This article analyzes Suzuki Tadashi’s version of Euripides’ The Trojan Women, staged multiple times during the past forty years. While this cross-cultural production carries specific socio-cultural signs and juxtaposes different traditional Japanese styles (Noh, Kabuki, and Shingeki), it aims to create a third object that does not belong specifically to any of these traditions but is composed of the sum of their specificities. It argues that The Trojan Women was created by Suzuki and his company as a response to the state of culture and society in Japan during the 1970s, breaking with old and new fashions in an effort to revitalize Japanese contemporary theatre. Offering a socio-cultural analysis and drawing on the writings of Michael Bakhtin and Pierre Bourdieu, it sheds light on Suzuki’s humanistic quest for a universalism pursued through the re-discovery and transformation of traditional styles together with an appropriation of Western texts. Lorenzo Montanini is a theatre director whose work investigates the boundaries of theatre and live performance in a multicultural context. He has taught for more than fifteen years in universities in Italy, including RomaTre, Università di Macerata, and Università l’Orientale di Napoli.

中文翻译：

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铃木忠的跨文化剧场《特洛伊女人》

本文分析铃木忠的欧里庇得斯版本特洛伊妇女，在过去四十年中多次上演。虽然这种跨文化的产品带有特定的社会文化符号，并并列了​​不同的日本传统风格（能乐、歌舞伎和新剧），但它的目标是创造第三个对象，它不专门属于这些传统中的任何一个，而是由总和组成他们的特殊性。它认为特洛伊妇女由铃木和他的公司创建，作为对 1970 年代日本文化和社会状况的回应，打破新旧时尚，努力振兴日本当代戏剧。提供社会文化分析并借鉴迈克尔巴赫金和皮埃尔布迪厄的著作，它揭示了铃木通过重新发现和改造传统风格以及对西方文本的挪用来追求普遍主义的人文主义追求。洛伦佐·蒙塔尼尼 (Lorenzo Montanini) 是一位戏剧导演，他的作品探讨了多元文化背景下戏剧和现场表演的界限。他在意大利的大学任教超过 15 年，包括 RomaTre、Università di Macerata 和 Università l'Orientale di Napoli。