{"title":"Towards a Definition of Performance During the Covid-19 Pandemic: A Study of Ramlila in India","authors":"Prateek","doi":"10.1353/atj.2023.0007","DOIUrl":"https://doi.org/10.1353/atj.2023.0007","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72876136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article focuses on the play Qiao Ying (The Fake Image), a one-act play written by the female playwright Wu Zao (1799–1862). Previous scholarship mainly viewed this play as Wu's denunciation of the inequality of gender in the Qing dynasty (1644–1912), assuming that the Qing women were the oppressed subjects. I take issue with that assertion and argue that The Fake Image offers more than a request for gender equality. Placing this play in its historical and social contexts, I contend that The Fake Image shows the protagonist's desires for connection with the world outside the boudoir in the nineteenth-century Qing China. With special regard to the portrait-reading fashion in the Qing, I present a detailed literary and performance analysis that demonstrates how Wu Zao observed the changing Qing society, and made use of this play to convey her anxiety and desire.
{"title":"Desire for Connection: Qiao Ying (The Fake Image) and Portrait-Reading","authors":"Xiaoqiao Xu","doi":"10.1353/atj.2022.0024","DOIUrl":"https://doi.org/10.1353/atj.2022.0024","url":null,"abstract":"Abstract:This article focuses on the play Qiao Ying (The Fake Image), a one-act play written by the female playwright Wu Zao (1799–1862). Previous scholarship mainly viewed this play as Wu's denunciation of the inequality of gender in the Qing dynasty (1644–1912), assuming that the Qing women were the oppressed subjects. I take issue with that assertion and argue that The Fake Image offers more than a request for gender equality. Placing this play in its historical and social contexts, I contend that The Fake Image shows the protagonist's desires for connection with the world outside the boudoir in the nineteenth-century Qing China. With special regard to the portrait-reading fashion in the Qing, I present a detailed literary and performance analysis that demonstrates how Wu Zao observed the changing Qing society, and made use of this play to convey her anxiety and desire.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78511765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
whole one might like. Some chapters seem more grounded in Quinn’s examinations of “liberty” and “revolution” in performance while in others the subjects seem disconnected or forced (this is especially true of the last chapter in the text). In addition, while this book is much needed, much more remains in terms of combining Quinn’s new scholarship with the other, better known proletarian theatre movements of the Meiji and Taishō eras; one hopes that this will be Quinn’s next project. Finally, there are several small typographical errors in the text which could cause confusion for the readers. Despite these small objections, Performing the Politics is an exceptional work of scholarship. Quinn is to be commended for his examination and reclamation of works by artists such as Sasaki Takamaru and Sudō Sadanori; these artists are under-represented in English scholarshipand their presencehere ismore thanwelcome. Inaddition,he demonstrates an admirable scholarly practice of including the Japanese textsof theplayshementionsaswell ashisaccomplishedtranslationsof the text. This inclusion is key because, as the text suggests, translation, especially of terms like liberty and revolution, is key to his central argument. Quinn’s work is excellent reading for those interested in Japanese theatre, political theatre, andmodernity and translation studies.
{"title":"Brecht in India: The Poetics and Politics of Transcultural Theatre by Prateek (review)","authors":"Jashodhara Sen","doi":"10.1353/atj.2022.0033","DOIUrl":"https://doi.org/10.1353/atj.2022.0033","url":null,"abstract":"whole one might like. Some chapters seem more grounded in Quinn’s examinations of “liberty” and “revolution” in performance while in others the subjects seem disconnected or forced (this is especially true of the last chapter in the text). In addition, while this book is much needed, much more remains in terms of combining Quinn’s new scholarship with the other, better known proletarian theatre movements of the Meiji and Taishō eras; one hopes that this will be Quinn’s next project. Finally, there are several small typographical errors in the text which could cause confusion for the readers. Despite these small objections, Performing the Politics is an exceptional work of scholarship. Quinn is to be commended for his examination and reclamation of works by artists such as Sasaki Takamaru and Sudō Sadanori; these artists are under-represented in English scholarshipand their presencehere ismore thanwelcome. Inaddition,he demonstrates an admirable scholarly practice of including the Japanese textsof theplayshementionsaswell ashisaccomplishedtranslationsof the text. This inclusion is key because, as the text suggests, translation, especially of terms like liberty and revolution, is key to his central argument. Quinn’s work is excellent reading for those interested in Japanese theatre, political theatre, andmodernity and translation studies.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78293521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Unlike the usual form of main melody biographical plays, Tian Qinxin's Hurricane is a postmodern psychobiography, which focuses on Tian Han's inner life and romantic relationships through a pastiche of monologues, dialogues, choruses, and fragmented plays-within-a-play. Employing Tian Han's Salomé complex as a controlling narrative, it presents two significant turns in his life under the influence of "Saloméan" women. In Tian Qinxin's rendering, Tian Han's Salomé complex comes to encompass not only romantic love but also patriotic passion. By both contextualizing and correlating Tian Han's romantic love and patriotic love through different discourses of sentiment, Hurricane conveys the main melody message via an unusually artistic form, while contributing to the canonization of Tian Han in contemporary China.
