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Borlik, Todd Andrew (2011)
Publisher: John Hopkins University Press
Languages: English
Types: Article
Subjects: PR
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    • 2 Tetsuo Kishi,“Japanese Shakespeare and English Reviewers,” in Shakespeare and the Japanese Stage, ed. Takasahi Sasayama, J. R. Mulryne, and Margaret Shewring (Cambridge: Cambridge UP, 1998), 110-23. Yeeyom Im offers a more nuanced, moderate critique in “1e Pitfalls of Intercultural Discourse: 1e Case of Yukio Ninagawa,” Shakespeare Bulletin 22.4 (2004): 7-30.
    • 3 Dennis Kennedy,“Afterword: Shakespearean Orientalism,” in Foreign Shakespeares, ed. Dennis Kennedy (Cambridge: Cambridge UP, 1993), 290-303, esp. 301.
    • 4 John Peter, writing in the London Times (8 September 1996), quoted in Dennis Kennedy, Looking at Shakespeare (Cambridge: Cambridge UP, 2001), 323.
    • 10 Kabuki elements continued to feature prominently in Ninagawa's Pericles (London, 2003), and Twelfth Night (Tokyo, 2005; London, 2009).
    • 11 See“About Bunkamura,” at the official Bunkamura web site, http://www.bunkamura.co.jp/ english/about/index.html (accessed 18 July 2011). 1e Kabuki-za, kabuki's flagship theater in Tokyo, has just been demolished and is undergoing a total reconstruction for the fifth time in its history. It will be flanked by a forty-nine-story office building, a fitting symbol of the collision of traditional and modern culture in contemporary Japanese society.
    • 15 1is production played at the Barbican in 1998. See Jon M. Brokering, “Ninagawa Yukio's Intercultural Hamlet: Parsing Japanese Iconography,” Asian !eatre Journal 24 (2007): 370-97; and Kawai Shoichiro, “Ninagawa Yukio,” 277.
    • 16 Program notes, !eatre Cocoon: Faust's Tragedy, ed. Ohori Kumiko (Tokyo: Tokyu Bunkamura, 2010), 5.
    • 24 Program Notes, !eatre Cocoon: Faust's Tragedy, 5.
    • 25 Marlowe's tragedy is sometimes read as a cynical spoof of Calvinist predestination: if your doubt is a symptom that you have been damned in advance, what incentive do you have to be good? If it is safe to assume that this dimension of the play eluded most Japanese spectators, Nomura's pleasure seeking had a similarly blasphemous impetus, which would be lost on most Western viewers if this play were performed in London. Interestingly, the term ukiyo in Japanese is a homophonic pun on a Buddhist phrase meaning “sorrowful world” (which sounds identical but is written with different characters). If earthly life is fleeting, as the Buddha claims, why not eat, drink, and be merry at the theater while you can?
    • 26 Program Notes, !eatre Cocoon: Faust's Tragedy, 5.
    • 27 For more on Ninagawa's work and its place in the history of Japanese Shakespeare, see Arthur Horowitz, Prospero's “True Preservers”: Peter Brook, Yukio Ninagawa, and Giorgio Strehler. Twentieth-Century Directors Approach Shakespeare's “!e Tempest” (Cranbury, NJ: Associated University Presses, 2004), 113-42; and Andrea Nouryeh,“Shakespeare and the Japanese Stage,” in Foreign Shakespeares, 254-69.
    • 28 Lan, “Shakespeare and the Fiction of the Intercultural.”
    • 29 Minami Ryuta detects a similar trend in Ninagawa's 2005 kabuki production of Twelfth Night. He examines the ways in which the director's work is self-consciously “haunted” (rather than bedeviled) by the ghosts of kabuki in his incisive essay,“'What has this thing appear'd again tonight?': Replaying Shakespeares on the Japanese Stage,” in Re-Playing Shakespeare in Asia, ed. Poonam Trivedi and Minami Ryuta (New York: Routledge, 2010), 76-94.
    • 30 Stephen Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare (Chicago: U of Chicago P, 1980), 144.
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