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Learning to Kneel : Noh, Modernism, and Journeys in Teaching / Carrie J. Preston.

By: Material type: TextTextSeries: Modernist LatitudesPublisher: New York, NY : Columbia University Press, [2016]Copyright date: ©2016Description: 1 online resource (352 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780231166508
  • 9780231541541
Subject(s): DDC classification:
  • 792.0952
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Preface -- Acknowledgments -- Abbreviations -- Introduction to Noh Lessons -- 1. Ezra Pound as Noh Student -- 2. Theater in the "Deep": W. B. Yeats's At the Hawk's Well -- 3 . Itō Michio's Hawk Tours in Modern Dance and Theater -- 4 . Pedagogical Intermission: A Lesson Plan for Bertolt Brecht's Revisions -- 5. Noh Circles in Twentieth-Century Japanese Performance -- 6 . Trouble with Titles and Directors: Benjamin Britten and William Plomer's Curlew River and Samuel Beckett's Footfalls/Pas -- Coda -- Notes -- Glossary -- Bibliography -- Index
Summary: In this inventive mix of criticism, scholarship, and personal reflection, Carrie J. Preston explores the nature of cross-cultural teaching, learning, and performance. Throughout the twentieth century, Japanese noh was a major creative catalyst for American and European writers, dancers, and composers. The noh theater's stylized choreography, poetic chant, spectacular costumes and masks, and engagement with history inspired Western artists as they reimagined new approaches to tradition and form. In Learning to Kneel, Preston locates noh's important influence on such canonical figures as Pound, Yeats, Brecht, Britten, and Beckett. These writers learned about noh from an international cast of collaborators, and Preston traces the ways in which Japanese and Western artists influenced one another. Preston's critical work was profoundly shaped by her own training in noh performance technique under a professional actor in Tokyo, who taught her to kneel, bow, chant, and submit to the teachings of a conservative tradition. This encounter challenged Preston's assumptions about effective teaching, particularly her inclinations to emphasize Western ideas of innovation and subversion and to overlook the complex ranges of agency experienced by teachers and students. It also inspired new perspectives regarding the generative relationship between Western writers and Japanese performers. Pound, Yeats, Brecht, and others are often criticized for their orientalist tendencies and misappropriation of noh, but Preston's analysis and her journey reflect a more nuanced understanding of cultural exchange.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231541541

Frontmatter -- Contents -- Preface -- Acknowledgments -- Abbreviations -- Introduction to Noh Lessons -- 1. Ezra Pound as Noh Student -- 2. Theater in the "Deep": W. B. Yeats's At the Hawk's Well -- 3 . Itō Michio's Hawk Tours in Modern Dance and Theater -- 4 . Pedagogical Intermission: A Lesson Plan for Bertolt Brecht's Revisions -- 5. Noh Circles in Twentieth-Century Japanese Performance -- 6 . Trouble with Titles and Directors: Benjamin Britten and William Plomer's Curlew River and Samuel Beckett's Footfalls/Pas -- Coda -- Notes -- Glossary -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In this inventive mix of criticism, scholarship, and personal reflection, Carrie J. Preston explores the nature of cross-cultural teaching, learning, and performance. Throughout the twentieth century, Japanese noh was a major creative catalyst for American and European writers, dancers, and composers. The noh theater's stylized choreography, poetic chant, spectacular costumes and masks, and engagement with history inspired Western artists as they reimagined new approaches to tradition and form. In Learning to Kneel, Preston locates noh's important influence on such canonical figures as Pound, Yeats, Brecht, Britten, and Beckett. These writers learned about noh from an international cast of collaborators, and Preston traces the ways in which Japanese and Western artists influenced one another. Preston's critical work was profoundly shaped by her own training in noh performance technique under a professional actor in Tokyo, who taught her to kneel, bow, chant, and submit to the teachings of a conservative tradition. This encounter challenged Preston's assumptions about effective teaching, particularly her inclinations to emphasize Western ideas of innovation and subversion and to overlook the complex ranges of agency experienced by teachers and students. It also inspired new perspectives regarding the generative relationship between Western writers and Japanese performers. Pound, Yeats, Brecht, and others are often criticized for their orientalist tendencies and misappropriation of noh, but Preston's analysis and her journey reflect a more nuanced understanding of cultural exchange.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)