Here are 100 books that A History of Japanese Theatre fans have personally recommended if you like
A History of Japanese Theatre.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I started my career teaching high school. I attended amazing professional development institutes, where scholars showed me how the stories I’d learned and then taught to my own students were so oversimplified that they had become factually incorrect. I was hooked. I kept wondering what else I’d gotten wrong. I earned a Ph.D. in modern US History with specialties in women’s and gender history and war and society, and now I’m an Associate Professor of History at Iowa State University and the Coordinator of ISU’s Social Studies Education Program. I focus on historical complexity and human motivations because they are the key to understanding change.
This book is probably the first scholarly book that blew my mind and pushed me to want to know what else I had always gotten wrong.
Where, like most people I know, I had always thought that the Japanese bombing of Pearl Harbor was just a thing that happened because of “war,” this book made it clear why it happened.
The US and Japan, both diplomats and everyday people, did not choose to understand each other. Different world views, different assumptions, and plain old racism led the US and Japan into a horrific, bloody conflict with long-lasting consequences.
WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD • AN AMERICAN BOOK AWARD FINALIST • A monumental history that has been hailed by The New York Times as “one of the most original and important books to be written about the war between Japan and the United States.”
In this monumental history, Professor John Dower reveals a hidden, explosive dimension of the Pacific War—race—while writing what John Toland has called “a landmark book ... a powerful, moving, and evenhanded history that is sorely needed in both America and Japan.”
Drawing on American and Japanese songs, slogans, cartoons, propaganda films, secret…
I am a researcher, lecturer, theatre-maker, and writer based in Australia. I have lived in Japan for periods of time since my childhood and worked with a Japanese theatre company, touring internationally. This experience provided the basis for my PhD research in modern Japanese history and the performing arts. The following books were influential in the formation of my book,Cultural Responses to Occupation in Japan. Under each entry, I also include other relevant scholars and would encourage readers to follow them up as well.
This book provides an accessible introduction to butoh. Centered on the perspectives of its co-founder Kazuo Ohno and his son Yoshito Ohno, the first half of the book by Yoshito offers a useful outline of Kazuo’s life in dance. The second half provides insightful personal reflections, evocative photographs, detailed processes, and some of the relationships deriving from Kazuo’s workshops in his studio in Yokohama. The book reflects on Ohno’s distinctly ‘modern’ sensibility and worldview, as compared with the experimental-traditional fusion of butoh’s co-founder, Hijikata Tatsumi. Their mutual interest in the non-human and non-living generated a unique dance form that continues in the present.
Kazuo Ohno is one of the founders of the Japanese modern dance form, Butoh, which had a large influence on contemporary American modern and postmodern dance. Now for the first time, Ohno's words and insights are available in English. This book brings together two distinct but related works: the first, Food for the Soul, is an interview with Yoshito Ohno about his father and his father's dances. With the help of some 100 photographs, he reveals a compelling and complex figure. The second, Workshop Words, is a collection of talks given by Kazuo Ohno to his students during workshops, complemented…
I am a researcher, lecturer, theatre-maker, and writer based in Australia. I have lived in Japan for periods of time since my childhood and worked with a Japanese theatre company, touring internationally. This experience provided the basis for my PhD research in modern Japanese history and the performing arts. The following books were influential in the formation of my book,Cultural Responses to Occupation in Japan. Under each entry, I also include other relevant scholars and would encourage readers to follow them up as well.
In Peasants, Rebels, Women, and Outcastes: The Underside of Modern Japan, the social historian Mikiso Hane offers neglected insights on Japanese society from the margins. Hane’s people's history of modern Japan uses diaries, memoirs, fiction, trial testimony, personal recollections, and eyewitness accounts of peasants, factory and industrial workers, and outsiders to detail lived experiences of ordinary people. The perspective from the underclasses resonates with Hijikata’s butoh and his life experiences.
This compelling social history uses diaries, memoirs, fiction, trial testimony, personal recollections, and eyewitness accounts to weave a fascinating tale of what ordinary Japanese endured throughout their country's era of economic growth. Through vivid, often wrenching accounts of peasants, miners, textile workers, rebels, and prostitutes, Mikiso Hane forces us to see Japan's "modern century" (from the beginnings of contact with the West to World War II) through fresh eyes. In doing so, he mounts a formidable challenge to the success story of Japan's "economic miracle."
Starting with the Meiji restoration of 1868, Hane vividly illustrates how modernization actually widened the…
I became interested in East Asia through studying Kung Fu when I was in high school. Through this I began reading translation of Chinese and Japanese philosophical texts. I initially majored in philosophy but eventually also became interested in situating ideas in broader historical contexts. For this reason, I shifted to intellectual history. However, my passion for philosophy and arguments for the validity of ideas remains. For this reason, my work combines both intellectual history and the history of philosophy.
This book has helped me think through the relationship between capitalism, modernity, and romantic anti-capitalist movements both in East Asia and beyond. The book deals with intellectual currents in interwar Japan, (the 1920s to 1945) and shows how conservative philosophers developed a theory to “overcome modernity.” These authors, many from the so-called Kyoto School, targeted the rampant consumer culture, the overturning of ethical relations, and other structural changes. However, Harootunian contends that such critiques did not grasp the fundamental dynamic of capitalism and its relation to such cultural shifts and consequently, such philosophers were “overcome by modernity.” This means that such critics of modernity were incorporated into the Japanese fascist military complex, which itself claimed to confront capitalist modernity. At a time, when we see right-wing attempts to confront modernity around the world (Trump, Le Pen, Modi) this book remains extremely relevant.
In the decades between the two World Wars, Japan made a dramatic entry into the modern age, expanding its capital industries and urbanizing so quickly as to rival many long-standing Western industrial societies. How the Japanese made sense of the sudden transformation and the subsequent rise of mass culture is the focus of Harry Harootunian's fascinating inquiry into the problems of modernity. Here he examines the work of a generation of Japanese intellectuals who, like their European counterparts, saw modernity as a spectacle of ceaseless change that uprooted the dominant historical culture from its fixed values and substituted a culture…
I am an Emeritus Professor of Drama at the University of Hull, translator of some twenty plays from Greek or Latin into English, a professional director, and a member of Equity for more than fifty years. I hope and believe that my own experience as a practitioner has blended with an educational background in Greek and Latin from St Andrews combined in my extensive list of publications on theatre history as author and editor to be found listed on my website.
While the first two links are a good introduction to classical drama and theatre for the uninitiated, this third choice is different, a vast and unparalleled compendium covering productions of the whole corpus of direct and marginal translations of Greek tragedy on the English stage over some 250 years.
It is a work of reference rather than a ‘good read’, but it is a book into which I hope everyone would find reason to dip who believes in research as an essential feature of creative preparation for the new production of a ‘classic’.
The book is written by two of the most prominent and inspirational contemporary classical scholars whose prolific output in kindred areas of the classics and of theatre history has little rival.
Issues such as stage censorship, social and political change and translation bias show how the classical repertoire from Aeschylus through to Seneca has made it possible,…
This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic…
Since adolescence I’ve written scripts, stories, and songs. For ten years I wrote songs and sketches for NPR’s Morning Edition as “Moe Moskowitz and the Punsters.” Among my young-adult novels, my favorite remains Alex Icicle: A Romance in Ten Torrid Chapters, a literate howl of romantic obsession by an over-educated and under-loved madman. I think my funniest comedy novel is Who’s Killing the Great Writers of America?that not only kills off some famous writers, but simultaneously parodies their style. And, of course, Stephen King ends up solving the whole crazy conspiracy. I taught writing for many years, and I’m pleased to report that my students taught me more than anything I ever taught them.
I read this biography in 1972 when it was first published; I was in high school. Twenty-two years later I would write my novel that was clearly inspired by Houseman’s detailed and absorbing account of his theatrical career—particularly his collaboration with the 21-year-old Orson Welles whom Houseman immediately recognized as a dangerous firestorm of talent. Their years together and the eventual destructive splintering of their partnership make for a story that will stay with you. It made this young person feel that with sufficient nerve, talent, and vision, I might accomplish anything—which is exactly what you should feel when you’re young.
John Houseman describes with extraordinary self-knowledge and grace a life full of fantastic episodes that took him from a bizarre childhood to a seemingly hopeless and conventional business career to his brilliant debut in the world of the theater.
Many years ago, when I’d read my first medieval mystery, I decided I wanted to write my own. But mine would be as realistic as I could manage; I wanted the reader to smell medieval London and to be there with me. A lot had been written about Kings and Queens but not much about ordinary life so that became the center of my academic study leading eventually to my Master's Degree in medieval medicine. As well as my novels I now write popular factual books and I’m pleased to say people have taken the time to say how much they enjoy the fine details I share.
Forget Shakespeare. Nicholas Bracewell and Lord Westfield’s Men are a far more intriguing introduction to Elizabethan theatre. I was there, watching the rehearsals, hearing the applause, and enjoying the play as murder was committed, literally, behind the scenes.
With a bit of alchemy, madness, and passion thrown into the mix, if you love the Elizabethan period this is a not-to-be-missed historical mystery as Nicholas pits his wits against the devil himself.
He had the power to assume a pleasing shape, but would he take to the stage . . . ?
