The October 2018 NHK Rakugo Okada Masaki Interview
I'm sad that this Friday is the last episode of SGRS... but I'm relieved that I have finally translated Okada Masaki's looooong interview with NHK that was uploaded on 12 October 2018. Enjoy!
12 October 2018
This is Shibuya Hanako from the Dorama club AD. Did you see the “Shōwa Genroku Rakugo Shinjū” last night? Celebrating the first episode, I interviewed the lead actor Okada Masaki. Okada-san is playing the Shōwa Rakugo story teller named Hachidaime Yūrakutei Yakumo. I will talk about the original work, the shootings and the Rakugo!
Q: First of all, please tell me whether you’ve read the original work.
A: I have. The original work was truly readable. I was scared but also drawn into it to the extent that I couldn’t open the next page to see what it would be. Also, I thought that Yakumo would be a difficult role to play…(laugh).
Q: According to you, what type of person is Yūrakutei Yakumo the 8th (Hachidaime Yūrakutei Yakumo)?
A: I think he’s a very cool person with a lot of love. How shall I put it… Yakumo said terse things to Yotaro and Konatsu, but I can feel love coming from deep within his heart. Meanwhile, the way he said that he’d take Rakugo with him when he died was very profound. I think Yakumo is a complicated and deep role. It was very rewarding and fun to play him.
Q: How did you portrayed Yakumo from his youth to his twilight?
A: I made myself aware of the speed of my body movement and the speed of my talk when portraying the young Yakumo vs when portraying his 50 years old self. However, due to the wonderful and unique make-up of the old Yakumo, I was able to achieve natural moves of a 50 years old as well. Then in Episode 1, when the very young Yotaro appeared, watching his vigorous and tempestuous moves made me naturally felt like a parent. I was definitely a parent then (laugh). Such was the type of feelings that bubbled up within me.
Also, whenever the Rakugo plays were performed, the way the young Yakumo performed the plays had to be different from the way the old Yakumo performed them. I have discussed such issues with Director Tanada prior to the rehearsal time. What if we do it this way? What if that way? Yakumo’s sitting postures were also deliberated many times; whether it was authentic or not.
Q: In Episode 1, the 50 years old Yakumo was also cool, right.
A: The Yakumo in Ep 1 has no laughing scene anyway (chuckle). As it were, during the shooting of Ep 2 onwards, playing the young Yakumo, the young Kikuhiko was very fun (chuckle). The times when playing the Rakugo scenes with Hatsutaro (later Sukeroku) feel like youthful time indeed (laugh). It would be nice to stay like this, so I thought.
Q: In playing Yakumo, is there anything you need to be considerate of in particular?
I’m aware of the feeling that there’s a hole in his heart, of an emptiness somewhere in there. This role of Yakumo is a very important one, so I thought. The shooting site was basically very interesting, though (chuckle).
There is always the feeling of loneliness in Yakumo. He was already abandoned by his parents, then he had to be separated from his friend and broke up with his lover. Being thrown into something like that, instead of throwing away things, he’d do something instead: his Rakugo became more polished over time.
Come to think of it, Rakugo is a lone adventure. The art is perfected alone, the master faces the audience and makes them listen to him alone. I think those aspects resonate with the loneliness and aloofness in Yakumo.
In playing the role of Yakumo, I was very careful not to forget such loneliness. However, Yakumo’s left leg wasn’t functioning properly, but at times I forgot to drag his leg (laugh). Once, during a scene with the little Konatsu, if I was worried for her, during the (screen) tests I would run as usual (that is, without the bad leg) (laugh). I’d say to everyone, “Let’s run!” (laugh).
Q: Were there any difficulties in playing a character derived from an original manga work?
A: I’ve done several live adaptations of original manga characters. I also like reading manga myself. However, suppose my favourite manga is adapted into live-action, I might reject the live action as well. Even if it’s a person’s favourite work, I think everyone could have such a reaction. Thus, preferably I would like to bring the performance as close as possible to the original material; that would be good to perform as such. Yet on the other hand, I also would like to perform my own Kikuhiko, my own Yakumo. Thus, I hope fans of the original work would watch over me gently (chuckle).
Q: How was your Rakugo practice?
A: Since about last April, I set the stories in an orderly fashion in my head and practiced them for the purpose of photography. Somehow, once a story is settled in my mind, I feel like going for the next story. Upon consulting with the staff, just before the story was going to be filmed, I practiced it once again. At any rate, I feel like consolidating each story with the teacher from whom I received the guidance. Also, Rakugo practice can be done anywhere as long as there is time. Thus, after I arrived home, I would practice the Rakugo again myself.
Q: I heard that there were Rakugo scenes set to deliberately fail!
A: During the first Rakugo stage scene, the director asked me to “read it stiffly” or “remember (the lines) like a robot would”. Also, I shouldn't give my readings any emotions. However, after giving all I’ve got to remember the lines, it was difficult to forget about them (laugh). After all, I’ve practiced to improve myself, thus I shouldn’t perform the lines poorly, so I thought (laugh). However, of course I had to do as the director asked me to. Ryusei Ryū-kun also had a lot of hardship with that request.
Q: Was it difficult to perform Yakumo’s Rakugo?
A: How shall I put it… Because Yakumo’s Rakugo was melancholic (chuckle), the audience wouldn’t laugh on a regular basis. His charm is not something that makes you laugh. I need to deliver the story to the audience with the power of storytelling. It’s a very solitary and lonely feeling (laugh).
Sukeroku and Yotaro are the type who shares Rakugo with the audience. They do that with such liveliness, by the way, that made me laugh. I’m jealous (laugh). It can’t be helped because I’m playing Yakumo, but I recently keenly wish that I’d make the audience laugh (chuckle).
Q: Playing Rakugo is difficult, isn’t it…
A: I think perhaps the most difficult thing is that there’s no correct answer. I felt that the story would be quite different depending on the person, perhaps furthermore depending on the mood and emotion of the day. Thus, considering those aspects, inside my head, unless I see myself from a bird’s eye view (note: with an outsider’s view? With a bigger picture?), I feel I cannot do it well. Of course, I think it might be different if I were a professional Rakugo storyteller.
It’s difficult to think of it, but the Rakugo scenes only worked when I enjoyed them. Our Rakugo supervisor Yanagiya Kyōtarō Shishō said, “If the performer doesn’t enjoy the Rakugo, the joy is not transferred to the audience. Thus the audience cannot enjoy the performance.”
The way Yakumo does it, despite the gloomy story, there are emotions inside that very story (the story becomes emotional), there are parts that excite me, thus I try to enjoy it wholeheartedly. Thus, I realised that the character inside the story has such joie de vivre; that they somehow has real feelings.
For instance, upon watching “Shinagawa Shinjū”, Kyōtarō Shishō said “For the first time in a long time, I want to do the Shinagawa Shinjū.” I understand that Shishō said such kindness to me because I’m a young newcomer. Yet, afterwards, the fact that Kyōtarō Shishō considered Shinagawa Shinjū with such a high regard makes me very happy (chuckle).
(I’m not sure about the last sentence’s translation. The original sentence is 「品川心中を高座にかけたそうなんです」 which literally meant that (Kyōtarō Shishō) put the Shinagawa Shinjū on the kōza (the stage seat). But I think it means that Kyōtarō Shishō holds the story in such a high regard.)
Since then, Director Tanada would say, “I want to see Kyōtarō Shishō’s Shinagawa Shinjū!”. However, in many Rakugo gatherings, the stories are not decided in advance. Upon sensing the audience’s mood, a Rakugo story teller will often decide the story on the spot. That’s why each time Director Tanaka went to Kyōtarō Shishō’s Rakugo gathering, he’d beg Shishō to perform the Shinagawa Shinjū (laugh). I also want to see it, if time permits.
In that sense, I think how amazing is the depth of Kyōtarō Shishō’s heart that moves us. As suspected, here I also thought “I’ll do my best” and I’m so happy for it.
(note: sorry I cannot really get the meaning of this part. The original script is 「そうやって、こっちをくすぐってくれる喬太郎師匠のふところの深さは、すごいと思います。やっぱりこっちも「もっと頑張ろう」と思いますし、すごく嬉しかったですね。」)
Q: How important is the rivalry with Sukeroku for Yakumo? Also, what kind of relationship does the two feel?
A: For Yakumo, Sukeroku is an absolutely irreplaceable person. Had Yakumo not met Sukeroku, he wouldn’t be able to truly live; that’s how important this relationship is for Yakumo. Due to his meeting with Sukeroku, Yakumo slowly but sure came to like Rakugo…but it’s also the very nature of Sukeroku that makes Yakumo at times disliking Rakugo. I myself am also longing for Sukeroku’s manly life. However, on the other hand, there’s also a part of me that is jealous.
Q: Can you give us a concrete example?
A: As I come to know about Rakugo, I can tell whether a particular story, a particular legend, is for me or not. Upon watching Sukeroku’s trademark “Nozarashi”, both Yakumo and myself felt that “Nozarashi” wasn’t our forte. As such, when Yamazaki-san portrayed the delightful “Nozarashi”, the Rakugo Shishō said “It’s good now, eh?”. Because Sukeroku turned out to be a rival indeed, somehow I became annoyed (chuckle). Am I jealous? (chuckle) I also need to practice harder! I have to do my best! (laugh).
Yakumo and Sukeroku are definitely polar opposite, but they are friends, which makes it interesting. In the drama, Yakumo and Sukeroku shared roles. We read “Nozarashi” in a duet-mode; Yakumo took the role of the woman, Sukeroku took the role of the man. Upon doing it, the two felt like a couple somehow (laugh). I guess you can’t get rid of that feeling.
Q: What kind of woman is Miyokichi to Yakumo?
