Editor's Note

Editor's Note From the Editor A quick glance at this issue's table of contents will immediately make clear the preoccupation of most authors with matters of some political import. S. Shankar's translation of Komal Swaminathan's award-winning Indian play Water! is as overtly political as a play can get, dealing as it does with the oppression of penniless peasants who have to fight obtuse authorities for every drop of water their parched village can scrounge. Swaminathan's play offers a direct link to Darren Zook's essay on the problems of developing appropriate methodologies of creating Indian political theatre--especially in regions where the efforts of theatre artists are subverted by the irony of the sociopolitical conditions under which they must exist. Xiaomei Chen takes us to contemporary China to examine the search for the appropriate mix of form and content in the modern spoken dramas of post-Mao communist society, while Wenwei Du seeks to discover how classical dramas of the Yuan era, revived in today's China, can have social and political relevance for contemporary audiences. The next three essays, all winners of the annual competition for the Association of Asian Performance Debut Panel, were presented at the Association for Theatre in Higher Education http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2001 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
See Article on Publisher Site

Abstract

From the Editor A quick glance at this issue's table of contents will immediately make clear the preoccupation of most authors with matters of some political import. S. Shankar's translation of Komal Swaminathan's award-winning Indian play Water! is as overtly political as a play can get, dealing as it does with the oppression of penniless peasants who have to fight obtuse authorities for every drop of water their parched village can scrounge. Swaminathan's play offers a direct link to Darren Zook's essay on the problems of developing appropriate methodologies of creating Indian political theatre--especially in regions where the efforts of theatre artists are subverted by the irony of the sociopolitical conditions under which they must exist. Xiaomei Chen takes us to contemporary China to examine the search for the appropriate mix of form and content in the modern spoken dramas of post-Mao communist society, while Wenwei Du seeks to discover how classical dramas of the Yuan era, revived in today's China, can have social and political relevance for contemporary audiences. The next three essays, all winners of the annual competition for the Association of Asian Performance Debut Panel, were presented at the Association for Theatre in Higher Education

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Sep 1, 2001

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