LOCALE, LIMINALITY, AND LEGITIMACY IN CONTEMPORARY SAGI KYŌGEN: CONCEPTUALIZING TRADITION OUTSIDE KYŌGEN’S PROFESSIONAL WORLD
LOCALE, LIMINALITY, AND LEGITIMACY IN CONTEMPORARY SAGI KYŌGEN: CONCEPTUALIZING TRADITION OUTSIDE KYŌGEN’S PROFESSIONAL WORLD
| dc.contributor.advisor | Iezzi, Julie A. | |
| dc.contributor.author | Rogals, Frederick Alex | |
| dc.contributor.department | Theatre | |
| dc.date.accessioned | 2022-07-05T19:58:58Z | |
| dc.date.available | 2022-07-05T19:58:58Z | |
| dc.date.issued | 2022 | |
| dc.description.degree | Ph.D. | |
| dc.identifier.uri | https://hdl.handle.net/10125/102282 | |
| dc.subject | Theater | |
| dc.subject | Asian studies | |
| dc.subject | Theater history | |
| dc.subject | community theatre | |
| dc.subject | cultural transmission | |
| dc.subject | Japan | |
| dc.subject | kyōgen | |
| dc.subject | Sagi | |
| dc.subject | tradition | |
| dc.title | LOCALE, LIMINALITY, AND LEGITIMACY IN CONTEMPORARY SAGI KYŌGEN: CONCEPTUALIZING TRADITION OUTSIDE KYŌGEN’S PROFESSIONAL WORLD | |
| dc.type | Thesis | |
| dcterms.abstract | This dissertation looks at the history of the Sagi style of kyōgen, its transformation into a regionalized non-professional art form in the Meiji Period (1868-1912), and the contemporary practice of its current artists. An initial goal of this work is to correct a common misconception that Sagi kyōgen ceased in the Meiji period. It did not; it merely became something which operates outside the institutionalized model of professional kyōgen. That being said, activity outside the professional sphere is not a simple matter of either/or, and contemporary Sagi kyōgen’s in-between status is the source of many dilemmas within the practice of contemporary Sagi kyōgen itself. As such, a primary goal of this work is to examine the liminal space in which contemporary Sagi kyōgen practitioners operate. As they are not part of the professional world, one might be inclined to simply call them amateurs or enthusiasts. However, unlike amateurs, contemporary Sagi kyōgen performers have been tasked with preserving Sagi kyōgen’s traditions and, like the professionals, are responsible for passing on their knowledge to the next generation of actors. Moreover, as contemporary Sagi kyōgen has no headmaster (iemoto), this has created a host of conundrums regarding how issues of authenticity, legitimacy and overall preservation of traditions are approached. As such, another crucial objective of this thesis is to illustrate how regionalization, in particular, has served as a surrogate for the iemoto system, informing contemporary Sagi kyōgen practice, preservation and performance. | |
| dcterms.extent | 176 pages | |
| dcterms.language | en | |
| dcterms.publisher | University of Hawai'i at Manoa | |
| dcterms.rights | All UHM dissertations and theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission from the copyright owner. | |
| dcterms.type | Text | |
| local.identifier.alturi | http://dissertations.umi.com/hawii:11375 |
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