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Drama Cross-Cultural Echoes of Silence, Identity and Difference (The Case of Japanese and American Women Playwrights)

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Drama Cross-Cultural Echoes of Silence, Identity and Difference (The Case of Japanese and American Women Playwrights) PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH DJILALI LIABES UNIVERSITY SIDI BEL ABBES FACULTY OF LETTERS, LANGUAGES AND ART DEPARTMENT OF ENGLISH Drama Cross-Cultural Echoes of Silence, Identity and Difference (The Case of Japanese and American Women Playwrights) THESIS SUBMITTED TO THE DEPARTMENT OF ENGLISH IN CANDIDANCY FOR THE DEGREE OF DOCTORAT IN LITERATURE Presented by: Supervised by: Mrs. Imen HENRY-ZELLAT Prof. Fewzia BEDJAOUI Board of Examiners: Prof. Nourreddine GUERROUDJ (President) University of Djilali Liabes Prof. Fewzia BEDJAOUI (Supervisor) University of Djilali Liabes Prof. Abbes BAHOUS (External Examiner) University of Mostaganem Prof. Ilhem SERIR (External Examiner) University of Tlemcen Dr. Azzedine BOUHASSOUN (External Examiner) University of Ain Temouchent Dr. Wassila MOURO (External Examiner) University of Tlemcen Academic Year: 2019 – 2020 Dedications I dedicate this work to the poet, the dramatist and the novelist of my life: Mum, to my inner voice: Dad, to my confidant, love interest and the deuteragonist of my everlasting love story: Elyas, to the smiling face of my mask: Rouaym, to my Pearl: Rozayna, to the vivid scenes on the stage of my motherhood: Ahmed, to my cute face of The Moon: Assim, to the metaphor of the endless beauty: Kawthar, to my wise persona of raisonneur: Rayhana, to my secrecy: Israa, to my e-book: Salah Eddine, to the aesthetic multicultural side of my theater in the other land: my in-laws. I ABSTRACT Abstract The immense cultural achievements of women writers in Japan facilitate the flowering of Japanese literature and break their silence in a very noisy society. They employ literature as a medium to change their status and realize self-awareness, resistance and esteem at home and abroad. Japanese women writers had to path feminism in order to provide a spectrum of approaches and positions, united by their common focus on writing by and about women, spanning different genres mainly drama which was banned to women as playwrights and performers. Based on the Japanese aesthetic and theatrical conventions, they challenged the traditional by endeavoring the contemporary theater in its feminist insight in Japan and overseas as well, depending on the question raised in each context. Aesthetic, semiotic and canonical theatrical devices like the mask is highly exploited in the production of such innovative plays. As a dynamic living form, it implies reforms at the level of the representation and the presentation of women on stage. The rhythmic interplay of the lines and planes of the mask and how they animate the negative space around it create a form so that kind of plays may attain their purpose. The mask appears to change expression as it moves and progresses through space and time as the physical body of the performer moves underneath it. The form of the mask dictates the rhythmic movement and energy needed for performance by the actor. This is reflected in the differences of how various styles and cultural practices of masked theater are performed and experienced. Among the most influential and vibrant types of theatrical masks are the Japanese Noh masks. Noh Theater was not allowed to women traditionally in classical times. Thus, a double challenge is taken today by Japanese women playwrights to write and perform Noh plays in Japan and elsewhere, by writing in English in a more globalized and modern Japan and being acquainted at an international level. Japanese women playwrights do not raise questions concerning their status as being lowered, humiliated and voiceless only, but also in contexts of diaspora, like in United States, facing a rejection founded on ethnicity and femininity. The present work focuses on the virtues of a classical theater and how modernity challenges tradition to present it in a new form, it entertains its function and conventions in Japan as they are exploited by women playwrights to transmit their voices and presence through external tangible signs such as the mask, supported by signs of a different nature like rhythm and energy of the movement in Noh and as a cultural marker in its referential dimension. Besides, showing the theatrical representation of Japanese culture in America via staging identities of Japanese II women in a hybrid, intercultural and alien context, referring to cultivating the crafts of drama in order to examine self-expression, give voice and break silence. Their echoed yields for presentation and representation unveil the true challenges of adaptation in a society where the concept of genetic plays is a crucial element of considering the self and