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on June 15, 1960, resulting in 80 members being injured. Although discontent had been building throughout the 1950s, the radicalizing experience of the Anpo
Protests helped convince many younger Shingeki members to break away and found their own theater troupes, where they could experiment with much
189:
into
Japanese, and taught theater and literature as a Waseda professor. Most recognize him as the founder of theatre research in Japan. According to historians, he explored mediums other than theatre. He wanted to modernize literature in general, however, he focused on the novel and drama. Tsubouchi
230:
and traditional
Japanese theatre, he had an agitation towards the work they were producing because it was resistant to change. Osanai announced he would not produce any Japanese works for two years, frustrated with the lack of quality as stated before, and that only translations of Western works
317:
theatre. They also saw
Western drama being produced in Japan as a way to promote Western thoughts and ideals. They attempted to promote Shingeki as a medium for propaganda and reforming Japanese theatre to make it more Western. However, they failed to see that Shingeki was more than just a pale
356:
was founded in the early postwar, it had only twelve members: eleven actors and one director. But by the year 1960, however, it had ballooned into a company of 119 members: fifty-one actors, thirteen directors and assistant directors, sixteen administrative staff, and thirty-nine apprentices.
442:
student federation, were extremely disappointed that the
Shingeki Association enforced strict conformity to the passive and ineffectual protest policies of the Japan Communist Party, even after right-wing counter-protester brutally attacked the Shingeki members during a protest march at the
292:
were key figures in
Shingeki political theatre. Unlike Osanai, these companies focused on Japanese scripts creating a space for Japanese plays that was not available before. The government did catch wind of the leftist plays and began arresting artists and oppressing leftist companies.
147:
Shingeki theater developed in the early 20th century in response to the perceived “irrationality” of these earlier forms of
Western-style theater that had been popularized during the late 19th century, as well as to “premodern” or “feudal” forms of traditional Japanese theater such as
103:
in 1868 had led to the introduction of
Western drama, singing, and acting onto the Japanese stage, as well as bringing the conventions of realism. In the late 19th century, and early 20th century, there were attempts to "modernize" Japanese theatre. Japanese artists experimented with
530:
in 1921, a work that has been called "the first landmark film in
Japanese history". In later decades, shingeki provided the cinema both a training ground for new actors, as well as a supply of skilled performers trained in realistic acting.
349:("People’s Theater") movement and played a crucial role in helping shingeki survive in lean years in the early postwar period by buying up blocks of tickets and mobilizing members of JCP-linked labor unions to attend Shingeki productions.
279:
Between 1928 through 1932, Shingeki began to get more political than before. Various leftist intellectuals attempted to fight their political battle for socialism all while rallying around
Shingeki theatre companies. Playwrights such as
469:
Despite the departure of some younger members to found the Angura movement, Shingeki did not disappear or go into any dramatic decline. In fact, with wages rising due to high economic growth during the period of Japan's
460:
modernism and formalist realism of Shingeki to stage anarchic "underground" productions in tents, on street corners, and in small spaces that explored themes of primitivism, sexuality, and embodied physicality.
313:(or SCAP) and Shingeki theatre artists have a long history of interaction during the occupied of Japan that often led to confusion and cultural misunderstandings. The SCAP saw Shingeki as a replacement for
156:. Shingeki companies thus sought to present Western-style theatrical productions in modern, Western-style theaters with less stylized and more “realistic” situations, dialogues, costumes, and set design.
330:
for audiences which was well received. But the disbandment of the Shingeki companies during the war had nearly extinguished the movement, which essentially had to start over, almost from scratch.
478:
to drive ticket sales. Today, many of the major Shingeki theater companies continue to exist, although the "shingeki" name itself has been dropped from their self-descriptions.
