Tetsuji Takechi - Knowledge (XXG)

295:, and the modern theater and dance—for new ideas and collaboration. He broke through long-established barriers which existed between these theatrical forms, and even between kabuki schools, to create an energetic new form of kabuki. Despite his maverick nature, Takechi gave great attention to the classic kabuki texts, and emphasized to his actors the need to inhabit the roles they played. His approach to a new interpretation of the old texts was to "psychologize" them. By bringing out the psychology already present in the classic texts, Takechi felt that actors could interpret their roles with vitality and energy which he felt was lacking in contemporary performances. Of the many popular young stars of the kabuki who performed under Takechi, Nakamura Ganjiro III (born 1931) was the leading figure. At first known as Nakamura Senjaku, this period in Osaka kabuki became known as the "Age of Senjaku" in his honor. 883:. I admit there are many nude scenes in the film, but they are psychological nude scenes symbolizing the defencelessness of the Japanese people in the face of the American invasion. Prompted by the CIA and the U.S. Army they say my film is immoral. This is of course an old story that has been going on for centuries. When they suppressed Kabuki plays during the Edo period, forbidding women to act, because of prostitution, and young actors, because of homosexuality, they said it was to preserve public morals. In fact it was a matter of rank political suppression. 945:. The Weissers call this film, about a painter of erotic pictures who is persecuted by the government, "Takechi's personal message to Eirin." Though still containing significant erotic content, this is one of Takechi's few films to pass the censor relatively un-edited, perhaps because Eirin saw the obvious anti-governmental censorship message in the film, and did not wish to be provoked into another embarrassing public confrontation with the outspoken director. 543:, and was also known for pushing the limits of the coverage of sexual subjects on television for its time. Takechi directed two more kabuki performances for the Nissei Theater in Tokyo, not long after it was opened in 1963. Though these would be his last kabuki productions, Takechi's influence on the art form continued to be felt for decades after his departure for the cinema. 1099:, many current Japanese sources on the subject ignore his work. Sharp notes, however, that during his lifetime, he was covered prominently in Japanese sources. He speculates that his legacy has been largely forgotten in his homeland partly because of his status as an outsider in the Japanese film communities—both mainstream and 2341:. "…as far as his relationship with the actual film industry went, he was very much an outsider whose radical excursions into celluloid often courted ridicule from those working full-time in the field. Many 'serious' filmmakers regarded his films as hobby work and criticised his lack of stylistic finesse as being amateurish." 563:" (the Japanese film-rating board). Turning from the Edo period art form of kabuki to another popular Edo period form of expression, pornography, Takechi decided to enter the film industry through the new genre of low-budget, independent softcore sex-films that were becoming popular in Japan. These films were called 418:

communities, simply appearing in a rival school's production could result in an actor's excommunication from the profession. Because of the public attention drawn through Takechi's relentless publicity work and communication with the media, punitive actions against actors who worked with Takechi were

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During his lifetime, Takechi's innovations and contributions to Japanese theater in general and to kabuki specifically were influential for decades. His theoretical work, as well as his mentoring of several important stars, helped bring about a rebirth in kabuki after World War II. His contributions

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as a prostitute. Impotent unless making love with a loaded gun, the young man shoots an American G.I., and is then shot down by U.S. soldiers. The film contained multiple scenes of sexual intercourse, and a lengthy scene of a nude woman running outside Yokota Air Base. However, more than the sex and

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wrote an opera version of the play in 1952. Since its premiere, Dan's opera has been performed more than 550 times, making it possibly the most popular opera written in Japanese. Dan was recruited to write the original music for Takechi's production of the play. Dan combined the noh-style solo vocal

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films, was based on a Tanizaki novel. Three studios were involved in the production: Fujii Movies, Ogawa Productions, and Takechi Film. The film is set at the end of the 19th century, and tells the story of a Yokohama prostitute who services American sailors. The woman is possessed by the spirit of

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in which he printed his writings on the theater. In the early 1940s, he began publishing collections of these writings in book form. When World War II came to an end, Takechi used his inheritance from his father to establish a theatrical troupe. Under his direction, the Takechi Kabuki, as the group

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In the early 1960s, Takechi turned from the stage to the cinema. Though the mainstream film industry considered Takechi an amateur and an outsider, he would continue to produce ground-breaking films sporadically for the rest of his life. Some of the innovations and trends in Japanese erotic cinema

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by others, his work was nevertheless defended by the younger generation of filmmakers such as Seijun Suzuki and Nagisa Oshima. Though his films are today unknown to most Japanese filmgoers, through his career-long fight against censorship, the taboos which his films helped break, and the creative

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in one of her nude photo magazine appearances, Takechi chose her to star in the film. Japan's first theatrically released film featuring hardcore sex, Aizome added to the controversy surrounding the film by admitting to having performed actual sexual intercourse on camera. Though, as Japanese law

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films, his films fit into neither style. Jasper Sharp writes, "His big-budget pornos came from a different world to that of the pink and Roman Porno films. There was nothing else like them at the time, and consequently they had little influence on domestically-produced sex films. Takechi died of

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to Eirin repeatedly, and agreed to every cut the reviewing board recommended. The heavy cutting the film received reduced it from near-hardcore to a very softcore historical drama. Takechi again took advantage of the situation to fight Eirin, and complained publicly about the censorship. When he

