| Popis: |
Stemming from a culture of translation, Ninagawa’s interpretations of Shakespeare were nurtured by Japan’s rebirth and consolidation of its national identity after the war. His stage works thrive in the contentious space between cultures. In fact, the notion that ‘modern Japan is a culture of translation’ has been taken for granted by many Japanese writers, playwrights, and their audiences. . In his own words, Ninagawa came from ‘a generation that has always been very interested in Europe, which is why [he has] been blending elements of Japanese culture and European culture." This chapter focuses on the artistic terms of the cross-cultural ventures of Ninagawa as a great Shakespearean, a man of theatre, and a ‘metteur en scène’ in the words of Tadashi Suzuki. Over the past five decades, Ninagawa has produced such a wide range of works—classical Greek, Shakespearean, operatic (Wagner’s The Flying Dutchman, 1992), and modern and contemporary American (A Streetcar Named Desire, 1991) and Japanese—and achieved so much in the fields of theatre and cultural diplomacy that it is necessary to place him within the contexts of Japanese, touring, and Shakespearean performance cultures. |
