日本演劇学会
Contents of THEATRE STUDIES
No.52  |  No.51  |  No.50  |  No.49  |  No.48  |  No.47  |  No.46  |  No.45  |  No.44  |  No.43  | 
No.42  |  No.41  |  No.40  |  No.39  |  No.38  |  No.37  |
Number 43. (2005)
Special IssueWomen Playwrights of Japan
Treatisesin the Special Issue
  • The Quest for Salvation in the Plays of AKIMOTO Matsuyo    David GOODMAN
  • KISHIDA Rio’s Tsui no Sumika Kari no Yado : The Emperor System, Gender,
    and Nationalism   ANAN Nobuko
  • ICHIDÔ Rei: Metatheatre in the 1980s   NISHIMURA Hiroko
  • NGAI Ai’s “Conventional Theatre” : Allegorical Comedy of Manners    SAITÔ Tomoko
  • Deconstructing Narrative: KISARAGI Koharu and her Subject-Position as a
    Woman Playwright   TONOOKA Naomi
  • WATANABE Eriko in the 1980s    YUKI Sôichi
  • “The Earth is Female”: Feminist Theatre in America    HORI Mariko
  • Women’s Solidarity in the Latin American Theatre Scene    YOSHIKAWA Emiko
  • Reading OKADA Yachiyo’s A Boxwood Comb: Influences of MORI Ôgai and
    KINOSHITA Mokutarô   HAYASHI Hirochika
  • HASEGAWA Shigure’s Sakura-fubuki    TERADA Shima
  • An apple Pie Afternoon (Appurupai no gogo) by ÔSAKI Midori    MORII Naoko
  • TANAKA Sumie’s A Woman Who Beats the Drum    HESHIKI Shôko
  • The Image of Fluttering Cherry Blossoms in the World of the New Noh Play,
    Fumigara   ITÔ Maki
Treatises
  • <Camp> Appropriating or Appropriated: Mae West in the 1930s and 1970s    SAKAI Takashi
Special Contribution
  • The complete memorandum record of my father Shigetoshi KAWATAKE, who was actually involved in the censorship of Shochiku Kabuki by GHQ during the American Occupation in Japan   KAWATAKE Toshio
Treatises
Editor:   MÔRI Mitsuya  +Guest editors of the special issue:   INOUE Yoshie