Interkulturowy Shakespeare japońskich reżyserów Yukio Ninagawy i Tadashiego Suzukiego

• Authors: Partyga Ewa

Title variants

EN

The Intercultural Shakespeare of Japanese Directors, Yukio Ninagawa and Tadashi Suzuki

Abstracts

EN

The text examines production strategies used by Yukio Ninagawa and Tadashi Suzuki whilst interpreting Shakespeare’s dramas. Each of the directors has a fair number of Shakespearean productions co-defining their original author’s theatre formulas under their belt. Ninagawa offers his audiences a post-modern version of popular theatre where he responds to Shakespeare’s texts with his own historical and existential experience. Suzuki, who makes an elite theatre, presents Shakespeare’s plays side by side with numerous heterogeneous contexts to create collage scenarios seeking to uncover the universal condition of humanity. The Shakespearean productions of both directors can be included in a broad formula of intercultural theatre that strives to meet challenges of the globalising world by hybridising culture and nullifying the opposition between the familiar and the strange. Ninagawa and Suzuki purposefully throw their audiences off balance: the interpretations of Shakespeare they offer are equally surprising and disquieting for both the Japanese and the European spectators, so none of them may claim Shakespeare for themselves.

Keywords

EN

Shakespeare; Japanese theatre

• Publisher: Polska Akademia Nauk. Instytut Sztuki PAN
• Journal: Pamiętnik Teatralny
• Year: 2014
• Volume: 63
• Issue: 3(251)
• Pages: 124-145

Contributors

author

Partyga Ewa

• Instytut Sztuki Polskiej Akademii Nauk

References

• P. Allain, Sztuka bezruchu. Praktyka teatralna Tadashiego Suzukiego, przekł. G. Ziółkowski, „Didaskalia” 2002 nr 47.
• P. Allain, The Theatre Practice of Tadashi Suzuki. A Critical Study with DVD Examples, Bloomsbury Methuen Drama, London 2009.
• G. F. Berkowitz, Shakespeare at the Edinburgh Festival, „Shakespeare Quarterly” 1986 vol. 37.
• J. R. Brandon, Kabuki and Shakespeare. Balancing Yin and Yang, „The Drama Review” 1999 vol. 43.
• J. R. Brandon, Some Shakespeare(s) in some Asias(s), „Asian Studies Review” 1997 vol. 20.
• J. M. Brokering, Ninagawa Yukio’s Intercultural „Hamlet”. Parsing Japanese Iconograpahy, „Asian Theatre Journal” 2007 vol. 24.
• L. Downer, Madame Sadayakko. Gejsza, która uwiodła Zachód, przeł. P. Gołębiowski, Warszawa 2009.
• G. Frank, Ninagawa Macbeth, „Theatre Journal” 1991 vol. 43.
• D. Kennedy, Looking at Shakespeare. A Visual History of Twentieth-Century Performance, Cambridge University Press, Cambridge 2001.
• T. Kishi, G. Bradshaw, Shakespeare in Japan, Bloomsbury Academic, London 2005.
• R. Knowles, Theatre & Interculturalism, Palgrave Macmillan, Houndmills, Bansigstoke, Hamshire, New York 2010.
• Shakespeare and Japanese Stage, ed. T. Sasayama, J. R. Mulryne, M. Shewring, Cambridge University Press, Cambridge 1998.
• Shakespeare in Asia. Contemporary Performance, ed. by D. Kennedy, L.L. Yong, Cambridge University Press, Cambridge 2010.
• T. Suzuki, Czym jest teatr?, przekł. A. Sambierska, Wrocław 2012.
• J. Tompkins, Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions, [w:] A Companion to Shakespeare and Performance, ed. B. Hodgdon, W. B. Worthen, Wiley-Blackwell, Malden 2005.
• E. Żeromska, Teatr japoński. Powrót do przeszłości, Warszawa 1996.
• G. Ziółkowski, Zakorzenienie i eklektyzm. O teatrze Tadashi Suzuki, „Didaskalia” 1998 nr 25–26.