11/07/2017

             私の秋の京都案内

                                             Autmn in Kyoto

                      京都市美術館

                    京都国立近代美術館

                       京都国立博物館

                                                                           京都国際マンガミュージアム

                        同志社大学

朝 : 国宝 東寺五重塔 To-ji Temple Pagoda in Kyoto
朝 : 国宝 東寺五重塔 To-ji Temple Pagoda in Kyoto

                         東寺

 

嵐山 Arashiyama Mountain in Kyoto
嵐山 Arashiyama Mountain in Kyoto

                           嵐山

Jingo-ji Temple in Kyoto
Jingo-ji Temple in Kyoto
Eikando Temple in Kyoto      
Eikando Temple in Kyoto      

           高雄山神護寺                永観堂禅林寺

                                                                          Byodoin Temple in Uji-city, Kyoto

                         平等院

Ruri-koin , Kyoto
Ruri-koin , Kyoto

                         瑠璃光院

Tofuku-ji Temple , Kyoto
Tofuku-ji Temple , Kyoto

                       東福寺


                                                                            Kurumazaki-Jinja Shrine in Kyoto

       記事にある通り車折神社は芸能の神様ということで芸能人に信仰されている神社だ

                        車折神社

                        車折神社

Urasenke Cha-do House's Headquarters in Kyoto
Urasenke Cha-do House's Headquarters in Kyoto

                                                              裏千家今日庵 The Urasenke Chado Tradition

 

 今は亡き森光子さん、森さんと一度飲んだことがある。私が関西テレビの音響効果の仕事をしていたころ、水上勉作「京の川」、山茶花究さん、中村玉緒さんが主演のこのテレビドラマ、演出は関西テレビの加藤哲夫(この後東映で映画「大奥」のプロデューサーなどされたが)音楽は渡辺岳夫さんで9回連続 ( S40.10月放送 )その第1回めの作曲者打ち合わせを京都祇園のバーで行うことになり、担当の私も夕方約束のバーに行ったら渡辺さんはもう来ておられて連れの女の人が一緒で、その人こそがまだ若い頃の森さんだった。森さん は ( 恐らく森さんは当時45歳くらいだったろうか ) TBSの演出家の大山氏と離婚されて独身だったが、お見受けするところ渡辺さんの彼女かという感じだった。京都でデートだったのだろうか、打ち合わせの間は静かにしておられて、終わったら渡辺さんと京の町に出て行かれた。渡辺さんは当時業界 1,2 の売れっ子の作曲家で東映の映画や関西テレビの全国放送をしていた東映制作の映画「大奥」の作曲、「子連れ狼」ほか「アタックNo.1」など多数の作曲もされた有名作曲家。森さんとも仕事が一緒だったのだろう。その後森さんはフジテレビの「3時のあなた」などでめきめき力をつけられて、この新聞記事にあるような「放浪記」で舞台女優としても大成功された。                                   ( ※ 加藤藤哲夫氏は2018年1月16日亡くなったとの訃報がカンテレから入った )

 名前を上げた方々は今はいない、中村玉緒さん以外は、、、あの頃は彼女も初々しい女優さんだった、、、

 が、今や、、、。

 ※ 山茶花究さんは大阪出身の俳優さんでなかなか味のある、忘れられないコミカルな役者さんだった。

 ※ 追記・・・私が関西テレビの効果係として担当した作品はどうしても関西が地盤なので大阪や京都を

    主題としたドラマが多く、特に根性もの、土性っ骨 ( S41放送 )、うどん ( S42 )、どてらい男 ( S48 )の 

                 3 作品は視聴率も高い関西ものの全国放送だった。京の川 ( S40 ) は祇園の芸者の話でしっとりした  

               ドラマだった。もちろん関西ものだけでなく時代劇 ( S47 年作、子母沢 寛作、若林豪、浜畑賢吉、

    渡辺美佐子、音無美紀子主演の父子鷹、おとこ鷹などは忘れられない ) や現代劇も多数制作に参加、  

    それぞれ大いに楽しく作らせて貰った。女優さんも京マチ子さんをはじめ多くの美しい方とドラマを

    作った。(京さんの ドラマは「赤ん坊夫人」( S44 ) という芦屋マダムのドラマで、小田切成明演出、

    京マチ子、天知 茂、高橋悦史出演、田中正史音楽のコミカルタッチのドラマだった)

