Re: Tracing Revolutionary Girl Utena's roots
- --- In Yuricon@yahoogroups.com, Rei Shaw <rei.shaw@...> wrote:
>I'd love to see that essay. Would you mind sharing?
> Interesting I always thought more of it in terms of it's roots throught the
> anime medium to me it seems every generation has some version of Princess
> Knight that gets more and more progressive
> Princess Knight > Rose of Versailles > Utena
> I once wrote a 12 page essay tracking the influence of Kagekidan theatre
> through anime and manga as well and that's very much the case for those
> three stories.
> But I don't know as much about Japanese literature as I woud like (my
> reading level still isn't high enough *sigh*), so I end up missing out on
> stuff like this.
Nothing exists in a vacuum. Art, theatre, music, animation, literature - it all ties into one another. Experimental theater strongly affected the roots of gekiga, Takarazuka, Yoshiya Nobuko's work and Disney affected the roots of the "girl" prince role in Ribon no Kishi which, as you note, has continued on as an archetype in anime.
The "girl prince" role continues even today. When you look at characters like Sugimoto-sempai in Aoi Hana, you have to see that the rest of the students have (to some extent naturally) put her in an otokoyaku role. And when she is cast as Heathcliff in the play, that just strengthens the association.
If you haven't already read it, I strongly recommend reading "Sayonara" by James A. Michener, about the affair between an American military officer and a Takarazuka otokoyaku after WWII. It's surprisingly readable and gives a completely outside perspective of the "girl prince" model.