Academic literature on the topic 'National Theatre (Japan)'

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Journal articles on the topic "National Theatre (Japan)"

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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre
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Mirzoev, Vladimir, and Marina Vitkin. "Peter Hinton’s Baroque Hints." Canadian Theatre Review 67 (June 1991): 12–16. http://dx.doi.org/10.3138/ctr.67.002.

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1 I have heard more than once how important, how simply indispensable, it is to create a “national Canadian theatre.” And each time I have felt uneasy. Because theatre in the modern global village cannot but be part of the world cultural process, Canadian culture does not have the option of becoming “national” by entering complete self-isolation, as did, for example, mediaeval China and Japan, and then for centuries painstakingly developing its canon of national art.
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Tadashi, Uchino. "Images of Armageddon: Japan's 1980s Theatre Culture." TDR/The Drama Review 44, no. 1 (2000): 85–96. http://dx.doi.org/10.1162/10542040051058915.

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After the collapse of the “bubble economy” in the early 1990s and the 1995 Aum Shinri-kyō's terrorist gas attack, the Japanese wrestled once more with the question of their national identity. What links connect today's Japan with the pre-WWII empire, Hiroshima and Nagasaki, and the early postwar years? How is theatre implicated in the national project of memory and forgetting?
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Chen, Kexu. "A Research on the Origins of Ritual Theatre in Eastern Asia: The Associative Development of Chinese Nuo Theatre and Japanese Noh Theatre." Advances in Humanities Research 5, no. 1 (2024): 50–54. http://dx.doi.org/10.54254/2753-7080/5/2024052.

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As a region with a significant agricultural industry, the ritual theatre of East Asia played an important role in the early drama of its origins. In addition, the trajectory of the early agricultural and religious cultural interactions in East Asian countries was decisive in shaping their national cultural roots, so exploring the different developments of ritual theatre among different countries on the basis of the history of early cultural interactions can help to provide a more explicit understanding of the cultural development of ritual theatre in East Asia. This research explores the traje
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Karantonis, Pamela. "Takarazuka is burning: music theatre and the performance of sexual and gender identities in modern Japan." Studies in Musical Theatre 1, no. 2 (2007): 153–65. http://dx.doi.org/10.1386/smt.1.2.153_1.

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The Takarazuka Revue, an all-female music theatre troupe founded in 1913 as the flagship of an elite performance academy, with its ultimate interest in Broadway musicals and western music, theatre and dance influences, is an unlikely foil for its male antecedent,kabuki. Like the ongoing revival ofkabuki, there had been an ideological as well as entrepreneurial impetus behind the Revue's creation, which reflected changes in the nature of popular entertainment in Japan. Kobayashi Ichiz, the founder of the Takarazuka Revue, claimed that Japan needed a new form of national theatre that was based i
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Beranek, Leo L., Takayuki Hidaka, and Sadahiro Masuda. "Acoustical design of the opera house of the New National Theatre, Tokyo, Japan." Journal of the Acoustical Society of America 107, no. 1 (2000): 355–67. http://dx.doi.org/10.1121/1.428564.

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Leiter, Samuel L. "“What Really Happens Backstage”: A Nineteenth-Century Kabuki Document." Theatre Survey 38, no. 2 (1997): 109–28. http://dx.doi.org/10.1017/s004055740000209x.

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In 1967 the National Theatre of Japan (Kokuritsu Gekijô) published a facsimile version of Okyôgen Gakuya no Honsetsu (What Really Happens Backstage), a two-volume, four-part work, originally published in the midnineteenth century in Edo (Tokyo), and written by Santei Shunba, with the first volume (1858) illustrated by Baichôrô Kunisada and Ichieisai Yoshitsuya, and the second (1859) by Ichiransai Kunitsuna. The book offers numerous illustrations of kabuki stage effects, with brief explanations of their purposes. Despite its great value as a historical resource, this work had been barely known
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Cleveland, Janne. "Beyond Kids’ Stuff: A Review of Mermaid: A Puppet Theatre in Motion, by Alice Walsh (Kentville, NS: Gaspereau Press, 2005); Provenance, by Ronnie Burkett (Toronto: Playwrights Canada Press, 2005)." Canadian Theatre Review 128 (September 2006): 132–34. http://dx.doi.org/10.3138/ctr.128.022.

