Abstract This paper discusses the form of Asian art called Kabuki, a stage performance style art. Before the age of recording devices, this art could only be experienced first hand, and every piece was different, even though it may be performed over and over again. Through this paper, one takes a look at Kabuki from it origins to its existence in modern day Japan, as well as its influence on Western theatre. The paper also includes many pictures of Kabukitheater actors and performances.
From the Paper "Kabuki today has even harder competition than puppets and government oppression. Kabuki has survived the loss of its finest actors in WWII and also made it through censorship shortly after the war. But today it faces modern forms of theatrical entertainment in movies and television. Kabuki still holds root though as being a part of japans heritage, and still finds a place in the hearts of the older population. A lot of the key factors, which make the kabuki so great, are less known now, and because it is more of the old ways younger people are not as open to the kabuki. It is said that kabuki is stabilized in a near perfect state, and for that reason it will continue to stand the test of time and keeps its place in japans heritage. Despite the odds against the kabuki, popular actors continue to bring in audiences including a growing number of young people."
Abstract This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabukitheater and how they are adapted either from puppet theater, from kyogen dramas, or plays written specifically for kabuki. It looks at how Tokyo's Shochiku Company is one theatrical group that has made an impact on American theater by presenting kabuki in the heart of the U.S., in Texas.
From the Paper "Kabuki has its origin in Japan's Edo period. The form can be traced back to performances by female shrine dancer Okuni in a dry riverbed in 1603. The dances performed by Okuni and her fellow female dancers combined religious dances and folk dance. Okuni's performances became highly popular, and many troupes soon imitated the style. Performances became increasingly risqu? and boisterous, and women were banned from performing in 1629. In 1652, a brawl between two samurai competing for the attentions of a young male actor spurred authorities to ban young men under the age of 14 from appearing in kabuki (Spencer)."
From the Paper "This paper will be concerned with the Kabuki theater of Japan. It will discuss the virtuosity and techniques of the Kabuki actor, as well as the use of body language as it pertains to Japanese concepts of space. The origins of the Kabuki in Japan can be traced to the city of Kyoto in the early 17th century, A.D. Although the Kabuki is performed exclusively by men today, it was originally founded by a woman named Izumo no Okuni. Okuni led a group of women, most of whom were prostitutes, in the performance of narrative dances for the public. In this way, dance was used not just for its own sake but for the purpose of telling a story to the audience. Specifically, the gestures and body language of the dancers were used to tell the story while at the same time expressing the emotions of the characters. This was an important innovation in ... "
Abstract This paper shows how music has been combined with drama and dance throughout history and across cultures. The writers takes Tchaikovsky's western-influenced ballets and compares them to the very dissimilar traditional Japanese Kabuki music. Some similarities are drawn that show how different cultures appreciate and embody the inherent drama in music. The paper includes backgrounds of Tchaikovsky, Japanese Kabuki in an historical setting, as well as full descriptions of the music. The last paragraph compares/contrasts the two, while drawing overarching conclusions about the universality of music.
From the Paper "Since its birth, music has never been segregated out as "pure music" as the modern term now implies, with no implications attached to the sounds themselves. More often than not, there is always some sort of abstract connection made to the music, whether it is an evocation of a program, a tool for communication, a symbol of power, or a means of connecting with the spirit or the supernatural. Often, music will be used to tell a story, because of its ability to create atmosphere, manipulate moods, and even imitate concrete sounds. This ability leads to the creation of music in many categories?namely music with drama, and programmatic music. Drama and music have been combined since ancient times, in the form of accompaniment or incidental music to theatrical works, or as in Western Europe, operas and ballets. Wagner himself termed his operas "music dramas", but his was definitely not the first, nor the last great marriage of the two arts. For instance, since before the seventeenth century in Japan, an art combining music, acting and dance called Kabuki has flourished. Kabuki stems from other Japanese forms called Noh and Bunraku, but whereas these two forms combine music and drama of sorts, Kabuki is by far the most lavish, and is a combination of these other two forms. Besides exhibiting far greater orchestral forces, there is also a strong emphasis on the dance. Likewise, across the continent at about the same time an art of schooled dance began in the courts in France, culminating to what we now know as ballet. Ballet itself was often found in segments of operas, and in the eighteenth and nineteenth century it became fashionable to create full-length story ballets, consisting of purely music and dancers telling a story. A prime example of the apotheosis of the ballet genre would be Tchaikovsky's popular ballets, Swan Lake, The Sleeping Beauty, and The Nutcracker. Thus, the idea of music supporting dramatic action can be evidenced in both Japanese Kabuki, and Tchaikovsky's ballets, although both display as many striking differences as similarities."