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in a theater-in-the-round production at Osaka's Sankei Hall. Mishima, dubious of Takechi's experimental approach to classical theater, later commented that he felt like a father allowing a disreputable plastic surgeon to operate on his child. Also at Sankei Hall, Takechi directed Mishima's

674:, the film was a black comedy involving a series of sex scenes imagined by an artist under anesthesia in a dentist's office. After being drugged, the artist watches helplessly from the other side of a window as the dentist tortures and performs a series of sexual acts on a female patient. 1672:

The resultant obscenity trial... ended with a landmark decision which allowed complete narrative freedom in Japanese films. This development paved the way for the thousands of softcore pinku eiga and S & M films which would define Japanese exploitation cinema until... the late

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Though he had won his court case, Takechi had become known as a risky and dangerous entity in the film world. Newspapers refused to advertise his films, and Takechi spent the next decade concentrating on writing projects. After his friend, the writer Yukio Mishima, committed

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The immediate post-World War II era was a difficult time for kabuki. Besides the devastation caused to major Japanese cities as a result of the war, the popular trend was to reject the styles and thoughts of the past, kabuki among them. Also, during the early years of the

734:. Based on two short stories, "Kasanka Mangansui no Yume" and "Yanagiyu no Jiken" by Jun'ichirō Tanizaki, the film depicts the lurid and violently erotic dreams of a writer, his wife and his sister, after having spent a night out drinking and visiting sex shows. 685:

did contain female nudity. The government refused to allow one controversial shot, which gave a brief glimpse of pubic hair. Takechi fought the government's censorship of this shot, but lost. When the censors obscured the offending hair with a fuzzy white dot,

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became the first film after World War II to be prosecuted by the government on obscenity charges. All copies of the film were confiscated from Nikkatsu and from Takechi's own home, and Takechi was arrested. The controversy gained international attention with

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The term pink eiga was first coined in 1963 by journalist Murai Minoru. But it did not come into general use until the late 1960s. In the early years the films were known as 'eroduction films' (erodakushon eiga) or 'three-million-yen-films' (sanbyakuman

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called it a breakthrough film, and Japan's first hardcore pornographic movie. Takechi took a novel, yet traditional approach to the fogging by covering the forbidden areas with floating images of topless female shamisen players. Unlike Takechi's earlier

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film in Japan. Though Takechi is largely unknown in Japan today, he was influential in both the cinema and the theater during his lifetime, and his innovations in kabuki were felt for decades. He also helped shape the future of the

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underwent extensive censorship before the government would allow it to be released. About 20% of the film's original content was cut by Eirin, rendering the film virtually incoherent, and this footage is now considered lost.

2736:, 1964), with its repetitive scenes of sexual intercourse and of a girl's nudity outside the U.S. Yokota Air Base and its appeals to anti-Americanism, that attracted wide-spread attention and generated debate. 2880:

Domenig. "Since the mid-1960s, pink eiga have been the biggest Japanese film genre... By the late 1970s the production of pink eiga together with Roman Porno amounted to more than 70% of annual Japanese film

197:, the government arrested him on indecency charges. The trial became a public battle over censorship between Japan's intellectuals and the government. Takechi won the lawsuit, enabling the wave of softcore 380:

is one of the most successful Japanese post-World War II plays, having received over a thousand performances at schools and theaters both within Japan and internationally since its debut in 1949. Composer

1059:. He refused to allow the film to be censored in any way, either through cutting or fogging. Refusing to release the film in Japan, he did not submit it for Eirin's approval. Instead, he released it in 867:

testified in Takechi's defense at the trial. Takechi took advantage of every opportunity to publicly speak out against censorship, and one Eirin official later admitted to being "terrified by the man".

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played to a consistently full house. Again, however, the leaders of the conservative Noh Society of Tokyo threatened any performer who participated in Takechi's productions with excommunication.

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was a Japanese theatrical and film director, critic, and author. First coming to prominence for his theatrical criticism, in the 1940s and 1950s he produced influential and popular experimental

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in 1987, again starring Kyōko Aizome. Though it was a low-budget, independent production which again underwent censorship in Japan, it became very popular in its uncensored form in France.

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Domenig. "The controversy surrounding... Black Snows' court case (eventually won by Takechi) brought pink eiga to the attention of the general public, and triggered a boom in production."

825:, or "ethnic nationalist", throughout his life. Buruma points out that this ideological affiliation contains a strong racial aspect, and notes that the G.I. the main character murders in 1095:

Jasper Sharp points out that the Japanese and western views of Takechi's legacy are quite different. While western sources assess him as a major figure in the early development of the

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case. He also successfully countersued the government claiming that the accusation of indecency was politically motivated, due to the film's anti-American and anti-capitalist themes.

275:, the occupying authorities banned kabuki as feudalistic and detrimental to the public morals, though by 1947 this ban was lifted. Other traditional forms of theater, such as noh and 798:

nudity, it was the political nature of the film which attracted governmental action. Released at a time of widespread demonstration against the renewal of the U.S. Security Treaty,

810:... the powerless position of Japan vis-a-vis America, and of the Japanese populace in relation to its rulers is represented by the outraged Japanese women and the G.I. rapists." 2098:

Salz, p.143. "Mansaku feels if it were not for Takechi's stirring up of journalists, those involved with the production risked excommunication by the reactionary forces of the

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noticed that the censors had painted over a penis with colors, he ridiculed them by promoting his film with the line, "See the first multicolored penis in Japanese Cinema!"

