| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "KABUKI THEATER JAPAN": |
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Kabuki Theater of Japan, 1990.
This paper discusses the Kabuki theater of Japan: Body language, the virtuosity of the actor, acting techniques and Japanese concepts of space.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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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 ... "
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Kabuki and American Theater, 2005.
An examination of how kabuki, a traditional form of Japanese theater, and American theater have had an impact on each other.
1,145 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabuki theater 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)."
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Kabuki: Japanese Theater, 2004.
This paper discusses Kabuki, one art form of Japanese Theater established for the masses.
1,230 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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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 Kabuki theater 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."
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Japanese Noh Theater and the Traditional Western Theater, 2000.
A comparison of the evolution and development of two distinctive forms of theater.
1,965 words (approx. 7.9 pages), 6 sources, $ 62.95
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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."
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Traditional Japanese Theatre, 2002.
An overview of the acting conventions in the Japanese traditional theatres of Noh and Kabuki.
2,025 words (approx. 8.1 pages), 11 sources, $ 75.95
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Abstract
This paper will discuss the training of actors in the Japanese traditional theatres of Noh and Kabuki. It will be argued that the acting conventions of both schools differ in terms of the different requirements of each form; with the more formalized Noh theatre demanding skill in dance, while the action and spectacle of the Kabuki requires physical training and the ability to project expressions with faces rather than masks.
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Japanese Theater, 2002.
Looks at classical and modern forms of Japanese theater.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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Abstract
This paper explains three classical forms of Japanese performing arts, and one modern outgrowth of the theatre tradition in Japan. These are: Noh theatre, Bunraku puppetry, Kabuki drama and Butoh dance/movement theatre.
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Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
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Abstract
This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper
"Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
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The Elizabethan and Jacobean Theater.
This paper is an extensive discusses of the history of Elizabethan theater, which existed during the reign of Queen Elizabeth I, and the Jacobean theater, which followed Elizabethan theater in the reign of James I.
6,960 words (approx. 27.8 pages), 18 sources, MLA, $ 156.95
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Abstract
This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.
From the Paper
"Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."
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The History of the Theater, 2002.
A look at the development of theater through history.
2,000 words (approx. 8.0 pages), 11 sources, MLA, $ 63.95
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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."
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Japan's Modern Myths, 2007.
This paper discusses Japan as viewed in 'Japan's Modern Myths: Ideology in the Late Meiji Period' by Carol Gluck.
849 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
In this article the writer discusses Professor Carol Gluck's views regarding Japan as portrayed in Chapter 5 and 6 of 'Japan's Modern Myths: Ideology in the Late Meiji Period'. The writer points out that Professor Gluck argues that Japanese society was and is a society founded upon the values of the collective, rather than upon the individual. Further, the writer notes that her view of Japanese civic virtues is extremely broad and suggests that on every level of public and personal morality, the nation is given greater value than the lives of its citizens. The writer then discusses that, in Chapter 6, Gluck paints the period as a constant struggle between the forces of nationalism and collectivism versus the "social fever" for modernity, or Westernization, that is still present and, in Gluck's opinion, was a natural, human impulse in contrast to the expressed will of the state.
From the Paper
"Gluck suggests that the Meiji policies of the late 19th and early 20th century Japanese government leading up to World War II made civil obedience and national sacrifice a religious calling. Gluck's views of the causes of World War II thus take on a very socially deterministic cast. In her view, because the Emperor was divine, everything he did and was done in the name of Japan was seen as right and just. In terms of Japanese religion, although Gluck argues that although it might seem Buddhism had had a strong religious presence in Japanese morality, she believes this should not be over-emphasized, stating that Buddhism was often perceived as a foreign religion by the state In contrast, Gluck stresses the emphasis on the indigenous Japanese religion Shinto as a state religion. She sees Shintoism, as opposed to the imported philosophy of Buddhism, to form the true philosophy of the civil cult of the state. She points out that the Shintoists continued to press their claims for the institutionalization of Shinto as a separate office of state, apart from Buddhists."
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The Theater of Dionysus, 2004.
This paper discusses the ancient Greek theater and the area in which the drama was presented called the Theater of Dionysus.
1,110 words (approx. 4.4 pages), 6 sources, APA, $ 38.95
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Abstract
This paper explains that the evolution of theater in Greece may be linked directly to the festivals of Dionysus, the Grecian god of wine and misrule. The author points out that Greek theaters, including the theater of Dionysus, were not free-standing works of architecture, but rather they were built into hills in amphitheater forms. The theaters of Lycurgus replaced the original wood of the Dionysus theater with stone, reaffirming the importance of theater in the city of Athens' civic and religious life, which continued well into Hellenistic times, culminating in the Romans' added changes to the structure and including the addition of the Bema.
