We interviewed Yoshitaka Yuriko, who portrays the lead character Ma Hiro (Murasaki Shikibu) in the taiga drama “Kumi-kun e.” The writing of “The Tale of Genji” has finally commenced, and her relationship with her soulmate Fujiwara Michinaga (Emoto Yu) has also progressed to a new level. As the climax approaches, we inquired about her current state of mind. (Interviewer: Art Exhibition Navigation Editor Team Okabe Masaru)
Improving Calligraphy: “Something That Responds to the Time It’s Faced With”
Q: How did your mindset change as filming progressed?
A: It’s been over two years since the production was announced. I’ve never worked on a project for such an extended period, and even now, I don’t think of myself as “Murasaki Shikibu” (laughs), but I hope she becomes a lovable character. I believe visible growth comes through writing. I practiced diligently for six months before filming, and now I find it challenging to see the characters in the second part clearly. They say, “Mr. Yoshitaka’s writing ability grows along with her character’s development” (laughs), so I think she will be able to fully engage with him in face-to-face moments.
Q: Did anything change in terms of fonts, from the time you wrote as Masahiro to when you began writing The Tale of Genji as Murasaki Shikibu?
A: When I correspond with Michinaga, I use kanji, but when I write as Masahiro, I predominantly use kana. I’m practicing both, and since The Tale of Genji uses both kanji and kana, I feel like I’m actually beginning to write it. Interestingly, people have recently been able to read more archaic kana that isn’t commonly used these days. I’m not sure if it’s because I’m adopting it or if it’s just sticking to me (laughs). It’s exhilarating to learn something unfamiliar. Experiencing new things again in my thirties feels precious.
Q: Your calligraphy teacher, Mr. Nemoto Tomo, also admires your enthusiasm.
A: I felt that the performance itself was like a public exam, and I approached it with some anxiety. It’s comforting to know that we are tackling this challenge together. They also understand that consistent writing develops a habit. We come up with combinations like “This is better” or “Let’s try it this way.” It’s akin to having a golf caddy (laughs). Calligraphy can be a lonely endeavor. It requires a lot of practice time, but the actual writing happens in just a few seconds. Nemoto-sensei understood this loneliness the most, which is why I felt he was my partner.
Q: Tasuku Emoto commented on you, saying, “She embodies Murasaki Shikibu’s spirit.” Is there anything you focus on to highlight Murasaki Shikibu’s uniqueness?
A: I’ve never met Murasaki Shikibu, so I can’t say for sure (laughs). Even though she is the most renowned woman in Japanese history, I often wonder why there is so little information about her. Given that she is such a unique figure, I feel compelled to do my best.
“I Want to Write a Story That Interests Me” Was My Motivation for Writing The Tale of Genji.
Q: My initial motivation for writing The Tale of Genji was for Emperor Ichijo, but midway, it became “for myself.” What mentality guided that shift?
A: I think I felt uncomfortable because the narrative I crafted for the emperor seemed insincere. I believed that anyone other than me could write something like that. Eventually, I decided to alter my approach and write stories that genuinely interested me. It’s tough for a writer to reach the point where they genuinely want to create. Even if you have the desire to write, lacking a clear idea of what to convey will hinder you. Perhaps that was where my “writing feeling” and “what I wanted to write” intersected. I think Mahiro is a determined person, so this story emerged for her. Michio shared with me tales of the emperor’s childhood, and I believe Mahiro also recalls her own childhood.
For Mahiro, Michinaga is “A Place Worth Living”
Q: Michinaga had political intentions for writing The Tale of Genji. Does this change the nature of their relationship?
A: I started living close to someone I genuinely wanted to be with, and our meetings became more frequent. However, Saburo and Mahiro, who met less often and shared more physical distance, were likely emotionally closer. The attraction between us would never fade, so I did my best to suppress my feelings to prevent them from overwhelming me, while simultaneously trying to maintain even more distance behind that barrier.
Q: What kind of soulmate relationship do you and Michinaga share?
A: For Shin-hiro, I believe the priest represents a reason to live. Rather than aspiring to be his wife or take him as a concubine, I see the priest’s life as my life goal. This is why I exist in this world. In any case, it feels reassuring that we are fighting together and striving toward the same goals.
Q: Does bearing a child for a Taoist priest boost your self-confidence?
A: Not quite. When I married Nobutaka, that perspective changed. In my youth, I had high expectations for my potential and felt fearless regarding marital choices. However, as life unfolds, I’ve come to realize I can’t maintain that mindset. There are peaks I can now perceive that no longer exist. I didn’t want to rely on concubines for support, partly because I didn’t want to burden my parents, but circumstances forced me to find myself in that position. Furthermore, Michinaga already had children, which complicated matters. I was desperately striving to survive for myself and my family.
