DOCSLIB.ORG

In Japan: an Introduction to Japanese Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Japan: an Introduction to Japanese Theatre Mariko Anno May 8, 2013 Five College Center for East Asian Studies Webinar “Playing” in Japan: An Introduction to Japanese Theatre Bibliography for Webinar Notes 1. For each theatrical form, there are basic introductory books, translations of plays, and specialized sources for further reading. 2. Names of Japanese are written in the order of “last name, first name,” as followed in the Japanese custom. 1. Noh Bethe, Monica and Richard Emmert. Noh Performance Guide Series. 7 Vols. 1: Matsukaze (1992); 2: Fujito (1992); 3: Miidera (1993); 4: Tenko (1994); 5: Atsumori (1995); 6: Ema (1996); 7: Aoinoue (1997). Tokyo: National Noh Theatre, 1992-1997. This Noh Performance Guide Series consists of seven booklets by Bethe and Emmert. These are helpful booklets for noh enthusiasts of all levels. Each booklet analyzes a play in depth, delving into background (i.e., author, scene, category) of plays, character descriptions, significance of the costume designs, masks, wigs, props, etc. Current performance practice among various actors’ and instrumentalists’ schools are investigated. Furthermore, Bethe and Emmert take the audience through a scene-by-scene snapshot, describing the movements and exchanges among the actors, as well as musical interactions. Brandon, James R., ed. Nô and Kyôgen in the Contemporary World. Foreword by Ricardo D. Trimillos. Honolulu: University of Hawaii Press, 1997. A book examining the “relevance and significance” of noh and kyôgen in contemporary society. Articles written by scholars and practitioners in the field. Fenollosa, Ernest, and Ezra Pound. “Noh” or Accomplishment: A Study of the Classical Stage of Japan. 1st edition, London: Macmillan, 1916. 2nd edition, New York: Alfred A. Knopf, 1917. Reprint, Gretna, Louisiana: Pelican Publishing Company, Inc., 1916. One of the earlier English translations of noh plays. Pound acted as literary executor of Fenellosa’s posthumous work. Goff, Janet. Noh Drama and The Tale of Genji: The Art of Allusion in Fifteen Classical Plays. New Jersey: Princeton University Press, 1991. 2 Hare, Thomas Blenman. Zeami’s Style: The Noh Plays of Zeami Motokiyo. Stanford: Stanford University Press, 1986. A “must-read” book for English-language readers in the noh world, covering information on Zeami’s treatise and categorizations of plays. Hare dissects noh plays at the shôdan (building blocks of a noh play) level notating the utai (chant) and musical patterns. Hare, Tom, trans. Zeami: Performance Notes. New York: Columbia University Press, 2008. Hoff, Frank, and Willi Flindt. “The Life Structure of Noh: An English Version of Yokomichi Mario’s Analysis of the Structure of Noh.” In Concerned Theatre Japan 2 (Spring 1973): 209-256. Article can be found on the web. One of the leading translations of the late Yokomichi Mario and Omote Akira’s book, Yôkyoku-shû (volume 1, 1960), investigating the structure of noh plays and their prescribed musical patterns. Keene, Donald. Nô: The Classical Theatre of Japan. Introduction by Ishikawa Jun. Tokyo: Kodansha International, 1966. Keene, Donald, ed. Twenty Plays of the Noh Theater (with the Assistance of Royall Tyler). New York: Columbia University Press, 1970. Komparu, Kunio. The Noh Theater: Principles and Perspectives Noh. Text translated by Jane Corddry, and play translated by Stephen Comee. 1st edition, London: Weatherhill, 1983. Revised and Expanded, Warren, Connecticut: Floating World Edition, 2005. Good introductory book for those interested in noh. (The second edition can be purchased online through Amazon.com.) This is the English version of Komparu Kunio’s Japanese book, Noh e no izanai (Tankosha, 1980), translated by Corddry and Comee. Book is divided into three parts: (1) Principles and Perspectives, (2) Elements and Patterns, and (3) Structure and Performance. In part one, Komparu analyzes the aesthetic principles of noh, such as jo-ha-kyû (introduction – breaking away – denouement), and time and ma (space), which are salient features of Japanese art forms. Part two examines theatrical elements of noh, including noh stage, noh play categories, performers, music, movements, masks, costumes, and use of space. Last part analyzes the framework and structure of a noh play. Nakamura, Yasuo. Noh: The Classical Theater. Translated by Don Kenny, and introduction by Earle Ernst. New York and Tokyo: Walker/Weatherhill, 1971. Rath, Eric C. The Ethos of Noh: Actors and Their Art. Cambridge and London: Harvard University Press, 2004. 