The Bunraku Puppet Theatre of Japan : honor, vengeance, and love in four plays of the 18th and 19th centuries (2013) 

Public ISBD Titre : The Bunraku Puppet Theatre of Japan : honor, vengeance, and love in four plays of the 18th and 19th centuries Type de document : Livre(s) Identité(s) : Chikamatsu Hanji (1725-1783) Editeur : Honolulu : University of Hawaï Press Année de publication : 2013 Importance : 1 vol. (303 p.) Présentation : ill. couv. en coul., ill. en noir Format : 23 x 15 cm ISBN/ISSN/EAN : 978-0-8248-3680-1 Note générale : Bibliogr. p. 301-303 Langues : Américain (ame) Concepts : [Rameau] Bunraku [Rameau] Marionnettes -- Histoire -- Japon Index. décimale : 33.7 Bunraku - Histoire Résumé : The plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, however, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three of the plays in this volume achieved this level of importance. This span of some sixty-odd years was also a formative one in the development of how plays were presented, an important feature in the modern staging of works from the traditional plebeian theatre. Only a handful of complete and uncut plays—often as much as ten hours long—are produced in Bunraku or Kabuki nowadays; included here is one of these. Two among the four plays contained in this volume are examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today. Date de création* : 2013 Permalink : https://cataloguedoc.marionnette.com/index.php?lvl=notice_display&id=23414 The Bunraku Puppet Theatre of Japan : honor, vengeance, and love in four plays of the 18th and 19th centuries [Livre(s)] / Chikamatsu Hanji (1725-1783) . - Honolulu : University of Hawaï Press, 2013 . - 1 vol. (303 p.) : ill. couv. en coul., ill. en noir ; 23 x 15 cm. ISBN : 978-0-8248-3680-1 Bibliogr. p. 301-303 Langues : Américain (ame) Concepts : [Rameau] Bunraku [Rameau] Marionnettes -- Histoire -- Japon Index. décimale : 33.7 Bunraku - Histoire Résumé : The plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, however, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three of the plays in this volume achieved this level of importance. This span of some sixty-odd years was also a formative one in the development of how plays were presented, an important feature in the modern staging of works from the traditional plebeian theatre. Only a handful of complete and uncut plays—often as much as ten hours long—are produced in Bunraku or Kabuki nowadays; included here is one of these. Two among the four plays contained in this volume are examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today. Date de création* : 2013 Permalink : https://cataloguedoc.marionnette.com/index.php?lvl=notice_display&id=23414

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Code-barres	Cote	Support	Localisation	Section	Disponibilité	N° Inventaire	Donateur / Vendeur / Légataire etc.	Fonds (ou collection) auquel appartient cet item aujourd'hui	Evénement(s) associé(s)
30020002970053	33.7 CHI	Livre	Institut International de la Marionnette (Churchill)	1er - Salle de lecture	Libre accès - empruntable Disponible

The Problem of Bunraku : A practice-led investigation into contemporary uses and misuses of ningyo joruri / Bidgood, Jeremy (2015) 

