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Japanese Theatre & Kabuki:     more books (31)

The Stars Who Created Kabuki: Their Lives, Loves and Legacy by Laurence R. Kominz, 1997-10 Kabuki: Eighteen Traditional Dramas by Kawatake Toshio, 1985-07-01 Kabuki by Masakatsu Gunji, 1985-12 Kabuki: Five Classic Plays (Accepted Into the UNESCO Collection of Representative Works,) by James R. Brandon, 1992-11-01 New Kabuki Encyclopedia: A Revised Adaptation of Kabuki Jiten by Samuel L. Leiter, 1997-07-30 Kabuki Today by Donald Keene, Iwao Kamimura, 2001-09 Art of Kabuki: Famous Plays in Performance by Samuel L. Leiter, 1979-07 Kabuki Plays on Stage: Villainy and Vengeance, 1773-1799 (Kabuki Plays on Stage, Volume 2) America's Kabuki-Japan, 1952-1960: Image Building, Myth Making, and Cultural Exchange.(Essay): An article from: Asian Theatre Journal by Barbara E. Thornbury, 2008-09-22 Kabuki Plays on Stage: Restoration and Reform, 1872-1905 (Kabuki Plays on Stage, Volume 4) Kabuki (colour book series) by Yasuji Toita, Chiaki Yoshida, 1981-12 Tamasaburo Bando by Kishin Shinoyama, 1979 Transvestism and the Onnagata Traditions in Shakespeare and Kabuki by Edited by Minoru Fujita and Michael Shapiro, 2006-09-07 Kabuki in Modern Japan (St Antony's Series) by Brian Powell, 1990-09-07

lists with details

21. Cultural Theatre Study- S I N G A P O R E T H E A T R E . C O M
    Collection japanese Text Introduction to Traditional and Modern japanese Musicjapanese theatre Design kabuki Popular japanese theatre of the Edo period  
    http://www.singaporetheatre.com/link/cultural_theatre.htm
    
    Extractions: CHINESE JAPANESE INDONESIAN VIETNAMESE ... OTHERS Chinese Theatre With a history of 800 years, opera is the main form of Chinese theatre, integrating singing, dialogue, acting and acrobatics into a unique and fascinating art form. Adapted to the needs of depicting different themes, plots and characters, it is a traditional art form with a strong national flavour and is unique in world theatre. Chinese opera has a rich repertoire including thematic operas, comedies, tragedies, tragicomedies and poetic folk operas. There are 368 different operatic forms in the country, of which some are revived old operas, some are post-liberation operas and others come from minority nationality areas. Opera troupes number more than 3,000 as against 1,000 in the early years of Liberation. Professional players and other personnel total 200,000. Although performers of all kinds were belittled in ancient times, various schools of traditional operas flourishes now and draw large audiences in the present-day China. Chinese Classical Literature

22. Adrian Guthrie - Japanese Traditional Theatre Links
    Some links to japanese theatre http//www.coloradocollege.edu/Dept http//www.theatrehistory.com/asian/japanese.htmlhttp http//www.fix.co.jp/kabuki/about/links  
    http://web.ukonline.co.uk/adrianguthrie/japanese .html

23. Theatre, Performing Arts
    japanese theatre Guide. . japanese Traditional theatre. Noah, kabuki, Bankru,Edo Period, etc. From Schauwakecker's Guide to Japan. kabuki theatre.  
    http://www.zeroland.co.nz/theatre_theater.html

24. Mustangs On Line
    of experience in the field, including a National Living Treasure, a Noh Master, anda famous kabuki actor, Hanamichi Aspects of japanese theatre offers a rare  
    http://www.mustangsonline.net/living/CWAJLectureSeries.htm

25. Drew Gerstle: Publications
    and Transition in kabuki Arashi Kichisaburo II versus Nakamura Utaemon III',Andon, no. 7273 (Autumn 2002). Nine entries on japanese theatre in Oxford  
    http://www.soas.ac.uk/EastAsia/gerstle/publications.html
    
