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Theatre in Southeast Asia
An astonishing variety of theatrical performances may be seen in the eight countries of Southeast Asia-Burma, Cambodia, Indonesia, Laos, Malaysia, the Philippines, Thailand, and Vietnam. Brandon's lively, wide-ranging discussion points out interesting similarities and differences among the countries. Many of his photographs are included here.
Brandon's Guide to Theater in Asia
From India to Japan, the theater of Asia spreads out like a brilliant kaleidoscope. There are dance-dramas, ballets, masked pantomimes, operas, operettas, shadow-plays, puppet-plays, and more. You will see not only actors and actresses, but elegant and exquisitely costumed court dancers, musicians, singers, and chanters. You will hear songs and heroic narratives and flights of poetic dialogue. Drums will thud and gongs will boom. Everywhere you go, the colors, sights, and sounds will vary enormously from place to place. But it is not easy to discover where theaters are, what types of plays are being staged, or the hours, days, and seasons of performance. The purpose of this Guide is to help ...
On Thrones of Gold
¿Perhaps the best English-language puppetry book in years.¿ ¿Library Journal ¿Accessible and unexpectedly involving ... an essential book for anyone seriously interested in wayang.¿ ¿
The Cambridge Guide to Asian Theatre
A comprehensive and authoritative single-volume reference work on the theatre arts of Asia-Oceania. Nine expert scholars provide entries on performance in twenty countries from Pakistan in the west, through India and Southeast Asia to China, Japan and Korea in the east. An introductory pan-Asian essay explores basic themes - they include ritual, dance, puppetry, training, performance and masks. The national entries concentrate on the historical development of theatre in each country, followed by entries on the major theatre forms, and articles on playwrights, actors and directors. The entries are accompanied by rare photographs and helpful reading lists.
Kabuki
While its actors made their entrace down the Flower Way over three hundred years ago, little of kabuki's repertory has been available to English readers. Not only are adequate translations difficult to produce, but also because the spoken parts of the drama constitute but a portion of that grand spectacle, English renderings often have an elliptical quality.These five plays, however, were translated from tapes made by James Brandon at actual performances, imparting to them an unusual immediacy. The superb translations are further enhanced by detailed commentary and stage directions that reflect music and sound effects as well as positions of actors on stage and their stylized gestures and po...
Kabuki's Forgotten War
According to a myth constructed after Japan’s surrender to the Allied Forces in 1945, kabuki was a pure, classical art form with no real place in modern Japanese society. In Kabuki’s Forgotten War, senior theater scholar James R. Brandon calls this view into question and makes a compelling case that, up to the very end of the Pacific War, kabuki was a living theater and, as an institution, an active participant in contemporary events, rising and falling in consonance with Japan’s imperial adventures. Drawing extensively from Japanese sources—books, newspapers, magazines, war reports, speeches, scripts, and diaries—Brandon shows that kabuki played an important role in Japan’s Fift...
Kabuki Plays on Stage. Volume 1
Kabuki Plays On Stage represents a monumental achievement in Japanese theatre studies, being the first collection of kabuki play translations to be published in twenty-five years. Fifty-one plays, published in four volumes, vividly trace kabuki's changing relations to Japanese society during the premodern era. Volume 1 consists of thirteen plays that showcase early kabuki's scintillating and boisterous styles of performance and illustrates the contrasting dramatic techniques cultivated by actors in Edo (Tokyo) and Kamigata (Osaka and Kyoto). The twelve plays translated in Volume 2 cover a brief period, but one that saw important developments in kabuki architecture, acting, dance, and the man...
No and Kyogen in the Contemporary World
How do classical, highly codified theatre arts retain the interest of today's audiences and how do they grow and respond to their changing circumstances? The eight essays presented here examine the contemporary relevance and significance of the "classic" No and Kyogen theatre to Japan and the West. They explore the theatrical experience from many perspectives--those of theatre, music, dance, art, literature, linguistics, philosophy, religion, history and sociology.
Kabuki Plays on Stage. Volume 2
Kabuki Plays On Stage represents a monumental achievement in Japanese theatre studies, being the first collection of kabuki play translations to be published in twenty-five years. Fifty-one plays, published in four volumes, vividly trace kabuki's changing relations to Japanese society during the premodern era. Volume 1 consists of thirteen plays that showcase early kabuki's scintillating and boisterous styles of performance and illustrates the contrasting dramatic techniques cultivated by actors in Edo (Tokyo) and Kamigata (Osaka and Kyoto). The twelve plays translated in Volume 2 cover a brief period, but one that saw important developments in kabuki architecture, acting, dance, and the man...
Masterpieces of Kabuki
Masterpieces of Kabuki contains eighteen outstanding dramas taken from the landmark four-volume series Kabuki Plays On Stage. Together they cover the entire spectrum of kabuki drama from 1697 to 1905, the period during which kabuki’s dramaturgy flourished prior to the onset of Western dramatic influence. Major playwrights, chronological periods of playwriting, and a variety of play types (history, domestic, and dance dramas) and performance styles are represented. All but one are in the current repertory and regularly staged. The volume includes introductions to each play and a new general introduction highlighting kabuki’s historical development and relating the plays to their performan...
