{"id":221,"date":"2020-08-12T08:16:26","date_gmt":"2020-08-12T08:16:26","guid":{"rendered":"https:\/\/fass.nus.edu.sg\/performct\/?page_id=221"},"modified":"2020-09-21T07:46:15","modified_gmt":"2020-09-21T07:46:15","slug":"negotiating-authenticity-translating-shakespeare-in-asian-traditional-performance-styles-for-a-digital-archive","status":"publish","type":"page","link":"https:\/\/fass.nus.edu.sg\/performct\/negotiating-authenticity-translating-shakespeare-in-asian-traditional-performance-styles-for-a-digital-archive\/","title":{"rendered":"Negotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive"},"content":{"rendered":"

\n\t\tNegotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive\n\t<\/h2>\n\tTakiguchi Ken
\nContemporary Tradition \u2013 Japanese Performance Genre Today<\/a>:\u00a0Session Two<\/a>\n\t\n

\n\t\tTakiguchi Ken: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive\n\t<\/h4>\n\t

Negotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive<\/p>\n

Takiguchi Ken, a research fellow at the National University of Singapore’s Theatre Studies Programme, discusses his translation work on Asian Shakespeare Intercultural Archive (A|S|I|A<\/a>), a digital archive in this presentation.<\/p>\n\t

Abstract<\/strong> (download PDF<\/a>)<\/h2>\n

Noh theatre\u2019s practice (training and performance) is ethical insofar as it incorporates the performer\u2019s everyday life. As practice informs life and life informs practice, the ethics of noh inform its aesthetics. In Japanese traditional practices (geid\u014d<\/em>) such as noh, these ethics are often assumed to be part of the education shared by a relatively uniform cohort of practitioners. Deference towards seniors, emphasis on the group rather than on the individual, rule conservatism, focus on method rather than on target \u2013 these are only some key features characterizing the noh ethos.<\/p>\n

What are the issues arising when noh is transmitted to individuals who do not comply to such ethics, either because they do not share them, or because they intentionally resist them? To what extent is it possible to adapt transmission methods in order to meet the needs of a culturally diverse group of practitioners?<\/p>\n

Based on extensive first-hand experience as a member of the INI \u2013 International Noh Institute, a group of non-Japanese Noh practitioners based in Kyoto, in this paper the author discusses points of friction as well as productive encounters of traditional noh practice with elements disrupting the traditional flow of noh knowledge.<\/p>\n

\n\t\tIntroduction\n\t<\/h3>\n\t

Since his first introduction to East Asia in the 19th<\/sup>\u00a0century, Shakespeare has been occupying an interesting and unique position in the cultural landscape of the region. The history of the translation and staging of his plays, which extends more than a century, established his position as one of the most canonical western authors and his plays continue to be re-interpreted, adopted and staged regularly in many countries in Asia.<\/p>\n

Asian Shakespeare Intercultural Archive (A|S|I|A)<\/a>\u00a0is an online digital archive project that has been developing a large collection of Shakespeare-related theatre productions staged in East and Southeast Asia. It currently has a collection of 52 productions and will add 10 more productions in a few weeks. They are donated from theatre companies based in Japan, South Korea, China, Hong Kong, Taiwan, Thailand, Singapore, the Philippines, Vietnam and Malaysia.<\/p>\n

A number of productions collected in the archive are adaptions to traditional performance styles including Noh and Kyogen. James Brandon called such an approach the \u201cIntercultural Shakespeare\u201d and defined it as the performances \u201cbased on confrontation of the textual values of canonical Shakespeare with the immediacy and vitality of indigenous theatre techniques and aesthetics\u201d (2010, 31). One of the aims of A|S|I|A is to provide access to such contemporary intercultural practices through its online collections.<\/p>\n

What is significant in A|S|I|A is that it is a completely multilingual web environment and all contents are provided in 4 languages: English, Chinese, Japanese and Korean. I have been working as the Deputy Director and Translation Editor of this archive since 2009. In such a multilingual online archive, translation plays a critical role. Translation of all scripts and data into 4 languages is an enormous task. However, in the course of the project, I realized that the translation happens not necessarily only in these processes. Rather, various kinds of translation happen in all aspects in the archive, and they are interrelated to each other.<\/p>\n

