ABSTRACT
This essay attempts to uncover some of the key elements in the translated performance of Shakespeare by focusing on the two recent “Asian” adaptations: one is Miyagi Satoshi’s “Mugen-Noh” (literally meaning “Dreamy Illusion Noh play”) Othello, rst performed in Tokyo by Ku=Nauka Theater Company in 2005, and subsequently seen in New Delhi, having now acquired a classic status of renowned Shakespearean adaptation in a foreign language that bridges a gap between the traditional form of Noh and the modern stage-presentation; the other is Omar Porras’s bilingual (Japanese and French) presentation of Romeo and Juliet, rst performed in Shizuoka, Japan jointly by SPAC (Shizuoka Performance Arts Centre) and Switzerland’s Teatro Malandro in 2012, and was henceforth seen in several venues in Europe in 2013 with a great acclaim.1