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Other critics accused the film of racism and ultra-nationalism. Jasper Sharp writes that though Takechi's films did criticize Japanese society, a theme they share with

817:, Takechi identified the problem as coming from foreign influences, rather than from within. This marks him as a reactionary rather than a revolutionary, as were many 1087:

community, Takechi's name and films faded into obscurity in Japan. In 2006 his career was the subject of a full retrospective showing in Tokyo's Image Forum in 2006.

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had been considered a national embarrassment by the Japanese government because of its highly publicized release while the world was focused on the country for the

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reporting that even the two censors who had passed the film were considered for prosecution, and that the government had announced plans to strictly censor the

1039:(1973), makes his presence known whenever she is sexually aroused. Because of the large budget involved in the production, the distributing studio submitted 465:

Writing that "every form of art" should be popular with the public, Takechi next sought to rejuvenate noh in a similar manner with which he had kabuki and

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which Takechi's films pioneered include big-budgets and releases, literary and artistic aspirations, fogging, political themes, and theatrical hardcore.

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Salz, Jonah (2007). "Contesting Authority through Comic Disruption: Mixed Marriages as Metaphor in Postwar Kyogen Experiments". In Hiroshi Nara (ed.).

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Salz, Jonah (2007). "Contesting Authority through Comic Disruption: Mixed Marriages as Metaphor in Postwar Kyogen Experiments". In Hiroshi Nara (ed.).

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Takechi's come-back films of the 1980s were all in a theatrical hardcore style. Released during the dawn of the AV, or adult video, and the height of

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was known, put Takechi's theatrical ideas into practise by giving innovative and popular performances of kabuki classics in Osaka from 1945 to 1955.

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and graduated in 1936. Takechi first became known for his criticism and theoretical writings on the theater. In 1939 he began publishing a journal,

924:, which, like Tanizaki's work, contains eroticism in the original, though not of a sexually-explicit nature. On 17 September 1967, Takechi won the 985:

In 1981, the then 68-year-old Takechi decided to return to film with a series of theatrical hardcore films, beginning with a remake of his 1964

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Besides his work as a theatrical theorist and director, Takechi occasionally appeared in acting roles on the stage and screen. In his series of

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in Japan through his battles against governmental censorship, earning him the titles, "The Father of Pink" and "The Father of Japanese Porn."

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did survive, and circulated underground in Japan. This uncensored version of the film was released on video at one time in the Netherlands.

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into the slow, stylised artform. Confirming that Takechi's methods did make the artform popular, his "Burlesque Noh" productions at Tokyo's

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wanted to link these folk traditions with the modern theater. As a Western analogy of his intentions, Takechi pointed to the works of

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studios distributed the film. This time, the studio gave Takechi's film a major publicity campaign. Based on a 1926 short story by

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Explicitly linking his interests in kabuki and pornography as forms of expression, in the July 1965 issue of the film journal

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in September 1964. The film was released in the U.S. later the same year, and in 1966 Joseph Green, director of the cult film

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style popular at the time. The film focused on the women of Japan's night life and included scenes of a nude noh performance,

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In the 1960s, Takechi entered the film industry by producing controversial soft-core theatrical pornography. His 1964 film

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With a clear anti-American subject matter, KUROI YUKI was accused of racism and ultra-nationalism by several film critics.

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to cinema were much more controversial. Considered a dilettante outsider by much of the film industry, and suspected of

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After this bout with the censors, Takechi vowed to produce a true, hardcore film for Japanese audiences. The result was

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studios distributed the film, allowing it an international audience. It was released in West Germany on 6 March 1964 as

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Takechi's innovations in kabuki brought him to the attention of the Shigeyama family, a longtime major force in comic

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which dominated Japan's domestic cinema during the 1960s and 1970s. In the later 1960s, Takechi produced three more

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after this low point in kabuki history. Takechi revitalized kabuki by reaching out to the other theatrical forms—

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and other artists in 1951. One of Takechi's more notable productions with the group was a 1955 noh version of

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has kept his work out of the public's eye in Japan. In the west, however, some of Takechi's films, such as

3233: 2265: 523: 3694: 3528:. Performing Arts of Japan: II. Don Kenny (trans.). New York & Tokyo: Walker/Weatherhill. pp. 1945:. Performing Arts of Japan: II. Don Kenny (trans.). New York & Tokyo: Walker/Weatherhill. pp. 3787: 3782: 3724: 3654: 1403: 1188: 1103:. Since his films were self-produced and distributed by major film companies rather than through the 991: 895:

genre, but the trial had the exact opposite outcome. The publicity surrounding the trial brought the

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The controversy created by Takechi's experiments with noh made international headlines in 1956. The

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the following year, on 26 July 1988. Without a major studio's backing or interest from the general

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movement. Japan's intellectual and artistic community came to Takechi's defense. Film directors

2518: 2506: 3552: 3533: 3529: 3521: 3485: 3430: 3293: 3274: 3255: 3172: 2905: 2717: 2620: 2616: 2604: 2522: 2470: 2424: 2395: 2318: 2243: 2124: 2070: 2006: 1981: 1950: 1946: 1938: 1823: 1795: 1723: 1698: 1694: 1080: 964: 920: 783: 530: 482: 474: 455: 2989: 2552: 2391: 2385: 1976:. Translated by Robert Ricketts; Sebastian Swann. New York & London: Continuum. pp. 3500: 1686: 1659: 1129:, and have been preserved and remained available to genre audiences on home video releases. 960: 830: 613: 537:. The show featured the Takechi Kabuki's interpretations of such Japanese stage classics as 407: 2429: 3802: 3368: 3238: 2270: 2120: 1977: 1971: 1761: 794: 487: 369: 2760: 1502: 1418: 996: 213: 3273:. Mineola; New York; London: Dover Publications. pp. 71–73, 75, 76, 166, 167, 169. 2172: 3216: 1364: 1056: 942: 864: 555:

Takechi ran afoul of the government throughout his film career. The Weissers, in their

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on 18 September 1964. Later that year, Takechi appeared in an acting role in director

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style. Among the innovations Takechi made in this play was the inclusion of a former

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freedom which he helped enable, he remains an important figure in Japanese cinema.

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a more direct link to a native Japanese folk theatrical tradition, and through the

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plays. Beginning in the mid-1950s, he continued his innovative theatrical work in

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and modern theater. In late 1956 and early 1957 he hosted a popular TV program,

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Takechi did not work in film during most of the 1970s. In the 1980s, he remade

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The Complete Works of Tetsuji Takechi retrospective at the Theatre Image Forum

3413: 3171:. Dawn Lawson (trans.). Cambridge, Massachusetts: The MIT Press. p. 257. 2609:

American Film Institute Catalog of Motion Pictures, The; Feature Films 1961-70

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American Film Institute Catalog of Motion Pictures, The; Feature Films 1961-70

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Kanazawa, Masakata (1992). "Yūzuru ('The Twilight Heron')". In L. Macy (ed.).

803: 588: 519: 346: 321:), in 1953. Based on a medieval French farce, this play became the first new 249:

on 10 December 1912 to a family headed by a wealthy industrialist. He studied

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Oshima, Nagisa (1992). "On Trial for Obscenity". In Annette Michelson (ed.).

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genre to the attention of the general public, and helped inspire the wave of

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From 4 December 1956 to 26 February 1957, Takechi served as the host of the

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Cinema, Censorship, and the State: The Writings of Nagisa Oshima, 1956–1978

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Cinema, Censorship, and the State: The Writings of Nagisa Oshima, 1956–1978

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were shown during their first runs, reviewed by major publications such as

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Play". In David Jorner; Keiko McDonald; Kevin J. Wetmore Jr. (eds.).

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Behind the Pink Curtain: The Complete History of Japanese Sex Cinema

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Behind the Pink Curtain: The Complete History of Japanese Sex Cinema

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Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema

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shop owner, before an audience including such prominent authors as

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Inexorable Modernity: Japan's Grappling with Modernity in the Arts

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Inexorable Modernity: Japan's Grappling with Modernity in the Arts

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required, sexual organs and pubic hair were fogged on screen, the

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which dominated Japan's domestic cinema for the next two decades.

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lines with a Western orchestra and chorus. On the same program as

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Takechi, Tetsuji (2003). "Artistic Direction in Takechi Kabuki".

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to enter the traditional repertoire in a century. Takechi saw in

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Takechi at a "Takechi Kabuki" performance (between 1945 and 1955)

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and prosecuting Takechi, Eirin had intended to suppress the new

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says that the film uses sex to make a political statement. "In

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Though the government had accused earlier films of obscenity,

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concerns a young man whose mother serves the U.S. military at

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at this time. In 1956, Keene appeared in a performance of the

286: 162: 2005:. Mineola, New York, London: Dover Publications. p. 71. 473:(Experimental Workshop), which had been founded by composers 309:

plays. With the Shigeyamas, Takechi created and directed the

3551:. Miami: Vital Books : Asian Cult Cinema Publications. 766:(1965), was even more controversial than his previous work. 3252:

The Stars Who Created Kabuki; Their Lives, Loves and Legacy

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The Stars Who Created Kabuki; Their Lives, Loves and Legacy

3198:(in Japanese). Art Random. 6 December 2005. Archived from 3073:(in Japanese). Art Random. 6 December 2005. Archived from 2712:

Michelson, Annette, ed. (1992). "On Trial for Obscenity".

1846:(in Japanese). Art Random. 6 December 2005. Archived from 1617:(in Japanese). Art Random. 6 December 2005. Archived from 647:(1964), and Takechi made the first big-budget, mainstream 701:

became a major success in Japan, and was screened at the

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During the legal battles of the trial, Takechi filmed a

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at this time, but are now more commonly referred to as

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In October 1955 he directed Mishima's modern noh play,

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released in Japan. After the release of his 1965 film

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Mosk. (9 September 1964). "Hakujitsumu (Day Dream)".