3 Rimer, J. Thomas, and Yamazaki Masakazu, trans. On the Art of the Nô Drama: The Major Treatises of Zeami. Princeton: Princeton University Press, 1984. Rimer and Yamazaki translate nine of Zeami’s treatises, some of which have never been translated into the English language. Pinnington, Noel J. Traces in the Way: Michi and the Writings of Komparu Zenchiku. Cornell East Asia Series 132. Cornell University. Ithaca: East Asia Program, 2006. Smethurst, Mae J., editor, and Christina Laffin, co-editor. The Noh Ominameshi [A Flower Viewed from Many Directions]. Cornell East Asia Series 118. Ithaca: Cornell University Press, 2003. Tyler, Royall, editor and translator. Japanese Nô Dramas. London: Penguin Books, 1992. A “must-have book” if one plans to watch a noh play in the original language. Book gives a brief introduction on noh, followed by English translations of 24 plays, providing a good general representation of the noh repertoire. Quinn, Shelley Fenno. Developing Zeami: The Noh Actor’s Attunement in Practice. Honolulu. University of Hawai‘i Press, 2005. 2. Kyôgen Kenny, Don. A Guide to Kyogen. Foreword by Donald Richie. Tokyo: Hinoki Shoten, 1979. A pocket-sized book containing kyôgen synopses. Kenny refers to kyôgen as “comedy vignettes,” performed between pensive, somber noh plays, developed alongside its noh counterpart. Kenny’s translations include drawings of kyôgen plays from literature. Kenny, Don. A Kyogen Companion. Tokyo: National Noh Theatre, 1999. A more refined and expansive book of synopses compared to Kenny’s A Guide to Kyogen (1979) pocket-sized book. Many of the synopses from Kenny’s first book (1979) are edited and included in this new edition with pictures of modern day performers. This book contains a section on the history of kyôgen written by Kazuo Taguchi. 3. Kabuki Brandon, James R., and Samuel L. Leiter, eds. Kabuki Plays On Stage. Vol. 1: Brilliance and Bravado, 1697-1766; Vol.2: Villainy and Vengeance, 1773-1799; Vol.3: Darkness and Desire, 1804-1868; Vol.4: Restoration and Reform, 1872-1905. Honolulu: University of Hawai‘i Press, 2002. Two leading scholars in the kabuki world, Brandon and Leiter, edit this four-volume series of kabuki translations. Each volume begins with an introduction specific to its content. Furthermore, each kabuki translation begins with an introduction to the play, list of characters, and photographs. 4 Brandon, James R., and Samuel L. Leiter, eds. Masterpieces of Kabuki: Eighteen Plays On Stage. Honolulu: University of Hawai‘i Press, 2004. (look up) Translations of 18 kabuki plays. Glossary found in back. Brandon, James R., William P. Malm, and Donald H. Shively. Studies in Kabuki: Its Acting, Music, and Historical Context. Honolulu: The University Press of Hawaii, 1978. This book explores the historical, performative, and musical aspects of kabuki. Different scholar writes each section. Shively surveys the social environment of the Tokugawa (Edo) period that brought forth kabuki and the “floating world.” Brandon discusses the various kata (patterns) that developed during this period, distinguishing the characters’ rank and personality. Music of kabuki consists of many genres, which Malm endeavors to categorize their functions, structure, and instrumentation as on-stage or off-stage music. Ernst, Earle. The Kabuki Theatre. Honolulu: University Press of Hawaii, 1974. Ernst discusses the development of kabuki, incorporating materials from history and life during the period. Furthermore, he analyzes the physical structure of the kabuki stage, explaining how the removal of pillars and roof led to its present structure. Oxford University Press first published this book in 1956. Halford, Aubrey S., and Giovanna M. Halford. The Kabuki Handbook. Rutland, Vermont: Charles E. Tuttle, 1956. Brief abstracts on 30 kabuki plays in English. Kominz, Laurence R. The Stars Who Created Kabuki: Their Lives, Loves and Legacy. Tokyo, New York, London: Kondansha International, 1997. Kominz investigates the history of kabuki and its genres, focusing on performers who created the styles representing kabuki today (i.e., Ichikawa Danjûrô, Sakata Tôjûrô, Yoshizawa Ayame). Leiter, Samuel L., ed. A Kabuki Reader: History and Performance. Armonk, New York: M.E. Sharpe, 2002. Well-written articles by kabuki scholars from various angles. Leiter, Samuel L. New Kabuki Encyclopedia: A Revised Adaptation of Kabuki Jiten. Westport, Connecticut: Greenwood Press, 1997. Long awaited revision of Kabuki Encyclopedia: An English-Language Adaptation of Kabuki Jiten (1979). All entries are organized alphabetically regardless of subjects (i.e., terms, plays, performers). Detailed appendix on kabuki’s chronology, plays, and 5 genealogies are included. “Subject Guide to Main Entries” can be found in the back of the book for cross-reference. New entries and updated materials have been included. Leiter, Samuel L., trans. The Art of Kabuki: Famous Plays in Performance. Berkeley: University of California Press, 1979. Analyses of four kabuki plays. These facilitate in the understanding of Japanese theatrical conventions.
