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原帖由 ZY_REBECCA 于 2010-11-5 01:11 发表 ' ^3 g- w. r0 v' m
LIZ大的疯魔症状真乃性情中人，好可爱的说！
9 O( b: h4 b8 l3 ^* h( M看完之后还到路上去走了走？！
" @: k" U" x3 c/ C8 m5 @- x5 A/ H是碰巧要出门还是······因为走路有益于消化吸收？
3 k) x! \7 w C5 nanyway, 0 P2 R% ^/ K) i+ v( D; c3 v
“一笑一少，一怒一老。”! Y4 c. `3 J# j- P
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我对左相和大物第一次喝茶时，4 y6 E3 d& v. l8 N3 h9 T* J
大物说 ...
% I) u8 Y) }( u/ K7 T6 i2 L0 d2 F" Q第一次喝茶，她说的话指父亲的遭遇让她懂得不能退让，一次退让，会有下一次退让，然后就失去了自己到底当初的方向，她的父亲坚守自己的脚步，甚至以死守护，所以她说引以为警戒
: l- _# M( \# e& L" i k% t不能一味地接受与妥协，所以她争取李先俊的释放，控诉兵曹的闯入成均馆。这也是李先俊在大射日教她，甚至更早在北南斋之分就已经要她坚守原则: [4 K* Q- B( [" s& i7 s1 F
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3 f: m' p- i2 U. W原帖由 hohomania 于 2010-11-4 21:00 发表 . v5 ?3 e! ~$ }" X
成均馆绯闻第20集（上）：各得其所 贪念犹存
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拍桌狂笑N分钟加上走在路上摇头讪笑NNN分钟，是Liz看完——准确说是听完20集最后“屏风血红”的唯一症状。据说这故事的原著有着较为露骨的情爱细节描写，个人于是 ...
( ?2 p4 U- M; o# \( P1 x, F你好!里子大，前阵子出了一些事情，所以久久未能来这里~9 R. ?- o3 L& J( P- D
6 G G: i& `! j) g8 i) _本想默默阅读，但是忍不住想送你份访问，也许不是能完全解开金编剧的意图，但是却是满有意思的访问，可以看看到底为何金藤之词会需要出现，正祖与丁博士对她来说又是代表什么4 m# V0 Q; f0 w) q
她也知道自己的不足，看起来野心是有点大，也许我也喜欢看史剧 知道为何她会欲罢不能，正祖年代是个很精彩的年代 说100集也说不完再加个金滕之词更加复杂，哈还好她没有让正祖母亲与奶奶出现，那就热闹了，这两个女人在正祖的人生里，可是有很深刻的影响，所以，有时我觉得是不是编剧在讽刺着他，让他对大物是女人反应如此激烈~哈哈 我看过一些关于正祖故事的剧，最喜欢的是安内相前辈(丁教授饰演者)的漢城別曲里的正祖，所以每次看到他跟这里的正祖对戏，就觉得特别有趣。读到四人帮里的年轻演员们有想过不要有太HAPPY ENDING。我想他们也知道正祖那年代的无奈~所以想有一种那样的结局。# i0 ?0 A* ~9 i& t0 Q* |
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# a" R7 G- G8 f我更加珍惜编剧对年轻的心的呵护，看完此剧，有些地方还有遗憾，最后还是幸福满满，有着这群成均馆绯闻里面的老老少少陪伴。当然我也会偏心，最得我心是女林，剧本把他写弱了点，原著里面他是个有政治渴望的少年^^所以编剧才加了那个正祖说3 X( e' u5 m Y5 i8 L
未来朝鲜是需要他这样的人。但是女林的背景也被编剧修改了一下，当了中人代表，其实他应该也是两班之身。中人是个中产阶级，只是两班之身有更多优待^包括一些科举都只两班才能参加，一些官职只属于两班之后裔。我喜欢女林那幕戏，并不需要太多爆发，只需要他堂堂正正面对这群两班 他正视掌议，不受威胁，承认父亲之举，只因为要为儿建立两班之家门，其实说穿了，他父亲能买到族谱，也是两班之家有人肯卖，那也不是两班之羞耻吗。他羞愧是欺骗，但是不是因为自己不够资格在成均馆，本应该不分阶级的学府，制度才应该觉得蒙羞。 儒学的有教无类在何处?~~~. X& R9 S4 q5 H/ |5 ]
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% ]5 G% B1 \5 x哈，最后一幕确实停留在王相公与熊就已经够了，因为他们也是这样开始，如时光倒流到最初，就算再遇见是男子之身，也会爱上的，文在新的守护之情在19集就已经落幕了，虽然如此，但我会记得他的温柔之心，爱此女子，所以懂得了哥哥爱这世间，所以才不惜以死保护。他的心活了，所以我也要感谢大物。& d7 V6 K$ C, V
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左相也是我欣赏的人物，他比任何角色都懂得政治之道，对天伦的无视，其实是口头说说而已，比谁都爱惜儿子的他，为子求婚，已经足以证明。金前辈啊，是史剧高手， 编剧之前的作品世宗大王 ，金前辈在里面也是演得精彩，与大物最后的一幕，那镜头拉开，我也会心一笑，大物如小孩的她，在门外听着父亲朗读的声音，此刻又有长者给了她一个开启梦想的门，与爱相守，是个很美的镜头
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说多了，不好意思。
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转贴
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翻译BY ST3 d# s. q/ `0 r! J/ I5 M
7 R9 I, B" U8 w' ]+ n# I7 b! e[INTERVIEW] KBS drama “SungKyunKwan Scandal” writer Kim Tae-hee - Part 1
: Z2 X1 q, {6 E1 W. YSenior Reporter : Kang Myoung-Seok
' |4 Q" Q& a# U+ ?: s0 k7 x HReporter : Choi Ji-Eun) \8 b) o+ v" Z6 E( g! E) X
Photographer : Lee Jin-hyuk A/ h& z$ G) @. h1 u: g' t W8 }
Editor : Heidi Kim
6 _7 N. H. ~: m: ]2 EEditor : Jang Kyung-Jin
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( T4 M9 x3 N( h韩文来源http://10.asiae.co.kr/Articles/n ... 2010110300034454182
1 P; @' v2 ~8 P4 _2 K# S7 y3 T英文来源http://10.asiae.co.kr/Articles/n ... 2010110419011910506
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, H8 Q7 P! l! H1 R9 N[访问] KBS" 成均館緋聞"编剧金泰熙 - PART1
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3 ~+ P. L! W+ X1 I9 p: u2010.11.058 i" O8 P5 q, o' D/ m
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KBS 成均館緋聞在11月2日播出完结篇。 故事是发生在18世纪的朝鲜时代，一个名叫金允熙(朴敏英)的女孩乔装成男人进入了成均館，在那里她学会了学习之路指向人民并且人民为国之根基。正祖大王也告诉她 现在是轮到你来梦想朝鲜的新未来"
! e8 ^! V, ]: z4 G6 a要描述年轻人的理想并不容易。踏错一步也许会变成空洞的标语或幼稚的热情。但是对"成均館緋聞"的编剧金泰熙而言并不是如此。她成功为已经充满魅力的小说"成均館儒生们的日子"，加入了现代感与新鲜的新剧情。
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在电视剧结束前几个小时，我们与她进行了访问。