A: Miyokichi has a catastrophic aspect in her, which lends to her unique sex appeal. Actually, I couldn’t take my eyes off Omasa-san (the actress for Miyokichi) while I was playing my role (chuckle). Blinking my eyes was a such waste because she was so attractive (laugh). Because the drama is rather male-centric, when Omasa-san came to the scene, it’s like having the presence of a flower.
I always think there was a blank space within Yakumo’s heart that begged to be filled. I think Miyokichi was necessary as the missing piece of Yakumo’s puzzle. Yet, I have this feeling that her existence was much bigger for me than what I originally thought. A scene that left an impression in Miyokichi was when Yakumo showed her his insecurity for the first time, or the sweet scene such as when she leaned on him. As such, accepting the sweetness of Yakumo was a beautiful thing for Miyokichi in her entirety. In turn, she also gave him a great advice. That scene was a major turning point for them, I think.
Ah, but then Yakumo saw Sukeroku and Miyokichi embracing each other. Now that becomes complicated! (laugh) I actually thought, “Eh, what?!” (laugh). That scene was also an impressive scene. When it comes to choosing Rakugo or Miyokichi, those are the ultimate choices Yakumo had to make.
Q: One last question. Please give me some rough highlights of the drama.
A: The opportunity out there to portray a man’s life from his teens to his old age is almost non-existent. Yakumo met various types of people, found Rakugo, became an adult… his surroundings changed. All of these are very dramatic. Love, friendship and various emotions swirling around, all are connected to Rakugo. I’d like people to see this way of life of Yakumo. Also, other actors and actresses are also very lively, they are truly amazing. Thus, I was also affected such that I am doing my best now. Such intense charms are overflowing, such that I’d like to enjoy each and every character. And then… there’s Rakugo. I also opened my eyes to the charm of Rakugo for the first time. By the same token, I hope this drama will trigger more people to like Rakugo. Also, since the fans of the original manga and the anime version might enjoy this drama, I’d of course be happy if the manga and anime fans could see the drama as well.
-xxx-
編集部イチオシ！
2018年10月12日
落語名人役の岡田将生さんに凸撃！「昭和元禄落語心中」ロングインタビュー
http://www.nhk.or.jp/dramatopics-blog/100000/307132.html
ドラマ部新人ADの渋谷はな子です！
今夜スタートした「昭和元禄落語心中」、見ていただけましたか？ 第1回の放送を記念して、主演の岡田将生さんに凸撃インタビューしてきました！ 岡田将生さんは昭和の落語の名人・八代目有楽亭八雲を演じています。 原作のこと、撮影現場のこと、そして落語のこと、あれこれ聞いちゃいました！
Q: ドラマ部新人ADの渋谷はな子です。きょうはインタビュー、よろしくお願いします。 まず最初に、原作を読まれた感想をお願いします！
A: 本当に読み応えがあって、次のページがどんな展開になっているのか、怖くて開けないくらいに引き込まれてしまいました。そして、八雲の役を演じるのは大変だなあ･･･と思いました(笑)。
Q: 主人公の八代目有楽亭八雲って、どんな人だと思いますか？
A: すごくクールな人なんですけど、すごく愛がある。なんだかんだと、与太郎や小夏に言葉ではきついことを言っているんですけれど、心の深いところではすごく愛を感じています。 一方で落語と心中しようという気持ちがあったり･･･すごく複雑で、業が深い人間だなあ、と演じていて思いますね。すごくやりがいがあって、楽しいです。
Q: 八雲の若い頃から晩年までを演じてみて、いかがでしたか？
A: 若い頃と50代とで、体の動きのスピードと、会話するときの話のスピードを気を付けてはいます。でも特殊メイクも素晴らしいので、自然に動きも50代になってることもあります。 それから第1話では、与太郎がすごく若い設定で、元気で動きの激しい与太郎を見ていると、やっぱり自然に、親のような気持ちになるというか、親心というか(笑)、そういう感じが湧いてくることもありました。 あとは、落語を演じるときに、やっぱり若いときの落語と、歳をとってからの落語とで、差をつけないといけないので、そこは事前の稽古のときからタナダ監督ともすごくお話させてもらって、こういう風にしよう、ああいう風にしようって、座り方一つでも時間をかけて考えられたので、それは生かされているのかな、とも思います。
Q: 第1回、50代の八雲もクールでカッコよかったです！
A: 第1回の八雲は、とにかく笑うシーンが無いんです(笑)。 それがあった分、第2回以降の撮影になって、若い八雲、菊比古を演じていて、そこの部分はすごく楽しいです(笑)。初太郎（後の助六）と落語をしているときとか、すごく青春を感じるというか(笑)。こういうのっていいなあ、と思いながらやらせてもらっています。
Q: 八雲を演じる上で、気をつけていることはありますか？
A: 常にぽっかり心に穴があいている感じというか、どこかしら虚無な感じというのを意識しています。それは八雲を演じる上で大切だと思っていて。撮影現場は基本的に楽しいんですけど(笑)。 八雲という役には、やはり孤独感が常にあります。親にも捨てられ、友人との別れがあって、恋人とも別れてしまって。そうやって何かに捨てられたり、何かを捨てる代わりに、何かを極めていく･･･落語がどんどん磨かれていくという部分があります。 落語は考えようによっては、ひとりぼっちです。ひとりで芸を磨いて、ひとりでみんなの前に出て、聞いてもらう。それはどこか八雲の抱えている孤独感とか、孤高な感じとか、そういうものにリンクする部分があると思います。 八雲を演じる上で、そういう孤独感だけは、絶対忘れないように気をつけています。 ただ、八雲は左足が悪い設定なんですけど、ときどき足を引きずるのを忘れることがあって(笑)。 この前も幼い小夏との場面で、相手役の子のことを心配してたら、テストのときについ普通に走っちゃって(笑)。みんなに「走ってるよ！」って言われて(笑)。
Q: マンガ原作のキャラクターを演じる難しさはありますか？
A: マンガ原作のものは僕も何回かやらせてもらっていますし、僕もマンガを読むのは好きなんです。 ただ僕も自分が好きなマンガが実写化されるときに、拒絶反応が出ちゃうこともあります。好きな作品なら尚更、そういうことは皆さんあると思うんです。だから、なるべく原作の世界観に近づけたいという気持ちは、演じる側としてすごくあります。 でも一方で、僕自身の菊比古、僕自身の八雲っていうのを演じて行きたいとも思うので･･･原作のファンの皆さんには、優しく見守っていただきたいです(笑)。
Q: 落語のお稽古はいかがでしたか？
A: 四月くらいから、撮影に向けていろんな噺を順番に頭にいれて、稽古しました。 なんとなく、一つが固まってきたら、次の噺に進む…みたいな感じです。 スタッフと相談して、いつ頃にこの噺の撮影があるから、ちょっと前にはもう一回稽古しておこう、とか。 とにかく噺一つ一つ、それぞれに、指導をして下さる師匠方と相談しながら固めていった感じです。あと、落語の稽古は、どこでもできるので、時間のあるときは、家に帰ってからひとりでも稽古していました。
Q: 落語をわざと失敗するシーンがあったと聞きました！
A: 初高座のシーンは、監督に「もっと棒読みでやって」とか「ロボットみたいに覚えたことだけ言っている感じにして」と求められました。あと感情を乗せないなどと。 ･･･でも、やっぱり一回がんばって覚えてるものを、わざとつっかえるっていうのはもの凄く難しくて(笑)。なんでうまくなろうと練習してるのに、下手にやらなきゃならないんだろう、という(笑)。でも、もちろんそれをやらないといけないので。竜星くんも、それですごく苦労したと言ってました。
Q: 八雲の落語、演じてみて難しいですか？
A: 八雲はどちらかというと陰気なタイプの噺しか演じないので(笑)、お客さんが基本的に笑うことがあんまりなくて。笑わせる魅力ではなく、語りの力で噺をお客さんに届けなきゃいけない。すごく孤高で、孤独な感じです(笑)。 助六と与太郎は、落語をお客さんと共有するタイプというか、とにかく溌剌と落語をやっていて、とにかく笑わせる。うらやましいです(笑)。 八雲を演じているんだから仕方ないんですけど、最近切実に「笑いを取りたい」と思っています（笑）。
Q: 落語を演じるって大変なんですね…。
A: 多分、正解が無い、というのがいちばん大変なんじゃないか･･･と思うんです。人によって、ひょっとしたら更にその日の気分や感情によって、噺ってまったく違うものになる気がしていて。 だからそういうことも含めて、自分の頭の中で、どこか自分自身のことも俯瞰的に見てないと、うまく出来ない気もします。もちろん、本職の落語家さんは、また違うのかなと思いますけれど。 考えだすと難しいんですけど、落語の場面では、できるだけ楽しんで演じるようにしています。落語監修の柳家喬太郎師匠が、「演者が楽しくやってないと、お客さんに楽しさが伝わらない。お客さんが楽しくなくなる」って言ってくださって。 八雲がやるような、陰気な噺でも、噺の中で感情的になったり、盛り上がったりする部分があるので、僕も全力で楽しむようにしているし、そうすると噺の中のキャラクターが生き生きとしてくるというのが、なんとなく実感としてわかりました。 「品川心中」だったかな･･･喬太郎師匠に見てもらった時に、師匠が「久々に品川心中をやりたくなった」とおっしゃってくれて。こんなはじめたばっかりの若造に、優しさで言ってくださっているとは思うんですけど、実際に喬太郎師匠はその後、品川心中を高座にかけたそうなんです。すごく嬉しくて(笑)。 それ以来、タナダ監督が喬太郎師匠の「品川心中」を見たい！とおっしゃっていて、でも多くの落語会は、事前にネタは決まっていなくて、落語家さんがお客さんの様子を見ながら演目をその場で決めることが多いんです。それでタナダ監督が喬太郎師匠の落語会に行くと、毎回「品川心中」をやってくれないとおっしゃってました（笑）。僕も時間ができたら、ぜひ見に行きたいです。 そうやって、こっちをくすぐってくれる喬太郎師匠のふところの深さは、すごいと思います。やっぱりこっちも「もっと頑張ろう」と思いますし、すごく嬉しかったですね。
