「狂言作者」に関連した英語例文の一覧と使い方 - Weblio英語例文検索

そのため、狂言作者の道は挫折を余儀なくされる。例文帳に追加

Due to the above, he had to give up the idea of pursuing a career as a Kabuki playwright.  - Wikipedia日英京都関連文書対訳コーパス

また一説に、歌舞伎狂言作者の二代目中村重助であるという。例文帳に追加

According to another theory, he was the second-generation of Kabuki playwright, Jusuke NAKAMURA.  - Wikipedia日英京都関連文書対訳コーパス

主作者が顔見世狂言の名題を読み上げ、二枚目が役割を読んだ。例文帳に追加

The main playwright read aloud the titles of the new productions and the nimaime (actor playing the role of a good-looking character) announced the casts.  - Wikipedia日英京都関連文書対訳コーパス

南北の狂言では興行的にも成功し、作者存命中に五度再演されている。例文帳に追加

Among the Kyogen plays written by Nanboku, it achieved commercial success and was restaged five times during his lifetime.  - Wikipedia日英京都関連文書対訳コーパス

狂言作者・竹芝伝蔵（本名、加藤伝太郎）の次女として生まれた。例文帳に追加

Sadako SAWAMURA was born as the second daughter of Denzo TAKESHIBA (his real name was Dentaro KATO), the Kabuki playwright.  - Wikipedia日英京都関連文書対訳コーパス

初代から三代目までが道化方役者、四代目以後が狂言作者。例文帳に追加

From the first to the third generations were Dokegata (one of the suitable parts of Kabuki, which provoke a laughter mainly) actors and after the forth generation were playwrights of Kyogen (farce played during a No play cycle).  - Wikipedia日英京都関連文書対訳コーパス

翌年の1794年に澤村宗十郎(3代目)の推薦で江戸に下り狂言作者として活躍。例文帳に追加

In 1794, the next year, he went to Edo (then capital of Japan) by recommendation of Sojuro SAWAMURA (the third) and became an eminent playwright of Kabuki play.  - Wikipedia日英京都関連文書対訳コーパス

浪人となった善次郎は父の知り合いのつてで、市村座の歌舞伎・狂言作者であった初代篠田金治（後の並木五瓶〈なみきごへい〉）に狂言作者見習いとして師事することとなった。例文帳に追加

Zenjiro became a Ronin (masterless samurai) and, by the help of his father's connection, ended up studying as an apprentice for Kabuki playwright under kinji SHINODA the First (Later, Gohei NAMIKI), a Kabuki (traditional performing art) playwright of the Ichimura-za Theater.  - Wikipedia日英京都関連文書対訳コーパス

竹本座に属する浄瑠璃作者で、中途で歌舞伎狂言作者に転向したが、再度浄瑠璃に戻った。例文帳に追加

Monzaemon was first an in-house joruri playwright at Takemoto-za theater, later becoming a kabuki and kyogen (a generic term for a Kabuki drama) playwright midway through his career, before returning to write joruri again.  - Wikipedia日英京都関連文書対訳コーパス

また、新作狂言「鬼ヶ宿」の制作や、廃曲となっていた「狸の腹鼓」の復曲（いわゆる「彦根狸」）を試みるなど、狂言作者としての才能も持っていた。例文帳に追加

He also showed talent as a playwright of Kyogen, composing 'Oni ga Yado' (literally, 'Inn of an Ogre') and attempting a re-composition of 'Tanuki no Haratsuzumi' (a story of a raccoon dog and a huntsman, commonly known as "Hikone Danuki," or "A Raccoon Dog in Hikone), which had been a haikyoku (a Noh song no longer performed).  - Wikipedia日英京都関連文書対訳コーパス

四代目鶴屋南北（よだいめつるやなんぼく、宝暦5年（1755年）-文政12年11月27日(旧暦)（1829年12月22日））は、江戸時代後期に活躍した歌舞伎狂言の作者。例文帳に追加

Nanboku TSURUYA IV (1755 - December 22, 1829) was a Kabuki playwright during the latter half of the Edo period.  - Wikipedia日英京都関連文書対訳コーパス

しかし他に優秀な狂言作者がいない中でひっぱりだこは変わらず、創作活動はその最期まで続けた。例文帳に追加

Although he had announced his retirement, yet he remained in high demand in the absence of other excellent kyogen-sakusha (kabuki playwrights), thus continuing writing to the last breath.  - Wikipedia日英京都関連文書対訳コーパス

