She, too, passes out of the novel dying like her Egyptian forebear in the most melodramatic fashion.
But how can you outbox a literary genius like Shakespeare? To get to the heart of literature—of life itself—you needed to be conversant with every subject under the sun. Shakespeare was, of course, a matchless dramatist; no writer before or since has created an exterior world so teeming with complex, richly drawn characters. The Gate , the mechanisms of a childless couple living at the bottom of a cliff.
The Readiness: Shakespeare Speaks to Japan and Us All | HuffPost Life
They finally went head to head with Kokoro , a work that contains no mention of anything overtly Shakespearean but is fascinating to consider in relation to Shakespeare. This was not a technical decision to be awarded on points. To him, he was in a clinch with the best.
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Great literature is transcendent. Great writers go beyond the bounds of their mediums. To get to the heart of things the best of the best push themselves to the brink, they fight an internal battle and they care little what anyone outside the ropes might think. Shakespeare: Two Giants of World Literature. Perhaps because of this, Tubouchi's translations, similarly to the dialogue in Kabuki were written in the older forms of Japanese, a form which was archaic even in those days.
Since Tsubouchi's translations, Shakespeare has been naturalized with translations into modern Japanese and further disseminated through stage productions. As a result of this popularization, Shakespeare's stories and characters have become very appealing to Japanese people. A number of novelists have adopted the troubled heart of Hamlet as their own, and Hamlet's philosophical questions are well known as a significant and real issue for many people.
Nowadays, Romeo and Juliet is also often adapted in various Japanese films and TV dramas as a tragic story of modern young lovers separated by some uncontrollable force such as war, discrimination or disease. Furthermore, in the process of extending Shakespearean works to mass public audiences and domestic theatre through translation, the contribution of translations to critical engagement is also worth mentioning. Engaging in translation requires close reading of the original texts.
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Especially Shakespeare's original texts Folio and Quartos contain a lot of disputed words and phrases, and, following a series of creative decisions and criticism, translators are required to choose one explication amongst various possible interpretations. This work is similar to that of editing a text not only for readers but also for actors.
The endeavours of the translators from a hundred years ago have also had occasions to add perspectives to textual studies and stage productions as well. For example, in Act I, scene 3, of Hamlet , an actress playing Ophelia remarkably pointed out that her first lines to Hamlet must be forced on her by her father Polonius. The translator at the time, Matsuoka, was surprised to hear this point and clarified this in her essay.
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This interpretation was innovative in terms of textual criticism, and it was subsequently adopted in a performance directed by Ninagawa. When Japanese Shakespeare is discussed, Japanized performances such as the "Ninagawa Macbeth " may come to mind. Indeed, there have been many performances in the Japanese style along with modern productions in Westernized settings, and Ninagawa is undoubtedly a distinctive director of Shakespeare in Japan and indeed the UK as well.
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However, as I stated earlier, Japanese Shakespeare has undergone a long process of becoming naturalized through performance, translation, and critical engagement. Regrettably, among these three fields, performance and academic studies seem to have diverged, but more than ever, translation might be able to contribute to closing this gap. Taking these aspects into consideration, it may be said that the translation of Shakespeare will continue to serve an important function on both page and stage, both inside and outside of Japan.
Please may I kindly ask whether I may be able to get a recording of the event, as it really is a area of immense interest to me. Hello all I think I have s Shakespeare books, in I think Japanese, I could be completely wrong, I have 12 books total, with two books per sleeve, can send pics. Browser does not support script. Quantum Technologies Developing the use of sensors and clocks in innovative, ground-breaking technologies to change the future landscapes of healthcare, transport, defence, civil engineering and more. Ninagawa has enjoyed an illustrious career staging Shakespeare and other works, not just in Japan but throughout the world.
Born in in Kawaguchi, Saitama Prefecture, Ninagawa made his professional debut in Throughout the s he staged epic productions, earning him accolades and putting him at the top of Japan's theatrical world.
His fame spread overseas after he began making annual tours of Europe, the United States, Canada, and other countries, beginning with his staging of the Greek classic Medea in , which received enthusiastic acclaim. Another favorite of the critics was his Midsummer Night's Dream in London in , while his King Lear performed by the Royal Shakespeare Company enjoyed a long run in London and elsewhere in and Ninagawa has picked up a collection of prestigious awards along the way, including the Minister of Education's Award for Fine Arts.
In , the University of Edinburgh awarded him an honorary doctorate. His Kabuki version of Twelfth Night, a quintessential Shakespearean comedy, is one of his boldest projects to date. Although Ninagawa's production is based on a faithfully translated script, the story is set in Japan with all the characters having Japanese names.
One of the lead performers in Twelfth Night - and the person who first suggested this venture to Ninagawa - is Onoe Kikunosuke, a popular young Kabuki actor.
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