By Barbara Thornbury
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Extra info for America’s Japan and Japan’s Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011
Her style, it is said, was born in Japan, 22 America’s Japan and Japan’s Performing Arts [and] nurtured in the United States, where she spent several years in study. ”88 East-meets-West has mostly given way to a more nuanced, “cultural studies” approach—and to concepts such as hybridity. ”89 Dancer-choreographers are a particularly visible cohort of flexible- citizen artists, and the recipients of a large number of major awards— including the MacArthur “genius” award that went to Eiko and Koma (1996); the New York Dance and Performance (Bessie) Awards given to Yoshiko Chuma (1984 and 2007), Yasuko Yokoshi (2003 and 2006), Koosilja (2004), and Eiko and Koma (1984 and 1990); the Samuel H.
On January 27 of that year, the New York Times simultaneously carried “Tribute to the Kabuki Theatre of Japan,” by Paul Green, and an accompanying short piece by Joshua Logan titled “Mr. Logan Seconds Mr. ” Green—a prolific writer of screenplays and works of nonfiction, in addition to dramas and novels—won the Pulitzer Prize in 1927 for the play In Abraham’s Bosom. In 1950 Logan shared the prize with Richard Rodgers and Oscar Hammerstein for South Pacific— based on Tales of the South Pacific, for which James Michener won a Pulitzer in 1948.
He wrote, “The wide vast stage is bathed in a deluge of light. ” Instead of the defeated military officers of recent memory, there were “a dozen stylized lords, followers of the Mikado, their wide, rich robes billowing out and around them in waves of brocaded color. ” Green assured readers that the Japanese people themselves viewed kabuki as central to their culture. . ” Green laid out one of the basic tenets of America’s kabuki-Japan: that Japanese culture is firmly based in its traditional artistic forms.