America's Japan and Japan's Performing Arts
Cultural Mobility and Exchange in New York, 1952-2011
Publication Year: 2013
Published by: University of Michigan Press
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For taking the time to answer my questions and for their assistance along the way: Yoshiko Chuma, Rachel Cooper, Ximena Garnica, John Gillespie, Beate Gordon, Paula Lawrence, Samuel Leiter, Carol Martin, Kenji Matsumoto, Naoyuki Miura, Aya Ogawa, Yukihiro Ohira, Mari Ono, Eiko Otake, Nigel Redden, J. Thomas Rimer, Ralph Samuelson, Somei ...
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Scholars normally place family names before given names except in the case of people who reside or are professionally established outside of Japan. Because almost every artist to whom I refer in my study has pre-sented his or her work in the United States, I have decided to apply that exception across the board. It will help avoid confusion and will mesh with ...
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Q: Can you tell us a little more about what Americans perceive as Japan- ness?A: For instance, it could be things like the stage set is extremely elaborately Eiko and Koma are quintessentially Japanese, and also longtime This book is a study of the images and myths that have defined and shaped the reception of Japan- related theater, music, and dance in the United ...
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Many overseas visitors to Japan have the impression that Japanese theater is all Japanese art forms have always seemed about as distant as one could imagine.2Against the backdrop of a cold- war imperative to secure Japan as an American friend in Asia through projects of cultural diplomacy, three Pulitzer Prize winnersâ playwright- novelist Paul Green, producer- director- ...
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Decisions about how cultures are presented reflect deeper judgments of power and authority and can, indeed, resolve themselves into claims about what a nation is or ought to be as well as how citizens should relate to one another.1âIn this modern era, where boundariesâ national, cultural and con cep-tualâ are constantly bent and traversed, Japanese culture is no longer con-...
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...[I]n New York, where every square inch feels urban, downtown is a refuge fromâ a repudiation ofâ the conventionality of Midtown, and mid- everything. Down-âThe brilliant theatrical and dramatic upsurge in Japan in the late 1960s truly merits the appellation ârenaissance,ââ Yasunari Takahashi has writ-ten. âIt brought about a revolutionary change in the concept of theatri-...
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...âIn Japan we were for a long time influenced by the West,â Mr. [Hiroyuki] Iwaki, the conductor [of the NHK Symphony] said. âBut now America will be more âToday, the number of Oriental music students in this country has mul-tiplied manyfold, and there has been a notable increase in soloists and orchestra players from Japan and South Korea (and, so far, a few from ...
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...âThe processes of globalization,â Patrick Lonergan has written, âhave contributed to a subsequent festivalization of the performing arts indus-try, transforming festivals into the preferred sites for the promotion and consumption of high- end cultural products.â2 Since its first season in 1996, the Lincoln Center Festival, which runs for three weeks each July, ...
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Among the things that are strange about Kabuki is the language.1In his critically acclaimed US theatrical debut in 1979, Kobo Abe deliv-ered a provocative collage of words, images, and sound. Onstage, amid the mutating figures of actors draped in large cloths, seemingly random English- language words and sentences were projected onto âcostumes and ...
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For the last few decades, the pendulum of Japanâs images overseas has swung back and forth between positive and negative poles, and between universalist and In his introduction to Cultural Mobility: A Manifesto Stephen Greenblatt cites the âurgent need to rethink fundamental assumptions about the fate of culture in an age of global mobility.â Some cultures, he notes, âare ...
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Page Count: 280
Illustrations: 15 color images
Publication Year: 2013