Women as Men, Men as Women : Cross-dressing in Japanese Theatre

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F16%3A00100446" target="_blank" >RIV/00216224:14210/16:00100446 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.kas.upol.cz/uploads/media/Dalny_vychod_c.2_2016_01.pdf" target="_blank" >https://www.kas.upol.cz/uploads/media/Dalny_vychod_c.2_2016_01.pdf</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Women as Men, Men as Women : Cross-dressing in Japanese Theatre

Popis výsledku v původním jazyce

Cross-dressing in Japanese theatre is usually associated with the traditional kabuki theatre and its impersonators of female roles, the onnagata or oyama. At some historical period, women were played by men in many western countries. However, in Japan, women were introduced (or reintroduced) to the stage at the turn of the 20th century and the onnagata tradition was firmly rooted to the extent that there was a wide debate about the legitimacy of actresses. However, actresses gradually replaced female impersonators and the tradition became perceived as an element of “traditional theatre”. This still being a new phenomenon, Takarazuka revue was founded and new cross-dressing tradition was born. In this paper, I would like to explore the development of cross-dressing on stage and representation of the opposite or different gender in modern Japanese theatre. I shall describe the development during the Meiji era and then present modern examples of cross-gender actors. In this paper, I shall examine male impersonators of Takarazuka revue and their construction of male gender and subsequently introduce individuals performing as the onnagata in the framework of the modern and contemporary theatre.

Název v anglickém jazyce

Women as Men, Men as Women : Cross-dressing in Japanese Theatre

Popis výsledku anglicky

Cross-dressing in Japanese theatre is usually associated with the traditional kabuki theatre and its impersonators of female roles, the onnagata or oyama. At some historical period, women were played by men in many western countries. However, in Japan, women were introduced (or reintroduced) to the stage at the turn of the 20th century and the onnagata tradition was firmly rooted to the extent that there was a wide debate about the legitimacy of actresses. However, actresses gradually replaced female impersonators and the tradition became perceived as an element of “traditional theatre”. This still being a new phenomenon, Takarazuka revue was founded and new cross-dressing tradition was born. In this paper, I would like to explore the development of cross-dressing on stage and representation of the opposite or different gender in modern Japanese theatre. I shall describe the development during the Meiji era and then present modern examples of cross-gender actors. In this paper, I shall examine male impersonators of Takarazuka revue and their construction of male gender and subsequently introduce individuals performing as the onnagata in the framework of the modern and contemporary theatre.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2016

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Dálný východ

ISSN

1805-1049

e-ISSN

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Svazek periodika

6

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

16

Strana od-do

13-28

Kód UT WoS článku

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EID výsledku v databázi Scopus

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