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Relevant bibliographies by topics / Kyōgen (Japanese drama and theater)

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Academic literature on the topic 'Kyōgen (Japanese drama and theater)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "Kyōgen (Japanese drama and theater)"

1

Zehbe, Klaus. "The “Performance” of Kyōgen." Paragrana 22, no. 1 (June 2013): 281–92. http://dx.doi.org/10.1524/para.2013.0019.

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Abstract By bringing Schechner’s analytical concepts of ‘script’, ‘theater’ and ‘performance’ (2003) to bear on the analysis of a contemporary performance of Kyōgen, a form of traditional Japanese theatre, and by examining the play and interplay of these three dimensions through Turner’s theory of ritual (2005), I will discuss how performances of Kyōgen present notions and topoi of individual and collective well-being and may actually contribute to a state thereof. In doing so, I aim to arrive at a better understanding of what the notion of well-being may mean for Japanese people.

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2

Schürkes, Sven. "Das kyōgen-Stück Rōmusha (Die alten Krieger)." Asiatische Studien - Études Asiatiques 73, no. 2 (July 26, 2019): 311–25. http://dx.doi.org/10.1515/asia-2019-0010.

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Abstract This paper presents a translation of the kyōgen play Rōmusha based on the text from the Toraakibon of the Ōkura (mid seventeenth century) school. It features the role of a boy acolyte within the homoerotic tradition of Buddhist temples in premodern Japan. Those boys were usually termed chigo. While there is already a considerable amount of research done on the historic circumstances and literary conventions in other genres, their appearance in kyōgen theater may add fruitful insights and also shed some light on their function in the comical arts. In the recent years Rōmusha has been performed again several times and it offers a vivid, realistic and erotic atmosphere which is rare to be seen in classical kyōgen. The paper aims to illustrate the structure of the play. While the focus is on the role of the chigo, comical aspects of the drama, references to nō theatre and different interpretations and performance practices will also be mentioned.

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3

U. U, Mukhibova, Mukhiddinova D, Saidova N, Komilova Sh, Shermatova G, and Egamberdieva M. "Features of The Development of Drama in the Easterncountries." International Journal of Social Science Research and Review 5, no. 3 (March 1, 2022): 31–41. http://dx.doi.org/10.47814/ijssrr.v5i3.223.

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This article examines the importance of drama in the literature of Eastern peoples, in particular in Hindi, Arabic, Chinese and Japanese literatures, and the periods and features of development of drama in the world literature. It describes the emergence and nature of this genre, as well as the works of playwrights, shows the influence of drama in the progress of literature and performance art. The kinds of folk and contemporary theater, themes and problems arisen on the stage have been discussed in the article.

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4

Donnery, Eucharia. "Process Drama in the Japanese University Classroom: Phase Three, The Homelessness Project." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (January 1, 2016): 18–32. http://dx.doi.org/10.33178/scenario.10.1.2.

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The purpose of this paper is to describe the third phase of a process drama project, which focused thematically on the social issue of homelessness. Two classes of the elective English Communication course took part in this project twice weekly for ten weeks, in which the students examined homelessness from the perspectives of Japanese-Americans incarcerated in internment camps during World War II. The goal of the project was for students to develop an understanding of homelessness, while simultaneously losing awareness of English as a dreaded examination subject, and using the target language as a viable communicative tool instead. The techniques used in this project were manifold: tableau, family role-play, class role-play, writing-in-role, reaction-writing, research online in both Japanese and English to examine the nature of propaganda, online class discussions, as well as a guest lecturer session with a refugee speaker1. The trajectory of this discussion moves along a traditional Japanese Noh theater three-part narrative arc, called Jo-Ha-Kyu , “Enticement・Crux・Consolidation”.

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Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.

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This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, provided further opportunities for the college's Catholics to consider transcontinental religious politics.

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6

Nishi, Kinya. "A Multicultural Approach to the Idea of Tragedy." Culture and Dialogue 1, no. 1 (July 23, 2013): 107–15. http://dx.doi.org/10.1163/24683949-00101005.

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In The Death of Tragedy (1961) George Steiner observed that tragedy as a form of drama was “distinctive of Western tradition.” Today, critics and scholars are understandably impatient with this position. Indeed, Andrew Gerstle points to Japanese traditional theater to challenge the idea that there can only be one norm of the concept of the tragic. Yet both Steiner and Gerstle absolutize formalistically the power of tragic art to reveal an unalterable human condition, thereby disconnecting great literary achievements from the perception of contemporary society. The argument of this essay is inspired by Raymond William’s notion of “modern tragedy,” which considers tragedy as a representation of our experience of the permanent contradictions in the process of modernization. From this perspective I critically examine the reception of traditional and modern Japanese literature in an attempt to establish through multicultural dialogue a truly inclusive framework for the interpretation of tragic art.

