Dialogue with Iwana Masaki
Butō, dance and theatre
between revolution
between revolution
and tradition
It’s a November rainy day when we meet Iwana Masaki. We ask him some questions about his activity as butō-maker sipping a green tea cup in the half-light of 
his hotel.
Masaki began his career as Western style modern theatre actor in Tokyo but then he felt that his artistic way might have been different. Therefore he started his journey through butō which was created in Japan during the 1950s by Ōno Kazuo (大野一雄, 1906 – 2010) and Hijikata Tatsumi (土方巽, 1928 – 1986).
Butō is often said to be dance-theatre or dance only though it is impossible to classify this artistic genre since it continuously recurs and it often denies its principles.
Let’s listen to Masaki’s voice speaking about butō.
his hotel.Masaki began his career as Western style modern theatre actor in Tokyo but then he felt that his artistic way might have been different. Therefore he started his journey through butō which was created in Japan during the 1950s by Ōno Kazuo (大野一雄, 1906 – 2010) and Hijikata Tatsumi (土方巽, 1928 – 1986).
Butō is often said to be dance-theatre or dance only though it is impossible to classify this artistic genre since it continuously recurs and it often denies its principles.
Let’s listen to Masaki’s voice speaking about butō.
1) Masaki, butō was born in Japan but perhaps it is more well known abroad above all in Usa, in Canada and in Europe where there are some butō companies often constituted by non-Japanese actors. Why that happens and what do You think about?«In Japan butō was and is in the sphere of subculture. That happens because official culture is afraid of butō message. In Japan culture is rigidly divided between sensei “master” and seito “pupil”. Abroad – for example in Europe - people appreciate butō as a new dance and they don’t consider it as an inferior art compared to official culture. In Japan the name “butō” itself is little known. When I tell Japanese people I am a butō actor many of them open their eyes wide and ask me if I would have meant “budō” i. e. martial arts».
2) At the beginning butō originated a deep action of breaking traditional dance and theatre styles. Nevertheless is there a link between butō and Japanese classic theatre like nō and kabuki?«Butō is a form of contemporary dance and its idea has very little to do with tradition. However butō was born in Japan and its performers were all Japanese at the beginning. Japanese culture has its distant roots in agriculture world and in its rites. Besides there is a deep difference between posture and movement of body in West
and East both in life than in theatre. For example sitting cross-legged similar to lotus position is common for all Asian people from India to Japan where it is called agura (胡坐). Agura is very difficult for Westerns instead in Japan it is at the base of normal body dynamics also in traditional theatre like kabuki and nō. Western spectators of butō are generally surprised by slowness of actors’ gestures. This feature has become a commonplace of butō which is associated with slow movement. Nevertheless slowness is only the result and not the requirement of the study of movement made by butō dancers».
3) Butō is generally said by many to be a dance and its performers to be dancers though butō is indissolubly linked up with theatre and music. What is Your personal experience about that?«I began my experience as an actor of new Japanese Western-style theatre. I got bored very soon of this kind of acting. In fact I felt my body didn’t follow my voice, I felt myself as a “talking camcorder on a tripod”. This is why I chose the way of butō. I don’t know if butō is or not the union of dance, theatre and music but I can tell you than my approach on stage consists of asking myself “what is the body” and I’ve found the reply in butō which doesn’t separate voice and body».
4) In Japanese traditional theatre there are families of actors called sōke (宗家) who hand down their art from father to son as Ichikawa family in kabuki and Kanze family in nō. Instead in butō – apart from the experience of the son of Ōno Kazuo Yoshito - there are no leading families . Is butō more open compared to other Japanese arts?«My mother Iwana Shizu has been on the stage of nō as an actress for sixty years. She has been a member of Umewaka family competing with Kanze. When I was young I watched often her nō plays. Butō - contrary to common belief – is not a completely open and free art but it is approachable only in half. Japan has been for long a locked up island and with no exchange with foreign countries. Nowadays Japan is more free
and open but a partial locking still remains above all in some cultural communities. When I think about Japanese culture I imagine it as a long and thin yarn. This characteristic made Japanese culture lengthy and profound but also it is its weak point. In butō there are no leading families though there are masters who impose strict and steady rules on their pupils. In Japan there is a severe selection for taking part in every butō group. For my part, I am completely alone since I feel free and I don’t want to have pupils on who impose my own view of art. In 1970s in Japan butō had its greatest diffusion and there were many actors in conflict among them to conquer the artistic hegemony. Nowadays young butō performers are less rebellious and more docile».