In this presentation, I wish to explore the different translations in A|S|I|A using the adaptations to the Asian, especially Japanese traditional performance styles collected in the archive, and discuss how the traditional performances work as a platform for the intercultural practices in the region. In this manner, I wish to explore the negotiations over the idea of \u201ctraditional\u201d in different ways and levels.<\/p>\n

\n\t\tTranslation to Asian Traditional Performance Styles\n\t<\/h3>\n\t

The first translation I would like to discuss is the translation of Shakespeare by Asian theatre makers that happened in the actual production process for staging. They translate the canonical plays of Shakespeare and adapt them into the traditional performance styles of their own country.<\/p>\n

Let me take two adaptations to Noh collected in A|S|I|A as examples. Ku N\u2019auka\u2019s 2005 production\u00a0Othello in Noh Style,\u00a0<\/em>directed by Miyagi Satoshi and Niigata City Performing Arts Centre Ryutopia\u2019s\u00a0King Lear\/ His Shadows<\/em>\u00a0directed by Kurita Yoshihiro in 2004. In spite of cosmetic similarities as adaptations to Noh, these two productions adopted deeply different strategies in their translation of Shakespeare into a Japanese traditional performance styles.<\/p>\n

Even in the earliest examples of Shakespeare\u2019s translation in Japan, the tension between the textual canonicity of Shakespeare as the western classic and the authenticity of the traditional performance styles of Japan was clearly observed. The first translation of Shakespeare by Tsubouchi Sh\u014dy\u014d (1859-1935), one the most influential Shakespeare translators in Japan, was in the literary style of Kabuki and J\u014druri puppet theatre known as Inpon. Kat\u014d Sh\u016bichi points out that the treatment was inevitable because \u201cit was beyond their [i.e. Japanese performers and audiences of that period] imagination that there could be other forms of plays than Inpon.\u201d (1991, 443) Tsubouchi himself also acknowledged the \u201chuge difference in the format\u201d between Shakespeare\u2019s blank verses and his Inpon translation but defended his choice by stating; \u201cMy priority is on readability and comprehensibility, and I adapted it into J\u014druri narrative style when that was practical, and kept the speeches so long as they were comprehensible.\u201d (1884, n\/p)[i]<\/sup><\/a> Utterability and performability by the Kabuki actors, who were the only professional actors available for staging Shakespeare during that period, was the first priority.<\/p>\n

In the Meiji period, the Japanese government implemented a thorough and extensive national project of westernization of the country. Performing arts were no exception, and the first approach adopted by the Japanese government to modernize its culture was to \u201creform\u201d Japanese traditional theatre, Kabuki in particular, into more westernized theatrical forms. Theatrical reform was spearheaded by the Engeki Kairy\u014d Kai (Society for Theatre Reform) established in 1886. The movement was aimed at raising the position of theatre in Japanese society from popular culture to high culture, and at persuading the western powers that Japan had a theatre that was comparable to western theatre.<\/p>\n

Western plays started to be introduced into Japan in the 1870s to be performed as the reformed Kabuki, and in terms of the translation of western plays in Meiji Japan, the most popular author was Shakespeare. As many as thirty-five translations of Shakespeare were published between 1877 and 1890. (Yamamoto 1992, 40) Although it was to deal with an immediate need of westernisation of theatre, this approach inevitably brought a tension between the textual canonicity of Shakespeare\u2019s plays and the authenticity of the performance styles of Japanese traditional theatre. In other words, such intercultural negotiations can be found from the very beginning of the reception of Shakespeare.<\/p>\n

Taking look at the contemporary adaptation of Shakespeare into Japanese traditional performances, the tensions between the canonicity of Shakespeare\u2019s text and the authenticity of the performance style is still a major issue. The solutions, however, take various forms reflecting the interests of the theatre-makers. One possibility is using the plots of Shakespeare\u2019s plays and, in terms of the text, completely re-writing the script to conform to the performance style. In other words, the textual canonicity of Shakespeare is rather compromised and the priority is given to the performative authenticity of Japanese traditional performance.<\/p>\n