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7

Son, Jeung-sang. ""Drama/Theater Education in Children’s Plays during the Japanese Colonial Period - A Study Focusing on Mother’s Gift by Jung Insub -"." Korean Language and Literature in International Context 88 (March 30, 2021): 247–75. http://dx.doi.org/10.31147/iall.88.9.

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8

Čirić-Fazlija, Ifeta. "“Not the time for fighting but for taking care of each other”: Portrayals of the Second World War in Two Asian-American Plays." Društvene i humanističke studije (Online) 7, no. 2(19) (May 20, 2022): 139–52. http://dx.doi.org/10.51558/2490-3647.2022.7.2.139.

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Most of humanity’s recorded history has been indelibly marked by armed conflicts in various places around the world, yet the scale and effect of the two world wars in the first half of the twentieth century were unprecedented. Both wars remapped the geography, politics, economies, and consciousness of prior realities, and echoed deafeningly throughout the modern works of literature of diverse nations. Anglophone literature overtly portrays wartime atrocities and human ordeals, and concurrently raises awareness of, and agitates against, the savagery of warfare. It does so through its poignant Trench Poetry, the anti-war novels of the Lost Generation, dramas of the Holocaust, and theater of genocide, among others. Another, relatively recent, a subgenre of Anglophone drama also addresses the subject of armed conflicts and their consequences, although its critics and reviewers mostly focus on identity politics, minority and ethnic studies, and the mix of ideas and images that are features of Asian-American theater. Within it researchers can find arresting examples of how an English-speaking theater represents conflict-induced displacement and migration and other repercussions of the Second World War, while dealing with one of the most discomfiting events in recent US history. This paper examines Wakako Yamauchi’s representation of the state-controlled relocation of Asian-American citizens and their consequent experiences, in her play 12-1-A; and Velina Hasu Houston’s portrayal of the Second World War’s ideological and socio-economic repercussions in the Japanese community, in Asa Ga Kimashita (Morning Has Broken).

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9

Azarova, Valentina Vladimirovna. "On the organization of sound space in "The Tidings brought by Mary" by Paul Claudel, 1912 edition." Культура и искусство, no. 4 (April 2022): 141–63. http://dx.doi.org/10.7256/2454-0625.2022.4.37912.

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The article examines the words and the meaning, as well as the dramaturgy of sound in the first edition of the mystery "The Tidings brought by Mary" by Paul Claudel. Understanding the synthesis of verbal and vocal intonation leads the author of the article to discover new ways of solving the problem of stage music in mystery drama by Claudel. The discrete nature of the design of the sound space of the mystery in the first edition represents the concept of separately performed fragments, in which the episodes integrated into the action in liturgical Latin are united by a common spiritual meaning. At the same time, the design of the sound space in the 2nd scene of Act III (the dramatic climax, the sacred space of the mystery) is characterized by novelty. Based on the interaction of theatrical-dramatic and musical structural elements, the composition of the scene is subordinated to the principle of end-to-end, continuous vocal-dramatic development of the action. Conclusions are drawn: during the 1910s, Claudel's idea of music in mystery drama was transformed - instead of musical fragments of an "applied" nature, a new compositional idea of stage music arose. The lyrical intonation of the author's voice is found in the sound space of the work. The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, Noh), as well as images of poetry of China and Japan. In the sound of the "The Tidings brought to Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices. Claudel's mystery drama formed a new understanding of the universal meaning of the mystery in the twentieth century.

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10

Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.

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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign language teaching and learning by offering examples where drama is used with other taught languages, such as French, German, Spanish, Italian, Portuguese, but also Romanian, Russian and Japanese. The book stems from the recent fertile pedagogical research carried out by Appiah, De Lauretis, Pavis, Pireddu and De Marinis – just to mention a few – which considers theatre both as a cultural product and as a constituent of a teaching philosophy on intercultural learning. For the editors, “Theatre is the literary genre which most actively engages the cultural learner and maximises his/her ability to appropriate what is other” (2). The contributors to this volume are educators who have been working ...

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Dissertations / Theses on the topic "Kyōgen (Japanese drama and theater)"

1

Saxon, Belinda Sue. ""Borrowing from the east" a study of types of Western theater adaptations of Chinese opera, Japanese noh, and kabuki /." online access from Digital Dissertation Consortium access full-text, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1351076.

