This book endeavours to unravel the complicated skeins of Japanese
theatre in the modern period and offers an appreciation of the
richness of choice of presentational and representational theatre
forms. Since the end of world War II there has been continuing but
different conflict between the major theatrical genres. Kabuki
continues to defend its ground successfully, but the 'new drama'
(shingeki) became firmly established in its own right in the 1960s.
It was a vigorous and exuberant 'underground' theatre which
exploited anything and everything in the Japanese and western
theatre traditions. Now, thirty years on, they too have been
superseded. The youth theatre of the 1980s and 90s has thrown aside
the concerns of the angry underground and developed a fast-moving
bewilderingly kaleidoscopic drama of breath-taking energy.
General
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