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became the first film in Japanese cinema to undergo "

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Yukio Mishima: His Death and His View of the Kabuki

637:The first Japanese mainstream film with nudity was 128: 101: 91: 79: 53: 34: 2420:"Porn-star label now a badge of honor for actress" 2242:. Lanham, Maryland: Lexington Books. p. 205. 1794:(in Japanese). Tokyo: Chikuma Shobō. p. 297. 1722:. Lanham, Maryland: Lexington Books. p. 132. 341:which had their roots in the classical theater of 730:, 1964), was released less than two months after 514:reported that Takechi had introduced elements of 3387:"New Type of Burlesque Stirs Dispute in Japan". 2948: 2946: 2944: 2467:"Vital flesh: the mysterious world of Pink Eiga" 2146:"New Type of Burlesque Stirs Dispute in Japan". 1641: 1639: 3597:held beginning on 28 October 2006 (in Japanese) 2783: 2781: 2379: 2377: 2375: 877: 606:Frauen unter nackter Sonne (alle Frauen Japans) 149: 2451: 2449: 2447: 1033:her dead lover, who, in erotic scenes echoing 245:Tetsuji Takechi was born Tetsuji Kawaguchi in 143: 27:Japanese theatre and film director (1912–1988) 3616: 3547:Weisser, Thomas; Yuko Mihara Weisser (1998). 3038: 3036: 2925: 2923: 2921: 2843:"1965-70 At the Time of The Sea of Fertility" 2827: 2825: 2750: 2748: 2746: 2744: 2663: 2661: 2365: 2363: 2353: 2351: 2349: 2347: 2069:. London: Macmillan Press Ltd. p. 1198. 1685:Weisser, Thomas; Yuko Mihara Weisser (1998). 802:had a clear anti-American theme. Film critic 8: 2795: 2793: 1813: 1811: 3549:Japanese Cinema Encyclopedia: The Sex Films 1689:Japanese Cinema Encyclopedia: The Sex Films 1609: 1607: 1605: 821:directors. Takechi himself claimed to be a 579:A Night in Japan: Woman, Woman, Woman Story 557:Japanese Cinema Encyclopedia: The Sex Films 3623: 3609: 3601: 1519: 1149: 223:(1981) is considered the first theatrical 31: 428:Chronicles of My Life in the 20th Century 3429:. Guildford: FAB Press. pp. 71–75. 2849:. Stephen Comee (trans.). Archived from 2317:. Guildford: FAB Press. pp. 72–73. 2207:. Stephen Comee (trans.). Archived from 2202:"Yukio Mishima: A Chronological History" 1932: 1930: 1928: 1926: 1924: 1175:Nihon no yoru: Onna onna onna monogatari 937:(1968), starring the current "Queen" of 931:Takechi's next film after the trial was 584:Nihon no yoru: Onna onna onna monogatari 414:cast. In the ultra-conservative noh and 3499:(1). Translated by William Lee: 12–24. 3406:"New Variety of Burlesque Hits Japan". 2288:"New Variety of Burlesque Hits Japan". 2240:Modern Japanese Theatre and Performance 2234:: Mishima Yukio's Only Original Modern 1601: 774:with bringing a political theme to the 715:in the U.S. with new American footage. 469:. He worked with the avant-garde group 3793:Deaths from pancreatic cancer in Japan 2847:Mishima Yukio: A Chronological History 2507:"WOMEN ... OH, WOMEN! (Japan) F6.5660" 2904:. London: Studio Vista. p. 127. 2755:da Silva, Joaquin (24 October 2006). 2418:Koizumi, Shinichi (1 December 2001). 185:was the first big-budget, mainstream 7: 3813:Japanese pornographic film directors 3369:"Tetsuji Takechi: Erotic Nightmares" 3271:The Art of Kabuki: Five Famous Plays 2812:"Japan to Censor Movie Ad Posters". 2003:The Art of Kabuki: Five Famous Plays 1762:"Tetsuji Takechi: Erotic Nightmares" 1586:Mishima Yukio: Shi to sono kabukikan 879:The censors are getting tough about 697:Despite the governmental tampering, 3231:"Japanese Get New Type Burlesque". 3215:da Silva, Joaquin (18 March 2014). 2263:"Japanese Get New Type Burlesque". 3087:(1912.12.10～1988.07.26)... 膵臓ガン... 2339:Tetsuji Takechi: Erotic Nightmares 1107:circuit, they are not technically 1011:, the full, uncensored version of 586:, 1963), a sex-documentary in the 154:, 10 December 1912 – 26 July 1988) 25: 3420:. 14 December 1956. p. A–13. 2302:. 14 December 1956. p. A–13. 