Dorama no naka no hougen

p. 80

Kagoshima Prefectures karaimo normal speech has rather many specific forms/grasps. When using
the standard language, the Kagoshima dialect is unintentionally detected, or when wanting to use the
standard language but it cant be used properly anymore, so the karaimo normal speech is used
instead, this is a neo dialect resulted from the collision between the standard language and the local
dialect, and there are many people who point out that its not like it contains special words or
expressions, but rather a rhythmic feature like accent and intonation.

Even though the Kagoshima dialect in doramas has the same articulation sounds (the sound of the literal
notation) as the standard language, it appears that the accent and the intonation (rhythmic feature)
makes it reveal a Kagoshima style atmosphere; this is the/an utilization of the karaimo normal speech.

The conventional dialect is one category of dialects, for example even inside Kagoshima Pref., the
Honjo and ?? districts are divided, with both of them having their own subdivisions, and while every
county and city/town have similarities and differences, the Satsuguu dialect (the Kagoshima dialect) is
coming into existence. Such a conventional dialect, for people other than locals, it becomes more and
more incomprehensible together with the geographic distance. And so, it is not viable (?)/practical for
drama series broadcasted all over the country. Thats because for dramas it is most important that the
words are understandable. If the articulation sounds are the same as the standard language, it can still
be understood even if the rhythm is different, yet the characteristics of regional languages are
discovered; the karaimo normal speech was ideal for this usage (style?).

However, on the contrary, the dialects used in dramas get a harsh evaluation by the local people.
Similarly to when we learn a foreign language and we exaggerate the pronunciation of characteristics
that are not present in the Japanese language, when the actors try to say out loud the pronunciation
they learned from local dialect mentors, the local people feel a sharp difference between this and
their real usage, which in reality is really close to the standard language when it comes to pronunciation,
vocabulary and grammar, so they evaluate these drama dialects as being unnatural/ forced and
exaggerated.

Referring to Mr.s The causes for a sense of discomfort when coming into contact with a dramatized
dialect, when applying it to TV dramas, we came out with the next 3 points. 1. The difference between
the regular/everyday local dialects and the ones used in TV drama lines, which are set in a fictional
world. 2. The difference between the intentional manipulation of the dialect by the author, director and
performer, and the dialect that is used in reality. 3. The awareness that a deformed dialect results
from the ambiguous perception the viewers have about their own dialects.

p. 81

When the NHK televised in the autumn of 1995 the Hashiran ka! TV novel series, an original work by
Hasegawa Housei, having Hakata as setting, the local high school students felt a strangeness/ discomfort
and exaggeration for the fact that the characters, who were from the same generation as them, used
the Hakata ben that their parents used in their childhood days. For example, adjectives ending with
ka (ka inflected adjectives), like nashi ka, atsu ka, are used when wanting to emphasize feelings, even
though they normally end with an i, in the broadcast the ka ending is always used, even though the
adjectives u euphonic change form is used by the older generations, and high school students dont
really use it, but in the broadcast the u euphonic change form was used by high schoolers from which
the discomfort arose.

When it comes to the Kyushu dialects image, it is believed that the Hichiku dialect spoken in the
Chikuzen / Chikugo region, in Kumamoto, Saga, Nagasaki, Fukuoka Pref., is representative for it. For
example, when using yoka bai tai batten to say batten, yokabai (for dakedo, iiyo) or sou~ tai (for
sonano dayo), gives off indeed the impression of a Kyushu person.

On the other hand, the Hounichi dialect used in the eastern part of Kyushu, in Fukuoka Pref.s
Kitakyushu town and all throughout Daibu and Okazaki, does not have the aforementioned
characteristics. It uses E~ (for ii) or kendo (for keredo). Still, in a movie that has Beppu as setting,
the actor who played the local person was heard using batten. Even though people outside Kyushu
might consent to this, people living in Daibu Pref. to say the least, will not consent/ approve.

Mr. ., who was born in Kansai, reveals the following about dialects in dramas.

We hear that there are many complaints about the improper usage of dialects in the NHKs morning
program dramas, but as a consequence for deforming the dialects so that people all over the country
could understand them, the people living close to these localities could/can feel a sense of discomfort.
For example, there are circumstances when too many common terms are added to the dialects, or a
certain expression is used more than necessary/ overused. In the earlier stages, theres also the
question whether the actors can or cannot master the dialects. Especially when it comes to accents.
Since the author has a Keihan-style accent, whenever he/she hears a half-hearted Keihan-style accent, in
all honesty, he/she gets irritated. However, for the many other viewers not from the Kyoto-Osaka
region, it may feel like a typical Keihan-ness.

This could be said about any (other) region. Especially the problem with the rhythmic characteristics,
which include not only the words accents, but also the phrase or section accents, and the sentence
intonation, they are important elements for dialect-ness. West of Okayama Pref., in the Chugoku
region (western Honshu) and in the northeastern part of Kyushu, the words accent is systematically the
same as the Tokyo style, but, for example, when hearing the Hiroshima dialect, we have the impression
that it is quite different than the Tokyo speech/language. Apart from having the grammar and other
elements the same as the western Japan dialects, it has a strong intonation.

p. 82

Mr., a dialect mentor/instructor writes down in his/her book that he paid attention at accents
when instructing/teaching the Osaka..words.

When Mr. Ohara gives dialect instructions, after he translates the lines into dialects, he records them on
tapes for the actors different roles. Mr. Ohara creates 3 types of recordings.

At first, he writes down in details each and every line so that theyre recognizable by sound, then he
reads them slowly in order for the phonetic sounds to be followed. Next, he reads them a little faster so
to transmit the words clarity, and lastly, in order to perfect the normal speech, he separates his
recordings (?) on 3 levels.
Mr. Oharas 3 levels recordings is a dialect mentorship which contains articulation sounds, accents,
intonations, and even conversation strategies, and he records them step by step so that the actors could
learn them easily.

2. Real examples of dialects in TV dramas

1) The film Shunkinshou

In the script that Mr. Ohara received from the producer, according to Mr who was born and raised
in the Osaka Bay (?) region, he wrote accent symbols for every single line.

High pitched tones were marked with symbol, low tones had \, tones that changed from high
pitched to low tones had , tones that changed from low to high pitched had ., accompanied by
notes saying Please interpret from the phonetical references. Omitting some stage directions, we offer
quotes as follows.

S#7: Separation

Sasuke comes out the sliding doors and sits straight/ upright.

S: Did you call for me?

Voice: Youre late.

S: Yes sorry.

Ogoto(?): Todays the nail clipping day. You cant forget about it.

S: Yes, from morning I helped with the delivery of goods.

O: I dont need excuses.

S: Sorry.

O: Once youre done with the nails, well go to jikio.???

S: Yes.

He starts to cut, his hands used to it.

* Even though the same hee was used, when he made an excuse it became hee, when he gave a
strong short it became hee, and when he had doubts the hee? was used.

Even the characteristic Osaka dialect accents, like the falling intonation of hi and the 2 beats high-low
accent types in.(example cant read it), are clearly written down.

2) NHKs TV novel series Manten

When do people who left their home towns use the local dialects (furusato speech)? Previously, I used
to eat at a Chinese food restaurant in Tokyo. I didnt know what type of person the shops owner was
but I naturally assumed he was Japanese, and one time when I was the only customer present, he
suddenly started to talk in Chinese with his wife.
It is clear when we use our mother tongues. When the partner is a person from the same
town/village/province, we prioritize the situation, and the mother tongue comes forth naturally. At the
phone as well, when the other party is someone from the same region, even though there are people
around listening to it, I believe that there are many people who experience speaking in their mother
language. This is obvious when the mother tongue is not Japanese.

On the opposite, when the conversation partner is someone not from your region, it is normal not to
speak in your mother tongue or local dialect.

When we continuously use a language, we have skills in grammar, in communication outside grammar,
and in social culture. When measuring by the level of language materials, regardless of situation and
speaking partner, we start using the local dialects, but if we adapt the level of our communication skills
outside the grammatical border that are needed in order to properly understand a communication, with
a speaking partner that is not from our region, precisely because hes foreign to it, it becomes difficult to
use the local dialects.

