Japanese Theatre and the International Stage pdf epub mobi txt 电子书 下载 2026

简体网页||繁体网页

☆☆☆☆☆

出版者:Brill Academic Pub

作者:Scholz-Cionca, Stanca (EDT)/ Leiter, Samuel L. (EDT)

出品人:

页数:512

译者:

出版时间:2000-10

价格:$ 212.44

装帧:HRD

isbn号码:9789004120112

丛书系列:

图书标签:

• Japanese Theatre
• Theatre History
• Performance Studies
• Asian Theatre
• International Theatre
• Cultural Exchange
• Globalization
• Postdramatic Theatre
• Noh
• Kabuki
• Bunraku

East Meets West: Transnational Currents in Modern Drama A Comprehensive Study of Cross-Cultural Exchange and Theatrical Innovation, 1880–1950 This volume delves into the rich, complex tapestry of theatrical exchange between East Asia and the West from the late nineteenth century through the mid-twentieth century. Moving beyond nationalistic narratives, East Meets West: Transnational Currents in Modern Drama meticulously charts the intricate pathways through which performance traditions, aesthetic theories, and dramatic texts traveled, mutated, and converged across geopolitical boundaries. This is not a history of singular national stages, but rather an exploration of the interstitial spaces where global modernisms were forged. The book is structured chronologically and thematically, revealing how forces such as colonialism, technological advancement (particularly in stagecraft and reproduction), and burgeoning internationalism fundamentally reshaped theatrical practices. We begin by examining the initial, often distorted, encounters—the Western fascination with Japanese Ukiyo-e aesthetics and Chinese opera spectacles, frequently filtered through Orientalist lenses in European capitals like Paris and Berlin during the Belle Époque. Chapter One analyzes the impact of early global exhibitions and ethnographic performances on European perceptions, using primary source material from theatrical reviews and private correspondence to reconstruct the atmosphere of both exoticism and genuine intellectual curiosity. The core of the study focuses on the revolutionary period between the World Wars, a time of intense experimentation both in Tokyo, Shanghai, and Berlin, and New York. This era witnessed significant attempts by Asian artists and intellectuals studying abroad to synthesize Western dramatic structures—such as naturalism, expressionism, and Brechtian epic theatre—with indigenous performance philosophies. We dedicate substantial attention to the rise of the "New Theatre" movements in East Asia, detailing specific case studies of playwrights who actively engaged with Stanislavski’s methods while simultaneously grappling with the political imperatives of nationalist cultural preservation. For instance, one section closely scrutinizes the translation challenges and subsequent reinterpretation of Ibsen and Chekhov in early Republican China, illustrating how these European models were repurposed to critique entrenched feudal structures rather than merely imitate Western social dramas. A crucial intervention of this volume lies in its detailed analysis of the circulation of theory alongside practice. We investigate the less-documented reverse flow: the influence of East Asian philosophical concepts—particularly those related to emptiness, stylized gesture, and the dissolution of the fourth wall—on seminal Western modernists. Far from a one-way street, this book demonstrates how figures such as Meyerhold, Artaud, and Brecht encountered and integrated non-Western performance modalities, often through secondary sources or brief, intense exposure during their travels or via émigré artists. Chapters explore the specific impact of Noh and Kabuki aesthetics on the development of the European Theatre of Cruelty concept, tracing textual evidence and visual schematics of early performances that overtly referenced these Asian styles. The second half of the book shifts focus to the complex relationship between state politics and theatrical production during periods of escalating tension leading up to and including World War II. We examine how state censorship and propaganda efforts utilized and distorted transnational theatrical exchanges. In East Asia, this often meant a precarious balancing act between embracing "modern" global forms and adhering to nationalistic or ideological mandates. The analysis incorporates archives from occupied territories to reveal the clandestine performance networks that sustained avant-garde ideas when official channels were closed. Furthermore, the volume addresses the infrastructural aspects of this transnational theatre: the role of publishing houses, the evolution of international copyright law as it related to dramatic texts, and the development of early global theatrical agencies that managed the tours of international stars. By mapping these often-overlooked logistical networks, we reveal the material conditions that made cross-cultural artistic dialogue possible. Finally, the concluding section reflects on the legacy of this period. It argues that the modernist rupture in global theatre was not solely an internal Western event, but a multifaceted dialogue forged through strenuous, reciprocal engagement. The cross-pollination examined herein laid the essential groundwork for post-war global theatre practices, highlighting the continuing relevance of understanding how different cultural matrices negotiated the universal aspirations of modern dramatic expression. This study offers essential reading for scholars of theatre history, global modernism, performance studies, and cultural translation.

