The Japanese director Ninagawa Yukio, who directed all four of the Roman plays between 2004 and 2014, noted the challenge he faced in making Shakespeare’s Roman settings accessible for native audiences, his typical strategy being Japanisation. Ninagawa’s Brechtian strategy works two ways in offering audiences a helpful perspective on cultural difference while harnessing Shakespeare’s humanism to the anti-rational energies of his theatre that modernity had earlier suppressed. This article explores the mythopoeic aspect of Ninagawa’s project first in the context of comparative religion and then with an analysis of his Antony and Cleopatra (2011), which was innovative in casting a Japanese-Korean actress from the western Kansai region as Cleopatra against an established Tokyo actor. The polytheism that native Shinto has in common with ancient Roman religion is a significant subtext.
) movement, and Shakespeare was incorporated into this climate of reform. The story of Shakespeare in Japan is one of an importation which is seen alternately as a welcome ambassadorial gift, or a hostile colonial imposition, but always as the modern
Did Shakespeare Read Chushingura?
–229. 6 Tsutsumi, Kanadehon Hamlet , 182. Akahido Senda develops these parallels in a brief discussion of Kanadehon Hamlet . See ‘The Rebirth of Shakespeare in Japan: From the 1960s to the 1990s’, in Shakespeare and the Japanese Stage , ed. Takashi
Why Are the Japanese Titles of Shakespearean Films So Odd?
recognising their Shakespearean origin, and other films are advertised such that most of the Shakespearean references are erased. This article clarifies the reasons why Shakespeare-related films are advertised without mentioning Shakespeare in Japanese
Radical Rewritings of Shakespeare's Tragedy in Japan
translation. 21 Tetsuo Kishi and Graham Bradshaw, Shakespeare in Japan (London: Continuum, 2005), 114. 22 Takeshi Nagafuji, ‘Hideo Kobayashi's “Ophelia's Testament”—Where the Secret Ritual of Writing Leads’ [‘Kobayashi Hideo “Oferiya Ibun”—Kaku toiu Higi