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Kabuki's Forgotten War: 1931–1945 (review)

Kabuki's Forgotten War: 1931–1945 (review) In the closing sentence of her loving acknowledgments to the thousands of people who helped and inspired her during thirty years of research into Javanese theatre, Barbara Hatley extends her hope that the experience is "fun" for those who have the chance to read her book. Javanese Performances on an Indonesian Stage: Contesting Culture, Embracing Change is indeed fun to read because of the detail and richness of her firsthand accounts of a wide array of theatrical performances and the people who created them since the 1970s. It should be especially fun for those who are already familiar with the personalities involved because of the connections and relationships Hatley carefully illustrates. However, even for those who come to this subject without prior knowledge, this book is an engaging study of how performance, and more specifically the performance of cultural identity, is shaped as much by the particular people involved as by political exigencies. Particularly notable is the space devoted to discussion of women's involvement and gender representation, something that Hatley has (thankfully) focused on in her scholarly writings in the past, but in general is a topic that is sadly underreported and undertheorized in the media and scholarship http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Kabuki's Forgotten War: 1931–1945 (review)

Asian Theatre Journal , Volume 27 (1) – Aug 11, 2010

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'I Press
ISSN
1527-2109
Publisher site
See Article on Publisher Site

Abstract

In the closing sentence of her loving acknowledgments to the thousands of people who helped and inspired her during thirty years of research into Javanese theatre, Barbara Hatley extends her hope that the experience is "fun" for those who have the chance to read her book. Javanese Performances on an Indonesian Stage: Contesting Culture, Embracing Change is indeed fun to read because of the detail and richness of her firsthand accounts of a wide array of theatrical performances and the people who created them since the 1970s. It should be especially fun for those who are already familiar with the personalities involved because of the connections and relationships Hatley carefully illustrates. However, even for those who come to this subject without prior knowledge, this book is an engaging study of how performance, and more specifically the performance of cultural identity, is shaped as much by the particular people involved as by political exigencies. Particularly notable is the space devoted to discussion of women's involvement and gender representation, something that Hatley has (thankfully) focused on in her scholarly writings in the past, but in general is a topic that is sadly underreported and undertheorized in the media and scholarship

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Aug 11, 2010

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