Table of Contents
History of Theater in Ancient Greece
Architecture of Greek Theaters
Parodos
Bema of Phaidros
The Central Section
Marble Throne of the Priest of Dionysus Eleutherios and Other Priests' Seats
Skene
The Stoa on the South Side of Skene
From the Paper
"The parodos of the Theater of Dionysus was a gangway leading into the orchestra over which chorus and actors made their entrances. There are two parodoi, one on each side of the orchestra. Parodos was also the name of the song chanted by the chorus as they entered the orchestra at the beginning of the play. This is another indication of the fusion of the role of ritual, the role of the chorus, and the role of architecture in early Greek theater."
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The Manitoba Theatre Centre, 2004.
A study of Canada's first regional theatre and its goal to achieve the establishment of a uniquely Canadian art and culture scene through experimental theatre.
2,392 words (approx. 9.6 pages), 12 sources, APA, $ 73.95
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Abstract
This paper considers the state of theatre in Canada and Winnipeg prior to the creation of the Manitoba Theatre Centre in 1958, looking at the goals of the Massey Commission in promoting the development of a Canadian culture. It also looks at the intentions of Theatre 77 and the Winnipeg Little Theatre in their merger to become the Manitoba Theatre Centre. The main body of the analysis is concerned with the mandate of the Manitoba Theatre Centre. Finally, consideration is also given to an additional fourth goal introduced later in the Centre's history that was concerned with encouraging the production of Canadian plays.
Outline
Introduction
Setting the Scene: The State of Theatre in Canada and Winnipeg and the Establishment of the Manitoba Theatre Centre
Goal A
Goal B
Goal C
Goal D
The Legacy and Prospects for the Centre as it Entered the 1980s
From the Paper
"Canadian theatre, in the 1950s, consisted mostly of amateur societies, with professional theatre only really finding a niche in Toronto. The Massey Commission Report of 1951 was concerned with the state of Canadian culture and its tendency to import art from other cultural centres, such as New York and London. The Massey Commission's Report outlined steps to create a government body that would grant funds to art programmes to promote a national culture. Such a concern had been similarly expressed by other major figures in Canadian theatre, some of whom had suggested that if the state of the theatre were to improve, it would require a national theatre that would tour the country with several permanent provincial theatre buildings to house professional productions (Massey 55). "
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Political Theater, 2004.
Shows how El Teatro Campesino Theater and The Bread and Puppet Theater exemplify examples of political theatre.
959 words (approx. 3.8 pages), 3 sources, MLA, $ 34.95
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Abstract
Political theater, at its best, emphasizes an important societal issue of the day and delivers a message to viewers of all backgrounds and interests without being a political party line or single-dimensional in nature. This paper examines two theaters in this category, El Teatro Campesino from California and The Bread and Puppet Theater in New York. It describes the formation and history of these two theatrical companies and examines their messages through the shows which they produce.
From the Paper
"El Teatro is popular theater geared toward expression of social, political and cultural messages. It is a theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism (Heyward). It cannot be ignored. Valdez, like Schumann believes in a total theater?one where an elevation of sensation is achieved through a range of different emotions and art forms to make the audience more politically aware."
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Postmodernism in Theater, 2004.
A review of different forms of theater in the Western world and how theater has evolved as an art over the past few centuries.
1,724 words (approx. 6.9 pages), 2 sources, MLA, $ 55.95
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Abstract
The purpose of this paper is to see how the society has changed in retrospect to the period from modernism to postmodernism, creating awareness to different perspectives on analysis in today's world. It attempts to show how the best way this can be understood is through the developments in the world of theater and how the theater functions as an artifact and a metaphor of the times.
Outline
Different Forms of Theater
Postmodern Theater
Actors and Audiences
Robert Wilson
Peter Brook
From the Paper
"The modern theater is characterized by a narrative plot where the actors play out roles of everyday people who tell a story based on life's tragedies and conflicts, with the unfolding tragedy or comedy developing at a beginning and ending with the last act of the play. The aim of these plays is to stretch the audience's comprehension of existing reality, to being forward the truth that is basically obscured. Even though the results of the actors' behaviors are mostly tragic. The audience becomes emotionally aroused with the characters of the play. This is seen in reactions to Willy Loman in the play Death of a Salesman and in Blanche DuBois play, A Streetcar Named Desire."
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Japan's Nuclear Capabilities, 2006.
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.
6,555 words (approx. 26.2 pages), 17 sources, MLA, $ 150.95
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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."
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