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The Engineering Profession (Ivanhoe Career Guides) Cambridge Market Intelligence? CambridgeMarketIntelligence? ジャンル別? Subjects-Business&Investing-Careers? Subjects-Reference-Careers? Subjects-Science-Technology-General&Reference Submarine Slope Systems Geological Society Pub House? Geological Society Publishing House? GeologicalSocietyPubHouse? GeologicalSocietyPublishingHouse? ジャンル別? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-General Subjects-Science-Nature&Ecology-Oceans&Seas-Oceanography-General? Subjects-Science-Technology-General&Reference Environmental Decision-Making The Role of Scientists, Engineers and the Public Federation Press? Ronnie Harding? FederationPress? RonnieHarding? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Outdoors&Nature-Ecology-General? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Ecology-General? Subjects-Science-Nature&Ecology-General? Subjects-Science-Technology-General&Reference The Dictionary of Australian Inventions and Discoveries Allen & Unwin? Margaret McPhee? Allen&Unwin? MargaretMcPhee? ジャンル別? Subjects-History-Australia&Oceania-Australia? Subjects-History-HistoricalStudy-HistoryofIdeas? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Framing Technology Society, Choice and Change (Studies in Society Series) Allen & Unwin? Lelia Green? Roger Guinery? Allen&Unwin? LeliaGreen? RogerGuinery? ジャンル別? Subjects-Nonfiction-SocialSciences-General? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-Technology-General&Reference The Media and Communications in Australia Allen & Unwin? Stuart Cunningham? Graeme Turner? Allen&Unwin? StuartCunningham? GraemeTurner? ジャンル別? Subjects-History-Australia&Oceania-Australia? Subjects-Nonfiction-SocialSciences-Sociology-SocialSituations? Subjects-Nonfiction-SocialSciences-MediaStudies? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Nonfiction-Education-Reference-Words&Language-Communication? Subjects-Reference-Words&Language-Communication? Subjects-Reference-General? Subjects-Science-Technology-General&Reference The Blacksmith's Craft Countryside Agency? CountrysideAgency? ジャンル別? Subjects-Science-Technology-General&Reference Blacksmith's Manual Illustrated Countryside Agency? CountrysideAgency? ジャンル別? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-40? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-AnimalHusbandry? How It All Began Dalesman Publishing Co Ltd? Maurice E. Baren? DalesmanPublishingCoLtd? MauriceE.Baren? ジャンル別? Subjects-History-Europe-England-General? Subjects-History-HistoricalStudy-SocialHistory? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Inventors and Engineers of Caithness Whittles Pub? Robert P. Gunn? WhittlesPub? RobertP.Gunn? ジャンル別? Substores-UnknownASINs-40? Subjects-Biographies&Memoirs-General? Subjects-History-Europe-England-General? Subjects-History-Europe-Scotland? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Supporting the City The Influence of Engineering on Glasgow's Buildings Whittles Pub? Howard Wright? WhittlesPub? HowardWright? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Arts&Photography-Architecture-BuildingTypes&Styles-General? Subjects-Arts&Photography-Architecture-General? Subjects-Arts&Photography-Architecture-Reference? Subjects-Engineering-Civil-Surveying&Photogrammetry? Subjects-History-Europe-England-General? Subjects-History-Europe-Scotland? Subjects-Professional&Technical-Engineering-Civil-Surveying&Photogrammetry? Subjects-Professional&Technical-Architecture-BuildingTypes&Styles-General? Subjects-Professional&Technical-Architecture-General? Subjects-Professional&Technical-Architecture-Reference? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Maths for Map Makers Whittles Pub? Arthur Allan? WhittlesPub? ArthurAllan? ジャンル別? Substores-UnknownASINs-40? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Cartography? Subjects-Science-EarthSciences-Cartography? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Reference? Subjects-Science-Mathematics-Applied-General? Subjects-Science-Technology-General&Reference Imp Tuning and Modification Bookmarque Publishing? J.D. Hansen? BookmarquePublishing? J.D.Hansen? ジャンル別? Subjects-Nonfiction-Automotive-Repair? Subjects-Science-Technology-General&Reference Introducing Digital Audio PC Pub? Ian Robertson Sinclair? PCPub? IanRobertsonSinclair? ジャンル別? Substores-UnknownASINs-40? Subjects-Reference-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Music Technology Reference Book Cpg Inc? Peter Buick? CpgInc? PeterBuick? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-Software? Subjects-Entertainment-Music-Reference-General? Subjects-Entertainment-Music-General? Subjects-Science-Technology-General&Reference Practical Midi Handbook PC Pub? R. A. Penfold? PCPub? R.A.Penfold? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience? Subjects-Entertainment-Music-Reference-General? Subjects-Entertainment-Music-General? Subjects-Entertainment-Music-Theory,Composition&Performance-MIDI,Mixers,etc.? Subjects-Science-Technology-General&Reference Advanced Midi Users Guide PC Pub? R. Penfold? PCPub? R.Penfold? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience? Subjects-Entertainment-Music-Reference-General? Subjects-Entertainment-Music-General? Subjects-Entertainment-Music-Theory,Composition&Performance-MIDI,Mixers,etc.? Subjects-Science-Technology-General&Reference The Rendel Connection Quiller Press? Michael R. Lane? QuillerPress? MichaelR.Lane? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Biographies&Memoirs-General? Subjects-Business&Investing-Management&Leadership-Production&Operations? Subjects-Engineering? Subjects-Professional&Technical-Engineering? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations? Subjects-Science-Technology-General&Reference Heath Robinson Chris Beetles Ltd? Geoffrey C. Beare? ChrisBeetlesLtd? GeoffreyC.Beare? ジャンル別? Substores-UnknownASINs-40? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Computers And Writing Models And Tools Intellect L & D E F a E? Noel Williams? Patrick Holt? IntellectL&DEFaE? NoelWilliams? PatrickHolt? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet? Subjects-Nonfiction-Education-Reference-Words&Language-Reference? Subjects-Reference-Words&Language-Reference? Subjects-Reference-Writing-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Hypertext State of Art Intellect L & D E F a E? Ray McAleese? Cath Green? IntellectL&DEFaE? RayMcAleese? CathGreen? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Databases-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Evaluation Call Programs Intellect L & D E F a E? IntellectL&DEFaE? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-Programming-General? Subjects-Nonfiction-Education-Reference-Words&Language-Study&Teaching? Subjects-Reference-Words&Language-Study&Teaching? Subjects-Science-General Subjects-Science-Technology-General&Reference Hypertext Theory into Practice (British Journal of Educational Technology, 3) Intellect L & D E F a E? Ray McAleese? IntellectL&DEFaE? RayMcAleese? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-WebDevelopment-HTML,Graphics,&Design-HTML-General? Subjects-Computers&Internet-Databases-General? Subjects-Computers&Internet-General? Subjects-Computers&Internet-Home&Office-Windows-WordProcessing? Subjects-Science-Technology-General&Reference Forms of Representation Intellect Books? Donald Peterson? IntellectBooks? DonaldPeterson? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Health,Mind&Body-Psychology&Counseling-Cognitive? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Subjects-Science-BehavioralSciences-General? Women And Computers (Computers Society) Intellect L & D E F a E? Frances Grundy? Angela Martin? IntellectL&DEFaE? FrancesGrundy? AngelaMartin? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Business&Investing-BusinessLife-Workplace? Subjects-Computers&Internet-ComputerScience? Subjects-Nonfiction-SocialSciences-GenderStudies-General? Subjects-Nonfiction-SocialSciences-General? Subjects-Nonfiction-SocialSciences-Communication-Technology&Society? Subjects-Science-General Subjects-Science-Technology-General&Reference Computers and Society Intellect L & D E F a E? Colin Beardon? IntellectL&DEFaE? ColinBeardon? ジャンル別? Substores-UnknownASINs-65? Subjects-Nonfiction-SocialSciences-Communication-Technology&Society? Subjects-Science-Technology-General&Reference The Post Human Condition Intellect L & D E F a E? Robert Pepperell? IntellectL&DEFaE? RobertPepperell? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-65? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Nonfiction-Philosophy-Metaphysics? Subjects-Nonfiction-SocialSciences-General? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-Technology-General&Reference Formalizing Common Sense Papers By John Mccarthy Intellect L & D E F a E? John McCarthy? Vladimir Lifschifz? Vladimir Lifschitz? IntellectL&DEFaE? JohnMcCarthy? VladimirLifschifz? VladimirLifschitz? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Technology-General&Reference From Information to Knowledge Conceptual and Content Analysis by Computer Intellect L & D E F a E? Klaus M. Schmidt? Ephraim Nissan? Society of Conceptual and Content Analysis by Computer? IntellectL&DEFaE? KlausM.Schmidt? EphraimNissan? SocietyofConceptualandContentAnalysisbyComputer? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience? Subjects-Nonfiction-Philosophy-Logic&Language? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Nonfiction-SocialSciences-Linguistics-Applied? Subjects-Nonfiction-Education-General? Subjects-Reference-Words&Language-Linguistics? Subjects-Science-Technology-General&Reference The Theory of the Artificial Virtual Replications and the Revenge of Reality Intellect L & D E F a E? Massimo Negrotti? IntellectL&DEFaE? MassimoNegrotti? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-TheoryofComputing? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-PhilosophyofTechnology? Subjects-Science-BiologicalSciences-Biotechnology? Words on the Web Computer Mediated Communication (Computer Mediated Communicatio) Intellect L & D E F a E? Lyn Pemberton? Simon Shurville? IntellectL&DEFaE? LynPemberton? SimonShurville? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-40? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Computers&Internet-Networking? Subjects-Computers&Internet-General? Subjects-Nonfiction-SocialSciences-Sociology-SocialSituations? Subjects-Nonfiction-SocialSciences-Communication-MassCommunication? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Learning With Computers (Computers Society) Intellect L & D E F a E? Robert W. Lawler? IntellectL&DEFaE? RobertW.Lawler? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-Business&Culture-Culture? Subjects-Nonfiction-SocialSciences-Communication-Technology&Society? Subjects-Nonfiction-Education-Technology&DistanceLearning-Computers&Technology? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-Technology&DistanceLearning-Computers&Technology? Subjects-Science-Technology-General&Reference I.T. for Learning Enhancement Intellect L & D E F a E? Moira Monteith? IntellectL&DEFaE? MoiraMonteith? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Parenting&Families? Substores-UnknownASINs-65? Subjects-Computers&Internet-Home&Office-Internet-KidsandtheNet? Subjects-Nonfiction-Education-Technology&DistanceLearning-General? Subjects-Parenting&Families-Parenting-ChildCare? Subjects-Professional&Technical-Education-Technology&DistanceLearning-General? Subjects-Science-Technology-General&Reference Communication Patterns and Textual Forms Intellect L & D E F a E? Graziella Tonfoni? IntellectL&DEFaE? GraziellaTonfoni? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-HumanVision&LanguageSystems? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Nonfiction-Philosophy-Logic&Language? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Reflections on Artificial Intelligence Intellect L & D E F a E? Blay Whitby? IntellectL&DEFaE? BlayWhitby? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Computers&Internet-Business&Culture-Culture? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-Technology-General&Reference Principles of Modelling and Rendering With 3d Studio Intellect L & D E F a E? Stuart Mealing? Brian Adams? Martin Woolner? IntellectL&DEFaE? StuartMealing? BrianAdams? MartinWoolner? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-WebDevelopment-HTML,Graphics,&Design-WebGraphics? Subjects-Computers&Internet-ComputerScience-Algorithms-Rendering&RayTracing? Subjects-Computers&Internet-Programming-Graphics&Multimedia-General? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Art and Science of Computer Animation Intellect L & D E F a E? Stuart Mealing? IntellectL&DEFaE? StuartMealing? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Arts&Photography-GraphicDesign-Animation? Subjects-Arts&Photography-GraphicDesign-Commercial-General? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Computers&Internet-WebDevelopment-HTML,Graphics,&Design-WebGraphics? Subjects-Computers&Internet-Programming-Graphics&Multimedia-Animation? Subjects-Computers&Internet-Programming-Graphics&Multimedia-General? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Computers&Internet-GraphicDesign-CAD-CAD&CAM? Subjects-Entertainment-Movies-General? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Science-General Subjects-Science-Technology-General&Reference The World As Information Overload and Personal Design Intellect L & D E F a E? Robert D. Abbott? IntellectL&DEFaE? RobertD.Abbott? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-65? Subjects-Business&Investing-Industries&Professions-High-Tech? Subjects-Computers&Internet-Business&Culture-ComputerIndustry? Subjects-Computers&Internet-General? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Science-EarthSciences-Geography-Regional? Subjects-Science-General Subjects-Science-Technology-General&Reference Digital Design Using Quarkxpress 4 Intellect L & D E F a E? Paul Honeywill? Tony Lockhart? IntellectL&DEFaE? PaulHoneywill? TonyLockhart? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Arts&Photography-GraphicDesign-Commercial-General? Subjects-Computers&Internet-GraphicDesign-DesktopPublishing-QuarkXPress? Subjects-Computers&Internet-Hardware-SystemArchitecture-DigitalDesign? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Visual Language for the World Wide Web Intellect L & D E F a E? Paul Honeywill? IntellectL&DEFaE? PaulHoneywill? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-40? Subjects-Computers&Internet-WebDevelopment-HTML,Graphics,&Design-InterfaceDesign? Subjects-Computers&Internet-Programming-WebProgramming-General? Subjects-Computers&Internet-OperatingSystems-General? Subjects-Computers&Internet-General? Subjects-Engineering? Subjects-Nonfiction-SocialSciences-Linguistics-Applied? Subjects-Nonfiction-Education-Reference-Words&Language-Communication? Subjects-Professional&Technical-Engineering? Subjects-Reference-Words&Language-Communication? Subjects-Reference-Words&Language-Linguistics? Subjects-Science-Technology-General&Reference Creative Content for the Web Intellect L & D E F a E? Marc Millon? IntellectL&DEFaE? MarcMillon? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-WebDevelopment-InternetCommerce-InternetPublishing? Subjects-Computers&Internet-GraphicDesign-DesktopPublishing-General? Subjects-Computers&Internet-General? Subjects-Computers&Internet-Home&Office-Internet? Subjects-Science-Technology-General&Reference Logical Derivation of Computer Programs Intellect L & D E F a E? Thomas G. Windeknecht? IntellectL&DEFaE? ThomasG.Windeknecht? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-TheoryofComputing? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Programming-Logic? Subjects-Computers&Internet-Hardware-SystemArchitecture-ComputerDesign? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference How to Pass the R.A.E. Radio Society of Great Britain? G.L. Benbow? C. Smith? Clive V. Smith? Derek Cole? RadioSocietyofGreatBritain? G.L.Benbow? C.Smith? CliveV.Smith? DerekCole? ジャンル別? Substores-UnknownASINs-40? Subjects-Engineering-Telecommunications-General? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Science-Technology-General&Reference Technical Topics Scrapbook, 1985-1989 Radio Society of Great Britain? Pat Hawker? RadioSocietyofGreatBritain? PatHawker? ジャンル別? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-40? Subjects-Engineering-Telecommunications-Radio&Wireless? Subjects-Professional&Technical-Engineering-Telecommunications-Radio&Wireless? Subjects-Science-Technology-General&Reference Rolls-Royce Armaments Rolls-Royce Heritage Trust? David Birch? Rolls-RoyceHeritageTrust? DavidBirch? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-SpecialTopics-MilitaryEngineering? Subjects-History-Military-General? Subjects-History-Military-Weapons&Warfare-Conventional-General? Subjects-Professional&Technical-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Power for the Pioneers Crossprint? A.E. Tagg? Crossprint? A.E.Tagg? ジャンル別? Substores-UnknownASINs-40? Subjects-Science-Technology-General&Reference Simultaneous Engineering Miller Freeman Technical Ltd? John Hartley? MillerFreemanTechnicalLtd? JohnHartley? ジャンル別? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-Technology-General&Reference Course Design for Resource Based Learning (Resource Based Learning Series) Oxford Brookes University, Oxford Centre for Staff? Fred Percival? Graham Gibbs? OxfordBrookesUniversity,OxfordCentreforStaff? FredPercival? GrahamGibbs? ジャンル別? Subjects-Nonfiction-Education-InstructionMethod? Subjects-Science-Technology-General&Reference Industrial Past (Discover Dorset) Dovecote Press? Peter Stanier? DovecotePress? PeterStanier? ジャンル別? Subjects-Business&Investing-Biographies&Primers-BusinessHistory? Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-History? Subjects-Nonfiction-Economics-EconomicHistory? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicHistory? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Parallel and Distributed Processing for Computational Mechanics Systems and Tools Saxe-Coburg Pubns? Scotland) Euro-Conference on Parallel and Distributed Computing (1st 1997 Lochinver? B. H. V. Topping? Saxe-CoburgPubns? Scotland)Euro-ConferenceonParallelandDistributedComputing(1st 1997 Lochinver? B.H.V.Topping? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Subjects-Computers&Internet-Networking-DataintheEnterprise-DistributedComputing? Subjects-Computers&Internet-Databases-DistributedDatabases? Subjects-Computers&Internet-Hardware-SystemArchitecture-ParallelComputing? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
