SUGISAKAMASANORI

Journal of Robotics, Networking and Artificial Life
Vol. 9(1); June (2022), pp. 1–12
ISSN (Online): 2352-6386; ISSN (Print): 2405-9021
https://alife-robotics.org/jrnal.html

Research Article

Consideration of Unchiku Generation with Moving Illustration
Using Kabuki Dance Knowledge
Jumpei Ono1, Miku Kawai2, Takashi Ogata3

Faculty of Software and Information Technology, Aomori University, 2-10-1, Seishincho, Edogawa, 134-0087, Japan
Faculty of Liberal Arts, The Open University of Japan, 2-11, Wakaba, Mihama, Chiba, 261-8586, Japan
3
Faculty of Software and Information Science, Iwate Prefectural University, 152-52, Sugo, Takizawa, 020-0693, Japan
1
2

ARTIC LE INFO
Article History
Received 26 November 2020
Accepted 26 October 2021

Keywords

narrative explanation
kabukiKyōganoko Musume Dōjōji
moving illustration
narrative generation
unchiku

AB S T RA C T

An explanation generation system based on narratology and an unchiku generation
system has been developed previously. Moreover, we developed an animation systemthat simulates the stage performance structure of a kabuki work, Kyōganoko Musume
Dōjōji. Based on this background, this study presents the basic method of unchiku
generation using a moving illustration system. In the prototype, we use the legend of
Dōjōji and edit the general explanation and unchiku texts of Kyōganoko Musume Dōjōji.
Further, the system supplements the unchiku using the corresponding animations. We
refer to these animations as moving illustrations. These unchiku and animations are notintended to explain the story, but to provide deep knowledge of the explanations
inserted in the story.

© 2022 The Author. Published by Sugisaka Masanori at ALife Robotics Corporation Ltd
This is an open access article distributed under the CC BY-NC 4.0 license(http://creativecommons.org/licenses/by-nc/4.0/).

narrative method that embodies a story as a temporalsequence of events using methods. In the framework ofnarratology, unchiku is strongly related to narrative
discourse which refers to how a story is actually narrated.
In previous studies, the various aspects of narrative
discourse [1], including the “distance” between thestoryteller and the story, based on the structuralist
theories proposed by Genette [2] have been discussed.
Considering this formal viewpoint, unchiku is classified
as a narrative technique of explanation for slowing the
temporal progression of a story by introducing
information except in instances where events aredescribed.

1. Introduction
Unchiku refers to accumulated in-depth knowledge for
specific topic. In using as verb, unchiku is an explanationthat uses in-depth content to share knowledge or teach alesson to an audience; “unchiku wo katamukeru (to tilt
one’s unchiku)” means putting all your energy into thatknowledge. In recent years, unchiku often refers to trivia.
However, trivia corresponds to “unchiku wo tareru (todrop one’s unchiku)” and “unchiku wo hikerakasu (toshow off one’s unchiku)” in Japanese which refers toshowing off knowledge learned from undesirable
situations.

On the other hand, from the viewpoint of the informationthat is transmitted to the reader through a narrative,
unchiku and explanation are different. Explanation isstaging comprehensively where the goal is to contributeto the readers’ understanding of the content. On the other

Unchiku is included in narratives where it is used for thetechniques for introducing description, explanation, andmore in-depth knowledge regarding various objects
appearing in a story. These techniques represent a

Corresponding author’s E-mail: j.ono@aomori-u.ac.jp, mom.mxm39@gmail.com, t-ogata@iwate-pu.ac.jp

1

hand, unchiku means in-depth academic and otherknowledge where the goal is to provide the readers withknowledge beyond a simple understanding of the content.
Unchiku does not differ from a general explanation.
Although it is still a working hypothesis in this study for
progressing this research, the explanation is for theknowledge in the degree of that is covered in the general
dictionaries and encyclopedias such as Wikipedia. In
contrast, unchiku corresponds to the explanation ofknowledge that can be gained through a deeper andbroader survey and procedure, and actual seeing (in thecase of kabuki which is used as an object in this study).

analysis focuses on the Kyōganoko Musume Dōjōji [14][15] [16] [17], a kabuki narration of the legend of Dōjōji,performed by on’nagata (male actors playing female
characters) since ancient times with new content added
beyond the original legend.
Based on the abovementioned considerations, this study
proposes a system that organizes and represents theunchiku, explanation texts, and animations of the legendof Dōjōji using Kyōganoko Musume Dōjōji, a kabuki
dance work. Based on the difference in conceptual
definitions, unchiku and explanation are generated
according to their respective methods. In particular, theexplanation texts are generated using Wikipedia, and theunchiku texts and the related animations are generated
based on our original narrative analysis of the kabuki andother materials.

As mentioned above, this study chooses a kabuki workand the related story as the object and the proposedsystem selects, generates, and represents the explanation
and unchiku. Currently, many people have an obscure
understanding of the word kabuki. Of course, although,for the beginners of kabuki, general knowledge andexplanation are important, kabuki is a traditional art form
and understanding it requires deep and academic
knowledge. In kabuki, unchiku information is necessary
and important, in addition to general explanations.
Kabuki is an appropriate topic for studying unchiku-like
explanations and general explanations.

2. Two Background Systems
This section describes the unchiku generation system andanimation system of the Kyōganoko Musume Dōjōji as
our previous studies. The prototype incorporates these
two systems in this paper.
2.1. Unchiku Generation System

Furthermore, in kabuki, the actual stage performances
themselves are also called “text” and they are probablyemphasized more than the scenarios [3]. Many unchikusof kabuki are difficult to fully understand without
viewing the actual stage performances. In this way, theuse of animation supplements and strengthens theunchiku texts.

We developed an unchiku generation system to establish
a starting point and means to systematically collect,
accumulate, and utilize kabuki knowledge [4] [5].
Originally, Wikipedia was used for information todevelop our unchiku generation system. Specifically, weused the page “Ichikawa Ebizō (11th generation) Wikipedia,” which is the Japanese Wikipedia article on“Ichikawa Ebizō XI,” and 226 pages (entries) that can bereferred to by links from the text on that page.

An explanation of the technical terms has been discussed
in a study [4]. Another study explained the problemsolving process of artificial intelligence systems [5]. We
designed a mechanism for unchiku generation [6] [7] for
integration into our narrative generation system.
Additionally, we applied unchiku generation to our studyof kabuki [8] [9].

When a decision was made to generate and insert aunchiku, its structure was generated and inserted into thestory at regular intervals. In this case, the attribute frame
based on the noun concept associated with the word to be
explained was referred to.

Moreover, we developed a prototype that complements
the story represented through a kabuki dance with byinserting animations. We also investigated kabuki
narrative generation by comprehensively examining thestructure, methods, and narrative techniques to refine ournarrative generation system. In our research system [10][11], we focused on the analysis of kabuki based on theperformance structure on stage was central. To further
our narratological research with regard to kabuki [12], weplaced the “work performed on stage” at the center andidentified the list of its multiple components [13]. Our

A problem in this system was that the differences andrelationship between unchiku and explanation were notanalyzed in-depth. Based on the discussion in
Introduction, this system dealt with generalexplanations other than unchiku. The system proposed inthis study reconsiders this point.

22.2. Animation System of Kyōganoko Musume
Dōjōji

Nagauta Kyōganoko Musume Dōjōji [21] and recorded
music stored in the system.

This section explains an analysis of Kyōganoko Musume
Dōjōji and an animation system based on the analysis inprevious study.