Ku Na\u2019uka\u2019s,\u00a0Othello in Noh Style<\/em>\u00a0employs this strategy. Director Miyagi Satoshi used a script by Hirakawa Sukehiro[ii]<\/sup><\/a>\u00a0which has two distinctive features. First, the language used was classical and formal Japanese in the\u00a0Utai-bon<\/em>\u00a0style, the traditional form of the Noh script. The archaism in Noh was reproduced to tell the story of\u00a0Othello<\/em>, which gave an authenticity to the production as a Noh performance. Second,\u00a0Othello in Noh Style<\/em>\u00a0adopted an authentic structure of Mugen Noh with the prominent first-person narrative of\u00a0shite<\/em>\u00a0with the opening remarks by\u00a0waki<\/em>\u00a0and\u00a0ai-kyogen\u00a0<\/em>interlude.<\/p>\n

On the other hand, Ryutopia\u2019s\u00a0King Lear\/ His Shadows<\/em>, which was staged on the authentic Noh theatre, adopted a completely different strategy. Director Kurita Yoshihiro used the translation by Matsuoka Kazuko, who is one of the most respected Shakespeare translators in Japan now, in contemporary Japanese. Kurita made some key amendments to the script to furnish the script to be staged on the Noh stage, including the creation of characters called Shadows who work as both waki<\/em>\u00a0and\u00a0jiutai<\/em>. The performance was bookended with their narrations to frame the entire performance as the recollection of the spirit of Lear, mimicking the basic structure of Mugen Noh. In the main part of the production, they anonymously speak choric speeches, mainly of Kent, Gloucester and Edger. By introducing Shadows, Kurita successfully structured\u00a0King Lear\/ His Shadows<\/em>\u00a0as a quasi-Noh performance.<\/p>\n

Nevertheless, the actors performed in the conventional manner of Shingeki with its naturalistic acting style, which was appropriate for the contemporary vernacular Japanese translation of Matsuoka. Thus, the overall impression of the productions was more of Shingeki rather than of Noh. This strategy rather highlights the canonicity of Shakespeare\u2019s text in spite of its highly Japanised aesthetics on stage.<\/p>\n

Such translation strategies to traditional performance styles may be difficult for those who are not familiar with the respective genres. A|S|I|A provides the data provided by editors and tries to provide annotations to each production. The data is structured in four main categories namely; i) Production, ii) Reception, iii) Art\/Forms and iv) Points of Reference.<\/p>\n

First two categories are factual data and no interpretation is included. However, the other two categories include a substantial amount of interpretation of the production by the editors, and in Art\/Forms data, we provide basic information on the distinctive usage of particular performance styles.<\/p>\n

Let\u2019s take a look at actual data of Ryutopia\u2019s\u00a0King Lear\/ His Shadows\u00a0<\/em>as an example.<\/p>\n

(Productions<\/a>\u00a0> Ryutopia King Lear data)<\/p>\n

We provide these interpretive data to provide an entry point for the users who are not familiar with the cultures and sociopolitical conditions in this area. We are of course aware that providing such interpretation can be a debatable approach to the practice of archiving, in which the objectivity is usually considered as a principle. Providing our own reading of the production, which can also be paraphrased as our own translation of the production, invites a risk of manipulation of the users\u2019 perceptions of the productions collected, and it is, I would admit, a plausible criticism against our approach.<\/p>\n

However, through the data, we can highlight that even if Shakespeare\u2019s texts are adapted into the same traditional performance style, there can be various translation strategies reflecting the directors\u2019 approaches to Shakespeare\u2019s text. In A|S|I|A, various approaches are archived and juxtaposed in an easily comparable manner. Thanks to the extensive range of the collection, the comparison can be made even beyond national borders \u2014 among adaptations to Beijing Opera, Korean Changgeuk, Malaysia\u2019s Mak Yong, to name a few. These adaptations demonstrate the tension between Shakespeare\u2019s (read Western) canonicity and Asian traditional performing arts styles, reflecting the history of each country.<\/p>\n

