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His frequent visits, since then, have enthralled a generation.
These continue now at the Barbican in London, where his company is about to present the compelling new Hamlet, followed by a stage version of Haruki Murakami's novel Kafka on the Shore. In a wheelchair and with a nasal tube, he was being ferried between theatre and hospital when I was in Tokyo in January.
Known for his interpretations of plays by William Shakespeare and Greek tragedies, Ninagawa first debuted as a director in 1969.
It was followed by other shows at yearly intervals until 1991; they revealed other sides of Ninagawa, not all as entrancing as his Shakespearian debut.
He wanted to build the feeling of sanctity and rapture in everyday life.
On 25 November 1970, the day he completed his four-volume masterpiece, The Sea of Fertility, Mishima committed seppuku, or ritual suicide by disembowelment and beheading. This is the central quest of Richard Appignanesi's meticulously researched and highly ambitious novel.
Japanese studies remained largely in the hands of Japanese experts, and the West could not exercise the authority it took for granted in the case of Islam, India and China.
Even after its defeat in 1945, when Japan was tamed and contained, it remained in control of its past.
BEFORE Yukio Ninagawa's arrival at the 1985 Edinburgh Festival, Japanese drama had made precious little headway on the British stage.