Ophelia and the Tradition of “Joyu” in Japan
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Ophelia has been a target role for many young Japanese actresses wishing for success on stage. The role is a perfect dramatic embodiment of fleeting youthful beauty victimized in tragedy. Since the first introduction of Western drama in Japan in the Meiji period, the Shakespearean heroine has fascinated the Japanese audience. This paper aims to examine how Ophelia entered the Japanese stage in its early days in order to show how greatly the character has contributed to the Japanese tradition of great actresses called “joyus”: Sada Kawakami, Sumako Matsui and other Japanese actresses, especially “Ninagawa’s children.”
Abstract
Ophelia has been a target role for many young Japanese actresses wishing for success on stage. The role is a perfect dramatic embodiment of fleeting youthful beauty victimized in tragedy. Since the first introduction of Western drama in Japan in the Meiji period, the Shakespearean heroine has fascinated the Japanese audience. This paper aims to examine how Ophelia entered the Japanese stage in its early days in order to show how greatly the character has contributed to the Japanese tradition of great actresses called “joyus”: Sada Kawakami, Sumako Matsui and other Japanese actresses, especially “Ninagawa’s children.”
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