{"title":"Tian Han's Salomé Complex and The Discourses of Sentiment in Hurricane: The Life of Tian Han","authors":"Yuan Li, T. Beaumont","doi":"10.1353/atj.2022.0018","DOIUrl":"https://doi.org/10.1353/atj.2022.0018","url":null,"abstract":"Abstract:Unlike the usual form of main melody biographical plays, Tian Qinxin's Hurricane is a postmodern psychobiography, which focuses on Tian Han's inner life and romantic relationships through a pastiche of monologues, dialogues, choruses, and fragmented plays-within-a-play. Employing Tian Han's Salomé complex as a controlling narrative, it presents two significant turns in his life under the influence of \"Saloméan\" women. In Tian Qinxin's rendering, Tian Han's Salomé complex comes to encompass not only romantic love but also patriotic passion. By both contextualizing and correlating Tian Han's romantic love and patriotic love through different discourses of sentiment, Hurricane conveys the main melody message via an unusually artistic form, while contributing to the canonization of Tian Han in contemporary China.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82929500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the "ashiq-minstrelsy tradition," one of the ancient oral traditions of Anatolia. It evaluates its historical background, form, and performance conventions as a continuation of local cultural heritage. The article also discusses the theatrical forms of the tradition by making use of the ritual research of Roland Grimes.
{"title":"An Examination of Theatrical Forms of the Ashiq-Minstrel Tradition","authors":"Sercan Özinan","doi":"10.1353/atj.2022.0020","DOIUrl":"https://doi.org/10.1353/atj.2022.0020","url":null,"abstract":"Abstract:This article examines the \"ashiq-minstrelsy tradition,\" one of the ancient oral traditions of Anatolia. It evaluates its historical background, form, and performance conventions as a continuation of local cultural heritage. The article also discusses the theatrical forms of the tradition by making use of the ritual research of Roland Grimes.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75907916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:A preliminary summary of Fulbright research exploring Japan's diverse puppetry and performing object traditions taking place during the Covid pandemic. While focusing primarily on ritual puppetry, including various versions of Sanbasō (a performance generally using three puppet characters taken from the noh play Okina, done for purification and blessings) and on the hinkoko tradition (the use of large, rustic, rod puppets within a unique harvest ritual in Gifu) among other forms, the research also expands onto non-ritual puppetry traditions outside of ningyō jōruri (or Bunraku), Japan's best-known form of puppetry. These other forms include bun'ya ningyō, a style of epic narration done with puppets, and sekkyō ningyō, Buddhist sermon-ballads performed with puppets. Based on personal encounters and other sources, the report sheds light on the current status of these forms and the people involved in them and gives a view into how practitioners negotiated pandemic restrictions.