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Deuxième Tableau - Mardi Gras (La Place Colonne à l angle de la rue du Corso. Au fond, la Colonne Antonine et une fontaine. A droite, un théâtre de pasquinades. A gauche, une taverne avec une cour, des tables, des bancs, etc) Scène Septième N° 7 - Romance CELLINI (seul) Une heure encor et ma belle maîtresse Va venir dans ces lieux, Une heure encor, amour, et si tu veux De tous ces cœurs fous d allégresse Le mien sera le plus joyeux. Ah! tu serais ingrat si tu trompais mes voeux. Romance La gloire était ma seule idole; Un noble espoir que je n ai plus Ceignait mon front de l auréole Que l art destine à ses élus; Mais cet honneur je le dédaigne, Teresa seule en mon cœur règne. Vois donc, amour, ce que je fais pour toi; Protège-la, protège-moi. Ma bien aimée était heureuse, Et comme un fleuve ses beaux jours, Loin de la mer sombre, orageuse, Paisiblement suivaient leurs cours. Mais au repos elle préfère Ma vie errante et ma misère. Vois donc, amour, ce qu elle fait pour toi; Protège-la, protège-moi. Scène Huitième N° 8 - Scène et Choeur TOUS A boire, à boire, à boire! Servez-nous vite à boire! (On apporte du vin.) BERNARDINO (fredonnant) Tra la la la! Chantons! CELLINI Soit, mais pour Dieu, pas de chansons à boire! Pas d ignoble refrain Sentant la taverne et le vin. Chantons! mais que nos chants soient un hymne à la gloire Des ciseleurs et de notre art divin. Chant des Ciseleurs LE CHOEUR, CELLINI, FRANCESCO, BERNARDINO Si la terre aux beaux jours se couronne De gerbes, de fruits et de fleurs, En ses flancs l homme moissonne Dans tous les temps des trésors meilleurs. Honneur aux maîtres ciseleurs! Quand le maître cisèle L or comme un soleil luit, Le rubis étincelle Comme un feu dans la nuit. Le jour, les diamants sommeillent, Le soleil éteint leurs splendeurs; Mais quand vient le soir, ils s éveillent Avec le chœur scintillant des étoiles leurs sœurs. Honneur aux maîtres ciseleurs! Le soir les topazes s éveillent Avec les étoiles leurs sœurs. Honneur aux maîtres ciseleurs! Quand le maître cisèle L or comme un soleil luit, Le diamant ruisselle Comme un torrent qui fuit, Le rubis étincelle Comme un feu dans la nuit. Quand naquit la lumière, Le génie aux beaux-arts Divisa la matière; Il en fit quatre parts, L architecte eut la pierre, Au peintre la couleur, Le marbre au statuaire, Mais l or au ciseleur! Les métaux, ces fleurs souterraines Aux impérissables couleurs, Ne brillent qu au front des reines, Des rois, des papes, des grands-ducs et des empereurs. Honneur aux maîtres ciseleurs! BERNARDINO Amis, avant qu on recommence Je demande un peu de silence, Pour mieux entonner le refrain, Il nous faut des fiasques de vin. LE CHOEUR A boire! du vin, tout est bu. Scène Neuvième LE CABARETIER (avec hésitation, à la voix nasillarde) Que voulez-vous? la cave est vide. CELLINI Que dis-tu là, cervelle aride? LE CABARETIER Je dis que... vous avez trop bu, Et si vous voulez encor boire, Il faut... il faut... LE CHOEUR (impatienté) Il faut..? LE CABARETIER Il faut payer votre mémoire. LE CHOEUR Montre-nous donc ce qui t est dû. LE CABARETIER (prenant des mains d un de ses garçons une longue perche marquée de nombreuses entailles, servant à désigner les bouteilles vendues) Voici, messieurs, le contenu De cette liste exorbitante Vin blanc d Orvieto, Aleatico, et Maraschino, Trente fiasques, trente. LE CHOEUR Comment, trente! LE CABARETIER Vin rouge d Ischia Et de Procida et de Nisita Ce qui fait soixante. LE CHOEUR Soixante! LE CABARETIER Vin mousseux d Asti, Vin de Lipari, Lacryma-Christi Ce qui fait cent trente. LE CHOEUR (contrefaisant le cabaretier) Lacryma-Christi! Cent trente! Ah! consternation, Abomination, Qui tombent sur nos têtes! CELLINI Non, jamais les trompettes Du jugement dernier Ne sauraient effrayer Plus que la voix fatale... CELLINI, LE CHOEUR Et la liste infernale... De ce... cabaretier. CELLINI Comment sortir d embarras... LE CHOEUR, FRANCESCO, BERNARDINO (saisissant aux mains du cabaretier sa longue perche) Maître, si nous rossions un peu ce traître? CELLINI Mauvais moyen que celui-là; Il vaut mieux attendre. (Le chœur lâche le cabaretier qui s enfuit.) Peut-être Ascanio nous délivrera. LE CHOEUR Ascanio! vraiment! le voilà! Scène Dixième LE CHOEUR (Ascanio entre portant un sac d argent) C est le sauveur! viva! CELLINI (courant à son élève) Viens, enfant, qu on t embrasse Et qu on te débarrasse De ce fardeau pesant. ASCANIO Un instant, un instant, Le vin après la gloire. Maître, que ta mémoire Se réveille un moment. Air Cette somme t est due Par le Pape Clément Pour fondre la statue Que l Italie attend De ton noble talent. Or donc, je ne te laisse Ce pesant sac d argent Que sur une promesse, Un solide serment, Que demain ta statue, Maître, sera fondue. Il me faut ton serment. CELLINI Soit, je le jure, enfant. LE CHOEUR Nous le jurons, enfant. LE CHOEUR, CELLINI (d un ton solennel) Cette somme était due Par le Pape Clément Pour fondre la statue Que l Italie attend De son / mon noble talent. Or donc, si tu nous laisses Ce pesant sac d argent, CELLINI (avec le Choeur) Je t en fais la promesse. Je t en fais le serment. LE CHOEUR Crois en notre promesse. Nous t en faisons serment. CELLINI, CHOEUR Sans délai ma / la statue Demain sera fondue Comme ce sac d argent. Nous en faisons serment. Oui! ASCANIO Mes amis, maintenant Ma conscience est nette. Payez donc votre dette; Mon argent, le voilà. CELLINI (vidant le sac) Comment! rien que cela? FRANCESCO, BERNARDINO Ah! la chétive somme! ASCANIO C est un si vilain homme que ce vieux trésorier! CELLINI (appelant) Qu importe... Sommelier!... Sommelier! (contrefaisant la voix du cabaretier) J acquitte ton mémoire... LE CABARETIER (prenant l argent) Merci, voulez-vous boire? LE CHOEUR Oui-dà, du vin... CELLINI Mais amis, plus de vin! (Le cabaretier s en va.) Mais que notre vengeance Frappe ce juif mesquin, Qui dans son arrogance Me traite en vrai faquin. LE CHOEUR Oui, vengeance, vengeance! Scène Onzième CELLINI (attirant ses amis à droite pour ne pas être entendu des garçons du cabaret qui desservent les tables) Écoutez tout à l heure Je sais que Balducci Quittera sa demeure Pour venir voir ici Les belles pasquinades Du maître Cassandro. Eh bien! chez Cassandro, Nous-mêmes, camarades, Dans de folles parades Drapons le Giacomo. LE CHOEUR Par Dieu! le rôle est beau. CELLINI Anathème, anathème Sur le visage blême Du seigneur Giacomo! LE CHOEUR Anathème, anathème Sur le visage blême Du seigneur Giacomo! Par Dieu! le rôle est beau, Faire rire tout Rome D un tel homme... Vite, vite chez Cassandro. TOUS (avec enthousiasme) Gloire à nous! Les métaux, ces fleurs souterraines Aux impérissables couleurs, Ne brillent qu au front des reines, Des rois, des papes, des grands-ducs et des empereurs. Honneur aux maîtres ciseleurs! (Ils entrent en courant chez Cassandro) Scène Douzième N° 9 - Récitatif FIERAMOSCA (qui a épié Cellini et ses amis de loin) C est trop fort! comploter à mon nez, sans pudeur, Et je les laisserais faire! Non pas... non pas... POMPEO (qui arrive par le fond) Eh bien, frère! Qu as-tu donc? FIERAMOSCA Ce que j ai? J étouffe de colère! Cellini... POMPEO (tranquillement) Qu a fait ce hâbleur? FIERAMOSCA (le serrant dans ses bras) Ah! Pompeo, mon ami, mon sauveur. POMPEO Ah! Je sais, l on m a dit. FIERAMOSCA Déjà? POMPEO La chose est claire, On t a rossé, cher fils! FIERAMOSCA Oui, mon cher Pompeo! Mais le pis est que Teresa et son père Viennent ce soir voir Cassandro. POMPEO Eh bien! quel mal? FIERAMOSCA Quel mal! ils vont sur le tréteau, Les traîtres, amuser le seigneur Giacomo Pour lui donner le change; Et lorsque le canon, tiré du fort Saint-Ange Dans nos mains soufflera les moccoli* soudain Un moine blanc, suivi d un capucin, Doit enlever Teresa, ma maîtresse... (Moccoli petites bougies que le mardi gras, à Rome, les masques portent et éteignent en se poursuivant, jusqu au moment où le canon du fort Saint-Ange annonce la fin du carnaval) POMPEO (enthousiasmé) Ah! bravo! FIERAMOSCA Quoi! bravo?... ce moine est Cellini. Ce capucin, c est son ami, Ascanio... POMPEO Je vois bien... Bravo!... vive l adresse! FIERAMOSCA Que je m expose ou non à quelque affront nouveau, Moi, je vais avertir le seigneur Giacomo. Nous verrons s il dira bravo! POMPEO (le retenant) Imbécile! FIERAMOSCA Vraiment? POMPEO Misérable cerveau! Puisque tu sais son stratagème, Trompe le trompeur même, Vole-lui son plan. FIERAMOSCA Mais comment? POMPEO Viens le premier toi-même en moine blanc, Et puis enlève... FIERAMOSCA Oui, la chose est facile; Mais s il me voit, le spadassin Va me tomber dessus. POMPEO Per Bacco! sois tranquille! Ne serais-je pas là moi-même en capucin? Je suis un ferrailleur s il est un spadassin. FIERAMOSCA (réfléchissant) Allons, allons, c est bien. N° 10 - Air Ah! qui pourrait me résister? Suis-je pas né pour la bataille? Malheur à qui m ose irriter! Malheur surtout à qui me raille! Le moulinet est bientôt fait, En quarte, en tierce, Toujours je perce. Vive l escrime! c est mon fort. Ô Teresa! pour toi mon âme Brûle des feux les plus ardents; C est un volcan toujours en flamme, Un Vésuve aux bonds effrayants. Je t aime tant que pour te plaire, J irais, je crois, faire la guerre A l enfer, à ses habitants; J irais même jusqu à combattre Ce malandrin de Cellini. Le malheureux!... cent comme lui Ne pourraient pas encor m abattre. Non, rien ne peut me résister, etc. (Il simule un combat à l épée) Une, deux, trois; une, deux; une... mort! Sans pitié je perce son cœur, Je suis vainqueur! N° 11 - Récitatif POMPEO Viens, le temps passe. FIERAMOSCA Cher Pompeo, que je t embrasse! POMPEO Prenons un froc et ne crains rien, Tout ira bien. (Ils sortent.) Scène Treizième N° 12 - Final (Le théâtre de Cassandro s anime; deux baladins sonnent de la trompette à chaque coin; deux autres au milieu déroulent une immense affiche où se lisent ces mots "Le roi Midas ou les oreilles d âne, opéra-pantomime." Quelques masques et le peuple commencent à circuler sur la place. Entrent d abord Balducci et Teresa par la coulisse de gauche) BALDUCCI (donnant le bras à sa fille) Vous voyez, j espère, Que je suis bon père; Moi, juge sévère Des premiers acteurs, Je consens, ma chère, A voir pour vous plaire La farce grossière De ces bateleurs. (Il quitte le bras de sa fille et va lire l affiche de Cassandro) TERESA (sur l avant-scène, à part) Ah! que vais-je faire? Laisser mon vieux père Seul et dans les pleurs! (Elle va rejoindre son père dans le fond.) CELLINI, ASCANIO (l un en pénitent blanc, l autre en moine brun, arrivant par la coulisse de droite) Prudence et mystère, Moine blanc / Capucin mon frère. Laissons d abord faire Nos chers bateleurs; Puis à nous l affaire. Alors, cher beau-père, Va chez le notaire, Ne va pas ailleurs. (Cellini et Ascanio ont traversé la scène de droite à gauche. Teresa et son père redescendent à droite.) Ensemble TERESA Ah! que vais-je faire? Laisser mon vieux père Seul, et dans les pleurs! Mais bientôt, j espère, Viendra le notaire Calmer ses douleurs. BALDUCCI Vous voyez? j espère, Que je suis bon père, etc. ASCANIO, CELLINI Prudence et mystère, Moine blanc / Capucin mon frère, etc. (Ils se perdent tous les quatre dans la foule.) BOURGEOIS DE ROME De Cassandro la farce est prête, Il va jouer le roi Midas. Amis, bourgeois, ne partez pas, Nous sifflerons si sa barette Ne nous fait pas rire aux éclats. (Entrent des femmes et des jeunes garçons avec des cymbales et des tambours de basque à la main. Ils se disposent à danser le saltarello. Francesco, Bernardino et le chœur des bateleurs amis de Cellini paraissent sur la galerie du petit théâtre) CHOEUR DES BATELEURS Venez, venez, peuple de Rome, Venez entendre du nouveau. CHOEUR DU PEUPLE (sur la place et applaudissant les danseurs) Ah! ah! Bravo! bravo! bravo! bravo! LES BATELEURS Venez, venez, voir l habile homme, Il va monter sur le tréteau! LE PEUPLE Ah! ah! Bravo! bravo! bravo! bravo! LES BATELEURS Venez, venez, peuple de Rome, Venez entendre du nouveau. Venez, venez, voir l habile homme, Il va monter sur le tréteau. LE PEUPLE Mais déjà la foule Dans l ombre et la nuit Sur Rome déroule La joie et le bruit. Et l amour, l ivresse, Dans la ville en feux, Chassent la tristesse Des cœurs et des yeux. LES BATELEURS Venez, peuple de Rome, A l opéra nouveau. LE PEUPLE Ah! sonnez, trompettes, Sonnez, musettes, Sonnez, gais tambourins. LES BATELEURS Venez voir l habile homme, etc. LE PEUPLE Sonnez, trompettes, etc. LES BATELEURS Accourez, arlequins, Médecins et pasquins! LE PEUPLE Ah! vive la joie, Que l on s y noie! Buvons, chantons, dansons. LES BATELEURS Masques noirs, ventres ronds, Venez voir les bouffons. LE PEUPLE Ah! le carnaval Est un grand bal Où, rois et gueux, Tous sont heureux, etc. TERESA Ah! le carnaval Est un grand bal Où, rois et gueux Tous sont heureux. LES BATELEURS Sans nous la fête est incomplète, Messieurs, ne vous éloignez pas; Restez, restez, la farce est prête, Elle est digne du mardi-gras. Accourez tous! LES DANSEURS ET UNE PARTIE DU PEUPLE Maudit bavard, vieille trompette, Tes quolibets ne tentent pas, Sur ton tréteau, crie à tue-tête, Pour nous la danse a plus d appas. LES BATELEURS Accourez, accourez, Médecins et pasquins, Accourez, accourez! Ah! maudits danseurs! LE PEUPLE L amour et l ivresse Chassent la tristesse, etc. Le carnaval Est un grand bal, etc. (Le spectacle commence. Le rideau, qui cachait le fond du théâtre de Cassandro, se tire et laisse voir les acteurs. On voit un grand sac d argent couronné d une mitre papale et posé sur un trône. Au pied du trône le Trésorier du Pape semblable de costume et de visage à Balducci. Le peuple s assemble devant le théâtre. Balducci et sa fille louent un banc pour mieux voir la parade) Silence! silence! silence! Assez dansé! Cassandro commence. LES FEMMES Cassandro commence, Allons, allons! faisons silence. Ouverture de la Pantomime LE PEUPLE Ah! ah! Bravo! Voici le Saint-Père, Et voici son trésorier, le seigneur Balducci. BALDUCCI Ah! c est ainsi! Me mettre en scène, Moi, Balducci? TERESA Partons d ici. BALDUCCI Non, non, merci. Pour voir ceci Puisqu on m amène, Je verrai tout Jusqu au bout! Je veux au Pape Dire ce soir Comme on nous drape, Et comme on sape notre pouvoir. LE PEUPLE Paix donc là-bas! On n entend pas! Paix! on n entend pas La pantomime. CELLINI (reparaissant avec Ascanio, sur le devant de la scène, à gauche) Vois-tu Teresa? ASCANIO Elle est là-bas. FIERAMOSCA (en moine blanc, arrivant à droite, avec Pompeo en moine brun) Vois-tu Teresa? POMPEO Elle est là-bas. TERESA Ah! quel malaise! Quel embarras! LE PEUPLE On n entend pas La pantomime! paix donc là-bas. BALDUCCI Que je me taise? je ne veux pas. LES HOMMES DU PEUPLE Paix! paix! LES FEMMES Paix donc, là-bas! Faites silence! Chut! on commence, Faites silence! (Colombine vient annoncer que deux fameux chanteurs, Arlequin et Pierrot, vont se présenter devant leur juge et disputer la palme de chant. Le faux trésorier ordonne qu ils paraissent) Pantomime du roi Midas ou les oreilles d âne (Paraissent deux chanteurs, d abord Arlequin, une lyre à la main) UNE PARTIE DU PEUPLE Voici maître Arlequin, Premier ténor romain! (Puis Pierrot avec de longues oreilles d âne et une petite grosse caisse pendue au col) UNE AUTRE PARTIE DU PEUPLE Voilà Pierrot! c est un chanteur de la Toscane, Mais est-ce un homme ou bien un âne? LES FEMMES Faisons silence. Regardons bien Maître Arlequin. Faisons silence. LES HOMMES (impatientés et s adressant aux femmes) Paix! LES FEMMES (continuant plus bas) Regardons bien, Faisons silence. Ariette d Arlequin (Arlequin s accompagnant de la lyre chante une ariette d un caractère doux et tendre. Pendant cette romance le peuple continue de parler, et le faux trésorier bâille et s endort) Ensemble LES HOMMES DU PEUPLE Bien, bien, bien C est très bien, Paix donc... LES FEMMES Regardons bien Maître Arlequin; C est un fameux ténor romain! Regardons bien. TOUS Ah! bravo, comme il chante, Ah! quel gosier divin! Comme il déroule Son chapelet; Comme il roucoule Pour un muet. Cavatine de Pierrot (Pierrot chante à son tour en s accompagnant de la grosse caisse. Pendant ce morceau lourd et trivial le peuple observe le plus profond silence, et le faux trésorier ravi se pâme d aise et bat la mesure à contretemps) QUELQUES HOMMES DU PEUPLE (montrant le faux trésorier) Il plaît fort au vieil homme Vois donc comme Il se tord. BALDUCCI C est trop fort! AUTRE PARTIE DU PEUPLE Vois donc le vieux, Est-il heureux! En vérité, Ô Dieu! Félicité! Ah! ah! quel butor! ah! ah! (Lorsque Pierrot a eu fini de chanter, Arlequin se présente pour recevoir le prix de chant. Après quelques gestes de mépris, le faux trésorier plonge lentement la main dans le sac et en tire un écu qu il donne à Arlequin. Pierrot se présente à son tour. Le juge enthousiasmé plonge à plusieurs reprises la main dans le sac et en tire des poignées d or qu il donne à Pierrot) LE PEUPLE Soyez surpris S il a le