¶ … Jealous Woman in Asian Literature and Theater
Muromachi Noh Theater and Aoi no Ue
Steven T. Brown's Theatricalities of Power: The Cultural Politics of Noh adopts a 'new historicist' approach to the study of Noh Theater. In contrast to the dominant tendencies of western scholars, Brown is not interested in "reducing Noh to its theatrical conventions nor abstracting its style and poetics from its performance materiality" (1). Rather he concentrates on Noh as an example of a "micropolitics of culture" (3), which, according to him, is a type of politics grounded in "power relations and effects associated with figurations of authority, gender, subjectivity, naming and patronage" (3).
Brown's primary intention in the Theatricalities of Power is to trace the historical process whereby Noh became institutionalized as the official art form of Japan during the Edo period (1603-1867). Although Brown narrates the history of this institutionalization by highlighting specific historical events and practices in medieval and early modern Japan, he is also anxious to disclose the dynamic relationship between history and performance. To this end, he is concerned to investigate the "history in Noh" as much as the "history of Noh" (1). This statement is crucial: it highlights the productive power of Noh theater, the way in which it was used to consolidate shogunal authority and create new identities and subject positions:
Rather than simply mirroring the socio-political contexts in which they were performed, I argue that these plays constituted an active, productive force in the theatre of the medieval cultural authority [in Japan].
(Brown 2)
Theatricalities of Power is composed of six chapters divided into three sections. Section one, 'Theatrical Technologies of Power, Self, and Signification in Medieval Japan', charts the historical development by which Noh theater shed its folk and ritualistic trappings and became the...
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