audio visual performance “序詩

intext

opening performance for exhibition “HOPE?”

venue: POST-TERRITORY UJEONGGUK (Seoul, South Korea)

2017.10.14

reshooting version:

venue: white studio (Shiga, Japan)

2017.10.25

韓国・ソウルで行われた企画展 “HOPE?” のためのオープニング・パフォーマンス。

 

尹東柱の詩集「空と風と星と詩」に、「序詩」という作品がある。9行からなるこの詩は、1970年代の韓国民主化闘争の中で、当時の若者たちが合言葉のように愛唱し、多くの韓国人に愛された。

死ぬ日まで、空を仰ぎ見

一点の恥ずべきことなきを、

葉あいに起こる風にも

わたしは心苦しんだ。

星を歌う心もて

あらゆる死にゆくものを愛さねば

そして わたしは与えられた道を

歩みゆかねば。

今宵も星が風に吹かれる。

徐京植の著書「詩の力」(高文研|2014) の中で、序詩の和訳に対する言及がある。著者によると、日本で最も流通している翻訳(伊吹郷訳)では、「あらゆる死にゆくものを」という詩行を「生きとし生けるものを」と訳している。これは原文に忠実ではなく、直訳すれば「すべて死にゆくものを」となる。この一行の意訳の差は、翻訳技術や言語能力の問題を超えて、戦中/戦後で経験した各国の立場と態度の差を如実に表していると述べ、その理由を明らかにしている(本文pp.138–139参照)。尹東柱の在学していた同志社大学の構内には、序詩の詩碑が建立されているが、それは伊吹郷の翻訳によるものである。

 

当パフォーマンスは尹東柱の序詩を、韓国人/日本人/在日韓国人/在韓日本人の男女に、韓国語と日本語双方から朗読してもらい、その音声記録を軸に展開している。公演中、二人のパフォーマーは序詩を韓国語と日本語で1行づつ交互に書き記し、それを背後に投影する。韓国語で書かれている間は、その一節が日本語で朗読され、日本語で書かれる際は韓国語が聞こえてくる。鑑賞者には文字情報と音声情報が、日韓入り混じる状態で伝わり、その情報が持つ国家的帰属性が曖昧になる。

This is the opening performance for the exhibition “HOPE?”, which was held in Seoul in South Korea.

 

There is a poem ‘Foreword’ in a poetry book ‘Sky, Wind and Stars’ by Yoon Dong-joo. This poem of 9 lines was so popular among lots of people in South Korea that young people recited it as a slogan during the democratisation movement in 1970s.

“Foreword”

 

Wishing not to have
so much as a speck of shame

toward heaven until the day I die,
I suffered, even when the wind stirred the leaves.

With my heart singing to the stars,
I shall love all things that are dying.

And I must walk the road
that has been given to me.

Tonight, again, the stars are
brushed by the wind.

 

Translated by Kyungnyun K. Richards & Steffen F. Richards

 

Japanese translation of ‘Foreword’ is mentioned in a Japanese book entitled ‘Shi no Chikara ’[The Power of Poetry] by Suh Kyung Sik (Kobunken, 2014). According to the author, in the most popular Japanese translation of this poem (translated by Go Ibuki), the part ‘all things that are dying’ is translated into a Japanese phrase that means ‘all thing that are living’. It is apparent that the original meaning is not faithfully translated into Japanese as the original poem in Korean language literally means ‘all things that are dying’. He says that the difference in how they translate this line reveals the deference between each countries in situation and attitude during and after World WarⅡ beyond the problem of translation technology and language ability and he clarifies the reasons in the book as well. (pp. 138-139) There is a monument inscribed with the poem ‘Foreword’ built in the Doshisha University, where Yoon Dong-joo had studied during his stay in Japan. The poem written in the monument is the one translated by Go Ibuki.

 

In the performance, firstly, men and women from South Korea, Japan, South Korean national living in Japan and Japanese national living in South Korea recite Yoon Dong-joo’s poem in Korean and Japanese language and the performance develops with their sound recording. During the performance, two performers write one line from the poem at a time in Korean and Japanese in turns and their writing are projected on a screen behind them. While one line is written in Korean, the audience can listen to the sound of reciting the same line in Japanese and vice versa. The audience perceive literal and sound information mixed with Japanese and Korean language and the identification with a nation of the information becomes ambiguous.