Load more

Recommended publications
  • Glories of the Japanese Music Heritage ANCIENT SOUNDSCAPES REBORN Japanese Sacred Gagaku Court Music and Secular Art Music
    The Institute for Japanese Cultural Heritage Initiatives (Formerly the Institute for Medieval Japanese Studies) and the Columbia Music Performance Program Present Our 8th Season Concert To Celebrate the Institute’s th 45 Anniversary Glories of the Japanese Music Heritage ANCIENT SOUNDSCAPES REBORN Japanese Sacred Gagaku Court Music and Secular Art Music Featuring renowned Japanese Gagaku musicians and New York-based Hōgaku artists With the Columbia Gagaku and Hōgaku Instrumental Ensembles of New York Friday, March 8, 2013 at 8 PM Miller Theatre, Columbia University (116th Street & Broadway) Join us tomorrow, too, at The New York Summit The Future of the Japanese Music Heritage Strategies for Nurturing Japanese Instrumental Genres in the 21st-Century Scandanavia House 58 Park Avenue (between 37th and 38th Streets) Doors open 10am Summit 10:30am-5:30pm Register at http://www.medievaljapanesestudies.org Hear panels of professional instrumentalists and composers discuss the challenges they face in the world of Japanese instrumental music in the current century. Keep up to date on plans to establish the first ever Tokyo Academy of Japanese Instrumental Music. Add your voice to support the bilingual global marketing of Japanese CD and DVD music masterpieces now available only to the Japanese market. Look inside the 19th-century cultural conflicts stirred by Westernization when Japanese instruments were banned from the schools in favor of the piano and violin. 3 The Institute for Medieval Japanese Studies takes on a new name: THE INSTITUTE FOR JAPANESE CULTURAL HERITAGE INITIATIVES The year 2013 marks the 45th year of the Institute’s founding in 1968. We mark it with a time-honored East Asian practice— ―a rectification of names.‖ The word ―medieval‖ served the Institute well during its first decades, when the most pressing research needs were in the most neglected of Japanese historical eras and disciplines— early 14th- to late 16th-century literary and cultural history, labeled ―medieval‖ by Japanese scholars.
    [Show full text]
  • Asian-American Media Skills Handbook. INSTITUTION Montgomery County Public Schools, Rockville, Md
    DOCUMENT RESUME ED 261 099 UD 024 382 AUTHOR Haines, Roberta M., Comp. TITLE Asian-American Media Skills Handbook. INSTITUTION Montgomery County Public Schools, Rockville, Md. PUB DATE 84 NOTE 107p. PUB TYPE Guides Classroom Use - Guides (For Teachers) (052) -- Guides Non-Classroom Use (055) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Asian Americans; Class Activities; Cultural Activities; *Cultural Education; Elementary Secondary Education; Evaluation Criteria; Geography Instruction; Information Sources; Learning Activities; Library Skills; Map Skills; *Skill Development IDENTIFIERS *Asia; Maryland (Montgomery County); *Media Skills ABSTRACT This handbook is for teachers to use in the classroom and as a reference source for information about Asia and Asian-Americans. The handbook uses information about geography and culture to teach skills such as almanac, atlas, and encyclopediause. Other student exercises include: how to sequence a Chinese fairy tale and present it to the class, how to research a Chinese holiday using various reference sources and how to plan its celebration, and how to give a slide presentation using Asian subject matter. The handbook includes a guide to evaluation of materials about Asian-Americans,a list of the countries included in the category "Asia," anda listing of Asian embassies, information services, and organizations in the United States. The handbook closes with listings of the artifacts contained in a "Chinese'Traveling Trunk" and a "New Americans Traveling Trunk," available on loan to district teachers foruse in enhancing understanding of Asian culture. There is alsoa 20 page bibliography arranged by country. (CG) *********************************************************************** Reproductions supplied by EDRS are the best thatcan be made from the original document.
