107 * 80 Katari Katari 80 Katari TAIPEI THEATRE JOURNAL 24 (2016) : School of Theatre, Taipei National University of the Arts

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1 107 * 80 Katari Katari 80 Katari TAIPEI THEATRE JOURNAL 24 (2016) : School of Theatre, Taipei National University of the Arts *

2 108 戲劇學刊 From Dialogue to Storytelling : King Lear Directed by Tadashi Suzuki Yu-pin Lin* Abstract This study sees drama as a form of cultural practice, analyzing Tadashi Suzuki s King Lear to discuss how Japanese directors responded to the cultural situation in the 1980s. Using the technique of Honka Dori to adapt William Shakespeare s play, Tadashi Suzuki turns events in the play into stories of particular characters. With such techniques of the director, the narrative structure of Suzuki s King Lear has an obviously high similarity with that of Fukushiki Mugen-Noh. Tadashi Suzuki borrows the concept of Waki from Noh to hold King Lear on the stage, and with such a mise-en-scène technique, William Shakespeare s King Lear no longer presents an objective world anymore; instead, it is an onstage illusion seen through a certain subjectivity. On the stage of Tadashi Suzuki, an invisible mirror is set. Locations of characters mirror images have created dialogues between characters in the play and their reflected counterparts, and thus the stage has been made into a surreal scene. The mise-en-scène technique of reflections of the mirror not only makes this translated Western classic play a mirror image, but also alters the performance=body/language relationship among actors, characters and the audience. The final goal, and what Tadashi Suzuki is seeking through this, is the actor s corporeality which he describes as Katari, narration = Katari, deception. Such an aesthetic aspect of the director also reflects ideas of Japanese theatre in the 1980s toward the modernization of Japan and the cultural situation after WWII. Keywords: Tadashi Suzuki, postwar Japanese director, King Lear, Fukushiki Mugen- Noh, Katari * Associate Professor, Department of Theatre, Taipei National University of the Arts

4 110 戲劇學刊 The Tale of Lear II 辺辺辺

6 112 戲劇學刊 3 4 5

7 彌

8 114 戲劇學刊説説 source culture target culture 説 1 2

10 116 戲劇學刊渋 Georg Friedrich Händel Largo 6 Largo A Dictionary of Theatre Anthropology preexpressivity 7 6 渋彦様県学 Eugenio Barba Eugenio Barba, and Nikola Savarese. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. trans. Richard Fowler. ( New York: Routledge, 2006), p. 195.

11 117 渋 8 渋 9 shite waki 8 渋彦様県学

12 118 戲劇學刊 honbutai kagami no ma hashigakari a no yo ko no yo

13 読売内内

14 120 戲劇學刊内薫内薫 1999

15 来衆内薫

16 122 戲劇學刊 18 Drama Theatre 内薫内薫

17 Theatre Drama 1919 訳内薫内薫

18 124 戲劇學刊 22 Theatre Drama 1 2 Patrice Pavis Mise-en-scène 内薫 Patrice Pavis Theatre at the Crossroads of Culture

19 125 source culture target culture 24 reality Drama source culture target culture culture modeling artistic modeling preparatory work by actors choice of a theatrical form 24 内

20 126 戲劇學刊 1

21 127 2

22 128 戲劇學刊 Katari Katari 1979 katari mono Utau Mono 25 Narration Utai Mono Mise-en-scène

23 Katari Katari Suzuki Method Konstantin Stanislavski

24 130 戲劇學刊 Drama Drama Drama Peter Szondi Drama Theatre Drama

25 Drama Suzuki Method

26 132 戲劇學刊 2009 Barba, Eugenio, and Nikola Savarese A Dictionary of Theatre Anthropology: The Secret Art of the Performer. trans. Richard Fowler. New York: Routledge. Szondi, Peter Theory of the Modern Drama: Theory and History of Literature. University of Minnesota Press. Pavis, Patrice Theatre at the Crossroads of Culture. London: Routledge 学渋彦 2008 様県学内薫内薫 1981 戦辺内 1979 会発 2006 静静県 2009 II 静静県増彦 1999 内薫

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