   追記2・・作曲家と言えばもう一人忘れられない人がいる。神津善行さん、中村メイ子さんのご主人。

    神津さんとはドラマ「どてらい男ヤツで一緒だった。花作、西郷輝彦、田村亮主演、神津善行

    楽で1973年 ( S48 ) から1977年 ( S52 ) まで全181回5篇に渉って放送されたが、シンセサイザーでの

    作曲がまだ珍しい頃、神津さんはこれで果敢に挑戦され、録音は優れた機器が揃っていた東京青山の  

    アバコスタジオで収録、そのために私は大阪から毎回録音作業で東京へ新幹線日帰り出張した。大阪

    立売堀の機械器具商社の山善の社長山本猛夫、モーやんの立志伝だが、関西テレビが開局の15周年の

                記念作品に指定、と私の結婚とがこの時期に重なり、立ち上げ時には大変苦労したが大変な好調ぶ

    で視聴率も高かったが神津んの作曲には大いに悩まされた。アバコスタジオは東京青山学院大学

    の敷地の一角にあり、アメリカ製の放送機器をたくさん使った当時では最高の録音スタジオだった。

    仕事の帰りに東京での土産に青山にその頃開店した広島のパンやアンデルセン青山店で家内へパン

    買っ帰るのが大き楽しみだった。アンデルセンのパン今も愛食しているが、美味しいパン屋だ。

     追記3 私の関西テレビで作った代表的な作品のリストを Book Ⅳ No.46No.47 に載せています。  

                      どてらい男

 

      京都 吉田篤弘 モデルにしたカウンター

                    イノダコーヒー

 

イノダコーヒー本店、三条通りにあるがここは私の青春の安らぎのたまり場、とでも言おうか、一人大学の暇な時に、遠く神戸に帰るために京都駅の大阪行きの列車に乗る通学路でしばしば立ち寄った。店は大学を出て

社会人になっても時々懐かしく立ち寄っている。中の様子は今も変わらないようでいろいろ思いが尽きない。

 

                                                                  堂本印象記念館に似たような???

 

                                                    

                                                        京都人が通う老舗食堂 ( サライ2017年10月号より )

 

京極スタンド ( 中京区 ) 京都市中京区新京極通四条上ル中之町546     Tel. 075-221-4156 食堂

篠田屋 ( 東山区 ) 京都市東山区三条通大橋東入ル大橋町111        Tel. 075-752-0296 食堂

盛京亭 ( 東山区 ) 京都市東山区祇園町北側263              Tel.075-561-4168 中華料理

柳馬場錦亭(中京区) 京都市中京区柳馬場錦小路上ル十文字455      Tel.075-213-3098 食堂

まつは ( 中京区 ) 京都市中京区晴明町671 075-231-7712                             Tel.075-231-7712 家庭料理

常磐 ( 中京区 ) 京都市中京区寺町通三条上ル天性寺前町523                        Tel.075-231-4517 そば屋

満寿形屋 ( 上京区 ) 京都市上京区枡形通出町西入ル二神町179                    Tel.075+231-4209 鯖寿司

グリル冨久屋 ( 東山区 ) 京都市東山区宮川筋5-341                                         Tel.075+561-2980 サンドウィッチ

吉長亭 ( 下京区 ) 京都市下京区西洞院815                                                         Tel.351-7802 洋食屋

糸仙 ( 上京区 ) 京都市上京区真盛町729-16                                                        Tel.075-463-8172 中華料理

