Synopses & Reviews
Modern Asian Theatre and Performance 1900 - 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society.
Organised by period, nation and region, each chapter provides:
·a historical overview of the culture;
·an outline of theatre history;
·a survey of significant playwrights, actors, directors, companies, plays and productions.
With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.
Every nation in Asia has had a modern theatre for over a century. Yetin Western theatre history and scholarship, “Asian theatre” often means traditional forms: no, kabuki, Beijing Opera, kathakali or theshadow puppets of Southeast Asia. This book aims to introduce the modern Asian theatres, to present a synoptic history of them, and toput them in the larger context of cultural exchange, especially with the West. The first attempts at modern theater in Asia resulted,across countries, in hybrid forms. Theater artists in the formative days were amateurs, and were typically affiliated with schools anduniversities. As they developed, the new theaters became, as in the West, a pastime largely for the educated elite. Development moved ineach country through the same phases: rejection of hybrid forms; nationalism (in the 1960s through 1980s); and into contemporarypluralism and globalization. Chapters break the subject down by country and era. Japan through the Occupation gets the first chapter,with Chapter 2 covering Japan from the Occupation to the milennium. Chapters 3 and 4 belong to China, divided at the year 1949. Chapter 5is devoted to Chinese theatre in Taiwan and Hong Kong. Chapter 6 examines modern Korean theatre and Chapter 7 takes on the early phasein India. That country's independence marks the dividing time line between phases and for Chapter 8. Finally, Chapter 9 is about moderntheatre in Southeast Asia. Each chapter gives an historical overview of the culture, an outline of theatre history, and a survey ofsignificant playwrights, actors, directors, plays, productions and companies.Annotation ©2014 Ringgold, Inc., Portland, OR (protoview.com)
About the Author
Kevin J. Wetmore, Jr. is Associate Professor of Theatre Arts and Chair of the Theatre Arts program at Loyola Marymount University, Los Angeles, USA.
Siyuan Liu is an Assistant Professor of Theatre at the University of British Columbia, Vancouver, Canada, and is currently the President of the Association for Asian Performance.
Erin B. Mee is Assistant Professor and Faculty Fellow of English, Drama, at New York University, USA. She is author of The Theatre of Roots: Redirecting the Modern Indian Stage (2008).