MARC details
| 000 -LEADER |
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| campo de control de longitud fija |
09804cam a2200265 a 4500 |
| 003 - IDENTIFICADOR DE NÚMERO DE CONTROL |
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| campo de control |
Nichia-Akishino |
| 005 - FECHA Y HORA DE LA ÚLTIMA TRANSACCIÓN |
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| campo de control |
20250409073700.0 |
| 008 - DATOS DE LONGITUD FIJA--INFORMACIÓN GENERAL |
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| campo de control de longitud fija |
810608s1971 ja a 000 0 eng |
| 040 ## - FUENTE DE CATALOGACIÓN |
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| Centro catalogador/agencia de origen |
DLC |
| Centro/agencia transcriptor |
DLC |
| Normas de descripción |
AACR2 |
| 043 ## - CÓDIGO DE ÁREA GEOGRÁFICA |
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| Código de área geográfica |
a-ja--- |
| 082 0# - Número Dewey (CDD) |
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| Número de clasificación |
792.0952 |
| Número de ítem |
K22.I 1971 |
| Número de edición |
20 |
| 100 1# - ENTRADA PRINCIPAL--NOMBRE DE PERSONA |
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| Nombre de persona |
Kawatake, Toshio, |
| Fechas asociadas al nombre |
1924-2013 |
| 9 (RLIN) |
903 |
| 245 12 - MENCIÓN DEL TÍTULO |
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| Título |
A History of Japanese Theater : |
| Resto del título |
Bunraku and Kabuki / |
| Mención de responsabilidad, etc. |
by Kawatake Toshio. |
| 260 ## - PUBLICACIÓN, DISTRIBUCIÓN, ETC. |
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| Lugar de publicación, distribución, etc. |
Yokohama : |
| Nombre del editor, distribuidor, etc. |
Kokusai Bunka Shinkokai, |
| Fecha de publicación, distribución, etc. |
1971. |
| 300 ## - DESCRIPCIÓN FÍSICA |
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| Extensión |
v. |
| 505 0# - NOTA DE CONTENIDO CON FORMATO |
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| Nota de contenido con formato |
v.2 Introduction: Tokugawa Theater: Its General Nature and Relation to Japanese Theater<br/>1. The Four Great Performing Arts<br/>The Four Great Performing Arts-The Performing Arts of the Edo Period and Traditional Theater-Common Aspects of Traditional Arts- Hereditary Tradition and Composite Art-Differences Between Bunraku- Kabuki as Sister Arts<br/>2. Bunraku and Kabuki as Sister Arts<br/>Common Basis-Their Interrelationship as Shown in Chûshingura by Chikamatsu<br/>3. Their Common Characteristics Visuality and Colorfulness as Shown in Chûshingura-Differences from Bugaku and Noh-Realism-Freshness of Expression-Demands of the People of the Edo Period<br/>4. This-World Humanism of the Popular Audience<br/>Characteristics of Edo Period Culture in Comparison with Those of the Middle Ages-This-Worldliness-Sparseness of Religious Qualities and Eulogies of Man as Shown in Narukami The Cases of Tomomori and Prometheus-Liberation of Man Parallel to That of the Renaissance of the West-The Year 1603-Baroqueness of Tokugawa Theater<br/>5. Social Restraints<br/>Peculiarities of the Feudal Regime-Suppression Thereby, and an Inde- pendent Aesthetic Beauty-Onnagata, the Female Impersonators-Ficti- tious Historicity as Shown by Chûshingura-Absurdity and Nonsense -Drama, not Historical, but Contemporary<br/>6. Bunraku-Kabuki and the Stratification of Japanese Theater Completely Different Sources Stratification-Differences from the Wes -The Position of Bunraku and Kabuki<br/>Chapter I. Bunraku<br/>1. Its Style and Beauty<br/>The Name Bunraku<br/>Bunraku and Ningyo Joruri-Bunrakuken and the Bunrakuza Theater<br/>The Three Components<br/>The Three Components-The Stage-The Musicians' Seat-Three Performers<br/>Tayû and Samisen<br/>Gidayû as One Type of Joruri-Old Joruri and New Joruri-Distinc- tion between Recitative and Dialogue-Greek Drama and Noh-The Role of Samisen Player-Thick-Necked Samisen<br/>Puppets and Puppeteer.<br/>Structure of the Puppets-Expressiveness of the Puppets Heads-Manip- ulation of the Puppets-Reality in Comparison with That of Noh- Three Men per Puppet-Breathing in Unison-Severe Discipline<br/>The Aesthetics of the "Super-puppets".