“I’m Glad You’re a Girl” Is a Very Important Scene.
Q: In Episode 32, there’s a touching moment when your father states, “I’m so glad you’re a girl.” What are your thoughts on that scene?
A: This is a very significant scene. Shinjiro, who has continually been told, “I wish you were a boy,” receives affirmation from his father, the person who values him the most, that he is glad he is a girl. This moment reinforces the idea of “I am happy I was born.” I believe it. My father was an intellectual, and because I inherited his genes, I could pursue this path and become a notable figure.
Q: It holds great significance to be acknowledged as a woman.
A: As a woman whose talent was recognized, I was promoted to Daira and assigned an important role. I felt I had found my place, gained recognition, and could lead my own life. I believe my father’s words made all the hardships I had endured worthwhile.
Q: Was your ability to write The Tale of Genji contingent on being a woman?
A: If Murasaki Shikibu were still alive, I would love to hear about her experiences. Viewing things from a female perspective might allow me to notice many situations and relationships that those involved in politics might overlook. If it had been composed by a “male layout department,” the story would have been entirely different. I believe this is something distinctive to women.
It’s Difficult to Get Along With My Daughter
Q: What challenges did you face in the latter half of the story concerning Mahiro?
A: It revolved around Kenko’s issue. The conflict between him and myself eventually led me to replicate his behavior, causing a ripple effect. This was my first time taking on the role of raising a child, and I struggled with how to treat my child.
Q: You will portray Mahiro from her teenage years to her old age.
A: I’ve only experienced the role of the daughter, so taking on the role of the mother was challenging. In the drama, we often depict mother-daughter harmony, but this time it feels more authentic. There was conflict and silence between us. Although I don’t converse much with my daughter in the script, there are instances where both characters share silent moments. I haven’t had extensive exposure to this dynamic. I study interactions between parents and children I know and reflect on my past.
The Tale of Genji: All Experiences Bear Fruit
Q: I believe Mahiro’s experiences are woven into her creations.
A: I think episodes 1 to 31 serve as a grand prelude to the events in The Tale of Genji that arise from outside Ma Hiro’s inner world. There are instances throughout the narrative that are easy for the audience to grasp and fit together into one cohesive story. Even those who haven’t read The Tale of Genji can grasp concepts like “Is this the seed that was sown?” “Will that flower blossom in this manner?” I think it will be enjoyable.
Q: It seems the audience will be quite excited.
A: I’d love to hear everyone’s thoughts, like how the “birdcage” where we first encounter Michinaga in episode one will be presented clearly. I want to enjoy the show while listening to “The Tale of Genji” fans discussing it during the offline gatherings (laughs).
Yoshitaka YurikoBorn in Tokyo on July 22, 1988. In 2006, she made her debut in the film “Noriko’s Dining Table”.In 2014, she played the lead role in the NHK TV series “Hanako and Anne” and hosted “NHK Kohaku Uta Gassen” that same year. In recent years, she has primarily appeared in TV series such as “Ai Ai” and “Kaze Arashi,” as well as in films like “Your Eyes Are Asking.” This marks her second appearance in a taiga drama after “Atsuhime” (2008).
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Yoshitaka Yuriko Discusses Portraying Murasaki Shikibu in “Kumi-kun e”
In an in-depth interview with Art Exhibition Navigation’s Okabe Masaru, Yoshitaka Yuriko, who plays the protagonist Ma Hiro (Murasaki Shikibu) in the critically acclaimed taiga drama “Kumi-kun e,” shares insights into her remarkable journey. As the writing of the iconic “Tale of Genji” begins, we delve into her evolving character and her relationship with Fujiwara Michinaga (Emoto Yu), set against the backdrop of historical intrigue.
Improving Calligraphy: Embracing Artistic Growth
Q: How did your mindset change as the filming progressed?
A: It has been over two years since the production was announced, which is my longest commitment on a project. I never really think of myself as Murasaki Shikibu (laughs), but I’m fully dedicated to making her a beloved character. My visible growth manifests through writing; I practiced diligently for six months before filming began, and now I find myself immersed in the nuances of character development. There’s a saying, “Yoshitaka’s writing ability grows with the character,” and I anticipate meeting those evolving artistic requirements.
Q: Did anything change in terms of fonts and so on from when you wrote as Masahiro to writing The Tale of Genji?
A: When corresponding with Michinaga, I utilize kanji, while interacting with Masahiro entails predominantly kana. My practice spans both, and as I start writing “The Tale of Genji,” I notice alterations in my approach. I’ve recently found joy in rereading adult kana—it’s an exciting learning experience akin to rediscovering adolescence in my thirties.
