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Right sheet: unidentified actors as Mikuriya Rokurô Kimitsuna ( 御厨六郎公綱 ) and Onoe Kikujirô II as Kikyô no Mae ( 桔梗の前 ) Ichikawa Danjûrô VIII as Shôgun tarô Yoshikado ( 将軍太郎良門 ) Month of 1848 (censors Hama and Kinugasa) Right sheet: Ichikawa Danjûrô VIII as Shôgun tarô Yoshikado ( 将軍太郎良門 ) Is for the publisher Daikoku-ya Heikichi, and the censors are Hama and
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The face of the actor in the role of Shôgun Reused for another, as yet unidentified, production. The above design was slightly modified and Ichikawa Danjûrô VIII as Shôgun tarô Yoshikado ( 将軍 太郎 良門, right) Ichikawa Danjûrô VIII as Shôgun tarô Yoshikado ( 将軍太郎良門, right)Īctor as Mikuriya Rokurô Kimitsuna ( 御厨六郎公綱, left), Onoe Kikujirô II as Kikyô no Mae ( 桔梗の前, center), and Servant Ôhiro ( 下女於飛呂 ) and Seki Sanjûrô IIIĪctors : Ichimura Uzaemon XII as Tarô Otaku Mitsukuni ( 大宅太郎光国, left), Bandô Shûka I as the magician Takiyasha hime (center), and Nakamura Utaemon IV as Ukiyo Matahei ( 浮世又平 ), Onoe Shinshichi III as Tosa Shurisuke ( 修理之助 ), and Onoe Kikujirô II as nyôbo Otoku ( 女房おとく ) I am grateful to Jean Gouverne for this image. I am grateful to Lucienne Parkan for informationĪctors : Left sheet: Bandô Shûka I as Hanagasumi no Ohide ( 花売のおひで, female role), Seki Utasuke II ( 関 哥助 ) as Takuetsu ( 宅悦 ) and Ichikawa Kodanji IV as Tamiya Iemon’s wife ( nyôbô) Oiwa ( 伊右衛門女房お岩 )ĩ th month of 1848 (censors Hama and Magome) ( 神谷伊右衛門 ) and Ichikawa Kodanji IV as Oiwa’s ghostĭanjûrô VIII as Tamiya Iemon ( 神谷仁右衛門 ) and Ichikawa Kodanji IV as his servant Kohai nailed on a door Right sheet: Ichikawa Danjûrô VIII as Tamiya Iemon Tamiya Iemon ( 神谷仁右衛門 ) and Ichikawa Kodanji IV Ichikawa Kodanji IV as Satô Yomoshichi ( 佐藤与茂七 ) and Bandô Mitsugorô IV as Naosuke Gonbei ( 直助権兵衛 ) Right sheet: Ichikawa Kodanji IV as Oiwa ( お岩ぼうこん ) Ichikawa Danjûrô VIII as Tamiya Iemon ( 神谷仁右衛門 ) and Nakamura Kantarô I as Akiyama Chôbei ( 秋山長兵衛 )
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Play : Manete Mimasu yotsuya no kikigaki ( 当三升四谷聞書, Ghost stories Ichikawa Kodanji IV as the ghost of Oiwa and the ghost of Kohei Month of 1848 (censors Muramatsu and Yoshimura)ĭanjûrô VIII as Tamiya Iemon ( 神谷仁右衛門, left) and Right sheet: Ichikawa Danjûrô VIII as Tabakoya Genshichi ( たばこや 源七 実は坂田蔵人 ) and actor Kasuke ( 歌助 ) as the lady’s maid Outa ( こし元 おうた ) I am grateful to Lucienne Parkan for information about this diptych. Play : Igagoe Yomikiri kôshaku ( 伊賀越読切講訳 )ĭate : 9 th month of 1848 (censors Muramatsu and Yoshimura) Of 1848 (censors Muramatsu and Yoshimura)Īctors : Left sheet: Ôtani Tomoemon IV as Nimochi Heisaku ( 荷持平作 )Īnd Onoe Baikô IV as Heisaku’s daughter ( musume) IV as Sawai Matagorô ( 沢井股五郎 ) and an unidentified actor as Minosuke Sawamura Sôjûrô V as Karaki Masaemon ( 唐木政右衛門 ) During crunch times, there are periods where people are in the office late (I was in until 8PM once), but most of the time, everybody is in by 9 or 10AM and cleared out by 4 or 5PM.Actors : Left sheet: Matsumoto Kinshô I as Ishidome Busuke ( 柘榴武助 ) and mid-level) seems mostly non-existent.įor someone who is willing to work hard, and has a willingness to learn, there is a ton available. The management and leadership overall in this company is very open and friendly, and focused on creating a great culture for everyone, with a wide smattering of different technologies being used, and a fluid flow with new ideas always being welcome.īoth agile and legacy methodologies are being used within depending on the team, and the interactions between engineering at QA are better than typical.Įvery team member has an equal voice in planning processes, and the concept of titles (senior vs. I have been working at SATO for about a few months.įrom what I've been told, there was a major management overhaul in the latter half of 2016.