    [Show full text]
  • Looking East Subject: Theatre of Yugen Discipline: Theatre
    EDUCATOR GUIDE Story Theme: Looking East Subject: Theatre of Yugen Discipline: Theatre SECTION I - OVERVIEW......................................................................................................................2 SECTION II – CONTENT/CONTEXT..................................................................................................3 SECTION III – RESOURCES.................................................................................................................5 SECTION IV – CLASSICAL JAPANESE PERFORMING ART FORMS.............................................7 SECTION V – VOCABULARY..............................................................................................................8 SECTION VI – ENGAGING WITH SPARK.........................................................................................9 Performance still from The Old Man and The Sea at Theatre of Yugen. Still image from SPARK story, 2005. SECTION I - OVERVIEW EPISODE THEME INSTRUCTIONAL OBJECTIVES Looking East To help students to: Understand the classical Japanese theatrical SUBJECT performance style of Noh theatre and the art of Theatre of Yugen fusion theatre Consider different philosophical and aesthetic GRADE RANGES approaches to theatrical performance and how K-12 & Post-secondary performing arts can articulate different cultural perspectives CURRICULUM CONNECTIONS Engage with the process of translating narrative Visual Arts & Language Arts into theatrical performance Develop in performance skills to develop self OBJECTIVE esteem,
    [Show full text]
  • National Museum & Cultural Centre
    Nikkei NIKKEI national museum & cultural centre IMAGES Nikkei national museum Nikkei cultuParticipantsral of The Suitcasecen Projectt rbasede in Seattle, Washington, pose for a photo after a meet and greet on Saturday, July 14. Photo by Kayla Isomura. A publication of the Nikkei National Museum & Cultural Centre ISSN #1203-9017 Volume 23, No. 2 Contents Welcome to Nikkei Images Nikkei Images is a publication of the Nikkei Nikkei National Museum & Cultural national museum Centre dedicated to the preservation & cultural centre and sharing of Japanese Canadian Nikkei Images is published by the Stories since 1996. In 2018, the 30th Nikkei National Museum & Cultural Centre anniversary of Japanese Canadian Redress, we Copy Editor: Ellen Schwartz look to the next generations for the continuation of Design: John Endo Greenaway these stories. In this issue, whether the content is Subscription to Nikkei Images is free (with pre-paid postage) with your yearly membership to NNMCC: historic, contemporary, or creative, all of the authors Family $47.25 | Individual $36.75 are students, researchers, or individuals who are Senior Individual $26.25 | Non-profit $52.25 $2 per copy (plus postage)N for non-membersikkei themselves 4th/5th generation Japanese Canadian NNMCC national museum or yonsei adjacent. We welcome proposals for 6688 Southoaks Crescent Minidoka Pilgrimage The New Canadian’s Poetic Spirit JETsetting in Japan publication in future issues between 500 – 3500 Burnaby, B.C., V5E 4M7 Canada by a Canadian Yonsei Page 6 Page 9 words. Finished work should be accompanied by TEL: 604.777.7000 FAX: 604.777.7001 Page 4 www.nikkeiplace.org relevant high-resolution photographs with proper Disclaimer: photos credits.
