repost: Yasashisani Tsutsumaretanara

youtube: 「やさしさに包まれたなら」(2012 ver.)
荒井由美 (作詞・作曲) 
miwa (2012 ver. 歌)




Yasashisani Tsutsumaretanara
(if we were filled with the tender-heartedness)
rylics and music composing : Arai Yumi
singer (2012 ver.) : miwa
[translating by Takashi Ikenouchi]

when we were children
there were gods and goddesses
they curiously made our dreams reality
when we waked up in the morning
with the warm and soft feeling
some miracle may happen around us
even if we are into adulthood
we draw back the curtain
and if we were filled with
the tender-heartedness of the sunbeams
that is streaming through leaves
everything we could see then
would be some kind of message
when we were children
there were gods and goddesses
they delivered the love to us every day
it is the just time that we should open
the forgotten box treasured up
in our hearts each
we were at our garden after a rain
and if we were filled with
the aloma of Cape jasmine flowers
everything we could see then
would be some kind of message
we draw back the curtain
and if we were filled with
the tender-heartedness of the sunbeams
that is streaming through leaves
everything we could see then
would be some kind of message
歌: miwa (2012 ver.)

小さい頃は 神さまがいて
おとなになっても 奇蹟はおこるよ
カーテンを開いて 静かな木洩れ陽の
やさしさに包まれたなら きっと
目にうつる全てのことは メッセージ 
小さい頃は 神さまがいて
大切な箱 ひらくときは今
雨上がりの庭で くちなしの香りの
やさしさに包まれたなら きっと
目にうつる全てのことは メッセージ
カーテンを開いて 静かな木洩れ陽の
やさしさに包まれたなら きっと


Trans (Kou) Late … too late ? 🙂

(April 28, 2016 / repost: September 23, 2016)


Nice Music : ‘Jet Stream’ – Mr. Lonely

youtube: JET STREAM – “Mr Lonely”
narrating : JyoTatsuya

JET STREAM – “Mr Lonely”
intro narration : Jyo Tatsuya [城 達也]
after the sun goes down
when you cannot get the view of holizon far far away,
you would come to rest your own weary hearts
in the enfolding darkness of night
in a relaxed manner for each way
then, the jet stream that flows silently
on the sea of clouds high above you
and it indicates there is the infinite universe
that has the tireless energy thereover

if you come out of your own real daily life
under brilliant arch of stars
in the wind that is flowing profluently
on the endless ocean of the day light
your ears could catch the sidereal stories
that the hushed silence of the dark of the night
reads the tacit sentences to you,
well, how garrulously calm her reading is

now, close your eyes
and have the vivid recollection
of the far-gone horizons
that has already faded out
in the border of the light and the shadow
and that suddenly vanished in front of you

over the coming an hour
we will give a musical present to you
as one of our regular flights
this ship that you go on board,

and the captain of this night flight
who guides you to your every distination is,
now narrating, Jyo Tatsuya, thank you.
(translation by takashi ikenouchi)






June 26, 2016 (02jul13)  

“Right on … I could go to Kyoto.” 2015 spring

youtube: – “Right on … I could go to Kyoto.” 2015 spring



JR Tokai [Japan Railways, Tokai]
“Right on … I could go to Kyoto.”
2015 Spring campaign CF (60″ ver.)


This year, I set myself to make the rounds of some cherry
viewing spots in Kyoto. Kyoto resident have raised as if they
compete against each other highly beautiful cherry trees and
those flowers that have artful ways of receiving every tourist
warmly. When a man comes upon such genial cherries, he
feels they lead that he does his best to keep own positive
attitude and to get along in own life through this year, too.
Thus, no matter where, people are all laughing under the
cherry tree. Sure, they are laughing, if it is ad hoc and non-
recurring laughing just there, it’s no problem, isn’t it? It is
better than having been troubled in mind so long. Yes, it’s
no mistake. That sounds a lot better. Wouldn’t that be nicer?


