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Works Currently Available by Title or Genre
Noh Theater: Tale of Genji Excerpts
This program presents excerpts from the Japanese dance-drama Noh play Tale of Genji, from the 14th century, performed by Tatsuo Minagawa, Tei Ko, Shizu Nakamura, and Yuki Shimoda, with commentary by the leading Japanese scholar Donald Keene. The performance is in Japanese, with English explanation. As seen by Keene, Noh plays had a status, not unlike classic Greek drama. The Tale of Genji -- in form, a long novel -- has been compared to The Decameron, Tom Jones, or the work of Proust in its sweep of action and multiple characters
Figures of Desire by
Call Number: PL735.T57 2002
Publication Date: 2002-10-04
"Etsuko Terasaki considers the powerful religious-ideological role that Buddhism and the social and economic aspects of Kamakura and early Muromachi society played in framing the status of women in the Noh plays of the period...Figures of Desire also examines earlier folk legends that were appropriated into the new construct of Noh as evidence of cultural and ideological shifts or displacements."
Traditional Japanese Theater by
Call Number: PL782.E5T73 1998
Publication Date: 1998-04-01
This is a collection of the most important genres of Japanese performance--noh, kyogen, kabuki, and bamrili puppet theater--in one comprehensive, authoritative volume. Organized by genre, each section features a rich selection of representative plays and explorations into each theatrical style and is prefaced by an illustrative essay covering a wide range of subjects, from stage direction to musical accompaniment. With classic and new translations of more than thirty plays and scenes--along with Brazell's detailed, historically rich supplementary material and copious illustrations--no better anthology exists for students of this most fascinating and diverse dramatic tradition.
Ancient Greek Drama
Call Number: eBook
Publication Date: 2001-04-19
Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek inorder to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the play. Although it has been at times overshadowed by his more famous Oedipus Tyrannus and Antigone, Sophocles' Electra is remarkable for its extreme emotions and taut drama. Electra recounts the murders of Clytemnestra and Aegisthus by Clytemnestra's son Orestes, to avenge their murder of his father Agamemnon, commander of the Greeks at Troy, upon his return home. Sophocles' version is presented from the viewpoint of Electra, Orestes' sister, who laments her father,bears witness to her mother's crime, and for years endures her mother's scorn. Despite her overwhelming passion for just revenge, Electra admits that her own actions are shameful. When Orestes arrives at last, her mood shifts from grief to joy, as Orestes carries out the bloody vengeance. Sophocles presents this story as a savage though necessary act of vengeance, vividly depicting Electra's grief, anger, and exultation. This translation equals the original in ferocity of expression, and leaves intact the inarticulate cries of suffering and joy that fill the play.
Images of the Greek Theatre by
Call Number: PA3201 .G73 1995
Publication Date: 1995-01-01
Classical Greek theatre survives not only in plays that we still read and perform, but also in artistic images. Depictions of performances, actors, and their masks were frequent in classical times and continued to appear even beyond the fifth and sixth centuries A.D., long after the plays had ceased to be staged. These artifacts, together with the remains of actual theatres and the texts of surviving plays, give us an idea of how Greek drama must have appeared in its heyday.In this book, Richard Green and Eric Handley outline the history of the Greek theatre, drawing on the evidence supplied by the theatres themselves, the surviving plays, and artistic artifacts. They show and discuss painted pottery, notably from fifth-century Athens and fourth-century southern Italy, that records scenes from plays. Terra-cotta figures, mosaics, paintings, metalware, and gems also help them build a picture of Greek theatre. All these artifacts tell the story of Greek drama as seen through the eyes of those admirers who kept its classic moments and traditions alive and who found a place for it in the society of their own times. They help the modern playgoer and reader to imagine what a visit to the theatre in classical Greece might have been like.