Abstract
This essay explores some of the ways in which the Ryutopia Company's 2007 production of Hamlet reimagines Shakespeare's play as a global, intercultural work. The production's innovative approach to the First Player's speech on the death of Priam (2.2.453–500), here played in a style that evokes the performance traditions of the recitation of the central epic of Japan, the Tale of the Heike, creates a dialogue not only between Hamlet and its contemporary Japanese adaptation, but also between the epic texts and performance traditions of Japan and Shakespeare's own epic sources, especially the Aeneid. The essay also considers the Ryutopia Hamlet in the light of recent scholarship, including Margreta de Grazia's “Hamlet” without Hamlet, in which the epic affiliations of the play are reconsidered.
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