Konnichi demo nao Mishima ga butai ni tōjō suru no wa ....

Despite four decades have passed since the death of the writer, for the general reading public Mishima is still relegated to the theoretical model of an anachronistic nationalist ideology inspired by right-wing politics. A mono-directional reading, delivering Mishima to the overused exotic archetype of a breed of samurai and kamikaze, and generating a groundless perception of what needs to be classified as “major works” or “minor works” or works that fully represent the artist and works which are the expression of a specific time frame. In terms of an overall artistic evaluation, this model is restrictive, as it ignores the versatility of the themes and forms of the exotic expression that have characterized Mishima during his prolific career. The most affected areas would seem to be those of his aesthetic essays (almost totally ignored) and his theatrical works which are the result of continuous experimentation. The world of theatre and music, however, took a significantly different road in the mid-80’s. This paper will examine the rich experimental research carried out by artistic Maestri like Sandro Sequi, Ida Kuniaki, Ingmar Bergman, Hans Ulrich Treichel and Hans Werner Henze, Tito Piscicelli and Ferdinando Bruni.