{"title":"Dancing Noh and Kabuki in Japanese Shakespeare Productions","authors":"P. Beaman","doi":"10.1080/01472526.2021.1927434","DOIUrl":null,"url":null,"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.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"44 1","pages":"106 - 132"},"PeriodicalIF":0.1000,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01472526.2021.1927434","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"DANCE CHRONICLE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01472526.2021.1927434","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"DANCE","Score":null,"Total":0}
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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.
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.
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