Kabuki and Shakespeare, Balancing Yin and Yang

Brandon, James R.

doi:10.1162/105420499760265190

Cited by 7 publications

(2 citation statements)

References 2 publications

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“…He is well-known for having taken on Shakespearean roles such as Lady Macbeth and Desdemona. In 1976, Tamasaburo played the part of Lady Macbeth and ‘brought power and poise to this role’ at the Nissei Gekijo 11 . In 1993, Tamasaburo played the title role of Elizabeth I of England in Elizabeth , a play written by Spanish playwright Francisco Ors and directed by Spain’s female director, Nuria Espert.…”

Section: Singing Kunqu and Kabukimentioning

confidence: 99%

An East Asian Paradigm of Interculturalism

2016

European Review

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Based on a close study of the Sino-Japanese collaboration in Kunqu Opera The Peony Pavilion (2008), this article proposes a different conception of interculturalism onstage in East Asia in comparison with the prevailing East–West paradigm of intercultural performance and theatre. Some of the interesting questions that are raised and discussed in this paper are: How does the Japanese actor Bando Tamasaburo impersonate a young lady Du Liniang in the Chinese classical play without speaking the Chinese language? In what ways does the Sino-Japanese co-production connect and interweave Kunqu Opera and Kabuki? How has the intercultural performance been mediatized, received as well as perceived in China, Japan and elsewhere? The Sino-Japanese co-production features such important notions of interculturalism as connecting instead of othering, sharing instead of influencing, and complementing instead of exploiting.

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Section: Singing Kunqu and Kabukimentioning

confidence: 99%

An East Asian Paradigm of Interculturalism

2016

European Review

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“…No wonder how kabuki-as a Japanese theatrical artform-grafted elements off Shakespearean drama to innovate 'difference' on the kabuki stage (Kamachi, 2004), though at the cost of its own aesthetic individuality. Brandon (1999) argues that the symbiosis of Shakespeare and kabuki, pursued with positive intentions, was a failed enterprise from the perspective of kabuki and led to the partial dissolution of kabuki's significance in modern-Japan, even though Shakespeare became a huge hit (and still is) in commercial mass-media. Unfortunately, the history of this artistic relationship and related vicissitudes falls outside our scope and interest and, thereby, would not be extended forward.…”

Section: Discussionmentioning

confidence: 99%

Not just sheer pleasure: Critiquing animations and their scope in children’s socialisation

Dwivedi¹

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As the title suggests, the dissertation focusses on critiquing animations to understand their scope in children’s socialisation, as to what extent animations could offer a type of content that possesses an ‘edutainment’ value. As a result, animations (1) attempt to reinforce some ‘intrinsic’ values related to a variety of subjects/themes, including personal growth, meaningful relationships, and social responsibility, (2) providing children with an opportunity to rehearse those values that are deemed key elements for their socialisation. To understand this more closely, we have analysed animations from five different perspectives, leading the dissertation to be designed as a ‘patchwork quilt’ (Wibben, 2011). This metaphor implies that the five chapters are autonomously distinct and deal with exclusive frameworks that are later contextually assimilated in the conclusion to provide the reader with a complete picture that vindicates animations’ scope in children’s socialisation. Chapter I looks at the framework of the ‘odyssey’ employed in animations as a metaphor for personal growth and identity-formation. Chapter II focusses on how Doraemon reconceptualises the features of the classical Greek/Aristotelian form of ‘tragedy’ to develop its own postmodern critique of the Seven Deadly Sins through the image of its transgressive protagonist. Chapter III studies the role of ‘utopianism’ in children’s superhero narratives that inspires a more critical mode of hoping and envisions social progress and welfare. Chapter IV is founded upon the concept of the ‘feminine aesthetic’ to (1) analyse the transition and development of animated women’s representation from passivity to subjectivity and individuality, and (2) briefly explore the evolving representations of new, subversive masculinities. Chapter V emphasises the significance of ‘anthropomorphism’ in children’s media, and is informed by the literary genre of animal autobiography to critique animal-centric narratives as tales of animal liberation that reposition and rehabilitate the ‘human-animal kinship, bestowing ‘the animal’ with a voice.

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Continuity and Change in World Theatre History

Tillis

2020

The Challenge of World Theatre History

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Kabuki and Shakespeare, Balancing Yin and Yang

Cited by 7 publications

References 2 publications

An East Asian Paradigm of Interculturalism

An East Asian Paradigm of Interculturalism

Not just sheer pleasure: Critiquing animations and their scope in children’s socialisation

Continuity and Change in World Theatre History

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