Theatre on the Move: Sakurai Daizou's Tent Theatre in East Asia

Theatre on the Move: Sakurai Daizou's Tent Theatre in East Asia <p>Abstract:</p><p>This paper discusses Japanese director Sakurai Daizou&apos;s theatre productions known as the "tent theatre," a genre which first emerged during the Tokyo student movement in the late 1960s. The study focuses on Sakurai&apos;s collaborative productions, particularly the theatre&apos;s style and politics. Japanese tent theatres are distinctive in their combination of itinerary performance and temporary, guerrilla stage arrangement. Sakurai&apos;s theatre is a descendent of this tradition of political theatre; however, it departs from the other postmodernist Japanese aesthetics of the 1960s and 1970s while rendering folklores mixed in avant-garde abstract fragmentations as its signature dramaturgy. This essay discusses Sakurai&apos;s unique insistence on collaborative productions in light of the international theatre network he and his troupe members established in Taiwan and Beijing since the early 1990s. The discussion of Sakurai&apos;s collaborative art practice will contribute to the conversation on the post-1968 generation of socially engaged art from a non-European perspective, challenging the scope related to the problem of reification.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Theatre on the Move: Sakurai Daizou&apos;s Tent Theatre in East Asia

Asian Theatre Journal, Volume 36 (1) – Mar 13, 2019

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

<p>Abstract:</p><p>This paper discusses Japanese director Sakurai Daizou&apos;s theatre productions known as the "tent theatre," a genre which first emerged during the Tokyo student movement in the late 1960s. The study focuses on Sakurai&apos;s collaborative productions, particularly the theatre&apos;s style and politics. Japanese tent theatres are distinctive in their combination of itinerary performance and temporary, guerrilla stage arrangement. Sakurai&apos;s theatre is a descendent of this tradition of political theatre; however, it departs from the other postmodernist Japanese aesthetics of the 1960s and 1970s while rendering folklores mixed in avant-garde abstract fragmentations as its signature dramaturgy. This essay discusses Sakurai&apos;s unique insistence on collaborative productions in light of the international theatre network he and his troupe members established in Taiwan and Beijing since the early 1990s. The discussion of Sakurai&apos;s collaborative art practice will contribute to the conversation on the post-1968 generation of socially engaged art from a non-European perspective, challenging the scope related to the problem of reification.</p>

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Mar 13, 2019

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