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・ The Man with Bogart's Face
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・ The Man with My Face
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・ The Man with Nine Lives
・ The Man with Nine Lives (film)
・ The Man with One Red Shoe
・ The Man with Rain in His Shoes
・ The Man with the Bag
・ The Man With the Blue Guitar
・ The Man with the Blue Post-Modern Fragmented Neo-Traditionalist Guitar
・ The Man with the Carnation
・ The Man with the Child in His Eyes
・ The Man with the Chocolate Robe
・ The Man with the Claw
The Man with the Flower in His Mouth
・ The Man with the Frog
・ The Man with the Getaway Face
・ The Man with the Golden Arm
・ The Man with the Golden Arm (novel)
・ The Man with the Golden Gun
・ The Man with the Golden Gun (film)
・ The Man with the Golden Gun (novel)
・ The Man with the Golden Gun (soundtrack)
・ The Man with the Golden Soles
・ The Man with the Golden Touch
・ The Man with the Hoe
・ The Man with the Horn
・ The Man with the Horn (song)
・ The Man with the Iron Fists


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The Man with the Flower in His Mouth : ウィキペディア英語版
The Man with the Flower in His Mouth

''The Man With the Flower in His Mouth'' ((イタリア語:L'Uomo dal Fiore in Bocca) (:ˈlwɔːmo dal ˈfjoːre im ˈbokka)) is a 1922 play by the Italian playwright Luigi Pirandello. It is particularly noteworthy for becoming, in 1930, the first piece of television drama ever to be produced in Britain, when a version was screened by the British Broadcasting Corporation as part of their experimental transmissions.
==Plot==
The play is a one-act "dialogue", derived with small variations, from the novella ''La Morte Adosso'' (1923). The dialogue takes place in a bar, late at night, between a man who is dying of an epithelioma
("il fiore in bocca") and a peaceful businessman who has missed his train. In other words, between someone who intensely lives the little time left to him and someone who is rich with time to spend idly and irresponsibly, waiting for the morning train and entirely absorbed by the banal contretemps.
The exceptional nature of the moment, for the man who feels death upon him--to use Pirandello's phrase--and the normality of it, for the one who is absorbed in the usual affairs of life with its small daily commitments, mark the two ends of the dialectic which is animated in the grand soliloquy of the protagonist.
He lucidly analyses his last sensations on earth, evoking scenes of common life, particulars of a quotidianity which are receding from him irremediably and which, for this reason, make precious the memories of even the most trivial events. In the solemnity of his solitude, he seems to have gained unexpected awarenesses of the life that is leaving him and of death. With no sense of regret or repentance, he almost seems to bitterly enjoy his unrepeatable experience marked by the echo of the end, which allows him to dedicate himself with interest to observing the anonymous life of others, in order to grasp its sense.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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