This animation mechanism was based on a detailed
analysis of Kyōganoko Musume Dōjōji using the script
and the video materials. The analyzed knowledge formed
the original unchiku information. The system proposed inthis study used the animations to supplement the unchiku
information. We called each animation moving
illustration.

2.2.1. Analyzing Kyōganoko Musume Dōjōji
The animation system depends on the stage performance
structure. The data on Kyōganoko Musume Dōjōji were
derived from our earlier analyses [8] [9].

3. Unchiku Generation with Moving Illustration

Kyōganoko Musume Dōjōji recounts the legend of Dōjōji.
In the legend, a young woman named Kiyohime falls inlove with Anchin, a Buddhist monk who rejects her. She
turns into a snake and kills him. After more than athousand years of telling this story through oral histories,
picture scrolls, and other reading material, the story has
transformed into the present-day Kyōganoko Musume
Dōjōji.

Based on the above-mentioned two systems for unchiku
generation and animation representation using a kabuki
work and kabuki-related knowledge, the system proposedin this study corresponds to a prototype of unchiku
generation with animation representation. Furthermore,
the prototype aims to analyze the plans and issues for
future full-scale development. This section describes the
proposed system and its knowledge.

We focused on the following three elements described in
the book by Tamotsu Watanabe [18], a contemporary
kabuki researcher and critic: kokoro (core conceptual
theme), furi (performance), and shisyo (lyrics). Based on
the reconsideration of the elements, we created a tablethat represents the stage performance structure of
Kyōganoko Musume Dōjōji [14]. The main componentsof the stage performance structure are the characters,
background (stage set), music (instruments, performers,
and genres), lyrics, furi, and kokoro of each scene.
Although it includes the elements related to the story of
Kyōganoko Musume Dōjōji, many elements related to thestructural aspects of work are mainly includes in the table.
2.2.2.

3.1. Architecture for the Proposed System
In the proposed system, for a story, the unchiku
generation is supplemented by inserting animations to
produce an animation. Moreover, general explanation
texts are also represented. The system has three modules,
including an explanation selection mechanism for moregeneral explanation texts, an unchiku generation
mechanism for creating unchiku texts, an expression
mechanism for representing explanation and unchiku
texts, and animation supplementing the unchiku in order.
The story is formatted such that the proposed system canbe easily handled. We organized the legend of Dōjōji andexpressed it in a sequence of single sentences. The story
was not automatically generated in this prototype.

Developing an Animation System Based on
the Analysis

To develop our animation system, we summarized thestage performance structure of Kyōganoko Musume
Dōjōji [19] in an analysis table. We have discussed ouranalysis of the stage performance structure in detail [12]and how an animation system called KOSERUBE, afolktale-style story generation system, was developed toexpress it [20].

3.2. Knowledge for the Proposed System
In this study, the definition of knowledge was limited toknowledge of explanation and unchiku. We limit thelatter to that of Kyōganoko Musume Dōjōji. Further, we
describe the knowledge bases for explanations andunchiku. We also provide English supplements to theactual data and generate examples.

With this system, users can select folktales and characters,
and it automatically generates a story based on theselections. It also generates an animation and displays the
lyrics at the bottom of the screen; the background andcharacters change from scene to scene.
Our animation system can also reproduce and generatemusic [13] based on the score of Syamisen Bunkahu

Although the comprehensive name of the proposedsystem is called unchiku generation with a moving
illustration, a part of the unchiku generation includes bothgeneral explanation and unchiku generation mechanisms.
These mechanisms use the subsequently detailed
knowledge sources.
33.2.1. Knowledge for Explanation
年老いた僧と安珍が熊野に参詣へ行く。年老いた僧と安珍がある家に到着する。清姫が安珍に会う。清姫が安珍に惚れる。安珍は清姫を恐れる。安珍は「安珍と清姫が再会する」という嘘をつく。安珍はある家を過ぎる。清姫は嘘を知る。清姫は激怒する。清姫は蛇体に変身する。清姫は安珍を追う。安珍は道成寺に到着する。[An old monk and ayoung monk, Anchin, go to visit Kumano. They arrive at a house.
Kiyohime meets Anchin. Kiyohime falls in love with Anchin.
Anchin is afraid of Kiyohime. Anchin tells a lie by saying, “Anchin
and Kiyohime will meet again.” Anchin avoids the house.
Kiyohime realizes it was a lie. Kiyohime gets angry. Kiyohimetransforms into a snake. Kiyohime chases Anchin. Anchin arrives
at the Dōjōji Temple.]

Figure 1 shows the input data for the system. These data
were created based on a part of the legend of Dōjōji
introduced in Section 2.2.1. The knowledge for
explanation is acquired from Figure 1; we acquired
knowledge about Anchin, Kumano, Kiyohime, andDōjōji.
The explanation of the story is presented in Figure 2. Thisknowledge was acquired from Wikipedia. However, forAnchin and Kiyohime, we use “The legend of Anchin
and Kiyohime” because there is no corresponding article
on Wikipedia. For Anchin and Kiyohime, the outline of
the article and the first paragraph of the article is assigned
respectively.

Fig. 1. The story of the legend of Dōjōji.

 Musicians: The instrument players on the stage
according to the types of instruments and the total
number of musicians.
 Musical instruments: The types of instruments
played on the stage.
 Background music/Wooden clappers: Geza is aroom that is hidden from the audience on the left sideof the stage; the players in the geza mainly play soundeffects. Hyōshiita is an instrument used by players on
the right side of the stage according to the narrative.
 Scene: The background of the stage.
 Place on stage: Each narrative place where one ormore dramatic characters exist.
 Costume: The costume that Shirabyōshi Hanako
wears.
 Small props: The small props that Shirabyōshi
Hanako has.
 Stage equipment: The backgrounds and objects on
the stage.
 Point of the dancer’s body: In each scene, the partof Hanako’s body is focused on.

As stated above, the knowledge for explanation
corresponds to the general knowledge acquired from
Wikipedia.
3.2.2. Knowledge for Unchiku
The knowledge for unchiku is illustrated in Figure 3. Thisknowledge relates to a scene in Kyōganoko Musume
Dōjōji. Figure 3 presents the knowledge based on the
Chūkei no Mai scene (we chose 1 of the 11 scenes inKyōganoko Musume Dōjōji to identify the processing
procedure). It was generated from the stage performance
structure table created by Kawai [14]. The details of each
item are as follows.
 Flow of the stage performance: The flow of eventson the actual stage.
 Time: The time in which the displayed part of the
lyrics is changed to the next.
 Characters: People appearing on the stage Although
the central character of Kyōganoko Musume Dōjōji is
Shirabyōshi Hanako, many Shokes also appear.
 Mind: It is the word that represents the most essential
or symbolic mental state of Shirabyōshi Hanako, whois the central character in dramatic scenes.
 Action: The genres of dances performed by Hanako.
 Lyrics: The lyrics sung or narrated, written by
Fujimoto Tobun.
 Scene of the legend of Dōjōji: It shows whether the
associated scene of the legend of Dōjōji is negative or
positive.
 Music genres and characteristics: The genre orfeatures of the music played in each scene.
 Narrators/Singers: Narrators or singers of the lyrics
and their total number.

Unlike general explanation knowledge, this unchiku
knowledge is original knowledge acquired from thedetailed survey and analysis of the stage performance
structure of Kyōganoko Musume Dōjōji.

4Unchiku is generated based on the stage performance
structure of a scene of Kyōganoko Musume Dōjōji (Fig.
3). In the prototype, unchiku knowledge corresponded toKiyohime, Anchin, Kumano, and Dōjōji which are the
keywords for explanation, is generated or edited by thefollowing methods.

