Honyaku Star - Search: 台詞

台詞: 98 Terms and Phrases

台詞
speech
words
one's lines
remarks
Dialogue
Dialogue in writing

名台詞
Famous dialogue
Famous Lines

決め台詞
signature phrase
signature saying

台詞回し
theatrical elocution

捨て台詞
sharp parting remark
parting threat
parting shot

役者の台詞
lines

最後の台詞
tag line

台詞まわし
elocution

台詞をとちる
blow one's lines

門尽くしの台詞：
Mon-dukushi (Filled with Gates) Dialog:

芝居の価値のない台詞
otiose lines in a play

それは私の台詞だよ！
That's my line!

台詞を完全に覚えている
word-perfect

決めの台詞で終わるもの
With totan ochi, a signature phrase concludes the story.

渡り台詞：さて其の次は……
Watarizerifu: Sate sonotsugiwa...(Now, what comes next?)

すべての台詞が賛美歌で始まる
all vocal beings hymned their praise

渡り台詞：続いて次に控えしは……
Watarizerifu: Tsuzuite tsugini hikaeshiwa...(Secondly, who comes next?)

渡り台詞：又その次に連なるは……
Watarizerifu: Mata sonotsugini tsuranaruwa...(Who comes next after this?)

へま（特に役者が台詞を忘れること）
a blunder (especially an actor's forgetting the lines)

僕は芝居の自分の役の台詞を覚えた。
I studied my part in the play.

渡り台詞：さてどんじりに控えしは……
Watarizerifu: Sate donjirini hikaeshiwa...(Now, who comes last?)

役者は台詞を暗記しなければならない。
An actor has to memorize his lines.

台詞に由来して「夕顔棚の段」と呼ばれる。
Derived from the lines, this act is called 'the act of moonflowers trellis.'

「底抜けに～」の決め台詞がよく知られた。
His signature dialogue 'Sokonukeni…' was widely known.

渡り台詞：問われて名乗るもおこがましいが……
Watarizerifu (dialogue passed along): Towarete nanorumo okogamashiiga...(It is intrusive to give out my name when asked who I am...)

俳優にとって、台詞を暗記するのは、ゲームではない
for actors, memorizing lines is no game

発話が可能でない、または、特に台詞が含まれていない
not capable of or especially not involving speech or spoken lines

韻文台詞の途中の切れ目または休止（通常感覚のための）
a break or pause (usually for sense) in the middle of a verse line

動かない身体を台詞回しの巧さでカバーし観客を陶酔させた。
He compensated the unmoving body by the enormous skill of delivering his lines, which fascinated theater audience.

一方、台詞や浄瑠璃の表現には近松門左衛門の影響がみられる。
In contrast, words and expression of Joruri (dramatic narrative chanted to samisen accompaniment) show the influences of Monzaemon CHIKAMATSU.

忘れても仕様あるまい」とアドリブで台詞を入れその場を治めた。
It's fine even if you forgot it,' and settled the scene with an ad lib.

特に『時雨の炬燵』のおさんの恨み節は名台詞として有名である。
Osan's jeremiad in 'Shigure no Kotatsu' is especially famous as a great line.

現在は、並び傾城が登場し、割り台詞を言った後に揚巻の出となる。
Currently, courtesans enter in a row and they pass dialogue back and forth, and then, Agemaki enters.

落語ではよく「大家といえば親も同然」などという台詞が聞かれる。
Therefore, the expression 'an oya is nearly the same as a parent' frequently appears in rakugo.

江戸：勘平は千崎と原に問い詰められ、割り台詞のうちいきなり切腹。
Edo: Kanpei is questioned closely by SENZAKI and HARA and suddenly commits seppuku during wari zerifu (divided dialogue).

黙阿弥の歌舞伎の特徴は、「黙阿弥調」と称される華麗な台詞にある。
Mokuami's kabuki is characterized by luxuriant dialogues in the so-called 'Mokuami-cho' tone.

テレビでは俳優が台詞を思い出せるようにキューカードが主に使われる。
Cue cards are used primarily on television to help the actors remember their lines.

狂言の各流派に伝承されており、細かな所作や台詞については違いがある。
It is transmitted to various kyogen schools using detailed movements and lines.

1960年に撮った台詞のない無言の映画詩『裸の島』は資金がなかった。
There were no funds available for the cinematic poem 'Hadakano Shima' (The Naked Island) which had no spoken dialogue and was filmed in 1960.

