Abstract

This article examines how three modern Japanese directors have interpolated Noh and Kabuki dance into their productions of Shakespearean plays: Yukio Ninagawa’s NINAGAWA Macbeth (1980); Satoshi Miyagi’s Othello (Noh style, 2005); and Yoshihiro Kurita’s Hamlet (2007). In synthesizing traditions from two contemporaneous, yet culturally disparate, theatrical forms, these directors both honored and disrupted the conventions of Shakespeare, Noh, and Kabuki. The inclusion of Noh and Kabuki movement in these performances is not simply a decorative divertissement, but serves as a vital language for cross-cultural encounter.

中文翻译：

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日本莎士比亚作品中的舞蹈能剧和歌舞伎

摘要

本文探讨了三位现代日本导演如何将能剧和歌舞伎舞蹈插入到他们的莎士比亚戏剧作品中：蜷川由纪夫的蜷川麦克白（1980 年）；Satoshi Miyagi 的Othello（Noh style，2005）；和栗田佳弘的《哈姆雷特》（2007）。在综合两种同时代但文化不同的戏剧形式的传统时，这些导演既尊重又打破了莎士比亚、能剧和歌舞伎的传统。在这些表演中加入能剧和歌舞伎运动不仅仅是一种装饰性的消遣，而是一种重要的跨文化交流语言。