((安珍 [Anchin]
安珍・清姫伝説（あんちんきよひめでんせつ）とは、紀州道成寺にまつわる伝説のこと。思いを寄せた僧の安珍に裏切られた少女の清姫が激怒のあまり蛇に変化し、道成寺で鐘ごと安珍を焼き殺すことを内容としている。
[The monk, in an attempt to avoid meeting her, chose a different
route on the return journey, and the woman died in grief when
she found out that he was deliberately avoiding her. After her
death, a great serpent emerged from her bedchamber and it
pursued the monk before killing him in a bell in the Dōjōji
temple where he had hidden.](熊野 [Kumano]
熊野（くまの）は、紀伊半島南端部の和歌山県南部と三重県南部からなる地域。[Kumano (Kumano-shi) is a city
located in Mie Prefecture, Japan.](清姫 [Kiyohime]
安珍・清姫伝説とは、和歌山県日高川町にある天台宗の寺院である道成寺にまつわる平安時代の伝承にして仏教説話であり、若き僧安珍と清姫の悲恋と情念をテーマとして能、歌舞伎、浄瑠璃などさまざまな題材にされてきた話である。「道成寺縁起」とも呼ばれる。[Kiyohime(or just Kiyo) in Japanese folklore is a character in the story ofAnchin and Kiyohime. In this story, she fell in love with a
Buddhist monk named Anchin, but after her interest in the monk
was rejected, she chased after him and transformed into a
serpent in a rage, before killing him in a bell where he had
hidden in the Dōjōji temple.](道成寺[Dōjōji]
道成寺 （どうじょうじ）は、和歌山県日高郡日高川町鐘
巻にある天台宗の寺院。新西国三十三箇所第 5 番札所。
道 成 寺 創 建 に ま つ わ る 「 髪 長姫 伝 説 」 （ 「 宮 子 姫 伝記」）や、能、歌舞伎、浄瑠璃の演目として名高い「安珍・清姫伝説」で知られる。この伝説は、平安時代中期に編纂された『大日本国法華験記』にすでに見える古い話 で あ る 。 [Dōjōji is a Tendai school Buddhist temple in
Hidakagawa, Wakayama Prefecture, Japan. Founded in 701, it
name has been used in a number of plays, the statues of Senjū
Kannon, Nikkō Bosatsu, and Gakkō Bosatsu are National
Treasures, and there are a number of other Important Cultural
Properties.])

3.3.1. Explanation Selection Mechanism
The explanation selection module in the unchiku
generation system with a moving illustration receives astory as an input and selects the explanation texts thatassociate a keyword and the related unchiku from theknowledge for explanation. Here, keywords are nouns
that match the items in the knowledge of explanation and,in this prototype, Anchin, Kumano, Kiyohime, andDōjōji presented in 3.2.1 and Figure 2 are included．In
particular, the following processes are executed in order:
1.

The module searches for a keyword that matches
the text in the knowledge for explanation from the
beginning of the story.

2.

The module selects the explanation text based on a
keyword that is identified from the knowledge for
explanation.

This module executes only the selection while the actual
expression is performed in the third expression
mechanism.
3.3.2. Unchiku Generation Mechanism
Unchiku generation was conducted based on nouns
related to four keywords, “explanation keywords,” forexplanation and nouns included in Fig. 3, “stage
performance keywords.” Nouns related to explanation
keywords were collected from the nouns in the respective
explanation texts (Fig. 2) and those in the abstract partsof Wikipedia texts were directly linked to the nouns in
the explanation texts. We used the morphologicalanalyzer MeCab to extract nouns from Wikipedia texts.
For the nouns included in Figure 3, we collected nouns
from the abstract parts of Wikipedia texts and the texts of
Kotobank (Digital Daijisen) using MeCab.

Fig. 2. Knowledge for explanation.

3.3. Mechanisms of the Proposed System
The proposed system selects explanation texts for a given
story before generating unchiku texts and related
animations. The entire system including the explanation
selection, unchiku generation, and expression
mechanisms, is called an unchiku generation system withmoving illustrations. In particular, the system confirms
all noun concepts included in the input story from the
beginning of the story and when the system finds a noun
to be processed as a keyword, it executes the above
processing.

Next, for all explanation keywords, we calculated thevector of all related nouns as parameters. In particular, if
S is a set in which the elements are the n nouns p for an5

(中啓の舞("No" ("1" "2" "3" "4" "5" "6" "7" "8" "9" "10"))("The_flow_of_the_stage_performace" ("乱拍子に続いて、能の鐘づくしに従って、本舞台の中央で踊る。" "" "" "" """" "" "" ""))("Time" ("23:03 ~ 23:16" "23:18 ~ 23:44" "23:45 ~ 24:13" "24:14 ~ 24:41" "24:42 ~ 25:10" "25:11~25:41" "25:42~26:11""26:12~26:48" "26:50~27:17" "27:19~27:52"))("Characters" ("白拍子花子" "白拍子花子" "白拍子花子" "白拍子花子" "白拍子花子" "白拍子花子" "白拍子花子" "白拍
子花子" "白拍子花子" "白拍子花子")) ("Mind" ("娘 (P)" "娘 (P)" "娘 (P)" "娘 (P)" "娘 (P)" "娘 (P)" "娘 (P)" "娘(P)" "娘 (P)" "娘 (P)"))("Action" ("白拍子 (P)" "白拍子 (P)" "白拍子 (P)" "白拍子 (P)" "白拍子 (P)" "白拍子 (N)" "白拍子 (N)" "白拍子 (N)" "白拍子 (P)" "白拍子 (P)")) ("Lyrics" ("鐘に恨みは数々ござる (N)" "初夜の鐘を撞く時は (N)" "諸行無常と響くなり (N)" "後夜の鐘を撞く時は (N)" "是生滅法と響くなり (N)" "晨朝の響きは生滅々己 (N)" "入相は寂滅為楽と響くなり (N)" "聞いて驚く人もなし (N)" "われも五障の雲晴れて (P)" "真如の月を眺め明かさん (P)"))("Scene_of_the_legend_of_Dojoji" ("N" "N" "N" "N" "N" "N" "N" "N" "P または P+" "P または P+"))("Music_genres_and_characteristics" ("能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）" "能（鐘づくし）"))("Narrators" ("歌い手（8 人）" "歌い手（8 人）" "歌い手（8 人）" "歌い手（8 人）" "歌い手（8 人）" "歌い手（8人）" "歌い手（8 人）" "歌い手（8 人）" "歌い手（8 人）" "歌い手（8 人）"))("Musicians" ("三味線（8 人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8 人），太鼓（2 人）" "三味線（8 人），
太鼓（2 人）"))("Musical_instruments" ("三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，
小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛" "三味線，小鼓，太鼓，笛"))("Background_music/Wooden_clappers" ("-" "-" "-" "-" "-" "-" "-" "-" "-" "-"))("Scene" ("桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）" "桜の木（道成寺）"))("The_place_on_stage" ("本舞台: 中央" "本舞台: 中央" "本舞台: 中央" "本舞台: 中央" "本舞台: 中央" "本舞台: 中央" "本
舞台: 中央" "本舞台: 中央" "本舞台: 中央" "本舞台: 中央"))("Costume" ("赤" "赤" "赤" "赤" "赤" "赤" "赤" "赤" "赤" "赤"))("Small_props" ("中啓" "中啓" "中啓" "中啓" "中啓" "中啓" "中啓" "中啓" "中啓" "中啓"))("Stage_equipment" ("道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木" "道成寺，鐘，桜の木"))("The_point_of_the_dancer’s_body" ("足" "足" "足" "足" "足" "足" "足" "足" "足" "足")))Fig. 3. An unchiku knowledge of a scene in Kyōganoko Musume Dōjōji (The scene is “Chūkei no Mai”).

explanation keyword, the vector v of the explanation
keyword isHere, there are four types of explanation keywords andthe vectors range from 𝑣𝑣1 to 𝑣𝑣4 . Regarding n of the four
keyword types, 333 were Kiyohime, 128 were Anchin,
186 were Kumano, and 423 were Dōjōji. The nouns ineach explanation keyword are shown in Figures 4, 5, 6,
and 7. In addition, as the result of the morphologicalanalysis is not processed, numerals, brackets, andsymbols are mixed in the nouns.

