Shakespeare in JapanA&C Black, 2006 M10 19 - 166 páginas Since the late Meiji period, Shakespeare has held a central place in Japanese literary culture. This account explores the conditions of Shakespeare's reception and assimilation. It considers the problems of translation both cultural and linguistic, and includes an extensive illustrated survey of the most significant Shakespearean productions and adaptations, and the contrasting responses of Japanese and Western critics. |
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Página ix
... Shakespearean play or poetic drama is an endlessly 'chaotic site' for endlessly proliferate ing interpretations, none of which can be regarded as more authentic or authoritative than others. Indeed, we could not have written this book ...
... Shakespearean play or poetic drama is an endlessly 'chaotic site' for endlessly proliferate ing interpretations, none of which can be regarded as more authentic or authoritative than others. Indeed, we could not have written this book ...
Página x
... play's political dimension. But Fortinbras disappeared again in many later English productions, and in the modern films by Laurence Olivier and Tony Richardson. Olivier described his film as an 'essay', and the essay's main theme, which ...
... play's political dimension. But Fortinbras disappeared again in many later English productions, and in the modern films by Laurence Olivier and Tony Richardson. Olivier described his film as an 'essay', and the essay's main theme, which ...
Página 5
... Shakespeare's play. However, one crucial dramatic difference has to do with the basic premises of a Bunraku script. Let us take as our first example the scene of Caesar's assassination. In Shakespeare these few lines lead to Caesar's ...
... Shakespeare's play. However, one crucial dramatic difference has to do with the basic premises of a Bunraku script. Let us take as our first example the scene of Caesar's assassination. In Shakespeare these few lines lead to Caesar's ...
Página 6
... play. So it is hardly surprising that each scene in Shoyo's version begins and ends with a descriptive passage which is not a translation of Shakespeare but Shoyo's own addition. This has one extremely interesting consequence. Shakespeare's ...
... play. So it is hardly surprising that each scene in Shoyo's version begins and ends with a descriptive passage which is not a translation of Shakespeare but Shoyo's own addition. This has one extremely interesting consequence. Shakespeare's ...
Página 17
... Shakespeare's time but are not proper any more, and that Shakespearean acting is supposed to have changed ... play these two structures are indispensable. Both Toyama and Suematsu were more cautious in discussing these devices ...
... Shakespeare's time but are not proper any more, and that Shakespearean acting is supposed to have changed ... play these two structures are indispensable. Both Toyama and Suematsu were more cautious in discussing these devices ...
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Akechi Mitsuhide artists Atsumori Bunraku Caesar Cambridge characters Claudius Claudius’s Diary contemporary course critics culture Dazai Deguchi difficult director English essay feel film final finally find first Fortinbras Fukuda Tsuneari Gertrude ghost Hashiba Hideyoshi Horatio Ibsen Japan Japanese audience Japanese drama Japanese translator joruri Kabuki Kabuki actors King Lear Kinoshita Kobayashi Kurosawa Kyogen language later lexical stress literary Macbeth modern Mousetrap murdered narrator Ninagawa Nishi Noh drama Noh play novelist Ooka Ophelia original version Othello performance poetic drama political Polonius prince Prince Hamlet productions of Shakespeare puppet samurai says scene script seems sense Shake Shakespeare in Japan Shakespeare’s play Shiga Shiga Naoya Shingeki actors Shoyo’s version significant soliloquy sound speare’s speech stage story Suematsu Suzuki Suzuki Tadashi syllabic verse syllables Throne of Blood tions Tokyo Toyama traditional Japanese theatre translating Shakespeare translations of Shakespeare Tsubouchi Shoyo understand University Press verse visual wanted Western witches words