{"title":"Shakespeare in Singapore: Performance, Education, and Culture by Philip Smith (review)","authors":"Chelsea Curto","doi":"10.1353/atj.2022.0016","DOIUrl":"https://doi.org/10.1353/atj.2022.0016","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76928496","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:In his A Midsummer Night’s Dream (2004), Yasuda Masahiro presents his perspectives on human bodies to discuss the subjects of human identity and communication with other people in the modernized Japanese society. He insists that Japanese people have fewer opportunities to recognize their inner condition and gradually lose their ability to interact with other people as they are working as a part in the unified and standardized social system. By adopting the styles and principles of traditional Japanese theatre forms such as noh, which focuses on actors’ physical sensibility, Yasuda has developed his own acting method called Yamanote Method. This method is designed to improve the ability of performers’ physical expressions through various exercises and practices for their flexibility and improvisation. Through Yasuda’s method, the actors can focus on not only their own bodies but also their position in relation to others and the surroundings. By examining Yasuda’s acting method and theories employed in his A Midsummer Night’s Dream, this article explores how the director presents the sense of restraint and anxiety that Japanese people feel in their daily life and the ways of restoring the ability of interacting with other people in a modernized society.
{"title":"Reinventing Physical Culture through Yojō-han: A Midsummer Night’s Dream by Yasuda Masahiro","authors":"Boram Choi","doi":"10.1353/atj.2022.0006","DOIUrl":"https://doi.org/10.1353/atj.2022.0006","url":null,"abstract":"Abstract:In his A Midsummer Night’s Dream (2004), Yasuda Masahiro presents his perspectives on human bodies to discuss the subjects of human identity and communication with other people in the modernized Japanese society. He insists that Japanese people have fewer opportunities to recognize their inner condition and gradually lose their ability to interact with other people as they are working as a part in the unified and standardized social system. By adopting the styles and principles of traditional Japanese theatre forms such as noh, which focuses on actors’ physical sensibility, Yasuda has developed his own acting method called Yamanote Method. This method is designed to improve the ability of performers’ physical expressions through various exercises and practices for their flexibility and improvisation. Through Yasuda’s method, the actors can focus on not only their own bodies but also their position in relation to others and the surroundings. By examining Yasuda’s acting method and theories employed in his A Midsummer Night’s Dream, this article explores how the director presents the sense of restraint and anxiety that Japanese people feel in their daily life and the ways of restoring the ability of interacting with other people in a modernized society.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84106719","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":"Staging Personhood: Costuming in Early Qing Drama by Guojun Wang (review)","authors":"Hanyang Jiang","doi":"10.1353/atj.2022.0010","DOIUrl":"https://doi.org/10.1353/atj.2022.0010","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91371771","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:Scholarly enquiry into the formation of modern drama on the Korean peninsula has given way to vibrant debate over the years. The enigma of the inception of modern drama continues to elicit diverging opinions regarding the “first” modern Korean play. In 1916, writer, activist, and journalist Yi Kwang-su published his highly influential critical work “Munhak iran hao” (What is Literature?) whereby he stood out as an early figure to preach his views of drama as a modern literary genre, underscoring the vital role of theatre as a tool for modern progress with the potential to be more influential than the novel. Gyuhan (Sorrows of the Inner Room) was published the following year and the play can be interpreted as Yi’s attempt to put his theory into practice. Despite Yi’s prestige as an architect of Korea’s modern literary world, Sorrows of the Inner Room remains obscure beyond Korean-speaking scholarship of drama. This introduction seeks to explore the play’s modern significance while also providing the first full translation in English to bring Yi’s work to a new audience.
