This book endeavours to unravel the complicated skeins of Japanese theatre in the modern period and offers an appreciation of the richness of choice of presentational and representational theatre forms.
Since the end of world War II there has been continuing but different conflict between the major theatrical genres. Kabuki continues to defend its ground successfully, but the ''new drama'' (shingeki) became firmly established in its own right in the 1960s. It was a vigorous and exuberant ''underground'' theatre which exploited anything and everything in the Japanese and western theatre traditions.
Now, thirty years on, they too have been superseded. The youth theatre of the 1980s and 90s has thrown aside the concerns of the angry underground and developed a fast-moving bewilderingly kaleidoscopic drama of breath-taking energy.

This book endeavours to unravel the complicated skeins of Japanese theatre in the modern period and offers an appreciation of the richness of choice of presentational and representational theatre forms.
Since the end of world War II there has been continuing but different conflict between the major theatrical genres. Kabuki continues to defend its ground successfully, but the ''new drama'' (shingeki) became firmly established in its own right in the 1960s. It was a vigorous and exuberant ''underground'' theatre which exploited anything and everything in the Japanese and western theatre traditions.
Now, thirty years on, they too have been superseded. The youth theatre of the 1980s and 90s has thrown aside the concerns of the angry underground and developed a fast-moving bewilderingly kaleidoscopic drama of breath-taking energy.

This book endeavours to unravel the complicated skeins of Japanese theatre in the modern period and offers an appreciation of the richness of choice of presentational and representational theatre forms.
Since the end of world War II there has been continuing but different conflict between the major theatrical genres. Kabuki continues to defend its ground successfully, but the ''new drama'' (shingeki) became firmly established in its own right in the 1960s. It was a vigorous and exuberant ''underground'' theatre which exploited anything and everything in the Japanese and western theatre traditions.
Now, thirty years on, they too have been superseded. The youth theatre of the 1980s and 90s has thrown aside the concerns of the angry underground and developed a fast-moving bewilderingly kaleidoscopic drama of breath-taking energy.