dagger, lantern, moon, etc. Masks also play an essential part as they show the nature of the character. Sometimes the shite changes masks midway through the play with the second mask revealing the character's true being.
Bunraku(•¶Šy), or the professional puppet theatre of Japan, is unique in that it is the only form of puppet theatre that is regarded as on a par with regular drama. The reason for this high status is probably due to the level of complexity of the puppets and the amount of work that goes into each performance. A bunraku performance consists of four elements: the puppets, the puppet operators, the vocal narration, and the shamisen musical accompaniment. Puppets are approximately one-half or two-thirds life size and differ from most puppets in the fact that they are not operated by strings but are manipulated directly by three separate people. The principal operator or omozukai supports the puppet and controls the facial features with his left hand and operates the puppet's right hand with his right arm. The first assistant or hidarizukai operates the left arm of the puppet and the second assistant or ashizukai operates the legs.

95. The Association For Asian Performance
The Actors' Analects (kabuki) Hamamura, Yonezo. kabuki Immoos, Thomas. JapaneseTheatre Inoura, Yoshinobu. The Traditional Theater of Japan Keeler, Ward.
William Peterson
Department of Drama
Cal State San Bernardino

Class meetings are : Tuesday 10-11 (JG.09); Thursday 10-11 (JG.09); Thursday 11-12 (K.1.18)
This course will focus on performance forms, both traditional and modern, which have grown out of the cultures of India, China, Japan, and South East Asia. Students will gain an understanding of the characteristic features of the principal performance forms in each of these cultures, while learning to appreciate how these forms have assimilated a wide range of cultural, religious, and aesthetic influences. Key subsidiary issues such as authenticity, cultural appropriation and fusion, and the future of traditional forms will also be considered, making this course ideal for any student wishing to acquire further insights into Asian cultures.
Prerequisites: None.
Note that no prior training in theatre or drama is expected or required. Those who have never taken a drama course before will not be at a disadvantage as no prior knowledge of dramatic literature or theatre practice will be assumed.
Objectives: To introduce students to the major performance forms of Asia To encourage the student to make connections between performance and history, politics, economics, and social policies

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