By Peter Eckersall
This can be the 1st background of Japan's avant-garde underground theatre (angura) in a time of its such a lot extreme, inventive, and unique productions, viz. 1960-2000. It heavily investigates the interrelationship of aesthetics and politics and explores contrasting examples of up to date functionality when it comes to social context and cultural heritage. half one considers the Nineteen Sixties period of protest and theatrical invention. the second one half examines theatre within the Nineteen Eighties, a time of extraordinary fiscal increase. the ultimate part considers the paintings of 4 of crucial businesses of the Nineties and explores how they're grappling with manifold new political and inventive demanding situations.
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Additional resources for Theorizing the Angura Space: Avant-garde Performance and Politics in Japan, 1960-2000
Here, it will be argued that shutaisei was an essential aspect of new left politics and culture; moreover, it is the key to understanding the interpretive dimensions of angura in political terms. J. Victor Koschmann shows that various formations of shutaisei have been crucial to our understanding of the critical space of the left in Japan before 1960, and remains an important reference point for ongoing discussions of subjectivity and identity: For existentialists (shutaisei) implied a leap of faith associated with the philosopher Sören Kierkegaard; for Marxists the materialist subjectivity posited by Karl Marx in the ﬁrst of the “Theses on Feuerbach”— or for Communists, partisanship (tòhasei ); for students of the sociologist Max Weber it was an individualistic ethos modelled on the Protestant ethic; for behavioural scientists the capacity to make decisions based on either utility or value consistency.
Takahashi, for example, writes that: “while people were just beginning to enjoy new aﬄuence, they were at the same time searching the national conscience, ardently discussing what lay behind the material prosperity” (Takahashi 1992: 3). This was not simply a crisis brought on by material wealth then, but one that was taken to have both personal and national perspectives. performing politics and the SHUTAISEI effect 27 It is interesting to consider playwright-director Kawamura Takeshi’s thinking about the 1960s national space in the 2000 version3 of his play Hamletclone (Hamuretto Kuròn, 2000), a scathing critique of postwar Japan: Responsibility?
Nakazawa 1984: 41) By this we see that the Zengakuren new left conception of shutaisei dramatically and irrevocably shifts from an orthodox leftist political identity to the search for a new activist one that is sustained by liberated (although self-critical) variations of personal and national consciousness and experience. It suggests that we might think about activist identity in its performative dimensions: a radical self that exists mainly 20 chapter one through embodied experiences—marches, struggles, occupations, and sit ins.
Theorizing the Angura Space: Avant-garde Performance and Politics in Japan, 1960-2000 by Peter Eckersall