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Prologue
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AbstractUsing the memoir of a nineteenth-century kabuki actor as a focal point, the “Prologue” of Kabuki’s Nineteenth Century suggests a framework for nineteenth-century Japanese theater history in relation to the larger currents of political and intellectual history that formed the background for the emergence of modern Japan. In the summer of 1855, the kabuki actor Nakamura Nakazō III (1809–86) began writing what would become a most singular document of kabuki’s nineteenth century. Part memoir, part diary, the timing of Nakazō’s turn toward the autobiographical is fortuitous. The two decades during which he wrote this memoir would turn out to be among the most significant years in the history of Japan, and Self Praise (Temae miso), as the book is now known, provides an extraordinary eye-witness account of the decade straddling the birth of the modern nation.
Title: Prologue
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AbstractUsing the memoir of a nineteenth-century kabuki actor as a focal point, the “Prologue” of Kabuki’s Nineteenth Century suggests a framework for nineteenth-century Japanese theater history in relation to the larger currents of political and intellectual history that formed the background for the emergence of modern Japan.
In the summer of 1855, the kabuki actor Nakamura Nakazō III (1809–86) began writing what would become a most singular document of kabuki’s nineteenth century.
Part memoir, part diary, the timing of Nakazō’s turn toward the autobiographical is fortuitous.
The two decades during which he wrote this memoir would turn out to be among the most significant years in the history of Japan, and Self Praise (Temae miso), as the book is now known, provides an extraordinary eye-witness account of the decade straddling the birth of the modern nation.
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