Synopses & Reviews
"The glory of Japanese traditional theater... is here re-created in book form as perfectly as it can be." The Japan Times
"A collection of translations of traditional Japanese plays that will become the standard textbook for courses on Japanese theater. A compact introduction, rich variety of fine translations of representative plays, detailed stage directions, and extensive photographs make this an ideal teacher's tool." Jonah Salz, The Journal of Asian Studies
The first book of its kind: a collection of the most important genres of Japanese performance--noh, kyogen, kabuki, and puppet theater--in one comprehensive, authoritative volume.
This collection presents the most important genres of Japanese performance - no, kyogen, kabuki, and bunraku puppet theatre - in one volume. The text enables readers to see how the same stories are transformed when re-created for different stages.
Though Japan has a venerable anthologizing tradition of its own, Karen Brazell does what indigenous Japanese editors have never done: she incorporates in one authoritative volume all four of the major Japanese dramatic forms -- no, kyogen, kabuki, and bunraku puppet theater -- collecting the most celebrated works of the Japanese performance tradition. Organized by genre, each section features a rich selection of representative plays exploring each theatrical style and is prefaced by an illustrative essay covering a wide range of subjects, from stage direction to musical accompaniment. With both classic and new translations of more than thirty plays and scenes -- along with Brazell's detailed, historically rich supplementary material and copious illustrations -- no better anthology exists of the Japanese theatrical corpus.
About the Author
Karen Brazell is a professor in the department of East Asian Studies at Cornell University and is the winner of the National Book Award for her translation of The Confessions of Lady Nijo. She is also editor of Twelve Plays of the No and Kyogen Theaters, and coauthor, with Monica Bethe, of No as Performance and the three-volume Dance in the No Theater.