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Deconstructing the Saussurean System of Signification

Miyagi Satoshi and His Mimetic Dramaturgy in Miyagi-Noh Othello

Tomoka Tsukamoto and Ted Motohashi

make Miyagi's mimetic dramaturgy with the ‘division’ method so infallible in materialising dormant features in Shakespeare's original, which the usual ‘one actor in one character’ presentation may well have suppressed. Before we start a detailed

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Graham Holderness

recollected and enacted by the Ghost of Desdemona, through utilising the Japanese ‘Mugen-Noh’ format. Through his mimetic dramaturgy employing the ‘division of speech and movement’ method, Miyagi succeeded in recovering not only Desdemona's testimonies