𝑣𝑣 = {𝑎𝑎1 , 𝑎𝑎2 , … , 𝑎𝑎𝑖𝑖 , … , 𝑎𝑎𝑛𝑛 } 𝑆𝑆 = {𝑝𝑝1 , 𝑝𝑝2 , … , 𝑝𝑝𝑖𝑖 , … , 𝑝𝑝𝑛𝑛 }Here, the component 𝑎𝑎𝑖𝑖 is the total of thenoun 𝑝𝑝𝑖𝑖 , included in the texts related to the explanation
keywords. For example, the vector of the keyword
Kiyohime is:
𝑆𝑆𝐾𝐾𝐾𝐾𝐾𝐾𝐾𝐾ℎ𝑖𝑖𝑖𝑖𝑖𝑖 = {𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻, … , 𝐺𝐺𝐺𝐺𝐺𝐺𝐺𝐺ō, … ,𝑣𝑣𝐾𝐾𝐾𝐾𝐾𝐾𝐾𝐾ℎ𝑖𝑖𝑖𝑖𝑖𝑖 = (1, … , 2, … , 1)

𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆ℎ𝑖𝑖}

6

Next, in Figure 3, we prepare the vectors of each stage
performance’s keywords. In particular, there were 31
keywords. The vector w corresponding to the vector 𝑣𝑣𝑖𝑖
for each explanation keyword is formed by the following日高川, 町, 寺院, 僧, 安珍, 悲恋, 情念, テーマ, 題材, 道成寺, 縁起, ょうるり, 三味線, 楽器, ししょう, 劇場, 詞章, 歌, 人物, セリフ, 仕草, 描
写, 語り口, 叙事, 系統, 音曲, 語り物, もの, 個々, 太夫, 口演, その後, 義太夫, 河東, 一中節, 常磐津, 富本節, 清元, 新内, 宮, 薗, 節, 薗八
節, |8|, 存在, 単独, 素, 浄瑠璃, ほか, 人形, 劇, 人形浄瑠璃, 文楽, 音楽, 舞踊, 伴奏, 流派, ごと, 形態, 後述, 固有, 演劇, 重要, 文化財,
|1965|, |4|, |20|, 日, ]）。, 演技, 演出, 様式, 上演, 歌舞伎, |2005|, ユネスコ, 傑作, 宣言, |2009|, 無形, 文化, 遺産, 代表, 一覧, 表, 記載, 能, 伝統, 芸能, 一, 分野, 江戸, 猿楽, 狂言, 能楽, 総称, の, 明治維新, 後, 近代, 造語, 言葉, 明瞭, 規定, 国文学, 民俗, 民族, 神話, 学, 領域, 広義, 伝承, 話, 物語, 一般, 昔話, 民話, 同義, 使用, 狭義, 意味, 説話, 説明, ドイツ, メルヒェン, Marchen, フェアリーテイル, fairy, tale, メルヘン,
スティス・トンプソン, 英語, 圏, よう, -, 文治, 元年, |1185|, /, 建, 久, |1192|, 歴史, 区分, 一つ, 延, 暦, |13|, |794|, 桓武, 天皇, 府, 都, |390|, 年間,
京都, 平安京, 鎌倉, 幕府, 成立, 政治, 唯一, 中心, 通常, 末期, 萌芽, 可能, 過渡, 理解, 近年, 荘園, 公, 領, 制, 確立, 院政, 期, |1100|, 見解,
有力, 学校, 教育, これ, 構成, 教科書, 律令制, 王朝, 国家, 体制, 移行, 中期, |900|, 頃, 以降, 発端, 意見, 古代, 中世, どちら, 分類, 議論, 中立, 概念, 主, 文学, 史, 世界, 中古, 語, 天台宗, いしゅう, |,|, Tiantai, 発祥, 大乗, 宗派, ひとつ, 王, 妙法, 蓮華, 経, 法華経, 根本, 仏典, ため, ]、, 法華宗, てん, だい, しゅう, 名称, 実質, 的, 開祖, 智, 顗, 天台山, 由来, 天台, 教学, 入唐, 最澄, 伝教大師, 平安, 時代, 初期, |9|, 世紀, 多く, 仏教, 宗旨, ここ, 展開, 今日, 中国, 朝鮮, ベトナム, 信徒, ]。, 日高, 川, ひだ, 中部, 本流, 延長, 熊野川, 紀ノ川, 中, |3|, 番目, さ, 最長, 日本一, |2008|, 年, |10|, 月, 現在, 流域, 上流, 部, 吉野, 郡, 十津川, 村, 一部, 内陸, 奈良, 定義, 上, 二, 級, 水系, こと, [, |1|, ][, 注釈, |2|, ],河川, 法, 県内, 区間, 指定, 管理, 珍, 清姫, 伝説, 舞台, 有名, わか, 英, :, Wakayama, Prefecture, 近畿, 地方, 県庁, 所在地, 和歌山, 市, 日本, 最大, 紀伊, 半島, 南西, 側, 位置, 県, 南部, 規模, 山地[Hidaka River, town, temple, monk, Anchin, tragic love, passion, theme, theme,
Dojoji temple, Engi, youruri, syamisen, instrument, Sisyo, theatre, lyrics, song, character, words, gestures, description, the way one tells,
description, system, music, Katarimono, thing, individual, Dayu, oral, afterwards, Gidayu, Kato, Ichichubushi, Tokiwazu, Tomimoto-bushi,
Kiyomoto, Shinnai, miya, field, section, sonohachibushi, 8, existence, alone, elementary, joruri, other, doll, play, Ningyo Joruri, Bunraku, music,
dance, accompaniment, school, every, form, see below, unique, theater, important, cultural property, 1965, 4, 20, day, ])., acting, directing,style, performance, kabuki, 2005, UNESCO, masterpiece, declaration, 2009, intangible, culture, heritage, representative, list, table, description,noh, tradition, entertainment, one, field, Edo, Sarugaku, Kyogen, Nogaku, generic term, of, Meiji Restoration, rear, modern, coined word, word,
clarity, regulations, Japanese literature, folklore, people, mythology, study, region, in a broad sense, tradition, talk, narrative, general, old tale,folktales, synonymous, use, narrow meaning, meaning, narrative, explanation, Germany, fairy tale, marchen, fairy tale, fairy, tale, fairy tale,stith thompson, english, category, yo, -, Bunji, first year, 1185, /, ken, hisashi, 1192, history, classification, one, nobu, calendar, 13, 794, Kanmu,
Emperor, fu, capital, 390, year, Kyoto, Heiankyo, Kamakura, Shogunate, established, politics, only, center, generally, terminal stage, sprouting,possible, transient, understanding, recent years, manor, public, ryo, system, established, cloister rule, period, 1100, opinion, influential, school,
education, this, composition, textbook, Ritsuryo system, dynasty, nation, system, migration, midterm, 900, around, later, origin, opinion, ancient,
middle ages, which, classification, siscussion, neutral, concept, main, literature, history, world, second hand, word, tendai sect, ishu, , , tiantai,
origin, Mahayana, religious, one, king, Mysterious method, Lotus flower, sutra, Hokkekyo, root, Buddhist scriptures, for, ],, hokke sect, ten,dai, syu, name, real, target, founder, satoshi, peaceful, Tiandai Mountain, origin, tendai, theology, irikara, saicho, Dengyo Daishi, Heian, age,
initial, 9, century, many, Buddhism, mission, here, deployment, today, China, Korea, Vietnam, believers, ]., Hidaka, river, folds, chubu,
mainstream, extension, Kumano River, Kinokawa, during , 3, ~th, difference, longest, No. 1 in Japan, 2008, year, 10, month, current, basin,
upstream, department, Yoshino, county, Totsukawa, village, part, inland, Nara, definition, up, two, class, water system, matter, [, 1, ] [,annotation, 2, ], river, law, within the prefecture, section, specify, management, rare, Kiyohime, legend, stage, well known, waka, english, ::,wakayama, prefecture, kinki, rural, prefectural office, location, Wakayama, city, Japan, maximum, kii, peninsula, southwest, ~ side, position,
prefecture, southern, scale, mountains,]
Fig. 4. Nouns for the vector components of Kiyohime
紀州 僧 少女 激怒 変化 鐘 安珍 こと 内容 蛇 英 snake ][ |2| ]） 爬虫 綱 有 ヘビ 亜 Serpentes 分類 爬虫類 総称 |3| トカゲ 類縁 関係 共 鱗
目 構成 |4| 体 四肢 退化 の 特徴 ]。 同様 形 動物 他 群 存在 せつ 英語 legend ドイツ 語 Legende 人物 自然 現象 等 日常 茶飯事 もの 異常 体験 ]、 形式 上 事実 [ |1| ] 説話 一種 和歌山 県 日高 郡 日高川 町 鐘巻 天台宗 寺院 西国 十 三 箇所 |5| 番 札所 道成寺 創建 髪長
宮子 姫 伝記 能 歌舞伎 浄瑠璃 演目 伝説 平安 時代 中期 編纂 大日 本国 法華 験 記 話 拝観 際 縁起 堂 珍 清姫 絵巻物 絵 説法 紀伊
きい くに 日本 地方 行政 区分 令 制 国 一つ 南海 道[Kishu, monk, girl, fury, change, bell, Anchin, matter, contents, snake, English, snake, ][, 2, ]), reptiles, tsuna, yes, snake, sub, serpents, classification, reptiles, generic term, 3, lizards, relationship, relationship, both, scale, eye,composition, 4, body, limb, degenerate, of, feature, ]., similarly, shape, animal, other, group, existence, theory, english, legend, Germany, word,
legend, person, nature, phenomenon, etc., every day, tea ceremony, thing, abnormal, experience, ],, format, up, fact, [, 1, ], narrative, kind,
Wakayama, prefecture, Hidaka, county, Hidaka River, town, Kanemaki, Tendai sect, temple, saigoku, ten, three, part, 5, turn, fudasho, Dojoji
Temple, founded, hair length, miyako, princess, biography, Noh, kabuki, Joruri, performance, legend, Heian, age, midterm, compilation,
dainichi, home country, hoke, trial, record, talk, visit, edge, Engi, hall, rare, Kiyohime, picture scroll, picture, preaching, Kii, Kii, Kuni, Japan,
rural, administration, classification, ordinance, system, country, one, Nankai, road]Fig. 5. Nouns for the vector components of Anchinnouns that satisfy 𝑞𝑞 ∈ 𝑆𝑆𝑖𝑖 in the nouns q regarding stage
performance keywords, as shown in