677:Though modest in comparison with 299:Theater work after Takechi Kabuki 105: 3468:The Complete Index to World Film 3196:"Age 75: 武智鉄二 / Tetsuji Takechi" 3123:The Complete Index to World Film 3071:"Age 75: 武智鉄二 / Tetsuji Takechi" 1844:"Age 75: 武智鉄二 / Tetsuji Takechi" 1615:"Age 75: 武智鉄二 / Tetsuji Takechi" 446:with Takechi in the role of the 410:actress in the usually all-male 42: 3575:(in Japanese). 8 September 2006 3245:. 14 December 1956. p. 29. 2277:. 14 December 1956. p. 29. 666:was produced independently but 3401:. 9 December 1956. p. 20. 2160:. 9 December 1956. p. 20. 1973:The Allied Occupation of Japan 503:, set as an opera by composer 1: 2177:Association for Asian Studies 2065:New Grove Dictionary of Opera 782:genre, most notably those of 681:which would come soon after, 390:was another Takechi-directed 110:director, theorist and critic 3665:The Dream of the Red Chamber 2603:Krafsur, Richard P. (1976). 2505:Krafsur, Richard P. (1976). 1213:The Dream of the Red Chamber 736:The Dream of the Red Chamber 720:The Dream of the Red Chamber 3526:Kabuki: The Popular Theater 3269:Leiter, Samuel L. (1999) . 2605:"DAY-DREAM (Japan) F6.1040" 2001:Leiter, Samuel L. (1999) . 1943:Kabuki: The Popular Theater 708:The Brain that Wouldn't Die 150: 3849: 3818:Japanese theatre directors 3418:International News Service 3399:International News Service 3243:International News Service 2300:International News Service 2275:International News Service 2230:Kominz, Laurence (2006). " 2158:International News Service 1358:Ukiyo-e zankoku monogatari 630: 600:. Produced independently, 512:International News Service 434:mentions his own study of 356:In 1954, Takechi followed 273:Allied Occupation of Japan 3639: 3250:Kominz, Laurence (1997). 2611:. New York & London: 2513:. New York & London: 2117:"25. Triumph as Tarokaja" 1818:Kominz, Laurence (1997). 1790:Kabuki wa donna engeki ka 1786:Takechi, Tetsuji (1986). 957:The Head of Yukio Mishima 576:Takechi's first film was 255:Kyoto National University 216:in both films. The first 144: 96:Kyoto National University 41: 3568:晩秋イメージフォーラムにて大特集「武智鉄二全集」 3567: 3522:"Zenshin-za Innovations" 3445:"武智鉄二 (Takechi Tetsuji)" 3329:"Daydream (1981) review" 3137:"武智鉄二 (Takechi Tetsuji)" 2964:"Daydream (1981) review" 2900:Tucker, Richard (1973). 2728:It was his fourth film, 2641:"武智鉄二 (Takechi Tetsuji)" 2465:Domenig, Roland (2002). 1939:"Zenshin-za Innovations" 1902: 1874: 1564:Tradition and Disruption 1331:Sengo zankoku monogatari 1009:Dream of the Red Chamber 547:Entrance into the cinema 535:The Tetsuji Takechi Hour 212:twice, starring actress 174:The Tetsuji Takechi Hour 3828:Kyoto University alumni 3798:Japanese film directors 3449:Japanese Movie Database 3395:Albuquerque, New Mexico 3165:List of writings from: 3141:Japanese Movie Database 2645:Japanese Movie Database 2171:Tezuka, Miwako (2005). 2154:Albuquerque, New Mexico 1970:Takemae, Eiji (2002) . 955:in 1970, Takechi wrote 3520:Toita, Yasuji (1970). 3425:Sharp, Jasper (2008). 3234:Mansfield News Journal 2384:Desser, David (1988). 2313:Sharp, Jasper (2008). 2266:Mansfield News Journal 1937:Toita, Yasuji (1970). 1532:The Dawn of the Kabuki 1055:), based on a work by 885: 718:Takechi's third film, 658:, the same year. Like 3505:10.1353/atj.2003.0012 3493:Asian Theatre Journal 3107:Sharp, pp. 47, 71-75. 1018:Takechi's next film, 225:hardcore pornographic 711:(1962), re-released 703:Venice Film Festival 633:Daydream (1964 film) 524:Nichigeki Music Hall 3808:Pink film directors 3705:Ukiyo-e Cruel Story 3695:Postwar Cruel Story 3645:Women... Oh, Women! 3390:Albuquerque Journal 3309:"Black Snow review" 3060:Sharp, pp. 217-218. 2988:Firsching, Robert. 2679:"Black Snow review" 2613:R.R. Bowker Company 2515:R.R. Bowker Company 2473:on 18 November 2004 2211:on 20 November 2007 2149:Albuquerque Journal 1903:かりの翅 : 武智鉄二劇評集 1646:Firsching, Robert. 1350:Ukiyo-e Cruel Story 1324:Postwar Cruel Story 1288:Kotobuki Hananomoto 1263:Kotobuki Hananomoto 1167:Women... Oh, Women! 