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James Astill
For James Astill's latest contributions to The Japan Times, see below:
CULTURE / Stage
Sep 23, 1999
Through the lens of kyogen
Mansai Nomura gave his first kyogen performance at age 4, appeared in Akira Kurosawa's "Ran" at age 17 and began lecturing in aesthetics at Tokyo University when he was 25. No wonder he hadn't much time for my tardiness.
CULTURE / Books
Sep 15, 1999
Turn-of-the-century frolic shows nothing new under the sun
Postmodernism is a publisher's dream. Copy out "Don Quixote" verbatim and you get a cultural reinterpretation, joked Jorge Luis Borges; give an old book a new cover and you get a tribal reclamation, proclaim the editors of this Race in the Americas imprint.
CULTURE / Stage
Aug 24, 1999
Lively National Noh Theater possessed by colorful spirit
Noh has a disorientating history. It emerged from folk rites, developed into the most popular art of its day, and has since been refined out of all recognition. Devotees maintain its accessibility, but modern Japanese are far more likely to head for Tokyo Disneyland than any of the 60-odd principal stages.
CULTURE / Stage
Aug 1, 1999
Giving kyogen the center stage
By counterpointing the gassy comedy of kyogen with noh's abstract symbols, Japanese theater keeps body and soul together. The effect is rather like a poet ending his song -- then slipping on a banana skin. Correspondingly, when performed separately it isn't half as funny.
CULTURE / Books
Jul 20, 1999
A stunning rumination on the interconnectedness of things
GHOSTWRITTEN, by David Mitchell. London: Sceptre/Hodder & Stoughton, 1998, 436 pp. (paper). Staff writer Contemporary writers love to skate between different genres, styles and settings. And "Ghostwritten," the first novel by Englishman David Mitchell, is filled with such formal trickery. It is a sequence of apparently discrete stories, strung together by the protagonist of one popping up on the fringes of another. It is also a brilliant study of causality and the interconnectedness of things.

Longform

Historically, kabuki was considered the entertainment of the merchant and peasant classes, a far cry from how it is regarded today.
For Japan's oldest kabuki theater, the show must go on