Abstract The Noh Theater of Japan is an extremely ritualized tradition, and traces of the Noh Theater are found in Western theater. This paper explores many of the distinctive elements of the Noh Theater, such as the use of masks, the themes presented within plays, and the evolution from the old Noh Theater to a more modern presentation of Noh techniques. While the focus of this paper is on the Noh Theater, comparisons are drawn between the Noh Theater and traditional Western theater. There is also a discussion of the more dialogue-driven kyogen style of Japanese theater in respect to the more ritualized Noh Theater.
From the Paper "The impact on the Noh Theater on the Western theater can be seen to have occurred in a very diverse way. It appears that the Western theaters managed to assimilate various components from the Noh Theater, such as the use of the hitamen in performances to convey a blank countenance. However, the greatest aspect of the Noh Theater on the West is found within the development of more exacting performance techniques, where rather than a single production being subject to incongruities and shoddy acting, the standards of acting were promoted to a higher level overall."
Abstract The paper is an exploration of the development of theater over the centuries. It traces the origin of theater back to Classical Greece. The features of this kind of theater are studied. The paper then turns to contemporary theater, in an investigation into the features that is has assimilated from the Greek period. It also looks at The Noh theater of Japan as an influence of contemporary theater.
From the Paper "The theater is an international institution. Broadly speaking, elements of theater are found in virtually every culture, and modern theater as practiced in America is the result of numerous borrowings and adaptations of earlier forms of ritual and spectacle from ancient Greece, Rome, and Asia. Some of the adaptations are more evident, such as the theater itself, the design of the stage, and the forms of tragedy and comedy, and most of these elements can be traced to Greek and Roman beginnings. Asian theater has had its strongest influence on individual playwrights, certain styles of acting, and certain theatrical effects."
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
Abstract The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper "Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
Abstract This paper examines and analyzes Hispanic American theater and drama in the United States today. Prominent theater groups and artists are discussed, and the paper concludes with a discussion of the history and future of Hispanic American Theater.
Abstract The paper discusses the construction of Shakespeare's Globe Theater and its modern reconstruction. The paper explains how, in addition to the theater providing hours of drama, seeing a play at the Globe Theater was a social event where everyone gathered to be entertained. The paper shows how the Globe Theater is a rich part of the world's social, literary and dramatic history.
From the Paper "Of the literary and dramatic icons in the English-speaking world, none is so revered, so respected, and so well known as William Shakespeare. Producing 38 plays and 154 sonnets, The Bard is memorialized through both his drama and poetry, which continues to be read and discussed with fervor in classrooms today. Shakespeare's birthplace in Stratford-Upon-Avon has become the site of many a writer and dramatist's pilgrimage. In fact, the tiny house was once outfitted with windows where famous writers scratched their names, leaving their legacy with Shakespeare as he had left his legacy with them. Visitors to the birthplace today can still see some of the scrawled names on the window panes, which are now located behind protective glass--Charles Dickens and Ralph Waldo Emerson to name just two (Shakespeare Aloud)."
