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Social Space and Aesthetic Time East Asian Theatre: Transcultural Challenge

Published online by Cambridge University Press:  23 January 2009

Antony Tatlow
Antony Tatlow
Affiliation:
Department of English Studies and Comparative Literature, University of Hong Kong.
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Extract

After successfully eliminating the British motorcycle, Japan now threatens the European car industry; it is also rapidly developing advanced industrial techniques that will make much Western plant look like a blacksmith's forge. Is the theatre next? When is East Asian art going to undermine a culturally obsolescent Western aesthetic which is the counterpart, perhaps, of a one-dimensional voluntarist technology?

Type
Articles
Information
Theatre Research International , Volume 8 , Issue 3 , Autumn 1983 , pp. 207 - 219
Copyright
Copyright © International Federation for Theatre Research 1983

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References

Notes

1. Snow, Lois Wheeler, China on Stage (New York, 1972), p. 101.Google Scholar

2. Mackerras, Colin, The Chinese Theatre in Modern Times (London, 1975), p. 178.Google Scholar

3. See Bowers, Faubion, Theatre in the East, A Survey of Asian Dance and Drama (New York, 1956), p. 360.Google Scholar

4. See Scott, A. C., Mai Lan Fang, The Life and Times of a Peking Actor (Hong Kong, 1971), p. 118fGoogle Scholar. Also Tatlow, Antony, The Mask of Evil (Berne, 1977), p. 307 ff.Google Scholar

5. See Theater 1982, Theater Heute Sondernummer 13, pp. 105 ff.Google Scholar

6. In conversation.

7. Theater Heute Nr. 9, 1982, pp. 13 f.Google Scholar

8. See Ansley, Clive, The heresy of Wu An (Toronto, 1971)Google Scholar. Also Han, Wu: Hai Jui Dismissed from Office, trans. Huang, C. C., Asian Studies at Hawaii Nr. 7 (Honolulu, 1972).Google Scholar

9. See Tatlow, Antony and Wong, Tak-wai ed., Brecht and East Asian Theatre (Hong Kong, 1982), p. 54.Google Scholar

10. For further information on this problem, see Schlenker, Wolfram: ‘Dramatik und Theaterarbeit nach der Kulturrevolution’ in Eberstein, B. ed.: Moderne Stücke aus China, Frankfurt 1980, pp. 457–72Google Scholar. Also Schlenker, Wolfram: ‘Brecht in Asia, the Chinese Contribution’Google Scholar in Tatlow, /Wong, , op. cit., pp. 186–207.Google Scholar

11. Discussion in the Hong Kong Arts Centre, 9.3.1983.

12. See Tatlow, , The Mask of Evil, pp. 291 ff.Google Scholar

13. Schlenker, in Tatlow, /Wong, , op. cit.Google Scholar

14. For detailed description of this Beijing production of Life of Galileo, see Tatlow, /Wong, , op. cit. passim.Google Scholar

15. See Tatlow, , The Mask of Evil, p. 323.Google Scholar

16. The following descriptions of Noh and Kabuki plays are based on passages in Tatlow, Antony, ‘East Asian Theatre: Two Approaches to Tradition’ in International Theatre Yearbook 1979 (Warsaw, 1979), pp. 41–50.Google Scholar

17. See Eileen Kato's superb translation in Keene, Donald ed. Twenty Plays of the Noh Theatre (New York, 1970), pp. 51–63.Google Scholar

18. For a discussion of this concept in another context, see my article ‘Before and Behind the Pleasure Principle. Brecht, Nietzsche and the Dynamics of Perception’ in Communications from the International Brecht Society, vol. XII, Nr. 2, 1983, pp. 5–25.Google Scholar

19. Fuegi, John: ‘Meditations on mimesis: the case of Brecht’ in Themes in Drama 2 (London, 1980), pp. 103–12.Google Scholar

20. See The Asiaweek Literary Review, Asiaweek, 18.3.1983, pp. 56 ff.Google Scholar

21. See note 7.