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Trance and Transformation of the Actor: Japanese Noh and Balinese Masked Dance-Drama (review)

Trance and Transformation of the Actor: Japanese Noh and Balinese Masked Dance-Drama (review) the form encountered. But advanced readers will also be able to learn from it as well because it shares current research and debates about the arts in compact ways. It is amazing how much material is covered in this one book, which covers a vast array of information. Nonetheless, this choice to make chapters self-standing may have caused difficulties in systematic organization; for instance, after we read about children's gamelan and dance groups, the stories in Balinese theater, and the shadow puppet theater, it seems we are taken back again in a section called "Dance and Drama: An Introduction." Readers learn of the sacred and ceremonial forms, the legong (palace female dance) and kebyar (dance to a twentieth-century gamelan of this name) forms, the newer dances of the 1940s and 1960s, the social-choral forms, the dance drama genre developed in the l960s, and very contemporary forms. Every article is well written and fits beautifully into this resource book on Balinese performing arts at present. It is a guide to this rich, vast, and complex subject. It is a pity that there is no index to assist the reader in looking up a topic. The work is fine, aside http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Trance and Transformation of the Actor: Japanese Noh and Balinese Masked Dance-Drama (review)

Foley, Kathy
Asian Theatre Journal , Volume 22 (2) – Oct 31, 2005
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2005 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
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Abstract

the form encountered. But advanced readers will also be able to learn from it as well because it shares current research and debates about the arts in compact ways. It is amazing how much material is covered in this one book, which covers a vast array of information. Nonetheless, this choice to make chapters self-standing may have caused difficulties in systematic organization; for instance, after we read about children's gamelan and dance groups, the stories in Balinese theater, and the shadow puppet theater, it seems we are taken back again in a section called "Dance and Drama: An Introduction." Readers learn of the sacred and ceremonial forms, the legong (palace female dance) and kebyar (dance to a twentieth-century gamelan of this name) forms, the newer dances of the 1940s and 1960s, the social-choral forms, the dance drama genre developed in the l960s, and very contemporary forms. Every article is well written and fits beautifully into this resource book on Balinese performing arts at present. It is a guide to this rich, vast, and complex subject. It is a pity that there is no index to assist the reader in looking up a topic. The work is fine, aside

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Oct 31, 2005

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