This work -- a representative Japanese drama of the 1970s -- is Juro Kara's original, expanded version of the Noh play "Aoi no ue," a drama about the grudges and hatred felt by Rokujo, who has been transformed into a demon. The debut of this work was performed by the dramatic troupe, Dai-nana Byoto ("Ward No. 7"). The story builds upon the magical moment at which two women emerge from one. Juro Kara's world is dramatized at ATM this time by his dramatic troupe, Gekidan Kara-kumi, joined by guest actors Sadao Inari and Yuki Fujii.
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| Takuo Inari | Yuki Fujii |
Shortly after I turned 20, and before I organized my dramatic troupe (Gekidan Kara-kumi),
I wanted to write a book.
At that time, all I could think of was Chekhov's "Ward No. 6." ("Rokugo-shitsu" in Japanese)
A few years later, when I was asked to make a radio drama from the text of Genji Monogatari (The Tales of Genji),
I ran across the female character Rokujo.
The similarities to the word "Rokugo" immediately reminded me of Chekhov's short story.
The reason I chose "Futari no Onna" to be my debut work resulted from the impulse at that time to write first about a woman who had two characters. The work contains various places that are shown overlapping each other. E ven so, what I was conceptualizing was the setting of a free, unbounded hospital ward, such as presented in Kyusaku Yumeno's "Dogura Magura," as well as one in which one is never sure when one will run into a wall. The image of sand was also in my mind. I poured most of my energy when writing "Futari no Onna" into the scene portraying Rokujo's room. Indeed, Rokujo seems to be talking, but that represents a flashback in the mind of the man. If Koichi were in fact alive, I believe it would be his most memorable scene upon reflection. At the same time that we view how Rokujo lived her life, we also see how Koichi remembered Rokujo ... .
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