cherry trees and flowers in Kyoto …
1. under where people have speculated in a philosophical manner
2. which have been versed by poets
3. that have stood and bloomed in the dark
4. which were drawing on Japanese partitions
5. that were planted by Toyotomi Hideyoshi [豊臣秀吉] 
6. cherry trees and flowers in Kyoto

always have given all men longer-than-usual glances …
and people have gazed back them intently…
*major cherry blossom-viewing spots of this CF

introduction: Heian-Jingu Shrine
1. Philosopher’s Walk
2. Kamo-wakeikazuchi-Jinjya Shrine(Kamigamo-Jinjya Shrine)
3. Maruyama Park
4. Ninna-Ji Temple
5. Daigo-Ji Temple
6-1. Kyo-Ou-Gokoku-Ji Temple (Tou-ji Temple)
6-2. Heian-Jingu Shrine

“Right on … I could go to Kyoto.”
JR Tokai

[ translating by Takashi Ikenouchi ]


ナレーション:[in Japanese]



キャプション:[in Japanese]
京都の桜 (平安神宮))
哲学する桜 (哲学の道)
和歌に残る桜 (上賀茂神社)
闇に立つ桜 (円山公園)
襖絵に残る桜 (仁和寺)
秀吉の桜 (醍醐寺)
じっと見つめる桜 (東寺/平安神宮)
そうだ 京都、行こう。
JR東海 2015春「そうだ 京都、行こう。」CF 60″


(Mar. 19, 2015)

Delightful Hinamatsuri [うれしいひなまつり]

youtube: Delightful Hinamatsuri [うれしいひなまつり]




Delightful Hinamatsuri [うれしいひなまつり] 
singer: Kuwana Sadako,
lyrics: Satoh Hachiro, music: Kawamura Kouyou
Let’s light candles in paper lanterns
Let’s offer the peach branch with flowers
Five court musicians play flute and tambours
Today is delightful Hinamatsuri (Girls’ Day)
Emperor and Empress dolls
keep their countenaces with composure
and sit side-by-side
One of court ladies
with the fair white face
bears a strong resemblance
to my married elder sister
The spring breeze
has a swing at
sunlit gilded folding screens faintly
It looks like that
the face of Minister of Light gets red
It may be that he drinks white sake a little
I will get respectable dressed
I put on my kimono and tie the obi
Today I have a proud moment
like Her Empress Doll
Today, Hinamatsuri Festival Day,
A pleasing spring day on March
It will be a good day for little ladies
It will make my day, Hinamatsuri

(Translating by Takashi Ikenouchi)

作詞:サトウハチロー 作曲:河村 光陽
灯りを点けましょ 雪洞に
お花を上げましょ 桃の花

着物を着替えて 帯絞めて
今日は私も 晴れ姿
春の弥生の この佳き日
何より嬉しい 雛祭  

youtube: Delightful Hinamatsuri [うれしいひなまつり]
(Produced by Takashi Ikenouchi )

Trans (Kou) Late … too late ? 🙂

(Mar. 2, 2015)

Nakadai Tatsuya performs “BARRYMORE” interview

youtube: “無名塾公演『バリモア』 仲代達矢インタビュー”

Nakadai Tatsuya performs ‘BARRYMORE’ interview:

He is, in reality and in name, a very nice elderly person, Nakadai Tatsuya,
he is the best actor with the highest profile as ‘actor BARRYMORE’ in Japan now.
He is 81 years old this year. Despite this, he is ‘young at heart, Atta-gray’ and
tries to perform ‘mono-drama (The Life of ‘John Barrymore [J.B. died 60 years
old]’) this time, he is an actor and personality to look up to all actors/actresses in
Japanese theater world and amateurs of the theater. We expect his animated,
fresh and sparkling performances, because we have the interest in how Nakadai
Tatsuya (81 years old) plays on the stage the 60 years old man who had lived
the complex offstage personal life and had the free-wheeling, undaunted character …

[by T.Ikenouchi ]

*click here to jump⇒  無名塾 [Mumeijyuku] HP 公演情報 (2014/Sep/1 前売開始)

Audio typing in Japanese:

