The expansive reach of the ancient Japanese noh theater as it influenced modernist performance and poetics took in T. S. Eliot as well as Ezra Pound and W. B. Yeats, the more commonly recognized noh aficionados. Pound and Eliot attended the premiere of Yeats’s noh-inspired retelling of Irish legend, At the Hawk’s Well, in 1916. This essay considers the influence of that production on Eliot’s later work, discussing his review of Pound’s translations of noh plays based on drafts by Ernest Fenollosa and focusing on two productions of Eliot’s dramatic fragment Sweeney Agonistes. Incorporating influences from noh, classical tragedy, and American minstrel performance, among others, Sweeney Agonistes is an example of world drama. But, Eliot’s play is best served by a definition of world drama that does not oppose national theatrical traditions, one that recognizes the emergence of world drama from a critical practice that focuses on global allusion and inspirations and the transnational exchange of performance ideas and techniques.

中文翻译：

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能乐面具中的斯威尼·阿格尼斯特斯：TS 艾略特、日本能剧和世界戏剧的片段

古代日本能剧的广阔影响力影响了现代主义表演和诗学，吸引了 TS Eliot 以及 Ezra Pound 和 WB Yeats，他们是更广为人知的能剧爱好者。1916 年，庞德和艾略特参加了叶芝改编自爱尔兰传奇的能剧《在鹰之井》的首映式。本文考虑了这部作品对艾略特后期作品的影响，并讨论了他对庞德根据作者草稿翻译的能剧的评论。 Ernest Fenollosa 并专注于艾略特戏剧片段 Sweeney Agonistes 的两部作品。Sweeney Agonistes 融合了能剧、古典悲剧和美国吟游诗人表演等的影响，是世界戏剧的一个例子。但是，艾略特的戏剧最适合于不反对民族戏剧传统的世界戏剧定义，