強盗返は回り舞台を初めとして後の舞台機構に数々の影響を与えた江戸中期の大阪出身の歌舞伎狂言作者の並木正三（なみきしょうぞう,1730–73）が考案したとする説と、宝暦12年(1726)に狂言作者の竹田治蔵（たけだはるぞう）が考案したとする説がある。例文帳に追加

There are two explanations regarding the origin of gando gaeshi, one of which is that it was invented by Shozo NAMIKI (1730-73), a Kabuki Kyogen (comic drama) writer of Osaka in the mid Edo period, and another of which is that it was invented by Haruzo TAKEDA, a playwright of Kabuki play in 1726.  - Wikipedia日英京都関連文書対訳コーパス

ただ大芝居の役者がランク下の浜芝居に出るようになって芝居の品格が低下したり、有能な狂言作者が出ず、演目の内容が同じ種目の書き換えや浜芝居の人気狂言の上演、さらには趣向中心のレビュー形式の狂言になるなど独創性に欠けるなど、江戸歌舞伎との質の差が逆転する。例文帳に追加

However, the difference in quality with Edo Kabuki was reversed as actors of oshibai performed in lower-ranked hamashibai, decreasing the dignity of the plays, and capable Kabuki playwrights did not appear, which resulted in the rewriting of titles with same content and representation of popular plays of hamashibai, and originality was lacking as revue-style plays emphasized variety.  - Wikipedia日英京都関連文書対訳コーパス

父の海老屋伊三郎とともに紺屋を生業としていたが、生来の芝居好きのため狂言作者を志して安永5年(1777)初代桜田治助の門に入り、のち金井三笑、並木五瓶、中村重助、増山金八らに師事する。例文帳に追加

He operated a dyer's shop with his father Isaburo EBIYA, but he loved plays so much that he intended to be a playwright; at last, he became a disciple of Jisuke SAKURADA, and later practiced under Sansho KANAI, Gohei NAMIKI, Jusuke NAKAMURA, and Kinpachi MASUYAMA.  - Wikipedia日英京都関連文書対訳コーパス

作品によく棺桶が登場するのが特色で、同時代の人から「棺を持ちいたる狂言を見れば作者は南北なり」（西沢一鳳『伝奇作書』）と書かれるほどだった。例文帳に追加

As his plays were featured by using a coffin, his contemporary wrote 'a play with a coffin might probably be a play written by Nanboku' (Ippo NISHIZAWA "Denkisaksho".)  - Wikipedia日英京都関連文書対訳コーパス

18世紀後半には狂言作者並木五瓶、役者では初代嵐雛助のほか、初代尾上菊五郎(初代)や初代澤村宗十郎(初代)らが江戸に下り江戸歌舞伎に大きな影響を与えている。例文帳に追加

In the latter half of the 18th century, Gohei NAMIKI as a Kabuki playwright and Hinasuke ARASHI I, Kikugoro ONOE I (shodai) and Sojuro SAWAMURA I (shodai) as actors went up to Edo and had a major influence on Edo Kabuki.  - Wikipedia日英京都関連文書対訳コーパス

そのため、狂言作者は劇場に所属する身分であるものの、大名題は、その中の一人を、恒常的に祝儀をはずんだり日頃の生活の面倒を見るなどして、自己の事実上の専属とすることが一般的であった。例文帳に追加

Kyogen writers themselves belong to a theater, but it was common for them to choose Onadai (a top actor) from among the actors there and make him exclusively work for them by tipping much and giving him financial support.  - Wikipedia日英京都関連文書対訳コーパス

「詮議の結果、それは狂言作者の一人で『歌舞伎新報』の編集者たる久保田彦作の仕業に相違ないと決められて、久保田氏が批判の矢面に立つことになった。」例文帳に追加

`After examination on the matter, Hikosaku KUBOTA, who was one of Kyogen writers and was the editor of "Kabuki Shinpo" (Kabuki Newspaper), was determined to be the one who did such a thing, and thus, Mr. KUBOTA came to be in the firing line.'  - Wikipedia日英京都関連文書対訳コーパス

それまで、座付の狂言作者の脚本しか上演されなかった（明治32年に松井松翁作の『悪源太』が上演されたのを例外として）閉鎖的な歌舞伎界に近代の風を通す大きな穴を開けたのである。例文帳に追加

