The central focus of this thesis is theatre translation, particularly the use of ‘translationese’. It is inspired by Japanese 翻訳調 (hon-yaku chō [translationese/translation tone]), a concept that has its origins in the Meiji era (1868-1912). In English, this concept is often perceived negatively and used to criticise particular translations, but the Japanese 翻訳調 (hon-yaku chō [translationese/translation tone]) does not necessarily carry the same connotations. I aim to shed light on translationese in order to revive the positive vision of it.