悪代官の代表的なイメージのひとつが、「お主も悪よのう」という台詞である。
One of the typical images of Akudaikan is a line, 'You are evil indeed.'

との捨て台詞を吐いて周囲に気を使いながら演じたが、その呼吸が絶品であった。
Enjaku acts caring for the people around with such a parting shot and his breathing was a masterpiece.

だが登場人物が煩雑になるためか、後に青女房は巫女の台詞内のみの出演となった。
However, since the characters in the scene may be confusing, the aonyobo is only mentioned in lines of the shrine maiden in later plays.

なお、同じ念仏狂言でも、引接寺 (京都市)のものは、台詞入りで行なわれている。
Note that there is another form of Nenbutsu Kyogen performed at Injo-ji Temple (Kyoto City) that does include dialog.
A Nenbutsu Kyogen with spoken dialogue is performed at Injo-ji Temple (Kyoto City).

ト書き（とがき）とは、戯曲や脚本などにおいて、俳優が声に出す台詞以外の部分のこと。
The term 'Togaki' refers to a stage direction which is distinguished from dialogues spoken by actors and actresses in a play, script, etc.

台詞がうろ覚えでも本番では観客に悟られることなく演じることが出来る特技を持っていた。
He had a special talent that, even if he had only a faint memory of his lines, he could perform without having the audience notice it.

千鳥の台詞に薩摩弁を多用することで、鬼界ヶ島が舞台であることに現実味を持たせている。
The story is set in Kikai ga-shima Island, which is made more realistic by using a lot of Satsuma dialect in the dialogue of Chidori.

単なる伴奏(バックグラウンドミュージック)ではなく、台詞と解説を含む点が特徴的である。
It's not a mere accompaniment (background music), but is characteristic in that it has dialogue and explanations

これにテンポを乱された花夜叉はこの肝心の台詞を言い損ない、大恥をかいてしまったという。
For this, it is said that Hanayasha disturbed the tempo and failed to pronounce the important line correctly, being humiliated.

台詞を短くしようという忠告に、藤十郎はもう一日だけ同じやり方にしてくれをと頼み込んだ。
When he was told to shorten the dialogue, Tojuro asked to let him use the same dialogue for one more performance.

台詞覚えは悪かったものの、新作や新しい役柄には進んで挑戦するチャレンジ精神に富んでいた。
Although he was not good at remembering his lines, he had a bold challenging spirit to cope with new programs or new roles aggressively.

曲は進み、「恨みは末も通らねば……」という見せ場であっただろう台詞に二人が差し掛かった。
The music progressed, and the performances of the two players were going to enter a highlight scene corresponding to the line of 'Revenge for resentment has little been carried out----.'

巻物をくわえた大鼠（御殿幕切れに登場）を踏まえて「ああら怪しやなア」との台詞で登場する。
He appears as he stamps the mouse holding the scroll in its mouth (the one which has appeared just before the curtain fall of 'Mansion'), and says, 'how suspicious!'

しかし、文楽であれば全編を太夫が語るのに対して歌舞伎の場合は役者の台詞の部分を抜いて語る。
In Bunraku, the whole story is narrated by Tayu whereas in Kabuki, Tayu narrate a story only when actors do not speak their lines.

台詞と地のつけ具合や役者のしぐさに合わせて語るなど文楽の場合とは多少の技術的な違いが生じる。
In Kabuki, Tayu are required to use techniques that slightly differ from those adopted in Bunraku, such as the harmonization of musical narratives and actors' dialogues and the deployment of narratives well-coordinated with actors' gestures.

日本の漫画は普通「コマ・登場人物・背景・ふきだし・音喩・漫符・台詞・その他の技法」から成る。
Japanese comics generally consist of 'frame, character, background, speech balloon, onomatopoeia, manpu (signs, symbols and characters used in manga to represent actions, emotions, etc.), dialogue and other techniques.'

悪代官といわれてこの台詞を連想する人も少なくないが、実際はドラマではあまり使用されていない。
Although many people associate Akudaikan with this line, this has not been really used often in period dramas.

なお、この台詞につづく悪徳商人の台詞は、「いえいえ、お代官様ほどでは...」が代表的である。
In addition, the typical line of the corrupt merchant following this line is 'No, I'm not a match for you, sir.'

長らく観世座付であったため、台詞、謡い方ともにほとんど観世流に同じく、上掛りの芸風を保っている。
It has performed exclusively for Kanze school for a long time, so both dialog and a way of singing are almost the same as Kanze school, retaining Kamigakari (a generic name given to the Kanze school and the Hosho school) style of performance.