𝑆𝑆𝐾𝐾𝐾𝐾𝐾𝐾𝐾𝐾ℎ𝑖𝑖𝑖𝑖𝑖𝑖 = {𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻𝐻, … , 𝐺𝐺𝐺𝐺𝐺𝐺𝐺𝐺ō, … ,𝑣𝑣𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅𝑅ℎ𝑖𝑖 = (0, … , 2, … , 0)

𝑤𝑤 = {𝑏𝑏1 , 𝑏𝑏2 , … , 𝑏𝑏𝑖𝑖 , … , 𝑏𝑏𝑛𝑛 }𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆ℎ𝑖𝑖}

W is a set of vector of stage performance keywords andcalculated for each vector 𝑣𝑣𝑖𝑖 . 𝑊𝑊𝑖𝑖 corresponded to 𝑣𝑣𝑖𝑖 is

The from 𝑤𝑤1 to 𝑤𝑤31 . The vector’s component 𝑏𝑏𝑗𝑗 is thetotal of the nouns 𝑞𝑞𝑗𝑗 (the same name as 𝑝𝑝𝑗𝑗 ) that areincluded in stage performance keywords. For instance,
the vector of “Ranbyōshi,” one of the stage performance
keywords is as follows.

𝑊𝑊𝑖𝑖 = �𝑤𝑤𝑖𝑖,1 , 𝑤𝑤𝑖𝑖,2 , … , 𝑤𝑤𝑖𝑖,𝑛𝑛 �7ちか つう ら 東牟婁 郡 しん 熊野川 河口 人口 二 経済 産業 古道 中辺路 辺 路 ルート 分岐 点 口 |1000| km |2| 面積 順位 |20| 位 総称 名
前 通り 仏教 要素 全国 |3| 千 社 神社 本社 権現 参照 こと |2004| 年 月 ユネスコ 世界 遺産 霊場 参詣 資産 登録 くま 南端 大概 一致 三山
田辺 本宮 新宮 速玉 那智勝浦 町 那智 大社 信仰 地 ょうこ こ 古語 昔 意味 前期 古代 中世 上古 中古 近古 三 分 歴史 文献 記録 最初 くに 一つ 南海 道 せい 律令制 設置 りつ りょう 飛鳥 明治 初期 基本 単位 現在 地理 的 機能 都道府県 行政 機関 庁 ちょう 国衙 中心 都市
域 国府 府中 三重 Mie 中部 [ |1| ] 津 江戸 時代 伊勢参り お蔭 名 伊勢神宮 発展 令 制 全域 当初 熊野 一部 |4| 構成 律令 数 |7| 国 包括
兵庫 北勢 伊賀 中 勢 南勢 伊勢 志摩 東 紀州 |5| 地域 区分 わか 英 : Wakayama Prefecture 近畿 地方 県庁 所在地 和歌山 市 南西 側 位
置 県 南部 規模 山地 きい はん 本州 中央 部 南側 太平洋 日本 最大 名称 自然 豊か 木 紀伊 半島 紀[chika, tsu, ra, Higashimuro, county,
core, Kumano River, estuary, population, two, economy, industry, Kodo, Nakahenro, edge, road, root, branch, point, mouth, 1000, km, 2, area,
ranking, 20, rank, generic term, name, street, Buddhism, element, whole country, 3, thousand, company, shrine, main office, Gongen, reference,
matter, 2004, year, month, UNESCO, world, heritage, sacred place, visit, assets, register, bear, southern end, mostly, match, Miyama, Tanabe,
Motomiya, Shingu, hayatama, Nakatsuura, town, Nachi, Taisha, faith, ground, yoko, child, Kogo, long ago, meaning, prophase, ancient, middle
ages, Joko, Chuko, Kinko, three, minutes, history, literature, record, first time, kuni, one, Nankai, road, because of, Ritsuryo system, installation,rate, ryo, Asuka, Meiji, initial, basic, unit, current, geography, target, function, prefectures, administration, institution, agency, cho, national,
center, city, area, Kokufu, Fuchu, Mie, Mie, Chubu, [, 1, ], Tsu, Edo, age, Visit Ise, thanks, name, Ise Jingu, development, ordinance, system,
whole area, initially, Kumano, part, four, composition, Ritsuryo, number, 7, country, comprehensive, Hyogo, Hokusei, Iga, chu, force, Nansei,
Ise, Shima, east, Kishu, 5, area, classification, waka, English, ::, Wakayama, prefecture, Kinki, rural, prefectural office, location, Wakayama,
city, southwest, side, position, prefecture, southern, scale, mountains, Kii, stamp, Honshu, central, department, south side, Pacific Ocean, Japan,
maximum, name, nature, rich, wood, Kii, peninsula, ki]
Fig. 6. Nouns for the vector components of Kumamo
日高川 鐘巻 新 第 5 番 札所 創建 髪長 姫 伝記 演目 安珍 編纂 話 大日 本国 説話 集 通称 著者 比叡山 鎮源 伝 不詳 下 巻 ]。『 本朝 験ょうほっけげんき ]、『 日本国 法華 経験 記 ][ ]（ ほん きょう げんき ）[ 文治 元年 |1185| 建 久 |1192| 歴史 区分 延 暦 |13| |794| 桓武 府 都|390| 年間 京都 平安京 鎌倉 幕府 政治 上 唯一 中心 通常 末期 萌芽 可能 過渡 理解 近年 荘園 公 領 制 確立 院政 期 |1100| 見解 有力
学校 教育 これ 構成 教科書 律令制 王朝 国家 体制 移行 中期 |900| 頃 発端 意見 古代 中世 どちら 分類 議論 中立 概念 主 文学 史 世
界 中古 あん ちん せつ 紀州 伝説 思い 僧 少女 清姫 激怒 あまり 蛇 変化 道成寺 鐘 安 珍 内容 ょうるり 三味線 楽器 ししょう 劇場 詞章 歌
中 セリフ 仕草 描写 語り口 叙事 さ 系統 音曲 語り物 以降 個々 太夫 口演 その後 成立 義太夫 ] 河東 一中節 常磐津 富本節 清元 新内宮 薗 節 薗八節 存在 単独 素 浄瑠璃 ほか 人形 劇 人形浄瑠璃 文楽 音楽 舞踊 伴奏 流派 ごと 形態 後述 固有 演劇 重要 文化財 |1965||4| |20| 指定 ]）。 演技 演出 様式 上演 歌舞伎 |2005| ユネスコ 傑作 宣言 |2009| 無形 文化 遺産 代表 一覧 表 記載 能 伝統 芸能 分野 江戸
猿楽 狂言 能楽 総称 の 明治維新 後 藤原 宮子 ふじ わら みやこ - 天平 勝 宝 |19| |754| |8| |11| 文武 天皇 夫人 藤原不比等 長女 母 賀茂
比 売 異母 妹 聖武天皇 光明皇后 義理 親子 関係 生前 女性 一 位 叙 人物 皇后 皇太后 史上 初 太皇太后 箇所 しん さい ゅうさんかしょ
一つ 相模 よう 写し 霊場 とき 現在 観音 奉安 うち 西国 十 三 所 もの |1932| 昭和 |7| 制定 下記 巡礼 ルート 一般 寺院 じい 梵 巴 ????? vih ?
ra 仏像 出家 者 起居 修行 施設 寺 仏閣 かく 本来 用語 キリスト 教 神道 宗教 教会 神殿 語 稀 神社 天台宗 いしゅう Tiantai 発祥 大乗 宗
