[magazine kave=Itaerim Danjarida]
A cikin fagen drama na nau'in Koriya, irin wannan take yana da wuya a gani. Kalmar 'Kai Ka Kasheka' tana kama da yatsa da aka nuna ga wani. Kamar yadda Arthur Miller ya rubuta a cikin 'All My Sons', yana tambayar alhakin jama'a, kuma kamar Agatha Christie ta rubuta a cikin 'Murder on the Orient Express', yana bayyana duniya inda kowa yake zargi. Netflix Limited Series 'Kai Ka Kasheka' yana ɗaukar wannan jumla kai tsaye, yana nuna yatsa ga mutane da yawa a cikin kashi 8. Daga masu laifi zuwa masu cuta, iyali da makwabta, abokan aiki da hukumomi, babu wanda aka keɓe daga wannan tambaya. Babu mai kallo. Kowa yana da hannu a ciki.
Farkon labarin yana farawa ne da Jo Eun-su (Jeon So-ni). Eun-su mai sayarwa ce a babban shago. Kowace rana tana fuskantar abokan ciniki masu matsala, tana lura da shugaban tawaga, tana mafarkin rayuwa mafi kyau amma ba ta da tabbas game da makoma. Kamar yadda Camus ya rubuta a cikin 'Sisyphus', tana tura dutse kowace rana amma yana komawa baya da dare. Wata rana, agogo mai tsada ya ɓace a cikin tsarin dawo da kaya, kuma wannan ya haifar da matsala. Bayan wannan al'amari, abokin ciniki Jin So-baek (Imu Saeng) yana jan hankalinta, kuma Eun-su tana bin sa ta hanyar CCTV da tunani.
A cikin wannan yanayi, rayuwar sirrin Eun-su tana bayyana a hankali. Mahaifiyarta ta jure wa tashin hankali daga mijinta na dogon lokaci, yanayin iyali da ke rayuwa da wannan alama, tsoro da rashin fata a cikin gida suna bayyana a fuskar Eun-su. Duk da cewa tana murmushi a waje, amma tsoro yana bayyana a cikin rayuwarta. Ga Eun-su, tashin hankali ba labari ba ne, amma abu ne da ta saba da shi tun da dadewa. Kamar yadda Bessel van der Kolk ya ce, 'jikin yana tuna da tashin hankali'. Ko da kai ya manta, jiki yana tuna da tsoron ranar.
Wata rana, Eun-su ta ziyarci tsohuwar kawarta Jo Hee-su (Lee Yu-mi) bayan dogon lokaci. A cikin hotunan SNS, tana da alama 'kawarta mai nasara'. Ta auri miji mai arziki, tana zaune a gida mai kyau, kuma ta sami suna a matsayin marubuciyar littafin yara. Amma lokacin da Eun-su ta shiga gidan, gaskiyar ta bambanta. A cikin gidan da aka tsara, akwai kayan da suka karye da abubuwa a kasa, fuskar Hee-su cike da raunuka. Wannan yana bayyana tashin hankali da aka boye da kyau. Kamar yadda aka buɗe ƙofar ɗakin da aka ɓoye hoton Dorian Gray, bambancin tsakanin waje da ciki yana bayyana.
Dodo yana sanye da sutura yana zuwa aiki
Mijin Hee-su, No Jin-pyo (Jang Seung-jo), yana bayyana a farko a matsayin miji mai kirki. Yana da kyau a magana, yana da matsayi a cikin al'umma, kuma a waje yana da kyau. Kamar yadda Patrick Bateman ya tattauna zane na kati a cikin 'American Psycho', yana sanye da fuskar jama'a daidai. Amma a gida, shi dodo ne. Idan ya sha giya, yana amfani da tashin hankali kan kalma ɗaya, kuma bayan haka yana ba da kyauta mai tsada don rufe kunnen Hee-su. Kuma don rufe wannan alama, iyalan mijin da makwabta suna taimakawa. Kamar yadda Hannah Arendt ta ce, 'banal na mugunta' yana zama 'zamantakewar mugunta'. Dodo ba ya tsirfa shi kaɗai. Yana girma tare da masu hannu da yawa.