Abstract This paper discusses the role of ancient Greek drama in Greek society. The paper explains the stage styles, how actors performed and the main types of plays performed in ancient Greek theater. The author discusses tragedies, comedies and a special form of theater called "dithyramb," which was sung by a large chorus. The paper goes on to discuss the importance of the elements of prose, lyrics and dancing in the ancient Greek drama. The paper then goes on to discuss some of ancient Greece's foremost playwrights, as well as theories about the origins of drama.
From the Paper "The word 'Drama' as such has originated from the Greek words that mean 'to do', or 'to act'. When a story is acted out, it becomes a 'play', and this was the medium used by the ancient Greeks to act out their stories, which were either humorous and were about funny situations in their everyday lives, or they would be great tragedies, which would act out some important episode or period of their lives at the time. The speech and actions of the play would therefore, recreate human lives and its flow. It can be stated that ancient Greece was in fact the real birthplace of the future 'drama' of the Western world. In Greece, these plays or dramas were presented on stage twice a year, in honor of the God Dionysius, and there would be choruses made up of men who would be dressed up in goatskins, and who were meant to represent 'satyrs' or those mythical creatures who were partly goat, and partly man."
Abstract This paper discusses the revival of theater in Europe, beginning in the tenth century, as inspired and sponsored by the Catholic Church. The writer examines how historians now consider the High Middle Ages as the third major theatrical era in Western history. The paper further illustrates how major dramatic forms were connected with the church, its rituals, and its calendar of religious observances. The author explains the importance of these dramas , which included making church services more appealing and teaching scriptural history to the masses. The three types of plays that came out of the High Middle Ages are presented. The author concludes by arguing that drama other than that associated with the Church did exist at this time, influencing theater in the Late Middle Ages and even today.
From the Paper "Since Plato's The Republic, the depiction of art, particularly theatre, has been treated as a secondary if not inconsequential chronicle and portrayal of any given era. Nowhere is this more clearly illustrated than during the Middle Ages, where the major dramatic forms, if they existed at all and if they could be called theatre, could only be performed if they were connected with and sanctioned by the church. Coinciding with the well-deserved title of the Dark Ages, the Catholic Church has been historically credited of having begun a revival of theatre in Europe. Extant plays, sponsored by the church and dating back to the tenth century, are categorized into three distinct genres: liturgical drama, which enacted part of the liturgy of the Catholic Mass; cycle plays, which illustrated scriptural history; and morality drama, which metaphorically endorsed the symbolic structure of Christian life. The provincial dramaturgical view generally holds that that these were the only forms of theatre of the time. However, more recent scholarship demonstrates that as these performance-based church rituals begot theatre and theatre further begot church ritual, other plays like university plays, pageants, mummings and disguisings, interludes, other non-cycle religious plays, and drama came into play and that collectively, theatre of the High Middle Ages impacted the evolution of theatre into the Late Middle Ages, and what it is today."
Tags:theater middle ages renaissance cycle play mummings church, pageant robin hood morality drama
Abstract This paper observes the movie theaters marketplace for facts in the nature of competition and the idea of "perfect competition", a concept rooted in the work of John Maynard Keynes. It examines the concept of equilibrium in the marketplace and traditional economic theory.
From the Paper "When we decide to go see our third viewing of "The Mummy Returns" we?re usually more concerned with what time the next show is than with what movie theaters ? with their 6-dollar tubs of popcorn ? can tell us about the nature of economic competition. However, the movie theater business is ? like all arenas of economic activity ? capable of telling us something about the structure of a particular market place, the history of that commodity or service and the nature of competition in that particular market place. Movie theaters can tell us something the nature of competition and indeed about the nature of the idea of "perfect competition", a concept with roots in the work of John Maynard Keynes and his questions about the concept of equilibrium in the marketplace. Traditional economic theory assumed that a group of producers operated in a perfect market for any given commodity with each producing only a small part of the whole supply. Thus, for each producer (and for each commodity) the price was determined by the market. Each producer maximized its profits by selling only as much as would make marginal cost equal to price, in other words, each producer would produce exactly the amount that, if any more were to be produced that the additional product would add more to costs than it would to profits (MacHovec, 1995, p. 38). Each producer of any commodity (whether widgets or blockbusters) thus worked to capacity, to the point where profitability was limited by rising costs (MacHover, 1995, p. 42)."
Abstract This paper explores the issue of censorship by the U.S. government. The paper begins with a look at the first amendment and its significance for playwrights, directors and actors. Using specific plays that have aroused controversy, the writer shows what the opposition was and how the companies handled it. Finally the writer presents the debate on the responsibility of theaters, companies, sponsors and parents to know what they are viewing.
From the Paper "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceable to assemble, and to petition the government for a redress of grievances. (Cornel Law School) This is the first amendment of the United States of America; the first passage in the Bill of Rights. "Congress shall make no law...abridging the freedom of speech" (Cornell Law School). That one little passage guarantees the right of any one to say what they think; to express themselves in any creative form. But in a world and country of so many different backgrounds, beliefs, morals, and thoughts what is decent and appropriate to one person is not to another, so how do we decide what can be said and shown on stage?"
This well-researched paper examines not only whether Japan has the capability to create nuclear weapons but whether or not Japan already has these actual weapons.
Abstract This in-depth paper explores the sometimes fragile alliance between Japan and the U.S. and ponders whether or not Japan is capable, from a technical standpoint, of creating nuclear weapons. This paper delves into the possibility that Japan may already have nuclear weapons in its possession. A large number of Japanese citizens and successive governments have favored continuing the alliance with the U. S. which involves enormous reliance on American security and military power to protect Japan from attack. This paper defines article 9, the renunciation of war, of Japan's Peace Constitution. The writer also discusses the economic benefits in developing and maintaining nuclear weapons. This well-researched and informative paper considers some of the means Japan could employ to gain greater military autonomy which includes completing the development and production of advanced weapons such as the FSX fighter. This paper also discusses the various groups and parties that oppose nuclear weapons including the Japan Council against Atomic and Hydrogen Bombs.
From the Paper "Considering that the huge military-industrial complex of United States is an often-criticized force in the American economy and that maintaining a similarly high level of expenditures on weapons was a critical factor leading to the economic and political failure of the former Soviet Union, many in Japan are understandably content not to have a defense industry of a comparable magnitude. But there are some Japanese willing, and even eager, to duplicate or surpass American state-of-the-art military technology. Those who wish to see Japan more independent of reliance on the American power, who believe Japan's future is dependent on an autonomous defense establishment, favor the concept of Kokusanka or, indigenization of defense production."
Abstract This paper examines how history has had a considerable impact on Japan's relationship with Southeast Asia. The experience of the Japanese colonialism and the atrocities of the WWII participated in a persistent anti-Japanese resentment in the region with the result that Japan's foreign policy has had to deal with serious suspicion and difficulties to rebuild mutual understanding between Japan and Southeast Asia. It also looks at how the experience of the Cold War and Japan's submission to the U.S. economic and security interests have constituted an important obstacle to Japan-Southeast Asia interaction.
Outline
The Legacy of the Japanese Military Expansionism in Southeast Asia Before 1945
A Difficult Japan-Southeast Asia Interaction after 1945: The Japanese Foreign Policy Choices in a Confrontational World Order
Balance: Japan and the Challenge of Reconciling History With the Future of a More Globalised World
Conclusion
From the Paper "The Japanese historical presence in Southeast Asia thus can be considered to have participated in the development of forthcoming antagonisms precisely in this region during the Cold War. In this respect, Takashi Inoguchi's analysis of the impact of the Japanese occupation on Vietnam is particularly relevant. Indeed, he insists on the fact that Japan's colonisation of Vietnam led to a considerable exploitation of the country's resources which resulted in the emergence of nationalist movements and doctrines that would be then appropriated and exploited by confrontational ideologies during the Cold War. "
