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Book Categories |
Acknowledgments | ||
Introduction: Modern Japanese Theatre (Revisited) | ||
I | Shingeki History | |
Why Did Sewamono Not Grow into Modern Realist Theatre? | 3 | |
The Rhetoric of the Real | 17 | |
Moment(um) of Memory: Metapatterns in Japanese Theatre since the 1960s | 33 | |
The Quest for Salvation in Japan's Modern History: Four Plays by Akimoto Matsuyo | 51 | |
Poison Women and National Identity in Postwar Japanese Performance | 65 | |
Senda Koreya and the Tenko Paradigm | 77 | |
II | Experimental Theatre(s) and Border Crossings | |
Structureless in Structure: The Choreographic Tectonics of Hijikata Tatsumi's Buto | 93 | |
Terayama in Amsterdam and the Internationalization of Experimental Theatre | 109 | |
Super-kyogen: Radically Traditional Utopian Comedies | 123 | |
Classical Japanese Performance in a Contemporary Context: A Traditional Strategy of Juxtaposition | 149 | |
III | Specific Plays and Productions in Modern Japan | |
Illegitimate Child of Shingeki: Comedy Actor Soganoya Gokuro and His Nonkina tosan (Easygoing Daddy) | 171 | |
Reflections of and on the Times: Morimoto Kaoru's A Woman's Life | 189 | |
Steeplechase: Mishima Yukio's Only Original Modern No Play | 205 | |
"Destroying the Audience's Alibi": Empathy and Ethics in Abe Kobo's Mihitsu no koi | 215 | |
Divine Memory and Abject Reality: Miyagi Satoshi's Tenshu Monogatari and Shimizu Shinjin's Bye Bye: The New Primitive | 225 | |
From Scaretto to Kaze to tomo ni sarinu: Musical Adaptations of Gone with the Wind in Japan | 237 | |
IV | A Super-kyogen Script | |
Mudskippers: Reviving Kyogen's Satire, Castigating Contemporary Authority | 253 | |
Mutsugoro (Mudskippers) | 259 | |
Works Cited | 271 | |
Index | 283 | |
About the Editors and Contributors | 287 |
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