\n\t\tThe \u201cReverse\u201d Translation of Asian Shakespeare into English\n\t<\/h3>\n\t

As a multilingual online archive, A|S|I|A requires translation into several languages. Among them, the translation back to the language in which Shakespeare wrote is unique considering the tensions between the east and the west which I discussed earlier.<\/p>\n

Looking back, after his initial attempt of adaptation of Shakespeare into Impon style, Tsubouchi started to employ colloquial and contemporary language that became more accessible and comprehensible for his educated audience by the first decade of the 20th<\/sup>\u00a0century. He also set up his own theatre company the Bungei Ky\u014dkai (Literary Arts Society) in 1910 to stage the plays in a style that departed from Kabuki tradition: what was later called Shingeki (Modern Drama). It was a remarkable attempt to develop a corps of performers who were totally free from the Kabuki tradition, and more importantly actresses, that have never existed in Kabuki performances in which traditionally female roles are performed by Onnagata (female impersonators). It was, in other words, an effort to depart from the traditional performances and establish a modern theatrical style in Japan.<\/p>\n

Tsubouchi translated five Shakespeare plays into colloquial Japanese starting around 1909 for use in the Bungei Ky\u014dkai\u2019s productions. Tsubouchi\u2019s principle of translating into the most approachable and comprehensible language for his contemporary audience became an authoritative approach to the translation of Shakespeare in Japan since then, and most of translations follow this tradition unless there is a specific requirement like what we saw in Ku Na\u2019uka\u2019s Othello in Noh Style<\/em>. This is also a common treatment of the text in other East Asian countries, namely China and South Korea. When this translation strategy is adopted, the English translation in modern vernacular language can represent the actual experience of the Asian audiences who hear the lines spoken in contemporary vernacular in their native languages.<\/p>\n

In A|S|I|A, we adopt two basic approaches to the \u201creverse\u201d translation into English, the language in which Shakespeare wrote the original script: One is to use Shakespeare\u2019s text as much as possible. This has been a common practice for translating the scripts of Asian Shakespeare productions that closely follow the original plot. It is also commonly considered as a guarantee of the performance\u2019s authenticity when the Asian production is staged for the English-speaking audience.<\/p>\n

The other option is to translate into English from the scratch, often using the modern vernacular English. In Japan, using contemporary vernacular Japanese for translating Shakespeare has been established as an authentic approach to its translation.<\/p>\n

When it comes to the \u201creverse\u201d translation of the adaptations to the Asian traditional performance styles, ASIA editors took again had to take the tension between Shakespeare\u2019s text and the Asian traditional performance styles.<\/p>\n

Let me go back to the two adaptations to Noh. When translating Ryutopia\u2019s\u00a0King Lear<\/em>, we decided to translate it from the scratch in spite of its faithfulness to the Shakespeare\u2019s original. As I discussed, director Kurita\u2019s staging strategy focused more on the drama using Shingeki-styled speeches and acting than the stylized presentation of Noh. Kurita used Noh as a reference to essentialise\u00a0King Lear<\/em>\u00a0by introducing characters called Shadows who behaved as\u00a0jiutai<\/em>\u00a0chorus that emphasised the choric possibilities in Shakespeare\u2019s speeches. Because Kurita did not use the traditional performance as a core of his production but as a reference, we decided to take a liberty to translate his script into modern colloquial English.<\/p>\n

On the other hand, we decide to use English translation based on Shakespeare\u2019s original for Ku\u2019Nauka theatre company\u2019s Othello in Noh Style, which was provided by the company. It was because we consider that the company\u2019s intention was in exploring the tension between the Shakespeare\u2019s canonicity and the authenticity of the performance style of Noh, thus the text should be Shakespeare\u2019s original.<\/p>\n