Q: ライバルの助六は、八雲にとってどんな存在ですか？ あと、ふたりはどういう関係だと感じますか！？
A: 助六は、八雲にとっては本当にかけがえのない人で、助六と会ってなかったら、生きていけなかったんじゃないかなと思うくらい大きな存在です。 助六と会うことで落語をどんどん好きになって･･･助六のせいで落語が嫌いになることもある。 僕自身、助六の男らしい生きざまに本当に憧れもするし、でもその一方で嫉妬する、妬ましく思う部分もあります。
Q: 具体的にはどんなところですか？
A: 落語を知っていくと、なんとなくこの噺、このネタは、自分に向いてるとか向いてないというのを感じてきて。八雲も、そして僕自身も、助六が得意とする「野ざらし」みたいな感じは、あんまり得意じゃない気がして。そう思うと、山崎さんが素敵な「野ざらし」を演じて、落語指導の師匠方に「今の良いですね」と言われているのを見ると、やっぱり助六はライバルでもあるので、なんだかくやしい気持ちになります(笑)。嫉妬というか(笑)。僕ももっと稽古しなきゃ！がんばらなきゃ！と(笑)。 八雲と助六は、本当に正反対の人間で、それでいて仲良くて、面白いです。 ドラマの中で、八雲と助六が役柄を分け合って、息を合わせて掛け合いで「野ざらし」を演じる場面があります。ぼくたちは「連弾野ざらし」と呼んでるんですが、八雲が女性の役で、助六が男性の役。そんなことをやっていると、ふたりはなんだか夫婦みたいな感じで(笑)。やっぱり切って切れない仲なんだな、と思いますね。
Q: あと、みよ吉は八雲にとってどんな女性なんでしょうか？
A: みよ吉は破滅的なところがあって･･･それが独特の色気に繋がっているというか。実際に演じていても、みよ吉を演じている大政さんから目が離せなくなるというか(笑)。瞬きするのがもったいないくらい、魅力的で(笑)。ドラマの中身も男くさいので、大政さんが現場にいらっしゃると華があります。 八雲には、埋めなくてはならない空白が、いつも心の中にあるんだと思います。埋めるために必要なピースとして、みよ吉がいたんだと思います。ただ、みよ吉の存在が、自分が思っていた以上に、自分にとって大きかった･･･。そんな感じがします。 みよ吉との印象に残っているシーンは、八雲がみよ吉にはじめて弱みを見せるというか、甘えて、すがるような場面ですね。そういう八雲の甘えを受け止めてくれる、みよ吉の人間の大きさが素敵ですし、それにそこで、八雲にとって大きなきっかけになるアドバイスをしてくれる。大事なターニングポイントの場面だと思います。 あ、あと･･･助六とみよ吉が、抱き合ってるのを見てしまうところ。複雑でしたよ(笑)。 「えー！」と思いましたし(笑)。そこも印象的ですね。 落語を取るか、みよ吉を取るか･･･という事態が起こるんですけれど、本当に究極の選択です･･･。
Q: 最後にざっくりした質問ですが、ドラマの見どころをお願いします！
A: ひとりの男の人生というか、10代から老人になるまでの役を演じる機会はなかなか無いです。八雲がいろいろな人と出会って、そして落語と出会って、大人になっていき、環境が変わっていく。それがすごくドラマチックで、愛情とか友情とか、色んな感情が渦巻いて、その全ては落語につながっていきます。この八雲の生き様を、見て欲しいなと思います。 あとは、他の役の皆さんが、ほんとに生き生きとしていて、皆さんほんとうに魅力的です。それに僕もすごく良い影響を受けて、今がんばれています。そういう濃い魅力が溢れるひとりひとりのキャラクターを楽しんで貰いたいと思います。 あとは落語。僕も今回初めて落語の魅力に目覚めましたけれど、同じようにこのドラマをきっかけに落語を好きになる方が増えたらいいな！と思います。あと原作マンガのファンの方、アニメ版のファンの方にも楽しんでいただけるようになってると思いますので、ぜひ、見ていただけたら嬉しいなと思います。
-xxx-
Q: Dorama-bu shinjin AD no Shibuya Hanakodesu. Kyō wa intabyū, yoroshikuonegaishimasu. Mazu saisho ni, gensaku o yoma reta kansō o onegaishimasu!
A: Hontōni yomigotae ga atte,-ji no pēji ga don'na tenkai ni natte iru no ka, kowakute hirakenai kurai ni hikikoma rete shimaimashita. Soshite, yakumo no yaku o enjiru no wa taihenda nā to omoimashita (Emi).
Q: Shujinkō no Hachidaime Yūrakutei Yakumo-tte, don'na hitoda to omoimasu ka?
A: Sugoku kūruna hitona ndesukedo, sugoku ai ga aru. Nandakanda to, yotarō ya ko natsu ni kotobade wa kitsui koto o itte iru ndesukeredo, kokoro no fukai tokorode wa sugoku ai o kanjite imasu. Ippō de rakugo to shinjū shiyou to iu kimochi ga attari sugoku fukuzatsude, gōgafukai ningenda nā, to enjite ite omoimasu ne. Sugoku yarigai ga atte, tanoshīdesu.
Q: Yakumo no wakai koro kara ban'nen made o enjite mite, ikagadeshita ka?
A: Wakai koro to 50-dai to de,-tai no ugoki no supīdo to, kaiwa suru toki no hanashi no supīdo o ki o tsukete wa imasu. Demo tokushu meiku mo subarashīnode, shizen ni ugoki mo 50-dai ni natteru koto mo arimasu. Sorekara dai 1-wade wa, yotarō ga sugoku wakai settei de, genkide ugoki no hageshī yotarō o mite iru to, yappari shizen ni, oya no yōna kimochi ni naru to iu ka, oyagokoro to iu ka (Emi), sōiu kanji ga waite kuru koto mo arimashita. Ato wa, rakugo o enjiru toki ni, yappari wakai toki no rakugo to, toshi o totte kara no rakugo to de,-sa o tsukenaito ikenainode, soko wa jizen no keiko no toki kara tanada kantoku tomo sugoku ohanashi sa sete moratte, kōiu kaze ni shiyou, ā iu kaze ni shiyou tte, suwari-kata hitotsu demo jikan o kakete kangae raretanode, sore wa ikasa rete iru no ka na, tomo omoimasu.
Q: Dai 1-kai, 50-dai no yakumo mo kūru de kakko yokattadesu!
A: Dai 1-kai no yakumo wa, tonikaku warau shīn ga nai ndesu (Emi). Sore ga atta bun, dai 2-kai ikō no satsuei ni natte, wakai yakumo, kiku-hi inishie o enjite ite, soko no bubun wa sugoku tanoshīdesu (Emi). Hatsutarō (ato no Sukeroku) to rakugo o shite iru toki toka, sugoku seishun o kanjiru to iu ka (Emi). Kōiu notte ī nā, to omoinagara yara sete moratte imasu.
Q: Yakumo o enjiru ue de, ki o tsukete iru koto wa arimasu ka?
A: Tsuneni pokkari kokoro ni ana ga aite iru kanji to iu ka, doko kashira kyomuna kanji to iu no o ishiki shite imasu. Sore wa yakumo o enjiru ue de taisetsuda to omotte ite. Satsuei genba wa kihontekini tanoshī ndesukedo (Emi).
Yakumo to iu yaku ni wa, yahari kodoku-kan ga tsuneni arimasu. Oya ni mo sute rare, yūjin to no wakare ga atte, koibito tomo betsu rete shimatte. Sō yatte nanika ni sute rare tari, nanika o suteru kawari ni, nanika o kiwamete iku rakugo ga dondon migaka rete iku to iu bubun ga arimasu. Rakugo wa kangae yō ni yotte wa, hitori botchidesu. Hitori de gei o migaite, hitori de min'nano mae ni dete, kiite morau. Sore wa doko ka yakumo no kakaete iru kodoku-kan toka, kokōna kanji toka, sōiu mono ni rinku suru bubun ga aru to omoimasu.
Yakumo o enjiru ue de, sōiu kodoku-kan dake wa, zettai wasurenai yō ni ki o tsukete imasu. Tada, yakumo wa hidariashi ga warui setteina ndesukedo, tokidoki ashi o hikizuru no o wasureru koto ga atte (Emi). Konomae mo osanai Konatsu to no bamen de, aite-yaku no ko no koto o shinpai shi tetara, tesuto no toki ni tsui futsū ni hashitchatte (Emi). Min'na ni `hashitteru yo!' Tte iwa rete (Emi).
Q: Manga gensaku no kyarakutā o enjiru muzukashi-sa wa arimasu ka?
A: Manga gensaku no mono wa boku mo nan-kai ka yara sete moratte imasushi, boku mo manga o yomu no wa sukina ndesu. Tada boku mo jibun ga sukina manga ga jissha-ka sa reru toki ni, kyozetsu han'nō ga de chau koto mo arimasu. Sukina sakuhin'nara naosara, sō iu koto wa minasan aru to omou ndesu. Dakara, narubeku gensaku no sekai-kan ni chikadzuketai to iu kimochi wa, enjiru gawa to shite sugoku arimasu. Demo ippō de, boku jishin no kiku-hi ko, boku jishin no yakumo tte iu no o enjite ikitai to mo omou node gensaku no fan no minasan ni wa, yasashiku mimamotte itadakitaidesu (Emi).
Q: Rakugo no okeiko wa ikagadeshita ka?
