A Study of Shakespeare’s Intertheatricality: Cases of Korea-Japan Shakespeare Communication
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This paper studies Shakespeare’s intertheatricality in the context of Korea-Japan Shakespeare communication, and gives two productions as exemplary cases, that is, the Japanese production of Othello in Noh Style by the Korean director Lee Youn-Taek, and the Korean production of Shakespeare in the Year King Cheoljong 13 by the Japanese director Matsumoto Yuko. The two productions have certain features in common: they take the form of a restaging of the Japanese production of Shakespearean adaptation; they emphasize the experimental spirit as well as textual fidelity. But they differ in directorial approaches. Lee’s restaging draws attention on more collaborated than translated, while Matsumoto’s restaging on more translated than collaborated, the staging performed in an original setting. Thus Korea-Japan Shakespeare communication is characteristic of the movement of theatrical forms in a collaboration or translation format across geographical and historical space. Lee and Matsumoto combine elements from Korean and Japanese performances without establishing dominance over either of them. They present the products of a cross-pollination of theatrical traditions plumbing them to their full potential. Their restagings bring Shakespeare’s intertheatricality to the fore, reinforcing the notion that Shakespeare plays were written to be performed.
Abstract
This paper studies Shakespeare’s intertheatricality in the context of Korea-Japan Shakespeare communication, and gives two productions as exemplary cases, that is, the Japanese production of Othello in Noh Style by the Korean director Lee Youn-Taek, and the Korean production of Shakespeare in the Year King Cheoljong 13 by the Japanese director Matsumoto Yuko. The two productions have certain features in common: they take the form of a restaging of the Japanese production of Shakespearean adaptation; they emphasize the experimental spirit as well as textual fidelity. But they differ in directorial approaches. Lee’s restaging draws attention on more collaborated than translated, while Matsumoto’s restaging on more translated than collaborated, the staging performed in an original setting. Thus Korea-Japan Shakespeare communication is characteristic of the movement of theatrical forms in a collaboration or translation format across geographical and historical space. Lee and Matsumoto combine elements from Korean and Japanese performances without establishing dominance over either of them. They present the products of a cross-pollination of theatrical traditions plumbing them to their full potential. Their restagings bring Shakespeare’s intertheatricality to the fore, reinforcing the notion that Shakespeare plays were written to be performed.
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