ところがそんな重要な台詞の途中で、一忠は突然咳払いをして、扇を取り直して汗を拭い始めたのである。
Then, in the middle of such an important line, Icchu coughed suddenly, changed his grip on the fan, and started wiping off sweat.

なかでも助六の朱羅宇煙管は「煙管の雨が降るようだ」の名台詞とともに好劇家にはなじみ深いものである。
Among them, Sukeroku's red lacquer rao is familiar with theatergoers, as well as his famous line, 'It is like rain of kiseru.'

台詞は語り手（「太夫」たゆう）・唄い手に任されて役者や踊り手は一言も発しないという演目・曲も多い。
In many plays and songs, dialogues are assigned to a narrator (tayu) and singer, while actors and dancers don't speak at all.

「待っていたとはありがてえ」は、即興で入れた台詞がいつしか台本の中に取り込まれてしまった有名な一例。
`Thank you for waiting for me' is one of famous examples in which an improvised dialogue came to be adopted in the acting script.

恨みと恋路を並べ立てる名台詞があり、やがて多左衛門のとりなしで二人は金をもらって引き上げる（「源氏店」）。
Famous lines telling his bitterness and love follow, and then the two of them got money and left thanks to the intervention of Tazaemon ('Genjidana').

また、『平家物語』の異本である『源平盛衰記』の清盛の台詞として、「保元・平治の日記」なるものがみえている。
Additionally, in 'Gen-Pei Seisuiki (a story of ups and down of Gen-Pei),' a variant of 'Heike Monogatari,' Kiyomori mentions the 'diaries of Hogen and Heiji.'

その時限りの台詞や演出の変更があったり、アドリブをきかせたり、サプライズゲストが登場して観客を盛り上げることがある。
To excite audiences, something not included in the script is said, the planned flow of the play is changed, ad-lib words are said, and/or an unexpected guest will appear onstage.

詞章が、単なる歌ではなく、劇中人物の台詞やその仕草、演技の描写をも含むものであるために、語り口が叙事的な力強さを持つ。
Because a verse isn't merely a song but also includes the words, gestures and actions of the characters in a play, the dayu's narration sounds strong, something like the objective description of events.

しかし、七五調のリズミカルな台詞や下座音楽を効果的に用いた黙阿弥独自の叙情的な作劇術は幕末退廃期の雰囲気を濃厚に表す。
Yet making effective use of rhythmical dialogues in pseudo-seven-five syllable metre as well as off-stage music, Mokuami's lyrical dramaturgy strongly expresses the atmosphere of decadence at the end of the shogunate.

逍遥の手になる台詞は、それまでの歌舞伎のセリフと違い難解な語句を多用しながらも芸術性豊かな出来でこの劇の品格を高めている。
Words written by Shoyo, unlike traditional words in Kabuki, uses a difficult passage, but are of high artistic quality, giving dignity to this drama.

一人ずつ「渡り台詞」で見得を切り、縁語や掛詞を駆使した七五調のリズミカルな「連ね」で名乗る姿には歌舞伎の様式美が凝縮されている。
The beauty of form is concentrated in the scene that each man makes Mie (a pose) while saying 'watarizerifu' (dialogue passed along), and makes a speech using rhythmical 'tsurane' (range) in shichigo-cho (seven-and-five syllable meter rhythm) commanding engo (associated words) and kakekotoba (pivot words).

正形と非常に細い台詞と重いダウンストロークによって特徴づけられる書体（18世紀のギアンバティッサ・ボドーニによるデザインに基づく）
a typeface (based on an 18th century design by Gianbattista Bodoni) distinguished by regular shape and hairline serifs and heavy downstrokes

冒頭の五右衛門の台詞は、初演当初は「春の眺めは値千両とは小さい譬（たと）え。この五右衛門の目からは値万両」という簡略なものだった。
The Goemon's line at the opening was originally simpler: 'Someone says that a spring view is worth one thousand ryo, however, that is a small comparison; to me, it is worth ten thousand ryo.'

芸を競い合う仲だった中村吉右衛門 (初代)が勤める松蔵とのやりとりは、名調子の台詞もあいまって火花を散らすような凄さだったという。
Kikugoro was in competence with Kichiemon NAKAMURA I who performed Matsuzo, and combined with the lines made up of the famous meter, their exchange was so extreme as though they were having a big argument.