321:
Shingeki gradually rose to popularity again after the war, but at first it was a struggle. Veteran Shingeki performers banded together in December 1945 and produced
997:
218:, is a second major figure in the Shingeki movement, played a key role in inspiring other artists and playwrights. He, along with Hijikata Yoshi, founded the
194:
should be replaced, but that it should be reformed. He studied western pieces as a means to reforming Japanese drama and literature. His plays include
43:. Born in the early years of the 20th century, it sought to be similar to modern Western theatre, putting on the works of the ancient Greek classics,
310:
204:(The Hermit), which were heavily influenced by western style playwrights, and dealt with psychological insight that did not fit into the mold of
333:
In the early postwar years, many Shingeki performers reacted to their wartime repression by embracing leftism, and some members even joined the
226:. He traveled to the West to study their theatre before coming back to Japan and producing West inspired works. While he did not openly dislike
948:
987:
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372:
Eventually, the postwar Shingeki movement grew to have hundreds of independent troupes. Among the best known (and longest lived) are:
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337:(JCP). The JCP helped support the revival of the Shingeki movement in the early postwar by organizing “workers’ theater councils” (
434:(known as "Anpo" in Japanese), under the auspices of an umbrella organization called the Shingeki Workers Association (新劇人会議
361:
to buy up blocks of tickets and fill seats. This meant that their productions tended to be more conservatively leftist and
992:
118:, which attempted to fuse together modern technology and acting styles to create something new. However, unlike Shingeki,
185:, mentioned above, at Waseda University. He wrote and directed many early Shingeki plays, translated the entire works of
84:
The origin of Shingeki is linked to various movements and theatre companies. Scholars associate its origin with the
352:
Over the course of the 1940s and 1950s, the Shingeki movement gradually recovered its strength. For example, when
977:
471:
706:
Jortner, David. "SCAP's 'Problem Child:' American Aesthetics, the Shingeki Stage, and the Occupation of Japan."
886:
852:
821:
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684:
Sorgenfrei, Carol Fisher. "A Fabulous Fake: Folklore and the Search for National Identity in Kinoshita Junji's
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385:
377:
219:
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of the 1910s, when intellectual reformers attempted to modernize Japanese film. Shingeki directors such as
438:). However, many younger members of the troupes, who tended to sympathize with the student radicals in the
63:, and so forth. As it appropriated Western realism, it also introduced women back onto the Japanese stage.
268:
251:
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theatre. He produced and directed plays that were considered landmarks in the new theatre, however, the
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401:
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209:
186:
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44:
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305:. Therefore, after the war the desire to bring Shingeki back was evident. After the war, America
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Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925
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405:
301:
During the war, almost all Shingeki troupes were disbanded by the authorities, except for
21:
452:" theater movement in Japan, also known as the also known as the "Little Theater" (小劇場,
76:
491:
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would be put on the stage. The troupe produced many Western plays, including; Chekov's
40:
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427:
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322:
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56:
474:" in the 1960s, many Shingeki troupes thrived and became far less dependent on the
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In 1960, virtually the entire Shingeki community was mobilized to take part in the
271:, the origin of Shingeki. However, when Osanai died in 1928, the troupe disbanded.
215:
52:
760:
Hironori, Terasaki, and Gotō Yukihiro. "Trends in the Japanese Theatrical World."
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Scholars link two historical figures to the development of Shingeki. The first is
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were the only types of theatre that was around before the birth of Shingeki.
710:, 1945-1952. edited by, Samuel L. Leiter, Lexington Books, 2009, pp. 259-77.
373:
302:
690:
Rising From the Flames: The Rebirth of Theater in Occupied Japan, 1945-1952
357:
However, well into the 1960s, Shingeki companies remained dependent on the
365:
to appeal to the sensibilities of the left-leaning labor unionists in the
169:
521:
495:
309:, attempting to reconstruct its culture to a more Western based one. The
448:
more radical forms of avant-garde theater. This was the genesis of the "
670:
The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism
610:
520:(Sei no kagayaki, 1918). Kaoru Osanai himself was placed in charge of
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in 1924 where he attempted to combine aspects of Western theatre with
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75:
692:. edited by, Samuel L. Leiter, Lexington Books, 2009, pp. 317-33.
708:
Rising From the Flames: The Rebirth of Theatre in Occupied Japan
486:
Shingeki was an important influence on cinema, first during the
431:
39:
was a leading form of theatre in Japan that was based on modern
153:
882:
Japan at the Crossroads: Conflict and Compromise after Anpo
848:
Japan at the Crossroads: Conflict and Compromise after Anpo
817:
Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
730:
Japan at the Crossroads: Conflict and Compromise after Anpo
632:
Japan at the Crossroads: Conflict and Compromise after Anpo
392:(Four Seasons). Important playwrights at this time were
212:
was disbanded in 1913 due to drama between the members.
589:
Goodman, David (Spring 1971). "New Japanese Theatre".
261:, etc. Scholars considered his production of Ibsen's
345:). These councils were modeled on the prewar German
563:Martin, Carol. "Japanese Theatre: 1960s-Present."
412:The 1960 Anpo protests and the emergence of Angura
128:never developed into mainstream modern theatre.
20:which may also be shortened as "Shingeki", see
672:, Revised Ed., New Jersey, Princeton UP, 1990.
494:produced some of the first reformist films at
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8:
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92:(Literary Arts Movement) in 1906, and the
552:Modern Japanese Theatre and Performance
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311:Supreme Commander for the Allied Powers
88:reform movement, the founding of the
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998:20th-century establishments in Japan
766:JSTOR. www.jstor.org/stable/1124369.