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7 U- p7 ]. ~/ {8 G' R/ ^5 i问: 我们可以从很多角度来看"成均館緋聞"。有人说这部剧是新潮流的故事，有人说是历史政治剧，有人就简单形容为言情剧。您是如此制定故事的方向? Y5 E1 v2 e7 E6 a6 ^& ?, {
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10: “SungkyunKwan Scandal” was seen in various lights. Some saw it as an up-and-coming story, some as a historical political drama and others simply as melodrama. How did you decide on the direction of the story? ) ~+ I. y3 h4 W; l+ @. @ [ O! Q
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2 u* [5 C4 `& O: Z( `9 t0 w5 n. t8 W金: 在进入写剧本之前，我很喜欢看SBS"灿烂的遗产"。那部电视剧包括了很多不同的剧种 : 家庭剧，悬疑剧，浪漫爱情喜剧与专业剧。 我相信将来必有一天，电视剧需要是多种类型才能继续发展。 有人也给我意见说现在关于少年爱情的剧本已经行不通。所以我是非常有野心地开始写剧本，但是写的时候才发觉实在是很辛苦。(笑) 要设定故事的方向与感觉实在是很困难，我也听说我们导演也为了这点，对于这部电视剧应该是属于那一种类型而思考了很多) p x4 S2 J$ I1 J W: O9 B z5 T
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( M# ?9 A! ?$ n& x& |9 iKim Tae-hee: Before getting into the synopsis I had a lot of fun watching the SBS drama “Brilliant Legacy.” The series contained a lot of genres; family drama, mystery, romantic comedy and professionals. I believe there will come a day when a drama must encompass more than one genre to keep it going. I was also advised that dramas on young romance will no longer work so I wrote the synopsis quite ambitiously but writing the actual script became much tougher to do than I thought. (laugh) It was difficult setting the tone in the story and I heard that our TV director also thought a lot about what the genre of this drama should be.
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问 :在电视剧首播之前，大家都以为又是部浪漫爱情剧，但是只是把时代移到18世纪的朝鲜。 但是这部电视剧却深入了所谓政治的基本原则。您与尹编剧共同编写的"世宗大王"里，您也做了相同的东西。。那电视剧与其在说世宗大王的伟业，它更似政治剧。你对这方面很有兴趣吗?+ k9 [/ h- v7 j ]2 |) v) e( ^2 e, g. E) F
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10: Before the series premiered, everyone thought it would be another romance story only set back in 18th century SungKyunKwan. But what this drama did was delve deeply into the basic principles of politics. You did the same thing with your other history drama KBS “King Sejong (2008)” that you wrote jointly with another script writer Yoon Sun-joo. The drama was closer to a political drama than the epic of the great King Sejong. Are you interested more in such aspects? : u: [5 t* S1 _# ~6 {
7 O% \( R K4 ^. P# C金泰熙 : 坦白说，我对世宗大王里面的政治议题感觉到有点辛苦。大家都熟知韩字的创造故事，但是电视剧也探讨了当时复杂的课题如税务改革。 Y, k& b: B0 b8 Y% W
当时，我觉得很辛苦，甚至想过以后绝对不可能再写这类把政治与历史结合的剧本。0 C6 F5 H) X/ E0 `+ E3 _, h* X
但是，当我被指派写这部电视剧时，我发觉成均館本身就是让儒生们学习政治的地方。我不可能让我的人物们每天只坐着并盲目地熟背着论语。我需要把成均館能表达的主题呈现出来。% n" e( \1 O' Q- J9 b
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/ `/ G- L6 x8 d8 SKim Tae-hee: To be honest I really had hard time following the story line that continued to deal with political agendas in "King Sejong." Everybody knows about the creation of Hangeul (Korean characters) but the drama even looked into complicated issues like tax reform at the time. It was so difficult that at the time I thought hell will freeze if I do another drama that combines history and politics. But when I was assigned with this drama I realized SungKyunKwan itself was a place where students learn about politics. I couldn’t just let my characters sit and memorize teachings of Confucius absentmindely all day. I had to bring out a theme based on what SungKyunKwan offered. ' R3 O# I9 C2 \0 [3 X
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% `+ U* z, H$ h3 Z$ {- s$ y问: 你呈现当时18世纪学府的各类考试与学府活动的方式实在很有趣。 有什么原因吗?0 R- E5 d) d5 L9 @2 w
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8 D3 y9 Q5 h, t4 f10: It was quite interesting to see how you showed the various school functions and exams of 18th century academy in order. Was there a reason for that?
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, K/ F8 s8 M2 k& @4 ?3 m金: 当电视剧把一些发生在过去却鲜少为人所知的事务让大家了解时，我很喜欢那样的东西。因为这部电视剧以成均館为中心，我要好好把它展现给观众。 3 D. ` ^8 Z; w' T0 T3 p, H
在原著里，迎接新生的学府习俗也有很详细的描述，所以我想要尽力去把这点写呈现出来。 所以我也在剧集里加入了"大射日"，金柑制，还有每周考等东西 。剧本也有包括了学府的祭奠与毕业典礼
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% _/ }$ X4 o/ H8 K/ r4 I! d ZKim Tae-hee: I like it when a drama brings into light, things that were little known in the past. Because this drama centers on a space called SungKyunKwan, I wanted to show it to the audience properly. The original book also gives a detailed description of school customs for newcomers to SungKyunKwan so I wanted to do a good job of portraying that as well. That’s how I came to include things like the school's archery competition, golden tangerine exam and weekly test in the episodes. The original synopsis had also included the school's ancestral ritual and graduation ceremony, ; J" T+ \/ h8 w) Z) b; o8 }
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( ?1 p& U6 k2 u# ^, S6 t$ z! W问 " 在处理政治议题时，你的方式有点抽象。在触及这些政治议题时，你结合了鼓励思考如何进行逻辑思维与讨论，并且如果改进现有的制度或理念。让允熙改变文在新(刘亚仁饰演)与丁若廉 (安南尚饰演)的理念(观念) 肯定是个挑战。 为什么你要选择这么辛苦(困难)的处理方式?
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% ?( Z; \/ |% @' j4 F: y0 ?10: In handling the matters of politics your approach was somewhat abstract, combining it with a learning process that encouraged thinking deeply about making a logical discussion and improving an existing system or ideology. The process of making Yoon-hee change the mindset of Geol-oh (Yu Ah-in) and Jeong Yak-yong (Ahn Nae-sang) must have been quite a challenge. Why did you choose to go the hard way?
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# w) d5 T& [" S金: 因为我不知道还有什么其他方式? (笑) 很久以前，我就花了很多时间来思考到底成均館儒生们是如何学习。 我想要呈现他们怎么进行学习，如在第一堂课里面他们谈论的东西，我想要至少一次，可以让观众看到成均館的教课是怎么进行。
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& t0 _9 N3 s/ S' h; r至于允熙，我需要加强她留在成均館的动力，并且要引起她对为民之政的兴趣。 她对师兄在心与老师丁若廉说的话，也都是源自这些思考。我很好奇那些所谓的"两班"对一个来自贫困背景的人思想会有什么反应。而且对方还是个女人。4 z0 X4 M: ^: {7 t
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j; G' Q% D W! B0 L2 S$ PKim Tae-hee: Maybe because I knew no other way to go about it. (laugh). I gave much thought to exactly how the students at SungKyunKwan learnt their ways long time ago. I wanted to show the process of things such as what they talked about in their first class to the viewers at least once, in accordance with SungKyunKwan's curriculum. In the case of Yoon-hee, I needed to strengthen her motivation to stick around SungKyunKwan and become interested in politics for people. What Yoon-hee said to her senior Geol-oh and her teacher Jeong Yak-yong stemmed from these thoughts as well. I was curious to how the so-called “elite” class will respond to the thoughts of someone from a poor, underprivileged background and a girl, nonetheless. " ?2 i2 M8 c* T! q% r0 Y5 d
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10: Most stories that have a girl disguised as boy accompany fantasy of her surrounded by cool guys and winning quite a few hearts. SungKyunKwan Scandal was interesting in sense that Yoon-hee viewed the world through her unique standpoint as a woman. Only Yoon-hee could give out such unique reaction in her first encounter with courtesan Cho-sun (Kim Min-seo) because she was a woman, too. / A6 Y4 O6 v! G
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问: 在很多女扮男装的故事里，她都会被帅哥包围着并且虏获某些人的心 在成均館緋聞里，允熙是以自己独特的女子观点来看这世界，这是挺有意思的。唯有允熙才能在与貂蝉初次相遇时，做出那样的反应，因为她也是女人。0 W9 }0 B ` z9 C
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" S1 ^4 |; V# Y2 }" I金: 其实我曾担心透过允熙展现出的女性主义会有点俗套。 我在1992进入大学，那时我对女性议题有很多想法，所以我担心我发表我的看法时会太迟了。
4 k7 ~; M2 ^3 T 如果早点写这剧本的话，大概2000年时，我想也许能更好地透过允熙表达我的看法。
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Kim Tae-hee: I was actually worried that feminism told in the eyes of Yoon-hee might come off as being cliche. I went to college in 1992, when I had much thoughts on womens' issues, so I was worried I'd be voicing my opinions too late. I think I could have voiced myself better through Yoon-hee if this has been written much earlier, around the year 2000. & s' a3 a. `1 U' U; T! R$ m
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问: 在大学时，你的主修是什么?
