原文恕删…mOm
从原贴看来 似乎许多人都蛮在意剧中情节与现实状况的差异
包括我自己也是
正好今天看到一篇是枝裕和的访谈（英文）
里头有段内容 让我觉得有如是枝裕和对此表达了个人看法
所以转贴过来 有兴趣的板友不妨参考
但我个人英文能力并没好到可以翻译
所以就不献丑了 请见谅
以下…（黄字部分为是枝裕和的回答）
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.
想看全篇报导的话 在这里：
https://bit.ly/3XiAGXG
原本我对剧版加入原作中没有的凉子一角略感不解
看完这段访谈 算有得到解释
但又觉得作用有限
因为我回想了一下
似乎除了一开始对季代和小堇说出那番有如警告的话之外
凉子后来也没再多批评些什么？
即使如此 我也能够体谅
站在剧组的立场 考虑到本剧的属性
这种事其实点到为止就好