Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overviews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare. This volume is divided into four sections covering: Representative Theatrical Traditions in Asia. Cross-Regional Aspects of Classical and Folk Theatres. Modern and Contemporary Theatres in Asian Countries. Modernity, Gender Performance, Intercultural and Musical Theatre in Asia. Offering a cutting edge overview of Asian theatre and performance, the Handbook is an invaluable resource for academics, researchers and students studying this ever-evolving field.

Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overviews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare. This volume is divided into four sections covering: Representative Theatrical Traditions in Asia. Cross-Regional Aspects of Classical and Folk Theatres. Modern and Contemporary Theatres in Asian Countries. Modernity, Gender Performance, Intercultural and Musical Theatre in Asia. Offering a cutting edge overview of Asian theatre and performance, the Handbook is an invaluable resource for academics, researchers and students studying this ever-evolving field.

Modern Asian Theatre and Performance 1900 - 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society. Organised by period, nation and region, each chapter provides: *a historical overview of the culture; *an outline of theatre history; *a survey of significant playwrights, actors, directors, companies, plays and productions. With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.

A companion volume to "Modern Asian Theatre and Performance 1900-2000," this anthology contains nine emblematic scripts from twentieth and twenty-first century Asian theatre. Opening with a history of modern Asian drama and a summary of the plays and their contexts, it features nine works written between 1912 and 2009 in Japan, China, Korea, India, Indonesia and Vietnam. Showcasing fresh contemporary writing alongside plays central to the established canon, the collection surveys each playwright's work, and includes: "Father Returns" by Kikuchi Kan "Hot Pepper, Air Conditioner and the Farewell Speech" by Okada Toshiki "Sunrise" by Cao Yu "I Love XXX" by Meng Jinghui, Huang Jingang, Wang Xiaoli, Shi Hang "Bicycle "by O Tae-sok"The Post Office "by Rabindranath Tagore"Hayavadana" by Girish Karnad "The Struggle of the Naga Tribe" by W. S. Rendra "Truong Ba's Soul in the Butcher's Skin "by Luu Quang Vu The chronological and geographical breadth of the anthology provides a unique insight into modern Asian theatre and is essential to any understanding of its relation to Western drama and indigenous performance.

Modern Asian Theatre and Performance 1900 - 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society. Organised by period, nation and region, each chapter provides: *a historical overview of the culture; *an outline of theatre history; *a survey of significant playwrights, actors, directors, companies, plays and productions. With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.

The profound political, economic, and social changes in China in the second half of the twentieth century have produced a wealth of scholarship, but less studied is how cultural events, and theater reforms in particular, contributed to the dynamic landscape of contemporary Chinese society. Rethinking Chinese Socialist Theaters of Reform fills this gap by investigating the theories and practice of socialist theater and their effects on a diverse range of genres, including Western-style spoken drama, Chinese folk opera, dance drama, Shanghai opera, Beijing opera, and rural theater. Focusing on the 1950s and '60s, when theater art occupied a prominent political and cultural role in Maoist China, this book examines the efforts to remake theater in a socialist image. It explores the unique dynamics between official discourse, local politics, performance practice, and audience reception that emerged under the pressures of highly politicized cultural reform as well as the off-stage, lived impact of rapid policy change on individuals and troupes obscured by the public record. This multidisciplinary collection covers a wide range of perspectives, geographical locations, specific research methods, genres of performance, and individual knowledge and experience. The richly diverse approach leads readers through a nuanced and complex cultural landscape as it contributes significantly to our understanding of a crucial period in the development of modern Chinese theater and performance.

This Element focuses on Xin Fengxia (1927-1998), a star of the regional xiqu form pingju, and her prominent role in transforming the genre from folk entertainment for the lower class to one of the most notable winners of the xiqu reform after the establishment of the People's Republic of China (PRC) in 1949. The Element's four sections expand from this core concept to include the four stages of her life experience and artistry that shaped her legacy: growing up in China's third largest theatre market Tianjin before 1949, national stardom in Beijing (1949-1957), restricted creativity amidst political upheavals (1957-1975), and as a prominent author after a stroke (1977-1998). Rather than following a biographical approach, these sections zero in on the environment before and after 1949 that made her a prominent pingju reformer and the consequent price of such success.

A companion volume to "Modern Asian Theatre and Performance 1900-2000," this anthology contains nine emblematic scripts from twentieth and twenty-first century Asian theatre. Opening with a history of modern Asian drama and a summary of the plays and their contexts, it features nine works written between 1912 and 2009 in Japan, China, Korea, India, Indonesia and Vietnam. Showcasing fresh contemporary writing alongside plays central to the established canon, the collection surveys each playwright's work, and includes: "Father Returns" by Kikuchi Kan "Hot Pepper, Air Conditioner and the Farewell Speech" by Okada Toshiki "Sunrise" by Cao Yu "I Love XXX" by Meng Jinghui, Huang Jingang, Wang Xiaoli, Shi Hang "Bicycle "by O Tae-sok"The Post Office "by Rabindranath Tagore"Hayavadana" by Girish Karnad "The Struggle of the Naga Tribe" by W. S. Rendra "Truong Ba's Soul in the Butcher's Skin "by Luu Quang Vu The chronological and geographical breadth of the anthology provides a unique insight into modern Asian theatre and is essential to any understanding of its relation to Western drama and indigenous performance.