The Japanese Theatre: From Shamanistic Ritual to Contemporary PluralismPrinceton University Press, 1995/03/09 - 375 ページ Widely recognized as the standard history of Japanese theatre for Western readers, this work by Benito Ortolani is now available for the first time in paperback. From ancient folk and ritual performances to modern dance theatre, it provides concise summaries about each major theatrical form, situating the genre in its particular social, political, and cultural contexts and integrating a vast array of detail on such topics as staging, costuming, masks and properties, repertory, acting techniques, and noteworthy actors. Complete with illustrations and an extensive bibliography, this book serves undergraduates and specialists both as a reference and as a cultural history of Japan seen from the perspective of the performing arts. |
目次
THE BEGINNINGS | 1 |
Kofun Period ca 300 AD710 AD The Haniwa | 3 |
Kojiki and Nihongi Eighth Century | 4 |
Umisachis Pantomime | 8 |
Utagaki | 9 |
Indigenous versus Imported | 10 |
Notes | 12 |
KAGURA | 13 |
A New Perspective | 150 |
The Theories of Okura Toraaki | 152 |
Classification of Plays | 153 |
The Performance of Kyogen | 154 |
Mystery Plays and School Theatre of the Jesuits | 155 |
Notes | 157 |
KABUKI | 162 |
An Overview | 174 |
Use of the Name Kagura | 14 |
Division of Kagura | 16 |
Mikagura | 17 |
Satokagura | 22 |
Notes | 28 |
GIGAKU | 29 |
Controversy about the Origins | 35 |
Survival of Gigaku | 37 |
Notes | 38 |
BUGAKU | 39 |
The Words Bugaku and Gagaku | 40 |
History of Gagaku and Bugaku | 41 |
Division of Bugaku | 44 |
Historical Outline of Bugaku Dances | 45 |
Bugaku Costumes | 46 |
Bugaku Masks | 48 |
Bugaku Props | 49 |
Musical Instruments | 50 |
The Bugaku Stage | 51 |
Notes | 53 |
THEATRICAL ARTS IN THE NINTH TO THIRTEENTH CENTURY | 54 |
The Sangaku and Sarugaku Traditions | 55 |
The Words Sangaku and Sarugaku | 56 |
Relation between Sangaku and Sarugaku | 58 |
Heian Shin Sarugaku in Performance | 62 |
The Shushi Sarugaku | 64 |
The Okina Sarugaku | 67 |
The Furyu Tradition | 69 |
The Ennen Tradition | 70 |
The Dengaku Tradition | 73 |
The Shugen Tradition | 74 |
Kusemai Shirabyoshi Kouta and Rambu | 75 |
Social Position of the Performers | 79 |
Notes | 82 |
NOGAKU | 85 |
A Kanami | 93 |
Zeamis Secret Tradition of the No | 109 |
Basic Concepts of Zeamis Aesthetics | 120 |
E Rojaku | 126 |
The No Plays | 132 |
The Performance of No | 142 |
The No Stage | 144 |
Costumes Props and Masks | 146 |
Kabuki in Performance | 187 |
Costumes and Makeup | 192 |
Theatre Buildings Stage and Decor | 194 |
Kabuki and Joruri Playwrights | 198 |
Kabuki Juhachiban | 200 |
Actors Memoirs | 203 |
Notes | 206 |
THE PUPPET THEATRE | 208 |
History of Joruri | 209 |
Bunraku after the Meiji Restoration | 226 |
The Stage | 228 |
Bunraku Aesthetics | 230 |
Notes | 231 |
THE MODERN THEATRE SHIMPA | 233 |
Kawakami Otojiro | 235 |
Seibikan and Other Companies | 238 |
The Golden Age of Shimpa | 239 |
The Decadence of Shimpa | 240 |
Shimpa from World War II | 241 |
Notes | 242 |
SHINGEKI THE NEW DRAMA | 243 |
The Period of Commercialization 19141923 | 247 |
The Early Tsukiji Little Theatre Movement 19241927 | 248 |
The Leftist Propaganda Plays 19281932 | 250 |
The Artistic Period 19331940 | 251 |
Shingeki after World War II 19441994 | 253 |
The Underground Theatre Movement 19601985 | 258 |
Notes | 265 |
MODERN MUSIC AND DANCE THEATRE | 268 |
The Takarazuka Revue Company | 271 |
Revue Operetta Miscellaneous Entertainments | 275 |
Buto and the Phenomenon of Circularity | 277 |
Notes | 279 |
HISTORY OF WESTERN RESEARCH ON THE JAPANESE THEATRE | 280 |
From the MidNineteenth Century to Showa | 282 |
The Showa Period to the End of World War II | 284 |
Following World War II | 285 |
Japanese Contributions to Western Languages | 292 |
GLOSSARY | 297 |
BIBLIOGRAPHY | 327 |
359 | |