prix, Son juge a des oreilles Toutes pareilles. BALDUCCI Marauds! TERESA Chut! vos cris Redoublent les ris. (Le faux trésorier met sur la tête de Pierrot une couronne de lauriers. Arlequin, mécontent, prend sa batte et rosse son rival et le distributeur des grâces. Colombine en vain s y oppose) LE PEUPLE Bravo! BALDUCCI Marauds, se rire ainsi de moi! LE PEUPLE Midas! BALDUCCI (furieux, s élançant, armé de sa canne, sur le théâtre de Cassandro) Attends, c est fait de toi! LE PEUPLE Après la comédie Voici la tragédie. Vive le carnaval! L original Auprès de la copie Nous allons voir quel est De vous deux le plus laid. (Tous les spectateurs s avancent vivement vers le fond de la scène comme pour voir le résultat de la lutte engagée entre Balducci et les bateleurs. Cri général. A ce moment la nuit tombe. Les moccoli apparaissent. La rue et la place s illuminent à la clarté d une foule de petites bougies portées par les masques qui les soufflent et les rallument en se poursuivant.) FIERAMOSCA (à Pompeo, sur le devant de la scène) Viens, pas à pas, Fendons la presse, Offrons le bras a ma maîtresse. CELLINI (à Ascanio, sur le devant de la scène) Viens, pas à pas Fendons la presse, Offrons le bras a ma maîtresse. TERESA (sur le devant de la scène au milieu, et dans la surprise) Un moine blanc!... c est Cellini! Que vois-je? un autre ici! Deux capucins... FIERAMOSCA (d un côté) C est moi! CELLINI (de l autre) C est moi! TERESA Dieu! lequel est-ce? LE CHOEUR DES MASQUES (se poursuivant) Moccolo, moccoli! FIERAMOSCA, CELLINI C est moi! Prenez mon bras! LE CHOEUR DES MASQUES Moccolo, moccoli! A mort le moccolo! CELLINI Quoi! par l enfer et mon patron; Un autre moine... ah! trahison! POMPEO (à Fieramosca) Va, ne crains rien, marche quand même. FIERAMOSCA Ah! maudit froc, sot stratagème! POMPEO Tiens bon! ASCANIO Vengeons-nous de la trahison. POMPEO Tiens bon, tiens bon. Va, ne crains rien. CELLINI (tirant son épée) Qui que tu sois, homme ou démon, C est fait de toi. FIERAMOSCA Pompeo! à moi! Vite en avant. ASCANIO (recourant après Fieramosca) Attends, toi qui prends le devant! TERESA Ciel, au secours! qu on les arrête! LE PEUPLE (les retenant) Mais êtes-vous fous, un jour de fête? Vous avez donc perdu la tête? (Ascanio combat contre Fieramosca et Cellini combat contre Pompéo) CELLINI (se dégageant) Non, je n ai pas perdu la tête, Non. TERESA Au nom du ciel qu on les arrête! FIERAMOSCA (reculant devant l épée d Ascanio) A mon secours! POMPEO (combattant) Tiens bon! (Fieramosca se sauve) CELLINI (pressant plus vivement Pompeo) Non, non... FIERAMOSCA (se sauvant, poursuivi par Ascanio) A mon secours! CELLINI Non!... non!... (Il perce Pompeo.) POMPEO (tombant) Ah! je suis mort! (Tous les porteurs de moccoli s arrêtent et se groupent autour de Pompeo, étendu par terre.) LE PEUPLE Un homme mort! vite à la garde... Un mort! BALDUCCI (revenant sur le devant de la scène à droite, sans canne et les habits en désordre) Un meurtrier... ma fille... un mort! FIERAMOSCA (reparaissant à gauche, toujours poursuivi par Ascanio) A mon secours!... Pomp... mort! LE PEUPLE (montrant Cellini) Oui... c est ce moine... oui... qu on l arrête, Son arme brille et fume encor. (Des sbires arrêtent Cellini.) CELLINI Je suis perdu! FIERAMOSCA Je suis sauvé! ASCANIO Mon pauvre maître! FRANCESCO, BERNARDINO Le maître est pris! FIERAMOSCA On tient le traître! BALDUCCI, FRANCESCO, LES BATELEURS Ah! maudite nuit! CELLINI, TERESA Cruel destin! LES FEMMES Un si bel homme! LES HOMMES Ah! quel coquin! CELLINI Maudite nuit! TOUS Ah! (Les élèves et amis de Cellini feignent de partager l indignation générale.) FRANCESCO, BERNARDINO, BALDUCCI FIERAMOSCA, LE PEUPLE Assassiner un capucin!... Un camaldule, ah! c est infâme! C est un brigand de l Apennin; C était l amant de quelque femme; Soldats, gardez bien l assassin! C est la vendetta, c est certain. TERESA Ah! pauvre femme, Pour moi seule il s est perdu. Infâme, lâches drôles! Le traiter comme un assassin. CELLINI Ah! terrible nuit, ô sort maudit! Lâches, drôles, Me traiter comme un assassin. ASCANIO Ah! mon cher maître! c est infâme! Le traiter comme un assassin. FIERAMOSCA C est un infâme assassin! Le traître est pris enfin! (Tout à coup le canon du fort Saint-Ange tonne; à ce signal, toutes les lumières portées par les masques s éteignent subitement, et une obscurité profonde envahit la place) CELLINI A moi, mes amis, A moi, je suis pris! (Les amis de Cellini profitent de la nuit pour s élancer sur les gardes. Leur mouvement soudain met la confusion dans le peuple. Cellini se dégage et se sauve) LE PEUPLE On n y voit pas! BALDUCCI, FIERAMOSCA UNE PARTIE DU CHOEUR Gardes, tenez-vous l homme? LES SBIRES A nous, bourgeois! LE PEUPLE A nous, soldats! TERESA, ASCANIO, AMIS DE CELLINI Il a disparu. FIERAMOSCA, BALDUCCI Maudit canon! le drôle était saisi. Ensemble BALDUCCI, FIERAMOSCA, LE PEUPLE Maudit canon du fort Saint-Ange, Pour que la langue te démange, Par Dieu! l instant est bien choisi; Sans toi le drôle était saisi. TERESA, ASCANIO, FRANCESCO BERNARDINO, ÉLÈVES DE CELLINI Ah! cher canon du fort Saint-Ange, Pour que le jour en nuit se change, Merci! l instant est bien choisi; Car les soldats l avaient saisi. BALDUCCI (cherchant sa fille) Teresa! TERESA Mon père! ASCANIO (reconnaissant Teresa) Chut! prenez mon bras. Venez, je vais guider vos pas. (Ascanio donne son bras à Teresa et l emmène en cherchant à éviter Fieramosca et Balducci.) Ensemble LE PEUPLE, LES AMIS DE CELLINI Au meurtre! ah, Dieu! l on nous assomme! A l aide! au meurtre! quel horrible fracas! Maudit canon! on tenait l homme! Il était pris. Ah, quel chaos! La foule augmente! on n y voit pas! Le drôle s échappe, On ne l attrapera pas. BALDUCCI Teresa, Teresa! ma fille! quel fracas! Je n y vois pas. FIERAMOSCA Maudit canon! Ah! trahison! Il était pris, à l aide! au meurtre! Ah, quel fracas! Ah! le drôle s échappe... on n y voit pas. TERESA, ASCANIO Ah, quel horrible fracas! On ne l attrapera pas. Ah, quel chaos! Grand Dieu, Quel horrible fracas! TOUS Ah! maudit / cher canon, etc. Ah! quel chaos et quel fracas! La foule augmente, etc. BALDUCCI (se heurtant contre Fieramosca) Le moine blanc! FIERAMOSCA Quoi! BALDUCCI (criant) Ah! Je tiens l homme. FIERAMOSCA Êtes-vous fou? LES SBIRES Bien, bien... nous venons. BALDUCCI Gardez-le bien. LES SBIRES Oui, oui, merci. BALDUCCI Teresa! LE PEUPLE Le gueux, c est lui! LES ÉLÈVES DE CELLINI Bon, c est Fieramosca! FIERAMOSCA Je ne suis pas... LES SBIRES, LE PEUPLE Si... si... Vite, marchons... FIERAMOSCA Vous me prenez pour... LES SBIRES, LE PEUPLE L homme... Oui! oui! c est bon. FIERAMOSCA Mais je me nomme Fieramosca, vous dis-je. LES SBIRES En prison, vite, en prison! BALDUCCI (appelant toujours) Teresa! VOIX DIVERSES (partant de tous les coins de la place) Il est pris! FIERAMOSCA Je suis Fieramosca, vous dis-je. Ensemble UNE PARTIE DU PEUPLE, TERESA ASCANIO, FRANCESCO Ah! scélérat, vil assassin, Vieux renégat, Nous saurons bien te faire pendre. Va, tu n échapperas pas. UNE AUTRE PARTIE DU PEUPLE, BERNARDINO, BALDUCCI Assassiner un capucin la nuit des cendres! Nous saurons bien te faire pendre. Va, tu n échapperas pas. FIERAMOSCA M emprisonner, me caserner! Veuillez m entendre, Je suis bon citoyen. Me faire pendre, moi... moi... Fieramosca. TOUS Ô Dieu! de l air! j étouffe! de grâce! Eh! eh! place! Nous n en sortirons pas. BALDUCCI (appelant toujours sa fille) Ma fille! Teresa!... je ne l aperçois pas. TERESA, ASCANIO Allons, partons. Ah! ne me quittez pas. FIERAMOSCA (faisant des efforts pour dégager son cou de la main des sbires) Ah, Dieu! j étouffe. Ah! ne m étranglez pas! TOUS Grand Dieu! la foule augmente! Vous m écrasez, Quelle tourmente! Nous n en sortirons pas! Ah, quel chaos, quel embarras! Ah, quel fracas! Deuxième Tableau - Mardi Gras (La Place Colonne à l angle de la rue du Corso. Au fond, la Colonne Antonine et une fontaine. A droite, un théâtre de pasquinades. A gauche, une taverne avec une cour, des tables, des bancs, etc) Scène Septième N° 7 - Romance CELLINI (seul) Une heure encor et ma belle maîtresse Va venir dans ces lieux, Une heure encor, amour, et si tu veux De tous ces cœurs fous d allégresse Le mien sera le plus joyeux. Ah! tu serais ingrat si tu trompais mes voeux. Romance La gloire était ma seule idole; Un noble espoir que je n ai plus Ceignait mon front de l auréole Que l art destine à ses élus; Mais cet honneur je le dédaigne, Teresa seule en mon cœur règne. Vois donc, amour, ce que je fais pour toi; Protège-la, protège-moi. Ma bien aimée était heureuse, Et comme un fleuve ses beaux jours, Loin de la mer sombre, orageuse, Paisiblement suivaient leurs cours. Mais au repos elle préfère Ma vie errante et ma misère. Vois donc, amour, ce qu elle fait pour toi; Protège-la, protège-moi. Scène Huitième N° 8 - Scène et Choeur TOUS A boire, à boire, à boire! Servez-nous vite à boire! (On apporte du vin.) BERNARDINO (fredonnant) Tra la la la! Chantons! CELLINI Soit, mais pour Dieu, pas de chansons à boire! Pas d ignoble refrain Sentant la taverne et le vin. Chantons! mais que nos chants soient un hymne à la gloire Des ciseleurs et de notre art divin. Chant des Ciseleurs LE CHOEUR, CELLINI, FRANCESCO, BERNARDINO Si la terre aux beaux jours se couronne De gerbes, de fruits et de fleurs, En ses flancs l homme moissonne Dans tous les temps des trésors meilleurs. Honneur aux maîtres ciseleurs! Quand le maître cisèle L or comme un soleil luit, Le rubis étincelle Comme un feu dans la nuit. Le jour, les diamants sommeillent, Le soleil éteint leurs splendeurs; Mais quand vient le soir, ils s éveillent Avec le chœur scintillant des étoiles leurs sœurs. Honneur aux maîtres ciseleurs! Le soir les topazes s éveillent Avec les étoiles leurs sœurs. Honneur aux maîtres ciseleurs! Quand le maître cisèle L or comme un soleil luit, Le diamant ruisselle Comme un torrent qui fuit, Le rubis étincelle Comme un feu dans la nuit. Quand naquit la lumière, Le génie aux beaux-arts Divisa la matière; Il en fit quatre parts, L architecte eut la pierre, Au peintre la couleur, Le marbre au statuaire, Mais l or au ciseleur! Les métaux, ces fleurs souterraines Aux impérissables couleurs, Ne brillent qu au front des reines, Des rois, des papes, des grands-ducs et des empereurs. Honneur aux maîtres ciseleurs! BERNARDINO Amis, avant qu on recommence Je demande un peu de silence, Pour mieux entonner le refrain, Il nous faut des fiasques de vin. LE CHOEUR A boire! du vin, tout est bu. Scène Neuvième LE CABARETIER (avec hésitation, à la voix nasillarde) Que voulez-vous? la cave est vide. CELLINI Que dis-tu là, cervelle aride? LE CABARETIER Je dis que... vous avez trop bu, Et si vous voulez encor boire, Il faut... il faut... LE CHOEUR (impatienté) Il faut..? LE CABARETIER Il faut payer votre mémoire. LE CHOEUR Montre-nous donc ce qui t est dû. LE CABARETIER (prenant des mains d un de ses garçons une longue perche marquée de nombreuses entailles, servant à désigner les bouteilles vendues) Voici, messieurs, le contenu De cette liste exorbitante Vin blanc d Orvieto, Aleatico, et Maraschino, Trente fiasques, trente. LE CHOEUR Comment, trente! LE CABARETIER Vin rouge d Ischia Et de Procida et de Nisita Ce qui fait soixante. LE CHOEUR Soixante! LE CABARETIER Vin mousseux d Asti, Vin de Lipari, Lacryma-Christi Ce qui fait cent trente. LE CHOEUR (contrefaisant le cabaretier) Lacryma-Christi! Cent trente! Ah! consternation, Abomination, Qui tombent sur nos têtes! CELLINI Non, jamais les trompettes Du jugement dernier Ne sauraient effrayer Plus que la voix fatale... CELLINI, LE CHOEUR Et la liste infernale... De ce... cabaretier. CELLINI Comment sortir d embarras... LE CHOEUR, FRANCESCO, BERNARDINO (saisissant aux mains du cabaretier sa longue perche) Maître, si nous rossions un peu ce traître? CELLINI Mauvais moyen que celui-là; Il vaut mieux attendre. (Le chœur lâche le cabaretier qui s enfuit.) Peut-être Ascanio nous délivrera. LE CHOEUR Ascanio! vraiment! le voilà! Scène Dixième LE CHOEUR (Ascanio entre portant un sac d argent) C est le sauveur! viva! CELLINI (courant à son élève) Viens, enfant, qu on t embrasse Et qu on te débarrasse De ce fardeau pesant. ASCANIO Un instant, un instant, Le vin après la gloire. Maître, que ta mémoire Se réveille un moment. Air Cette somme t est due Par le Pape Clément Pour fondre la statue Que l Italie attend De ton noble talent. Or donc, je ne te laisse Ce pesant sac d argent Que sur une promesse, Un solide serment, Que demain ta statue, Maître, sera fondue. Il me faut ton serment. CELLINI Soit, je le jure, enfant. LE CHOEUR Nous le jurons, enfant. LE CHOEUR, CELLINI (d un ton solennel) Cette somme était due Par le Pape Clément Pour fondre la statue Que l Italie attend De son / mon noble talent. Or donc, si tu nous laisses Ce pesant sac d argent, CELLINI (avec le Choeur) Je t en fais la promesse. Je t en fais le serment. LE CHOEUR Crois en notre promesse. Nous t en faisons serment. CELLINI, CHOEUR Sans délai ma / la statue Demain sera fondue Comme ce sac d argent. Nous en faisons serment. Oui! ASCANIO Mes amis, maintenant Ma conscience est nette. Payez donc votre dette; Mon argent, le voilà. CELLINI (vidant le sac) Comment! rien que cela? FRANCESCO, BERNARDINO Ah! la chétive somme! ASCANIO C est un si vilain homme que ce vieux trésorier! CELLINI (appelant) Qu importe... Sommelier!... Sommelier! (contrefaisant la voix du cabaretier) J acquitte ton mémoire... LE CABARETIER (prenant l argent) Merci, voulez-vous boire? LE CHOEUR Oui-dà, du vin... CELLINI Mais amis, plus de vin! (Le cabaretier s en va.) Mais que notre vengeance Frappe ce juif mesquin, Qui dans son arrogance Me traite en vrai faquin. LE CHOEUR Oui, vengeance, vengeance! Scène Onzième CELLINI (attirant ses amis à droite pour ne pas être entendu des garçons du cabaret qui desservent les tables) Écoutez tout à l heure Je sais que Balducci Quittera sa demeure Pour venir voir ici Les belles pasquinades Du maître Cassandro. Eh bien! chez Cassandro, Nous-mêmes, camarades, Dans de folles parades Drapons le Giacomo. LE CHOEUR Par Dieu! le rôle est beau. CELLINI Anathème, anathème Sur le visage blême Du seigneur Giacomo! LE CHOEUR Anathème, anathème Sur le visage blême Du seigneur Giacomo! Par Dieu! le rôle est beau, Faire rire tout Rome D un tel homme... Vite, vite chez Cassandro. TOUS (avec enthousiasme) Gloire à nous! Les métaux, ces fleurs souterraines Aux impérissables couleurs, Ne brillent qu au front des reines, Des rois, des papes, des grands-ducs et des empereurs. Honneur aux maîtres ciseleurs! (Ils entrent en courant chez Cassandro) Scène Douzième N° 9 - Récitatif FIERAMOSCA (qui a épié Cellini et ses amis de loin) C est trop fort! comploter à mon nez, sans pudeur, Et je les laisserais faire! Non pas... non pas... POMPEO (qui arrive par le fond) Eh bien, frère! Qu as-tu donc? FIERAMOSCA Ce que j ai? J étouffe de colère! Cellini... POMPEO (tranquillement) Qu a fait ce hâbleur? FIERAMOSCA (le serrant dans ses bras) Ah! Pompeo, mon ami, mon sauveur. POMPEO Ah! Je sais, l on m a dit. FIERAMOSCA Déjà? POMPEO La chose est claire, On t a rossé, cher fils! FIERAMOSCA Oui, mon cher Pompeo! Mais le pis est que Teresa et son père Viennent ce soir voir Cassandro. POMPEO Eh bien! quel mal? FIERAMOSCA Quel mal! ils vont sur le tréteau, Les traîtres, amuser le seigneur Giacomo Pour lui donner le change; Et lorsque le canon, tiré du fort Saint-Ange Dans nos mains soufflera les moccoli* soudain Un moine blanc, suivi d un capucin, Doit enlever Teresa, ma maîtresse... (Moccoli petites bougies que le mardi gras, à Rome, les masques portent et éteignent en se poursuivant, jusqu au moment où le canon du fort Saint-Ange annonce la fin du carnaval) POMPEO (enthousiasmé) Ah! bravo! FIERAMOSCA Quoi! bravo?... ce moine est Cellini. Ce capucin, c est son ami, Ascanio... POMPEO Je vois bien... Bravo!... vive l adresse! FIERAMOSCA Que je m expose ou non à quelque affront nouveau, Moi, je vais avertir le seigneur Giacomo. Nous verrons s il dira bravo! POMPEO (le retenant) Imbécile! FIERAMOSCA Vraiment? POMPEO Misérable cerveau! Puisque tu sais son stratagème, Trompe le trompeur même, Vole-lui son plan. FIERAMOSCA Mais comment? POMPEO Viens le premier toi-même en moine blanc, Et puis enlève... FIERAMOSCA Oui, la chose est facile; Mais s il me voit, le spadassin Va me tomber dessus. POMPEO Per Bacco! sois tranquille! Ne serais-je pas là moi-même en capucin? Je suis un ferrailleur s il est un spadassin. FIERAMOSCA (réfléchissant) Allons, allons, c est bien. N° 10 - Air Ah! qui pourrait me résister? Suis-je pas né pour la bataille? Malheur à qui m ose irriter! Malheur surtout à qui me raille! Le moulinet est bientôt fait, En quarte, en tierce, Toujours je perce. Vive l escrime! c est mon fort. Ô Teresa! pour toi mon âme Brûle des feux les plus ardents; C est un volcan toujours en flamme, Un Vésuve aux bonds effrayants. Je t aime tant que pour te plaire, J irais, je crois, faire la guerre A l enfer, à ses habitants; J irais même jusqu à combattre Ce malandrin de Cellini. Le malheureux!... cent comme lui Ne pourraient pas encor m abattre. Non, rien ne peut me résister, etc. (Il simule un combat à l épée) Une, deux, trois; une, deux; une... mort! Sans pitié je perce son cœur, Je suis vainqueur! N° 11 - Récitatif POMPEO Viens, le temps passe. FIERAMOSCA Cher Pompeo, que je t embrasse! POMPEO Prenons un froc et ne crains rien, Tout ira bien. (Ils sortent.) Scène Treizième N° 12 - Final (Le théâtre de Cassandro s anime; deux baladins sonnent de la trompette à chaque coin; deux autres au milieu déroulent une immense affiche où se lisent ces mots "Le roi Midas ou les oreilles d âne, opéra-pantomime." Quelques masques et le peuple commencent à circuler sur la place. Entrent d abord Balducci et Teresa par la coulisse de gauche) BALDUCCI (donnant le bras à sa fille) Vous voyez, j espère, Que je suis bon père; Moi, juge sévère Des