Asiatische Literatur

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2016 marked the 400th anniversary of the deaths of two of the world's most famous authors, William Shakespeare and Miguel de Cervantes. This comic romp through the lives of literary masters William Shakespeare and Miguel de Cervantes charts their influence on the modern world. It contrasts the fortunes of two contemporaries whose native countries' - England and Spain - went from alliance to enmity in a short space of time and shows how different their fortunes were as they grappled with the politics of their age. Pioneering writer and director, Asa Palomera ("a powerhouse on Melbourne's independent theatre scene"): "I've tried to bring forth the sheer humanity of their lives, to present them as it were in their underwear, to show that the emotions we feel from their work are as human as the emotions they, in turn, experienced when they were alive." Productions of The Curious Lives of Shakespeare & Cervantes: Adam House Theatre (Edinburgh, 2010), Bloomsbury Theatre (London, 2010), Thai premiere (Bangkok Theatre Festival, 2014). Staged reading at Tara Theatre (London, November 2016).

"Dramatic History of India" is a 1917 work by Flora Annie Steel (1847 - 1929). Steel was an English writer who notably lived in British India for 22 years and is best remembered for her books set or related to the sub-continent. In this volume, Steele offers a detailed history of India based upon its literature and dramatic works, including the Mahabharata and many others. This volume will appeal to those with an interest in Indian history and literature, and it would make for a fantastic addition to collections of allied literature. Contents include: "The Promised Land", "The Mahabharata", "The Parricides", "Great Conqueror", "The Rivals", "The Indian Constantine", "A House Not", "Made With Hands", "The Golden Age", "The Giftings Of The King", "The Idol-Breaker", "The Resistance Of The Rajputs", etc. Other notable works by this author include: "Tales of the Punjab" (1894), "The Flower of Forgiveness" (1894), and "The Potter's Thumb" (1894). Many vintage books such as this are becoming increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with the original text and artwork.

La légende d'Ourashima, si populaire au Japon, n'est pas entièrement ignorée en Europe. Nos enfants mêmes ont pu la lire, en abrégé, dans une de ces traductions sur papier crêpe qui ont vulgarisé en Angleterre et en France les plus jolis contes japonais. Mais pour la bien connaître, il faut remonter à ses origines, plus que millénaires, et d'abord à un vieux mythe du Kojiki, la Bible japonaise, où l'on peut trouver déjà l'idée essentielle de ce récit fameux...

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A bold and singular collection of six plays by Arab and Jewish playwrights explores the human toll of the Israeli-Palestinian conflict: The Admission by Motti Lerner, Scenes From 70* Years by Hannah Khalil, Tennis in Nablus by Ismail Khalidi, Urge for Going by Mona Mansour, The Victims by Ken Kaissar, and The Zionists by Zohar Tirosh-Polk. Rather than striving to achieve balance and moral equivalency between "competing" narratives, the plays investigate themes of identity, justice, occupation, exile, history and homeland with honesty and integrity. The plays do not "take sides" or adhere to ideological orthodoxies but challenge tribalism and narrow definitions of nationalism, while varying widely in thematic content, dramatic structure, and time and place. Where politicians and diplomats fail, artists and storytellers may yet succeed--not in ratifying a peace treaty between Israel and Palestine, but in building the sort of social and political connectivity that enables resolution.

The first four decades of the national art theater in Indonesia (1926-1965) were a period of fascinating experimentation undertaken by elite intellectuals heavily influenced by, and attempting to come to terms with, the forms and styles of western theater. These experiments ranged chiefly from hybrid anti-colonial allegories and grand historical epics to psychological and social realisms. The present volume contains a selection of dramas representative of this exciting and pivotal era in the construction of Indonesia's modern national art theater. It begins with nationalist allegories, then moves to psychological and social-realist works. The plays at the end of the period covered by this volume will later influence a new direction of theater; a new dominant current of drama that would flow into the New Order period, beginning in 1966.

