drama and theater: Asia and the Pacific 297 of the drama include the historical setting, the accurate descriptions of Inca imperial policies and organization, the archaic language employed, and a series of refrains typical of Incan poetry Asia and the Pacific by Caryn E Neumann Drama and theater in the medieval era often differed little from one country in Asia and the Pacific to another The spread of the major religious doctrines of Hinduism, Buddhism, Confucianism, and Islam brought similar themes to Asian plays Trade, territorial expansion, and the restless nature of the stage performer all combined to blend dramatic styles across national boundaries Chinese theatrical traditions dominated in eastern Asia, whereas Indian traditions were predominant in southern Asia; Japan developed its own powerful dramatic traditions Most of the major Asian theater styles intermingled classical and folk traditions Original interpretations of the material were not encouraged Chinese drama attained its peak of formal and artistic perfection as well as its greatest popularity during the Yuan (or Mongol) Dynasty in the 13th century About 160 Yuan dramas survive, with 150 consisting of an introduction, four acts, and, occasionally, an epilogue The sole contemporaneous source of information on Yuan Dynasty playwrights is the Lu-kuei pu (Register of Ghosts) by Chung Ssu-ch’eng, written in 1330, about 60 years after the height of Yuan drama had been reached Kao Wen-hsiu, Po Jen-fu, and Kuan Hanch’ing, all of northern China, were the most famous and prolific playwrights of the era Plays were typically performed on stages in temples, a traditional site for Chinese drama Secular theaters held performances on a platform with a collapsible railing to keep the spectators at a distance The actor deviated little from the script, while combining song, dance, stylized pantomime, and other stage skills in the performance The best-known Yuan dramas are Li K’uei Carries Thorns, from 1279, about a clerk who becomes a bandit; Rain on the Hsiao-Hsiang, from 1246, a folktale about tribulations endured by an exiled man and his daughter; and The Mo-HoLo Doll, from 1279, about the Indian Buddhist god Mahoraga (“Mo-ho-lo” in Chinese) Korea’s geographic position has meant that the country has been heavily influenced by Chinese culture and arts In turn, Koreans introduced performing arts from the continent to the Japanese The Japanese also were strongly influenced by the introduction of Buddhism in the sixth century, which blended with the Shinto traditions of the country Between the seventh and 10th centuries gigaku became one of the most popular performing arts in Japan The art form came from Korea in 562 when a Japanese envoy returned home with musical instruments, masks, and costumes belonging to gigaku The dance itself, however, was introduced by a Korean performer, Mimashi, who visited Japan in 612 He reportedly had studied in China Gigaku apparently involved a procession of at least 40 people performing dances, pantomimes, and music The leader (chido) opened the parade by appearing in a redheaded mask with a wide mouth, a long nose, widely opened and bulging eyes, dark eyebrows, and sometimes whiskers on his chin His function was to purify the air from any evil influences He carried a spear and might be accompanied by two assistants The chido would be followed by four people impersonating lions Lion masks were believed to have the power to heal sickness and exorcise evil spirits Two actors would portray one lion They were both draped with one large Male mask, Japan, early 16th century; the use of masks in dance, court ritual, processions, and religious ceremonies expanded and flourished under the patronage of the Japanese imperial court during the seventh and eighth centuries, when a wide variety of performance, dance, and musical forms reached Japan from Korea, China, and southeastern and western Asia. (Freer Gallery of Art, Smithsonian Institution, Collected by Seymour J Janow and gifted in his memory by his Family, F2003.5.10)