Crucible bodies : postwar Japanese performance from Brecht by Tadashi Uchino

By Tadashi Uchino

'Crucible our bodies' is a examine of eastern functionality tradition. It covers a number of historic and theoretical subject matters, from Brecht in Japan to 'children's' our bodies in postmodern jap performances, from the proposal of attractiveness in modern cultural thought to useful 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 be aware on attractiveness in glossy 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 : considering during the appearing physique in modern Japan, or why is historical 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 11th of September : actual dementia and undoing historical past within the 'J' locality --
Epilogue : interculturalism revisited after 11th of September.

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Sought and eventually secured for themselves, during this decade. Muller's intertextual text, therefore, is useful in deconstructing such a (See 'An "Ill-fated" History of Japan's Theatre Culture (3): Opening bipolarization in the articulation of theatre cultures in Japan. ) Most of these writings did not makes us formulate and circulate discourses that are the result of the dynamics of collaborative effort between individuals working within attempt to critique the ongoing theatre culture but, rather, as if intim­ .

Unusually for Hayashi, ideal beauty is to be found in Barbie dolls. -that is the question she is asking as an artist, and, to that effect, shows her work in underground clubs or designs for fashion shows. We may need terminologies of psychoanalysis to under­ stand what she means but, living in Japan, watching the super-flat 73 74 TADASHI UCHINO bodies of the younger generation of dancers and taking Murakami's CH APTER 3 super-flat theory into consideration, it may not be too difficult to DECONSTRUCTING 'JAPANESENESS': understand what she is suggesting here.

Was never wholly rejected by theatre practices. FIGURE 4: VOYAGE (2001-) In the context of the performing arts in Japan, beauty as bi or shojo (a young teenage asexual girl, an unlikely existence in post-World War II Japan) and the reconciliation between certain antithetical cate­ gories. Visually speaking, however, the degree of fetishization in the minutiae in this film is so excessive and outrageous that it is hard to imagine how such a film became a great success in Japan. It is deeply disturbing in its emptiness and hollowness if you consider some scenes in the film where every detail of the background is meticulously designed and drawn, though viewers may never pay much attention to it.

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