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No Theatre Def.Pdf Ar# della performance: orizzon# e culture Book series directed by Ma:eo Casari and Gerardo Guccini The book series aims to answer and embrace the increasingly evident and compelling instances in the fields of research and prac9ce, that in various ways, relate to the sphere of performance: a plurality of know-hows whose strong interconnec9on is reflected, furthermore, in the new ar9cula9on of the Department of Arts to which the book series refers to in its editorial profile. The different perspec9ves that animate the book series in their mutual dialogue, create an horizon of intertwined considera9ons open to those cultures that, in a virtuous circle, nourish and inspire the performing arts. Scien#fic Commi:e: Lorenzo Bianconi (Università di Bologna), MaKeo Casari (Università di Bologna), Katja Centonze (Waseda University, Trier University) Marco Consolini (Universitè Sorbonne Nouvelle - Paris 3), Lucia Corrain (Università di Bologna), Marco De Marinis (Università di Bologna), Ilona Fried (Università di Budapest), Gerardo Guccini (Università di Bologna), Giacomo Manzoli (Università di Bologna) Editorial Policies: Double blind peer-review process CC BY-NC 4.0 hKps://crea9vecommons.org/licenses/by-nc/4.0/ 2018 n. 11 Nō Theatre and Cultural Diplomacy. With a Glimpse into Philippine Prac#ces Edited by Amparo Adelina C. Umali, Naohiko Umewaka, Ma:eo Casari ISBN 9788898010882 ISSN 2421-0722 Published by University of the Philippines, Shizuoka University of Art and Culture, University of Bologna Ma:eo Casari, Associated Professor, Department of Arts, University of Bologna. He teaches Theatre in Asia (Second cycle degree program in Music and Theatre Studies) and Entertainment Organiza9on and Economics (First cycle degree program in DAMS - Drama, Art and Music Studies). Gerardo Guccini, Associated Professor, Department of Arts, University of Bologna. He teaches Dramaturgy (First cycle degree program in DAMS - Drama, Art and Music Studies) and Technical Theories of Drama Composi9on (Second cycle degree program in Music and Theatre Studies). Edited by Amparo Adelina C. Umali – Naohiko Umewaka – Maeo Casari NŌ THEATRE AND CULTURAL DIPLOMACY with a Glimpse into Philippine Prac(ces Editorial support by Cinzia Toscano Ar( della performance: orizzon( e culture n. 11 Umali, Umewaka, Casari (edited by), Nō Theatre and Cultural Diplomacy. With a Glimpse into Philippine Pracces Index 1 Preface 2 Introducon by Amparo Adelina C. Umali, III 5 Secon 1. Perspecves on Cultural Diplomacy 6 I. Review on Internaonal Cultural Exchange Through Nō Theater by Kazufumi Takada I.1 Introducon p. 6; I.2 Meiji Restoraon and the Crisis of Nō Theater p. 6; I.3 Interest of Westerners in Nō theater p. 7; I.4 Cultural Exchange Afer World War II and Nō’s Infuence on Avant-Garde Theater p. 8; I.5 Tour of Zeami-za in Italy in 1989 p. 9; I.6 Conclusion p. 9. 10 II. Culture and Nō in My Diplomac E1orts in Tokyo by H.E. Salah Hannachi II.1 Cultural Diplomacy p. 10; II.2 Nō Theater in Tunisia’s Diplomac E1orts p. 12; II.3 The Imperave New Japanese Cultural Diplomacy p. 15; II.4 Nō an Instrument of Japan’s New Cultural Diplomacy p. 17; II.5 Conclusion and Recommendaons p. 21; II.6 Bibliography p.23. 24 III. Perspecves on Cultural Diplomacy by H.E Jose Maria A. Cariño III.1 Introducon p. 24; III.2 Sof Power Diplomacy p. 24; III.3 The Changing Times p. 29; III.4 Promong Cultural Industries p. 29; III.5 Promong the Creave Industries p. 30; III.6 Promong Cultural Tourism p. 31. 33 Secon 2. Performances Transcending Boundaries of Time and Space 34 IV. Amateur’s Pracce of Japan’s Nō Theatre in the Edo Period. As Seen in Chohoki and Ukiyozoshi by Noriko Konoe IV.1 Nō and Kyōgen as Seen in Kamigata p. 34; IV.2 The Channg of a Nō Text as Seen in Nan-chohoki p. 36; IV.3 Nō Chant Lover and Jōruri Lover Described in Akaeboshi-Miyako- Katagi p. 37; IV.4 Tradional Performing Arts Rooted in the Commoners of the Edo Period Ar della Performance: orizzon e culture, n. 11 - 2018 Book series directed by Maeo Casari and Gerardo Guccini: hp://amsacta.unibo.it/ Umali, Umewaka, Casari (edited by), Nō Theatre and Cultural Diplomacy. With a Glimpse into Philippine Pracces p. 39; IV.5 Bibliography p. 40. 41 V. The Nō Renaissance in Meiji Period (1868-1912) Japan by Yasunori Fukuda V.1 Nō Theater in the Edo Period p. 41; V.2 Nō in Meiji Period – A Shatering Time for Nō p.42; V.3 The Renaissance of Nō p. 42; V.4 A Miracle in Matsuyama City, Ehime Prefecture p.43; V.5 The Things Nobuyoshi Ikenouchi Did p. 44; V.6 People Gathered for a Nō Performance Commemorang the 200th Issue of Hototogisu p. 44; V.7 Conclusion p. 45; V.8 Bibliography p. 46. 