5) When I saw You on stage I was very impressed above all about your feet, about their movements. I think that standing upright on ankles for long must be deeply hard, painful and wearying. What is the importance of feet and of walking in butō? Are there some analogies with feet movement style of Japanese traditional theatre?«Butō movements must seem painful though actually they are not. Actor studies movements so well that there is no physical suffering. Western dancers wear shoes instead Asian dancers dance barefoot. Japanese people use tabi, traditional socks which give feet the naturalness of nakedness. Westerners usually think sole is completely flat but our feet have curved shape which allows many positions and movements. I studied feet movements of my mother although in nō feet movement is mainly horizontal instead in butō are above all vertical».
6) Some butō performances were mind-blowing for audience. For example it was very famous the killing of a chicken on stage in 1959 by Ōno Yoshito in “Kinjiki” by Hijikata Tatsumi (禁色, “Forbidden colours” from the novel by Mishima Yukio). Your performances are instead delicate and certainly not violent and spectators feel “caressed” by your movements. Is this your own butō style?«Yes. My butō is delicate and my movements are soft. I have
reached this style by a deep study of my body. For me it’s more important to act with my body than with objects. My body is the object which is on stage with me. Some actors don’t make objects “living” but they just use objects. The word “to use” has got the idea of hierarchy in itself and I don’t like that and I want to avoid it».
7) In butō actor’s body is very important and visage as well. In your performances you often wear a simple mask which plays your feature up. What is the importance of visage expressivity and of mask in butō?«In Western modern theatre visage is more instrumental than body. Some butō actors act mainly with visage so that audience often couple butō with exaggerated facial expressions. For my part visage is as important as body since it is a part of it. In nō many masks are used and there is a character called hitamen (直面, “plain face”) – generally the deuteragonist – who acts open-face. Fifty years ago I saw the superb stage performance by actor Umewaka Rokuro as hitamen and I was so impressed about it».
8) It’s very difficult to explain what butō is and perhaps it’s useless to try to explain that. It’s better to say “to feel butō” instead of saying “to understand butō”. Watching a butō performance is more a physical experience than a mental experience. What do you think about that?«Just like that. Very often spectators would like to know the meaning of butō performance. Nevertheless if audience demands an explanation for everything that is being staged it ends by not feeling the deep emotion which is the real message of butō. Dancers must pierce spectators’ body not their minds».
9) Butō is a young art which was born just few years ago. It’s a young and nevertheless old art which is perhaps close to rituals of primitive theatre. When butō was born it was characterized by a deep will to break traditional dramatic style both in Japan and in world. Do you think that nowadays butō has lost its innovation and break power? Do You think that sometime a new artist will find another kind of dramatic style to go beyond butō and to shatter its rules?«I belong to second generation of butō dancers. Young butō dancers of nowadays are the third
generation. They have completely lost the starting idea by Ōno Kazuo of butō as break with tradition. Although the name “butō” hung over this art still has just few of its initial feelings. I think that the word “butōist” still means “non-conformist artist” even if there are less and less performers who really long for breaking».
The time Masaki has spent with us elapsed in double-quick time and tea in the cup got cold. We would have liked to listen to his calm and persuasive voice more, we would have liked to see some more his visage which resembles the feature of heita (平太) nō mask of a warrior in full maturity. However he has to leave yet, he can't talk too much. Masaki is a master who doesn't want to have pupils.
and East both in life than in theatre. For example sitting cross-legged similar to lotus position is common for all Asian people from India to Japan where it is called agura (胡坐). Agura is very difficult for Westerns instead in Japan it is at the base of normal body dynamics also in traditional theatre like kabuki and nō. Western spectators of butō are generally surprised by slowness of actors’ gestures. This feature has become a commonplace of butō which is associated with slow movement. Nevertheless slowness is only the result and not the requirement of the study of movement made by butō dancers».3) Butō is generally said by many to be a dance and its performers to be dancers though butō is indissolubly linked up with theatre and music. What is Your personal experience about that?«I began my experience as an actor of new Japanese Western-style theatre. I got bored very soon of this kind of acting. In fact I felt my body didn’t follow my voice, I felt myself as a “talking camcorder on a tripod”. This is why I chose the way of butō. I don’t know if butō is or not the union of dance, theatre and music but I can tell you than my approach on stage consists of asking myself “what is the body” and I’ve found the reply in butō which doesn’t separate voice and body».
