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Full-Text Articles in Arts and Humanities
Mochizuki: History And Context, Michael Watson
Paragons Of Loyalty On The Japanese Stage, J. Thomas Rimer
Paragons Of Loyalty On The Japanese Stage, J. Thomas Rimer
Mime Journal
No abstract provided.
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Mime Journal
No abstract provided.
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
Mime Journal
Nō techniques and play borrowings provided important infusions into kabuki throughout its history, but in the nineteenth century, a genre of kabuki plays in close imitation of nō or kyōgen wasadded to the kabuki repertoire. The genre came to be called matsubamemono, meaning “[nō/kyōgen-derived kabuki] plays [performed] on a stage with a pine painted on the back wall” or “pine-boardplays.”1 These plays are the focus of this article, in which I first introduce the genre and its place in kabuki history, and then discuss its most famous example, the play Kanjinchō (Hattori 17–40; Meisakukabuki zenshū 181–197; Brandon, The Subscription List …
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
Guise And Disguise: Nō Costumes In The Context Of Cultural Norms, Monica Bethe
Guise And Disguise: Nō Costumes In The Context Of Cultural Norms, Monica Bethe
Mime Journal
No abstract provided.
Two Unknown Essays By Craig On The Production Of Shakespeare's Plays, Patrick Le Boeuf
Two Unknown Essays By Craig On The Production Of Shakespeare's Plays, Patrick Le Boeuf
Mime Journal
In the 1920s and 1930s, Craig drafted two essays on Shakespeare, neither of which was completed nor published. Although they cannot be ranked among Craig’s most inspired writings, these two unfinished essays are of great interest, as they show that Craig, then in his fifties-sixties, was walking on a thin line dividing two most contrasted landscapes: on the one hand he was more attracted than ever to forms of radical modernity, on the other hand he was at risk of indulging in gratuitously archaeological reconstitutions, while being aware of that danger.
The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou
The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou
Mime Journal
Olga Taxidou analyzes the ambiguous concept for which Edward Gordon Craig is best known—the “übermarionette”—alongside Isadora Duncan’s discussions of the liberated dancer. Highlighting the emphasis on futurity in Craig’s and Duncan’s manifestos and theories, she contends that this pairing works to undo the binaries between Hellenism and modernism, and between mechanistic and vitalistic aesthetics. Emphasizing the impact of Nietzsche’s The Birth of Tragedy (1872) and Charles Darwin’s evolutionary theories upon Duncan’s theory and practice, Taxidou locates Duncan within an intellectual vanguard that includes Jane Harrison and her fellow Cambridge Ritualists as well as major modernist poets.
Nine Ways Of Opening Macbeth, Patrick Le Boeuf
Nine Ways Of Opening Macbeth, Patrick Le Boeuf
Mime Journal
A previously unpublished essay by Edward Gordon Craig in which Craig considers various directorial and casting choices for Shakespeare's Macbeth. Edited, with notes, by Patrick Le Boeuf.
Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso, Annie Holt
Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso, Annie Holt
Mime Journal
Holt focuses on Craig’s influential stage designs in relation to the performing body. Through costume design, Holt rethinks Craig’s relationship with the designs of the Ballets Russes, placing him in context with the experimentations of his contemporaries Leon Bakst and Pablo Picasso. Holt frames these designers’ historic opposition as a difference of opinion around the way that costumes can carry meaning. She argues that while all three designers used similar visual language and agreed that costumes should communicate with audiences, each artist used a different model for this communication – speech (Craig), music (Bakst) and writing (Picasso).
A Note On Sanity In Stage Productions Of Shakespearean Plays, Patrick Le Boeuf
A Note On Sanity In Stage Productions Of Shakespearean Plays, Patrick Le Boeuf
Mime Journal
A previously unpublished essay by Edward Gordon Craig which elucidates his ideas about the “right” way to produce Shakespeare. Edited, with notes, by Patrick Le Boeuf.
Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman
Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman
Mime Journal
In this edited transcription of his remarks at the 2013 Pomona College (California) conference “Action, Scene and Voice,” Harvey Grossman elucidates the theory and practice of his two most important teachers: Edward Gordon Craig and Étienne Decroux. Grossman elucidates Craig’s much-debated comments on the “Art of the Theatre,” as well as Craig’s influence upon the French corporeal mime Étienne Decroux. He relates in detail Craig’s positive response to seeing Decroux and his students (among them Jean-Louis Barrault and Éliane Guyon) perform in 1945.
