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製作：工藤充 Producer : Kudo Mitsuru |
| 岩手県大迫（おおはさま）町。女神が支配するといわれる早池峰山の麓には山伏が伝えた神楽（早池峰神楽）が中世の姿そのままに現在も残る。この祈祷を起源とする舞踏は、岳（たけ）と大償（おおつぐない）という二つの村落にそれぞれ継承されており、岳神楽と大償神楽は互いに対立し補いあう兄弟神楽とも言われる。作品はこの二つの神楽の姿を、その舞を克明に見せつつ祭を中心にした人々の古き伝統から、新しき生活への変化にも目を向ける。監督の羽田が初めて早池峰神楽に魅了されてからも、すでに彼等の生活は徐々に変化しており、もはや神々の住む古き日本の山村の世界ではなくなりつつあった。しかし羽田は撮影までの年月の変化を作品スタイルの変化として受け入れ、古い家屋の取り壊される春から次の雪解けまでの一年間を、秘境に残る伝統芸能としてではなく現在も伝統と共存する人々の姿として描く。 | Iwate Prefecture, Ohasamacho. In the foothills of Mt. Hayachine, the kagura (devotional dance) offered to the mountain goddess by the mountain priests is still performed today nearly unchanged from mediaeval times. This dance, which has been handed down along several lines of succession in the villages of Take and Otsugunai, has its origins in prayer. Take's kagura and Otsugunai's kagura are said to be closely related. The film shows the people who lovingly continue to perform these two types of dance and the transition from ancient tradition to modern life. Even from the first moment that director Haneda was charmed by Hayachine's kagura, the mountain villages that were home to the gods had already begun to disappear. However, Haneda matches changes in the film's style to changes which took place over the years and months before she began filming. From images of a traditional style house being torn down in one spring to the next year's thaw, she paints a portrait not of an as yet undiscovered pocket of tradition, but of the people who coexist with the traditional and the modern. |