Shakespeare in the Theatre: Satoshi Miyagi

Drawing on interview material, current scholarship and documents from the Ku Na''uka and SPAC archives, this book is the first major appraisal of Miyagi''s 30-year career as one of Japan''s leading directors of Shakespeare. It provides an in-depth critique of Miyagi''s approach to directing Shakespeare through studies of his highly visual and physical renditions of Hamlet (1990/2008/2021), Macbeth (2001), Othello (2005/2018), A Midsummer Night''s Dream (2011) and The Winter''s Tale (2016). The book also discusses recent shifts in Miyagi''s direction as a result of the global pandemic, and includes interviews with Miyagi, Micari (lead actress and long-time collaborator), and Hiroko Tanakawa (Miyagi''s music director), making it a valuable resource for anyone interested in contemporary Japanese theatre and Shakespeare.Satoshi Miyagi (1959-) rose to prominence in Japanese theatre in the early 1990s with a series of visually striking adaptations of classical European and Asian plays. This study examines how, working with his Tokyo based Ku Na''uka Theatre Company, he developed his renowned ''mover/speaker'' acting method as a means of exploring the non-linguistic aspects of theatre. It details how, in 2007, he replaced Tadashi Suzuki as the artistic director of the Shizuoka Performing Arts Centre (SPAC), where he set to work on what he terms '' the restoration of poetry'' and ''weak theatre,'' in sum an aesthetics that challenges the privileging of masculinity in East/West theatre traditions. Shakespeare in the Theatre: Satoshi Miyagi demonstrates how Miyagi''s productions have toured worldwide to great acclaim, earning him the reputation of a director capable of shedding new light on intercultural theatre, Shakespeare and gender, and the power of language.>

Auteur
Mika Eglinton is Professor of Theatre at Kobe City University of Foreign Studies, Japan. She has published widely on Shakespeare in Asian contexts and works as dramaturg, translator and theatre critic (Japan Times). She is a committee member of the Asian Shakespeare Intercultural Archive and the 11th World Shakespeare Congress.Farah Karim-Cooper is Head of Higher Education & Research, Shakespeare's Globe and Professor of Shakespeare Studies, King's College London, UK. .Peter Holland holds the McMeel Family Chair in Shakespeare Studies in the Department of Film, Television and Theatre and is Associate Dean for the Arts at the University of Notre Dame. He was formerly Director of the Shakespeare Institute, Stratford-upon-Avon and is editor of Shakespeare Survey and co-general editor of the Oxford Shakespeare Topics series. Peter Holland is McMeel Family Chair in Shakespeare Studies at the University of Notre Dame, USA. Peter Holland is the McMeel Family Chair in Shakespeare Studies and the Associate Dean for the Arts at the University of Notre Dame, USA.STEPHEN PURCELL Assistant Professor in English at the University of Warwick, UK.

Contenu
List of Illustrations Series Preface Introduction 1. Formative Years Childhood and First Encounter with Theatre Secondary Education The University of Tokyo and the Tokyo Fringe The Formation of Ku Na'uka 2. The Ku Na'uka Era (1990-2007) The Development of the Mover/Speaker System: Between Body and Language Case Study 1: Hamlet (1990) Case Study 2: *Macbeth (2001) Case Study 3: Othello (2005) 3. The SPAC era (2007-2021) Situating SPAC after Tadashi Suzuki and Developing the World Theatre Festival Under Mt. Fuji Case Study 1: Hamlet (2008) Case Study 2: A Midsummer Night's Dream (2011), "Poetic Language" and "Weak Theatre" Case Study 3: The Winter's Tale (2017) 4. Edited Interviews Interview with Micari Interview with Hiroko Tanakawa Interview with Satoshi Miyagi Conclusion Appendix: Production Chronology Notes References Index