However, decisions cannot be always clear-cut, reflecting the complexity of the negotiations between the western and Asian authenticities. In case of National Changgeuk Theatre of Korea\u2019s adaptation of\u00a0Romeo and Juliet<\/em>, the company provided us their English translation, which uses Shakespeare\u2019s original text extensively. It is understandable treatment because this work was created with a strong intention to establish Changgeuk as an authentic traditional performance of Korea, as I will discuss in detail later, and the usage of Shakespeare\u2019s text underlines their claim that the performance form is authoritative performance style that is able to compete with the western canonicity represented by Shakespeare. Nevertheless, we proposed to translate the script into modern vernacular English because our Korean editor found the tone of the Korean speeches was very light and playful, reflecting the nature of indigenous performance style to which the performance was adapted. Eventually we put two different versions of English translation in our archive. It was a kind of compromise, but it could at the same time demonstrate the complexity of the negotiation.<\/p>\n

The flexibility of A|S|I|A\u2019s video player made such a juxtaposition possible. It presents original scripts and script translations in different languages, that are shown in the text box below streaming videos. The user can switch them easily. This lets us to take this flexible approach, and juxtapose the different approaches to the English translation.<\/p>\n

\uff08Productions<\/a>\u00a0> Changgeuk Romeo and Juliet Video\uff09<\/p>\n

In this layer of translation, the negotiation between the textual canonicity of Shakespeare and the authenticity of Asian traditional performance forms are re-examined by the ASIA team. The English translation reflected our reading of the production, and our understanding of the negotiation.<\/p>\n

\n\t\tInter-Asian Translation\n\t<\/h3>\n\t

In the 1990s, there was a major shift in Translation Studies which advocated that the practice of translation should go beyond language and take the cultural environment of the source and target text into consideration. Such a \u201ccultural turn\u201d in translation therory inevitably forced translators to be aware of historical and political conditions surrounding the text they were dealing with. Many translation theorists who participated in this movement pointed out the existence of unequal power relationship between the cultures of the source text and the target text, which had been often historically created by colonialism. They also claimed that the translators, even if not intentionally, had helped in maintaining such hierarchical system.<\/p>\n

Our translation practices at A|S|I|A cannot ignore that, especially when the source text of the former colony is translated into Japanese. The complex history of the reception and translation of Shakespeare in Asia had to be reflected in the translation strategy at the archive. Although I am aware that this topic does not fit the theme of the conference, I wish to touch it briefly. It is another layer of translation at A|S|I|A in which the idea of \u201ctraditional\u201d affects the process after all.<\/p>\n

Let me give you one example \u2014 translation of National Changgeuk Company of Korea\u2019s\u00a0Romeo and Juliet<\/em>\u00a0into Japanese. National Changgeuk Company of Korea was established in 1962 as one of five resident companies of The National Theatre of Korea[iii]<\/sup><\/a>\u00a0to establish Changgeuk as a traditional Korean theatre as I briefly discussed earlier. Changgeuk (literary \u201cSong Drama\u201d) is Korean opera in the singing style of Pansori epic chant, which was enrolled in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in 2008. Setting up an official theatre company dedicated to Changgeuk was a national project of postcolonial identity building underscored by strong nationalist sentiment that eagerly aimed to establish Changgeuk as an authentic traditional performing arts.<\/p>\n

However, Changgeuk as a genre was established during period of Japan\u2019s colonial rule of Korea and the initial translation of Shakespeare in Korea was also heavily influenced by Japanese translators including Tsubouchi Sh\u014dy\u014d. These connections to the former colonizer were carefully and thoroughly removed from the production of\u00a0Romeo and Juliet<\/em>, which was the very first example of adaptation of a western work to this performance form. The performance was furnished with various staging strategies that underlined the authenticity of Changgeuk as a traditional performance.<\/p>\n

To reflect such postcolonial sensitivities on the one hand and the historicity of the performance style and the reception of Shakespeare in Korea on the other, ASIA team adopted several translation strategies. The main strategy was to \u201cforeignize\u201d the Japanese translation by avoiding the smooth and natural translation. Instead, we transliterated rather than translated culturally specific terms in the original Korean script so that the Japanese readers would feel the detachment from rather than immersion in the translated script. We added annotations by the translator and the editor to supply enough information for the Japanese readers to comprehend the script.<\/p>\n

