Bibliography

A few references that helped with my research . . .

Abe, Kōbō. Abe Kōbō no Gekijō : Nananen no Ayumi [Abe Kōbō’s Theatre: Seven Years of Progress]. Ed. Kōbō Abe and Abe Kōbō Sutajio. Tokyo: Abe Kōbō Sutajio, 1979.

The Anthropology of Experience. Ed. Victor Witter Turner and Edward M. Bruner. Urbana: University of Illinois Press, 1986.

Arnold, Paul. Le Théâtre Japonais: Nō, Kabuki, Shimpa, Shingeki. Paris: L’arche, 1957.

Artaud, Antonin. Selected Writings. Ed. Susan Sontag. Berkeley: University of California Press, 1976.

Auslander, Philip. Theory for Performance Studies : A Student’s Guide. London : New York: Routledge, 2008.

Barba, Eugenio. The Paper Canoe: A Guide to Theatre Anthropology. New York: Routledge, 1995.

Barba, Eugenio, and Nicola Savarese. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. London ; New York: Routledge, 2005.

Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1981.

—. “Pour Une Psycho-Sociologie De l’Alimentation Contemporaine” [Towards a Psycho-sociology of Contemporary Eating Practices.] Annales. Économies, Sociétés, Civilisations 16.5 (1961): 977-986.

Bharucha, Rustom. Theatre and the World : Performance and the Politics of Culture. London ; New York: Routledge, 1993.

Bodies of the Text : Dance as Theory, Literature as Dance. Ed. Ellen W. Goellner and Jacqueline Shea Murphy. New Brunswick, N.J.: Rutgers University Press, 1995.

Bolton, Christopher. Sublime Voices : The Fictional Science and Scientific Fiction of Abe Kobo. Cambridge, Mass.:Harvard University Press, 2009.

Clurman, Harold. “Theater (A Review of Abe’s the Elephant is Dead).” The Nation June 16, 1979 1979: 733.

Coci, Gianluca. Abe Kōbō Sutajio to Ōbei no Jikken Engeki [Abe Kōbō Studio and Western Experimental Theatre]. Tokyō: Sairyūsha, 2005.

Cornyetz, Nina. “The Politics of Climate and Communities in Woman in the Dunes and ‘The Idea of the Desert’”. The Ethics of Aesthetics in Japanese Cinema and Literature : Polygraphic Desire. New York, N.Y.: Routledge, 2007. 59-108.

Counsell, Colin and Laurie Wolf (Eds.) Performance Analysis: An Introductory Coursebook. London : Routledge, 2001.

Crow, Brian and Chris Banfield (Eds.) An Introduction to Post-Colonial Theatre. Cambridge; New York: Cambridge University Press, 1996.

Derrida, Jacques. “The Theatre of Cruelty and the Closure of Representation.” Writing and Difference. London: Routledge & K. Paul, 1978. 232-250.

Diamond, Elin. “The Shutter of Katharsis in the 20th Century Performance.” Performativity and Performance. Ed. Andrew Parker and Eve Kosofsky Sedgwick. New York: Routledge, 1995. 152-172.

Fiebach, Joachim. “Theatricality: From Oral Traditions to Televised ‘Realities’”. SubStance 31.2-3 (2002): 17-41.

Fischer-Lichte, Erika. “Interweaving Cultures in Performance: Different States of in-between.” Interweaving Performance Cultures (2010): October 2010. <http://journal.interweaving-performance-cultures.com/2010/08/interweaving-cultures-in-performance/>.

Food and Culture : A Reader. Ed. Carole Counihan and Penny Van Esterik. London: Routledge, 1997.

Gainer, J. Ellen. Imperialism and Theatre. Essays on World Theatre, Drama, and Performance. New York: Routledge, 1995.

Gilbert, Helen and Joanne Tompkins. Post-Colonial Drama : Theory, Practice, Politics. London ; New York : Routledge, 1996.

Goodman, David. Japanese Drama and Culture in the 1960s — The Return of the Gods. Armonk: M.E. Sharpe, 1988.

Goodman, Lizbeth, and Jane De Gay. The Routledge Reader in Gender and Performance. New York: Routledge, 1998.

Grosz, E. A. Space, Time, and Perversion : Essays on the Politics of Bodies. New York: Routledge, 1995.

Grotowski, Jerzy. Towards a Poor Theatre. Ed. Eugenio Barba. London: Methuen, 1975.

Hardin, Nancy S., and Abe Kōbō. “An Interview with Abé Kobo.” Contemporary Literature 15.4 (1974): 439-56.

Hiroshi, Teshigahara. Suna no Onna [Woman in the Dunes]. Prod. Teshigahara Hiroshi and Abe Kōbō. Teshigahara Productions: World Film Co. Ltd., 1964.

Horie-Webber, A. “Modernisation of the Japanese Theatre: The Shingeki Movement.” In W.B.Beasley, ed. Modern Japan: Aspects of History, Literature, and Society. Berkeley: University of California Press, 1975: 147–65.

Iles, Timothy. Abe Kôbô: An Exploration of His Prose, Drama and Theatre. Fucecchio (Firenze), Italy: European Press Academic Publishing, 2000.

Inglis, Fred. Clifford Geertz : Culture, Custom, and Ethics. Malden, Mass.: Polity Press, 2000

Japanese Theatricality and Performance. Ed. Midwest Association for Japanese Literary Studies. West Lafayette, IN: MAJLS, 1995.

Jürs-Munby, Karen. “Introduction.” Postdramatic Theatre. Ed. Hans-Thies Lehmann., 2006. 1-16.