premiers acteurs, Je consens, ma chère, A voir pour vous plaire La farce grossière De ces bateleurs. (Il quitte le bras de sa fille et va lire l affiche de Cassandro) TERESA (sur l avant-scène, à part) Ah! que vais-je faire? Laisser mon vieux père Seul et dans les pleurs! (Elle va rejoindre son père dans le fond.) CELLINI, ASCANIO (l un en pénitent blanc, l autre en moine brun, arrivant par la coulisse de droite) Prudence et mystère, Moine blanc / Capucin mon frère. Laissons d abord faire Nos chers bateleurs; Puis à nous l affaire. Alors, cher beau-père, Va chez le notaire, Ne va pas ailleurs. (Cellini et Ascanio ont traversé la scène de droite à gauche. Teresa et son père redescendent à droite.) Ensemble TERESA Ah! que vais-je faire? Laisser mon vieux père Seul, et dans les pleurs! Mais bientôt, j espère, Viendra le notaire Calmer ses douleurs. BALDUCCI Vous voyez? j espère, Que je suis bon père, etc. ASCANIO, CELLINI Prudence et mystère, Moine blanc / Capucin mon frère, etc. (Ils se perdent tous les quatre dans la foule.) BOURGEOIS DE ROME De Cassandro la farce est prête, Il va jouer le roi Midas. Amis, bourgeois, ne partez pas, Nous sifflerons si sa barette Ne nous fait pas rire aux éclats. (Entrent des femmes et des jeunes garçons avec des cymbales et des tambours de basque à la main. Ils se disposent à danser le saltarello. Francesco, Bernardino et le chœur des bateleurs amis de Cellini paraissent sur la galerie du petit théâtre) CHOEUR DES BATELEURS Venez, venez, peuple de Rome, Venez entendre du nouveau. CHOEUR DU PEUPLE (sur la place et applaudissant les danseurs) Ah! ah! Bravo! bravo! bravo! bravo! LES BATELEURS Venez, venez, voir l habile homme, Il va monter sur le tréteau! LE PEUPLE Ah! ah! Bravo! bravo! bravo! bravo! LES BATELEURS Venez, venez, peuple de Rome, Venez entendre du nouveau. Venez, venez, voir l habile homme, Il va monter sur le tréteau. LE PEUPLE Mais déjà la foule Dans l ombre et la nuit Sur Rome déroule La joie et le bruit. Et l amour, l ivresse, Dans la ville en feux, Chassent la tristesse Des cœurs et des yeux. LES BATELEURS Venez, peuple de Rome, A l opéra nouveau. LE PEUPLE Ah! sonnez, trompettes, Sonnez, musettes, Sonnez, gais tambourins. LES BATELEURS Venez voir l habile homme, etc. LE PEUPLE Sonnez, trompettes, etc. LES BATELEURS Accourez, arlequins, Médecins et pasquins! LE PEUPLE Ah! vive la joie, Que l on s y noie! Buvons, chantons, dansons. LES BATELEURS Masques noirs, ventres ronds, Venez voir les bouffons. LE PEUPLE Ah! le carnaval Est un grand bal Où, rois et gueux, Tous sont heureux, etc. TERESA Ah! le carnaval Est un grand bal Où, rois et gueux Tous sont heureux. LES BATELEURS Sans nous la fête est incomplète, Messieurs, ne vous éloignez pas; Restez, restez, la farce est prête, Elle est digne du mardi-gras. Accourez tous! LES DANSEURS ET UNE PARTIE DU PEUPLE Maudit bavard, vieille trompette, Tes quolibets ne tentent pas, Sur ton tréteau, crie à tue-tête, Pour nous la danse a plus d appas. LES BATELEURS Accourez, accourez, Médecins et pasquins, Accourez, accourez! Ah! maudits danseurs! LE PEUPLE L amour et l ivresse Chassent la tristesse, etc. Le carnaval Est un grand bal, etc. (Le spectacle commence. Le rideau, qui cachait le fond du théâtre de Cassandro, se tire et laisse voir les acteurs. On voit un grand sac d argent couronné d une mitre papale et posé sur un trône. Au pied du trône le Trésorier du Pape semblable de costume et de visage à Balducci. Le peuple s assemble devant le théâtre. Balducci et sa fille louent un banc pour mieux voir la parade) Silence! silence! silence! Assez dansé! Cassandro commence. LES FEMMES Cassandro commence, Allons, allons! faisons silence. Ouverture de la Pantomime LE PEUPLE Ah! ah! Bravo! Voici le Saint-Père, Et voici son trésorier, le seigneur Balducci. BALDUCCI Ah! c est ainsi! Me mettre en scène, Moi, Balducci? TERESA Partons d ici. BALDUCCI Non, non, merci. Pour voir ceci Puisqu on m amène, Je verrai tout Jusqu au bout! Je veux au Pape Dire ce soir Comme on nous drape, Et comme on sape notre pouvoir. LE PEUPLE Paix donc là-bas! On n entend pas! Paix! on n entend pas La pantomime. CELLINI (reparaissant avec Ascanio, sur le devant de la scène, à gauche) Vois-tu Teresa? ASCANIO Elle est là-bas. FIERAMOSCA (en moine blanc, arrivant à droite, avec Pompeo en moine brun) Vois-tu Teresa? POMPEO Elle est là-bas. TERESA Ah! quel malaise! Quel embarras! LE PEUPLE On n entend pas La pantomime! paix donc là-bas. BALDUCCI Que je me taise? je ne veux pas. LES HOMMES DU PEUPLE Paix! paix! LES FEMMES Paix donc, là-bas! Faites silence! Chut! on commence, Faites silence! (Colombine vient annoncer que deux fameux chanteurs, Arlequin et Pierrot, vont se présenter devant leur juge et disputer la palme de chant. Le faux trésorier ordonne qu ils paraissent) Pantomime du roi Midas ou les oreilles d âne (Paraissent deux chanteurs, d abord Arlequin, une lyre à la main) UNE PARTIE DU PEUPLE Voici maître Arlequin, Premier ténor romain! (Puis Pierrot avec de longues oreilles d âne et une petite grosse caisse pendue au col) UNE AUTRE PARTIE DU PEUPLE Voilà Pierrot! c est un chanteur de la Toscane, Mais est-ce un homme ou bien un âne? LES FEMMES Faisons silence. Regardons bien Maître Arlequin. Faisons silence. LES HOMMES (impatientés et s adressant aux femmes) Paix! LES FEMMES (continuant plus bas) Regardons bien, Faisons silence. Ariette d Arlequin (Arlequin s accompagnant de la lyre chante une ariette d un caractère doux et tendre. Pendant cette romance le peuple continue de parler, et le faux trésorier bâille et s endort) Ensemble LES HOMMES DU PEUPLE Bien, bien, bien C est très bien, Paix donc... LES FEMMES Regardons bien Maître Arlequin; C est un fameux ténor romain! Regardons bien. TOUS Ah! bravo, comme il chante, Ah! quel gosier divin! Comme il déroule Son chapelet; Comme il roucoule Pour un muet. Cavatine de Pierrot (Pierrot chante à son tour en s accompagnant de la grosse caisse. Pendant ce morceau lourd et trivial le peuple observe le plus profond silence, et le faux trésorier ravi se pâme d aise et bat la mesure à contretemps) QUELQUES HOMMES DU PEUPLE (montrant le faux trésorier) Il plaît fort au vieil homme Vois donc comme Il se tord. BALDUCCI C est trop fort! AUTRE PARTIE DU PEUPLE Vois donc le vieux, Est-il heureux! En vérité, Ô Dieu! Félicité! Ah! ah! quel butor! ah! ah! (Lorsque Pierrot a eu fini de chanter, Arlequin se présente pour recevoir le prix de chant. Après quelques gestes de mépris, le faux trésorier plonge lentement la main dans le sac et en tire un écu qu il donne à Arlequin. Pierrot se présente à son tour. Le juge enthousiasmé plonge à plusieurs reprises la main dans le sac et en tire des poignées d or qu il donne à Pierrot) LE PEUPLE Soyez surpris S il a le prix, Son juge a des oreilles Toutes pareilles. BALDUCCI Marauds! TERESA Chut! vos cris Redoublent les ris. (Le faux trésorier met sur la tête de Pierrot une couronne de lauriers. Arlequin, mécontent, prend sa batte et rosse son rival et le distributeur des grâces. Colombine en vain s y oppose) LE PEUPLE Bravo! BALDUCCI Marauds, se rire ainsi de moi! LE PEUPLE Midas! BALDUCCI (furieux, s élançant, armé de sa canne, sur le théâtre de Cassandro) Attends, c est fait de toi! LE PEUPLE Après la comédie Voici la tragédie. Vive le carnaval! L original Auprès de la copie Nous allons voir quel est De vous deux le plus laid. (Tous les spectateurs s avancent vivement vers le fond de la scène comme pour voir le résultat de la lutte engagée entre Balducci et les bateleurs. Cri général. A ce moment la nuit tombe. Les moccoli apparaissent. La rue et la place s illuminent à la clarté d une foule de petites bougies portées par les masques qui les soufflent et les rallument en se poursuivant.) FIERAMOSCA (à Pompeo, sur le devant de la scène) Viens, pas à pas, Fendons la presse, Offrons le bras a ma maîtresse. CELLINI (à Ascanio, sur le devant de la scène) Viens, pas à pas Fendons la presse, Offrons le bras a ma maîtresse. TERESA (sur le devant de la scène au milieu, et dans la surprise) Un moine blanc!... c est Cellini! Que vois-je? un autre ici! Deux capucins... FIERAMOSCA (d un côté) C est moi! CELLINI (de l autre) C est moi! TERESA Dieu! lequel est-ce? LE CHOEUR DES MASQUES (se poursuivant) Moccolo, moccoli! FIERAMOSCA, CELLINI C est moi! Prenez mon bras! LE CHOEUR DES MASQUES Moccolo, moccoli! A mort le moccolo! CELLINI Quoi! par l enfer et mon patron; Un autre moine... ah! trahison! POMPEO (à Fieramosca) Va, ne crains rien, marche quand même. FIERAMOSCA Ah! maudit froc, sot stratagème! POMPEO Tiens bon! ASCANIO Vengeons-nous de la trahison. POMPEO Tiens bon, tiens bon. Va, ne crains rien. CELLINI (tirant son épée) Qui que tu sois, homme ou démon, C est fait de toi. FIERAMOSCA Pompeo! à moi! Vite en avant. ASCANIO (recourant après Fieramosca) Attends, toi qui prends le devant! TERESA Ciel, au secours! qu on les arrête! LE PEUPLE (les retenant) Mais êtes-vous fous, un jour de fête? Vous avez donc perdu la tête? (Ascanio combat contre Fieramosca et Cellini combat contre Pompéo) CELLINI (se dégageant) Non, je n ai pas perdu la tête, Non. TERESA Au nom du ciel qu on les arrête! FIERAMOSCA (reculant devant l épée d Ascanio) A mon secours! POMPEO (combattant) Tiens bon! (Fieramosca se sauve) CELLINI (pressant plus vivement Pompeo) Non, non... FIERAMOSCA (se sauvant, poursuivi par Ascanio) A mon secours! CELLINI Non!... non!... (Il perce Pompeo.) POMPEO (tombant) Ah! je suis mort! (Tous les porteurs de moccoli s arrêtent et se groupent autour de Pompeo, étendu par terre.) LE PEUPLE Un homme mort! vite à la garde... Un mort! BALDUCCI (revenant sur le devant de la scène à droite, sans canne et les habits en désordre) Un meurtrier... ma fille... un mort! FIERAMOSCA (reparaissant à gauche, toujours poursuivi par Ascanio) A mon secours!... Pomp... mort! LE PEUPLE (montrant Cellini) Oui... c est ce moine... oui... qu on l arrête, Son arme brille et fume encor. (Des sbires arrêtent Cellini.) CELLINI Je suis perdu! FIERAMOSCA Je suis sauvé! ASCANIO Mon pauvre maître! FRANCESCO, BERNARDINO Le maître est pris! FIERAMOSCA On tient le traître! BALDUCCI, FRANCESCO, LES BATELEURS Ah! maudite nuit! CELLINI, TERESA Cruel destin! LES FEMMES Un si bel homme! LES HOMMES Ah! quel coquin! CELLINI Maudite nuit! TOUS Ah! (Les élèves et amis de Cellini feignent de partager l indignation générale.) FRANCESCO, BERNARDINO, BALDUCCI FIERAMOSCA, LE PEUPLE Assassiner un capucin!... Un camaldule, ah! c est infâme! C est un brigand de l Apennin; C était l amant de quelque femme; Soldats, gardez bien l assassin! C est la vendetta, c est certain. TERESA Ah! pauvre femme, Pour moi seule il s est perdu. Infâme, lâches drôles! Le traiter comme un assassin. CELLINI Ah! terrible nuit, ô sort maudit! Lâches, drôles, Me traiter comme un assassin. ASCANIO Ah! mon cher maître! c est infâme! Le traiter comme un assassin. FIERAMOSCA C est un infâme assassin! Le traître est pris enfin! (Tout à coup le canon du fort Saint-Ange tonne; à ce signal, toutes les lumières portées par les masques s éteignent subitement, et une obscurité profonde envahit la place) CELLINI A moi, mes amis, A moi, je suis pris! (Les amis de Cellini profitent de la nuit pour s élancer sur les gardes. Leur mouvement soudain met la confusion dans le peuple. Cellini se dégage et se sauve) LE PEUPLE On n y voit pas! BALDUCCI, FIERAMOSCA UNE PARTIE DU CHOEUR Gardes, tenez-vous l homme? LES SBIRES A nous, bourgeois! LE PEUPLE A nous, soldats! TERESA, ASCANIO, AMIS DE CELLINI Il a disparu. FIERAMOSCA, BALDUCCI Maudit canon! le drôle était saisi. Ensemble BALDUCCI, FIERAMOSCA, LE PEUPLE Maudit canon du fort Saint-Ange, Pour que la langue te démange, Par Dieu! l instant est bien choisi; Sans toi le drôle était saisi. TERESA, ASCANIO, FRANCESCO BERNARDINO, ÉLÈVES DE CELLINI Ah! cher canon du fort Saint-Ange, Pour que le jour en nuit se change, Merci! l instant est bien choisi; Car les soldats l avaient saisi. BALDUCCI (cherchant sa fille) Teresa! TERESA Mon père! ASCANIO (reconnaissant Teresa) Chut! prenez mon bras. Venez, je vais guider vos pas. (Ascanio donne son bras à Teresa et l emmène en cherchant à éviter Fieramosca et Balducci.) Ensemble LE PEUPLE, LES AMIS DE CELLINI Au meurtre! ah, Dieu! l on nous assomme! A l aide! au meurtre! quel horrible fracas! Maudit canon! on tenait l homme! Il était pris. Ah, quel chaos! La foule augmente! on n y voit pas! Le drôle s échappe, On ne l attrapera pas. BALDUCCI Teresa, Teresa! ma fille! quel fracas! Je n y vois pas. FIERAMOSCA Maudit canon! Ah! trahison! Il était pris, à l aide! au meurtre! Ah, quel fracas! Ah! le drôle s échappe... on n y voit pas. TERESA, ASCANIO Ah, quel horrible fracas! On ne l attrapera pas. Ah, quel chaos! Grand Dieu, Quel horrible fracas! TOUS Ah! maudit / cher canon, etc. Ah! quel chaos et quel fracas! La foule augmente, etc. BALDUCCI (se heurtant contre Fieramosca) Le moine blanc! FIERAMOSCA Quoi! BALDUCCI (criant) Ah! Je tiens l homme. FIERAMOSCA Êtes-vous fou? LES SBIRES Bien, bien... nous venons. BALDUCCI Gardez-le bien. LES SBIRES Oui, oui, merci. BALDUCCI Teresa! LE PEUPLE Le gueux, c est lui! LES ÉLÈVES DE CELLINI Bon, c est Fieramosca! FIERAMOSCA Je ne suis pas... LES SBIRES, LE PEUPLE Si... si... Vite, marchons... FIERAMOSCA Vous me prenez pour... LES SBIRES, LE PEUPLE L homme... Oui! oui! c est bon. FIERAMOSCA Mais je me nomme Fieramosca, vous dis-je. LES SBIRES En prison, vite, en prison! BALDUCCI (appelant toujours) Teresa! VOIX DIVERSES (partant de tous les coins de la place) Il est pris! FIERAMOSCA Je suis Fieramosca, vous dis-je. Ensemble UNE PARTIE DU PEUPLE, TERESA ASCANIO, FRANCESCO Ah! scélérat, vil assassin, Vieux renégat, Nous saurons bien te faire pendre. Va, tu n échapperas pas. UNE AUTRE PARTIE DU PEUPLE, BERNARDINO, BALDUCCI Assassiner un capucin la nuit des cendres! Nous saurons bien te faire pendre. Va, tu n échapperas pas. FIERAMOSCA M emprisonner, me caserner! Veuillez m entendre, Je suis bon citoyen. Me faire pendre, moi... moi... Fieramosca. TOUS Ô Dieu! de l air! j étouffe! de grâce! Eh! eh! place! Nous n en sortirons pas. BALDUCCI (appelant toujours sa fille) Ma fille! Teresa!... je ne l aperçois pas. TERESA, ASCANIO Allons, partons. Ah! ne me quittez pas. FIERAMOSCA (faisant des efforts pour dégager son cou de la main des sbires) Ah, Dieu! j étouffe. Ah! ne m étranglez pas! TOUS Grand Dieu! la foule augmente! Vous m écrasez, Quelle tourmente! Nous n en sortirons pas! Ah, quel chaos, quel embarras! Ah, quel fracas! Berlioz,Hector/Benvenuto Cellini/II-1
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Kinderopvang Kinderopvang is een verzamelterm voor verschillende mogelijkheden om kinderen op te vangen, op het moment dat deze bijvoorbeeld niet naar school gaan en hun ouders niet thuis zijn. kinderopvang は、子どもを保育するための様々な可能性をもった集合概念である。たとえば、学校に行かないが親が家にいないときなど。 Met kinderopvang worden in het spraakgebruik met name de formele vormen van opvang aangeduid, opvang waarvoor betaald moet worden. De informele vormen (gratis opvang door opa/oma/buurvrouw) vallen er meestal buiten. Voorbeelden van kinderopvang zijn een gastouder, een kinderdagverblijf (of "crèche") of na- en buitenschoolse opvang. Kinderopvang (Nederland) Kinderopvang is een verzamelterm voor verschillende mogelijkheden om kinderen in een georganiseerd verband een ontwikkelingsgericht aanbod te bieden op het moment dat ouders werken, studeren of als kinderen een taal- of ontwikkelingsachterstand hebben. Met kinderopvang worden de formele vormen van kinderopvangmogelijkheden aangeduid waarop de Kinderopvangtoeslag van kracht is. De informele vormen (gratis opvang door opa, oma of buurvrouw) vallen er buiten. Voorbeelden van formele kinderopvang zijn een gastouder, een kinderdagverblijf (of crèche) of voor-, na- en buitenschoolse opvang. In de Wet kinderopvang worden formele definities voor de verschillende vormen gegeven. [bewerken] Vormen van kinderopvang [bewerken] Kinderdagverblijf Een kinderdagverblijf verzorgt kinderopvang voor kinderen in de leeftijd van 0 tot 4 jaar. De kinderen worden verdeeld over groepen van maximaal 16 kinderen, afhankelijk van de leeftijd. De groepen kunnen horizontaal zijn (een groep per leeftijdscategorie, vaak een groep voor 0 tot 1½ en een groep voor 1½ tot 4) of verticaal (kinderen van alle leeftijden in een groep). Per groep zijn er minimaal twee pedagogische medewerkers. Er zijn ook kinderdagverblijven waar de grens tussen babygroep en peutergroep op 2 jaar ligt. [bewerken] Peuterspeelzaal Een peuterspeelzaal is een veel lossere vorm van kinderopvang. Eigenlijk valt ze buiten de regelingen van de kinderopvang (in Nederland). De financiering gebeurt niet volgens de Wet kinderopvang maar volgens de Wet maatschappelijke ondersteuning, die door de gemeente wordt uitgevoerd. De peuterspeelzaal is er voor 1 tot 4 dagdelen per week, en heeft minder het doel om in een groep de kinderen op te voeden en meer tot doel kinderen met elkaar te laten spelen. Vooruitlopend op de harmonisatiewet worden er al op enkele plaatsen in het land peuterspeelzalen omgevormd tot peuteropvang onder de Wet kinderopvang. De peuters worden dan langer opgevangen waardoor hun ouders de gelegenheid krijgen om betaald werk te vinden waardoor ze vervolgens recht hebben op de kinderopvangtoeslag. Hierdoor wordt peuteropvang in veel gevallen veel goedkoper dan de huidige peuterspeelzaal. Er komen kinderen tussen de 2 en 4 jaar. [bewerken] Gastouder Een gastouder is een ouder die kinderen van andere ouders opvangt tegen een vergoeding voor het dragen van de verantwoording voor de kinderen (het is dus geen loon). Gastouderbureaus kunnen verbonden zijn aan kinderopvangorganisaties, maar kunnen ook zelfstandig zijn. Ook gastouders moeten voldoen aan de Wet Kinderopvang. Voor het recht op kinderopvangtoeslag dient de gastouder en het gastouderbureau in het Landelijk Register Kinderopvang en Peuteropvang (LRKP) geregistreerd staan. In dit register staan de gastouders en gastouderbureaus die voldoen aan de wettelijke eisen. [bewerken] Naschoolse opvang De Naschoolse opvang (NSO), soms ook buitenschoolse opvang genoemd, is de opvang van kinderen na afloop van de school. De kinderen worden bij de school afgehaald en krijgen daarna een programma van activiteiten aangeboden, meestal tot ongeveer 6 uur, wanneer de ouders de kinderen op moeten halen. Naschoolse opvang is er voor de kinderen in de leeftijd van het basisonderwijs, van 4 tot 12 jaar, maar kinderen van 4 tot 9 voelen zich er meestal meer door aangesproken dan kinderen van 10 tot 12. Oudere kinderen vinden het aanbod te saai en willen zelf hun tijd indelen. [bewerken] Buitenschoolse opvang Buitenschoolse opvang (BSO), soms ook naschoolse opvang genoemd, is een verzamelnaam van alle professionele kinderopvang, geregeld voor schoolgaande kinderen buiten de schooltijden. Voor zowel de naschoolse opvang als de buitenschoolse opvang geldt dat deze een direct contact met de school dient te hebben. Er moet overleg plaatsvinden, zodat bijvoorbeeld ook opvang geboden kan worden op de studiedagen van het personeel in het basisonderwijs. De in het najaar van 2005 ingediende motie van Aartsen-Bos in het Nederlandse parlement wil de scholen verplichten om voor voldoende buitenschoolse/naschoolse opvang zorg te dragen. [bewerken] Voorschoolse opvang Voorschoolse opvang (VSO) is de opvang van kinderen voordat school begint. Vooral ouders die vroeg op de dag gaan werken maken gebruik van deze vorm van opvang. 