Asian Theatre Journal, vol. 28, no. 2 (2011)

Kabuki watercolor drawing by A.C. Scott (Courtesy of Martha Johnson)
Kabuki watercolor drawing by A. C. Scott (Courtesy of Martha Johnson)

From the Editor, v

Addendum to Modern Chinese Drama in English: A Selective Bibliography

Siyuan Liu and Kevin J. Wetmore Jr., 279

SYMPOSIUM:
FOUNDERS OF THE FIELD

(First Generation Asian Theatre Scholars in the United States)
edited by Siyuan Liu and David Jortner
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Asian Theatre Journal, vol. 28, no. 1 (2011)

Special Issue: Asian Shakespeare 2.0

Macbeth and Lady Macbeth in Gambuh Macbeth
Macbeth and Lady Macbeth in Gambuh Macbeth

From the Editor, iii

Special Issue Editor’s Introduction: Asian Shakespeare 2.0, 1

ARTICLES

Shakespeare-Asian Theatre Fusions: Globe-“alization” of Naked Masks (Bangkok), Shadowlight (San Francisco), and Setagaya Public Theatre (Tokyo)
Kathy Foley, 7
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Asian Theatre Journal, vol. 24, no. 1 (2007)

ATJ 24.1 image

Editor’s Note, v

PLAYS

Suehirogari (The Fan of Felicity)
Translated and introduced by Andrew T. Tsubaki, 1

Suehirogari (The Fan of Felicity) is one of twenty-three Auspicious Plays (waki kyōgen) in the current kyōgen repertory. This play uses the relationship of a servant to his master, contrast of country simplicity and city trickery, misunderstandings of language, and dance for humor.

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Asian Theatre Journal, vol. 23, no. 2 (2006)

ATJ 23.2 image

Editor’s Note, iii

PLAY

Primary Colors: A Play by Mishima Yukio
Introduction and translation by Christopher L. Pearce, 223

Primary Colors (Sangenshoku) is a 1955 play by Mishima Yukio that brings up issues of homosexuality and bisexuality. Its positive treatment of homosexual themes contrasts with the darkness of Forbidden Colors, the author’s novel of the same period. While the play has received only a few professional productions, its poetry and theme help us understand Mishima’s developing aesthetic.

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Asian Theatre Journal, vol. 23, no. 1 (2006)

ATJ 23.1 image

Editor’s Note
Kathy Foley, iii

ARTICLES

Myth and Reality: A Story of Kabuki during American Censorship, 1945–1949
James R. Brandon, 1

American censors during the occupation of Japan after World War II unsuccessfully attempted to eliminate feudal themes and foster new democratic plays in kabuki. Contrary to popular myths, kabuki flourished under the Occupation, “banned” plays were rapidly released, the infamous “list of banned plays” was not significant, most American censors were captivated by kabuki, and credit for Occupation assistance to kabuki should not limited to one man, Faubion Bowers. Using archival records, I show that the Shōchiku Company, the major kabuki producer, successfully resisted the democratic aims of the Occupation. Shōchiku’s “classics-only” policy protected Japanese culture from American contamination and inadvertently fashioned the fossilized kabuki we know today.

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