古川雄辉 20190723 Japan times 英文采访报道 喵星人字幕

Capturing Haruki Murakami's ‘eccentric atmosphere’

BY YUKARI TANAKA     2019.7.23

 CONTRIBUTING WRITER  

感受村上春树“与众不同的的氛围”

 作者 签约撰稿人 YUKARI TANAKA   2019.7.23

YUKARI, TANAKA - ‘As a university student, I never even imagined that I could be an actor. Because, to me, they only existed on screen,” says Yuki Furukawa.

YUKARI TANAKA（编者按)——“作为一个大学生， 我从未想过我能成为一名演员。因为，对我来说，演员只存在于荧幕上，”古川雄辉如是说。

Now a well-established actor, Furukawa is largely known for his portrayal of Naoki Irie in “Mischievous Kiss: Love in Tokyo,” a television series based on Kaoru Tada’s romantic comedy manga series “Itazura na Kiss,” which aired in 2013. His portrayal of Naoki — a cocky, smart and charming high school student — won the hearts of many girls, gaining him an army of fans across Asia.

    古川雄辉最广为人知的是在2013年播出的电视连续剧《恶作剧之吻~LOVE IN TOKYO》中饰演入江直树一角。这是由多田薰的浪漫喜剧漫画《恶作剧之吻》改编的电视作品。他塑造的直树是一个自傲的、聪明、富有魅力的高中生，在亚洲赢得一众女孩的芳心。 

“I would have never pursued acting if I hadn’t had an amazing opportunity,” Furukawa says, referring to an event organized by HoriPro, one of the biggest entertainment agencies in Japan, as part of its 50th anniversary celebrations in 2010. Involving 10 “Mister Campus” (good-looking and talented male students at universities in Japan) contestants, the event was an audition to discover potential actors. Furukawa, who was selected as Mister Keio at his now alma mater Keio University, was invited to the contest and won a Special Recognition Award.

    “如果我不曾有这样一个令人惊喜的机会，我也不会致力于演艺事业，”古川雄辉在提及HORIPRO，日本最大的娱乐公司之一，在2010年举办的一场活动时，这样说道。该活动也是HORIPRO50周年庆典的一部分。活动内容是从10名校草中选拔有潜力的演员。 古川雄辉，作为母校庆应义塾大学的校草获邀参加选拔，并获得评委特别奖。 

Born in Japan, Furukawa moved to Toronto, Canada at the age of 7 and attended a local school. After spending eight years in Canada, he moved alone to New York to attend a Japanese high school, spending a total of 11 years abroad before returning to Japan for college.

   出生于日本， 7岁去加拿大并在当地学校就读。 在加拿大度过8年之后，他独自去纽约，就读于日本人的高中，在他回到日本上大学之前，在国外共呆了11年。

The 31-year-old says he faced cultural barriers upon his return.

   现年31岁的古川雄辉说， 他在回国后遇到了文化障碍。 

“I had a lot of trouble getting used to the senpai-kōhai (senior-junior) relationship. I didn’t know how to use Japanese honorifics up until high school. I also struggled with bowing — I just couldn’t understand it,” says Furukawa. He adds that the senpai-kōhai issue also caused problems when he began acting in Japan as the Japanese entertainment industry is notoriously strict when it comes to such relationships.

   “在前辈后辈关系上，我曾面临着诸多问题。”我不知道怎样说敬语，直到上我了高中。同样，我也不懂得鞠躬行礼 ，——因为我不能理解”，古川雄辉随后补充道，“当他在日本开始当演员时，前后辈关系依然是个问题，因为日本的娱乐业在这个方面是出了名的严苛。”

“Sometimes I also struggle with how my words are too straightforward, which might partly have to do with me being a kikokushijo (a returnee from overseas), but I don’t really filter things like Japanese people do,” Furukawa says. “So sometimes people misunderstand me, and because of it, there was a time when I barely spoke to anyone.”

