| Description |
xiii, 259 pages : illustrations (some color) ; 26 cm |
| Contents |
Machine derived contents note: Introduction Minami Ryuta, Ian Carruthers and John Gillies -- Part I. Early Modern and Traditional Theatre Productions: 1. What do we mean by 'Japanese' Shakespeare? Anzai Tetsuo -- 2. Japan as 'half-civilized': and early Japanese adaption of Shakespeare's The Merchant of Venice and Japan's construction of its national image in the late nineteenth century Yoshihara Yukari -- 3. Shakespeare in Kabuki James R. Brandon -- 4. Osanai Kaoru's version of Romeo and Juliet, 1904 Matsumoto Shinko -- 5. Some Noh adaptions of Shakespeare in English and Japanese Munakata Kuniyoshi -- 6. The Braggart Samurai: a Kyogen adaption of Shakespeare's The Merry Wives of Windsor Michael Shapiro -- Part II. Modern Productions (Post World War II): 7. Weaving the spider's web: interpretation of character in Akira Kurosawa's Throne of Blood (Kumonosu-jo) Paula von Loewenfeldt -- 8. Innovation and continuity: two decades of Deguchi Norio's Shakespeare theatre company Suematsu Michiko -- 9. Tragedy with laughter: Suzuki Tadashi's The Tale of Lear Takahashi Yasunari -- 10. The Chronicle of Macbeth: Suzuki method acting in Australia, 1992 Ian Curruthers -- 11. The Rose and the Bamboo: Noda Hideki's Sandai-me Richado Suzuki Masae -- 12. 'This is, and is not, Shakespeare': Shakespeares reinvented on the contemporary Japanese stage Minami Ryuta -- 13. Juliet's girlfriends: the Takarazuka Revue Company and the Shojo culture Ohtani Tomoko -- 14. Directing 'Japanese Shakespeare' locally and universally: an interview with Gerald Murphy Ted Motohashi -- Part III. Interviews with Directors and Actors: 15. Interview with Deguchi Norio -- 16. Interview with Suzuki Tadashi -- 17. Interview with Ninagawa Yukio -- 18. Interview with Noda Hideki -- 19. Interview with Hira Mikijiro -- Afterword. Shakespeare removed: some reflections on the localization of Shakespeare in Japan John Gillies |
| Summary |
"Shakespeare has an astonishingly rich and varied performance tradition in Japan, stretching from the westernizing and modernizing ferment of the nineteenth-century Meiji era to the postmodern performance culture of today." "How has the tradition evolved? Where is it going? How is it to be accounted for in theatrical and cultural terms? What does it mean to do Shakespeare in Japan? Such questions are raised in the book's introduction and pursued in fourteen essays on key aspects, moments and personalities in the performance tradition. These are followed by provocative interviews with four leading directors (Deguchi Norio, Ninagawa Yukio, Suzuki Tadashi and Noda Hideki) and with one leading performer (Hira Mikijiro)." "Unlike the very few existing books on Japanese Shakespeare, this book concentrates on modern and postmodern theatre, roughly from the 1970s, and contains contributions from both Japanese and Western scholars and theatre practitioners."--BOOK JACKET |
| Notes |
Based on presentations made at a seminar held during the Sixth World Shakespeare Congress held in Los Angeles in April 1996 |
| Bibliography |
Includes bibliographical references and index |
| Subject |
Shakespeare, William, 1564-1616 -- Dramatic production.
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Shakespeare, William, 1564-1616 -- Stage history -- Japan.
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Shakespeare, William, 1564-1616 -- Stage history -- Japan -- Congresses.
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Shakespeare, William, 1564-1616 -- Appreciation -- Japan -- Congresses.
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Theater -- Japan -- History -- 20th century.
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English drama -- Appreciation -- Japan -- Congresses.
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Theater -- Japan -- History -- Congresses.
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| Genre/Form |
Conference papers and proceedings.
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| Author |
Gillies, John, 1925-
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Minami, Ryuta.
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International Shakespeare Association. World Congress (6th : 1996 : Los Angeles, Calif.)
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| LC no. |
00031178 |
| ISBN |
0521782449 : |
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