Shakespeare on Kabuki Stage: Challenges and Dilemma of Japanese Theatre in the Meiji Modernization as Represented in Kanadehon Hamlet
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Harue Tsutsumi’s play Kanadehon Hamlet (1992) illuminates the challenges and dilemma faced by traditional Japanese theatre in the modernization process and subsequently new and strange environment that dominated Japan during the Meiji Era (1868-1912). The challenges and dilemma is particularly highlighted in the situation where Japanese kabuki actors are compelled to perform Shakespeare’s Hamlet in the play. As the Japanese classical theatre localizes the Western drama and theatre, issue of ‘translation’ emerges on multiple fronts, including language, staging, emotion, and even sex and gender issues. These challenges parallel the broader confusion experienced by contemporary Japanese society and the public in the Meiji reform and modernization in the 1860s. Serving as a poignant dramatization of the kabiuki in transition, Kanadehon Hamlet also stands as a historical record capturing the moment when Shakespeare was first introduced and localized in Japan. At the same time, this literary work has a documentary value that illuminates the tangible and emotional impacts of this unprecedented event on Japanese theatre. Additionally, this play assumes importance in the context of Shakespearean studies, offering an early example that engages with complexities and possibilities of East-West art and cultural translation. This study approaches Kanadehon Hamlet not only as a literary text, but also as a histrio-cultural record of the challenges and dilemmas faced by the Japanese theater world in the Meiji modernization and the resulting ‘kabuki in transition’ situation.
Abstract
Harue Tsutsumi’s play Kanadehon Hamlet (1992) illuminates the challenges and dilemma faced by traditional Japanese theatre in the modernization process and subsequently new and strange environment that dominated Japan during the Meiji Era (1868-1912). The challenges and dilemma is particularly highlighted in the situation where Japanese kabuki actors are compelled to perform Shakespeare’s Hamlet in the play. As the Japanese classical theatre localizes the Western drama and theatre, issue of ‘translation’ emerges on multiple fronts, including language, staging, emotion, and even sex and gender issues. These challenges parallel the broader confusion experienced by contemporary Japanese society and the public in the Meiji reform and modernization in the 1860s. Serving as a poignant dramatization of the kabiuki in transition, Kanadehon Hamlet also stands as a historical record capturing the moment when Shakespeare was first introduced and localized in Japan. At the same time, this literary work has a documentary value that illuminates the tangible and emotional impacts of this unprecedented event on Japanese theatre. Additionally, this play assumes importance in the context of Shakespearean studies, offering an early example that engages with complexities and possibilities of East-West art and cultural translation. This study approaches Kanadehon Hamlet not only as a literary text, but also as a histrio-cultural record of the challenges and dilemmas faced by the Japanese theater world in the Meiji modernization and the resulting ‘kabuki in transition’ situation.
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