談戲劇：寺山修司 - 兩個真紀與一個Seazer(上) | 陳恆輝 On Theatre - Terayama Shūji - Two Makis and a Seazer (Part 1) (by Andrew Chan)

撰文：陳恆輝 By: Chan Hang-fai

陳恆輝。愛麗絲劇場實驗室藝術總監。曾獲香港舞台劇獎最佳導演獎。 Andrew Chan is the Artistic Director of the Alice Theatre Laboratory and a recipient of Best Director Award of the Hong Kong Drama Awards.

寺山修司說過：「我的職業就是寺山修司。」

Terayama Shūji once said, “My job, is Terayama Shūji.”

他不僅是舞台和電影導演，他也是馬評家和詩人，而他寫的詩 包括短歌、俳句和新詩等，他的文字創作也涉及音樂界，為多 為歌手的歌曲填上充滿詩意的歌詞。

日本有兩位歌手的名字都叫做Maki(中文可 譯為真紀)，她們都與寺山修司邂逅之後，生 命和事業有極大的轉變。

他們是淺川Maki(淺川マキ)和Carmen Maki(カルメン マキ)。

淺川Maki生於1942年，她的故鄉是石川 縣，二十歲到東京發展，由於受到Billie Holiday和Mahalia Jackson兩位黑人女 歌手的影響，決定走爵士和騷靈的路缐，並 於美軍基地和酒吧獻唱。她有兩個伯樂，一 個是她的唱片監製寺本幸司，他為Maki打 造了出道單曲《東京挽歌》，可是反應不甚 理想，正在這個時候，他邀請media的寵 兒寺山修司來聽Maki的演唱，寺山一聽，驚 為天人!決定要為她製作演出，於是，傳奇 的、為人津津樂道的新宿地下劇場蠍座的 演出便告誕生。除此之外，寺山還為Maki 打造《淺川Maki的世界》這張經典唱片專 輯，還 為 她 的 歌 曲 寫 下 哀 愁 又 充 滿 故 事 性 的

歌 詞，當 中，我 很 喜 歡 這 首《 海 鷗 》，在 網上 找到有有心人翻譯：

引誘男人的水性楊花的人
海鷗 海鷗 給我笑一個 我的真愛在 港町的深夜 一直在門前走來又走去 可是我卻無能為力
海鷗 海鷗 給我笑一個 然而某晚 突然一個暴發戶男子
一個人雙手抱著玫瑰 敲起了微醉女人的門 海鷗 海鷗 給我笑一個

在茫茫大海中自由飛翔的海鷗，往往是寺山修司經常用到的「 意象」。

另一首《後窗》，亦是我極之喜歡的他們「合作」的作品， 我的朋友Clockwork Toy將之翻譯:

後窗中能看到夕陽 能看到洗衣場的梯子 從後窗貼近看
能看見兩個人 後窗中能看到河流 能聽到駁船微弱的聲音
有時能看到人們離別的場面 後窗中能看到明天 三年前的我還年輕
後窗中能看到幸福的二人 但是夜風砰砰作響 窗門關上啊 砰砰作響 還未開啊 砰砰作響
幻影已消失不見了 後窗中能看到河流 如果光熄減 遺憾也能消失
從後窗中能看到離別後的女人

淺川Maki之後雖然不是大紅大紫，但都 推出了很多專輯，還經常會作現場演出， 她每張唱片都成為愛好者的collection item。有人認為Maki的形象令人想起 Velvet Underground & Nico 的主音 歌手Nico，但Maki那把歷盡蒼桑味道的 嗓音和個人散發出來的孤獨「氣場」，均是她獨有的。

她全身黑衣的形象也令人非常難忘。 寺山修司迷永遠不會忘記，在寺山的第一部長篇電影《拋掉書本走上街》中，年輕的男主角走入一間建築物內，在幾乎漆黑的暗處，有淺川Maki的聲容。

她沒有走上「地上」，直至2010年去世，她 都在「地下」，但在那個「國度」裡，她都 是受人尊敬和受歡迎的歌手。

走上「 地 上 」的，是另外一個 Maki，Carmen Maki。

He is not only a stage and film director, but also a horserace commentator and a poet. His works include tanka, haiku, and modern poetry; his textual creation spills into the field of music, having written lyrics rich with poeticism for many singers.

There are two well-known singers in Japan named Maki; after meeting Terayama, both of them experienced dramatic shifts in life and career.

They are Asakawa Maki and Carmen Maki.

Asakawa Maki was born in 1942. An Ishikawa native, she went to pursue her career in Tokyo at 20. Influenced by Billie Holiday and Mahalia Jackson, both black woman singers, she decided to go the jazz and soul route, singing at American military bases and bars. She was helped along by two people: one, her recording supervisor, Teramoto Kōji, who crafted the debut single

“Tokyo Elegy” for Maki, though the response was not as expected. At this very time, he invited the media darling Terayama Shūji to listen to Maki’s performance. As he began to listen, he was enraptured, and decided to produce her performance. And so it was that the legendary, buzzworthy Shinjuku underground theater Sasori-za’s performances came into existence. Aside from this, Terayama tailor-made the classic album Asakawa Maki’s World for Maki, writing sorrowful, story-filled lyrics for her songs. Among those, I loved “Seagull”, a translation of which I found courtesy of a considerate stranger on the Internet:

Those flirtatious people who seduce men Seagull, seagull, smile for me
In the wee hours at Minatomachi, my true love
Is pacing back and forth before the door
But there is nothing I can doSeagull, seagull, smile for me
But one night, a man who’s struck gold
A bouquet of roses between his arms
Knocks on a tipsy woman’s door
Seagull, seagull, smile for me

The seagull flying free amid the vast ocean, is ‘imagery’ that Terayama Shūji often makes use of. Another song, “Rear Window” is another favorite of mine among their ‘collaborations’. My friend Clockwork Toy has translated it thus:


I see the sunset in the rear window
The ladder at the washing grounds
If you press up against the rear window
You can see two people
From the rear window you can see the river
Hear the faint voice of the barge
Sometimes you can see people parting
You can see tomorrow from the rear window
Three years ago I was still young
You could see two happy people from that window But the night wind rattles
Close the window, it rattles
It’s not open yet, it rattles
The mirage has disappeared
From the rear window you can see the river
If the light extinguishes
So too disappear your regrets
From the rear window you can see a woman after parting

Though Asakawa Maki was no big star, she released many albums, and performed live regularly. Each of her records was a collection item for her admirers. Some believe that Maki’s image was suggestive of Nico, the lead singer from Velvet Underground & Nico. However, Maki’s experienced, worldly rasp and her personal aura of loneliness belong to her alone.

Her clad-in-black styling is also unforgettable.

Fans of Terayama Shūji will never forget, in Terayama’s first full-length film Throw Away Your Books, Rally in the Streets, the young protagonist who walks into a building. Out of a pitch-black corner, comes Asakawa Maki’s voice.

She didn’t come ‘aboveground’; until her passing in 2010, she was always ‘underground’, but in that ‘realm’, she was a singer of much respect and repute.

It was another Maki who walked aboveground — Carmen Maki.

(Translated by Elliott Cheung)