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The Association for Asian Performance (AAP) is an international non-profit organization dedicated to the dissemination and preservation of Asian theatre, performance techniques, and history. [1] [2] The Association focuses on scholarship, education, and exposure to these techniques through their conferences and lectures at Association for Theatre in Higher Education (ATHE) and their recurring official publication, the Asian Theatre Journal. [3] [4]
The Association for Asian Performance went through several name iterations from its formation in 1965 through the present. From 1969 to 1987, different titles and organization intentions were chosen following a unanimous 1969 split of the Afro-Asian Theatre Project into separate cultural organizations, structural changes and debt failures with their first sponsor, the American Educational Theatre Association (AETA), second sponsor American Theatre Association, and finally, their journey to ATHE sponsorship. [5]
The different versions of the AAP from 1965 to present are: [5]
Sponsored by AETA:
Sponsored by ATA:
Sponsored by ATHE:
The organization’s first published journal was the Afro-Asian Theatre Bulletin (1965 – 1970). In 1971, Sam Leiter, professor at Brooklyn College-CUNY, became the next editor of the new version of the Association’s journal, the Asian Theatre Bulletin. [6] The Bulletin struggled to survive during an upheaval of ATA sponsor funding during the Asian Theatre Program years. Members were concerned that the budget cuts from within their division of ATA, the University and College Theatre Association (UCTA), would shut out the voices and stories of minority programs within ATA. Eventually, funding was cut entirely and publication halted altogether. [5]
Following this period, in 1984, the Asian Theatre Program established its first independent subscription of the Asian Theatre Journal, [7] a publication for all peer-reviewed articles relating to the art of Asian theatre performance. The Founding Co-Editors of the Asian Theatre Journal were James R. Brandon and Elizabeth Wichmann-Walczak. [5]
Tsubouchi Shōyō was a Japanese author, critic, playwright, translator, editor, educator, and professor at Waseda University. He has been referred to as a seminal figure in Japanese drama.
Dan is the general name for female roles in Chinese opera, often referring to leading roles. They may be played by male or female actors. In the early years of Peking opera, all dan roles were played by men, but this practice is no longer common in any Chinese opera genre.
Faubion Bowers was an American academic and writer in the area of Asian Studies, especially Japanese theatre. He also wrote the first full-length biography of Russian composer Alexander Scriabin. During the Allied Occupation of Japan, he was General Douglas MacArthur's personal Japanese language interpreter and aide-de-camp.
Persian theater goes back to antiquity. The first initiation of theater and phenomena of acting can be traced in ceremonial theaters to glorify national heroes and legends and to humiliate the enemy, as in the classics "Soug Sivash" and "Mogh Koshi" (Megakhouni). Ancient Persian theatre and dance was significantly researched by the Greek historian Herodotus of Halikarnassos, who lived during the Persian rule in Greece. In his work Book IX (Calliope), he describes the history of Asian empires and also the Persian wars until 478 BC.
The Asian Theatre Journal is an academic journal dedicated to the performing arts of Asia, focusing upon both traditional and modern theatrical forms. It contains descriptive and analytical articles, original plays and play translations, as well as reviews of books and plays and reports of current theatrical activities in Asia.
Lhamo, or Ache Lhamo, is a classical secular theatre of Tibet with music and dance that has been performed for centuries, whose nearest western equivalent is opera. Performances have a narrative and simple dialogue interspersed with comedy and satire; characters wear colorful masks. The core stories of these theatrical plays are drawn mostly from ancient Indian Buddhist folk tales, lives of important people and historical events from Tibetan civilization. However the ceremonial, dance and ritual spectacles strongly reflects the Tibetan Royal Dynastic period.
Leonard Cabell Pronko was an American theatre scholar best known for introducing the Japanese dance drama kabuki to the West, beginning in the 1960s. He was a professor of theatre at Pomona College in Claremont, California, where he taught from 1957 to 2014.
John Emigh is Professor Emeritus from the Departments of Theatre, Speech and Dance and of English at Brown University, Providence, Rhode Island. Emigh taught at Brown from 1967 to 2009. Since his retirement, he has mainly been teaching and directing in the Brown/Trinity Rep MFA program.
Kaoru Osanai was a Japanese theater director, playwright, and actor central in the development of modern Japanese theater.
Lakhon Khol or Khmer Masked Theatre is a dance drama genre that is performed in Cambodia.
Vũ Đình Long was a Vietnamese dramatist noted for the first western style spoken play in Vietnamese - A cup of Poison in 1921.
The Association for Theatre in Higher Education (ATHE) is a United States-based non-profit membership organization whose mission is "To support and advance the study and practice of theatre and performance in higher education." It publishes Theatre Journal and Theatre Topics, has 23 special interest focus groups, runs a job bank service for its members, and organises an annual conference attended by around 800 people.
"The quality of mercy" is a speech given by Portia in William Shakespeare's The Merchant of Venice. In the speech, Portia, disguised as a lawyer, begs Shylock to show mercy to Antonio. The speech extols the power of mercy, "an attribute to God Himself".
The Columbia Anthology of Modern Chinese Drama is a 2010 book edited and introduced by Xiaomei Chen and published by the Columbia University Press.
James Rodger Brandon was an American academic who was a professor of Asian theater specializing in Kabuki and Sanskrit drama theater at the University of Hawaiʻi at Mānoa. He was a member of the generation of scholars who first brought Asian theater to English-speaking audiences in the postwar period, translating dozens of plays and directing many performances, some of which toured widely throughout the United States.
Shannon Jackson is the Cyrus and Michelle Hadidi Professor of Rhetoric and of Theater, Dance and Performance Studies at the University of California, Berkeley, Department Chair of History of Art, and former Associate Vice Chancellor of the Arts and Design. She also serves as Program Director of the Kramlich Collection and Kramlich Art Foundation.
Tsutsui Tokujirō (1881-1953) was a Japanese performer born in Osaka, Japan.
The Mandalay Thabin refers to the Mandalay-based dramatic arts industry, including yoke thé, anyeint, zat pwe, etc., flourished since the late Konbaung era, during the reigns of King Mindon and King Thibaw.
Andrew Takahisa Tsubaki was a 20th & 21st century Japanese theatre scholar who contributed to the presence and practice of Japanese theatre styles in the Western world.
Aang Kunaefi was an Indonesian military officer and diplomat who served as Governor of West Java between 1975 and 1985 and as Indonesian Ambassador to Saudi Arabia. He had previously commanded the Siliwangi Military Region during his time in the Indonesian Army.
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