    Extractions: Chikamatsu: Five Late Plays (Columbia University Press, 2001) Books Chikamatsu: Five Late Plays , Columbia University Press, 2001 Rediscovering Basho: A 300th Anniversary Celebration , co-editor with Stephen H. Gill, Global Oriental, 1999. Kyoto: A Celebration of 1,200 Years of History , co-editor with A.Kaneko, Japan Research Centre, SOAS, 1995. Recovering the Orient: Artists, Scholars, Appropriations , co-editor with A.Milner and contributor, Harwood Academic Press, 1994. Europe and the Orient , co-editor with A.Milner, Humanities research Centre, Australian National University, 1994. Theatre as Music: The Bunraku Play 'Mt Imo and Mt Se: An Exemplary Tale of Womanly Virtue' , co-author with K.Inobe and W. Malm (Preface, Chapters 1, 2, 6, 7, Glossary, Bibliography; translation of Inobe chapters 3, 4 and the play) University of Michigan Press, 1990. Eighteenth Century Japan: Culture and Society , editor and contributor, Allen and Unwin Australia, 1989. (Reissue, Curzon Press, 2000)

26. Kabuki Theatre History
    kabuki theatre history. kabuki is the most famous of the forms of japanesetheatre. Spoken and sung in 'old japanese', even the japanese  
    http://allsands.com/History/Objects/kabukitheatre_suf_gn.htm
    
    Extractions: Kabuki theatre history Kabuki is the most famous of the forms of Japanese theatre. Spoken and sung in 'old Japanese', even the Japanese themselves find it difficult to understand. It is a little like a Japanese version of Shakespeare performed at the opera and the performances last a number of hours. The word 'kabuki' is made of three characters in Japanese: 'ka' meaning 'songs', 'bu' meaning 'dance' and 'ki' meaning 'skill'. Kabuki is performed at a special theatre and the displays are usually overwhelming in their use of colour, makeup and stylised movements. The revolving stage and trapdoors mean that impressive entrances and exits occur throughout the performance. bodyOffer(1471) The history In 1603, the original kabuki players were all women who danced onstage and apparently performed other services offstage. As the 17th century progressed, women were no longer permitted to perform because it was thought that they were having a corrupting effect of the spectators. Young attractive boys began to play both male and female roles and caused as much havoc as the women had, so kabuki was actually banned for a time in the mid 1600s. Finally, older men were allowed to perform although they had to shave the tops of their heads so that audience members would not be tempted by them. Ironically, this led to an enormous focus on the importance of skill rather than looks as these men played both male and female, young and old roles.

27. Night Life / Culture
    japanese theatre. kabuki Japan's most flamboyant drama tradition and popularentertainment since the Edo Period. Dramatic costumes and stunning effects.  
    http://www.tcvb.or.jp/en/guide/06culture.html
    
    Extractions: Night Life Roppongi, Akasaka, and parts of Shinjuku are popular night-life districts. Typical places of entertainment include karaoke bars, discos, live music places, and bars with live music. Karaoke bars or karaoke rental rooms at hotels frequently have a stock of songs in English. Theatrical performances and concerts generally start between 18:00 and 19:00. Tickets can be bought from agents throughout the city, as well as at the venue itself. Night tours operated by tour companies take in several locations.

28. JAPAN BOOKSTORE: Kabuki Shelf
    Sounds of the kabuki Audio CD. The Splendor of kabuki Costumes by Ken KirihataHardcover. Staging japanese theatre kabuki by John D. Mitchell Paperback.  
    http://www.ohayosensei.com/books/kabuki.html

29. The Association For Asian Performance
    21 May Tut, Presentations. 27 May Lec, Origins of japanese theatre Developmentof Noh. 28 May Tut, Presentations. 22 July Lec, kabuki. 23 July Tut, kabuki videos.  
    http://polyglot.lss.wisc.edu/tnd/aap/syl/peterson2.html
    
    Extractions: This course will focus on performance forms, both traditional and modern, which have grown out of the cultures of India, China, Japan, and South East Asia. Students will gain an understanding of the characteristic features of the principal performance forms in each of these cultures, while learning to appreciate how these forms have assimilated a wide range of cultural, religious, and aesthetic influences. Key subsidiary issues such as authenticity, cultural appropriation and fusion, and the future of traditional forms will also be considered, making this course ideal for any student wishing to acquire further insights into Asian cultures.

30. Bunraku - Japanese Puppetry
    Nothing like Punch There was much interplay between kabuki and bunraku s theatre, but rather theatrefor adults Title Bunraku japanese puppetry  
    http://nh.essortment.com/bunraku_rezg.htm
    
    Extractions: Bunraku - Japanese puppetry Bunraku is the oldest of all Japanese theatre styles and possibly one of the most misunderstood. To describe it as simply ‘puppetry’ fails to encompass the complexity of the stories and the artistry of the puppeteers. Like many Japanese traditional arts, the puppetry of bunraku can take years to master. In particular, working harmoniously and smoothly in conjunction with two other puppeteers to make the movements and expressions of the puppet as lifelike as possible takes a great deal of patience and practice. While the puppeteers are visible, a truly good performance will make you forget that they are even there. The history of bunraku bodyOffer(27290) Bunraku has been performed in Japan for almost a thousand years and, while certain elements have remained the same, much of what is now considered ‘traditional’ bunraku, was not in place until the 17th century. Early puppets had few moving parts and were operated by a single person who remained hidden as did the musicians. The puppeteer also narrated the story. This gave the performance a much simpler feel while restricting the distractions for the audience. In 1684, as well as changes to the mechanics of the puppets being made, two men contributed to even greater changes within bunraku. One of them was Gidayu Takemoto, a famous narrator of bunraku who added his own emotive style to performances and the other was Monzaemon Chikamatsu, a well known writer of kabuki. Chikamatsu began writing bunraku plays using the Confucian ideals of loyalty over personal feelings which are prevalent in kabuki. He also wrote plays about the merchant class, in particular, about current events or occurrences which affected them. As merchants made up a large part of the audience, his plays were a huge success and are still performed today.

31. Drew Gerstle: Publications
    Joruri ni okeru rekishikan', kabuki no kyogen in 18th Century Joruri Drama', Maskeund Kothurn (Special Issue 'European Writing on japanese theatre'), vol.  
    http://www2.soas.ac.uk/EastAsia/gerstle/publications.html
    
    Extractions: Chikamatsu: Five Late Plays (Columbia University Press, 2001) Books Chikamatsu: Five Late Plays , Columbia University Press, 2001 Rediscovering Basho: A 300th Anniversary Celebration , co-editor with Stephen H. Gill, Global Oriental, 1999. Kyoto: A Celebration of 1,200 Years of History , co-editor with A.Kaneko, Japan Research Centre, SOAS, 1995. Recovering the Orient: Artists, Scholars, Appropriations , co-editor with A.Milner and contributor, Harwood Academic Press, 1994. Europe and the Orient , co-editor with A.Milner, Humanities research Centre, Australian National University, 1994. Theatre as Music: The Bunraku Play 'Mt Imo and Mt Se: An Exemplary Tale of Womanly Virtue' , co-author with K.Inobe and W. Malm (Preface, Chapters 1, 2, 6, 7, Glossary, Bibliography; translation of Inobe chapters 3, 4 and the play) University of Michigan Press, 1990. Eighteenth Century Japan: Culture and Society , editor and contributor, Allen and Unwin Australia, 1989. (Reissue, Curzon Press, 2000)

32. Theatre
    century dramatist whose work focuses on the arts of puppet and kabuki theatre.Author Donald Keane Cover Type Paper back. Modern japanese Drama £19.00  
    http://shop.japancentre.com/page46.html

33. ITI/UNESCO: Uchimura Prize
    l’Acteur (France) for the organization of a kabuki workshop in for work accomplishedover ten years on theatre projects in relation with japanese theatre.  
    http://iti.unesco.org/pages/uchimura.htm
    
    Extractions: Main Menu The International Theatre Institute in collaboration with its Japanese Centre, is responsible for awarding the annual UCHIMURA PRIZE created in 1992 in homage to playwright Naoya UCHIMURA, a former president of the Japanese Centre who devoted his life to promoting mutual knowledge and understanding of theatre throughout the world. The Prize, worth approximately 3.000 Euros, is endowed by the Uchimura family. Awarded to an artist or a group it is intended to encourage dramatic work or theatre activity outside Japan bearing a relationship to Japanese theatre. Candidatures must be submitted through ITI National Centres ARTA Association de Recherches des Traditions de l’Acteur France ) for the organization of a Kabuki workshop in Paris. Istvan Pinczes , Debrecen, ( Hungary ), director, for work accomplished over ten years on theatre projects in relation with Japanese theatre. Sarajevo Festival Ensemble Sarajevo ) under the direction of Haris Pasovic for its production " The Silk Drums " based on two Noh plays and a Kyogen from Japanese classical theatre.

