Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direct...Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.展开更多
文摘Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.
