By Tadashi Uchino
'Crucible our bodies' is a learn of jap functionality tradition. It covers a number ancient and theoretical themes, from Brecht in Japan to 'children's' our bodies in postmodern eastern performances, from the idea of good looks in modern cultural conception to sensible and theoretical readings of contemporary intercultural performances.
Political displacements : in the direction of historicizing Brecht in Japan, 1932-98 --
Images of Armageddon : Japan's Eighties' theatre tradition --
From 'beautiful' to 'cute' : a notice on good looks in sleek and postmodern Japan --
Deconstructing 'Japaneseness' : in the direction of articulating locality and hybridity in modern eastern functionality --
Playing betwixt and among : intercultural functionality within the age of globalization --
Fictional physique as opposed to junk physique : pondering during the acting physique in modern Japan, or why is historic Greek drama nonetheless produced? --
Pop, postmodernism and junk : Murakami Takashi and 'J' theatre --
Globality's kids : the 'child's' physique as a method of flatness in functionality --
Nationalism, intra-nationalism : re-imagining the boundary --
Mapping/zapping 'J' theatre for the time being --
Miyazawa Akio after September 11 : actual dementia and undoing heritage within the 'J' locality --
Epilogue : interculturalism revisited after 11th of September.
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Additional resources for Crucible bodies : postwar Japanese performance from Brecht to the new millennium
With a rising sun which looks like a setting sun I am alone. For I cannot stand being alone. Ur, as Kawamura Takeshi of Daisan (Third) Erotica wrote: The myth , however, has completely collapsed. After its col lapse, we started to weave our own narrative without the pro tection of myth, without any fantasy of 'faraway' and without any confidence in ourselves. Is it even possible to write a 'story' which resists 'history'? If it is possible, how is it possi ble? This is the place. This is the place into which we may have been thrown whether or not we like it.
The New National Theatre is the place, as Nishido also points out, where the emperor's family is sup posed to have all the rights to visit, and Inoue, despite being given a chance to raise the issue of wartime responsibility, was unable to face the challenge. invincible economic power to its unexpected downfall. Was it US-man ufactured global capitalism that undermined 'our' healthy desire for prosperity? Or was it some deep-root�d 'national' character flaw that ended 'our' own global economic hegemony?
In the process of my development In three volumes, written between the end of the tenth century and as a theatre researcher and critic, and in order to locate my subject the beginning of the eleventh. position outside the established discursive space which both circum vents and permeates the theatre and ·performance practices that I witness· daily, I, along with some other critics, scholars and theatre practitioners, participated in the formulation of a loosely organized collective called the Heiner Millier Project in 1990.
Crucible bodies : postwar Japanese performance from Brecht to the new millennium by Tadashi Uchino