{"title":"Yi Kwang-su’s Gyuhan (Sorrows of the Inner Room): Korea’s First Modern Play?","authors":"Owen Stampton","doi":"10.1353/atj.2022.0002","DOIUrl":"https://doi.org/10.1353/atj.2022.0002","url":null,"abstract":"Abstract:Scholarly enquiry into the formation of modern drama on the Korean peninsula has given way to vibrant debate over the years. The enigma of the inception of modern drama continues to elicit diverging opinions regarding the “first” modern Korean play. In 1916, writer, activist, and journalist Yi Kwang-su published his highly influential critical work “Munhak iran hao” (What is Literature?) whereby he stood out as an early figure to preach his views of drama as a modern literary genre, underscoring the vital role of theatre as a tool for modern progress with the potential to be more influential than the novel. Gyuhan (Sorrows of the Inner Room) was published the following year and the play can be interpreted as Yi’s attempt to put his theory into practice. Despite Yi’s prestige as an architect of Korea’s modern literary world, Sorrows of the Inner Room remains obscure beyond Korean-speaking scholarship of drama. This introduction seeks to explore the play’s modern significance while also providing the first full translation in English to bring Yi’s work to a new audience.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83145250","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:In this article, I examine siren eun young jung’s Yeoseong Gukgeuk Project, an ongoing contemporary art project about yeoseong gukgeuk, a Korean all-female performance form whose survival in the twenty-first century is marked by precarity. Situated at the intersections of archival documentation, ethnography, and visual art, I conceptualize the Yeoseong Gukgeuk Project as an archive of affect which establishes inter-Asian queer solidarities, mediated through reflections of my own encounters with the project at the Korea Artist Prize 2018 exhibition.
{"title":"Transnational Queer Solidarities and Ambivalent Affects in the Yeoseong Gukgeuk Project","authors":"Roweena Yip","doi":"10.1353/atj.2022.0005","DOIUrl":"https://doi.org/10.1353/atj.2022.0005","url":null,"abstract":"Abstract:In this article, I examine siren eun young jung’s Yeoseong Gukgeuk Project, an ongoing contemporary art project about yeoseong gukgeuk, a Korean all-female performance form whose survival in the twenty-first century is marked by precarity. Situated at the intersections of archival documentation, ethnography, and visual art, I conceptualize the Yeoseong Gukgeuk Project as an archive of affect which establishes inter-Asian queer solidarities, mediated through reflections of my own encounters with the project at the Korea Artist Prize 2018 exhibition.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72773640","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}
The Chinese playwright Shih-I Hsiung is probably best understood through a perspective that consists of both literary and historical lenses. Shih-I Hsiung: A Glorious Showman fulfills the latter approach extensively, with both skill and reverence. The author, Da Zheng, draws upon a rich bounty of source material, some known and a great deal previously unpublished. Including personal correspondences between Hsiung and family members, friends, government officials, and prominent figures in artistic fields, this study creates the most complete record of Hsiung’s life in a single volume. Scholarship on Hsiung is mostly geared toward dissecting and analyzing his most prominent accomplishment—the adapted play Lady Precious Stream (Wang Baochuan 王宝钏). This is unsurprising, as it is both the achievement that defined his career as a playwright and an event that changed the course of his life. As a result, the framing of Hsiung’s story in other scholarly work is most often delineated along the lines of artistic choices in staging this famous play and how well or how poorly his production lived up to what it was “supposed to be,” from both the modern European and canonical Chinese perspectives. Zheng shows us, however, that there is much more to know about Hsiung and his career. Complementing existing work, the author’s penetrating biographical treatment of Hsiung makes for both a
{"title":"Shih-I Hsiung: A Glorious Showmanby Da Zheng (review)","authors":"Weihong Du","doi":"10.1353/atj.2022.0009","DOIUrl":"https://doi.org/10.1353/atj.2022.0009","url":null,"abstract":"The Chinese playwright Shih-I Hsiung is probably best understood through a perspective that consists of both literary and historical lenses. Shih-I Hsiung: A Glorious Showman fulfills the latter approach extensively, with both skill and reverence. The author, Da Zheng, draws upon a rich bounty of source material, some known and a great deal previously unpublished. Including personal correspondences between Hsiung and family members, friends, government officials, and prominent figures in artistic fields, this study creates the most complete record of Hsiung’s life in a single volume. Scholarship on Hsiung is mostly geared toward dissecting and analyzing his most prominent accomplishment—the adapted play Lady Precious Stream (Wang Baochuan 王宝钏). This is unsurprising, as it is both the achievement that defined his career as a playwright and an event that changed the course of his life. As a result, the framing of Hsiung’s story in other scholarly work is most often delineated along the lines of artistic choices in staging this famous play and how well or how poorly his production lived up to what it was “supposed to be,” from both the modern European and canonical Chinese perspectives. Zheng shows us, however, that there is much more to know about Hsiung and his career. Complementing existing work, the author’s penetrating biographical treatment of Hsiung makes for both a","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75978115","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}
