日文版
- 三島由紀夫, After the Banquet (Random House Inc, January 1, 1973)
Donald Keene (1922-2019) was a prominent scholar and translator of Japanese literature. In 2002, he was awarded one of Japan's highest honors, the title "Person of Cultural Merit" (Bunka Koro-sha), for his distinguished service in the promotion of Japanese literature and culture.
Five Modern Noh Plays
A great, ancient art form, brought right up to date by one of Japan's foremost writers.
These five pieces, written between 1950 and 1955 and presented as modern plays at the time, are as suited to being performed on any stage in the world, as they are to being read in Donald Keene's pitch-perfect translation. In them, Yukio Mishima preserves the weird and haunting mood of classical Noh, whilst lending his characters and situations the directness and hardness of an encounter on a modern city street.
- 三島由紀夫, Five Modern Noh Plays - Including: Madame de Sade 此篇名漢字待查，可能是《班女》 (Tuttle, 1967)
| Five Modern Noh Plays | |
|---|---|
| Written by | Yukio Mishima |
| Original language | Japanese |
Five Modern Noh Plays is a collection of plays written by Japanese writer Yukio Mishima. Mishima wrote these plays between 1950 and 1955 and presented them as modern plays in Tokyo. Of these five, only The Damask Drum was expressed in the traditional Noh fashion.[1] The Lady Aoi was expressed as a Western-style opera. The plays take older Nō plots or traditional and foreign fairy tales and bring them to a modern setting.
Famed Japan scholar Donald Keene translated Five Modern Noh Plays.[2]
Plays[edit]
A poet meets Komachi, a repulsive-looking old woman, at a Tokyo park at night.[3] She expresses the memory of when she had been lovely 80 years ago. She reminisces on a night in the 1880s, and together with the help of the poet (who acts the part of the military officer with whom she fell in love), they relive that night. The poet realizes that she is still beautiful, and sees past her ragged clothes and wretched body.
Sotoba Komachi (卒塔婆小町) is one of the stories in Five Modern Noh Plays by Yukio Mishima. The original work was written by Kanami and was later reworked by Mishima Yukio for modern theatre. The kanji 卒塔婆 means stupa and小町 is the synonym of belle or beautiful woman. The story was written in 1952 and published in 1956. It was translated by Japanese literature expert Donald Keene into English in 1957. Sotoba Komachi is the third story of The Five Modern Noh Plays.
- The Damask Drum: 綾鼓
An old man becomes enamored with a neighbor. The neighbor and her associates play a trick on the man by challenging him to sound a drum. If he can make the drum sound, he will earn a kiss. However, this drum is made of damask, and is only a prop, incapable of making any sound.
- Kantan:邯鄲
A youth who sees no meaning in anything, wonders what will happen if he sleeps on a magical pillow which makes the dreamer realize what he already understands, the futility of existence.
- Hanjo
- The Lady Aoi
Reception[edit]
Mishima received the illustrious Kishida Prize for Drama from Shinchosha Publishing in 1955.
漫談"Donald Keene 譯/著的日本文學" 21：三島由紀夫《近代能樂集 《班女》》班婕妤--後人稱 《班女》為被拋棄的女子。比較川端康成與 VS 三島由紀夫的"奇想"能力。。
三島由紀夫《近代能樂集 《班女》》
Hanjo (班女)
"Hanjo" is a Noh play, which is reportedly created by Zeami. While it is Kyoujomono (story of a madwoman) of a young girl, there is no part of kurui (a Noh dance pattern which expresses the disturbed heart). She always looks at a fan thinking of her lover, and her attitude is expressed with dance and Noh chant.
The fan is so impressive that it is called ogimonogurui (mad fan). As well as in Kinuta (Noh), a fan in autumn represented loneliness. "Hanjo" came from Ban Jie Yu of China. Ban was a lover of Emperor Cheng of the former Han Dynasty. Since she was taken from the Emperor's love by Cho Hien, she composed a poem, "Yuan ge Xing," in which she likens herself to a fan in autumn.
At Kyogen kuchiake (showing first the details of characters and circumstances in Kyogen play), Ai (the role of a kyogen actor in Noh) quickly explains the origin of the name, Hanjo, and her love with Yoshida no Shosho. Hanjo was a prostitute, and her real name was Hanago. She loved fans and was called Hanjo. Hanjo fell in love with Yoshida no Shosho, who was on his way to the east from Kyoto, and they exchanged their fans. Since Shosho has gone, Hanjo spent days looking at the fan and stopped serving at banquets. Therefore, she was expelled from the inn.
The waki (supporting role) (Yoshida no Shosho) appeared and explained that he came to Nogami from Kyoto again. However, Hanago, with whom he had promised was not there. He left a message "If Hanago ever comes to Kyoto, drop in" and headed for Kyoto.
