Tag Archives: japanese theatre

History, Literature, Movies, Papers, Theatre, Writings

PAPER: Mishima Yukio’s “Patriotism”

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Written in December 2011 Wrote this paper based on my personal interest in Mishima Yukio's works, namely his short story "Patriotism" which he later adapted for film that he wrote, directed, and starred in as the lead role and how both works express Mishima's personal ideals and beliefs.

Mishima Yukio’s “Patriotism”: Of Death, Purity, Honor, and Love

“Patriotism” is known to have been a story of personal significance to author Mishima Yukio, as he had expressed on multiple occasions how much of himself he had thrown into this particular story: “[Patriotism] embodies so many of my qualities as a writer, both the good and the bad.”  The fact that it is also the only work that Mishima handled personally when adapting it for film, as in directed, produced, wrote the screenplay, and starred in as lead actor, is testament to how important it was to him.  The film “Patriotism”, however, is not much of an adaptation in the conventional sense, and more of an expression of Mishima’s personal ideals and beliefs.  Especially in regards to Mishima’s views on the intimate relationship between death and “beauty”, which he considered synonymous with love, sex, and purity.  In both the story and the film, it is clear Mishima wanted to portray the act of seppuku as both “an act of beauty” and a purifying ritual.

Continue reading PAPER: Mishima Yukio’s “Patriotism” →
Folklore, Movies, Personal/Site Updates, Religion, Theatre

Interview: Monstrous Wives, Murderous Lovers & Dead Wet Girls (Japan Station, JapanKyo.Com)

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Had a fun talk with Antonio (Tony) Vega discussing onryō (怨霊; “vengeful/wrathful ghost”) in the context of Japanese religion/folklore, theatre, as well as contemporary J-horror cinema. Feel free to give it a listen!

Tony’s podcast Japan Station is focused on discovering Japan through conversations with a guest featured on each episode. His podcast covers all aspects of Japan, including the Japanese language, history, Japanese pop culture, food, anime, manga, movies, music, comedy, the impact of Japanese culture around the world, underground social movements, social issues in Japan, and much more.

Movies, Personal/Site Updates, Theatre

Webinar Presentation: Monstrous Wives, Murderous Lovers, and Dead Wet Girls (Center for Japanese Studies, UH Manoa)

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Had the wonderful opportunity to talk and present my doctoral dissertation research as a part of the University of Hawai‘i at Mānoa’s Center for Japanese Studies (CJS) lecture series for Fall 2021.

This event was held on Zoom and was co-sponsored by CJS and the Department of Theatre and Dance at UH Mānoa. Q&A was moderated by my doctoral advisor, Professor Julie A. Iezzi.

Feel free to take a look at the replay recording of the webinar (see below) released on the Center for Japanese Studies at UH Mānoa YouTube channel!

Original Air Date of Webinar: Friday, September 24, 2021

ABSTRACT: As in many cultures, woman is often portrayed as monstrous or evil by sheer fact of her being female. Today, no Japanese horror film is considered complete without its haunting woman specter, the female onryō, or “vengeful ghost” archetype. Barbara Creed’s writings on the “monstrous feminine” illustrates an innate connection of “affinity” between woman and monster as “potent threats to vulnerable male power.” Although when writing Creed was referring to Western horror cinema, the same theories can be extended to Japanese media.

By analyzing the narrative style, visual representation, and enactment of this archetype found in Japanese theatre forms nō and kabuki compared to Japanese horror films, it becomes apparent that the female onryō reflects views of the feminine identity in Japanese society. Contrary to the portrayal of the male, only once these women have become “monstrous” can they break free from sociocultural limitations and act on their vengeance. Their frightening and grotesque forms, however, invoke more terror and horror than sympathy, transforming the victims into the villains.

Despite the change in norms of Japanese society over time, the way these female onryō are presented remains arguably consistent, positioning them as more “monsters” and “freaks” rather than women. More significant is the tendency to associate these characters with feminine traits or behavior, thereby transforming them into something grotesque, extending the association of horror to woman herself. In so doing, the female onryō may have helped serve as a means of patriarchal control prescribing women’s behavior, perhaps explaining its continued prevalence.

History, Papers, Theatre, Writings

PAPER: Living Wood and Still Bodies

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Written in December 2014 Wrote this after studying the Bunraku and Kabuki theaters, specifically the relationship of influence each theater form has (or had) on the other, from a historical, aesthetic, and performative context.

Living Wood and Still Bodies: Analyzing the Relationship Between Bunraku and Kabuki

When considering the variety of theatre the world has to offer, few have such spectacular a tradition or are as recognizable as the Kabuki and Bunraku theatres of Japan. While historically the two art forms were highly competitive with one another, scholars have argued for one art form being the more or less direct influence of the other for years. Upon studying the historical factors, visual aesthetics, and movement styles of both forms, however, it becomes apparent that discussion of this topic cannot be as clear cut and dry as some of these scholars make it out to be. Continue reading PAPER: Living Wood and Still Bodies →

Folklore, Literature, Papers, Theatre, Writings

PAPER: With the Heart of a Human

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Written in November 2010 Wrote this for a course I took on Japanese theater in-depth analysis of Noh styles and construction using a specific, unique play.

With the Heart of a Human: An Analysis of the Nue as the Shite

Zeami’s works are characterized by a fine lyrical sensibility, and the Noh play Nue is no exception.What is unusual, however, is that it is spoken through the mouth of a demon, the nue monster that gives the play its name. By altering the perspective and narration of the original text found in the Tale of the Heike for his Noh play adaptation Nue, Zeami effectively sets the audience up to be sympathetic toward the nue creature and allows for its emotions to become the central focus of the play. This creates a very memorable character out of the nue, which despite being a demon exhibits a certain humanness, allowing the audience to connect and empathize with the nue. Continue reading PAPER: With the Heart of a Human →

History, Papers, Theatre, Writings

PAPER: She’s the Man

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Written in May 2011 Wrote this after studying Kabuki and Takarazuka theaters and their unique acting roles, namely the onnagata and otokoyaku, and the interpretations of gender through their performances.

She’s the Man: Performing Gender in Kabuki and Takarazuka through Kata

Of all the theatre forms in the world, there are few as mystifying and fascinating as those found in Japan, especially the highly stylized Kabuki and Takarazuka. What is it about the Kabuki and Takarazuka aesthetics that attract their respective audiences? More than the music, the dancing, the romance, or the lavish spectacle, it is the male-role specializing otokoyaku in the all-female Takarazuka theatre and the female-role specializing onnagata in the all-male Kabuki theatre that draws spectators. Both of these actors demonstrate that gender is not connected to one’s sex, but is a performance. A performance which requires the learning of a highly stylized set of patterns known as kata, by which the onnagata in Kabuki and the otokoyaku in Takarazuka learn to exude femininity and masculinity respectively, as well as become more elegant, graceful, and attractive than a “real” woman or man ever could. This in turn affects the audience’s perception of gender for both male and female spectators and demonstrates the cultural difference between Japan and the West when defining “femininity” and “masculinity.” Continue reading PAPER: She’s the Man →