Relevant bibliographies by topics / Onnagata

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Onnagata'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 February 2023

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Journal articles on the topic "Onnagata"

1

Brandon, James R. "Reflections on the Onnagata." Asian Theatre Journal 29, no. 1 (2012): 122–25. http://dx.doi.org/10.1353/atj.2012.0001.

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Leiter, Samuel L. "Is the Onnagata Necessary?" Asian Theatre Journal 29, no. 1 (2012): 112–21. http://dx.doi.org/10.1353/atj.2012.0028.

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Liu, Siyuan. "Performing Gender at the Beginning of Modern Chinese Theatre." TDR/The Drama Review 53, no. 2 (June 2009): 35–50. http://dx.doi.org/10.1162/dram.2009.53.2.35.

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In the early twentieth century, female impersonators in Japan's first Western-style theatre, shinpa (new school drama), employed gender performance conventions based on kabuki onnagata and European melodramatic techniques. Shinpa performers influenced the performance of gender in early Chinese spoken drama. Chinese student actors emulated shinpa conventions in Tokyo and popularized them in Shanghai in the 1910s, where they were accepted as being accurate enactments of modern women.
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Herrn, Rainer, and Michael Thomas Taylor. "Magnus Hirschfeld’s Interpretation of the Japanese Onnagata as Transvestites." Journal of the History of Sexuality 27, no. 1 (January 2018): 63–100. http://dx.doi.org/10.7560/jhs27103.

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Doma, Petra. "Férfiak és nők: az onnagata-vita jelentősége és hatása a kabukira." Theatron 16, no. 2 (2022): 81–93. http://dx.doi.org/10.55502/the.2022.2.81.

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Wu, Guanda. "Onnagata: A Labyrinth of Gendering in Kabuki Theater by Maki Isaka." Theatre Journal 69, no. 4 (2017): 602–3. http://dx.doi.org/10.1353/tj.2017.0087.

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Kusunoki, Akiko. "Onnagata: A Labyrinth of Gendering in Kabuki Theater by Maki Isaka." Early Modern Women 11, no. 2 (2017): 264–67. http://dx.doi.org/10.1353/emw.2017.0041.

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Leiter, Samuel L. "Onnagata: A Labyrinth of Gendering in Kabuki Theater by Maki Isaka." Journal of Japanese Studies 43, no. 2 (2017): 423–27. http://dx.doi.org/10.1353/jjs.2017.0048.

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Lanki, Colleen. "Onnagata: A Labyrinth of Gendering In Kabuki Theatre by Mari Isaka." Asian Theatre Journal 34, no. 1 (2017): 247–49. http://dx.doi.org/10.1353/atj.2017.0018.

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Park, SooJung. "A Study on Yukio Mishima’s Onnagata - Focusing on Gender and Sexuality Issues -." Center for Japanese Studies Chung-ang University 56 (February 28, 2022): 99–118. http://dx.doi.org/10.20404/jscau.2022.02.56.99.

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Dissertations / Theses on the topic "Onnagata"

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Ho, Tze-kwan Helen, and 何紫君. "Gender benders: the kabuki onnagata heroines as performers of femininity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31950723.

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Ho, Tze-kwan Helen. "Gender benders : the kabuki onnagata heroines as performers of femininity /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17390850.

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3

Hung, Pu-Chi, and 洪譜棋. "A "New Onnagata:" The Performing Aesthetics of Bando Tamasaburo''s Onnagata Art." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/83548584158067823611.

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碩士
國立臺北藝術大學
戲劇學系碩士班
103
Under the drive of trying to "finding the link between the onnagata tradition and other forms of theater," contemporary onnagata, Bando Tamasaburo, started his experiment by making a journey tracing back to the development and change of Kabuki, in which he went from Kabuki to Shinpa, from Shinpa to translated plays, and then into film acting. After that he began to broaden the boundary of onnagata performance into new areas such as ballet, cooperation with foreign artists and Kunqu. Furthermore, he complemented what he learned from these experiences to his own subversive, unique characters and aesthetic concepts, brining new stimulus to his kabuki performance, not only created new possibilities to onnagata performance but also enriched the picture on kabuki stage. And it is actually the existing characters in traditional Japanese theater that enables his cross-disciplinary onnagata performance: creative inheritance, diversity and multiplicity. Bando Tamasaburo''s journey of cross-disciplinary onnagata performance left kabuki stage, but it didn''t leave the aesthetics and spirit of kabuki. He keeps practicing his new onnagata performing aesthetics of freedom, openness and plurality in the rich ground of Japanese theater.
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Books on the topic "Onnagata"

1

Yasuji, Toita. Onnagata yojō. Tōkyō: Sangatsu Shobō, 1987.

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2

Toita, Yasuji. Onnagata yojō. Tōkyō: Sangatsu Shobō, 1987.

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3

Onnagata mugen. Tōkyō: Hakusuisha, 1998.

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Tamotsu, Watanabe. Onnagata no unmei. Tōkyō: Iwanami Shoten, 2002.

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5

Arashi, Yoshisaburō. Yakusha no kakioki: Onnagata engi nōto. Tōkyō: Iwanami Shoten, 1997.

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6

Ayako, Bandō, ed. Kamigata no onna: Onnagata no shibai-banashi. Tōkyō: Āruzu Shuppan, 2011.

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Ayako, Bandō, ed. Kamigata no onna: Onnagata no shibai-banashi. Tōkyō: Āruzu Shuppan, 2011.