4) In Japanese traditional theatre there are families of actors called sōke (宗家) who hand down their art from father to son as Ichikawa family in kabuki and Kanze family in nō. Instead in butō – apart from the experience of the son of Ōno Kazuo Yoshito - there are no leading families . Is butō more open compared to other Japanese arts?«My mother Iwana Shizu has been on the stage of nō as an actress for sixty years. She has been a member of Umewaka family competing with Kanze. When I was young I watched often her nō plays. Butō - contrary to common belief – is not a completely open and free art but it is approachable only in half. Japan has been for long a locked up island and with no exchange with foreign countries. Nowadays Japan is more free
and open but a partial locking still remains above all in some cultural communities. When I think about Japanese culture I imagine it as a long and thin yarn. This characteristic made Japanese culture lengthy and profound but also it is its weak point. In butō there are no leading families though there are masters who impose strict and steady rules on their pupils. In Japan there is a severe selection for taking part in every butō group. For my part, I am completely alone since I feel free and I don’t want to have pupils on who impose my own view of art. In 1970s in Japan butō had its greatest diffusion and there were many actors in conflict among them to conquer the artistic hegemony. Nowadays young butō performers are less rebellious and more docile».5) When I saw You on stage I was very impressed above all about your feet, about their movements. I think that standing upright on ankles for long must be deeply hard, painful and wearying. What is the importance of feet and of walking in butō? Are there some analogies with feet movement style of Japanese traditional theatre?«Butō movements must seem painful though actually they are not. Actor studies movements so well that there is no physical suffering. Western dancers wear shoes instead Asian dancers dance barefoot. Japanese people use tabi, traditional socks which give feet the naturalness of nakedness. Westerners usually think sole is completely flat but our feet have curved shape which allows many positions and movements. I studied feet movements of my mother although in nō feet movement is mainly horizontal instead in butō are above all vertical».
6) Some butō performances were mind-blowing for audience. For example it was very famous the killing of a chicken on stage in 1959 by Ōno Yoshito in “Kinjiki” by Hijikata Tatsumi (禁色, “Forbidden colours” from the novel by Mishima Yukio). Your performances are instead delicate and certainly not violent and spectators feel “caressed” by your movements. Is this your own butō style?«Yes. My butō is delicate and my movements are soft. I have
reached this style by a deep study of my body. For me it’s more important to act with my body than with objects. My body is the object which is on stage with me. Some actors don’t make objects “living” but they just use objects. The word “to use” has got the idea of hierarchy in itself and I don’t like that and I want to avoid it».7) In butō actor’s body is very important and visage as well. In your performances you often wear a simple mask which plays your feature up. What is the importance of visage expressivity and of mask in butō?«In Western modern theatre visage is more instrumental than body. Some butō actors act mainly with visage so that audience often couple butō with exaggerated facial expressions. For my part visage is as important as body since it is a part of it. In nō many masks are used and there is a character called hitamen (直面, “plain face”) – generally the deuteragonist – who acts open-face. Fifty years ago I saw the superb stage performance by actor Umewaka Rokuro as hitamen and I was so impressed about it».
8) It’s very difficult to explain what butō is and perhaps it’s useless to try to explain that. It’s better to say “to feel butō” instead of saying “to understand butō”. Watching a butō performance is more a physical experience than a mental experience. What do you think about that?«Just like that. Very often spectators would like to know the meaning of butō performance. Nevertheless if audience demands an explanation for everything that is being staged it ends by not feeling the deep emotion which is the real message of butō. Dancers must pierce spectators’ body not their minds».
9) Butō is a young art which was born just few years ago. It’s a young and nevertheless old art which is perhaps close to rituals of primitive theatre. When butō was born it was characterized by a deep will to break traditional dramatic style both in Japan and in world. Do you think that nowadays butō has lost its innovation and break power? Do You think that sometime a new artist will find another kind of dramatic style to go beyond butō and to shatter its rules?«I belong to second generation of butō dancers. Young butō dancers of nowadays are the third
generation. They have completely lost the starting idea by Ōno Kazuo of butō as break with tradition. Although the name “butō” hung over this art still has just few of its initial feelings. I think that the word “butōist” still means “non-conformist artist” even if there are less and less performers who really long for breaking».The time Masaki has spent with us elapsed in double-quick time and tea in the cup got cold. We would have liked to listen to his calm and persuasive voice more, we would have liked to see some more his visage which resembles the feature of heita (平太) nō mask of a warrior in full maturity. However he has to leave yet, he can't talk too much. Masaki is a master who doesn't want to have pupils.
