conference 2019

7th international Asian Theatre Studies conference.

theme	“Independence & Assimilation”
date	2019 / nov / 2th – 3th : 9:00 – 17:00
venue	College of Chinese Opera, Shanghai Theatre Academy (Shanghai)

1 November
Registration

2 November
– 9:00-9:30 / Opening Ceremony
– 9:30-10:30 / Session 1
– 10:30-10:45 / Break
– 10:45-12:15 / Session 2
– 12:15-13:30 / Lunch
– 13:30-15:00 / Session 3
– 15:00-15:15 / Break
– 15:15-17:15 / Session 4
– 18:00 / Dinner

3 November
– 9:00-10:30 / Session 5
– 10:30-10:45 / Break
– 10:45-12:15 / Session 6
– 12:15-13:30 / Lunch
– 13:30-15:00 / Session 7
– 15:00-15:30 / Break
– 15:30-16:30 / Session 8
– 16:30-17:00 / Closing Ceremony
– 18:00-19:15 / Dinner
– 19:15-21:00 / Theatre Going

4 November
Check-out and Departure

session 1

11/2 9:30-10:30
From Visual Impressionism to Theatrical Expressionist: From Manet’s Still Life to Kaiser’s From Morning to Midnight
Chang Ju Fang / School of Theatre Arts, Taipei National University of the Arts
11/2 9:30-10:30
The Convergence and Application of Traditional Fantasy Story Resources in Chinese Drama
Xin Zhang / College of Chinese Opera, Shanghai Theatre Academy

session 2

11/2 10:45-12:15
Drama, Independence and Integration on the Development Trend of Musical Theatre in Combination with Chinese Opera Elements
Fei Chen / College of Chinese Opera, Shanghai Theatre Academy
11/2 10:45-12:15
Takarazuka Revue’s Performances that adapted from Manga: The Topic of “The Rose of Versailles” During the Showa Era
Feng Yuan / Theatre Studies Section, Graduate School of Letters, Osaka University
11/2 10:45-12:15
From Reader to Audience: Re-investigating the Position of Chinese Early Spoken Drama (1907-1919)
Liou You Cheng / School of Theatre Arts, Taipei National University of the Arts

session 3

11/2 13:30-15:00
The Transition of nude-Noh by Takechi Tetsuji
KAKINUMA Ayako / Theatre Studies Section, Graduate School of Letters, Osaka University
11/2 13:30-15:00
A Brief Talk on the New Play of Beijing Opera “Lovelorn on the Bell Tower”
Shiyao Yang / College of Chinese Opera, Shanghai Theatre Academy
11/2 13:30-15:00
The Modern Consciousness of Sichuan Opera’s “The Desire of the Sea”
Siyuan Chang / College of Chinese Opera, Shanghai Theatre Academy

session 4

11/2 15:15-17:15
On the Stage Characters of Mo Yan’s Xiqu Literary Plays
Hao Zhou / College of Chinese Opera, Shanghai Theatre Academy
11/2 15:15-17:15
Two Interpretations of Dostoevsky’s Crime and Punishment in Theatre Cocoon/Bunkamura: The Adaptation of the Text in the Universal and national aspects
Iryna Kastylianchanka / Theatre Studies Section, Graduate School of Letters, Osaka University
11/2 15:15-17:15
A Study on the Represenatation of Disabilities in Realistic Actig: Focused on Park Geun-hyung’s Early Works
Park Sung-won / School of Drama, Korea National University of Arts
11/2 15:15-17:15
Milan Kundera’s Conceptions of Humor and Kitsch in Durenmatt’s Romulus the Great
Qing-Ge Wen / School of Theatre Arts, Taipei National University of the Arts

session 5

11/3 9:00-10:30
The Male Gaze in Contemporary Korean Plays: Focussing on Plays Dealing with the Life of Contemporary Citizens
Juhym Lee / School of Drama, Korea National University of Arts
11/3 9:00-10:30
The Commercialization Trend of Chinese Theatre in the New Century from the Perspective of Playwrights
Qiuyue Feng / College of Chinese Opera, Shanghai Theatre Academy
11/3 9:00-10:30
Modernization Traditional Culture in Theatre/Performance in Korea: Dasiraegi from the ceremony to the contemporary Theatre
Jisoo Kim / School of Drama, Korea National University of Arts

