New PDF release: Contemporary Japanese Women’s Theatre and Visual Arts:

By Nobuko Anan

ISBN-10: 1137372982

ISBN-13: 9781137372987

ISBN-10: 1349557064

ISBN-13: 9781349557066

This e-book lines the heritage of 'girls' aesthetics,' the place grownup eastern ladies create paintings works approximately 'girls' that face up to motherhood, from the fashionable to the modern interval and their manifestation in jap women's theatrical and dance functionality and visible arts together with manga, movie, and set up arts.

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Additional info for Contemporary Japanese Women’s Theatre and Visual Arts: Performing Girls’ Aesthetics

Example text

It causes the ego to split into two; a part of the ego or “conscience” takes on a role to judge the rest of the ego where the assimilated loss is located (Freud 1915: 157). Various situations surrounding a loss, such as death and “situations of being wounded, hurt, neglected, out of favour, or disappointed,” are transported in the formation of ego, and the conscience directs rage against a withdrawn object or concept which has now become a part of the ego (Freud 1915: 161–2). Melancholics are characterized by their self-abasement, but this is actually their abasement of the lost ones (now taken in themselves) (Freud 1915: 158).

NOISE’s DOLL Kisaragi Koharu’s legacy in Japanese women’s theatre The death of girls is a recurring motif of girls’ aesthetics. Another example from contemporary performance with this motif is NOISE’s DOLL (1983),19 which is about the group suicide of female highschool students. Established in 1983, NOISE was a mixed-gender performance collective led by the late female playwright/director Kisaragi Koharu. She wrote many plays with young female characters, but it should be noted here that she was not particularly an artist of girls’ aesthetics.

Like her Lear, however, her version of DOLL is very different from the original. 27 Girls as a trope of a social predicament? DOLL was the first piece Kisaragi wrote and directed for the company NOISE, which she formed in 1983 after leaving Theatre Company Kiki (Gekidan Kiki). Unlike Theatre Company Kiki, which staged language-oriented plays, NOISE was an experimental, multi-media performance collective involving interdisciplinary collaborations with artists from various fields such as music and visual arts.

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Contemporary Japanese Women’s Theatre and Visual Arts: Performing Girls’ Aesthetics by Nobuko Anan

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