Asian Spirit Final

Front 1

K’un jü

Back 1

Chinese operatic form that originated in the Ming Dynasty. It is characterized by elaborate language and music, stories revolving around lovers, long performances, and symbolic costuming.

Front 2

Mei Lanfang

Back 2

Female impersonator and performer of both K’un jü and Kunqu styles. One of his best-known roles is that of Bridal Du in The Peony Pavilion.

Front 3

Wu plays

Back 3

Genre of plays in the Beijing opera. Wu plays are characterized by militaristic subject matter and acrobatic battle scenes.

Front 4

Wen plays

Back 4

Genre of plays in the Beijing opera. Wen plays have love stories and daily life as their subject matter, and they usually contain songs and dances.

Front 5

Hsiao dan

Back 5

The female heroine character in Beijing opera or a young lady in Yuan drama. Traditionally played by a male impersonating a female.

Front 6

Ch’ou

Back 6

One of the character types from Beijing opera. The ch’ou are the clowns or comic relief.

Front 7

The Red Detachment of Women

Back 7

Ballet performed in the 1960s during the Chinese Cultural revolution. Modeled on the Western style of theatre and performance.

Front 8

Onnagata

Back 8

– A female impersonator in Japanese Kabuki theatre. The actor speaks in a falsetto voice and dresses as a woman in daily life as well as in the show.

Front 9

Kumadori

Back 9

Style of makeup used in Japanese Kabuki theatre. It is characterized by bold reds and blacks and is worn by heroes.

Front 10

Aragoto

Back 10

“Rough” acting style used by actors in Kabuki. Used to depict heroes with superhuman strength, and often includes kumadori (intense makeup) or powerful poses called mie.

Front 11

Tang Xianzu

Back 11

Author of “The Peony Pavilion”. Wrote a series of plays called the “Four Dreams” and was a government official.

Front 12

Tomasaburo Bando

Back 12

– Famous onnagata or female impersonator in Kabuki theatre. The Bando family is known for its line of onnagata actors.

Front 13

Kenneth Pai

Back 13

Taiwanese director. In 2004, he directed a modern production of The Peony Pavilion using modern stage technology combined with traditional music and singing.

Front 14

Hsiao sheng

Back 14

Lead male part in Yuan drama and Chinese opera. The hsaio sheng is the young lover or scholar who is often the hero of the play.

Front 15

Jing or Hua

Back 15

Refers to character roles in Chinese opera. They are characterized by their painted faces.

Front 16

Jinqui

Back 16

Refers to Beijing opera in China. Jinqui is the most popular form of opera, characterized by a simple literary style, rhythmic music, and set character types.

Front 17

Chinese Cultural Revolution

Back 17

Period of Chinese history from 1967-1977. Much of Chinese culture became more westernized and traditional theatre was suppressed during the period.

Front 18

Yuan Drama

Back 18

Style of Chinese theatre starting in the Yuan dynasty. It was influenced strongly by literati turning to theatre and other popular forms due to the destruction of traditional literature.

Front 19

Takarazuka

Back 19

All-female musical theatre troupe that has gained large popularity in Japan. Includes male impersonation by women, and involves intense discipline and training at the Takarazuka Music School.

Front 20

Bugaku

Back 20

Form of Japanese dance drama. It is the only fully subsidized performance art in Japan, and is performed to instrumental music. Much of its dramatic character has been lost.

Front 21

Sarugaku

Back 21

Form of theatre popular in Japan in the early 13th century. Literally means “monkey music” and was one of the precursors of Noh drama.

Front 22

Dengaku

Back 22

Form of music popular in Japan in the early 13th century. Literally means “field music” and was one of the precursors of Noh drama.

Front 23

Kan’ami

Back 23

Performer of Sarugaku in the 14th century. Combined narrative song with rhythmic dance to form Kuse mai. Father of Zeami, helped create Noh.

Front 24

Zeami

Back 24

Japanese playwright, actor, and theorist, credited as being creator of Noh.

Front 25

Shite

Back 25

The principal performer in Noh drama. The shite is masked and dances during the performance.

Front 26

Waki

Back 26

Name for a performer in Noh drama. The waki is the sideman, and is usually a priest.

Front 27

Tsure

Back 27

The second lead in a Noh performance. The tsure is usually unmasked and is often the antagonist or foil to the shite.

Front 28

Koken

Back 28

Stagehand in a Noh performance. Helps with costume and scene changes in view of the audience

Front 29

Hashigakari

Back 29

Bridge structure on a Noh set. It is a 20 to 40 foot ramp connecting mirror room with stage

Front 30

Mirror room

Back 30

Room where Noh actors prepare before entering the stage. Some costume changes and mask changes occur here.

Front 31

Shite pillar

Back 31

The upstage right pillar on a Noh stage. The shite spends much of his stage time here.

Front 32

Jo-Ha-Kyü

Back 32

Aesthetic of ever-increasing tension and tempo in Noh drama. Introduction, departure of waki on journey, arrival; development, shite appears; climax heightened by poetry and music.

Front 33

Yugen

Back 33

Ideal of Noh drama expressed in language and overall effects. Suggestive beauty beyond surface portrayal, grace, quality of mystery, depth, and serenity.

Front 34

Monomane

Back 34

Idea of imitation in Noh drama. Refers to the outward verisimilitude of character

Front 35

Kyogen

Back 35

Japanese comedic theatre developed from sarugaku and dengaku by Zeami, then combined with Noh. Reflection of Shinto beliefs about goodness of natural order.

Front 36

Okuni

Back 36

Male impersonator in Women’s Kabuki in the late 16th century. Performed in redlight district of Kyoto until women were banned from the stage in 1629.

Front 37

Yaro Kabuki

Back 37

Mature male Kabuki, still exists today. Consists of 5-act plays modeled on Noh plays, contains onnagata or female impersonation.

Front 38

Hanamichi

Back 38

Flower path”. Runway from rear to stage on house left, actors perform on it

Front 39

Mie

Back 39

– Powerful, heroic pose. Used by actors in Kabuki to emphasize manliness and heroism.

Front 40

Wagoto

Back 40

of acting in Kabuki theatre. “Soft” acting style for romantic or domestic scenes. Can also refer to the part of an unhappy lover.

Front 41

Jidaimono

Back 41

Kabuki plays that feature historical plots and characters. Used past histories to make comment on current situations.

Front 42

Kuroko

Back 42

– Stage assistant in Kabuki theatre. Assist actors with changes and props.

Front 43

Mawari butai

Back 43

Mawari butai – Part of a Kabuki stage that revolves. Often used to change out chanters and narrators.

Front 44

Joruri

Back 44

Joruri – Chanted puppet theatre, used in Bunraku. Accompanied by a shamisen and chanters have higher social status.

Front 45

Bunraku

Back 45

Bunraku – Japanese puppet theatre. Staged with as much realism and artistic integrity possible.

Front 46

Ariane Mnouchkine

Back 46

Ariane Mnouchkine – Founder of Theatre du Soleil, an avant-garde theatre group.

Front 47

Tadashi Suzuki

Back 47

Tadashi Suzuki – Experimental director and theorist, developed own methodology. Founded Suzuki Company of Toga.

Front 48

Butó

Back 48

Butó – Very avant-garde style, which involves heavy makeup and death-defying stunts.