{"title":"Exploring the Diversity of Japanese Traditional Puppetry","authors":"Claudia Orenstein","doi":"10.1353/atj.2022.0021","DOIUrl":"https://doi.org/10.1353/atj.2022.0021","url":null,"abstract":"Abstract:A preliminary summary of Fulbright research exploring Japan's diverse puppetry and performing object traditions taking place during the Covid pandemic. While focusing primarily on ritual puppetry, including various versions of Sanbasō (a performance generally using three puppet characters taken from the noh play Okina, done for purification and blessings) and on the hinkoko tradition (the use of large, rustic, rod puppets within a unique harvest ritual in Gifu) among other forms, the research also expands onto non-ritual puppetry traditions outside of ningyō jōruri (or Bunraku), Japan's best-known form of puppetry. These other forms include bun'ya ningyō, a style of epic narration done with puppets, and sekkyō ningyō, Buddhist sermon-ballads performed with puppets. Based on personal encounters and other sources, the report sheds light on the current status of these forms and the people involved in them and gives a view into how practitioners negotiated pandemic restrictions.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78825519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Liang Luo’s The Global White Snake is a timely addition to the growing body of interdisciplinary scholarship on the “nonhuman turn” that has emerged in the twenty-first century. This is also the first book-length study to examine the remaking of the White Snake legends in the contemporary world. In her first monograph, The Avant-Garde and the Popular in Modern China, Luo discussed the White Snake’s transformations from the early years of the Republic of China to the first decade of the People’s Republic of China. In The Global White Snake, Luo consciously takes a “peripheral” approach by examining the White Snake legends in spaces outside mainland China. The author’s multilingual ability allows her to trace the global travels of the White Snake legends in Chinese, Japanese, Korean, and English productions. The book consists of eight chapters. Chapter 1 provides a comprehensive overview of the White Snake legends, which have traveled around the world as stories of hybridity, boundary-crossing, antiauthoritarianism, and gender politics. The rest of the seven chapters are divided into three parts: “The White Snake at the Turn of the Twentieth Century,” “The Profound Humanity of the Nonhuman during the Cold War,” and “The Specter of the Past in Contemporary Popular Culture.” In part one, chapter 2 includes discussions of American missionary Samuel Woodbridge’s and American diplomat Frederick D. Cloud’s translations of the White Snake legend around the turn of the twentieth century. Both Woodbridge and Cloud mistook the continuity of the White Snake legend as a sign of China’s static culture. However, Luo points out that from the 1870s to the 1920s, the White Snake legend had already assumed a new life in China thanks to “technological breakthroughs in theatrical representation, shifting performative paradigms regarding gender roles, and sociopolitical debate over what was considered normative” (p. 48). In chapter 3, Luo shows how the boundary between fantasy and reality dissolved as the White Snake was released to the Chinese cultural imagination after the sensational fall of the Leifeng Pagoda in 1924. During this period, the avant-garde, the commercial, and the popular formed a concerted effort to capitalize on the pagoda’s visuality. The two chapters in part two examine the inter-Asian network of the White Snake industry through a set of films, including Mizoguchi Kenji’s Ugetsu (1953); Madame White Snake (Byaku fujin no yōren, 1956); the Japanese animation Hakujaden (which was distributed in the United States in 1961 as Panda and the Magic Serpent); two Korean-language films, Madam White Snake (Paeksa buin, 1960) and Snake Woman (Sanyŏ, 1969); and Love of the White Snake (Paeksajŏn, 1978). Through nuanced close reading, Luo shows that “the humanity of the nonhuman continued to emerge as the central trope in White Snake adaptations throughout the Cold War” (p. 142), which served to heal the postwar trauma, as well as suture the geopolitical divisi
