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コニー青木の訳詞が話題「夜に駆ける」英語版 YOASOBI / Into The Night Interpreted by Konnie Aoki 《向夜晚奔去》 


*訳を編集しなおしました* コニー青木の訳詞の見事さが話題の「夜に駆ける」英語版に関するジャパンタイムズの記事です。青木氏の素晴らしい翻訳の秘密(努力)が分かります!

This is an article from the Japan Times about the English version of "Into The Night," which is about Konnie Aoki's brilliant translation. You can see the secret (effort) behind Aoki's brilliant translation!

這是一篇來自Japan Times的文章,關於《向夜晚奔去》的英文版,講述了青木康尼的精彩翻譯。你可以看到青木輝煌的翻譯背後的秘密(努力)!

YOASOBI / Into The Night (「夜に駆ける」English Ver.)《向夜晚奔去》


5,963,647 回視聴2021/07/02 Ayase / YOASOBI チャンネル登録者数 288万人

Here's how director Konnie Aoki's paragraph-by-paragraph interpretation of the lyrics based on “An Invitation from Thanatos” — the Mayo Hoshino short story about suicide that the track was based on — and the lyrics penned by Yoasobi composer Ayase. 

Yoasobi’s breakout hit song is just as catchy in English
Aug 14, 2021 Japan Times

When music director and producer Konnie Aoki was tapped to make an English version of “Yoru ni Kakeru” (titled “Into the Night” in English) — a breakout song by duo Yoasobi — the pressure he felt was overwhelming.

After all, the single was arguably Japan’s biggest hit of 2020: It topped the Billboard Japan Hot 100 chart last year, and the accompanying music video has received almost 242 million views on YouTube since it premiered there in November 2019.

Rendering something that’s already hugely popular into another language would be intimidating for any seasoned translator, but it was even more daunting for Aoki, who isn’t a professional translator and had never translated a major Japanese song into English before.

It’s little wonder, then, that after the English version of the song debuted on Yoasobi’s official YouTube channel last month, it took Aoki a while to muster the courage to look at the comments section, fearing an onslaught of negative feedback.

He was worried for nothing.

As it turns out, the viewers’ responses are full of praise for the way Aoki translated — or rather, interpreted — the lyrics of the original Japanese track.

“I was afraid people might get upset by how I prioritized things like rhyming over word-for-word semantic accuracy. … But the response has been surprisingly positive so far,” Aoki says.

Many noticed how the English version sounded exactly like Japanese at some of the catchiest parts of the song. Take the opening line: “Seize a move, you’re on me” sounds strikingly similar to “shizumu yō ni” (“like sinking down”) from the Japanese version.

“If I were a full-time translator whose job is to be faithful to the source text and accurately translate it into another language, I don’t think my English rendering of the song would’ve turned out this way,” Aoki says.

Aoki, whose real first name is Keita, was born and raised in Japan, and has had a fleeting experience living abroad in Australia and New York. Mostly based in Tokyo, he has spent over 15 years of his career in music, working as a composer, sound director, lyricist and arranger.

The musician in him, he says, “fetishizes the resonance” of words, a guiding principle he applied to “Yoru ni Kakeru.”

“I thought fans would be disappointed if I came up with something that sounded like it had been generated by Google Translate, with no regard at all for the rhymes and sense of language that made the original song so popular,” Aoki says. “So I maximized my sensitivity to rhyming.”

But at the same time, Aoki knew he couldn’t simply throw in random English words that sounded similar to Japanese. The lyrics needed to capture the atmosphere of the song, too.

So he decided to “dive into (the song’s) worldview.” Aoki spent days poring over “An Invitation from Thanatos” — the Mayo Hoshino short story about suicide that the track was based on — and the lyrics penned by Yoasobi composer Ayase, until he felt sure he had absorbed every word and connected deeply with the song’s protagonists.

Aoki also reached out to a bibliophile friend to discuss their thoughts on the short story and lyrics at length and make sure his interpretation wasn’t too far off the mark. A longtime American confidant helped vet his wordplay. It took about a week to complete the translation.

“A literal translation of the Japanese phrase ‘yō ni,’ for example, would be something similar to ‘like,’ but they don’t rhyme with each other at all,” Aoki says. He eventually came up with “you’re on me” to rhyme with “yō ni.”

“When I immersed myself in the story, ‘you’re on me’ felt so right to me — the meaning may not be exactly the same, but I thought the phrase captured what the main protagonist saw and felt,” Aoki says.

The same goes for “saw what got seen hid beneath” in the main chorus, which contains vowels and consonants similar to “sawagashii hibi ni” (“in the loud days”). Aoki says that although the two phrases have different meanings, the English version is meant to symbolize the main character’s inner conflict leading up to a denouement.

“I didn’t translate line by line, but rather paragraph by paragraph, so that even if some words are technically missing (in the English version), the whole paragraph, I hope, would leave the same impression on listeners,” Aoki says.

