ABSTRACT
Tadashi Suzuki began his theatre practice as a student at Waseda University in Tokyo in the late 50s and early 60s. In part, it was inspired by his rejection of an earlier movement in Japanese theatre, from the turn of the century, that discounted ancient forms such as Kabuki and Noh in order to embrace the modernity of realism. In the 70s, Suzuki turned his attention to Greek dramas, adapting them with an eye toward creating a bridge between the texts and Japanese cultural traditions. Ultimately his aim was to create a contemporary context for these works that was both a commentary on Japanese society and the modern world. In the mid-70s, a confluence of circumstances, including Suzuki's interest in producing an international theatre festival, the prohibitive cost of rentals in downtown Tokyo, and the expiration of the studio theatre's lease, led them to a small village in the Japanese Alps called Toga.
