On August 15, 1945, when the war ended, almost all of Tokyo and Osaka's theaters had been destroyed or heavily damaged by American bombs. The Japanese urban infrastructure was reduced to dust, and so, one might have thought, would be the nation's spirit, especially in the face of nuclear bombing and foreign occupation. Yet, less than two weeks after the atom bombs had been dropped, theater began to show signs of life. Before long, all forms of Japanese theater were back on stage, and from death's ashes arose the flower of art. Rising from the Flames contains sixteen essays, many accompanied by photographic illustrations, by thirteen specialists. They explore the triumphs and tribulations of Occupation-period (1945–1952) theater, and cover not only such traditional forms as kabuki, no, kyogen, bunraku puppet theater (as well as the traditional marionette theater, the Yuki-za), and the comic narrator's art of rakugo, but also the modern genres of shingeki, musical comedy, and the all-female Takarazuka Revue. Among the numerous topics discussed are censorship, theater reconstruction, politics, internationalization, unionization, the search for a national identity through drama, and the treatment of the emperor on the pre- and postwar stage. The essays in this volume examine how Japanese theater, subject to oppressive thought control by prewar authorities, responded to the new—if temporarily limited—freedom allowed by the American occupiers, attesting to Japan's remarkable resilience in the face of national defeat.

Unique in any Western language, this is an invaluable resource for the study of one of the world's great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Unique in any Western language, this is an invaluable resource for the study of one of the world's great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

A collection of Kabuki play translations which trace Kabuki's changing relations to Japanese society during the premodern era. Each translation is accompanied by an introduction that contextualizes the play.

A collection of Kabuki play translations which trace Kabuki's changing relations to Japanese society during the premodern era. Each translation is accompanied by an introduction that contextualizes the play.

Unique in any Western language, this is an invaluable resource for the study of one of the world''s great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Unique in any Western language, this is an invaluable resource for the study of one of the world''s great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Historical Dictionary of Japanese Traditional Theatre is the only dictionary that offers detailed comprehensive coverage of the most important terms, people, and plays in the four principal traditional Japanese theatrical forms—no, kyogen, bunraku, and kabuki—supplemented with individual historical essays on each form.This updated edition adds well over 200 plot summaries representing each theatrical form in addition to:a chronology;introductory essay;appendixes;an extensive bibliography;over 1500 cross-referenced entries on important terms;brief biographies of the leading artists and writers;and plot summaries of significant plays. This book is an excellent access point for students, researchers, and anyone wanting to know more about the Japanese theatre.

America's third largest city until 1890, Brooklyn, New York, had a striking theatrical culture before it became a borough of Greater New York in 1898. As the city gained size and influence, more and more theatres arose, with at least 15 venues ultimately vying for favor. Too many theatregoers, however, preferred the discomforts of a ferry and horsecar trip to New York's playhouses instead of supporting the local product. Nor did the completion of the Brooklyn Bridge in 1883 do Brooklyn's theatres any favors. Manhattan's Goliath slayed Brooklyn's David.This first comprehensive study of Brooklyn's old-time theatre describes the city's early history, each of its many playhouses, its plays and actors (including nearly every foreign and domestic star), and its scandals and catastrophes, including the theatre fire that killed nearly 300. Brooklyn's ongoing struggle to establish theatres in a society dominated by anti-theatrical preachers, including Henry Ward Beecher, is detailed, as are all the ways that Brooklyn typified 19th century American theatre, from stock companies to combinations. Replete with fascinating anecdotes, this is the story of a major city from which theatre all but vanished before being reborn as a present-day artistic mecca.

