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DTSTART;VALUE=DATE:20140206
DTEND;VALUE=DATE:20140501
DTSTAMP:20180425T212849Z
CREATED:20140409T195710Z
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UID:1636-1391644800-1398902399@tr.jpf.go.jp
SUMMARY:The Many Faces of Danjuro IX
DESCRIPTION:Stuart Jackson Gallery and The Japan Foundation present\nThe Many Faces of Danjuro IX:\nAn exhibition of original Kabuki Prints\nFebruary 6 – April 30\, 2014 \nIchikawa Danjuro IX (1838-1903) was one of the most celebrated actors of his time and was key to preserving and modernizing Kabuki theatre for the 20th century. \nThe Japan Foundation and the Stuart Jackson Gallery are proud to present an exhibition of original antique woodblock prints depicting many of the faces\, or roles\, of this pivotal actor. \nIchikawa Danjuro IX was a direct descendant of Ichikawa Danjuro I (1660-1704). Kabuki theatre was still evolving when the young Danjuro I adopted his stage name in 1675 and originated the popular acting style called aragoto. Most actors who inherited this prestigious name were his direct descendants\, but it was not a given for the son to succeed the father; the title had to be earned and this line of actors is renowned for its great skills and mastery of the art. Ichikawa Danjuro IX inherited the name in 1874 at a time when Japan was modernizing and Kabuki was competing against a variety of new forms of entertainment. He was one of the biggest stars of the late 19th century\, highly skilled in the traditional theatre\, yet flexible enough to incorporate innovations to keep Kabuki relevant in a changing world. \n“Danjuro\, the ninth\, was the bridge that spanned the sudden gulf which yawned between the traditional past and the uncertain and changing modern world. He may be regarded as the saviour of Kabuki during a period when it might have suffered shipwreck\, had there not been a man of genius at the helm to guide the craft through the troubled waters.” \n– Zoe Kincaid\, Kabuki: The Popular Stage Of Japan\, 1925 \nGallery Hours\nMonday: 11:30 am – 7:00 pm EXTENDED HOURS\nTuesday: 11:30 am – 4:30 pm\nWednesday: 11:30 am – 4:30 pm\nThursday: 11:30 am – 7:00 pm EXTENDED HOURS\nFriday: 11:30 am – 4:30 pm\nSaturday openings: Noon – 5:00 pm \nSaturday opening dates: February 8 & 22\, March 8 & 22\, April 12\, 26\nClosed: Other Saturdays and Sundays\, February 17 (Family Day)\, April 18 – 21 (Easter)
URL:https://tr.jpf.go.jp/event/exhibition-the-many-faces-of-danjuro-ix/
LOCATION:2 Bloor St. East\, 3rd floor\, Toronto\, M4W 1A8\, Canada
CATEGORIES:Exhibition
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DTSTART;TZID=America/Toronto:20140225T183000
DTEND;TZID=America/Toronto:20140225T200000
DTSTAMP:20140416T174324Z
CREATED:20140409T142558Z
LAST-MODIFIED:20140416T174324Z
UID:1611-1393353000-1393358400@tr.jpf.go.jp
SUMMARY:Anime and Hollywood (the dance of rivals seeking to embrace)
DESCRIPTION:Tuesday\, February 25\, 6:30 pm (doors 6 pm)\nRoland Kelts talks about modern Anime\, its influences on Hollywood\, and vice-versa. An in-depth examination of how Japanese and American entertainment businesses are influencing each other in an infinite loop. Just as Japanese artists like Osamu Tezuka\, Hayao Miyazaki and Katsuhiro Otomo were fascinated by classic and sci-fi American movies\, George Lucas\, The Wachowskis\, Guillermo del Toro and other directors were influenced by Japanese anime classics like Gatchaman\, Speed Racer\, Spirited Away\, Akira and Ghost in the Shell. \nIn his presentation\, Kelts will explore why Hollywood is fascinated with Japanese pop culture and is trying to remake popular Japanese anime titles to appeal to a whole new generation of viewers. Death Note\, Naruto\, Cowboy Bebopâ€”and the attempts to make feature films out of stalwarts like Dragon Ball Z and Grave of the Fireflies will be addressed with passion. Anime vs. Hollywood: Who wins? A close look at the challenges and potential missteps along the way. \nLanguage: English\nRSVP: www.jftor.org/whatson/rsvp.php
URL:https://tr.jpf.go.jp/event/anime-and-hollywood-the-dance-of-rivals-seeking-to-embrace/
LOCATION:2 Bloor St. East\, 3rd floor\, Toronto\, M4W 1A8\, Canada
CATEGORIES:Lecture
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