Epilogue
Dados Bibliográficos
| ID | 23708200 |
|---|---|
| Autores | Ayako Kano (0000-0003-3316-7424, autor correspondente) |
| Ano | 2001 |
| Páginas | 219-230 |
| Data de publicação | 2001-01-01 |
| Open Access | Sim |
| Tipo | CHAPTER |
| Periódico | Acting Like a Woman in Modern Japan (SOURCE_BOOK) |
| Editora | Palgrave Macmillan US (PUBLISHER) |
| DOI | 10.1007/978-1-349-63315-9_9 |
| OpenAlex | W4205178038 |
| ISBN | 9781349633159 |
| Idioma | EN |
| Referências citadas | 2 |
In 1914, two competing productions of Oscar Wilde’s Salomé appeared on the stage in Japan. One featured Kawakami Sadayakko, recently widowed, who was trying to revitalize her career by performing a role that was quite different from both the Orientalized geisha she had performed in the West and the modern traveler she had performed in Japan.1 The other production starred Matsui Sumako, the actress who had premiered the role in Tokyo one year earlier and who was currently at the peak of her career.2 The play Salomé itself became extremely popular in Japan and was presented to the public by various actresses in no fewer than 27 separate productions between the premiere in 1913 and the end of the Taishō era a dozen years later.
Art · Art history · Dozen · Visual arts · Decadence, Literature, and Society · Historical Art and Culture Studies · History · Japanese History and Culture
| Altamente citado | Não |
|---|