Shakespeare and the Japanese Stage

Description

In this book, originally published in 1999, leading Shakespeare scholars from Japan and the West broke new ground by studying the interaction of Japanese and Western conceptions of Shakespeare, and the assimilation of Shakespeare into richly traditional theatre practice. The first part deals with key twentieth-century moments in the production of Shakespeare, including the work of world-famous Japanese directors such as Ninagawa, Suzuki and Noda, while the second part considers parallels and differences between Japanese and western theatre over a longer timespan, focusing on the relationship of Shakespeare to traditional Japanese Noh, Kabuki, Bunraku and Kyogen. Additional features include full-colour illustrations, a comprehensive chronology of Shakespeare performances in Japan and the English text of a celebrated Kyogen adaptation of The Merry Wives of Windsor.

Review of the hardback: 'Shakespeare and the Japanese Stage is unusual in many ways. Most immediately noticeable is that it manages to be fresh and adventurous and also responsible and academically useful ... above all this is a stimulating book and few readers will not want to study further to see more performances of Noh, Bunraku, Kabuki, and original plays by Hideki Noda ... this collaborative volume will interest students of comparative, post-colonial, intercultural, and cross cultural theatres, without restriction to either 'the Japanese stage' or 'Shakespeare'.' John Russell Brown, University of Michigan Review of the hardback: 'This collection brilliantly and incisively focuses on the relation of Shakespeare and Japanese theatre, both traditional and contemporary ... Obviously this book is outstanding in its high academic standard, but it is made truly unique by two features in addition to the essays it contains. One is the extensive chronological table of Shakespeare performances in Japan from 1866-1994 compiled by Ryuta Minami ... The other is that it provides a large number of pictures of productions both of Shakespeare in Japan and of Japanese traditional theatre.' Akiko Kusunoki, Tokyo Woman's Christian University