Noh Factors In Madema De Sade By Yukio Mishim

Madame de Sade is one of Mishima’s representative drama works.In this play,Madame Sade refused to meet her husband Sade after waiting for him for decades without hesitation.On the reason why Madame Sade made such a choice,there have been heated discussion since its publishment.However,the discussion on the composition and peculiarities of the script,also combined with the stage performance is rare.Therefore,this paper analyzes the elements of Noh in the modern play Madame de Sade,and selects the stage performance directed by Swedish director Ingmar Bergman for proving that this performance continues the dramatic peculiarities of Mishima-containing the Yuhgen of Noh,from the perspectives of text study and stage research,according to Yukio Mishima’s literature concept.This paper is divided into three chapters.The first chapter deals with the plot and ending,analyzing the features of characters,and also the different principles of behavior given by Mishima such as chastity and social morality.From the perspective of text analysis,the second chapter proves that Madame de Sade accords with Noh’s arrangement of "Jo-Ha-Kyu" in composition,and shows Noh’s Yuhgen aesthetics in creation.The last chapter targeting at the stage performance of The Swedish director Bergman,analyzes that it shows the director’s absorption and application of Noh in terms of stage design and actor’s performing,so as to confirm that Bergman’s version reflects and extends the elements of Noh in Yukio Mishima’s plays.When writing plays,Mishima advocates integrating the peculiarities of traditional Japanese drama with the modern ones.And Madame de Sade reflects it well from the perspectives of both the structure and the aesthetic concept,which is full of Noh elements.Mishima’s literature concept is also understood and inherited by Ingmar Bergman.The stage of Madame de Sade directed by him also has the elements of the traditional Japanese drama-Noh.