336
BOOK REVIEWS
(No. 92) are equally successful in giving new perspectives on the human life of Hong Kong.
All in all, this volume is recommended to anyone wishing to own a superbly produced volume of intelligently conceived and masterfully produced photographs of Hong Kong.
P. H. HASE
Chukoku Saiki Yengeki Kenkyu (Ritual Theatres in China). By Issei Tanaka, Institute of Oriental Culture, The University of Tokyo, 1981, xvi + 926 pp, Index.
This impressive book contains the results of the author's researches during the period of ten years since he joined the Institute of Oriental Culture, University of Tokyo, in 1972. Trained as a sinologist, Prof. Tanaka started his study on ritual theatre in China from a historical viewpoint. Later his research focus shifted to field studies, particularly in Hong Kong. Between 1978 to 1981 he visited Hong Kong eight times and stayed here in total for eleven months. Most of the data presented in this volume are his field reports collected during his time in Hong Kong, and these form a mine of fascinating material which will prove to be of great value to many scholars.
In addition to presenting the field reports, however, the book analyses three aspects of ritual theatre in China. One of these is the origin of ritual theatre. Based on historical data, the author traces the process of transformation of ritual theatre from ancient times to the present. Through these studies, he points out that the original form of ritual theatre was aimed at exorcising or controlling evil forces or at celebrating beneficial forces and seeking their assistance. Theatre of this kind can still be found in Hong Kong. The ritual theatre of Hoklo and Ch'ao-chou people in Hong Kong are mostly performed for exorcising, i.e., these theatrical performances are mainly aimed at freeing orphan souls and wandering spirits. Cantonese ritual theatre, on the other hand, is of the latter type, celebrating the deities' birthdays and beseeching their blessing.
The second aspect is concerned with the social organization of ritual theatre. The author classifies Chinese local theatre,
336
BOOK REVIEWS
(No. 92) are equally successful in giving new perspectives on the human life of Hong Kong.
All in all, this volume is recommended to anyone wishing to own a superbly produced volume of intelligently conceived and masterfully produced photographs of Hong Kong.
P. H. HASE
Chukoku Saiki Yengeki Kenkyu (Ritual Theatres in China). By Issei Tanaka, Institute of Oriental Culture, The University of Tokyo, 1981, xvi + 926 pp, Index.
This impressive book contains the results of the author's researches during the period of ten years since he joined the Institute of Oriental Culture, University of Tokyo, in 1972. Trained as a sinologist, Prof. Tanaka started his study on ritual theatre in China from a historical view point. Later his research focus shifted to field studies, particularly in Hong Kong. Between 1978 to 1981 he visited Hong Kong eight times and stayed here in total for eleven months. Most of the data presented in this volume are his field reports collected during his time in Hong Kong, and these form a mine of fascinating material which will prove to be of great value to many scholars.
In addition to presenting the field reports, however, the book analyses three aspects of ritual theatre in China. One of these is the origin of ritual theatre. Based on historical data, the author traces the process of transformation of ritual theatre from ancient times to the present. Through these studies, he points out that the original form of ritual theatre was aimed at exorcising or controlling evil forces or at celebrating beneficial forces and seeking their assistance. Theatre of this kind can still be found in Hong Kong. The ritual theatre of Hoklo and Ch'ao-chou people in Hong Kong are mostly performed for exorcising, i.e. these theatrical performances are mainly aimed at freeing orphan souls and wandering spirits. Cantonese ritual theatre, on the other hand, is of the latter type, celebrating the deities' birthdays and beseeching their blessing.
The second aspect is concerned with the social organization of ritual theatre. The author classifies Chinese local theatre,
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