As part of the celebration for the 60th anniversary of the 1957 cultural agreement between Japan and India, a Hindu masterpiece was adapted for the Japanese audience in 2017. Mahābhārata Senki (The War Chronicles of the Mahabharata) demonstrates the extent to which kabuki theatre has reinvented itself and yet remains an integral part of Japanese tradition. The play’s opening scene presents a visual treat as spectators are wonderstruck by the transformation of kabuki and its age-old repertoires into a foreign atmosphere depicting the garden of heaven. The splendid mise-en-scène of act 1, scene 1, reveals an assembly of the Hindu gods Surya, Indra, Brahma, Vishnu, and Shiva, who are all solemnly seated, wearing resplendent kathakali-style costumes and glittery makeup, typical of the Indian dance-drama form (Fig. 1). The Indian epicMahabharata, which depicts the power struggles between two branches of a royal family, the Pandavas and the Kauravas, has found expression in various versions of drama, literature, theatre, and film, including Peter Brook’s stage play and subsequent film in the 1980s. Shochiku’s grand kabuki is adapted from an earlier Indian storyline. In theMahabharata, Karna, the son of Surya (the Sun God), and Arjuna, the son of Indra (the God of Lightning), are born to the same mother, Princess Kunti (who later becomes the queen of Hastinapura
作为庆祝1957年日本和印度签订文化协定60周年的一部分，2017年为日本观众改编了一部印度教杰作。Mahābhārata《摩诃婆罗多的战争编年史》(The War Chronicles of The Mahabharata)展示了歌舞伎在重塑自我的同时，仍是日本传统不可缺少的一部分。这部戏剧的开场呈现了一种视觉上的享受，观众们被歌舞伎和它古老的剧目转变成一种描绘天堂花园的异国氛围所震惊。第一幕第一场精彩的布景展现了印度诸神苏里亚、因陀罗、梵天、毗湿奴和湿婆的聚集，他们都庄严地坐着，穿着华丽的卡塔卡里风格的服装，化着闪闪的妆，这是典型的印度舞蹈戏剧形式(图1)。印度史诗《摩诃婆罗多》描绘了一个王室的两个分支——潘达瓦和考拉瓦之间的权力斗争，在各种版本的戏剧、文学、戏剧和电影中都有表现。包括彼得·布鲁克的舞台剧和随后在20世纪80年代拍摄的电影。Shochiku的大歌舞伎改编自早期的印度故事情节。在《摩诃婆罗多》中，苏利亚(太阳神)的儿子卡尔那和因陀罗(闪电之神)的儿子阿尔诸那是由同一个母亲昆蒂公主(后来成为哈斯提纳普拉的女王)所生
{"title":"Mahābhārata Senki (review)","authors":"S. Park","doi":"10.1353/atj.2022.0008","DOIUrl":"https://doi.org/10.1353/atj.2022.0008","url":null,"abstract":"As part of the celebration for the 60th anniversary of the 1957 cultural agreement between Japan and India, a Hindu masterpiece was adapted for the Japanese audience in 2017. Mahābhārata Senki (The War Chronicles of the Mahabharata) demonstrates the extent to which kabuki theatre has reinvented itself and yet remains an integral part of Japanese tradition. The play’s opening scene presents a visual treat as spectators are wonderstruck by the transformation of kabuki and its age-old repertoires into a foreign atmosphere depicting the garden of heaven. The splendid mise-en-scène of act 1, scene 1, reveals an assembly of the Hindu gods Surya, Indra, Brahma, Vishnu, and Shiva, who are all solemnly seated, wearing resplendent kathakali-style costumes and glittery makeup, typical of the Indian dance-drama form (Fig. 1). The Indian epicMahabharata, which depicts the power struggles between two branches of a royal family, the Pandavas and the Kauravas, has found expression in various versions of drama, literature, theatre, and film, including Peter Brook’s stage play and subsequent film in the 1980s. Shochiku’s grand kabuki is adapted from an earlier Indian storyline. In theMahabharata, Karna, the son of Surya (the Sun God), and Arjuna, the son of Indra (the God of Lightning), are born to the same mother, Princess Kunti (who later becomes the queen of Hastinapura","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87414603","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:As an identity, Isan (the northeast region of Thailand) is a problematic political construct that reflects ambiguous self-understanding and self-representation. Isan has long been challenged by Thai politics which cast the image of the Isan people as lower social status. However, the richness of Isan expression through Isan language, music, and cultures has always flourished. The research project “Embodied Isan Tone” aims to explore Isan language, Isan identity, and Isan persona that were embodied by young Isan actors and performers working in the three performance-making formats: text-based theatre, a devised performance, and a performance of the self. Through an intracultural perspective of acting, the project intends to inject an Isan-ness into contemporary theatre making and performance practice in Thailand, and to celebrate and raise awareness of contemporary Isan. The research method involves observing, interviewing, conducting group discussion with Isan actors in the creative process. As Isan contemporary performances, the three works, Bhai (Bus Stop), Home Heuan Hao (Our Home), and Bheen (Evert), revealed that Isan language provides a remarkable sound expression, fixed impressions of Isan identity are met with resistance, and Isan persona deeply connects with Isan community. This project has unraveled personal, political, and cultural tensions among Isan actors yet embraced them as creative resources for intracultural acting.
