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From the Editor

From the Editor editor’s note As we move into a new millennium, this issue of AT J allows us, like Janus, to look both backwards and forwards at the same time. Each play and essay comes to grips with questions of tradition and change, continuity and disruption, the past and the future. Mayama Seika’s Yoritomo’s Death, translated and introduced by Brian Powell, represents one way in which Japan’s four-century-old kabuki theatre grappled with issues of modernity by attempting to bring psychological and his- torical realism into kabuki’s highly conventionalized dramaturgy. The play epitomizes the best of what came to be called “new” or shin kabuki, but arguments continue as to whether such plays—whatever their artistic quality—should properly be called kabuki at all. Where, some have asked, does the kabuki end and the shin begin? Chinese drama- tists too have struggled in the past century with finding a “modern”— even critical—voice to place alongside their venerable classical tradi- tions, especially when faced by repressive political administrations. Recent economic developments have led to some opening up. But as Yang Qian notes in the introduction to Hope, his satire about the eco- nomic boom in Shenzen, artists must be extremely clever about get- ting their 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 © 2000 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

editor’s note As we move into a new millennium, this issue of AT J allows us, like Janus, to look both backwards and forwards at the same time. Each play and essay comes to grips with questions of tradition and change, continuity and disruption, the past and the future. Mayama Seika’s Yoritomo’s Death, translated and introduced by Brian Powell, represents one way in which Japan’s four-century-old kabuki theatre grappled with issues of modernity by attempting to bring psychological and his- torical realism into kabuki’s highly conventionalized dramaturgy. The play epitomizes the best of what came to be called “new” or shin kabuki, but arguments continue as to whether such plays—whatever their artistic quality—should properly be called kabuki at all. Where, some have asked, does the kabuki end and the shin begin? Chinese drama- tists too have struggled in the past century with finding a “modern”— even critical—voice to place alongside their venerable classical tradi- tions, especially when faced by repressive political administrations. Recent economic developments have led to some opening up. But as Yang Qian notes in the introduction to Hope, his satire about the eco- nomic boom in Shenzen, artists must be extremely clever about get- ting their

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Mar 1, 2001

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