Eun-su ta yi mamakin wannan gaskiyar. Amma wannan mamakin ba kawai mamaki ba ne, amma yana kama da tunanin lokacin da mahaifiyarta ke shan duka. Sautin daga gidan Hee-su yana kama da sautin daga gidanta a baya. Kamar yadda Proust ya rubuta game da madeleine, sauti yana kawo tunanin tashin hankali. Da farko, Eun-su tana son kira 'yan sanda, gudu tare, ko sanar da mutane. Amma Hee-su tana janye a karshe. Saboda tsoron mijinta zai yi fushi, saboda yaran, kuma saboda ta kasa tserewa sau da yawa. Wannan yana nuna 'learned helplessness' a cikin drama.
Hanya ta tsere ko kuma hanyar kashe kai: Zabin kisa
A ƙarshe, wata rana, Hee-su tana son barin rayuwa. A wannan lokacin, kalmar da ta fito daga bakin Eun-su ita ce farkon wannan drama. "Mu kashe mijinki." Wannan ba kawai motsin rai ba ne. Eun-su, wanda ya kasance mai cuta tun yana yaro, Hee-su, wanda ke cikin wannan yanayi yanzu, da sauran wadanda ba a san su ba, sun yi wannan zabi mai tsanani. Ba wai suna son hukunta mugun mutum ba ne kawai. Amma saboda 'ba za a canza komai ba idan ba mu yi haka ba', kisa ya zama hanyar tserewa. Kamar yadda Raskolnikov ya tambayi kansa bayan kashe tsohuwar mai sayar da kaya, su ma suna tambaya. "Shin cire wannan abu ne adalci ko laifi?"
Su biyun suna fara tsara kisan da ba za a gano ba. Suna nazarin al'adar Jin-pyo, suna tsara yanayi da zai yi kama da hatsari, suna lissafin alibi bayan kisan. Kamar yadda Hitchcock ya nuna a cikin 'Rope' ko 'Strangers on a Train', mutane na yau da kullum suna ƙoƙarin kisan da ba za a gano ba. A cikin wannan tsari, Eun-su tana tunawa da Jin So-baek, wanda ya kasance a tsakiyar al'amarin agogo. Duk da cewa yana kama da mai kasuwanci mai sauƙi, yana da basira wajen fahimtar yanayi da mutane. Eun-su da Hee-su suna jawo ma'aikacin So-baek cikin shirin, suna nazarin jadawalin Jin-pyo, motarsa, da CCTV na kusa.
Amma duk da cewa shirin yana da kyau, gaskiya ba ya tafiya kamar yadda aka tsara. Tashin hankali na Jin-pyo yana ƙara tsananta, kuma 'yan sanda da makwabta suna ganin wannan a matsayin 'rigimar ma'aurata'. Eun-su da Hee-su suna ketare layin da ba za a iya juyawa ba, kuma daga nan rayuwarsu ta shiga sabuwar jahannama. Dole ne su goge alamar kisan, su guji kallon mutane, kuma mutane da ba a zata ba suna bayyana suna rikitar da lissafi. 'Yar'uwar Jin-pyo, No Jin-young, 'yan sanda, da asalin Jin So-baek, yayin da kowane kashi ke wucewa, gaskiya tana zama mai rikitarwa. Drama tana tambayar alhakin bayan zabi na kisa, fiye da adalcin kisa. Yana da kyau a kalli ƙarshen da kanka. Wannan aikin yana mai da hankali kan tsari fiye da juyin juya hali.
