「役者」を含む例文一覧(911)

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  • また、特に八代目市川雷蔵については、その後の映画界での大活躍を鑑みた場合、歌舞伎界との血縁の薄さ、当初の養父が脇役役者という境遇ゆえに、歌舞伎界がその才能を伸ばす事ができず映画界へと流出させてしまった事が、興行という意味において当時の歌舞伎と映画は競合する関係にあった以上、関西歌舞伎にとっては後年さらに大きな痛手となってゆく。
    With respect to Raizo ICHIKAWA VIII in particular, considering his later achievements in the movie industry, the fact that the kabuki world would not develop his talent and let him move to the film industry because of his weak blood relationship with the kabuki world and the fact his initial foster father was a supporting player resulted in major damage to Kansai Kabuki, in the sense of kabuki's performance as a business, because kabuki at that time was competing with films.  - Wikipedia日英京都関連文書対訳コーパス
  • これまでの彼の行動を知らない人たちから「驚いた。人間国宝でも所詮芸人か。ほんとうに驚いた」と批判をくらったが、そのときも夫人・扇は「彼は芸人ですから」と前置きした後で、「彼は常に女の人（若い子でなくともよい）がいないとダメですから」「女性にモテない夫なんてつまらない」とコメント、役者女房の神様のような発言を行い、度量の大きさを見せた。
    He was criticized by those who did not know of all his previous deeds, who said, 'It's surprising... even a living national treasure is but a performer... I was really surprised...'; however, even in such a situation his wife, Ogi, made an introductory remark, saying, 'It's because he is just a performer...' and commented by saying, 'He always needs ladies (including those not young) in order to live,' and, 'If he isn't popular among ladies, I won't be interested in him'; thus she showed her generosity with such a statement befitting a goddess among wives of performers.  - Wikipedia日英京都関連文書対訳コーパス
  • 式三番に要する役者は、翁役の大夫（シテ方）、千歳役（上掛りではシテ方、下掛りでは狂言方）、三番叟役（狂言方）、面箱持役（上掛りに限って出る。狂言方。三番叟の段で問答の相手役を勤める）、笛方、小鼓方3名、大鼓方の計8ないし9名。
    Shiki Sanban requires the total of eight or nine actors who play the role of Okina (Shite-kata, which means the protagonist) which is performed by Tayu (the head of each school of Noh), the role of Senzai (Shite-kata in Kamigakari composed of the Kanze and Hosho schools of Noh sharing the same roots in Kyoto and Kyogen-kata, or Kyogen-shi, in Shimogakari comprising the Konparu, Kongo, and Kita schools of Noh sharing the same roots in Nara), the role of Sanbaso (Kyogen-kata), the role of Menbako-mochi (who makes an appearance as Kyogen-kata only in Kamigakari to play opposite in the dialogue of the Sanbaso section), Fue-kata (a flute player), three Kotsuzumi-kata (small hand-drum players), and Otsuzumi-kata (a large hand-drum player).  - Wikipedia日英京都関連文書対訳コーパス
  • 座内の分業が定着する室町時代後期ごろからは、親子間の世襲が多くなり、『四座役者目録』などに多くの逸話を残す三世勝氏（豊氏の子）、金春禅鳳・氏照らの舞台につきあい権守に任せられた四世氏重（勝氏の子）の二代は際だった名人として知られる。
    Handing down methods from father to son had increased since the late Muromachi period, when the members' roles inside the troupe became traditional, and two of the heads are known as striking masters: the third head Katsuuji (the son of Toyouji) about whom a lot of anecdotes are seen in "Yoza yakusha mokuroku (Catalog of Actors of the Four Noh Troupes)", and the fourth head Ujishige (the son of Katsuuji) who accompanied Zenpo and Ujiaki KONPARU on their stage and was appointed to Gon no kami.  - Wikipedia日英京都関連文書対訳コーパス
  • 戦国時代(日本)末期から安土桃山時代にかけては、それまで座の第二位の役者が担当し、特にシテ方と区別されることのなかったワキの役（通常これを後世のワキ方と区別して「脇のシテ」「脇の棟梁」などと呼ぶ）が、徐々に独自の職掌としてシテ方から区分されるようになってきていた時期であった。
    From the end of the Sengoku period (period of warring states) (Japan) to the Azuchi-Momoyama period, waki (supporting actors), which had until then been played by the secondary actor in the troupe and had not been differentiated from shite-kata (main roles) (usually, this was called as 'waki no shite' or 'waki no toryo' to be distinguished from the later waki-kata), was gradually differentiated from shite-kata as own official duties.  - Wikipedia日英京都関連文書対訳コーパス
  • 市松人形の名前の由来としては、顔立ちが江戸時代中期の歌舞伎役者、佐野川市松に似ていたため市松人形と名付けられたと言う説、当時「市松」と言う子供が多かったので、子供の人形と言う意味合いで市松人形と呼ばれたと言う説、市松模様の衣装を着せて売られていたため、市松人形と名付けられたと言う説がある。