A: 4Gatsu kuraikara, satsuei ni mukete iron'na hanashi o junban ni atama ni irete, keiko shimashita. Nantonaku, hitotsu ga katamatte kitara,-ji no hanashi ni susumu… mitaina kanjidesu. Sutaffu to sōdan shite, itsugoro ni kono hanashi no satsuei ga arukara, chotto mae ni wa mōikkai keiko shite okou, toka. Tonikaku hanashi hitotsuhitotsu, sorezore ni, shidō o shite kudasaru shishō-kata to sōdan shinagara katamete itta kanjidesu. Ato, rakugo no keiko wa, doko demo dekiru node, jikan no aru toki wa, uchi ni kaette kara hitori demo keiko shite imashita.
Q: Rakugo o wazato shippai suru shīn ga atta to kikimashita!
A: Hatsu Kōza no shīn wa, kantoku ni `motto bōyomi de yatte' toka `robotto mitai ni oboeta koto dake itte iru kanji ni shite' to motome raremashita. Ato kanjō o nosenai nado to. Demo, yappari ikkai ganbatte oboe teru mono o, wazato tsukkaeru tte iu no wa monosugoku muzukashikute (Emi). Nande umaku narou to renshū shi teru no ni, heta ni yaranakya naranai ndarou, to iu (Emi). Demo, mochiron sore o yaranaito ikenainode. Ryū-boshi-kun mo, sorede sugoku kurō shita to ittemashita.
Q: Yakumo no rakugo, enjite mite muzukashīdesu ka?
A: Yakumo wa dochira ka to iu to inkina taipu no hanashi shika enjinainode (Emi), ogyakusan ga kihontekini warau koto ga anmari nakute. Warawaseru miryokude wa naku, katari no chikara de hanashi o ogyakusan ni todokenakya ikenai. Sugoku kokōde, kodokuna kanjidesu (Emi). Sukeroku to yotarō wa, rakugo o ogyakusan to kyōyū suru taipu to iu ka, tonikaku hatsuratsu to rakugo o yatte ite, tonikaku warawaseru. Urayamashīdesu (Emi). Yakumo o enjite iru ndakara shikatanai ndesukedo, saikin setsujitsu ni `warai o toritai' to omotte imasu (Emi).
Q: Rakugo o enjiru tte taihen'na ndesu ne….
A: Tabun, seikai ga nai, to iu no ga ichiban taihen'na n janai ka to omou ndesu. Hito ni yotte, hyottoshitara sarani sonohi no kibun ya kanjō ni yotte, hanashi tte mattaku chigau mono ni naru ki ga shite ite. Dakara sō iu koto mo fukumete, jibun no atama no naka de, doko ka jibunjishin'no koto mo fukan-teki ni mitenai to, umaku dekinai ki mo shimasu. Mochiron, honshoku no rakugo-ka-san wa, mata chigau no ka na to omoimasukeredo.
Kangae dasuto muzukashī ndesukedo, rakugo no bamende wa, dekiru dake tanoshinde enjiru yō ni shite imasu. Rakugo kanshū no yanagiya kyōtarō shishō ga,`enja ga tanoshiku yattenai to, ogyakusan ni tanoshisa ga tsutawaranai. Ogyakusan ga tanoshiku nakunaru' tte itte kudasatte.
Yakumo ga yaru yōna, inkina hanashi demo, hanashi no naka de kanjō-teki ni nattari, moriagattari suru bubun ga aru node, boku mo zenryoku de tanoshimu yō ni shite irushi, sōsuruto hanashi no naka no kyarakutā ga ikiiki to shite kuru to iu no ga, nantonaku jikkan to shite wakarimashita.
`Shinagawashinjū'datta ka na kyō tarō shishō ni mite moratta toki ni, shishō ga `hisabisa ni shinagawashinjū o yaritaku natta' to osshatte kurete. Kon'na hajimeta bakkari no wakazō ni, yasashi-sa de itte kudasatte iru to wa omou ndesukedo, jissai ni kyō tarō shishō wa sonogo, shinagawashinjū o kōza ni kaketa sōna ndesu. Sugoku ureshikute (Emi).
Sore irai, tanada kantoku ga kyō tarō shishō no `shinagawashinjū' o mitai! To osshatte ite, demo ōku no rakugo-kai wa, jizen ni neta wa kimatte inakute, rakugo-ka-san ga ogyakusan no yōsu o minagara enmoku o sonobade kimeru koto ga ōi ndesu. Sorede tanada kantoku ga kyō tarō shishō no rakugo-kai ni iku to, maikai `shinagawashinjū' o yatte kurenai to osshattemashita (Emi). Boku mo jikan ga dekitara, zehi mi ni ikitaidesu. Sō yatte, kotchi o kusugutte kureru kyō tarō shishō no futokoro no fuka-sa wa, sugoi to omoimasu. Yappari kotchi mo `motto ganbarou' to omoimasushi, sugoku ureshikattadesu ne.
Q: Raibaru no Sukeroku wa, yakumo ni totte don'na sonzaidesu ka? Ato, futari wa dōiu kankeida to kanjimasu ka! ?
A: Sukeroku wa, yakumo ni totte wa hontōni kakegae no nai hito de, Sukeroku to attenakattara, ikite ikenakatta n janai ka na to omou kurai ōkina sonzaidesu. Sukeroku to au koto de rakugo o dondon suki ni natte Sukeroku no sei de rakugo ga kirai ni naru koto mo aru. Boku jishin, Sukeroku no otokorashī ikizama ni hontōni akogare mo surushi, demo sono ippō de shitto suru, netamashiku omou bubun mo arimasu.
Q: Gutaitekini wa don'na tokorodesu ka?
A: Rakugo o shitte iku to, nantonaku kono hanashi, kono neta wa, jibun ni mui teru toka mui tenai to iu no o kanjite kite. Yakumo mo, soshite boku jishin mo, Sukeroku ga tokui to suru `nozarashi' mitaina kanji wa, anmari tokui janai ki ga shite. Sō omou to, Yamazaki-san ga sutekina `nozarashi' o enjite, rakugo shidō no shishō hō ni `ima no yoidesu ne' to iwa rete iru no o miru to, yappari Sukeroku wa raibaru demoarunode, nandaka kuyashī kimochi ni narimasu (Emi). Shitto to iu ka (Emi). Boku mo motto keiko shinakya! Ganbaranakya! To (Emi). Yakumo to Sukeroku wa, hontōni seihantai no ningen de, soredeite nakayokute, omoshiroidesu. Dorama no naka de, yakumo to Sukeroku ga yakugara o wakeatte, iki o awasete kakeai de `nozarashi' o enjiru bamen ga arimasu. Boku-tachi wa `rendan nozarashi' to yon deru ndesuga, yakumo ga josei no yaku de, Sukeroku ga dansei no yaku. Son'na koto o yatte iru to, futari wa nandaka fūfu mitaina kanji de (Emi). Yappari kitte kirenai nakana nda na, to omoimasu ne.
Q: Ato, miyo kichi wa yakumo ni totte don'na joseina ndeshou ka?
A: Miyokichi wa hametsu-tekina tokoro ga atte sore ga dokutoku no iroke ni tsunagatte iru to iu ka. Jissai ni enjite ite mo, miyo kichi o enjite iru taisei-san kara me ga hanasenaku naru to iu ka (Emi). Mabataki suru no ga mottainai kurai, mirikiteki de (Emi). Dorama no nakami mo otoko kusainode, dai Masa-san ga genba ni irassharu to hana ga arimasu.
Yakumo ni wa, umenakute wa naranai kūhaku ga, itsumo kokoronouchi ni aru nda to omoimasu. Umeru tame ni hitsuyōna pīsu to shite, miyo kichi ga itanda to omoimasu. Tada, miyo kichi no sonzai ga, jibun ga omotte ita ijō ni, jibun ni totte ōkikatta. Son'na kanji ga shimasu. Miyokichi to no inshō ni nokotte iru shīn wa, yakumo ga miyo kichi ni hajimete yowami o miseru to iu ka, amaete, sugaru yōna bamendesu ne. Sōiu yakumo no amae o uketomete kureru, miyo kichi no ningen no ōki-sa ga sutekidesushi, soreni sokode, yakumo ni totte ōkina kikkake ni naru adobaisu o shite kureru. Daijina tāningupointo no bamenda to omoimasu. A, ato Sukeroku to Miyokichi ga, dakiatteru no o mite shimau tokoro. Fukuzatsudeshita yo (Emi). `E ̄ !' To omoimashitashi (Emi). Soko mo inshō-tekidesu ne. Rakugo o toru ka, miyo kichi o toru ka to iu jitai ga okoru ndesukeredo, hontōni kyūkyoku no sentakudesu.
Q: Saigo ni zakkuri shita shitsumondesuga, dorama no midokoro o onegaishimasu!
A: Hitori no otoko no jinsei to iu ka, 10-dai kara rōjin ni naru made no yaku o enjiru kikai wa nakanaka naidesu. Yakumo ga iroirona hito to deatte, soshite rakugo to deatte, otona ni natte iki, kankyō ga kawatte iku. Sore ga sugokudoramachikku de, aijō toka yūjō toka, iron'na kanjō ga uzumaite, sono subete wa rakugo ni tsunagatte ikimasu. Kono yakumo no ikizama o, mite hoshī na to omoimasu. Ato wa, hoka no yaku no minasan ga, hontoni ikiiki to shite ite, minasan hontō ni mirikitekidesu. Soreni boku mo sugoku yoi eikyō o ukete, ima ganbarete imasu. Sōiu koi miryoku ga afureru hitorihitori no kyarakutā o tanoshinde moraitai to omoimasu. Ato wa rakugo. Boku mo konkai hajimete rakugo no miryoku ni mezamemashitakeredo, onajiyōni kono dorama o kikkake ni rakugo o suki ni naru kata ga fuetara ī na! To omoimasu. Ato gensaku manga no fan no kata, anime-ban no fan no kata ni mo tanoshinde itadakeru yō ni natteru to omoimasunode, zehi, mite itadaketara ureshī na to omoimasu.
 |
| The septuagenarian Yakumo (source) |
A long interview of Okada Masaki as the lead actor for the “Shōwa Genroku Rakugo Shinjū”
12 October 2018
This is Shibuya Hanako from the Dorama club AD. Did you see the “Shōwa Genroku Rakugo Shinjū” last night? Celebrating the first episode, I interviewed the lead actor Okada Masaki. Okada-san is playing the Shōwa Rakugo story teller named Hachidaime Yūrakutei Yakumo. I will talk about the original work, the shootings and the Rakugo!