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Since its modest beginnings in 1971, Mermaid Theatre of Nova Scotia has maintained its commitment to “tell a good story, tell it simply, tell it well and tell it often” (Morrow). The story of the evolution and success of this company that creates and produces theatre for young people using puppetry, mask, dance, music and original scripts has been carefully and meticulously documented by Alice Walsh. As Walsh notes in her historiography, Mermaid: A Puppet Theatre in Motion, the company has evolved from a small experimental troupe touring shows in local schools in the Annapolis Valley to one th
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Din, Jun, and Violetta N. Yunusova. "Tea Ceremony in Tan Dun’s Opera “Tea: A Mirror of Soul”." Observatory of Culture 21, no. 3 (2024): 274–81. http://dx.doi.org/10.25281/2072-3156-2024-21-3-274-281.

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The study of the work of the famous Chinese composer Tan Dun (b. 1957), who in many ways determines the image of contemporary Chinese music, is closely connected with the identification of the origins of national culture, the reflection of which he pays special attention to. Among them is the ritual and ceremonial side, which has not yet become the subject of special research. That is necessary for a fuller and more adequate interpretation of the content of Tan Dun’s works. The opera “Tea”, in another version “Tea: A Mirror of Soul” (2002) seems to be indicative in terms of revealing both the
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Vdovina, Elena A. "Nikolai Volkonsky – the director of radio drama." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 105–18. http://dx.doi.org/10.35852/2588-0144-2022-4-105-118.

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The article deals with the creative biography of Nikolay Volkonsky and his influence on development of the radio theatre directing school in Soviet Union. Main stages of Volkonsky formation as a radio director are outlined. At the very early productions by Nikolai Volkonsky, some techniques are outlined, which soon become canon for the radio theatre. In these first national radio performances Evening with Maria Volkonskaya and Lulli the Musician, Volkonsky uses new sound directing methods that were innovative for broadcasting of that time. They at transforming the time and space of the stage a
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Books on the topic "National Theatre (Japan)"

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O'Donogue, Patrick M. Theater missile defense in Japan: Implications for the U.S.-China-Japan strategic relationship. U.S. Army War College, 2000.

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Le nouveau Theâtre national de Tokyo, Japon =: The new National Theater, Tokyo, Japan. Champ Vallon, 1987.

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Nouveau théâtre national de Tokyo, Japon. Editions du Demi-Cercle, 1990.

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Perez, Louis G., ed. Japan at War. ABC-CLIO, LLC, 2013. http://dx.doi.org/10.5040/9798400673702.

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This compelling reference focuses on the events, individuals, organizations, and ideas that shaped Japanese warfare from early times to the present day. Japan's military prowess is legendary. From the early samurai code of morals to the 20th-century battles in the Pacific theater, this island nation has a long history of duty, honor, and valor in warfare. This fascinating reference explores the relationship between military values and Japanese society, and traces the evolution of war in this country from 700 CE to modern times. In Japan at War: An Encyclopedia, author Louis G. Perez examines t
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Theater Missile Defense Tmd in East Asia: Implications for Beijing and Tokyo (Strukturen der Macht). LIT Verlag, 2007.

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Rampone, William, and Eric Mallin, eds. Global King Lear. Bloomsbury Publishing Plc, 2024. https://doi.org/10.5040/9781350421974.

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Global King Learprovides a kaleidoscopic view of multinational adaptations ofKing Learwith a focus on productions across Asia and Eastern Europe. By approaching Shakespeare’s great tragedy as a global phenomenon its signature themes become context-dependent and culture-specific whilst avoiding simplistic appeals to the play’s universality. International scholars of literature and theatre explore those culturally specific interpretations as new plays, films, and critical contributions on their own terms. As a film in Japan,King Learbecomes a meditation on contemporary eldercare and the question
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Collected Writings of Modern Western Scholars on Japan: Ian Nish, P. G. O'Neill & W. G. Beasley (Collected Writings of Modern Western Scholars on Japan). RoutledgeCurzon, 2001.

