Bio

Miryam Sas teaches and writes about 20th century experimental arts, including literature, film, theater, and dance, with an emphasis in Japanese, French, and comparative literatures and cultures. She holds affiliations with the programs in Jewish Studies, Gender Studies and Performance Studies. She is currently writing a book called No Holds Barred: Engaged Theater and Its Discontents in Postwar Japan.

Publications

Books:

Fault Lines: Cultural Memory and Japanese Surrealism (Stanford University Press, released in 2001).

No Holds Barred: Engaged Theater and Its Discontents in Postwar Japan (in progress).

Articles and Book Chapters:

"Subject, City, Machine," on Japanese futurism, in Histories of the Future, edited by Susan Harding and Dan Rosenberg (Duke University Press, 2005).

“Hands, Lines, Acts: Butoh and Surrealism,” Qui Parle, Vol. 13, No. 2 (Spring/Summer 2003): 19-51. Also published as “De chair et de pensée: le butô et le surréalisme,” in Butô(s) (ed. Odette Aslan), CNRS Éditions, in the series Arts du spectacle, Paris, France, 2002.

“Palimpseste et contrepoint: l’Asie, du Japon à Java,” on Peter Sellars and Asian theatre, in Peter Sellars (ed. Frédéric Maurin), CNRS Éditions in the series Les voies de la création théâtrale, Paris, France, 2003.

“Chambered Nautilus: The Fiction of Ishikawa Jun,” Journal of Japanese Studies 24:1, Winter 1998, pp. 35-58.

"Imagining Futures: the Casual Theater of Betsuyaku Minoru" Review of Asian and Pacific Studies (No. 17, 1998) pp. 35-52.

"Frozen in Longing: Haikara modernity, Cultural Transformation and the Theater of Kishida Kunio" in Rethinking Urban and Mass Culture in 1920s and 1930s Japan: Representations, Politics, Identities, and Subject Formations , ed. Evelyn Schulz and Eduard Klopfenstein, special issue of Asiatische Studien/Études Asiatiques, Vol. LIII, No. 2, (Bern, Switzerland: Peter Lang, 1999).