47 VI. A Two-Way Cultural Exchange-Nō Performance Overseas. A Cultural Writer’s Perspecve by Uno Takaya VI.1 Introducon p. 47; VI.2 Performing Outside of Nō Theaters p. 47; VI.3 Nō as a Media p.49. 51 VII. Paired Soles Between Shores: From Mimicry to Patrimony by Basilio Esteban S. Villaruz VII.1 Moving on Two Feet, from Two Minds, by One Body p. 52; VII.2 Eyes and Ears, Mind and Money, to Get Together p. 56; VII.3 Bibliography p. 59. 63 Secon 3. Family, Naon, and Global Cultural Exchange. The Meiji Period Grandmasters and their Descendants 64 VIII. Umewaka Minoru, the Meiji Restoraon and the 700-Year Journey of Nō Theater by Yasunori Chozaemon Umewaka VIII.1 About the Umewaka Family p. 64; VIII.2 The Origin of Nō p. 65; VIII.3 Kan-ami and Zeami p. 65; VIII.4 Nō in the Azuchi Momoyama Era p. 65; VIII.5 Nō in the Edo Era p. 66; VIII.6 Nō in the Meiji Era p. 67; VIII.7 Afer the Meiji Era p. 69; VIII.8 Bibliography p. 70. 71 IX. Sakurama Sajin, His Descendants, and the Sakurama Family by Sakurama Ujin 77 X. View on Philippine Pracce of Western Performance Tradions by Apolonio Bayani Chua Ar della Performance: orizzon e culture, n. 11 - 2018 Book series directed by Maeo Casari and Gerardo Guccini: hp://amsacta.unibo.it/ Umali, Umewaka, Casari (edited by), Nō Theatre and Cultural Diplomacy. With a Glimpse into Philippine Pracces X.1 The Case of Komedya p. 78; X.2 The Pasyon/Pabasa/Senakulo p. 82; X.3 The Contemporary Scene p. 84; X.4 Conclusion p. 84; X.5 Biblyography p. 85. 87 Secon 4. Performing and Teaching Overseas 88 XI. The Fujita Family of the Isso School of Nō Flute and My Arsc Engagement with the World by Fujita Jiro 93 XII. A Light Beyond Japan’s Culture Borders: Nō Discourse and Pracce at the UP Center for Internaonal Studies by Naohiko Umewaka XII.1 Amelia Lapena-Bonifacio, a Filipina Playwright p. 94; XII.2 Nō as a Tool for Performing Arts Educaon: Creaon of Nō Music for Sisa and its Performance p. 95; XII.3 Intensive Training p. 96; XII.4 Okina Performance by a Filipina p. 96; XII.5 Support and Approval of the Nō community p. 97; XII.6 Postscript: The Absence of a Stage Director – Raonalies and Irraonalies p. 98; XII.7 Hagoromo’s Kuse Chant “Harugasumi” and Komi p. 99. 101 XIII. Revising the Beginnings of Nō in the Philippines by Amparo Adelina C. Umali III XIII.1 The Staging of Ang Paglalakbay ni Sisa as a Shinsaku Nō in the Philippines p. 103; XIII.2 Addressing the Challenges Concerning the Performers and Audiences of Nō p. 105; XIII.3 Incorporang Tradional Nō Elements in Sisa p. 106; XIII.4 Nō Workshops, Lecture and Performances p. 108; XIII.5 The UP CIS Noh Ensemble II p. 110; XIII.6 Bibliography p. 112. 115 XIV. Insights on Nō UPCIS Noh Ensemble by UPCIS Noh Ensemble XIV.1 Jeremy Reuel dela Cruz p. 115; XIV.2 Diana Alferez p. 116; XIV.3 Viveka Lopez p. 118; XIV.4 Jon Philip Noveras p. 120; XIV.5 Sarah Eve Perlawan p. 120; 122 XV. Filipino Performing Arsts in Music: Keeping the Western Tradion and Projecng Filipino Identy by Antonio C. Hila XV.1 Body of the Paper p. 122. Ar della Performance: orizzon e culture, n. 11 - 2018 Book series directed by Maeo Casari and Gerardo Guccini: hp://amsacta.unibo.it/ Umali, Umewaka, Casari (edited by), Nō Theatre and Cultural Diplomacy. With a Glimpse into Philippine Pracces 128 Secon 5. Post-War Global Cultural Exchange and Diplomacy 129 XVI. Paul Claudel, Nō and Japanese Culture by Saburo Aoki XVI. 1 Introducon p. 129; XVI.2 Paul Claudel in Japan p. 129; XVI.2.1 Overview of Claudel’s life p. 127; XVI.3 The Internaonal Situaon and Japan’s Posion in the 1920s p. 130; XVI.4 Claudel’s Cultural Policy in Japan p. 131; XVI.5 Claudel, A Fan of Japan p. 132; XVI.6 From Claudel to Hannachi p. 134; XVI.7 Bibliography p. 135. 136 XVII. Adapng the Story of Sisa into a Nō Play by Amelia Lapeña-Bonifacio 140 XVIII. Contextual Framework for Internaonal Cultural Cooperaon in a Global Community by Nestor Jardin XVIII.1 Introducon p. 140; XVIII.2 Globalizaon – Boon or Bane? p. 141; XVIII.3 Cultural Challenges in the 21st Century: areas for internaonal cultural cooperaon p. 143. 148 XIX. Japan, Italy and Elsewhere: Nō and Shinsaku Nō from Cultural Diplomacy to Intercultural Dialogue by Maeo Casari XIX.1 Bibliography p. 156. 159 Abstract (eng/ita) 174 Appendix 176 Opening Remarks Honorable Alfredo E. Pascual President, University of the Philippines 177 Welcome Message Caesar A.
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