Tsarin da ya haifi dodo, tsarin da ya hana tserewa
Yanzu bari mu duba irin ƙarfin da wannan aikin ke da shi, me yasa yake da wahala a daina kallo duk da rashin jin daɗi. 'Kai Ka Kasheka' yana ɗaukar tashin hankali na gida a matsayin sakamakon tsarin da yanayi ya haifar, ba kawai al'amari ba. Yawanci, tashin hankali yana ragewa zuwa hauka ko rashin ikon sarrafa fushi. Kamar yadda ake cewa tuffa ɗaya ta lalace, ana ɗaukar shi a matsayin rashin daidaiton mutum. Amma wannan drama tana bincika yadda tashin hankali na Jin-pyo ya yiwu, wanda ya yi shiru ko ya goyi bayan wannan tashin hankali, da dalilin da ya sa waɗanda suka san wannan wurin suka yi kamar ba su sani ba. Ba kawai tuffa ɗaya ba, amma dukan itace, gonar tuffa, da tsarin rarrabawa.
Take 'Kai Ka Kasheka' yana da ma'ana da yawa. Yana iya zama magana ga masu laifi kamar Jin-pyo, amma kuma yana iya zama magana ga iyalan da suka rufe shi da 'al'amuran gida'. Hakanan, yana iya zama magana ga makwabta da suka yi watsi da tashin hankali, masu iko da suka hana rahoto, da waɗanda suka zargi masu cuta da tambayar "me yasa ba ku gudu ba?". Take na Ingilishi 'As You Stood By' yana tambayar alhakin waɗanda suka tsaya kawai suna kallo. Kamar yadda Edmund Burke ya ce, "Abin da ke sa mugunta ta yi nasara shi ne mutanen kirki ba su yi komai ba."
Shiryawa yana isar da wannan saƙon ba tare da wa'azi ba, amma ta hanyar nuna yanayi. Kyamara ba ta nuna tashin hankali ba, amma tana nuna shiru bayan tashin hankali, faranti da suka karye a kan tebur, gashi a kan bene na bandaki, da fuskar Hee-su mai rawar jiki. Maimakon nuna tashin hankali, yana nuna tsoro, kunya, da rashin fata bayan haka. Kamar yadda Bernard Werber ya ce, "Abin da ya fi tsoro ba dodo ba ne, amma kallon wanda ya ga dodo", wannan drama tana kallon tasirin tashin hankali. Saboda haka, mai kallo ba mai kallo ba ne kawai, amma mai shaida. Kuma mai shaida ba zai iya zama mai kallo ba. Da zarar ka gani, kai ma kana da hannu a ciki.
Ayyukan 'yan wasan suna da mahimmanci ga wannan drama. Jo Eun-su yana tsaye a kan iyaka tsakanin mai cuta da mai laifi. Duk da cewa ta ga tashin hankali tun tana yaro, yanzu tana shirin kisa don kawarta. Jeon So-ni tana nuna wannan matsayi mai rikitarwa da kyau. Duk da cewa tana yin dariya a waje, amma tana tsorata da sauti, tana dukan bango da fushi, kuma tana yin tunani mai sanyi a lokacin da ya dace. Kamar yadda Daniel Day-Lewis ya shiga cikin rawar, ita ma tana zama Jo Eun-su. Saboda haka, mai kallo ba zai iya yanke hukunci kan zaben Eun-su ba, amma yana bin zuciyarta.
Jo Hee-su yana bayyana yanayin mai cuta. Lee Yu-mi tana amfani da fuskar ta mai laushi da idanuwa don nuna yanayin mai rauni da kuma ƙoƙarin rayuwa. Duk da cewa Hee-su ba ta tsere ba, wannan drama ba ta nuna ta a matsayin mai rauni ba. Maimakon haka, yana nuna dalilin da ya sa ba ta tsere ba, abin da ta rasa yayin tserewa, da shingen da ke hana ta. Lokacin da gida ya zama kurkuku, tserewa ba kawai buɗe ƙofa ba ne, amma yanke shawara don barin rayuwa.