インタビュア: この作品は本邦初上演となる作品となります。仲代さんとこの作品との出会いについてお聞かせいただけますか。

仲代:そうですね。あの、私が初めてこの『バリモア (原作: William Luce) 』っていう本を、に、出会ったのは、ええと、年月で言うと、1999年に『セールスマンの死 (原作者: Arthur Miller) 』の版権をいただきまして、いただきたくて、あの、原作者 (Arthur Miller) 、ええ、に会いに行ったときにですね、ええ、ニューヨークに。そのときにある人から「仲代さん、晩年になったら、これ、やったらどうですか」って、もらったのが、この『バリモア』という本の…、所謂、英語版ですけど…。日本で言うと、誰だろう?すごい、最高の人気のあった、芸のすごく巧かった人が、実は、こんなに人間的だったんですよ、と。で、その没落のところを、自分で自嘲しながら、せせら笑って生きて行ってるんですよ、って言うところに、アメリカでは、素晴らしい俳優が…「え、実像はこうだったの?あれは虚像だったの?」と、ね。それが一つのこの作品のアメリカにおける評判になったわけですけど…。日本で演 (や) ると、バリモアという人は、ほとんど知りませんから、だから私の芝居の中でそれを説明して行くしか手はないんで…。そういうハンデキャップは慥かにあると思いますけど…。「ああ、俳優っていうのはこういうもんなんだ」と…。オレも自分で俳優やりながら、ジョン・バリモアさんの末路…、哀しいっていう意味じゃなくてね、たとえば私も八十一歳になりますけど、もうそろそろですよ、現役の俳優としてはね。いや、皆「いやいや、そんなことはないでしょ」と言うけれど、それはそれ、人間の宿命というか、やっぱり高く評価が上がったものは落ちてくる、特に役者は。俳優っていうものはそういういうことだと思うし…。そこがとても面白くて、だから、二十年近く、暖めていた作品なんで…。や、まあ、八十一歳になって、とても難しいですけど。「よし、最後の挑戦だ」と、一人芝居を、今やろうとしているところですけれども…。 

インタビュア: ご自身とバリモアの共通点は?

仲代: (ジョン・バリモアは、シェークスピア劇の名優として、歴史に名を残した人です。) 私も、シェイクスピアを随分やってきましたし、リチャード三世も、ハムレットもやった。それはまあ、(この)劇中にも出てくるわけですけれども…。それでまあ、映画の方も主演クラスでやってきた、という、流れとしては、 (ジョン・バリモアと私は)経歴としては似通っているところがあるんですけれどもね。ジョン・バリモア・様、は、ですね、四度結婚しているんですね。四度結婚して四度離婚しているわけだから。私は一度しかしてませんから…。まあ、その点は違いますけれども。

インタビュア: (仲代さんは、ジョン・バリモアよりその点では) 品行方正ということですね。

仲代: そうですねえ(笑)。おいこら、バリモア!(笑)… 本当は、これバリモアさん (が主人公のお芝居なわけ) ですけれども、うん、『達也』っていう (私が主人公の) 芝居 (というふうに見ていただいても、それはそれ) でも、いいかな、っと。

テロップ: いつもの無名塾公演と一人芝居の違いについて

仲代: その、無名塾の今までの芝居では、皆ねえ、若い人たちと一緒に、もう、多いときには三十人くらい出て芝居をやりましたよね。お互いに、その、演技を仕合うわけだから…、そこには、何て言うのかな…、「躁(そう)」、いい意味での「躁」、いい意味での「賑やかさ」、で、芝居って持って行くよね。チームワークねえ。ただ、オレ一人だし、松崎 (謙二氏・俳優、無名塾所属) が声で助けてくれはするけれども、実を言うと「ああ、六十二年やってて、最も心細い」ですよ。ええ。