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆

翻开这本书，扑面而来的是一种扑朔迷离的美感，这大概是作者在描述日本舞台艺术特有的那种介于具象与虚无之间的气质时，不自觉地流露出来的笔法吧。不同于一般学术著作平铺直叙的风格，这里的文字更像是诗歌，每一个段落都充满了画面感和听觉想象。它让我不断地停下来，试图在脑海中构建出那些被描述的场景：一片黑暗中，一个穿着奇特服装的演员，仅仅凭借一个手势或一个眼神，就能调动起整个剧场的呼吸。作者的语言极富感染力，尤其是在描述那些极具仪式感和象征意义的表演片段时，其文字的张力几乎可以媲美舞台本身。这本书不仅仅是知识的传递，更像是一次感官的唤醒，它让你重新思考，到底什么是“戏剧”，以及在不同文化背景下，我们如何“观看”表演。

评分☆☆☆☆☆

我对这本书的结构安排感到十分惊喜，它巧妙地平衡了宏观的历史梳理和微观的个案研究。它并非简单地按照时间顺序铺陈，而是采取了一种主题式的交叉叙事。有一章专门聚焦于“服装与面具的跨界影响”，另一章则深入探讨了“现代剧作家如何与传统神话进行对话”。这种灵活的组织方式，使得阅读体验充满了探索的乐趣，你永远不知道下一章会带你跳跃到哪个时空，遇到哪位大师的杰作。更重要的是，作者在论述中表现出对剧场实践的深度参与感，仿佛他本人就是舞台背后的导演或技术人员，对灯光、音效、演员调度中微妙的文化差异有着第一手的体会。这种“在场感”极大地增强了文本的可信度和阅读的沉浸性，让人在合上书本后，仍能听到舞台上那久久不散的共鸣之声。

评分☆☆☆☆☆

老实说，我原本对专门研究戏剧史的严肃著作有点敬而远之，总担心会陷入晦涩难懂的术语泥潭。然而，这本关于日本舞台艺术的探索之旅，完全颠覆了我的刻板印象。它更像是一本充满激情、节奏明快的文化漫游指南。作者仿佛是一位资深的导游，带着我们穿梭于十九世纪末明治维新时期日本艺术家的“西学东渐”之旅，到战后日本剧团如何精准地捕捉到西方观众对“东方神秘主义”的好奇心，再到如今在全球化背景下，如何实现真正的双向文化对话。最让我津津乐道的是其中对于“间”（Ma）这一概念如何在跨文化传播中被“翻译”的讨论。那种对文化符号在不同接收群体中产生歧义和再创造过程的敏锐捕捉，实在太精彩了。这本书读起来酣畅淋漓，即便是对日本文化不甚了解的新手，也能从中汲取到丰富的营养，完全没有阅读负担。

评分☆☆☆☆☆

这本书的叙事结构和论证逻辑，带着一种近乎强迫症般的严谨性，这对于我这种追求深度解析的读者来说，无疑是极大的慰藉。它不仅仅罗列了成功的案例，更无情地剖析了那些在国际推广中遇到的文化隔阂与商业困境。例如，书中对某个尝试将传统净琉璃元素融入现代音乐剧的尝试的失败原因分析，就极为透彻，它探讨了从音乐结构到观众期待的系统性错位。作者似乎对每一个历史节点都进行了细致的社会文化背景考察，使我们能清晰地看到，日本戏剧的“国际化”并非一条直线，而是充满了迂回、妥协与胜利的复杂路径。我尤其欣赏其批判性的视角，它没有将日本戏剧塑造成一个完美无瑕的文化偶像，而是将其置于全球权力结构和文化消费的熔炉中进行审视，这种毫不留情的解剖，才更显出作品的价值和深度。

评分☆☆☆☆☆

这部关于日本戏剧在国际舞台上角色的著作，对我来说简直是一场视觉与思想的盛宴。作者以极其细腻的笔触，深入剖析了能剧、歌舞伎乃至现代前卫剧团如何跨越文化藩篱，在全球范围内引发共鸣与反思。我尤其欣赏作者对“他者性”处理的独到见解——当这些源自本土的艺术形式被移植到西方语境时，它们如何被重新诠释、误读，又如何反过来挑战了既有的西方戏剧理论框架。书中对具体案例的分析，比如某个日本导演在欧洲主要戏剧节上的布景选择和演员调度，都有着令人拍案叫绝的洞察力。那些详尽的文献引用和跨学科的理论对话，显示出作者深厚的学术功底，但行文却丝毫没有学术的枯燥感，反而充满了对舞台艺术勃勃生机的赞美。读完后，我感觉自己对当代世界剧场图景的理解，一下子拓宽了不止一个维度，仿佛获得了一把钥匙，得以窥见全球文化交流背后的复杂张力与无限可能。

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆

评分☆☆☆☆☆