    [Show full text]
  • Japanese Dance
    Japanese Dance Roxanne Dian Types of Dance and Theatre Early Dance Noh Kyogen Bunraku Kabuki Modern Early Dance Kagura Gigaku Bugaku Dengaku Sarugaku Kagura The Sun Goddess Amaterasu hid in a cave to escape her storm god brother’s behavior. The goddess Uzume danced, and the laughter of the other gods lured Amaterasu out of her cave. This is the earliest mention of dance in Japanese literature. The Kagura dances are said to be directly descended from the dance performed by Uzume. Because of this, it has strong religious affiliations and is usually performed by priestesses attached to a Shinto shrine. Kagura Gigaku Gigaku was brought over by a Korean dancer around the 7th century. It began as simple dances performed in front of Indian Buddha images. The dance as it existed in Japan used large masks that covered the entire head, and was accompanied by a three-piece orchestra. While it is no longer performed, it has had some influence on Noh performance. Gigaku Bugaku There are two types of dances (and dancers) in Bugaku: left dances, from India, China, and Central Asia; and right dances, from Korea and Manchuria. Left dancers, dressed in red, would enter the stage from the left, and right dancers, in green, would enter from the right. The themes in Bugaku can be very abstract, and without narrative quality. Dancers wear a mask or show no facial expression. Bugaku Dengaku Dengaku grew out of traditional harvest dances. It later acquired some narrative features and became a fashionable pastime for the nobility. Dengaku Sarugaku Sarugaku began as court entertainment.
    [Show full text]
  • Japan Society Timeline
    JAPAN SOCIETY TIMELINE 1907 1911 1918 May 19 , 1907 : Japan Society founded by Annual lecture series initiated (lectures Japan Society Bulletin of February 28 , 1918 , Lindsay Russell, Hamilton Holt, Jacob Schiff, usually held at the Hotel Astor or at The exhorted readers: “Isn’t it worth your while August Belmont, and other prominent Metropolitan Museum of Art, drawing to spend fifteen minutes a month on Japan? Americans on the occasion of the May visit several hundred people); lectures from The day has passed when we needed to think to New York by General Baron Tamesada the first year included Toyokichi Ienaga only in terms of our own country. The inter - Kuroki and Vice Admiral Goro Ijuin. on “The Positions of the United States and national mind is of today. Read this Bulletin Japan in the Far East” and Frederick W. of the Japan Society and learn something John H. Finley, president of City College, Gookin on Japanese color prints. new about your nearest Western neighbor. elected Japan Society’s first president. Japan has much to teach us. Preparedness is Japan Society’s first art exhibition held Purpose of the Society set forth as “the pro - the watchword of the day: don’t forget that (ukiyo-e prints borrowed from private motion of friendly relations between the this includes mental preparedness. It is just collections and shown at 200 Fifth Avenue), United States and Japan and the diffusion as important to think straight as to shoot attended by about 8,000 people. among the American people of a more accu - straight.
    [Show full text]
  • Aesthetics and Ethics in the Reception of Noh Theatre in the West
    AESTHETICS AND ETHICS IN THE RECEPTION OF NOH THEATRE IN THE WEST Diego Pellecchia Thesis submitted for the degree of Doctor of Philosphy (PhD) Royal Holloway, University of London Department of Drama & Theatre Studies September, 2011 2 Declaration of Authorship I Diego Pellecchia hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 3 Acknowledgements I wish to express my gratitude to my supervisors, Prof. David Wiles and Dr. Libby Worth, and to my advisor, Prof. Matthew Cohen, for providing invaluable assistance, guidance and feedback at all stages of my research. I owe my deepest gratitude to Master-Actor Udaka Michishige, whose efforts in opening the tradition of Noh to foreigners allow me and other students of the International Noh Institute to practice the art and experience the world of Noh. I will be forever indebted to Monique Arnaud, who initiated me to the way of Noh, and encouraged me to embark upon this project, and to Rebecca Ogamo Teele, whose achievements in Noh motivate me to pursue the study of Noh, and greatly inspired this thesis. A special mention goes to Udaka Tatsushige, Udaka Haruna, John Mac Ateer and Dr. Jonah Salz: numerous discussions on Noh and on its transmission in intercultural contexts greatly contributed to the development of central concepts of this thesis. Special thanks to Elena Cazzaro at Biennale ASAC archive for the technical support, and Hara Maiko at Mie Prefectural Museum for facilitating research on Kitasono Katsue.
