By Ayako Kano (auth.)
Weaving jointly cautious readings of performs and reports, memoirs and interviews, biographies and significant essays, appearing Like a lady in smooth Japan strains the emergence of the 1st iteration of recent actresses in Japan, a kingdom within which male actors had lengthy ruled the general public level. What emerges is a colourful and complicated photograph of contemporary eastern gender, theater, and nationhood. utilizing the lives and careers of 2 dominant actresses from the Meiji period, Kano finds the fantasies, fears, and influence that girls on degree created in Japan because it entered the 20th century.
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Additional info for Acting Like a Woman in Modern Japan: Theater, Gender, and Nationalism
Although this movement is described by historians as her husband Kawakami Otojiro's main achievement, Sadayakko's involvement as an actress was an inextricable, though ambivalent, part of process. Chapter 5 investigates Kawakami Sadayakko's performances in various plays, both inside and outside Japan. These performances both embodied and contributed to the process of Japanese nation-building and empire-building, a process for which theater was a showcase as well as pedagogical tool. WIFEING AND THE IDEOLOGY OF THE GOOD WIFE, WISE MOTHER Here, I would like to introduce a new term that captures the contradictory and contentious process of the definition of woman as gender.
14 Others added that Japanese women's noses are too flat, their faces not striking enough, and their gestures not forceful enough. 15 The speciousness of the biological difference argument can be demonstrated by an argument, actually made during this time, that shifts the focus away from the body and onto the social context. The playwright Mayama Seika, for instance, takes up the issue of the shortness of Japanese women, seen by many critics as an unalterable and therefore incorrigible drawback for women aspiring to act on stage.
The "show business" (kogyo) system is defined as "a system in which performers without specified patrons perform their arts in a specified place with the aim of profit, and in which an unspecified audience may attend the performances by paying money. " 67 In other words, the system includes the existence of a group of performers not bound to specific patrons, as in the medieval period, but earning profit through their performances; a population of theatergoers with the money and leisure necessary to pay for performances as entertainment rather than being invited or obligated to attend them as part of political or religious rites; and a specific and at least semipermanent facility 34 AcTING LIKE A WoMAN set aside for performances rather than the makeshift stages of the medieval period.
Acting Like a Woman in Modern Japan: Theater, Gender, and Nationalism by Ayako Kano (auth.)