Q: First of all, please tell me whether you’ve read the original work.
A: I have. The original work was truly readable. I was scared but also drawn into it to the extent that I couldn’t open the next page to see what it would be. Also, I thought that Yakumo would be a difficult role to play…(laugh).
Q: According to you, what type of person is Yūrakutei Yakumo the 8th (Hachidaime Yūrakutei Yakumo)?
A: I think he’s a very cool person with a lot of love. How shall I put it… Yakumo said terse things to Yotaro and Konatsu, but I can feel love coming from deep within his heart. Meanwhile, the way he said that he’d take Rakugo with him when he died was very profound. I think Yakumo is a complicated and deep role. It was very rewarding and fun to play him.
Q: How did you portrayed Yakumo from his youth to his twilight?
A: I made myself aware of the speed of my body movement and the speed of my talk when portraying the young Yakumo vs when portraying his 50 years old self. However, due to the wonderful and unique make-up of the old Yakumo, I was able to achieve natural moves of a 50 years old as well. Then in Episode 1, when the very young Yotaro appeared, watching his vigorous and tempestuous moves made me naturally felt like a parent. I was definitely a parent then (laugh). Such was the type of feelings that bubbled up within me.
Also, whenever the Rakugo plays were performed, the way the young Yakumo performed the plays had to be different from the way the old Yakumo performed them. I have discussed such issues with Director Tanada prior to the rehearsal time. What if we do it this way? What if that way? Yakumo’s sitting postures were also deliberated many times; whether it was authentic or not.
Q: In Episode 1, the 50 years old Yakumo was also cool, right.
A: The Yakumo in Ep 1 has no laughing scene anyway (chuckle). As it were, during the shooting of Ep 2 onwards, playing the young Yakumo, the young Kikuhiko was very fun (chuckle). The times when playing the Rakugo scenes with Hatsutaro (later Sukeroku) feel like youthful time indeed (laugh). It would be nice to stay like this, so I thought.
Q: In playing Yakumo, is there anything you need to be considerate of in particular?
I’m aware of the feeling that there’s a hole in his heart, of an emptiness somewhere in there. This role of Yakumo is a very important one, so I thought. The shooting site was basically very interesting, though (chuckle).
There is always the feeling of loneliness in Yakumo. He was already abandoned by his parents, then he had to be separated from his friend and broke up with his lover. Being thrown into something like that, instead of throwing away things, he’d do something instead: his Rakugo became more polished over time.
Come to think of it, Rakugo is a lone adventure. The art is perfected alone, the master faces the audience and makes them listen to him alone. I think those aspects resonate with the loneliness and aloofness in Yakumo.
In playing the role of Yakumo, I was very careful not to forget such loneliness. However, Yakumo’s left leg wasn’t functioning properly, but at times I forgot to drag his leg (laugh). Once, during a scene with the little Konatsu, if I was worried for her, during the (screen) tests I would run as usual (that is, without the bad leg) (laugh). I’d say to everyone, “Let’s run!” (laugh).
Q: Were there any difficulties in playing a character derived from an original manga work?
A: I’ve done several live adaptations of original manga characters. I also like reading manga myself. However, suppose my favourite manga is adapted into live-action, I might reject the live action as well. Even if it’s a person’s favourite work, I think everyone could have such a reaction. Thus, preferably I would like to bring the performance as close as possible to the original material; that would be good to perform as such. Yet on the other hand, I also would like to perform my own Kikuhiko, my own Yakumo. Thus, I hope fans of the original work would watch over me gently (chuckle).
Q: How was your Rakugo practice?
A: Since about last April, I set the stories in an orderly fashion in my head and practiced them for the purpose of photography. Somehow, once a story is settled in my mind, I feel like going for the next story. Upon consulting with the staff, just before the story was going to be filmed, I practiced it once again. At any rate, I feel like consolidating each story with the teacher from whom I received the guidance. Also, Rakugo practice can be done anywhere as long as there is time. Thus, after I arrived home, I would practice the Rakugo again myself.
Q: I heard that there were Rakugo scenes set to deliberately fail!
A: During the first Rakugo stage scene, the director asked me to “read it stiffly” or “remember (the lines) like a robot would”. Also, I shouldn't give my readings any emotions. However, after giving all I’ve got to remember the lines, it was difficult to forget about them (laugh). After all, I’ve practiced to improve myself, thus I shouldn’t perform the lines poorly, so I thought (laugh). However, of course I had to do as the director asked me to. Ryusei Ryū-kun also had a lot of hardship with that request.
Q: Was it difficult to perform Yakumo’s Rakugo?
A: How shall I put it… Because Yakumo’s Rakugo was melancholic (chuckle), the audience wouldn’t laugh on a regular basis. His charm is not something that makes you laugh. I need to deliver the story to the audience with the power of storytelling. It’s a very solitary and lonely feeling (laugh).
Sukeroku and Yotaro are the type who shares Rakugo with the audience. They do that with such liveliness, by the way, that made me laugh. I’m jealous (laugh). It can’t be helped because I’m playing Yakumo, but I recently keenly wish that I’d make the audience laugh (chuckle).
Q: Playing Rakugo is difficult, isn’t it…
A: I think perhaps the most difficult thing is that there’s no correct answer. I felt that the story would be quite different depending on the person, perhaps furthermore depending on the mood and emotion of the day. Thus, considering those aspects, inside my head, unless I see myself from a bird’s eye view (note: with an outsider’s view? With a bigger picture?), I feel I cannot do it well. Of course, I think it might be different if I were a professional Rakugo storyteller.
It’s difficult to think of it, but the Rakugo scenes only worked when I enjoyed them. Our Rakugo supervisor Yanagiya Kyōtarō Shishō said, “If the performer doesn’t enjoy the Rakugo, the joy is not transferred to the audience. Thus the audience cannot enjoy the performance.”
The way Yakumo does it, despite the gloomy story, there are emotions inside that very story (the story becomes emotional), there are parts that excite me, thus I try to enjoy it wholeheartedly. Thus, I realised that the character inside the story has such joie de vivre; that they somehow has real feelings.
For instance, upon watching “Shinagawa Shinjū”, Kyōtarō Shishō said “For the first time in a long time, I want to do the Shinagawa Shinjū.” I understand that Shishō said such kindness to me because I’m a young newcomer. Yet, afterwards, the fact that Kyōtarō Shishō considered Shinagawa Shinjū with such a high regard makes me very happy (chuckle).
(I’m not sure about the last sentence’s translation. The original sentence is 「品川心中を高座にかけたそうなんです」 which literally meant that (Kyōtarō Shishō) put the Shinagawa Shinjū on the kōza (the stage seat). But I think it means that Kyōtarō Shishō holds the story in such a high regard.)
 |
| Kyōtarō Shishō training Masaki (I mean Kikuhiko) the Shinigami (Episode 4) |
Since then, Director Tanada would say, “I want to see Kyōtarō Shishō’s Shinagawa Shinjū!”. However, in many Rakugo gatherings, the stories are not decided in advance. Upon sensing the audience’s mood, a Rakugo story teller will often decide the story on the spot. That’s why each time Director Tanaka went to Kyōtarō Shishō’s Rakugo gathering, he’d beg Shishō to perform the Shinagawa Shinjū (laugh). I also want to see it, if time permits.
In that sense, I think how amazing is the depth of Kyōtarō Shishō’s heart that moves us. As suspected, here I also thought “I’ll do my best” and I’m so happy for it.
(note: sorry I cannot really get the meaning of this part. The original script is 「そうやって、こっちをくすぐってくれる喬太郎師匠のふところの深さは、すごいと思います。やっぱりこっちも「もっと頑張ろう」と思いますし、すごく嬉しかったですね。」)
 |
| The tearful scene before Shikoku... (Episode 5) |
Q: How important is the rivalry with Sukeroku for Yakumo? Also, what kind of relationship does the two feel?
A: For Yakumo, Sukeroku is an absolutely irreplaceable person. Had Yakumo not met Sukeroku, he wouldn’t be able to truly live; that’s how important this relationship is for Yakumo. Due to his meeting with Sukeroku, Yakumo slowly but sure came to like Rakugo…but it’s also the very nature of Sukeroku that makes Yakumo at times disliking Rakugo. I myself am also longing for Sukeroku’s manly life. However, on the other hand, there’s also a part of me that is jealous.
Q: Can you give us a concrete example?
A: As I come to know about Rakugo, I can tell whether a particular story, a particular legend, is for me or not. Upon watching Sukeroku’s trademark “Nozarashi”, both Yakumo and myself felt that “Nozarashi” wasn’t our forte. As such, when Yamazaki-san portrayed the delightful “Nozarashi”, the Rakugo Shishō said “It’s good now, eh?”. Because Sukeroku turned out to be a rival indeed, somehow I became annoyed (chuckle). Am I jealous? (chuckle) I also need to practice harder! I have to do my best! (laugh).
 |
| The heart-warming scene from Episode 6 |
Yakumo and Sukeroku are definitely polar opposite, but they are friends, which makes it interesting. In the drama, Yakumo and Sukeroku shared roles. We read “Nozarashi” in a duet-mode; Yakumo took the role of the woman, Sukeroku took the role of the man. Upon doing it, the two felt like a couple somehow (laugh). I guess you can’t get rid of that feeling.
Q: What kind of woman is Miyokichi to Yakumo?