With the English version shaping up to be a fairly successful project — the official YouTube video has received nearly 6 million views so far — Aoki has high hopes for Ayase and vocalist Ikura performing the song while on tour abroad.

“If half the audience are used to listening to the Japanese version and another half to the English version, they can sing along in the main chorus and say, ‘Sawagashii hibi ni / Saw what got seen hid beneath’ together — and share a sense of oneness,” he says. “I think that would be awesome.”


ディレクター兼プロデューサーのコニー青木が、ユニットYOASOBIのブレイク曲「夜に駆ける」(英語タイトルは”Into the Night”)の英語版を作ることになったとき、彼が感じたプレッシャーはたいへんなものだった。この曲は昨年のBillboard Japan Hot 100チャートで首位を獲得し、ミュージックビデオは2019年11月にYouTubeで公開されて以来、約2億4200万回の再生回数を記録している。すでに大人気となっている歌を他の言語に翻訳することは、熟練した翻訳者ですら勇気がいることだが、プロの翻訳者ではなく、これまで日本のメジャーな曲を英語に翻訳したことがなかった青木にとっては、非常に困難な挑戦だった。7月にYOASOBIの公式YouTubeチャンネルで英語版が公開された後、青木は、否定的な見方が殺到するのではないかと、コメント欄を見る勇気がなかったのも不思議ではない。しかし、その心配は杞憂に終わる。蓋を開ければ、視聴者の反応は、オリジナルの日本語曲の歌詞を青木が翻訳、いやむしろ、解釈したことを称賛するものばかりだったのだ。「一語一語の意味を正確に伝えることよりも、韻を踏むこととかを優先したんで、みんな怒るかなと思ったんだけど、今のところ、反応は驚くほどポジティブだね」と青木は言う。リスナーの多くは、この曲の一番印象的な部分で、英語版が日本語と同じように聞こえることに気づいた。例えば、冒頭の "Seize a move, you're on me"は、日本語版の 「沈むように 」と酷似している。「もし僕が、原文に忠実かつ正確に翻訳しなきゃならない専任の翻訳者だったら、英語版はこんな風にはならなかったと思う」

日本で生まれ育った青木は、オーストラリアとニューヨークで海外生活を経験。その後は主に東京を拠点に、作曲家、サウンドディレクター、作詞家、アレンジャーとして、15年以上の音楽キャリアを積んだ。音楽家として彼は、言葉の "響き "を大切にしており、それが 「夜に駆ける 」の翻訳にも生かされているという。「原曲が持つ韻や語感を全く無視して、Google翻訳みたいなのだったら、ファンはがっかりするだろうと思って」「韻を踏むことにセンスをフォーカスした」。しかし、ただ単に日本語に似ている英単語を並べるだけではダメだと彼は思った。歌詞は、曲の雰囲気を表現するものでなければならない。そこで青木は、"曲の世界観に入り込もう "と考える。星野舞夜の自殺をテーマにした短編小説「タナトスからの招待状」と、YOASOBIのAyaseが書いた歌詞を何日もかけて読み返し、一語一語を確実に吸収して、主人公たちと深く心を通わせた。また、青木は愛書家の友人に連絡を取り、この短編小説と歌詞に対する考えを深く話し合い、自分の解釈が的外れではないことを確認。アメリカ人の親友が彼の訳詞を推敲し、約1週間かけて翻訳を完成した。

例えば 「ように」という言葉を直訳すると "like "と似ていますが、これだと全く音が違う」。そこで青木は、"you're on me"「ように」の韻を踏むことを思いつく。「小説に入り込んだ、"you're on me "がとてもしっくりきた。意味は全く同じではないかも知れないけど、主人公が見たもの、感じたものを表現していると思う」と青木。サビの "saw what got seen hid beneath"も同様で、「騒がしい日々に」と同じような母音と子音が使われている。直接の意味は異なるものの、主人公の心の葛藤が結末に向かっていくことを象徴していると青木は言う。「一行ずつではなく、段落ごとに訳すことで、厳密には言葉が欠けていても、全体としては同じ印象になるようにしている」
英語版は、YouTubeの公式動画がこれまでに600万回近く再生され、プロジェクトとしてかなりの成功となっている。青木は、AyaseとボーカルのIkuraの海外ツアーでこの曲を披露しようと考えている。「日本語版と英語版の両方を聴いている観客が半分ずついれば、サビで『騒がしい日々に/Saw what got seen hid beneath』と一緒に歌って、一体感を味わえて、すごくいいと思う」


コメント Comment 評論


A song cannot be translated literally as the lyrics are written. If you can't enter the world, the song has no meaning. Yes, that's right, "As we sinking together, as we are melt each other♪" (<<This is my direct translation, not Aoki's)

一首歌曲不能按照歌詞的字麵意思來翻譯。如果你不能進入這個世界,這首歌就沒有意義。是的,沒錯,"當我們一起沉淪,當我們彼此融化♪" <<這是我的直接翻譯,不是青木的.

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