この場合には、全体として「落とし噺」の構造を取り、なかにところどころ歌舞伎ふうの台詞廻しが混じる程度で、立って所作を行うことはない。
In these kinds of shibai-banashi, the story is similar to an otoshi-banashi as a whole, and some parts contain dramatic, kabuki-like lines and gestures, but the performer does not stand up or pose as part of the performance.

2巻68ページの尋人の台詞では、48年後の「翁付き養老」は憲人がシテを演じるのではないかと言われているので、憲人が名跡を継ぐ可能性もある。
As Hiroto's lines on page 68 of the second volume predict in 'Okina-tsuki Yoro' (Longevity Springs with an Old Man), Norito will perform the shite 48 years later, meaning that it is possible that Norito will succeed the family name.

歌舞伎の『楼門五三桐』（さんもんごさんのきり）の二幕返しで石川五右衛門が「絶景かな絶景かな」という名台詞を吐く「南禅寺山門」がこれである。
In the second act of the kabuki drama 'Sanmon Gosan-no-Kiri,' Goemon ISHIKAWA's famous words 'What an amazing view' are in reference to the Sanmon Gate of Nanzen-ji Temple.

（『日本書紀』では熊襲の首長が川上梟帥〈タケル〉一人とされている点と、台詞が『古事記』より、天皇家に従属的な点を除けば、ほぼ同じである。)
(In the 'Nihonshoki,' the story is almost the same except for the following: the head of Kumaso was Kawakami no Takeru (川上梟帥) alone, and the lines spoken sound more subordinate to the Imperial family than the ones in the 'Kojiki.')

最も有名なのが、「長柄堤」の且元、重成の悲痛な台詞・前述の第6幕第1場における且元の「我が名に因む庭前の」の独白、第2幕第3場の淀君の長台詞である。
The most famous are the sorrowful words by Katsumoto and Shigenari at 'Nagara zutsumi,' a monologue by Katsumoto of Scene one, Act six, 'Associated with the name of the family in the front yard' as mentioned above starting, and long words by Yodogimi in the third Act two.

人形浄瑠璃では登場人物の台詞と状況説明を全て義太夫節の太夫（語り手）が行うが、歌舞伎での台詞は基本的に役者が担当し、太夫は状況の説明のみを語ることになる。
In Ningyo Joruri, the lines of the characters & descriptions of situations are all given by 'Tayu' (a narrator) of Gidayu-bushi, while in Kabuki, lines are basically given by actors and Tayu only describes the situation.

『平治物語』の「牛若奥州下りの事」の段では、義経と対面した藤原秀衡の台詞として「みめよき冠者どのなれば、姫を持っている者は婿にも取りましょう」と述べている。
The chapter 'Ushiwaka Oshukudari no Koto' (The Ushiwaka's Downcast Trip to Oshu) of 'Heiji Monogatari' (illustrated stories of the Heiji Rebellion) describes in a form of a comment made by FUJIWARA no Hidehira after meeting him for the first time as follows; 'As he is a good looking young man, anyone who has a daughter wants to pick him as son-in-law.'

現在でも文楽座の太夫、三味線方が歌舞伎に出演する際には、特殊なとりきめ（歌舞伎役者が台詞を言わず、全編を義太夫がとる）があり、通常はこうした交流は行われない。
Even today, special arrangements should be made when Tayu and Shamisen-kata belonging to the Bunraku-za Theatre appear in Kabuki performances (Kabuki actors do not speak the line, and the whole story is narrated by Gidayu), and under normal conditions, this type of interactive events are not practiced.

「大川端庚申塚の場」におけるお嬢吉三の「月も朧（おぼろ）に白魚の、かがりも霞む春の空…こいつあ春から延喜（えんぎ）がいいわえ」の七五調の長い台詞が有名である。
In the 'Okawabata Koshinzuka no ba,' a long line with seven-and-five syllable meter by Ojo Kichisa is famous: 'the moon is misty and 白魚の、かがりも霞む sky of the spring … this implies that something good is going to happen even from the spring, the first season of the four.'

とくに『切られ与三』では七五調の台詞を黙阿弥に先駆けて使用して幕末期の世話狂言の基本を築き、『佐倉義民伝』では日本最初の農民劇を創作するなどの功績をあげている。
His achievements are noteworthy; especially in 'Kirare Yosa,' he established the bases of the sewa kyogen (a category of plays depicting the people's common life) in the end of Edo Period by introducing seven-and-five syllabic rhythmical dialogues prior to another Kabuki playwright Mokuami, and in the 'Sakura Gimin Den' he created the first peasant play in Japan.

