restricted access   Volume 32, Number 2, Fall 2015

Table of Contents

From the Editor

p. v

Special Issue Section: Women in Asian Theatre

Introduction: Women in Asian Theatre: Conceptual, Political, and Aesthetic Paradigms

pp. 345-355

Special Issue Articles

The Ronggeng, the Wayang, the Wali, and Islam: Female or Transvestite Male Dancers-Singers-Performers and Evolving Islam in West Java

pp. 356-386

Onna Mono: The “Female Presence” on the Stage of the All-Male Traditional Japanese Theatre

pp. 387-415

Lokhon Luang, the Cambodian Court Theatre: Toward a Decline of Women’s Supremacy?

pp. 416-439

From Private Zashiki to the Public Stage: Female Spaces in Early Twentieth-Century

pp. 440-463

Women in Balinese Topeng: Voices, Reflections, and Interactions

pp. 464-492

Women in Indian Puppetry: Negotiating Traditional Roles and New Possibilities

pp. 493-517

Women in Revolutionary Theatre: IPTA, Labor, and Performance

pp. 518-535

Pritham Chakravarthy: Performing Aravanis’ Life Stories

pp. 536-555

Taiwanese Jingju Performances Featuring Women’s Writing: Meng Xiaodong and The Ghostdom River

pp. 556-565

Special Issue Performance Reviews

A Fairy in the Wall dir. by Sohn Jin-chaek (review)

pp. 566-569

Much Ado About Nothing dir. by Iqbal Khan (review)

pp. 570-572

Regular Issue Materials

Masks of Sumatra

pp. 575-597

Emerging Scholar Paper

Not-Feminism: A Discourse on the Politics of a Term in Modern Indian Theatre

pp. 598-618


Twenty Years of Suasana: Producing Malay Dance-Drama

pp. 619-635

Founder of the Field

Rulan Chao Pian 卞赵如兰 (1922–2013)

pp. 636-647



In Transit: The Formation of the Colonial East Asian Cultural Sphere by Faye Yuan Kleeman (review)

pp. 648-652

Brown Boys and Rice Queens: Spellbinding Performance in the Asias by Eng-Beng Lim (review)

pp. 652-655

The Happy Hsiungs: Performing China and the Struggle for Modernity by Diana Yeh (review)

pp. 655-658


Pop Goes the Avant-Garde: Experimental Theatre in Contemporary China by Rossella Ferrari (review)

pp. 659-663

The Columbia Anthology of Yuan Drama ed. by C. T. Hsia, Wai-Yee Li, and George Kao (review)

pp. 663-671


The Bunraku Puppet Theatre of Japan: Honor, Vengeance, and love in four Plays of the 18th and 19th Centuries by Stanleigh H. Jones (review)

pp. 672-675

Henry Black: On Stage in Meiji Japan by Ian McArthur (review)

pp. 675-680


Terror and Performance by Rustom Bharucha (review)

pp. 681-683

The Colonial Staged: Theatre in Colonial Calcutta by Sudipto Chatterjee (review)

pp. 683-685

Contemporary Indian Dance: New Creative Choreography in India and the Diaspora by Ketu H. Katrak (review)

p. 686

The Performance of Nationalism: India, Pakistan, and the Memory of Partition by Jisha Menon (review)

pp. 687-689

Illicit Worlds of Indian Dance: Cultures of Exclusion by Anna Morcom (review)

pp. 689-692

The Natyasastra and the Body in Performance: Essays on Indian Theories of Dance and Drama ed. by Sreenath Nair (review)

pp. 692-695

Indian Modern Dance, Feminism, and Transnationalism by Prarthana Purkayastha (review)

pp. 695-698

Globalization, Nationalism and the Text of Kichaka-Vadha: The First English Translation of the Marathi Anticolonial Classic, with a Historical Analysis of Theatre in British India. Rakesh Solomon (review)

pp. 698-702

Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam by Katherine C. Zubko (review)

pp. 702-703


The Dance that Makes You Vanish: Cultural Reconstruction in Post-Genocide Indonesia by Rachmi Diyah Larasati (review)

pp. 704-707

Heirs to World Culture: Being Indonesian, 1950–1965 ed. by Jennifer Lindsay and Maya H. T. Liem (review)

pp. 707-710

Books Received

pp. 711-712