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There is not one “Asian Theatre”—there are thousands of different theatrical forms and a myriad of different cultures, but when discussing it in contrast with Western Theatre, here are some basic things to keep in mind: * Asian drama is never just spoken—it is danced, chanted, mimed, and very often sung. * Asian theatre is more visual and sensual rather than literary. * There is a strong emphasis on storytelling and myth and it is deeply traditional. * The acting is broadly stylized. * Actors receive training through an intense apprentice system, from early childhood to middle age, and in some cases, handed down father to son— “the family business.” * This chapter highlights the beautiful artistry of the traditional theatre of India, China, and Japan.

The Drama of India Asian drama most likely began in India. India’s ancient form of theatre was Sanskrit Dance- Theatre. Natyasastra—most comprehensive study of theatre surviving from the ancient world. It contains detailed analyses of Sanskrit dramatic texts, theatre buildings, acting, staging, music, gesture, and even theatre company organization. Sanskrit dance-drama died out around the tenth century as the Hindu court culture fragmented and the people of India fell back into preexisting regional cultures and languages. Many different types of regional theatre forms became popular—all sharing fundamental theatre aesthetics and doctrines of the Natyasastra. The most widely known of the regional dance-dramas is Kathakali -- “story play.” Retrieved from: anakaran.html Retrieved from: commentary-abhinavbharati-english-translation-vols-p-4004.html

Kathakali drama is based on stories from two Indian epics—Ramayana and Mahabharata. It was traditionally performed outdoors, and lasted from about 10:00pm until dawn, but now the performances are kept to about 3 hours in the evening (like Western Theatre). Two singers are at the side of the acting space, singing the text, while musicians play gongs, drums, and cymbals. Video Clip: “Kathakali – Classical Dance-Drama” Actors dance and pantomime the dramatic action. Starting in early childhood, actors may attain mastery of the performance technique by age 40. Kathakali has no scenery—just 4 poles delineating the acting space—and with the elaborate costumes and stylized makeup, scenery is probably unnecessary Retrieved from: etslovedance.blogspot.com/2014/08/kathakali.html

Chinese Opera: Xiqu China has the oldest continuous-culture theatre tradition in Asia. All traditional Chinese theatre is known as “xiqu” (tuneful theatre or Chinese opera). Zaju—first well-defined form of xiqu. It was a comedic music-dance-drama with acrobatics and clowning. Its golden age was under Kublai Khan. In 1644 (Ming Dynasty) zaju was replaced with the more stately form, kunqu (still performed today). Clapper opera was also popular at this time, characterized by rhythmic beating of drumsticks on a hardwood block. Today there are over 360 variations of Xiqu, but the most famous is the Beijing Opera, or jingju “theatre of the capital.” Retrieved from: Retrieved from:

Video Clip: “Master Qi and the Monkey King” Xiqu doesn’t really utilize any scenery. It is now mostly performed in international style theatres, like in Europe and the US, but in the 19 th century, it was performed in tea gardens. All xiqu plays are based on well-known stories from Chinese history and myth— civil plays (love, marriage, domestic justice) and martial plays (battles/armed rebellions)—and are either set in China or a supernatural world. Xiqu performers must be proficient in: singing, speech, acting/movement, and martial arts/acrobatics. Retrieved from: discoverhongkong.com/nz/see-do/culture-heritage/living-culture/chinese-opera.jsp

Japan Noh Kabuki Bunraku Retrieved from: discoverhongkong.com/nz/see-do/culture-heritage/living-culture/chinese- opera.jsp Retrieved from: theatre/#.VuNA5pMrJok Retrieved from:

Video Clip: “Noh Theatre” Noh is Japan’s most revered and cerebral theatre. It is reflective of Buddhist and Shinto values and has a ceremonial quality. Noh has a very specific structure: The playing space is a square of polished cypress flooring, measuring about 18 feet across. A runway at stage right provides access for the actors. A curved roof covers the stage, supported by four wooden pillars. A wooden wall is at the rear of the stage to bounce sound back to the audience, and this is where the musicians are as well. A chorus of singers is at stage left. The only scenery is a painted tree on the wall. Retrieved from:

Video Clip: “Kabuki Theatre” Kabuki was created during the time of Shakespeare by a Kyoto shrine maiden named Izumo Okuni. It was initially an “erotic dance/ fashion show” with an all-female cast, but due to the Japanese government banning women from the stage in 1629 due to rampant prostitution, Kabuki became, and remains to this day, performed only by men. Kabuki is extremely popular and continues to have large audiences, with huge theaters in major Japanese cities. It is dinner theatre—audiences are expected to take their meals during the performances. Kabuki plays can be put into three categories: history, domestic, and dance-drama. Dance-drama is the most popular. Kabuki stages are 90 feet wide with a runway extending back through the audience which is where important entrances and confrontations occur. The scenic element of Kabuki is very high-tech, with detailed, painted backdrops, three-dimensional backgrounds, rolling stage wagons, etc. There are about a dozen Kabuki acting families, and actors pass down roles, father to son. Retrieved from:

Video Clip: “Bunraku” This Puppet Theatre began in the 17 th century, and is in rep at the Osaka National Theatre today. It has an intertwined history with Kabuki—many plays are shared by both forms. The puppets are half life-size and are manipulated by operators. 3 operators are needed for the main characters. The puppets have extremely articulated movements—eyes, eyebrows, mouth, and hands. Operators, musicians, and chanters are all male. Retrieved from: hWJ7yYKHRiXAAEQjxwIAw&url=http%3A%2F%2Fwww.aforadio.com%2Fnew%2F13234&psig=AFQjCNHO3 Wg2JDBDH4O6zsr4HHDVzIPRGQ&ust=