   “有时候，我也苦恼我的话怎么会过于直白，这可能与我是归国子女有关，但确实我处理事情并不像日本人那样，”古川雄辉说，“所以，有时候人们会误解我，以至于，有一段时间我几乎不跟任何人交谈。”

Furukawa says that growing up bilingual, speaking Japanese and English, has made it easier for him to work outside of Japan, but this has not always worked in his favor.

   古川雄辉说，身为双语者，会说日语和英语，使得他更容易在日本以外的地方工作， 但这并不总是有利的。

“I’ve auditioned two times for Hollywood before where I was told both times that my English is too good,” he says. “What that means is that they are generally looking for someone to play a ‘Japanese person, ‘which means they are not interested in someone who speaks English fluently. In fact, I was told both times to try to speak it badly to better fit their image of a ‘Japanese person,’ both verbally and physically.”

    “我之前参加过两次好莱坞的试镜，都被告知，我的英语太好了。”“言下之意，他们在寻找一个能演“日本人”的演员，但并不关心，英语是否流利。 事实上，这两次都我都被告知， 如果我的英语能说的蹩脚点，在语言和肢体上会更符合他们的对“日本人”的形象要求。”

From July 31, Furukawa will be starring in “After the Quake,” a Yutaka Kuramochi-directed theater adaptation of two short stories — “Super-Frog Saves Tokyo” and “Honey Pie” — by Haruki Murakami. Set around the Great Hanshin Earthquake in 1995, the stories shed light on secondary victims of the natural disaster. The two stories have been merged into one hybrid for theater, with Furukawa performing as Junpei, a young writer trying to make a living out of writing short stories for publication.

   7月31日起， 古川雄辉将主演《神的孩子的全跳舞after the quake》。仓持裕导演的这部舞台剧改编自村上春树的2个短篇故事——《青蛙君救东京》，《蜂蜜饼》。避开了对1995年阪神大地震的阐述，故事把目光聚焦在地震灾害的间接受害者上。舞台剧版把两个故事合并成一个故事， 古川雄辉饰演的淳平是位年轻的作家，靠给出版社写故事为生。

“When I first read the book and the script, my understanding of Junpei was that he is very shy, as he is unable to express his feelings, especially towards Sayoko, his college crush,” Furukawa says. “But based on our rehearsals so far, it seems like the director, Kuramochi-san, doesn’t really want me to stick to that idea because it’ll only limit my movements and expressions, so he told me to let go of that image and try different things. Honestly, at this point it is hard to tell how Junpei will turn out to be in the end.”

   “当我第一次读这本小说，我理解的淳平是个非常害羞的， 不能表达自己的情感的人，特别是对小夜子， 他大学时的迷恋对象“，古川雄辉说道，”但是在彩排了之后，貌似仓持裕导演，并不想让我为这种想法所局限， 因为这种想法只会限制我的行动和表达，所以，他让我跳出这个思维去尝试不同的。 说实话，现在还很难说， 最终呈现给大家的淳平会是怎样的一个人。 

Furukawa says the combination of the two stories is, at times, complicated.

    古川雄辉说， 把两个故事整合到一起， 有时，是复杂的。

“The four main characters’ actors will all be playing multiple roles as we also narrate stories for each other,” says Furukawa. “So when ‘Super-Frog Saves Tokyo’ is being performed on stage I will be narrating, but once the story is switched back to ‘Honey Pie,’ the Frog starts narrating.

“4个主要角色的演员会扮演多重角色， 因为我们还要互相给对方的故事作旁白，” 古川雄辉说道， “所以在《青蛙君救东京》这个故事中，我会作旁白；但是， 一旦这个故事切回《蜂蜜饼》，就由青蛙君开始做解说。 

“The lines are not necessarily all conversations. Sometimes I speak on behalf of another character and their feelings, then all of a sudden I start having a regular conversation, then I start speaking to the audience and then back to verbalizing my own feelings. Once the stories are nicely blended, you finally start feeling that eccentric atmosphere unique to Murakami’s world.”