早朝保育 早朝保育(VSO)は、学校が始まる前の子どもの保育である。早朝にはたらきにいく親は、この形の保育を利用する。 [bewerken] Tussenschoolse opvang Tussenschoolse opvang (TSO) is de opvang van kinderen tussen de middag. ランチタイム保育 ランチタイム保育(TSO) は昼間の間の保育である。 (学校は午前と午後と明確に分かれているので、その間の保育) [bewerken] Ouderparticipatiecrèche Een ouderparticipatiecrèche (crèche, kresj) wordt gevormd door een vereniging van ouders. In plaats van gediplomeerde pedagogische medewerkers leiden ouders de crèche. Er zijn als gevolg geen betaalde krachten waardoor de maandelijkse ouderbijdrage laag ligt. Per dagdeel draaien 2 ouders een dienst en maandelijks komen ze bij elkaar om te vergaderen en te klussen. Veel ouderparticipatiecrèches zijn officieel erkende kinderopvangcentra, waardoor ouders in aanmerking komen voor toeslagen[1] . [bewerken] Ouderparticipatie BSO De ouderparticipatie BSO is een vorm van buitenschoolse opvang en werkt volgens de principes van de ouderparticipatiecrèche, echter gaat het hier om kinderen van 4 tot 12 jaar en gaat het vaak om naschoolse opvang, dus niet om opvang voor de gehele dag of opvang in de vorm van een peuterspeelzaal. 親参加BSO 親参加BSOは、BSOの一種であり、親参加託児所の理念に従って活動している。4歳から12歳までの子どもがいき、放課後保育を行なう。それせ故、peuterspeelzaalの形での全日の保育は行なわない。 [bewerken] 24-uurs kinderopvang 24-uurs kinderopvang, wordt over het algemeen geboden in de leeftijd van tot en met 12. De opvang vindt 24 uur per dag plaats, hetgeen niet wil zeggen dat kinderen er 24 uur per dag blijven. De opvang wordt vooral gebruikt door ouders die in dienstverlenende beroepen werken, maar ook door ouders in andere onregelmatige beroepen. [bewerken] Pedagogisch beleid Kindercentra dienen hun pedagogisch beleid vast te leggen in de vorm van een beleidsplan. [bewerken] Financiering [bewerken] Kinderopvangtoeslag In Nederland kunnen ouders een toeslag krijgen voor de kosten van kinderopvang.[1] Werkgevers betalen met ingang van 1 januari 2007 collectief mee aan de kinderopvang en de belastingdienst keert vanaf die datum ook het werkgeversdeel uit. Het Rijk hanteert een maximum uurprijs. Op de website van het rijksoverheid staat de meest recente informatie over de regelgeving en het aanvragen van kinderopvangtoeslag. Ouders moeten de kinderopvangtoeslag van de overheid aanvragen bij de belastingdienst, deze kinderopvangtoeslag wordt maandelijks vooraf door de Belastingdienst betaald aan de ouders of naar keuze aan het kindercentrum. Ouders kunnen alleen in aanmerking komen voor kinderopvangtoeslag als ze gebruik maken van een kinderopvangvoorziening die in het Landelijk Register Kinderopvang en Peuterspeelzalen (LRKP) staat. [bewerken] Bijdragen voor ouders zonder werkgever Ouders die geen werkgever hebben, maar wel bezig zijn met een opleiding, een traject naar werk of inburgering, kunnen een bijdrage in de kosten voor kinderopvang krijgen van de gemeente. Het gaat om 1.Ouders in een re-integratietraject met een uitkering op grond van de Wet werk en bijstand (Wwb); Wet inkomensvoorziening Kunstenaars (Wik); Algemene nabestaandenwet (Anw); Wet inkomensvoorziening ouderen en gedeeltelijk arbeidsongeschikte werkloze werknemers (IOAW); Wet inkomensvoorziening oudere en gedeeltelijk arbeidsongeschikte gewezen zelfstandigen (IOAZ). 2.Ouders die geen uitkering hebben, maar wel als werkzoekende geregistreerd staan bij het UWV WERKbedrijf en een traject naar werk volgen; 3.Nieuwkomers die een inburgeringstraject volgen (WIN); 4.Ouders jonger dan 18 jaar die een opleiding/studie volgen; 5.Studenten. [bewerken] Ouders met een sociaal-medische indicatie voor kinderopvang Ouders met een sociaal-medische indicatie voor kinderopvang zijn als doelgroep opgenomen in de wet. In sommige gezinssituaties en voor sommige kinderen is het voor de persoonlijke ontwikkeling van het kind goed om een aantal dagdelen gebruik te maken van kinderopvang. Deze indicatie geeft ouders recht op een tegemoetkoming in de kosten van kinderopvang. [bewerken] Kwaliteit van de kinderopvang De kwaliteit van kinderopvang is geregeld in de Wet kinderopvang die per januari 2005 is ingegaan. In deze wet staan geen gedetailleerde eisen voor de kwaliteit meer. De werkgevers in de kinderopvang hebben samen met de belangenvereniging van ouders (Boink) normen voor de kwaliteit afgesproken in een convenant. De minister heeft de kwaliteitseisen uit het convenant allemaal overgenomen in de beleidsregels kwaliteit, die als aanvulling op de Wet kinderopvang de kwaliteit regelen. Voor de kwaliteit en de controle daar op is de lokale overheid verantwoordelijk. Hiertoe zijn de GGD s aangewezen, die moeten de controle op de kwaliteit van de kinderopvang uitvoeren. Zij controleren onder meer op de betrokkenheid en inspraak van ouders, de opleiding en deskundigheid van het personeel, de veiligheid en gezondheid, de accommodatie en inrichting en de groepsgrootte en het aantal kinderen per beroepskracht (beroepskracht-kindratio). Op de website van het Landelijk Register Kinderopvang en Peuterspeelzalen zijn de GGD-rapportages van alle kindercentra, gastouderbureaus en gastouders in te zien. Kinderopvangorganisaties dienen de rapportages ook via hun websites toegankelijk te maken. Daarnaast is er een certificatie-traject, in het kader van de ISO-9000 normen, waaraan de kinderopvangorganisaties zich kunnen laten toetsen en certificeren. [bewerken] HKZ De stichting Harmonisatie Kwaliteitsbeoordeling in de Zorgsector (HKZ) beoordeelt de kwaliteit van organisaties in de kinderopvang. Eenmaal verleende certificaten worden via audits volgens strenge regels gecontroleerd. [bewerken] VVE VVE staat voor Voor- en Vroegschoolse Educatie. De doelstelling van VVE is om de ontwikkeling van kinderen al op jonge leeftijd zo te stimuleren dat hun kansen op een goede schoolloopbaan worden vergroot. Piramide is het meest gebruikte VVE-programma en is ontwikkeld door Cito. De methode voldoet aan de kwaliteitskenmerken voor programma’s voor jonge kinderen. Zowel Nederlandse als buitenlandse onderzoeken tonen de positieve effecten ervan aan op de ontwikkeling van kinderen
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Control Panel Reference SynthEyes has the following control panels · Summary Panel · Rotoscope Control Panel · Feature Control Panel · Tracking Control Panel. · Lens Control Panel. · Solver Control Panel. · Coordinate System Control Panel. · 3-D Control Panel. · Lighting Control Panel. · Flex/Curve Control Panel. Select via the control panel selection portion of the main toolbar. The Graph Editor icon appears in the toolbar area to indicate a nominal workflow, but it launches a floating window. Additional panels are described below · Add Many Trackers Dialog · Advanced Features · Clean Up Trackers · Coalesce Nearby Trackers · Curve tracking control · Finalize Trackers · Fine-Tuning Panel · Green-screen control · Hard and Soft Lock Controls · Hold Tracker Preparation Tool · Image Preparation · Spinal Editing Control The shot-setup dialog is described in the sectionOpening the Shot. Spinners SynthEyes uses spinners, the stacked triangles on the right of the following graphic ( ), to permit easy adjustment of numeric fields on the control panels. The spinner control provides the following features · Click either triangle to increase or decrease the value in steps, · Drag within the control to smoothly increase and decrease the value, · Turns red on key frames, · Right-click to remove a key, or if none, to reset to a predefined value, · Shift-drag or -click to change the value much more rapidly, · Control-drag or -click to change the value slowly for fine-tuning. Tool Bar New, Open, Save, Undo, Redo. Buttons. Standard Windows (only). Use the Undo/Redo menu items instead to see what function will be undone or redone. (Control Panel buttons). Changes the active control panel. Forward/Backward (/). Button. Changes the current playback and tracking direction. Reset Time. Button. Resets the timebar so that the entire shot is visible. Fill. Button. The camera viewport is reset so that the entire image becomes visible. Shift-fill sets the zoom to 1 1 horizontally. Viewport Configuration Select. List box. Selects the viewport configuration. Use the viewport manager on the Window menu to modify or add configurations. Camera01. Active camera/object. Click to cycle through the cameras and objects. Play Bar Rewind Button. Rewind back to the beginning of the shot. Back Key Button. Go backwards to the previous key of the selected tracker or object. Frame Number. Numeric Field. Sequential frame number, starting at zero or at 1 if selected on thepreferences. Forward Key Button. Go forward to the next key of the selected tracker or object. To End Button. Go to the last frame of the shot. Frame Backwards. Button. Go backwards one frame. Auto-repeats. Play/Stop/. Button. Begin playing the shot, forwards or backwards, at the rate specified on the View menu. Frame Forward. Button. Go forwards one frame. Auto-repeats. Summary Panel Auto.(the big green one)Run the entire match-move process create features(blips), generate trackers, and solve. If no shot has been set up yet, you will be prompted for that first, so this is truly a one-stop button. See alsoSubmit for Batch. Motion Profile.Select one of several profiles reflecting the kinds of motion the image makes. UseCrash Panfor when the camera spins quickly, for example, to be able to keep up. Or useGentle Motionfor faster processing when the camera/image moves only slightly each frame. Green Screen.Brings up thegreen-screencontrol dialog. Zoom Lens.Check this box if the camera zooms. On Tripod.Check this box if the camera was on a tripod. Hold.Animated Button. Use to create hold regions to handle shots with amix of normal and tripod-modesections. Fine-tune.Performs an extra stage of re-tracking between the initial feature tracking and the solve. Thisfine-tuning passcan improve the sub-pixel stability of the trackers on some shots. Settings.Launches the settings panel for fine-tuning. Run Auto-tracker.Runs the automatic tracking stage, then stops. Solve.Runs the solver. Not solved.This field will show the overall scene error, in horizontal pixels, after solving. Coords（共同作用）.Initiates a mode where 3 trackers can be clicked to define a coordinate system. After the third, you will have the opportunity to re-solve the scene to apply the new settings. Same as *3 on the Coordinate System panel. 3つのトラッカーが座標系を定めるためにクリックすることができるモードを始めます。 第3の後、新しいセッティングを適用するためにシーンを再解析することがあると思います。 座標系パネルの*3と同じです。 Master Solution Reset ().Clear any existing solution points and object paths. Rotoscope Control Panel The roto panel controls the assignment of a shot s blips to cameras or objects. The roto mask can also be written as an alpha channel or RGB image using the image preprocessor. Spline/Object List. An ordered list of splines and the camera or object they are assigned to. The default Spline1 is a rectangle containing the entire image. A feature is automatically assigned to the camera/object of thelastspline in the list that contains the feature. Double-click a spline to rename it as desired. Camera/Object Selector. Drop-down list. Use to set the camera/object of the spline selected in the Spline/Object List. You can also selectGarbageto set the spline as a garbage matte. Show this spline. Checkbox. Turn on and off to show or hide the selected spline. Also see the View/Only Selected Splines menu item. Key all CPs if any. Checkbox. When on, moving any control point will place a key on all control points for that frame. This can help make keyframing more predictable for some splines. Enable. Button. Animatable spline enable. Create Circle. Lets you drag out circular splines. Create Box. Lets you drag out rectangular splines. Magic Wand. Lets you click out arbitrarily-shaped splines with many control points. Delete. Deletes the currently-selected spline. Move Up. Push button. Moves the selected spline up in the Spline/Object List, making it lower priority. Move Down. Push button. Moves the selected spline down in the Spline/Object List, making it higher priority. Shot Alpha Levels. Integer spinner. Sets the number of levels in the alpha channel for the shot. For example, select 2 for an alpha channel containing only 0 or 1(255), which you can then assign to a camera or moving object. Object Alpha Level. Spinner. Sets the alpha level assigned to thecurrentcamera or object. For example, with 2 alpha levels, you might assign level 0 to the camera, and 1 to a moving object. The alpha channel is used to assign a feature only if it is not contained in any of the splines. Import Tracker to CP. Button. When activated, select a tracker then click on a spline control point. The tracker s path will be imported as keys onto the control point. Feature Control Panel Motion Profile.Select one of several profiles reflecting the kinds of motion the image makes. UseCrash Panfor when the camera spins quickly, for example, to be able to keep up. Or useGentle Motionfor faster processing when the camera/image moves only slightly each frame. Clear all blips.Clears the blips from all frames. Use to save disk space after blips have been peeled to trackers. Blips this frame. Push button. Calculates features (blips) for this frame. Blips playback range. Push button. Calculates features for the playback range of frames. Blips all frames. Push button. Calculates features for the entire shot. Displays the frame number while calculating. Once started, can’t be interrupted! Delete. Button. Clears the skip frame channel from this frame to the end of the shot, or the entire shot if Shift is down when clicked. Skip Frame. Checkbox. When set, this frame will be ignored during automatic tracking and solving. Use (sparingly) for occasional bad frames during explosions or actors blocking the entire view. Camera paths are spline interpolated on skipped frames. Advanced. Push button. Brings up a panel with additional control parameters. Link frames. Push button. Blips from each frame in the shot are linked to those on the prior frame (depending on tracking direction). Useful after changes in splines or alpha channels. Peel. Mode button. When on, clicking on a blip adds a matching tracker, which will be utilized by the solving process. Use on needed features that were not selected by the automatic tracking system. Peel All. Push button. Causes all features to be examined and possibly converted to trackers. To Golden. Push button. Marks the currently-selected trackers as “golden,” so that they won’t be deleted by the Delete Leaden button. Delete Leaden. Push button. Deletes all trackers, except those marked as “golden.” All manually-added trackers are automatically golden, plus any automatically-added ones you previously converted to golden. This button lets you strip out automatically-added trackers. Tracking Control Panel The tracker panel has two variations with different sizes for the tracker view area, and slightly different button locations. The wider version gives a better view of the interior of the panel, especially on high-resolution displays. The smaller version is a more compact layout that reduces mouse motion, and because of the reduced size, is better for use on laptops. Select the desired version using theWider tracker-view panelpreference. Tracker Interior View. Shows its interior---the inner box of the tracker.Left Mouse Drag the tracker location.Middle Scroll Advance the current frame, tracking as you go.Right Mouse Add or remove a position key at the current frame. Or, cancel a drag in progress. Create. Mode Button. When turned on, depressing the left mouse button in the camera view creates new trackers. When off, the left mouse button selects and moves trackers. Delete. Button (also Delete key). Deletes the selected tracker. Finish. Button. Brings up the finalize dialog box, allowing final filtering and gap filtering as a tracker is locked down. Lock. Button. Non-animated enable, turn on when tracker is complete; will then be locked. Tracker Type.,,,. Button. Toggles the tracker type among normal match-mode, dark spot, bright spot, or symmetric spot. Direction. Button. Configures the tracker for backwards tracking it will only track when playing or stepping backwards. Enable. Button. Animated control turns tracker on or off. Turn off when tracker gets blocked by some thing, turn back on when it becomes visible again. Contrast. Number-less spinner. Enhances contrast in the Tracker Interior View window. Bright. Number-less spinner. Turns up the Tracker Interior View brightness. Color. Rectangular swatch. Sets the display color of the tracker for the camera, perspective, and 3-D views. Now. Button. Adds a tracker position key at the present location and frame. Right-click to remove a position key. Shift-right-click to truncate, removing all following keys. Key. Spinner tells SynthEyes to automatically add a key after this many frames, to keep the tracker on track. Key Smooth. Spinner. Tracker s path will be smoothed for this many frames before each key, so there is no glitch due to re-setting a key. Name. Edit field. Adjust the tracker s name to describe what it s tracking. Pos. H and V spinners. Tracker s horizontal and vertical position, from –1 to +1. You can delete a key (border is red) by right-clicking. Shift-right-clicking will truncate the tracker after this frame. Size. Size and aspect spinners. Size and aspect ratio (horizontal divided by vertical size) of the interior portion of the tracker. Search. H and V spinners. Horizontal and vertical size of the region (excluding the actual interior) that SynthEyes will search for the tracker around its position in the preceding frame. Preceding implies lower-numbered for forward tracking, higher-numbered for backward tracking. Weight. Spinner. Defaults to 1.0. Multiplier that helps determine the weight given to the 2-D data for each frame from this tracker. Higher values cause a closer match, lower values allow a sloppier match.WARNING This control is for experts and should be used judiciously and infrequently. It is easy to use it to mathematically destabilize the solving process, so that you will not get a valid solution at all. Keep near 1. Also see ZWTs below. Exact. For use after a scene has already been solved set the tracker s 2-D position to the exact re-projected location of the tracker s 3-D position. A quick fix for spurious or missing data points, do not overuse. See the section onfiltering and filling gaps. Note applied to a zero-weighted-tracker, error will not become zero because the ZWT will re-calculate using the new 2-D position, yielding a different 3-D and then 2-D position. F n.nnnhpix.