Suzuki Tadashi is Japan's best known director--internationally acclaimed for his postmodern adaptations of classics by Nanboku, Euripides, Shakespeare and Chekhov since the 1970s (including The Trojan Women, King Lear and Three Sisters) and, equally, for his powerful actor training system. This series' first comprehensive study of an Asian theater director traces Suzuki's rise from Little Theater director to international festival celebrity. It links his unique Surrealist dramaturgy with his intercultural training system, and provides in-depth descriptions of his most acclaimed productions.

Based on the author's widely used earlier text African Farm Management, this account updates the economic analysis of tropical agriculture and broadens its perspective to include examples from all parts of the developing world. Writing in a clear, concise style, Professor Upton explains the essential theories of farm economics without numerous mathematical formulae. The text is completely revised, with increased emphasis on farm household economics, in which farms are seen as consumers as well as producers. Also included is a new chapter on the economics of irrigated agriculture. This book...

Suzuki Tadashi is Japan's best known director--internationally acclaimed for his postmodern adaptations of classics by Nanboku, Euripides, Shakespeare and Chekhov since the 1970s (including The Trojan Women, King Lear and Three Sisters) and, equally, for his powerful actor training system. This series' first comprehensive study of an Asian theater director traces Suzuki's rise from Little Theater director to international festival celebrity. It links his unique Surrealist dramaturgy with his intercultural training system, and provides in-depth descriptions of his most acclaimed productions.

This book examines the potentials and limitations of user fees for financing irrigation operation and maintenance.

This is a collection of fourteen essays on particular topics from over one hundred years of Shakespeare performance in Japan. In addition, there are four interviews with leading directors and one with a leading perfomer. Unlike the few existing books on Japanese Shakespeare, this book concentrates on modern and postmodern theater, from c. 1970, and contains contributions from both Japanese and Western scholars and theater practitioners.