A 2023 Choice Reviews Outstanding Academic TitleThis book is an annotated collection of English-language documents by foreigners writing about Japan’s kabuki theatre in the half-century after the country was opened to the West in 1853. Using memoirs, travelogues, diaries, letters, and reference books, it contains all significant writing about kabuki by foreigners—resident or transient—during the Meiji period (1868–1912), well before the first substantial non-Japanese book on the subject was published. Its chronologically organized chapters contain detailed introductions. Twenty-seven authors, represented by edited versions of their essays, are supplemented by detailed summaries of thirty-five others. The author provides insights into how Western visitors—missionaries, scholars, diplomats, military officers, adventurers, globetrotters, and even a precocious teenage girl—responded to a world-class theatre that, apart from a tiny number of pre-Meiji encounters, had been hidden from the world at large for over two centuries. It reveals prejudices and misunderstandings, but also demonstrates the power of great theatre to bring together people of differing cultural backgrounds despite the barriers of language, artistic convention, and the very practice of theatergoing. And, in Ichikawa Danjuro IX, it presents an actor knowledgeable foreigners considered one of the finest in the world.

A collection of fifteen essays written over nearly four decades by one of America's best-known scholars of Japan's kabuki theatre. Illustrated with numerous photographs, prints, and line drawings, it includes an overview of kabuki and its impact on world theatre, interviews with and biographical accounts of famous actors, discussions of kabuki acting and staging techniques, an examination of kabuki violence, accounts of English-language kabuki productions, studies of theatrical architecture, a survey of amateur kabuki in rural communities, and a comparison of kabuki with the eighteenth-century English theatre. Each essay has been revised, some considerably, and two previously unpublished essays have been provided.

Samuel L. Leiter's Kabuki at the Crossroads: Years of Crisis, 1952-1965 is the first detailed account of Japan's kabuki theatre in the years immediately following the end of the Occupation. It examines every aspect of this traditional theatre as it struggled to maintain its position in a rapidly changing postwar entertainment environment. It covers acting rivalries, major productions, theatres, international tours, the convention of men playing female roles, name-taking and memorial ceremonies, the company system and managerial strategies. In addition, the volume includes numerous appendixes chronicling the period, including a thorough chronology and 150 summaries of new plays never previously discussed in English.

On August 15, 1945, when the war ended, almost all of Tokyo and Osaka's theaters had been destroyed or heavily damaged by American bombs. The Japanese urban infrastructure was reduced to dust, and so, one might have thought, would be the nation's spirit, especially in the face of nuclear bombing and foreign occupation. Yet, less than two weeks after the atom bombs had been dropped, theater began to show signs of life. Before long, all forms of Japanese theater were back on stage, and from death's ashes arose the flower of art. Rising from the Flames contains sixteen essays, many accompanied by photographic illustrations, by thirteen specialists. They explore the triumphs and tribulations of Occupation-period (1945–1952) theater, and cover not only such traditional forms as kabuki, no, kyogen, bunraku puppet theater (as well as the traditional marionette theater, the Yuki-za), and the comic narrator's art of rakugo, but also the modern genres of shingeki, musical comedy, and the all-female Takarazuka Revue. Among the numerous topics discussed are censorship, theater reconstruction, politics, internationalization, unionization, the search for a national identity through drama, and the treatment of the emperor on the pre- and postwar stage. The essays in this volume examine how Japanese theater, subject to oppressive thought control by prewar authorities, responded to the new—if temporarily limited—freedom allowed by the American occupiers, attesting to Japan's remarkable resilience in the face of national defeat.

Unique in any Western language, this is an invaluable resource for the study of one of the world's great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Unique in any Western language, this is an invaluable resource for the study of one of the world's great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

A collection of Kabuki play translations which trace Kabuki's changing relations to Japanese society during the premodern era. Each translation is accompanied by an introduction that contextualizes the play.

A collection of Kabuki play translations which trace Kabuki's changing relations to Japanese society during the premodern era. Each translation is accompanied by an introduction that contextualizes the play.

