**Dolores P. Martinez**

Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; dm6@soas.ac.uk

Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018

**Abstract:** Shakespeare's plays have become the subject of filmic remakes, as well as the source for others' plot lines. This transfer of Shakespeare's plays to film presents a challenge to filmmakers' auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa's *Throne of Blood* (*Kumonosu-jo¯* 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption.

**Keywords:** Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt
