TY  - GEN
N2  - 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.
DO  - 10.1007/978-3-319-97178-0
DO  - doi
AB  - 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.
T1  - USE OF ASIAN THEATRE FOR MODERN WESTERN THEATRE :the displaced mirror.
DA  - 2018.
CY  - [Place of publication not identified]
AU  - TIAN, MIN.
CN  - PN2100-PN2193
PB  - SPRINGER INTERNATIONAL PU,
PP  - [Place of publication not identified]
PY  - 2018.
ID  - 1359112
KW  - Theater
KW  - Theater.
KW  - Performing arts.
SN  - 9783319971780
SN  - 3319971786
SN  - 9783319971797
SN  - 3319971794
TI  - USE OF ASIAN THEATRE FOR MODERN WESTERN THEATRE :the displaced mirror.
LK  - https://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-319-97178-0
UR  - https://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-319-97178-0
ER  -