派 ひとつ 王 妙法 蓮華 経 法華経 根本 仏典 ため ]、 法華宗 てん だい しゅう 名称 実質 的 開祖 智 顗 天台山 こと 由来 |3| 天台 教学 入唐 最澄 伝教大師 平安 時代 初期 世紀 多く 仏教 宗旨 ここ 展開 今日 中国 朝鮮 ベトナム 信徒 [ ]。 ん 国 郡 |47| |,| |944| 面積 |655| |39| 密
度 |73| |.| 人 / km |2| |2021| 年 |9| 月 |1| 日 推計 人口 以下 |6| 美浜 はま 由良 印南 なべ 町 みな 日高 川町 ひだ ちょう わか 英 : Wakayama
Prefecture 近畿 地方 県庁 所在地 和歌山 市 日本 最大 紀伊 半島 南西 側 位置 県 南部 規模 山地[Hidaka River, Kanemaki, new, no., 5,
turn, Fudasho, founded, hair length, princess, biography, performance, Anchin, compilation, talk, dainichi, home country, narrative, collection,
known as, author, Mt. Hiei, Chingen, den, unknown, under, roll, ]. ", Honcho, trial, yohokkegenki, ], ", Japan, Hoke, experience, record, ] [, ] (,book, today, fine, ) [, Bunji, first year, 1185, ken, hisashi, 1192, history, classification, nobu, calendar, 13, 794, Kanmu, fu, capital, 390, year,
Kyoto, Heiankyo, Kamakura, shogunate, politics, up, only, center, generally, terminal stage, sprouting, possible, transient, understanding, recent
years, manor, public, ryo, system, established, cloister rule, period, 1100, opinion, influential, school, education, this, composition, textbook,Ritsuryo system, dynasty, nation, system, migration, mid-term, 900, around, origin, opinion, ancient, middle ages, which, classification,
discussion, neutral, concept, main, literature, history, world, second hand, an, chin, setsu, kishu, legend, thought, monk, girl, Kiyohime, loose
the temper, amari, snake, change, Dojoji Temple, bell, an, chin, contents, youruri, Shamisen, instrument, Sisho, theatre, lyrics, song, chu,dialogue, gesture, depiction, narrative, storytelling, difference, system, music, narrative, or later, individual, tayu, oral, afterwards, established,
Gidayu, ], Kato, Ichichubushi, Tokiwazu, Tomimoto-bushi, Kiyomoto, shinnai, miya, son, section, Sonohachibushi, existence, alone,elementary, Joruri, other, doll, play, Ningyo Joruri, Bunraku, music, dance, accompaniment, school, every, form, see below, unique, theater,
important, cultural property, 1965, four, 20, specify, ])., acting, directing, style, performance, kabuki, 2005, UNESCO, masterpiece, declaration,
2009, intangible, culture, heritage, representative, list, table, description, noh, tradition, entertainment, field, Edo, Sarugaku, Kyogen, Nogaku,
generic term, of, Meiji Restoration, rear, Fujiwara, Miyako, fuji, wara, miyako, ---, Tenpyo, win, treasure, 19, 754, 8, 11, Bunbu, Emperor,Mrs., Fujiwara no Fuhito, eldest daughter, mother, Kamo, ratio, sell, half-mother, sister, Emperor Shomu, Empress Komyō, in-law, parent andchild, relationship, during life, woman, one, rank, jo, person, empress, queen mother, history, first time, empress dowager, part, shin, sai,yusankasyo, one, sagami, yo, copy, sacred place, when, current, Kannon, Houan, home, Saigoku, ten, three, place, mono, 1932, Showa, 7,
enactment, the below described, pilgrimage, root, general, temple, Jii, Bon, tomoe, ?????, vih, ??, ra, Buddha statue, Buddhist priest, person,
relocation, training, institution, temple, temples, kaku, originally, the term, Christ, teaching, shinto, religion, church, temple, word, rare, shrine,
Tendai sect, ishu, tiantai, origin, mahayana, religious, one, king, Myoho, lotus flower, sutra, Hokkekyo, root, Buddhist scriptures, for, ],, Hokke
sect, ten, dai, syu, name, real, target, founder, satoshi, peaceful, Tiantai Mountain, matter, origin, 3, tendai, theology, Irikara, Saicho, Dengyo
Daishi, peace, age, initial, century, many, Buddhism, mission, koko, deployment, today, China, Korea, Vietnam, believers, [, ]., hmm, country,
county, 47, ,, 944, area, 655, 39, density, 73, .., man, /, km, 2, 2021, year, 9, month, 1, day, estimate, population, less than, 6, mihama, hama,
Yura, Inami, nabe, town, mina, Hidaka, kawamachi, hida, cho, waka, English, :, Wakayama, prefecture, Kinki, rural, prefectural office, location,
Wakayama, city, Japan, maximum, Kii, peninsula, southwest, ide, position, prefecture, southern, scale, mountains,]
Fig. 7. Nouns for the vector components of Dōjōji