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2

Sawada, Keiji. "From The floating world to The 7 stages of grieving the presentation of contemporary Australian plays in Japan /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/13213.

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Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005.
Bibliography: p. 274-291.
Introduction -- The emergence of "honyakugeki" -- Shôgekijô and the quest for national identity -- "Honyakugeki" after the rise of Shôgekijô -- The presentation of Australian plays as "honyakugeki" -- Representations of Aborigines in Japan -- Minorities in Japan and theatre -- The Japanese productions of translated Aboriginal plays -- Significance of the productions of Aboriginal plays in Japan -- Conclusion.
Many Australian plays have been presented in Japan since the middle of the 1990s. This thesis demonstrates that in presenting Australian plays the Japanese Theatre has not only attempted to represent an aspect of Australian culture, but has also necessarily revealed aspects of Japanese culture. This thesis demonstrates that understanding this process is only fully possible when the particular cultural function of 'translated plays' in the Japanese cultural context is established. In order to demonstrate this point the thesis surveys the history of so-called 'honyakugeki' (translated plays) in the Japanese Theatre and relates them to the production of Western plays to ideas and processes of modernisation in Japan. -- Part one of the thesis demonstrates in particular that it was the alternative Theatre movement of the 1960s and 1970s which liberated 'honyakugeki' from the issue of 'authenticity'. The thesis also demonstrates that in this respect the Japanese alternative theatre and the Australian alternative theatre of the same period have important connections to the quest for 'national identity'. Part one of the thesis also demonstrates that the Japanese productions of Australian plays such as The Floating World, Diving for Pearls and Honour reflected in specific ways this history and controversy over 'honyakugeki'. Furthermore, these productions can be analysed to reveal peculiarly Japanese issues especially concerning the lack of understanding of Australian culture in Japan and the absence of politics from the Japanese contemporary theatre. -- Part two of the thesis concentrates on the production of translations of the Australian Aboriginal plays Stolen and The 7 Stages of Grieving. 'This part of the thesis demonstrates that the presentation of these texts opened a new chapter in the history of presenting 'honyakugeki' in Japan. It demonstrates that the Japanese theatre had to confront the issue of 'authenticity' once more, but in a radically new way. The thesis also demonstrates that the impact of these productions in Japan had a particular Japanese cultural and social impact, reflecting large issues about the issue of minorities and indigenous people in Japan and about the possibilities of theatre for minorities. In particular the thesis demonstrates that these representations of Aborigines introduced a new image of Australian Aborigines to that which was dominant amongst Japanese anthropologists.
Mode of access: World Wide Web.
291 p

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Books on the topic "Kyōgen (Japanese drama and theater)"

1

1927-, Sugai Yukio, and Suwa Haruo 1934-, eds. Kōza Nihon no engeki. Tōkyō: Benseisha, 1992.

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2

Nō, kyōgen no shinronkō. Tōkyō: Shintensha, 1996.

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3

1939-, Ichikawa Ennosuke, ed. Shitennō momiji no edoguma: Tōshi kyōgen. [Tōkyō]: Kokuritsu Gekijō, 1996.

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4

Chikamatsu, Hanji. Imoseyama onna teikin: Tōshi kyōgen : yonmaku. [Tokyo]: Kokuritsu Gekijō, 1996.

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5

1947-, Hashimoto Asao, and Doi Yōichi 1931-, eds. Kyōgenki. Tōkyō: Iwanami Shoten, 1996.

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6

Toyoichirō, Nogami, ed. Tarō kaja: Yamabushi gyōjōki. Tōkyō: Hinoki Shoten, 2002.

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7

1689-1733, Hasegawa Senshi, Nakamura Utaemon 1917-2001, Yamada Shōichi 1925-, and Tobe Ginsaku 1920-2006, eds. Dannoura kabuto gunki: Futari Kagekiyo to Akoya kotozeme : tōshi kyōgen : yonmaku. [Tokyo]: Kokuritsu Gekijō, 1997.

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8

Japanese plays: Noh, Koygen, Kabuki. Tokyo: Tuttle Pub., 2010.

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9

Nihon yuiitsu no jigoku shibai, Kiraigō. Chiba-ken Kashiwa-shi: Reitaku Daigaku Shuppankai, 2000.

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10

1971-, Jortner David, McDonald Keiko I, and Wetmore Kevin J. 1969-, eds. Modern Japanese theatre and performance. Lanham, MD: Lexington Books, 2005.

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