By Tadashi Uchino
ISBN-10: 1905422725
ISBN-13: 9781905422722
ISBN-10: 1905422741
ISBN-13: 9781905422746
'Crucible our bodies' is a learn of jap functionality tradition. It covers a variety of historic and theoretical issues, from Brecht in Japan to 'children's' our bodies in postmodern eastern performances, from the suggestion of good looks in modern cultural concept to sensible and theoretical readings of contemporary intercultural performances.
Political displacements : in the direction of historicizing Brecht in Japan, 1932-98 --
Images of Armageddon : Japan's 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 eastern functionality --
Playing betwixt and among : intercultural functionality within the age of globalization --
Fictional physique as opposed to junk physique : pondering throughout the appearing physique in modern Japan, or why is historical Greek drama nonetheless produced? --
Pop, postmodernism and junk : Murakami Takashi and 'J' theatre --
Globality's young children : the 'child's' physique as a method of flatness in functionality --
Nationalism, intra-nationalism : re-imagining the boundary --
Mapping/zapping 'J' theatre in the intervening time --
Miyazawa Akio after 9-11 : actual dementia and undoing background within the 'J' locality --
Epilogue : interculturalism revisited after 11th of September.
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Extra info for Crucible bodies : postwar Japanese performance from Brecht to the new millennium
Example text
This dialectical relationship between formality ('appearance') and spirituality ('content'), through history and at a particular histor ical conjuncture, is certainly nothing new but this (seemingly tradi tional) deep commitment to aesthetics was crucial for intellectuals and artists living in a rapidly modernizing Japan. These artists were con scious of the prevailing aesthetic 'tradition' as a reaction to the 'invad ing' Western influence of the nineteenth century, at a time when the discipline of aesthetics was entering the Japanese academic world that was in turn striving to replicate the Western educational system, thus heralding the invention of tradition as bijutsu, 'a technology of beauty'.
Within this world of 'euphoric noth quality, amply demonstrated by, for example, Noda Hideki, � play ingness', in which traditional value systems were declared dead, there was only one transcendental 'truth': 'people will die, everyone will die and there is no exception' (Yasumi 1995b: 167). According to Yasumi, the lesson to be learned wright/actor/director who was an exponent of the Sho-gekijo boom. q:b something truly new. The 1980s' 'theatre of the private' was,. accord parody or irtgly, also called 'young people's theatre' and, as Kazama Ken acutely pastiche do not constitute a viable site of resistance against the invisible observed, it became as popular as Kabuki had been during the Edo space of power,' and 'those who feel alienated from Japan's power sys period (1992: 133).
Hayashi claims to be devoted to the creation of beauty, at any place, at any time, and that this is why she has stopped making theatre; she came to realize that theatre was so impure that it could not provide a suitable site for beauty. Unusually for Hayashi, ideal beauty is to be found in Barbie dolls. -that is the question she is asking as an artist, and, to that effect, shows her work in underground clubs or designs for fashion shows. We may need terminologies of psychoanalysis to under stand what she means but, living in Japan, watching the super-flat 73 74 TADASHI UCHINO bodies of the younger generation of dancers and taking Murakami's CH APTER 3 super-flat theory into consideration, it may not be too difficult to DECONSTRUCTING 'JAPANESENESS': understand what she is suggesting here.
Crucible bodies : postwar Japanese performance from Brecht to the new millennium by Tadashi Uchino
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