Thesis (Ph. D.)--University of California, Berkeley, 1982. / Typescript. Includes bibliographical references (p. 338-344).

Note: / Scholars are in agreement that the kabuki theatre did not attain its first flowering as a complex dramatic art until the Genroku period (16881704). The Genroku period is also the earliest for which detailed study of the plays has been possible, due to the large number of playbooks that have survived. For these reasons, Genroku kabuki has long been an object of scholarly attention among Japanese theatre historians. This scholarship, however, has for the most part been shaped by the same ideological concerns that underlie other forms of Japanese intellectual discourse in the modern period. In the Meiji period (1868-1912), for example, efforts were made to find in kabuki a Japanese equivalent to the Western theatre; while in the postwar era, in light of the critique of feudalism following the national defeat, the trend has been to see kabuki as an example of popular culture, one with roots in older indigenous cultural traditions and which not only enjoyed a special relationship with the urban commoner class, but which functioned as a form of resistance to feudal authority.[...] / Ne au debut du dix-septieme siecle, Ie theAtre kabuki n'a connu sa premiere floraison comme art dramatique complexe que pendant I'epoque Genroku(1688-1704). Grace a la survivance de nombreux textes-scenarios, l'epoque Genroku est aussi la premiere periode dans l'histoire du kabuki dont l'analyse detaillee est possible. Pour ces raisons, le Genroku kabuki est depuis toujours un objet d'etude prefere parmis les specialistes de l'histoire du theAtre au Japon. Mais ces etudes, quoiqu'elles soient souvent basees sur des recherches historiques considerables, ont ete, pour la plupart, determinees par les mames projets ideologiques qui ont soutenu les autres formes du discours intellectuel dans le Japon moderne.[...]

No description available.

Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 384-391). / Microfiche. / 2 v. (xii, 391 leaves, bound) ill. 29 cm

American acquaintance with Kabuki began before World War II, although sustained interest did not begin to develop until after the war. In fact, Kabuki became known in the United States largely because a number of influential American authors and theatre people responded enthusiastically to this Japanese theatre form, which they had seen during the Occupation. On returning to America, these people wrote about Kabuki and made efforts to bring a troupe on a visit to New York City and other parts of the country. Subsequently, the Azuma Kabuki Dancers and Musicians came in 1954 and again in 1955-56, and the Grand Kabuki visited in 1960 and 1969. Focusing on New York, the paper outlines the history of Kabuki performances in America and traces the development of interest, mainly by showing how those writing in newspapers and popular magazines responded to Kabuki over the years. Despite problems of diplomacy and the technical difficulties in transporting a" full-sized troupe abroad, a wide base of interest had been established by the time of the last troupe's visit in 1969. / Arts, Faculty of / Theatre and Film, Department of / Graduate

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1985. / Bibliography: leaves [478]-479. / Microfiche. / viii, 479 leaves, bound ill. 29 cm

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 54-57).