Shakespeare in JapanA&C Black, 2005 M03 10 - 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 6
... audience : so , when we watch or read Julius Caesar we are never quite certain whether or not Caesar is to be regarded as a tyrant and whether or not the conspirators act for freedom . In sharp contrast , a Bunraku script does in a ...
... audience : so , when we watch or read Julius Caesar we are never quite certain whether or not Caesar is to be regarded as a tyrant and whether or not the conspirators act for freedom . In sharp contrast , a Bunraku script does in a ...
Página 8
... Japanese drama . From this point of view the Shakespearean procedure could ... Japanese of the 1880s ( and before ) a script con- sisting only of speeches ... audience , whether large or small . The third is the voice of the poet when ...
... Japanese drama . From this point of view the Shakespearean procedure could ... Japanese of the 1880s ( and before ) a script con- sisting only of speeches ... audience , whether large or small . The third is the voice of the poet when ...
Página 9
... Japanese theatre has a prominently narrative and choric quality, so that it tends to be the second rather than the third voice that an audience of traditional Japanese theatre hears. Take Noh. When a Noh play is performed, a group of ...
... Japanese theatre has a prominently narrative and choric quality, so that it tends to be the second rather than the third voice that an audience of traditional Japanese theatre hears. Take Noh. When a Noh play is performed, a group of ...
Página 11
... audience's right, with the musicians, the spectator will sometimes be looking to the front and sometimes to the right. When Chikamatsu Monzaemon (1653–1724), by far the great- est author of Bunraku scripts, was active, each puppet was ...
... audience's right, with the musicians, the spectator will sometimes be looking to the front and sometimes to the right. When Chikamatsu Monzaemon (1653–1724), by far the great- est author of Bunraku scripts, was active, each puppet was ...
Página 12
... audience is sometimes lost in and some- times bounced out of illusion. This is the genre Shoyo made use of when he translated or adapted Julius Caesar. His mastery of its idioms, linguistic and otherwise, is quite striking, and his ...
... audience is sometimes lost in and some- times bounced out of illusion. This is the genre Shoyo made use of when he translated or adapted Julius Caesar. His mastery of its idioms, linguistic and otherwise, is quite striking, and his ...
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accentual-syllabic verse acting Akechi Mitsuhide Atsumori Bunraku Caesar Cambridge characters Claudius Claudius's Diary contemporary course critics culture Dazai Deguchi director Elizabethan English essay feel film Fortinbras Fukuda Tsuneari Gertrude ghost happened Hashiba Hideyoshi Horatio I-novel Ibid Ibsen Japan Japanese audience Japanese translator joruri Kabuki Kabuki actors King Lear Kishi Kobayashi Kurosawa Kyogen language later lexical stress literary Macbeth meaning modern Mousetrap murdered narrator never 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 seems sense Shake Shakespeare in Japan Shakespeare's play Shiga Shiga Naoya Shingeki actors Shoyo's version soliloquy sound speech stage story Suematsu Suzuki Suzuki Tadashi syllabic verse syllables Tetsuo Throne of Blood Tokyo Toyama traditional Japanese theatre translating Shakespeare translations of Shakespeare Tsubouchi Shoyo understand University Press visual Wada wanted Western witches words