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Title
USE OF ASIAN THEATRE FOR MODERN WESTERN THEATRE : the displaced mirror.
ISBN
9783319971780 (electronic book)
3319971786 (electronic book)
3319971778
9783319971773
9783319971797 (print)
3319971794
Imprint
[Place of publication not identified] SPRINGER INTERNATIONAL PU, 2018.
Language
English
Description
1 online resource
Other Standard Identifiers
10.1007/978-3-319-97178-0 doi
Call Number
PN2100-PN2193
Dewey Decimal Classification
792.09
Summary
This book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W.B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V.E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self- )reflection or, more precisely, a (self- )projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.
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Digital File Characteristics
text file PDF
Series
Palgrave studies in theatre and performance history.
Chapter 1. Lugné-Poe?s Orientalism as Part of his Mission as an International Dramatic Prospector
Chapter 2. Appia?s and Craig?s Views of the Japanese Theatre
Chapter 3. The Use of the Noh by Jacques Copeau and Suzzane Bing
Chapter 4. Theatre of Transposition: Charles Dullin and the East Asian Theatre
Chapter 5. Authenticity and Usability, or "Welding the Unweldable": Meyerhold?s Refraction of the Japanese Theatre
Chapter 6. How Does the Billy-Goat Produce Milk? Sergei Eisenstein?s Disintegration and Reconstitution of Kabuki Theatre
Chapter 7. "The?Asiatic? Model": The Brechtian Displacement and Refunctioning of the Japanese Theatre
Conclusion.