Then the scene moves to Kyoto. There is issei (blowing pattern of the flute indicating the appearance of the shite [main character]) and atojite ("shite" performer that appears after nakairi) appears. She lamented for unobtainable love; however onlookers at a shrine teased her, saying "show your craziness today and amuse us." However, a man noticed the fan which was always kept with her. With his fan recalling her lover, Hanjo danced Jo-no-mai (introductory dance) (Naka-no-mai [middle dance] at the present day) with the Noh chant citing many old Chinese writings. The man talked to her (originally, letting subordinate talk), but she refused him because "it is a remembrance token of beloved man." Again he talked to her and they showed their fan to each other. She finally reunited with Shosho. 『それぞと知られ白雪の、扇のつまの形見こそ、妹背の中の情なれ、妹背の中の情なれ。』(Tome-hyoshi [closing stamps]).
Documents
Zeami's Noh', in "Yokyokushu (text of Noh play) vol.1, Japanese Classic Literature Systematic Edition, Iwanami Shoten, Publishers. Noh chants are quoted from the sixth line of p.344 and the last of two lines of p.347, in the fourth printing of the same document.
《近代能樂集 》(市面上兩中譯本) 除了1955 翻譯的 5齣《邯鄲》《綾鼓》《卒塔婆小町 》《葵上》 《班女》，還包姑 《道成寺》《熊野 》《弱法師 》
班女出自：.....失寵後，做賦以秋扇自喻。後人稱 《班女》為被拋棄的女子.....
比較川端康成與 VS 三島由紀夫的"奇想"能力。川端康成勝......
滑動以放大圖片
Modern Japanese literature,: An anthology Hardcover – 1956年 1月 1日
漫談"Donald Keene 譯/著的日本文學" 11： Twenty Plays of the Noh Theatre (1970笑いを中心とした芸能からも日本文学を研究し、) 三島由紀夫《近代能樂集《道成寺》》。佳美 (21) “21世紀的日本舞女：從歌舞伎舞蹈到波萊羅舞”“Nihon Buyo in the 21st Century: From Kabuki Dance to Boléro,”
Twenty Plays of the Noh Theatre (Columbia Univ Pr, June 1, 1970)
Twenty Plays of the Nō Theatre
Columbia University Press
- ^ 「日本の小説を翻訳するときに誰（の作品）が大変だったか」との渡辺謙の問いに対し、キーンは「三島由紀夫さんは難しかった」「彼は非常に複雑な比喩があって」と答え、渡辺も「お芝居し始めた頃に読んでもさっぱりわからないことが多かったですからね」と同意している[14]。
- ^ 日本文学者中西進は、「教科書的な古典だけではなく、笑いを中心とした芸能からも日本文学を研究し、大衆的なスタンスを一貫して持ち続けていました。皮膚感覚で日本を世界に紹介し
^ 在回答渡邊謙的問題“翻譯日本小說時，誰的作品很難？”基恩回答說，“三島由紀夫很難”，“他有非常複雜的隱喻。”渡邊同意說， 「當我剛開始演戲，有很多東西看不懂。」[14]
^ 日本文學學者中西進說：「他不僅從教科書經典中研究日本文學，而且從以笑聲為中心的表演藝術中研究日本文學，並始終保持流行的立場。向世界介紹
《近代能樂集》是三島由紀夫對傳統能樂劇目進行顛覆性改編而成的戲劇集。作者自幼喜愛能劇，在本作中，著眼于能劇那自由處理時間與空間的手法，大膽嘗試將能劇外在的形而上學式主題在現代世界的環境中重現，創造出獨特而前衛的舞台世界。相對於以現實主義為信條的現代戲劇，作者進行了大膽的嘗試，將古典文學的永恆主題以「現代能劇」的形式展現，使其具有超越國界的普適性，在各國上演時備受好評。
《三島由紀夫戲劇十種》（上下冊）選取了三島戲劇中極具代表性的十部作品，《綾鼓》《葵上》《鹿鳴館》《早晨的杜鵑花》《薔薇與海盜》《熊野》《黑蜥蜴》《薩德侯爵夫人》《長刀之夜》《癩王臺》，其中多次為首次中譯本出版。本書試圖以戲劇家身份為切口，從三島瑰麗而暴烈的戲劇作品出發，還原一個更為完滿的三島由紀夫文學版圖。
三島由紀夫 1925-1970
本名平岡公威。日本小說家、劇作家，多次獲諾貝爾文學獎提名。他的文學世界與他的藝術追求，共同塑造了這位暴烈與唯美的文壇異類。主要代表作有小說《金閣寺》《潮騷》、“豐饒之海”四部曲，戲劇《薩德侯爵夫人》《癩王臺》《黑蜥蜴》等。
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