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Tsubouchi Shōyō's Shinkyoku Urashima and the Wagnerian Moment in Meiji Japan by Daniel Gallimore
Asian Theatre Journal Pub Date : 2018-01-01 , DOI: 10.1353/atj.2018.0003
Aragorn Quinn

Tsubouchi Shōyō (1859–1935) is widely celebrated as a scholar, translator, and theatre practitioner at the forefront of literary and dramaturgical thought in early modern Japan. However this love is not as generously bestowed upon his creative works. Shōyō’s novels and plays have never stood out solely on their own artistic merits. As a result, despite notable exceptions his novels are rarely discussed, his plays are seldom performed, and neither are widely available in English translation. Yet his creative efforts are synergistically linked to his scholarly projects. Which is to say, to fully appreciate the influence that Shōyō had upon the Japanese cultural landscape from the mid-Meiji period to the early years of the Shōwa era, it is essential to engage with both his scholarly and creative works. Daniel Gallimore’s new English translation and critical introduction to Shōyō’s Shinkyoku Urashima (Urashima Tarō: A New Script) is thus an important contribution to English language Japanese theatre scholarship. Shōyō’s 1904 script Urashima adapts, as a Wagnerian opera, the traditional Japanese tale of Urashima Tarō, the boy who left home to live under the sea and returned Rip van Winkle-like to find centuries had passed on land in his absence. Shōyō sets this time travel story within the formal framework of Wagner’s Tannhauser, substituting Japanese music for that of the Western opera. It is difficult to miss the

中文翻译:

丹尼尔·加利摩尔的日本明治时期的坪内翔洋的浦岛新京和瓦格纳时刻

Tsubouchi Shoyō (1859–1935) 作为学者、翻译家和戏剧实践者而广为人知,他处于近代日本早期文学和戏剧思想的前沿。然而,这种爱并没有像他那样慷慨地给予他的创作作品。翔阳的小说和戏剧从来没有仅仅凭借其自身的艺术价值而脱颖而出。因此,尽管他的小说很少被讨论,但他的戏剧也很少上演,而且在英文翻译中也没有被广泛使用。然而,他的创造性努力与他的学术项目有着协同作用。也就是说,要充分了解正阳从明治中期到昭和初期对日本文化景观的影响,就必须同时接触他的学术和创作作品。Daniel Gallimore 的新英文翻译和对Shōyō 的Shinkyoku Urashima(浦岛太郎:新剧本)的批判性介绍因此是对英语日本戏剧奖学金的重要贡献。Shoyō 1904 年的剧本 Urashima 将日本传统的浦岛太郎故事改编为瓦格纳歌剧,这个男孩离开家住在海底,然后像 Rip van Winkle 一样发现在他不在的情况下已经在陆地上流逝了几个世纪。Shoyō 在瓦格纳的 Tannhauser 的正式框架内设置了这个时间旅行故事,用日本音乐代替了西方歌剧。很难错过 日本传统的浦岛太郎故事,那个离开家到海底生活并返回瑞普范温克尔的男孩,发现在他不在的情况下已经在陆地上流逝了几个世纪。Shoyō 在瓦格纳的 Tannhauser 的正式框架内设置了这个时间旅行故事,用日本音乐代替了西方歌剧。很难错过 日本传统的浦岛太郎故事,那个离开家到海底生活并返回瑞普范温克尔的男孩,发现在他不在的情况下已经在陆地上流逝了几个世纪。Shoyō 在瓦格纳的 Tannhauser 的正式框架内设置了这个时间旅行故事,用日本音乐代替了西方歌剧。很难错过
更新日期:2018-01-01
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