No Jin-pyo ba kawai dodo ba ne. Jang Seung-jo yana riƙe da murmushi mai kyau, amma yana haifar da tsoro da idanuwa. Bayan tashin hankali, yana ba da kyauta ko yana cewa "kai kaɗai nake da kai". Wannan yana nuna halayen mai laifi na tashin hankali na gida. Lokacin da ya nuna nadama da kirki, mai kallo yana jin rikicewa. Wannan rikicewa yana sa mai cuta ya koma ga mai laifi. Drama tana nuna wannan ta hanyar wasan kwaikwayo. Wannan yana nuna yadda gaslighting ke aiki.
Jin So-baek yana da ban sha'awa. Duk da cewa yana kama da mai kasuwanci mai sauƙi, yana fahimtar sirrin Eun-su da Hee-su kuma yana shiga cikin wannan labarin. Ba cikakken mai kyau ba ne, ba kuma cikakken mai laifi ba ne. Yana rayuwa a tsakanin riba da lamiri, kuma yana da gaske. Kamar yadda Winston Wolf a cikin 'Pulp Fiction', yana warware matsaloli kuma yana rayuwa a cikin yankin launin toka na ɗabi'a. Ta hanyar So-baek, drama tana tambaya. Lokacin da muka san gaskiya, har yaushe za mu ɗauki alhaki? Har yaushe za mu iya rufe idanuwa?
Alamomin burin da ba su cika ba
Tabbas, akwai wasu abubuwan da ba su cika ba. A cikin kashi 8, yana ƙoƙarin haɗa abubuwan da suka gabata da na yanzu, thriller na laifi da al'amuran zamantakewa, da drama na hali, wasu labaran suna wucewa da sauri. Musamman ma aikace-aikacen Hee-su a matsayin marubuciya, matsayin Eun-su a wurin aiki, da asalin siyasar iyalin Jin-pyo suna buƙatar ƙarin bincike. A ƙarshen, bincike da juyin juya hali suna samun mahimmanci, kuma ainihin gaskiyar da aka gina a farkon yana ɗan raguwa. Duk da haka, gabaɗaya, yana samun daidaito tsakanin saƙo da jan hankali. Ba cikakken aiki ba ne, amma saboda haka yana da ɗan adam.
Launi da mise-en-scène na iya zama batun dandano. Gidan yana da tsabta sosai, kuma yana da haske mai kyau don ɓoye raunuka da raunuka. A wasu lokuta, launin Netflix yana bambanta da yanayin tashin hankali da tsoro. Amma waɗannan ƙananan bambance-bambance suna ɓacewa a cikin idanuwa da numfashin 'yan wasan. Mai kallo yana mayar da hankali kan tsoron da ke cikin idanuwa fiye da launin allo.
Idan kuna son kallon fuskokin mutane da motsin zuciyarsu a cikin nau'in, kuna iya jin daɗin 'Kai Ka Kasheka'. Babban abin da ke faruwa a cikin wannan drama ba kisan ba ne, amma fuskokin da numfashin mutane kafin da bayan kisan. Wannan aikin ya dace da waɗanda suke son bin tunanin halayen mutane maimakon yanke hukunci. Kamar yadda kuke karanta 'Crime and Punishment' na Dostoevsky tare da Raskolnikov, kuna bin tafiyar Eun-su da Hee-su.
Ina ba da shawarar wannan ga waɗanda suke son drama da ke magana akan matsalolin zamantakewa. Duk da cewa kuna iya jin gajiya daga kalmomi kamar tashin hankali na gida, rashin kulawa, da cutarwa ta biyu, 'Kai Ka Kasheka' yana kawo waɗannan ra'ayoyin cikin rayuwar halayen da za a iya gani. Saboda haka yana da zafi, amma kuma yana da tasiri. Duk da cewa drama ba za ta iya magance dukkan matsalolin da ke kewaye da tashin hankali ba, amma tana hana mutane su ce "me yasa ba su fita ba?" lokacin da suka ga labarai. Wannan drama tana haɓaka ƙwarewar jin kai.