“I saw Othello’s visage in his mind”, or “White Mask, Black Handkerchif”: Satoshi Miyagi’s Mugen-Noh Othello and Translation Theory

Authors

  • Ted Motohashi Tokyo University of Economics

DOI:

https://doi.org/10.1515/mstap-2016-0015

Keywords:

translation, Shakespeare, Mugen-Noh, Desdemona, Othello

Abstract

This paper tries to detect key elements in the translated performance of Shakespeare by focusing on Satoshi Miyagi’s “Mugen-Noh Othello” (literally meaning “Dreamy Illusion Noh play Othello”), first performed in Tokyo by Ku=Nauka Theatre Company in 2005, and subsequently seen in New Delhi, having now acquired a classic status of renowned Shakespearean adaptation in a foreign language that bridges a gap between the traditional form of Noh and the modern stage-presentation.

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Author Biography

Ted Motohashi, Tokyo University of Economics

Professor of Cultural Studies at Tokyo University of Economics. He received his D.Phil. in literature from the University of York, U.K. in 1995. His publications include several books on drama studies, cultural and postcolonial studies, and recently essays on the reception of Western critical theories and cultural studies within the contemporary Japanese academia in Cultural Typhoon 2009: Collection of Critical Essays (2011), and on Shakespeare and media literacy, “‘A voucher stronger than ever law could make’: Writing and Media Literacy in Cymbeline” (2012). He is a leading translator into Japanese of the works by Homi Bhabha, Gayatri Spivak, Rey Chow, Judith Butler, David Harvey, Noam Chomsky and Arundhati Roy amongst others.

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Published

2016-12-30

How to Cite

Motohashi, T. (2016). “I saw Othello’s visage in his mind”, or “White Mask, Black Handkerchif”: Satoshi Miyagi’s Mugen-Noh Othello and Translation Theory. Multicultural Shakespeare: Translation, Appropriation and Performance, 14(29), 43–50. https://doi.org/10.1515/mstap-2016-0015

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