マルシン飯店 ( 東山区 ) 京都市東山区東大路三条下ル南西海子町413-3      Tel.075-561-4825 中華料理

 

 

       私のお薦め 番組を通して紹介したりした京都味の店・・・京都の美味しい店紹介

 

                                                     Delicious Restaurants in Kyoto where I recommend

                  京都の味・食べ歩き

The Kyoto Municipal Assembly has passed an ordinance that requires guests of hotels, inns and private lodging services to pay taxes ranging from ¥200 to ¥1,000 per person per night. | ISTOCK

Kyoto tourists will face new lodging tax next year for stays at hotels and guest houses

                                                                                                   Kyodo  

 

Users of hotels, inns and private lodging services in the city of Kyoto will face a new tax next year after the city assembly passed an ordinance on Thursday.

The surcharge, which goes into effect starting next October, will range from ¥200 to ¥1,000 per night for each traveler, set at a rate based on the cost of the room.

Tokyo and Osaka Prefecture have previously imposed a similar tax but only on accommodations that charge more than ¥10,000 per night. The Kyoto ordinance is the nation’s first to include private lodging businesses.

But some areas in Kyoto have several unauthorized private lodging businesses — so imposing the tax equitably could be a challenge for the city.

In 2016, about 55 million people visited the former capital, which now faces such problems as traffic jams and noise pollution.

The city expects to raise close to ¥4.56 billion a year by taxing travelers, with the revenue slated for use to promote tourism.

According to the city, there were 2,479 lodging facilities operating in Kyoto as of the end of September, of which 77 percent are guest houses and other boarding houses.

Due to the increasing number of foreign tourists, the city faces a chronic shortage of accommodations. Some 1.1 million people are staying in illegal private lodging facilities annually, according to one estimate.

In July, the Diet enacted a law that allows property owners across Japan to rent out vacant homes or rooms to tourists after notifying municipalities.

As the law will come into force in July next year, Kyoto is considering setting its own regulations to create a system for collecting taxes. It may designate intermediary agencies between travelers and lodging service providers to collect the taxes.

                      Japan’s geisha battle to protect their future

by

 



Left to right: Portrait of Tadao Ando taken by Nobuyoshi Araki, and the Church of the Light (1989) in Ibaraki, Osaka. | NOBUYOSHI ARAKI; CHURCH OF THE LIGHT PHOTO BY MITSUO MATSUOKA     

Tadao Ando: When every single building is a passion project

by

He had no idea where to find him though, so he traipsed from place to place to little avail. Only after returning home several months later did he learn that Le Corbusier had in fact died a few weeks before his arrival in France.

This anecdote is revealing of Ando’s personality. It shows a passionate and curious man, a seeker given to deep introspection, but also a fighter doggedly pursuing his goals — Ando was a professional boxer before he turned to architecture. These traits allowed him develop a unique style, full of subdued vitality, and sustained him as he became one of the most successful architects of the past half century. Many of his most important constructions are in Japan and thus easy to visit — for example, Omotesando Hills in Tokyo or Benesse House in Naoshima — but much of Ando’s oeuvre can also now be appreciated in “Tadao Ando: Endeavors,” a beautiful and comprehensive show at the National Art Center, Tokyo (NACT).

Ando and his identical twin brother were born in Osaka in 1941. Partly due to the exigencies of war, Ando was sent to live with his maternal grandparents while his brother, a future urban planner and developer, remained at home. This was a significant decision. Ando’s grandmother had a powerful personality and she instilled in him a strong sense of independence. A well-known story is illustrative: In his early teens, Ando had to undergo surgery to remove his tonsils. His grandmother packed his bags, but she sent him off to the hospital alone.

The working-class district of Osaka in which Ando grew up was crammed with artisans, builders and carpenters, furniture makers and glassblowers — craftspeople who gave the neighborhood its daily rhythm. They worked with their hands and took enormous pride in what they did, an attitude that left a deep mark on the future architect. “Whether your field is art, business, photography or architecture,” he wrote in an email interview, “it is important to hold passion and pride in your work.”