仲代: 所謂、芝居ってさ、ベテランだから巧い、っていうことないんですよ。新人だから下手ってこともないんですよ。ベテランは新人のもつ鮮度、新鮮度、これがやっぱり一番欲しいんだな。だって『バリモア』って、僕、生まれて初めてやるわけでしょ。これ、新人と同じですよ。その代わりに鮮度は落ちてるわけだな。だから非常に、ベテランだろうと、新人だろうと、役者って、そら、技ってものは磨かなけりゃいけない。お客さんにわかってもらわなけりゃいけないけれども、私は無名塾をやって四十年になりますけれど、皆に、若い人たちに劣るのは、やっぱり「鮮度」ですよ。だから、皆と同じような、新人のつもりの鮮度、それを… でも「抽出 (ひきだし)」っていうのはどうしても出ちゃうんだな、それは、どうしても、止めようと思っても。だから、それは仕様がないにしても、なるたけ「悪い経験度」というものを止めようと思ってるんですよ。

テロップ: 演技する上で心がけていることはありますか?

仲代: やっぱり「人を見ること」ね。人を見ないとね…。それから「人を意識すること」。それから「人が今何考えてるかな、っていうことを推察すること」ね。やっぱり、うん、他人をやるんだもの。他人をやるんだもの、仲代達也がやるんじゃなくて、仲代達也っていう身体を通して、ある他をやるわけだから。勿論、体を通さなけりゃ仕様がないですよ。仕様がないけれども、出来るだけ、ええ、自分からは逃れたいね。

テロップ: 俳優とはどんな仕事ですか?


テロップ: これからの俳優たちにメッセージを。

仲代:自分が出来ることは、運とか不運とかはあるけれども、自分ができることは努力することですよ。人の十倍、二十倍、努力することだよね。役者としての生き方…。だから、まあ、若しくは、…ええと、もしもオレは次世代に一言、言いたいんなら…「『生きる』ってことは何だ」、ということを、自分に与えられる、たとえば、役者っていう商売に入り込んだらば、その、役者として死ぬまでに、どうにか全うして、それが、あの、その、「スターになれ」とか、「カネ稼げ」っていう意味じゃないよ。(そういう) 意味じゃなくて、役者として、生き方は「オレは、こう生きたいんだ」というものをね、ええ、受け身の商売ではありながら… (持っていないとね…) 、そういうものを (自分の中から) 全部消しちゃ (って、全くの受け身で行くような生き方になってしま) うと、(役者として「オレはこう生きる」という、その重心を失うわけで、それは単に、人から言われたことを言われたとおりにして、その場や人生を「しのぎ続ける」ための処世術、受け身なだけの)「ツマラない商売」になっちゃうんじゃないかなあ、と…思いますけれどもね…、うん。

テロップ: これから無名塾を志す人たちにメッセージを。

仲代: まあ、あの、無名塾も始まって、四十年になって、いろんな俳優さん、素晴らしい俳優さん、いろいろ巣立ってます。えー、これから役者になりたいんであれば、やっぱり、うん、…… 単なる「タレント」と呼ばれるような、もし無名塾に入って来たらば、そうじゃなくて、やっぱり基礎的なものを三年間、びっちり勉強してですね、プロの、「『プロの俳優になる』ためにはどうしたらいいか」ということを…、考えてもらいたいですね。

テロップ: 『バリモア』を観に来て下さる皆さんにメッセージを。

仲代: えー、私はこの歳になって、一人芝居をやる、その「八十一歳の挑戦」というつもりで、一所懸命頑張りますんで、どうぞ、観に来ていただけたら、と思います。どうぞよろしく、お願いします。
Audio (Takashi) typing and interpolating
無名塾公演 2014 「バリモア」
2014年10月18~22日 能登演劇堂
2014年11月3日~16日 シアタートラム  

Free Translating:

Interviewer: This act ‘BARRYMORE’ premieres in Japan this time. You create it and play the role in it first, Mr Nakadai. Let us hear the episode that you met this playwright at first.
Nakadai: Well, I first met this playwright, ‘BARRYMORE’ when I went to New York City, give its date, it was in 1999. The main destination of the trip was to get permission, well, no …, to bargain with Mr Arthur Miller about receiving permission of his drama ‘Death of a Salesman’ that I aspired for the staging this act in Japan from him. At that time, a man said to me ‘… And now, Mr Nakadai. I know it’s sudden, but … long afterward, when you will be in latter days of your life, you will perform this act, won’t you? I recommend.’ And he handed an English playwright to me. The playwright is nothing short of this ‘BARRYMORE’, English version. Then I read this the minute that I was brought under the spell of this act. In my head I said that if he was Japanese, who he is or who he was. But I could not come to mind the case who satisfied the requirement in Japanese theater world. I read the playwright, now, I give you its outline: John Barrymore was born with theatrical genes. He was the number one actor who dominated the theater world in New York. He got stunning, extraordinary popularity in U.S. showbiz world. He coined money and splurge on with being a siege of a bevy of supreme pretty and/or beautiful women. He was a golden boy and dazzlingly openhearted, handsome, goodwillie nice guy, yes, he had a personal magnetism. Though, in fact, on the flip side, he had a lot of human weaknesses at a time… and at last, he ruined his career. Then he survived in his ruin of the theater showbiz world with sneering and smirking at himself… U.S. People know he was one of the special person who translated dream to into reality, though they were informed that he had the ordinary personal magnetism by this drama. It caused the U.S. audience a sensation. People retraced Barrymore’s life with this act, and said ‘Oh, we saw and believed in him as an idle, but it was a crafted virtual image, a composite character … he was not such a persona in real life …’ They looked back ‘a person, John Barrymore’ in amazement again and this playwright ‘Barrymore’ became widely popular in the United States. By the way, I plan to perform this play in Japan, I encounter a stumbling block that Japanese people don’t know very little about John Barrymore. So I have to account for him in terms of my performance on my stage this time. It is the only way to deliver about him to the Japanese audience. Well, I have to overcome this handicap over a finite period of time on my stage. I want to deliver ‘What is the actor?’ and ‘What Barrymore wanted to do in his life’ to the audience the late period of a predominated actor’s life, sunset of John Barrymore’s’ life through my performing . I am also an actor as Barrymore, so I have a deep sense of empathy for his the ‘last days’. I don’t get depressed and sad to know and think about his wretched last. I interest in that’s the way an actor’s life is and an actor meets own end. Because I turn 81 this year, I can feel I have already been in the last days as an actor on the active stage as same as Barrymore in this playwright. People say in chorus ‘Mr Nakadai, the fat lady does not ready to sing yet, on the contrary, everyone says there are not any fat ladies to be seen around you and us, you know?’ I am glad to be surrounded by honey men and those who think about me. It is all well and good, in addition, thanks to them. However I am saying it in different sphere. A man has earned tribute, he loses his reputation with his aging. It deserves his fate that he can’t get by with avoiding. It especially goes for actors. That’s the way it goes. The successful actors all go there to the last man. So, I have been this playwright in gestation for nearly two decades. Well, at any hand, this playwright is too hard to perform for an 81 years’ old man. Though I have to be an actor with my audience, before I am just a solitary old man. I already decided to act ‘BARRYMORE’, and I obligate myself that this perform is the last challenge of my act in my life as an actor. And now I am just about to perform this mono-drama ‘BARRYMORE’.  
Interviewer: I think that you and John Barrymore have common points as the successful actor. How do you think the similar point between you and Barrymore?
Nakadai: John Barrymore was a great actor on the Shakespean leading role, and he became a history maker and a personage of importance in the U.S. theater world. I also played a lot of starring roles on Shakespeare plays. And I also headed the cast of ‘King Richard the third’, ‘Hamlet’ and so on. The playwright ‘BARRYMORE’ includes the scenes of Shakespeare plays, so I will act them. Well, and Barrymore was not only just the great lead of Shakespeare plays, he also played as one of central leading characters in movies. And I have done, too. So, that’s it, as the actor, I think those are the similar points between John Barrymore and I. Well, however, on private spheres of life, we have a crucial difference! He married four times and split up and parted in life four times ! I married once and I was bereaved of my irreplaceable wife. This point is the key difference between us …
Interviewer: In that respect, you are more well-deported than John Barrymore, aren’t you?
Nakadai: Oh, year … Hey, hey, John! … Do not go so far! … (laughing) … On this act ‘BARRYMORE’, of course, the persona is John Barrymore. However, I think I am all right to be seen as the story of “Tatsuya Nakadai’s last days” by my audience …
Telop: Let us hear the differences between the pageant by Mumeijyuku and mono-drama for you?
Nakadai: I used to act the pageant by Mumeijyuku and with the fresh bloods … In a case, thirty actors and actresses took turns at performing on the same stage at a time … and playacted each other … there was the … I cannot think of the proper words to say … ‘manic state’… or ‘razzle-dazzle’ or ‘en-lively’ … of course, I use these mean in a welcomed and good sense … it is one of theatrical approaches that draw the focus of audience onto the stage with this ‘en-lively’ … Yep, or put it another word … yep, ‘team-work’ … same but different … not exactly, but similarly … Nevertheless, “BARRYMORE” is the mono-drama, so I have to put on one-man performance from the first to the last scene and the action. Well, Mr Kenji Matsuzaki, he will aid me by his declamation as the reciter on this stage… To tell you the truth … I feel the highest lonely and uneasy … for my 62 years’ actor life, stage life. … yes… 
Telop: How about your own act?

Nakadai: I could say, an actor who gives a wonderful performance is not always the old stager with many years of experience in acting. Or to put it another way, an actor who put on poor and sorrow performance is not always the unknown new blood. Old stager always wants the freshness that the new face has. ‘Freshness’ is the best of everything that every seasoned stager wants. Because every actors both veterans and new men challenge the new stage every time unexceptionally. Like the rest, I play ‘BARRYMORE’ not before in my life. Seen in this light, I am an actor as same as a fresher at all. So, in comparison with the fresher, I have no advantage over them. Yes, I get old. As above, the old stager are inferior to new men in the quality of ‘freshness’, so they always have to overcome their handicap of losing freshness. Generally, only the way of the overcoming method is ‘achieving mastery of the techniques of the act individually’ and he who has an art of act, has everywhere a part on the stage and make a living. The actor have to hone his skills continuously while he has been and lived as an actor. Of course, the art of stager is fundamental to get the audience to come across, that’s go out without saying. Anyway, I have headed the team of actors and actresses, as Mumeijyuki for forty years, though, as an old stager, I am always inferior to the new man in ‘freshness’ and its quality. So, I have to get ‘freshness ‘ on this stage for looking to my laurels. That’s easy to say, when it comes to a showdown, miserably and unconsciously, I find I act with the longstanding patterns. It is not fresh… The audience see it a mile off and it cannot touch the heart of them … So I try to set the target for stopping to use such ‘old-fashioned’ staging techniques. Though it is always just a non binding-target in my case …
Telop: Do you have the mental attitude or intentions to playact ?
Nakadai: That’s just ‘looking at the persona of the casting role’, it all comes down to the fact that the actor have to look at his casting role. What kind of person he is? What character he has? What’s going through his head? Yep, the actor have to be conscious of acting the persona just he playacts. Because the actor is not the persona. So the actor always have to infer the inner thinking of persona. What does he think and react to such situation with his character and ability? That’s just it. Yep, I playact the ‘other persona’, I live life as ‘other character’ on the stage. I do not playact as ‘Nakadai Tatsuya’, but ‘a some one’ through my body on the stage. If some one lives some one’s own life, he have to have the body. What do you expect? Though we, actors have to playact this consciously, how to forget about this and to get right into his role on the stage. Yep, I would like to forget this sort of actor’s thinking there, to playact with having attitude down and vogue there without action methods that acquired the rules of conduct in my actor’s life without knowing for many many years.
Telop: How do you think about the actor job ?
Nakadai: I view the actor job as the ‘dilettante’, the ‘fancier’. So his life looks like the ‘gambler’ without winning or losing. It means ‘a man who has the pursuit to seize the day and to turn his fancy into his career’. He keeps to be free from irritating properties in daily life. He does not feel the pleasure of enterprise for sustained moneymaking and lure of cash. Yes, he does not infrequently become the Epicurean. He always feels empty inside and something is missing, meanwhile, fortunately, if he get offers the casting roles constantly, he makes a precarious living with his fancy. However, the actor lives his life in the law of supply and demand of the casting market, if he musters his motivation to become a great actor and follow through with this attitude, the casting market does not want him, his efforts will prove futile at all. So, there is nothing the actor can do but sit it out for and patiently wait out the offer from the casting market with standing tall through the continued difficult situations. They are the worldly people who make a wish for astonishing the world at some future day and go cruising in order to get by with the same world. The actor is not the artist in the true sense of the term. Because he lives only in the casting order market. Therefore, the actor has no one but himself to turn on. So he is a lonely sole proprietor. Yes, the actor is just the moratorium who waits for offers from the casting order market, not the artist.

