Insiste Junji Kinoshita en que la dramática es una manera de pensar basada en el materialismo dialéctico histórico, que el drama como la historia se desarrolla por el conflicto entre dos fuerzas antagónicas. La formación del drama la considera igual a la de la historia.

　Además, definiendo los cuentos populares como una expresión de la resistencia del pueblo contra el poder feudal, escribe “Sankaku Boshi diciendo que en él encuentra el conflicto entre la fuerza del pueblo (lo erótico de Frasquita) y el poder del Corregidor, y que refleja una resistencia más fuerte que las resistencias del pueblo japonés.

　Observando, sin embargo, los romances españoles de “El Molinero de Arcos” o “El Corregidor y la Molinera”, no es cierto que se halle el tema de la resistencia sino hay el tema del infidelidad matrimonial difundido por toda Europa.

　Es muy dudable que se puedan definir los cuentos populares como una expresión de la resistencia del pueblo.

　En consecuencia, las obras teatrales que Kinoshita adaptó de los cuentos populares, no dramatizan los temas que existen en los cuentos, sino que dramatizan de manera popular los temas inventados por él mismo basándose en el materialismo dialéctico histórico.

KINOSHITA Junji seems to have become interested in Okinawa in 1960, fifteen years after the end of World War II, when he co-created the Sprechchor, Okinawa, for the first China tour of the Shingeki theatre troupe, “Nihon Shingeki Dan.” The work presents an Okinawan woman named NAMIHIRA Hide, who kills a former sergeant of the Japanese Army, YAMANO Takekichi, by cutting the rope he holds onto. She thus severs what Japan's past has been burdened with and she, as an Okinawan, throws herself to death from the cliff. Kinoshita completed the play in 1963 by confronting the issue of Okinawa within Mainland Japan without visiting Okinawa. What made him create a drama of alienation (à la Brecht) that was beyond his own theory of drama is firstly a kind of refracted double structure; he “looks at Okinawa through the eyes of Noboru JABANA, while being looked at by the same eyes in turn.” This was caused by Kinoshita's sympathy with the life of Jabana, one of the intelligentsia in the Meiji Era. And secondly, a realistic impact of dissolution of his theatre company, “Budo no Kai”. Accordingly, the alienation effect in this play is produced by placing “Okinawa” as the object of the drama.

　The purpose of this study is to elucidate the dramatic technique (Dramaturgie) of Kinoshita Junji’s play Yūzuru (“The Twilight Crane”), which is based on the folktale Tsurunyōbō (“The Crane Wife”). This will be done through a comparison with the Korean folk play Yennal Yetchoge Whoywhoy (“The life of a Hero”, by Choi Inhun), which bears numerous resem- blances to Yūzuru, and also by comparing both plays with their original source folktales.

　The dramatic technique a writer employs when composing a work can generally be divided into two categories——the internal and the external. In the case of Yūzuru, the internal dramatic technique is evidenced as follows: the female hero of the folktale Tsurunyōbō is changed into a male hero in the play, and through this hero Yohyō ，the conflicts arising from human desires and the accompanying tragedy, are emphasized.

　Nevertheless, research up to now on Yūzuru has mainly focused on such external dramatic techniques as the appearance of new characters (Sōdo and Unzu, for example) who are not in the original folktale, or on the poetic charm of the dialogue in Yūzuru. Accordingly, productions of Yūzuru (for example, Yamamoto Yasuei no Kai), following these interpretations, have continued to make Tsū the center of the play.

　However, as a conclusion, to this study, I would like to suggest that Yohyō , who best reflects the central internal dramatic technique of Yūzuru, be made the hero of the play in future productions.

　Shakespeare’s Othello and Kinoshita Junji’s Yūzuru have a common dramatic structure. In both plays Othello and Yohyō symbolically leave the “margin”，the maternal world of Desdemona and Tsū. They then move into the “centre,” the male dominant world represented by Iago or Sōdo, finally returning again to their wives.

