本屆烏山頭影展選映了幾部紀錄片，從不同角度切入來談台灣的茶文化，筆者嗜茶如命，對於這類主題亦深感共鳴。其中由周國榮執導的《茶水伯》描述住在苗栗通霄鎮的老先生許文進，他虔誠地跟隨白沙屯媽祖進香，奉獻時間與心力，將自己精心製作的老茶遞給往來的信徒。而宋秉樺執導的《山林裡的「藝伎」》（以下簡稱《山林》）則記述了樂團主唱身兼茶藝師的官孟儒，在兩種身分之間的轉換。
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與其以PPT式的手法介紹台灣的茶文化，從人的角度出發，並且討論人與茶之間的關係，的確是加強與觀眾鏈結的不二法門。但兩位導演並非只是強行讓被攝者談論茶與他們的連結，反而花了更多篇幅，描述他們的日常步調，試著去捕捉他們的信仰所在。
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其中許文進對於民俗信仰的「規則」執迷至極，而官孟儒則心向以樂團的演唱與創作來展現自我。茶在紀錄片之中是一個要角，但不能定義他們生活的全貌。但茶卻也是一個線索，彷彿可以從中看見人物的生命觀以及價值觀，以及他們在這個時代的位置。例如許先生對年輕人愛喝冰茶不以為然，這種世代之間在飲茶文化的落差，確實值得深掘。
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而在《山林》之中，身兼音樂人的官孟儒則期望將電子樂的概念融入在品茶之中，並且致力於將這類的聲響融入於品茶者的體驗之中。該角度確實有其發人深省之處，畢竟所有食物與飲品都幾乎有與之相應的空間對照，好比品味咖啡應該在咖啡廳，而咖啡廳這個場域被賦予的特性又是如何、如何。同樣的，品茶的空間，又何必得固守傳統想像？片中便描述了官孟儒如何將她的品茶天地打造成如同電子舞廳的空間，不知另一部作品《茶水伯》的許先生聽來會是作何感想。
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作品篇幅甚短，皆落在30分鐘以內，對被攝者的觀察暫時只能停留在表面的觀察階段。但可喜的是，兩部作品皆隱隱展現了創作者的觀點，對人物的觀察堪稱自在，優點很近似。唯《山林》的片末讓主人翁官孟儒在山林中邊走邊朗讀，並加上一段未盡妥貼的解釋性字卡，使人不免產生一些疑慮。
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之所以認為未盡妥貼，除了字卡的特效之外，更核心的問題在於文中挪用了日本女性表演藝術工作者「藝伎」的稱號，指稱官孟儒「以侍茶並與客人心靈或實質交流，輔以樂器及禮儀」所以如同「藝伎」。但這或許只是對這個工作表面性的理解，藝伎實際上是只服務上流社會、名人雅士的賣藝女子，工作內容除了表演，亦包括陪吃、陪笑與陪酒等，還能供有錢客人包養。藝伎隨著時代演進而日漸稀缺，意義也與舊時代產生區隔，但再怎麼看，都與官孟儒的角色定位存在著本質性的差異，用來比喻並且用在片名上，其實並不適切。
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烏山頭影展場次表請見
https://www.facebook.com/WuSanToFilmFestival/posts/1553194494872654
✨第24屆烏山頭影展 ✨
▎影展場 #0 ▸ 11.02 - 11.08 臺南藝術大學
▎巡迴場 #1 ▸▸ 10.17-10.18 臺北市電影主題公園
▎巡迴場 #2 ▸▸▸ 10.31 高雄三餘書店
▎巡迴場 #3 ▸▸▸▸ 11.01 臺南赤崁朋派商圈
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（圖為《山林裡的「藝伎」》。）
烏山頭影展 Wusanto Film Festival #烏山頭影展 #茶水伯
舞伎藝伎差異 在 Re: [心得] 舞伎家的料理人- 看板Japandrama - 批踢踢實業坊 的推薦與評價
原文恕刪…mOm
從原貼看來 似乎許多人都蠻在意劇中情節與現實狀況的差異
包括我自己也是
正好今天看到一篇是枝裕和的訪談（英文）
裡頭有段內容 讓我覺得有如是枝裕和對此表達了個人看法
所以轉貼過來 有興趣的板友不妨參考
但我個人英文能力並沒好到可以翻譯
所以就不獻醜了 請見諒
以下…（黃字部分為是枝裕和的回答）
From what I understand, there's often a lot of international
misunderstanding about Japanese geisha and the historical realities of
the tradition. And I believe there is even debate within Japan about
just how empowered geisha were, historically, and how the tradition
should be perceived in relation to modern feminist ideals. You tell
a very sweet and innocent story with this series, but what you said
just now about there not being any 16-year-olds working as Makanai
in today's geisha houses made me wonder about your views on some of
these more complicated questions. The story does follow two 16-year-old
girls who drop out of high school to work in this world. And although
it's a world of exquisite, highly evolved art forms, it also comes down
to young women hosting and serving drinks to much older men. In the
process of working on the show, did you develop a view on the proper
place of this tradition within Japanese society today?
