The Basement was first presented by B.B.C. Television on 20 Februrary 1967 with the following cast:

Stott......Harold Pinter
Jane...... Kika Markham
Law ......Derek Godfrey
Directed by Charles Jarrott

A stage version fo THE BASEMENT, in double-bill with TEA PARTY, opened at the Dutchess Theatre, London, on 17 September 1970, directed by James Hammerstein and produced by Eddie Kulukundis for Knightsbridge Theatrical Productions Ltd, with the following cast:

Law......Donald Pleasence
Stott......Barry Foster
Jane......Stephanie Beacham


Exterior. Front area of a basement flat.
Winter. Night.
Rain falling.
Short stone flight of steps from street.
Light shining through the basement door.
The upper part of the house is dark.
The back of a man, STOTT. He stands in the centre of the area, looking towards the door.
He wears a raincoat, his head is bare.

Exterior. Front area.
STOTT'S face. Behind him, by the wall, a girl, JANE. She is huddled by the wall. She wears a rainhat, clasps her raincoat to her.

Interior. Room.
The room is large and long. A window at one end loooks out to a small concrete yard. There are doors to bathroom and kitchen.
The room is comfortable, relaxed, heavily furnished.
Numerous side tables, plants, arm-chairs, book-cabinets, book-shelves, velvet cloths, a desk, paintings, a large double bed. There is a large fire in the grate.
The room is lit by a number of table and standard lamps.
Silence.

10Ｍ5Ｄ課題（更新ずみ）

(1)はじめからここまでを訳せ。

10Ｍ12Ｄ課題（更新ずみ）

Exterior. Front area.
STOTT still. Interior. Room.
LAW in arm-chair. He is smiling at his book.
He giggles. He is reading a Persian Love manual, with illustrations.

Exterior. Front area.
JANE huddled by the wall.
STOTT moves to the door.

Interior. Room
Doorbell. LAW looks up from his book. He closes it, puts it on a side table, goes into the hall.

Interior. Small hall.
LAW approaches the front door. He opens it.
Silence.
He stares at STOTT. From his position in the doorway LAW cannot see the firl.
LAW(with great pleasure). Stott!
STOTT(smiling). Hullo, Tim.
LAW. Good God. Come in!
LAW laughts.
Come in!
STOTT enters.
I can't believe it!
Interior. Room
LAW and STOTT enter.
LAW. Give me your coat. You're soaking. Come on. That's it. I'm absolutely flabbergasted. You must be freezing.
STOTT. I am a bit.
LAW. Go on, warm yourself. Warm yourself by the fire.
STOTT. Thanks.
LAW. Sit down by the fire. Go on.
STOTT moves to the fire.
LAW takes the coat into hall.

Interior. Hall
LAW comes into the hall, shaking the raincoat. He looks inside it, at the label, smiles. He hangs it on a hook.

(１）ここまでを訳し、Lawがコートのラベルを見て微笑んだのはなぜか意見を述べよ。

10Ｍ19Ｄ課題(更新ずみ）

Interior. Room.
STOTT warming his hands at the fire. LAW comes in.
LAW. You haven't changed at all. You haven't changed. . . at all!
STOTT laughs.
You've got a new raincoat though. Oh yes, I noticed. Hold on, I'll get you a towel.

（１）日本人感覚だとコートが新しいか否かが話題になるのは女性的だと思う。一方、女性はよほど親しくないと、こんな会話はしないようにも思う。コートが新しいか否かを話題にすることについて、特に男性感覚、女性感覚の視点から感想を述べよ。

LAW goes to the bathroom.
STOTT, alone, looks up and about him at the room.

Interior. Room.
The room.

Interior. Bathroom.
LAW in bathroom, at the airing cupboard. He swiftly throws aside a number of towels, chooses a soft one with a floral pattern.

Interior. Room.
LAW comes in with a towel.
LAW. Here's a towel. Go on, give it a good wipe. That's it. You didn't walk here, did you? You're soaking What happened to your car? You could have driven here. Why didn't you give a ring? But how did you know my address? My God, it's years. If you'd have rung I would have picked you up. I would have picked you up in my car. What happened to your car?

（２）LAWが花柄のタオルを選び、すぐタオルを持って細やかな心遣いをすることについて、（１）と同様の視点で感想を述べよ。

10Ｍ26Ｄ課題（更新ずみ）

STOTT finishes drying his hair, puts the towel on the arm of a chair.
STOTT. I got rid of it.
LAW. But how are you? Are you well? You look well.
STOTT. How are you?
LAW. Oh, I'm well. Just a minute, I'll get you some slippers.
LAW goes to the cupboard, bends.
You're going to stay the night, aren't you? You'll have to, look at the time. I wondered if you'd ever turn up again. Really. For years. Here you are. Here's some slippers.
STOTT. Thanks.
STOTT takes the slippers, changes his shoes.
LAW. I'll find some pyjamas in a minute. Still, we'll have a cup of coffee first, or some . . .Or a drink? What about a drink?
STOTT. Ah.
LAW pours drinks, brings the drinks to the sofa and sits down by STOTT.
LAW. You're not living at Chatsworth Road any more, are you? I know that. I've passed by there, numbers of times. You've moved. Where are you living now?
STOTT. I'm looking for a place.
LAW. Stay here! Stay here as long as you like. I've got another bed I can fit up. I've got a camp bed I can fit up.
STOTT. I don't want to impose upon you.
LAW. Not a bit, not a bit.

Pause.

（１）この「間」にはどんな意味があると思うか。

STOTT. Oh, by the way, I've got a friend outside. Can she come in?
LAW. A friend?
STOTT. Outside.
LAW. A friend? Outside?
STOTT. Can she come in?
LAW. Come in? Yes . . .yes . . . of course . . .
STOTT goes towards the door.
What's she doing outside?

（２）女性が何者か観客に知らされず、LAWがタオルやスリッパーを提供されて落ち着くまでずっと外に放っておかれ、しかも、友達だという展開をどう思うか。不条理劇だと思うか。普通のドラマでもありうると思うか。
（３）（２）に関連して、電話もかけず、車もないと言い、ただひどい天候の中にやってきたSTOTTの行動をどう思うか。STOTTは異常な不条理劇の人物、LAWは普通の人としてもよいか。

11Ｍ2Ｄ課題(更新済み）



Exterior. Front door.
JANE is standing in the narrow porch outside the door.
The door opens.

Interior. Room.
LAW. STOTT brings the girl in.
STOTT. This is Jane. This is Tim Law.
She smiles.
JANE. It's kind of you.
LAW. How do you do? I . . . must get you a towel.
JANE. No, thank you. My hair was covered.
LAW. But your face?
STOTT comes forward.
STOTT. It's very kind of you, Tim. It really is. Here's towel. (He gives it to her.) Here.
LAW. But that's your towel.
JANE. I don't mind, really.
LAW. I have clean ones, dry ones.
JANE(patting her face). This is clean.
LAW. But it's not dry.
JANE. It's very soft.
LAW. I have others.
JANE. There. I'm dry.
LAW. You can't be.

（１）JANEがＬＡＷの申し出を断り、わざわざＳＴＯＴＴのタオルを使うのはなぜだと思うか。
（２）かなりしつこくＬＡＷが別のタオルを、というのをどう思うか。

JANE. What a splendid room.
STOTT. Isn't it? A little bright, perhaps.
LAW. Too much light?
STOTT turns a lamp off.
STOTT. Do you mind?
LAW. No.
JANE begins to take her clothes off.
In the background STOTT moves about the room, turning off the lamps.
LAW stnads still.
STOTT turns off all the lamps but one, by the fireside.
JANE, naked, gets into the bed.

（３）いきなり服を脱いでベッドに入るＪＡＮＥをどう思うか。

LAW. Can I get you some cocoa? Some hot chocolate?
STOTT takes his clothes off and, naked, gets into the bed.

（４）いきなり服を脱いでベッドに入るＳＴＯＴＴをどう思うか。

11Ｍ9Ｄ課題（更新ずみ）

I was feeling quite lonely, actually. It is lonely sitting here, night after night. Mind you, I'm very happy here. Remember that place we shared? That awful place in Chatsworth Road? I've come a long way since then. I bought this flat cash down. It's mine. I don't suppose you've noticed the hi-fi stereo? There's all sorts of things I can show you.

（１）ＬＡＷの告白をどう思うか。
（２）それにＳＴＯＴＴが何も応えない事をどう思うか。
LAW unbuttons his cardigan.
He places it over the one lit lam, so shading the light. He sits by the fire.

The lamp covered by the cardigan.

Patch of light on the ceiling.

Patch of light at LAW's feet.

（３）こうした光の効果は何を狙っていると思うか。

LAW's hands on the chair arms.
A gasp from JANE.
LAW's hands do not move.

（４）ＪＡＮＥのあえぎとＬＡＷの手は何を表すか。

LAW's legs. Beyond them, the fire almost dead.

Law puts on his glasses.

Law reaches for The Persan Manual of Love.

LAW peers to read.
A long sigh from JANE.
LAW reads.


（５）こういうときのＬＡＷの心理状態を説明せよ。

11Ｍ16Ｄ課題(更新ずみ）



Exterior. Cliff-top. Summer.
Long-shot of STOTT standing on a cliff-top.

Exterior. Beach.
The beach is long and deserted. LAW and JANE, in swimming costumes. JANE building a sandcastle. LAW watches her.

（１）暗い部屋から一転明るい浜辺に変化することをどう思うか。
（２）
２−１いきなり水着でＬＡＷとＪＡＮＥが現れる設定をどう思うか。
２−２その組み合わせについても考察せよ。
２−３また、そこから崖の上のＳＴＯＴＴという設定は何を意味すると思うか。

LAW. How old are you?
JANE. I'm very young.
LAW. You are young.
He watches her work.
You're a child.
He watches her.
Have you known him long?
JANE. No.
LAW. I have. Charming man. Man of great gifts. Very old friend of mine, as a matter of fact. Has he told you?
JANE. No.
LAW. Yoou don't know him very well?
JANE. No.
LAW. He has a connexion with the French aristocracy. He was educated in France. Speaks French fluently, of course. Have you read his French translations?
JANE. No.
LAW. Ah. They're immaculate. Great distincton. Formidable scholar, Stott. Do you know what he got at Oxford? He got a First in Sanskrit at Oxford. A First in Sanskrit!
JANE. How wonderful.
LAW. You never knew?
JANE. Never.
LAW. I know for a fact he owns three chateaux. Three suuperb chateaus. Have you ever ridden in his Alvis? His Facel Vega? What an immaculate driver. Have you seen his yachts? Huh! What yachts. What yachts.
JANE completes her sandcastle.
How pleased I was to see him. After so long. One loses touch . . .so easily.

Interior. Cave. Day.
STOTT'S body lying in the sand, asleep.
LAW and JANE appear at the mouth of the cave. They arrive at the body, look down.
LAW. What repose he has.
STOTT'S body in the sand.
Their shadows across him.

Interior. Room. Night.

LAW lying on the floor, a cushion at his head, covered by a blanket.
His eyes are closed.

Silence.

A long gasp from JANE.

LAW'S eyes open.

STOTT and JANE in bed.
STOTT turning to wall.
JANE turns to the edge of the bed.
She leans over the edge of the bed and smiles at LAW.

LAW looks at her.

JANE smiles.

（３）一連のＬＡＷがＳＴＯＴＴが金持ちで秀才でフランス貴族の血筋といったことをＪＡＮＥにふきこんだのは、ＬＡＷが若いＪＡＮＥをむしろ自分になびかせる策略だったとも考えられる。この見解をどう思うか。
（４）ＪＡＮＥがつくる砂の城は何を意味するか。

11Ｍ30Ｄ課題(更新済み）

Interior. Room. Day.
STOTT lifts a painting from the wall, looks at it.
STOTT. No.
LAW. No, you're quite right. I've never liked it.
STOTT walks across room to a second picture, looks at it. He turns to look at LAW.
NO.
STOTT takes it down and turns to look at the other paintings.
All of them. All of them. You're right. They're terrible. Take them down.
The paintings are all simlar watercolours.
STOTT begins to take them from the wall.

（１）絵をすべて壁から下ろすのは、どんな意味があると思うか。（全くの想像で回答してもよい）

Interior. kitchen. Day. JANE in the kitchen, cooking at the stove, humming.

Exterior. Backyard. Winter. Day.
The yard is surrounded by high blank walls.
STOTT and LAW sitting at an iron table, with a pole for an unbrella.
They are drinking lager.

（２）冬に庭でビールを飲むことをどう思うか。

LAW. Who is she? Where did you meet her?
STOTT. She's charming, isn't she?
LAW. Charming. A little young.
STOTT. She comes from a rather splendid family, actually.
LAW. Really?
STOTT. Rather splendid.
Pause.
LAW. Very helpful, of course, around the house.
STOTT. Plays the harp, you know.
LAW. Well?
STOTT. Remarkabley well.
LAW. What a pity I don't possess one. You don't possess a harp, do you?
STOTT. Of course I possess a harp.
LAW. A recent acquisition?
STOTT. No, I've had it for years.
Pause.
LAW. You don't find she's lacking in maturity?

（３）語られているＪａｎｅの性格をどう思うか。
（４）ハープにどんな意味があると思うか。

12Ｍ7Ｄ課題（更新済み）

Exterior. Beach. Summer. Day. LAW and JANE lying in the sand. JANE caressing him. JANE(whispering). Yes, yes, yes, oh you are, oh you are, oh you are . . . LAW. We can be seen. JANE. Why do you resist! How can you resist? LAW. We can be seen! Damn you!

（1）突然また夏に場面転換することをどう思うか。
（2）Ｊａｎｅの異常とも思える「積極性」をどう思うか。

Exterior. Backyard. Winter. Day.
STOTT and LAW at the table with lager.
JANE comes to the back door.
JANE. Lunch is up!

（3）また冬になる場面転換をどう思うか。
（4）Ｊａｎｅにメイドの役をしうる女性、娼婦的な女性、高貴な生まれでハープ奏者という役割が与えられていることについて、どう思うか。

12Ｍ14Ｄ課題（更新済み）

Interior. Hall. Day.
LAW and JANE come in at the front door with towels over their shoulders.

Interior. Room. Day. Summer.
LAW and JANE at the entrance of the room, towels over their shooulders, staring at the room.
The room is unrecognizable. The furnishing has changed. There are Scandinavian tables and desks. Large bowls of Swedish glass. Tubular chairs. An Indian rug. Parquet floors, shining. A new hi-fi cabinet, etc. Fireplace blocked. The bed is the same. STOTT is at the window, closing the curtains. He turns.
STOTT. Have a good swim?

Interior. Room. Night. Winter. (Second furnishing.)
STOTT and JANE in bed, smoking. LAW sitting.

（１）ＬＡＷとＪＡＮＥがつきあっている状況で、ＳＴＯＴＴとＪＡＮＥがベッドインすることをどう思うか。

STOTT. Let's have some music. We haven't heard your hi-fi for ages. Let's hear your stereo. What are you going to play?

Interior. Bar. Evening.
Large empty bar. All the tables unoccupied.
STOTT, LAW and JANE at one table.
STOTT. This was one of our old haunts, wasn't it, Tim? This was one of our haunts. Tim was always my greatest friend, you know. Always. it's marvellous. I've found my old friend again --
Looking at JANE.
ANd discovered a new. And you like each other so much. It's really very warming.

（２）ここでＳＴＯＴＴが言う友情とはどんなものだと思うか。

LAW. Same again? (To waiter.) Same again. (To JANE.) Same again? (To waiter.) Same again. The same again, all round. Exactly the same.
STOTT. I'll change to Campari.
LAW(clicking his fingers at the WAITER). One Campari here. Otherwise the same again.
STOTT. Remember those nights reading Proust? Remember them?
LAW(To JANE). In the original.
STOTT. The bouts with Laforgue? What bouts.
LAW. I remember.

（３）こうした文学サロン的雰囲気をどう思うか。


STOTT. The great elms they had then. The great elm trees.
LAW. And the poplars.
STOTT. The cricket. The squash courts. You were pretty hot stuff at squash, you know.
LAW. You were unbeatble.
STOTT. Your style was deceptive.
LAW. It still is.
LAW laughs.
It still is!
STOTT. Not any longer.

（４）樹木などの環境とスポーツの話で盛り上がることをどう思うか。

The WAITER serves the drinks.
Silence. STOTT lifts his glass.
Yes, I really am a happy man.

（５）ＳＴＯＴＴは本当に幸福だと思うか。

12Ｍ21Ｄ課題（更新済み）

Exterior. Field. Evening. Winter.
STOTT and LAW. JANE one hundred yards across the field.
She holds a scarf.
LAW(shouting). Hold the scarf up. When you drop it, we run.
She holds the scarf up.
LAW rubs his hands. STOTT looks at him.
STOTT. Are you quite sure you want to do this?
LAW. Of course I'm sure.
JANE. On your marks!
STOTT and LAW get on their marks.
Get set!
They get set.
JANE drops scarf.
Go!
LAW runs. STOTT stays still.
LAW, going fast, turns to look for STOTT; off balance, stumbles, falls, hits his chin on the ground.
Lying flat, he looks back at STOTT.
LAW. Why didn't you run?

（１）なぜSTOTTは走らなかったと思うか。やりたくないならJANEにスカーフを落とさせる前に言うべきではないか。

Extgerior. Field. JANE stands, scarf in her hand. Downfield, STOTT stands.
LAW lies on the grass. LAW's voice:
LAW. Why didn't you run?

（２）JANEがスカーフを手にしている（再び拾った？）ところで、このシーンを入れるのには、どんな意味があるか。

Interior. Room. Night. Winter. (Second furnishing.)
STOTT. Let's have some music. We havn't heard your hi-fi for ages.
STOTT opens the curtains and the window.
Moonlight. LAW and JANE sit in chairs, clench their bodies with cold.

（３）二人は震えながら抱き合っているのか。自分の体をそれぞれ抱く格好になっているのか。急にこのシーンになることをどう思うか。暖炉が閉鎖されたままなのだろうか。

Exterior. Backyard. Day. Winter.
STOTT walking. LAW, wearing a heavy overcoat, collar turned up, watching him. LAW approaches him.
LAW. Listen. Listen. I must speak to you. I must speak frankly. Listen. Don't you think it's a bit crowded in that flat, for the three of us?
STOTT. No, no. Not at all.
LAW. Listen, listen. Stop walking. Stop walking. Please. Wait. STOTT stops.
Listen. Wouldn't you say that the flat is a little small, for three people?
STOTT(patting his shoulder). No, no. Not at all.
STOTT continues walking.
LAW(following him). To look at it another way, to look at it another way, I can assure you that the Council would object strenuously to three people living in these conditions. The Town Council, I know for a fact, would feel it incumbent upon itself to register the strongest possible objections. And so would the Church.
STOTT stops walking, looks at him.
STOTT. Not at all. Not at all.

（４）行政当局や教会まで持ち出してLAWが言うのはSTOTTを追い出したいからなのだろうか。

1Ｍ11日以降の課題については、金曜日ごとに細切れにするのはやめます。

２Ｍ１日締め切りで、各問題を参考にして、この作品についての２０００字程度のレポートを掲示板に書き込んでください。

中に発表課題もありますが、観客がほとんどいない発表会をしても仕方がありませんので、これも作品を現代に生かす方策ということでレポートの要素として取り込む人は取り込んでください。（更新済み）


Interior. Room. Day. Summer.
The curtains are closed. The three at lunch, at the table. STOTT and JANE are wearing tropical clothes. JANE is sitting on STOTT's lap.

（５）一般に女性が男性の膝にのるのは、どういう意味があるか。日本と英米の違いについても論じよ。

LAW. Why don't we open the curtains?
STOTT eats a grape.
It's terribly close. Shall I open the window?
STOTT. What are you going to play? Debussy, I hope.

（６）STOTTがLAWの提案を無視してドビュッシーのことばかり言うのはなぜだと思うか。

LAW goes to the record cabinet. He examines record after record, feverishly, flings them one after the other at the wall.
STOTT. Where's Debussy?
STOTT kisses JANE.
Another record hits the wall.
Where's Debussy? That's what we want. That's what we need. That's we need at the moment.

（７）STOTTはJANEとの愛の瞬間にドビュッシーをバックミュージックにしたいということなのだろうか。

JANE breaks away from STOTT and goes out into the yard. STOTT sits still.
LAW. I've found it!

（８）これはJANEに逃げ出されてからドビュッシーがみつかったという皮肉な巡り合わせを言っているのだろうか。それなら、ドビュッシーは何かを象徴しているのだろうか。

Interior. Room. Night. Winter.
LAW turns with the record.

（１）このturnsの意味を文法的に説明せよ。「レコードをかける」という解釈は成り立つか。レコードを持って自分が回ったのなら、その心境を説明せよ。

The room is furnished as at the beginning.

（２）実生活ではもとの家具の状態に戻すには巨大な倉庫でもない限り不可能だと思う。その点についてどう思うか。

STOTT and JANE, naked, climb into bed.
LAW puts the record down and places his cardigan over the one lit lamp.
He sits, picks up the poker and pokes the dying fire.

（３）STOTTとJANEの愛のバックミュージックを用意、ベッドインすれば照明を落とすLAWの心境を理解できるか。

Exterior. Backyard. Day. Summer.
JANE sitting at the iron table.
STOTT approaches her with a glass and bottle.
He pours wine into the glass.
He bends over her, attempts to touch her breast.
She moves her body away from him.
STOTT remains still.

（４）物語は普通のペースで進行しているように見えるのに、季節がめまぐるしく超現実的に移り変わることを、どう思うか。
（５）この場面のSTOTTとJANEの心境をそれぞれ説明せよ。

LAW watches from the open windows.
He moves to the table with the record and similes at STOTT.
LAW. I've found the record. The music you wanted.
STOTT slams his glass on the table and goes into the room.
LAW sits at the table, drinks from the bottle, regards JANE.
JANE plays with a curl in her hair.