A|S|I|A\u2019s web interface allows us to show time-coded editors\u2019 and translators\u2019 notes that appear as the video comes to the scene that refers to the particular element of cultural specificity. It is also linked to the data.<\/p>\n

\uff08Productions<\/a>\u00a0> Changgeuk Romeo and Juliet Data > Art\/Forms > Single \/ Plural Performance Forms > Secondary Form\uff09<\/p>\n

This is another layer of cultural negotiations over the idea of \u201ctraditional\u201d, which we had to deal with in the course of archiving process.<\/p>\n

\n\t\tConclusion\n\t<\/h3>\n\t

Adaptations of Shakespeare into Asian traditional performance forms collected in ASIA demonstrate the complex and multi-layered intercultural negotiations between east and west, as well as within the region. The ideas and concepts of \u201ctraditional\u201d have great diversity, and the approaches to deal with \u201ctraditional\u201d performance styles vary from theatre maker to theatre maker reflecting the sociopolitical and historical conditions of the country the project took place. The multiple translation processes I discussed in this paper became a space for examining such intercultural practices not only by original makers of Asian Shakespeare but also by the translators and editors of the online archive.<\/p>\n

The key to let the online archive play such a role is the design of the archive to accommodate and juxtapose multiple elements that reflects the intercultural negotiations. As I demonstrated during the presentation, easily switchable multilingual environment let the users compare translations in different languages. Metadata, especially the interpretive data, contextualizes the productions and make the archive accessible for the researchers and students who explore Asian Shakespeare productions. The time-coded annotations that appear next to the video provides enough annotations by the translators and editors, which makes it possible to take the risk of \u201cforeignized\u201d translation strategy. These elements combined, the online archive itself represents the complexity of the reception and translation of Shakespeare in Asia, and the tensions between Shakespeare\u2019s canonicity and the authenticity of traditional performance styles in Asia.<\/p>\n

\n\t\tReferences\n\t<\/h3>\n\t

Brandon, James. 2010. \u201cOther Shakespeares in Asia: An Overview.\u201d In\u00a0Re- playing Shakespeare in Asia<\/em>, ed. Poonam Trivedi and Minami Ryuta, 21-40. New York: Routledge.<\/p>\n

Kato, Sh\u016bichi. 1991. \u201cJuriasu Sh\u012bz\u0101.\u201d (Julius Caesar) In\u00a0Honyaku No Shis\u014d<\/em>, (The Ideology of Translation) ed. Kat\u014d Sh\u016bichi and Maruyama Masao, 442-452. Tokyo: Iwanami Shoten.<\/p>\n

Tsubouchi, Sh\u014dy\u014d. 1884.\u00a0Jiy\u016b No Tachi Nagori No Kireaji<\/em>. (The Sorrowful Sharpness of the Sword of Freedom) Tokyo: T\u014dy\u014dkan.<\/p>\n

Yamamoto, Sumiko. 1992.\u00a0Eibei Engeki Inyuk\u014d<\/em>. (On Introduction of the Western Theatre to Japan) Tokyo: Bunka Shob\u014d Hakubunsha.<\/p>\n[i]<\/a>\u00a0All translations from Japanese sources are mine unless otherwise stated.
\n[ii]<\/a>\u00a0Except the\u00a0ai-kyogen<\/em>\u00a0and some\u00a0waki<\/em>\u00a0lines in the second half.
\n[iii]<\/a>\u00a0As of July 2015, there were only three resident companies; the other two are the National Dance Company and National Orchestra.\n\t\t\t\n\t\t\t\t\t\t\tBack to Session Page\n\t\t\t\t\t<\/a>\n","protected":false},"excerpt":{"rendered":"

Negotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive Takiguchi Ken Contemporary Tradition \u2013 Japanese Performance Genre Today:\u00a0Session Two Takiguchi Ken: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive Negotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive Takiguchi Ken, a research fellow at […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-221","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nNegotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive - 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