A: Miyokichi has a catastrophic aspect in her, which lends to her unique sex appeal. Actually, I couldn’t take my eyes off Omasa-san (the actress for Miyokichi) while I was playing my role (chuckle). Blinking my eyes was a such waste because she was so attractive (laugh). Because the drama is rather male-centric, when Omasa-san came to the scene, it’s like having the presence of a flower.
 |
| What a super cute scene... (Episode 3) |
I always think there was a blank space within Yakumo’s heart that begged to be filled. I think Miyokichi was necessary as the missing piece of Yakumo’s puzzle. Yet, I have this feeling that her existence was much bigger for me than what I originally thought. A scene that left an impression in Miyokichi was when Yakumo showed her his insecurity for the first time, or the sweet scene such as when she leaned on him. As such, accepting the sweetness of Yakumo was a beautiful thing for Miyokichi in her entirety. In turn, she also gave him a great advice. That scene was a major turning point for them, I think.
 |
| This is the turning point...(Episode 3) |
Ah, but then Yakumo saw Sukeroku and Miyokichi embracing each other. Now that becomes complicated! (laugh) I actually thought, “Eh, what?!” (laugh). That scene was also an impressive scene. When it comes to choosing Rakugo or Miyokichi, those are the ultimate choices Yakumo had to make.
Q: One last question. Please give me some rough highlights of the drama.
A: The opportunity out there to portray a man’s life from his teens to his old age is almost non-existent. Yakumo met various types of people, found Rakugo, became an adult… his surroundings changed. All of these are very dramatic. Love, friendship and various emotions swirling around, all are connected to Rakugo. I’d like people to see this way of life of Yakumo. Also, other actors and actresses are also very lively, they are truly amazing. Thus, I was also affected such that I am doing my best now. Such intense charms are overflowing, such that I’d like to enjoy each and every character. And then… there’s Rakugo. I also opened my eyes to the charm of Rakugo for the first time. By the same token, I hope this drama will trigger more people to like Rakugo. Also, since the fans of the original manga and the anime version might enjoy this drama, I’d of course be happy if the manga and anime fans could see the drama as well.
-xxx-
編集部イチオシ！
2018年10月12日
落語名人役の岡田将生さんに凸撃！「昭和元禄落語心中」ロングインタビュー
http://www.nhk.or.jp/dramatopics-blog/100000/307132.html
ドラマ部新人ADの渋谷はな子です！
今夜スタートした「昭和元禄落語心中」、見ていただけましたか？ 第1回の放送を記念して、主演の岡田将生さんに凸撃インタビューしてきました！ 岡田将生さんは昭和の落語の名人・八代目有楽亭八雲を演じています。 原作のこと、撮影現場のこと、そして落語のこと、あれこれ聞いちゃいました！
Q: ドラマ部新人ADの渋谷はな子です。きょうはインタビュー、よろしくお願いします。 まず最初に、原作を読まれた感想をお願いします！
A: 本当に読み応えがあって、次のページがどんな展開になっているのか、怖くて開けないくらいに引き込まれてしまいました。そして、八雲の役を演じるのは大変だなあ･･･と思いました(笑)。
Q: 主人公の八代目有楽亭八雲って、どんな人だと思いますか？
A: すごくクールな人なんですけど、すごく愛がある。なんだかんだと、与太郎や小夏に言葉ではきついことを言っているんですけれど、心の深いところではすごく愛を感じています。 一方で落語と心中しようという気持ちがあったり･･･すごく複雑で、業が深い人間だなあ、と演じていて思いますね。すごくやりがいがあって、楽しいです。
Q: 八雲の若い頃から晩年までを演じてみて、いかがでしたか？
A: 若い頃と50代とで、体の動きのスピードと、会話するときの話のスピードを気を付けてはいます。でも特殊メイクも素晴らしいので、自然に動きも50代になってることもあります。 それから第1話では、与太郎がすごく若い設定で、元気で動きの激しい与太郎を見ていると、やっぱり自然に、親のような気持ちになるというか、親心というか(笑)、そういう感じが湧いてくることもありました。 あとは、落語を演じるときに、やっぱり若いときの落語と、歳をとってからの落語とで、差をつけないといけないので、そこは事前の稽古のときからタナダ監督ともすごくお話させてもらって、こういう風にしよう、ああいう風にしようって、座り方一つでも時間をかけて考えられたので、それは生かされているのかな、とも思います。
Q: 第1回、50代の八雲もクールでカッコよかったです！
A: 第1回の八雲は、とにかく笑うシーンが無いんです(笑)。 それがあった分、第2回以降の撮影になって、若い八雲、菊比古を演じていて、そこの部分はすごく楽しいです(笑)。初太郎（後の助六）と落語をしているときとか、すごく青春を感じるというか(笑)。こういうのっていいなあ、と思いながらやらせてもらっています。
Q: 八雲を演じる上で、気をつけていることはありますか？
A: 常にぽっかり心に穴があいている感じというか、どこかしら虚無な感じというのを意識しています。それは八雲を演じる上で大切だと思っていて。撮影現場は基本的に楽しいんですけど(笑)。 八雲という役には、やはり孤独感が常にあります。親にも捨てられ、友人との別れがあって、恋人とも別れてしまって。そうやって何かに捨てられたり、何かを捨てる代わりに、何かを極めていく･･･落語がどんどん磨かれていくという部分があります。 落語は考えようによっては、ひとりぼっちです。ひとりで芸を磨いて、ひとりでみんなの前に出て、聞いてもらう。それはどこか八雲の抱えている孤独感とか、孤高な感じとか、そういうものにリンクする部分があると思います。 八雲を演じる上で、そういう孤独感だけは、絶対忘れないように気をつけています。 ただ、八雲は左足が悪い設定なんですけど、ときどき足を引きずるのを忘れることがあって(笑)。 この前も幼い小夏との場面で、相手役の子のことを心配してたら、テストのときについ普通に走っちゃって(笑)。みんなに「走ってるよ！」って言われて(笑)。
Q: マンガ原作のキャラクターを演じる難しさはありますか？
A: マンガ原作のものは僕も何回かやらせてもらっていますし、僕もマンガを読むのは好きなんです。 ただ僕も自分が好きなマンガが実写化されるときに、拒絶反応が出ちゃうこともあります。好きな作品なら尚更、そういうことは皆さんあると思うんです。だから、なるべく原作の世界観に近づけたいという気持ちは、演じる側としてすごくあります。 でも一方で、僕自身の菊比古、僕自身の八雲っていうのを演じて行きたいとも思うので･･･原作のファンの皆さんには、優しく見守っていただきたいです(笑)。
Q: 落語のお稽古はいかがでしたか？
A: 四月くらいから、撮影に向けていろんな噺を順番に頭にいれて、稽古しました。 なんとなく、一つが固まってきたら、次の噺に進む…みたいな感じです。 スタッフと相談して、いつ頃にこの噺の撮影があるから、ちょっと前にはもう一回稽古しておこう、とか。 とにかく噺一つ一つ、それぞれに、指導をして下さる師匠方と相談しながら固めていった感じです。あと、落語の稽古は、どこでもできるので、時間のあるときは、家に帰ってからひとりでも稽古していました。
Q: 落語をわざと失敗するシーンがあったと聞きました！
A: 初高座のシーンは、監督に「もっと棒読みでやって」とか「ロボットみたいに覚えたことだけ言っている感じにして」と求められました。あと感情を乗せないなどと。 ･･･でも、やっぱり一回がんばって覚えてるものを、わざとつっかえるっていうのはもの凄く難しくて(笑)。なんでうまくなろうと練習してるのに、下手にやらなきゃならないんだろう、という(笑)。でも、もちろんそれをやらないといけないので。竜星くんも、それですごく苦労したと言ってました。
Q: 八雲の落語、演じてみて難しいですか？
A: 八雲はどちらかというと陰気なタイプの噺しか演じないので(笑)、お客さんが基本的に笑うことがあんまりなくて。笑わせる魅力ではなく、語りの力で噺をお客さんに届けなきゃいけない。すごく孤高で、孤独な感じです(笑)。 助六と与太郎は、落語をお客さんと共有するタイプというか、とにかく溌剌と落語をやっていて、とにかく笑わせる。うらやましいです(笑)。 八雲を演じているんだから仕方ないんですけど、最近切実に「笑いを取りたい」と思っています（笑）。
Q: 落語を演じるって大変なんですね…。
A: 多分、正解が無い、というのがいちばん大変なんじゃないか･･･と思うんです。人によって、ひょっとしたら更にその日の気分や感情によって、噺ってまったく違うものになる気がしていて。 だからそういうことも含めて、自分の頭の中で、どこか自分自身のことも俯瞰的に見てないと、うまく出来ない気もします。もちろん、本職の落語家さんは、また違うのかなと思いますけれど。 考えだすと難しいんですけど、落語の場面では、できるだけ楽しんで演じるようにしています。落語監修の柳家喬太郎師匠が、「演者が楽しくやってないと、お客さんに楽しさが伝わらない。お客さんが楽しくなくなる」って言ってくださって。 八雲がやるような、陰気な噺でも、噺の中で感情的になったり、盛り上がったりする部分があるので、僕も全力で楽しむようにしているし、そうすると噺の中のキャラクターが生き生きとしてくるというのが、なんとなく実感としてわかりました。 「品川心中」だったかな･･･喬太郎師匠に見てもらった時に、師匠が「久々に品川心中をやりたくなった」とおっしゃってくれて。こんなはじめたばっかりの若造に、優しさで言ってくださっているとは思うんですけど、実際に喬太郎師匠はその後、品川心中を高座にかけたそうなんです。すごく嬉しくて(笑)。 それ以来、タナダ監督が喬太郎師匠の「品川心中」を見たい！とおっしゃっていて、でも多くの落語会は、事前にネタは決まっていなくて、落語家さんがお客さんの様子を見ながら演目をその場で決めることが多いんです。それでタナダ監督が喬太郎師匠の落語会に行くと、毎回「品川心中」をやってくれないとおっしゃってました（笑）。僕も時間ができたら、ぜひ見に行きたいです。 そうやって、こっちをくすぐってくれる喬太郎師匠のふところの深さは、すごいと思います。やっぱりこっちも「もっと頑張ろう」と思いますし、すごく嬉しかったですね。
