Abstract
ABSTRACTIn an effort to expand the influence of Noh drama, professional Noh actors have licensed the adaptation of western plays, not least because such adaptations have an appeal for younger generations in Japan. The practice inevitably raises problems of authenticity. This article analyses Thomas Becket (1997), the Noh version of T. S. Eliot's Murder in the Cathedral. In so doing, it discusses the nature of Mugen Noh, particularly focusing on the use of history, the treatment of the natural world and the delineation of the title character.
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