Reception and Productions of Shakespeare in Asia -Starting from Okinawa and Mainland Japan-

点击翻译按钮获取中文摘要

The aim of this research was to see the global and local aspects of Japanese reception and productions of Shakespeare, focusing on Okinawan productions as a bridge between Japan and the rest of Asia. The plan was to focus as follows :1)The history of reception and adaptations of Shakespeare in Asia -2)Reception and Adaptations of Shakespeare in Okinawan Drama3)The post-war Okinawa and Shakespeare4)Contemporary Adaptations of Shakespeare in Okinawa and other Asian countriesThough there have been some changes in the project for the limitation of field work and cancellation of international conferences owing to SARS, I could give presentations at three international conferences in other Asian countries, as well as research in Mainland Japan, Okinawa, and some other regions in Asia.However, as Rustom Bharucha points out in his response to the international conference in Singapore entitled "Shakespeare Performances in New Asias," superficial reviews by scholars with scarce knowledge in traditional Asian theatre "can be reduced to a redemptive Orient in rejuvenating the Shakespearean Canon." With that in mind, I am giving here a report about the above four points, with the Yamato (Mainland Japan)-Okinawa relationship as a key. The report will include a survey on Jinruikan Incident and the first adaptation of Othello in Japan and Okinawa, the Shakespearean works of Makishi Kochu, Otohime Gekidan and Daichi (a troupe led by Teruya Kyoko), as well as a review on Al Hamlet Summit, a contemporary adaptation of Hamlet by Sulayaman, a Kuwait-based director.