Public ISBD Titre : The Problem of Bunraku : A practice-led investigation into contemporary uses and misuses of ningyo joruri Type de document : Littérature grise Identité(s) : Jeremy Bidgood ; Matthew Isaac Cohen, directeur de thèse Editeur : Londres [Royaume-Uni] : Royal Holloway, University of London Année de publication : 2015 Importance : 287 p. Présentation : ill. en noir Format : 21 x 29,7 cm Langues : Anglais (eng) Concepts : [Rameau] Bunraku Mots-clés : ningyo joruri Index. décimale : 33.7 Bunraku - Histoire Résumé : Contemporary global theatre practice makes regular reference to ningyo joruri (ningyō jōruri), a traditional form of Japanese puppet theatre, in particular the now world famous Bunraku Theatre (bunraku za) in Osaka. It has become commonplace amongst practitioners and critics alike to describe certain contemporary puppet forms as 'bunraku' or 'bunraku-style' (capitalisation and italicisation vary). This begs the question, are these puppets truly descendants of and/or equivalents to the practice of the Bunraku Theatre or ningyo joruri more broadly? If not, then many practitioners and critics frequently and erroneously invoke the authority of the Osaka Bunraku Theatre for no better reason than to add an exoticised 'authenticity' to their performances and writing. This thesis explores this problem through close analysis of historical interactions with Japan’s puppet theatres and contemporary puppet practice. It is contended that consistent misrepresentation, both circumstantial and ideological, of ningyo joruri has created a near homogenous Bunraku-centric view of Japanese puppetry in English-language literature and practice. This mythologisation and essentialisation of the Bunraku Theatre has both enabled its easy appropriation and severely disenfranchised Japan’s other, extant ningyo joruri troupes. It is argued that the labelling of contemporary puppets as ‘bunraku’ is the result of and in turn perpetuates this erroneous myth. Implicit in this is a failure to recognise and acknowledge the multiplicity of other technologies and techniques at play in this modern ‘bunraku’. Through examination of contemporary puppet practice this thesis identifies and explores the 'atoms' from which these puppets and their performance are built. Understanding and identifying these 'atoms' enables us to see the true extent to which the technologies and techniques of ningyo joruri are used outside Japan. It is argued that these modern ‘bunraku’ puppets are, in fact, wildly heterogeneous: showing a wide range of ideas and influences that extend well beyond the confines of the Bunraku Theatre in Osaka. Note de contenu : Bibliographie p. 251 ; glossaire p. 249 Note de Thèse : Thése universitaire : Drama and Theatre : Royal Holloway, University of London : 2015 Date de création* : 2015 Type de littérature grise : thèse de doctorat Permalink : https://cataloguedoc.marionnette.com/index.php?lvl=notice_display&id=35390 The Problem of Bunraku : A practice-led investigation into contemporary uses and misuses of ningyo joruri [Littérature grise] / Jeremy Bidgood ; Matthew Isaac Cohen, directeur de thèse . - Londres [Royaume-Uni] : Royal Holloway, University of London, 2015 . - 287 p. : ill. en noir ; 21 x 29,7 cm. Langues : Anglais (eng) Concepts : [Rameau] Bunraku Mots-clés : ningyo joruri Index. décimale : 33.7 Bunraku - Histoire Résumé : Contemporary global theatre practice makes regular reference to ningyo joruri (ningyō jōruri), a traditional form of Japanese puppet theatre, in particular the now world famous Bunraku Theatre (bunraku za) in Osaka. It has become commonplace amongst practitioners and critics alike to describe certain contemporary puppet forms as 'bunraku' or 'bunraku-style' (capitalisation and italicisation vary). This begs the question, are these puppets truly descendants of and/or equivalents to the practice of the Bunraku Theatre or ningyo joruri more broadly? If not, then many practitioners and critics frequently and erroneously invoke the authority of the Osaka Bunraku Theatre for no better reason than to add an exoticised 'authenticity' to their performances and writing. This thesis explores this problem through close analysis of historical interactions with Japan’s puppet theatres and contemporary puppet practice. It is contended that consistent misrepresentation, both circumstantial and ideological, of ningyo joruri has created a near homogenous Bunraku-centric view of Japanese puppetry in English-language literature and practice. This mythologisation and essentialisation of the Bunraku Theatre has both enabled its easy appropriation and severely disenfranchised Japan’s other, extant ningyo joruri troupes. It is argued that the labelling of contemporary puppets as ‘bunraku’ is the result of and in turn perpetuates this erroneous myth. Implicit in this is a failure to recognise and acknowledge the multiplicity of other technologies and techniques at play in this modern ‘bunraku’. Through examination of contemporary puppet practice this thesis identifies and explores the 'atoms' from which these puppets and their performance are built. Understanding and identifying these 'atoms' enables us to see the true extent to which the technologies and techniques of ningyo joruri are used outside Japan. It is argued that these modern ‘bunraku’ puppets are, in fact, wildly heterogeneous: showing a wide range of ideas and influences that extend well beyond the confines of the Bunraku Theatre in Osaka. Note de contenu : Bibliographie p. 251 ; glossaire p. 249 Note de Thèse : Thése universitaire : Drama and Theatre : Royal Holloway, University of London : 2015 Date de création* : 2015 Type de littérature grise : thèse de doctorat Permalink : https://cataloguedoc.marionnette.com/index.php?lvl=notice_display&id=35390

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Code-barres	Cote	Support	Localisation	Section	Disponibilité	N° Inventaire	Donateur / Vendeur / Légataire etc.	Fonds (ou collection) auquel appartient cet item aujourd'hui	Evénement(s) associé(s)
30020003047331	33.7 BID	Thèse	Institut International de la Marionnette (Churchill)	1er - Littérature grise	Sur demande - Consultable sur place uniquement Exclu du prêt		Don de Jeremy Bidgood