Kano, Ayako. Acting Like a Woman in Modern Japan: Theater, Gender, and Nationalism. New York: Palgrave, 2001.

Karatani, Kōjin. Origins of Modern Japanese Literature. Durham, NC: Duke University Press, 1993.

Kato Koichi, and Abe Neri. “Abe Neri-san to kataru.” Horagai. April 3, 1998. <http://http://www.horagai.com/www/abe/neri.htm>.

Keene, Donald. Dawn to the West : Japanese Literature of the Modern Era. 1st ed. — ed. New York: Holt, 1984.

—. Five Modern Japanese Novelists. New York: Columbia University Press, 2003.

Key, Margaret. “Empathy and Ethics in Abe Kōbō’s Mihitsu no Koi.” Modern Japanese Theatre and Performance. Ed. David Jortner, Keiko I. McDonald, and Kevin J. Wetmore. Lanham, MD: Lexington Books, 2006. 215-223.

Lehmann, Hans-Thies. “Performance.” Postdramatic Theatre. Ed. Hans-Thies Lehmann. New York: Routledge, 2006. 134-145.

Lippit, Akira Mizuta. Atomic Light (Shadow Optics). Minneapolis: University of Minnesota Press, 2005.

Martin, Carol. “Japanese Theatre: 1960s-Present.” The Drama Review 44.1 (2000): 83-4.

Mavor, Carol. Reading Boyishly : Roland Barthes, J. M. Barrie, Jacques Henri Lartigue, Marcel Proust, and D. W. Winnicott. Durham: Duke University Press, 2007.

Mori, Mitsuya. “The Structure of Theater: A Japanese View of Theatricality.” SubStance 31.2 (2002): 73-93.

Motoyama, Mutsuko. “Literature and the Politics of Abe Kobo: Farewell to Communism in Suna no Onna.” Monumenta Nipponica 50.3 (1995): 305-323.

Nancy, Jean-Luc. Corpus. New York: Fordham University Press, 2008.

Parker, Andrew, and Eve Kosofsky Sedgwick, eds. Performativity and Performance. New York: Routledge, 1995.

Pavis, Patrice. “Theatre Analysis: Some Questions and a Questionnaire.” New Theatre Quarterly 1.2 (1985): 208–12.

Poulton, Cody. “The Rhetoric of the Real.” Modern Japanese Theatre and Performance. Ed. David Jortner, Keiko I. McDonald, and Kevin J. Wetmore. Lanham, MD: Lexington Books, 2006. 17-31.

Powell, Brian. Japan’s Modern Theatre : A Century of Change and Continuity. London: Japan Library, 2002.

Riley, Jo. Chinese Theatre and the Actor in Performance. New York: Cambridge University Press, 1997.

Rimer, J. Thomas. The Collected Writings of J. Thomas Rimer. Ed. Inc ebrary. London: Japan Library, 2004.

—. Toward a Modern Japanese Theatre: Kishida Kunio. Princeton, N.J.: Princeton University Press, 1974.

Rolf, Robert T. “Tokyo Theatre 1990.” Asian Theatre Journal 9.1 (1992): 85-111.

Rosenstein, Roy. “The End of Insect Imagery: From Dostoyevsky to Kobo Abé Via Kafka.” Insect Poetics. Ed. Eric C. Brown. Minneapolis; London: U of Minnesota Press, 2006. 112-128.

Sakaki, Atsuko. “Abe Kobo in Manchuria: Disorienting a Japanese Novelist [Videorecording of a Lecture Given on January 24, 2008]” (Videorecording, University of Victoria Archives, 2008).

—. Recontextualizing Texts. Cambridge, Mass: Harvard University Press, 1999.

—. “Scratch the Surface, Film the Face: Obsession with the Depth and Seduction of the Surface in Abe Kōbō’s The Face of Another.” Japan Forum 17.3 (2005): 369-388.

Sarrazac, Jean Pierre, and Virginie Magnat. “The Invention of “Theatricality”: Rereading Bernard Dort and Roland Barthes.” SubStance 31.2 (2002): 57-72.

Sas, Miryam. Fault Lines : Cultural Memory and Japanese Surrealism. Stanford, Calif.: Stanford University Press, 1999.

Schnellbächer, Thomas. “Abe Kobo, Literary Strategist: The Evolution of His Agenda and Rhetoric in the Context of Postwar Japanese Avant-Garde and Communist Artists’ Movements.” Monumenta Nipponica 62.2 (2007): 241-3.

Sekine, Masaru. Ze-ami and His Theories of Noh Drama. Gerrards Cross: Smythe, 1985.

Senda, Koreya. “Senda Koreya: An Interview.” Concerned Theatre Japan. 1.2: 1970.

—. Kindai Haiyūjutsu [Modern Acting]. Tokyo: Hayakawa shobō, 1955.

Senda, Akihiko. The Voyage of Contemporary Japanese Theatre. Honolulu: University of Hawai’i Press, 1997.

Shields, Nancy. Fake Fish. New York: Weatherhill, 1996.

Siyuan Liu. “Adaptation as Appropriation: Staging Western Drama in the First Western-Style Theatres in Japan and China.” Theatre Journal 59.3 (Oct. 2007): 411-429.

Takano, Toshimi, and Shōichi Saeki. Abe Kōbō. Ed. Toshimi Takano and Shōichi Saeki. Tōkyō: Shinchōsha, 1994.

Uchino Tadashi. “Shingeki to Angura no Aida.” Yuriika 26.8 (1994): 219.

Wetmore, Kevin J. Jr. “Modern Japanese Drama in English.” Asian Theatre Journal 23.1 (2006).

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