Acknowledgements
While the translations of the ten plays which make up Genroku Chūshingura are entirely the responsibility of the three translators Brian Powell, Paul Griffith and Ronald Cavaye, they would like to thank the many people who have assisted and advised them. To all these friends with knowledge and experience of the kabuki world, the three translators are deeply grateful.
The editing of such an enormous project was a major undertaking and the translators would like to thank Rachel Payne for all her tireless and invaluable work. For the final editorial work, including the checking of the accuracy of the English translations against the Japanese originals, Brian Powell and Ronald Cavaye are extremely grateful to Paul Griffith for his meticulous check of all the manuscripts and for discussing so many details, most of which were of considerable complexity.
Furthermore, we must also mention Tsuruwaka Mitsuo. He was a member of the theatre company named Shinseisakuza, led by Mayama Miho (Mayama Seikaâs daughter). Apart from being a playwright, Mayama Seika was also a dedicated historian and his plays, although intended for modern audiences, contain a wealth of historical references. Tsuruwaka Mitsuo, when he was not acting, did the research necessary to elucidate these references for the benefit of the director and the actors. In 1980 he sat with Brian Powell for the better part of a year going through six of the Genroku ChÅ«shingura plays line by line. All these sessions were recorded and most were available to all three translators. Although only one of us actually met him, all three have listened to his voice over many hours and we would like to acknowledge his vitally important help here. Mayama Miho and the then members of Shinseisakuza made all this possible.
Brian Powell owes gratitude to his wife Irena not only for enduring his frustrations with Mayama Seikaâs sometimes gratuitous pedanticism but also for introducing him to a member of her Japanese book-reading circle who was both a professional translator and a kabuki buff. Sachiko Tytler was an indefatigable adviser who went to great lengths to correct translation mistakes and explain recondite references.
Paul Griffith would like to thank his good friend Yanai Tetsuo for his great assistance in checking his translations and for providing much useful explanation, and Ronald Cavaye would like to thank Watari YÅ«ko for her help with so many differing aspects of this project and answering so many questions. Both Paul and Ronald also owe a particular debt of gratitude to Yanagishita Kunioki who went through all their manuscripts making corrections and providing much invaluable advice. In addition, they are much obliged to Ånuma Nobuyuki, formerly of Shochiku Co. Ltd., for providing great insight into that companyâs involvement with Mayama Seika, and Paul would also like to thank the theatre critic and kabuki researcher, Nakamura TetsurÅ for information kindly provided in private conversations. Finally, they are grateful to Tsuchiya Ayumi of the Earphone Guide Co. Ltd. for her assistance in liaising with the TÅkyÅ National Theatre regarding the photo illustrations, as well as to the Earphone Guide company itself for affording Paul and Ronald the opportunity to work closely with kabuki scripts and to attend countless rehearsals for over 40 years, a unique and invaluable experience.
Any blemishes or mistakes in the final versions of the plays can only be attributed to the translators. All final decisions were made by them and they can only hope that their helpers will feel that their advice was accepted and acted upon in the spirit with which it was given.