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10: What did you major in college?
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金: 我是主修大众传播。我非常爱看电视剧，甚至还能记把30年前看过的剧情。但是我认为要写出好剧本应该在年长时才可能 如大约40岁，所以我就先在一家小传播公司上班。
: L; B. v- T0 b3 _ 直到结婚后，我才决定投入编剧行列 。 我想这是我一直要做的东西，所以天不怕，地不惊的就决定要试试看!8 d" x. b$ o! h: O1 [) V: R
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Kim Tae-hee: I majored in media and mass communications. I loved TV dramas so much that I can still remember the details of the stories I watched 30 years ago. But I thought a good writing is possible only at a later age like forty so I took my time, working at a small broadcast in company. Only after getting married did I decide to indulge myself fully on script writing. I thought I should give it a shot come hell or high water because it’s something I have always wanted to do. . S0 q2 w8 D7 e- `/ e ~2 X/ I9 h
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8 F7 r3 y: A9 W2 K10: And what was your college life like? - H" k! f5 d6 o, Z8 }4 h0 Y0 V
' \4 Z6 i+ P; n6 G; ]5 L8 [8 U问: 你的大学生涯是怎么样的?+ I# ^' I( H' A* `
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金: 进入大学时是1992年，当时我是个很平凡的大学生，虽然跟现在的大学生比起来并不是那么平凡。 (笑) 但是我把政治融入故事里并不是我自己曾有经历，而是想要依照原著小说设定的架构，加入需要的剧情。 我不是所谓的386世代 (出身在60年代，毕业在80年代，并且多数归类与活跃政治运动中的一代 = ST: 这是个名词，有那么一代人是这样)9 l$ m/ ~* Q$ l R
2 n2 l' S9 N" q1 B' G他们是我的学长。 当我写剧本时，我把正祖大王与丁若廉想象为386世代 而不是由允熙与她的三为朋友组成的垂涎四人帮。 (ST: 好有意思 哈哈 原来编剧把两位想成386世代) 7 [0 h7 ` R: y& p d6 c5 D
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我并不是特意要传达讯息告诉大家应该站起来(发表自己的想法) 。只是我听说为何这部电视剧吸引了在30岁至40岁的妇女们，是因为这部剧勾起了她们的怀旧情怀。
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( Q. J, S, e6 ^2 ~9 l' t- c# R不论她们是否曾为学生抗议运动的活跃分子，她们都曾经经历过想要改变世界的年代
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Kim Tae-hee: I was ordinary as an undergrad student who entered college in 1992 but maybe not so compared to college students these days (laugh). But the reason I incorporated politics into the story is not because I had any firsthand experience but in trying to fill in the story according to the setting in the original story. I’m not the so-called 386 generation (born in the 60s, undergrad in 80s and largely characterized as active in political movements). They were my seniors. While writing the script I thought of King Jeongjo and subject Jeong Yak-yong as being the 386 generation, not the “Jalgeum Foursome” composed of Yoon-hee and her three friends. I had no intention of sending out messages that we should stand up and rise. But I heard that part of the reason this drama attracted women in their 30s and 40s was because something in the drama triggered their nostalgia. Whether they were active members of students’ protests or not, they all went through the time when they wanted to change the world. ) H8 T9 p( q2 j: Q$ h% y5 _: G2 \
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( V5 s, Y: g9 V" Q10: Then how did you view King Jeongjo who perceived “Jalgeum Foursome” as his political heirs?
