{"id":3161,"date":"2017-01-06T17:45:23","date_gmt":"2017-01-06T08:45:23","guid":{"rendered":"https:\/\/www.waseda.jp\/flas\/cms\/?p=3161"},"modified":"2017-01-06T17:57:56","modified_gmt":"2017-01-06T08:57:56","slug":"%e3%80%90tgu-global-japanese-studies%e3%80%91turning-up-the-drama-in-ninagwas-shakespearean-plays","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/flas\/cms\/news-en\/2017\/01\/06\/3161\/","title":{"rendered":"\u3010TGU Global Japanese Studies\u3011Turning up the drama in Ninagawa\u2019s Shakespearean plays"},"content":{"rendered":"

Translating Shakespeare into Japanese<\/h1>\n

To celebrate the 400th<\/sup> anniversary of Shakespeare\u2019s death, Waseda University is organizing a series of events on Shakespeare and his work. On December 16th, the University welcomed Professor Daniel Gallimore from Kwansei Gakuin University and Kazuko Matsuoka, a theatre critic and translator, to discuss the Japanese translations of Shakespeare. Renowned theatre director Yukio Ninagawa used many of Matsuoka\u2019s translations for directing his Shakespearean plays.<\/p>\n

\"20161216_\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u8b1b\u6f14\u4f1a&\u5bfe\u8ac7\u753b\u50cf<\/p>\n

Professor Gallimore is the leading researcher on Shoyo Tsubouchi, a Waseda University professor who translated all of Shakespeare\u2019s plays in 1928. He pointed out Matsuoka\u2019s unique use and significance of Japanese idiomatic and mimetic expressions (\u56db\u5b57\u719f\u8a9e and \u64ec\u614b\u8a9e). For example,<\/p>\n

Portia: I prithee, boy, run to the Senate House. Stay not to answer me, but get thee gone. Why dost thou stay?
\n(William Shakespeare, Julius Caesar (1599). Ed. David Daniell. London: Thomson Learning, 1998.)<\/p>\n

\u30dd\u30fc\u30b7\u30e3\uff1a\u304a\u9858\u3044\u3001\u30eb\u30fc\u30b7\u30a2\u30b9\u3001\u5143\u8001\u9662\u307e\u3067\u8d70\u3063\u3066\u3044\u3063\u3066\u3002\u8fd4\u4e8b\u306f\u3044\u3044\u304b\u3089\u884c\u304d\u306a\u3055\u3044\u3002\u4f55\u3092\u3050\u305a\u3050\u305a<\/strong><\/span>\u3057\u3066\u3044\u308b\u306e\uff1f
\n(\u677e\u5ca1\u548c\u5b50\u8a33\u300e\u30b8\u30e5\u30ea\u30a2\u30b9\u30fb\u30b7\u30fc\u30b6\u30fc\u300f\u6771\u4eac\uff1a\u7b51\u6469\u66f8\u623f\u3001 2014)<\/p><\/blockquote>\n

\u3050\u305a\u3050\u305a<\/u> (guzu guzu<\/em>) is a mimicking expression meaning tardily, hesitantly, or lingering. Although Matsuoka\u2019s translation is not the exact equivalent of the original script, her choice of words conveys a subtext which the audience may not grasp immediately. This gives energy and meaning to the actor\u2019s or actress\u2019 lines. Moreover, gradually decreasing punctuation and using stronger expressions in the script makes it possible to, as Ninagawa would say it, \u201cturn up [the drama in the play] louder and louder.\u201d Gallimore praised Matsuoka\u2019s translations for conveying Shakespeare\u2019s clever rhetoric, despite it being in Japanese.<\/p>\n

\"IMG_1813\"

Shakespearean plays translated by Matsuoka<\/p><\/div>\n

On the other hand, Matsuoka, who will complete translating all of Shakespeare\u2019s work in five books, said that she never noticed that she uses such expressions. \u201cI feel that it naturally became this way as I looked for more suitable words.\u201d Through translating Shakespeare for Ninagawa, Matsuoka said, \u201cI learned the importance of creating a \u2018cultural hybrid\u2019 and started to write as if a prince from Denmark or ancient Romans were speaking Japanese.\u201d<\/p>\n

Furthermore, she spoke about the differences between translating literature and drama. She commented that, \u201cEven Shakespearean plays, when performed by present actors, they become contemporary drama, reflecting issues and sensibilities of the current world.\u201d Lastly, she shared personal stories about her being behind the scenes of the production of \u201cRichard II,\u201d the very last play the late 80-year-old Ninagawa directed in a wheelchair and with a nasal tube.<\/p>\n

About the speakers<\/h5>\n

Daniel Gallimore<\/h3>\n

\"daniel<\/p>\n

Daniel Gallimore is professor at Kwansei Gakuin University\u2019s Department of Literature, School of Humanities. His research interests are Shakespeare translation and reception in Japan, mainly focusing on the work of the early Shakespeare translator Tsubouchi Shoyo. His major publication includes \u201cSOUNDING LIKE SHAKESPEARE \u2013 A Study on Prosody in Four Japanese Translations of A Midsummer Night\u2019s Dream (Kwansei Gakuin University Press, 2012).\u201d He is the member of the Shakespeare Society of Japan and the International Association for Translation and Interpreting Studies. He holds a Ph.D. from the University of Oxford in East Asian Studies.<\/p>\n

Kazuko Matsuoka<\/h3>\n

\"\u677e\u5ca1\u5148\u751f\"<\/p>\n

Kazuko Matsuoka is a translator and theatre critic. She has been working on translating all of Shakespeare\u2019s plays since 1993. She has also served as the planning committee member and translator for the Sainokuni Saitama Arts Theater\u2019s Shakespeare series, directed by Yukio Ninagawa. Her major publications include \u201cSubete no Kisetsu no Shakespeare<\/em> [Four Seasons of Shakespeare] (Chikuma Shob\u014d)\u201d and \u201cKaidoku Shakespeare<\/em> [Easy-reading Shakespeare] (Chikuma Bunko).\u201d Matsuoka has also translated many works of Shakespeare from Chikuma Bunko. She is the member of the Shakespeare Society of Japan and the International Association of Theatre Critics. Matsuoka holds a Master\u2019s degree from the University of Tokyo.<\/p>\n

Event information<\/h4>\n

Date: December 16, 2016
\nVenue: Room 681, Building 36, Toyama Campus, Waseda University
\nOrganized by the Global Japanese Studies Unit<\/a> and the Ryusaku Tsunoda Center of Japanese Culture<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Translating Shakespeare into Japanese To celebrate the 400th anniversary of Shakespeare\u2019s death, Waseda Univer […]<\/p>\n","protected":false},"author":5,"featured_media":3162,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[95],"tags":[82,94,81],"class_list":["post-3161","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","tag-events-en","tag-general-en","tag-global-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/posts\/3161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/comments?post=3161"}],"version-history":[{"count":1,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/posts\/3161\/revisions"}],"predecessor-version":[{"id":3163,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/posts\/3161\/revisions\/3163"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/media\/3162"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/media?parent=3161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/categories?post=3161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/cms\/wp-json\/wp\/v2\/tags?post=3161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}