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Paris/Artaud/Bali: Antonin Artaud Vede il Teatro Balinese all'Esposizione Coloniale di Parigi del 1931 (review)

Paris/Artaud/Bali: Antonin Artaud Vede il Teatro Balinese all'Esposizione Coloniale di Parigi del... own, and I am slightly disturbed every time Jiaoniang is "Bella" and Feihong is "Petal." But this is a long-standing convention in Birch's translations, and I quite see that there is reason for remaining consistent. This translation is indeed a worthy addition to the illustrious library of translations by Cyril Birch. It will, of course, be of great use in drama and literature classes. But it will also provide great pleasure for any interested reader. Elizabeth Wichmann-Walczak University of Hawai`i at Manoa PARIS/ARTAUD/ BALI: ANTONIN ARTAUD VEDE IL TEATRO BALINESE ALL'ESPOSIZIONE COLONIALE DI PARIGI DEL 1931. By Nicola Savarese. L'Aquila: Textus, 1997. 299 pp. Paperback $15 Central to Italian scholar Nicola Savarese's work is the concept of "oriental theatres," a complex of suggestions he explains as resulting from an imprecise knowledge of Asian forms of theatre that has worked as a sort of myth for European theatrical culture since the end of the eighteenth century. "Oriental theatre," therefore, is a historical rather than a geographical concept that enables the scholar to investigate the numerous "encounters" that important European artists have had with Asian theatrical forms. Paris/Artaud/Bali is the story of one of these encounters: an original and passionate http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Paris/Artaud/Bali: Antonin Artaud Vede il Teatro Balinese all'Esposizione Coloniale di Parigi del 1931 (review)

Asian Theatre Journal , Volume 20 (2) – Jul 24, 2003

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Publisher
University of Hawai'I Press
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Copyright © 2003 The University of Hawai'i Press.
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1527-2109
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Abstract

own, and I am slightly disturbed every time Jiaoniang is "Bella" and Feihong is "Petal." But this is a long-standing convention in Birch's translations, and I quite see that there is reason for remaining consistent. This translation is indeed a worthy addition to the illustrious library of translations by Cyril Birch. It will, of course, be of great use in drama and literature classes. But it will also provide great pleasure for any interested reader. Elizabeth Wichmann-Walczak University of Hawai`i at Manoa PARIS/ARTAUD/ BALI: ANTONIN ARTAUD VEDE IL TEATRO BALINESE ALL'ESPOSIZIONE COLONIALE DI PARIGI DEL 1931. By Nicola Savarese. L'Aquila: Textus, 1997. 299 pp. Paperback $15 Central to Italian scholar Nicola Savarese's work is the concept of "oriental theatres," a complex of suggestions he explains as resulting from an imprecise knowledge of Asian forms of theatre that has worked as a sort of myth for European theatrical culture since the end of the eighteenth century. "Oriental theatre," therefore, is a historical rather than a geographical concept that enables the scholar to investigate the numerous "encounters" that important European artists have had with Asian theatrical forms. Paris/Artaud/Bali is the story of one of these encounters: an original and passionate

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Jul 24, 2003

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