    [Show full text]
  • Jfoundation AV
    NEW YORK OFFICE AUDIO/VISUAL RESOURCES OCTOBER 2004 New Audio/Visual Resources – updated June, 2007 DVDs The Gift from Beate English narration & subtitles 2004/92 minutes Nippon Eiga Shinsha, Ltd. Beate Shirota Gordon took part in the drafting of a new Japanese constitution following the end of World War II. Daughter of the internationally renowned pianist Leo Shirota, she had spent many years in Japan with her parents. Knowing the low position women occupied in pre-war Japanese society, she wrote an “equality of gender” clause for the document. This film is a work of women’s history, beginning with “Beate’s gift” to the women of Japan, Articles 14 and 24 of the Japanese constitution, and following the paths women have walked and the activities they have undertaken in facing the reality of Japan between the war’s end and the present day. Nitaboh: The Founder of Tsugaru Shamisen Japanese with English subtitles 2006/100 minutes Wao! Education & Entertainment Nitaro (Nitaboh) was born to a poor family of a waterman (a man who lets people on his boat and helps them to cross the river) living in Kanbara, in rural Aomori prefecture, at the very northern tip of Japan’s main island. Nitaro has an extremely humble background which was out of “Shinokosho” (a class distinction in the Edo Period. Shi, no, ko and sho each means “samurai,” “peasant,” “craftspeople” and “merchant.”) Nitaro’s mother died just after his birth. In spite of being in such a sorry plight, he was a healthy child. One spring, he met a goze (Tamana) and her little daughter in the precincts of a shrine.
    [Show full text]
  • Representations of Travel in Medieval Japan by Kendra D. Strand A
    Aesthetics of Space: Representations of Travel in Medieval Japan by Kendra D. Strand A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) in The University of Michigan 2015 Doctoral Committee: Emerita Professor Esperanza Ramirez-Christensen, Chair Associate Professor Kevin Gray Carr Professor Ken K. Ito, University of Hawai‘i Manoa Associate Professor Jonathan E. Zwicker © Kendra D. Strand 2015 Dedication To Gregory, whose adventurous spirit has made this work possible, and to Emma, whose good humor has made it a joy. ii Acknowledgements Kind regards are due to a great many people I have encountered throughout my graduate career, but to my advisors in particular. Esperanza Ramirez-Christensen has offered her wisdom and support unfalteringly over the years. Under her guidance, I have begun to learn the complexities in the spare words of medieval Japanese poetry, and more importantly to appreciate the rich silences in the spaces between those words. I only hope that I can some day attain the subtlety and dexterity with which she is able to do so. Ken Ito and Jonathan Zwicker have encouraged me to think about Japanese literature and to develop my voice in ways that would never have been possible otherwise, and Kevin Carr has always been incredibly generous with his time and knowledge in discussing visual cultural materials of medieval Japan. I am indebted to them for their patience, their attention, and for initiating me into their respective fields. I am grateful to all of the other professors and mentors with whom I have had the honor of working at the University of Michigan and elsewhere: Markus Nornes, Micah Auerback, Hitomi Tonomura, Leslie Pinkus, William Baxter, David Rolston, Miranda Brown, Laura Grande, Youngju Ryu, Christi Merrill, Celeste Brusati, Martin Powers, Mariko Okada, Keith Vincent, Catherine Ryu, Edith Sarra, Keller Kimbrough, Maggie Childs, and Dennis Washburn.
    [Show full text]
  • Asian Collection DVD & Streaming Artwork Nick Aizue - Living Art in Papua New Guinea by Susan Cochrane
    info / buy asian collection DVD & Streaming Artwork Nick Aizue - Living Art in Papua New Guinea by Susan Cochrane artfilmsdigital From Indian Warli painting through traditional Japanese calligraphy and Kabuki Dance to traditional Balinese dances, this stunning collection of artfilms on Asian art & culture also features award winning documentaries on current affairs in North Korea, contemporary China and more... CHINA p3 INDIA p8 JAPAN p11 SOUTHEAST ASIA p18 info / buy ASIAN COLLECTION Antiquities, Oriental Great Tales In Asian Art The Theatres of Asia: Asian Theater: Buddhism as - in and Asian Art An Introduction Conversation Performance with A.C. Scott EX-DesAntiq| 130’ | DVD & Streaming KU-Asia | 82’ | DVD DG-Asia | 45’ | DVD & Streaming MS-Scot | 28’ | DVD DG-Budcd | e-book The world’s most beautiful and Filmed on location, four beloved Places the major forms of both A.C. Scott elaborates on his long Analysis of Meditation and Theatrical fascinating antiques from the ancient stories of India, Indonesia, Korea Asian classical and folk theatre in years of experience in China and Practice by Dr David George. Greek, Etruscan, Roman, Egyptian, and Japan are told through the their cultural context, this video Japan and shows film clips and “Buddhism as/in Performance is a and Near-Eastern sculptures and masterpieces of visual art and the introduces Asian theatre through slides of his classes, rehearsals and commendable piece of painstaking vases and also the masterpieces of stirring performances these tales the roles it plays in the lives of Asian workshop productions in which research, presented in jargonless, the African, Asian and Oriental Art.
