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TakarazukaSexual Politics and Popular Culture in Modern Japan$
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Jennifer Robertson

Print publication date: 1998

Print ISBN-13: 9780520211506

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520211506.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 19 September 2021

Epilogue

Epilogue

Chapter:
(p.209) Epilogue
Source:
Takarazuka
Author(s):

Jennifer Robertson

Publisher:
University of California Press
DOI:10.1525/california/9780520211506.003.0007

This chapter draws together the threads of the basic argument informing the book, focusing on the androgynous ambivalence of Japanese modernity. In 1969, the Japanese playwright Kara Jūrō shocked audiences with Shōjo Mask, his surrealistic play about the Takarazuka Revue, portraying Takarazuka as a nefarious remnant of Japanese imperialism; actors and fans alike were cast as pathological and pathetic. Shōjo Mask attests to the continuing salience of Takarazuka as a site of and for social commentary and criticism. Of course, the Revue's self-referential exoticism and public image as a dreamland effectively places it outside Japanese history. The Revue continues to manipulate the long-problematic erotic allure of Takarasiennes by anticipating the appetite of fans for physical beauty.

Keywords:   Japanese modernity, androgynous ambivalence, Takarazuka Revue, Japanese imperialism, Kara Jūrō, Shōjo Mask

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