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Leading Japanese and Western Shakespeare scholars study the interaction of Japanese and Western conceptions of Shakespeare.
Japan has a wide range of unique, highly refined performing arts that haveeveloped over centuries. This guide provides a brief history andntroduction to the features of each genre, together with recommendations oflays that are accessible to non-Japanese audiences. Brief synopses arerovided to approximately fifty selected plays, and well-known popularompanies, actors, writers, and directors are introduced. The text is widelyllustrated, and includes information about theatre listings, how to getickets, and which plays are available on DVD. It will be invaluable fornyone planning a visit to Japan and keen to experience its theatre firsthand,s well as providing additional insights for students of Japanese theatrend literature.
An anthology of three exciting Japanese adaptations of Shakespeare that engage with issues such as changing family values, racial diversity, the 2011 Great East Japan Earthquake and terrorism, together with a contextualizing introduction. The anthology makes contemporary Japanese adaptations of Shakespeare by three independent theatre companies available to a wider English language audience. The three texts are concerned with the social issues Japan faces today and Japan's perception of its cultural history. This unique collection is thus both a valuable resource for the fields of Shakespeare and adaptation studies as well as for a better understanding of contemporary Japanese theatre.
(Book). Shakespeare was a man of the theatre to his core, so it is no surprise that he repeatedly contemplated the nuts and bolts of his craft in his plays and poems. Shakespeare scholar Nick de Somogyi here draws together all the cherishable set pieces including "All the world's a stage," Hamlet's encounters with the Players, and Bottom's amateur theatricals along with many other oblique but no less revealing glances, and further insights into theatre practice by Shakespeare's contemporaries and rivals. De Somogyi's commentary takes us through the entire process of Shakespeare's theatrical production, from its casting and auditions, via rehearsals, costumes, and props, to its premiere and audience reception. Shakespeare on Theatre eavesdrops on the urgently whispered noises-off in the "tiring-house" and inhales the heady aroma of the Globe's first audiences.
Structured around modes in which one might encounter Asian-themed performances and adaptations, Shakespeare and East Asia identifies four themes that distinguish post-1950s East Asian cinemas and theatres from works in other parts of the world: Japanese formalistic innovations in sound and spectacle; reparative adaptations from China, Taiwan, and Hong Kong; the politics of gender and reception of films and touring productions in South Korea and the UK; and multilingual, diaspora works in Singapore and the UK. These adaptations break new ground in sound and spectacle; they serve as a vehicle for artistic and political remediation or, in some cases, the critique of the myth of reparative interpretations of literature; they provide a forum where diasporic artists and audiences can grapple with contemporary issues; and, through international circulation, they are reshaping debates about the relationship between East Asia and Europe. Bringing film and theatre studies together, this book sheds new light on the two major genres in a comparative context and reveals deep structural and narratological connections among Asian and Anglophone performances. These adaptations are products of metacinematic and metatheatrical operations, contestations among genres for primacy, or experimentations with features of both film and theatre.
Since the late Meiji period, Shakespeare has held a central place in Japanese literary culture. This work considers the cultural and linguistic problems of translation and includes an illustrated survey of the most significant Shakespearean productions and adaptations, and the contrasting responses of Japanese and Western critics.
Japan boasts one of the world's oldest, most vibrant and most influential performance traditions. This accessible and complete history provides a comprehensive overview of Japanese theatre and its continuing global influence. Written by eminent international scholars, it spans the full range of dance-theatre genres over the past fifteen hundred years, including noh theatre, bunraku puppet theatre, kabuki theatre, shingeki modern theatre, rakugo storytelling, vanguard butoh dance and media experimentation. The first part addresses traditional genres, their historical trajectories and performance conventions. Part II covers the spectrum of new genres since Meiji (1868–), and Parts III to VI provide discussions of playwriting, architecture, Shakespeare, and interculturalism, situating Japanese elements within their global theatrical context. Beautifully illustrated with photographs and prints, this history features interviews with key modern directors, an overview of historical scholarship in English and Japanese, and a timeline. A further reading list covers a range of multimedia resources to encourage further explorations.
""In 13th century Japan, General Macbeth is victorious in battle and awarded the title of Ryoshu of Akita. Almost immediately he is visited by the legendary witches called the Three Yojos. In the thrall of their spell, he is consumed by ruthless ambition. He instigates a plot to become the new Shogun and, with the help and incitement of his wife, begins to slaughter his way to the royal crown and ultimately to meet his doom."--Publisher's description.
This volume critically analyses and theorises Asian interventions in the expanding phenomenon of Global Shakespeare. It interrogates Shakespeare’s ‘universality’ from Asian perspectives: how this has been modified or even replaced by the ‘global bard’ as a recognisable brand, and how Asian Shakespeares have contributed to or subverted this process by both facilitating the worldwide dissemination of the bard’s plays and challenging and resisting the very templates through which they become globally legible. Critically acclaimed Asian productions have prominently figured at premier Western festivals, and popular Asian appropriations like Bollywood, manga and anime have created new kinds of globally accessible Shakespeare. Essays in this collection engage with the emergent critical issues: the efficacy of definitions of the ‘local’, ‘global’, ‘transnational’ and ‘cosmopolitan’ and of the liminalities and mobilities in between. They further examine the politics of ‘West’ and ‘East’, the evolving markers of the ‘Asian’ and the equation of the ‘glocal’ with the ‘Asian’; they attend to performance and archiving protocols and bring the current debates on translation, appropriation, and world literature to speak to the concerns of global and transnational Shakespeare. These investigations analyse recent innovative Asian theatre productions, popular cinematic and manga appropriations and the increasing presence of Shakespeare in the Asian digital sphere. They provide an Asian standpoint and lens in rereading the processes of cultural globalisation and the mobilisation of Shakespeare.
The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.