@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002203,
 author = {潟沼, 潤 and KATANUMA, Jun},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {17},
 month = {Oct},
 note = {pdf, In the postscript of Kindai nōgakushū, Mishima Yukio explains that his adaptation of nō is an attempt "to preserve in the modern drama flexible treatment of space and time in nō, as well as obvious metaphysical subjects in the original". His project appears to be successful at least in "Aoi no Ue [Lady Aoi]", if we see the play from the aspect of the atrical space.
For instance, Mishima's use of stage right and stage left deliberately imitates the way nō utilizes its theatrical space. Also, the back part of the stage where Aoi is lying on a bed corresponds to the area called atoza or yokoita where hayashi-kata or musicians are seated. Therefore, in Mishima's "Lady Aoi", the voice of Aoi crying for help plays an equivalent role of hayashi or the music in the original nō.
Thought Mishima's project is seemingly successful at least in his "Lady Aoi", whether we can conclude that it is also the case in other plays in Kindai nōgakushū needs further study. After all, Mishima himself confesses that his project "at this stage is far from being successful."},
 pages = {145--157},
 publisher = {国文学研究資料館},
 title = {研究発表　能という表現の運命　―三島由紀夫の「葵上」を解読する―},
 year = {1994},
 yomi = {カタヌマ, ジュン}
}