As the New Order government became increasingly authoritarian, censoring and crushing public opposition openly and often brutally, there was a clear shift in playwriting style from allegorical fairytales of wordplay, humor and oblique reference to a more direct engagement, interrogation, and call to arms. All in all, Indonesian drama during the New Order provides a fascinating window into a society caught between the legacy of tradition, the challenge of repression, and a strong desire for democratization.

This exhibition catalogue traces more than one hundred years of Cantonese opera in Edmonton within the changing dynamics of the Chinese community. It tells a story of life experiences on the Prairies by highlighting the inextricable relationship between Cantonese opera and the Edmonton Chinese community as this cultural practice moves deftly through historical periods between 1890 and 2009. This period has been selected to coincide with the arrival of the first Chinese in Edmonton in 1890 and the inscription of Cantonese opera onto the Masterpiece of the Oral and Intangible Heritage of Humanity list of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009. The text brings to life many stories of the struggles and successes of the Chinese in Edmonton, highlighting their resiliency and love of life through the cultural practice of Cantonese opera.

An action-adventure about a mission behind enemy lines during the Gulf War. "Action sequences that offer a straight-faced microcosm of U S blundering in Iraq ... Hilarious scenes limning the hell-yeah, know-nothing spirit that many fear now dominates our military personnel ... Like an eccentric novella that holds attention ... [A] half queer Casablanca homage, half American-policy-in-Iraq docudrama that is perversely interesting. Fisher is a kick." -Dennis Harvey, Variety "Witty, thought-provoking and inventive ... Engrossing and entertaining." -Rob Hurwitt, San Francisco Chronicle "Low-key hilarity, understated and allusive wit, unexpected grace, and distant but bitter sadness in this canny exploration of war through the prism of gender." -Robert Avila, Bay Guardian "A sobering tale of modern combat in which romantic notions of war are trammeled ... SPECIAL FORCES is designed to be lean and mean, much as the current Iraq war was conceived to be. But unlike the war, the play actually succeeds in its terseness." -Richard Dodds, Bay Area Reporter

For nearly three decades, Ping Chong and his company have written and staged some of the most innovative and arresting examinations of "the Other" on stages in the U.S., Europe, and Asia. His work more than any other artist has explored the ways Asian cultures have intersected with contemporary American society and throughout history.This volume collects four of his masterworks created over the past decade, including:<BR>Deshima (1990), a documentary collage of the history of the West and Japan;<BR>Chinoiserie (1995), spans centuries, continents and cultures, where the mysterious East meets the mysterious West;<BR>After Sorrow (1997), explores the legacy of war in Vietnam;<BR>Pojagi (1999), a poetic documentary on Korea from the sixteenth century to today.The Washington Post has said these works are "like poems in their simplicity and power to evoke . . . -carefully wrought and beautifully designed.Artfully and elegantly conceived, rich in metaphor, political yet deeply personal, the four works in The East-West Quartet tell us much about the pitfalls and ironies of history, the various contradictions, collisions and collusions within the East and the West, and the search for national and personal identity. A true citizen of the world, Ping Chong refuses to be pigeonholed and goes his own way, as much at home on the streets of Beijing and Paris as he is on the Canal Street in New York. He continues to make work that bristles with intelligence, that is filled with empathy for the human condition, that is angry yet beautiful - work that matters. It is all here in this book." - Jessica Hagedorn, from her preface"As an artist , I’m an outsider in American society. As an experimental artist, I’m an outsider in the art world. As a person of color, I’m an outsider; as an immigrant, I’m an outsider; as a gay man, I’m an outsider. It’s the position that fate has allotted me, but it’s a valuable postion to be in, because I think every society should have a mirror held to it by the outsider."—Ping Chong, 1999Ping Chong was born in 1946 and raised in the Chinatown section of New York City. He began his theatrical career with Meredith Monk and later founded his own company in 1975, which later became Ping Chong and Company. It was created to explore the meaning of contemporary theatre and art on a national and international level. He has created over fifty major works for the stage, including Humboldt’s Current, Nosferatu, Kind Ness, and Undesirable Elements. His works have received numerous Obie and Bessie Awards and are performed throughout the world.<BR>