“Avenge Me!”

Abstract

In the antecedents of English Renaissance and kabuki GHOSTS WE find one of many key differences that shape the relationship between ghosts, revenge, and the theatre. In plays like Atsumori we see narrative by a ghost in nō , contrasted with Seneca’s Thyestes in which we find narrative for a ghost. In the nō , the ghost narrates his or her own story. The spirit has narrative agency and may not only control the telling of his or her own narrative but also interact with the living beings hearing that story. In Atsumori , for example, the ghost of Atsumori interacts with Kumagae, the man who killed him. Although the actual story of his death is told by the ai , Atsumori is also allowed to speak for himself and even draw his sword and threaten Kumagae. 1 His is an active presence in the play; he is able to participate. On the other hand, Tantalus in Thyestes is a witness, one that may interact with the Fury who has brought him from Hades to watch but not with the narrative playing out on stage. Tantalus sits watching the revenge of Atreus against Thyestes performed in front of him and is powerless to stop it, just like the audience. 2 The play is performed in front of the ghost, who does not participate. In short, Japanese ghosts are actors, Western ghosts are audiences. This singular distinction will shape the role that ghosts play in revenge drama. 3 These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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