According to the data that analyzed the percentage of dialect usage based on circumstances in the
entire country (? Ichi seitoshi), when speaking with a local from their home town, 82% use the dialect,
when speaking with a local in Tokyo, 61% use the dialect, 35% of speaking partners use the common
language inside the home town, while 19% of speaking partners (the lowest rate) use the common
language when in Tokyo. Depending on the circumstances and conversation partner, the percentage of
the local dialect usage changes gradually.

p. 84

In Osaka, the people who speak the Osakaben and the common language, depending on their partners
dialect usage percentage, their own usage degree is more or less higher than the 4th case. On the other
hand, when thinking about the individual differences, theres a group of people having Kansai style
properties, who use Kansaiben with both locals and outsiders, as Mr. points out.

In dramas, in order to specify the characters birthplace, the local dialect shows up. Asking whether this
is a character establishment that concentrates a lot on peoples own local dialects, when closely
listening to the ?? lines, since both the standard language and the Kansaiben are used, this doesnt
appear to hold true. The dialect material violates the rules of communication, when used regardless of
the conversation partner or when having Kansai style attributes/properties? It is certain that this is
exaggerated.

We continue to write a concrete example of dialect characteristics.

 That is Okahitos husband. Copula (soi), ka-inflection (yoka), existence verb (oru),
particle/quasi-particle (to);
Dont know what this is(?) Adverb (dogen), auxiliary verb (kote);
Dareka-san is (not) here (?) Adverb (nashike)
What is wrong with a bit of a mistake. (?) Nidan (inflection) verb (niguru), state aspect (choru),
particle (to).

All of the above examples contain characteristics of the Yakushima dialect and are issued (?) regarding
the people currently living in Osaka and speaking the Osaka dialect or people who appear to come from
the Eastern Japan, like Torahiko Shibata.

The Yokushima dialects accent appears older in shape than the Kagoshima dialect, and also when the
two-tone words end with an i or u syllable, it is characteristic for them to extend the first tone.

For example,

In the mainland of Kagoshima Pref., the second type accent, when you pronounce the side line part
louder, similar sounds with ku and mi are sacrificed (? sokuonka). The first tones prolongation avoids
the Kagoshima-like sokuonka (?), and also preserves its old style accent. I dont know to what extent
Manten adopts the Yakushima accent, but at least we can hear the characteristics of the type 2 accent,
from Southwest Kyushu.

3) From Kon Ichikawa directors 1973 film Matatabi (joyful journey)

Gunma Prefectures dialect features are .. (yomenai). It has a Tokyo style accent, and the vowels and
consonants are not really different from the Tokyo language. However, if we look at the text from the
next movie, well realize that Gumna ken also has a dialect. Even though in Matatabi also appear people
from Mino and Shinshuu, well extract the lines written in Joushuu dialect and write down the dialects
characteristics.

You are the relative of Yoshida Miwasaburo. I didnt know that. The fusion/ mix of the A I group
of vowels (omee), end of sentence particle (kea, ze);
You said this when we first met/greeted each other. Adverb indicating confirmation (danbe),
end of sentence intention particle (ga);
Well, its late at night and there arent many nice places, so please rest here. The fusion of the
O I group of vowels (osee), the A I group of vowels and short consonant (ne), the honorific
expression and verb ending pronunciation (te kunnai);
A nadonotanji from the nearby village came here aiming at my . and opened the to our
young people. I cant be silent about this. The omission of the half-vowel interposed between
the vowel A (na-bari), an accusative verb represented by the end sound of a noun (doba-), the
honorific expression (yanshita), the fusion of the A I group of vowels (ne-), the fusion of particles
(cha-), the end of sentence particle (ya). In addition, when it comes to ora- na-bari, in the case
that a human being is the subject of the possessive case, the particle ga is needed, like in
oraga na-bari; Normally, ga features a fricative sound where there are no nasal sounds, so it
gets weakened and ora- is heard instead.