995:. Noticing actress 934:Ukiyo-e Cruel Story 756:1964 Tokyo Olympics 672:Jun'ichirō Tanizaki 660:Women... Oh, Women! 610:Women... Oh, Women! 402:), a parody of the 3631:Films directed by 2841:Yamaguchi, Motoi. 2815:The New York Times 2432:on 3 December 2001 2200:Yamaguchi, Motoi. 1875:劇評 : 武智鐵二個人雜誌 1425:12 September 1981 1422:Takemi Katsushika 1028:, 1983), like his 844:The New York Times 396:Higashi wa Higashi 339:Tennessee Williams 3833:People from Osaka 3767: 3766: 3760: 3750: 3740: 3730: 3720: 3710: 3700: 3690: 3685:The Tale of Genji 3680: 3670: 3660: 3650: 3464:"TETSUJI TAKECHI" 3436:978-1-903254-54-7 3299:978-0-7391-1842-9 3119:"TETSUJI TAKECHI" 3116:Filmography from 2952:Weisser, p.90-91. 2902:Japan: Film Image 2818:. 29 August 1965. 2425:The Asahi Shimbun 2324:978-1-903254-54-7 1729:978-0-7391-1842-9 1594: 1593: 1570:Dentō to danzetsu 1526:Publication date 1516:Selected writings 1513: 1512: 1454:19 February 1983 1396:28 February 1973 1371:9 September 1968 1342:10 February 1968 1277:The Tale of Genji 1081:pancreatic cancer 965:Art Theatre Guild 921:The Tale of Genji 887:By shutting down 875:, Takechi wrote: 531:Nippon Television 456:Yasunari Kawabata 319:The Washing River 136: 135: 129:Years active 58:Tetsuji Kawaguchi 16:(Redirected from 3840: 3823:Japanese writers 3758: 3748: 3738: 3728: 3718: 3708: 3698: 3688: 3678: 3668: 3658: 3648: 3625: 3618: 3611: 3602: 3584: 3582: 3580: 3573:cinematopics.com 3562: 3543: 3516: 3478: 3476: 3474: 3459: 3457: 3455: 3440: 3421: 3402: 3383: 3381: 3379: 3363: 3361: 3359: 3349:"Oiran (review)" 3343: 3341: 3339: 3323: 3321: 3319: 3303: 3284: 3265: 3246: 3227: 3225: 3223: 3211: 3209: 3207: 3183: 3182: 3163: 3157: 3151: 3149: 3147: 3133: 3131: 3129: 3114: 3108: 3105: 3099: 3096: 3090: 3089: 3084: 3082: 3067: 3061: 3058: 3052: 3049: 3043: 3040: 3031: 3030: 3028: 3026: 3016:"Oiran (review)" 3011: 3005: 3004: 3002: 3000: 2985: 2979: 2978: 2976: 2974: 2959: 2953: 2950: 2939: 2936: 2930: 2927: 2916: 2915: 2897: 2891: 2888: 2882: 2878: 2872: 2869: 2863: 2862: 2860: 2858: 2853:on 27 March 2008 2838: 2832: 2829: 2820: 2819: 2809: 2800: 2797: 2788: 2785: 2776: 2775: 2770: 2768: 2763:on 23 March 2007 2759:. 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Archived from 2109: 2103: 2096: 2090: 2089:Salz, p.137–140. 2087: 2081: 2080: 2059: 2053: 2050: 2044: 2043:Salz, p.140–141. 2041: 2035: 2034:Salz, p.131–136. 2032: 2026: 2023: 2017: 2016: 1998: 1992: 1991: 1967: 1961: 1960: 1934: 1919: 1918: 1916: 1914: 1897: 1891: 1890: 1888: 1886: 1869: 1863: 1862: 1860:1939年に雑誌「劇評」を創刊。 1857: 1855: 1840: 1834: 1833: 1815: 1806: 1805: 1783: 1777: 1776: 1774: 1772: 1757: 1734: 1733: 1715: 1709: 1708: 1692: 1682: 1676: 1675: 1669: 1667: 1658:. Archived from 1643: 1634: 1633: 1628: 1626: 1611: 1538:Kabuki no reimei 1520: 1509:7 February 1987 1496:Hakujitsumu zoku 1489:Captured For Sex 1445:Takako Shinozuka 1393:Toyozo Yamamoto 1295:14 January 1966 1284:Genji monogatari 1267:Yōichirō Mikawa 1265:Chōjirō Hanagawa 1150: 967:film based on a 831:African American 823:minzoku shugisha 155: 153: 147: 146: 113:theatre director 86: 68:10 December 1912 67: 65: 46: 32: 21: 3848: 3847: 3843: 3842: 3841: 3839: 3838: 3837: 3773: 3772: 3770: 3768: 3763: 3635: 3633:Tetsuji Takechi 3629: 3591: 3578: 3576: 3569: 3565: 3559: 3546: 3540: 3519: 3490: 3482:Tetsuji Takechi 3472: 3470: 3462: 3453: 3451: 3447:(in Japanese). 3443: 3437: 3424: 3405: 3386: 3377: 3375: 3373:midnighteye.com 3367:Sharp, Jasper. 3366: 3357: 3355: 3353:midnighteye.com 3347:Sharp, Jasper. 3346: 3337: 3335: 3333:midnighteye.com 3327:Sharp, Jasper. 3326: 3317: 3315: 3313:midnighteye.com 3307:Sharp, Jasper. 3306: 3300: 3287: 3281: 3268: 3262: 3249: 3239:Mansfield, Ohio 3230: 3221: 3219: 3214: 3205: 3203: 3202:on 4 March 2009 3194: 3191: 3186: 3179: 3166: 3164: 3160: 3145: 3143: 3139:(in Japanese). 