the other with keeping the traits of the soul of the Japanese culture and mythology even on a diasporic stage. Key words: Identity, Noh Theater, feminism, tradition, modernity, diaspora. III Acknowledgments This project would not have been possible without the help of Allah, my Lord: my Light in gloomy confusing days, my Guide in misty sleepless nights, and my Love to every unforgettable moment throughout the course of this research. I would like to express my special appreciation and thanks to my supervisor Professor Bedjaoui Fewzia who has been a tremendous mentor for me. I would like to thank her for encouraging my research and for allowing me to grow as a researcher. Her advice on both research as well as on my career have been priceless. I would like to gratefully acknowledge her enthusiastic supervision, her support and guidance. She was abundantly helpful and offered invaluable assistance. Deepest gratitudes go also to the members of the jury, Prof. Noureddine Guerroudj, Prof. Abbes Bahous, Dr. Azzedine Bouhassoune, Prof. Ilhem Serir and Dr. Wassila Mouro for serving as my committee members even at hardship and for the precious time they devote to read my work. I would especially like to thank researchers and specialists in the field of drama and Asian studies who contributed to my research with very valuable data mainly: Prof. Guy Faure the director of IRASIA Institute, Prof. Corrine Flicker, teacher of drama and cinematography at Marseille St Charles University, Prof. Nguyen, teacher of Asian literature at Aix-en-Provence University. I owe an enormous debt of gratitude to Mrs. Velina Hasu Houston, Tea playwright and Mrs. Izumi Ashizawa the playwright of Dreams in the Arms of the Binding Lady for their very helpful contribution, for answering my questions and nurturing my research with detailed and constructive information about their own plays. Special thanks to the Japanese Cultural Center in Paris and the organizers of the International Conference on Masks held in La Timone Marseille (France) for gibing me the opportunity to understand the iconic function of masks in general and in the Japanese cultural context in particular. IV List of Diagrams 1.1: Components of an Individual’s Cultural Identity………………………………………. 11 1.1: Characteristics of Theatrical Written Texts…………………………………………….. 56 1.2: Communication Model Drama…………………………………………………………. 57 1.3: Freytag’s Pyramid………………………………………………………………………. 67 3.1: Dramatic Functions…………………………………………………………………… 195 3.2: Pfister Famous Diagram……………………………………………………………… 204 3.3: Levels of Theatrical Communication………………………………………………….. 209 3.4: Freytag’s Diagram for The Binding Lady……………………………………………... 241 4.1: Chronological Development of Themes in American Literature…………………...…. 259 4.3: Plot in Tea………………………………………………………………….................. 297 4.4: Successful Adaptation……………..……………………………………...................... 301 4.5: Unsuccessful Adaptation……...……………………………………………………… 302 V List of Figures 1.1 Japanese Aesthetics……………………………………………………………………… 24 1.3 Classification of Literary Genres………………………………………………………... 52 1.4 Stage Forms throughout History………………………………………………………… 62 1.5 Evolution of Japanese Drama over History……………………………………...……… 78 3.1 The Staging of a Noh Play……………………………………………………………... 199 3.2 Noh Masks……………………………………………………………………………... 200 VI List of Tables 1.1: Historical Periods and Era Names……………………………………………………… 13 1.2 Elements of Aesthetics in Japanese Literature…………………………………………... 21 1.3 Genre Hierarchy in the Heian and Medieval Periods……………………………………. 30 1.4 The Chinese Influence on Several Japanese Cultural Characteristics…………………... 34 1.5 The Historical Development of Japanese Literature…………………………………….. 39 1.6 Types of Drama………………………………………………………………………….. 61 1.7 Elements of Drama……………………………………………………………………… 65 1.8 Elements of the Mise-en-Scene………………………………………………………….. 70 1.9 Basic Temporal Terms in Drama……………………………………………………..…. 75 1.10 Concepts of Frequency…………………………………………………………………. 76 2.1 The Four Factors Contributing to the Gender Inequality Problem in the Workplace….. 126 2.2 The Five Troupes of the Takarazuka Revue…………………………………………… 168 3. 1 Levels of Analysis…...………………………………………………………………… 192 3.2 The Functions of a Dramatic Text………...………..………………………………….. 195 3.3 Characters in Drama and their Functions………………………………………………. 203 3.4 Development of Japanese Culture’s Popularity………………………………………... 225 3.5 Characterization of Dreams in the Arms of the Binding Lady…………………………. 245 4 .1 Contemporary American Drama……………………………………………………… 264 4.2 Characterization of Tea……………………………………...………………………… 298 4.3 Different Perceptions of the Other between Japanese and Americans……………….... 306 4.4 Types of Identity……………………………………………………………….............. 311 VII List of Abbreviations ANT: American Negro Theater BAM: The Black Arts Movement NOW: National Organization for Women NEA: National Endowment for the Arts
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