the character Doraemon and his friend Nobita from the comic book and television series Doraemon. However, Doraemon was never popular in the United States, and these references to the characters may be confusing as they are left unexplained. Some translators do include some footnotes to explain cultural references that may be difficult for readers unfamiliar with Japanese culture, although these footnotes are limited. (It should be noted that every play in volume 3 has footnotes, although only Mari Boyd’s translations in the first two volumes include them). This collection has the potential to be a great resource for those working in social activist literatures and dramas, as well as a wonderful tool for classes on modern theatre, yet the burden on the scholar/ teacher to provide the additional research of the highlighted social issue limits the usefulness of the collection. With regard to performance, deciding how to deal with culturally specific terms often has to be decided by a director in practice, but there needs to be enough scholarly apparatus in place to do so. That said, because this collection provides plays written in a variety of genres that have connections to contemporary social, economic, political, and environmental issues, it should appeal to a wide variety of readers with an interest in social justice and activist literature. Despite insufficient scholarly apparatus in the form of introductions and footnotes, and the inconsistency of translation with regards to cultural references, there is much to recommend here for readers and scholars interested in what is happening in contemporary Japanese theatre, which from these volumes appears to be vibrant, varied, and highly political.

中文翻译：

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土方辰美和大野和夫 by Sondra Fraleigh 和 Tamah Nakamura

漫画书和电视剧《哆啦A梦》中的人物哆啦A梦和他的朋友大雄。然而，哆啦A梦在美国从未流行过，这些对角色的引用可能会令人困惑，因为它们没有得到解释。一些译者确实包含了一些脚注来解释文化参考，这对于不熟悉日本文化的读者来说可能是困难的，尽管这些脚注是有限的。（需要注意的是，第 3 卷中的每部剧都有脚注，尽管前两卷中只有 Mari Boyd 的翻译包含它们）。该系列有可能成为从事社会活动家文学和戏剧工作的人的重要资源，也是现代戏剧课程的绝佳工具，然而，学者/教师对突出的社会问题进行额外研究的负担限制了馆藏的实用性。关于表演，决定如何处理特定文化术语通常必须由导演在实践中决定，但需要有足够的学术机构来做到这一点。也就是说，由于该系列提供了以各种体裁编写的剧本，这些剧本与当代社会、经济、政治和环境问题有关，因此它应该会吸引对社会正义和激进文学感兴趣的各种读者。尽管引言和脚注形式的学术手段不足，以及翻译在文化参考方面的不一致，