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Cipango - French Journal of Japanese Studies English Selection Cipango - French Journal of Japanese Studies English Selection 5 | 2016 New Perspectives on Japan’s Performing Arts Electronic version URL: https://journals.openedition.org/cjs/1164 DOI: 10.4000/cjs.1164 ISSN: 2268-1744 Publisher INALCO Electronic reference Cipango - French Journal of Japanese Studies, 5 | 2016, “New Perspectives on Japan’s Performing Arts” [Online], Online since 01 January 2016, connection on 08 July 2021. URL: https:// journals.openedition.org/cjs/1164; DOI: https://doi.org/10.4000/cjs.1164 This text was automatically generated on 8 July 2021. Cipango - French Journal of Japanese Studies is licensed under a Creative Commons Attribution 4.0 International License. 1 TABLE OF CONTENTS Editorial Note Dan Fujiwara Introduction Pascal Griolet Kabuki’s Early Ventures onto Western Stages (1900‑1930):Tsutsui Tokujirō in the footsteps of Kawakami and Hanako Jean‑Jacques Tschudin Gagaku, Music of the Empire:Tanabe Hisao and musical heritage as national identity Seiko Suzuki Questioning Women’s Prevalence in Takarazuka Theatre:The Interplay of Light and Shadow Claude Michel‑Lesne A history of Japanese striptease Éric Dumont and Vincent Manigot Cipango - French Journal of Japanese Studies, 5 | 2016 2 Editorial Note Dan Fujiwara 1 The current issue consists of four translated essays written all originally published in issues 20 and 21 of Cipango. Other essays not translated here are detailed in the “Introduction” by Pascal Griolet, who supervised and edited the two issues on Japanese performing arts. 2 One of the authors, Jean‑Jacques Tschudin, an eminent specialist of Japanese theatre and well‑known translator of Japanese literature, passed away in 2013. On behalf of the committees I would like to express our deep sadness here. I would also thank the CRCAO (East Asian Civilisations Research Centre) where Jean‑Jacques Tschudin carried out his research activities and which granted financial support for translating his essay. Cipango - French Journal of Japanese Studies, 5 | 2016 3 Introduction Pascal Griolet Translation : Karen Grimwade 1 Issues 20 and 21 of Cipango, published respectively in 2013 and 2014, both explored the subject of Japan’s performing arts. 2 Issue 20 focused on the performing arts during the modern period, in particular the confrontation between traditions and modernity as Japan opened up to the outside world. 3 Jean‑Jacques Tschudin continued his work examining how Japan’s performing arts—in this case kabuki—were introduced to European audiences via the tours conducted by Kawakami Otojirō, Hanako and, most particularly, Tsutsui Tokujirō. Just as ukiyo‑e influenced Western painting, Japan’s performing arts inspired a wave of Japonism that invigorated Western aesthetics. 4 Yet this cultural influence was not unidirectional. Ian McArthur revealed the extraordinary skill with which one Westerner—the Englishman Henry Black—mastered the techniques of the rakugo public storytellers to introduce stories, enigmas and scenes from nineteenth‑century Western literature into Tokyo’s theatres, with resounding success. 5 Suzuki Seiko critically explored the reflections, from the Meiji period onwards, on whether Japan’s traditional arts—in this case gagaku—were compatible with modernity, showing how Japanese tradition and Western aesthetic theories were combined with the highly political aim of endowing Japan with a national culture it could be proud of, but which also served the country’s expansionist policy. 6 The process Suzuki describes exactly mirrors the one presented in Suh Johng Wan’s analysis of early performances of nō in Korea just prior to the country’s colonisation. 7 By retracing the history of Takarazuka, Claude Michel‑Lesne revealed the challenges of creating a national popular theatre and questioned the official history of the troupe as an all-girl revue right from its creation. 8 Issue 20 was rounded out with a quasi-ethnographic description, chosen and translated by Pascal Griolet, of life for a travelling troupe of actors performing taishū engeki—a Cipango - French Journal of Japanese Studies, 5 | 2016 4 genre of popular theatre—in contemporary Japan. Finally, Takemoto Yoshio translated a series of short texts on theatre by contemporary stage directors Higashi Yutaka and Yū Miri. 9 In contrast to issue 20 with its focus on the history of Japan’s performing arts during the modern period, issue 21 attempted to draw links between the classical, or “traditional”, form of these arts and more contemporary practices. 