Floriano Terrano
舞踏家 岩名雅紀氏との対談
伝統と前衛の混合形態を
もつダンス、舞踏
岩名雅紀氏とお会いしたのは雨のふる１１月でした。彼の滞在するホテルの一室で緑茶を飲みながら彼の舞踏への取り組みや活動について質問をした。雅紀氏は東京で西洋現代劇の俳優と
して活動を始めたが、彼は舞踏への道へ進んだ。舞踏は１９５０年代後半に土方巽（１９２８－１９８６）と大野一雄（１９０６－２０１０）らによって誕生した。
舞踏は確かにダンスあり音楽ありで、現代舞踊や舞台舞踊などと呼ばれているがその言葉だけでは終れない深い思いがそこには込められている。
雅紀氏に舞踏について色々と答えて頂きました。
して活動を始めたが、彼は舞踏への道へ進んだ。舞踏は１９５０年代後半に土方巽（１９２８－１９８６）と大野一雄（１９０６－２０１０）らによって誕生した。舞踏は確かにダンスあり音楽ありで、現代舞踊や舞台舞踊などと呼ばれているがその言葉だけでは終れない深い思いがそこには込められている。
雅紀氏に舞踏について色々と答えて頂きました。
1) 雅紀さん、舞踏は日本よりも特にアメリカ、カナダ、ヨーロッパなどの海外でのほうがより知られていますね。そして雅紀さんはしばしば日本人以外の役者と舞踏をされることがあります。それはなぜでしょうか、またその事についてどう思われますか？
日本での舞踏はサブカルチャーの範囲で止まっていたし、止まってしまった。なぜならば舞踏に込められたメッセージを正式な文化として認めるのを恐れたから。日本の文化は先生と生徒の関係を厳格に別けている。例えば海外、ヨーロッパでは舞踏を公式文化と比べて低級芸術としてとらえるのではなく一つの新しいダンスとして評価してくれている。私が舞踏家ですと言うと多くの日本人は目を大きく見開いて、刀を使って練習する武道の事を言いたいのではないかと訊ねてきます。そのくらい日本人は舞踏を知らない人が多いのです。
日本での舞踏はサブカルチャーの範囲で止まっていたし、止まってしまった。なぜならば舞踏に込められたメッセージを正式な文化として認めるのを恐れたから。日本の文化は先生と生徒の関係を厳格に別けている。例えば海外、ヨーロッパでは舞踏を公式文化と比べて低級芸術としてとらえるのではなく一つの新しいダンスとして評価してくれている。私が舞踏家ですと言うと多くの日本人は目を大きく見開いて、刀を使って練習する武道の事を言いたいのではないかと訊ねてきます。そのくらい日本人は舞踏を知らない人が多いのです。
2) 舞踏が生まれた時、伝統舞踊や演劇の原則を大きく破壊する影響力を持っていましたが、それでもやはり能や歌舞伎の様な伝統芸能と何らかの関係があるのでしょうか？舞踏は現代舞踊でありそのアイディアは日本の伝統舞踊とは一切関係がありません。しかし舞踏は日本で生まれその当初の出演者は全て日本人でした。日本文化の根源は農業やその事に関しての儀式や祭式と密接に結ばれています。さらに、西洋と東洋では根本的に姿勢や体の使い方に違いがあります。例えば座る時の格好ですが、インドから日本までのアジアの人々は共通してあぐらである。西洋人にとってあぐらはとても難しいことであり、歌舞伎や能も基本は東洋人の普段の体の動きをするので西洋人にとっては自然にとはいかないでしょう。西洋で舞踏を上演する時、観客は役者のゆっくりとした動きに驚きます。多くの方々が舞踏の特徴は動きがゆっくりしていること、そして舞踏＝ゆっくりとした動きと思っています。しかし緩慢は前置きではなく、それぞれの動きの背景にある舞踏役者の研究成果が現れた結果なのです。
3) 舞踏は舞踊でそしてその踊りをする人達を舞踏家と呼んでいます。しかし舞踏には音楽や舞台にも多くの工夫をされて大きな役割を持っていると思います。そのことについて、どう思われますか？私は西洋スタイルの演劇役者として舞台に立ち始めました。しかし間もなくして飽きてしまっ
