By Barbara Thornbury

America’s Japan and Japan’s appearing Arts reports the photographs and myths that experience formed the reception of Japan-related theater, tune, and dance within the usa because the Fifties. quickly after global conflict II, visits by means of jap appearing artists to the us emerged as an important classification of yank cultural-exchange tasks geared toward assisting determine and construct pleasant ties with Japan. Barbara E. Thornbury explores how “Japan” and “Japanese tradition” were developed, reconstructed, and remodeled in line with the loads of productions that experience taken position during the last sixty years in manhattan, the most access aspect and defining cultural nexus within the usa for the worldwide traveling industry within the acting arts. The author’s transdisciplinary technique makes the booklet beautiful to these within the acting arts stories, jap experiences, and cultural studies.

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Extra resources for America’s Japan and Japan’s Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011

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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. We can all learn from Kabuki, and this work of Mr. ”22 Bowers’s reputation was further boosted, and at the same time kabuki captured “highbrow” attention, in a lengthy review of Japanese Theatre by Emerson Harris published in the Nation.

One of New York’s headline performing arts events, the three-­week summer festival encapsulates the fluidity and contingency of cultural circulation and exchange on a global scale. I then turn to a discussion of the critics, scholar/experts, and Japan-­ based correspondents whose writings construct America’s Japan through the performing arts. They are “seeing-­men” (and women), to borrow Mary Louise Pratt’s terminology,127 who function as cultural mediators and interpreters. ”128 Their output takes three basic forms: articles that preview forthcoming productions, reviews of presentations that have already occurred, and reportage intended to broaden and deepen American knowledge of the theater, music, and dance scenes in Japan.

It really becomes natural to them. ” Yokoshi said in response, “I must remind you that I am as fake as you are. I have been familiar with this form for only seven years, and I don’t live in Japan. I only do periodical training with long absences. My familiarity with dance is closer to you rather than the Japanese dancers. If a well-­trained dancer taught you, it would take triple the time. It’s good they don’t have to teach you. Their training is only mimicking. ”98 Chiori Miyagawa is another forthright voice among flexible-­citizen artists.

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