IMPACT OF BUNRAKU ON CONTEMPORARY THEATRE The rise of Bunraku: Bunraku is a term commonly used for ningyo-joruri, which literally means puppets and storytelling. The combination of chanting and shamisen playing is called jōruri and the Japanese word for puppet (or dolls, generally) is ningyō. The term while describing a puppet performance, also alludes to its predecessors. In Japan, along with the tradition of travelling storytellers, who used biwa as their accompaniment, there were also travelling puppeteers. The period of confluence of these two arts forms is not known.
Regan Coseni Mme Poliquin English – EAE 4U 11/11/11 Critical Review of Hamlet Films, Act 3: Zeffirelli vs. Branagh There are numerous different portrayals of William Shakespeare’s “Hamlet”, whether they are in the form of films, books or theatrical plays, they are all better than the other in different aspects and for specific reasons. In this critical review, we will make a comparison of Act 3 between Franco Zeffirelli’s film version of “Hamlet” starring Mel Gibson and Kennith Branagh’s film version of “Hamlet” starring Branagh, himself. First, as far as faithfulness to sequence and language in comparison to the original written version of Act 3, Branagh’s is pretty well identical in both senses. On the other hand, Zeffirelli’s version switches a few things up. To start with, in the original version as well as Branagh’s version of “Hamlet”, the “To be or not to be” soliloquy comes before Hamlets encounter with Ophelia, where as in Zeffirelli’s version of the play, Hamlet’s “To be or not to be” soliloquy comes after the scene where he speaks with Ophelia.
Chikamatsu Monzaemon grew up in a Samurai family and became closely connected to Takemoto Gidayu, a puppeteer, and moved near his theatre. Monzaemon wrote a number of Kabuki plays, however then decided to write plays specifically for characters. He had two genres of plays, domestic tragedies and historical romances. Most of his works were based on real incidents, for example, double suicides of lovers. The Love Suicides at Sonezaki were actually based on a real incident of a double love suicide.
The Creation of “Orientalism and Exoticism” in Western Music Saint-Saëns’ Samson et Dalila, as well as other operas written in the eighteenth and nineteenth century, used “Orientalism” and “Exoticism” to help capture the hidden world of Eastern culture. In his opera, Saint-Saëns uses modal structure, rhythm, instrumentation and the exotic Delilah to captivate the Western world. Without Orientalism, Western composers would be unable to explore the social curiosities of Eastern cultures. To the normal Western European ear, Samson et Delila conveys “Eastern” instrumentation at first listen, but with further in depth analysis, reveals use of mode mixture in an effort to distort Western compositional technique writing and make it seem like that of the “other.” Orientalism was first employed by British and French intellectuals in the late eighteeth century. These intellectuals regarded Asians, North Africans and Middle Easterners as an unruly, barbaric populous that needed to be civilized.
Both ‘Summer of the Seventeenth Doll’ by Ray Lawler and ‘The removalists’ by David Williamson have explored the different ways people cope when things change or go wrong. Both playwrights use the style of realism to portray themes which depict changing circumstances on the stage and show how different characters respond. Ray Lawler and David Williamson use the techniques of relevant idiom, staging, costume and symbolism, all conventions of realism, to explore the themes of stereotypes, the changing of traditions and violence. In the early 20th century Australia was searching for its national identity. Plays up until this point in time were traditional melodramatic English plays.
'The way that I have been working with materials is trying to bring the ancient works, traditional materials and craft skills into a contemporary art field where traditions and craftsmanship are often not necessarily cared and valued much.' It could be said that Ah Xian, a Chinese-Australian contemporary artist is the connection between traditional and modern art. Heavy inspiration for his work comes from his cultural background - China, from this comes Buddhist influence and also influence from traditional stories. In his art, he strives to successfully assimilate his cultural background with the artistic language and values of the West. Ah Xian focuses on the human form, in particular, the bust (modelled by Chinese and no Chinese men and women, many including friends and family).
Pacino’s Looking for Richard (LFR) draws on Shakespeare’s play King Richard III in his ‘docudrama-like-thing’ pursuing the goal of making Shakespeare more accessible for a notoriously uninterested 20th century audience. Through the connections implicit and explicit between the texts my understanding of the idea of legitimacy and language have been enriched through a relationship between the two texts where the appropriation affects the original text as well as the text influencing the appropriation. Despite differing contextual circumstances, the contestable nature of legitimacy and its fabrication of credibility is reflected in both LFR and RIII, whether it be over Shakespeare or monarchy. The reshaping of ideas in RIII has also illustrates
Creating Mythology that can be Understood Paul Elder (Doc) HCS/105 August 28 2014 David Hudson Creating Mythology that can be Understood Could one go on about the zodiac and find that there symbols could be the writings of their own mythology being. Chinese horoscope has given civilization a reading of what ancient beings have decided was our story, and as the modern world continues to believe these stories based on handed down or read stories could be the answer to our existence. According to its origin of the Hyan Dynasty, each animal and character live in its own created habitat. (Travel China, 2004) Does this create the basis of who we are and how we find ourselves in our own habitat, can we say that the zodiac has given us mythical stories of present day or are these stories recirculating.
Raise the Red Lantern raises issues of the traditional patriarchal in China in the1920s, that were present in both the film and novel. There were several additional scenes in the film which was not present in the novel, that aided and elaborated on the themes of isolation and tradition that is present in the novel. From 1:55:00s to 1:59:00s there is the revelation of Songlian traumatised state and Lao Ye’s unfeeling declaration that Songlian is mad, and there is the additional scenes of the supposed ghost of Meishan, the third mistress, as well. The film expands on ideas and themes within the novel making additional scenes to interpret and elaborate on certain themes. The trauma of Lotus is kept in the both the film and novel which allows people to sympathise with her more especially after witnessing the death of Cora although they are expressed differently.
l [pic][pic] 英文学院研究生学期课程论文 课程名称 跨文化交际学 学 期 2012~2013 第一学期 学号 2012529 姓名 王玮 专 业 英语语言文学 研究方向 跨文化交际 学生类别 硕士研究生 任课教师 李本现 成 绩 Differences in Humor Styles between China and America by Wang Wei School of English Studies Xi'an International Studies University Xi’an, China 2013 Differences in Humor Styles between China and America ABSTRACT Humor, as a relaxing topic, is a very complicate thing in the intercultural communication. Humor can be the source of misunderstanding, cause many embarrassed moments. Meanwhile, different cultures have their own preferred humor styles. The famous professor of psychology at the University of Western Ontario, Rod A. Martin who focuses his study on functions of humor and laughter proposes four humor styles, that is, affiliative humor, self-enhancing humor, self-defeating humor and aggressive humor. People of all ages and backgrounds engage in humor, but the way they use it can vary greatly.