The Shadow Puppets Of Elsinore: Edward Gordon Craig And The Cranach Press Hamlet, James P. Taylor
The Shadow Puppets Of Elsinore: Edward Gordon Craig And The Cranach Press Hamlet, James P. Taylor
Mime Journal
Taylor considers the role that book arts may play in Craig’s theories of the new theatre, or the Art of the Future. He expands our understanding of Craig’s design work to include print culture, examining his engravings for the monumental editions of Hamlet published by Count Harry Kessler’s Cranach Press in 1929–30. Taylor explores the relationship of Craig’s designs for the 1912 Moscow Art Theatre production of Hamlet to his engravings for the German and English-language Cranach Press editions of the play. He suggests that it was only with this print publication that Craig finally achieved the absolute artistic control …
Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt
Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt
Mime Journal
Cover, front matter, and contents for Mime Journal Special Issue, "Action, Scene, and Voice: 21st-Century Dialogues with Edward Gordon Craig." Guest editors: Jennifer Buckley and Annie Holt.
Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt
Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt
Mime Journal
A roadmap to this Special Issue of Mime Journal. This issue emphasizes the tissue of influences that shaped Craig’s own work and continue to impact contemporary theater and performance. By focusing on the historical contexts in which his ideas were developed and those in which they have been received, the essays counter the widely held perception of Craig as the solitary genius of the “Art of the Theatre.” His claims of originality and singularity have too often obscured the connections between his work and that of other artists—especially the dancer Isadora Duncan, upon whom two of the pieces included here …
The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove
The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove
Mime Journal
Jennifer Buckley interviews dancer, choreographer, and teacher Lori Belilove on Isadora Duncan’s practice and legacy. Belilove argues for Duncan’s modernism, and emphasizes her impact upon Edward Gordon Craig’s developing aesthetic and his career. This edited transcription of their conversation takes its point of departure from Craig’s portfolio of six drawings of Duncan in action, Isadora Duncan: Sechs Bewegungsstudien, Insel Verlag, 1906. Belilove sees both Craig and Duncan as poised between late Victorianism and modernism, and she contends they shared a modernist impulse toward abstraction. Belilove also comments on her own practice as a performer and as a teacher passing …
Madness And Method: Improvisation In The Theatre Of The Eighth Day, Lech Raczak
Madness And Method: Improvisation In The Theatre Of The Eighth Day, Lech Raczak
Mime Journal
Lech Raczak, the director of the Theatre of the Eighth Day for twenty-five years, describes the method of physical improvisation derived from Jerzy Grotowski that the troupe used to create productions. The Eighth Day used Grotowski’s methods to create productions that were very different in tone and content from those that Grotowski’s Laboratory Theatre created. They became famous for their stance of opposition to the Communist regime.
Actor Training And Techniques In Pieśń Kozła Theatre, Anna Zubrzycki
Actor Training And Techniques In Pieśń Kozła Theatre, Anna Zubrzycki
Mime Journal
Anna Zubrzycki, one of the founders of the Pieśń Kozła (Song of the Goat) Theatre, describes the working methods of the theatre, which seeks to develop the the actor’s tools—text, song, rhythm, physicality, spatial relations—and to help actors coordinate those tools with each other and with the text through physical and vocal exercises. They also work on the actors’ ability to respond to each other’s impulses in a physical way. Zubrzycki also describes five of the productions that Song of the Goat has created using this physical/vocal method of creation.
Jerzy Grotowski In Copenhagen: Three Encounters With The Sage, Juliusz Tyszka
Jerzy Grotowski In Copenhagen: Three Encounters With The Sage, Juliusz Tyszka
Mime Journal
Juliusz Tyszka describes Jerzy Grotowski’s three appearances at the the Tenth Session of the International School of Theatre Anthropology (ISTA), which took place in Copenhagen, May 3–8, 1996. Grotowski describes various key concepts in his work. He also relates the early stages of both his life and his work with the Laboratory Theatre to the work he was doing in the 1990s at the Workcenter of Jerzy Grotowski and Thomas Richards in Pontedera, Italy.