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
The details were complex. Takejiro Otani, who as president of the Shochiku corporation was the contact person for kabuki in Japan, had agreed to pay one-third of the costs associated with transportation and production. ’” The target date was the spring of the following year, although Logan told the newspaper that the 1954–55 season might be a more realistic guess, given all the work that had yet to be done. ”29 The year 1954 did indeed see a visit of kabuki to the United States— but not exactly the one that Logan envisioned.
21 And by theater he basically meant kabuki. Like Logan, Green used his Times review to recommend Bowers to readers and to reiterate and build on his earlier argument about kabuki. . is the finest theatre in the world today. It sums up in itself all the ingredients of the past forms of theatre theory and practice. Mr. ” Although Bowers warned in his book that the popularity of kabuki in Japan might decline in competition with movies and contemporary theater forms, Green maintained that Japanese culture in large measure was synonymous with kabuki and other traditional forms: “I for one am willing to wager that it will continue to live.
25 Bowers’s writings overall must be understood as a reflection of his deeply rooted self-image as the “savior” of kabuki. ’ . . ”26 Bowers’s task of “saving” kabuki did not end with the Occupation: an underlying theme of his writing was that kabuki (the equivalent, by extension, of Japanese tradition in general) continually needs defense against its detractors. ” Impresario Sol Hurok was to be Logan’s partner in the venture. The details were complex. Takejiro Otani, who as president of the Shochiku corporation was the contact person for kabuki in Japan, had agreed to pay one-third of the costs associated with transportation and production.