Telop: Please send ‘the freshers who goes in for the stage’ a message.
Nakadai: The actor is always subject to chance factors. Generally we say ‘somebody up there loves or hates you’. though, One thing’s for sure. ‘The actor has to spend his time trying to act with his effort’. The nice acting, yes, the sublime performance that impresses the audience arises from the individual efforts. And the fruitful effort will be endorsed and appreciated by the audience. yes, Fresh man, if you want to be a successful actor some day, you have to spend your time and effort ten times or twenty times harder than anyone else to do so. You must nucleate this life attitude in your daily life as an actor. Accordingly … Well, or … Now, I say a word for next generation in theater… You should keep ‘What life, what living and what man is ? ‘ in mind. For example, you start in actor job … Yes, when you once determine to become an actor , do it as an actor or die as an actor … What I mean by ‘to become an actor’ is NOT directly that becoming a star, earning big money, making great fortune, meaning to be rich. The act job is one of accepting orders business, the order duties. This is not to say that you get such a mean mind. It is that as it may be, if you want to become a ‘consummate professional actor’, you should hold personal belief and act up to your own unique way of life and lifestyle that you determined. Because if you defy your personal belief and way of your own life and lifestyle, your actor job will become just little harmless small-bills-earning amusements and/or silly ordered duties, otherwise will be great way to just kill and pass your time as the busy-work of your life. Yep, I think so …
Telop: Please send a message to ‘Mumeijyuku-bound test-takers’.
Nakadai: I have run this private actors’ school Mumeijyuku for forty years. En attendat, we can put a great variety of actors and actresses, marvelous actors and actresses out into the showbiz and theater world. Well, If you want to become and spend your life as an actor/actress … all the same … and if you enrolled in our Mumeijyuku … maybe, you set your destination to glow up your ‘talent’ in our school, and it is more than that, I expect that you set your sights higher and study every day’s basic lessons hard for three years. And same time, I want you to think about how to become a ‘professional actor/actress’. 
Telop: Send a message to the audience who book the viewing “BARRYMORE”.
Nakadai: Well, I am turning 81 this year. Although, I play one-man performance with knuckling down by way of ‘challenging at my age, 81’ this time. Please come to see my act “BARRYMORE” on stage, thank you. 
(Translated by Takashi Ikenouchi Sep.18, 2014 )
produced by Mumeijyuku ©2014 
2014, Oct. 18 – Oct.22 at Noto-Ongaku-Do (Ishikwa pref.)
2014, Nov.3 – Nov.16 at TheaterTRAM (Setagaya-ku, Tokyo)

▼▽▼▽▼ 掲載日 ▼▽▼▽▼  

September 18, 2014  



Yamamoto Jyunko – Koino Yokan

Dailymotion: “恋の予感” – 山本潤子



何故 何故 
その目を 誰もが見詰めてくれないの?
夜は気ままに あなたを踊らせるだけ

何故 何故
届かぬ思いが 夜空に揺れたまま
風は気まぐれ あなたを惑わせるだけ
恋の予感が ただ駆け抜けるだけ


星の間を 彷徨い流されるだけ
夢の続きを また見せられるだけ

風は気まぐれ あなたを惑わせるだけ
恋の予感が ただ駆け抜けるだけ   


The Forefeel of the Passionate Love

Lyric: Inoue Yousui
Free translating: Kou Ikenouchi


Why Why
Do you want be a beauty?
Nobody looks at your eyes?
The night is abandon
The night makes you
to be in the mood of dancing
It is only trying that
you gets carried away by the impulse of love