session 6

11/3 10:45-12:15
The Reception of Glass Menagerie on the Broadway in the Cross Cultural Background
Xingyue Wang / College of Chinese Opera, Shanghai Theatre Academy
11/3 10:45-12:15
The Recetion of Tang in Japan 1n 1968: The Premieres by the Bungakuza Theatre Company and the Haiyuza Theatre Company
Tomiko NAKAGAWA / Theatre Studies Section, Graduate School of Letters, Osaka University
11/3 10:45-12:15
The Reception of Glass Menagerie on the Broadway in the Cross Cultural Background
Jumi Yeh / School of Drama, Korea National University of Arts

session 7

11/3 13:30-15:00
A Possibility Study of “Unvisible Theatre”: On the case of Invisible exhibition, Dialogue in the Dark
Yelim Park / School of Drama, Korea National University of Arts
11/3 13:30-15:00
The Model of Energy Cone: Method of Physical Actions in Jacques Lecoq’s Neutral Mask
Wei-Wei Hong / School of Theatre Arts, Taipei National University of the Arts
11/3 13:30-15:00
Telling a Story that cannot be Told: Talking through the Dead in Breasts of Black Swallowtail Butterfly (1970)
Kim Yun Jeong / Theatre Studies Section, Graduate School of Letters, Osaka University

session 8

11/3 15:30-16:30
Hamlet acting decisively: “Modernization” and the Character Description of Hamlet in Hori Seiki’s Hamuretto Gendai ni Ikinaba（1930）
MATSUMOTO Toshiki / Theatre Studies Section, Graduate School of Letters, Osaka University
11/3 15:30-16:30
The Transformation of the Concept of Time in the English Renaissance and its Impact on the Formation of Imagined Nation: a Reconsideration of Shakespeare’s As You Like It
Chang, Wei-Wen / School of Theatre Arts, Taipei National University of the Arts

conference 2019

Program

session 1

From Visual Impressionism to Theatrical Expressionist: From Manet’s Still Life to Kaiser’s From Morning to Midnight

The Convergence and Application of Traditional Fantasy Story Resources in Chinese Drama

session 2

Drama, Independence and Integration on the Development Trend of Musical Theatre in Combination with Chinese Opera Elements

Takarazuka Revue’s Performances that adapted from Manga: The Topic of “The Rose of Versailles” During the Showa Era

From Reader to Audience: Re-investigating the Position of Chinese Early Spoken Drama (1907-1919)

session 3

The Transition of nude-Noh by Takechi Tetsuji

A Brief Talk on the New Play of Beijing Opera “Lovelorn on the Bell Tower”

The Modern Consciousness of Sichuan Opera’s “The Desire of the Sea”

session 4

On the Stage Characters of Mo Yan’s Xiqu Literary Plays

Two Interpretations of Dostoevsky’s Crime and Punishment in Theatre Cocoon/Bunkamura: The Adaptation of the Text in the Universal and national aspects

A Study on the Represenatation of Disabilities in Realistic Actig: Focused on Park Geun-hyung’s Early Works

Milan Kundera’s Conceptions of Humor and Kitsch in Durenmatt’s Romulus the Great

session 5

The Male Gaze in Contemporary Korean Plays: Focussing on Plays Dealing with the Life of Contemporary Citizens

The Commercialization Trend of Chinese Theatre in the New Century from the Perspective of Playwrights

Modernization Traditional Culture in Theatre/Performance in Korea: Dasiraegi from the ceremony to the contemporary Theatre

session 6

The Reception of Glass Menagerie on the Broadway in the Cross Cultural Background

The Recetion of Tang in Japan 1n 1968: The Premieres by the Bungakuza Theatre Company and the Haiyuza Theatre Company

The Reception of Glass Menagerie on the Broadway in the Cross Cultural Background

session 7

A Possibility Study of “Unvisible Theatre”: On the case of Invisible exhibition, Dialogue in the Dark

The Model of Energy Cone: Method of Physical Actions in Jacques Lecoq’s Neutral Mask

Telling a Story that cannot be Told: Talking through the Dead in Breasts of Black Swallowtail Butterfly (1970)

session 8

Hamlet acting decisively: “Modernization” and the Character Description of Hamlet in Hori Seiki’s Hamuretto Gendai ni Ikinaba（1930）

The Transformation of the Concept of Time in the English Renaissance and its Impact on the Formation of Imagined Nation: a Reconsideration of Shakespeare’s As You Like It