In his early 20s, Ando began to travel widely, from the Japanese countryside to the Cote d’Ivoire and the shores of the Ganges. These journeys shaped him profoundly, and today he advises students who want to become independent architects to do the same. “Travelling forces you to think on your own,” he once wrote. He also used his time on the road to draw and, despite a complete lack of training, these early sketches, some of which can be seen at the NACT, display an arresting talent. In a recent interview Yayoi Motonashi, the curator of the exhibition, says, “He draws better than an artist.”

Talent or not, to an outside observer, even a sympathetic one, the odds of Ando succeeding as an architect might have appeared somewhat remote. In a country that highly values formal training and credentials, Ando had none. Like his model, Le Corbusier, he is entirely self-trained. What is more, by 1969, when Ando established his practice, years of rapid economic growth had turned Japanese cities into a chaotic mess, wrapped into confusing, albeit often ignored, zoning laws and regulations. Then came the oil shock of 1973 and the economic crisis. Funds disappeared, construction halted. Building projects were few and far between.

Thus, Ando initially had to sustain himself with small jobs as a furniture or graphic designer. In time, however, commissions started coming in, mostly for private dwellings in the Kansai area — Row House in Sumiyoshi (1976) is a good example. These were very early days, but already, the core elements of his architecture were evident: large slabs of silky concrete, stunning and clever use of natural light, perfect harmony with the building’s natural surroundings. “Everything was already there,” says Motohashi.

It did not take long for Ando to get noticed. In 1978, less than a decade after establishing his studio, his work was featured in a traveling exhibition of Japanese architecture. The following year, his first one-man show was held in Budapest. Numerous awards followed in the 1980s, culminating in 1995 with the Pritzker, which is often described as the Nobel Prize of architecture. On the surface, this was remarkable. It certainly seemed fast and Ando himself would say as much.

“However, it is not so unusual for the stars to be recognized fairly young,” says Jonathan Reynolds, a professor of art history and a specialist of Japanese architecture at Barnard College and Columbia University. “The exceptional manner in which Ando approached modernist aesthetics and materials, and the way in which he linked these with a perceived Japanese tradition was very appealing to many.” Consciously or not, the architect had tapped a powerful vein.

Over the years, Ando’s architecture has remained surprisingly consistent. For instance, there is a clear and direct connection between Fukutake Hall (2005-08), at the University of Tokyo, the Modern Art Museum of Fort Worth (1997-2002) in Texas and Osaka’s Church of the Light (1989). The latter is a particularly successful structure that shows Ando at his best: On a tiny plot of land, working within tight budgetary constraints, he built a spare, almost austere house of worship that nevertheless sits perfectly with its surroundings.

The inside is bare. There are no distracting paintings, no overtly expressive sculptur

es. Only light, pure and solemn. The effect is spellbinding. And utterly unforgettable.

“Tadao Ando: Endeavors” at the National Art Center, Tokyo runs until Dec. 18; 10 a.m.-6 p.m. (Fri., Sat. until 8 p.m.). ¥1,500. Closed Tue. www.tadao-ando.com/exhibition2017

 

ISTOCK

/

Why do Japanese have trouble learning English?      by

 

According to the most recent EF English Proficiency Index, the English level of Japanese is ranked 35th out of 72 countries. The top three are the Netherlands, Denmark and Sweden, which are all northern European nations. Among Asian countries, Singapore is placed sixth, Malaysia 12th, the Philippines 13th, India 22nd and South Korea 29th. Japan places between Russia and Uruguay.

Even though most Japanese learn English for at least six years in school, why are we still not reaching sufficient proficiency? This of course is not a new question. It has been asked for years and there is a bank of standard answers.