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! S8 G9 N0 L) O: K2 d+ y2 P: J问: 你是怎么看待把垂涎四人帮视为政治接班的正祖大王 5 I6 P" d& ]3 r2 T3 }4 a' l
! I! \" c- \7 [金: 根据我收集的资料。正祖大王在现实生活中，是个很谨慎的人，懂得怎么化险为夷(或懂得怎么转劣势为优势?)。如我的剧本所写，他的确说过要开创荡平之年代。而且他真想要废除奴隶制度。1 l9 { {! j1 D j- L
8 Q5 }' L: Q4 P" ~1 M+ j/ O# V 当时的他有非常大胆的想法，而且很奇妙的，在他的儿子纯祖大王时代，奴隶制度被废除了。
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7 q5 G; l6 Y) h5 r3 f8 [) Y) w 但是他的想法也规限在唯有身为王者的他，可以让这一切发生。
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我觉得这种双重标准也是现在的世代包括我自己所拥有的观念，这也让年轻的20世代感觉到烦躁。
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我认为那时的成均館儒生们也许有相同的感受，并且有很多话想对正祖大王与丁若廉老师说。在最后一集时，有让这想法展现出来，虽然是一点点。
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( r" B6 B3 O0 G/ Y$ \$ l 我还在想如果我再深入这个主题的话，这部电视剧会是怎么样?% p1 w+ s8 Q& }+ T8 a
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(ST: 我不知道是否有好好表编剧的意思，她是说正祖虽然看起来很开明，只是还有着自己才能改变这一切的潜意识观念吧，然后就如我们这些人一样，对年轻的一代，总觉得我们懂得比他们多，所以。形成了那些年轻人的压力。。她通过垂涎四人帮抒发了那些感想，对老师，对正祖说自己的看法，也是最后一集里面呈现的。。)( d1 {" n N, I
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m- O5 Z0 ~) GKim Tae-hee: From what I gather, King Jeongjo in real life seemed to be quite a prudent person who knew how to turn situations around. He did mention he will open an era of great reconciliation between parties as I quoted in the script and it is also true that he wanted to put an end to the slave system. He had many bold ideas in those days and amazingly, the public slave system did come to an end during the era of his son, King Soonjo. But he also had limitations to thinking as only he, as the king, could make things happen. I thought such double standards is what the existing generation, including me, have within, leaving our younger generation in their 20s quite frustrated. I thought that must be what the students at SungKyunKwan might feel and probably have lots to say to King Jeongjo and their teacher Jeong Yak-yong. That emerges a little in the final episode. I still wonder what the drama would have been like if I went deeper into that subject. : F: L+ c- h m; r+ E) U
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# F8 H$ i/ Q) `6 k; h问: 在原著里，垂涎四人帮都各自有非常鲜明的个性。虽然做了一些性格上的改变，但是在电视剧里也是如此。你是怎么构思这些人物?" X( b" Q4 Y/ p$ r1 r2 R
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10: Jalgeum Foursome all had strong characters of their own in the original story. So did the drama even though there was a bit of change in the character. How did you draw up the character?
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金: 最近，我很同情20世代。虽然我也经历困难时期，但是我觉得在这世纪的20世代比我还严重。
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我感觉很难过也许他们根本也不知道这点。; O. E7 `" ]" Y% l* e6 K
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所以我甚至让允熙有点绝望地说到说出了" 我觉得我活在的朝鲜并不是那么了不起" 让允熙在成均館重新获得希望， 我要20世代能与她取得共鸣。2 [2 r" ]0 x6 p' B2 m
然后，我再加入了先俊，成为她的感情线。他是个坚信着一切都应该靠自己努力去改变，这与允熙观念对立，更好地体现她的改变。9 @+ E3 n& ^6 U) ^' k
其实，在原著里面，我最喜欢的乔段是先俊因为貂蝉而吃醋 。 我觉得当这种如此注视礼教法则的人物恋上同性之爱时，冲突会更加明显。 0 P' \9 Z+ f5 t
7 X5 y8 G" E8 N: s& j 还有，书里面最有魅力的人物是桀騖但是我觉得自己不是写这类野兽男子的料。(笑)
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所以我写的桀騖会比较敏感，而且与其他角色比起来，他是属于沉默寡言。 再加上演员刘亚仁的演绎，他也是个很感性演员，电视剧里面的在心变得跟原著不同。
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9 M1 f2 z$ Y8 ~) L8 M: \ 为什么我让具龙何变成中人而不是两班，是因为我要让 成均館来自各阶级的人。
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- J; v$ R# {% @: @- A: q$ F 垂涎四人帮也是如此形成 ": 当权的老论派之子，反对派少论之子，中人之子，还有一个女子 w, }+ A& Q, i1 Y2 J
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) \1 v7 n" j2 t0 k( r+ hKim Tae-hee: These days I feel sympathy toward the 20s. Although I had my share of rough times I believe the 20s in this era is going through worse. I felt sorry that they may not even know that. That is why I had Yoon-hee as hopeless to the point of blurting out “I don’t think the country I live in is that great,” in the first episode. By showing how Yoon-hee recovers her hope in a space called SungKyunKwan I wanted the twenties to identify with her feelings. Then I placed Sun-joon, Yoon-hee’s soon-to-be love interest and a guy who believes it all depends on individual effort, at the opposite standpoint of Yoon-hee to better portray her change of heart. Actually my favorite part in the original book was when Sun-joon got all jealous over Cho-sun. I thought the conflict will become most obvious when such character of propriety and order fall for homosexual love. By the way the most charming character in the book was Geol-oh but I don’t think I’m cut out exactly for portraying such raw and rough male character (laugh). That’s how my Geol-oh is more sensitive and less in words compared to other characters. This combined with additional interpretation of actor Yoo Ah-in who happens to be a very sentimental actor, the Geol-oh in the drama became someone completely different from the original story. The reason I made Gu Yong-ha (Song Joong-ki) as a middle class man instead of a noble is because I wanted to show how SungKyunKwan embraces people of all class. That’s who Jalgeum foursome came to be, by bringing together a son of the ruling party Noron, a son of the opposition party Soron and son of a middle class and a woman./ d0 v7 V& O. x7 L( p8 b6 m
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[INTERVIEW] KBS drama "SungKyunKwan Scandal" writer Kim Tae-hee - Part 23 T% D- A/ K1 ~* d
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http://10.asiae.co.kr/Articles/n ... 2010110422340983865
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2 ?# q7 s3 ^, V+ a h0 \8 f2010.11.05
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问: 15集之后，你似乎因要加入多点剧情而影响了电视剧的流畅度。你最遗憾的是什么?
