─── Overview
“Yurere Seikatsu” is a short drama series of 12 episodes. The filming was done under the screenplay of the co-creation by the director Yoshikazu Nunomura and the starring Yoshihito Hoki. As the details of co-creation, Nunomura performed the concept design such as the statement and ideas that are the beginning of the plan, and then designed the series composition. Regarding the script of each story, based on the design of the concept and composition, both Nunomura and Hoki have designed concrete guests and lines. The theme song and half of the play of this work will be handled by musician Gurupari. In this section, 3 guests will appear in # 1 to # 7. In # 1 and # 2, Osamu Iguchi, the vocalist of the band King Gnu, appears. In # 3 and # 4, former professional soccer player and current Tokyo 23FC coach Masao Tsuchiya. In # 5 and # 6, the monk Inada Zuiki is engaged in various activities as an anxious creator.

─── Synopsis
Repeated encounters in everyday life bring fluctuations to life. She, who lived with her, went out, and the main character Shaw moved. Something changes little by little after meeting unique people who visit the cafe where he works … Most of the characters appear in the role of themselves, and can develop improvisational acting without fixed lines. The words spoken are squeezed from reality and fiction, or gaps between them. A drama series that fluctuates between fiction and documents. (From LINE NEWS: bit.ly/yureruseikatsu)

─── Director’s Commentary
As the basis of the concept of this work, we advocated “ Doraemon ” which has a series of secret tools for each story, and “ Gintama ” which represents humanity from various starting points for each story centered on three people in all things shop . The “endless and stable world” that can be seen in continuous TV anime series whose final episodes are not fixed, and the “irreversibility of time” that is the nature of the live-action video (reproduction of the first take is impossible. It is possible. Time flows continuously from the start point to the end point), and the hypothetical goal of “improvisation with respect to reproducibility” was set as a fusion of the contradictory elements.
　　　With this goal, if you deviate from visual media and look at all classics, for example, in traditional performing arts such as rakugo and kabuki, different performers expressing the same subject brings a richness to that performing art. ing. On the script as a stable playground, there is a sense of what kind of free standing it is. There were discoveries of “Noh” that further developed in the course of aiming for classical performing arts, “improvisation with respect for reproducibility”, “a stable world with endless links”, “irreversibility of time”, and such gaze. (Reference “What is a device that lasted 650 years?”: www.amazon.co.jp/dp/4106107325)
　　　There are three major discoveries of “Noh”. One is based on the appearance of two beings, Shite and Kiwa, in the form of Mugen Noh. Second, the performer can feel drunk during the performance. Lastly, the territory of the performer and the audience are ambiguously fused. (I feel that the rakugo and Kabuki mentioned above, like the movie, have a strong implicit and intrusive bond between the artist and the viewer, which needs to be routinely broken at some coordinates. But today, it’s strong under the inviolable ties of commercialism and less likely to be broken down.) In any case, the details of these discoveries are my own verbalization. I am omitting it from the text here because I have included the parts that are neither organized nor systematized. Instead, I crystallized and realized these “awareness” as a video work “Yure Seikatsu”.