A Study on the Comparative Theatres of Shakespeare’s Plays and the Classical Performing Arts: Focusing on the Noh Romeo and Juliet

IR Web Site

Bibliographic Information

Other Title
  • シェイクスピア劇と 古典芸能の比較演劇研究 : 「能・ロミオとジュリエット」に焦点を当てて
  • シェイクスピアゲキ ト コテン ゲイノウ ノ ヒカク エンゲキ ケンキュウ : 『 ノウ ・ ロミオ ト ジュリエット 』 ニ ショウテン オ アテテ

Search this article

Description

Article

This paper is the study on the comparative theatres of Shakespeare’s Romeo and Juliet and the Noh plays in classical performing arts. I would like to take up the case of Prof. Kuniyoshi Munakata’s Noh adaptation of Romeo and Juliet. Shakespeare wrote Romeo and Juliet toward the end of 16th century. This is an early play, which is one of love tragedies. Shakespeare wanted to show his audience all love’s power and beauty. The love of Romeo and Juliet is controlled by hate of two families. But love controls every things more than hate. That is to say, it is true that Romeo and Juliet did die for love, but at that time they continued to live by love forever and ever. Munakata considers Romeo as a young man who dislikes fighting, and Shakespeare’s themes seem to have been “forgiveness.” In Romeo and Juliet Shakespeare let the Prince of Verona say “pardon” at the very end of the play (V. iii. 307). So, I presume the key word of Noh Romeo and Juliet is “forgiveness.” Noh is a poetic play. It is a dance play, using chorus, in which the climax often comes during the performance of dance. Noh is also a mask play. Masks are worn by actors representing supernatural beings. In Noh Romeo and Juliet masks are worn by actors representing ghosts. The climax comes during the performance of dance. I conclude that Noh Romeo and Juliet typifies harmony & combination of cultures of Shakespeare’s plays and Noh plays.

Journal

Keywords

Details 詳細情報について

Report a problem

Back to top