10 Jean‑Michel Butel traced the history of folk research on the performing arts and questioned the pertinence of the approach taken to traditions. His paper introduces the translation of an article by Hashimoto Hiroyuki showing how folk performances have been restructured, or even recreated, to become the core of a supposedly traditional regional culture. Butel suggests that researchers abandon their “obsession with the historical authenticity of ‘traditional’ arts and instead consider the strategies adopted by actors in order to permanently re-create folk performances”. 11 This need to constantly adapt was perfectly described by Catherine Delpuech in her paper on Hayachine kagura. Delpuech carefully distinguishes between the views of scholars—who see this performing art as immutable, impervious to outside influence, perfect and linked to mythology and history—and those of the performers who are in close contact with the public and thus permanently fighting the erosion of time. 12 Chloé Viatte described the difficulties encountered in 2012 by a troupe attempting to adapt an ancient piece of puppet theatre, the seventeenth-century play Amida no munewari. Viatte describes in detail the staging of the play and how it evolved, underlining the constant need to adapt and innovate technically. 13 As for Éric Dumont and Vincent Manigot, their work explored an entirely different realm, namely striptease in post-war Japan, which was exposed to the same staging dilemmas. Dumont and Manigot underlined the transitory nature of each performance, in that it held the promise of being followed by another, potentially more desirable one. The authors argue that this transition from the static “states” of the early nude shows to the succession of “steps” associated with stripping marked the appearance of a dramatic tension and opened up a “world of expectations”. 14 Finally, performance analysis becomes a genuine object of reflection in Laïli Dor’s paper on the art of public calligraphy. Dor questions what future performance calligraphy might have when its strength is predicated on its being innovative. 15 Issues 20 and 21 of Cipango thus analysed the modern and contemporary construction of Japan’s performing arts at a time when the country was engaged in forging a national culture and identity. Cipango - French Journal of Japanese Studies, 5 | 2016 5 Kabuki’s Early Ventures onto Western Stages (1900‑1930): Tsutsui Tokujirō in the footsteps of Kawakami and Hanako Jean‑Jacques Tschudin Translation : Karen Grimwade Original release: Jean‑Jacques Tschudin, « Le Kabuki s’aventure sur les scènes occidentales : Tsutsui Tokujirô sur les traces des Kawakami et de Hanako », Cipango, 20, 2013, 13‑63, mis en ligne le 17 avril 2015. URL : http://journals.openedition.org/ cipango/1901 ; DOI : 10.4000/cipango.1901 1 In the 1860s, as Japan opened its doors to the outside world, the previously unknown arts of this mysterious Land of the Rising Sun were unveiled to the West, revealing aesthetic options and techniques that not only aroused its curiosity but also offered its artists and creators novel solutions and stimulating possibilities for their own work. Although this phenomenon is primarily associated with the world of painting, printing and the decorative arts, somewhat away from the influence of Japonism1 and at a slightly later date, theatre also came to be fascinated with the performing arts of Japan. But what was truly known about these arts at the time? By what means and through whose initiative could they be discovered? 2 From the early Meiji period (1868‑1912) through to the eve of World War II (1939‑1945), information generally took the form of narratives published by visitors returning from Japan who described their forays into Japanese theatre. These highly impressionistic accounts were gradually supplemented with studies by leading specialists, many of them long-term residents to Japan and fluent in the language. Nevertheless, this scholarly approach tended to focus solely on the literary—and in some cases liturgical— dimensions of theatre, taking little interest in it as a stage art.2 It was only towards the late 1920s that serious, enlightened studies of the subject began to appear. Generally speaking, theatre practitioners inspired by the Japanese example—such as Appia, Artaud, Brecht, Craig, Copeau, Dullin, Eisenstein, Fuchs, Gémier, Lugné‑Poe, Meyerhold, Cipango - French Journal of Japanese Studies, 5 | 2016 6 Reinhardt, Stanislavski and Yeats—had no knowledge of Japan (with the exception of Paul Claudel, French ambassador to Japan from 1921 to 1927) and drew on an assortment of fragmentary data, themselves based on a handful of performances of questionable authenticity. It is precisely these rare appearances by Japanese theatre on European stages that I propose to examine in this paper. The first international tours 3 A quick tally reveals just four tours throughout the entire first half of the twentieth century! The first came courtesy of the theatre troupe led by Kawakami Otojirō 川上音 二郎 (May 1899-December
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