1 - 10 of 18 articles
In the face of an increasingly communist Asia, the Japanese government worked in 1954 with American kabuki aficionados and the Azuma Nihon Buyo Company to market kabuki to the United States as an aggressively capitalistic, inherently democratic, brilliantly theatrical form. In doing...
Yutian (Cry to Heaven) is the third Chinese stage adaptation of Harriet Beecher Stoweâs novel Uncle Tomâs Cabin between 1907 and 2007. The first, Heinu yutian lu (Black Slaveâs Cry to Heaven) by Zeng Xiaogu, was staged by Chinese students in Tokyo in 1907; the second,...
Two models in late nineteenth-century Paris foreground the ideological and dramaturgical connections between colonial nationalism in the West and theatreâs role in nation building in Meiji Japan and late Qing China. The first involves manifestations of French nationalism after the...
The decade between 1980 and 1990 was a time of political upheaval and change in Nepal as the populace demanded a voice in the system that governed their lives. It was also an important period in the development of Nepalâs theatre as democracy was won with the help of the fledgling political...
The Singapore Arts Festival celebrated its thirtieth anniversary in 2007, an appropriate milestone for taking stock of the countryâs premiere cultural event. Under the leadership of Goh Ching Lee since 1999, the festival has sought to carve out a distinctive identity that is Asian and...
Amidst the political and cultural sea change of the 1980s in China, a refined awareness of the environment bubbled to the surface. Throughout this decade, artists and scientists alike searched for ways to convey the urgency of Chinaâs ecological crisis. Playwrights who tackled this issue often...
Within a decade, Ming Hwa Yuan (MHY) built its fame by setting up a new image of gezaixi, Taiwanese âsong opera.â MHY is acutely aware of the visual possibilities on stage, the utility of stage technology, and the companyâs promotions and marketing are a classic example for...
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