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! ~7 g6 Z1 F" P+ |, _& g' K9 o# L10: After episode 15, it seemed that you were trying to insert more stories into the drama and that caused some trouble to the flow of the drama. What do you regret the most? 3 M: ?7 |# f1 J p C; M
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& b4 @0 c# h& O; [9 S金: 我还不知道是是否因为我加入了金滕之词，然后要急着要总结故事的后半部，或应该就好好处理(金滕之词) 并且延长故事 。 但是我担心收视率会下跌( 笑) 。 通常我的剧本都会比较长，所以被删剪的部分都是关于金藤之词的 。关于这点，不只现在会反省也会在将来的作品是记得。4 X& H9 ~/ z3 d9 a
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9 _4 ]0 t! ~4 y& a) Q. b" }Kim Tae-hee: I still don't know whether it was because I added “Geumdeungjisa” then rushed in having to wrap up the latter half of the story, or whether I should have just dealt with it probably and made the story longer. But I was worried that may lower the ratings for the show. (laugh). I tend to make my scripts long so most of the portions edited beforehand in the script was usually about Geumdeungjisa. It’s something I'll reflect upon now and in the future when I do the next project.
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E7 {5 h8 N! @& k$ M1 l: }7 m) P问: 但是，我觉得身为编剧，应该是有原因要加入金滕之词
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10: But on the other hand, I believe there was a reason you included Geumdeungjisa episode in the drama, as a writer.
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答: 女扮男装似乎没有足够的力度成为整个故事的中心。 我也担心在允熙的性别被揭发后，怎么维持故事的紧张度。 金滕之词是需要把原著变成戏剧的东西。比如，在书里面，红避书9 i' I1 w" z9 ?' l3 J# u
说了很多关于社会问题但是如果在电视剧里面也照样做的话，很容易被遗忘，所以我需要一个东西把四个人物都聚集一起。还有，让故事与正祖改革挂钩，也是想让故事更加丰富
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3 E. k! s N' g" }1 a5 ~Kim Tae-hee: A girl in disguise as a boy didn’t seem strong enough of an impact for the story. I was also worried with what else I should keep up the tension of the story after Yoo-hee's gender is revealed. And Geumdeungjisa was necessary in turning the original story into a drama. For example Hongbyeokseo (the red messenger) in the book tells a lot about problems in society but in doing the same thing in drama, it could be easily forgotten so I needed something to bring all the main characters together. Also, by linking it with King Jeongjo’s reform plan I thought I could make the story much richer. % H# V3 y# q9 S$ q0 r
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% o. M3 y5 ^- i1 b, x. l! i问: 你的对白展现了那时代的优雅与尊严，也包括当时的哲学思想，让人留下印象。我觉得应该归功你之前写长篇史剧的经验: M5 t$ z" O5 \
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10: You made quite an impression with the dialogue that seem to exude class and dignity as well as the philosophy of those times. I think you can credit that to your past experience on working on long history dramas.
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金: 我觉得被挑选为成均館緋聞的编剧的唯一原因因为我在史剧里呆太久了。 (笑)# r: c; M! s' {2 {5 c
在担任KBS"不灭的李舜臣"的助理编剧时，我就差点已经不行了。 但是之后我跟着尹编剧的风格后。就变得习惯了。6 g( O6 `2 S0 e) x' f
' b# u% R+ R8 l 以前，我觉得 编写史剧就如在脚跟绑了沙包跑步。 但是那段时间给我很大帮助。终于。我明白了沉重的负担也能成为一双让我飞翔的翅膀, _5 d, z( g) I
( K) G! M1 I1 b2 GKim Tae-hee: I think the only reason I was selected as a script writer for SungKyunKwan Scandal is because I had my nose stuck in history dramas for too long (laugh). I thought I’d never make it when I first took part in KBS drama “The Immortal Yi Sun-shin” as a supporting writer. But I think I got used to it after following the style of writer Yoon Sun-joo. Back then, I used to think that writing a history drama is like running with a sandbag tied to my ankles. But those times have helped me a lot. I’m finally understanding how the heavy burden can turn into a pair of wings to help me fly.
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问: 在成均館緋聞里，不只是主要人物，全部出现过的人物，从左相到儒生金宇泰都有自己的逻辑思考，让他们也变得让人信服。你是如何创造人物"?
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4 k; s$ x" ^- v7 i `10: Not just the main characters but all the characters that appeared in SungKyunKwan, from the Parliament Minister Lee (Kim Gab-soo) to fellow student Kim Woo-tak (Jang Se-hyeon), had a logic of their own, making them more convincing. How do you create your characters?
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金: 我会尝试去看到底那个人物的动力是什么> 然后对白就自然出现。 我的剧本里，每个人物都有对白。 在第15集里面，先俊对允熙说" 你是男人但是我却爱上你" 握会这么写是因为我觉得这是先俊会说的话。
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, {, G5 c2 J: W: {7 r1 e# {3 {Kim Tae-hee: I try to see what motivates the person and what comes to me naturally is their lines. In my synopsis, there was always a line added to each character. In episode 15, Sun-joon confesses to Yoon-hee “You’re a boy yet I’m in love with you.” I put it that way because I felt that’s how Sun-joon would have said.