Have you seen all of the episodes?
I’ve seen five, so far.
Well, I am aware of the fact that people do have opinions on opposite
sides of this issue, and not just from my experience of working on
this drama. Personally, I feel that it's probably necessary for this
tradition to undergo some reform, and some people within this world
have told me there are working to do just that. But as you've mentioned,
it's also true that there is a lot of misunderstanding regarding geisha
and Maiko. When I interviewed one of the Okami-sans, the former house
mothers, they told me that a lot of the foreigners who visit them have
seen Memoirs of a Geisha and their understanding of geisha have been
totally shaped by that film. So they assume all of the girls were sold
to the house because of a poor upbringing, or that they are there out
of desperation. And my own knowledge of Geisha, basically, had been
shaped by Mizoguchi, who told very sad stories back in his day too.
But then in real life, when I was doing my research and went to the
Hanamachi (a district where Geisha live and work), the people I met
there were very enthusiastic about this tradition and it was something
that they had actively sought out. They want to preserve this culture
and they want it to be accepted, and they are very serious about
continuing to reform. All of the houses I had contact with would only
accept Maiko if they had the express support of their parents. It
really seemed to me that they were taking solid actions and I felt
their passion for preserving their tradition and their art form.
Personally, I feel that I would like to root for them. Obviously,
it's not perfect. But we creators in the entertainment industry, we
have been far too late in making our reforms as well. So, I would like
to think we could continue to work together in that sense.
But when I was developing the show, I did think that introducing this
world as a place of pure, dreamlike wonder would be very irresponsible.
So I also incorporated some elements into the show that didn't exist
in the original story of the manga — as a slight critique. That's why
I asked you how much of the show you had seen. For example, I included
the character of the daughter who has strong critical opinions about
the maiko ways. And I also added Sumire's father, who strongly objects
to her wanting to become a maiko. And then I also had the sequence where
the Okami-san shares her opinions in reply. So I added these elements
to introduce some of the questions that you raise, but ultimately, I
tried to leave it to the viewer to form their own judgement.
想看全篇報導的話 在這裡：
https://bit.ly/3XiAGXG
原本我對劇版加入原作中沒有的涼子一角略感不解
看完這段訪談 算有得到解釋
但又覺得作用有限
因為我回想了一下
似乎除了一開始對季代和小堇說出那番有如警告的話之外
涼子後來也沒再多批評些什麼？
即使如此 我也能夠體諒
站在劇組的立場 考慮到本劇的屬性
這種事其實點到為止就好
--
※ 發信站: 批踢踢實業坊(ptt.cc), 來自: 122.117.168.114 (臺灣)
※ 文章網址: https://www.ptt.cc/bbs/Japandrama/M.1673709462.A.E33.html
※ 編輯: ggyo88 (122.117.168.114 臺灣), 01/14/2023 23:20:57
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