　The “centre”and the “margin”are in a cultural binary relation. The former term refers to authority, power, or organized community as defined by a cultural code; and the latter refers to whatever can not be contained in the “centre.” Both terms have a dialectical interaction, in which the “centre” holds the dominant position by excluding the “margin,” while the “margin” threatens the “centre” by transgressing its hierarchical order.

　Both Othello, a. Moor, and Yohyō, an idiot, are excluded from the “centre,” but they are embraced by Desdemona and Tsū in the mother-child relationship of the “margin.” However，when Iago and Sōdo implant the patriarchal code of the “centre” into the heroes, the latter leave their wives and become contained in the “centre,” resulting in Desdemona’s death and Tsū’s transformation into a crane.

　But Othello and Yohyō, losing their beloved ones, again leave the “centre” and discover the value of the “margin.” Though Desdemona and Tsū are oppressed or exploited by patriarchal power, their disappearance also has a positive meaning, i. e., the heroines are paradoxically released from the control of the “centre,” and this emphasizes the importance of the “margin.” In other words, the heroines deconstruct the “centre，”revealing its limits and vulnerabilities.

　Unos 80 años después de haberse publicado “El Sombrero de Tres Picos (1874)” de Pedro Antonio de Alarcón, se estrenaron tres obras teatrales que eran como adaptaciones teatrales de ella. Una, en Argentina, de Alejandro Casona “La Molinera de Arcos (1947)”, y otras dos, en Japón, de Junji Kinoshita “Akai Jinbaori (1947)” y “Sankaku Boshi (1951)”.

　Leyendo detenidamente estas tres obras, notamos una gran diferencia sobre el estilo teatral de los dos dramaturgos, el japonés y el español.

　En las obras de Kinoshita, se puede decir que hay muchos saltos líricos para los espectadores. Por ejemplo, no se puede entender bien por qué al tío Lucas se le ocurre la idea de encaminarse al corregimiento diciendo-i También la Corregidora es guapa!, ni por qué la Corregidora comprende la inocencia de Frasquita con sólo verla entrar por la puerta. Para Kinoshita, la dramaturgia es la manera de pensar, como repite tantas veces. En concreto la dramaturgia de esta obra se encuentra en el erotismo de Frasquita que resiste y se burla del poder del Corregidor. Por lo tanto, los protagonistas son Frasquita y el Corregidor, y no tienen importancia el tío Lucas ni la Corregidora. De ahí nace la falta de Kinoshita: Para él, Lucas y la Corregidora son fatalmente unas marionetas, que no actúan como seres humanos sino según la trama inventada por el autor.

　Además, se puede indicar que el diálogo de Kinoshita es una copia fiel de la traducción al japonés de Yu Aida.

　Por el contrario, Casona ha tratado de hacer una versión dramática auténtica para evitar la confusión de los espactadores. Ha procedido con plena libertad de escenificación : diálogo, personajes y situaciones son propios de Casona.

Shigosen no Matsuri was written in 1977, 20 years after the author had found the material for the play in the story of Lord Taira no Tomomori in The Tale of the Heike (the great epic about the battle between the House of Heike and the House of Genji in the 13th century in Japan). One reason for the delay could be that Kinoshita had difficulty in creating in this play a passive hero, who could foresee the fateful fall of his house and accept it, and yet neither obeyed nor escaped from it. To create this hero, Kinoshita had to free himself from his almost fixed idea of the ‘positive hero’. The creation of this new type of hero was only possible by finding an appropriate role for Yamamoto Yasue, the actress who had been so important for his plays and his life, a fictitious role of Kagemi, a maiden of Izumo Great Shrine. Kagemi teaches Tomomori the harsh fact that Nature has no sentiment human beings can rely on: a realization which wings a kind of religious enlightenment. This might have something to do with the fact that Kinoshita is a Christian, though he says he abandoned his belief after he had been baptized in his youth.