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Book chapters on the topic "National Theatre (Japan)"

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Shota, Fukuoka. "Exhibiting Ramayana in a Japanese Museum: Activities of National Museum of Ethnology, Japan." In Ramayana Theater in Contemporary Southeast Asia. Jenny Stanford Publishing, 2022. http://dx.doi.org/10.1201/9781003290957-11.

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"4. Beyond The Court: A Challenge To The Gagaku Tradition In The‘Reconstruction Project’ Of The National Theatre." In Performing Japan. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246311.i-340.38.

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Damodaran, A. "Theatres." In Managing Arts in Times of Pandemics and Beyond. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856449.003.0006.

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This chapter takes a close look at four performing arts theatres, namely the Mariinsky Opera and Ballet Theatre in Russia, the Kabuki-za Theatre in Japan and the National Centre for Performing Arts (NCPA), and ‘Nepathya’ from India. While the first two are large repertory theatres, the NCPA is a non-repertory theatre. Nepathya, by contrast, is a micro-repertory theatre that specializes in Kutiyattom. The chapter revisits the organizational design of these theatres and closely examines the funding strategy and governance systems adopted by these theatres. The major proposition advanced in this
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"Koshien Stadium: performing national virtues and regional rivalries in a ‘theatre of sport’." In Sport, Memory and Nationhood in Japan. Routledge, 2013. http://dx.doi.org/10.4324/9780203720325-12.

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Solovieva, Olga V. "The Lower Depths." In The Russian Kurosawa. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192866004.003.0006.

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Abstract Kurosawa’s The Lower Depths (Donzoko, 1957) has been seen exclusively as a literal adaptation of Maxim Gorky’s drama with no content of its own and therefore as a merely formalist exercise in transforming a theatre play into a film. Breaking with the received film-as-theatre approach, this chapter contextualizes the film within the 1953 Japanese debate on photographic realism and Kurosawa’s cinema of the 1950s. Morphing the iconography of post-war misery together with the iconography of the Tokugawa period, Kurosawa’s cinematic rendition of Gorky’s play not only countered the ideologi
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Turnock, Bryan. "Asian Horror." In Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0007.

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This chapter details how the mid-1990s saw a substantial increase in the number of horror films being produced in Asian countries, and in particular Japan and Korea. At the same time, globalisation and the introduction of worldwide distribution channels meant that such films became much more accessible to western audiences, with the surprise success of Hideo Nakata's Ringu (1998) bringing Japanese horror into the mainstream of western cinema. Often used to describe genre films from across Asia, so-called 'J-Horror' is now a recognised sub-genre in the west, with a number of scholarly books ded
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"Two Actresses in Three Acts: Gender, Theater, and Nationalism in Modern Japan." In Performing "Nation". BRILL, 2008. http://dx.doi.org/10.1163/9789047443629_016.

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"Two actresses in three acts: Gender, theater, and nationalism in modern Japan." In Performing "Nation". BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004170193.i-448.46.

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Zwicker, Jonathan. "Prologue." In Kabuki's Nineteenth Century. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192890917.003.0001.

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Abstract Using the memoir of a nineteenth-century kabuki actor as a focal point, the “Prologue” of Kabuki’s Nineteenth Century suggests a framework for nineteenth-century Japanese theater history in relation to the larger currents of political and intellectual history that formed the background for the emergence of modern Japan. In the summer of 1855, the kabuki actor Nakamura Nakazō III (1809–86) began writing what would become a most singular document of kabuki’s nineteenth century. Part memoir, part diary, the timing of Nakazō’s turn toward the autobiographical is fortuitous. The two decade
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"Transwar Design." In The Fine Art of Persuasion. Duke University Press, 2025. https://doi.org/10.1215/9781478060307-008.

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By way of conclusion, this final chapter addresses how design practices forged in the distinct sociopolitical climate of the prewar and wartime eras were transformed or continued to suit needs of postwar democracy and economic rebuilding. Transwar design is a framework that will have far-reaching implications for the global design community, as many countries experienced comparable challenges across the war years, transitioning through radically different political systems and major international crises where design actively served a central civic function, and publicity and propaganda seamles
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