「れあ璃」に関連した英語例文の一覧と使い方(3ページ目) - Weblio英語例文検索

板額は離縁されたのち「・・・去られた女房は三界に家なし、家が無ければ主もなし。誰に憚り遠慮せん。」の台詞と「たとえこの門磐石にて固めるとも、夫思いの我が念力、やわか通さでおくべきかと」という浄瑠璃の詞に乗り、夫に会釈ののちもみ手をして門前に行き、懐紙で門にあてて押すという演じ方が伝わっている。例文帳に追加

It is perceived by the audience that, after being divorced, uttering the lines of '…the abandoned woman has no home of her own in the three worlds, and, if no home, then no master. There is nobody to show a reserved attitude.' and the joruri expression of 'Even if this gate is fortified with large stones, the force of my will arising from my devotion to my husband shall force through the gate.', Hangaku gives a nod to her husband, rubs her hands together, gets to the front of the gate, and then touches the gate with the kaishi (paper folded and tucked inside the front of kimono) to push it.  - Wikipedia日英京都関連文書対訳コーパス

特に重要な作品として、安永6年（1777年）4月大坂中の芝居で上演された歌舞伎「伽羅先代萩」（奈河亀輔ほか作）と、翌安永7年（1778年）7月江戸中村座で上演された歌舞伎「伊達競阿国戯場」（桜田治助・笠縫専助合作）、さらに天明5年（1785年）江戸結城座で上演された人形浄瑠璃「伽羅先代萩」（松貫四ほか作）の3作が挙げられる。例文帳に追加

There were three particularly important plays among them: a Kabuki play 'Meiboku Sendai Hagi' (written by Kamesuke NAGAWA and others) performed during April 1777 at Naka no Shibai (the Naka-za Theater) in Osaka, Kabuki play 'Date Kurabe Okuni Kabuki' (Competition of the Date Clan in Okuni Kabuki) (written by a collaboration of Jisuke SAKURADA and Sensuke KASANUI) performed during July 1778 at the Nakamura-za Theater in Edo, and Ningyo Joruri play 'Meiboku Sendai Hagi' (written by Kanshi MATSU and others) performed during 1785 at the Yuki-za Theater in Edo.  - Wikipedia日英京都関連文書対訳コーパス

現在、浄瑠璃音楽として残っているものは、義太夫節（丸本歌舞伎専用の義太夫を特に「竹本（チョボ）」と呼ぶことがある）、常磐津節、清元節、それに河東節、一中節、宮薗節（河東節、一中節、宮薗節に上方地歌の系統を引く荻江節を加えた4種を「古曲」と総称する）、新内節、富本節の8種である。例文帳に追加

Eight kinds of Joruri music are existent today, namely Gidayu-bushi (Gidayu specializing in Marumoto Kabuki is sometimes called 'Takemoto (Chobo)'), Tokiwazu-bushi, Kiyomoto-bushi, Kato-bushi, Icchu-bushi, Miyazono-bushi (Kato-bushi, Icchu-bushi, Miyazono-bushi and Hagie-bushi, which derived from Kamigata jiuta (a genre of traditional songs with shamisen accompaniment), are collectively called 'Kokyoku'), Shinnai-bushi and Tomimoto-bushi.  - Wikipedia日英京都関連文書対訳コーパス

歌舞伎・文楽・日本舞踊等、江戸時代に盛んになった伝統芸能、特に庶民階級を対象にして劇場や屋外の舞台で演じられたものには、「浄瑠璃」（じょうるり）のような「語り」あるいは「唄」と三味線によって、旋律と緩急がはっきりした大衆的な音楽をつけることが一般的であった。例文帳に追加

It was common that popular music like joruri (dramatic narrative chanted to a shamisen accompaniment), which contained narration or songs with a distinct melody played by shamisen, composed of up-tempo tunes and slow-tempo tunes, was used for traditional performing arts that became popular during the Edo period such as kabuki (traditional drama performed by male actors), bunraku (Japanese puppet theater), and classical Japanese dance, especially for performances for the common people in a theater or on an outdoor stage.  - Wikipedia日英京都関連文書対訳コーパス

19世紀から幕末期にかけて、「兼ねる」役者と呼ばれた万能選手の名人三代目中村歌右衛門や片岡仁左衛門(7代目)・八代目の片岡仁左衛門(8代目)、二代目嵐吉三郎（のちの初代嵐璃寛(初代)）、ケレン芸で売り出した二代目尾上多見蔵、和事芸の名人二代目実川額十郎などの名優が活躍した。例文帳に追加

From the 19th century to the last days of the Tokugawa shogunate, famous actors such as Utaemon NAKAMURA III, who was called "kaneru (to serve concurrently)" and an all-round excellent actor, Nizaemon KATAOKA (nanadaime), Nizaemon KATAOKA VIII (hachidaime), Kichizaburo ARASHI II (later, Rikan ARASHI I (shodai), Tamizo ONOE II, who was famous for keren performances and Gakujuro JITSUKAWA II, who was good at wagoto performances, all played an active role.  - Wikipedia日英京都関連文書対訳コーパス

通常は、各種の武芸である日本武術、江戸期の公家家職に由来する有職故実・礼式、そのほか能楽、歌舞伎、人形浄瑠璃などの芸能、邦楽、茶道、華道、香道、書道、盆庭などをはじめとして、伝統工芸的な手工業、古典園芸など、ひろく技術を伝承する分野においてこうした観念が見られる。例文帳に追加

This concept can normally be seen in the various Nihon bujutsu (Japanese martial arts) and the Yusoku kojitsu (traditional protocol of the imperial court and samurai families) or reishiki (etiquette) that are derived from the practices and manners observed by court nobles in the Edo period; it can also be seen in fields where skills are passed down from one generation to the next, ranging from performing arts such as Nohgaku, Kabuki, and Ningyo Joruri (traditional Japanese puppet theater), Hogaku (traditional Japanese music), Sado (tea ceremony), Kado (flower arrangement), Kodo (traditional incense-smelling ceremony), Shodo (calligraphy), Bontei (tray garden) to traditional handicrafts and classic gardening.  - Wikipedia日英京都関連文書対訳コーパス

古代を舞台にし、天の岩戸・十三鐘・絹懸柳などの神話伝説をモチーフにしている点、とりわけ入鹿を恐るべき怪物にし、その弱点を求めて善玉が活躍するという現代のファンタジーアクションに通じる構成は、他の浄瑠璃作品と比べ極めて異色。例文帳に追加

This play is very unique among Joruri plays, for its setting in ancient times, the motif of myths and legends like Ama no Iwato (the Heavenly Rock Cave: the myth that the Goddess of Sun hid herself in the cave), Jusan-gane (Thirteen Bells: the legend that a 13-year-old boy who had killed a deer was punished by Ishikozume) and Kinukake Yanagi (Robe Draped over a Willow: the legend about a court who lady drowned herself in Sarusawa-ike Pond), and particularly its structure similar to current fantasy action, which makes Iruka a horrible monster and the good guys who search for his weakness.  - Wikipedia日英京都関連文書対訳コーパス