Absent Mother, Adaptation, Aging, Appropriating Shakespeare, Appropriation, Asian Shakespeare, Asian Theatre, Beijing Opera, Biwa Music, Bunkamura Theater Cocoon, China, Collaboration, Contemporary Asia, Contemporary Dance, Contemporary Japanese Theatre, Contemporary Music, Contemporary Theatre, Contextualization, Decolonisation, Differences, Emperor System, Encounter, Fashion, Female Impersonators, Fukuoka City West Civic Center, Gender Studies, Hip-Hop, Histories, Hybridity, Individual, Indonesia, Interweaving, Japan, Japan Foundation Asia Center, Javanese Gamelan Orchestra, Juxtaposition, Kadoma Citizen's Cultural Hall - Lumiere Hall, Killing The Father, King Lear, Malaysia, Mondialization, Multilingual Theatre, Multiple Actors Playing One Character, Multiplicity, Music Theatre, Negotiation, New Asia, New Millennium, Noh Theatre, Old Man, Older Generation, Patriarchy, Politics of Transcultural Performance, Pop Music, Randai, Rap, Reinvention As A Political Action, Reinvention Of Tradition, Representation Of Asia, Shadows, Shite, Shuji Terayama, Silat, Singapore, Sumatran (Minangkebau) Music, Thailand, The Flying Circus Project, Touring Production, Tradition And Change, Traditional And Contemporary Continuum, Traditional Performing Arts, Transcultural Performance, Transdisciplinary Performance, Transgressing Authority, Translation, Umewaka Noh Family, Who Am I?, Xiaosheng, Younger Generation,
Based on Shakespeare’s greatest tragedy, Lear is about a young woman who plots to steal the throne and the kingdom from her father. She plans to destroy and ultimately kill him. The old man is blind to her evil plotting and instead disowns his younger daughter, who truly loves him. The passionate conflict between the father and elder daughter thereafter ends in much bloodshed and loss of innocent lives.
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