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 2
... performances of Kabuki , which was then the most popular form of drama . Eventually Shoyo became a prolific playwright in his own right , and many of his plays became part of the permanent Kabuki repertoire . This apparently curious and ...
... performances of Kabuki , which was then the most popular form of drama . Eventually Shoyo became a prolific playwright in his own right , and many of his plays became part of the permanent Kabuki repertoire . This apparently curious and ...
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... performances of Zeami's plays. Japanese theatre had a continuous tradition, and the emergence of a new form like Kabuki did not mean it replaced an older form like Noh, whereas the English tradition was broken or lost first during the ...
... performances of Zeami's plays. Japanese theatre had a continuous tradition, and the emergence of a new form like Kabuki did not mean it replaced an older form like Noh, whereas the English tradition was broken or lost first during the ...
Página 12
... performance. This division of attention is crucial. In narrative terms, Bunraku would offer an ideal way to stage Chaucer's Canterbury Tales, where our attention is sometimes concentrated on the teller, sometimes on the tale. In ...
... performance. This division of attention is crucial. In narrative terms, Bunraku would offer an ideal way to stage Chaucer's Canterbury Tales, where our attention is sometimes concentrated on the teller, sometimes on the tale. In ...
Página 13
... performance the puppet would be enacting what the text describes in much the same way that Atsumori performs the last climactic dance in the Noh play. Shoyo's Shiizaru Kidan is full of dramatically similar passages. The second quotation ...
... performance the puppet would be enacting what the text describes in much the same way that Atsumori performs the last climactic dance in the Noh play. Shoyo's Shiizaru Kidan is full of dramatically similar passages. The second quotation ...
Página 18
... performance and the audience. His com- ments would have been more fruitful if he had realized that both Kabuki and Elizabethan drama were performed on an open stage. Suematsu is more outspoken in his criticism of the indigenous ...
... performance and the audience. His com- ments would have been more fruitful if he had realized that both Kabuki and Elizabethan drama were performed on an open stage. Suematsu is more outspoken in his criticism of the indigenous ...
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Términos y frases comunes
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