Next, for the vector 𝑣𝑣𝑖𝑖 of stage performance keywords,
the cos values the angle between vectors 𝑤𝑤𝑖𝑖,𝑗𝑗 of stage

8

performance keywords forming 𝑊𝑊𝑖𝑖 and 𝑣𝑣𝑖𝑖 are calculated.
The results are shown in Table 1. This result shows thecos similarity between the explanation keywords andstage performance keywords. The values of cosine in thisfigure are of the stage performance keywords in eachexplanation keyword.

Table 1. Cosine similarity of two vectors in “Kiyohime”
Explanation
Value of cos
keyword
雲 (cloud,0.36), 恨み (ill will,0.33), 諸行無常
Kiyohime(all things must pass,0.33), 三味線 (Japanese
guitar,0.29), 能(Nō,0.28), 道 成 寺(Dōjōji,0.23), 白 拍 子 (shirabōshi,0.23), 月(moon,0.22), 小 鼓 (small drum,0.22), 鐘(bell,0.19), 桜の木 (cherry tree,0.19), 歌い手(singer,0.19), 五障 (five problem,0.19), 真如(shinyo,0.18), 己 (itself,0.18), 時 (time,0.17),
赤 (red,0.17), 乱 拍 子 (ranbōshi,0.17), 娘(girl,0.16), 楽 (fan,0.16), 笛 (flute,0.15), 舞台(stage,0.14), 初夜 (first night,0.13), 白拍子花子
(Shirabōshi Hanako,0.12), 太 鼓(drum,0.07), 人(human,0.05), 中 央(center,0.05), 足 (foot,0.04), 法 (law,0.03), 中啓 (chūkei,0), 是 (correct,0)
道成寺 (Dōjōji,0.54), 雲 (cloud,0.46), 恨み
Anchin(ill will,0.44), 諸 行 無 常 (all things must
pass,0.41), 三味線 (Japanese guitar,0.34), 鐘(bell,0.33), 桜 の 木 (cherry tree,0.32), 月(moon,0.32), 時(time,0.26), 乱 拍 子(ranbōshi,0.22), 初 夜 (first night,0.2), 能(Nō,0.16), 赤 (red,0.15), 楽 (fan,0.14), 歌い手(singer,0.14), 舞 台 (stage,0.14), 五 障 (fiveproblem,0.13), 真 如(shinyo,0.13), 笛(flute,0.13), 小 鼓 (small drum,0.11), 娘(girl,0.11), 白 拍 子 (shirabōshi,0.11), 太 鼓(drum,0.08), 白 拍 子 花 子 (Shirabōshi
Hanako,0.08), 中 啓 (chūkei,0.06), 中 央(center,0.06),
己(itself,0.06),
人(human,0.06), 足 (foot,0), 是 (correct,0), 法(law,0)
桜の木 (cherry tree,0.25), 己 (itself,0.2), 能Kumano(Nō,0.17), 三味線 (Japanese guitar,0.16), 白
拍子 (shirabōshi,0.14), 道成寺 (Dōjōji,0.11),
中 央 (center,0.09), 赤 (red,0.08), 雲(cloud,0.08), 小 鼓 (small drum,0.08), 舞 台(stage,0.08), 時 (time,0.07), 月 (moon,0.06),
五障 (five problem,0.05), 諸行無常 (all things
must pass,0.05), 足 (foot,0.05), 笛 (flute,0.04),
太 鼓 (drum,0.04), 楽 (fan,0.04), 乱 拍 子(ranbōshi,0.04), 真如 (shinyo,0.04), 恨み (illwill,0.03), 鐘 (bell,0.02), 歌い手 (singer,0.02),
娘 (girl,0.02), 初 夜 (first night,0.02), 中啓(chūkei,0), 白 拍 子 花 子 (Shirabōshi
Hanako,0), 是 (correct,0), 法 (law,0), 人(human,0),
道成寺 (Dōjōji,0.42), 雲 (cloud,0.38), 諸行無Dōjōji常 (all things must pass,0.38), 恨 み (illwill,0.33), 三味線 (Japanese guitar,0.27), 能(Nō,0.25), 五 障 (five problem,0.23), 月(moon,0.23), 舞台 (stage,0.23), 時 (time,0.21),
白拍子 (shirabōshi,0.21), 鐘 (bell,0.21), 楽(fan,0.19), 小 鼓 (small drum,0.19), 真 如(shinyo,0.18), 初夜 (first night,0.18), 桜の木(cherry tree,0.18), 乱拍子 (ranbōshi,0.18), 歌
い 手 (singer,0.17), 赤 (red,0.16), 己(itself,0.14), 笛 (flute,0.11), 白 拍 子 花 子(Shirabōshi Hanako,0.1), 娘 (girl,0.09), 人(human,0.06), 太 鼓 (drum,0.05), 中 央(center,0.04), 足 (foot,0.02), 中啓 (chūkei,0),
是 (correct,0), 法 (law,0)Further, Table 2 illustrates the result that, for eachexplanation keyword, the ranking of the lines according
to the order of the values of cosine similarity. For
example, in Kiyohime, the ninth line is selected first. In
particular, the mechanism selects a line that includes one
or more nouns with the highest cosine similarity. If there
are two or more candidates, the mechanism selects a line
by checking the height of the cosine similarity of theother nouns in order.
Table 2. Ranking for explanation keyword
RankingKiyohime

AnchinKumanoDōjōji

1st

S9

S9

S6

S9

2nd

S3

S3

S9

S3

3rd

S1

S1

S2

S1

4th

S 10

S2

S4

S 10

5th

S2

S 10

S 10

S2

6th

S4

S4

S3

S4

7th

S6

S7

S1

S7

8th

S7

S6

S7

S6

9th

S8

S8

S5

S8

10th

S5

S5

S8

S5

3.3.3. Expression Mechanism
This mechanism controls the entire cycle of the proposedsystem and actually represents explanation texts, unchiku
texts, and animations as moving illustrations for theunchiku texts for four types of keywords in an inputtedstory. The representation of explanation and unchiku
were conducted according to the abovementioned
methods in the following procedure.

91.

The expression mechanism represents an
explanation text for each explanation keyword in the
inputted story.

2.

Based on the explanation keyword, the expression
mechanism represents an unchiku text. In particular,based on Table 2, the mechanism selects a line andrepresents by simple natural language sentences. If
the line has been selected, it searches for a line fromthe other candidates.
3.

