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anything and everything in the Japanese and western theatre traditions.Now, thirty years on, they too have been superseded.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anything and everything in the Japanese and western theatre traditions.Now, thirty years on, they too have been superseded.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anything and everything in the Japanese and western theatre traditions.Now, thirty years on, they too have been superseded.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.

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 examines identity theory’s centrality within social psychology and its foundations within structural symbolic interaction, highlighting its links not only to other prominent sociological subfields, but also to other theoretical perspectives within and beyond sociology. The book provides a synthetic overview outlining the intellectual lineage of identity theory within structural symbolic interactionism, and how the “Indiana School” of identity theory and research, associated especially with Sheldon Stryker, relates to other symbolic interactionist traditions within sociology. It also analyses the latest developments in response to the push to integrate identity theory, which initially focused on role identities, with the study of personal, group and social identities. Further, it discusses the relationship between identity theory and affect control theory, providing a sense of the many substantive topics within sociology beyond social psychology for which the study of identityhas important, sometimes underappreciated implications. The book concludes with a chapter summarizing the interrelated lessons learned while also reflecting on remaining key questions and challenges for the future development of identity theory.

This book examines identity theory’s centrality within social psychology and its foundations within structural symbolic interaction, highlighting its links not only to other prominent sociological subfields, but also to other theoretical perspectives within and beyond sociology. The book provides a synthetic overview outlining the intellectual lineage of identity theory within structural symbolic interactionism, and how the “Indiana School” of identity theory and research, associated especially with Sheldon Stryker, relates to other symbolic interactionist traditions within sociology. It also analyses the latest developments in response to the push to integrate identity theory, which initially focused on role identities, with the study of personal, group and social identities. Further, it discusses the relationship between identity theory and affect control theory, providing a sense of the many substantive topics within sociology beyond social psychology for which the study of identityhas important, sometimes underappreciated implications. The book concludes with a chapter summarizing the interrelated lessons learned while also reflecting on remaining key questions and challenges for the future development of identity theory.

This book examines identity theory’s centrality within social psychology and its foundations within structural symbolic interaction, highlighting its links not only to other prominent sociological subfields, but also to other theoretical perspectives within and beyond sociology. The book provides a synthetic overview outlining the intellectual lineage of identity theory within structural symbolic interactionism, and how the “Indiana School” of identity theory and research, associated especially with Sheldon Stryker, relates to other symbolic interactionist traditions within sociology. It also analyses the latest developments in response to the push to integrate identity theory, which initially focused on role identities, with the study of personal, group and social identities. Further, it discusses the relationship between identity theory and affect control theory, providing a sense of the many substantive topics within sociology beyond social psychology for which the study of identityhas important, sometimes underappreciated implications. The book concludes with a chapter summarizing the interrelated lessons learned while also reflecting on remaining key questions and challenges for the future development of identity theory.

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.

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 examines identity theory’s centrality within social psychology and its foundations within structural symbolic interaction, highlighting its links not only to other prominent sociological subfields, but also to other theoretical perspectives within and beyond sociology. The book provides a synthetic overview outlining the intellectual lineage of identity theory within structural symbolic interactionism, and how the “Indiana School” of identity theory and research, associated especially with Sheldon Stryker, relates to other symbolic interactionist traditions within sociology. It also analyses the latest developments in response to the push to integrate identity theory, which initially focused on role identities, with the study of personal, group and social identities. Further, it discusses the relationship between identity theory and affect control theory, providing a sense of the many substantive topics within sociology beyond social psychology for which the study of identityhas important, sometimes underappreciated implications. The book concludes with a chapter summarizing the interrelated lessons learned while also reflecting on remaining key questions and challenges for the future development of identity theory.

This book examines identity theory’s centrality within social psychology and its foundations within structural symbolic interaction, highlighting its links not only to other prominent sociological subfields, but also to other theoretical perspectives within and beyond sociology. The book provides a synthetic overview outlining the intellectual lineage of identity theory within structural symbolic interactionism, and how the “Indiana School” of identity theory and research, associated especially with Sheldon Stryker, relates to other symbolic interactionist traditions within sociology. It also analyses the latest developments in response to the push to integrate identity theory, which initially focused on role identities, with the study of personal, group and social identities. Further, it discusses the relationship between identity theory and affect control theory, providing a sense of the many substantive topics within sociology beyond social psychology for which the study of identityhas important, sometimes underappreciated implications. The book concludes with a chapter summarizing the interrelated lessons learned while also reflecting on remaining key questions and challenges for the future development of identity theory.

This book examines identity theory’s centrality within social psychology and its foundations within structural symbolic interaction, highlighting its links not only to other prominent sociological subfields, but also to other theoretical perspectives within and beyond sociology. The book provides a synthetic overview outlining the intellectual lineage of identity theory within structural symbolic interactionism, and how the “Indiana School” of identity theory and research, associated especially with Sheldon Stryker, relates to other symbolic interactionist traditions within sociology. It also analyses the latest developments in response to the push to integrate identity theory, which initially focused on role identities, with the study of personal, group and social identities. Further, it discusses the relationship between identity theory and affect control theory, providing a sense of the many substantive topics within sociology beyond social psychology for which the study of identityhas important, sometimes underappreciated implications. The book concludes with a chapter summarizing the interrelated lessons learned while also reflecting on remaining key questions and challenges for the future development of identity theory.