Usually, the poor achievement is blamed on the way English is taught in schools. It is said that there is too much classroom emphasis on grammar with very little time devoted to actual conversational practice. The emphasis is mainly on the silent skills of reading and writing. Listening is rather passive as opposed to being an active part of a conversation. The focus is on accuracy and avoiding grammatical mistakes. Students spend a great deal of time copying out what was written on the blackboard and memorizing it in preparation for tests. They often describe English lessons as boring. The teachers themselves — most of whom were taught in the same way as they now teach — do not have adequate enough English communication skills. In fact, more than 70 percent of junior high school English teachers have a TOEIC score lower than 730.

Another commonly given excuse for poor development of English communicative skills is the Japanese culture or “character.” It is said the cultural norms mean that Japanese are not willing to speak up in front of others in case they cause a disruption. Plus, they are too afraid of making mistakes and feel they must speak perfect English. In a sense they impose silence on themselves.

Yet another explanation is that Japan is an island, which is isolated and doesn’t have many immigrants, so there is no need to use any other language in daily life.

No doubt there is some truth in all of the above. But are these the only reasons or are there other factors to be taken into consideration?

Let’s take a look at data about language learning difficulty for native English speakers, compiled by the Foreign Service Institute (FSI) in the United States. The data shows how many hours of study are required on average for English-speaking State Department officials, who must be well-educated and highly-qualified people, to be able to achieve the daily conversational level in any particular language.

The result differed among four groups of languages as follows: Group 1, including French, Spanish and German, required 480 hours; Group 2, including Greek, Hindi and Indonesian, required 720 hours; Group 3, including Russian, Hebrew and Turkish, required 1,320 hours; and Group 4, including Japanese, Chinese, Korean and Arabic, required 2,400 to 2,760 hours. In fact, out of the 62 languages examined, Japanese was listed as the most difficult language to learn.

Japanese tutors at English Tutor Network who have a TOEIC score above 900 say that they, on average, spent 4,000 to 5,000 hours studying English to reach that level. A similar result was found in research carried out by Dr. Donald Arthur Norman at the University of California, San Diego on the number of hours needed for native English speakers to become fluent in a second language.

So how many hours do Japanese study English in junior high and high schools? In junior high, students have four 50-minute lessons per week for 35 weeks a year. That is a total of 350 hours. In high school, the students have five 50-minute lessons per week for 35 weeks, for a total of 437 hours. The grand total adds up to 787 hours. This is far from sufficient. It is less than a quarter of what the fluent tutors at ETN say they spent. Just for comparison, the FSI research shows that after 720 hours of studying Japanese, native English speakers can only expect to achieve basic survival level.

The government has decided that beginning in 2020 all high school graduates must achieve a level of English equivalent to B1 of the Common European Framework of Reference for Language (CEFR).

What is this B1 level? People who have achieved that level are expected to be able to, for example, understand the main points of clear standard input on familiar matters regularly encountered in work, school, leisure and so on; deal with most situations likely to arise while traveling in an area where the language is spoken; produce simple connected text on topics that are familiar or of personal interest; and describe experiences and events, dreams, hopes and ambitions and briefly give reasons and explanations for opinions and plans.

Oh, my goodness! To be able to achieve that level, students must be exposed to the language for a minimum of 2,500 hours. Remember the number of students per class in Japan can be as many as 40 with just one teacher. Sure, English education will start in the third grade from 2020, but from elementary to high school students will still only be exposed to English for less than 1,000 hours — despite the expectation of results more indicative of over 2,500 hours of exposure.

So, the outcome is already very clear. Only the students who are lucky enough to have more exposure and experiences in an English-speaking environment will achieve the level of B1. Again this means socio-economic differences will be reflected in educational differences, and ultimately life opportunities in a globalized world.

Well, I guess we just have to wait until automatic interpretation machines hit the market.

