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Early Asian Theatre Objectives After studying the chapter, the student should be able to: Identify the conventions of Sanskrit drama. Compare and contrast theatre in the Yuan and Ming Dynasties in China. Compare and contrast noh and kabuki. Identify the conventions of bunraku. Identify the conventions of shadow plays in Southeast Asia. Lecture Topics How are dance and music used in noh and kabuki performances? How did kabuki emerge? How are shadow plays staged? Discussion Topics What are the two types of noh plays? How are puppets manipulated in bunraku? What role did women play in theatre during the Yuan period in China? What was Li Yu’s contribution to Chinese theatre? How are noh actors trained? Multiple-Choice Please choose the answer that best completes each sentence. 1. ______________________________, wrote Shakuntala, an acknowledged masterpiece of Indian drama. A. Dushyanta *B. Kalidasa C. Natyasastra D. Kathakali 2. __________________________________was China’s first important critic; he argued that a playwright should write clearly, with a mass audience in mind. A. Manchu B. Okuni C. Dushyanta *D. Li Yu 3. The greatest work of Indian dramatic criticism is the __________________________. A. Shakuntala B. Vikrama *C. Natyasastra D. Agnimitra 4. The most important figure in the history of Japanese noh theatre is: A. Lady Murasaki *B. Zeami Motokiyo C. Motomasa D. Onnagata Okuni 5. ___________________________is credited with developing kabuki. *A. Okuni of Izumo B. Chikamatsu Monzaemon C. Zeami Motokiyo D. Li Yu 6. Male actors who play women’s characters in Kabuki theatre are called: A. Chushingura *B. Onnagata C. Hanamichi D. Kamogawa 7. Dance drama presented at night by torchlight is known as: A. Natyasastra B. Kalidasa *C. Kathakali D. hanamichi 8. The “flower way” which connects the rear of the auditorium with the stage in kabuki theatre is known as: *A. hanamichi B. natyasastra C. kalidasa D. bunraku 9. The puppet theatre of Japan is known as: A. kalidasa B. Sanksrit drama C. waki *D. bunraku 10. A Southeast Asian play which uses flat puppets made of leather is known as: A. Natyasastra B. Sanksrit drama *C. Shadow play D. hanamichi 11. Under the direction of ________________________, the noh theatre became the dominant form of serious theatre in his generation. A. Li Yu B. Shite *C. Zeami D. Chikamatsu 12. The bridge in noh theatre which connects the stage and the mirror room is known as the: A. Tomo *B. Hashigakari C. Hayashi D. Ai-Kyogen 13. Bharata Muni wrote __________________________, an Indian treatise on the performing arts translated as “The Study of Theatre”. A. The Mahabarata B. Ramayana C. Kalidaasa *D. Natyasastra 14. Chikamatsu was the first writer for the ______________________ puppet theatre. *A. bunraku B. hashigakari C. noh D. soggetto 15. Similar to a Greek choregus, the Sanskrit theatre had a leader known as the: *A. sudtradhara B. natyasastra C. shakuntala D. kathakali 16. The early development of theatre in China was linked to: A. the peasant class B. the samurai class *C. the imperial class D. the middle class 17. The _____________ was an acting school, which flourished in early eighth century China. A. Taohaus *B. Pear Garden C. Nanxi D. Zaju 18. Which of the following is true of theatre in the Yuan Period? A. Professional actors performed women’s roles. B. Professional actresses played men’s roles. C. Most stages are thought to have been built for outdoor use. *D. All of the above 19. Noh characters were generally based on: *A. literary or historical characters B. contemporary political figures C. both A and B D. neither A nor B 20. The main character in noh is the: A. waki *B. shite C. tsure D. sheng 21. Comic elements from noh developed into a separate form called: A. bunraku B. joruri C. hashigakari *D. kyōgen 22. The chief instrument accompanying the character in bunraku is the: A. joruri B. sheng *C. shamisen D. tsure 23. The number of people used to manipulate important characters in bunraku is: A. one B. two *C. three D. none 24. Danjuro I began a bravura acting style in kabuki known as: *A. aragato B. annagata C. hanamichi D. kyōgen 25. ______________ is a term used to describe a type of theatre that synthesizes acting, mime, dancing, music, and text. A. Melodrama *B. Total theater C. Mimesis D. Natyasastra True/False Please choose whether the statement is true or false. 26. The typical theater for Sanskrit drama seated about seventeen thousand audience members. True *False 27. The general public did not understand and support the earliest Sanskrit plays. *True False 28. Under Islamic rule in India, educated people no longer maintained performance traditions. *True False 29. Traveling theatrical troupes were forbidden during the Song Dynasty in China. True *False 30. Scholars have compared the theatre of the Yuan Dynasty to that of fifth century B.C.E. Greece and Elizabethan England. *True False 31. Well-known, powerful people disdained early Japanese noh theatre. True *False 32. Actresses played leading roles in Zeami’s noh theatre. True *False 33. The noh tradition, passed on from teacher to disciple, has been carried on to this day. *True False 34. Chikamatsu is the world’s only major dramatist to write primarily for a puppet theatre. *True False 35. At least half of the current kabuki repertory was adapted from the puppet theatre. *True False Essays/Activities 36. Sketch ground plans for the noh and kabuki theaters, labeling the principal areas of each. 37. How does early Asian theatre differ from Western theatre as you know it? How is it the same? Use one example from early Asian theatre and one from classical Greek, Roman, or Medieval theatre in your essay.