Women of Japanese Theater Essay

Femininity is a concept whose attributes are contingent on the culture it is in—what one culture may consider typically feminine traits could largely vary from what another culture views as being feminine. While theater can sometimes subvert theses ideals and present women who function in ways that are not typically feminine, theater can often present idealistic representations of women who exemplify that culture’s ideals of femininity. Take, for example, the female characters in both Guan Hanqing’s Snow in Midsummer and Hroswit’s Martyrdom of the Holy Virgins. While both texts come from largely different cultural contexts—Snow in Midsummer was written in thirteenth century China for a general population whereas Martyrdom of the Holy Virgins was written in tenth century Germany as a closet drama—both texts have female protagonists whose rebellions exemplify feminine ideals of the respective cultures.

In the article, “Types of Women in Romantic Comedies Who Are Not Real”, actor and writer, Mindy Kaling, classifies the women’s roles from classic romantic comedies, while a critical analysis piece over the genre as well. Starting the article, She discusses her inspiration for the piece itself, furthermore expressing her love for romance, as well. Throughout the article, she separates the different types of women in these roles, whether it’s the obnoxious glamour girl, or the girl with an amazing personality, in latent terms, the difference between “The Klutz” and “The Ethereal Weirdo.” By the end of each example, she differentiates how cliche the storyline of the female character

Western Theatre as an artform began as religious rituals in ancient Greece. Formerly, only men could become actors, women being typically played by men or boys. In Ancient Roman and Medieval theatre women were allowed occasionally, but not often. In the 17th Century opera became prevalent, which began to include female singers. Behn was the first professional woman writer in English literature, best known for her plays and her novel 'Oroonoko'. Which led the way for female playwrights. Females began to slowly but surely make

The actors were expected to perform their own stunts. They had to have a good memory to learn and memorize their lines in a short time period. William Shakespeare acted in some of the productions of the plays. Males had to act out the female parts of the plays because females were not allowed to perform in theaters at this time. Although, all of the actors worked hard, the males who dressed up as females got paid the least; this proves they had a lot of dedication to their work. The actors help make the plays at the theater a huge success and very profitable to The Theater.

During World War II, approximately 120,000 people of Japanese descent who lived on the Pacific Coast of the US were sent to internment camps after the bombing at Pearl Harbor by Japan on December 7th, 1941. American citizens made up 62% of those who were interned. And even though these American citizens were being unconstitutionally blocked off from the rest of society, the majority of these citizens still declared that they remained forever loyal to America. Some of the recollections left behind by the internees of their experiences at these camps include letters to their loved ones, diaries, pictures, and even full plays. And while living in often cramped, and poorly maintained conditions, the internees still tried to lead normal lives

The Japanese American National Museum is located in the heart of Little Tokyo, surrounded by many ramen diners, mini malls, and japanese boutiques. The museum opens up chronologically, starting off by displaying the migration of the Japanese with their aspirations to start a new life in America. After many displays of progress and struggles, the bombing of Pearl Harbor resulted in Japanese evacuation and eventually the internment of the Japanese as the United States entered World War Two. After many emotional and disheartening displays of life in the internment camps came the reparations and apologies from the American Government. In the last gallery there was pictures and displays of the modern era Japanese arts and culture.

In the contemporary context, when one tries to analyze the idea about women from previous decades being an audience and not the crew of a film industry, one wants to question and ask: why were women only an audience or, actors? Maybe there were some culturally held values and beliefs with respect to their contexts? However, with the passage of time, cultural and professional values improved. Technology began to improve and so did the mind-set of professional groups along with the audiences. Film industry has had an impression of providing first entertainment and, second education. Hence those working for the films might have had hurdles in choosing working for films as their career or vocation. At different times in the history, women in different cultural contexts have worked for certain film industries. I want to explore the idea about women and their talent in the film industry. Since I am primarily a viewer of the Bollywood industry and an occasional viewer of the Hollywood cinema, I want to compare the cultural and professional values of those who work for films in different settings. Since the course readings provided information with respect to certain cinema contexts, I wanted to add some ideas providing a comparative analysis of the women talent in diverse film settings.

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

In the book “Gender Trouble” (1990), feminist theorist Judith Butler explains “gender is not only a social construct, but also a kind of performance such as a show we put on, a costume or disguise we wear” (Butler). In other words, gender is a performance, an act, and costumes, not the main aspect of essential identity. By understanding this theory of gender as an act, performance, we can see how gender has greatly impacted the outcome of the play in William Shakespeare’s Othello. From a careful analysis of the story, tragedy in Othello is result of violating expected gender roles, gender performance by Desdemona and Othello, and the result of Iago’s inability to tolerate these violations.

Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.

History reports that though there were many women in leadership positions (Queens, empresses, etc.), they appeared to be second-class citizens. It seemed as though the only relationship they were prompted to have was with their husbands. However, they endured. They came to the realization that if this is how life would be, this is the life they would have to get used to. Due to multiple different influences, there are many inconsistencies when it comes to the role of women in ancient Japan.

In Japanese society, at the time when these works were created, the feminine sexuality of a wife and of a courtesan were seen as two dichotomous roles that could not possibly be carried out by a single woman, at least in an ideal world. While it is true many

To what extent does stage design impact, influence, and enhance a traditional Kabuki theatre performance, more specifically, in the eighteenth century play Yoshitsune Senbon Zakura (Yoshitsune and the Thousand Cherry Trees) written by Takeda Izumo II, Namiki Senryû I, and Miyoshi Shôraku?

The place of women within the theatre is well known, that being that they had no place within the stage.  Women's parts were played by young men in