Moeko Fujii at The Point:
Ninagawa would’ve hated being called my favorite self-Orientalist. He would’ve thrown an ashtray at me, if the stuff of legends is true. He did not brook critiques that hinted at his dabbling in the “Japanesque.” Ninagawa’s audience—his only audience, he maintained—was the Japanese, his aim “to produce a Shakespeare play that could be understood by ordinary people.” He said this with an air of finality, as if slamming a door shut, but I always wanted to jam a foot in before he did. I needed definitions—for “ordinary” and “Japanese”—his full-throated definitions, though he’d died before giving them. Because seeing his art had taught generations to stretch the bounds of those two words beyond imagining. No, here’s a more honest, selfish reason than that: I needed to know whether he was speaking to people who found them both comforting and troubling. I needed to know whether he was speaking to people like me.