34. Atrium Books - Japan:Art:Kabuki
    Sounds of the kabuki Various;Audio CD;$7.33 The Splendor of kabuki Costumes Ken Kirihata,et al;Hardcover;$160.00 Staging japanese theatre Noh kabuki John D  
    http://www.atrium.com/books/atrium-books-Japan_Art_Kabuki.html
    
    Extractions: Thomas F Leims ;Hardcover;$107.00 unknown ;Audio CD;$12.98 Masakatsu Gunji ;Hardcover;$72.00 Ronald Cavaye ;Paperback;$11.65 ; Visit site to see description James R. Brandon ;Paperback;$22.00 Margaret H. Young ;Hardcover;$65.00 Ruth M. Shaver, et al ;Hardcover;$69.95 Ming-Ju Sun ;Paperback;$4.45 James R. Brandon, Sawako Ariyoshi ;Hardcover;$22.50 Sawako Ariyoshi, James R. Brandon ;Hardcover;$22.50 Masakatsu Gunju, Masakatsu Gunji ;Paperback;$14.00 E. Ernst, Earie Ernest ;Paperback;$20.00 Brian Powell ;Hardcover;$45.00 Matazo Nakamura ;Hardcover;$17.06 Sigeru Shindo ;Paperback;$59.95

35. USF ASIAN THEATRE SITE - Japan
    An excellent site for anyone interested in kabuki. While there click on All Aboutkabuki to find links to other sites on japanese theatre. kabuki Facts.  
    http://www.usfca.edu/fac-staff/davisr/thtrjpan.html
    
    Extractions: USF ASIAN THEATRE SITE - JAPAN Links to sites related to Japanese Theatre Here are some of the links that you might want to look at. If you discover more let me know and I'll try to include them as well. The Kabuki Story . An excellent site to learn about Kabuki and the Edo period. Kabuki For Everyone . The home page of Ichimura Manjiro. An excellent site for anyone interested in Kabuki. While there click on "All About Kabuki" to find links to other sites on Japanese theatre. Kabuki Facts . An excellent discussion on Kabuki, text only. Kabuki . From the Schauwecker's Guide to Japan. Links to pages on Noh and Bunraku. All pages have excellent links to related sites. Noh and Kyogen .Excellent images and discussion by Richard Emmert, be sure to click "NEXT" after the first page. Noh Training Project . Here is a place in the U.S. where you can study Noh during the summer, check it out. Hana and Yugen . A Noh site with loads of information. 13 Noh Plays .Translations of 13 Noh plays. Also, look at the introductory material particularly the excellent glossary! Noh Masks . A nice look at a number of Noh masks. You can also purchase masks at this site. Noh Dancing .A text only discussion of the elements of Noh. Has a nice bibliography at the end of the article. BUNRAKU . An excellent site to get an overview of Bunraku. Make sure to use the links on the left.. Bunraku 2 . Not as detailed as the site above, but it has some very nice large photos.

36. Untitled
    Bunraku (all of it) 12 japanese theatre Noh - Site Noh and Kyogen 14 japanese theatre-Noh - Site other Noh sites 19 japanese theatre -kabuki - Site kabuki  
    http://www.usfca.edu/fac-staff/davisr/TA305syl.html

37. Lectures - Introduction To Asian Theatre
    The japanese theatre 132156 Matsukaze (supplied). 12. History of kabuki. Thejapanese theatre 162-186. kabuki theatre. The japanese theatre 187-205. 13.  
    http://courses.nus.edu.sg/course/ellsgg/TS2232/lecture.htm
    