Collaboration with Calligraphy Mentor
Q: Your calligraphy teacher, Mr. Nemoto Tomo, admires your enthusiasm. What is your learning process?
A: Performing feels like a public test; there’s a certain apprehension in writing. My journey with Mr. Nemoto has been collaborative—he guides my growth while recognizing the solitude in mastery. Writing requires dedication, yet the act itself lasts just seconds. Understanding this loneliness, Mr. Nemoto became a reliable partner through this evolution.
Q: Tasuku Emoto said you encapsulated Murasaki Shikibu’s essence. How do you highlight her uniqueness?
A: Given I have not personally met Murasaki Shikibu, it’s challenging to measure that uniqueness (laughs). Despite being one of Japan’s most renowned historical figures, the available information remains scarce. As such, my journey revolves around embodying her spirit to the best of my abilities.
Motivation Behind “The Tale of Genji”
Q: You initially wrote “The Tale of Genji” for Emperor Ichijo but shifted to writing for yourself. What led to that transformation?
A: The initial narratives felt artificial. Recognizing that anyone could write for the Mikado, I chose to pen stories that encapsulated genuine interest. It’s a complex journey, and embracing that “feeling of writing” ultimately led to a deep personal connection to the narrative. Mahiro is combative, which I believe draws the twin threads of his and Michinaga’s childhood experiences closer together.
The Evolving Relationship with Michinaga
Q: Michinaga’s political motives impact the narrative. How does your relationship evolve?
A: My proximity to Michinaga solidifies our bond, and while we physically see each other more often, there’s emotional distance reminiscent of when Saburo and Mahiro could only connect from afar. The essence of that attraction remains unaltered; however, I find myself managing those feelings with care.
Q: How do you define the soul mate relationship between you and Michinaga?
A: For Mahiro, Michinaga is a catalyst for living. It transcends traditional notions of being a wife or a concubine—my existence is tied to our shared struggles and aspirations. It’s vital that we are united in purpose.
Q: Does childbirth impact your self-confidence?
A: Not particularly. My circumstances shifted upon marrying Nobutaka; youthful ambition of taking on multiple roles faded with experience. Navigating parenthood made me acutely aware of my limitations, particularly in wanting to uphold familial expectations without burdening them.
Impactful Scenes and Character Development
Q: Episode 32 contains a powerful moment where your father expresses gratitude for your being a girl. What does this scene mean to you?
A: This pivotal moment reflects recognition that is deeply personal. Shinjiro has always faced pressure to conform to male expectations, so hearing his father’s pride in his daughter is powerful. It highlights my journey and legacy as a woman with a scholarly background, giving me a profound sense of belonging.
The Unique Perspective of a Female Writer
Q: Could you have written “The Tale of Genji” if you weren’t a woman?
A: If Murasaki Shikibu were alive today, I would love to hear her stories. My feminine perspective allows me to observe dynamics that might elude a male-centric narrative. This distinct viewpoint, I believe, would lead to a richer narrative texture.
The Challenges of Parenthood and Character Complexity
Q: What complications arose during Mahiro’s second-half journey?
A: The character conflict stemmed from Kenko’s challenges, leading me to navigate the intricacies of parenthood. Embracing this was new territory, and I struggled to unify my roles as both mother and daughter.
Q: You portray Mahiro across her life span. How do you capture that range?
A: Experiencing the role of a mother highlights the reality of complex dynamics between parents and children. While the text often portrays strong bonds, this iteration feels raw and authentic, as we navigate communication barriers and emotional depth.
The Tale of Genji: Creating an Engaging Narrative
Q: How do Mahiro’s experiences enhance her creations in “The Tale of Genji”?
A: The initial episodes serve as an intricate tapestry of Mahiro’s external experiences, illustrating how these encounters shape her literary contributions. Viewers unfamiliar with “The Tale of Genji” will witness how the foundations interact and lead to blossoming narratives throughout the series.
Q: What do you anticipate for the audience’s experience?
A: I’m eager to see how the reimagined scenes resonate with fans of “The Tale of Genji.” I want to witness their responses to specific moments, such as our first encounter in the “bird cage.” Engaging with the audience’s insights during reflections is an integral part of this journey (laughs).
About Yoshitaka Yuriko: Born in Tokyo on July 22, 1988, Yoshitaka Yuriko made her acting debut in the film “Noriko’s Dining Table” in 2006. In 2014, she took the lead role in the NHK TV series “Hanako and Anne” and hosted the prestigious “NHK Kohaku Uta Gassen.” With recent appearances in series like “Ai Ai” and “Kaze Arashi,” she is no stranger to taiga dramas, marking this as her second appearance following “Atsuhime” in 2008.
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