By Barbara Thornbury
Read or Download America’s Japan and Japan’s Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011 PDF
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Additional info for America’s Japan and Japan’s Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011
Mr. ” Although Bowers warned in his book that the popularity of kabuki in Japan might decline in competition with movies and contemporary theater forms, Green maintained that Japanese culture in large measure was synonymous with kabuki and other traditional forms: “I for one am willing to wager that it will continue to live. . ” Anticipating the “total theater” movement and the esteem in which it held kabuki, Green wrote, “This is theatre as it some day may be in the United States. On no other stage of the world is there such color, spectacle, artistry of make-up, grace of motion, and such fusion of music with words, gesture and idea.
Introduction 25 (who trained under “living national treasure” Kanjuro Fujima VI), Yokoshi choreographed the Bessie Award–winning what we when we (2006) and the critically acclaimed Tyler Tyler (2010), pieces that draw dance elements from kabuki. Yokoshi unhesitatingly describes kabuki as a purely serendipitous discovery: she had gone to Japan to accompany a boyfriend and just happened to start taking lessons from Seyama to pass the time. She had no prior interest in traditional Japanese dance.
Advertising card, Yoshiko Chuma and The School of Hard Knocks, Dance Theater Workshop, 2007. (Image by Hidetomo Mita. ) Introduction 25 (who trained under “living national treasure” Kanjuro Fujima VI), Yokoshi choreographed the Bessie Award–winning what we when we (2006) and the critically acclaimed Tyler Tyler (2010), pieces that draw dance elements from kabuki. Yokoshi unhesitatingly describes kabuki as a purely serendipitous discovery: she had gone to Japan to accompany a boyfriend and just happened to start taking lessons from Seyama to pass the time.