    Extractions: Lecture Syllabus Lectures Tutorials Assignments Quizzes Others Click on the links to download notes in Word format. Week Content Reading Assignment Introduction to the Course None I. INDIAN THEATRE Origins of Sanskrit Theatre and Natyasastra I Indian Theatre Origins of Sanskrit Theatre and Natyasastra II Indian Theatre Playwrights and Play writing Indian Theatre Aesthetics in Sanskrit Drama Indian Theatre The Theory of Rasa Natyasastra : Chapter 6 (supplied) Sanskrit Plays Sakuntala (in Wells: Six Sanskrit Pays) Kutiyattam and Kathakali Indian Theatre 87-118; 315-358 (skim the passages only) II. CHINESE THEATRE Theatrical Conditions During the Yuan Dynasty Chinese Theatre Playwrights and Play writing Autumn in the Han Palace (in Six Yuan Plays) Theatrical Conditions During the Ming Dynasty Chinese Theatre Playwrights and Play writing OHP 1 OHP 2 The Peony Pavilion (selected scenes, supplied) Theatrical Conditions During the Qing Dynasty Chinese Theatre Performance in Traditional Theatre “Acting in the Private Theatre of the Ming” (supplied) Recess Chinese Opera in English Freed by a Flirt (supplied) Classical Asian Theatre Presentation III. JAPANESE THEATRE

38. Japanese Theatre
    HOME. Features in the japanese Performing Arts. Asian theatre Timeline. Relatedpages Noh theatre, kabuki theatre and Bunraku Puppet theatre.  
    http://www.theatrelinks.com/world/japan.htm

39. JapaneseSyl.html
    japanese theatre. Historical backgrounds will be traced to provide the proper cultural,sociological, and aesthetic framework for the study of kabuki, the Noh  
    http://www.theatre.vt.edu/Design/JapaneseTheatre/JAP.THEA.SYL'03.html
    
    Extractions: rwward@vt.edu http://www.theatre.vt.edu/Design/JapaneseTheatre/JapaneseHome.html JAPANESE THEATRE TEXT: None PREREQUISITES: None OBJECTIVES: GRADING : There will be a mid-term exam and a final exam of equal value. You may also elect to write a research paper or execute a graphic or 3-D project to be averaged equally with the two exams. Class attendance will be taken. Less than three absences may positively influence a borderline average. More than three absences will result in a strict application of the final average. CLASS SCHEDULE : Week of: An Overview of the Japanese Performing Arts January 20 Early theatrical forms - masked drama Gigaku Masks Bugaku Masks January 27 Transition to the Noh General Noh Information The Great Torii at Itsukushima February 3 The development of the Noh Zen Buddhism February 10 Influence of Zen and the Warrior Class Cha-No-Yu, The Way of Tea February 17 The Noh stage, costumes, masks and props Noh Masks February 24 Training, tradition and the theories of Zeami February 27 MID-TERM EXAM March 1-9 SPRING BREAK Virtual Tour of Eighteenth Century Edo The Tokugawa Art Museum Okuni Early Stage March 10 Kabuki - early development Text Only Kabuki Overview March 17 Evolution of Kabuki form March 24 Kabuki and the Tokugawa era Summary of CHUSHINGURA March 31 Development of the physical theatre UKIOYE A 17th Century Theatre An 18th Century Theatre April 7 The actor; acting styles, costumes and make-up

40. TERMS
    theatre such as Noh, Bunraku and kabuki as classical referred to the new form oftheatre as Shingeki plays and new plays written by japanese playwrights were  
    http://www.jpan.org/guidance/term-e.html
    
    Extractions: The contemporary dance form of Butoh is considered to originate from Tatsumi Hijikata's work Kinjiki, presented in May 1959. The characteristic of Hijikata's Butoh was the artist's intention to create expression particular to Japan, yet paradoxically universal by involving physical energy (violence, the grotesque, obscenity, etc.) which society regards as taboo. NOH,KYOGEN In the Muromachi Era (14th century) Kan'ami and his son Zeami developed Noh; as Shogun (General) Yoshimitsu Ashikaga protected Zeami, until the Meiji Era (19th century) Noh was supported and handed down mainly by the governing classes such as the daimyo, or feudal lords. With the Meiji Restoration in 1868, Noh lost its patronage and high profile, but has survived by allowing students to learn Noh on an amateur basis. At a formal presentation, five works of Noh (serious drama) and four works of Kyogen (comic drama) are performed alternately in a one-day program, but these days a program usually consists of one to three works of Noh, Kyogen or both; performances of Noh alone or only Kyogen are frequently held.

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