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# Q0 i/ u5 {" S! h& U6 F3 k问: 剧里，李先俊是改变最多的，似乎上了一堂人生之课。通过李先俊的性格，你想要展现什么?: G: T8 n% ~ v6 i
2 j; s- R: @& ?8 K% P: }' O: |10: Throughout the drama Lee Sun-joon changed the most, as if he was being given life lesson. What is it that you wanted to show through Lee’s trials? ; B" _/ e' _, k" A7 j v% D; `
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答: 如永河对芙蓉花的劝告一样，你要接受世界不会绕着你转动，在任何状况下，人都必须学会接受事务。 我觉得这是对年轻人的一堂艰苦的人生课程。成熟就是学习并且接受那个道理，四位主要人物也是如是。 但是先俊的改变为何如此明显，是因为他对自己设下的人生观念曾是那么确定。6 o- d: S; K/ S0 y
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9 |, s! s( K0 d$ F' oKim Tae-hee: Just like Yong-ha’s advice to Booyeongha (Seo Hyo-rim) to accept that the world doesn’t always revolve around you, it is important for a person to accept things as it is regardless of the circumstances. I think that’s one of the hard lessons of life for young people. Maturity is a process of learning and accepting that fact and this applies to all four main characters. But how Sun-joon changes probably stood out more because he had been so sure of his view of the world he built for himself.
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N, C9 V o( D7 a s7 C- d' N* |问: 女扮男装最重要的是怎么呈现并且让人信服，当两个以男子身份见面的人，会爱上彼此。在电视剧里，先俊与允熙在一起进入成均馆后，只有彼此依靠。 对他们而言，友情比爱情为先，与断背山里面的剧情发展比较相似而不是如其他韩剧如"咖啡王子一号店"
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10: The key point to a girl-in-disguise-of-boy story is how convincingly you portray the process of how two people who first meet as two guys, fall in love with each other. In the drama, Sun-joon and Yoon-hee only had each other when they enter the royal academy together. For them, friendship came before love which seems closer in plotline to film "Brokeback Mountain" rather than other Korean drama of girl-in-disguise MBC's “The 1st Shop of Coffee Prince.” {5 N7 u5 b+ V& T, F5 ^2 M5 k& N
( y- r1 v3 J- }# I8 Z金: 我的一位朋友曾问我是否把爱情都以同伴关系为基础，因为我曾经参与学生示威还有丢了石头。(笑) 其实我不是故意的，但是在先俊与允熙之间就是无法避免。有人曾告诉我言情剧就是要写出人怎么敞开心怀的过程。我喜欢这样的说法。。并且是我将要在下一个作品呈现的东西。. e0 h2 s- M$ N% a" m
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Kim Tae-hee: One of my friends asked if I view all romantic relations as based on comradeship just because I once took part in a student demonstration and throwed rocks. (laugh) I didn’t do it on purpose but but in Yoon-hee and Sun-joon’s case it couldn’t be helped. Someone told me melodrama is about showing the process of people opening hearts. I like the saying and this is exactly what I want to do in my next project.
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. q3 E- g$ G) x, q8 {/ C# v5 u问: 单是要研究历史资料就是个很可怕的工程。 我想通过其他的作品的经历，你对怎么收集这些知识已经熟能生巧。" P3 `6 g! i9 {# y/ U
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10: The task of studying all the historical references alone seems like a daunting task. I’m sure you have built up know-how to build up the knowledge through your past projects.
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金: 在"不灭的李舜臣"与:世宗大王"里，我只是帮助尹编辑。这是我第一次自己包办整个编剧工作，感觉实在是不同(笑) 但是你要我介绍怎么去读历史资料，我会推荐Park Si-baek’的朝鲜王朝纪事漫画版。那套书用非常简单，浅白易懂的文字让你很快就能理解。 高中历史课程的参考书，中学与高中的韩国历史入门书都相当有帮助。我读了很多关于正祖大王的书籍，还有关于成均馆的书籍，但是还是有些不完整的资料，这个我就无能为力，只能就那么接受。 最主要的是怎么在历史里找出与现在的共同点。
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就如全编剧，推奴的编剧说过， 编写史剧最重要的不是写出历史里的某个年代，而是在什么年代写出什么样的历史。 我非常欣赏对他说的这些话，甚至在下面画线(笑)$ S" V+ g$ r1 U/ [, ]* d/ G
0 g- f I, O+ e$ i1 }# l6 }0 Y(ST:我想成编剧的意思是以现代的感觉来写那段历史。才能找到共鸣。)' ^) x5 ~. r3 b; h. ?
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) F( C" i' S4 h6 Y1 p& O) NKim Tae-hee: I was only helping out scriptwriter Yoon in both big dramas “The Immortal Yi Sun-shin” and “King Sejong.” This is my first time doing things all on my own and I felt a world of difference (laugh). But if you want some pointers for studying history I recommend Park Si-baek’s the Annals of the Joseon Dynasty drawn out in comic book style. It is organized in simple, easy words and can help you grasp things fast. Reference book for high school history text and introductory book on Korean history written for middle and high school students will also help a lot. I went through many books on King Jeongjo and also read theses related to SungKyungKwan and yet I would still come across missing links, the kind I couldn't do much about and just let them pass. The important thing is to find certain point in history that is common with the present. Just like Cheon Seong-il the writer of the KBS drama “Chuno (Slave hunter)” said “the important thing in writing a history drama is not writing about certain period in history but in what period you choose to write a certain history.” I was so impressed with his words that I drew a line underneath (smile).