Ikuko Tsuboya-Newell is the founder and chair of Tokyo International School. She serves as the International Baccalaureate Asia Pacific Regional Council’s Japan ambassador and as adviser on revitalization of education commissioned by the Ministry of Education, Culture, Sports, Science and Technology.

 

  

                 KOBE News

 

                  島田のブンブン:中村三律子

                     島田のブンブン

                シマブンコーポレーション BBプラ

 

  • 印刷
動画一覧へ
神戸港に初入港した大型客船「コスタ ネオロマンチカ」(撮影・風斗雅博)
拡大
神戸港に初入港した大型客船「コスタ ネオロマンチカ」(撮影・風斗雅博)
豪華なインテリアや壁の絵が印象的なカフェテリア
拡大
豪華なインテリアや壁の絵が印象的なカフェテリア

 最大乗客定員数1800人の大型客船「コスタ ネオロマンチカ」が31日朝、神戸港に初入港した。全長約220メートル、14階建ての白い巨体が同港・神戸ポートターミナル(神戸市中央区)に着岸し、乗客787人は次々と神戸に降り立って買い物などを楽しんだ。

 昨年から日本発着を開始したイタリアのクルーズ会社「コスタクルーズ」が今年4月に導入した船。29日午後に初入港を予定していたが、台風22号の接近でいったんキャンセルし、東京・晴海埠頭にとどまっていた。

 1泊最低1万円台、最短5日程度から利用可能な気軽さで「カジュアル客船」と銘打つが、カジノやスパなど豪華な施設も備える。「船の上のイタリア」を標榜し、石窯付きのピザレストランもある。

 11月1日未明、徳島に向けて出港。来年1月までは東京を拠点に、太平洋側を周遊する。神戸には11月26日、12月25日にも寄港する予定。(上杉順子)

 

                   コスタ ネオロマンチカ

                   クルーズ客船情報

「神戸メロンパン」ご当地フード化へ新商品

2018.02.01
  • 印刷
新たに開発した神戸発祥のラグビーボール型メロンパンを掲げる兵庫県内のパンメーカーの代表ら=神戸市中央区波止場町、ホテルラ・スイート神戸ハーバーランド

新たに開発した神戸発祥のラグビーボール型メロンパンを掲げる兵庫県内のパンメーカーの代表ら=神戸市中央区波止場町、ホテルラ・スイート神戸ハーバーランド

 神戸発祥のラグビーボール形メロンパンを“ご当地フード”として広めようと、兵庫県内のパンメーカーなど9社・団体が1日、新作商品を発表した。生みの親の生活協同組合コープこうべ(神戸市東灘区)が呼び掛けて実現。神戸市内でも試合のある「ラグビーワールドカップ2019」を盛り上げ、若者への知名度アップを狙う。

 同生協が立ち上げた「神戸メロンパンご当地フード化計画(KMG)実行委員会」が主催。ニシカワ食品(加古川市)やイスズベーカリー(神戸市中央区)、神戸山手女子高校(同)などが参加した。計8種類の新商品が開発され、各社の店舗で販売する。

 同生協と同校が共同開発した「神戸ハイカラメロンパン チョコメロワッサン」(138円)は、昨年9月の同生協の商品開発コンテストに同校の生徒が出したアイデアを商品化。クロワッサン生地にチョコレートを挟み、食べ盛りの若者が満足できる商品に仕上がったという。

 ラグビーボール形メロンパンは同生協の前身、神戸消費組合のパン職人が1952年に考案し発売。2001年からは「神戸ハイカラメロンパン」の新しい商品名で販売し、長年人気を誇っている。しかし、昨年1月に街頭でアンケートしたところ、20代~30代への認知度の低さが判明し、今回のプロジェクトにつながった。(綱嶋葉名)

 

風見鶏の館 三原康男 第105回日本水彩画展2017 
風見鶏の館 三原康男 第105回日本水彩画展2017 

県立美術館のボランテイア仲間の中塚さんの展覧会へ行ったとき、紹介された日本水彩画会の兵庫県支部代表三原さんが下さった出展された画の写真。お年を召されていたが元気で力のこもった画を書かれている。

