Abstract:

Okada Toshiki's play Time's Journey Through a Room was presented in English translation in New York in 2018. Changes in direction and temporal distance from the 2011 disasters, but particularly in local context, produce a difference in meaning, understanding, and purpose from the play's Japanese productions. A US audience has a changed relationship to the play's subtext: complex conflicts in attitudes toward disaster depending on temporal perspective. A ghostly character not only holds open space for the deceased in the aftermath of the March 2011 disasters in Japan, but also the possibilities of responses no longer available in the present. What are the pitfalls and values of presenting this recent Japanese work in New York? Investigating questions about subtext and international production leads to examination of further questions about subtext, domestic reception, and the structure of the original work.

摘要：

冈田俊树的戏剧《房间时光之旅》于 2018 年在纽约以英文翻译呈现。与 2011 年灾难发生的方向和时间距离的变化，尤其是在当地背景下，与该剧的日本制作在意义、理解和目的上产生了差异。美国观众与该剧的潜台词之间的关系发生了变化：取决于时间视角的灾难态度的复杂冲突。一个幽灵般的角色不仅为 2011 年 3 月日本灾难后的死者提供了开放空间，而且还提供了目前不再可用的回应的可能性。在纽约展示这件最近的日本作品的陷阱和价值是什么？调查有关潜台词和国际制作的问题会导致检查有关潜台词、国内接收、