「Actors」に関連した英語例文の一覧と使い方(23ページ目) - Weblio英語例文検索

Performers of Nohgaku include Nohgakushi (Noh actor), Kuroto (expert), who are professional actors belonging to the Nohgaku Performers' Association, people who perform native Noh play, Kyogen, and Shiki Sanban that have been passed on in specific regions or specific groups of Ujiko (shrine parishioners) of shrines, and amateur Noh performers who pay a monthly fee to a member of the Nohgaku Performers' Association to learn the techniques. 例文帳に追加

能楽を演ずる者には能楽協会に所属する職業人としての能楽師（玄人）の他、特定の地域や特定の神社の氏子集団において保持されている土着の能・狂言・式三番を演じる人々、能楽協会会員に月謝を払って技術を学ぶ素人の愛好家が存在する。 - Wikipedia日英京都関連文書対訳コーパス

In addition, some people who give lessons on noh songs to amateurs and so on receive certain qualifications from schools, such as the honorary master (shite-kata of Kanze school) or the commissioned instructor (shite-kata of Hosho school), but these qualifications are nothing more than for nonprofessionals and do not allow the holders to be recognized as the professionals (noh actors) in the world of noh. 例文帳に追加

それ以外にも素人への謡曲教授などを行い、名誉師範（シテ方観世流）や教授嘱託（シテ方宝生流）など、流儀から一定の資格を得ている人々もいるが、あくまで素人としての称号であって、能楽界においては玄人（能楽師）として認識されない。 - Wikipedia日英京都関連文書対訳コーパス

Kintaro INOUE and Tomu UCHIDA, Buntaro FUTAGAWA, Atsushi WATANABE (actor), Ureo EGAWA, Tokihiko OKADA, and Sumiko SUZUKI who belonged to the actors division entered Kyoto lead by Yotahei BAKU (later known as Takuji FURUMI), who wandered various theatrical companies of 'Asakusa Opera', quit 'Negishi Dai-Kagekidan' (Negishi great opera company) and became actor and director at Daikatsu, and his wife Yoko BENISAWA. 例文帳に追加

俳優部にいた井上金太郎と内田吐夢、二川文太郎、渡辺篤(俳優)、江川宇礼雄、岡田時彦、鈴木すみ子は、「浅草オペラ」の劇団を渡り歩き「根岸大歌劇団」を飛び出て大活で俳優・監督となった獏与太平（のちの古海卓二）とその妻紅沢葉子に率いられて京都入った。 - Wikipedia日英京都関連文書対訳コーパス

Kumakiri said, "The two leading actors, Nikaido Fumi and Asano Tadanobu, matched my vision perfectly. The whole staff worked hard to bring my vision to life, and the results were much livelier than I had imagined. We won the prize together."例文帳に追加

熊切さんは「主演の二(に)階(かい)堂(どう)ふみさんと浅野忠信さんの２人が私のイメージにぴったりでした。スタッフ全員で私のイメージを実現させるために一生懸命取り組み，結果は自分が想像していたものよりもずっと生き生きしたものとなりました。私たちはみんなで受賞したのです。」と話した。 - 浜島書店 Catch a Wave

The company began with the taking over of Nikkatsu's Uzumasa Movie Studio in Kyoto, Tamagawa Movie Studio (presently Kadokawa Daiei Film Studio) in Chofu, Shinko Cinema's Kyoto Uzumasa Movie Studio (presently Toei Kyoto Movie Studios), Oizumi Movie Studio (closed shortly afterwards, currently Toei Tokyo Movie Studio) and Daito Eiga Studio in Sugamo (closed shortly afterwards), along with the production staff and actors of the three companies. 例文帳に追加

日活の京都にあった太秦撮影所、調布にあった多摩川撮影所（現・角川大映撮影所）と新興キネマの京都太秦撮影所（現・東映京都撮影所）、大泉撮影所（間もなく閉鎖。現・東映東京撮影所）、巣鴨の大都映画撮影所（間もなく閉鎖）、ならびに3社のスタッフ・俳優を引き継ぎ、映画制作を開始。 - Wikipedia日英京都関連文書対訳コーパス

At the beginning of the mid-18th century, Kabuki was revived with completion of shosagoto (dance in Kabuki) by star actors for female roles such as Kikunojo SEGAWA I (shodai) and Tomijuro NAKAMURA I (shodai), the restoration of forgotten wagoto performances by Kichitaro OGAWA and the creation of excellent scripts and improvement of stage installations by Shozo NAMIKI I in cooperation with Utaemon NAKAMURA I (shodai). 例文帳に追加

18世紀中期初には初代瀬川菊之丞(初代)、初代中村富十郎(初代)ら名女形が所作事を大成し、初代小川吉太郎は途絶えていた和事芸を再興し、初代並木正三は初代中村歌右衛門(初代)と提携して優れた脚本を作り舞台装置の改良をするなどして歌舞伎は息を吹き返した。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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). 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

A famous lighting technician who worked at the Shochiku Kyoto Studio named Shigeru MUTAGUCHI, known for his nickname 'Mutayan' (later known as Korema ARIMA), joined Nakane Productions under the name 'Shigeaki ARIMA,' bringing over Kenichi Enomoto (he referred to himself as 'Ken ENOMOTO' at the time), a chorus boy for the Asakusa Opera and Obeya-haiyu (an actor who played bit-parts to establish their career and lived together with other actors who had the same aims) from Toa Kinema Kyoto Studio (also known as Toji-in Studio). 例文帳に追加

中根プロには、松竹京都撮影所の名物照明マンだった「ムタやん」こと牟田口茂（のちの有馬是馬）が俳優に転向、「有馬茂明」を名乗り、浅草オペラのコーラスボーイ崩れで東亜キネマ京都撮影所（等持院撮影所）の大部屋俳優だった榎本健一（当時「榎本健」名義）を連れて参加した。 - Wikipedia日英京都関連文書対訳コーパス

When Mitsuo's older brother Masahiro MAKINO was as young as twenty to overcome adverse situations such as the loss of his family's house in a fire in 1928 and the loss of many actors and actresses who quit Makino Productions, he produced a masterpiece of period drama "Roningai" with Itaro YAMAGAMI, but upon Shozo's death on July 25, 1929 the next year, it became difficult to continue the operation of Makino Productions and there was a conflict about the non-payment of salaries at the end of 1930. 例文帳に追加

1928年（昭和3年）の本宅の焼失、スターの大量退社に揺れるマキノプロで逆境に燃えた光雄の兄・弱冠20歳のマキノ雅弘は、山上伊太郎と時代劇の傑作『浪人街』を生むが、翌年の1929年（昭和4年）7月25日、省三が亡くなるとマキノプロの経営は困難になり1930年（昭和5年）に年末給料不払で争議が起こる。 - Wikipedia日英京都関連文書対訳コーパス

In order to link entities with different approaches, government is expected to fulfill the role of intermediary. In addition, individual actors need to be actively exchanging information and promoting communication in order to enhance mutual awareness. This is expected to facilitate much-needed efforts to strengthen networks among diverse entities in the local community as well as efforts by the community as a whole aimed at revitalizing central urban districts.例文帳に追加

考え方の異なる主体を結びつけるべく、仲介役として行政の役割に期待がかかる。また、個々の主体が互いを認識するために情報の受発信を積極的に行い、コミュニケーションを促進することで、地域社会における多様な主体とのネットワークの強化を図り、中心市街地活性化に向けて地域全体で取り組んでいくことが期待される。 - 経済産業省

Chiezo KATAOKA was the first to quit the company, Chozaburo ARASHI, who went back to using his acting name after quitting Makino and called himself Kanjuro ARASHI, Toshio YAMAGUCHI (New School Actor), Ryutaro NAKANE, Kobunji ICHIKAWA, Reizaburo YAMAMOTO, Ryuzo TAKEI, and Umetaro NAKAMURA (sending back to using his acting name 'Makino Umetaro'), and approximately fifty popular actors quit Makino Productions. 例文帳に追加

同時期、片岡千恵蔵が先陣を切って退社し、嵐長三郎が牧野にかつて命名された名を返上して退社して嵐寛寿郎を名乗り、また山口俊雄(新派俳優)、中根龍太郎、市川小文治、山本礼三郎、武井龍三、中村梅太郎（「マキノ梅太郎」名返上）ら50数名のスターを中心とした俳優が大挙してマキノ・プロダクションを退社した。 - Wikipedia日英京都関連文書対訳コーパス

This Growth Strategy will mark a fresh start. By having all economic actors in the private sector actively and dynamically undertake full-fledged efforts to promote growth with a determination to take on challenges, a virtuous cycle will be set into motion for the first time, elevating the Japanese economy from stagnation to revival and to even greater heights, and in turn, enabling the economy to be placed on a growth trajectory. 例文帳に追加

今回の成長戦略を新たなスタートとして、民間の全ての経済主体が挑戦する気概を持って積極的かつ能動的に成長に向けた取組を本格化することで、初めてこうした好循環が起動することとなり、日本経済を停滞から再生へと、そして更なる高みへと飛躍させ、成長軌道へと定着させることが可能となる。 - 経済産業省

We must remember that the future is by no means determined by fate. The "winners" and "losers" in life have not and will not be simply determined, and we must recognize the need for "actors" in society to each take appropriate risks, and for mechanisms to be put in place that enable society as a whole to tackle risks.例文帳に追加

未来は決して運命的に決定されているものでもないし、人生の「勝ち組」と「負け組」はこれまでもこれからも決して単純に決まるものではないことを想起し、改めて社会の中でそれぞれの主体が適正にリスクと取り組んでいくことが必要であること、社会全体としてリスクに取り組んでいくことが可能な仕組みを構築していくべきことを確認する必要がある。 - 経済産業省

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. 例文帳に追加

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。 - Melville Davisson Post『罪体』

He selected many of his characters from people who were not performers or new actors nearly equal to amateurs, such as Keiko SAKURAI ("Double Suicide: Japanese Summer," she had been been a job-hopper before the film experience), Ichiro ARAKI ("Sing a Song of Sex"(A Treatise on Japanese Bawdy Songs)), The Folk Crusaders ("Three Ressurected Drunkards"), Tadanori YOKOO ("Diary of a Shinjuku Thief"), Hiromi KURITA ("Dear Summer Sister," which was her film debut where she played a central role) and Ryuichi SAKAMOTO ("Merry Christmas, Mr. Lawrence"), making a great success in exploiting their abilities in the works. 例文帳に追加

桜井啓子(俳優)（『無理心中日本の夏』映画出演前はフーテン族だった）、荒木一郎（『日本春歌考』）、ザ・フォーク・クルセダーズ（『帰ってきたヨッパライ』）、横尾忠則（『新宿泥棒日記』）、栗田ひろみ（『夏の妹』本作が映画デビュー作で主演）、坂本龍一（『戦場のメリークリスマス』）など、俳優を本業としない人物や素人に近い新人俳優を多く抜擢し、作品においても彼らの生のままの素材を活かすことに成功している。 - Wikipedia日英京都関連文書対訳コーパス