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8

Bunraku: Onnagata hitosuji : Otsuru kara Masaoka made. Ōsaka-shi: Tōhō Shuppan, 2001.

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9

Henshūkyoku, Hokkoku Shinbunsha. Otokogawa Onnagawa. Kanazawa-shi: Jishōsha, 2006.

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10

Onnagata no subete. Shinshindo, 1990.

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Book chapters on the topic "Onnagata"

1

Herrn, Rainer. "Magnus Hirschfeld’s Onnagata." In Global History of Sexual Science, 1880-1960, translated by Michael T. Taylor. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293373.003.0017.

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This chapter examines the circulation of sexual scientific knowledge between Germany and Japan by focusing on onnagata (Japanese “female impersonators”), which was included by Magnus Hirschfeld as cultural figures in his so-called Wall of Sexual Transitions. Hirschfeld created the Wall of Sexual Transitions to illustrate his “theory of sexual transitions” for the 1913 international Physicians' Congress in London. The chapter first provides an overview of the beginnings of the homosexual movement in Germany and the controversies it engendered, highlighting the important role played by the first reception of the traditions of Japanese samurai and male homosexuality in Japanese theater. It then considers Hirschfeld's idea of transvestitism and his 1931 visit to Japan, and how his reinterpretation of the onnagata influenced his own conception of transvestitism. It also shows how sexual ethnography emerged as an important field of sexual science that served to delineate ideological differences between European scientists and activists.
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"Replacing the Onnagata." In Making Personas, 192–217. BRILL, 2013. http://dx.doi.org/10.1163/9781684170630_008.

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"A Note on the Genesis of Onnagata." In Transvestism and the Onnagata Traditions in Shakespeare and Kabuki, 1–3. BRILL, 2006. http://dx.doi.org/10.1163/9789004213586_004.

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"Onnagata in Kabuki and the London Globe Theatre." In Transvestism and the Onnagata Traditions in Shakespeare and Kabuki, 132–58. BRILL, 2006. http://dx.doi.org/10.1163/9789004213586_012.

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Yamashita, Noriko. "Evil Women of the Lower Classes A Study of Tsuruya Nanboku’s Use of Chinese Novels in the Kabuki Play Osome Hisamatsu ukina no yomiuri." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-608-4/007.

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The kabuki play Osome Hisamatsu ukina no yomiuri was written by kabuki playwright Tsuruya Nanboku IV and first performed at the Morita za theatre in Edo (Tōkyō) in 1813. The plot of the play includes a fraud scene with a corpse, which is based on seventeenth-century Chinese popular novel Jingu qiguan. One of the features of Osome Hisamatsu ukina no yomiuri is that it showcases the attempted fraud by a woman of the lower classes, Dote no Oroku, first performed by onnagata actor Iwai Hanshirō V. Oroku belongs to the kabuki type cast known as akuba, which realistically depicts the life of women of the lower classes. This type of role was first made popular by onnagata actor Iwai Hanshirō IV’s performance in 1792, though lead actor Onoe Matsusuke I already performed evil female fraudsters as early as 1789. There is a possibility that the kabuki actors and playwrights were made aware of this particular female image in the Chinese novel by Dutch scholar and writer Morishima Chūryō. This paper discusses the social interactions between Tsuruya Nanboku, Onoe Matsusuke and Morishima Chūryō, and how Iwai Hanshirō V’s enacting of Dote no Oroku was influenced by Hanshirō IV’s and Matsusuke’s evil old women.
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"Chapter 2. Box-Lunch Etiquette: Conduct Guides and Kabuki Onnagata." In Manners and Mischief, 48–66. University of California Press, 2019. http://dx.doi.org/10.1525/9780520949492-005.

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"Sukeroku Yukari no Edo Zakura — its text and performance." In Transvestism and the Onnagata Traditions in Shakespeare and Kabuki, 122–31. BRILL, 2006. http://dx.doi.org/10.1163/9789004213586_011.

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"The Introduction of Actresses in England: Delay or Defensiveness?" In Transvestism and the Onnagata Traditions in Shakespeare and Kabuki, 33–58. BRILL, 2006. http://dx.doi.org/10.1163/9789004213586_007.

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"Shakespeare and Kabuki." In Transvestism and the Onnagata Traditions in Shakespeare and Kabuki, 4–20. BRILL, 2006. http://dx.doi.org/10.1163/9789004213586_005.

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"Afterword." In Transvestism and the Onnagata Traditions in Shakespeare and Kabuki, 205–7. BRILL, 2006. http://dx.doi.org/10.1163/9789004213586_015.

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Conference papers on the topic "Onnagata"

1

Kamitsuji, Ryohei, Satoru Yokoi, and Takuro Okajima. "Acid Stimulation of Onnagawa Tight Oil Formation in Ayukawa Field, Japan." In SPE Unconventional Resources Conference and Exhibition-Asia Pacific. Society of Petroleum Engineers, 2013. http://dx.doi.org/10.2118/167101-ms.

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Martizzi, Paolo, Humberto Carvajal-Ortiz, Thomas Gentzis, Shun Chiyonobu, Ahmed Mansour, Mehdi Ostadhassan, and Tsutau Takeuchi. "Sulfur differentiation in siliceous shales by means of advanced open-system programmed pyrolysis methods: new insights into the hydrocarbon potential and sulfur risk assessment of the Onnagawa Formation from Akita Prefecture, Japan." In Goldschmidt2022. France: European Association of Geochemistry, 2022. http://dx.doi.org/10.46427/gold2022.10449.

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