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Angura: Posters of the Japanese Avant-Garde ペーパーバック – 1999/6/1

英語版 David Goodman (著)
4.2 5つ星のうち4.2 5個の評価
すべての形式と版を表示
Angura: Posters of the Japanese Avant-Garde documents the extraordinary posters created for a group of experimental Japanese theatre groups during the 1960s and 70s. Ranging from the vivid and sexually explicit images of sixties psychedelia to the subtle refinement of traditional Japanese printmaking, the posters represent a tumultuous period both in Japanese graphic arts and in Japanese society as a whole. Silkscreened with up to twenty different colors and printed in limited editions, the posters were ostensibly meant as advertisements for the theatre productions of a thriving counterculture. But the designers focused such lavish care on the posters that they were rarely finished before the productions opened, eliminating their commercial function and making them objects of art. Author David G. Goodman illuminates these arresting images, describes the context in which they were created, and provides a brief history of modern Japanese graphic design. In the foreword, Ellen Lupton discusses the relevance of these images for the contemporary designer. Angura will appeal to anyone interested in Japanese anime graphics.
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  1. 本の長さ
    100ページ
  2. 言語
    英語
  3. 出版社
    Princeton Architectural Press
  4. 発売日
    1999/6/1
  5. 対象
    8 and up
  6. 対象読者年齢
    13 歳以上
  7. 寸法
    2.54 x 2.54 x 2.54 cm
  8. ISBN-10
    1568981783
  9. ISBN-13
    978-1568981789
  10. すべての詳細を表示
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商品の説明

レビュー

The book reproduces, in glorious color, many of these prints and shows how risk-taking in the use of color, typography and sexual imagery-created posters that simply exuded subversiveness ("angura" means "underground"). Traces of everything from Art Nouveau to anime, from Bauhaus to Warhol are visible. Many are visually provocative, even erotically charged. Culled from an era when Japan had bounced back from World War II and was reclaiming its cultural spot in the world, this is a fascinating look at how the global images streaming into the country joined with traditional Japanese design and printing elements to create a very unusual aesthetic. Associated Press

著者について

David G. Goodman is a professor of Japanese literature at the University of Illinois at Urbana-Champaign. An expert in Japanese culture and theatre, he founded and edited the magazine Concerned Theatre Japan while living in Japan in the 1960s. His books in

登録情報

  • 出版社 ‏ : ‎ Princeton Architectural Press (1999/6/1)
  • 発売日 ‏ : ‎ 1999/6/1
  • 言語 ‏ : ‎ 英語
  • ペーパーバック ‏ : ‎ 100ページ
  • ISBN-10 ‏ : ‎ 1568981783
  • ISBN-13 ‏ : ‎ 978-1568981789
  • 対象読者年齢 ‏ : ‎ 13 歳以上
  • 寸法 ‏ : ‎ 2.54 x 2.54 x 2.54 cm
  • カスタマーレビュー:
    4.2 5つ星のうち4.2 5個の評価

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Robert Szeliga
5つ星のうち5.0 Five Stars
2016年3月4日に英国でレビュー済み
Amazonで購入
Excellent!
レポート
Adam Kruvand
5つ星のうち5.0 Nice Images
2004年2月26日にアメリカ合衆国でレビュー済み
Amazonで購入
This is a good collection of hard to find imagery. The book is good size with large images. Nice reference.
レポート
Mr. Robert A. Gilmour
5つ星のうち4.0 Nice overview of 60s-70s theatre posters
2022年9月8日に英国でレビュー済み
Amazonで購入
This is specifically posters for theatre from 60s-70s. It's a very slim book but an interesting overview of the time, along with the posters and there's photos of performances. There's a lot of focus on the rejection of modernism and designs that would be internationally accessible, because they wanted to reclaim things like the disreputable side of Kabuki and other parts of japanese culture that were getting buried. We also see what parts of western culture they were embracing.

Some of it leans towards psychedelic, some photo collage and there's several famous manga artists. My favorite is Oikawa Masamichi because of his detailed rendering style. Goodman gives commentary for each poster and he sees lots of sexual symbolism I don't. There's a bibliography at the back including plays that have been translated into english (this book is from 1999 though).

I know next to nothing about avant-garde theatre but I was intrigued by the ideas: distinctions between very different seeming things fading into chaos; a play's second act having a real bus journey that takes the audience to an apartment to interview the people who live there; a Shuji Terayama play that none of the audience gets to see the whole of, so the different segments of the audience has to share what happened in the parts they did see to construct the whole story.
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