W. B. Yeats's dramatic career was transformed in the 1910s through a series of collaborations in London. In an essay from the period, “Certain Noble Plays of Japan,” he writes: “I have invented a form of drama, distinguished, indirect and symbolic.” This form, like many other modernist inventions, is better understood as something else, in this case the alchemy of his earlier work, some eclectic influences, and the contributions of his American, English, French, and Japanese collaborators. Together, this group of artists drew on Irish mythology, the occult, the continental avant-garde, and—as often has been stressed—Japanese noh. Originally, the “Certain Noble Plays” essay was published as an introduction to a related noh project, Ezra Pound's liberal completion of Ernest Fenollosa and Hirata Kiichi's incomplete translations. There have been at least four book-length studies on the relationship between Yeats and noh, as well as many theses and articles. It remains an exemplum of transnational modernist theatre.

中文翻译：

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叶芝的照片和世界图像剧场

WB Yeats 的戏剧生涯在 1910 年代通过在伦敦的一系列合作而发生转变。在那个时期的一篇文章《日本的某些贵族戏剧》中，他写道：“我发明了一种戏剧形式，杰出的、间接的和象征性的。”这种形式，像许多其他现代主义发明一样，最好被理解为其他东西，在这种情况下，他早期作品的炼金术，一些折衷主义的影响，以及他的美国、英国、法国和日本合作者的贡献。这群艺术家共同借鉴了爱尔兰神话、神秘学、大陆前卫艺术，以及经常被强调的日本艺术能剧。最初，《某些贵族戏剧》文章是作为相关相关作品的介绍而发表的。能剧项目中，埃兹拉·庞德自由完成了欧内斯特·费诺洛萨和平田喜一的不完整翻译。关于叶芝和叶芝之间的关系，至少有四本长达一本书的研究。能剧，以及许多论文和文章。它仍然是跨国现代主义戏剧的典范。