Why Why
You could hardly say that You love him?
Your heartbreak is floating in the night air lambently
The wind blows too unpredictably
You just cast your fate to the wind
It is only trying that
you gets carried away by the impulse of love

If you wait for some one …
No matter how long you wait for …
Nobody comes for … also tonight…

You just wander between stars
and fall into the darkness sentimentality
While you are recaptured the thread of the dream again

The wind blows too unpredictably
You just cast your fate to the wind
It is only trying that
you gets carried away by the love impulse   



“Heart of Gold” – Neil Young

youtube: “Heart Of Gold” – Neil Young

“Heart Of Gold”

lyric/composition: Neil Young

I want to live,
I want to give
I’ve been a miner
for a heart of gold.
It’s these expressions
I never give
That keep me searching
for a heart of gold
And I’m getting old.
Keeps me searching
for a heart of gold
And I’m getting old.

I’ve been to Hollywood
I’ve been to Redwood
I crossed the ocean
for a heart of gold
I’ve been in my mind,
it’s such a fine line
That keeps me searching
for a heart of gold
And I’m getting old.
Keeps me searching
for a heart of gold
And I’m getting old.

Keep me searching
for a heart of gold
You keep me searching
for a heart of gold
And I’m growing old.
I’ve been a miner
for a heart of gold.   



作詩・作曲 ニール・ヤング
日本語訳: 池ノ内 孝(秋村)






*a heart of gold = 心優しい人 のこと




youtube: 『さとうきび畑』



“Sugarcane Field in Okinawa, 1945 and now”
— Rimi Natsukawa, Tsutomu Aragaki

lyric/composition: ©Takahiko Terashima
translating: Kou Ikenouchi


*murmur murmur murmur
just the summer wind
is sweeping past
murmur murmur murmur
through the field of sugarcane

that day, Dad
was shot by enemy
and started to die off
in the blood
on Okinawa battle field
under the summer sunshine


i believed my Dad
definitely did not lose
his life in the field
now, i dream
Dad comes home
and hugs me tightly
in the summer sunshine


i would like to shout out
‘Dad, Dad, Where do you sky up,
and where are you?”
i’m afraid i might be drowned
into the green waves of sugarcane leaves
in the summer sunshine

murmur murmur murmur
i weep floods of tears
and cry until no tears are left
murmur murmur murmur
i never forget that i miss you so much   



“You’d be so nice to come home to”

and ‘bells and whistles’

youtube: “You’d be so nice to come home to”
Helen Merrill With Clifford Brown (1955)

“You’d be so nice to come home to”

lyric/composition: Cole Porter

You’d be so nice to come home to
You’d be so nice by the fire
While the breeze on high sang a lullaby
You’d be all that I could desire

Under stars chilled by the winter
Under an August moon burnin’ above
You’d be so nice, you’d be paradise
To come home to and love



作詩・作曲 コール・ポーター
日本語訳: 池ノ内 孝(秋村)





“Fly Me To The Moon”

Today is ‘Super Moon’
Wishing you warmth and happiness!

youtube: Jylie London -“Fly Me To The Moon”

“Fly Me To The Moon”

lyric/composition: Bart Howard

Fly me to the moon
And let me play among those stars
Let me see what spring is like
On Jupiter and Mars

In other words, hold my hand
In other words, darling, kiss me

Fill my heart with song
And let me sing forever more
You are all I long for
All I worship and adore

In other words, please be true
In other words, I love you

Fill my heart with song
And let me sing forever more
You are all I long for
All I worship and adore

In other words, please be true
In other words
In other words, I, I love, you



作詩・作曲 バート・ハワード
日本語訳: 池内 孝(秋村)