当前位置: X-MOL 学术Theatre Research International › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
Japanese Political Theatre in the Eighteenth Century: Bunraku Puppet Plays in Social Context. By Akihiro Odanaka and Masami Iwai. Abingdon: Routledge, 2021. Pp. 246 + 11 illus. $160 Hb; $48.95 Ebook.
Theatre Research International Pub Date : 2021-10-01 , DOI: 10.1017/s0307883321000390
Jyana S. Browne 1
Affiliation  

presents a number of key theoretical concepts to explain his theatre. For instance, bricolage, a French term for ‘improvisation or a piece of makeshift handwork’, is used repeatedly throughout the book to describe how Chong sees his theatre: ‘a new world created out of any and all available materials from an old world, resulting in luminosity’ (p. ). Chong creates his theatre by juxtaposing and defamiliarizing objects and ideas and by creating new associations and framings. At many moments in the book Kurahashi provides thick descriptions of how he assembles different pieces together and what results from such processes of bricolage. She quotes Chong saying that he just wants to tell ‘interesting stories’ and avoids ‘over-intellectualizing and theorizing’, but his work is intellectual and theoretical (p. ). Kurahashi is successful in allowing some of the key theoretical questions to emerge from the descriptions she provides. Indeed, the book provides an excellent groundwork for further theorization of Chong’s theatre in future studies. Because she had access to Chong’s unpublished scripts as well as his personal archive, Kurahashi’s analysis of Chong’s work is exceedingly detailed, and because she also interviewed Chong, her book is an accurate representation of how Chong sees his own work and his career that spans almost fifty years. Kurahashi presents Chong’s theatre as ‘poetic and associative’ and traces its beginning in the s under the influence of the Fluxus and other avant-garde movements in New York City, but she also explains how Chong has created and expanded his style of interdisciplinary theatre (p. ). His more recent works have included the East/West Quartet, which traces the historical encounters between the East and the West, and the Undesirable Elements series, which is based on oral histories of local communities. Chong’s theatre has also included puppet theatre and collaborations with schools and colleges. The volume and complexity of his work are indeed remarkable, and Kurahashi’s book delivers a much needed and well-researched examination of one of the most important artists of contemporary theatre.

中文翻译:

十八世纪的日本政治戏剧:社会语境中的文乐木偶剧。作者:小田中明弘和岩井雅美。阿宾登:劳特利奇,2021 年。Pp。246 + 11 插图。160 美元血红蛋白;48.95 美元的电子书。

提出了一些关键的理论概念来解释他的戏剧。例如,bricolage 是一个法语术语,意为“即兴创作或一件临时的手工作品”,在整本书中反复使用来描述 Chong 如何看待他的剧院:“一个由旧世界的所有可用材料创造的新世界,导致亮度”(p. )。Chong通过并置和陌生化对象和想法以及创建新的关联和框架来创建他的剧院。在书中的许多时刻,仓桥都对他如何将不同的部件组装在一起以及这种拼凑过程产生了什么结果进行了详尽的描述。她引用 Chong 的话说,他只想讲“有趣的故事”,避免“过度理智化和理论化”,但他的作品是理智和理论的(p. )。仓桥成功地让一些关键的理论问题从她提供的描述中浮现出来。事实上,这本书为在未来的研究中进一步理论化庄的戏剧提供了一个很好的基础。因为她可以访问Chong未发表的剧本以及他的个人档案,仓桥对Chong作品的分析非常详细,而且因为她还采访了Chong,她的书准确地反映了Chong如何看待自己的作品和他几乎跨越的职业生涯五十年。Kurahashi 将 Chong 的戏剧呈现为“诗意和联想”,并追溯其在  年代受纽约市激浪派和其他前卫运动的影响,但她也解释了 Chong 如何创造和扩展他的风格跨学科戏剧(p. )。他最近的作品包括追溯东西方历史相遇的东西方四重奏,以及基于当地社区口述历史的不良元素系列。Chong 的剧院还包括木偶剧院以及与学校和大学的合作。他作品的数量和复杂性确实非常出色,而仓桥的书对当代戏剧中最重要的艺术家之一进行了非常必要且经过深入研究的检验。
更新日期:2021-10-01
down
wechat
bug