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By Antonia Fraser

"The Warrior Queens is lore-packed...and interesting to read....Fraser has assembled a extraordinary staff of girls for our contemplation....They have outmaneuvered, outtalked, outblustered, and every so often outshot and outridden the cream of the crop.... Fraser is to be congratulated for rescuing them from their very own myths and for giving them their due as individuals." -- Margaret Atwood, l. a. occasions booklet Review
"Fascinating...it is a excitement to come across the type of speedy and energetic brain that informs each page...the shiny and regular pilot mild of Antonia Fraser's intelligence." -- the recent York instances e-book Review
"Antonia Fraser's The Warrior Queens is an clever and crafty examine of ladies rulers who commanded in battle.... Ms. Fraser straight away clarifies heritage and indicates the numerous ways in which myths betray history.... She holds our recognition and he or she misses nothing." -- the recent Yorker
"Lady Antonia catches fire.... there's humor. there's plenty of interesting aspect at the sexual mythology that has surrounded most ladies rulers. there's genuine perception into how ladies wield power.... there's a excitement in having the tales of such a lot of notable ladies accrued in a single place." -- Chicago Sun-Times
"Cleopatra, Zenobia, Tamara, Jinga Mbandi of Angola, Catherine the nice and Caterina Sforza, England's Matildas and Tuscany's one, the gorgeous Queen Louise of Prussia and Queen Elizabeth I of britain, the names roll on as those ladies led their nations into victory and defeat.... Fraser, regularly a diligent historian, has... develop into a swish author and accomplished the ambitious job of winding a number of ladies and nations onto one skein." -- Cleveland Plain-Dealer

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1749), and Nakamura Tomijūrō I (1719–1786). ” Such reasoning resonates with Maki Isaka’s thesis that onnagata relied on the direct imitation of femininity, as performed by “real” women of the Tokugawa period. ” She states, “Onnagata artistry was measured by the criterion of verisimilitude in everyday life. ”12 Yet, as many male-role specialists, including Danjūrō IX, expanded their repertoire to include female characters in the nineteenth century, the number of female-role specialists who acted as women offstage declined.

Rather than permitting women to perform onstage—which they already were doing—the edict was concerned with men and women performing together. It announced that henceforth the police would neither prohibit nor promote such performances from taking place. 28 Kumehachi’s wish to perform together with men appears to have been the impetus behind the edict. The text of the proclamation explains that the owner of the Azuma-za petitioned the Tokyo Metropolitan Police to permit mixed productions at the theatre.

The play is a vehicle for one actor to showcase technical skill and versatility. The actor first performs the challenging part of a dainty lady-in-waiting (Yayoi), who reveals herself in the second part of the play as the spirit of the lion. It demands graceful, light “feminine” steps in the first half and powerful, wild “masculine” movements in the second half. While this actor changes costume offstage, the butterflies enter and perform a short dance that sets the stage for the brilliant second half of the play.

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