Unique in any Western language, this is an invaluable resource for the study of one of the world''s great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Unique in any Western language, this is an invaluable resource for the study of one of the world''s great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Historical Dictionary of Japanese Traditional Theatre is the only dictionary that offers detailed comprehensive coverage of the most important terms, people, and plays in the four principal traditional Japanese theatrical forms—no, kyogen, bunraku, and kabuki—supplemented with individual historical essays on each form.This updated edition adds well over 200 plot summaries representing each theatrical form in addition to:a chronology;introductory essay;appendixes;an extensive bibliography;over 1500 cross-referenced entries on important terms;brief biographies of the leading artists and writers;and plot summaries of significant plays. This book is an excellent access point for students, researchers, and anyone wanting to know more about the Japanese theatre.

America's third largest city until 1890, Brooklyn, New York, had a striking theatrical culture before it became a borough of Greater New York in 1898. As the city gained size and influence, more and more theatres arose, with at least 15 venues ultimately vying for favor. Too many theatregoers, however, preferred the discomforts of a ferry and horsecar trip to New York's playhouses instead of supporting the local product. Nor did the completion of the Brooklyn Bridge in 1883 do Brooklyn's theatres any favors. Manhattan's Goliath slayed Brooklyn's David.This first comprehensive study of Brooklyn's old-time theatre describes the city's early history, each of its many playhouses, its plays and actors (including nearly every foreign and domestic star), and its scandals and catastrophes, including the theatre fire that killed nearly 300. Brooklyn's ongoing struggle to establish theatres in a society dominated by anti-theatrical preachers, including Henry Ward Beecher, is detailed, as are all the ways that Brooklyn typified 19th century American theatre, from stock companies to combinations. Replete with fascinating anecdotes, this is the story of a major city from which theatre all but vanished before being reborn as a present-day artistic mecca.

A 2023 Choice Reviews Outstanding Academic TitleThis book is an annotated collection of English-language documents by foreigners writing about Japan’s kabuki theatre in the half-century after the country was opened to the West in 1853. Using memoirs, travelogues, diaries, letters, and reference books, it contains all significant writing about kabuki by foreigners—resident or transient—during the Meiji period (1868–1912), well before the first substantial non-Japanese book on the subject was published. Its chronologically organized chapters contain detailed introductions. Twenty-seven authors, represented by edited versions of their essays, are supplemented by detailed summaries of thirty-five others. The author provides insights into how Western visitors—missionaries, scholars, diplomats, military officers, adventurers, globetrotters, and even a precocious teenage girl—responded to a world-class theatre that, apart from a tiny number of pre-Meiji encounters, had been hidden from the world at large for over two centuries. It reveals prejudices and misunderstandings, but also demonstrates the power of great theatre to bring together people of differing cultural backgrounds despite the barriers of language, artistic convention, and the very practice of theatergoing. And, in Ichikawa Danjuro IX, it presents an actor knowledgeable foreigners considered one of the finest in the world.

A collection of fifteen essays written over nearly four decades by one of America's best-known scholars of Japan's kabuki theatre. Illustrated with numerous photographs, prints, and line drawings, it includes an overview of kabuki and its impact on world theatre, interviews with and biographical accounts of famous actors, discussions of kabuki acting and staging techniques, an examination of kabuki violence, accounts of English-language kabuki productions, studies of theatrical architecture, a survey of amateur kabuki in rural communities, and a comparison of kabuki with the eighteenth-century English theatre. Each essay has been revised, some considerably, and two previously unpublished essays have been provided.

Samuel L. Leiter's Kabuki at the Crossroads: Years of Crisis, 1952-1965 is the first detailed account of Japan's kabuki theatre in the years immediately following the end of the Occupation. It examines every aspect of this traditional theatre as it struggled to maintain its position in a rapidly changing postwar entertainment environment. It covers acting rivalries, major productions, theatres, international tours, the convention of men playing female roles, name-taking and memorial ceremonies, the company system and managerial strategies. In addition, the volume includes numerous appendixes chronicling the period, including a thorough chronology and 150 summaries of new plays never previously discussed in English.