3135: 3127: 3125: 3117: 3115: 3111: 3106: 3102: 3097: 3093: 3080: 3078: 3077:on 4 March 2009 3069: 3068: 3064: 3059: 3055: 3050: 3046: 3041: 3034: 3024: 3022: 3020:midnighteye.com 3014:Sharp, Jasper. 3013: 3012: 3008: 2998: 2996: 2987: 2986: 2982: 2972: 2970: 2968:midnighteye.com 2962:Sharp, Jasper. 2961: 2960: 2956: 2951: 2942: 2937: 2933: 2928: 2919: 2912: 2899: 2898: 2894: 2889: 2885: 2879: 2875: 2870: 2866: 2856: 2854: 2840: 2839: 2835: 2830: 2823: 2811: 2810: 2803: 2798: 2791: 2786: 2779: 2766: 2764: 2754: 2753: 2742: 2724: 2711: 2710: 2706: 2701: 2697: 2687: 2685: 2683:midnighteye.com 2677:Sharp, Jasper. 2676: 2675: 2671: 2666: 2659: 2649: 2647: 2643:(in Japanese). 2639: 2638: 2634: 2627: 2602: 2601: 2597: 2585: 2584: 2580: 2576:Weisser, p.102. 2575: 2571: 2561: 2559: 2551:Pavlides, Dan. 2550: 2549: 2545: 2540: 2536: 2529: 2504: 2503: 2499: 2494: 2490: 2476: 2474: 2464: 2463: 2459: 2455:Weisser, p.445. 2454: 2445: 2435: 2433: 2417: 2416: 2409: 2402: 2383: 2382: 2373: 2368: 2361: 2356: 2345: 2336: 2332: 2325: 2312: 2311: 2307: 2287: 2286: 2282: 2271:Mansfield, Ohio 2262: 2261: 2257: 2250: 2229: 2228: 2224: 2214: 2212: 2199: 2198: 2191: 2181: 2179: 2170: 2169: 2165: 2145: 2144: 2140: 2130: 2128: 2127:on 20 July 2006 2121:Yomiuri Shimbun 2115:(8 July 2006). 2111: 2110: 2106: 2097: 2093: 2088: 2084: 2077: 2061: 2060: 2056: 2051: 2047: 2042: 2038: 2033: 2029: 2024: 2020: 2013: 2000: 1999: 1995: 1988: 1969: 1968: 1964: 1957: 1936: 1935: 1922: 1912: 1910: 1906:(in Japanese). 1904: 1899: 1898: 1894: 1884: 1882: 1878:(in Japanese). 1876: 1871: 1870: 1866: 1853: 1851: 1850:on 4 March 2009 1842: 1841: 1837: 1830: 1817: 1816: 1809: 1802: 1785: 1784: 1780: 1770: 1768: 1766:midnighteye.com 1760:Sharp, Jasper. 1759: 1758: 1737: 1730: 1717: 1716: 1712: 1705: 1684: 1683: 1679: 1665: 1663: 1662:on 19 July 2012 1645: 1644: 1637: 1624: 1622: 1621:on 4 March 2009 1613: 1612: 1603: 1599: 1584: 1582: 1568: 1566: 1554:Sabakareru Eros 1552: 1550: 1536: 1534: 1518: 1505: 1501: 1494: 1492: 1466: 1464: 1450: 1448: 1447:Satoshi Mashiba 1446: 1439: 1437: 1421: 1417: 1410: 1408: 1392: 1390: 1389:Junko Nishitani 1383: 1381: 1367: 1363: 1356: 1354: 1339:Masako Arisawa 1338: 1336: 1335:Chitose Kurenai 1329: 1327: 1314: 1313: 1307: 1305: 1292:Izumi Ashikawa 1291: 1289: 1282: 1280: 1266: 1264: 1262: 1261:Chitose Kurenai 1260: 1253: 1251: 1239:12 August 1964 1235: 1233: 1226: 1224: 1203:Akira Ishihama 1202: 1195: 1193: 1173: 1171: 1148: 1093: 983: 912: 795:Yokota Air Base 748: 635: 629: 549: 496:The Damask Drum 488:Pierrot Lunaire 370:Junji Kinoshita 301: 268: 243: 238: 236:Life and career 151:Takechi Tetsuji 141: 139:Tetsuji Takechi 92:Alma mater 84: 75: 69: 63: 61: 60: 59: 49: 37: 36:Tetsuji Takechi 28: 23: 22: 18:Takechi Tetsuji 15: 12: 11: 5: 3846: 3844: 3836: 3835: 3830: 3825: 3820: 3815: 3810: 3805: 3800: 3795: 3790: 3785: 3775: 3774: 3765: 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1993: 1986: 1962: 1955: 1920: 1901:"Webcat Plus" 1892: 1873:"Webcat Plus" 1864: 1835: 1828: 1807: 1800: 1778: 1735: 1728: 1710: 1703: 1677: 1635: 1600: 1598: 1595: 1592: 1591: 1588: 1583:三島由紀夫・死とその歌舞伎観 1576: 1575: 1572: 1560: 1559: 1556: 1544: 1543: 1540: 1528: 1527: 1524: 1517: 1514: 1511: 1510: 1507: 1498: 1476: 1475: 1472: 1470: 1456: 1455: 1452: 1443: 1427: 1426: 1423: 1414: 1398: 1397: 1394: 1387: 1373: 1372: 1369: 1368:Ryuji Inazuma 1365:Noriko Tatsumi 1360: 1344: 1343: 1340: 1333: 1319: 1318: 1315: 1311: 1297: 1296: 1293: 1286: 1272: 1271: 1268: 1259:Akira Ishihama 1257: 1241: 1240: 1237: 1230: 1208: 1207: 1204: 1199: 1183: 1182: 1179: 1177: 1161: 1160: 1157: 1154: 1147: 1144: 1092: 1089: 989:, also titled 982: 981:Return to film 979: 943:Noriko Tatsumi 918:re-telling of 911: 905: 784:Kōji Wakamatsu 747: 741: 631:Main article: 628: 622: 548: 545: 505:Mareo Ishiketa 501:Sotoba Komachi 475:Tōru Takemitsu 300: 297: 267: 266:Takechi Kabuki 264: 242: 239: 237: 234: 134: 133: 130: 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