Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Japanese theatre
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Interkulturowy Shakespeare japońskich reżyserów Yukio Ninagawy i Tadashiego Suzukiego

100%
Partyga E.
Pamiętnik Teatralny
|
2014
|
vol. 63
|
issue 3(251)
124-145
EN
The text examines production strategies used by Yukio Ninagawa and Tadashi Suzuki whilst interpreting Shakespeare’s dramas. Each of the directors has a fair number of Shakespearean productions co-defining their original author’s theatre formulas under their belt. Ninagawa offers his audiences a post-modern version of popular theatre where he responds to Shakespeare’s texts with his own historical and existential experience. Suzuki, who makes an elite theatre, presents Shakespeare’s plays side by side with numerous heterogeneous contexts to create collage scenarios seeking to uncover the universal condition of humanity. The Shakespearean productions of both directors can be included in a broad formula of intercultural theatre that strives to meet challenges of the globalising world by hybridising culture and nullifying the opposition between the familiar and the strange. Ninagawa and Suzuki purposefully throw their audiences off balance: the interpretations of Shakespeare they offer are equally surprising and disquieting for both the Japanese and the European spectators, so none of them may claim Shakespeare for themselves.
2
Publication available in full text mode
Content available

Kumiodori – teatr królestwa Riukiu

80%
Gredżuk S., Dobkowska S.
Didaskalia. Gazeta Teatralna
|
2021
|
issue 161
255-283
EN
The purpose of this article is to present the characteristics of kumiodori – a unique form of theatre that developed in a particular socio-geographical environment of the Okinawa Island over 300 years ago. Created in 1719 as a political tool for an entity that exists no more, it continues to shape the identity of a nation within a nation. Nowadays Okinawa stands for one of the 47 prefectures of Japan, as well as the name of the biggest island among the Ryūkyūs, that once constituted the core territory of the Ryūkyū Kingdom - a tributary state in the sphere of Chinese and Japanese influence. Officially these are known in Japan as Nansei (Southwestern) Islands, since geographically they form an island bridge connecting Japan with the Asian Continent, not so far from the Tropic of Cancer. This interplay of power relations, as well as the environmental factors were formative for the Ryūkyūan culture and can be found in the characteristics of the performing arts that developed on Okinawa, such as kumiodori. Sophisticated dialogue between the Japanese and Chinese thought systems can be found in its aesthetics and lyrics. Both influences are distinctive in music and song verse, while the maritime and tropical character of the natural environment, represented by the vivid colours of the turquoise ocean, multicoloured coral reef and flowers or evergreen bushes brightened by the scorching sun are clearly visible in set design, props or costumes. This article introduces the kumiodori as a form of art that developed not only as an entertainment, but also in order to reassure harmony with the neighbouring countries and yet represent the distinctive value of the Ryūkyū Kingdom. Kumiodori is a theatre genre that describes in its form the delicate process of turning pride into identity. Starting with historical outline and examples of representative kumiodori performances, with its characteristics described and compared to the culturally closest Japanese nō theatre, this article also touches on the current state of the kumiodori theatre in Japan. It is intended as an introduction and invitation to experience this genre that is unique to Okinawa Prefecture, and to provoke further consideration on the role that the geopolitical situation played in the formation of kumiodori.
3
Publication available in full text mode
Content available

Kostiumy w japońskim teatrze kyōgen: estetyka komizmu

70%
Zalewska A.
Przegląd Orientalistyczny
|
2021
|
issue 1-4 (277-280)
48-57
EN
Japanese kyōgen theatre is a comedy, and it has developed alongside nō drama from the 14th century on. Both types of theatre are performed even today and new plays for them are written, but the performances take place on a traditional stage, where the stage set and the costumes are traditional, as well. Kyōgen theatre costumes boldly combine humour with elegance and beautiful design. The article introduces the most important elements of basic types of kyōgen costumes and discusses the ornaments used on them, their meaning, and in what way they influence the atmosphere on the stage. The ornaments are both geometrical, from quite simple to more complicated ones (often grid patterns, stripes), and representational, in multiple forms and very rich imagery. The images on the costumes represent animals (often rabbits and hares), birds, fruit and vegetables (who would think a common turnip might look so interesting!), insects and crabs; all sorts of inanimate objects: fishing nets, houses, ox carts, fans, musical instruments etc. These costumes are fascinating examples of Japanese aesthetics: its asymmetry, overlaying of the images, taking part for the whole.
4
Publication available in full text mode
Content available

Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”

61%
Lecińska-Ruchniewicz M.
Slavia Occidentalis
|
2017
|
issue 74/2
51-64
PL
The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
5
Publication available in full text mode
Content available

Kyōgen, japońska komedia szalonych słów i komedia dell’arte

50%
Zalewska A.
Porównania
|
2016
|
vol. 18
219-238
EN
Kyōgen, a form of Japanese comic theater, was created and developed alongside Noh theater and in the beginnings it was mostly improvised on stage. Later, the actors started to write down whole texts of kyōgen pieces. In this article the language of kyōgen drama is discussed, especially some of the frequently used elements, like the phrases used by the main character to introduce himself in the beginning, phrases used as a reaction to the words of other actors or phrases and even full sentences repeatedly used in many dramas in certain situations. Although until the 19TH century Japanese theater was functioning without any contact with European theater, some resemblances can be noticed between kyōgen and Italian commedia dell’arte. These resemblances and differences are also discussed in the article.
PL
Japońska farsa kyōgen kształtowała się w ścisłym związku z teatrem nō i początkowo była formą w dużym stopniu improwizowaną; później teksty sztuk zaczęto ustalać i spisywać w ich pełnym brzmieniu. Artykuł przedstawia język sztuk kyōgen, ich stałe elementy, takie jak przedstawienie się na początku, sposoby reagowania na słowa drugiego aktora, i powtarzające się w wielu tekstach stałe zdania lub frazy. Do XIX wieku teatr japoński rozwijał się bez kontaktu z teatrem europejskim, można jednak dostrzec pewne zbieżności pomiędzy farsą kyōgen a włoską commedia dell’arte, dlatego też formy te zostały skonfrontowane i wyliczone zostały podobieństwa i różnice.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.