Q: ライバルの助六は、八雲にとってどんな存在ですか？ あと、ふたりはどういう関係だと感じますか！？
A: 助六は、八雲にとっては本当にかけがえのない人で、助六と会ってなかったら、生きていけなかったんじゃないかなと思うくらい大きな存在です。 助六と会うことで落語をどんどん好きになって･･･助六のせいで落語が嫌いになることもある。 僕自身、助六の男らしい生きざまに本当に憧れもするし、でもその一方で嫉妬する、妬ましく思う部分もあります。
Q: 具体的にはどんなところですか？
A: 落語を知っていくと、なんとなくこの噺、このネタは、自分に向いてるとか向いてないというのを感じてきて。八雲も、そして僕自身も、助六が得意とする「野ざらし」みたいな感じは、あんまり得意じゃない気がして。そう思うと、山崎さんが素敵な「野ざらし」を演じて、落語指導の師匠方に「今の良いですね」と言われているのを見ると、やっぱり助六はライバルでもあるので、なんだかくやしい気持ちになります(笑)。嫉妬というか(笑)。僕ももっと稽古しなきゃ！がんばらなきゃ！と(笑)。 八雲と助六は、本当に正反対の人間で、それでいて仲良くて、面白いです。 ドラマの中で、八雲と助六が役柄を分け合って、息を合わせて掛け合いで「野ざらし」を演じる場面があります。ぼくたちは「連弾野ざらし」と呼んでるんですが、八雲が女性の役で、助六が男性の役。そんなことをやっていると、ふたりはなんだか夫婦みたいな感じで(笑)。やっぱり切って切れない仲なんだな、と思いますね。
Q: あと、みよ吉は八雲にとってどんな女性なんでしょうか？
A: みよ吉は破滅的なところがあって･･･それが独特の色気に繋がっているというか。実際に演じていても、みよ吉を演じている大政さんから目が離せなくなるというか(笑)。瞬きするのがもったいないくらい、魅力的で(笑)。ドラマの中身も男くさいので、大政さんが現場にいらっしゃると華があります。 八雲には、埋めなくてはならない空白が、いつも心の中にあるんだと思います。埋めるために必要なピースとして、みよ吉がいたんだと思います。ただ、みよ吉の存在が、自分が思っていた以上に、自分にとって大きかった･･･。そんな感じがします。 みよ吉との印象に残っているシーンは、八雲がみよ吉にはじめて弱みを見せるというか、甘えて、すがるような場面ですね。そういう八雲の甘えを受け止めてくれる、みよ吉の人間の大きさが素敵ですし、それにそこで、八雲にとって大きなきっかけになるアドバイスをしてくれる。大事なターニングポイントの場面だと思います。 あ、あと･･･助六とみよ吉が、抱き合ってるのを見てしまうところ。複雑でしたよ(笑)。 「えー！」と思いましたし(笑)。そこも印象的ですね。 落語を取るか、みよ吉を取るか･･･という事態が起こるんですけれど、本当に究極の選択です･･･。
Q: 最後にざっくりした質問ですが、ドラマの見どころをお願いします！
A: ひとりの男の人生というか、10代から老人になるまでの役を演じる機会はなかなか無いです。八雲がいろいろな人と出会って、そして落語と出会って、大人になっていき、環境が変わっていく。それがすごくドラマチックで、愛情とか友情とか、色んな感情が渦巻いて、その全ては落語につながっていきます。この八雲の生き様を、見て欲しいなと思います。 あとは、他の役の皆さんが、ほんとに生き生きとしていて、皆さんほんとうに魅力的です。それに僕もすごく良い影響を受けて、今がんばれています。そういう濃い魅力が溢れるひとりひとりのキャラクターを楽しんで貰いたいと思います。 あとは落語。僕も今回初めて落語の魅力に目覚めましたけれど、同じようにこのドラマをきっかけに落語を好きになる方が増えたらいいな！と思います。あと原作マンガのファンの方、アニメ版のファンの方にも楽しんでいただけるようになってると思いますので、ぜひ、見ていただけたら嬉しいなと思います。
-xxx-
Q: Dorama-bu shinjin AD no Shibuya Hanakodesu. Kyō wa intabyū, yoroshikuonegaishimasu. Mazu saisho ni, gensaku o yoma reta kansō o onegaishimasu!
A: Hontōni yomigotae ga atte,-ji no pēji ga don'na tenkai ni natte iru no ka, kowakute hirakenai kurai ni hikikoma rete shimaimashita. Soshite, yakumo no yaku o enjiru no wa taihenda nā to omoimashita (Emi).
Q: Shujinkō no Hachidaime Yūrakutei Yakumo-tte, don'na hitoda to omoimasu ka?
A: Sugoku kūruna hitona ndesukedo, sugoku ai ga aru. Nandakanda to, yotarō ya ko natsu ni kotobade wa kitsui koto o itte iru ndesukeredo, kokoro no fukai tokorode wa sugoku ai o kanjite imasu. Ippō de rakugo to shinjū shiyou to iu kimochi ga attari sugoku fukuzatsude, gōgafukai ningenda nā, to enjite ite omoimasu ne. Sugoku yarigai ga atte, tanoshīdesu.
Q: Yakumo no wakai koro kara ban'nen made o enjite mite, ikagadeshita ka?
A: Wakai koro to 50-dai to de,-tai no ugoki no supīdo to, kaiwa suru toki no hanashi no supīdo o ki o tsukete wa imasu. Demo tokushu meiku mo subarashīnode, shizen ni ugoki mo 50-dai ni natteru koto mo arimasu. Sorekara dai 1-wade wa, yotarō ga sugoku wakai settei de, genkide ugoki no hageshī yotarō o mite iru to, yappari shizen ni, oya no yōna kimochi ni naru to iu ka, oyagokoro to iu ka (Emi), sōiu kanji ga waite kuru koto mo arimashita. Ato wa, rakugo o enjiru toki ni, yappari wakai toki no rakugo to, toshi o totte kara no rakugo to de,-sa o tsukenaito ikenainode, soko wa jizen no keiko no toki kara tanada kantoku tomo sugoku ohanashi sa sete moratte, kōiu kaze ni shiyou, ā iu kaze ni shiyou tte, suwari-kata hitotsu demo jikan o kakete kangae raretanode, sore wa ikasa rete iru no ka na, tomo omoimasu.
Q: Dai 1-kai, 50-dai no yakumo mo kūru de kakko yokattadesu!
A: Dai 1-kai no yakumo wa, tonikaku warau shīn ga nai ndesu (Emi). Sore ga atta bun, dai 2-kai ikō no satsuei ni natte, wakai yakumo, kiku-hi inishie o enjite ite, soko no bubun wa sugoku tanoshīdesu (Emi). Hatsutarō (ato no Sukeroku) to rakugo o shite iru toki toka, sugoku seishun o kanjiru to iu ka (Emi). Kōiu notte ī nā, to omoinagara yara sete moratte imasu.
Q: Yakumo o enjiru ue de, ki o tsukete iru koto wa arimasu ka?
A: Tsuneni pokkari kokoro ni ana ga aite iru kanji to iu ka, doko kashira kyomuna kanji to iu no o ishiki shite imasu. Sore wa yakumo o enjiru ue de taisetsuda to omotte ite. Satsuei genba wa kihontekini tanoshī ndesukedo (Emi).
Yakumo to iu yaku ni wa, yahari kodoku-kan ga tsuneni arimasu. Oya ni mo sute rare, yūjin to no wakare ga atte, koibito tomo betsu rete shimatte. Sō yatte nanika ni sute rare tari, nanika o suteru kawari ni, nanika o kiwamete iku rakugo ga dondon migaka rete iku to iu bubun ga arimasu. Rakugo wa kangae yō ni yotte wa, hitori botchidesu. Hitori de gei o migaite, hitori de min'nano mae ni dete, kiite morau. Sore wa doko ka yakumo no kakaete iru kodoku-kan toka, kokōna kanji toka, sōiu mono ni rinku suru bubun ga aru to omoimasu.
Yakumo o enjiru ue de, sōiu kodoku-kan dake wa, zettai wasurenai yō ni ki o tsukete imasu. Tada, yakumo wa hidariashi ga warui setteina ndesukedo, tokidoki ashi o hikizuru no o wasureru koto ga atte (Emi). Konomae mo osanai Konatsu to no bamen de, aite-yaku no ko no koto o shinpai shi tetara, tesuto no toki ni tsui futsū ni hashitchatte (Emi). Min'na ni `hashitteru yo!' Tte iwa rete (Emi).
Q: Manga gensaku no kyarakutā o enjiru muzukashi-sa wa arimasu ka?
A: Manga gensaku no mono wa boku mo nan-kai ka yara sete moratte imasushi, boku mo manga o yomu no wa sukina ndesu. Tada boku mo jibun ga sukina manga ga jissha-ka sa reru toki ni, kyozetsu han'nō ga de chau koto mo arimasu. Sukina sakuhin'nara naosara, sō iu koto wa minasan aru to omou ndesu. Dakara, narubeku gensaku no sekai-kan ni chikadzuketai to iu kimochi wa, enjiru gawa to shite sugoku arimasu. Demo ippō de, boku jishin no kiku-hi ko, boku jishin no yakumo tte iu no o enjite ikitai to mo omou node gensaku no fan no minasan ni wa, yasashiku mimamotte itadakitaidesu (Emi).
Q: Rakugo no okeiko wa ikagadeshita ka?