{"title":"Isan Contemporary Performance: Embodied Isan Tone in Thai Contemporary Performance Making","authors":"Tanatchaporn Kittikong","doi":"10.1353/atj.2022.0007","DOIUrl":"https://doi.org/10.1353/atj.2022.0007","url":null,"abstract":"Abstract:As an identity, Isan (the northeast region of Thailand) is a problematic political construct that reflects ambiguous self-understanding and self-representation. Isan has long been challenged by Thai politics which cast the image of the Isan people as lower social status. However, the richness of Isan expression through Isan language, music, and cultures has always flourished. The research project “Embodied Isan Tone” aims to explore Isan language, Isan identity, and Isan persona that were embodied by young Isan actors and performers working in the three performance-making formats: text-based theatre, a devised performance, and a performance of the self. Through an intracultural perspective of acting, the project intends to inject an Isan-ness into contemporary theatre making and performance practice in Thailand, and to celebrate and raise awareness of contemporary Isan. The research method involves observing, interviewing, conducting group discussion with Isan actors in the creative process. As Isan contemporary performances, the three works, Bhai (Bus Stop), Home Heuan Hao (Our Home), and Bheen (Evert), revealed that Isan language provides a remarkable sound expression, fixed impressions of Isan identity are met with resistance, and Isan persona deeply connects with Isan community. This project has unraveled personal, political, and cultural tensions among Isan actors yet embraced them as creative resources for intracultural acting.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79085791","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:Terayama Shūji (1935–1983), a leading figure in the Japanese avant-garde theatre movement, founded his theatre troupe Tenjō Sajiki (The Peanut Gallery) in 1967. Terayama and company member/collaborating writer Kishida Rio (1946–2003) scripted Ekibyō ryūkōki (A Journal of the Plague Year) in 1975 as the last of three plays created for a European audience. Inspired by Daniel Defoe’s fictional memoir of the same title, the play deals with isolation, denial, rage, and the many coping strategies of a community confronting a deadly epidemic. The play shows how words are a powerful contagion, and by infecting the imagination and memory, they are as much a plague as any disease. Although written and produced in 1975, with ideas from a 1772 fictional memoir about a 1665 plague in London, Terayama and Kishida’s A Journal of the Plague Year is a play for our times. It is hauntingly prescient, offering a shocking and often comical reflection of our own lives during the current COVID-19 pandemic.
{"title":"A Journal of the Plague Year by Terayama Shūji in Collaboration with Kishida Rio: “Contagious Magic” for a Time of Epidemic","authors":"Tsuneda Keiko, Colleen Lanki","doi":"10.1353/atj.2022.0001","DOIUrl":"https://doi.org/10.1353/atj.2022.0001","url":null,"abstract":"Abstract:Terayama Shūji (1935–1983), a leading figure in the Japanese avant-garde theatre movement, founded his theatre troupe Tenjō Sajiki (The Peanut Gallery) in 1967. Terayama and company member/collaborating writer Kishida Rio (1946–2003) scripted Ekibyō ryūkōki (A Journal of the Plague Year) in 1975 as the last of three plays created for a European audience. Inspired by Daniel Defoe’s fictional memoir of the same title, the play deals with isolation, denial, rage, and the many coping strategies of a community confronting a deadly epidemic. The play shows how words are a powerful contagion, and by infecting the imagination and memory, they are as much a plague as any disease. Although written and produced in 1975, with ideas from a 1772 fictional memoir about a 1665 plague in London, Terayama and Kishida’s A Journal of the Plague Year is a play for our times. It is hauntingly prescient, offering a shocking and often comical reflection of our own lives during the current COVID-19 pandemic.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91233282","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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