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* I. T6 N% Z9 }9 \10: Then what do you think SungKyunKwan Scandal has in common with the present times? 9 c6 }: e: \' T
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问: 那你觉得成均館緋聞与现代有什么共同点。$ Z+ E. z- i- l8 X$ E
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金: 告诉失去希望的人要有希望，似乎是不负责任的话语。 但是如果有你期望的社会(世界)，你就应该首先要拥有那个希望。当我构想允熙的人物时，首先我会想象她是如何让自己拥有这么多知识? 我假设当她站在门外时，她的父亲偷偷地在教导她。 万一允熙觉得手太冰冷了，然后放弃聆听 / 我要传达的讯息就是那样。。6 c. @5 _% [1 f9 P/ ^
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Kim Tae-hee: It may sound irresponsible to tell people devoid of hope to have hope. But if there's a society you hope for, then you should start by having hope first. So when I came up with Yoon-hee's character I first wondered how she was able to equip herself with so much knowledge. I presumed it was because her father secretly taught her as she stood outside the door. What if Yoon-hee thought her hands were freezing and just gave up listening? That’s the message I wanted to get across. 8 z% Y5 ~) ^) g9 J2 z
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* V$ C' |0 N/ {1 T问: 但是，你也可以说正祖大王之后，朝鲜就没落了? 你相信历史一直会进步吗?
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0 c! I4 @# Z/ V10: But you could say Joseon went downhill after King Jeongjo. Do you believe that history progresses? 4 @8 S4 r4 a7 p
6 m% w0 M" q: |8 t% u a金: 这不是个容易回答的问题(笑) 怎么说呢。。在大学时，当我修读社会学时，强烈反对学长说历史是前进的。 在我眼里，受薪族就如中世纪受奴役的人。我参与他们的示威是因为觉得我活在的现实社会糟蹋透了!! 但是，去年我读了一本名为" 木下昌藏对日皇丢炸弹‘ 木下昌藏是李奉昌的日本名字，他是在日据时期(1910-1945)韩国人认同的抗日分子。当他年轻时，李奉昌用了这个名字到日本讨生活。大事，真实身份被暴露后，惨遭日军折磨后，他去找了金九，当时大韓民國臨時政府的主席，对他透露要炸死日皇的计划。( O* r; L. A1 W; z e- a
7 N2 x/ O- o" T2 O2 J, }" w6 T面对身边人的反对与质疑，金九还是选择信任了李奉昌，并给了他三个炸弹。几个月之后，有另一个年轻人尹奉吉被李奉昌之举感动。也同样要求进行同样的刺死行动。这次，他成功了，在上海杀了很多日本的首领。这个故事让我想到底李奉昌留给我们什么?我们应该说他是个失败吗? 第一次让我思考历史是否是个经历了许多失败后才前进的东西。
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(ST: 李先生的行动没有成功，被抓之后，被秘密处死了)
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2 a {' A, ]6 h$ Z& gKim Tae-hee: That’s not an easy question to answer (smile). Well, back in college when I was studying social science I was adamantly against my seniors who supported the idea that history moves forward. In my eyes, a salary man was no better than a serf in the Middle Age of the past and I was participating in their gathering simply because the reality I lived in sucked. But then last year I read a book called “Kinoshita Shojo throws Bomb at Japanese Emperor.” Kinoshita Shojo was the Japanese name of Lee Bong-chang whom Koreans now awknowledge as a patriot during the Japanese colonial era (1910-1945). When Lee was young he changed his name into Japanese and went to Japan to make a living. However when his true identity was exposed he was so abused by the Japanese that he went to Kim Gu the president of the provisional government in Korea based in Manchuria and revealed his intention to bomb the Japanese emperor.
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; b* ]7 F% ~- \8 R3 rDespite much doubts and opposition from his aides, Kim decided to place his faith on Lee and gave Lee three bombs. Kim didn’t allow Lee to test the bomb however which was an unfortunate decision because the bomb didn't work. Instead Lee got executed trying. But few months later, another young man named Yoon Bong-gil who was deeply moved by Lee came to Kim to volunteer for a similar task. This time he succeeds, killing many Japanese leaders in Shanghai. The story made me think about what Lee has left. Could we truly call him a failure? And for the first time I wondered if history is something that moves forward through many failures. 5 }+ C8 u- B! }3 p
& a, c& y2 Q. F( P% T3 Y10: What era would you like to work on for your next project? b$ ] A* f, r, o% p2 r
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问: 你的下一部作品会在什么年代?
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Kim Tae-hee: For now, I prefer the present (laugh). But someday I would like to write about the times of Japanese colonial era, about the people who didn’t lose hope and laughter despite the trying times. 0 P+ x; F Q5 b+ d9 T5 K
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金: 目前，我比较喜欢现代(笑) 。但是，有一天我会想写一个关于日据时期的故事，关于那些在那艰苦的年代里，没有失去希望与笑声的人的故事。+ t. E% ]8 v& z+ F; E c3 y
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[ 本帖最后由 xing 于 2010-11-7 17:52 编辑 ] |
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发表于 2010-11-5 23:53
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…我其实是个脸皮很薄的人（没人会信吧
）
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