A: 4Gatsu kuraikara, satsuei ni mukete iron'na hanashi o junban ni atama ni irete, keiko shimashita. Nantonaku, hitotsu ga katamatte kitara,-ji no hanashi ni susumu… mitaina kanjidesu. Sutaffu to sōdan shite, itsugoro ni kono hanashi no satsuei ga arukara, chotto mae ni wa mōikkai keiko shite okou, toka. Tonikaku hanashi hitotsuhitotsu, sorezore ni, shidō o shite kudasaru shishō-kata to sōdan shinagara katamete itta kanjidesu. Ato, rakugo no keiko wa, doko demo dekiru node, jikan no aru toki wa, uchi ni kaette kara hitori demo keiko shite imashita.
Q: Rakugo o wazato shippai suru shīn ga atta to kikimashita!
A: Hatsu Kōza no shīn wa, kantoku ni `motto bōyomi de yatte' toka `robotto mitai ni oboeta koto dake itte iru kanji ni shite' to motome raremashita. Ato kanjō o nosenai nado to. Demo, yappari ikkai ganbatte oboe teru mono o, wazato tsukkaeru tte iu no wa monosugoku muzukashikute (Emi). Nande umaku narou to renshū shi teru no ni, heta ni yaranakya naranai ndarou, to iu (Emi). Demo, mochiron sore o yaranaito ikenainode. Ryū-boshi-kun mo, sorede sugoku kurō shita to ittemashita.
Q: Yakumo no rakugo, enjite mite muzukashīdesu ka?
A: Yakumo wa dochira ka to iu to inkina taipu no hanashi shika enjinainode (Emi), ogyakusan ga kihontekini warau koto ga anmari nakute. Warawaseru miryokude wa naku, katari no chikara de hanashi o ogyakusan ni todokenakya ikenai. Sugoku kokōde, kodokuna kanjidesu (Emi). Sukeroku to yotarō wa, rakugo o ogyakusan to kyōyū suru taipu to iu ka, tonikaku hatsuratsu to rakugo o yatte ite, tonikaku warawaseru. Urayamashīdesu (Emi). Yakumo o enjite iru ndakara shikatanai ndesukedo, saikin setsujitsu ni `warai o toritai' to omotte imasu (Emi).
Q: Rakugo o enjiru tte taihen'na ndesu ne….
A: Tabun, seikai ga nai, to iu no ga ichiban taihen'na n janai ka to omou ndesu. Hito ni yotte, hyottoshitara sarani sonohi no kibun ya kanjō ni yotte, hanashi tte mattaku chigau mono ni naru ki ga shite ite. Dakara sō iu koto mo fukumete, jibun no atama no naka de, doko ka jibunjishin'no koto mo fukan-teki ni mitenai to, umaku dekinai ki mo shimasu. Mochiron, honshoku no rakugo-ka-san wa, mata chigau no ka na to omoimasukeredo.
Kangae dasuto muzukashī ndesukedo, rakugo no bamende wa, dekiru dake tanoshinde enjiru yō ni shite imasu. Rakugo kanshū no yanagiya kyōtarō shishō ga,`enja ga tanoshiku yattenai to, ogyakusan ni tanoshisa ga tsutawaranai. Ogyakusan ga tanoshiku nakunaru' tte itte kudasatte.
Yakumo ga yaru yōna, inkina hanashi demo, hanashi no naka de kanjō-teki ni nattari, moriagattari suru bubun ga aru node, boku mo zenryoku de tanoshimu yō ni shite irushi, sōsuruto hanashi no naka no kyarakutā ga ikiiki to shite kuru to iu no ga, nantonaku jikkan to shite wakarimashita.
`Shinagawashinjū'datta ka na kyō tarō shishō ni mite moratta toki ni, shishō ga `hisabisa ni shinagawashinjū o yaritaku natta' to osshatte kurete. Kon'na hajimeta bakkari no wakazō ni, yasashi-sa de itte kudasatte iru to wa omou ndesukedo, jissai ni kyō tarō shishō wa sonogo, shinagawashinjū o kōza ni kaketa sōna ndesu. Sugoku ureshikute (Emi).
Sore irai, tanada kantoku ga kyō tarō shishō no `shinagawashinjū' o mitai! To osshatte ite, demo ōku no rakugo-kai wa, jizen ni neta wa kimatte inakute, rakugo-ka-san ga ogyakusan no yōsu o minagara enmoku o sonobade kimeru koto ga ōi ndesu. Sorede tanada kantoku ga kyō tarō shishō no rakugo-kai ni iku to, maikai `shinagawashinjū' o yatte kurenai to osshattemashita (Emi). Boku mo jikan ga dekitara, zehi mi ni ikitaidesu. Sō yatte, kotchi o kusugutte kureru kyō tarō shishō no futokoro no fuka-sa wa, sugoi to omoimasu. Yappari kotchi mo `motto ganbarou' to omoimasushi, sugoku ureshikattadesu ne.
Q: Raibaru no Sukeroku wa, yakumo ni totte don'na sonzaidesu ka? Ato, futari wa dōiu kankeida to kanjimasu ka! ?
A: Sukeroku wa, yakumo ni totte wa hontōni kakegae no nai hito de, Sukeroku to attenakattara, ikite ikenakatta n janai ka na to omou kurai ōkina sonzaidesu. Sukeroku to au koto de rakugo o dondon suki ni natte Sukeroku no sei de rakugo ga kirai ni naru koto mo aru. Boku jishin, Sukeroku no otokorashī ikizama ni hontōni akogare mo surushi, demo sono ippō de shitto suru, netamashiku omou bubun mo arimasu.
Q: Gutaitekini wa don'na tokorodesu ka?
A: Rakugo o shitte iku to, nantonaku kono hanashi, kono neta wa, jibun ni mui teru toka mui tenai to iu no o kanjite kite. Yakumo mo, soshite boku jishin mo, Sukeroku ga tokui to suru `nozarashi' mitaina kanji wa, anmari tokui janai ki ga shite. Sō omou to, Yamazaki-san ga sutekina `nozarashi' o enjite, rakugo shidō no shishō hō ni `ima no yoidesu ne' to iwa rete iru no o miru to, yappari Sukeroku wa raibaru demoarunode, nandaka kuyashī kimochi ni narimasu (Emi). Shitto to iu ka (Emi). Boku mo motto keiko shinakya! Ganbaranakya! To (Emi). Yakumo to Sukeroku wa, hontōni seihantai no ningen de, soredeite nakayokute, omoshiroidesu. Dorama no naka de, yakumo to Sukeroku ga yakugara o wakeatte, iki o awasete kakeai de `nozarashi' o enjiru bamen ga arimasu. Boku-tachi wa `rendan nozarashi' to yon deru ndesuga, yakumo ga josei no yaku de, Sukeroku ga dansei no yaku. Son'na koto o yatte iru to, futari wa nandaka fūfu mitaina kanji de (Emi). Yappari kitte kirenai nakana nda na, to omoimasu ne.
Q: Ato, miyo kichi wa yakumo ni totte don'na joseina ndeshou ka?
A: Miyokichi wa hametsu-tekina tokoro ga atte sore ga dokutoku no iroke ni tsunagatte iru to iu ka. Jissai ni enjite ite mo, miyo kichi o enjite iru taisei-san kara me ga hanasenaku naru to iu ka (Emi). Mabataki suru no ga mottainai kurai, mirikiteki de (Emi). Dorama no nakami mo otoko kusainode, dai Masa-san ga genba ni irassharu to hana ga arimasu.
Yakumo ni wa, umenakute wa naranai kūhaku ga, itsumo kokoronouchi ni aru nda to omoimasu. Umeru tame ni hitsuyōna pīsu to shite, miyo kichi ga itanda to omoimasu. Tada, miyo kichi no sonzai ga, jibun ga omotte ita ijō ni, jibun ni totte ōkikatta. Son'na kanji ga shimasu. Miyokichi to no inshō ni nokotte iru shīn wa, yakumo ga miyo kichi ni hajimete yowami o miseru to iu ka, amaete, sugaru yōna bamendesu ne. Sōiu yakumo no amae o uketomete kureru, miyo kichi no ningen no ōki-sa ga sutekidesushi, soreni sokode, yakumo ni totte ōkina kikkake ni naru adobaisu o shite kureru. Daijina tāningupointo no bamenda to omoimasu. A, ato Sukeroku to Miyokichi ga, dakiatteru no o mite shimau tokoro. Fukuzatsudeshita yo (Emi). `E ̄ !' To omoimashitashi (Emi). Soko mo inshō-tekidesu ne. Rakugo o toru ka, miyo kichi o toru ka to iu jitai ga okoru ndesukeredo, hontōni kyūkyoku no sentakudesu.
Q: Saigo ni zakkuri shita shitsumondesuga, dorama no midokoro o onegaishimasu!
A: Hitori no otoko no jinsei to iu ka, 10-dai kara rōjin ni naru made no yaku o enjiru kikai wa nakanaka naidesu. Yakumo ga iroirona hito to deatte, soshite rakugo to deatte, otona ni natte iki, kankyō ga kawatte iku. Sore ga sugokudoramachikku de, aijō toka yūjō toka, iron'na kanjō ga uzumaite, sono subete wa rakugo ni tsunagatte ikimasu. Kono yakumo no ikizama o, mite hoshī na to omoimasu. Ato wa, hoka no yaku no minasan ga, hontoni ikiiki to shite ite, minasan hontō ni mirikitekidesu. Soreni boku mo sugoku yoi eikyō o ukete, ima ganbarete imasu. Sōiu koi miryoku ga afureru hitorihitori no kyarakutā o tanoshinde moraitai to omoimasu. Ato wa rakugo. Boku mo konkai hajimete rakugo no miryoku ni mezamemashitakeredo, onajiyōni kono dorama o kikkake ni rakugo o suki ni naru kata ga fuetara ī na! To omoimasu. Ato gensaku manga no fan no kata, anime-ban no fan no kata ni mo tanoshinde itadakeru yō ni natteru to omoimasunode, zehi, mite itadaketara ureshī na to omoimasu.
