{"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":"3 1","pages":""},"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":"1 4 1","pages":"376 - 390"},"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}
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":"27 1","pages":"241 - 266"},"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":"96 1","pages":"284 - 302"},"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}
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":"87 1","pages":"424 - 428"},"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: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":"56 1","pages":"303 - 336"},"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}
{"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":"84 1","pages":"405 - 408"},"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}
{"title":"A History of Chinese Theatre in the 20th Century I by Fu Jin, and: A History of Chinese Theatre in the 20th Century II by Fu Jin (review)","authors":"T. Chun","doi":"10.1353/atj.2022.0029","DOIUrl":"https://doi.org/10.1353/atj.2022.0029","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":"36 1","pages":"409 - 413"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74808831","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}
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