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CoverScholz-Cionca, Stanca / Balme, Christopher (eds.)

Nō Theatre Transversal

2008 ·  ISBN 978-3-89129-797-1 · 238 S., kt. · EUR 25,—

is the Japanese theatre form that has had the most profound influence on the Western stage, especially on its experimental and avantgarde forms. The list of writers and directors who studied , whether as texts, or in performance, reads like a Who's Who of Western modernism. But itself, confronted by modernity and shaken by identity crises, has oscillated between extreme conservatism on the one hand and periods of openness and renewal on the other. This volume, which is based on the international symposium Nō Theatre Transversal held in Trier in 2006, investigates these complex phenomena of inter- and transcultural entwinement. Combining historical, theoretical and practical perspectives, the book and its authors provide a unique, interdisciplinary approach and an international perspective on a fascinating theatrical form.

TABLE OF CONTENTS:

Christopher Balme and Stanca Scholz-Cionca: Introduction · Kagaya Shinko: Dancing on a moving train: between two wars · Mae J. and Richard J. Smethurst: Two new plays written during World War II · James R. Brandon: New plays in wartime: and kabuki · Eike Grossmann: Under the burden of : Community life in Kurokawa and ritual performances · Takemoto Mikio: On the principle of jo-ha-kyū in contemporary theatre · Yamanaka Reiko: What features distinguish from other performing arts? · Kasai Ken’ichi: New plays (shinsaku nō) as an engine of renewal. From the experiments of Mei no kai to the staging of Shiranui · Talking with Umewaka Rokurō Performing shinsaku nō · Oda Sachiko: On the characteristics of newly composed plays (shinsaku nō) · Barbara Geilhorn: Between self-empowerment and discrimination: Women in today · Uzawa Hisa: Reflections on performing for the international symposium · Okamoto Akira: The actor’s body in and contemporary theatre. On the work of Ren’niku Kōbō · Richard Emmert: English and Theatre Nohgaku – the how and the why · Libby Zilber: Yugen for western audiences · Peter Eckersall: ‘Mistook sign’ – Australian responses to · Hans-Peter Bayerdörfer: Between poetry and ‘théâtre lyrique’: and the boundaries of genre · Christopher Balme: ‘Too Close for Comfort’: Benjamin Britten’s Curlew River and the reception of after 1945 · Juliane Weigel: Interculturality or exoticism? Music and dramatic structure in the opera Silkkirumpu based on the nō Aya no tsuzumi · Helen S. E. Parker: Crossing borders in the presentation of through multimedia

 

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