論文

公開件数: 16 件
No. 掲載種別 単著・共著区分 タイトル 著者 誌名 出版者 巻号頁 出版日 ISSN DOI URL 概要
1 研究論文(学術雑誌)
単著
Translingual Performance of King Lear: Lear Dreaming as a Case Study
Emi Hamana
Litteraria Pragensia: Studies in Literature and Culture
Charles University, Prague, Czech Repulic
26/ 52, 90-105
2017/03/23
0862-8424


Exploring translingual performances of Shakespeare’s King Lear, this article discusses Lear Dreaming (2012) directed by Ong Keng Sen as a case study with a special focus on its environmental affordance, as well as a cognitive approach to scenography. The largely feminist version of Lear (1997) was adapted by Rio Kishida, a Japanese female playwright, and refashioned by Ong Keng Sen, a Singaporean director who is world-famous for his intercultural productions. In Lear Dreaming, Ong reduced the number of players to four--two men and two women--with a team of gamelan musicians. In several scenes, the elder daughter (acted by a Chinese pipa player) expresses her mind through music with surtitles rather than verbal exchanges. Lear Dreaming is distinguished by effective use of music, laser beams and other scenic means. As a rare example of a translingual adaptation of Shakespeare's play, it is thought-provoking, cutting-edge, and appropriate for a new age.
2 研究論文(学術雑誌)
単著
Performance Review. Sandaime Richard, written by Hideki Noda and directed by Ong Keng Sen
浜名恵美
Shakespeare Studies
日本シェイクスピア協会
54, 40-43
2017/03
0582-9402



3 研究論文(学術雑誌)
単著
Last Shakespeare Plays Directed by Yukio Ninagawa: Possessed by the Power of Theater
Emi Hamana
Journal of Literature and Art Studies
David Publishing
7/ 3, 269-277
2017/03

10.17265/2159-5836/2017.03.004

This paper reconsiders Ninagawa’s direction from a
global/local perspective with a special focus on several last works directed by him: Richard II, performed by young
players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese
audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director’s
internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two
Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare
plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This
paper concludes, however, that while possessed by the power of theater, his direction emits its magical and
subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He
continued to hope to make global and local spectators wonder at the plays he directed.
4 研究論文(大学,研究機関紀要)
単著
Toward a Study of Translingual Performance of Shakespeare Worldwide with a Focus on Henry V
浜名恵美
英米文学評論
東京女子大学英米文学研究会
63, 41-64
2017/03/01




5 研究論文(学術雑誌)
単著
Performing Shakespeare in Contemporary Japan: The Yamanote Jijosha's The Tempest
Emi Hamana
Multicultural Shakespeare: Translation, Appropriation and Performance
Lodz University Press
14/ 29, 73-85
2016/12

10.1515/mstap-2016-0017

In considering the Yamanote Jijosha’s The Tempest, this paper explores the significance of performing Shakespeare in contemporary Japan. The company’s The Tempest reveals to contemporary Japanese audiences the ambiguity of Shakespeare’s text by experimenting with the postdramatic and a new acting style. While critically pursuing the meaning and possibility of theatre and performing arts today, this version of The Tempest powerfully presents a critical view of the blindness and dumbness of contemporary Japan, as well as the world represented in the play.
6

Multilingual Performance of Shakespeare Worldwide: Multilingual King Lear, Directed by Tadashi Suzuki as a Case Study

Theatre International Essays on Theory & Praxis of World Drama, Shakespeare Special Number
Kolkata: Avantgarde Press
Vol. VII
2014




7

A Report on Globe to Globe 2012: Shakespeare’s 37 Plays in 37 Languages

筑波大学外国語センター紀要『外国語教育論集』

第34
2013




8

Contemporary Japanese Responses to Shakespeare: Problems and Possibilities

Theatre International: East-West Perspectives on Theatre Essays on the Theory and Praxis of World Drama, Shakespeare Number
Kolkata, India
Vol.V
2012




9

This Is, and Is Not, Shakespeare: A Japanese-Korean Transformation of Othello

Alicante Journal of English Studies
University of Alicante, Spain
Vol.25
2012




10

Othello in Japanese Mugen-Noh Style with Elements of Korean Shamanism: A Creative Subversion

筑波大学大学院人文社会科学研究科文芸・言語専攻紀要『文藝言語研究 文藝編』

第59
2011




11

What’s the Right Thing to Do About English Studies in the Age of Global English? : Performing
Japanese Plays in English

Journal of English and American Studies
Ewha Institute of English and American Studies, South
Korea
Vol. 9
2010




12

シェイクスピアと異文化コミュニケーション:序説

筑波大学現代語・現代文化学系筑波英学展望の会紀要『筑波英学展望』

22
2003




13

シェイクスピアとジェンダー:序説

筑波大学現代語・現代文化学系紀要『言語文化論集』

57
2001




14

ポルノグラフィーの新しい政治学

シアターアーツ
国際演劇評論家協会日本センター
7
1997




15

Let Women’s Voices Be Heard!—A Feminist Re-Vision of Ophelia

Shakespeare Studies
日本シェイクスピア協会
Vol.26
1990




16

A Stylistic Approach to the Use of Tense-Mixing in Shakespeare’s Venus and Adonis

英文学研究
日本英文学会
58/ 2
1980



日本英文学会第3回新人賞受賞論文