Shakespeare Performances in Japan
Intercultural-Multilingual-Translingual
- 浜名恵美（著）／2019年9月
- 5500円（本体）／A5判並製188頁
- 装丁：長田年伸
日本における多彩なシェイクスピア上演を、異文化コミュニケーション・相互理解・超言語実践の研究と結び付け、その特色を解明する。
（ISBN 9784861106576）
目次｜contents
Acknowledgements
Introduction
Part I Intercultural and Multilingual Performance
Chapter 1 This Is, and Is Not, Shakespeare: A Japanese–Korean Transformation of Othello
1. The Critical Impact of Local Shakespeare on Global Shakespeare: Othello in the Japanese Mugen Noh Style with Elements of Korean Shamanism: A Creative Subversion
2. The Critical Impact of the Japanese–Korean Adaptation of Othello on Global Shakespeare
Chapter 2 Performing Shakespeare after the 11 March 2011 Disaster: Yamanote Jijosha’s The Tempest
1. The Tempest as Prospero’s Apocalyptic Delusion
2. Caliban’s Binding and Torture on Stage
3. An Additional Japanese Ending
Chapter 3 The Last Shakespeare Plays Directed by Yukio Ninagawa: Possessed by the Power of Theatre
1. Richard II with Wheelchairs and the Tango
2. NINAGAWA (or Samurai) Macbeth: The Legendary Production Revived
3. The Two Gentlemen of Verona with an All-Male Cast
Chapter 4 Multilingual Performances of Shakespeare Worldwide: Multilingual King Lear, Directed by Tadashi Suzuki
1. Tadashi Suzuki and Multilingual Performance
2. A Short Performance History of King Lear (1984–2006), Directed by Tadashi Suzuki
3. The Four-Language Performance of King Lear (2009)
Part II Translingual Performance
Chapter 5 Translingual Performances of Shakespeare Worldwide with a Focus on Henry V
1. Fundamental Concepts and Facts
2. An Analysis of Henry V, Act 5, Scene 2
Chapter 6 Lear Dreaming, Directed by Ong Keng Sen
1. Basic Ideas of Lear Dreaming
2. An Analysis of Several Scenes in Lear Dreaming from a Translingual Perspective
Chapter 7 Safaring the Night: A Midsummer Night’s Dream Updated
1. Basic Information about Safaring the Night
2. An Analysis of Several Elements of Safaring the Night from a Translingual Perspective
Conclusion
Appendix: Performance Review: Sandaime Richard, written by Hideki Noda and directed by Ong Keng Sen. Performed in Japanese, English and Indonesian, with Japanese and English Subtitles.
Notes
Works Cited
List of Original Publications
Author Profile
Index
著者｜author
浜名恵美（はまな・えみ）
東京女子大学教授、博士（文学）、筑波大学名誉教授。
専門はシェイクスピア研究、カルチュラル・スタディーズ、英語教育であり、世界各地で行われているシェイクスピアの多文化、多言語、超言語による上演および現代演劇の異文化コラボレーションに特に注目してきた。現在の研究課題はシェイクスピア上演への認知的アプローチとディジタル・アプローチである。著書は、『ジェンダーの驚き：シェイクスピアとジェンダー』（日本図書センター、2004年）、『文化と文化をつなぐ：シェイクスピアから現代アジア演劇まで』（筑波大学出版会、2012年）他。The Cambridge Guide to the Worlds of Shakespeare, vol. 2 (Cambridge UP, 2016) , Shakespeare; His Infinite Variety (Lodz UP, 2017), および多数の学術誌で論文を発表している。ホームページはhttps://emihamana.net.