Dialect, Gender, Race, and Diaspora in Chong Wishing’s Utau Shylock (2023)
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Chong Wishing’s Utau Shylock is a Japanese adaptation of The Merchant of Venice, originally composed for the opening of the National Theatre of Korea in 2014. In 2017, the 3rd-generation Japan-resident Korean dramatist recreated it as a “Shakespeare Musical Play in the Kansai Style,” and its “gorgeously re-cast” version (2023) was staged in three major Japanese cities, Kyoto, Fukuoka, and Tokyo. All its characters speak in Kansai Dialect, and the musical comedy focuses rather on Shylock and his daughter Jessica as an ethnic minority suffering from racial discrimination, because Wishing himself belongs to the minority group of Japan-resident Koreans in Kansai. Comparing Utau Shylock with the adaptations using dialects by Kazumi Shimodate and Yoko Shimamura, this essay attempts to examine how Wishing deals with critical modern issues of gender and race to create his unique Shakespearean musical comedy in Kansai Dialect.
Abstract
Chong Wishing’s Utau Shylock is a Japanese adaptation of The Merchant of Venice, originally composed for the opening of the National Theatre of Korea in 2014. In 2017, the 3rd-generation Japan-resident Korean dramatist recreated it as a “Shakespeare Musical Play in the Kansai Style,” and its “gorgeously re-cast” version (2023) was staged in three major Japanese cities, Kyoto, Fukuoka, and Tokyo. All its characters speak in Kansai Dialect, and the musical comedy focuses rather on Shylock and his daughter Jessica as an ethnic minority suffering from racial discrimination, because Wishing himself belongs to the minority group of Japan-resident Koreans in Kansai. Comparing Utau Shylock with the adaptations using dialects by Kazumi Shimodate and Yoko Shimamura, this essay attempts to examine how Wishing deals with critical modern issues of gender and race to create his unique Shakespearean musical comedy in Kansai Dialect.
참고문헌 (24)
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