By Tadashi Uchino
'Crucible our bodies' is a examine of eastern functionality tradition. It covers quite a number old and theoretical issues, from Brecht in Japan to 'children's' our bodies in postmodern jap performances, from the proposal of good looks in modern cultural thought to functional and theoretical readings of contemporary intercultural performances.
Political displacements : in the direction of historicizing Brecht in Japan, 1932-98 --
Images of Armageddon : Japan's Nineteen Eighties' theatre tradition --
From 'beautiful' to 'cute' : a observe on good looks in glossy and postmodern Japan --
Deconstructing 'Japaneseness' : in the direction of articulating locality and hybridity in modern jap functionality --
Playing betwixt and among : intercultural functionality within the age of globalization --
Fictional physique as opposed to junk physique : pondering throughout the acting physique in modern Japan, or why is historic Greek drama nonetheless produced? --
Pop, postmodernism and junk : Murakami Takashi and 'J' theatre --
Globality's youngsters : the 'child's' physique as a method of flatness in functionality --
Nationalism, intra-nationalism : re-imagining the boundary --
Mapping/zapping 'J' theatre in the interim --
Miyazawa Akio after 9-11 : actual dementia and undoing heritage within the 'J' locality --
Epilogue : interculturalism revisited after Sep 11.
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Extra resources for Crucible bodies : postwar Japanese performance from Brecht to the new millennium
SING SUN WHICH LOOKS LIKE A SEmNG SUN), Tuna Yuki o Tsurete (With a Rising Sun which Looks Like a Setting Sun) in 1984. PHOTOGRAPH COURTESY OF THE THIRD STAGE. the chorus's opening song (see Figure 1): With a rising sun which looks like a setting sun I keep standing Without connecting with each other Without flowing into each other ' I, l Like a flashing star. For standing alone is painful For standing alone is enjoyable. With a rising sun which looks like a setting sun I am alone. For I cannot stand being alone.
The debate continues in various fields. Kobayashi Yoshinori, a popular Was Kitamura then talking about Hiroshima and Nagasaki? Not manga writer, is a major revisionist voice in this debate, and a series of necessarily. His representations of the end of the world can and should be read as constitutive of a viable site of resistance against the 'ongo ing process of oblivion', as Yasumi puts it ( 1995a: 160), within the ide ology of post-War democracy which incessantly asks us to 'forget' and deprives us of history and historical memories.
It comprises aristocratic art forms, where colour, splendour, More specifically, how can we relate this notion of beauty to the emer grandeur, meticulousness and minuteness were the norm. Visual pleas gence of some notable performance practices usually defined in terms of ure was all when the okashi principle, later identified as the essence of aesthetics (as in the work of Butoh in the late 1960s), and the notion of Japanese tradition by Motoori Norinaga (1730-1801) as mono no cuteness to some high-tech performance practices witnessed in the mid aware (meticulous sensitiveness to nature and beauty)-aware being in dle of the 1990s?