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神戸の冬を彩る「神戸ルミナリエ」の飾りが、立冬の日差しを受けて輝く=7日午前、神戸市中央区京町
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神戸の冬を彩る「神戸ルミナリエ」の飾りが、立冬の日差しを受けて輝く=7日午前、神戸市中央区京町

 7日は、暦の上で冬の到来を告げる「立冬」。兵庫県南部は広い地域で朝から晴れて日差しが降り注ぎ、暖かな冬の始まりとなった。

 神戸地方気象台によると、7日の最低気温は神戸で12・8度、洲本で13・2度など、平年よりやや高め。日が高くなるにつれて気温はさらに上昇し、午前11時現在で、神戸18・2度、姫路18・5度と、前日より2度ほど高くなった。

 神戸の冬の風物詩「神戸ルミナリエ」(12月8~17日)の会場となる旧居留地では、色とりどりの発光ダイオード(LED)電球が取り付けられたアーチや支柱などの設営が進む。道行く人たちは脱いだ上着を手に、独特の形を描くシルエットを見上げていた。

 同気象台によると、8日の兵庫県は曇りがちになるものの、最高気温は神戸、姫路とも20度前後まで上がる見込みという。(風斗雅博)

                    神戸ルミナリエ2017

 

                                                                                     OSAKA News

 

十三トリスといえば、関西テレビでの友人樋口さんのことを思い出す。彼は神戸市の御影辺に住んでおられていつも帰り道で阪急電車十三駅で途中下車、このバーを限りなく愛して足繁く通われていたようだ。私は大阪の天満橋辺りに住んでいたので、彼とは帰途が違っていたし、職場も彼は報道や営業を回られたが、私は彼が営業担当の頃ビデオCMの発注をDとしてお付き合いし、彼と数々のテレビCMを作ったが、退職後交通事故で体を怪我されて困難な状態だと聞き心配している。彼の豪快な飲みっぷりは会社でも有名だったが彼とは共に飲んだ覚えがない。彼は私が卒業した兵庫県立伊丹高校での一級下の後輩?吹奏楽部では私はクラリネット、彼はトロンボーンで大学は関西大学へと進まれ、弁論部で活躍された猛者だった。私は同志社大へ進み、彼と奇しくも関西テレビで再会、今彼の元気な頃が懐かしく十三トリスの火事の時はいち早く彼のことが思い出されたが、、、。どうされているのだろうか。元気になられたことを祈るばかりだ。

千日劇場といえば私にとっても懐かしい劇場だが、大阪千日前で1958年昭和33年開館して1969年昭和44年閉館したが、その後はデパートなどで営業されていた。1972年昭和48年、千日デパートで火災が起こり、死者118名負傷者81名という大惨事、ビル火災史上最悪の事故でより一層衰退していったが、私は劇場の開館のあと間もなくの昭和38年1963年にカンテレに入って、この劇場でのお笑いものの中継で、多分今もあるノーベル賞飴の会社が提供する「ノーベルお笑い劇場」という舞台中継番組で、千日劇場で中継録画放送した覚えがある。興行界の吉本興行と松竹芸能の間で千日劇場を持つドリーム観光は苦戦したが、私たちはここに所属の唄子・啓助の芝居を中心に関西のお笑いを盛り上げていったことが今更懐かしく、米朝さんの記事を見ながらその昔の千日劇場での中継のことを思い起こした。付近は名だたる食いだおれの街、美味しい店も沢山知った。

                      千日劇場

 

            NARA News

 

                                                                        Todaiji Temple in  Nara



                       東大寺

    飛天図 ( 東壁15号 )。20面の飛天図 ( 縦71㌢、幅136㌢ ) は1945年に取り外され、被災しなかった

                       法隆寺

 

Nara announces record number of deer bites as tourists flood in

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