<br/>Unmasked Puppeteer-Meaning of the Black Worn by Puppeteers- Unfamiliar Sensation-Apathetic Appearance and Empathy-Puppeteer's Self-Negation-E. G. Craig's Über-Marionette Theory-Aesthetics of the Uber-Marionette and Über-Mensch<br/>Puppet Plays for Adults.<br/>Proportions of the Puppets-Small Heads of the Bunraku Puppets- Forms and Contents for Adults<br/>2. Its Drama<br/>Literary Jôruri<br/>Gidayů Jöruri and Old Joruri-Literary Content Surpassing That of<br/>Kabuki<br/>The Varieties of Joruri<br/>Two Main Subdivisions: Jidaimono and Sewamono-Jidaimono- Oiemono-Ochomono (or Ôdaimono)-Sewamono<br/>The Composition of Jôruri<br/>Multiple Acts-Five-Act and Three-Act Development-Comparison with the Dhamanegy of the West<br/>The Drensatie Elements in Jocuri Swamonow Comulctions in Prodal Scity-Sariger, Double Suicide, Lamento-<br/>The Dead by Prada Obligation and Delt is Sone raki Shings The Social Background-Life in the Feudal Onder-The Seven-Fire Mience and Rythmical Effects<br/>The Dramatic Elements in Jöruri-Jidaimeno... Castes of Tragedy in Terakoya-Sacrifure of Kimfolle Tragedy of Parting of Prest and Cloll-Lamentation in Seven-Fire Meter-The Role of Frudel Lond is Kumagai Jinya-Differences from Noh-The<br/>Tragedy of the Comonen Man 3. Bunraku's History and Present<br/>An Orderly Development<br/>Puppet Plays for Adults-Resemblaners to Greek Theater-Fusion of the Ceremonial Plays and Epic Literature<br/>The Three Elements<br/>The Origin and Development of Puppeteering<br/>Sacred Dolls Introduction and Adoption of Kairaishi Puppet-Noh-<br/>Kyogen and Puppets-Mechanical Gadgetry<br/>Joruri and the Samisen<br/>From Heikyoku to Jiruri-Novelty of The Tale of Princess Jöruri- Jahisen and Samisen-Samisen Adopted for Puppet Play-The Contemporaries of Shakespeare<br/>The Age of Old Jõruri<br/>Edo's Kimpira-bushi-Development in the Kansai-Harimanojő and Uji Kaganojo-Appearance of Giday-Characteristics of Old Joruri- Shuase Kagekiyo<br/>Development and Decline of Gidayů Jõruri<br/>Creation of Ede Drama by Chikamatsu-Two Theaters: Takemotoza and Toyotakeza-Perfection of the Three-man Manipulation by Bun- zaburo-Flourishing of Bunraku and Namiki Sasuke-Bunraku's Decline and the Rise of Kabuki<br/>Present Conditions of the Bunrakuza<br/>Chapere II. Kabuki<br/>1. In Style and Besty Actor-emerse Performance Complex Variety of Kabuki<br/>a. The Stage and Thester<br/>The Essential Nature of the Kabuki Theater Breaking Away Fon Noh Hanamichi and its Origin-The Raison d'être of Hanamichi Essence of Kabuki Revealed in Hanamichi The Nature of Andence Seats-Theater for Reception and Cocktails Twe Places of Vicr<br/>The Revolving Stage and Other Details Revolving Stage and Its Use-Influence on the West-Appearance of Theatrical Production-Choboyuka Geza Music-Miscellaneous Elements-The Curtain<br/>b. Actors and Their Art<br/>Their Low Social Status and Popularity<br/>Aragoto.<br/>The Edo Style Artistry-An Example: Shibaraku-Kumadori- Dialogues and Tsurane-Mie Poses-Teachings of Danjuro Wagoto..<br/>The Kansai Style Artistry-The Manners and Customs in Gay Quarters<br/>-Tôjuro's Words on Theater<br/>The Art of the Onnagata Characteristics of Kabuki's Female Impersonators-Living as a Woman Even Offstage-Ayame's Teachings<br/>The Variety of Roles<br/>Tekiyaku, Jitsuaku, Shikiaku, Irogataki, Hagataki, etc.-Jitsugoto<br/>-The Beauty of the Combination and Harmony of Roles<br/>Actors' Lineage and Nicknames<br/>c. Style of Performance and Kabuki's Beauty<br/>What is Kabuki's Stylistic Beauty?<br/>Musicality.<br/>Hyoshigi-Tsuke-Geza Music-Uta-Sound Effects-Odaiko's Role in Kabuki-Emotional Production, Snow and Ghost-Degatari and Debayashi-Seven-Five Meter-Agreeable Musical Effect<br/>Visual Appeal.<br/>Formative Art in Motion Actors and Their Art-Tsura Akari-Mie<br/>Poses Outride the Curtain-Kata Confrontations Somersault-Quick Changes of Costume Lifts Half-turn-Collapsible House Suppon<br/>-Stylized Beauty<br/>Various Aspects of Kabuki's Attractions<br/>Love Affairs-Murders Torment-Extortion-Divorce-Parting- Lamentation Other Scenes<br/>2. Kabuki's Drama<br/>Classification<br/>Gidayů Kyôgen-Noh-Torimono-Plays properly written for Kabuki<br/>Kabuki's Eighteen Favorites<br/>Aragoto, Kizewamono and Edo Dance Plays Aragoto and the "Eighteen Favorites"-Meaning of the "Eighteen Favorites"-Their Variety-Their Characteristics (using Kanjincho and Sukeroku as Examples)<br/>Kizewamono<br/>Meaning of Ki-Origins-Yotsuya Kaidan's Characteristics as a Ki- zewamono Play Plays Reflecting the Life of the Lower Classes of Edo Society The Mood of Blood-letting Scenes-Characteristics of Kizewa- mono-Eroticism and Seven-Five Meter-Stylized Beauty and Mo- mentary Pleasure-Kizewamono View of Life as seen in Izayoi Sei- shin-Differences from the Plays of the Early Edo Period-Couples Who Did not Commit Suicide-Weight of the Performing Styles of Individual Actors<br/>Dance Pieces.<br/>Classification According to Origin-Hengemono or Transformations- Historical Background of Development and Change-Edo's Popular Dances <br/>Classification According to Style of Samisen Music-Classifica- tion According to Subjects<br/>Kabuki and the Life of the People<br/>Edo's Three Theaters-Business Aspects-Relationship with the Seasons -Kaomise or Starting the Year's Performances-New Year's Plays- Yayoi Plays Summer Plays-Autumn Plays Relationship with Folk Beliefs and Festivals-A Part of the Life of the Masses Awareness of the Playwrights<br/>3. The History of Kabuki's Development and the Present<br/>Five Periods of Kabuki's Development<br/>The First Period: Sources and Genesis<br/>Okuni of Izumo-Fûryû-Development and Historical Background of Female Performers Popularity of Contemporary Dances-Bateren Zubon (Catholic Costume) and Rosary-Etymology of the Word "Kabuki"-Its Appeal-Ban on Female Performers-Young Men's Kabuki The Ban Repeated-Two Conditions for a New Start<br/>The Second Period: The Establishment of Real Dram with<br/>Dialogue<br/>Enlargement of the Stage and Its Special Character-Development of the Dramatic Aspects (Aragoto, Wagoto), and Female Impersonators<br/>The Third Period: Expansion through Adaptions from Bunraku Adoption from Gidayů Plays-Kabuki Replaces Bunraku Develop- ment of Edo Sewamono and Dance Plays-Bungobushi and Three Jóruri<br/>The Fourth Period: The Maturation of Edo Kabuki<br/>Earlier and Later Periods-Kizewamono and Hengemono in the Earlier Period and Tsuruya Namboku-Tempo Reforms-Stylistic Ar- rangement of the Beauty in the Later Period and Kawatake Mokuami<br/>The Fifth Period: Kabuki's Modernization<br/>Trends toward Westernization-Westernization of the Theaters-Per- sistency of the Plays, Techniques and Performance-Kabuki's Being Made a Form of Classic Drama-Conditions before and after World War II- Overseas Performances-Recognition of the Universality of Kabuki's Beauty-Establishment of the National Theater<br/>Conclusion<br/>Author's Intentions and View in Writing this Book-Enumeration of Kabuki's Stylistic Beauty and Explaining the Contents of the Plays is Insufficient Its Ties to the Japanese People and Japan-Perception of Beauty, and Living Conditions, in Pre-Modern Japan-A Real, Baroque, Popular Drama, Differing from Noh-Universality and Basic Differences from Western Theater |
| 650 #7 - Temas - Palabras clave |
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| Término de materia o nombre geográfico como elemento de entrada |
Teatro |
| Fuente del encabezamiento o término |
unescot |
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248 |
| 650 #7 - Temas - Palabras clave |
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| Término de materia o nombre geográfico como elemento de entrada |
Marioneta |
| Fuente del encabezamiento o término |
unescot |
| -- |
902 |
| 651 #0 - PUNTO DE ACCESO ADICIONAL DE MATERIA--NOMBRE GEOGRÁFICO |
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| Nombre geográfico |
Japón |
| -- |
5 |
| 653 ## - TÉRMINO DE INDIZACIÓN--NO CONTROLADO |
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| Término no controlado |
Kabuki |
| 653 ## - TÉRMINO DE INDIZACIÓN--NO CONTROLADO |
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| Término no controlado |
Noh |
| 653 ## - TÉRMINO DE INDIZACIÓN--NO CONTROLADO |
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| Término no controlado |
Bunraku |
| 653 ## - TÉRMINO DE INDIZACIÓN--NO CONTROLADO |
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| Término no controlado |
Teatro japonés |
| 942 ## - ELEMENTOS DE ENTRADA SECUNDARIOS (KOHA) |
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| Fuente del sistema de clasificación o colocación |
Clasificación Decimal Dewey |
| Tipo de ítem Koha |
Libros Español-Inglés |
| 999 ## - |
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474 |
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474 |