An animation was inserted at the end of the unchiku.
Additionally, the outputted Japanese was translated into
English in this figure. The part represented by red means
the explanation of the legend of Anchin and Kiyohimethat the word of “Kiyohime” is extracted. The blue text
represents the unchiku that explains the stage
performance structure of a part of Chūkei no Mai in detailaccording to the above unchiku method in this prototype.

Next, an animation corresponded to the generated
unchiku text is represented. In particular, all the lines
in Table 2 correspond to the codes associated withanimation. Each code is a set of commands for the
animation representation. As stated in Section 2.2.2,
all codes and animations of the scene of Chūkei no
Mai in Kyōganoko Musume Dōjōji. is prepared. The
mechanism executes a selected code to represent the
animation as a moving illustration for the unchiku
text.

There are several drawbacks with the current prototype
version of the system.
First, this study differentiates unchiku from explanation
and, we acquired the knowledge of explanation from
Wikipedia and that of unchiku based on the in-depth
analysis of a kabuki work and the related story as theobjects. This discussion could be overgeneralized
because unchiku based on dictionaries and encyclopedias
like Wikipedia may be possible. However, in this study,
we simply divide the unchiku and explanation generation
prior to making the first system framework of unchiku
generation. The knowledge types and sources of unchiku
could be taken into consideration in the future. The above
problem is related to the direction of research on
analyzing and measuring kabuki knowledge using the
proposed system.

Figure 5 expresses the explanation, unchiku, andanimation for an event in the inputted story.
3.4. The Result of the Proposed System
In this generated result, as depicted in Figure 8, thesystem inserted an explanation about Kiyohime, and theninserted the unchiku about Chūkei no Mai. In the textual
representation of Figure 8, events, explanation, andunchiku are indicated in black, red, and blue, respectively.

Fig. 8. Unchiku generation with moving illustration.

10

Second, the unchiku representation in the system simply
outputs the content to be explained in detail. For example,
the reader who does not know Kyōganoko Musume
Dōjōji cannot understand information such as the content
of Chūkei no Mai, the time that it is represented in the
Kyōganoko Musume Dōjōji, etc.. Therefore, it isnecessary to devise a solution to express the contents ofunchiku, rather than simply selecting and displaying it.

4. A. Fujii, M. Watanabe, and T. Ishikawa, “Automatic
Generation of Term Descriptions by Web-based MultiDocument Summarization,” IPSJ SIG Technical Reports,
2004(1), 31-38, 2004.
5. M-A. Clinciu, and H. Hastie, “A survey of explainable AI
terminology,” Proceedings of the 1st Workshop on
Interactive Natural Language Technology for Explainable
Artificial Intelligence (NL4XAI 2019), 8-13, 2019.
6. J. Ono, K. Fukuda, M. Kawai, T. Ogata. Considering
unchiku generation mechanism through system
implementation. Proceedings of the 37th Annual Meetingof Japanese Cognitive Science Society, Tokyo (Japan),
Sep. 2020, pp. 776–786.
7. J. Ono, T. Ogata. Unchiku generation using a narrative
explanation mechanism. In: E. Ishita, N. L. S Pang, L.
Zhou editors. Digital Libraries at Times of Massive
Societal Transition (LNCS 12504). Springer Nature,
Switzerland, 2020, pp. 240–247.
8. T. Ogata. Toward an Integrated Approach to Narrative
Generation: Emerging Research and Opportunities, IGI
Global, (PA), 2020.
9. T. Ogata. Internal and External Narrative Generation
Based on Post-Narratology: Emerging Research andOpportunities, IGI Global, (PA), 2020.
10. T. Ogata. Kabuki ni mukete (1): Shiisei to henshūsei nomonogatari kara tajūsei to jitsuzon no monogatari he[Toward kabuki (1): From narratives of arbitrariness andediting to narratives of multiplicity and real existence]. In:
T. Ogata, Y. Kawamura, A. Kanai. Jōhō monogatariron:Jinkōchinō, ninchi, shakai katei to monogatari seisei[Informational
narratology:
Artificial
intelligence/cognition/social process and narrative
generation]. Hakutō Shobō, Tokyo (Japan), 2018, pp. 187–
208.
11. T., Ogata. Kabuki ni mukete (2): Tajū monogatari kōzō noshosō [Toward kabuki (2): Aspects of multiple narrative
structures]. In: T. Ogata, Y. Kawamura, A. Kanai. Jōhō
monogatariron, Jinkōchinō, ninchi, shakai katei tomonogatari seisei [Informational narratology: Artificial
intelligence/cognition/social process and narrative
generation]. Hakutō Shobō, Tokyo (Japan), 2018, pp. 209–
244.
12. T. Ogata. Kabuki as multiple narrative structures andnarrative generation. In: T. Ogata, T. Akimoto, editors.
Post-Narratology Through Computational and Cognitive
Approaches. IGI Global, Hershey (PA), 2019, pp. 192–
275.
13. T. Ogata. Kabuki as a synthetic narrative: Synthesis andexpansion. In: T. Ogata. Internal and External Narrative
Generation Based on Post-narratology: Emerging
Research and Opportunities. IGI Global, Hershey (PA),2019, pp. 315-403.
14. M. Kawai, T. Ogata. An analysis of Kyōganoko Musume
Dōjōji for the generation of the staging structures of kabuki

Third, we generated the unchiku of Kyōganoko Musume
Dōjōji as an association from the legend of Dōjōji. A
mechanism that forcibly links to the unchiku of
Kyōganoko Musume Dōjōji, even from completely
unrelated stories, must be developed.
Finally, Kawai et al. [22] proposed a method to determine
the type and number of explanations about a certain topic
according to the amount of knowledge of the user that isrepresented in the user model. Although we are notdealing with a user model here, the control enables theeffective insertion of knowledge.
4.

Conclusion

We presented an unchiku generation prototype with amoving illustration system using the legend of Dōjōji andKyōganoko Musume Dōjōji as our test model. The systeminserts explanations and unchiku based on a word into astory and represents an animation to explain the unchiku.
Although we could use the prototype to demonstrate theconcept of multiple explanations based on language andimage, the system is only a primitive framework. Further
studies will consider narrative explanations and unchiku
in detail to develop a more universal and advanced
technique for explanation, unchiku, and animation.
Acknowledgment
This study was supported by JSPS KAKENHI 18K18509
and JSPS KAKENHI 21K17870.
References
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T. Watanabe. Musume Dōjōji. Shinshindō, Tokyo, 1986.
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Dr. Takashi Ogata

Miku Kawai studied at the Faculty ofSoftware and Information Science,
Iwate Prefectural University as anundergraduate from 2018 to 2020. She
is currently an undergraduate at theFaculty of Liberal Arts, The Open
University of Japan, since 2021.

Takashi Ogata received his Bachelor
of Social Science at Waseda
University in 1983, his M.S. at
Tsukuba University in 1992, and his
Ph.D. at the University of Tokyo in
1995. He has industrial experiencesince 1983 at software development
companies. He has been an associate
professor at the Faculty ofEngineering at the Yamanashi
University since 1997 and is currently a professor of theFaculty of Software and Information Science at the Iwate
Prefectural University since 2005.

Authors Introduction
Dr. Jumpei Ono

Jumepi Ono received his Bachelor’s
Degree at the Faculty School ofSoftware and Information Sciencefrom the Iwate Prefectural University
in 2010. He received his M.S. degreeand his Ph.D. from the Graduate
School of Software and Information
Science from the Iwate Prefectural
University in 2014 and 2018. Heworked as an information and communication technology
instructor at the Vocational School of Digital Arts Sendai
from 2018 to 2020. He is currently an Assistant Professorof the faculty of Software and Information Technology at
Aomori University.

12