    There are three widely held explanations regarding the origin of the name of Ichimatsu ningyo; the name came from Ichimatsu SANOGAWA, a kabuki actor in the mid- Edo period, who resembles the doll in its face, the name carries the connotation of the doll for kids whose prevailing name at that time was 'Ichimatsu,' and it was named so because it was sold with a checkered pattern costume.  - Wikipedia日英京都関連文書対訳コーパス
  • 代々の市川團十郎（團十郎が不在のときは宗家当主の海老蔵・新之助・三升のいずれか）が歌舞伎を代表する特別な役者であり、特にそのお家芸である荒事の創始者・継承者であることを尊重して、比喩的にこれを歌舞伎の宗家とみなすこと→「市川流」を参照。
    It is to consider figuratively the successive Danjuro ICHIKAWA (during Danjuro's absence, it would be one of the family heads of soke, Ebizo ICHIKAWA, Shinnosuke ICHIKAWA, or Sansho ICHIKAWA) as the soke of kabuki, on the respect of being a special actor who represents kabuki, and especially as the founder and successor of their "oiegei" (the specialty of a family or a school of the performing arts), "aragoto" (dynamic performance of kabuki, featuring exaggerated posture, makeup, and costume) (Refer to 'Ichikawa-ryu').  - Wikipedia日英京都関連文書対訳コーパス
  • 明治9年(1876)、大阪に来演した澤村田之助(3代目)と喧嘩したときは、気位の高い田之助が成り上がりと宗十郎を侮蔑したので、双方負けん気が強いこともあってこじれにこじれ、宗十郎は突然役者を廃業して、大阪太左衛門橋に呉服屋を開店、本名の藤井重兵衛で呉服商に転職して周囲を驚かせた。
    In 1876, when he had a fight with Tanosuke SAWAMURA Ⅲ, haughty Tanosuke despised Sojuro as an upstart and the fight got worse and worse because both had a strong fighting instinct, Sojuro suddenly gave up acting and opened a drapery shop in Tazaemon-bashi, Osaka with his real name Shigebe FUJIImade and everybody around him surprised this career change.  - Wikipedia日英京都関連文書対訳コーパス
  • また、大学寮の学生が退学した場合は本貫に通告すること（学令）、徴発された労役者が帰還前に死亡した場合には本貫に通告すること（賦役令）、本主が死亡した帳内・資人は本貫に送還すること（選叙令）、病気になって倒れた防人は本貫に送還すること（軍防令）などの規定が存在した。
    Furthermore, there were stipulations such as when a student withdrew from Daigaku-ryo (Bureau of Education under the Ritsuryo system) notification must be made to hongan (Gaku-ryo [law on scholarship]); when a commandeered laborer died before his return, notification must be made to hongan (Fueki-ryo [law on tax]); chonai and shijin (lower rank officers) whose master died must be returned to hongan (Senjo-ryo [law on recruitment and promotion of government officials]); and sakimori (soldiers deployed for boarder defenses) who fell sick must be returned to hongan (Gunbo-ryo [law on military defense]).  - Wikipedia日英京都関連文書対訳コーパス
  • 検察側の面々がかかる役者揃いでさえなければ、今回の事件において、ニーナ・サン・クロワの死に顔を目撃した生き証人か、あるいは被告人が被害者の心臓にナイフを突き刺すところを目撃した者がこの法廷に現れぬ限り、そもそもヴィクター・アンコーナを殺人罪に処することはできないことくらい、当然知っていたはずであります。
    If counsel for the People had been other than play-actors, they would have known in the beginning that Victor Ancona could not be convicted for murder, unless he were confronted in this court room with a living witness, who had looked into the dead face of Nina San Croix; or, if not that, a living witness who had seen him drive the dagger into her bosom.  - Melville Davisson Post『罪体』
  • だが「現在この有様上方を捨てては、片岡家の先祖は言うに及ばず、何代かかって上方の芝居をここまで築き上げてきた先輩たちにこれほど申し訳ないことはないではないか。何としても上方の灯は守らなければ。」（片岡仁左衛門著「役者七十年」1976年朝日新聞社）とあるように、切実な関西歌舞伎の愛惜と先祖への思いとが「それでも駄目なら歌舞伎と心中しよう。」（同上）という悲壮な決心に向かったのである。
    He also wrote, however, that "If I gave up Kamigata in its present state, I would not have any excuse not only to the ancestors of the Kataoka family but also to my predecessors who had built up shibai (drama) in Kamigata up until now. By all means, I had to protect Kamigata Kabuki shibai." ("Yakusha nanajunen (literally, seventy years as an actor)" by Nizaemon KATAOKA; published by The Asahi Shimbun Company), and his heart-felt sorrow for kabuki and his thoughts for his ancestors instilled in him the tragic but brave thought that "If failed, I will die with kabuki."(ibid.).  - Wikipedia日英京都関連文書対訳コーパス
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