（６）LAWは善意でレコードを持ってきたと思うか。それとも何か企みがあったと思うか。
（７）この場面での三者の心境を説明せよ。

Interior. Cave by the sea. Evening. Summer.
LAW and JANE. He lying, she sitting, by him.
She bends and whispers to him.
JANE. Why don't you tell him to go? We had such a lovely home. We had such a cosy home. it was so warm. Tell him to go. It's your place. Then we could be happy again. Like we used to. Like we used to. In our first blush of love. Then we could be happy again, like we used to. We could be happy again. Like we used to.

（８）JANEが最初の出会いの頃に戻りたいといっているのは、現在、状況がどう変化したからだと思うか、説明せよ。
（９）JANEがなぜSTOTTを追い出したいとは考えるのか、説明せよ。
Exterior. Backyard. Night. Winter.
The yard is icy. The window is open. The room is lit.
LAW is whispering to STOTT at the window. In the background JANE sits sewing. (Second furnishing.)

（１） 冬だのに夏用の家具があるのはなぜか。あるいは第一の内装・家具、第二の内装・家具は、この共同生活の段階に過ぎないのか。意見を述べよ。
（２） JANEは裁縫をしている。ジェンダーとしての伝統的な「女性は家事」の役割分担といえる。この三人は婚姻関係がない共同生活をしているが、JANEが「家事」をするせいで、「家族」に見える。そこで「家族」と「ジェンダー」について考えてみる。

(ここからHOMECOMINGを代表作とするPINTERの作品テーマである「家族」について考察する。ドラマを「大地の子」型と「フルハウス」型に分類。血縁にこだわるか、こだわらないか。シェイクスピアのロマンス劇とロマンティック・コメディの違いでもある。）


２−１家族：岩上真珠、「ライフコースで読む家族」、（有斐閣コンパクト、２００３）では家族とは何かを問い、中国残留孤児を扱ったテレビドラマ「大地の子」で、血縁を媒介に家族が問われるが、最後に主人公は「私はこの大地の子」と語り、血縁へのこだわりを止揚させる。一方「フルハウス」というテレビドラマでは、男たちの子育てを中心にしたドタバタが、9人の大所帯になっても血縁はテーマにならない。これを踏まえ（つまり家族である要件は婚姻を含む血のつながりではなく心の問題という見解）、THE BASEMENTの三人の共同生活は「家族」といえるか、考察せよ。
２−２THE BASEMENTの三人の共同生活を経済的に支えるものが何かはよくわからないが貯金を食いつぶしていると仮定しても、それはLAWとSTOTTの話で、JANEは「専業主婦」として家事を負担していて、それは二人（本当はどちらか）への愛情ゆえに見える。「家族」の成立要件が「心の問題」としたら、JANEの「愛情」が問題で、それは女性だけに強いられる「家事」で表現される、という見解は正しいか。

Exterior. Backyard. Window.
LAW and STOTT at the open window, STOTT's body hunched.
LAW(whispering very deliberately). She betrays you. She betrays you. She has no loyalty. After all you've done for her. Shown her the world. Given her faith. You've been deluded. She's a savage. A viper. She sullies this room. She dirties this room. All this beautiful furniture. This beautiful Scnadinavian furniture. She dirties it. She sullies the room.
STOTT turns slowly to regard JANE.

（３）この台詞から、LAWが、どんなに自分と「不倫（心だけ？肉体も？）」をしていても、STOTTとJANEの関係が正統なカップルで、その関係を壊すことは「裏切り」だと考えているらしい。そういう解釈は正しいか考察せよ。
（４）「部屋が汚れる」という言い方は昨今の虐めを連想する。モラルに対する正義感（イヴへの軽蔑というキリスト教、女性嫌悪感覚にもつながる）から出た言葉か、「三人の共同体」で起った虐め感覚だと思うか。意見を述べよ。

Interior. Room. Day.
The curtains are closed.
STOTT in bed. JANE bending over him, touching his head.
She looks across at LAW.
Silence. (Second furnishing.)
LAW. Is he breathing?
JANE. Just.
LAW. His last, do you think?
Pause.
Do you think it could be his last?
JANE. It could be.
LAW. How could it have happened? He seemed so fit. He was fit. As fit as a fiddle. Perhaps we should have called a doctor. And now he's dying. Are you heartbroken?
JANE. Yes.
LAW. So am I.
Pause.
JANE. What shall we do with the body?
LAW. Body? He's not dead yet. Perhaps he'll recover.
They stare at each other.

（５）気絶したSTOTTをめぐるJANEとLAWの心境の違いについて説明せよ。
（６）「家族」を「心のネットワーク」と考えると、ネットワークが切断されると、「家族」から切離したい個人を抹殺する行動が起きる。この場合、殺人ではないが、もし、まだ回復する見込みがあるSTOTTの体をJANEの提案通り「遺体」として処理してしまったら、殺人になる。JANEは殺人未遂の一歩手前でもある。昨今の家族崩壊とそれに伴う虐待、殺人を、この作品は暗示しているように思われるが、どう考えるか見解を述べよ。


Interior. Room. Night.
LAW and JANE in a corner, snuffling each other like animals.

Interior. Room. Night.
STOTT at the window. He opens the curtains. Moonlight pierces the room. He looks round.

Interior. Room. Night.
LAW and JANE in a corner, looking up at the window, blinking.

（１）この一連のシーンで、LAWとJANEは動物のように、ただ互いの幸福感だけを追及する低級な存在で、STOTTは健康を回復し、孤高にＭをながめ、精神的に高い存在だということを表現している、と解釈して良いだろうか。

（２）「ライフコースで読む家族」、（有斐閣コンパクト、２００３）では「結婚のモラトリアム―「自由な」独身者という分析がある。以下に要点を示す。現代日本で二十代の結婚率が低下する原因に、「仕事の理解」「家事・育児」を考慮するポイントが男女ともに高いが、男性は従来の「男は仕事、女は家事・育児」を求め、女性はこれらの互いの分担を求めるすれちがいがある。また独身生活が「自由」を享受でき、親の家計を助けた以前と異なり、親や弟妹の扶養を引受けることもなく、社会に対して特別の責務も課せられていない。収入、時間を個人で自由にできる。日本の都会では、さらに親から食事、洗濯、掃除など身の回りの世話を受け、小遣いも与えられ、家では何の義務も課せられない。結婚しない方が楽で居心地が良い。

LAW、STOTT、JANEの共同生活は、上記から「親の世話」を差し引けば「社会的責任のない気ままさ」で共通する。結婚の意味が「互いの人格の尊重」「社会の一翼を担う家庭を維持する責任」ではなく「二人の関係を維持する意思」「愛情と幸福感」に最近は変化した。つまり人間が動物化したのだ。それをPinterが先取りして描いたといえないだろうか。つまり、その意味で三人は現代の二十代日本人の一面だといえないだろうか、意見を述べよ。

（３）LAWとJANEが部屋の隅にいる意味は何だと思うか。（英米では「部屋の隅」には特別な意味がある。「部屋の隅に置かれる」という表現もある。）
Interior. Room. Day.
STOTT at the window, closing the curtains. He turns into the room. The room is unrecognizable. The walls are hung with tapestries, an oval Florentine mirror, an oblong Italian Master. The floor is marble tiles. There are marble pillars with hanging plants, carved golden chairs, a rich carpet along the room's centre.
STOTT sits in a chair. JANE comes forward with a bowl of fruit.
STOTT chooses a grape. In the background LAW, in a corner, playing the flute. STOTT bites into the grape, tosses the bowl of fruit across the room. The fruit scatters. JANE rushes to collect it. STOTT picks up a tray containing large marbles.
He rolls the tray. The marbles knock against each other.
He selects a marble. He looks across the room at LAW playing the flute.

（４）ここでSTOTTはローマ皇帝か何かになり、JANEはその女奴隷、LAWは楽士にされてしまったのだろうか。そもそも、これは現実なのか夢なのか。
（５）STOTTが果物を撒き散らしJANEがそれを拾い集めるのは、JANEの裏切りに対してSTOTTが怒っているということだろうか。（あるいは奴隷か犬のように扱ってSTOTTがJANEを罰している？）
（６）フルートとハープは相性が良いので、よく一緒に演奏される。（日本でも尺八や笛一般と筝は相性が良い）JANEがハープを弾くというのが以前に出た。LAWがフルートを吹くのは、JANEとの「関係」を暗示しているとみなしてよいか。
（７）この場面を奇妙な三人組の共同生活のなれの果てと片づけるわけにはゆかない面がある。JANEの立場からいえば「仕事を持つ主人」と「家事・育児奴隷」の関係が中流階級の一夫一婦制道徳で、それはローマ皇帝と奴隷の関係のようなものだと批判的に提示したのではないか。

家族：岩上真珠、「ライフコースで読む家族」、（有斐閣コンパクト、２００３）ではモデルとしての「近代家族」には

１．生産からの分離（消費の単位としての家族）
２．ジェンダーによる固定的な役割分担（「夫は仕事、妻は家庭」というイデオロギーの普及）
３．夫婦・親子の愛情の強調（情緒性の重視）
４．子供中心主義（愛育の対象としての子供）
５．家族の集団境界の明確化（核家族化）という特徴が述べられる。

それが、現代になると

１．はパソコンで仕事をする夫婦などが現れて崩れ、
２．は、まさに批判の対象になり、
３．はますます重視され（愛情だけというより愛憎の強調）
４．５．は必ずしも要件ではなくなった。

そうした変化をPinterは先取りし、「近代家族」は危機に瀕し、特に２．が批判にさらされていることを、このシーンで示したとともに、作品で現代社会を予測したようにも見える。この点について意見を述べよ。


LAW with flute.
At the other end of the room STOTT prepares to bowl.
STOTT. Play!
STOTT bowls.
The marble crashes into the wall behind LAW.
LAW stands, takes guard with his flute.
STOTT. Play!
STOTT bowls.
The marble crashes into the window behind LAW.
LAW takes guard.
STOTT. Play!
STOTT bowls. The marble hits LAW on the knee.
LAW hops.
LAW takes guard.
STOTT. Play!
STOTT bowls.

LAW brilliantly cuts marble straight into golden fish tank. The tank smashes. Dozens of fish swim across the marble tiles.
JANE. in the corner, applauds.
LAW waves his flute in acknowledgement.
STOTT. Play!
STOTT bowls.
Marble crashes into LAW's forehead. He drops.

（１） オンラインのタイムアウト・ロンドンから（なるべくTheatreの項目から、なければ他でもよい）自分の興味を惹いたサイト（特に面白そうだと思う演劇の紹介）を一つ選び、なぜ自分の興味を惹いたか説明せよ。
（２）イギリス人の特にゲーム好きが伺えるサイトを見つけ、報告せよ。また（１）で選んだサイトがゲームの楽しさと関係があるかないか考察せよ。
（３） 1980年代「家庭のない家族の時代」と呼ばれ、経済戦争の戦士である父親、家事・育児奴隷の母親、受験戦争の少年兵士の子供が、コミュニケーションのない孤独な「家族ゲーム」をするとされえた。Pinterは、本当に予測したかどうかは別にして、結果として現代の「ゲームの時代」を予測したかのようだ。（１）で選んだサイトがゲームと関りがある場合（関りがない場合は（２）で選んだサイト）そのサイトを中心に「現代人の孤独とゲーム」というテーマで論述せよ。

Interior. Kitchen. Night.
JANE in the kitchen, putting spoonfuls of instant coffee into two cups.

Interior. Room. Night.
The room is completely bare. Bare walls. Bare floorboards. No furniture. One hanging bulb. STOTT and LAW at opposite ends of the room. They face each other. They are barefooted. They each hold a broken milk bottle. They are crouched, still.

LAW's face, sweating.
STOTT's face, sweating.
LAW from STOTT's viewpoint.
STOTT from LAW's viewpoint.
JANE pouring sugar from a packet into the bowl.
LAW pointing his bottle before him, his arm taut.
STOTT pointing his bottle before him, his arm taut.
JANE pouring milk from a bottle into a jug.
STOTT slowly advancing along bare boards.
LAW slowly advancing.
JANE pouring a small measure of milk into the cups.
LAW and STOTT drawing closer.
JANE putting sugar into the cups.
The broken milk bottles, in shaking hands, almost touching.
The broken milk bottles fencing, not touching.
JANE stirring milk, sugar and coffee in the cups.
The broken milk bottles, in a sudden thrust, smashing together.

（１）この場面をウェストエンドでヒットさせるには、次の演出のどれが良いと思うか。
A) 哺乳瓶でフェンシングより、ちゃんとしたフェンシング。ハムレットとレイアティーズの試合のようにする。（社会情勢把握：大袈裟な騎士道より日常性を好んだ当時と違い、現代はちゃんと騎士の戦いにする方がアピールする。）
B) 「ライオン・キング」風に、二人にライオンのぬいぐるみを着せて闘わせる。（社会情勢把握：騎士道精神を親しみやすく表現する方を観客は好む。現代はぬいぐるみが好まれる時代である。）
C) 「美女と野獣」風に、STOTTを獣もしくは田舎の伊達男に、LAWを王子様に、JANEをベル（美人の田舎娘もしくはプリンセス）に変身させて闘わせる。（社会情勢把握：おとぎばなしやメルヘンに深刻な主題が載せられることを現代の観客は好む。）
D)「シンデレラ」風にJANEをシンデレラにLAWを王子様に、STOTTを女装して意地悪な継母にして闘わせる。（社会情勢把握：前項に同じ。）
E)「クリスマス・キャロル」「ドン・ジョヴァンニ」を念頭に、STOTTを幽霊にして闘わせる。（社会情勢把握：現代は幽霊がアピールする時代。）

（２）前問を参考に、各自オリジナルな演出方法を考え述べよ。（必ず「社会情勢把握」を付すこと。）

1Ｍ18Ｄ課題
Record turning on a turntable. Sudden music.
Debussy's 'Girl Wth The Flaxen Hair'.

Exterior. Front area. Night.

LAW standing centre, looking at the basement door.
JANE crouched by the wall. Rainhat. Raincoat. LAW wearing STOTT's raincoat.

（１）冒頭の場面に戻って、LAWとSTOTTが入れ替わるが、服装は同じという設定をどう思うか。
（２）結末が見えてきた段階で、全体を次のように書き換える案を三つ検討し、問題点、感想などを記せ。

２−１書き換え案１（全体を豪華にする）：「マンマ・ミーア」を念頭に（下の「マンマ・ミーア」のサイトをクリックし、ストーリーについて「English」と「日本人」と書かれた日本語を比較し、翻訳の問題点も、あれば指摘せよ）JANEとSTOTTの豪華な結婚式シーンで始める。二人は新婚の正装（STOTTはダークスーツに薔薇の花をさし、JANEは白地に小さな薔薇の模様があるワンピースといった）をして、リムジンでLAWが住む豪華な別荘に乗り付ける。海辺の逗留生活になる。筋の展開は同じにして、STOTTがローマ皇帝のようになり、LAWが楽士、JANEが女奴隷になるシーンは、逆にみすぼらしくする。STOTTはイーストエンドの顔役で、LAWとJANEは汚れた格好で付き従い、ゲームも路上のひなびたものにする。最後はまた豪華な結婚式シーンで、今度はLAWとJANEが結婚、新婚の正装、リムジンでSTOTTの別荘に乗り付ける。

２−２書き換え案２（「美女と野獣」別伝にする）：JANEは美人の田舎娘ベルとして田舎の伊達男（STOTT）に強制的に結婚させられてしまっている。二人が野獣（LAW）の住む城にふとしたことでさまよい込んでしまうことで話しを始める。野獣は伊達男をもてなし、後は城周辺でおこることにして、筋の展開は同じにする。JANEがLAWに好意をいだく時点で野獣（LAW）は王子様に変身する。STOTTがローマ皇帝のようになるシーンは、王子様とお姫様になったLAWとJANEを楽士と女奴隷としてこき使うシーンにする。その次の瞬間ローマ皇帝からSTOTTは野獣に変身してしまう。城から脱出した王子（LAW）とお姫様（JANE）は、やがて田舎の伊達男と美人の田舎娘のカップルに変身してしまう。そして、再び野獣（STOTT）の住む城にさまよい込む。

２−３書き換え案３（「シンデレラ」別伝にする）：JANEをシンデレラにし、意地悪な姉の一人をSTOTTの女装にする。継母と姉たちが王宮の舞踏会に出かけた後、魔法使いの手引きでシンデレラも舞踏会に行き注目を集めるが十二時の鐘が鳴るときに急ぎ退出し、ガラスの靴の片方を残すのは原作と同じ。そこから、結局シンデレラを王子（LAW）は探せず意地悪な姉の一人（STOTTの女装）と結婚することになり、シンデレラは新婦に付き添う下女として王宮に入る。三人で、王宮内で生活するうち、ガラスの靴が発見され、王子は意地悪な姉の一人（STOTTの女装）との結婚を解消し、シンデレラと結婚したいといいだす。その瞬間意地悪な姉の一人（STOTTの女装）は王子に変身する。STOTTは女装を脱ぎ捨て王子になり、二人を王宮から追い出す。王子（LAW）とシンデレラ（JANE）は落ちぶれ絶望する。そこへ魔法使いが現れ、王子を意地悪な姉の一人に、シンデレラを元の姿に変えて、意地悪な継母のもとに帰す。また、王宮で舞踏会があり…と最初の展開に戻る。 授業の最終日（2Ｍ1日）には「The　Basement」を現代のロンドンで（ニューヨークでも同時企画、やがて翻訳して東京でも）ヒットさせるには、どう脚色すべきか、という題で発表してもらいます。次の要件を必須にします。

１）どういう社会的条件を考慮するか。
２）他の演劇、ミュージカル、イベントの企画をどうとらえたか。
３）自分の脚色のポイントを筋書き（もしくはパワーポイントの得意な人はアニメーション効果も使い説明）

今週の課題
1Ｍ25Ｄ課題

Interior. Room.
Furnished as at the beginning.
STOTT sitting by the fire, reading. He is smiling at his book.

Exterior. Front area.
LAW still.

Interior. Room.
STOTT turns a page.
Doorbell.
STOTT looks up, puts his book down, stands, goes into the hall.

Interior. Room.
The room still. The fire burning.

Interior. Hall.
STOTT approaches the front door. He opens it.
Silence.
He stares at LAW. From his position in the doorway
STOTT cannot see JANE.
STOTT(with great pleasure). LAW!
LAW(smiling). Hullo, Charles.
STOTT. Good God. Come in!
STOTT laughs.
Come in!
LAW enters.
I can't believe it!

（１） LAWとSTOTTが入れ替わることに加え、全く冒頭と同じシーンに戻る行動までする結末をどう思うか。率直な感想を述べよ。
（２） この後、全く同じような三人の共同生活が始まるとおもうか。それとも、何か変化があると思うか。
（３） こうした結末で作者は何を言いたかったと思うか。（男女の三角関係はキャラクターが変っても不変？）
（４） この結末を見て、振り替えって、STOTTがＭを背にし、LAWとJANEが動物のようになったり、STOTTがローマ皇帝のようになり、LAWとJANEが楽士、奴隷のようになったりした場面は何だったと思うか。（STOTTの妄想？）
（５） 同じく、冬と夏の季節が錯綜したり、家具がめまぐるしく入れ替わったことは何だったと思うか。
（６）前回に引き続き、次の書き換え案を検討し、問題点、感想などを記せ。(『クリスマス・キャロル』を知らない人は、以下のあらすじを参考にせよ）

Mini Plot:
Ebenezer Scrooge is a penny-pinching miser in the first degree. He cares nothing for the people around him and mankind exists only for the money that can be made through exploitation and intimidation. He particularly detests Christmas which he views as 'a time for finding yourself a year older, and not an hour richer'. Scrooge is visited, on Christmas Eve, by the ghost of his former partner Jacob Marley who died seven Christmas Eves ago.

Marley, a miser from the same mold as Scrooge, is suffering the consequences in the afterlife and hopes to help Scrooge avoid his fate. He tells Scrooge that he will be haunted by three spirits. These three spirits, the ghosts of Christmas past, present, and future, succeed in showing Scrooge the error of his ways. His glorious reformation complete, Christmas morning finds Scrooge sending a Christmas turkey to his long-suffering clerk, Bob Cratchit, and spending Christmas day in the company of his nephew, Fred, whom he had earlier spurned.

Scrooge's new-found benevolence continues as he raises Cratchit's salary and vows to assist his family, which includes Bob's crippled son, Tiny Tim. In the end Dickens reports that Scrooge became ' as good a friend, as good a master, and as good a man, as the good old city knew'.

書き換え案４（「クリスマス・キャロル」別伝にする）：スクルージ（LAW）の経営するケチで凝り固まった店に、若き日のスクルージ（STOTT）が恋人（JANE）を伴ってやってきて働き始める。スクルージ（LAW）の影響を受け、次第に若き日のスクルージ（STOTT）はケチな商売人になってゆく。やがて幽霊があらわれスクルージ（LAW）は改心して、チャリティーも行い恋愛もできる自由闊達な人格になる。一方若き日のスクルージ（STOTT）はケチで狭量になってゆくため恋人（JANE）はスクルージ（LAW）に惹かれるようになり、二人は店を出て行く。何年かして二人は食い詰め、また若き日のスクルージ（STOTT）が経営する店に戻ってきて働き始め…。

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以下は『お茶会』の小説版のテキストです。
The Party (Short Story)

I wrote this short story in 1963, and in 1964 was commissioned by the B.B.C. to write a play for the European Broadcasting Union. I decided to treat the same subject in play form. In my view, the story is the more successful.

My eyes are worse.

My physician is an inch under six feet. There is a grey strip in his hair, one, no more. He has a brown stain on his left cheek. His lampshades are dark blue drums. Each has a golden rim. They are identical. There is a deep black burn in his indian carpet. His staff is bespectacled, to a woman. Through the blinds I hear the birds of his garden. Sometimes his wife appears, in white.

He is clearly sceptical on the subject of my eyes. According to him my eyes are normal, perhaps even better than normal. He finds no evidence that my sight is growing worse.

My eyes are worse. It is not that I do not see. I do see.

My job goes well. My family and I remain close friends. My two sons are my closest friends. My wife is closer. I am close friends with all my family, including my mother and my father. Often we sit and listen to Bach. When I go to Scotland I take them with me. My wife's brother came once, and was usuful on the trip.

I have my hobbies, one of which is usin g a hammer and nails, or a screw driver and screws, or various saws, on wood, constructing things or making things useful, finding a use for an object which appears to have no value. But it is not so easy to do this when you see double, or when you are blinded by the object, or when you do not see at all, or when you are blinded by the object.

My wife is happy. I use my imagination in bed. We love with the light on. I watch her closely, she watches me, In the morning her eyes shine. I can see them shing through her spectacles.

All winter the skies were bright. Rain fell at night. In the morning the skies were bright. My back hand flip was my strongest weapon. Taking position to face my wige's brother, across the dear table, my bat lightly clasped, my wrist flexing, I waited to loosen my flip to his forehand, wathch him (shocked)dart and be beaten, flounder and sulk. My forehand was not so powerful, so swift. Predictably, he attacked my forehand. There was a ringing sound in the room, a rubber sound in the walls. Predictably, he attacked my forehand. But once far to the right on my forehand, and my weight genuinely disposed, I could employ my backhand flip, unanswerable, watch him flounder, akid and be beaten. They were close games. But it is not now so easy when you see the pingpong ball double, or do not see it at all or when, hurtling towards you at speed, the ball blinds you.

I am pleased with my secretary. She knows the business well and loves it. She is trustworthy. She makes calls to Newcastle and Birmingham on my behalf and is never fobbed off. She is respected on the telephone. Her voice is persuasive. My partner and I agree that she is of inestimable value to us. My partner and my wife often discuss when the three of us meet for coffee or drinks. Neither of them, when discussing Wendy, can speak highly enough of her.

On bright days, of which there are many, I pull the blinds in my office in order to dictate. Often I touch her swelling body. She reads back, flips the page. She makes a telephone call to Birmingham. Even were I , while she speaks (holding the receiver lightly, her other hand poised for notes), to touch her swelling body, her call would still be followed to its conclusion. It is she who bandages my eyes, while I touch her swelling body.

I do not remember being like my sons in any way when I was a boy. Their reserve is remarkable. They seem stirred by no passion. They sit silent. An odd mutter passes between them. I can't hear you, what are you saying, speak up, I say. My wife says the same. I can't hear you, what are you saying, speak up. They are of an age. They work well at school, it appars. But at pingpong both are duds. As a boy I was wide awake, of passionate interests, voluble, responsive, and my eyesight was excellent. They resemble me in no way. Their eyes are glazed and evasive behind their spectacles.

My brother in law was best man at our wedding. None of my friends were at that time in the country. My closest friend, who was the natural choice, was called away suddnly on business. To his great regret, he was therefore forced to opt out. He had prepared a superb speech in honour of the groom, to be delivered at the reception. My brother in law could not of course himself deliver it, since it referred to the longstanding frindship which existed between Atkins and myself, and my brother in law kneo little of me. He was threfore confronted with a difficult problem. He solved it by making his sister his central point of reference. I still have the present he gave me, a carved pencil sharpener, from Bali.

The day I first interviewed Wendy she wore a tight tweed skirt. Her left thigh never ceased to caress her right, and vice versa. All this took place under her skirt. She seemed to me the perfect secretary. She listened to my counsel wide-eyed adn attentive, her hands calmly clasped, trim, bulgy, plump , rosy, swelling. She was clearly the possessor of an active and inquireing intelligence. Three times she cleaned her spectacles with a siken kerchief.

After the wedding my brother in law asked my dear wife to remove her glasses. He peered deep into her eyes. You have married a good man, he said. He will make you happy. As he was doing nothing at the time I invited him to join me in the business. Before long he became my partner, so keen was his industry, so sharp his business acumen.

Wendy's commonsense, her clarity, her discfretion, are of inestimable value to our firm.

With my eye at the kehole I hear goosing, the squeak of them. The slit is black, only the sliding gussle on my drum, the hiss and flap of their bliss. The room sits on my head, my skull creased on the brass and and loathsome handle I dare not twist, for fear of seeing black screech and scrape of my secretary writhing blind in my partner's paunch and jungle.

My wife reached down to me. Do you love me, she asked. I do love you, I spant into her eyeball. I shall prove it yet, I shall prove it yet, what proof yet, what proof remaining, what proof not yet given. All proof. (For my part, I decided on a more cunning, more allusive strategem.) Do you love me, was my counter.

The pingpong table streaked with slime. My hands pant to gain the ball. My sons watch. They cheer me on. They are loud in their loyalty. I am moved. I fall back on strokes, on gambits, long since gone, flip, cut, chop, shtip, bluff to my uttermost. I play the ball by nose. The twins hail my efforts gustily. But my brother in law is no chump. He slams again, he slams again, deep to my forehand. I skid, flounder, stare sightless into the crack of his bat.

Where are my hammers, my screws, my saws?

How are you? asked my partner. Bandage on straight? Knots tight?

The ddor slammed. Where was I? In the office or at hime? Had someone come in as my partner went out? Had he gone out? Was it silence I heard, this scuffle, creak, squeal, scrape, gurgle and muff? Tea was being poured. Heavy thighs (Wendy's? my wife's? both? apart? together?)trembled in stilletos. I sipped the liquid. It was welcome. My physician greeted me warmly. In a minute, old chap, we'll take off those bandages. Have a rock cake. I declined. The birds are at the bird bath, called his white wife. They all rushed to look. My sons sent something flying. Someone? Surely not. I had never heard my sons in such good form. They chattered, chuckled, discussed their work eagerly with their uncle. My parents were silent. The room seemed very small, smaller than I had remembered it. I knew whrer everything was, every particular. But its smell had altered. Perhaps because the room was overcrowded. My wife broke gasping out of a fit of laughter, as she was wont to do in the early days of our marriage. Why was she laughing? Had someone told her a joke? Who? Her sons? Unlikely. My sons were discussing their work with my physician and his wife. Be with you in a minute, old chap, my physician called to me. Meanwhile my partner had the two women half stripped on a convenient rostrum. Whose body swelled most? I had forgotten. I picked up a pingpong ball. It was hard. I wondered how far he had stripped the women. The top halves or the bottom halves? Or perhaps he was now raising his spectacles to view my wife's swelling buttocks, the swelling breasts of my secretary. How could I verify this? By movemnet, by touch. But that was out of the question. And could such a sight possibly take place under the eyes of my own children? Would they continue to chat and chuckle, as they still did, with my physician? Hardly. However, it was good to have the bandage on straight and the knots tight.

---

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(1)『お茶会』のテキスト

これは作品の書き出しのサンプルです。19年度前期にやったものです。
Dramatis Personae
Disson
Wendy
Diana
Willy
Tom
John
Disley
Lois
Father
Mother

An electric lift rising to the top floor of an office block. Wendy stands in it.

Corridor.
The lift comes to rest in a broad carpeted corridor, the interior of an office suite. It is well appointed, silent. The walls are papered with Japanese silk. Along the walls in alcoves are set, at various intervals, a selection of individually designed wash basins, water closets and bidets, all lit by hooded spotlights.
Wendy steps out of the lift and walks down the corridor towards a door. She knocks. It opens.

Disson's office. Morning.
DISSON rising from a large desk. He goes round the desk to meet Wendy and shakes her hand.
DISSON. How do you do, Miss Dodd? Nice of you to come. Please sit down.(Disson goes back to his seat behind the desk. Wendy sits in a chair at the corner of the desk.) That's right.(He refers to papers on the desk.)Well now, I've had a look at your references. they seem to be excellent. You've had quite a bit of experience.
WENDY.Yes, sir.
この後はQestionsに続きます。

これはPinterの’Ｔｈｅ　Ｔｅａｐａｒｔｙ’のテキストと課題です。
There are 3 questions like TOEIC related to the same work(.TEA PARTY by Harold Pinter).

Question
--------------------------------------------------------------------------------
NO.1: This question refers to the following passage

TEA PARTY by Harold Pinter

Dramatis Personae
Disson
Wendy
Diana
Willy
Tom
John
Disley
Lois
Father
Mother

An electric lift rising to the top floor of an office block. Wendy stands in it.

Corridor.
The lift comes to rest in a broad carpeted corridor, the interior of an office suite. It is well appointed, silent. The walls are papered with Japanese silk. Along the walls in alcoves are set, at various intervals, a selection of individually designed wash basins, water closets and bidets, all lit by hooded spotlights. Wendy steps out of the lift and walks down the corridor towards a door. She knocks. It opens.

Disson's office. Morning.
DISSON rising from a large desk. He goes round the desk to meet Wendy and shakes her hand.
DISSON. How do you do, Miss Dodd? Nice of you to come. Please sit down.(Disson goes back to his seat behind the desk. Wendy sits in a chair at the corner of the desk.) That's right.(He refers to papers on the desk.)Well now, I've had a look at your references. They seem to be excellent. You've had quite a bit of experience.
WENDY.Yes, sir.

"Disson says, ‘That’s right.’ Which of the following describes the situation?"

(A)He refers to papers on the desk and appreciates Wendy.
(B)He admits that Wendy sits down properly.
(C)He is satisfied with Wendy’s action to sit down.
(D)He appreciates both Wendy’s action to sit down and papers on the desk.

--------------------------------------------------------------------------------
NO.2: This question refers to the following passage

DISSON. Not in my line, of course. We manufacture sanitary ware. . . but I suppose you know that?
WENDY. Yes, of course I do, Mr Disson.
DISSON. You’ve heard of us, have you?
WENDY. Oh yes.
Wendy crosses her left leg over her right.
Disson. Well, do you think you’d be interested in . . . in this area of work?
WENDY. Oh, certainly, sir, yes, I think I would.
DISSON. We're the most advanced sanitary engineers in the country. I think I can say that quite confidently.
WENDY. Yes, I believe so.
DISSON. Oh yes. We manufacture more bidets than anyone else in England. (He laughs.) It's almost by way of being a mission. Cantilever units, hidden cisterns, footpedals, you know, things like that.
WENDY. Footpedals?
DISSON. Instead of chain or plug. A footpedal.
WENDY. Oh. How marvellous.
DISSON. They're growing more popular every day and rightly so.

Wendy crosses her right leg over her left.
Well now, this . . . post is, in fact, that of my personal assistant. Did you understand that? A very private secretary, in fact. And a good deal of responsibility would undoubtedly devolve upon you. Would you . . . feel yourself capable of discharging it?

"Which of the following describes the situation?"

(A)Disson asks Wendy if she can do the work.
(B)Disson asks Wendy if she can stop the work.
(C)Disson asks Wendy if she can relieve someone to do the work.
(D)Disson asks Wendy if she can be relieved by someone to do the work.

--------------------------------------------------------------------------------
NO.3: This question refers to the following passage


WENDY. Once I'd correlated all the fundamental features of the work, sir, I think so, yes.
DISSON. All the fundamental features, yes, Good.

Wendy crosses her left leg over her right.
I see you left your last job quite suddenly.
Pause.
May ask the reason?
WENDY. Well, it's . . . a little embarrassing, sir.
DISSON. Really?
Pause.
Well, I think I should know, don't you? Come on, you can tell me. What was it?
Wendy straightens her skirt over her knees.
WENDY. Well, it is rather personal, Mr Disson.
DISSON. Yes, but I think I should know, don't you?
Pause.
WENDY. Well, it's simply that I couldn't persuade my chief . . . to call a halt to his attentions.
DISSON. What? (He consults the papers on the desk.) A firm of this repute? It's unbelievable.
WENDY. I'm afraid it's true, sir.
Pause.
DISSON. What sort of attentions?
WENDY. Oh, I don't . . .
DISSON. What sort?
Pause.
WENDY. He never stopped touching me, Mr Disson, that's all.

"Which of the following describes the situation?"

(A)Wendy asked her chief to stop watching her, but it was not accepted.
(B)Disson asks Wendy to tell the reason why she left her last job, but it is not accepted.
(C)Disson asks Wendy to tell the reason why she left her last job, and she answers very ambiguously.
(D)Wendy asked her chief to stop touching her, but it was not accepted.

---

DISSON. Touching you?
WENDY. Yes.
DISSON. Where?(Quickly.) That must have been very disturbing for you.
WENDY. Well, quite frankly, it is disturbing, to be touched all the time.
DISSON. Do you mean at every opportunity?
WENDY. Yes sir.
Slight pause.
DISSON. Did you cry?
WENDY. Cry?
DISSON. Did he make you cry?
WENDY. Oh just a little, occasionally, sir.
DISSON. What a monster.
Slight pause.
Well, I do symapathize.
WENDY. Thank you , sir.
DISSON. One would have thought this . . . tampering, this . . . interfering . . . with secretaries was something of the past, a myth, in fact, something that only took place in paperback books. Tch. Tch.
WENDY crosses her right leg over her left.
Anyway, be that as it may, your credentials are excellent and I would say you possessed an active and inquiring intelligence and a pleasing demeanour, two attributes I consider necessary for this post. I'd like you to start immediately.
WENDY Oh, that's wonderful. Thank you so much, Mr Disson.
DISSON. Not at all.
They stand. He walks across the room to another desk.
This'll be your desk.
WENDY. Ah.
DISSON. There are certain personal arrangements I'd like you to check after lunch. I'm . . . getting married tomorrow.
WENDY. Oh, congratulations.
DISSON. Thanks. Yes, this is quite a good week for me, what with one thing and another.
The telephone rings on his desk.
He crosses and picks it up.
Hullo, Disley. How are you? . . . What? Oh my goodness, don't say that.

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NO.4:今日は日本語で『ティーパーティー』からうかがわれる結婚式について考察します。
Disson's house. Sitting-room. Evening.
DIANA. This is my brother Willy.
DISSON. I'm very glad to meet you.
WILLY. And I you. Congratulations.
DISSON. Thank you.
DIANA(giving him a drink). Here you are, Rovert.
DISSON. Thanks. Cheeres.
DIANA. Cheers.
WILLY. To tomorrow.
Disson. Yes.
They drink.
I'm afraid we've run into a bit of trouble.
DIANA. Why?
DISSON. I've lost my best man.
DIANA. Oh no.
DISSON(to WILLY). My oldest friend. Man called Disley.
Gastric flu. Can't make it tomorrow.
WILLY. Oh dear.
DISSON. He was going to make a speech at the reception -- in my honour. A superb speech. I read it. Now he can't make it.
Pause.
WILLY. Isn't there annyone else you know?
DISSON. Yes, of course. But not like him . . . you see. I mean, he was the natural choice.
DIANA. How infuriationg.
Pause.
WILLY. Well, look, I can be your best man, if you like.
DIANA. How can you, Willy? You're giving me away.
WILLY. Oh yes.
DISSON. Oh, the best man's not important; you can always get a best man -- all he's got to do is stand there; it's the speech that's important, the speech in honour of the groom. Who's going to make the speech?
Pause.
WILLY. Well, I can make the speech, if you like.
DISSON. But how can you make a speech in honour of the groom when you're makeing one in honour of the bride?
WILLY. Does that matter?
DIANA. No. Why does it?
DISSON. Yes, but look . . . I mean, thanks very much . . . but fact is . . . that you don't know me, do you? I mean we've only just met. Disley knows me well, that's the thing, you see. His speech centred around our long-standing friendship. I mean, what he knew of my character . . .
WILLY. Yes, of course, of course. No, look, all I'm saying is that I'm willing to have a crack at it if there's no other soltion. Willing to come to the aid of the party, as it were.
DIANA. He is a wonderful speaker, Robert.
* * * *
ここまでのところで、考察してほしいこと。

（１）新郎側、新婦側の介添え人は日本でも重要か。
（２）スピーチはどのくらい日本の結婚式で重要か。
（３）新郎の親しい友人が急に出席不能になったら、会ったばかりの新婦の兄弟が、代わりに新郎側友人のスピーチを兼てやるという「不条理」性は、日英でどのくらいのものか。
（４）「マンマ・ミア」の筋書きにある結婚式の不条理性と比較考察せよ。

Wedding reception. Private room. Exclusive restaurant.
DISSON, DIANA, WILLY, DISSON'S PARENTS, DISSON'S SONS. WILLY is speaking.

WILLY. I remember the days my sister and I used to swim together in the lake at Sundrley. The grace of her crawl, even then, as a young girl. I can remember those long summer evenings at Sunderley, my mother and I crossing the lawn towards the terrace and through the great windows hearing my sister play Brahms. The delicacy of her touch. My mother and I would, upon entering the music room, gaze in silence at Diana's long fingers moving in exquisite motion on the keys. As for our father, our father knew no pleasure keener than watching his daughter at her needlework. A man whose business was the State's, a man eternally active, his one great solace from the busy world would be to sit for hours on end at a time watching his beloved daughter ply her needle. Diana -- my sister -- was the dear grace of our household, the flower, the blossom, and the bloom. One can only say to the groom: Groom, your fortune is immeasureable.

Applause. DIANA kisses him.
DISSON shakes his hand warmly.
TOASTMASTER. My lords, revernd gentlemen, ladies and gentlemen, pray silence for Mr William Pierrepoint Torrance, who will propose the toast in honour of the groom.
WILLY urns. Applause.
WILLY. I have not known Robert for a long time, in fact I have known him only for a very short time. But in that shhort ime I have found him to be a man of integrity, honesty and humility. After a modest beginning, he has built his business up into one of the proudest and most vigorous in the land. And this -- almost alone. Now he has married a girl who equals, if not surpasses, his own austere standards of integrity. He has married my sister, who possesses within her that rare and uncommon attribute known as inner beauty, not to mention the loveliness of her exterior. Par excellence as a woman with a needle, beyond excellence as a woman of taste, discernment, sensibility and imagination. An excellent swimmer who, in all probability, has the beating of her husband in the two hundred metres breast stroke.
Laughter and applause.
WILLY waits for silence.
It is to our parents that she owes her candour, her elegance of mind, her sensibilite. Our parents, who, though gone, have not passed from us, but who are here now on this majestic day, and offer you their welcome, the bride their love, and the groom their congratulations.
Applause. DIANA kisses him.
DISSOn shakes his hand warmly.
DISSON. Marvellous.

（5）−１女王の北アイルランドでのスピーチが自治権を約束するさきがけだということは、どんな点でわかるか。女王の表向きの内容がこうで、その裏にどう自治権の約束をにじませたか説明せよ
（５）−２こうしたウィリーのスピーチは上手だと思うか。表向きの内容はもっぱら新婦のことだのに、どう新郎側の代表としての内容をにじませたか。（５）−３ウィリーのスピーチのテクニックとして上手な面はどんなことか。

参考まで。私の友人の結婚式で、新郎の父親の挨拶は「こうして、窓のない式場にいますと、外がさっぱりわかりません。雨が心配です。ちょっと、そこにいるボーイに『雨は降っているか』と訊ねました。『わかりません』とボーイは言い、外の係員に『雨は降ってるか』と訊ねました。その人も『わかりません』と答えました。」（ここで大うけ）「いささか方々不義理をしたような気もしますが、みなさま本日はありがとうございました」で締めくくり、拍手喝さいでした。

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NO.5:いよいよDISSONの新婚生活が始まります。今日は「家族」がテーマです。

Disson's house. Breakfast room. Morning.
DISSON and DIANA at the table.
DISSON. Your eyes are shining.
Pause.
They're shining.
DIANA. Mmmnnn.
DISSON. They've been shining for months.
DIANA(smiling). My eyes? Have they?
DISSON. Every morning.
Pause.
I'm glad you didn't marry that . . . Jerry . . . whatever-hisnamewas . . .
DIANA. Oh, him . . .
DISSON. Why didn't you?
DIANA. He was weak.
Pause.
DISSON. I'm not weak.
DIANA. No.
DISSON. Am I?
He takes her hand.
DIANA. You're strong.

新婚生活の朝、DISSONはDIANAの過去の男について言及し、DIANAは弱い男だったから、その男は結婚せず、強いあなたと結婚したと言っている。
（１）こうした会話をどう思うか。（新婚生活の朝にしては甘さがなさすぎる。それなりに甘い男女の会話だ・・・etc.)

THE TWINS enter the room.
THE TWINS mutter, 'Morning'.
DIANA and DISSON say 'Good Morning'.
Silence. THE TWINS sit. DIANA pours tea for them. They butter toast, take marmalade, begin to eat.
Silence.
Would you like eggs?
TOM. No, thanks.
DIANA. John?
Silence.
DISSON. John!
JOHN. What?
DISSON. Don't say what!
JOHN. What shall I say?


（２）JOHNはお父さんであるDISSONにWhat？と言うなとたしなめられている。どう言うべきか。

DIANA. Would you like eggs?
Pause.
JOHN. Oh.
Pause.
No, thanks.
The boys giggle and eat. Silence.
JOHN whispers to TOM.
DISSON. What are you saying? Speak up.
JOHN. Nothing.
DISSON. Do you think I'm deaf?
TGOM. I've never thought about it.
DISSON. I wasn't talking to you. I was talking to John.
JOHN. Me? Sorry, sir.
DISSON. Now don't be silly. You've never called me sir before.
That's rather a daft way to address your father.
JOHN. Uncle Willy called his father sir. He told me.
DISSON. Yes, but you don't call me sir! Do you understand?


（３）こうした会話で親子の断絶は感じられるか。
（４）新しい母の兄弟であるWillyの情報から、突然、父親をsirと呼び始めるJOHNをどう思うか。

Disson's house. Sitting-room. Early evening.
DIANA and THE TWINS are sitting about, reading.Disson's house. Sitting-room. Early evening.
DIANA and THE TWINS are sitting about, reading.
DIANA. Do you miss your mother?
JOHN. We didn'T know her very well. We were very young when she died.
DIANA. Your father has looked after you and brought you up very well.
JOHN. Oh, thank you. He'll be pleased to hear that.
DIANA. I've told him.
JOHN. What did he say?
DIANA. He was pleased I thought so. You mean a great deal to him.
JOHN. Children seem to mean a great deal to their parents, I've noticed. Though I've often wondered what 'a great deal' means.
TOM. I've often wondered what 'mean' means.
DIANA. Aren't you proud of your father's achievements?
JOHN. We are. I should say we are.
Pause.
DIANA. And now that your father has married again . . . has the change in your life affected you very much?
JOHN. What change?
DIANA. Living with me.
JOHN. Ah. Well, I think there definitely is an adjustment to be made. Wouldn't you say that, Tom?
DIANA. Of course there is. But would you say it's an easy adjustment to make, or difficult?
JOHN. Well, it really all depends on how good you are at making adjustments. We're very good at makng adjustments, aren't we, Tom?
The front door slams. DIANA and THE TWINS look down at their books. DISSON comes in. They all look up, smile.
DISSON. Hullo.
they all smile genially at him.
DISSON looks quickly from one to the other.

(５）ここでmeanの意味が問題になっている。子供たちは、何を問いかけているのか。(参考：I love you I love you I love you / That's all I want to say / Until I find a way / I will say the only words I know that you'll understand / ...... / I need to I need to I need to / I need to make you see / Oh what you mean to me / Until I do I'm hoping you will know whta I mean......)
（６）こうしたイギリスの子供をどう思うか。（ませているetc.)
(７）通例日本のドラマでは、母親を好きか嫌いか、なつくか、なつかないかが問題になる。冷静に「適応」について語る場面はあまりない。イギリスと日本では根本的に親子関係が違うのだろうか。この点について考察せよ。

---

NO.6:今日はDISSONの目がおかしくなった話です。

Disson's house. Games room. Day.

DISSON and WILLY are playing ping-pong. THE TWINS watch. A long rally. DISSON backhand flips to win the point.
JOHN. Good shot, Dad.
TOM. Thirteen-eighteen.
WILLY. Your backhand's in form, Robert.
JOHN. Attack his forehand. WILLY serves. WILLY attacks DISSON's forehand. DISSON moves over to his right and then flips backhand to win the point. THE TWINS applaud.
TOM. Thirteen-nineteen.
WILLY. Backhand flip on the forehand, eh? WILLY serves. From DISSON's point of view see two balls bounce and leap past both ears.
TWINS. Shot!
TOM. Fourteen-nineteen. DISSON puts down his bat and walks slowly to WILLY.
DISSON. You served two balls, old chap.
WILLY. Two balls?
DISSON. You sent me two balls.
WILLY. No, no. Only one.
DISSON. Two.
Pause.
JOHN. One, Dad.
DISSON. What?
TOM. One.
Pause.
WILLY walks to DISSON's end, bends.
WILLY. Look.
WILLY picks up one ball.
One ball. Catch!
He throws the ball. DISSON gropes, loses sight of the ball. It bounces under the table. He crouches, leans under the table for it. Gets it, withdraws, looks up. WILLY and THE TWINS look down at him.
（１）TOMはDISSONとWILLYと、どちらの得点を先に言っているか。
（２）卓球の経過、DISSONの目がおかしくなった様子から、双子とDISSONの親子関係で、何か伺われることがあるか。

次に、DISSONは目医者に行く。どうもスピーチをしてくれるはずだった友達が目医者らしい。（死んだわけではなく、結婚式に出席してベストマンの役が出来なかっただけであった。）

Disley's surgery.
Room darkened.
A torch shining in DISSON's eyes. First the left eye, then the right eye. Torch out. Light on.
DISLEY. There's nothing wrong with your eyes, old boy.
DISSON. Nothing?
DISLEY. They're in first-rate condition. Truly.
DISSON. That's funny.
DISLEY. I'd go as far as to say your sight was perfect.
DISSON. Huh.
DISLEY> Check the bottom line.
DISLEY switches off the light, puts on the light on the letter board.
What is it?
DISSON. EXJLNVCGTY.
DISLEY. Perfect.
Board light off. Room light on.
DISSON. Yes, I know . . . I know that . . .
DISLEY. Well, what are you worried about?
DISSON. It's not that . . .
DISLEY. Colour? Do you confuse colours? Look at me. What colour am I?
DISSON. Colourless.
DISLEY(laughts, stops). Very funny. What distinguishing marks can you see about me?
DISSON. Two.
DISLEY. What?
DISSON. You have one grey strip in your hair, quite ffaint.
DISLEY. Good. What's the other?
DISSON. You have a brown stain on your left cheek.
DISLEY. A brown stain? Can you see that? (He looks in the mirror.) I didn't know it was so evident.
DISSON. Of course it's evident. It stains your face.
DISLEY. Don't . . . go on about it, old boy. I didn't realize it was so evident. No one's ever noticed it before.
DISSON. Not even your wife?
DISLEY. Yes, she has. Anyway, I'd say your eyes are sharp enough. What colour are those Lmpshades?
DISSON. They're dark blue drums. Each has golden rim. The carpet is Indian.
DISLEY. That's not a colour.
DISSON. It's white. Over there, by that cabinet, I can see a deep black burn.
DISLEY. A burn? Where? Do you mean that shadow?
DISSON. That's not a shadow. It's a burn.
DISLEY(looking). So it is. How the hell did that happen?
DISSON. Listen . . . I never said I couldn't see. You don't understand. Most of the time . . . my eeyesight is excellent. It always has been. But . . . it's bcome unreliable. It's become . . . erratic. Sometimes, quite suddenly, very occsionally, something happens . . . something . . . goes wrong . . .. with my eyes.
Pause.
DISLEY. I can find no evidence that your sight is in any way deficient.
DISSON. You don't understand.
A knock at the door. LOIS appears.
LOIS. I'm just going out. Wanted to say hullo to you before I go.
DISSON. Hullo, Lois.
He kisses her cheek.
LOIS. You've been in here for ages. Don't tell me you need glasses?
DISLEY. His eyes are perfect.
LOIS. They look it.
DISSON. What a lovely dress you're wearing.
LOIS. Do you like it? Really?
DISSON. Of course I like it.
LOIS. You must see if the birds are still there.
She lifts the blind.
Yes, they are. They're all at the bird bath.
They all look into the garden.
Look at them. They're so happy. They love my bath. They do, really. They love it. They make me so happy, my birds. And they seem to know, instinctively, that I adore them. They do, really.
（３）DISSONが‘Colourless.’と言ったのは、どういう意味か。なぜDISLEYは笑ったのか。
（４）LOISのドレスをなぜDISSONはほめたか。
（５）LOISはどうしてブラインドを開けて鳥をみせ、自分のつくった水浴び場を自慢したのか。
（６）全体的にDISSONの目の「疾患」は何の意味があるのか。

---

NO.7:今日はDISSONとWILLYがビジネスで協力する話です。そこに結婚がからみます。

Disson's office.
On a side table coffee is set for two.
DISSON goes to the table and pours.

DISSON. I think I should explain to you the sort of man I am. I'm a thorough mman. I like things to be done and done well. I don't like dithering. I don't like indulgence. I don't like self-doubt. I don't like fuzziness. I like clarity. Clear intention. Precise execution. Black or white?
WILLY. White, please.
DISSON. But I've no patience with conceit and self-regard. A man's job is to assess his powers coolly and correctly and equally the powers of others. Having done this, he can proceed to establish a balanced and reasonable relationship with his fellows. In my view, liging is a matter of active and willing participation. So is work. Sugar?
WILLY. Two, please.

（１）DISSONの演説は、ここまでで、要するに何が言いたいのか？
（２）コーヒーを提供する過程で演説がなされるのは、どのような理由からか？

DISSON. Now, dependence isn't a word I would use lightly, but I will use it and I don't regard it as aweakness. To understand the meaning of the term dependence is to understand that one's powers are limited and that to live with others is not only sensible but the only way work can be done and dignity achieved. Notheing is more sterile or lamentable than the man content to live within himself. I've always made it my business to be on the most direct possible terms with the members of my staff and the body of my business associates. And by my example opinions are declared freely, without shame ore deception. It seems to me essential that we cultivate the ability to operate lucidly upon our problems and therefore be in a position to solve them. That's why your sister loves me. I donn't play about at the periphery of matters. I go right to the centre. I believe life can be conducted efficiently. I never waste my energies in amy kind of timorous expectation. Neither do I ask to be loved. I expect to be given only what I've worked for. If you make a plum pudding, what do you do with it? You don't shove it up on a shelf. You stick a knife into it and eat it. Everything has a function. In other words, if we're to work together we must appreciate that interdependence is the key word, that it's your job to understand me and mine to understand you. Agreed?
（３）ここまでで、DISSONは何がいいたいのか？

WILLY. Absolutely.
DISSON. Now, the first thing you need is a secretary. We'll get on to it at once.
WILLY. Can I suggest someone? I know she's very keen and, I'd say, very competent.
DISSON. Who?
WILLY. My sister.
Pause.
DISSON. Your sister? You mean my wife?
WILLY. She told me she'd love to do it.
DISSON. She hasn't told me.
WILLY. She's shy.
DISSON. But she doesn't need to work. Why should she want to work?
WILLY. To be closer to you.


（４）夫が社長の会社で兄の秘書をやるというDIANAについてどう思うか。家内企業ではなく、かなりの企業らしい会社の場合。
（５）それを実行してしまうWILLYと、阻止しないDISSONをどう思うか。

Willy's office.
WILLY and DIANA at their desks, both examining folders intently.
Silence.

Disson's office.
DISSON and WENDY at their desks. WENDY typing on an electric typewriter. DISSON looking out of the window. DISSON turns from the window, glances at the door leading to WILLY's office. The intercom buzzes on WENDY's desk. She switches through.
WENDY. Mr DIsson does not want to be disturbed until 3.30.
DISSON glances again at WILLY's door.
Silence.
(６）こうしたＤｉｓｓｏｎのオフィスの雰囲気は何を表現しているか？

---

NO.8:今日はDISSONとWILLYとDIANAが現状について話し合うことが中心です。


Disson's house. Bedroom. Night.
DISSON alone, in front of a mirror.
He is tying his tie. He ties it. The front end hangs only half-way down his chest.
He unties it, ties it again. The front end, this time, is even shorter.
He unties it, holds the tie and looks at it.
He then ties the tie again. This time the two ends are of equal length.
He breathes deeply, relaxes, goes out of the room.

（１）Dissonのネクタイ結びの失敗を具体的に説明せよ。（二度失敗し三度目に成功）
（２）一般にネクタイ結びにはどのような要素を考慮する必要があるか。（イ)ネクタイの大きさ(ロ）生地（ハ）結び方(ニ）体型などについてDISSONの失敗との関連を説明せよ。
（３）前問について、知らなければ、なぜ知らないか、現在日本の若者はどうやってネクタイの結び方を知るかなどを考察せよ。

Disson's house. Dining room. Night.
DIANA, WILLY, DISSON at dinner.
DIANA. I'd say she was a real find.
WILLY. Oh, she's of inestimable value to the firm, wouldn't you say, Robert?
DISSON. Oh yes.
DIANA. I mean for someone who's not . . . actually . . . devotion and willingness to the job, as she does . . . well, it's remarkable. We were very lucky to find her.
DISSON. I found her, actually.
WILLY. You found me, too, old boy.
DIANA(laughing). And me.
Pause.
（４）ここでDISSONが返事をしなかったのはなぜか。
She's of course so comletely trust worthy, and so very persuasive, on the telephone. I've heard her . . . when the door's been open . . . once or twice.
WILLY. Oh, splendid girl, all round.
DISSON. She's not so bloody marvellouus.
Pause. They look at him.
She's all right, she's all right. But she's not so bloody marvellous.
DIANA. Well, perhaps not quite as accomplished as I am, no. Do you think I'm a good private secretary, Willy?
WILLY. First rate.
Pause. They eat and drink.
（５）ここまでのWILLYとDIANAのしゃべり方をどう思うか。
DISSON. I don't think it's a good idea for you to work.
DIANA. Me? Why not? I love it.
DISSON. I never see you. If you were at home I could take the occasional afternoon off . . . to see you. As it is I never see you. In day-time.
DIANA. You mean I'm so near and yet so far?
Pause.
DISSON. Yes.
DIANA. Would you prefer me to be your secretary?
DISSON. No, no, of course not. That wouldn't work at all.
Pause.
WILLY. But we do all meet at lunch-time. We meet in the evening.
DISSON looks at him.
DIANA. But I like working. You wouldn't want me to work for someone else, would you, somewhere else?
（６）ここで新婚の夫婦の問題として何が問題か整理せよ。
（７）前問の回答は現代日本の問題としても一般化できるか考察せよ。
DISSON. I certainly wouldn't. You know what Wendy told me, don't you?
DIANA. What?
DISSON. She told me her last employer was always touching her.
WILLY. No?
DISSON. Always. Touching her.
DIANA. Her body, you mean?
DISSON. What else?
Pause.
DIANA. Well, if we're to take it that that's general practice, I think it's safer to stay in the family, don't you? Mind you, they might not want to touch me in the way they wanted to touch her.
Pause.
（８）セクハラについてのDIANAの意見とDISSONの意見の違いは何か。
But, Robert, you must understand that I not only want to be your wife, but also your employee. I'm not embarrasing you, am I, Willy?
WILLY. No, of course you're not.
DIANA. Because by being your employee I can help to further your interests, our interests. That's what I want to do. And so does Willy, don't you?
（９）ここで語られるDIANAの心情を理解できるか。

Disson's office. Morning.
DISSON alone. He stands in the centre of the room. He looks at the door, walks over to WENDY's desk. He looks down at ther desk-chair. He touches it. Slowly, he sits in it. He sits still.
The door opens. WENDY comes in. He stands.
DISSON. You're late.
WENDY. You were sitting in my chair, Mr Disson.
DISSON. I said you're late.
WENDY. I'm not at all.
WENDY walks to her desk.
DISSON makes way for her. He moves across the room.
I'm hurt.
DISSON. Why?
WENDY. I've put on my new dress.
He turns, looks at her.
DISSON. When did you put it on?
WENDY. This morning.
Pause.
DISSON. Where?
WENDY. In my flat.
DISSON. Which room?
WENDY. In the hall, actually. I have a long mirror in the hall.
He stands looking at her.
Do you like it?
DISSON. Yes. Very nice.
（１０）なぜWENDYはI'm hurt.といったか。それは本気か冗談か。
（１１）ここでのDISSONとWENDYの関係で、何が問題だと思うか。
（１２）（追加）Wendyは客観的に見て遅刻したと思うか。遅刻した、しないで二人の見解が違った事情を説明せよ。

---

NO.９:今日はDISSONの目が悪くなり、セクハラめいたことをWENDYに始めることになります。

Disson's house. Workroom.
DISSON. Hold it firmly. You're not holding it firmly.
TOM holds a length of wod on the table. DISSON chips at its base.
Use pressure. Grip it.
JOHN. A clamp would be better.
DISSON. A clamp? I want you boys to learn how to
concentrate your physical energies, to do something useful.
JOHN. What's it going to be, Dad?
DISSON. You'll find out.
DISSON chips. He straightens.
Give me the saw.
JOHN. Me?
DISSON. The saw! Give me it! (To TOM.) What are you doing?
TOM. I'm holding this piece of wood.
DISSON. Well, stop it. I've finished chipping. Look at the point now.
JOHN. If you put some lead in there you could make a pencil out of it.
DISSON. They think you're very witty at your school, do they?
JOHN. Well, some do and some don't, actually, Dad.
DISSON. You. Take the saw.
TOM. Me?
DISSON. I want you to saw it off . . .from here.
DISSON makes a line with his finger on the wood.
TOM. But I can't saw.
JOHN. What about our homework, Dad? We've got to write an essay about the Middle Ages.
DISSON. Never mind the Middle Ages.
JOHN. Never mind the Middle Ages?
TOM. Can't you demonstrate how to do it, Dad? Then we could watch.
DISSON. Oh, give me it.
DISSON takes the saw and points to a mark on the wood.
Now . . . from here.
TOM(pointing). You said from here.
DISSON. No, no, from here.
JOHN (pointing to the other end). I could have sworn you said from there.
Pause.
DISSON. Go to your room.
Pause.
Get out.
JOHN goes out. DISSON looks at TOM.
Do you want to learn anything?
TOM. Yes.
DISSON. Where did I say I was going to saw it?
He stares at the wood. TOM holds it still.
Hold it still. Hold it. Don't let it move.
DISSON saws. The saw is very near TOM's fingers.
TOM looks down tensely. DISSON saws through.
TOM. You nearly cut my fingers off.
DISSON. No, I didn't . . .I didn't . . .
He glares suddnly at TOM.
You didn't hold the wood still!

(１）目が悪くなる父親に対しJOHNとTOMのとる態度の違いは何か。
（２）宿題をめぐるJOHNとDISSONの対立点は何か。

Disson's office.
The curtains are drawn.
DISSON. Come here. Put your chiffon round my eyes. My eyes hurt.
WENDY ties a chiffon scarf round his eyes.
I want you to make a call to Newcastle, to Mr Martin. We're still waiting for delivery of goods on Invoice No. 634729. What is the cause for delay?
WENDY picks up the telephone, dials, waits.
WENDY. Could I have Newcastle 77254, please. Thank you.
She waits. he touches her body.
Yes, I'm holding.
He touches her. She moves under his touch.
Hullo, Mr Martin, please. Mr Disson's office.
Camera on him. His arm stretching.
Mr Martin? Mr DIsson's office. Mr Disson . . . Ah, you know what it's abot (She laughs.) Yes . . . Yes.
Camera on him. He leans forward, his arm stretching.
Oh, it's been dispatched? Oh good. Mr Disson will be glad.
She moves under his touch.
Oh, I will. of course I will.
She puts the phone down. he withdraws his hand.
Mr Martin sends his apologies. The order has been dispatched.

（３）目隠しをされた状態で秘書の身体に触るのはセクハラになるか。またはっきりNoと言わないWENDYをどう思うか。

The intercom buzzes. She switches through.
WILLY's voice. Yes?
WILLY. Oh, Wendy, is Mr Disson there?
WENDY. Did you want to speak to him, Mr Torrance?
（４）なぜ過去形か。
WILLY. No. Just ask him if I might borrow your services for five minutes.
DISSON. What's happened to his own secretary?
WENDY. Mr Dissn would like to know what has happened to your own secretary.
WILLY. She's unwell. Gone home. just five minutes, that's all.
DISSON gestures towards the door.
WENDY. Be with you in a minute, Mr Torrance.
WILLY. Please thank Mr Disson for me.
The intercom switches off.
WENDY. Mr Torrance would like me to thank you for him.
DISSON. I heard.
WENDY goes through the inner door into WILLY's office, shuts it.
Silence.

（５）WILLYが監視カメラでDISSONの様子を伺い、WENDYを救済するために電話したように見えるが、これは考えすぎだろうか。

DISSON sits still, the chiffon round hs eyes. He looks toward the door.
He hears giggles, hissing, gurgles, squeals.
He goes to the door, squats by the handle, raises the chiffon, tries to look through the keyhole. Can see nothing through the keyhole. He drops the chiffon, puts his ear to the door. The handle presses into his skull. The sounds continue.
Sudden silence.
The door has opened.
A pair of woman's legs stand by his squatting body. he freezes, slowly puts forward a hand, touches a leg. He tears the chiffon from his eyes. It hangs from his neck. He looks up.
DIANA looks down at him.
Behind her, in the other room, WENDY is sitting, taking dictation from WILLY, who is standing.
DIANA. What game is this?
He remains.
Get up. What are you doning? What are you doing with that scarf? Get up from the floor. What are you doing?
DISSON. Looking for something.
DIANA. What?
WILLY walks to the door, smiles, closes the door.
What were you looking for? Get up.
DISSON(standing). Don't speak to me like that. How dare you speak to me like that? I'll knock your teeth out.
She covers her face.
What were you doing in there? I thought you'd gone home.
What were you doing in there?
DIANA. I came back.
DISSON. You mean you were in there with both of them? In there with both of them?
DIANA. Yes! So what?
Pause.
DISSON(calmly). I was looking for my pencil, which had rolled off my desk. Here it is. I found it, just before you came in, and put it in my pocket. My eyes hurt. I borrowed Wendy's scarf, to calm my eyes. Why are you getting so excited?

（６）DISSONのDIANAへの気持ち、DIANAのDISSONへの気持ちを説明せよ。
（７）会社における公私混同は日本とイギリスとでどう違うと思うか。

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NO.１０:今日はDISSONの目が悪くなることとWENDY,DIANAとの奇妙な三角関係の話です。
Disson's office. Day
DISSON at his desk, writing. WENDY walks to the cabinet, examines a file. Silence.
DISSON. What kind of flat do you have, Wendy?
WENDY. Quite a small one, Mr Disson. Quite pleasant.
DISSON. Not too big for you, then? Too lonely?
WENDY. Oh no, it's quite small. Quite cosy.
DISSON. Bathroom fittings any good?
WENDY. Adequate, Mr Disson. Not up to our standard.
Pause.

（１）部屋の広さをきくのは何のためだったと思うか。

DISSON. Live there alone, do you?
WENDY. No, I share it with a girl friend. But she's away quite a lot of the time. She's an air hostess. She wants me to become one, as a matter of fact.
DISSON. Listen to me, Wendy. Don't ever . . . dream of becoming an air hostess. Never. The glamour may dazzle from afar, but, believe you me, it's a mess of a life . . .a mess of a life . . .
He watches WENDY walk to her desk with a file and then back to the cabinet.

（２）DISSONがWENDYの日常生活に立ち入ることをどう思うか。
（３）なぜスチュワーデスをDISSONｊはすすめないのだと思うか。

Were you lonely as a child?
WENDY. No.
DISSON. Nor was I. I had quite a lot of friends. True friends. Most of them live abroad now, of course - banana planters, oil engineers, Jamaica, the Persian Gulf . . .but if I were to meet them tomorrow, you know . . . just like that . . . there'd be no strangeness, no awkwardness at all. We'd continue where we left off, quite naturally.

（４）要するにDISSONはここで何がいいたいのか。

WENDY bends low at the cabinet.
He stares at her buttocks.
It's a matter of a core of afffection, you see . . . a core of undying affection . . .
Suddenly WENDY's body appears in enormous close-up. Her buttocks fill the screeen.
His hands go up to keep them at bay.
His elbow knocks a round table lighter from his desk.
Picture normal.
WENDY turns from the cabinet, stands upright.
WENDY. What was that?
DISSON. My lighter.
She goes to his desk.
WENDY. Where is it?
She kneels, looks under the desk. The lighter is at his feet.
She reaches for it. He kicks it across the room.
(Laughing.) Oh, Mr DIsson, why did you do that?
She stands. He stands. She goes towards the lighter. He gets to it before her, stands with it at his feet. He looks at her.
She stops.
What's this?
DISSON feints his body, left to right
DISSON. Come on.
WENDY. What?
DISSON. Tackle me. Get the ball.

（５）Tackleを何と訳すか？

WENDY. What do I tackle with?
DISSON. Your feet.
She moves forward deliberately.
He dribbles away, turns, kicks the lighter along the carpet towards her. Heer foot stops the lighter. She turns with it at her foot.
Ah!
She stands, legs apart, the lighter between them, staring at him.
She taps her foot.
WENDY. Come on, them!
He goes towards her. She eludes him. He grasps her arm.
That's a foul!
DISSON. Sorry.

（６）このセクハラの切り抜け方をどう思うか。

She stands with the lighter between her feet.
WENDY. Come on, come on. Tackle me, tackle me. Come on, tackle me! Get the ball! Fight for the ball!
He begins to move, stops, sinks to the floor. She goes to him.
What's the matter?
DISSON. Nothing. All right. Nothing.
WENDY. Let me help you up.
DISSON. No. Stay. You're very valuable in this office. Good worker. Excellent. if you have any complaints, just tell me. I'll soon put them right. You're a very efficient secretary. Something I've always needed. Have you everything you want? Are your working conditions satisfactory?
WENDY. Perfectly.
DISSON. Oh good. Good . . . Good.

（７）急にDISSONが社長らしく秘書の勤務条件について尋ねることをどう思うか。
（８）そもそもライターをめぐるゲーム何だったのだろうか。

Disson's house. Bedroom. Night
DISSON and DIANA in bed, reading. She looks at him.
DIANA. You seem a little subdued . . . lately.
DISSON. Me? Not at all. I'm reading the Life of Napoleon, that's all.
DIANA. No, I don't mean now, I mean generally. Is there - ?

（９）この後DIANAは何を言おうとしたのか。

DISSON. I'm not at all subdued. Really.
Pause.
DIANA. It's our first anniversary next Wednesday, did you know that?
DISSON. Of course I did. How could I forget? We'll go out together in the evening. Just you and I. Alone.
DIANA. Oh. Good.
DISSON. I'm also giving a little tea party in the office, in the afternoon. My mother and father'll be up.
DIANA. Oh good.
Pause.
DISSON. How have you enjoyed our first year?
DIANA. It's been wonderful. It's been a very exciting year.
Pause.
DISSON. You've been marvellous with the boys.
DIANA. They like me.
DISSON. Yes, they do. They do.
Pause.
It's been a great boon, to have you work for the firm.
DIANA. Oh, I'm glad. I am glad.
Pause.
Be nice to get away to Spain.
Pause.
DISSON. You've got enough money, haven't you? I mean, you have suddicient money to see you through, for all you want?
DIANA. Oh yes. I have, thank you.
Pause.
DISSON. I'm very proud of you, you know.
DIANA. I'm proud of you.
Silence.

（１０）この新婚夫婦の関係は正常だと思うか。異常な点があるとしたら、どのような点か。

Disson's office.
DISSON. Have you written to Corley?
WENDY. Yes, Mr Disson.
DISSON. And Turnbull?
WENDY. Yes, Mr Disson.
DISSON. And Erverley?
WENDY. Yes, Mr Disson.
DISSON. Carbon of the Erverley letter, please.
WENDY. Here you are, Mr Disson.
DISSON. Ah. I see you've spelt Erverley right.
WENDY. Right?
DISSON. People tend, very easily, to leave out the first R and call him Everley. You haven't done that.
WENDY. No. (She turns.)
DISSON. Just a minute. How did you spell Turnbull? You needn't show me. Tell me.
WENDY. TURNBULL.
DISSON. Quite correct.
Pause.
Quite correct. Now what abou - ?
The screen goes black.
Where are you?
Pause.
I can't see you.
WENDY. I'm here, Mr Disson.
DISSON. Where?
WENDY. You're looking at me, Mr Disson.
DISSON. You mean my eyes are open?
Pause.
WENDY. I'm where I was. I haven't moved.
DISSON. Are my eyes open?
WENDY. Mr Disson, really . . .
DISSON. Is this you? This I feel?
WENDY. Yes.
DISSON. What, all this I can feel?
WENDY. You're playing one of your games, Mr Disson. You're being naughty again.
Vision back.
DISSON looks at her.
You sly old thing.

（１１）DISSONの目が見えなくなるのは、どんな心理によるのか。また作者は、どんな原因を設定していると思うか。

---

NO.１１:今日はDISSONの目が悪くなることと男同士の友情,DIANAとの夫婦愛とは、といった話です。

Disley's surgery.
A torch shines in DISSON's eyes, first right, then left. Torch out. Light on.
DISLEY. There's nothing wrong with them.
DISSON. What then?
DISLEY. I only deal with eyes, old chap. Why do you come to me? Why don't you go to someone else?
DISSON. Because it's my eyes that are affected.
DISLEY. Look. Why don't you go to someone else?

（１）このDISLEYの言葉は、純粋に医学的なものか、人間関係が絡んでいるか。

DISLEY begins to clear away his instruments.
Nothing worrying you, is there?
DISSON. Of course not. I've got everything I want.
DISLEY. Getting a holiday soon?
DISSON. Going to Spain.
DISLEY. Lucky man.
Pause.
DISSON. Look. Listen. You're my oldest friend. You were going to be the best man at my wedding.
DISLEY. That's right.
DISSON. You wrote a wonderful speech in my honour.
DISLEY. Yes.
DISSON. But you were ill. You had to opt out.
DISLEY. That's right.
Pause.
DISSON. Help me.
Pause.
DISLEY. Who made the speech? Your brother-in-law, wasn't it?
DISSON. I don't want you to think I'm not a happy man. I am.
DISLEY. What sort of speech did he make?

（２）DISLEYは、この問いを単なる興味本位で発したのか、それとも、別に何か意図があるのか。


Disson's house. Sitting-room. Evening.
DISSON. Tell me about Sunderley.
WILLY. Sunderley?
DISSON. Tell me about the place where you two were born.
Where you played at being brother and sister.

（３）なぜDISSONは「兄妹ごっこ」をしたと言ったのか。

WILLY. We didn't have to play at being brother and sister. We were brother and sister.
DIANA. Stop drinking.
DISSON. Drinking? You call this drinking? This? I used to down eleven or nine pints a night! Eleven or nine pints! Every night of the stinking week! Me and the boys! The boys! And me! I'd break any man's hand for . . . for playing me false. That was before I became a skilled craftsman. That was before . . .

（４）要するにDISSONは何に対して不満をいだいているのか。

He falls silent, sits.
WILLY. Sunderley was beautiful.
DISSON. I know.
WILLY. And now it's gone, for ever.
DISSON. I never got there.

（５）これは本当か。それとも、以下にあるように、DISSON は行ったことがあるのか。

DISSON stands, goes to get a drink.
He turns from drinks table.
What are you whispering about? Do you think I don't hear?
Think I don't see? I've got my memories, too. Long before this.
WILLY. Yes, Sunderley was beautiful.
DISSON. The lake.
WILLY. The lake.
DISSON. The long windows.
WILLY. From the withdrawing-room.
DISSON. On to the terrace.
WILLY. Music playing.
DISSON. On the piano.
WILLY. The summer nights. The wild swans.
DISSON. What swans? What bloody swans?
WILLY. The owls.
DISSON. Negroes at the gate, under the trees.
WILLY. No Negroes.

（６）なぜDISSON は黒人を思い浮かべたのか。
（７）それを否定したWILLYが言う事情はどのようなものだったと思うか。

DISSON. Why not?
WILLY. We had no Negroes.
DISSON. Why in God's name not?
WILLY. Just one of those family quirks, Robert.
DIANA(standing). Robert.
Pause.
Come to bed.
DISSON. You can say that , in front of him?
DIANA. Please.
DISSON. In front of him?

（８）現代の夫婦でも、言葉ではなくサインを決めているようなことを、はっきり人前で言うDIANAをどう思うか。

He goes to her.
Why did you marry me?
DIANA. I admired you. You were so positive.
DISSON. You loved me.
DIANA. Youwere kind.
DISSON. You loved me for that?
DIANA. I found you admirable in your clarity of mind, your surety of purpose, your will, the strength your achievements had given you -
DISSON. And you adored me for it?
WILLY(to DISSON). Can I have a private word with you?
DISSON. You adored me for it?
Pause.
DIANA. You know I did.

（９）こうした夫婦関係をどう思うか。どのような事情があると思うか。

WILLY. Can I have a private word with you, old chap? (To DIANA.)Please.
DIANA goes out of the room.
DISSON looks at WILLY.
DISSON. Mind how you tread, Bill. Mind . . . how you tread, old Bill, old boy, old Bill.

（１０）このDISSONの言葉は何を意味しているか。

WILLY. Listen. I've been wondering. Is there anything on your mind?
DISSON. My mind? No, of course not.
WILLY. You're not dissatisfied with my work, or anything?
DISSON. Quite the contrary. Absolutely the contrary.
WILLY. Oh good. I like the work very much. Try to do my best.
DISSON. Listen. I want you to be my partner. Hear me? I want you to share full responsibility . . . with me.
WILLY. Do you really?
DISSON. Certainly.
WILLY. Well, thank you very much. I don't know what to say.
DISSON. Don't say anything.

（１１）なぜ唐突にDISSONはWILLYを共同経営者にしようとしたと思うか。

---

NO.１２:今日はWENDYとDIANAの会話（対決？）、DISSONの目が悪くなること、DISSONとその両親との会話、といった話です。

Disson's office.
WILLY at the door.
WILLY. Coming, old chap?
DISSON. Yes.
WILLY(to WENDY). Important lunch, this. But I think
we'll swing it, don't you, Robert? (To WENDY.) Great
prospects in store.
DISSON and WILLY go out. WENDY clips some papers together.
DIANA comes in through the inner door.

（１）何のためにDIANAが入ってきたと思うか。


WENDY. Oh, hullo, Mrs Disson.
DIANA. Hullo, Wendy.
Pause.
DIANA watches WENDY clip the papers.
Do you like being a secretary?
WENDY. I do, yes. Do you?
DIANA. I do, yes.
Pause.
I understand your last employer touched your body . . . rather too much.
WENDY. It wasn't a question of too much, Mrs Disson. One touch was enough for me.
DIANA. Oh, you left after the first touch?
WENDY. Well, not quite the first, no.
Pause.

（２）このWENDYの矛盾した答えをどう説明するか。


DIANA. Have you ever asked yourself why men will persist in touching women?
WENDY. No, I've never asked myself that, Mrs Disson.
DIANA. Few women do ask themselves that question.
WENDY. Don't they? I don't know. I've never spoken to any other women on the subject.
DIANA. You're speaking to me.
WENDY. Yes. Well, have you ever asked yourself that question, Mrs Disson?
DIANA. Never. No.
Pause.

（３）一般論として、「なぜ男性が女性に触りたがる（セクハラをしたがる）」ことについて女性は自分自身に問いかけたり、女性同士で話し合ったりしないというのは本当か。時代、国の違いなどについても述べよ。
（４）そういう「セクハラの一般論」に二人の会話がなっていったのは、なぜか。本当にこの問題をDISCUSSIONしたかったのか。別の意図がそれぞれにあるか。

Have lunch with me today. Tell me about yourself.
WENDY. I'll have lunch with you with pleasure.

（５）女性二人で本当に昼飯を食べるか。また、食べた場合会話がうまくいくか。

DISSON comes in. They look at him. He at them.
Silence.
DISSON. Forgotten . . . one of the designs.
DIANA smiles at him. WENDY clips her papers. He goes to his desk, collects a folder, stands upright.
DIANA looks out of the window. WENDY clips papers. He looks at them, goes out. DIANA and WENDY remain silent.

Disson's house. Games room.
DISSON and WILLY playing ping-pong. They are in the middle of a long rally. THE TWINS watch. WILLY is on the attack, DISSON playing desperately, retrieving from positions of great difficulty. He cuts, chops, pushes.
TWINS(variously). Well done, Dad. Good shot, Dad. Good one, Dad.
WILLY forces DISSOn on to the forehand. He slams viciously.
DISSON skids.
The screen goes black.
Good shot!
DISSON. Aaah!
Vision back.
DISSON is clutching the table, bent over it.
WILLY throws the ball on to the table.
It bounces gently across it.

（６）ここでまたDISSONの目が見えなくなった原因は何か。また作者はDISSONの視力に何かを象徴させているのだろうか。

Disson's house. Sitting-room. Evening.
DISSON's parents.
MOTHER. Have I seen that mirror before?
DISSON. No. It's new.
MOTHER. I knew I hadn't seen it. Look at it, John.
What a beautiful mirror.
FATHER. Must have cost you a few bob.
MOTHER. Can you see the work on it, John? I bet it must be a few years old, that mirror.
DISSON. It's a few hundred years old.
FATHER. I bet it must have cost you a few bob.
DISSON. It wasn't cheap.
FATHER. Cheap?
MOTHER. What a beautiful mirror.
FATHER. Cheap? Dis you hear what he said, Dora? He said it wasn't cheap.
MOTHER. No, I bet it wasn't.
FATHER(laughing). Cheap!
Pause.
MOTHER. Mrs Tidy sends you her love.
DISSON. Who?
FATHER. Mrs Tidy. The Tidys.
DISSON. Oh yes. How are they?
FATHER. Still very tidy. (Laughs.) Aren't the, Dora?
MOTHER. You remember the Tidys.
DISSON. Of course I remember them.
Pause.
How have you been keeping, them?
FATHER. Oh, your mother's had a few pains. You know, just a few.
MOTHER. Only a few, John. I haven't had many pains.
FATHER. I only said you'd had a few. Not many.

（７）両親とDISSONの会話がうまくいかない理由は、どういうことなのか説明せよ。

Pause.
MOTHER. Are the boys looking forward to their holiday?
DISSON. Yes, they are.
FATHER. When are you going?
DISSON. I'm not.

（８）ここでDISSONはどこへ行かないといっているのか。

（9）ここまでの内容を小説版と比べ、異同、書き方の違い、作品の優劣などを論じよ。冬休みの宿題

---

NO.１３:今日はDISSONの目が悪くなること、WENDYのスカーフの意味、tea partyに向かう人々の会話、といった話です。

Disson's office.
DISSON. Tighter.
WENDY ties the chiffon round his eyes.
WENDY. There. You look nice.
DISSON. This chiffon stinks.
WENDY. Oh, I do apologize. What of?
Pause.
You're very rude to me. But you do look nice. You really do.
DISSON tears the chiffon off.
DISSON. It's useless. Ring Disley. Tell him to come here.

（１）このあたりで、WENDYのスカーフは何を象徴していると思うか。


WENDY. But he'll be here at four o'clock, for your tea party.
DISSON. I want him now! I want him . . . now.
WENDY. Don't you like my chiffon any more, to put round your eyes? My lovely chiffon?
Pause.
He sits still.
I always feel like kissing you when you've got that on round your eyes. Do you know that? Because you're all in the dark.

（２）こうしたWENDYの気持ちを理解できるか。それは、どのようなものだと説明できるか。


Pause.
Put it on.
She picks up the chiffon and folds it.
I'll put it on . . .for you. Very gently.
She leans forward.
He touches her.
No - you mustn't touch me, if you're not wearing your chiffon.

（３）スカーフをしていなければ駄目だが、していれば身体に触ってもよいというWENDYの言うことを理解できるか。それは、どう説明できるか。


She places the chiffon on his eyes.
He trembles, puts his hand to the chiffon, slowly lowers it, lets it fall.
It flutters to the floor.
As she looks at him, he reaches for the telephone.

（４）ここでのDISSONとWENDYの関係はどのようなものだと思うか。

Disson's office.
DISSON in the same position.
DISSON. I need a tight bandage. Very tight.
DISLEY. Anyone coud do that for you.
DISSON. No. You're my eye consultant. You must do it for me.
DISLEY. ALL right.
He takes a bandage from his case nd ties it round DISSON'S eyes.
Just for half an hour. You don't want it on when your guests arrive, do you?
DISLEY ties the knots.
This'll keep you in the dark, all right. Also lend pressure to your temples. Is that what you want?
DISSON. That's it. That's what I want.
DISLEY cuts the strands.
DISLEY. There. How 's that?
Pause.
See anything?

（５）ここは、単なる医者の治療シーンと理解してよいか。それとも女性の愛より友情が目を治すといった含意があると思うか。

Disson's office. Afternoon.
DISSON sits alone, the bandage round his eyes.
Silence.
WILLY enters from his office. He sees DISSON and goes to him.
WILLY. How are you, old chap? Bandage on straight? Knots tight?
He pats him on the back and goes out through the front office door.
The door slams.
DISSON sits still.

（６）このシーンには、どんな意味があるか。

Corridor.
MR and MRS DISLEY approaching the offices.
LOIS. Why didn't he make it a cocktail party? Why a tea party, of all things?
DISLEY. I couldn't say.

（７）なぜ二人はカクテルパーティであるべきだと思うのか。

Office.
DISSON's head.
Soft clicks of door opening and closing, muffled steps, an odd cough, slight rattle of teacups.

（８）このシーンは何を表すと思うか。

Corridor.
DISSON's parents approaching the office.
MOTHER. I could do with a cup of tea, couldn't you, John?

（９）この英語をどう訳すか。

Office.
DISSON's head.
Soft clicks of door opening and closing, muffled steps, an odd cough, slight rattle of teacups.

（１０）全く同じシーンをなぜ繰り返すか。

Corridor.
THE TWINS approach, silent.

Office. DISSON's head. Soft clicks of door opening and closing, muffled steps, an odd cough, slight rattle of teacups, a short whisper.

（１１）付け加わったものは、どんな意味があると思うか。

Corridor.
DIANA and WILLY approach.
DIANA. Why don't you come to Spain with us?
WILLY. I think I will.

（１２）これは何を表すシーンか。

Office.
DISSON's head.
Soft clicks of door opening and closing, muffled steps, an odd cough, slight rattle of teacups, whispers.

Corridor.
WENDY approaches.

Office.
DISSON's head.
Soft clicks of door opening and closing, muffled steps, an odd cough, slight rattle of teacups, whispers.

（１３）似たシーンの繰り返しで、何が表現されていると思うか。

---

NO.１４:今日はDISSONの目が悪い状態でtea partyが催され、そのときの人々の会話、といった話です。

Office.
A buffet table has been set out. Two ELDERLY LADIES serve tea sandwiches, bridge rolls, buns and cakes. The gathering is grouped around the table in silence. DISLEY whispers to them.

DISLEY. His eyes are a little strained, that's all. Just resting them. Don't mention it. It'll embarrass him. It's quite all right.

（１）DISLEYのこの発言のようなことがあってのパーティーは、イギリス独特だと思うか。どこでも、日本でもあると思うか。

They all take their tea, choose edibles, and relax.

JOHN(choosing a cake). These are good.
TOM. What are they?
DIANA(choosing a bridge roll). These look nice.
LOIS. You look wonderful, Mrs Disson. Absolutely wonderful. Doesn't she, Peter?
DISLEY. Marvellous.
LOIS. What do you think of your grandsons?
FATHER. They've grown up now, haven't they?
LOIS. Of course, we knew them when they were that high, didn't we, Tom?
FATHER. So did we.
TOM. Yes.

（２）このYesはどういう意味？


WILLY. Big lads now, aren't they, these two?
JOHN. Cake, Granny?
MOTHER. No, I've had one.
JOHN. Have two.
FATHER. I'll have one.
MOTHER. He's had one.
FATHER. I'll have two.

WENDY takes a cup of tea to DISSON and puts it into his hands.

WENDY. Here's a cup of tea, Mr Dison. Drink it. It's warm.
LOIS(to DIANA). You're off to Spain quite soon, aren't you, Diana?
DIANA. Yes, quite soon.
DISLEY(calling). We'll take off those bandages in a minute, old chap!
LOIS. Spain is wonderful at this time of the year.
WILLY. Any time of the year, really.
LOIS. But I think it's best at this time of the year, don't you?
DIANA. What sun lotion do you use, Lois?

DISSON's point of view.
No dialogue is heard in all shots from DISSON's point of view.
Silence.
Figures laughing silently, in conspiratorial postures, seemingly whispering together.

（３）このシーンはDISSONのどのような状態を表しているか。

Shot including DISSON.
TOM. I went into goal yesterday.
WILLY. How did you do?
LOIS. You can get it anywhere. It's perfect.
JOHN. He made two terrific saves.
TOM. The first was a fluke.
LOIS. How do you sun, then?
DIANA. I have to be rather careful.
TOM. Second save wasn't a bad save.

（４）この子供たちの会話は何を表しているか。


LOIS. How do you sun, Wendy?
WENDY. Oh not too bad, really.

(5)このWENDYの答えはどういう意味か。


LOIS(to MRS DISSON). We go to our little island every year and when we go we have to leave our poor little Siamese with my mother.
MOTHER. Do you really?
LOIS. They're almost human, aren't they, Siamese?
DIANA. I'm sure my Siamese was.
LOIS. Aren't they, Peter, almost human?
DIANA. Wasn't Tiger a human cat, Willy, at Sunderley?
WEILLY. He adored you.
DISLEY. They really are almost human, aren't they, Siamese?

（６）これらの会話で、シャムネコに何か象徴的な意味があるか。
（７）本当にSunderleyで虎を飼っていたと思うか。

---

NO.１５:最終回。今日はDISSONの目が悪い状態でtea partyが催され、そのときの人々の会話、といった話の続きですが、いよいよDISSONの心象風景にけりがつきます。

DISSON's point of view.
Silence.
The party splits into groups. Each group whispering.
The two ELDERLY LADIES at the buffet table.
DISSONN'S PARENTS, sitting together.
THE TWINS and the DISLEYS.
WILLY, WENDY and DIANA in a corner.

Shot including DISSON.
The gathering in a close group, the PARENTS sitting.
LOIS. I'd go like a shot.
WENDY. What, me? Come to Spain?
DIANA. Yes, why not?
WILLY leans across DISLEY.
WILLY. Yes, of course you must come. Of course you must come.
WENDY. How wonderful.

（１）DISSONに相談なくLOISやWENDYがスペインに行くことを決めることをどう思うか。そこから想像される状況は、どのようなことがあるか。

DISSON's point of view.
WILLY approaches DISSON. With a smile, he takes a ping-pong ball from his pocket, and puts it into DISSON's hand.
DISSON clutches it.

（２）ここでピンポン玉は何を意味していると思うか。

DISSON's point of view.
WILLY returns to WENDY and DIANA, whispers to them.
DIANA laughs (silently), head thrown back, gasps with laughter.
WENDY smiles.
WILLY puts one arm round WENDY, the other round DIANA.
He leads them to WENDY's desk.
WILLY places cushions on the desk.
DIANA and WENDY, giggling silently, hoist themselves up on to the desk. They lie head to toe.

（３）ここでDIANAとWENDYとWILLYは何をするつもりだと思うか。

DISSON's point of view. Close-up.
WENDY's face. WILLY's fingers caressing it. DIANA's shoes in background.

（４）このシーンを不条理と感じるか。何を意味していると思うか。

DISSON's point of view. Close-up.
DIANA'S face. WILLY's fingers caressing it. WENDY's shoes in background.

（５）同じことがDIANAとWENDYを入れ替えて行われることは何を意味すると思うか。

DISSON's point of view.
LOIS powdering her nose.

（６）しきりに日焼けを気にしていたLOISだが、わざわざ最後にこのようなシーンにするのは、日焼けに何かの意味があるのだろうか、意見を述べよ。

DISSON's point of view.
The ELDERLY LADIES drinking tea, at the table.

DISSON's point of view.
DISLEY talking to the boys by the window. THE TWINS listening intently.

DISSON's point of view.
DISSON'S PARENTS sitting, dozing.

DISSON'S point of view.
The base of WNDY'S desk.
A shoe drops to the floor.

（７）このシーンは何を意味すると思うか。

Shot including DISSON.
DISSON falls to the floor in his chair with a crack. His teacup drops and spills.
The gathering is grouped by the table, turns.
DISLEY and WILLY go to him.
They try to lift him from the chair, are unable to do so.
DISLEY cuts the bandage and takes it off.
DISSON's eyes are open.
DISLEY feels his pulse.
DISLEY. He's all right. Get him up.
DISLEY and WILLY try to pull him up from the chair, are unable to do so.
JOHN and TOM join them.
Get it up.
The four of them, with great effort, manage to set the chair on its feet.
DISSON is still seated.
He must lie down. Now, two hold the chair, and two pull him.
JOHN and WILLY hold the chair.
DISLEY and TOM pull.

The chair.
The chair scrapes, moves no farther.

The grouup around the chair.
They pull, with great effort.

The chair.
The chair scrapes, moves no farther.

The room.
WILLY. Anyone would think he was chained to it!
DISLEY(pulling). Come out!
MOTHER. Bobbie!
They stop pulling.
DISSON in the chair, still, his eyes open.
DIANA comes to him.
She kneels by him.
DIANA. This is . . . DIANA.
Pause.
Can you hear me?
Pause.
Can you see me?
Pause.
Robert.
Pause.
Can you hear me?
Pause.
Robert, can you see me?
Pause.
It's me. It's me, darling.
Slight pause.
It's your wife.

DISSON's face in close-up.
DISSON's eyes. Open.

（８）DISSONは結局死んだと思うか。
（９）DISSONは妻に裏切られ、子供たちとは断絶があり、秘書にも裏切られ、なによりWILLYにスペイン旅行まで主導権をとられ、失意のうちに死んだ、ということで、よいか。それとも、これらは、すべてDISSONの妄想だったと解釈すべきか。
（１０）この作品でピンターは何を言いたかったと思うか。幕切れはこれでよかったか。不条理劇という感じはしたか。したとすれば、それはどのようなものか。しなかったとすれば、どのような劇であったと思うのか。

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（２）『帰郷』のテキスト

THE HOMECOMING was first presented by the Royal Shakespeare Company at the Aldwych Theatre on 3 June, 1965, with the following cast;

MAX, a man of sevengy......Paul Rogers
LENNY, a man in his early thirties......Ian Holm
SAM, a man of sixty-three......John Normington
JOEY, a man in his middle twenties ......Terence Rigby
TEDDY, a man in his middle thirties......Michael Bryant
RUTH, a woman in her early thirties......Vivien Merchan

Directd by Peter Hall

The play was presented by the Royal Shakespeare Company and Alexander H. Cohen at the Music Box Theatre, New York, on 5 January, 1967 with one change in the cast: the part of Teddy was played by Michael Craig

SUMMER

An old house in North London.
A large room, extending the witdth of the stage.
The back wall, which contained the door, has been removed.
A square arch shape remains. Beyond it, the hall. In the hall a staircase, ascending up left, well in view. The front door up right. A coatstand, hooks, etc.
In the room a window, right. Odd tables, chairs. Two large armchairs. A large sofa, left. Against the right wall a large side-board, the upper half of which contains a mirror. Up left, a radiogram.

Act One

Evening.
LENNY is sitting on the sofa with a newspaper, a pencil in his hand. He wears a dark suuit. He makes occasional marks on the back page.
MAX comes in, from the direction of the kitchen. he goes to side-board, opens top drawer, rummages in it, closes it.
He wears an old cardigan and a cap, and carries a stick.
He walks downstage, stands, looks abou the room.

MAX. What have you done with the scissors?

Pause.

I said I'm looking for the scissors. What have you done with them?

Pause.

Did you hear me? I want to cut something out of the paper.
LENNY. I'm reading the paper.
MAX. Not that paper. I haven't even read that paper. I'm talking about last Sunday's paper. I was just having a look at it in the kitchen.

Pause.

Do you hear what I'm saying? I'm talking to you! Where's the scissors?
LENNY(loooking up, quietly). Why don't you shut up, you daft prat?

MAX lifts his stick and points it at him.
MAX. Don't you talk to me like that. I'm warning you.

NO.6

LENNY. Dad, do you mind if I change the subject?

Pause.

I want to ask you something. The dinner we had before, what was the name of it? What do you call it?

Pause.

Why don't you buy a dog? You're a dog cook. Honest. You think you're cooking for a lot of dogs.
MAX. If you don't like it get out.
LENNY. I am going out. I'm going out to buy myself a proper dinner.
MAX. Well, get oout! What are you waiting for?
LENNY looks at him.
LENNY. What did you say?
MAX. I said shove off out of it, that's what I said.
LENNY. You'll go before me, Dad, if you talk to me in that tone of voice.
MAX. Will I, you bitch?
MAX grips his stick.
LENNY. Oh, Daddy, you're not going to use your stick on me, are you? Eh? Don't use your stick on me Daddy. No, please. It wasn't my fault, it was one of the others. I haven't done anything wrong, Dad, honest. Don't clout me with that stick, Dad.

Silence.

MAX sits hunched. LENNY reads the paper.

（１）この解決はLENNYが妥協したのか、本当にLENNYはMAXの杖が恐かったのか。

SAM comes in the front door. He wears a chauffeur's uniform. He hangs his hat on a hook in the hall and comes into the room. he goes to a chair, sits in it and sighs.
Hullo, Uncle Sam.
SAM. Hullo.
LENNY. How are you, Uncle?
SAM. Not bad. A bit tired.
LENNY. Tired? I bet you're tired. Where you been?
SAM. I've been to London Airport.
LENNY. All the way up to London Airport? What, right up the M4?
SAM. Yes, all the way up there.
LENNY. Tch, tch, tch. Well, I think you're entitled to be tired, Uncle.
SAM. Well, it's the drivers.

（２）なぜ「疲れた」ことがこんなに強調されると思うか。

LENNY. I know. That's what I'm talking about. I'm talking about the drivers.
SAM. Knocks you out.

Pause.

MAX. I'm here, too, you know.

（３）こう言ったMAXの気持ちを解説せよ。

SAM looks at him.
I said I'm here, too. I'm sitting here.
SAM. I know you're here.

Pause.

SAM. I took a Yankee out there today . . .to the Airport.
LENNY. Oh, a Yankee, was it?
SAM. Yes, I been with him all day. Picked him up at the Savoy at half past twelve, took him to the Caprice for his lunch. After lunch I picked him up again, took him down to a house in Eaton Square - he had to pay a visit to a friend there - and then round about tea-time I took him right the way out to the Airport.
LENNY. Had to catch a plane there, did he?
SAM. Yes. Look what he gave me. He gave me a box of cigars.
SAM takes a box of cigars from his pocket.
MAX. Come here. Let's have a look at them.
SAM shows Max the cigars. MAX takes one from the box, pinches it and sniffs it.
It's a fair cigar.
SAM. Want to try one?
MAX and SAM light cigars.

（４）葉巻をねだるMAXをどう思うか。

You know what he said to me? He told me I was the best chauffeur he'd ever had. The best one.
MAX. From what point of view?
SAM. Eh?
MAX. From what point of view?
LENNY. From the point of view of his driving, Dad, and his general sense of courtesy, I should say.
MAX. Thought you were a good driver, did he, Sam? Well, he gave you a first-class cigar.
SAM. Yes, he thought I was the best he'd ever had. They all say that , you know. They won't have anyone else, they only ask for me. They say I'm the best chauffeur in the firm.
LENNY. I bet the other drivers tend to get jealous, don't they, Uncle?
SAM. They do get jealous. They get very jealous.
MAX. Why?

Pause.

SAM. I just told you.
MAX. No, I just can't get it clear, Sam. Why do the other drivers get jealous?
SAM. Because (a) I'm the best driver, and because . . . (b) I don't take liberties.

Pause.

（５）MAXはなぜしつこく同じような質問をすると思うか。

I don't press myself on people, you see. These big businessmen, men of affairs, they don't want the drivere jawing all the time, they like to sit in the back, have a bit of peace and quiet. After all, they're sitting in a Humber Super Snipe, they can afford to relax. At the same time, though, this is what really makes me special . . . I do know how to pass the time of day when required.

Pause.

For instance, I told this man today I was in the second world war. Not the first. I told him I was too young for the first. But I told him I fought in the second.

Pause.

So did he, it turned out.

（６）第一次と第二次の世界大戦の違いと、客と運転手の関係が、どう影響しあっているか、説明せよ。

NO.7

LENNY stands, goes to the mirror and straightens his tie.
LENNY. He was probably a colonel, or something, in the American Air Force.
SAM. Yes.
LENNY. Probably a navigator, or something like that, in a Flying Fortress. Now he's most likely a high executive in a worldwide group of aeronautical engineers.
SAM. Yes.
LENNY. Yes, I know the kind of man you're talking about.

（１）ここでＬＥＮＮＹは何を言いたいのか。
LENNY goes out, turning to his right.

SAM. After all, I'm experienced. I was driving a dust cart at the age of nineteen. Then I was in long-distance haulage. I had ten years as a taxi-driver and I've had five as a private chauffeur.

（２）この「五年間」は現在の職業は含まれるか。

MAX. It's funny you never got married, isn't it? A man with all your gifts.

Pause.

Isn't it? A man like you?
SAM. There's still time.
MAX. Is there?

（３）どうしてＳＡＭはこんなことを言ったのか。

Pause

SAM. You'd be surprised.
MAX. What you been doing, banging away at your lady customers, have you?
SAM. Not me.

（４）このmeは文法的に正しいか。説明せよ。

MAX. In the back of the Snipe? Been having a few crafty reefs in a layby, have you?

（５）the Snipeとは何か。
（６）crafty reefs in a laybyとは何か。

SAM. Not me.
MAX. On the back seat? What about the armrest, was it up or down?

（７）up or down?とは何を訊いているのか。

SAM. I've never done that kind of thing in my car.
MAX. Above all that kind of thing, are you, Sam?
SAM. Too true.
MAX. Above having a good bang on the back seat, are you?
SAM. Yes, I leave that to others.
MAX. You leave it to others? What others? You paralysed prat!

（８）こう非難するＭＡＸの気持ちを説明せよ。


SAM. I don't mess up my car! Or my . . . my boss's car! Like other people.
MAX. Other people? What other people?

Pause.

What other people?

Pause.

SAM. Other people.

Pause.

MAX. When you find the right girl, Sam, let your family know, don't forget, we'll give you a number one send-off, I promise you. You can bring her to live here, she can keep us all happy. We'd take it in turns to give her a walk round the park.

（９）a number one send-offとは何か。

SAM. I wouldn't bring her here.
MAX. Sam, it's your decision. You're welcome to bring your bride here, to the place where you live, or on the other hand you can take a suite at the Dorchester. It's entirely up to you.
SAM. I haven't got a bride.

SAM stands, goes to the sideboard, takes an apple from the bowl, bites into it.

Getting a bit peckish.

He looks out of the window.

（１０）このときのＳＡＭの気持ちを説明せよ。

NO.8
SAM. Never get a bride like you had, anyway. Nothing like your bride . . . going about these days. Like Jessie.

Pause.

After all, I escorted her once or twice, didn't I? Drove her round once or twice in my cab. She was a charming woman.

Pause.

All the same, she was your wife. But still . . .they were some of the most delightful evenings I've ever had. Used to just drive her about. It was my pleasure.
MAX(softly, closing his eyes). Christ.
SAM. I used to pull up at a stall and buy her a cup of coffee.
She was a very nice companion to be with.

（１）ＭＡＸ，ＳＡＭ，ＪＥＳＳＩＥの関係を説明せよ。ＬＥＮＮＹがＳＡＭを叔父さんと呼んだからＭＡＸとＳＡＭは兄弟として、弟と自分の妻との関係をこのように語られ、兄の気持ちはどうだと思うか。

Silence.
JOEY comes in the front door. He walks into the room, takes his jacket off, throws it on a chair and stands.
Silence.

JOEY. Feel a bit hungry.
SAM. Me, too.
MAX. Who do you think I am, your mother? Eh? Honest. They walk in here very time of the day and night like bloody animals. Go and find youself a mother.

LENNY walks into the room, stands.

JOEY. I've been training down at the gym.
SAM. Yes, the boy's been working all day and training all night.
MAX. What do you want, you bitch? You spend all the day sitting on your arse at London Airport, buy yourself a jamroll. You expect me to sit here waiting to rush into the kitchen the moment you step in the door? You've been lifing sizty-three years, why don't you learn to cook?
SAM. I can cook.
MAX. Well, go and cook!

Pause.

LENNY. What the boys want, Dad, is your own special brand of cooking, Dad. That's what the boys look forward to. The special understanding of food, you know, that you've got.
MAX. Stop calling me Dad. Just stop all that calling me Dad, do you understand?

（２）このときのＭＡＸの気持ちを説明せよ。


LENNY. But I'm your son. You used to tuck me up in bed every night. He tucked you up, too, didn't he, Joey?

Pause.

He used to like tucking up his sons.

LENNY turns and goes towards the front door.

MAX. Lenny.
LENNY(turning). What?
MAX. I'll give you a proper tuck up one of these nights, son.
You mark my word.

（３）これはどういう意味か。

They look at each other.
LENNY opens the front door and goes out.
Silence.

JOEY. I've been training with Bobby Dodd.

Pause.

And I had a good go at the bag as well.

Pause.

I wans't in bad trim.
MAX. Boxing's gentleman's game.

Pause.

I'll tell you what you've got to do. What you've got to do is you've got to learn haow to defend yourself, and you've got to learn haow to attack. That's your only trouble as a boxer. You don't know how to defend yourself, and you don't know how to attack.

Pause.

Once you've mastered those arts you can go straight to the top.

Pause.

JOEY. I've got a pretty good idea . . . of how to do that.

JOEY looks round for his jacket, picks it up, goes out of the room and up the stairs.
Pause.

（４）ボクシングをめぐるＳＡＭとＪＯＥＹの関係を説明せよ。

NO.１課題

MAX. Sam. . . why don't you go, too, eh? Why don't you just go upstairs? Leave me quiet. Leave me alone.
SAM. I want to make something clear about Jessie, 次は単なる呼びかけ→MAX. I want to. I do. When I took her out in the cab, round the town, I was taking care of her, for you. I was looking after her for you, when you were busy, wasn't I? I was showing her the West End.

Pause.

You wouldn't have trusted any of your other brothers. You wouldn't have trusted Mac, would you? But you trusted me. I want to remind yo.

（１）ここまでの会話でＭＡＸとＳＡＭの関係をどう思うか。

Pause.

Old Mac died a few years ago, didn't he? Isn't he dead?

Pause.

He was a lousy stinking rotten loudmouth. A bastard uncouth sodding runt. Mind you, he was a good friend of yours.

Pause.

MAX. Eh, Sam . . .
SAM. What?
MAX. Why do I keep you here? You're just an old grub.
SAM. Am I?
MAX. You're a maggot.
SAM. Oh yes?
MAX. As soon as you stop paying your way here, I mean whaen you're too old to pay your way, you know what I'm going to do? I'm going to give you the boot.
SAM. You are, eh?
MAX. Sure. I mean, bring in the money and I'll put up with you. But when the firm gets rid of you--you can flake off.

（２）こうした金の切れ目が縁の切れ目的な考え方は、まず英米で一般的だと思うか。
（３）英米で一般的でないなら、どういう特殊事情がこの二人にあると思うか。

SAM. This is my house as well, you know. This was our mother's house.
MAX. One lot after the other. One mess after the other.
SAM. Our father's house.
MAX. Look what I'm lumbered with. One cast-iron bunch of crap after another. One flow of stinking pus after another.

（４）このあたりで頻出するafter anotherをＭＡＸはどういう感覚で使っているか。

Pause.

Our father! I remember him. Don't worry. You kid yourself. He used to come over to me and look down at me. My old man did. He'd bend right over me, then he'd pick me up. I was only that big. Then he'd dandle me. Give me the bottle. Wipe me clean. Give me a smile. Pat me on the bum. Pass me around, pass me from hand to hand. Toss me up in the air. Catch me coming down. I remember my father.

（５）突然、老人といっていい人物が幼児期の思い出を語るのはなぜだと思うか。

BLACKOUT
LIGHTS UP.
Night.
TEDDY and RUTH stand at the threshold of the room. They are both well dressed in light summer suits and light raincoats.
Two suitcases are by their side.
They look at the room. TEDDY tosses the key in his hand, smiles.
TEDDY. Well, the key worked.

Pause.

They haven't changed the lock.

（６）鍵が変わっていないことについて、家の環境、ＴＥＤＤＹとこの家の関係の二つの側面から考察せよ。

Pause.

RUTH. No one's here.
TEDDY(looking up). They're asleep.

（７）こっそりカップルがＨｏｍｅｃｏｍｉｎｇする演劇的効果を論じよ。

NO.２課題

Pause.

RUTH. Can I sit down?
TEDDY. Of course.
RUTH. I'm tired.

Pause.

TEDDY. Then sit down.

She does not move.

That's my father's chair.
RUTH. That one?
TEDDY(smiling). Yes, that's it. Shall I go up and see if my room's still there?
RUTH. It can't have moved.
TEDDY. No, I mean if my bed's still there.
RUTH. Someone might be in it.
TEDDY. No. They've got their own beds.

Pause.

RUTH. Shouldn't you wake up someone up? Tell them you're here?
TEDDY. Not at this time of night. It's too late.

Pause.

Shall I go up?
He goes into the hall, looks up the stairs, comes back.
Why don't you sit down?

Pause.

I'll just go up . . .have a look.

He goes up the stairs, stealthily.
RUTH stands, then slowly walks across the room.

（１）なぜＲＵＴＨは椅子に座ろうとしないのか。

TEDDY returns.

It's still there. My room. Empty. The bed's there. What are you doing?

She looks at him.

Blankets, no sheets. I'll find some sheets. I could hear snores. Really. They're still here, I think. They're all snoring up there. Are you cold?
RUTH. No.
TEDDY. I'll make somehing to drink, if you like. Something hot.
RUTH. No, I don't want anything.

（２）このときのＲＵＴＨの心境を解説せよ。

TEDDY walks about.

TEDDY. What do you think of the room? Big, isn't it? It's a big house. I mean, it's a fine room, don't you think? Actually there was a wall, across there . . .with a door. We knocked it down . . . years ago . . . to make an open living area. The structure wasn't affected, you see. My mother was dead.

RUTH sits.

（３）ＲＵＴＨがやっと座ったのはなぜ？

Tired?
RUTH. Just a little.
TEDDY. We can go to bed if you like. No point in waking anyone up now. Just go to bed. See them all in the morning . . . see my father in the morning . . . .

Pause.

RUTH. Do you want to stay?
TEDDY. Stay?

Pause.

We've come to stay. We're bound to stay . . . for a few days.
RUTH. I think . . . the children . . .might be missing us.
TEDDY. Don't be silly.
RUTH. They might.
TEDDY. Look, we'll be back in a few days, won't we?

（４）夫の実家に対する妻の感情について

（４−１）世界共通の一般論として論じよ。
（４−２）この問題で英米の特徴はあるか。あるとしたらどんなことか。
（４−３）この問題で、この場面特有の問題はあるか。
He walks about the room.

Nothing's changed. Still the same.

Pause.

Still, he'll get a surprise in the morning, won't he? The old man. i think you'll like him very much. Honestly. He's a . . . well, he's old, of course. Getting on.

Pause.

I was born here, do you realize that?
RUTH. I know.

Pause.

TEDDY. Why don't you go to bed? I'll find some sheets. I fell . . . wide awake, isn't odd? I think I7ll stay up for a bit. Are you tired?
RUTH. No.
TEDDY. Go to bed. I'll show you the room.
RUTH.No, I don't want to.
TEDDY. You'll be perfectly all right up there without me. Really you will. I mean, I won't be long. Look, it's just up there. It's the first door on the landing. The bathroom's right next door. You . . . need some rest, you know.

Pause.

. . . . .

RUTH. I think I'll have a breath of air.
TEDDY. Air?

Pause.

What do you mean?

RUTH(standing). Just a stroll.
TEDDY. At this time of night? But we've . . . only just got here. We've got to go to bed.
RUTH. I just feel like some air.

（５）ＲＵＴＨが空気を吸いたいという気持ちは理解できるか。理解できるなら、説明せよ。

TEDDY. But I'm going to bed.
RUTH. That's all right.
TEDDY. But what am I going to do?

Pause.

The last thing I want is a breath of air. Why do you want a breath of air?
RUTH. I just do.
TEDDY. But it's late.
RUTH. I won't go far. I'll come back.

（６）真夜中に女性が一人で散歩に出ることについて考察せよ。

Pause.

TEDDY. I'll wait up for you.
RUTH. Why?
TEDDY. I'm not going to bed without you.

（７）こうした二人のずれは、どういう原因から来ていると思うか。


RUTH. Can I have the key?

He gives it to her.

Why don't you go to bed?

He puts his arms on her shoulders and kisses her. They look at each other, briefly. She smiles.

I won't be long.

She goes out of the front door.

NO.３課題

TEDDY goes to the window, peers out after her, half turns from the window, stands, suddenly chews his knuckles. LEENY walks into the room from U.L. He stands. He wears pyjamas and dressing-gown. He watches TEDDY. TEDDY turns and sees him.
Silence.
TEDDY. Hullo, Lenny.
LENNY. Hullo, Teddy.

Pause.

TEDDY. I didn't hear you come down the stairs.
LENNY. I didn't.

Pause.

I sleep down here now. Next door. I've got a kind of study, workroom cum bedroom next door now, you see.
TEDDY. Oh. Did I . . . wake you up?
LENNY. No. I just had an early night tonight. You know how it is. Can't sleep. Keep waking up.


Pause

TEDDY. How are you?
LENNY. Well, just sleeping a bit restlessly, that's all. Tonight, anyway.
TEDDY. Bad dreams?
LENNY. No, I wouldn't say I was dreaming. It's not exactly a dream. It's just that something keeps waking me up. Some kind of tick.
TEDDY. A tick?
LENNY. Yes.
TEDDY. Well, what is it?
LENNY. I don't know.

Pause.

TEDDY. Have you got a clock in your room?
LENNY. Yes.
TEDDY. Well, maybe it's the clock.
LENNY. Yes, could be , I suppose.

Pause.

Well, if it's the clock I'd better do something about it, Stifle it in some way, or something.

Pause.

TEDDY. I've . . . just come back for a few days.
LENNY. Oh yes? Have you?

（１） 久しぶりに帰って来たのに、いきなり眠れぬ原因の話になることをどう思うか。（こぶしを噛んだTEDDYの心境も影響しているだろうか？）
（２） 真夜中とはいえ、誰も起こすことにならない家族の人間関係をどう思うか。

Pause.

TEDDY. How's the old man?
LENNY. He's in the pink.

Pause.

TEDDY. I've been keeping well.
LENNY. Oh, have you?

Pause.

（３）この会話でTEDDYが言いたかったこと、LENNYが言いたかったことを説明せよ。

Staying the night then, are you?
TEDDY. Yes.
LENNY. Well, you can sleep in your old room.
TEDDY. Yes, I've been up.
LENNY. Yes, you can sleep there.

LENNY yawns.

Oh well.
TEDDY. I'm going to bed.
LENNY. Are you?
TEDDY. Yes, I'll get some sleep.
LENNY. Yes I'm going to bed, too.

TEDDY picks up the cases.

I'll give you a hand.
TEDDY. No, they're not heavy.

TEDDY goes into the hall with the cases.
LENNY turns out the light in the room.
The light in the hall remains on.
LENNY follows into the hall.

LENNY. Nothing you want?
TEDDY. Mmmmmm?
LENNY. Nothing you might want, for the night? Glass of water, anything like that?
TEDDY. Any sheets anywhere?
LENNY. In the sideboard in your room.
TEDDY. Oh, good.
LENNY. Friends of mine occasionally stay there, you know, in your room, when they're passing through this part of the world.

LENNY turns out the hall light and turns on the first landing light.
TEDDY begins to walk up the stairs.

（４）散歩に出たRUTHのことを一言もTEDDYが言わないことをどう思うか。

TEDDY. Well, I'll see you at breakfast, then.
LENNY. Yes, that's it. Ta-ta.

（５）LENNYはどうして幼児語を使ったのか。

TEDDY goes upstairs.
LENNY goes off L.
Slence.
The landing light goes out.
Slight night light in the hall and room.
LENNY comes back into the room, goes to the window and looks out.
He leaves the window and turns on a lamp.
He is holding a small clock.
He sits, places theclock in front of him, lights a cigarette and sits.
RUTH comes in the front door.
She stands still. LENNY turns his head, smiles. She walks slowly into the room.
LENNY. Good evening.
RUTH. Morning, I think.
LENNY. You're right there.

Pause.

（６）どうしてLENNYはRUTHが入ってきたことに何も驚かなかったのか。

My name's Lenny. What's yours?
RUTH. Ruth.

She sits, puts her coat collar around her.

LENNY. Cold?
RUTH. No.
LENNY. It's been a wonderful summer, hasn't it? Remarkable.

（７）なぜ寒くないのにRUTHはえりをかきあわせたのか。

Pause.

Would you like something? Refeshment of some kind? An aperitif, anything like that?
RUTH. No, thanks.
LENNY. I'm glad you said that. We haven't got a drink in the house. Mind you, I'd soon get some in, if we had a party or something like that. Some kind of celebration . . . you know.

（８）相手がNOというのを見越して無い酒をすすめることをどう思うか。

Pause.

You must be connected with my brother in some way. The one who's been abroad.
RUTH. I'm his wife.

（９）この奇妙とも思えるやりとりを、どう思うか。

NO.４

LENNY. Eh listen, I wonder if you can advise me. I've been having a bit of a rough time with this clock. The tick's been keeping me up. The trouble is I'm not all that convinced it was the clock.

（１）I've been having a bit of a rough time with this clock. を訳せ。
（２）ちなみに Have you the time? を訳せ。

I mean there are lots of things which tick in the night, don't you find that? All sorts of objects, which, in the day, you wouldn't call anything else but commonplace. They give you no trouble. But in the night any given one of a number of them is liable to start letting out a bit of a tick. Whereas you look at these objects in the day and they're just commonplace. They're as quiet as mice during the daytime.

（３）ここで述べられていることは、イギリスやアイルランドでよく語られる小人伝説とどんな関係にあると思うか。

So . . . all things being equal . . . this question of me saying it was the clock that woke me up, well, that could very easily prove something of a false hypothesis.

（４）ここで述べられていることは「万物は平等」とは「時計の音のせいで眠れない」に対応し、それはインチキだとすぐ分かり、「時計以外の昼間は目立たない物音のせいで眠れない」のが真実であり、「万物は平等ではない」を示唆している、という解釈でよいと思うか。

He goes to the sideboard, pours from a jug into a glass, takes the glass to RUTH.

Here you are. I bet you could do with this.
RUTH. What is it?
LENNY. Water.

She takes it, sips, places the glass on a small table by her chair.
LENNY watches her.

Isn't it funny? I've got my pyjamas on and you're fully dressed.

（５）きちんと服を着た女性の前で男性がパジャマ姿でいることがfunnyだということは、どんな気持なのか説明せよ。

He goes to the sideboard and pours another glass of water.

Mind if I have one? Yes, it's funny seeing my old brother again after all these years. It's just the sort of tonic my Dad needs, you know. He'll be chuffed to his bollocks in the morning, when he sees his eldest son. I was surprised myself when I saw Teddy, you know. Old Ted, i thought he was in America. . . .
RUTH. We've come from Italy. . . .
LENNY. Where'd you go to in Italy?
RUTH. Venice
LENNY. . . .I'd probably have gone through Venice. Yes, I'd almost certainly have gone through it with my battallion. Do you mind if i hold your hand?
RUTH. Why?
LENNY. Just a touch.
He stands and goes to her.
Just a tickle.
RUTH. Why?
He looks down at her.
LENNY. I'll tell you why.

Slight pause.

One night, not too long ago, . . .a certain lady came up to me and made me a certain proposal. . . .The only trouble was she was falling apart with the pox. So I turned it down.. . .
RUTH. How did you know she was diseased?
LENNY. How did I know?

Pause.

I decided she was.

Silence.

You and my brother are newly-weds, are you?
RUTH. We've been married six years.
LENNY. He's always been my favourite brother, old
Teddy. Do you know that? And my goodness we are proud of him here, I can tell you. Doctor of Philosophy and all that . . . I've often wished i was as sensitive as he is.
RUTH. Have you? . . .
LENNY. . . .Excuse me, shall I take this ashtray out of your way?
RUTH. It's not in my way.
LENNY. It seems to be in the way of your glass. The glass wa about to fall. Or the ashtray. I'm rather worried about the carpet. It's not me, it's my father. He's obsessed with order and clarity. he doesn't like mess. So, I don't believe you're smoking at the moment, I'm sure you won't object if i move the ashtray.

He does so.

And now perhaps I'll relieve you of your glass.
RUTH. I haven't quite finished.
LENNY. You've consumed quite enough, in my opinion.
RUTH. No, I haven't.
LENNY. Quite sufficient, in my own opinion.
RUTH. Not in mine, Leonard.

Pause.

LENNY. Don't call me that, please.
RUTH. Why not?
LENNY. That's the name my mother gave me.

Pause.

（６）紳士的に女性に気遣いをみせていたのに、どうしてLENNYはRUTHとここまで対立するようになったと思うか。
（７）RUTHがLeonardという実名を突然使ったのはなぜだと思うか。

Just give me the glass.
RUTH. No.

Pause.

LENNY. I'll take it, then.
RUTH. If you take the glass . . .I'll take you.

Pause.

LENNY. How about me taking the glass without you taking me?
RUTH. Why don't I just take you?

Pause.

LENNY. You're joking.

Pause.

You're in love, anyway, with another man. You've had a secret liaison with another man. his family didn't even know. Then you come here without a word of warning and start to make trouble.

She picks up the glass and lifts it toward him.

RUTH. Have a sip. Go on. Have a sip from my glass.

He is still.

Sit on my lap. Take a long cool sip.

She pats her lap. Pause.
She stands, moves to him with the glass.

Put your head back and open your mouth.
LENNY. Take that glass away from me.
RUTH. Lie on the floor. Go on. I'll pour it down your throat.
LENNY. What are you doing, making me some kind of proposal?

She laughs shortly, drains the glass.
RUTH. Oh, I was thirsty.

She smiles at him, puts the glass down, goes into the hall and up the stairs.
He follows into the hall and shouts up the stairs.

LENNY. What was that supposed to be? Some kind of proposal?

SIlence.

（８）一連のRUTHの行動を、どう解釈するか。

NO.5

He comes back into the room, goes to his own glass, drinking it.
A door slams upstairs.
The landing light goes on.
MAX comes down the stairs, in pyjamas and cap. He comes into the room.

MAX. What's going on here? You drunk?

He stares at LENNY.

What are you shouting about? You gone mad?

LENNY pours another glass of water.

Prancing about in the middle of the night shouting your head off. What are you, a raving lunatic?
LENNY. I was thinking aloud.
MAX. Is Joey down here? You been shouting at Joey?
LENNY. Didn't you hear what I said, Dad? I said I was thinking aloud.
MAX. You were thinking so loud you got me out of bed.
LENNY. Look, why don't you just . . . pop off, eh?
MAX. Pop off? He wakes me up in the middle of the night, I think we got burglars here, I think he's got a knife stuck in him, I come down here, he tells me to pop off.

（１）MAXはなぜyouでなくheでしゃべるのか。
（２）LENNYはなぜ、ここまでTEDDYやRUTHのことをMAXに隠すのか。

LENNY sits down.

He was talking to someone. Who could he have been talking to? They're all asleep. He was having a conversation with someone. He won't tell me who it was. He pretends he was thinking aloud. What are you doing, hiding someone here?
LENNY. I was sleepwalking. Get out of it, leave me alone, will you?
MAX. I want an explanation, you understand? I asked you who you got hiding here.
Pause.
LENNY. I'll tell you what, Dad, since you're in the mood for a bit of a. . .chat, I'll ask you a question. It's a question I've been meaning to ask you for some time. That night. . .you know . . .the night you got me . . .that night with Mum, What was it like?....I want to know the real facts about my background. I mean, for instance, is it a fact that you had me in mind all the time, or is it a fact that I was the last thing you had in mind?

Pause.

MAX. You'll drown in your own blood.
LENNY. If you prefer to answer the question in writing I've got no objection.

MAX stnads.

I should have asked m dear mother. Why didn't I ask my dear mother? Now it's too late. She's passed over to the other side.

MAX spits at him.
LENNY looks down at the carpet.

Now look what you've done. I'll have to Hoover that in the morning, you know.

MAX turns and walks up the stairs.
LENNY sits still.
BLACKOUT.

（３）なぜ母親を持ち出すとMAXは追求をあきらめたか。
（４）電気掃除機が登場する。次の場面でSAMは洗濯をしている。ジェンダーとしての伝統的な「女性は家事」の役割分担を女性がいないので男性たちがしているといえる。HOMECOMINGは女性が欠けた「家族」というのが一つのテーマになっているようにも見える。そこで「家族」と「ジェンダー」について考えてみる。

(ここからHOMECOMINGを代表作とするPINTERの作品テーマである「家族」について考察する。ドラマを「大地の子」型と「フルハウス」型に分類血縁にこだわるか、こだわらないか。シェイクスピアのロマンス劇とロマンティック・コメディの違いでもある。）

４−１家族：岩上真珠、「ライフコースで読む家族」、（有斐閣コンパクト、２００３）では家族とは何かを問い、中国残留孤児を扱ったテレビドラマ「大地の子」で、血縁を媒介に家族が問われるが、最後に主人公は「私はこの大地の子」と語り、血縁へのこだわりを止揚させる。一方「フルハウス」というテレビドラマでは、男たちの子育てを中心にしたドタバタが、9人の大所帯になっても血縁はテーマにならない。これを踏まえ（つまり家族である要件は婚姻を含む血のつながりではなく心の問題という見解）、HOMECOMINGの男性ばかりの共同生活は「家族」といえるか、考察せよ。つまり血縁があるのに心のつながりが怪しい。亡き母親が登場するのは、「大地の子」のように血縁を確かめているようなので。
４−２HOMECOMINGの男性ばかりの共同生活を経済的に支えるものが何かはよくわからないがMAXの資産収入と（SAMは多少は運転手として稼ぐ）と考えられる。男性たちは家事を負担していて、それは家族への愛情ゆえにのはずが、必要最低限度になって、むしろいさかいの原因にも見える。「家族」の成立要件が「心の問題」としたら、「愛情」が問題で、それがやや「愛ゆえの憎悪」に変形した「家事」で表現され、破綻寸前に「亡き母親」というジェンダーに頼る、という見解は正しいか。

LIGHTS UP.
Morning.
JOEY in front of the mirror. He is doing some slow limbering-up exercises. He stops, combs his hair, carefully. He then shadowboxes, heavily, watching himself in the mirror. MAX comes in from U.L. Both MAX and JOEY are dressed. MAX watches JOEY in silence. JOEY stops shadowboxing, picks up a newspaper and sits.
Silence.
. . . .
MAX goes into the hall.
SAM! Come here!
SAM enters with a cloth.
SAM. What?
MAX. What are you doing in there?
SAM. Washing up.
. . . . .

TEDDY and RUTH come down the stairs. They walk across the hall and stop just inside the room.
The others turn and look at them. JOEY stands.
TEDDY and RUTH are wearing dressing-gowns.
Silence.
TEDDY smiles.

TEDDY. Hullo . . . Dad . . . We overslept.

Pause.

What's for breakfast?

Silence.
TEDDY chuckles.

Huh. We overslept.

MAX turns to SAM.

MAX. Did you know he was here?
SAM. No.

MAX turns to JOEY.

MAX. Did you know he was here?

Pause.

I asked you if you knew he was here.
JOEY. No.
MAX. Then who knew?

Pause.

Who knew?

Pause.

I didn't know.

（５）どうしてMAXは夕べLENNYが隠していたのがTEDD夫妻だと気づかないのか。気づかないふりをしているとしたら、どういう意図があると思うか。

TEDDY. I was going to come down, Dad, I was going to . .be here, when you came down.

Pause.

How are you?

Pause.

Uh . . .look, I'd . . .like you to meet . . .
MAX. How long you been in this house?
TEDDY. All night.
MAX. All night? I'm a laughing-stock. How did you get in?
TEDDY. I had my key.

MAX whistles and laughts.

MAX. Who's this?
TEDDY. I was just going to introduce you.
MAX. Who asked you to bring tarts in here?
TEDDY. Tarts?
MAX. Who asked you to bring dirty tarts into this house?
TEDDY. Listen, don't be silly -
MAX. You been here all night?
TEDDY. Yes, we arrived from Venice -
MAX. We've had a smelly scrubber in my house all night. We've had a stinking pox-ridden slut in my house all night.
TEDDY. Stop it! What are you talking about?
MAX. I haven't seen the bitch for six years, he comes home without a word, he brings a filthy scrubber off the street, he shacks up in my house!
TEDDY. She's my wife! We're married!

（６）「家が汚れる」という言い方は昨今の虐めを連想する。モラルに対する正義感（イヴへの軽蔑というキリスト教、女性嫌悪感覚にもつながる）から出た言葉か、「欠けた母親への複雑な想いで危うくまとまる男性の共同体」で起った虐め感覚だと思うか。意見を述べよ。
（７）「家族」を「心のネットワーク」と考えると、ネットワークが切断されると、「家族」から切離したい個人を抹殺する行動が起きる。ヨーロッパ社会のまだ1970年代という時代を考えると、息子の妻である女性を娼婦よばわりするのは「家族からの抹殺」に近い。昨今の家族崩壊とそれに伴う虐待、殺人を、この作品は暗示しているように思われるが、どう考えるか見解を述べよ。
(８）かつて「新参者虐め」という通過儀礼があった。それがなくなった昨今の「虐めブーム」と、この作品と、1970年代の秩序破壊感覚（その結果、昨今通過儀礼はなくなった）は関係があると思うが、意見を述べよ。

NO.9

Pause

MAX. I've never had a whore under this roof before. Ever since your mother died. My word of honour. (To JOEY.) Have you ever had a whore here? Has Lenny ever had a whore here? They come back from America, they bring the slopbucket with them. They bring the bedpan with them. (To TEDDY.) Take that disease away from me. Get her away from me.
TEDDY. She's my wife.
MAX(to JOEY). Chuck them out.

（１）MAXのMy word of honourという言葉に表れている気持、状況を説明せよ。

Pause.

A Doctor of Philosophy, Sam, you want to meet a Doctor of Philosophy? (To JOEY.) I said chuck them out.

Pause.

What's the matter ? You deaf?
JOEY. You're an old man. (To TEDDY.) He's an old man.

LENNY walks into the room, in a dresing-gown.
He stops.
They all look round.
MAX turns back, hits JOEY in the stomach with all his might.
JOEY contorts, staggers across the stage. MAX, with the exertion of the blow, begins to collapse. His knees buckle.
He clutches his stick.
SAM moves forward to help him.
MAX hits him across the head with his stick, SAM sits, head in hands.

（２）TEDDYに「老いぼれ」と言われて暴力を振るい、消耗し、杖にすがるのを助けようとしたSAMをなぐるほどのMAXの怒りは何か。単に一個の人間として老いを指摘されて腹を立てたのか、家父長としての権威をそこねられたからか。

JOEY, hands pressed to his stomack, sinks down at the feet of RUTH.
She looks down at him.
LENNY and TEDDY are still.
JOEY slowly stands. He is close to RUTH. He turns from
RUTH. looks round at MAX.
SAM clutches his head.
MAX breathes heavily, very slowly gets to his feet.
JOEY moves to him.
They look at each other.
Silence.
MAX moves past JOEY, walks towards RUTH. He gestures with his stick.

（３）JOEYが力一杯のパンチを腹に食らいながら、RUTHに近づくのはなぜか。
（４）JOEYとMAXが見詰め合い、和解するかどうかをその場の登場人物や観客に注目させ、突然MAXはJOEYを外してRUTHに向かう。それはなぜだと思うか。

MAX. Miss.

RUTH walks toward him.

RUTH. Yes?

He looks at her.

MAX. You a mother?
RUTH. Yes.
MAX. How many you got?
RUTH. Three.

He turns to TEDDY.

MAX. All yours, Ted?

（５）誰の子かはRUTHに聞いた方がはっきりするのに、なぜTEDDYに尋ねたのか。

Pause.

Teddy, why don't we have a nice cuddle and kiss, eh? Like the old days? What about a nice cuddle and kiss, eh?
TEDDY. Come on, then.

（６）孫の存在を確認して和解に至るという道筋について考える。

「サザエｻさん」ファミリーについて岩上真珠、「ライフコースで読む家族」、（有斐閣コンパクト、２００３）で次のように分析。

三世代といっても直系家族ではなく、嫁いだ娘一家が同居している二世帯家族である。カツオくんは長男だけれど年の離れた姉に頭が上がらない。 要するに、サザエさんファミリーは「愛情で結ばれた」近代家族の顔をもちながら、核家族ではなく、祖父母―孫役割が家族内に存在することで、かつての理念型であった「直系家族」の残照を併せもっている。ここには、「家」と完全には絶縁できない一方で、新しい民主的な家族を模索してきた日本人の心のひだに触れる装置が備わっているのである。

６−１MAXも「直系家族」が崩れて家父長の権威が尊重されないことに怒り狂い、それから、孫の存在を確認して、かすかな「直系家族」の残照に浸って和解する気になったと分析できるだろうか。
６−２サザエさんファミリーは、カツオくんが幼いので長女のサザエさんが家督をついで両親と同居する、「女子が家督をついだ直系家族」ともいえる。こちらは女系問題の方が主。一方、イギリスのHOMECOMINGは、男系は維持される（男の子ばかりなのだから当然）が、正式の結婚関係が乱れ、「フルハウス」化がすすむことをMAXがなげいている。これが、なぜ「孫の存在確認」で和解できるのか、不思議な面があるが、どう思うか。

Pause.

MAX. You want to kiss your old father? What a cuddle with your old father?

TEDDY. Come on, then.

TEDDY moves a step towards him.

Come on.

Pause.

MAX. You still love your old Dad, eh?

They face each other.

TEDDY. Come on, Dad. I'm ready for the cuddle.

MAX begins to chuckle, gurgling.
He turns to the family and addresses them.

MAX. He still loves his father!

Curtain

（７）この第一幕の幕切れをどう思うか。「放蕩息子の帰還」なのか。老いて柔軟性がなくなった父の「孫確認」による「柔軟性復帰」なのか。観客は感動すると思うか。するなら何に感動するか。しないなら、なぜ感動しないのか。

NO.10

Act Two

MAX, TEDDY, LENNY and SAM are about the stage, lighting cigars.
JOEY comes in from U.L with a coffee tray, followed by RUTH. He puts the tray down. RUTH hands coffee to all the men. She sits with her cup. MAX smiles at her.
RUTH. That was a very good lunch.
MAX. I'm glad you liked it. (To the others.) Did you hear that? (To RUTH) Well, I put my heart and soul into it, I can tell you. (He sips.) And this is a lovely cup of coffee.
RUTH. I'm glad.

Pause.

MAX. I've got the feeling you're a first-rate cook.
RUTH. I'm not bad.
MAX. No, I've got the feeling you're a number one cook. Am I right, Teddy?
TEDDY. Yes, she's a very good cook.

Pause.

MAX. Well, it's a long time since the whole family was together, eh? If only your mother was alive. . . . . . . What time you going to work?
SAM. Soon.
MAX. You've got a job on this afternoon, haven't you?
SAM. Yes, I know.
MAX. What do you mean, you know? You'll be late. You'll lose your job. What are you trying to do, humiliate me?
SAM. Don't worry about me.
MAX. It makes the bile come up in my mouth. The bile - you understand? (To RUTH.) I worked as a butcher all my life, using the chopper and the slab, the slab, you know what I mean, the chopper and the slab! To keep my family in luxury. . . . .
SAM. You go and ask my customers! I'm the only one they ever ask for.
MAX. What do the other drivers do, sleep all day?
SAM. I can only drive one car. They can't all have me at the same time.
MAX. Anyone could have you at the same time. You'd bend over for half a dollar on Blackfriars Bridge.
SAM. Me!
MAX. For two bob and a toffee apple.
SAM. He's insulting me. He's insulting his brother. I'm driving a man to Humpton Court at four forty-five. . . . .
MAX. He didn't even fight in the war. This man didn't even fight in the bloody war!
SAM. I did.!
MAX. Who did you kill?

Silence.

SAM gets up, goes to RUTH, shakes her hand and goes out of the front door.
MAX turns to TEDDY.
. . . . . .
MAX. You should have told me you were married, Teddy. I'd have sent you a present. Where was the wedding, in America?
TEDDY. No, Here. The day before we left.
MAX. Did you have a big funcion?
TEDDY. No, there was no one there.
MAX. You're mad. I'd have given you a white wedding. We'd have had the cream of the cream here. I'd have been only too glad to bear the expense, my word of honour.
Pause.
TEDDY. You were busy at the time. I didn't want to bother you.
MAX. But you're my own flesh and blood. You're my first born.

（１） 英文学と結婚の関係で小説と演劇の関係を論じよ。シェイクスピアの喜劇は大抵結婚式で終わる。ジェイン・オースティンの小説は誰が誰と結婚するかの謎解きが多い。他の先生の授業で読んでいるものを利用してもよい。（冬休みの宿題）

（２）老いた父親の方が「ホワイト・ウェディング」を望むことについて。

岩上真珠：この半世紀、恋愛結婚が西欧世界を中心に普及するなかで、結婚は「愛し合う」男女が永久の愛を誓うイメージ。森の小さなチャペル、白いウェディング・ドレス、可愛い花嫁、白馬にまたがった王子様…友達、父母、親戚は遠景。当事者だけの責任事項だから離婚も覚悟。

２−１タイムアウト・ロンドンから（できればTheatreの項目から、なければ他でもよい）結婚や結婚式が関わるサイトを見つけて報告せよ。
２−２結果的に岩上真珠が分析する現代社会を先取りしたTeddyの結婚式を、自分が描く理想の結婚式との対比において論述せよ。
２−３（１）で論述したことと２−２で論述したことと、関連があるかないか、考察せよ。

NO.11

You know what I'm saying? I want you both to know that you have my blessing.
TEDDY. Thank you.
MAX. Don't mention it. How many other houses in the district have got a Doctor of Philosophy sitting down drinking a cup of coffee?

(1)ＭＡＸが博士号をやたらに強調するのはなぜだと思うか。

Pause.

RUTH. I'm sure Teddy's very happy . . . to know that you're pleased with me.

Pause.

I think he wondered whether you would be pleased with me.
MAX. But you're a charming womna.

Pause.

RUTH. I was . . .
MAX. What?

Pause.

What she say?

They all look at her.

RUTH. I was . . . different . . .when I met Teddy . . . first.

（２）後で分かる「グラビア・モデル」を言おうとして言い換えたＲＵＴＨの気持ちを解説せよ。


TEDDY. No you weren't. You were the same.
RUTH. I wasn't.
MAX. Who cares? Listen, live in the present, what are you worrying about?
TEDDY. . . .We've got three boys, you know.
MAX. All boys? Isn't that funny, eh? You've got three, I've got three. You've got three nephews, Joey. Joey! You're an uncle, do you hear? You could teach them how to box.

Pause

Joey(to RUTH). I'm a boxer. In the evenings, after work.
I'm in demoliton in the daytime.
RUTH. Oh?
JOEY. Yes. I hope to be full time, when I get more bouts.
MAX(to LENNY). He speaks so easily to his sister-in-law, do you notice? That's because she's an intelligent and sympathetic woman.

He leans to her.

Eh, tell me, do you think the children are missing their mother?

She looks at him.

TEDDY. Of course they are. They love her. We'll be seeing them soon.

Pause.

. . .
JOEY stands. The three go out.
TEDDY sits by RUTH, holds her hand.
She smiles at him.
Pause.
TEDDY. I think we'll go back. Mmnn?

Pause.

Shall we go home?
RUTH. Why?
TEDDY. Well, we were only here for a few days, weren't we? We might as well . . .cut it short, I think.
RUTH. Why? Don't you like it here?
TEDDY. Of course I do. But I'd like to go back and see the boys now.

Pause.

RUTH. Don't you like your family?
TEDDY. Which family?
RUTH. Your family here.
TEDDY. Of course I like them. What are you talking about?
. . . .
RUTH. You find it dirty here?
TEDDY. I didn't say I found it dirty here.

Pause.

I didn't say that.

Pause.

Look. I'll go and pack. You rest for a while. Will you? They won't be back for at least an hour. You can sleep. Rest. Please.

She looks at him.

You can help me with my lectures when we get back. I'd love that. I'd be so grateful for it, really. We can bathe till October. You know that. Here, there's nowhere to bathe, except the swimming bath down the road. You know what it's like? It's a urinal. A filthy urinal!

Pause.

You liked Venice, didn't you? It was lovely, wasn't it? You had a good week. I mean . . . I took you there. I can speak Italian.
RUTH. But if I'd been a nurse in the Italian campaign I would have been there before.

Pause.

TEDDY. You just rest. I'll go and pack.

（３）知的職業でラテン系の開放的な空間からみれば、ロンドンの中流の下の家が疎ましい気持ちは分かるが、これはＴＥＤＤＹという男性の視点。もう少しＲＵＴＨの気持ちを十分に描くとすれば、どんなポイントが考えられるか。

TEDDY goes out and up the stairs.
She closes her eyes.
LENNY appears from U.L.
He walks into the room and sits near her.
She opens her eyes.
Silence.
. . . .
LENNY. Winter'll soon be upon us. Time to renew one's wardrobe.

Pause.

RUTH. That's a good thing to do.
. . .
RUTH. I always . . .

Pause.

Do you like clothes?
LENNY. Oh, yes. Very fond of clothes.

Pause.

RUTH. I'm fond . . .

Pause.

What do you think of my shoes?
LENNY. They're very nice.
RUTH. No, I can't get the ones I want over there.
LENNY. Can't get them over there, eh?
RUTH. No . . .you don't get them over there.

Pause.

I was a model before I went away.
LEENY. Hats?

Pause.

I bought a girl a hat once.
. . . . . .
RUTH. No . . .I was a model for the body. A photographic model for the body.
LENNY. Indoor work?
RUTH. That was before I had . . . all my children.

Pause.

No, not always indoors.

. . .
Sometimes we stayed in the house but . . .most often . . . we walked down to the lake . . .and did our modelling there.

（４）現代日本ではボクサーとグラビア・モデルとに差があるとも思えない（中流の堅い家庭疎まれる）。この「家」では、特にＭＡＸがボクシングは推奨し、モデルは軽蔑しそうな雰囲気があるのは、なぜだと思うか。
（５）全体を「美女と野獣」の後日記に書き換える案についてどう思うか。王子様と結婚したプリンセス・ベルが実家に帰ってくる話に。モデル体験ではなく、プリンセスとして湖水地方などに行き、人々に愛された体験談をベルが語り、ベルの兄弟が聞き入る設定では？

NO.12

TEDDY comes down the stairs with the cases. He puts them down, looks at LENNY.
TEDDY. What have you been saying to her?

He goes to RUTH.

Here's your coat.

LENNY goes to the radiogram and puts on a record of slow jazz.

Ruth. Come on. Put it on.
LENNY(to RUTH). What about one dance before you go?
TEDDY. We're going.
LENNY.Just one.
TEDDY. No. We're going.
LENNY. Just one dance, with her brother-in-law, before she goes.

LENNY bends to her.

Madam?

RUTH stands. They dance, slowly.
TEDDY stands, with RUTH's coat.
MAX and JOEY come in the front door and into the room. They stand.
LENNY kisses RUTH. They stand, kissing.
JOEY. Christ, she's wide open.

（１）ダンスのムードでキスをしてしまった二人に若いＪＯＥＹが刺激される。こうしたＲＵＴＨの行動を理解できるか。

Pause.

She's a tart.

Pause

Old Lenny's got a tart in here.

JOEY goes to them. He takes RUTH's arm. He smiles at
LENNY. He sits with RUTH on the sofa, embraces and kisses her.
He looks up at LENNY.

Just up my street.

He leans her back until she lies beneath him. He kisses her.
He looks up at TEDDY and MAX.

It's better than a rubdown, this.

LENNY sits on the arm of the sofa. He caresses RUTH's hair as JOEY embraces her.

（２）当時はあまりに性のタブーが強いので、それに反逆、解放の動きがあった。現代では、ちょっとやり過ぎだと思う。これを、現代向きに穏やかな演出にする工夫を考えよ。


MAX comes forward, looks at the cases.

MAX. You going. Teddy? Already?

Pause.

Well, when you coming over again, eh? Look, next time you come over, don't forget to let us know beforehand whether you're married or not. I'll always be glad to meet the wife. Honest. I'm telling you.

JOEY lies heavily on RUTH.
They are almost still.
LENNY caresses her hair.

Listen, you think I don't know why you didn't tell me you were married? I know why. Youwere ashamed. You thought I'd be annoyed because you married a woman beneath you. You should have known me better. I'm broadminded. I'm a broad minded man.

He peers to see RUTH's face under JOEY, turns back to TEDDY.

Mind you, she's a lovely girl. A beautiful woman. And mother too. A mother of three. . . .

BLACKOUT.

（３）ＪＯＥＹとＲＵＴＨの行為がありながらＭＡＸがこうした台詞を言う気持ちを説明せよ。
（４）従軍慰安婦問題とこのシーンは関りがあると思うか。あるとすれば、どのような点か。
（５）「美女と野獣」の後日記。兄弟とプリンセス・ベルが宮廷の舞踏会のまねをするシーンに変えるといった、全体にメルヘン風を加味するには、どうすればいいと思うか。

NO.13

LIGHTS UP.
Evening.
TEDDY sitting, in his coat, the cases by him.
Pause.
SAM. Do you remember MacGregor, Tddy?
TEDDY. Mac?
SAM. Yes.
TEDDY. Of course I do.
. . . . . .
LENNY comes in the front door and into the room.

LENNY. . . .Where's my chees-roll?
TEDDY.I took your chees-roll, Lenny.
. . . .
LEENY. . . . .
Ted, there's no question that we live a less rich life here than you do over there. We live a closer life. We're busy, of course. Joey's busy with his boxing, I'm busy with my occupation, Dad still plays a good game of poker, and he does the cooking as well, well up to his old standard, and Uncle Sam's the best chauffeur in the firm. But nevertheless we do make up aunit, Teddy, and you're an integral part of it. When we all sit round the backyard having a quiet gander at the night sky, there's always an empty chair standing in the circle, which is in fact yours. And so when you at length return to us, we do expect a bit of grace, a bit of je nesais quoi, a bit of generousity of mind, a bit of liberality of spirit, to reassure us. We do expect that. But do we get it? Have we got it? Is that what you've given us?

Pause.

TEDDY. Yes.

JOEY comes down the stairs and into the room, with a news-papar.
LENNY(to JOEY). How'd you get on?
JOEY. Er . . .not bad.
LENNY. What do you mean?

Pause.

What do you mean?
. . . .
JOEY.What's it got to do with you?
LENNY. Joey, you tell your brother everything.
. . . . .
What do you think of that, Ted? Your wife turns out tobe a tease. He's had her up there for two hours and he didn't go the whole hog.
JOEY. I didn't say she was a tease.
. . . . .
MAX and SAM come in the front door and into the room.
MAX. Where's the whore? Still in bed? She'll make us all animals.
LENNY. The girl's a tease.
MAX. What?
LENNY. She's had Joey on a string.
MAX. What do you mean?
TEDDY. He had her up there for two hours and he didn't go the whole hog.

Pause.

MAX. My Joey? She did that to my boy?

Pause.

To my youngest son? Tch, tch, tch, tch. How you feeling, son? Are you all right?
MAX(to TEDDY). Does she do that to you, too?
TEDDY. No.
LENNY. He gets the gravy.
MAX. You think so?
JOEY. No he don't.

Pause.

SAM. He's her lawful husband. She's his lawful wife.
JOEY. No he don't! He don't get no gravy! I'm telling you. I'm telling all of you. I'll kill the next man who says he gets the gravy.
MAX. Joey . . .what are you getting so excited about? (To LENNY.) It's because he's frustrated. You see what happens?
JOEY. Who is?
MAX. Joey. No one's saying you're wrong. In fact everyone's saying you're right.

Pause.

MAX turns to the others.
You know something? Perhaps it's not a bad idea to have a woman in the house. Perhaps it's a good thing. Who knows? Maybe we should keep her.

Pause.

Maybe we'll ask her if she wants to stay.

Pause.

TEDDY. I'm afraid not, Dad. She's not well, and we've got to get home to the children.
MAX. Not well? I told you, I'm used to looking after people who are not so well. Don't worry about that. Perhaps we'll keep her here.
SAM. Don't be silly.
MAX. What's silly?
SAM. You're talking rubbish.
MAX. Me?
SAM. She's got three children.
MAX. She can have more! Here. If she's so keen.
TEDDY. She doesn't want any more.
MAX. What do you know about what she wants, eh, Ted?
TEDDY(smiling). The best thing for her is to come home with me, Dad. Really. We're married, you know.

MAX walks about the room, clicks his fingers.

MAX. We'd have to pay her, of course.
. . . . . .
JOEY. Eh, wait a minute. I don't want to share her.
MAX. What did you say?
JOEY. I don't want to share her with a lot of yobs!
MAX. Yobs! You arrogant git! What arrogance.
. . . . . .
RUTH comes down the stairs, dressed.
She comes into the room.
She smiles at the gathering, and sits.
Silence.

（１）以上を「美女と野獣」もしくは「シンデレラ」に書き換えるとしたらどうするか。プリンセスが実家に帰った場合を想定。以下の変換でうまくゆくと思う点、うまくゆかないと思う点などを述べよ。

廷臣に贈り物をするなど、プリンセス・ベル（あるいはプリンセス・シンデレラ）にもっと長く実家に逗留していただく作戦。ジョイとのことはセックスでサービスしてもらえなかった話ではなく、お付きの人に阻まれて、お話を十分してもらえなかった話に変換。ジョーイはボクシングで成功してプリセンス・ベルに謁見を賜る存在になろうとする。

TEDDY. Ruth . . . the family have invited you to stay, for a little while longer. As a . . . a kind of guest. If you like the idea I don't mind. We can manage very easily at home . . . until you come back.
RUTH. How very nice of them.
. . . . . .
TEDDY. But Ruth, I should tell you . . . that you'll have to pull your weight a little, if you stay. Financially. My father isn't very well off.
RUTH(to MAX). Oh, I'm sorry.
MAX. No, you'd just have to bring in a little, that's all. A few pennies. nothing much. It's just that we're waiting for Joey to hit the top as a boxer. When Joey hits the top . . .well . . .

Pause.

TEDDY. Or you can come home with me.
LENNY. We'd get you a flat.

Pause.

RUTH. A flat?
LENNY. Yes.
RUTH. Where?
LENNY. In town.
. . . .
RUTH. You'd supply my wardrobe, of course?
LENNY. We'd supply everything Everything you need.
RUTH. I'd need an awful lot. Otherwise I wouldn't be content.
. . . . . .
MAX. And you'd have the whole of your daytime free, of course. You could do a bit of cooking here if you wanted to.
LENNY. Make the beds.
MAX. Scrub the place out a bit.
TEDDY. Keep everyone company.

SAM comes forward.

SAM(in one breath). MacGregor had Jessie in the back of my cab as I drove themalong.

He croaks and clooapses.
He lies still.
They look at him.

MAX. What's he done? Dropped dead?
LENNY. Yes.
MAX. A corpse? A corpse on my floor? Get him out of here! Clar him out of here!

JOEY bends over SAM.

JOEY. He's not dead.
LENNY. He probably was dead, for about thirty seconds.
MAX. He's not even dead!

LENNY looks down at SAM.

LENNY. Yes, there's still some breath there.
MAX(pointing at SAM). You know what that man had?
LENNY. Has.
MAX. Has! A diseased imagination.

Pause.

RUTH. Yes, it sounds a very attractive idea.
MAX. Do you want to shake on it now, or do you want to leave it till later?
RUTH. Oh, we'll leave it till later.

TEDDY stands.
He looks down at SAM.

TEDDY. I was going to ask him to drive me to London Airport.

He goes to the cases, picks one up.

Well, I'll leave your case, Ruth. I'll just go up the road to the Underground.
MAX. Listen, if you go the other way, first left, first right, you remember, you might find a cab passing there.
TEDDY. Yes, I might do that.
MAX. Or you can take the tube to Piccadlly Circus, won't take you ten minutes, and pick up a cab from there out to the Airport.
TEDDY. Yes, I'll probably do that.
MAX. Mind you, they'll charge you double fare. They'll charge you for the return trip. It's over the six-mile limit.
TEDDY. Yes. Well, bye-bye, Dad. Look after yourself.

They shake hands.

. . . . .

（２）（１）と同様に、以上の場面について以下のように書き換えるとして、良い点、問題点などを述べよ。

王子様は宮廷に帰ってしまい、プリンセス・ベルは実家に逗留するのかどうか、廷臣たちがそれを許すかどうかの問題へ 。