罗亮(Liang Luo)的《全球白蛇》(The Global White Snake)是对21世纪出现的“非人类转向”(nonhuman turn)这一日益增长的跨学科学术体系的及时补充。这也是第一本研究白蛇传说在当代世界的翻拍的书。在她的第一部专著《当代中国的前卫与流行》中，罗讨论了从民国初年到中华人民共和国第一个十年白蛇的转变。在《环球白蛇》中，罗有意识地采取了一种“外围”的方式，考察了中国大陆以外空间的白蛇传说。作者的多语言能力使她能够追踪白蛇传说在中国、日本、韩国和英国的全球旅行。这本书共有八章。第一章提供了白蛇传说的全面概述，这些传说作为混血、跨越边界、反威权主义和性别政治的故事传遍了世界。其余七章分为三个部分:“二十世纪之交的白蛇”、“冷战时期非人类的深刻人性”和“当代流行文化中的过去幽灵”。第一部分第二章讨论了二十世纪之交美国传教士塞缪尔·伍德布里奇和美国外交家弗雷德里克·d·克劳德对白蛇传说的翻译。Woodbridge和Cloud都把白蛇传说的延续性误认为是中国静态文化的标志。然而，罗指出，从19世纪70年代到20世纪20年代，白蛇传说已经在中国获得了新的生命，这要归功于“戏剧表现的技术突破，关于性别角色的表演范式的转变，以及关于什么是规范的社会政治辩论”(第48页)。在第三章中，罗展示了1924年雷峰塔轰然倒塌后，《白蛇》被释放到中国文化想象中，幻想与现实之间的界限是如何消解的。在此期间，前卫、商业和大众形成了共同的努力，以利用宝塔的视觉效果。第二部分的两章通过一系列电影考察了白蛇产业的亚洲间网络，包括沟口健二的《宇之津》(1953);《白蛇夫人》(《白蛇夫人》，1956年);日本动画《白宫》(1961年在美国以《熊猫与魔蛇》的名字发行);两部韩文电影《白蛇夫人》(白沙市，1960年)和《蛇女》(三阳，1969年);《白蛇之恋》(Paeksajŏn, 1978)。通过细致入微的细读，罗表明“非人类的人性在整个冷战期间继续成为《白蛇》改编的中心隐喻”(第142页)，这有助于治愈战后的创伤，也缝合了亚洲的地缘政治分裂。第三部分共分为三章。第六章展示了香港作家李莲的小说《青蛇》和美籍华裔作家严歌苓的小说《白蛇》如何将白蛇传说转化为反抗父权制度、异性恋和威权主义的故事。第七章讨论了周龙的歌剧《白蛇传》(2011)、玛丽·齐默尔曼的戏剧《白蛇传》(2012)和数字短片《白蛇传》(2013)这三部英语作品中关于白蛇传的多地点、多语言流行文化现象和媒体事件。第八章，“白蛇的永恒躯体”，探讨了混血儿
{"title":"The Global White Snake by Liang Luo (review)","authors":"A. Chu","doi":"10.1353/atj.2022.0030","DOIUrl":"https://doi.org/10.1353/atj.2022.0030","url":null,"abstract":"Liang Luo’s The Global White Snake is a timely addition to the growing body of interdisciplinary scholarship on the “nonhuman turn” that has emerged in the twenty-first century. This is also the first book-length study to examine the remaking of the White Snake legends in the contemporary world. In her first monograph, The Avant-Garde and the Popular in Modern China, Luo discussed the White Snake’s transformations from the early years of the Republic of China to the first decade of the People’s Republic of China. In The Global White Snake, Luo consciously takes a “peripheral” approach by examining the White Snake legends in spaces outside mainland China. The author’s multilingual ability allows her to trace the global travels of the White Snake legends in Chinese, Japanese, Korean, and English productions. The book consists of eight chapters. Chapter 1 provides a comprehensive overview of the White Snake legends, which have traveled around the world as stories of hybridity, boundary-crossing, antiauthoritarianism, and gender politics. The rest of the seven chapters are divided into three parts: “The White Snake at the Turn of the Twentieth Century,” “The Profound Humanity of the Nonhuman during the Cold War,” and “The Specter of the Past in Contemporary Popular Culture.” In part one, chapter 2 includes discussions of American missionary Samuel Woodbridge’s and American diplomat Frederick D. Cloud’s translations of the White Snake legend around the turn of the twentieth century. Both Woodbridge and Cloud mistook the continuity of the White Snake legend as a sign of China’s static culture. However, Luo points out that from the 1870s to the 1920s, the White Snake legend had already assumed a new life in China thanks to “technological breakthroughs in theatrical representation, shifting performative paradigms regarding gender roles, and sociopolitical debate over what was considered normative” (p. 48). In chapter 3, Luo shows how the boundary between fantasy and reality dissolved as the White Snake was released to the Chinese cultural imagination after the sensational fall of the Leifeng Pagoda in 1924. During this period, the avant-garde, the commercial, and the popular formed a concerted effort to capitalize on the pagoda’s visuality. The two chapters in part two examine the inter-Asian network of the White Snake industry through a set of films, including Mizoguchi Kenji’s Ugetsu (1953); Madame White Snake (Byaku fujin no yōren, 1956); the Japanese animation Hakujaden (which was distributed in the United States in 1961 as Panda and the Magic Serpent); two Korean-language films, Madam White Snake (Paeksa buin, 1960) and Snake Woman (Sanyŏ, 1969); and Love of the White Snake (Paeksajŏn, 1978). Through nuanced close reading, Luo shows that “the humanity of the nonhuman continued to emerge as the central trope in White Snake adaptations throughout the Cold War” (p. 142), which served to heal the postwar trauma, as well as suture the geopolitical divisi","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90582998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Corporeal Politics: Dancing East Asia ed. by Katherine Mezur and Emily Wilcox (review)","authors":"Y. An","doi":"10.1353/atj.2022.0028","DOIUrl":"https://doi.org/10.1353/atj.2022.0028","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75204505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：