The audience was merry indeed when a third devilish imp bounded onstage to join the two that had been written into the script. But backstage all was uproar. The third demon seemed too much like the real thing. Even Nicholas Bracewell, the company mainstay, was shaken when, next time the play was given, only one devil appeared. The second, poor fellow, was now only a little red heap backstage. Murdered.
Before the curtain rose again, Lord Westfield's Men would suffer…
A longtime student of history, particularly WW2 and the Cold War, my interest was personally piqued when I started to discover more about how my husband’s family narrowly escaped capture by the Gestapo – and certain death in a concentration camp. I’m driven to write novels set in this era for middle grade kids – featuring brave young heroes faced with moral dilemmas– so they can learn about the horrors of antisemitism, tyrants, and war because “those who do not learn history are doomed to repeat it.”
Widge is an orphan in Elizabethan England, where orphans are sadly too common. But Widge is unusual. He has a unique talent which he learned from his first master: he knows a secret kind of shorthand. Sold to a dastardly villain who wants to use that talent to steal Shakespeare’s newest play, Widge finds himself in London apprenticing with the theatre company. Will he steal the play or risk his life to be loyal to the only “family” he’s ever known? Inspired by Shakespeare’s Lord Chamberlain's Men – and a very real problem of plays being stolen – there’s plenty of action, including swashbuckling swordplay. From the first page, I found myself rooting for Widge, hoping he would make the right choice and live to become an actor in the company.
A delightful adveture full of humor and heart set in Elizabethan England!
Widge is an orphan with a rare talent for shorthand. His fearsome master has just one demand: steal Shakespeare's play "Hamlet"--or else. Widge has no choice but to follow orders, so he works his way into the heart of the Globe Theatre, where Shakespeare's players perform. As full of twists and turns as a London alleyway, this entertaining novel is rich in period details, colorful characters, villainy, and drama.
* "A fast-moving historical novel that introduces an important era with casual familiarity." --School Library Journal, starred review
I am an Emeritus Professor of Drama at the University of Hull, translator of some twenty plays from Greek or Latin into English, a professional director, and a member of Equity for more than fifty years. I hope and believe that my own experience as a practitioner has blended with an educational background in Greek and Latin from St Andrews combined in my extensive list of publications on theatre history as author and editor to be found listed on my website.
This may seem a rather strange nomination as it is the catalogue for a remarkable exhibition, curated by Mary Hart at the J. Paul Getty Museum in 2010.
The main justification is that this was probably the greatest collection of illustrations of dramatic performances in the classical world ever displayed together, in pots, paintings, and artefacts. Though hardly a reliable guide to how Greek comedies and tragedies were originally staged, the various artworks are given contexts and explanations in accompanying commentaries.
Above all, what the book validates is the belief that the earliest Greek theatre emerged as a visual art form, never initially to be preserved in print. Today, we do have some 46 more or less complete playtexts, including a couple from New Comedy, which there is no space to champion here, but which also features strongly throughout the catalogue.
This is an exploration of Greek theatre as seen through its many depictions in classical art. "The Art of Ancient Greek Theater" addresses the vibrant imprint that ancient Greek tragedy and comedy left on the visual arts of classical Greece. Theatrical performance as we know it originated in mid-sixth century BCE with choral dances held in honour of Dionysus, the Greek god of wine and patron of the theatre. The great tragedies by Aeschylus, Sophocles, and Euripides, and the comedies of Aristophanes and Menander are preserved as some of the world's most revered literature and have formed the basis for…
I am a former network television executive who is fascinated by the history of mass media and have authored or co-authored nine books and many articles on the subject. These include The Complete Directory to Primetime Network and Cable TV Shows, 1946-Present and Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. I’m particularly drawn to subjects that are underexplored, or which seem to be greatly misunderstood today. I quickly learned that you are not likely to earn a living from writing, so I decided to write about subjects I cared about, and hopefully add something to our knowledge of cultural history. I became more aware of what the professional minstrel show was really like while researching Lost Sounds, based on original accounts, recordings, and films.
A unique and insightful look at how three groups fought back against their widespread stereotyping in the media of the early 20th century, and how two of them largely succeeded in changing these portrayals. The reasons why African-Americans were much less successful than Irish and Jews in fighting stereotypes are complex and fascinating, and hold lessons for us today.
A drunken Irish maid slips and falls. A greedy Jewish pawnbroker lures his female employee into prostitution. An African American man leers at a white woman. These and other, similar images appeared widely on stages and screens across America during the early twentieth century. In this provocative study, M. Alison Kibler uncovers, for the first time, powerful and concurrent campaigns by Irish, Jewish and African Americans against racial ridicule in popular culture at the turn of the twentieth century. Censoring Racial Ridicule explores how Irish, Jewish, and African American groups of the era resisted harmful representations in popular culture by…
