Wednesday, October 1, 2008

TERMS FOR CHAPTER 3: ORIENTAL THEATRE

Kalidasa- powerful lyric poet, author of Shakuntala (Indian Sandskrit drama)

Onnagata- male actors who play women’s parts, imitate female manner and attitudes

Waki- supporting character in NO theatre.

Yuan Dynasty: (1279-1368) ruled by Mongolians not Chinese, zaju theatre was perfected during this dynasty. (pages 92-94 for more detail)


Shite: In noh theatre the first or lead actor

Chikamatsu: (1653-1725) 1st important Japanese dramatist since the great period of noh drama. Wrote primarily for the puppet theatre, but also for kabuki

Kathakali- Indian dance-drama

Kan'ami Kiyotsugu- father of Zeami Motokiyo. Zeami perfected the plays Kan'ami wrote in noh theater

The Peasant Class: Lower, and not as wealthy. In India, part of a set caste, segregated, and not generally exposed to drama because it was written in the upper class dialect.

Hashigakari: In No theatre, the bridge that actors use to enter from the dressing area to the platform stage.

Song Dynasty: 960-1297 preceded the Mongols, and contributed to development of variety plays and other theatrical works.

Imperial Class- The ruling class of people. Highest in Indian Caste system.

Kyogen- In noh theatre, farcical interludes presented between plays

Shadow play - uses flat puppets made of leather intricately carved to create patterns of light and shadow when their image is projected ona screen. The puppets are manipulated by sticks attached to the head, the arms, and other parts of the body. The puppetier is also the narrator and peaks the dialogue of the characters.

Total theatre - employs music, dance, drumming, exaggerated makeup, masks, singing chorus. Thematically deals with mythological heroes, mideval romances, and social and political events and its rich source of customs, beliefs, legends, and rituals.

Li Yu - scholar who failed his examinations and became a playwright, theatre critic, and impresario. Became the first important drama critic; he believed that a playwright should write clearly, with a mass audience in mind, and should be well versed in practical stage knowledge - based on his own experience as a playwright. His famous works include Ordained by Heaven, Be Circumspect in Conjugal Relationships, and The Error of the Kite, which all revolve around romantic themes.

Hanamichi- a long bridge that comes from the back of the audience to the stage generally on the left and used in Kabuki theatre. Actors can enter the stage from here and small scenes can take place on it. The Hanamichi is also known as the flower way and the BYU-I theatre department used one in the play Rashomon.

Shamisen-A three stringed Japanese instrument that is plucked and fairly resembles a guitar with a long neck and no frets. Can be used to accompany Kabuki or Bunraku, in groups or solo.

Noh Theatre-Strict Japanese drama that dates back to the 14th century. Short Dramas combining music, dance, and lyrics with highly specialized and ritualistic presentation. Tradition dictates everything from makeup to costume to the highly symbolic setting.

Okuni or Izumo –a Priestess credited for developing Kabuki theatre. She began dancing on in 1603 in Kyoto. She used similar conventions of Noh theatre

Bunraku: Japanese puppet theatre. The puppets are 2/3 life-size and are manipulated by men in black robes who are conventionally regarded as being invisible to the audience.

Sudtradhara: The leader of a sanskrit theatre production. He was the cheif actor and also managed all others involved in the production.

Sanskrit Drama: The early drama of India. Written in Sanskrit, the language of the noble classes. Led by a Sudtradhara.

Pear Garden: An actor's training institute in the capital during the Tang period in early China.

Aragato: A bravada acting style started by Danjuro 1 during a Kabuki dynasty.

Natyasastra: Written by Bharata Muni. It describes the mythological origin of theatre in India and presents important material about the nature of Indian drama.

Zeami Motokiyo: established the aesthetic and philosophical basis of NO theatre. He was an actor, court musician, a theorist, and a buddhist monk.

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Kathakali

Bunraku

Noh Theatre

Kabuki