ひいききゃくの英語

『勧進帳』に取材した他の脚本では、天明期に初代桜田治助が作った、大らかで古風な味わいのある『御贔屓勧進帳』（ごひいきかんじんちょう）と、大正期に近代的解釈を施した『安宅の関』が有名。例文帳に追加

There are several scripts which have been based on Kanjincho, such as the relaxed and somewhat old-fashioned "Gohiiki Kanjincho" (Our Favorite Kanjincho), written by Jisuke SAKURADA the First during the Tenmei Period, and "Ataka no Seki" (The Ataka Barrier), which is a modern interpretation of the story written during the Taisho Period.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

絢爛豪華な髪飾りは「首から上の価値は家一軒」と言われ、贔屓客からの贈り物であった。例文帳に追加

These splendid hair ornaments were gifts from patrons and expressed figuratively as 'the value of the part from the neck up is equivalent to that of a house.'発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

顧客集中地の競合店密度の高さや保守傾向（固定客だけでなく流動客にも根強く見受けられる贔屓性向とも言い替えられる）から、相当な個性を全面に出すか、逆に価格面で勝負を挑まざるをえないことになる。例文帳に追加

Due to the high density of competitors in area with a high concentration of customers and a "conservative tendency" (which can be rephrased as a "patronizing tendency" strongly seen not only in regular customers but also in floating customers), they are forced to either highlight their uniqueness or be competitive in terms of pricing.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

舞妓が自分で購入するものと言うより贔屓客の贈り物である場合が多いが、どちらにせよ、彼女らの人気や客筋の確かさなどを表すバロメーターと見なされる。例文帳に追加

These products are basically used as the gift from patrons, rather than products that maiko might purchase for herself, and are regarded as the barometer to measure maiko's popularity or the quality of her guests.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

補強エレメント（２）のウェブ（４）が、外皮金属薄板（１）に面した側で、２つの脚片（５；５′，６，６′）から成っており、両脚片が２つの分割された接合ゾーン（７，８）により素材結合式に外皮域（１）に結合されているようにした。例文帳に追加

A web 4 of a reinforcing element 2 consists of two leg pieces 5, 5', 6, 6' on a side facing an outer skin metal sheet 1, and the both leg pieces are connected to a skin zone 1 at two separated joining zone 7, 8 in a material joining type. - 特許庁

寄席が落語と切り離せないのは、落語家にとって寄席が修行の場であり芸を磨く唯一無二の舞台とされること、観客も贔屓の演者の成長と演者ごとの演出の違いを楽しむという点にあり、「完成品」を見せるホール落語と違い寄席落語には「未完成」なりの面白さ、真剣さがあるとされる（新宿末廣亭初代席亭の北村銀太郎の発言より）例文帳に追加

According to a remark by Gintaro KITAMURA, the first owner of the Shinjuku Suehirotei theater, a yose and rakugo cannot be separated because, for rakugo storytellers, yose are only the place where they can polish their storytelling techniques, and audiences also enjoy the growth of the performers and the differences in the performance of each rakugo storyteller; it is said that while 'complete' performances are presented in the rakugo performed in halls, rakugo in yose are, due to their being 'incomplete,' interesting and performed seriously.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス