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Errata

Errata vi From the Editor will be enlisting many to comment, critique, and correct. I hope that you will be as generous in saying “yes” as you were with me. A journal I now know is more than the “publish or perish” lifeboat that I imagined as a graduate student. To make this journal worth reading is the work of many hands and heads around the globe. It requires all the expertise that we as a community of Asian Theatre practitioners and scholars can muster—the years that you, as readers- doers-authors, have spent studying Asian dance, music, movement, text, puppets, language, costumes, staging—they are here. So is expertise you have developed in understanding a culture (your own or someone else’s), the many months you have spent in the archives, the long hours you have watched performances in halls, houses, fields, and temples. This journal is a living community of scholars and artists responding via reporting on arts practice to a changing world. Continue to grow our scholarship by reading, submitting articles, revising, reviewing . . . Use these pages to find common concerns and make us all smarter. ATJ remains a place to argue the new, rethink the old, support or unmask. Move us as a community toward what we all long for—a more artful, critical, understood world. As we grow our discipline, so we grow ourselves. ATHY FOLEY University of California, Santa Cruz Please note the following correction to “Color Insert” in Asian Theatre Journal 34, no. 1 (Spring 2017) Plate 6: The male character cowering on the floor is the evil theatrical manager Jonathan (Patrick Gross) who, like the witches in Macbeth, lures Keiko’s ambitious husband to betray her. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Errata

Asian Theatre Journal , Volume 35 (1) – Apr 5, 2018
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

vi From the Editor will be enlisting many to comment, critique, and correct. I hope that you will be as generous in saying “yes” as you were with me. A journal I now know is more than the “publish or perish” lifeboat that I imagined as a graduate student. To make this journal worth reading is the work of many hands and heads around the globe. It requires all the expertise that we as a community of Asian Theatre practitioners and scholars can muster—the years that you, as readers- doers-authors, have spent studying Asian dance, music, movement, text, puppets, language, costumes, staging—they are here. So is expertise you have developed in understanding a culture (your own or someone else’s), the many months you have spent in the archives, the long hours you have watched performances in halls, houses, fields, and temples. This journal is a living community of scholars and artists responding via reporting on arts practice to a changing world. Continue to grow our scholarship by reading, submitting articles, revising, reviewing . . . Use these pages to find common concerns and make us all smarter. ATJ remains a place to argue the new, rethink the old, support or unmask. Move us as a community toward what we all long for—a more artful, critical, understood world. As we grow our discipline, so we grow ourselves. ATHY FOLEY University of California, Santa Cruz Please note the following correction to “Color Insert” in Asian Theatre Journal 34, no. 1 (Spring 2017) Plate 6: The male character cowering on the floor is the evil theatrical manager Jonathan (Patrick Gross) who, like the witches in Macbeth, lures Keiko’s ambitious husband to betray her.

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Apr 5, 2018

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