Research On Modern Theatre In Japan

It's been exactly 150 years between the Meiji Restoration in 1868,which started Japan's modernization,and the end of the Heisei era.We discuss the formation and development of modern theatre system in Japan during this 150 years.This process has always been accompanied by the identity of the theatre.The identity of Japanese theatre has undergone multiple evolution and has been endowed with diverse identity,thus constituting a complete and unique modern theatre system in Japan.The evolution of the identity of modern theatres in Japan covers several stages: in the early Meiji era,theatres got rid of the stigmatized social cognition of "bad places" and acquired normal cultural identity,and thus began to integrate into the process of composing modern civilization;from the Meiji and Taisho era,emerging private industrial capital intervened into theatre operation,giving theatres and modern enterprises connected identity,and thus theatres of enterprises form an important part of the Japanese theatre system;In the Showa era,Japan constructed a series of national theatres,which have the national identity,and thus changed the tradition of long-term alienation between the national administration and the theatrical system,making theatres one of the cultural governance tools.In the Heisei era,the local public theatre system tended to be complete,highlighting the identity of theatre as a participant in local public culture.Also in the Heisei era,the "Theater Law" was promulgated,and the state confirmed the modern identity of theatres,the position,function,meaning,and their cultural ideal,cultural mission,and cultural responsibility towards citizens,from a higher level,i.e.in the form of law.The evolution of modern theatre in Japan can be viewed as the confirmation of identities of theatres in an all-round and multi-dimensional way from different levels-social cognition,industrial capital,administrative system,national law,etc.This process is not only exciting,but also closely maintains the conflicting identities of the theatre another level of,that is whether the theatre is the existence of a passive device like an empty shell or "box",or a part of the cultural productivity with creativity,autonomy and initiative.The theatre is basically separated from the performing group,which is a background color of Japanese modern theatre.Under such background,the choice of creativity in theatre is not natural and easy.It is bound to be full of intricacies and difficulties.The issue of theatre's " enlivenment" has been raised as the reconstruction of theatre's identity of the era-Theater has changed from a device separated from software(further evolved into a "box" with almost no software configuration)to a creative,productive and nurturing one,and ultimately embraces a new identity: the engine,hub and platform participating in regional creation.We include chapters such as the starting point of modern theatre,folk theatre,national theatre,local public theatre,enlivenment and regional creation to discuss the development and evolution of modern theatre system in Japan and issues behind,e.g.cultural identity.Although the development process of Japanese modern theatre system is different from that of China,issues such as the usual separation of theatre and performing groups and trends such as the selection of theatre's creative identity can become a valuable mirror for understanding Chinese theatre,which is also the purpose of our study.