to say the least, challenging. The slash symbol / is used to mark lines in the chanting of the TAKEMOTO narrator. The page, (therefore), contains NAMES in capital letters, (italics within parentheses for the stage action [with JAPANESE terms such as (hontsurigane) not in italics]), and finally / lines divided by the slash symbol / for narration. I may be wrong, but a densely packed page of this mélange is likely to be intimidating for most readers. This is an area of obvious interest to this journal. In most cases the introductions to individual plays are helpful in setting the historical context and giving a sense of the major themes as well as the background to the particular scenes. This approach is crucial because all the translations are scenes from much longer plays. What we need to know is the provenance of the scenes translated--crucial for understanding kabuki dramaturgy. Julie Iezzi's introduction to Summer Festival gives the reader a clear sense of the strands in the play's development: from Osaka puppet play to Kyoto/Osaka kabuki and then to Edo. Finally, she traces the modern development of the different Osaka and Edo styles still in the repertoire. The relationship
Asian Theatre Journal – University of Hawai'I Press
Published: Jul 24, 2003
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