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InhaltsangabeIntroduction Chapter I: Reconsidering Cultural Difference Erika Fischer-Lichte: Interweaving European and Japanese Cultures at the Beginning of the Twentieth Century: Japanese Guest-Tours in Europe Diego Pellecchia: The International Noh Institute of Milan: Transmission of Ethics and Ethics of Transmission in a Transnational Context Marumoto Takashi: Comedy and Laughter on the Japanese and German Stage: A Comparative Attempt Chapter II: Intertwined Threads of Reception James R. Brandon: 'Mussolini' in Kabuki: Notes and Translation Pia Schmitt: Early German Encounters with Japanese Performing Arts - On Hermann Bohner's Examination of No Andreas Regelsberger: The Rediscovery of Brecht's 'The Judith of Shimoda' Stanca Scholz-Cionca: Brecht Revisited: 'Yabuhara, the Blind Master Minstrel', by Inoue Hisashi Bonaventura Ruperti: Greek Tragedies in/and the Productions of Ninagawa Yukio Luciana Galliano: Japan and Contemporary Opera (in Italy) Donato Sartori: Masks: East and West Confronted Chapter III: Present Trends Niino Morihiro: Social Criticism in Japanese Theatre: The Dramatist Sakate Yoji and the Little Theatre Movement since the 1980s Peter Eckersall: Dreaming of the War in Shinjuku - Kawamura Takeshi and Heiner Müller's 'Hamletmachine' in Japan Thomas Oliver Niehaus: Directing in Japan Katja Centonze: Topoi of Performativity: Italian Bodies in Japanese Spaces/Japanese Bodies in Italian Spaces

Japan and Italian Opera, Kawakami and Sada Yacco in Europe, Mussolini on the Kabuki stage, Brecht adapting a Japanese melodrama, a genuine Japanese Threepenny Opera by Inoue Hisashi, Heiner Müller´s Hamletmachine haunting Japanese playwrights, commedia dell´arte encountering Kyogen in hybrid masks: these and other instances of mutual perception and exchange in the theatre cultures of Italy, Japan, and Germany are highlighted in the essays of this book. It sprang from a symposium held in Trier in 2009, which brought together scholars and practitioners from the three countries to explore asymmetrical and shifting intercultural relations and their impact on theatre practices, institutions, ideologies and collective imaginaries.