Japanese Theatre and the International Stage

Scholz-Cionca, Stanca; Leiter, Samuel L.

doi:10.1163/9789004483057

2000

DOI: 10.1163/9789004483057

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Japanese Theatre and the International Stage

Stanca Scholz-Cionca¹,

Samuel L. Leiter²

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Cited by 12 publications

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1954: Selling Kabuki to the West

Wetmore¹

2009

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In the face of an increasingly communist Asia, the Japanese government worked in 1954 with American kabuki aficionados and the Azuma Nihon Buyo Company to market kabuki to the United States as an aggressively capitalistic, inherently democratic, brilliantly theatrical form. In doing so, they were not only selling kabuki, but also selling Japan, a former enemy, as a political and military ally. Several strategies were employed to do so: the endorsement of literary and dramatic celebrities, emphasis on exoticizing and feminizing the onnagata role while simultaneously downplaying the homoeroticism, and focus on kabuki as business. Therefore the first “kabuki” brought to the United States was the Azuma Company, which presented a mixture of buyo and kabuki. The group was led by a female dancer and deemphasized the more challenging aspects of traditional kabuki. The Americans promoting the tour also had an ulterior motivation: to offer a new model to an American theatre grown stale on naturalism in the postwar period. Kevin J. Wetmore Jr. (PhD, University of Pittsburgh) is an associate professor of theatre at Loyola Marymount University. He is the editor of Revenge Drama in European Renaissance and Japanese Theatre (New York: Palgrave, 2008), the coeditor of Modern Japanese Theatre and Performance (Lanham, MD: Lexington, 2006), and the author of other books and many articles on Asian, African, and cross-cultural theatre.

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1954: Selling Kabuki to the West

Wetmore¹

2009

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Urban Style, Sexuality, Resistance, and Refinement in the Japanese Dance Sukeroku

Keister¹

2009

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The entrance dance by the character Sukeroku is a highlight of Sukeroku Yukari no Edo Zakura , a kabuki play that has been a mainstay on the Japanese stage since the early eighteenth century. Analysis of this dance that features one of Japan's most iconic stage persona demonstrates the power of the presentational aspects of kabuki —dance, music, and costume—to symbolically express iki ("chic refinement"), the predominant aesthetic style of Edo era popular culture. As the foremost example of iki in a male character, Sukeroku displays in this dance the complexity of this aesthetic as both an expression of fashionable style on the surface and, at a more hidden level, a symbolic expression of resistance by commoners who sought to oppose the samurai ruling class.

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No Performances in Gaichi

Kagaya¹

2001

atj

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Japanese Theatre and the International Stage

Cited by 12 publications

References 0 publications

1954: Selling Kabuki to the West

1954: Selling Kabuki to the West

Urban Style, Sexuality, Resistance, and Refinement in the Japanese Dance Sukeroku

No Performances in Gaichi

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