ある新作の稽古で、原作者から「鴈治郎さん。台詞覚えて下さい！」と駄目を出された時は、今まで見せたことのない怒りの表情になり、後々までもこのことを恨んでいたという。
In practicing for a new program, when he was asked by the writer of the original work, 'Ganjiro-san, please memorize your lines!,' he showed an angry expression and he continued to resent this.

事件そのものもは、実は『明月記』1200年（正治2年）3月29日条での藤原定家の日記に書かれていた事件で、泰時が語ったという台詞は藤原定家の感想を写したものである。
This crime itself was written in the entry dated March 29, 1200 in 'Meigetsuki,' FUJIWARA no Teika's diary, and the words which appeared to be said by Yasutoki were copied from the comment made by FUJIWARA no Teika.

単独の芸能ではなく、舞楽や散楽、台詞のやりとりのある風流、郷土色の強い歌舞音曲や、猿楽、白拍子、小唄など、貴族的芸能と庶民的芸能が雑多に混じり合ったものの総称である。
It is not an independent art but is the collective name of various aristocratic and folk arts, including bugaku (traditional Japanese court music accompanied by dancing), sangaku (form of theater popular in Japan during the 11th to 14th century), furyu with lines (form of theater popular in Japan during the 11th to 14th century), local music and dance, sarugaku (form of theater popular in Japan during the 11th to 14th century), shirabyoshi (Japanese traditional dance) and kouta (a ballad sung to samisen accompaniment) etc.

『平家物語』では義経が先に後白河天皇の御所に駆け付け、名乗りを上げる場面で「範頼は未だ参らず」という台詞があるが、『吾妻鏡』では範頼と義経は共に院の御所に参上している。
In 'Heike Monogatari (the Tale of the Heike)', there was a scene in which Yoshitsune came to the Imperial Palace of Emperor Goshirakawa, introduced himself and said 'Noriyori hasn't come yet' but in 'Azuma kagami' Noriyori and Yoshitsune came to In no Gosho (Retirement Palace) together.

特に歌舞伎や古典落語では、本来の台詞にあるさして重要ではない語句を、関連性のある現代の「時の人」や「時の話題」に差し替えて、思わず観客をニヤリとさせる場面が時折見られる。
Especially, in Kabuki and Classical Rakugo (classical comic story-telling), unimportant words in the original lines are sometimes replaced with today's related 'person of the day' or 'topic of the day', and the audience cannot help grinning at such a scene.

念仏狂言が無言劇化した理由については、本来、大衆が念仏をする前で行なわれたものであったために、台詞を発しても念仏の声にかき消されて伝わらないので無言になったとする説もある。
According to one interpretation, the reason that Nenbutsu Kyogen was made into a silent form of dramatic art was because it had originally been performed before a large gathering of people who were to chant the Nenbutsu, so that even if the plays did include dialog it might become drowned out by the chanting.
The theory is that Nenbutsu Kyogen became silent as it was originally performed in front of crowds as they recited the nenbutsu, which would have drowned out any dialogue.

新七は梅若殺しの場を、義太夫の伴奏（チョボ）を入れて上方生まれの小團次の芸風に合わせ、梅若と惣太の台詞を七五調で耳に響きのよいの割科白にするなどの工夫をこらして書き換えた。
Shinshichi rewrote the script employing some unique techniques: the scene of Umewaka-killing was accompanied by gidayu (a style of reciting dramatic narratives; gidayu accompaniment is also called chobo) which goes well with Kamigata-born Kodanji's performing style, and lines of Umewaka and Sota became warizerifu (divided speech) in seven-and-five syllable meter for a good sound.

團十郎は口上でも「弱きを助け孤独を哀れむ皆様方のお引き立てを」と述べ、劇中の工藤の台詞「その面差し、ハテ誰やらに似たわ、似たわ」のときには團十郎の眼に涙が光っていたという。
For the stage announcement, Danjuro asked the audience for 'their favor and patronage for the weak and the orphaned,' and during the play when he says Kudo's line 'I wonder, your faces, who did you take them after?,' it is said he had tears in his eyes.

