Shakespeare from Local to Global: Shakespearian Productions by Ninagawa Yukio and Jung-Ung Yang

Abstract

This article specially focused on two type of global intercultural products with the exemples of Yang Jung-Ung's ≪Macbeth-Hwan≫ and Ninagawa's ≪Macbeth≫. Since Globalization and transculturation Inter-cultural performance work has been stale, and the argument of Western-orientated existence and form is no longer lively. However, passing through the period of post-colonialism and post-modernism, and the current globalization coinciding with more free and natural cultural combination was attempted from the regional area. We see those cases through western classics, eastern culture being the core. The globalization of regional culture turning into reality by play is the creation of a variety of global culture for alternative culture. The culture, superior to proliferation, capital, and politics, leading 'one global culture' today, it is very valuable cultural idea. Shakespeare performances of Ninagawa and Jung-Ung Yang are accepted as a kind of biography in Japan and Korea. Respectively being the most Japanese and Korean, they rose to the surface as a new product through successful communication with other cultures. Keeping the original state but bringing time and space to Japan, Ninagawa's performance was easy to be understood by people all over the world who are familiar with the original piece. Moreover, the stage full of the delicate audio-visual images and spectacular stage in Japanese style made it possible of the exchanges between deep emotion and trembling. The communication between cultures was possible ever so much in Japan and other cultures even though the performance was made with regional language. Jung-Ung Yang become lively the exchanges between cultures. He wrote the original again, but he knew that the plot has to be simple and clear in his performance for smooth communication. The reason that his dramatization shines is at his sorting out skill. And he adds eastern elements to his Korean style stage. As he has shown in Yun-Karma, his Shakespeare stage that is proficient in modern theatre of image is Korean and Asian style performance. What prepares the principal of performances is the world of Korean traditional theatre, play and ritual. The main cause that decides his stage is too made with audio-visual directing. However, the powerful movement of cultural mutuality is alive in all elements. Using unpsychological acting, but physical acting, body language and clear outline of body, costume, stage design, and music, free cultural combination and uniformed, refined stage composition are in balance appropriately.