【今日の放送の英語文字起こし】

**[Introduction]**

Hello, this is backstage director **Backstage**.

**[Today's Topic]**

Today's theme is "Theater News."

Why this theme, you ask? Well, recently, actor Hiroyuki Sanada’s Emmy Award win became a huge news story, and I wanted to dive deeper into it.

**[Main Content]**

To get to the point first, **those who are destined to step outside, will step outside**.

First, here’s the theater news from NHK:

[Link to NHK Article]

At the Emmy Awards ceremony, which honors outstanding television programs in the U.S., actor Hiroyuki Sanada’s drama series "SHOGUN" won the **Drama Series Award**.

Additionally, Sanada himself won the **Best Actor Award**, and in total, the series took home 18 awards for a single season, setting a record for the most Emmy wins.

After the middle section, here’s the part that’s most important for today’s discussion:

"SHOGUN" is the first Hollywood production where Sanada took on both lead actor and producer roles. His desire to portray "the real Japan" ensured that the acting, props, costumes, and other aspects were closely supervised, leading to the production being highly praised for its realistic period drama and action sequences.

This was celebrated by all professionals in Japan’s entertainment industry.

This incredible achievement for a Japanese project is impressive, but at the same time, I had a feeling that this would eventually become the norm. It may sound strange, but here’s why.

Lately, the boundaries between creators and players have blurred. Actors are increasingly stepping into the role of creators, even in Japan’s theater and film industry.

This is something that’s common in the U.S. and Europe, where it’s not unusual to see actors producing their own projects.

In Japan, this trend is also gaining momentum.

For example, a notable recent case is Netflix's **House of Ninjas**, where Ken Kaku, who stars in the show, is credited not only as an actor but also for the original story concept.

On Amazon Prime, **Takao Osawa** is another example, producing his own drama.

So, why is this happening? I can’t say for sure.

But, there are some possible reasons.

A common factor is partnerships with global companies.

Sanada’s case may be different since he’s based in Los Angeles and has a slightly different perspective. But in each case, these projects are getting picked up outside the traditional Japanese entertainment system.

**The Changing Rules of Japan’s Entertainment Industry**

This is just my personal opinion, but I feel that the old rules of Japan’s entertainment industry, especially those surrounding talent agencies, are beginning to shift or break down.

In the past, the relationship between the media and agencies was like a close partnership, especially with television. To divide the same amount of work and success among everyone, some unwritten rules were necessary.

This might remind you of the **Johnny & Associates** issue, or how many actors and comedians are now thriving on platforms like Netflix, bypassing the traditional system.

In the past, I’ve seen a lot of “**consideration**” in my own work in the theater, which, although it operates somewhat independently, still carries some of the same entertainment industry nuances. I’ve heard things like, "This person is perfect for the role, but, you know, there are certain considerations...".

This concept of “consideration” isn’t something well understood by overseas collaborators.

The most significant cultural clash often comes from how **agents** and actors work together.

To summarize:

- In Japan, the relationship between agencies and actors is very close. There’s a sense of "We raised you, so follow our direction."
- Overseas, it's much more **business-like**. Agents introduce auditions, take a commission, but the actor manages their career more independently.

This concept can be confusing for overseas professionals working with Japanese talent, and many often ask, "Why is the agency relationship in Japan so different?"

It’s an area I can’t fully explain either.

But what I can say is this: people who feel restricted by these outdated rules are starting to seek opportunities elsewhere. We might be in a period of transition.

With that in mind, I don’t think we’re far from seeing more Japanese people winning awards like Emmys and Tonys. The future is arriving faster than we think.

This shift might spark a wave of change, encouraging more people to step out and break free from old traditions. Some have already caught fire, and for those who haven’t yet, their time might be coming.

**[Conclusion]**

To sum up, **those who are destined to step outside, will step outside**.

That's it for today’s talk. If this resonates with you, please leave a comment or follow me!

Thank you for listening, this was **Backstage**!