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Reevaluation of the effects of Shoyo...

Fujikura, Takeo.

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Reevaluation of the effects of Shoyo Tsubouchi's theory of child drama: Child drama for domestic presentation.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Reevaluation of the effects of Shoyo Tsubouchi's theory of child drama: Child drama for domestic presentation./
Author:	Fujikura, Takeo.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2006,
Description:	252 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4389.
Contained By:	Dissertation Abstracts International67-12A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3245603
ISBN:	9781109842098

Reevaluation of the effects of Shoyo Tsubouchi's theory of child drama: Child drama for domestic presentation.
Fujikura, Takeo.

Reevaluation of the effects of Shoyo Tsubouchi's theory of child drama: Child drama for domestic presentation. - Ann Arbor : ProQuest Dissertations & Theses, 2006 - 252 p.

Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4389.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2006.

This item is not available from ProQuest Dissertations & Theses.

Shoyo Tsubouchi's concept of "Child Drama for Domestic Presentation" was one of the earliest and most influential theories affecting the development of Japanese child drama. It was a child-centered, process-oriented, drama activity utilizing age-appropriate materials. It was designed to be performed by children with only family members as the side-coaches and audience.

ISBN: 9781109842098Subjects--Topical Terms:

522973
Theater.

Reevaluation of the effects of Shoyo Tsubouchi's theory of child drama: Child drama for domestic presentation.
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245 1 0 $a Reevaluation of the effects of Shoyo Tsubouchi's theory of child drama: Child drama for domestic presentation.
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300 $a 252 p.
500 $a Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4389.
500 $a Adviser: Manon van de Water.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2006.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a Shoyo Tsubouchi's concept of "Child Drama for Domestic Presentation" was one of the earliest and most influential theories affecting the development of Japanese child drama. It was a child-centered, process-oriented, drama activity utilizing age-appropriate materials. It was designed to be performed by children with only family members as the side-coaches and audience.
520 $a Tsubouchi first presented this concept in 1921 in the midst of the Taisho New Education Movement, which was born as an antithesis to the previous Meiji Era's knowledge- and skill-based education. It was during this age of cultural borrowings and fermentation wherein new information and concepts were imported from the West and assimilated into unique Japanese products. Tsubouchi's concept was no exception and many of his ideas were drawn from American predecessors such as Alice Minnie Herts and G. Stanley Hall. Armed with their empirical knowledge and scientific rationalizations, Tsubouchi created his unique configuration of child drama for domestic presentation.
520 $a In contrast to his innovative theories, Tsubouchi's demonstration performances were filled with contradicting elements partly because of his lack of experience with children. Tsubouchi constantly shifted his strategy depending upon the circumstances before him. Nevertheless, his demonstrations attracted numbers of school teachers and, as a result, school drama performance became fashionable. However, because of the then still potent influence of Confucian ethics in Japanese society, the government began to exert strict censorship on these school drama performances, which eventually resulted in the Minister of Education's School Drama Ban in 1924.
520 $a This dissertation examines the substantial effects of Tsubouchi's concept through an in-depth investigation of the context in which his essential ideas were formed and demonstrated, exploring the possible cultural, historical, and ideological factors that influenced his concept formation. Drawing upon the notion of Thomas Postlewait that, "Theatre is not a self-contained, aesthetic enterprise" (165), this dissertation attempts to delineate Tsubouchi both as an innovative leading theatre figure and as a vulnerable cultural product shaped by diverse conditions amongst great social changes.
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