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Glacier or Iceberg? Spatial, Temporal, and Contextual Distance in an International Performance of Okada Toshiki's Time's Journey Through a Room

Glacier or Iceberg? Spatial, Temporal, and Contextual Distance in an International Performance of... <p>Abstract:</p><p>Okada Toshiki&apos;s play <i>Time&apos;s Journey Through a Room</i> was presented in English translation in New York in 2018. Changes in direction and temporal distance from the 2011 disasters, but particularly in local context, produce a difference in meaning, understanding, and purpose from the play&apos;s Japanese productions. A US audience has a changed relationship to the play&apos;s subtext: complex conflicts in attitudes toward disaster depending on temporal perspective. A ghostly character not only holds open space for the deceased in the aftermath of the March 2011 disasters in Japan, but also the possibilities of responses no longer available in the present. What are the pitfalls and values of presenting this recent Japanese work in New York? Investigating questions about subtext and international production leads to examination of further questions about subtext, domestic reception, and the structure of the original work.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Glacier or Iceberg? Spatial, Temporal, and Contextual Distance in an International Performance of Okada Toshiki&apos;s Time&apos;s Journey Through a Room

Wiesinger, Justine
Asian Theatre Journal , Volume 38 (1) – Jun 11, 2021
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Publisher
University of Hawai'I Press
Copyright
Copyright © The University of Hawai'i Press.
ISSN
1527-2109

Abstract

<p>Abstract:</p><p>Okada Toshiki&apos;s play <i>Time&apos;s Journey Through a Room</i> was presented in English translation in New York in 2018. Changes in direction and temporal distance from the 2011 disasters, but particularly in local context, produce a difference in meaning, understanding, and purpose from the play&apos;s Japanese productions. A US audience has a changed relationship to the play&apos;s subtext: complex conflicts in attitudes toward disaster depending on temporal perspective. A ghostly character not only holds open space for the deceased in the aftermath of the March 2011 disasters in Japan, but also the possibilities of responses no longer available in the present. What are the pitfalls and values of presenting this recent Japanese work in New York? Investigating questions about subtext and international production leads to examination of further questions about subtext, domestic reception, and the structure of the original work.</p>

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Jun 11, 2021

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