MARC 主機 00000nam a2200469 a 4500
001 978-3-319-97178-0
003 DE-He213
005 20190502154330.0
006 m d
007 cr nn 008maaau
008 181127s2018 gw s 0 eng d
020 9783319971780|q(electronic bk.)
020 9783319971773|q(paper)
024 7 10.1007/978-3-319-97178-0|2doi
040 GP|cGP
041 0 eng
050 4 PN2860|b.T536 2018
072 7 AN|2bicssc
072 7 PER011020|2bisacsh
072 7 ATD|2thema
082 04 792.095|223
100 1 Tian, Min
245 14 The use of Asian theatre for modern western theatre
|h[electronic resource] :|bthe displaced mirror /|cby Min
Tian
260 Cham :|bSpringer International Publishing :|bImprint:
Palgrave Macmillan,|c2018
300 x, 313 p. :|bdigital ;|c22 cm
490 1 Palgrave studies in theatre and performance history
505 0 Chapter 1. Lugne-Poe's Orientalism as Part of his Mission
as an International Dramatic Prospector -- Chapter 2.
Appia's and Craig's Views of the Japanese Theatre --
Chapter 3. The Use of the Noh by Jacques Copeau and
Suzzane Bing -- Chapter 4. Theatre of Transposition:
Charles Dullin and the East Asian Theatre -- Chapter 5.
Authenticity and Usability, or "Welding the Unweldable":
Meyerhold's Refraction of the Japanese Theatre -- Chapter
6. How Does the Billy-Goat Produce Milk? Sergei
Eisenstein's Disintegration and Reconstitution of Kabuki
Theatre -- Chapter 7. "The 'Asiatic' Model": The Brechtian
Displacement and Refunctioning of the Japanese Theatre --
Conclusion
520 This book is a historical study of the use of Asian
theatre for modern Western theatre as practiced by its
founding fathers, including Aurelien Lugne-Poe, Adolphe
Appia, Gordon Craig, W. B. Yeats, Jacques Copeau, Charles
Dullin, Antonin Artaud, V. E. Meyerhold, Sergei Eisenstein,
and Bertolt Brecht. It investigates the theories and
practices of these leading figures in their transnational
and cross-cultural relationship with Asian theatrical
traditions and their interpretations and appropriations of
the Asian traditions in their reactional struggles against
the dominance of commercialism and naturalism. From the
historical and aesthetic perspectives of traditional Asian
theatres, it approaches this intercultural phenomenon as a
(Euro)centred process of displacement of the aesthetically
and culturally differentiated Asian theatrical traditions
and of their historical differences and identities.
Looking into the displaced and distorted mirror of Asian
theatre, the founding fathers of modern Western theatre
saw, in their imagination of the 'ghostly' Other, nothing
but a (self-)reflection or, more precisely, a (self-
)projection and emplacement, of their competing ideas and
theories preconceived for the construction, and the future
development, of modern Western theatre
650 0 Theater|zAsia|xHistory
650 0 Theater|zWestern countries|xAsian influences
650 0 Theater and internationalism|zAsia
650 0 Theater and society|zAsia
650 14 Theatre History
650 24 National/Regional Theatre and Performance
650 24 Global/International Theatre and Performance
650 24 Performing Arts
710 2 SpringerLink (Online service)
773 0 |tSpringer eBooks
830 0 Palgrave studies in theatre and performance history
856 40 |uhttps://doi.org/10.1007/978-3-319-97178-0
912 Springer
