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Considered a modern masterpiece, it now has a secure place in the Kabuki repertoire and many of the plays are still frequently performed.
For the first time, Seika’s monumental achievement is here translated into English in its complete and original form by three experienced experts in the field.
Considered a modern masterpiece, it now has a secure place in the Kabuki repertoire and many of the plays are still frequently performed.
For the first time, Seika’s monumental achievement is here translated into English in its complete and original form by three experienced experts in the field.
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume1 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume1 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume 2 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume 2 out of 2).
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.