場面構成や台詞・演出についてはこの他多くのヴァリエーションがあり、「花水橋」「竹の間」「御殿」「床下」「対決」「刃傷」からなる現行の構成は明治半ばから徐々に定着したものである。
As for the structure of the scenes, lines and interpretation, there are various other versions, and current structure that consists of the scenes 'Hanamizu-bashi Bridge,' 'Bamboo Room,' 'Mansion,' 'Under the Floor,' 'Confrontation' and 'Attack' has been gradually established since the mid-Meiji period.

歴史上にありえた日本の事件や日本史の人物を登場させることも多いが、その人物像をはじめ慣習、風俗、効果音、台詞、言語においても大胆にフィクション化され、大衆受けするように加工されている。
A jidaigeki often features quasi-historical events and famous figures from throughout Japanese history, but customs, manners, sound effect, dialogue and language in addition to the characterisation of these figures are significantly fictionalised to appeal to a mass audience.

とくに板額にやり込められる藤沢四郎は、板額の怪力に震えながらも花四天の郎党を引き連れて、下座の音楽に乗ってノリ地で門尽くしの台詞を述べるなど、道化じみた端敵の性格で劇を盛り上げている。
Especially Shiro FUJISAWA, who is put down by Hangaku, sets the stage alight with his clownish ha-gataki (bit-part actor for enemy role) characteristics such as the dialog of 'mon dukushi' (filled with gates) in nori-ji (in a rhythmic manner) to the accompaniment of the stage-right music while leading the rotos (retainers) wearing hanayoten (constables in colorful uniform), even though he is shivering with fright caused by Hangaku's mighty strength.

「もとより話の根無し草、嘘をまことに拵えて金を強請りにきた道玄・・・」「しかも正月十五日、月はあれども雨雲に、空も朧の御茶の水・・・」など黙阿弥得意の五七調の名台詞「厄払い」が聴き所である。
Famous lines referred to as 'yakuharai' (lines both sentimental and musical) made of five-and-seven syllable meter which was Mokuami's specialty, such as 'Dogen, who lied and extorted money by making lies seem true…' 'it was moreover, the 15th day of the new year, when it was cloudy with rainy clouds though the moon was out, the sky of Ochanomizu was also hazy' are worth attention.

南禅寺の南禅寺伽藍の屋上、天下をねらう大盗賊石川五右衛門は煙管を吹かして、「絶景かな、絶景かな、春の宵は値千両とは、小せえ、小せえ、この五右衛門の目からは、値万両、万々両」という名台詞を吐き、夕暮れ時の満開の桜を悠然と眺めている。
On a spring evening, on the rooftop of Nanzen-ji Temple, Goemon ISHIKAWA, a legendary bandit with designs on all the treasure of Japan, is composedly smoking with a pipe and viewing the cherry trees which are in full bloom, and says his famous line: 'What a superb view, what a superb view; that man, saying that a moment of a spring evening is worth one thousand ryo (monetary unit), was a person of really small, small caliber; for this moment, I would spend ten thousand ryo, hundred million ryo' ('a moment of a spring evening' refers to the famous phrase of a Chinese poem '春夜Chunye' by 蘇軾Su Shi; in the original, it is 'one thousand gold' 春宵一刻値千金).

ベテランの東野英治郎、小沢栄太郎らも含め、台詞を明快に発音できる新劇出身の俳優を多く起用した点は、同世代の石井輝男（新劇俳優嫌いを公言し、娯楽作品でもしばしば確信犯的に破綻させた）と対照的であり、洗練とダンディ、ウェルメイドを至上とする職人監督であった。
In contrast to Teruo ISHII of the same generation (he publicly declared that he hated actors from the new school of drama, and he often assuredly destroyed the flow of the film even if it was an entertaining movie), Okamoto was a director with the spirit of a true artisan and always sought refinement, dandy-ism, and well-made jobs, by using experienced actors like Eijiro TONO and Eitaro OZAWA, and other actors from Shingeki (the new school of drama), who were trained to pronounce the lines clearly.

この反論に結びついているのは、小さな無作為の突然変異が偶然に目と同じような複雑なものを生みだすことを期待するのは、長い期間があるとしても、(タイプライタのキーを打つよう訓練した猿がシェークスピアの台詞を作るのを期待すのと同じように)統計的に不可能だという、もしかすると損害を与える主張だ。
Allied to this objection is the potentially damaging claim that expecting small random mutations to produce something as complex as an eye by chance, even given a long length of time, is statistically impossible (rather like expecting monkeys trained to hit typewriter keys to produce a speech from Shakespeare).

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。
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.