日本語インスティチュート通信Ｎｏ.７ 日本語インスティチュート通信Ｎｏ.７ NihongoInstitute InstituteNewsletter NewsletterNo.７ No.７ Nihongo 年７月吉日 日本語インスティチュート 編集人 加藤 発行日 発行日 1999 年1999 10 月吉日 発行発行（有） （有） 日本語インスティチュート 編集人 加藤 望望 Tel.03-3405-7239 [email protected] [email protected] http://nihoninst.jp/ Tel.03-3405-7239 E-mail: Fax.03-3423-2231 E-mail: Some parts might be garbled and unreadable. Sorry for your inconvenience. 人気うなぎ上りの狂言 狂言が初めて海外で公演されたのは１９５７年。能と 共にパリのサラ・ベルナール座で、野村万作らが演じ た「棒縛」で、パリの観客，特に天井桟敷の若者達か ら熱狂的な拍手を受けたという。 そしてあのパリ公演から四十数年後の現在，敷居の 高いはずだった日本の能楽堂に茶髪の追いかけギ ャルが出没し、昔ながらの日本人の観客の目を白黒 させている。 このきっかけは、狂言会の若手リーダー野村萬斎 （前述野村万作の子息）がＮＨＫの朝の連続ドラマ 「あぐり」に出演した辺りから、更に人気の狂言師和泉 元彌が「違いの分かる男」がキャッチフレーズのネス カフェコーヒーのCMに出演したり、人気急上昇中の 「花形狂言師少年隊」のリーダー茂山宗彦らが「ザ近 松」というミュージカルに出演したりと、若手狂言師が 狂言以外のメデイアで活躍することによって、古典喜 劇である狂言に新風を吹き込むことになった。 昔は能楽堂に行く観客はみな能が目当てで、狂言 はトイレタイムなどとバカにされていたこともあるが、こ の頃は狂言だけを３～４作並べて上演する「狂言尽く し」が目立つようになっている。 能が格調の高い貴族や武士の雅な世界や人間の 悲劇をイメージさせる一方、狂言の方は登場する人 物は名もない庶民達。それも怠け者の亭主や口やか ましい女房、悪戯ばかりしている召使、威張っている くせに間の抜けた主人等、雅とはほど遠い連中であ る。そういった人物が舞台の左手の主役・シテがつっ こみ役。右手がその相手のアドがボケ役という二つの 役柄が組み合わされることによっておかしさが倍加さ れる。 また衣装の図柄も大胆で、和風ポップアート的のも のが多く登場人物の性格ともピッタリ合っている。役 柄によって、庶民は袖なしの肩衣に袴、大名や婿殿 は礼服、主人などは今のスーツにあたる長裃というよ うに、衣装によってキャラクターが想像できることが親 しみやすくさせている。 狂言のセリフは、現代語の母胎である中世口語を 基調としているが、酒を注ぐとき＜ドブドブ…・＞、 茶碗が割れる時は＜グウ ラリン・チーン＞、雷が落ち る時は＜ピッカリグワリ＞、戸を閉める時は＜サラサラ パッタリ＞といった擬声語が多く、セリフは謡、しぐさ は舞が基礎になっていることも若者達に受ける要素に なっているようである。 狂言は日本最初に成立したセリフ劇であり、祝言の 笑い，風刺の笑い、滑稽性の笑いと三つの笑いを持 つ笑劇でもある。この笑いの普遍性が更に時代と異 文化を越境するかもしれない。 Ninki Unaginobori no Kyoogen Kyoogen ga hajimete kaigai de kooen sareta no wa 1957nen. Noo to tomo ni Pari no Sara Berunaaru-za de, Nomura Mansaku-ra ga enjita “ Booshibari” de, Pari no kankyaku, tokuni tenjoo sajiki no wakamonotachi kara nekkyooteki na hakushu o uketa to iu. Soshite ano Pari kooen kara 40suunen-go no genzai, shikii no takai hazu datta Nihon no Noogakudoo ni chabatsu no oikake gyaru ga shutsubotsu shi, mukashinagara no Nihonjin no kankyaku no me o shirokuro sasete iru. Kono kikkake wa, Kyoogenkai no wakate riidaa Nomura Mansai (zenjutsu Nomura Mansaku no shisoku) ga NHK no asa no renzoku dorama “ Aguri” ni shutsuen shita atari kara, sarani ninki no Kyoogenshi Izumi Motoya ga “ Chigai no wakaru otoko” ga kyatchi-fureezu no Nesukafe Koohii no CM(shii-emu) ni shutsuen shitari, ninki kyuu-jooshoo-chuu no “ Hanagata Kyoogenshi Shoonentai”no riidaa Shigeyama Munehiko-ra ga “ Za Chikamatsu” to iu myuujikaru de katsuyaku suru koto ni yotte, koten kigeki de aru Kyoogen ni shinpuu o fukikomu koto ni natta. Mukashi wa Noogakudoo ni iku kankyaku wa mina Noo ga meate de, Kyoogen wa toire-taimu nado to baka ni sarete ita koto mo aru ga, konogoro wa Kyoogen dake o 3-4saku narabete jooen suru “ Kyoogen-zukushi”ga medatsu yoo ni natte iru. Noo ga kakuchoo no takai kizoku ya samurai no miyabi na sekai ya ningen no higeki o imeeji saseru ippoo, Kyoogen no hoo wa toojoo suru jinbutsu wa na mo nai shomin-tachi. Sore mo namakemono no teishu ya kuchi yakamashii nyooboo, itazura bakari shite iru meshitsukai, ibatte iru kuse ni ma no nuketa shujin nado, miyabi to wa hodotooi renchuu de aru. Soo itta jinbutsu ga butai no hidarite no shuyaku, Shite ga tsukkomi-yaku. Migite ga sono aite no Ado ga boke-yaku to iu futatsu no yakugara ga kumiawasareru koto ni yotte okashisa ga baika sareru. Mata ishoo no zugara mo daitan de, wafuu poppuaato-teki no mono ga ooku toojoo jinbutsu no seekaku to mo pittari atte iru. Yakugara ni yotte, shomin wa sode-nashi no kataginu ni hakama, daimyoo ya mukodono wa reefuku, shujin nado wa ima no suutsu ni ataru nagagamishimo to iu yoo ni, ishoo ni yotte kyarakutaa ga soozoo dekiru koto ga shitashimiyasuku sasete iru. Kyoogen no serifu wa, gendaigo no botai de aru chuusee koogo o kichoo to shite iru ga, sake o sosogu toki ” dobu dobu …..” , chawan ga wareru toki wa “ guurarin chiin” , kaminari ga ochiru toki wa “ pikkari guwari” , to o shimeru toki wa “ sarasare pattari”to itta giseego ga ooku, serifu wa utai, shigusa wa mai ga kiso ni natte iru koto mo wakamonotachi ni ukeru yooso ni natte iru yoo de aru. Kyoogen wa Nihon saisho ni seeritsu shita serifu-geki de ari, shuugen no warai, fuushi no warai, kokkee-see no warai to mittsu no warai o motsu shoogeki de mo aru. Kono warai no fuhensee ga sarani jidai to ibunka o ekkyoo suru kamoshirenai. Kyogen –Noh Farce Is Creating a Sensation Now The ｆ ｉ ｒ ｓ ｔ time ， Kyogen was performed overseas together with Noh was in 1957, at Sarah Bernhardt theatre in Paris. The play, which Nomura Mansaku and others performed was “ Binding With Sticks” . The audience in Paris, especially young people in the upper gallery applauded wildly. Now, more than 40 years after the performance in Paris, Japanese Noh theatres, which used to be hard to get into, are populated by dyed brown-haired (chabatsu) groupies. This has made traditional spectators feel awkward. This phenomenon has occurred because Nomura Mansei (the aforementioned Nomura Mansaku’ s son) performed the NHK morning series entitled “ Aguri” . Also, a very popular Kyogen actor, Izumi Motoya, appeared in a Nescafé coffee commercial with the catch phrase: “ Here is a man who knows the difference” . In addition, Shigeyama Munehiko the leader, of the fashionable Kyogen young actors group, which is growing in popularity, performed in the musical “ That Chikamatsu” . These young Kyogen actors breathed new life into Kyogen (comedy) by playing active roles in the mass media outside of the Kyogen arena. In the past, spectators who went to the Noh theatre, went to see Noh. They saw Kyogen as foolish –a time to go to the toilet. Recently the show called “ full pack of Kyogen”has drawn larger audiences. Noh gives us the image of an elegant world connected to aristocrats and samurai. It also gives us the image of human tragedy. On the other hand, the characters who appear in Kyogen are ordinary people: lazy husbands, noisy wives, naughty servants and boastful bosses etc. In other words, characters