Abstract Ever since the first introduction of Shakespeare to a Japanese audience in the nineteenth century, his plays have functioned as “contact zones,” which are translingual interfaces between communities and their cultures; points of negotiation, misunderstanding and mutual transformation. In the context of what is ostensibly a monolingual society, Japanese Shakespeare has produced a limited number of performances that have attempted to be multilingual. Most of them, however, turn out to be translingual, blurring the borders of linguistic specificity. As an example of this, I read A Midsummer Night’s Dream as adapted by Hideki Noda originally in 1992 and then directed by Miyagi Satoshi for the Shizuoka Performing Arts Centre in 2011. Drawing on my experience as the surtitle translator of Noda’s Japanese adaptation “back” into English, I discuss the linguistic and cultural metamorphosis of Noda’s reworking and the effects of its mediation in Miyagi’s rendition, and ask to what extent the production, adapted in post-March 2011 Japan, can be read as a “contact zone” for a translingual Japanese Shakespeare. In what way did Miyagi’s reading of the post-March 11 events inflect Noda’s adaption along socio-political lines? What is lost and gained in processes of adaptation in the wake of an environmental catastrophe?

中文翻译：

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“翻译成你的艺术”：重绘野田英树和宫城聪的《 3月11日后的仲夏夜之梦》

摘要自从19世纪莎士比亚首次向日本观众介绍莎士比亚戏剧以来，他的戏剧就起着“接触区”的作用，它是社区与文化之间的跨语言界面。谈判，误解和相互转变的要点。在表面上是单语社会的背景下，日本莎士比亚演出了数量有限的试图说多种语言的表演。但是，其中大多数结果是跨语言的，模糊了语言特异性的边界。例如，我读过野田英树（Hideki Noda）最初于1992年改编的《仲夏夜之梦》，然后在2011年由宫城聪（Miyagi Satoshi）指导静冈表演艺术中心。变成英文 我讨论了野田重做的语言和文化变态及其在宫城的演绎中的调解作用，并询问在2011年3月后日本改编的电影在多大程度上可以被理解为日本语文莎士比亚的“接触区” 。宫城对3月11日后事件的解读以何种方式反映了野田佳彦对社会政治的适应性？在环境灾难之后的适应过程中，有什么损失和收获？宫城对3月11日后事件的解读以何种方式反映了野田佳彦对社会政治的适应性？在环境灾难之后，适应过程中会损失和获得什么？宫城对3月11日后事件的解读以何种方式反映了野田佳彦对社会政治的适应性？在环境灾难之后的适应过程中，有什么损失和收获？