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The Use of Asian Theatre for Modern Western Theatre

Part of the Palgrave Studies in Theatre and Performance History Book Series

DOI: 10.1007/978-3-319-97178-0

ISBN: 978-3-319-97177-3

Publisher: Springer International Publishing - Springer Journals

Nov 28, 2018

1 - 10 of 11 Chapters

LitStream

Chapter 1Introduction: The Displaced Mirror

Tian, Min

Pages: 1 –13

[More than a decade earlier, in my study of twentieth-century Chinese-Western intercultural theatre, I offered my critique—in the form of “the poetics of difference and displacement”—of the theories and practices of twentieth-century intercultural theatre. This introduction is a further...
LitStream

Chapter 2International Dramatic Prospecting: Aurélien Lugné-Poe’s Use of Asian Dramas

Tian, Min

Pages: 15 –42

[This chapter deals with Aurélien Lugné-Poe’s productions of Asian drama (Indian, Chinese, and Japanese). It argues that these productions must be understood historically in the theoretical and performance context of the Théâtre de l’Œuvre as it was formed as one of the major forces of the early...
LitStream

Chapter 3“In Our Two Selves”: Adolphe Appia and Gordon Craig on Japanese Theatre

Tian, Min

Pages: 43 –68

[Adolphe Appia and Gordon Craig have been venerated together as two of the founding fathers of modern European theatre. They had much in common in their ideas on theatre, and they shared a keen interest in Japanese theatre. Having known nothing about Japanese performance, Appia had a stimulating...
LitStream

Chapter 4“Sea-worthy must put to sea”: W. B. Yeats’s “Nō” and the Japanese Model

Tian, Min

Pages: 69 –97

[Critics in the majority have reached the consensus that W. B. Yeats’s encounter with Nō marked the turning point in his career as a legitimate poet-playwright for the theatre when he finally discovered a model for his ideal form of an aristocratic drama. A fundamental challenge to this...
LitStream

Chapter 5“Free Transposition”: The Use of Nō by Jacques Copeau and Suzanne Bing

Tian, Min

Pages: 99 –128

[This chapter approaches Jacques Copeau’s interest in—and his use of—Nō in light of Suzanne Bing’s contribution, which has not been given enough credit. It demonstrates how Bing interpreted and used Nō in the context of Copeau’s theory and practice. It looks closely at the views of Copeau’s...
LitStream

Chapter 6Theatre of Transposition: Charles Dullin and East Asian Theatre

Tian, Min

Pages: 129 –151

[Charles Dullin incorporated the ideas of East Asian theatre in his productions, and more importantly, in the formation of his theory of “theatre of transposition.” Dullin may have perceived the Japanese theatre he saw—although it was not given in the tradition of the old Japanese theatre—and the...
LitStream

Chapter 7“IT IS WE WHO ARE SPEAKING”: Antonin Artaud and Balinese Theatre

Tian, Min

Pages: 153 –176

[One of the lasting legacies Antonin Artaud left to the world of Western theatre was his interest in Balinese theatre. The important role his experience of Balinese theatre played in the construction of his theory on the theatre was invariably underscored by most of his students and critics. What...
LitStream

Chapter 8“Welding the Unweldable”: Vsevolod Meyerhold’s Refraction of Japanese Theatre

Tian, Min

Pages: 177 –209

[This chapter demonstrates that what was truly decisive for V. E. Meyerhold after having seen (instead of reading or imagining) a Kabuki performance had, after all, nothing to do with the authenticity of the “Kabuki” performance he saw, or with the veracity of his understanding of Kabuki theatre,...
LitStream

Chapter 9How Does the Billy-Goat Produce Milk? Sergei Eisenstein’s Disintegration and Reconstitution of Kabuki Theatre

Tian, Min

Pages: 211 –237

[Sergei Eisenstein’s interpretation of Kabuki theatre has gone fundamentally unquestioned and unchallenged for several decades. But what was exactly in Kabuki theatre—essentially the product of an alien and distant feudal society—that fed and stimulated the intellectual questions of Eisenstein, a...
LitStream

Chapter 10“The ‘Asiatic’ Model”: The Brechtian Art of Refunctioning of Japanese (Asian) Theatre

Tian, Min

Pages: 239 –262

[Bertolt Brecht’s practical approach to Japanese theatre, which necessitates the refunctioning of it by displacing it from its historical, cultural as well as aesthetic contexts was consistent with his general approach to classical traditions. Brecht treated classical traditions as raw material,...

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