He opened a large hole to let modern air into the closed world of Kabuki where only scripts written by Kabuki playwrights working in the theater had been performed so far (except for the performance in 1899 of "Akugenta" written by Shoo MATSUI).  - Wikipedia日英京都関連文書対訳コーパス

晩年は黙阿弥の人気に押され狂言作者として大成せぬまま終わったが、鶴屋南北(4代目)と黙阿弥の間の時代を埋める存在として評価されている。例文帳に追加

In his later years, he lost ground in front of the popularity of Mokuami and was not able to achieve great success as a Kabuki playwright, but he is now evaluated as a playwright who filled up the period between Nanboku TSURUYA the fourth and Mokuami.  - Wikipedia日英京都関連文書対訳コーパス

河竹黙阿弥（かわたけもくあみ、文化(元号)13年2月3日(旧暦)（1816年3月1日）-明治26年（1893年）1月22日は、江戸時代幕末から明治にかけて活躍した歌舞伎狂言作者。例文帳に追加

Mokuami KAWATAKE (March 1, 1816 - January 22, 1893) was a Kabuki kyogen-sakusha (playwright of Kabuki kyogen) who was popular in the last days of the Tokugawa shogunate (the end of the Edo period) through the Meiji period.  - Wikipedia日英京都関連文書対訳コーパス

翌享和4年七月(1804年6月)には江戸河原崎座で尾上松助(初代)のために書き下ろした『天竺徳兵衛韓噺』（天竺徳兵衛）が大当たりとなり、翌年正月には河原崎座で『四天王楓江戸粧』を成功させて、名実共に次世代の狂言作者であることを証明した。例文帳に追加

In June 1804, "Tenjiku Tokubei Kokubanashi" (modeled after an adventurer Tenjiku Tokubei) that he wrote specifically for Matsusuke ONOE I at the Kawarazaki-za theater in Edo made a great hit, and in the New Year of the next year, "Shitenno Momiji no Edoguma" made a hit at the Kawarazaki-za theater, which proved that he was a playwright who will lead the next generation both nominally and virtually.  - Wikipedia日英京都関連文書対訳コーパス

「安くて面白ければよいとする観客、そして狂言作者、役者、劇場のいずれもが、歌舞伎というドラマに対して節度を喪失したこと、上方歌舞伎衰退の原因ではなかったかと思うのである。」（権藤芳一「上方歌舞伎の風景」2005年　和泉書院）例文帳に追加

I believe the causes of decline of Kamigata Kabuki were theater audiences that thought it was enough if the play was interesting and not expensive and the fact that all of Kabuki playwrights, actors and theaters lost moderation with respect to Kabuki as a drama."("Kamigata Kabuki no Fukei (literally, landscape of Kamigata Kabuki) by Yoshikazu GONDO, 2005, Izumi Shoin)  - Wikipedia日英京都関連文書対訳コーパス

歌舞伎の人気狂言『雁金五人男』『新薄雪物語』『楼門五三桐』などの有名な場面を「俳句その他の技法」した場面も見られ、それをまったく新しい作品に作り変えた作者黙阿弥の機知に富む傑作。例文帳に追加

Having also had scenes made by providing 'haiku or other techniques' to famous scenes in popular kabuki kyogen plays such as "Karigane Gonin Otoko" (Five gans of Karigane, the head), "Shin Usuyuki Monogatari" (The Tale of Usuyuki), "Sanmon Gosan No Kiri" (The Temple Gate and the Paulownia Crest) and so on, this play was a witty masterpiece by a writer, Mokuami, who changed those into whole new plays.  - Wikipedia日英京都関連文書対訳コーパス

さらに明治17年（1884年）に竹柴金作に三代目河竹新七をつがせ、勝能進に河竹姓を与えて河竹能進と名乗らせてから死去するまで、狂言作者名としては番付・正本・台帳に至るまで古河黙阿弥と署名しており、本人がこれらに「河竹黙阿弥」と署したことは一度もない。例文帳に追加

Furthemore, since 1884 when he had Kinsaku TAKESHIBA succeed to Shinshichi KAWATAKE III (the Third) and changed the name of Noshin KATSU to Noshin KAWATAKE, as a kyogen-sakusha (kabuki playwright), he had used until his death a signature of Mokuami FURUKAWA in every official document such as banzuke (playbill), shohon (promptbook) and daicho (kabuki scripts), thus leaving no evidence of using a signature of 'Mokuami KAWATAKE' by himself.  - Wikipedia日英京都関連文書対訳コーパス