Sanskrit Drama
BHASA: earliest known playwright
KHALIDASA: one of the most reknowned (Shakuntala/Sakuntala)
Characteristics:
-reformed in palaces
-highly-styled music, gesture, costume
-Laden with religious and supernatural elements and happy endings
-Language alternates from prose and lyric poetry
-Sanskrit: used only by important characters
Chinese Drama
-Yuan Dynasty: drama sprung from stories by professional storytellers, and it used sentimental and romantic plots
-Ming Dynasty: drama was a mixture of music and declamation: and it used plots of popular novels
Characteristics:
-performed in many villages
-stories are filled with stock characters yet also ranged in mood
-filled with Confucian ethics
-usually "formless" (Ex: Palace of Eternal Youth)
-"Spectacular" or "Symbolic"
Japanese Drama
NOH Drama (14th century)
ZEAMI MOTOKIYO: brought Noh to refinement
-Developed from sarugaku and dengaku
Characteristics of NOH:
-Symbolic, poetic language
-Almost plot-less, tragic in mood
-stylized and slow paced
-integrates speech, music, dance and mime
-actors woe masks and are all male
-setting is place of importance to: "Shite"
KYOGEN
-Developed about the same time as the Noh
-20-minute farce placed between Noh plays as comic relief
NINGYO-SHIBAI
-Like Kabuki, this places greater emphasis on excitement and conflict in the plot
KABUKI
-features much stage action
-avoids the use of vague symbolism
-continues to be popular in Japan (geisha culture)
-most popular
-played only by men
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment