Abstract:This study will explore the potential of nō theatre as a form in which adaptations, or more accurately transcultural transformations and appropriations, of Shakespearean drama can flourish in a Japanese cultural context. With reference to specific performance examples we will argue that transculturation of Shakespearean drama through the vehicle of the transcendently metaphysical and ritualized nō in combination with the more dramatically mimetic, if similarly stylized, kyōgen can offer fresh perception of theatrical possibility for both western and Japanese audiences. The practice invites both audience constituencies to share in alternative ways of seeing and feeling about the iconic and sometimes culturally conservative constructs of Shakespeare and nō, respectively. Bearing in mind the phenomenon of cultural mobility and transmission, as proposed by Stephen Greenblatt and others, we will discuss three principal case studies, Izumi Noriko's 2006 nō Macbeth and 2013 nō Othello productions and Nomura Mansai's 2010 Tokyo mixed-mode production and subsequent touring version of Macbeth. They serve as very good illustrations of how, in spite of the apparent aesthetic restraints arising out of the formality of its theatricality and codification, nō and kyōgen theatre can afford new insights into Shakespeare as a contemporary global theatre practice.

中文翻译：

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“来吧，你的灵魂”：莎士比亚的麦克白和奥赛罗的另一种来世，通过日本古典能和狂元剧院进行调解

摘要：本研究将探讨无戏剧作为一种形式的潜力，在这种形式中，莎士比亚戏剧的改编，或更准确地说是跨文化转型和挪用，可以在日本文化背景下蓬勃发展。参考具体的表演例子，我们将论证莎士比亚戏剧的跨文化通过超然的形而上学和仪式化的 nō 与更戏剧化的模仿相结合，如果同样风格化，kyōgen 可以为西方和日本观众提供戏剧可能性的全新感知. 这种做法邀请两个观众群体以不同的方式分享对莎士比亚和 no 的标志性和有时文化上保守的结构的看法和感受。铭记文化流动和传播的现象，正如斯蒂芬格林布拉特和其他人提出的那样，我们将讨论三个主要案例研究，和泉纪子 2006 年的《无麦克白》和 2013 年的《奥赛罗》制作以及野村万西的 2010 年东京混合模式制作以及随后的麦克白巡演版。它们很好地说明了，尽管戏剧性和编纂的形式存在明显的审美限制，但 no 和 kyōgen 戏剧如何能够提供对莎士比亚作为当代全球戏剧实践的新见解。