    [Show full text]
  • Modular Curriculum: English/Social Studies, Japanese Civilization. INSTITUTION Kansas Univ., Lawrence
    DOCUMENT RESUME ED 058 197 TE 002 710 AUTHOR Spear, Richard L. TITLE Modular Curriculum: English/Social Studies, Japanese Civilization. INSTITUTION Kansas Univ., Lawrence. Extramural Independent Study Center. PUB DATE 70 NOTE 44p. AVAILABLE FROMUniversity of Kansas, Extramural Independent Study Center, Coordinator of Secondary Education, Lawrence, Kansas 66044 ($2.00) EDRS PRICE MF-$0.65 HC Not Available from EDRS. DESCRIPTORS College Curriculum; *Cross Cultural Studies; Curriculum Design; *English Curriculum; Guides; Independent Study; Music; *Non Western Civili.zation; *Secondary Education; *Social Studies; University Extension IDENTIFIERS *Japan ABSTRACT This independent study course for college credit is a study of Japanese civilization. The nine lessons that comprise the course are:1. The Origins of the Civilization: From Primitive to Early Classical Times; 2. The Classical Tradition I: The Religion and Aesthetics of Classical Times; 3. The Classical Tradition II: A View of Court Life through Literature; 4. The Medieval Tradition I: The Warrior and His Religious Beliefs; 5. The Medieval Tradition II: Zen and Late Medieval Culture;6. The Early Modern Tradition I: The Warrior and His Moral Code; 7. The Early Modern Tradition II: The Townspeople and Their Culture; 8. The Modern Tradition I The Meeting with the West; and 9. The Modern Tradition II: A View of Modern Japan through Literature. A concluding statement and glossary are given. (CK) te THE U.NIVERSITY OF K ANSAS / AT 'LAWRENCE "PERMISSION TO REPRODUCE THIS COPY- RIGHTED MATERIAL BY MICROFICHE ONLY HAS BEEN GRANTED BY A I L 1-4-NI p .1.13,411SPES TO ERIC AND ORGANIZATIONS OPERATIN 3 UNDER AGREEMENTS WITH THE U.S.
    [Show full text]
  • Japanese Newsletter, Summer 2020
    SCHOOL OF MODERN LANGUAGES NEWCASTLE UNIVERSITY JAPANESE＠NEWCASTLE EDITED BY FUMIKA CARTLIDGE SUMMER 2020 The 22nd Annual Conference of the British Association for Teaching Japanese as a Foreign Language (BATJ) held at Newcastle University on 5th and 6th Sep 2019 Kumi Casey,Japanese Language Coordinator/ The 22nd BATJ Annual Conference Venue Coordinator The Japanese language team of the School of Modern Languages hosted the 22nd BATJ Annual Conference. Dr Shinji Sato of Princeton University gave the keynote lecture. Professor Sugata Mitra, 2013 TED prize winner and a former colleague of the School of Education, Communication and Language Sciences, was the invited speaker. Both lectures shed light on the importance of the role of teachers to create a learning environment which encourages learner autonomy. In addition to many conference delegates from across the world, special guests included representatives from the Japanese Embassy in London and the Japan Foundation. Etsuko Suda and Fumika Cartlidge from NCL shared their teaching experiences with the participants during the BATJ forum about “Instructing Kanji Learning”. Etsuko Suda explained to the audience a number of measures which are incorporated into the Level A Japanese teaching to reinforce students’ kanji learning. ‘Gender and National Image - Representations of Figure Skating in Japanese Anime’ Dr Michael Tsang, Leverhulme Postdoctoral Fellow Photo credit: Oliver Moxham, Centre for Japanese Studies at the University of East Anglia Japanese popular culture, especially anime and manga, has attracted a huge following worldwide and is one of the reasons students are drawn to studying Japanese. However, it is not always clear how one should analyse these popular cultural products critically.
    [Show full text]