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Japanese Theatre Transcultural: German and Italian Interweavings ed. by Stanca Scholz-Cionca and Andreas Regelsberger (review)

Japanese Theatre Transcultural: German and Italian Interweavings ed. by Stanca Scholz-Cionca and... "semi-documentary style" and explicit sexuality in creating his works. I found the writings of Okada Toshiki and Maekawa Tomohiro fascinating and particularly productive for my own creative work as a director. However, these discussions also connect with the book's greatest drawback. In reading about these artists one wants to learn more about their work; while the theoretical discussions are fascinating, one wants to see how they are implemented. Unfortunately, unless one is familiar with the work mentioned, these connections are impossible to make. Small descriptions or quotations from the productions are included, but they do not adequately serve the reader. This may partly have to do with the book's length. At 285 pages, it should be long enough; however, as it is in both English and Japanese the actual length is half that number. The end result is that each author has only between fifteen and twenty pages of text--hardly enough for a true in-depth understanding of their work. In including both Japanese and English text the book loses its greatest virtue, which is the ability to introduce the reader not only to the artists' background and ideas but to the work as well. Tokyo Theatre Today is http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Japanese Theatre Transcultural: German and Italian Interweavings ed. by Stanca Scholz-Cionca and Andreas Regelsberger (review)

Asian Theatre Journal , Volume 30 (2) – Oct 14, 2013

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

"semi-documentary style" and explicit sexuality in creating his works. I found the writings of Okada Toshiki and Maekawa Tomohiro fascinating and particularly productive for my own creative work as a director. However, these discussions also connect with the book's greatest drawback. In reading about these artists one wants to learn more about their work; while the theoretical discussions are fascinating, one wants to see how they are implemented. Unfortunately, unless one is familiar with the work mentioned, these connections are impossible to make. Small descriptions or quotations from the productions are included, but they do not adequately serve the reader. This may partly have to do with the book's length. At 285 pages, it should be long enough; however, as it is in both English and Japanese the actual length is half that number. The end result is that each author has only between fifteen and twenty pages of text--hardly enough for a true in-depth understanding of their work. In including both Japanese and English text the book loses its greatest virtue, which is the ability to introduce the reader not only to the artists' background and ideas but to the work as well. Tokyo Theatre Today is

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Oct 14, 2013

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