The Fall 2018 issue of the Asian Theatre Journal opens with a note from new editor Siyuan Liu:
This is the thirty-fifth year of ATJ’s publication. As Confucius said, “at thirty I stood firm; at forty I had no more doubts.” That seems to describe ATJ aptly: we’re now firmly established as the journal on Asian theatre but we are still growing, not yet at the stage having no more doubts or questions. In a way, this issue serves as a reminder of our wide scope, both in terms of the contributors’ geographic locations, with half of them based in Asia, and their topics, from traditional theatre to spoken drama, from translation of a wartime Japanese student play to discussion of the world’s largest collection of Indonesian puppets, from dance as gendered nationalism in Tajikistan to the institutionalization of Chinese ethnic dance in Singapore.
This issue begins with Hanae Kurihara Kramer and Scott Kramer’s translation of Haseyama Toshihiko’s student play in wartime Japan, Three Heroes, and includes the following articles:
The Method of Action Analysis and the North Korean Realism Theatre in the 1960s
Jae-beom Hong and Seong-kwan Cho
Protesting Female Feticide and Hope for a New Earth: A Study of A. Mangai’s Pacha mannu (The New Born)
Rajni Singh and Soumya Mohan Ghosh
Jewelry Purse: The Soul of the Cheng School in Jingju
To Complete the Circuit: Reinterpreting Brecht’s The Caucasian Chalk Circle as Chuanju (Sichuan Opera) The Chalk Circle
Plus performance and book reviews
About the Journal
Asian Theatre Journal is dedicated to the performing arts of Asia, focusing upon both traditional and modern theatrical forms. It aims to facilitate the exchange of knowledge throughout the international theatrical community for the mutual benefit of all interested scholars and artists.
Asian Theatre Journal welcomes articles on Asian theatre and on the relations and mutual influences between Asian and Western theatre. Find submission guidelines here.