(display field, right of Exact button) Shows the distance, in horizontal pixels, between the 2-D tracker location and the re-projected 3-D tracker location. Valid only if the tracker has been solved. ZWT. When on, the tracker s weight is internally set to zero—it is a zero-weighted-tracker (ZWT), which does not affect the camera or object s path at all. As a consequence, its 3-D position can be continually calculated as you update the 2-D track or change the camera or object path, or field of view. The Weight spinner of a ZWT will be disabled, because the weight is internally forced to zero and special processing engaged. The grayed-out displayed value will be the original weight, which will be restored if ZWT mode is turned off. T n.nnnhpix.(display field, right of ZWT button) Shows the total error, in horizontal pixels, for the solved tracker. This is the same error as from the Coordinate System panel. It updates dynamically during tracking of a zero-weighted tracker. Lens Control Panel Field of View. Spinner. Field of view, in degrees, on this frame. Focal Length. Spinner. Focal length, computed using the current Back Plate Width on Scene Settings. Provided for illustration only. Add/Remove Key., Button. Add or remove a key to the field of view (focal length) track at this frame. Known. Radio Button. Field of view is already known (typically from an earlier run) and is taken from the field of view seed track. May be fixed or zooming. You will be asked if you want to copy the solved FOV track to the seed FOV track—do that if you want to lock down the solved FOV. Fixed, Unknown. Radio Button. Field of view is unknown, but did not zoom during the shot. Fixed, with Estimate. Radio Button. Camera did not zoom, and a reasonable estimate of the field of view is available and has been set into the beginning of the lens seed track. This mode can make solving slightly faster and more robust.Important verify that you know, and have entered, the correct plate size before using any on-setfocal lengthvalues. A correct on-set focal length with an incorrect plate size makes the focal length useless, and this setting harmful. Zooming, Unknown. Radio Button. Field of view zoomed during shot. Lens Distortion. Spinner. Show/change the lens distortion coefficient. Calculate Distortion. Checkbox. When checked, SynthEyes will calculate the lens distortion coefficient. You should have plenty of well-distributed trackers in your shot. Add Line. Checkbox. Adds an alignment line to the image that you can line up with a straight line in the image, adjust the lens distortion to match, and/or use it for tripod or lock-off scene alignment. Kill Line. Checkbox. Removes the selected alignment line (the delete key also does this). Control-click to delete all the alignment lines at once. Axis Type. Drop-down list. Not oriented, if the line is only there for lens distortion determination, parallel to one of the three axes, along one of the three (XYZ) axes, or along one of the three axes, with the length specified by the spinner. Configures the line for alignment. - . Button. Swaps an alignment line end for end. The direction of a line is significant and displayed only for on-axis lines. Length. Spinner. Sets the length of the line to control overall scene sizing during alignment. Only a single line, which must be on-axis, can have a length. Atnnnf.Button. Shows(not set)if no alignment lines have been configured. This button shows the (single) frame on which alignment lines have been defined and alignment will take place; clicking the button takes you to this frame. Set each time you change an alignment line, or right-click the button to set it to the current frame. Align!Button. Aligns the scene to match the alignment lines defined—on the frame given by theAt…button. Other frames are adjusted correspondingly. To sequence through all the possible solutions,control-click this button. Solver Control Panel Go!Button. Starts the solving process, after tracking is complete. Master Reset. Button. Resets all cameras/objects and the trackers on them, though all Disabled camera/objects are left untouched. Control-click to clear the seed path, and optionally the seed FOV (after confirmation). Error. Number display. Root-mean-square error, in horizontal pixels, of all trackers associated with this object or tracker. Seeding Method.Upper drop-down list controlling the way the solver begins its solving process, chosen from the following methods Auto. List Item. Selects the automatic seeding(initial estimation) process, for a camera that physically moves during the shot. Refine. List item. Resumes a previous solving cycle, generally after changes in trackers or coordinate systems. Tripod. List Item. Use when the camera pans, tilts, and zooms, but does not move. Refine Tripod. List item. Resumes a previous solving cycle, but indicates that the camera was mounted on a tripod. Indirect. List Item. Use for camera/objects which will be seeded from links to other camera/objects, for example, a DV shot indirectly seeded from digital camera stills. Individual. List Item. Use for motion capture. The object s trackers are solved individually to determine their path, using the same feature on other “Individual” objects; the corresponding trackers are linked in one direction. Points. List Item. Seed from seed points, set up from the 3-D trackers panel. Use with on-set measurement data, or afterSet Allon the Coordinate Panel. You should still configure coordinate system constraints with this mode some hard locks and/or distance constraints. Path. List Item. Uses the camera/object s seed path as a seed, for example, from a previous solution or a motion-controlled camera. Disabled. List Item. This camera/object is disabled and will not be solved for. Directional Hint. Second drop-down list. Gives a hint to speed the initial estimation process, or to help select the correct solution, or to specify camera timing for “Individual” objects. Chosen from the following for Automatic objects Automatic. List Item. In automatic seeding mode, SynthEyes can be given a hint as to the general direction of motion of the camera to save time. With the automatic button checked, it doesn’t need such a hint. Left. List Item. The camera moved generally to its left. Right. List Item. The camera moved generally to its right. Up. List Item. The camera moved generally upwards. Down. List Item. The camera moved generally downwards. Push In. List Item. The camera moved forward (different than zooming in!). Pull Back. List Item. The camera moved backwards (different than zooming out!). Camera Timing Setting. The following items are displayed when “Individual” is selected as the object solving mode. They actually apply to the entire shot, not just the particular object. Sync Locked. List Item. The shot is either the main timing reference, or is locked to it (ie, gen-locked video camera). Crystal Sync. List Item. The camera has a crystal-controlled frame rate (ie a video camera at exactly 29.97 Hz), but it may be up to a frame out of synchronization because it is not actually locked. Loosely Synced. List item. The camera s frame rate may vary somewhat from nominal, and will be determined relative the reference. Notably, a mechanical film camera. Slow but sure. Checkbox. When checked, SynthEyes looks especially hard (and longer) for the best initial solution. Constrain. Checkbox for experts. When on, constraints set up using the coordinate system panel are applied rigorously, modifying the tracker positions. When off, constraints are used to position, size, and orient the solution, without deforming it. Seealignment vs constraints. Hold.Animated Button. Use to create hold regions to handle shots with amix of normal and tripod-modesections. Begin. Spinner and checkbox. Numeric display shows an initial frame used by SynthEyes during automatic estimation. With the checkbox checked, you can override the begin frame solution. Either manually or automatically, the camera should have panned or tilted only about 30 degrees. If the camera does something wild between the automatically-selected frames, or if their data is particularly unreliable for some reason, you can manually select the frames instead. The selected frame will be selected as you adjust this, and the number of frames in common shown on the status line. End. Spinner and checkbox. Numeric display shows a final frame used by SynthEyes during automatic estimation. With the checkbox checked, you can override the end frame solution. World size. Spinner. Rough estimate of the size of the scene, including the trackers and motion of the camera. Transition Frms. Spinner. When trackers first become usable or are about to become unusable, SynthEyes gradually reduces their impact on the solution, to maintain an undetectable transition. The value specifies how many frames to spread the transition over. Filter Frms. Spinner. Controls post-solving path filtering. If this control is set to 3, say, then each frame s camera position is a (weighted) average of its position within 3 frames earlier and 3 frames later in the sequence. A larger number creates a smoother path, butincreaseserrors. Overall Weight. Spinner. Defaults to 1.0. Multiplier that helps determine the weight given to the data for each frame from this object s trackers. Lower values allow a sloppier match, higher values cause a closer match, for example, on a high-resolution calibration sequence consisting of only a few frames.WARNING This control is for experts and should be used judiciously and infrequently. It is easy to use it to mathematically destabilize the solving process, so that you will not get a valid solution at all. Keep near 1. More. Button. Brings up or takes down the Hard and Soft Lock Controls dialog. Axis Locks. 7 Buttons. When enabled, the corresponding axis of the current camera or object is constrained to match the corresponding value from the seed path. These constraints are enforced either loosely after solving, with Constrain off, or tightly during solving, with Constrain on. See the section onConstraining Camera or Object Position. Animated. Right-click to remove a key on the current frame. L/R. Left/right axis (ie X) F/B. Front/back axis (Y or Z) U/D. Up/down axis (Z in Z-up or Y in Y-up) FOV. Camera field of view (available/relevant only for Zoom cameras) Pan. Pan angle around ground plane Tilt. Tilt angle up or down from ground plane Roll. Roll angle from vertical Never convert to Far.Normally, SynthEyes monitors trackers during 3-D solves, and automatically converts trackers to Far if they are found to be too far away. This strategy backfires if the shot has very little perspective to start with, as most trackers can be converted to far. Use this checkbox if you wish to try obtaining a 3-D solve for your nearly-a-tripod shot. Coordinate System Control Panel Tracker Name. Edit. Shows the name of selected tracker, or change it to describe what it is tracking. Camera/Object. Drop-down list. Shows what object or camera the tracker is associated with; change it to move the tracker to a different object or camera on the same shot (or, you can clone it there for special situations). Entries beginning with asterisk(*) are on a different shot with the same aspect and length; trackers may be moved there, though this may adversely affect constraints, lights, etc. *3. Button. Starts and controls three-point coordinate setup mode. Click it once to begin, then click on origin, on-axis, and on-plane trackers in the camera view, 3-D viewports, or perspective window. The button will sequence through Or, LR, FB, and Pl to indicate which tracker should be clicked next. Click this button to skip from LR (left/right) to FB (front/back), or to skip setting other trackers. After the third tracker, you will have the opportunity to re-solve the scene to apply the new settings. Seed Lock Group X, Y, Z.Buttons. Multi-choice buttons flip between X, X+, X-; Y, Y+, Y-; and Z, Z+,Z- respectively. These buttons control which possible coordinate-system solution is selected when there are several possibilities. Only significant when the tracker is locked on one or two axes. X, Y, Z. Spinners. An initial position used as a guess at the start of solving (if seed checkbox on), and/or a position to which the tracker is locked, depending on the Lock Type list. Seed. Mode button. When on, the X/Y/Z location will be used to help estimate camera/object position at the start of solving, if Points seeding mode is selected. Peg. Mode button. If on, and the Solver panel s Constrain checkbox is on, the tracker will be pegged exactly, as selected by the Lock Type. Otherwise, the solver may modify the constraints to minimize overall error. See documentation for details and limitations. Far. Mode button. Turn on if the tracker is far from the camera. Example If the camera moved 10 feet during the shot, turn on for any point 10,000 feet or more away. Far points are on the horizon, and their distance can not be estimated. This button states yourwish, SynthEyes may solve a tracker as far anyway, if it is determined to have too little perspective. Lock Type. Drop-down list. Has no effect if Unlocked. The other settings tell SynthEyes to force one or more tracker position coordinates to 0 or the corresponding seed axis value. Use to lock the tracker to the origin, the floor, a wall, a known measured position, etc. See the section onLock Mode Details. If you select several trackers, some with targets, some without, this list will be empty—right-click the Target Point button to clear it. Target Point. Button. Use to set up links between trackers. Select one tracker, click the Target Point button to select the target tracker by name. Or, ALT-click (Mac Command-Left-Click) the target tracker in the camera view or 3-D viewport. If the trackers are on the same camera/object, the Distance spinner activates to control the desired distance between the trackers. You can also lock one or more of their coordinates to be identical, forcing them parallel to the same axis or plane. If the trackers are on different camera/objects, you have created a link the two trackers will be forced to the same location during solving. If two trackers track the same feature, but one tracker is on a DV shot, the other on digital camera stills, use the link to make them have the same location. Right-click to remove an existing target tracker. Dist. Spinner. Sets the desired distance between two trackers on the same object. Solved. X, Y, Z numbers. After solving, the final tracker location. Error. Number. After solving, the root-mean-square error between this tracker s predicted and actual positions. If the error exceeds 1 pixel, look for tracking problems using the Tracker Graph window. [FAR]. This will show up after the error value, if the tracker has been solved as far. Set Seed. Button. After solving, sets the computed location up as the seed location for later solver passes using Points mode. All. Button. Sets up all solved trackers as seeds for subsequent passes. Exportable. Checkbox. Uncheck this box to tell savvy export scripts not to export this tracker. For example, exporting to a compositor, you may want only a half dozen of a hundred or two automatically-generated trackers to be exported and create a new layer in the compositor. Non-exportable points are shown in a different color, somewhat closer to that of the background. 3-D Control Panel Creation Mesh Type. Drop-down. Selects the type of object created by the Create Tool. Create Tool. Mode button. Clicking in a 3-D viewport creates the mesh object listed on the creation mesh type list, such as a pyramid or Earthling. Most mesh objects require two drag sequences to set the position, size, and scale. Note that mesh objects are different than objects created with the Shot Menu s Add Moving Object button. Moving objects can have trackers associated with them, but are themselves null objects. Mesh objects have a mesh, but no trackers. Often you will create a moving object and its trackers, then add a mesh object(s) to it after solving to check the track. Object name. Editable drop-down. The name of the object selected in the 3-D or camera viewports. Changeable. Delete. Button. Deletes the selected object. Lock Selection. Mode button. Locks the selection in the 3-D viewport to prevent inadvertent reselection when moving objects. World/Object. Mode button. Switches between the usual world coordinate system, and the object coordinate system where everything else is displayed relative to the current object or camera, as selected by the shot menu. Lets you add a mesh aligned to an object easily. Move Tool. Mode button. Dragging an object in the 3-D viewport moves it. Rotate Tool. Mode button. Dragging an object in the 3-D viewport rotates it about the axis coming up out of the screen. Scale Tool. Mode button. Dragging an object in the 3-D viewport scales it uniformly. Use the spinners to change each axis individually. Make/Remove Key., Button. Adds or removes a key at the current frame for the currently-selected object. Show/Hide. Button. Show or hide the selected mesh object. Object color. Color Swatch. Object color, click to change. X/Y/Z Values. Spinners. Display X, Y, or Z position, rotation or scale values, depending on the currently-selected tool. Size. Spinner. This is an overall size spinner, use it when the Scale Tool is selected to change all three axis scales in lockstep. Whole. Button. When moving a solved object, normally it moves only for the current frame, allowing you to tweak particular frames. If you turn on Whole, moving the object moves the entire path, so you can adjust your coordinate system without using locks. If you do this, you should set up some locks subsequently and switch to Point or Path seeding, or you will have to readjust the path again if you re-solve.Hint Whole mode has some rules to decide whether or not to affect meshes. To force it to include all meshes in the action, turn onWhole affects mesheson the 3-D viewport and perspective window s right-click menu. Blast. Button. Writes the entire solved history onto the object s seed path, so it can be used for path seeding mode. Reset. Button. Clears the object s solved path, exposing the seed path. Cast Shadows. (Mesh) Object should cast a shadow in the perspective window. Catch Shadows. (Mesh) Object should catch shadows in the perspective window. Back Faces. Draw the both sides of faces, not only the front. Invert Normals. Make the mesh normals point the other way from their imported values. Lighting Control Panel New Light. Button. Click to create a new light in the scene. Delete Light. Button. Delete the light in the selected-light drop-down list. Selected Light. Drop-down list. Shows the select light, and lets you change its name, or select a different one. Far-away light. When checked, light is a distant, directional, light. When off, light is a nearby spotlight or omnidirectional(point) light. Compute over frames This, All, Lock. In the (normal) This mode, the light s position is computed for each frame independently. In the All or Lock mode, the light s position is averaged over all the frames in the sequence. In the All mode, this calculation is performed repeatedly for “live updates.” In the Lock mode, the calculation occurs only when clicking the Lock button. New Ray. Button. Creates a new ray on the selected light. Delete Ray. Button. Delete the selected ray. Previous Ray ( ). Button. Switch to the previous lower-numbered ray on the selected light. Ray Number. Text field. Shows something like 1/3 to indicate ray 1 of 3 for this light. Next Ray ( ). Button. Switch to the next higher ray on the selected light. Selected Ray Source. Mode button. When lit up, click a tracker in the camera view or any 3-D view to mark it as one point on the ray. Target. Mode button. When lit up, click a tracker in the camera view or any 3-D view to mark it as one point on the ray. If the source and target trackers are the same, it is a reflected-highlight tracking setup, and the Target button will show “(highlight).” For highlight tracking to be functional, there must be a mesh object for the tracker to reflect from. Distance. Spinner. When only a single ray to a nearby light is available, use this spinner to adjust the distance to the light. Leave at zero the rest of the time. Flex/Curve Control Panel Theflex/curvecontrol panel handles both object types, which are used to determine the 3-D position/shape of a curve in 3-D, even if it has no discernable point features. If you select a curve, the parameters of its parent flex (if any) will be shown in the flex section of the dialog. New Flex. Creates and selects a new flex. Left-click successively in a 3-D view or the perspective view to lay down a series of control points. Right-click to end. Delete Flex. Deletes the selected flex (even if it was a curve that was initially clicked). Flex Name List. Lists all the flexes in the scene, allowing you to select a flex, or change its name. Moving Object List. If the flex is parented to a moving object, it is shown here. Normally, “(world)” will be listed. Show this 3-D flex. Controls whether the flex is seen in the viewports or not. Clear. Clears any existing 3-D solution for the flex, so that the flex s initial seed control points may be seen and changed. Solve. Solves for the 3-D position and shape of the flex. The control points disappear, and the solved shape becomes visible. All. Causes all the flexes to be solved simultaneously. Pixel error. Root-mean-square (~average) error in the solved flex, in horizontal pixels. Count. The number of points that will be solved for along the length of the flex. Stiffness. Controls the relative importance of keeping the flex stiff and straight versus reproducing each detail in the curves. Stretch. Relative importance of (not) being stretchy. Endiness. (yes, made this up) Relative importance of exactly meeting the end-point specification. New Curve. Begins creating a new curve—click on a series of points in the camera view. Delete. Deletes the curve. Curve NameList.Shows the currently-selected curves name among a list of all the curves attached to the current flex, or all the unconnected curves if this one is not connected. Parent Flex List.Shows the parent flex of this curve, among all of the flexes. Show.Controls whether or not the curve is shown in the viewport. Enable.Animated checkbox indicating whether the curve should be enabled or not on the current frame. For example, turn it off after the curve goes off-screen, or if the curve is occluded by something that prevents its correct position from being determined. Key all.When on, changing one control point will add a key on all of them. Rough.Select several trackers, turn this button on, then click a curve to use the trackers to roughly position the curve throughout the length of the shot. Truncate.Kills all the keys off the tracker from the current frame to the end of the shot. Tune.Snaps the curve exactly onto the edge underneath it, on the current frame. All.Brings up theCurve Tracking Controldialog, which allows this curve, or all the curves, to be tracked throughout an entire range of frames.
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【登録タグ H TUMENECO yukina ヒミツナグモノ 少女綺想曲 ～ Dream Battle 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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Mercedes Benz M-Class Motorbooks Intl? John Lamm? MotorbooksIntl? JohnLamm? ジャンル別? Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Foreign? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-History? Subjects-Nonfiction-Automotive-Luxury? Subjects-Nonfiction-Automotive-SportUtilityVehicles? Subjects-Professional&Technical-Engineering-General Substores-UnknownASINs-jp-unknown1? American Buses (Crestline Series) Motorbooks Intl? Donald F. Wood? MotorbooksIntl? DonaldF.Wood? ジャンル別? Subjects-Engineering-Automotive? Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-History? Subjects-Nonfiction-Automotive-Industry? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-General Subjects-Science-History&Philosophy-HistoryofTechnology? 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Arabella, Lyrische Komodie in Drei Aufzugen Hugo Von Hofmannsrhal?Hofmannsthal Von?Hugo Schmidt? The Home Remodeling Management Book How to Plan, Organize, and Manage Your Home Remodeling Project Kathryn E. Schmidt? Men and Powers A Political Retrospective Helmut Schmidt?Ruth Hein? The Audubon Society Field Guide to the Natural Places of the Northeast Coastal (Vol.1) Stephen Kulik?Pete Salmansohn?Matthew Schmidt?Heidi Welch? Just Like Max Karen Ackerman?George Schmidt? Mike Schmidt Baseball's King of Swing Stan Hochman? Grand Canyon National Park A Natural History Guide (Natural History Guide) Jeremy Schmidt? Insight Pocket Guide Vienna (Insight Guides) Nicole Schmidt? Anson's Way Gary D. Schmidt? Harper's Handbook of Therapeutic Pharmacology R.M. Schmidt?Solomon Margolin? English Idioms and Americanisms for Foreign Students, Professionals, and Physicians, Jacob Edward Schmidt? Music Therapy An Introduction Jacqueline Schmidt Peters? 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Urdu An Essential Grammar (Routledge Grammars) Ruth Laila Schmidt? Urdu An Essential Grammar (Routledge Grammars) Ruth Laila Schmidt? Federalism and Political Performance (Routledge/Ecpr Studies in European Politicalscience) Ute Wachendorfer-Schmidt? Archaeologies of Sexuality Robert A. Schmidt?Barbara L. Voss? Archaeologies of Sexuality Robert A. Schmidt?Barbara L. Voss? Anthropology of Violence and Conflict (European Association of Social Anthropologists) European Association of Social Anthropologists?Bettina Schmidt?Ingo W. Schroder? Anthropology of Violence and Conflict (European Association of Social Anthropologists) European Association of Social Anthropologists?Bettina Schmidt?Ingo W. Schroder? Globalization and Social Change (Routledge Research Advances Inipe) Johannes Dragsbaek Schmidt?Jacques Hersh? Game Theory and Economic Analysis A Quiet Revolution in Economics (Routledge Advances in Game Theory, 001) Christian Schmidt? Hayek and Economic Analysis SchmidtChristian Schmidt? Policy Change And Discourse In Europe Claudio M. Radaelli?Vivien A. Schmidt? Wise Women Reflections of Teachers at Mid-Life Phyllis R. Freeman?Jan Zlotnik Schmidt? Wise Women Reflections of Teachers at Midlife Phyllis R. Freeman?Jan Zlotnik Schmidt? Artistic Citizenship A Public Voice for the Arts Mary Schmidt Campbell?Randy Martin? Eleven British Poets Michael Schmidt? Peasants, Traders, and Wives Shona Women in the History of Zimbabwe, 1870-1939 (Social History of Africa) Elizabeth Schmidt? Science Workshop A Whole Language Approach Wendy Saul?Jeanne Reardon?Anne Schmidt?Charles Pearce? Introduction to Fifty Modern British Poets (Readers Guides) Michael Schmidt? Wednesday Wars Library Edition Gary Schmidt? Scholastic Success With Alphabet Grades Pre K-K (Scholastic Success With) Janie Schmidt? Scholastic Success With Rhyming Grades Pre K-K (Scholastic Success) Janie Schmidt? 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Vierte Szene (Herodes, Herodias treten mit Gefolge ein) ＜ヘロデ＞ wo ist Salome? Wo ist die Prinzessin? Warum kam sie nicht wieder zum Bankett, wie ich ihr befohlen hatte? Ah! Da ist sie! ＜ヘロディアス＞ Du sollst sie nicht ansehn. Fortwährend siehst du sie an! ＜ヘロデ＞ Wie der Mond heute nacht aussieht! Ist es nicht ein seltsames Bild? Es sieht aus wie ein wahnwitziges Weib, das überall nach Buhlen sucht ..., wie ein betrunkenes Weib, das durch Wolken taumelt... ＜ヘロディアス＞ Nein, der Mond ist wie der Mond, das ist alles, wir wollen hineingehn. ＜ヘロデ＞ Ich will hier bleiben. Manassah, leg Teppiche hierher! Zündet Fackeln an! Ich will noch Wein mit meinen Gästen trinken! Ah! Ich bin ausgeglitten. Ich bin in Blut getreten, das ist ein böses Zeichen. Warum ist hier Blut? Und dieser Tote? Wer ist dieser Tote hier? Wer ist dieser Tote? Ich will ihn nicht sehn. ＜兵士 一＞ Es ist unser Hauptmann, Herr. ＜ヘロデ＞ Ich erließ keinen Befehl, daß er getötet werde. ＜兵士 一＞ Er hat sich selbst getötet, Herr. ＜ヘロデ＞ Das scheint mir seltsam. Der junge Syrier, er war sehr schön. Ich erinnere mich, ich sah seine schmachtenden Augen, wenn er Salome ansah. – Fort mit ihm. (sie tragen den Leichnam weg.) Es ist kalt hier. Es weht ein Wind. ... Weht nicht ein Wind? ＜ヘロディアス＞ (trocken) Nein, es weht kein Wind. ＜ヘロデ＞ Ich sage euch, es weht ein Wind. – und in der Luft höre ich etwas wie das Rauschen von mächtigen Flügeln. ... Hört ihr es nicht? ＜ヘロディアス＞ Ich höre nichts. ＜ヘロデ＞ Jetzt höre ich es nicht mehr. Aber ich habe es gehört, es war das Wehn des Windes. Es ist vorüber. Horch! Hört ihr es nicht? Das Rauschen von mächt gen Flügeln. ... ＜ヘロディアス＞ Du bist krank, wir wollen hineingehn. ＜ヘロデ＞ Ich bin nicht krank. Aber deine Tochter ist krank zu Tode. Niemals hab ich sie so blaß gesehn. ＜ヘロディアス＞ Ich habe dir gesagt, du sollst sie nicht ansehn. ＜ヘロデ＞ Schenkt mir Wein ein. (Es wird Wein gebracht.) Salome, komm, trink Wein mit mir, einen köstlichen Wein. Cäsar selbst hat ihn mir geschickt. Tauche deine kleinen roten Lippen hinein, deine kleinen roten Lippen, dann will ich den Becher leeren. ＜サロメ＞ Ich bin nicht durstig, Tetrarch. ＜ヘロデ＞ Hörst du, wie sie mir antwortet, diese deine Tochter? ＜ヘロディアス＞ Sie hat recht. Warum starrst du sie immer an? ＜ヘロデ＞ Bringt reife Früchte. (Es werden Früchte gebracht.) Salome, komm, iß mit mir von diesen Früchten. Den Abdruck deiner kleinen, weißen Zähne in einer Frucht seh ich so gern. Beiß nur ein wenig ab, nur ein wenig von dieser Frucht, dann will ich essen, was übrig ist. ＜サロメ＞ Ich bin nicht hungrig, Tetrarch. ＜ヘロデ＞ （ヘロデアに向かって） Du siehst, wie du diese deine Tochter erzogen hast! ＜ヘロディアス＞ Meine Tochter und ich stammen aus königlichem Blut. Dein Vater war Kameltreiber, dein Vater war ein Dieb und ein Räuber obendrein. ＜ヘロデ＞ Salome, komm, setz dich zu mir. Du sollst auf dem Thron deiner Mutter sitzen. ＜サロメ＞ Ich bin nicht müde, Tetrarch. ＜ヘロディアス＞ Du siehst, wie sie dich achtet. ＜ヘロデ＞ Bringt mir – was wünsche ich denn? Ich habe es vergessen. Ah! Ah! Ich erinnre mich – ＜ヨカナアンの声＞ Siehe, die Zeit ist gekommen, der Tag, von dem ich sprach, ist da. ＜ヘロディアス＞ Heiß ihn schweigen! Dieser Mensch beschimpft mich! ＜ヘロデ＞ Er hat nichts gegen dich gesagt. Überdies ist er ein sehr großer Prophet. ＜ヘロディアス＞ Ich glaube nicht an Propheten. Aber du, du hast Angst vor ihm! ＜ヘロデ＞ Ich habe vor niemandem Angst. ＜ヘロディアス＞ Ich sage dir, du hast Angst vor ihm. Warum lieferst du ihn nicht den Juden aus, die seit Monaten nach ihm schreien? ＜ユダヤ人 一＞ Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben! ＜ヘロデ＞ Genug davon! Ich werde ihn nicht in eure Hände geben. Er ist ein heil ger Mann. Er ist ein Mann, der Gott geschaut hat. ＜ユダヤ人 一＞ Das kann nicht sein. Seit dem Propheten Elias hat niemand Gott gesehn. Er war der letzte, der Gott von Angesicht geschaut. In unsren Tagen zeigt sich Gott nicht. Gott verbirgt sich. Darum ist großes Übel über das Land gekommen, großes Übel. ＜ユダヤ人 ニ＞ In Wahrheit weiß niemand, ob Elias in der Tat Gott gesehen hat. Möglicherweise war es nur der Schatten Gottes, was er sah. ＜ユダヤ人 三＞ Gott ist zu keiner Zeit verborgen. Er zeigt sich zu allen Zeiten und an allen Orten. Gott ist im schlimmen ebenso wie im guten. ＜ユダヤ人 四＞ Du solltest das nicht sagen, es ist eine sehr gefährliche Lehre aus Alexandria. Und die Griechen sind Heiden. ＜ユダヤ人 五＞ Niemand kann sagen, wie Gott wirkt. Seine Wege sind sehr dunkel. Wir können nur unser Haupt unter seinen Willen beugen, denn Gott ist sehr stark. ＜ユダヤ人 一＞ Du sagst die Wahrheit. Fürwahr, Gott ist furchtbar. Aber was diesen Menschen angeht, der hat Gott nie gesehn. Seit dem Propheten Elias hat niemand Gott gesehn. Er war der letzte, der Gott von Angesicht zu Angesicht geschaut. In unsren Tagen zeigt sich Gott nicht. Gott verbirgt sich. Darum ist großes Übel über das Land gekommen. Er war der letzte usw. ＜ユダヤ人 ニ＞ In Wahrheit weiß niemand, ob Elias in der Tat Gott gesehen hat. Möglicherweise war es nur der Schatten Gottes, was er sah. In Wahrheit weiß niemand, ob Elias auch wirklich Gott gesehen hat. Gott ist furchtbar, er bricht den Starken in Stücke, den Starken wie den Schwachen, denn jeder gilt ihm gleich. Möglicherweise usw. ＜ユダヤ人 三＞ Gott ist zu keiner Zeit verborgen. Er zeigt sich zu allen Zeiten. Er zeigt sich an allen Orten. Gott ist im schlimmen ebenso wie im guten. Gott ist zu keiner Zeit verborgen. Gott zeigt sich zu allen Zeiten und an allen Orten. Gott ist im guten ebenso wie im bösen ... ＜ユダヤ人 四＞ (zum dritten) Du solltest das nicht sagen, es ist eine sehr gefährliche Lehre aus Alexandria. Und die Griechen sind Heiden. Niemand kann sagen, wie Gott wirkt, denn Gott ist sehr stark. Er bricht den starken wie den Schwachen in Stücke. Gott ist stark. ＜ユダヤ人 五＞ Niemand kann sagen wie Gott wirkt, seine Wege sind sehr dunkel. Es kann sein, daß die Dinge, die wir gut nennen, sehr schlimm sind, und die Dinge, die wir schlimm nennen, sehr gut sind, wir wissen von nichts etwas ... ＜ヘロディアス＞ (zu Herodes, heftig) Heiß sie schweigen, sie langweilen mich. ＜ヘロデ＞ Doch hab ich davon sprechen hören, Jochanaan sei in Wahrheit euer Prophet Elias. ＜ユダヤ人 一＞ Das kann nicht sein. Seit den Tagen des Propheten Elias sind mehr als dreihundert Jahre vergangen. ＜ナザレア人 一＞ Mir ist sicher, daß er der Prophet Elias ist. ＜ユダヤ人 一＞ Das kann nicht sein. Seit den Tagen des Propheten Elias sind mehr als dreihundert Jahre vergangen ... ＜ユダヤ人 ニ、三、四、五＞ Keineswegs, er ist nicht der Prophet Elias. ＜ヘロディアス＞ Heiß sie schweigen! ＜ヨカナアンの声＞ Siehe, der Tag ist nahe, der Tag des Herrn, und ich höre auf den Bergen die Schritte Dessen, der sein wird der Erlöser der Welt. ＜ヘロデ＞ Was soll das heißen, der Erlöser der Welt? ＜ナザレア人 一＞ (emphatisch) Der Messias ist gekommen. ＜ユダヤ人 一＞ （叫びながら） Der Messias ist nicht gekommen. ＜ナザレア人 一＞ Er ist gekommen, und allenthalben tut er Wunder. Bei einer Hochzeit in Galiläa hat er Wasser in Wein verwandelt. Er heilte zwei Aussätzige von Capernaum. ＜ナザレア人 ニ＞ Durch bloßes Berühren! ＜ナザレア人 一＞ Er hat auch Blinde geheilt. Man hat ihn auf einem Berge im Gespräch mit Engeln gesehn! ＜ヘロディアス＞ Oho! Ich glaube nicht an Wunder, ich habe ihrer zu viele gesehn! ＜ナザレア人 一＞ Die Tochter des Jairus hat er von den Toten erweckt. ＜ヘロデ＞ (erscheckt) Wie, er erweckt die Toten? ＜ナザレア人一とニ＞ Jawohl. Er erweckt die Toten. ＜ヘロデ＞ Ich verbiete ihm, das zu tun. Es wäre schrecklich, wenn die Toten wiederkämen! Wo ist der Mann zurzeit? ＜ナザレア人 一＞ Herr, er ist überall, aber es ist schwer, ihn zu finden. ＜ヘロデ＞ Der Mann muß gefunden werden. ＜ナザレア人 ニ＞ Es heißt, in Samaria weile er jetzt. ＜ナザレア人 一＞ Vor ein paar Tagen verließ er Samaria, ich glaube, im Augenblick ist er in der Nähe von Jerusalem. ＜ヘロデ＞ So hört Ich verbiete ihm, die Toten zu erwecken! Es müßte schrecklich sein, wenn die Toten wiederkämen! ＜ヨカナアンの声＞ O über dieses geile Weib, die Tochter Babylons. So spricht der Herr, unser Gott Eine Menge Menschen wird sich gegen sie sammeln, und sie werden Steine nehmen und sie steinigen! ＜ヘロディアス＞ (wütend) Befiehl ihm, er soll schweigen! Wahrhaftig, es ist schändlich! ＜ヨカナアンの声＞ Die Kriegshauptleute werden sie mit ihren Schwertern durchbohren, sie werden sie mit ihren Schilden zermalmen! ＜ヘロディアス＞ Er soll schweigen! ＜ヨカナアンの声＞ Es ist so, daß ich alle Verruchtheit austilgen werde, daß ich alle Weiber lehren werde, nicht auf den Wegen ihrer Greuel zu wandeln! ＜ヘロディアス＞ Du hörst, was er gegen mich sagt, du duldest es, daß er die schmähe, die dein Weib ist. ＜ヘロデ＞ Er hat deinen Namen nicht genannt. ＜ヨカナアンの声＞ （非常に厳かに） Es kommt ein Tag, da wird die Sonne finster werden wie ein schwarzes Tuch. Und der Mond wird werden wie Blut, und die Sterne des Himmels werden zur Erde fallen wie unreife Feigen vom Feigenbaum. Es kommt ein Tag, wo die Kön ge der Erde erzittern. ＜ヘロディアス＞ Ha ha! Dieser Prophet schwatzt wie ein Betrunkener... Aber ich kann den Klang seiner Stimme nicht ertragen, ich hasse seine Stimme. Befiehl ihm, er soll schweigen. ＜ヘロデ＞ Tanz für mich, Salome. ＜ヘロディアス＞ （激しく） Ich will nicht haben, daß sie tanzt. ＜サロメ＞ (ruhig) Ich habe keine Lust, zu tanzen, Tetrarch. ＜ヘロデ＞ Salome, Tochter der Herodias, tanz für mich! ＜サロメ＞ Ich will nicht tanzen, Tetrarch. ＜ヘロディアス＞ Du siehst, wie sie dir gehorcht. ＜ヨカナアンの声＞ Er wird auf seinem Throne sitzen, er wird gekleidet sein in Scharlach und Purpur. Und der Engel des Herrn wird ihn darniederschlagen. Er wird von den Würmern gefressen werden. ＜ヘロデ＞ Salome, Salome, tanz für mich, ich bitte dich. Ich bin traurig heute nacht, drum tanz für mich. Salome, tanz für mich! Wenn du für mich tanzest, kannst du von mir begehren, was du willst. Ich werde es dir geben. ＜サロメ＞ （起き上がりながら） Willst du mir wirklich alles geben, was ich von dir begehre, Tetrarch? ＜ヘロディアス＞ Tanze nicht, meine Tochter! ＜ヘロデ＞ Alles, was du von mir begehren wirst, und wär s die Hälfte meines Königreichs. ＜サロメ＞ Du schwörst es, Tetrarch? ＜ヘロデ＞ Ich schwör es, Salome. ＜サロメ＞ Wobei willst du das beschwören, Tetrarch? ＜ヘロデ＞ Bei meinem Leben, bei meiner Krone, bei meinen Göttern. O Salome, Salome, tanz für mich! ＜ヘロディアス＞ Tanze nicht, meine Tochter! ＜サロメ＞ Du hast einen Eid geschworen, Tetrarch. ＜ヘロデ＞ Ich habe einen Eid geschworen! ＜ヘロディアス＞ Meine Tochter, tanze nicht! ＜ヘロデ＞ Und wär s die Hälfte meines Königreichs. Du wirst schön sein als Königin, unermeßlich schön. (Erschauernd) Ah! – es ist kalt hier. Es weht ein eisger Wind und ich höre... Warum höre ich in der Luft dieses Rauschen von Flügeln? Ah! Es ist doch so, als ob ein ungeheurer, schwarzer Vogel über der Terrasse schwebte? Warum kann ich ihn nicht sehn, diesen Vogel? Dieses Rauschen ist schrecklich. Es ist ein schneidender Wind. Aber nein, er ist nicht kalt, er ist heiß. Gießt mir Wasser über die Hände, gebt mir Schnee zu essen, macht mir den Mantel los. Schnell, schnell, macht mir den Mantel los! Doch nein! Laßt ihn! Dieser Kranz drückt mich. Diese Rosen sind wie Feuer. (Er reißt sich das Kranzgewinde ab und wirft es auf den Tisch.) Ah! Jetzt kann ich atmen. Jetzt bin ich glücklich. (Matt) willst du für mich tanzen, Salome? ＜ヘロディアス＞ Ich will nicht haben, daß sie tanze! ＜サロメ＞ Ich will für dich tanzen. (Sklavinnen bringen Salben und die sieben Schleier und nehmen Salome die Sandalen ab) ＜ヨカナアンの声＞ Wer ist Der, der von Edom kommt, wer ist Der, der von Bosra kommt, dessen Kleid mit Purpur gefärbt ist, der in der Schönheit seiner Gewänder leuchtet, der mächtig in seiner Größe wandelt, warum ist dein Kleid mit Scharlach gefleckt? ＜ヘロディアス＞ Wir wollen hineingehn. Die Stimme dieses Menschen macht mich wahnsinnig. (Immer heftiger) Ich will nicht haben, daß meine Tochter tanzt, während er immer dazwischenschreit. Ich will nicht haben, daß sie tanzt, während du sie auf solche Art ansiehst. Mit einem Wort ich will nicht haben, daß sie tanzt. ＜ヘロデ＞ Steh nicht auf, mein Weib, meine Königin. Es wird dir nichts helfen, ich gehe nicht hinein, bevor sie getanzt hat. Tanze, Salome, tanz für mich! ＜ヘロディアス＞ Tanze nicht, meine Tochter! ＜サロメ＞ Ich bin bereit, Tetrarch. Vierte Szene (Herodes, Herodias treten mit Gefolge ein) HERODES wo ist Salome? Wo ist die Prinzessin? Warum kam sie nicht wieder zum Bankett, wie ich ihr befohlen hatte? Ah! Da ist sie! HERODIAS Du sollst sie nicht ansehn. Fortwährend siehst du sie an! HERODES Wie der Mond heute nacht aussieht! Ist es nicht ein seltsames Bild? Es sieht aus wie ein wahnwitziges Weib, das überall nach Buhlen sucht ..., wie ein betrunkenes Weib, das durch Wolken taumelt... HERODIAS Nein, der Mond ist wie der Mond, das ist alles, wir wollen hineingehn. HERODES Ich will hier bleiben. Manassah, leg Teppiche hierher! Zündet Fackeln an! Ich will noch Wein mit meinen Gästen trinken! Ah! Ich bin ausgeglitten. Ich bin in Blut getreten, das ist ein böses Zeichen. Warum ist hier Blut? Und dieser Tote? Wer ist dieser Tote hier? Wer ist dieser Tote? Ich will ihn nicht sehn. ERSTER SOLDAT Es ist unser Hauptmann, Herr. HERODES Ich erließ keinen Befehl, daß er getötet werde. ERSTER SOLDAT Er hat sich selbst getötet, Herr. HERODES Das scheint mir seltsam. Der junge Syrier, er war sehr schön. Ich erinnere mich, ich sah seine schmachtenden Augen, wenn er Salome ansah. – Fort mit ihm. (sie tragen den Leichnam weg.) Es ist kalt hier. Es weht ein Wind. ... Weht nicht ein Wind? HERODIAS (trocken) Nein, es weht kein Wind. HERODES Ich sage euch, es weht ein Wind. – und in der Luft höre ich etwas wie das Rauschen von mächtigen Flügeln. ... Hört ihr es nicht? HERODIAS Ich höre nichts. HERODES Jetzt höre ich es nicht mehr. Aber ich habe es gehört, es war das Wehn des Windes. Es ist vorüber. Horch! Hört ihr es nicht? Das Rauschen von mächt gen Flügeln. ... HERODIAS Du bist krank, wir wollen hineingehn. HERODES Ich bin nicht krank. Aber deine Tochter ist krank zu Tode. Niemals hab ich sie so blaß gesehn. HERODIAS Ich habe dir gesagt, du sollst sie nicht ansehn. HERODES Schenkt mir Wein ein. (Es wird Wein gebracht.) Salome, komm, trink Wein mit mir, einen köstlichen Wein. Cäsar selbst hat ihn mir geschickt. Tauche deine kleinen roten Lippen hinein, deine kleinen roten Lippen, dann will ich den Becher leeren. SALOME Ich bin nicht durstig, Tetrarch. HERODES Hörst du, wie sie mir antwortet, diese deine Tochter? HERODIAS Sie hat recht. Warum starrst du sie immer an? HERODES Bringt reife Früchte. (Es werden Früchte gebracht.) Salome, komm, iß mit mir von diesen Früchten. Den Abdruck deiner kleinen, weißen Zähne in einer Frucht seh ich so gern. Beiß nur ein wenig ab, nur ein wenig von dieser Frucht, dann will ich essen, was übrig ist. SALOME Ich bin nicht hungrig, Tetrarch. HERODES (zu Herodias) Du siehst, wie du diese deine Tochter erzogen hast! HERODIAS Meine Tochter und ich stammen aus königlichem Blut. Dein Vater war Kameltreiber, dein Vater war ein Dieb und ein Räuber obendrein. HERODES Salome, komm, setz dich zu mir. Du sollst auf dem Thron deiner Mutter sitzen. SALOME Ich bin nicht müde, Tetrarch. HERODIAS Du siehst, wie sie dich achtet. HERODES Bringt mir – was wünsche ich denn? Ich habe es vergessen. Ah! Ah! Ich erinnre mich – DIE STIMME DES JOCHANAAN Siehe, die Zeit ist gekommen, der Tag, von dem ich sprach, ist da. HERODIAS Heiß ihn schweigen! Dieser Mensch beschimpft mich! HERODES Er hat nichts gegen dich gesagt. Überdies ist er ein sehr großer Prophet. HERODIAS Ich glaube nicht an Propheten. Aber du, du hast Angst vor ihm! HERODES Ich habe vor niemandem Angst. HERODIAS Ich sage dir, du hast Angst vor ihm. Warum lieferst du ihn nicht den Juden aus, die seit Monaten nach ihm schreien? ERSTER JUDE Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben! HERODES Genug davon! Ich werde ihn nicht in eure Hände geben. Er ist ein heil ger Mann. Er ist ein Mann, der Gott geschaut hat. ERSTER JUDE Das kann nicht sein. Seit dem Propheten Elias hat niemand Gott gesehn. Er war der letzte, der Gott von Angesicht geschaut. In unsren Tagen zeigt sich Gott nicht. Gott verbirgt sich. Darum ist großes Übel über das Land gekommen, großes Übel. ZWEITER JUDE In Wahrheit weiß niemand, ob Elias in der Tat Gott gesehen hat. Möglicherweise war es nur der Schatten Gottes, was er sah. DRITTER JUDE Gott ist zu keiner Zeit verborgen. Er zeigt sich zu allen Zeiten und an allen Orten. Gott ist im schlimmen ebenso wie im guten. VIERTER JUDE Du solltest das nicht sagen, es ist eine sehr gefährliche Lehre aus Alexandria. Und die Griechen sind Heiden. Fünfter JUDE Niemand kann sagen, wie Gott wirkt. Seine Wege sind sehr dunkel. Wir können nur unser Haupt unter seinen Willen beugen, denn Gott ist sehr stark. ERSTER JUDE Du sagst die Wahrheit. Fürwahr, Gott ist furchtbar. Aber was diesen Menschen angeht, der hat Gott nie gesehn. Seit dem Propheten Elias hat niemand Gott gesehn. Er war der letzte, der Gott von Angesicht zu Angesicht geschaut. In unsren Tagen zeigt sich Gott nicht. Gott verbirgt sich. Darum ist großes Übel über das Land gekommen. Er war der letzte usw. ZWEITER JUDE In Wahrheit weiß niemand, ob Elias in der Tat Gott gesehen hat. Möglicherweise war es nur der Schatten Gottes, was er sah. In Wahrheit weiß niemand, ob Elias auch wirklich Gott gesehen hat. Gott ist furchtbar, er bricht den Starken in Stücke, den Starken wie den Schwachen, denn jeder gilt ihm gleich. Möglicherweise usw. DRITTER JUDE Gott ist zu keiner Zeit verborgen. Er zeigt sich zu allen Zeiten. Er zeigt sich an allen Orten. Gott ist im schlimmen ebenso wie im guten. Gott ist zu keiner Zeit verborgen. Gott zeigt sich zu allen Zeiten und an allen Orten. Gott ist im guten ebenso wie im bösen ... VIERTER JUDE (zum dritten) Du solltest das nicht sagen, es ist eine sehr gefährliche Lehre aus Alexandria. Und die Griechen sind Heiden. Niemand kann sagen, wie Gott wirkt, denn Gott ist sehr stark. Er bricht den starken wie den Schwachen in Stücke. Gott ist stark. Fünfter JUDE Niemand kann sagen wie Gott wirkt, seine Wege sind sehr dunkel. Es kann sein, daß die Dinge, die wir gut nennen, sehr schlimm sind, und die Dinge, die wir schlimm nennen, sehr gut sind, wir wissen von nichts etwas ... HERODIAS (zu Herodes, heftig) Heiß sie schweigen, sie langweilen mich. HERODES Doch hab ich davon sprechen hören, Jochanaan sei in Wahrheit euer Prophet Elias. ERSTER JUDE Das kann nicht sein. Seit den Tagen des Propheten Elias sind mehr als dreihundert Jahre vergangen. ERSTER NAZARENER Mir ist sicher, daß er der Prophet Elias ist. ERSTER JUDE Das kann nicht sein. Seit den Tagen des Propheten Elias sind mehr als dreihundert Jahre vergangen ... ZWEITER, DRITTER, VIERTER UND fünfter JUDE Keineswegs, er ist nicht der Prophet Elias. HERODIAS Heiß sie schweigen! STIMME DES JOCHANAAN Siehe, der Tag ist nahe, der Tag des Herrn, und ich höre auf den Bergen die Schritte Dessen, der sein wird der Erlöser der Welt. HERODES Was soll das heißen, der Erlöser der Welt? ERSTER NAZARENER (emphatisch) Der Messias ist gekommen. ERSTER JUDE (schreiend) Der Messias ist nicht gekommen. ERSTER NAZARENER Er ist gekommen, und allenthalben tut er Wunder. Bei einer Hochzeit in Galiläa hat er Wasser in Wein verwandelt. Er heilte zwei Aussätzige von Capernaum. ZWEITER NAZARENER Durch bloßes Berühren! ERSTER NAZARENER Er hat auch Blinde geheilt. Man hat ihn auf einem Berge im Gespräch mit Engeln gesehn! HERODIAS Oho! Ich glaube nicht an Wunder, ich habe ihrer zu viele gesehn! ERSTER NAZARENER Die Tochter des Jairus hat er von den Toten erweckt. HERODES (erscheckt) Wie, er erweckt die Toten? ERSTER UND ZWEITER NAZARENER Jawohl. Er erweckt die Toten. HERODES Ich verbiete ihm, das zu tun. Es wäre schrecklich, wenn die Toten wiederkämen! Wo ist der Mann zurzeit? ERSTER NAZARENER Herr, er ist überall, aber es ist schwer, ihn zu finden. HERODES Der Mann muß gefunden werden. ZWEITER NAZARENER Es heißt, in Samaria weile er jetzt. ERSTER NAZARENER Vor ein paar Tagen verließ er Samaria, ich glaube, im Augenblick ist er in der Nähe von Jerusalem. HERODES So hört Ich verbiete ihm, die Toten zu erwecken! Es müßte schrecklich sein, wenn die Toten wiederkämen! DIE STIMME DES JOCHANAAN O über dieses geile Weib, die Tochter Babylons. So spricht der Herr, unser Gott Eine Menge Menschen wird sich gegen sie sammeln, und sie werden Steine nehmen und sie steinigen! HERODIAS (wütend) Befiehl ihm, er soll schweigen! Wahrhaftig, es ist schändlich! DIE STIMME DES JOCHANAAN Die Kriegshauptleute werden sie mit ihren Schwertern durchbohren, sie werden sie mit ihren Schilden zermalmen! HERODIAS Er soll schweigen! DIE STIMME DES JOCHANAAN Es ist so, daß ich alle Verruchtheit austilgen werde, daß ich alle Weiber lehren werde, nicht auf den Wegen ihrer Greuel zu wandeln! HERODIAS Du hörst, was er gegen mich sagt, du duldest es, daß er die schmähe, die dein Weib ist. HERODES Er hat deinen Namen nicht genannt. DIE STIMME DES JOCHANAAN (sehr feierlich) Es kommt ein Tag, da wird die Sonne finster werden wie ein schwarzes Tuch. Und der Mond wird werden wie Blut, und die Sterne des Himmels werden zur Erde fallen wie unreife Feigen vom Feigenbaum. Es kommt ein Tag, wo die Kön ge der Erde erzittern. HERODIAS Ha ha! Dieser Prophet schwatzt wie ein Betrunkener... Aber ich kann den Klang seiner Stimme nicht ertragen, ich hasse seine Stimme. Befiehl ihm, er soll schweigen. HERODES Tanz für mich, Salome. HERODIAS (heftig) Ich will nicht haben, daß sie tanzt. SALOME (ruhig) Ich habe keine Lust, zu tanzen, Tetrarch. HERODES Salome, Tochter der Herodias, tanz für mich! SALOME Ich will nicht tanzen, Tetrarch. HERODIAS Du siehst, wie sie dir gehorcht. DIE STIMME DES JOCHANAAN Er wird auf seinem Throne sitzen, er wird gekleidet sein in Scharlach und Purpur. Und der Engel des Herrn wird ihn darniederschlagen. Er wird von den Würmern gefressen werden. HERODES Salome, Salome, tanz für mich, ich bitte dich. Ich bin traurig heute nacht, drum tanz für mich. Salome, tanz für mich! Wenn du für mich tanzest, kannst du von mir begehren, was du willst. Ich werde es dir geben. SALOME (aufstehend) Willst du mir wirklich alles geben, was ich von dir begehre, Tetrarch? HERODIAS Tanze nicht, meine Tochter! HERODES Alles, was du von mir begehren wirst, und wär s die Hälfte meines Königreichs. SALOME Du schwörst es, Tetrarch? HERODES Ich schwör es, Salome. SALOME Wobei willst du das beschwören, Tetrarch? HERODES Bei meinem Leben, bei meiner Krone, bei meinen Göttern. O Salome, Salome, tanz für mich! HERODIAS Tanze nicht, meine Tochter! SALOME Du hast einen Eid geschworen, Tetrarch. HERODES Ich habe einen Eid geschworen! HERODIAS Meine Tochter, tanze nicht! HERODES Und wär s die Hälfte meines Königreichs. Du wirst schön sein als Königin, unermeßlich schön. (Erschauernd) Ah! – es ist kalt hier. Es weht ein eisger Wind und ich höre... Warum höre ich in der Luft dieses Rauschen von Flügeln? Ah! Es ist doch so, als ob ein ungeheurer, schwarzer Vogel über der Terrasse schwebte? Warum kann ich ihn nicht sehn, diesen Vogel? Dieses Rauschen ist schrecklich. Es ist ein schneidender Wind. Aber nein, er ist nicht kalt, er ist heiß. Gießt mir Wasser über die Hände, gebt mir Schnee zu essen, macht mir den Mantel los. Schnell, schnell, macht mir den Mantel los! Doch nein! Laßt ihn! Dieser Kranz drückt mich. Diese Rosen sind wie Feuer. (Er reißt sich das Kranzgewinde ab und wirft es auf den Tisch.) Ah! Jetzt kann ich atmen. Jetzt bin ich glücklich. (Matt) willst du für mich tanzen, Salome? HERODIAS Ich will nicht haben, daß sie tanze! SALOME Ich will für dich tanzen. (Sklavinnen bringen Salben und die sieben Schleier und nehmen Salome die Sandalen ab) DIE STIMME DES JOCHANAAN Wer ist Der, der von Edom kommt, wer ist Der, der von Bosra kommt, dessen Kleid mit Purpur gefärbt ist, der in der Schönheit seiner Gewänder leuchtet, der mächtig in seiner Größe wandelt, warum ist dein Kleid mit Scharlach gefleckt? HERODIAS Wir wollen hineingehn. Die Stimme dieses Menschen macht mich wahnsinnig. (Immer heftiger) Ich will nicht haben, daß meine Tochter tanzt, während er immer dazwischenschreit. Ich will nicht haben, daß sie tanzt, während du sie auf solche Art ansiehst. Mit einem Wort ich will nicht haben, daß sie tanzt. HERODES Steh nicht auf, mein Weib, meine Königin. Es wird dir nichts helfen, ich gehe nicht hinein, bevor sie getanzt hat. Tanze, Salome, tanz für mich! HERODIAS Tanze nicht, meine Tochter! SALOME Ich bin bereit, Tetrarch. Strauss,Richard/Salome/3