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By William Montgomery McGovern

This scarce antiquarian e-book is a facsimile reprint of the unique. because of its age, it may well include imperfections akin to marks, notations, marginalia and unsuitable pages. simply because we think this paintings is culturally very important, we have now made it to be had as a part of our dedication for safeguarding, keeping, and selling the world's literature in cheap, prime quality, smooth variations which are precise to the unique paintings.

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Modern Japan; its political, military, and industrial organization

This scarce antiquarian booklet is a facsimile reprint of the unique. because of its age, it will probably include imperfections similar to marks, notations, marginalia and incorrect pages. simply because we think this paintings is culturally vital, we have now made it to be had as a part of our dedication for safeguarding, retaining, and selling the world's literature in cheap, prime quality, smooth versions which are actual to the unique paintings.

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The Problem of How to Dramatize Modern Life What were some of the main features of the new drama introduced by Ibsen and his contemporaries? The meaning of “drama,” as we have seen, is action, and its chief medium of expression is dialogue. Thus, in its purest form drama is rooted in people, events, and actions presented concretely, in the here-andnow, before an audience of spectators. It is by its nature resolutely concrete, behavioristic in its presentation of people and their relationships, acted out on stage for all to see.

Shōyō’s lifelong quest to create a modern theatre out of the flesh and bones of kabuki would remain quixotic; it would seem its theatrical conventions stymied his creativity as a dramatist. On the other hand, his greatest experiments in the modernization of dramatic language would take place in his translations of Shakespeare. Over the course of fifty years, from 1884 to 1934 (just one year before his death), he translated Shakespeare’s entire oeuvre, not only some thirty-seven plays but also his narrative verse and sonnets.

The language of Japanese drama until the twentieth century essentially remained in a classical, literary idiom, increasingly divorced from the language spoken on the streets, one that itself was undergoing a revolution. 61 With Mokuami’s death in 1893, the position of the traditional house dramaturge was in peril, but even so, many of the independent and more educated playwrights still found that writing for the stage was sometimes a thankless task. Little honor or remuneration came from it; actors and managers changed what had been written at will, and the “stable” playwrights, already insecure, especially gave these new dramatists a hard time.

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