유메마쿠라 바쿠의 ≪음양사(陰陽師)≫ 고찰

The Consideration of “Onmyouji” by Yumemakura Baku - The Path from a Novel to a Film -

本稿は、映画≪陰陽師≫とその原作小説『陰陽社』との比較を目的志向的人物として事件を主導する道尊を叙事の中心軸に置いて、原作小説の題材が映画にどのように収容されたか、どのような内容が映画のために新たに構想されたかを考察したものである。映画≪陰陽師≫のナラティブ(narrative)の特徴を整理すると、以下のようである。≪陰陽師≫は明確な因果関係によって叙述が進行されるナラティブの典型を見せている。晴明と博雅とという二人の人物が登場し、彼らと対立する道尊がもう一方に位置して、両者の対立様相によって叙事が絶頂に向かう古典的パラダイムを収容しているからである。≪陰陽師≫はこのようなモデルを充実に収容しながらも、一方では、目的志向的に事件を主導的に導く主人公の役目が、悪玉である道尊に与えられている。各事件の因果関係は内的に連携されており、道尊の国家転覆の試みと、それに対抗する晴明と博雅の抵抗が、漸進的に劇的絶頂を向けて上昇する様相を帯びている。

The success of “Onmyouji” open in Japan 2001 was already predicted. In the early 1990s, the series of “Onmyouji” by Yumemakura Baku were successfully sold for more than four millions embracing the whole generations. It found a huge way out in the aspect of the modern acceptance of classical culture contents, and also had a huge ripple effect on the Japanese cultural field as it was recomposed into all sorts of media. Under this social phenomenon, the film “Onmyouji” was open. As a basic work, this paper considers the composition of the original, and also the principles and process of narrative development shown in the modification to visual media. “Onmyouji” was faithful to the original as the original author, Yumemakura Baku participated in its production and also wrote its scenario. Partially accepting the series of sub unit belonging to the series of “Onmyouji,” its scenario was completed. There were no problems with the topic to accept the original. The basic axis of the film was about developing Doson’s plot and Seimei’s activities to interrupt it based on each incident. Here, for the smooth dramatical composition, the sub incidents of the series and even original episodes were created. As an ideology supporting the series of plots, Yumemakura Baku properly used the concept of ‘ju’ which was playing a huge role in the probability of dramatical development while organically related to each incident.