談戲劇：寺山修司 - 兩個真紀與一個Seazer (下) | 陳恆輝 On Theatre - Terayama Shūji - Two Makis and a Seazer (Part 2) (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.

“ 一個美麗的混血兒邂逅媒體寵兒寺山修司之後成為歌謠曲及搖滾女神。 一個反叛青年遇上伯樂成為咒術搖滾樂師。”

A beautiful mixed-race girl became a goddess of kayōkyoku and rock ’n’ roll after convening with Terayama Shūji.

Carmen Maki

上回談過淺川真紀，今回談另一位， 她叫做卡門真紀(Carmen Maki)。 1951年出生的她是混血兒，父親是美 國人，母親是日本人。1968年就讀高校 二年級的她中途退學，加入寺山修司領 軍的前衛實驗劇團天井棧敷，演過《藍 鬍子》和《拋掉書本走上街》等經典的 舞台劇作。之後，Carmen獲CBS Sony唱片垂青，1969年推出她的永 恆經典金曲《有時像個沒有母親的孩 子》，這首歌由寺山修司填詞，寺山的 「秘書」及他的實驗電影的作曲田中 未知撰曲。她更憑此曲出席第二十回 紅白歌合戰!寺山修司更主理她第一 張唱片《真夜中詩集》。到了70年代， 她的歌曲路向由歌謠曲轉為搖滾樂， 直到現在她還活躍於樂壇，也是提動 日本Rock的重要人物之一。

Carmen Maki

Last time, we talked about Asakawa Maki; this time, we’re gonna talk about another, named Carmen Maki. Born in 1951, she was mixed-race, with an American father and a Japanese mother. In 1968, she left school midway through 11th grade and joined Terayama Shūji’s avant-garde experimental theatre group Tenjō Sajiki, participating in such classic works as Bluebeard and Throw Away Your Books. Later, Carmen won the favor of CBS Sony Records; in 1969, she released her eternal classic “Sometimes, Like a Child Without A Mother”. The lyrics were written by Terayama, with the music by Terayama’s 'secretary' and composer for his experimental films, Tanaka Michi. She even attended the 20th Kōhaku Uta Gassen with this song! Terayama further managed her first album Middle of the Night Poetry Collection. By the 70s, her music moved from kayōkyoku to rock music; until now, she is still active in the music industry, and is one of the key figures of Japanese rock.

J・A・Seazer

J・A・Seazer原名寺原孝明，60年代的 他是位嬉皮士，本來對劇場藝術一點興 趣也沒有，但因為受到Carmen的「勸 誘」而入場欣賞《拋掉書本走上街》，看 完後遇上寺山修司，因他的獨特外型 而被寺山邀請入團。Seazer本來想做 舞台藝術的工作，但寺山一聲令下要他 負責彈奏樂器，於是，他就聽著Pink Floyd的唱片學彈樂器及作曲。他的音 樂充滿迷幻氣息，這正與寺山修司的 魔幻風格非常配合。除了迷幻風格的 元素之外，他的音樂也滲入了和讚、祭 囃子和童謠等日本民族音樂元素。

1983年寺山修司去世，寺山的前妻兼製 作人九條今日子將「天井棧敷」解散， 而Seazer就即時創立「万有引力」，將 寺山修司的劇場美學傳承下去。

因為我在2018年我和J・A・Seazer 的「邂逅」，2019年他和「万有引力」 來港演出寺山修司的名作《奴婢訓》， 因為文章篇幅問題，只有有機會才和 大家細說。

J・A・Seazer
J.A. Seazer’s original name was Terahara Takaaki. In the 60s, he was a hippie, with zero interest in the theatrical arts. However, at Carmen’s ‘invitation’ he came to see Throw Away Your Books, and ran into Terayama Shūji after the production; because of his unique look, he was invited to join the company by Terayama. Seazer originally wanted to do work related to stage art, but on Terayama’s orders he became responsible for playing instruments. So, he learned to play instruments and write songs by listening to Pink Floyd’s records. His music is full of psychedelic sentiment, which fits perfectly with Terayama’s fantastical style. Aside from the psychedelic, his music includes elements from Japanese folk music such as wasan, matsuri-bayashi and nursery rhymes.

After my ‘encounter’ with J.A. Seazer in 2018, he and Universal Gravitation came to Hong Kong in 2019 to perform Terayama’s famed work Directions to Servants. Due to length constraints, I’ll discuss this when I have a chance.

(Translated by Elliott Cheung)