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Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overviews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare.
This volume is divided into four sections covering:
- Representative Theatrical Traditions in Asia.
- Cross-Regional Aspects of Classical and Folk Theatres.
- Modern and Contemporary Theatres in Asian Countries.
- Modernity, Gender Performance, Intercultural and Musical Theatre in Asia.
Offering a cutting edge overview of Asian theatre and performance, the Handbook is an invaluable resource for academics, researchers and students studying this ever-evolving field.
- Sales Rank: #3200053 in Books
- Published on: 2016-02-03
- Original language: English
- Number of items: 1
- Dimensions: 9.80" h x 1.50" w x 6.90" l, .0 pounds
- Binding: Hardcover
- 602 pages
About the Author
Siyuan Liu is�a former�President of the�Association for Asian Performance�and an Assistant Professor of Theatre at the University of British Columbia, Canada.
Most helpful customer reviews
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As one of the authors, I am obviously biased ...
By JS
As one of the authors, I am obviously biased. However objectively reading the entire book I am very much impressed with the scope and quality of the contributions. Many of the authors have written books on their chosen subjects, but distill them here with grace and thoroughness. There are many sub-genres contributing to the power and beauty of Asian theatre normally glossed over in especially Western-trained academics' accounts that are here given full articles and chapters: music, masks, dance, architecture. Gender in traditional and modern theatre, and the rise of spoken-word drama are given full chapters. And the various intercultural aspects of traditional and modern theatre, and Shakespeare adaptations, should be of immense interest to scholars of post-colonial and performance studies. The musical, the most popular and the least documented, of modern theatre in Asia, is given a full chapter. The selection of authors, including many Asians and women, is commendable. Kudos to editor Siyuan Liu for assembling this rich, encompassing volume, which succeeds as a collection of well-articulated individual voices rather than an encyclopedic consistency of tone and content.
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