Dancing Noh and Kabuki in Japanese Shakespeare Productions

IF 0.1 3区艺术学 0 DANCE

DANCE CHRONICLE Pub Date : 2021-05-04 DOI:10.1080/01472526.2021.1927434

P. Beaman

引用次数: 0

Abstract

Abstract This article examines how three modern Japanese directors have interpolated Noh and Kabuki dance into their productions of Shakespearean plays: Yukio Ninagawa’s NINAGAWA Macbeth (1980); Satoshi Miyagi’s Othello (Noh style, 2005); and Yoshihiro Kurita’s Hamlet (2007). In synthesizing traditions from two contemporaneous, yet culturally disparate, theatrical forms, these directors both honored and disrupted the conventions of Shakespeare, Noh, and Kabuki. The inclusion of Noh and Kabuki movement in these performances is not simply a decorative divertissement, but serves as a vital language for cross-cultural encounter.

查看原文本刊更多论文

日本莎士比亚作品中的能舞与歌舞伎

摘要本文考察了三位现代日本导演如何将能乐和歌舞伎舞蹈融入到他们的莎士比亚戏剧作品中：1980年的《宁川幸男的麦克白》；宫城聪的《奥赛罗》（Noh style，2005）；以及黑田义弘的《哈姆雷特》（2007年）。这些导演综合了两种同时代但文化不同的戏剧形式的传统，既尊重又打破了莎士比亚、能剧和歌舞伎的传统。在这些表演中加入能乐和歌舞伎运动不仅仅是一种装饰性的消遣，而是跨文化交流的重要语言。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

DANCE CHRONICLE DANCE-

CiteScore

0.40

自引率

0.00%

发文量

期刊介绍： For dance scholars, professors, practitioners, and aficionados, Dance Chronicle is indispensable for keeping up with the rapidly changing field of dance studies. Dance Chronicle publishes research on a wide variety of Western and non-Western forms, including classical, avant-garde, and popular genres, often in connection with the related arts: music, literature, visual arts, theatre, and film. Our purview encompasses research rooted in humanities-based paradigms: historical, theoretical, aesthetic, ethnographic, and multi-modal inquiries into dance as art and/or cultural practice. Offering the best from both established and emerging dance scholars, Dance Chronicle is an ideal resource for those who love dance, past and present. Recently, Dance Chronicle has featured special issues on visual arts and dance, literature and dance, music and dance, dance criticism, preserving dance as a living legacy, dancing identity in diaspora, choreographers at the cutting edge, Martha Graham, women choreographers in ballet, and ballet in a global world.