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764:, vol. 1, no. 1, 1984, pp. 104–08.
567:, vol. 44, no. 1, 2000, pp. 83–84.
916:. University of California Press.
514:to make groundbreaking works like
14:
550:Jortner, David, et al., editors.
524:'s training school and produced
502:(1917) and shingeki actors like
165:Tsubouchi Shōyō and Osanai Kaoru
937:Mark Cousins (4 October 2006).
456:) movement, which rejected the
388:(Young People's Theatre), and
318:imitation of Western theatre.
267:, with kabuki reformed actor,
1:
943:. Da Capo Press. p. 56.
885:. Cambridge, Massachusetts:
851:. Cambridge, Massachusetts:
820:. Cambridge, Massachusetts:
789:. Cambridge, Massachusetts:
733:. Cambridge, Massachusetts:
635:. Cambridge, Massachusetts:
181:. Tsubouchi established the
200:(A Leaf of Paulownia), and
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988:20th-century introductions
432:U.S.-Japan Security Treaty
415:
15:
33:
983:History of film of Japan
887:Harvard University Press
853:Harvard University Press
822:Harvard University Press
791:Harvard University Press
735:Harvard University Press
637:Harvard University Press
554:. Lexington Books, 2006.
430:against revision of the
384:(People's Art Theatre),
339:kinrōsha engeki kyōgikai
96:(Free Theatre) in 1909.
37:, literally "new drama")
369:and their JCP backers.
768:Accessed 22 Oct. 2018.
252:An Enemy of the People
220:Tsukiji Little Theatre
174:
81:
910:Gerow, Aaron (2010).
762:Asian Theatre Journal
335:Japan Communist Party
172:
79:
72:Historical background
16:For the manga series
993:20th-century theatre
879:Kapur, Nick (2018).
855:. pp. 204–205.
845:Kapur, Nick (2018).
814:Kapur, Nick (2018).
783:Kapur, Nick (2018).
727:Kapur, Nick (2018).
629:Kapur, Nick (2018).
376:(Literary Theatre),
269:Ichikawa Sandanji II
264:John Gabriel Borkman
482:Influence on cinema
380:(Actors' Theatre),
45:William Shakespeare
824:. pp. 30–31.
668:Ortolani, Benito.
512:Norimasa Kaeriyama
510:collaborated with
488:Pure Film Movement
327:The Cherry Orchard
286:Murayama Tomoyoski
175:
160:Historical figures
108:theatre, creating
82:
61:Tennessee Williams
18:Shingeki no Kyojin
950:978-1-56025-933-6
940:The Story of Film
527:Souls on the Road
436:Shingekijin Kaigi
363:socialist realist
297:Post World War II
112:and also created
101:Meiji Restoration
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472:economic miracle
465:1960s to present
255:, Shakespeare's
190:did not believe
80:Tsubouchi Shōyō.
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398:Yashiro Seiichi
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197:Kiri no hitotha
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597:(2): 154–168.
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382:Gekidan Mingei
354:Gekidan Mingei
341:, abbreviated
307:occupied Japan
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240:Cherry Orchard
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83:
57:Anton Chekov
53:Henrik Ibsen
27:
26:
17:
492:Eizō Tanaka
234:Uncle Vanya
202:En no gyoja
187:Shakespeare
136:shin-kabuki
126:shin-kabuki
110:shin-kabuki
94:Jiyū Gekijō
972:Categories
535:References
440:Zengakuren
416:See also:
347:Volksbühne
282:Kubo Sakae
243:, Ibsen's
458:Brechtian
454:shōgekijō
374:Bungakuza
323:Chekhov's
303:Bungakuza
956:21 March
522:Shochiku
496:Nikkatsu
394:Abe Kōbō
386:Seinenza
28:Shingeki
611:1144634
378:Haiyūza
275:Pre-War
67:History
49:Molière
41:realism
947:
920:
893:
859:
828:
797:
741:
643:
609:
569:JSTOR.
450:Angura
422:Angura
404:, and
315:kabuki
288:, and
246:Ghosts
228:kabuki
224:kabuki
206:kabuki
192:kabuki
150:kabuki
141:shinpa
138:, and
131:Kabuki
121:shinpa
115:shinpa
106:kabuki
86:kabuki
607:JSTOR
498:like
390:Shiki
958:2015
945:ISBN
918:ISBN
891:ISBN
857:ISBN
826:ISBN
795:ISBN
739:ISBN
641:ISBN
506:and
476:rōen
420:and
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359:rōen
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565:TDR
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