   “并非所有的台词都是对话。 有时，我代表另一个人物，表达其感受；接着，忽然，我开始说一般的对话，之后，我又开始用语言向观众描述我自己的感情。 故事很好地交织在一起， 最终你会感受到与众不同的氛围，独一无二的、村上春树的世界。 

In rehearsals, Furukawa shows himself to be receptive to new ideas and subtle directions and his performances clearly have plenty to offer to help bring stories to life. One can only look forward to his version of Junpei.

    在彩排中，古川雄辉展示了他乐于接受新的想法和微妙的舞台指示，他的表演明显地把故事演活了。期待古川雄辉版的淳平。

Six years ago in London, Furukawa took part in an Anglo-Japanese production, “Anjin: The Shogun and the English Samurai,” playing a Japanese Catholic priest.

   6年前在伦敦，古川雄辉参与了英日合作作品，《安针：日本将军和英国武士》，出演日本天主教牧师。

Spending a couple of weeks with the Royal Shakespeare Company crew and surrounded by both British and Japanese cast members, he says the experience was extremely different and refreshing.

   花上几周的时间和皇家莎士比亚公司团队以及英国、日本的演出成员在一起， 他说这个经历是极其不同和新鲜的。 

“In Japan, for example, when we all get together for script reads, the seats are already decided for us according to our roles and positions,” says Furukawa, “but that is not how it was in London as everyone sat wherever they wanted to.

   “例如在日本，我们会集中起来读剧本，朗读时的座次，是根据我们的角色和位置早早就决定好的，“ 古川雄辉说， “但是， 在伦敦大家可以坐在任意想坐的位置上。”

“Here, people are very serious and only bring water, but in London they had snacks all over and were eating them while reading their lines. There was definitely more of a fun aspect to the entire process because there was more freedom.”

   “在日本，人们非常严肃，只带瓶水；但是在伦敦，人们都带点心零食，在朗读台词的时候是可以吃东西的。 赋予了更多的自由，整个过程无疑会更加有乐趣。”

Having also worked on Chinese and Korean productions, Furukawa says that every place has its own on- and off-set vibe that reflects its cultural characteristics.

   同样有参与中国和韩国影视剧拍摄。古川雄辉说， 每个地方有它自己的氛围来反映它们的文化特色。

“I certainly don’t think one is better than the other, they’re all just different approaches to different things and the ideal would be to get the best of both worlds,” says Furukawa with a smile. “I do think it’s great that Japanese people are always on schedule, but because the majority of people who decide to pursue this industry do it not because of money but to follow their passions, sometimes I do feel that it could be nicer if Japan also had some of the more ‘fun’ aspects that I’ve experienced abroad.”

   “我当然不认为哪一种会更优秀，因为它们只是在对待不同的事物上采取了不同的方法，理想状态是两者都达到它们的最佳，“ 古川雄辉脸上带着笑容说道， “我确实认为日本人总是准时是很棒的，不过大多数人决定要从事这行并不是因为金钱，而是跟随他们的激情，有时我的确感到，如果日本的娱乐业，也有，我曾在国外经历过的那样”有乐趣“的一面，会更好。

Despite his years in the industry, Furukawa says that he still has a lot to learn. He says that because acting has no definitive answer and is retirement-free, it allows him to continue to explore unlimited possibilities and take on further challenges.

   尽管在这行呆了几年， 古川雄辉说，他依然有很多需要学习的。 他说，因为演戏并没有唯一答案， 而且没有退休，这允许他继续去探索无限的可能性，以及接受进一步的挑战。

   舞台剧《神的孩子全跳舞 after the quake》将于7月31日-8月16日，在东京千代田区みようり大手町ホール上演。 更多信息请浏览：https://horipro- stage.jp/stage/kaminokodomo2019.

原文：

https://www.japantimes.co.jp/culture/2019/07/23/stage/capturing-haruki-murakamis-eccentric-atmosphere/#.XTenWugzZnK

翻译：本猫