たのです。それは私の心の声と体が一致しなかった為です。それから舞踏家への道へと進んでいったのです。舞踏が本当に踊りと舞台と音楽が一体となっているかどうかは分りませんが、私は身体とはいったい何かという事を自分自身に問い続け、声と体が一体となって表現できる舞踏にその答えを見つけました。
たのです。それは私の心の声と体が一致しなかった為です。それから舞踏家への道へと進んでいったのです。舞踏が本当に踊りと舞台と音楽が一体となっているかどうかは分りませんが、私は身体とはいったい何かという事を自分自身に問い続け、声と体が一体となって表現できる舞踏にその答えを見つけました。
4) 日本の伝統芸能は歌舞伎で有名な市川家や能で有名な観世流といったように代々親から子へ受け継がれてきていますね。しかし舞踏に関していえば舞踏家の大野一雄氏の息子である大野慶人氏が受け継いだ以外は他に例がありませんよね。ということは舞踏は他の日本芸能と比べてみると多くの人に対してオープンということなのでしょうか？私の母、岩名しずは７０年間能役者として舞台に立ち続けました。観世流とは対立していた梅若流に所属していました。私が若かった頃はよく母に付き添って行きました。多くの人が舞踏は誰でも勉強できる芸術と思われていますが、実際にはそうではありません。日本は長い間海外との交流を絶ち鎖国をしていた背景からか、より自由にオープンになった今日でさえ、特に文化面に関してはまだ閉ざした部分が残っています。日本の文化を考えた時、長くて細い紐をイメージ持ちます。この性格は深遠から成っていますが同時に弱さでもあるのです。舞踏には家元がなくても師匠はいますし、弟子達には厳しく昔から変わることのない規則を命じています。日本ではさらにどの舞踏グループに入門するにしても厳しい審査があります。私自身に関しては完全に一人です。なぜならば自由を感じていたいし、私の芸術(美)的ビジョンを誰かに強制したくないので弟子も取りたくありません。１９７０年代は日本で舞踏が一般的に広く知られた時で、多くの役者達が舞踏家としての覇権を勝ち取る為に対立をしていました。今日、舞踏を学ぶ若者達は大人しくて逆らう者も少ないですね。
5) 私があなたの舞台を見た時、特に足の指の動きに衝撃を受けました。その動きは想像を絶するほど難しく踝で長い間まっすぐ立つことは痛みを伴い疲れを伴うと思います。舞踏での足の動きや歩き方には何が重要なのでしょうか？そして日本の伝統芸能と似た足の動かし方があるのでしょうか？
舞踏での動きは苦痛を伴っているように見えますが実際はそうで
はありません。役者は日々努力を重ねることにより物理的な苦しみや苦痛を感じなくなります。西洋人ダンサーは靴下を履きますが東洋人は裸足です。日本人は裸足に近い感覚を持てる足袋を使います。西洋人は足の裏を平らだと思っていますが、実はさまざまなバリエーションや動きを可能にできるようカーブがかっています。足の動きは能役者だった母から学びました。能では畳の上を滑る様に水平な動きをしますが、舞踏は主に垂直な動きをします。
舞踏での動きは苦痛を伴っているように見えますが実際はそうで
はありません。役者は日々努力を重ねることにより物理的な苦しみや苦痛を感じなくなります。西洋人ダンサーは靴下を履きますが東洋人は裸足です。日本人は裸足に近い感覚を持てる足袋を使います。西洋人は足の裏を平らだと思っていますが、実はさまざまなバリエーションや動きを可能にできるようカーブがかっています。足の動きは能役者だった母から学びました。能では畳の上を滑る様に水平な動きをしますが、舞踏は主に垂直な動きをします。 
6) いくつかの舞踏演目は観客に衝撃を与えます。有名な場面として１９５９年、土方巽の演出による禁色（三島由紀夫原作）を大野慶人が演じた鶏を殺すシーンだと思います。しかし岩名さんの舞台には一切暴力的なシーンはなく繊細で、その動きからは優しさや温もりを感じます。これが岩名さんの舞踏スタイルですか？はい、私の舞踏は優しく繊細な動きをします。この動きは私自身の体を長年に渡り研究し、たどり着いたスタイルです。私にとって重要な事は物を使って表現するのではなく私の体を使って表現することです。舞台の上では私の肉体が物体となるのです。役者の中には物を命ある物として表現しない人もいますが舞台の中では、人も物も上下関係などなく一体となることが重要であると思います。