who are far away from an elegant world. These Kyogen characters are made to stand on two sides of the stage. On the left side is the main character, called the ” Shite”who plays an aggressive role. The partner on the right side plays the “ spacey” role. Once the two characters are combined, the level of comedy accelerates. The costume patterns are bold and typical Japanese pop art styles are abundant. The costumes harmonize well with the characters who appear in Kyogen. The costume depends on the character, for example ordinary people wear stiff sleeveless robes with old formal Japanese skirts. Daimyo and sons of Samurai wear formal dress suits. Bosses wear long ceremonial dress, the equivalent of contemporary business suits. Because each character can be conceptualized through their costume, Kyogen is rendered more accessible to the audience. The language used in Kyogen is based on the speech of the middle ages. This period is the source of the contemporary Japanese language. When sake is poured, actors say: “ dobu dobu…” . When teacups are broken, they say: “ gurarin chiin” . When lightening strikes: “ pikkari guwari”is heard. When doors are closed: “ sara sara pattari”is uttered. In this way, a great deal of onomatopoeia is used. Speeches sound like songs(Noh chanting) and the acting is evocative of dance. These factors appeal to young audiences. Kyogen is the first dramatic form with speech to emerge in Japan. At the same time, Kyogen is a farce which has three different types of smile. A smile for celebration, a smile for satire and a smile just for fun. This universe of smiles might transcend both differences of historical period and culture. 「サシスセソ」と「ハヒフヘホ」 日本料理の調味料の基本を文字遊びとして「サ シスセソ」という。 「サ」は砂糖の「さ」 、 「シ」は 塩の「し」 、 「ス」はお酢の「す」 「セ」はせうう（し ょうゆ）の「せ」、「ソ」は味噌の「そ」である。 そして人生の調味料とでも言うべき笑いを五 つの種類に分け、「ハヒフヘホ」というのはそも そも落語の枕言葉からきたものである。まず「ハ」 の笑い「ハハハハ」はおかしい時，楽しい時の最 も一般的な笑いである。次の「ヒ」は「ヒヒヒヒ」 という。これはちょっと薄気味悪いもので、夏場 のお墓のそばを通ってこんな声が聞こえると，ぞ っとする。「フ」は「フフフフ」これは思い出し 笑い、昔あんなに楽しいことがあった，こんなに おかしいことがあったと一人で笑っている感じ である。「ヘ」は「ヘヘヘヘ」これはもみ手でも しながら、商売人などが使うお追従笑いとでもい うもの。そして最後の「ホ」は「ホホホホ」これ は自称お嬢様の笑い方で、かつてお嬢さんが人前 で大きな声で笑うのはたしなみがないとされた 名残とでもいうものである。 「サシスセソ」も「ハヒフヘホ」も料理や笑い という広くて深い世界を俳句の「五七五」のよう に一つの型にはめながらもその型を遊ぶ日本の 心の表われと言えるかもしれない。 “ Sa,Shi,Su,Se, So”to “ Ha,Hi,Hu,He,Ho” Nihon ryoori no choomiryoo no kihon o moji asobi toshite “ Sa,Shi,Su,Se,So”to iu. “ Sa”wa satoo no “ Sa” , “ Shi”wa shio no “ Shi” ,“ Su”wa o-su no “ Su” ,“ Se”wa seuu(shooyu) no “ Se” ,“ So”wa miso no “ So”de aru. Soshite jinsei no choomiryoo to de mo iu beki warai o itsutsu no shurui ni wake, “ Ha,Hi,Hu,He,Ho”to iu no wa somosomo Rakugo no makura kotoba kara kita mono de aru. Mazu “ Ha”no warai wa okashii toki, tanoshii toki no mottomo ippanteki na warai de aru. Tsugi no “ Hi”wa “ Hi,Hi,Hi,Hi”to iu. Kore wa chotto usukimiwarui mono de, natsu-ba no o-haka no soba o tootte konna koe ga kikoeru to, zotto suru. “ Hu”wa “ Hu Hu Hu Hu” . Kore wa omoidashi-warai, mukashi annani tanoshii koto ga atta, konnani okashii koto ga atta to hitori de waratte iru kanji de aru. “ He”wa “ He He He He” . Kore wa momite de mo shinagara, shoonin nado ga tsukau o-tsuishoo warai to de mo iu mono. Soshite saigo no “ Ho”wa “ Ho Ho Ho Ho” . Kore wa jishoo o-joo-sama no waraikata de, katsute o-joo-sama ga hitomae de ookina koe de warau no wa tashinami ga nai to sareta nagori to de mo iu mono de aru. “ Sa Shi Su Se So”mo “ Ha Hi Hu He Ho”mo ryoori ya warai to iu hirokute fukai sekai o Haiku no “ 5(go) 7(shichi) 5(go)” no yoo ni hitotsu no katachi ni hamenagara mo sono katachi o asobu Nihon no kokoro no araware to ieru kamoshirenai. “ Sa,Shi,Su,Se,So” and “ Ha,Hi,Hu,He,Ho” The basic seasonings of Japanese cooking are called “ Sa,Shi,Su,Se,So” .“ Sa”is derived from Sato, meaning sugar. “ Shi”comes from “ Shio” , meaning salt. “ Su”is taken from “ Osu”meaning vinegar and “ Se”is from “ seuu”(shooyu), meaning soy sauce. The final “ So” comes from miso, meaning bean paste. Smiles, which should be the seasoning for human life are divided into 5 types; “ Ha,Hi,Hu,He, Ho” . “ Ha”is the smile redolent of “ ha,ha,ha”coming from laughter, the most general way of smiling. “ Hi” , the smile like “ he, he, he”is evocative of fear. If you were to walk past graves in the summertime and hear this voice you would feel very frightened. “ Hu”is the way of smiling when you recall something very enjoyable or a funny thing in the past and smile secretly to yourself. “ He”derives from a smile like that of a merchant, rubbing his hands in glee and making a sycophantic smile. The last applies to would-be well brought up young girl’ s way of smiling. In the past it was said that if young ladies laughed loudly in front of people it was inelegant. So this is what remains of that era. Both “ Sa,Shi,Su,Se,So”and “ Ha,Hi,Hu,He,Ho”have wide and deep roots in cooking and smiling. The Japanese mind reduces these ideas to simple symbols within a particular framework yet like the simple “ 5,7,5”code of Haiku poetry, it allows them to play with more complex and deeper meanings through a deceptively simple framework. 天気予報，今と昔 1854 年にクルミア戦争の時、黒海にいたフランス戦 艦、アンリ４世号が暴風雨に襲われ、沈没したのをき っかけにフランスでは 1858 年から天気図による天気 予報が始められた。その後天気予報の技術は大きく 進歩し、現在のような気象衛星や大型コンピュータを 利用した国際的に分業化した組織ができるようになっ た。 ｷﾞﾘｼｬのテオフラストスは紀元前３００年頃２００あまり の天気俚諺を集めた本を出している。その中には日 本の俚諺として知られているものも多い。（夕焼けは 晴れ、朝焼けは雨）、（日が傘をかぶると雨）、（北東 風は天気が悪い）等がそれである。その他に（下駄を 投げて表が出れば晴れ、裏が出れば雨）というような 迷信的なものもあるが、気象学的にも的を得ているも のも少なくない。 例えば（遠くの鐘がよく聞こえると雨）というのは、前 線が近くにあり、音が上空のあたたかい空気の層との 境で反射するからである。更に（山の煙が西に流れる と天気が崩れる）というのは一般に北西風は天気がよ く北東風は天気が悪くなる前兆であることを現わして いる。 古代人の知恵と近代人の科学技術とどちらが信頼 できるかを比較するのではなく、テレビの天気予報任 せにならず，時には空でも見上げて天気を察知する 感性を磨くことも必要なのではないだろうか。 Tenki Yohoo, Ima to mukashi 1854nen ni Kurimiya sensoo no toki, Kokkai ni ita Furansu senkan, Anrii 4seigoo ga boofuuu ni osoware, chinbotsu shita no o kikkake ni Furansu de wa 1858nen kara tenkizu ni yoru tenki yohoo ga hajimerareta. Sono go tenki yohoo no gijutsu wa ookiku shinpo shi, genzai no yoo na kishoo eesee ya oogata konpyuuta o riyoo shita kokusaiteki ni bungyoo shita soshiki ga dekiru yoo ni natta. Girisha no Teofurasutosu wa Kigenzen 300nen goro 200 amari no tenki rigen o atsumeta hon o dashite iru. Sono naka ni wa Nihon no rigen toshite shirarete iru mono mo ooi. “ Yuuyake wa hare, asayake wa ame” , “ Hi ga kasa o kaburu to ame” ,“ Hokutoo-fuu wa tenki ga warui”nado ga sore de aru. Sono hoka ni “ Geta o nagete omote ga dereba hare, ura ga dereba ame”to iu yoo na meeshinteki na mono mo aru ga, kishoogakuteki ni mo mato o ete iru mono mo sukunaku nai. Tatoeba “ Tooku no kane ga yoku kikoeru to ame”to iu no wa, zensen ga chikaku ni ari, oto ga jookuu no atatakai kuuki no soo to no sakai de hansha suru kara de aru. Sarani “ Yama no kemuri ga nishi ni nagareru to tenki ga kuzureru”to iu no wa ippan ni hokusee-fuu wa tenki ga yoku hokutoo-fuu wa tenki ga waruku naru zenchoo de aru koto o arawashite iru. Kodaijin no chie to kindaijin no kagaku gijutsu to dochira ga shinrai dekiru ka o hikaku suru no de wa naku, terebi no tenki yohoo makase ni narazu, toki ni wa sora demo miagete tenki o satchi suru kansee o migaku koto mo hitsuyoo na no de wa nai daroo ka. Weather forecast now and then In 1854 at the time of the Crimean War, a French battleship called Henri Ⅳ was attacked by violent winds and rain in the Black Sea and sunk. Since 1854 the use of weather charts and meteorological maps has begun. Afterwards the technology for weather forecasts made great progress. Now there is a specialized organization using weather satellites and huge computers. A Greek called Theophrastos around 300 B.C. wrote a book with a collection of about 200 weather proverbs. Among those there are many which are known even now by Japanese as weather proverbs. “ Evening glow means good weather and morning glow means rain” .“ When clouds cover part of the sun, rain will come” .“ Northeast wind, bad weather”etc. etc. There actually is a superstitious proverb: for instance, when you throw the geta and the front side appears, there will be good weather. The back side means rain. However, there are quite a few that are reliable from the meteorological point of view. For example, if the bell can be heard clearly from far away, rain will come. This means a front is approaching, therefore the sound reflects on the border of the band of warm air in the sky. Also, if the smoke in the mountains blows to the west, then the weather turns bad. This is the initial expression of the idea that the northwest wind makes the weather good and the northeast wind makes the weather bad. It is not a question of comparing which is more reliable – ancient people’ s wisdom or postmodern technology. Rather, isn’ t it more important to heighten one’ s sensitivity (to nature) by looking at the sky and checking the weather without relying too much on the weather forecast on TV?
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