Two intercultural performances: Double Nora and Resurrection Day
I have so far directed two plays of Ibsen as the intercultural performance, that is, the collaboration of the modern theatre with noh, a traditional Japanese theatre, which was established as an artistic theatre form in the 14th century. The first production was Double Nora, based on A Doll’s House,...
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ftdoajarticles:oai:doaj.org/article:32ca3950ac05486e9dd45f429cfc0621 2023-05-15T18:34:40+02:00 Two intercultural performances: Double Nora and Resurrection Day Mitsuya Mori 2015-02-01T00:00:00Z https://doi.org/10.7557/13.3378 https://doaj.org/article/32ca3950ac05486e9dd45f429cfc0621 EN NO eng nor Septentrio Academic Publishing https://septentrio.uit.no/index.php/nordlit/article/view/3378 https://doaj.org/toc/0809-1668 https://doaj.org/toc/1503-2086 doi:10.7557/13.3378 0809-1668 1503-2086 https://doaj.org/article/32ca3950ac05486e9dd45f429cfc0621 Nordlit: Tidsskrift i litteratur og kultur, Iss 34 (2015) Double Nora Resurrection Day noh style modern theatre style Norwegian literature PT8301-9155 article 2015 ftdoajarticles https://doi.org/10.7557/13.3378 2022-12-30T23:59:08Z I have so far directed two plays of Ibsen as the intercultural performance, that is, the collaboration of the modern theatre with noh, a traditional Japanese theatre, which was established as an artistic theatre form in the 14th century. The first production was Double Nora, based on A Doll’s House, which premiered at a noh theatre in Tokyo in 2005, and the second was Resurrection Day, based on When We Dead Awaken, performed at the Ibsen Festival in Tokyo in 2010. In both productions, professional noh and modern theatre actors appeared together in their own acting styles. At the Ibsen Conference in Tromsø in June 2012, brief scenes of the two productions were shown. But here in the present article the performances are partly described, and the interactive relationship between different acting styles of noh and modern theatre is examined. A new and difficult experiment of Resurrection Day was to try a conversation between the main noh actor and the modern actress. The experiment was possible because the performance took place not on a noh stage in a unique form but on an ordinary stage in a modern theatre. Thus, some problems involved in the intercultural performance of Ibsen are investigated. Article in Journal/Newspaper Tromsø Directory of Open Access Journals: DOAJ Articles Tromsø Nordlit 34 335 |
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Directory of Open Access Journals: DOAJ Articles |
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ftdoajarticles |
language |
English Norwegian |
topic |
Double Nora Resurrection Day noh style modern theatre style Norwegian literature PT8301-9155 |
spellingShingle |
Double Nora Resurrection Day noh style modern theatre style Norwegian literature PT8301-9155 Mitsuya Mori Two intercultural performances: Double Nora and Resurrection Day |
topic_facet |
Double Nora Resurrection Day noh style modern theatre style Norwegian literature PT8301-9155 |
description |
I have so far directed two plays of Ibsen as the intercultural performance, that is, the collaboration of the modern theatre with noh, a traditional Japanese theatre, which was established as an artistic theatre form in the 14th century. The first production was Double Nora, based on A Doll’s House, which premiered at a noh theatre in Tokyo in 2005, and the second was Resurrection Day, based on When We Dead Awaken, performed at the Ibsen Festival in Tokyo in 2010. In both productions, professional noh and modern theatre actors appeared together in their own acting styles. At the Ibsen Conference in Tromsø in June 2012, brief scenes of the two productions were shown. But here in the present article the performances are partly described, and the interactive relationship between different acting styles of noh and modern theatre is examined. A new and difficult experiment of Resurrection Day was to try a conversation between the main noh actor and the modern actress. The experiment was possible because the performance took place not on a noh stage in a unique form but on an ordinary stage in a modern theatre. Thus, some problems involved in the intercultural performance of Ibsen are investigated. |
format |
Article in Journal/Newspaper |
author |
Mitsuya Mori |
author_facet |
Mitsuya Mori |
author_sort |
Mitsuya Mori |
title |
Two intercultural performances: Double Nora and Resurrection Day |
title_short |
Two intercultural performances: Double Nora and Resurrection Day |
title_full |
Two intercultural performances: Double Nora and Resurrection Day |
title_fullStr |
Two intercultural performances: Double Nora and Resurrection Day |
title_full_unstemmed |
Two intercultural performances: Double Nora and Resurrection Day |
title_sort |
two intercultural performances: double nora and resurrection day |
publisher |
Septentrio Academic Publishing |
publishDate |
2015 |
url |
https://doi.org/10.7557/13.3378 https://doaj.org/article/32ca3950ac05486e9dd45f429cfc0621 |
geographic |
Tromsø |
geographic_facet |
Tromsø |
genre |
Tromsø |
genre_facet |
Tromsø |
op_source |
Nordlit: Tidsskrift i litteratur og kultur, Iss 34 (2015) |
op_relation |
https://septentrio.uit.no/index.php/nordlit/article/view/3378 https://doaj.org/toc/0809-1668 https://doaj.org/toc/1503-2086 doi:10.7557/13.3378 0809-1668 1503-2086 https://doaj.org/article/32ca3950ac05486e9dd45f429cfc0621 |
op_doi |
https://doi.org/10.7557/13.3378 |
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Nordlit |
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34 |
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335 |
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1766219521538916352 |