舞伎家的料理人 - 日劇

原文恕刪…mOm

從原貼看來 似乎許多人都蠻在意劇中情節與現實狀況的差異
包括我自己也是
正好今天看到一篇是枝裕和的訪談（英文）
裡頭有段內容 讓我覺得有如是枝裕和對此表達了個人看法
所以轉貼過來 有興趣的板友不妨參考
但我個人英文能力並沒好到可以翻譯
所以就不獻醜了 請見諒
以下…（黃字部分為是枝裕和的回答）

From what I understand, there's often a lot of international
misunderstanding about Japanese geisha and the historical realities of
the tradition. And I believe there is even debate within Japan about
just how empowered geisha were, historically, and how the tradition
should be perceived in relation to modern feminist ideals. You tell
a very sweet and innocent story with this series, but what you said
just now about there not being any 16-year-olds working as Makanai
in today's geisha houses made me wonder about your views on some of
these more complicated questions. The story does follow two 16-year-old
girls who drop out of high school to work in this world. And although
it's a world of exquisite, highly evolved art forms, it also comes down
to young women hosting and serving drinks to much older men. In the
process of working on the show, did you develop a view on the proper
place of this tradition within Japanese society today?

Have you seen all of the episodes?

I’ve seen five, so far.

Well, I am aware of the fact that people do have opinions on opposite
sides of this issue, and not just from my experience of working on
this drama. Personally, I feel that it's probably necessary for this
tradition to undergo some reform, and some people within this world
have told me there are working to do just that. But as you've mentioned,
it's also true that there is a lot of misunderstanding regarding geisha
and Maiko. When I interviewed one of the Okami-sans, the former house
mothers, they told me that a lot of the foreigners who visit them have
seen Memoirs of a Geisha and their understanding of geisha have been
totally shaped by that film. So they assume all of the girls were sold
to the house because of a poor upbringing, or that they are there out
of desperation. And my own knowledge of Geisha, basically, had been
shaped by Mizoguchi, who told very sad stories back in his day too.

But then in real life, when I was doing my research and went to the
Hanamachi (a district where Geisha live and work), the people I met
there were very enthusiastic about this tradition and it was something
that they had actively sought out. They want to preserve this culture
and they want it to be accepted, and they are very serious about
continuing to reform. All of the houses I had contact with would only
accept Maiko if they had the express support of their parents. It
really seemed to me that they were taking solid actions and I felt
their passion for preserving their tradition and their art form.
Personally, I feel that I would like to root for them. Obviously,
it's not perfect. But we creators in the entertainment industry, we
have been far too late in making our reforms as well. So, I would like
to think we could continue to work together in that sense.

But when I was developing the show, I did think that introducing this
world as a place of pure, dreamlike wonder would be very irresponsible.
So I also incorporated some elements into the show that didn't exist
in the original story of the manga — as a slight critique. That's why
I asked you how much of the show you had seen. For example, I included
the character of the daughter who has strong critical opinions about
the maiko ways. And I also added Sumire's father, who strongly objects
to her wanting to become a maiko. And then I also had the sequence where
the Okami-san shares her opinions in reply. So I added these elements
to introduce some of the questions that you raise, but ultimately, I
tried to leave it to the viewer to form their own judgement.

想看全篇報導的話 在這裡：
https://bit.ly/3XiAGXG

原本我對劇版加入原作中沒有的涼子一角略感不解
看完這段訪談 算有得到解釋
但又覺得作用有限
因為我回想了一下
似乎除了一開始對季代和小堇說出那番有如警告的話之外
涼子後來也沒再多批評些什麼？
即使如此 我也能夠體諒
站在劇組的立場 考慮到本劇的屬性
這種事其實點到為止就好

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