7) ということは、舞踏は役者の体は勿論、表情もとても重要ですね。岩名さんは舞台でよく仮面を着けられていますが、舞踏において表情の表現性や仮面にはどのような重要性がありますか？西洋の現代演劇は恐らく体と比べると顔の表情がより重要な役をしていると思います。舞踏役者の中には顔の表情に重点をおいて表現する人もいます、よって観客の中には舞踏とは顔のパ
ントマイムと思っている人もいるようです。私にとって顔は体の一部として同じように重要です。能では仮面を使用する役者と仮面で顔を隠さずに観客に見せる直面（ひためん、ひたおもて）と呼ばれる役者がいるのが一般的です。５０年前、直面役者の若梅六郎氏の雄壮な演出を見た時、深く心を打ちました。
ントマイムと思っている人もいるようです。私にとって顔は体の一部として同じように重要です。能では仮面を使用する役者と仮面で顔を隠さずに観客に見せる直面（ひためん、ひたおもて）と呼ばれる役者がいるのが一般的です。５０年前、直面役者の若梅六郎氏の雄壮な演出を見た時、深く心を打ちました。
8) 舞踏を言葉で説明する事は本当に難しいですし、試みること自体が無意味だと思います。“舞踏を理解する”ではなく“舞踏を感じる”という表現をしたほうが良いかと思います。舞踏を見る時は動きの意味を考えるのではなく体で感じることが大切ですね。そのことについてはどう思われますか？
まさにその通りです。多くの観客は舞踏の意味は何かという事を知りたがりますが、もし舞踏を見る時それぞれのシーンの意味を考えながら見ても本当の感動を得ることは出来ないでしょうし、本当に伝えたいメッセージは伝わらないでしょう。舞踏役者は観客の頭脳にではなく体に入り込んでいかなくてはいけないのです。
まさにその通りです。多くの観客は舞踏の意味は何かという事を知りたがりますが、もし舞踏を見る時それぞれのシーンの意味を考えながら見ても本当の感動を得ることは出来ないでしょうし、本当に伝えたいメッセージは伝わらないでしょう。舞踏役者は観客の頭脳にではなく体に入り込んでいかなくてはいけないのです。
9) 日本の伝統芸能と比べて舞踏はまだ誕生して日が浅いですが、舞台芸術の基礎であると思います。舞踏が誕生した時、日本や世界の演劇界の伝統的原則を破壊しようと強い意志を持っていたと思います。雅紀さんは今日の舞踏においてその意志はまだ受け継がれていると思いますか？そしていずれ舞踏よりもう一歩先に進んだ前衛芸術が生まれると思いますか？
私は二世代目の舞踏家の一員で今、舞踏を学んでいる若者達は三世代目になります。彼らは大野一雄氏が持っていた伝統を壊すという当初の概念を完全に失っています。舞踏という名は残っていますが誕生した時の強い志を感じている人は少ないでしょうね。心から芸術の常識を壊したいと思っている人が年々少なくなってきていますが、私は舞踏が今もなお常識破りの芸術であることを信じています。
私は二世代目の舞踏家の一員で今、舞踏を学んでいる若者達は三世代目になります。彼らは大野一雄氏が持っていた伝統を壊すという当初の概念を完全に失っています。舞踏という名は残っていますが誕生した時の強い志を感じている人は少ないでしょうね。心から芸術の常識を壊したいと思っている人が年々少なくなってきていますが、私は舞踏が今もなお常識破りの芸術であることを信じています。
雅紀氏と共にした時間はあっという間に過ぎてしまい、初めから注いであった緑茶には手を伸ばす事も無くそのまま冷たくなって湯飲みに残ったままでした。彼の落ち着いた魅力的な声、能面の平太（歴戦の勇者）に似た横顔を見ながらもう少しの間、時間を共にしたかったが多忙な彼はもう行かなければならない、そして多く語ることはない。
フロリアーノ・テッラーノ
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