Primary Colors (Sangenshoku) is a 1955 play by MishimaYukio that brings up issues of homosexuality and bisexuality. Its positive treatment of homosexual themes contrasts with the darkness of Forbidden Colors, the author's novel of the same period. While the play has received only a few professional productions, its poetry and theme help us understand Mishima's developing aesthetic.
Mishima, Yukio, 1925-1970.
Pearce, Christopher L., tr.
This article is a critical study of the adaptation and staging of Greek tragedy in hebei bangzi (Hebei clapper opera). It examines the rationale for these adaptations and contrasts their dramaturgy, staging, and performance with the premises of Greek theatre. The author argues that because of the inherent differences in dramaturgy, staging, and performance between hebei bangzi and Greek tragedy, these adaptations, conceived as a "fusion" of these two theatrical traditions, are, in fact, a displacement of Greek tragedies from their theatrical and artistic contexts and an appropriation of them as raw materials to meet the dramatic, scenic, and performance prerequisites of hebei bangzi. The significance of these adaptations is twofold: first, as they use a complete and authentic form of Chinese xiqu and the stories from Greek tragedy, they are effective in facilitating the understanding of Chinese xiqu in the West; second, they provide yet another approach to performing Greek tragedy and help materialize our modernist imagination of its performance style.
Chinese drama -- 20th century -- History and criticism.
Women in literature.
Since the 1980s, analysis of the representation of women in Maoist theatre has argued that the heroines of the Cultural Revolution "model works" (yangbanxi) were "genderless revolutionaries" "erased" of anything feminine. This article challenges such a view through a case study of Song of the Dragon River in which the male hero of the 1964 spoken drama version was changed to a female in the 1972 yangbanxi adaptation. Evidence is presented that the characterization of the heroine in the latter work conforms closely not only with traditional beliefs in innate female characteristics but also with current Chinese beliefs in the characteristics of successful women in leadership.
Shadow shows -- Turkey -- History -- 20th century.
Shadow shows -- Political aspects -- Turkey -- History -- 20th century.
During the early Turkish republic karagöz shadow theatre's Ottoman patterns were transformed. Reformers attempted to restrict coffeehouses where the art had flourished and developed written texts to replace the improvised practice of the past. They sponsored performances in government-supported community centers and created shows to promote government policies. The efforts meant that an art, which had grown from lower-class satire of the elite was purged of obscene elements, characters were changed to conform to modern ideology, and government control was asserted on what had been a domain of free speech. It is possible that the efforts to restructure the once vibrant art helped hasten its decline.
In my understanding of the current status of the legong dance in Bali, despite dedicated local attempts to revitalize the genre, it is in decline. The debilitation of local Balinese arts is influenced by global and national socioeconomic trends, and, while the centralization of dance education in institutes may guarantee the preservation of representative dances and styles, it simultaneously alienates the dance from the grassroots public that formerly was the source of its strength and appreciation. Such changes undermine the standard of performance more generally as well as legong, because legong is the nursery and proving ground for all genres of Balinese women's dance.
Focusing on the decade following the 1907 Spring Willow Society (Chunliu She) production of Uncle Tom's Cabin in Tokyo, this paper provides a brief introduction to the impact of Japanese shinpa, as well as that of Western theatre through shinpa, on the formation of early Chinese huaju (spoken drama), also known as xinju (new drama) or wenmingxi (civilized drama). After watching shinpa productions, some Chinese students in Tokyo started staging plays with the help of well-known shinpa actors such as Fujisawa Asajirō. Returning to Shanghai, they brought with them a set of Westernized theatrical conventions. A study of the wenmingxi repertoire reveals shinpa's influence in adaptations of both shinpa versions of European plays such as Tosca and original shinpa productions such as Hototogisu (Cuckoo). In addition, many original wenmingxi plays emulated either the social commentary style of early shinpa or domestic drama of late Meiji shinpa. In terms of acting, shinpa's influence is found in the styles of many wenmingxi stars and the use of female impersonators who followed shinpa onnagata.
The pelegongan andir dance ritual of possession has been performed by a small community (Banjar Carik) in the village of Tista, Bali, in Indonesia since about the 1930s. The community prizes this exorcistic practice above all other ceremonial events, since its enactment fulfills a crucial role in determining communal welfare. At the same time, the dance symbolically embodies local identity in the person of the spiritually possessed dancer. This paper presents a historical and ethnographic discussion of its performance during 1995–2001 and posits that the community's religious practice may ultimately contest national policies on dance and circumvent the government's efforts to establish a pan-Indonesian identity.
Nora is a performance tradition in which dance, drama, ritual, and magic are intertwined to create a bridge between the mundane world and the supernatural. An ancestral rite known as nora rong khru chao ban is an important part of a living tradition in a certain southern villages of Thailand. For three days, the nora master prays, sings, dances, and acts out a dance-drama, while directing the ritual sequences invoking the ancestral spirits to descend from their heavenly realm to enter the trance mediums. The ritual not only gives opportunities for the nora practitioners to have a significant social and artistic function, but it also serves as a social/cultural/spiritual net that brings about an ideal of "communitas."
In November 2005, Nakamura Ganjirō III, founder of the Chikamatsu-za, assumed the name Sakata Tōjūrō, the most illustrious name in the history of kabuki in the Kansai region. The name Sakata Tōjūrō has gone unused for over 200 years.