nntsuzu/KFTT huggingface dataset:
English: Fumai MATSUDAIRA (1751 - 1818), who was the seventh Lord of Matsue Domain, learned the Icho-ryu first and then received instruction in the Ikei-ha from Kotaku ISA the third and developed his own tea ceremony style.
Japanese: 松平不昧（1751年～1818年）は松江藩の7代藩主で、始めは一尾流を学び、次いで3代伊佐幸琢から怡渓派の伝授を受けて、独特の茶風に達した。
English: This style was handed down in the Arisawa family, chief retainers of the Matsue Domain, is called the Fumai-ryu School, while the version passed on in the sub-domain of Mori by Choko FUJII's family, who were tea masters of Matsue Domain, is called the Sekishu-ryu Fumai-ha branch.
Japanese: これが松江藩家老の有沢家で受け継がれたものを不昧流、松江藩茶堂の藤井長古家で受け継がれ、支藩の母里藩につたわった茶系を石州流不昧派と称している。
English: Naosuke II (1815 - 1860) was the 15th Lord of Hikone Domain and served as Tairo (chief minister) to the Tokugawa Shogunate.
Japanese: 井伊直弼（1815年～1860年）は彦根藩の15代藩主で大老を務めた人である。
English: A youinger son with an income of 300 bales, he was not expected to become lord and it is believed this is when he started the Sekishu-ryu.
Japanese: 元来は300俵扶持の部屋住みで、この頃からおそらく石州流の茶湯を学んでいたと考えられる。
English: He asked detailed questions to Soen KATAGIRI and documents show he was considered a first class tea master.
Japanese: 片桐宗猿に事細かな質問をしており、その他の著書などから当代一流の茶人であったと考えられている。
English: Sakon UTSUGI, who was Naosuke's retainer, started teaching the tea ceremony after the Meiji Restoration and his restored style is called the Ichie-ryu School.
Japanese: 家臣に宇津木左近があり、維新後に茶道教授をはじめており、この系譜が復元されて一会流と称している。
English: Kamigata Kabuki is the collective name for forms, technique, direction, performing method, program, theatrical world and other aspects of Kabuki that have been developed centered on Osaka and Kyoto.
Japanese: 主として大阪・京都を中心に発展してきた歌舞伎の型、技法、演出、演技法、演目、劇壇などを総称して言う。
English: Since the Meiji period in particular, it has been used as an expression to mean daikabuki (Kabuki performance or troupe) in the Kansai region.
Japanese: 特に明治以降、関西の大歌舞伎（の一座・劇壇）を指す言葉として用いられた。
English: After World War II in particular, the number of kabuki actors in Kansai gradually decreased, and it became impossible to organize multiple troupes in this region.
Japanese: ことに、戦後、関西における歌舞伎役者の数が漸減しはじめると、当地で複数の座を組むことが不可能になった。
English: Inevitably (except when making guest appearance in Tokyo), leading actors were obliged to build a troupe together.
Japanese: 必然的に（東京へ客演する場合を別にすれば）立物級の役者は一座することを余儀なくされた。
English: This art form is called Kansai Kabuki in contrast to the Kikugoro troupe, Kichiemon troupe and Ennosuke troupe.
Japanese: これを菊五郎劇団・吉右衛門劇団・猿之助劇団と対比して関西歌舞伎と呼ぶ。
English: Together with Edo Kabuki, Kansai Kabuki is one of the two main schools of Kabuki, and in contrast to Edo Kabuki, which created valiant performances called aragoto (Kabuki play featuring exaggerated posture, makeup and costume), formed gentle and tender performances called wagoto (the production style of a love scene).
Japanese: 江戸歌舞伎とともに歌舞伎の両輪をなし、江戸歌舞伎が荒事と言う勇壮な芸を作り出したのに対し、和事とよばれる柔らか味のある芸を形成している。
English: Around the 18th century Kamigata Kabuki was more advanced, as evident from the fact that stage setting mechanisms such as mawari-butai (revolving stage) and seriage (stage elevator) were invented in Kamigata.
Japanese: 廻り舞台やセリ上げなどの舞台機構も上方で生まれるなど18世紀ころは上方歌舞伎の方が進んでいた。
English: Many scripts called maruhonmono (Kabuki dramas of joruri (puppet-play) origin), which are ningyo joruri (traditional Japanese puppet theater) arranged for Kabuki, and other scripts such as Goemon ISHIKAWA that deal with family feuds in which villains seek to take over the entire country, play important roles.
Japanese: 丸本物とよばれる人形浄瑠璃の歌舞伎化したものや、石川五右衛門など天下を狙う悪人が大活躍するお家騒動物などの脚本が多い。
English: After Gohei NAMIKI, who lived in the latter half of the 19th century, no excellent script writers comparable to Nanboku TSURUYA and Mokuami KAWATAKE of Edo Kabuki appeared.
Japanese: 19世紀後半期の並木五瓶以降は、江戸歌舞伎の鶴屋南北や河竹黙阿弥のような優れた脚本家は出なかった。
English: Consequently Kabuki kyogen plays performed today do not include many works that originated in Kamigata, except maruhonmono.
Japanese: ために今日上演される歌舞伎狂言には、丸本物を除いて、上方系作品が少ない。
English: Only a few remain, such as "Kari no Tayori (Letter)" (by Ryugyoku KANAZAWA), "Iseondo Koi no Netaba (literally, Ise Dances and Love's Dull Blade)" (by Tokuzo CHIKAMATSU) and "Katakiuchi Tengajayamura (The Revenge at Tengajaya)" (by Kamesuke NAGAWA).
Japanese: わずかに『雁のたより』（金沢竜玉作）・『伊勢音頭恋寝刃』（近松徳三作）『敵討天下茶屋聚』（奈川亀輔）あたりが残されているくらいである。
English: After this period, Kamigata Kabuki drifted from the center of the Kabuki world, coinciding with the development of Edo Kabuki in conjunction with the dissemination of culture from Kamigata (Kyoto and Osaka area) to Edo.
Japanese: 以後上方歌舞伎は歌舞伎界の中心から外れてゆくが、丁度上方から江戸への文化伝播にともない、江戸歌舞伎が発展していくのと符合する。
English: This is because in contrast to Edo, which emphasized beauty in the appearance of Kanpei, Kamigata has a logic that Kanpei remains as a hunter and returns to a samurai just before his death.
Japanese: これは、江戸が勘平の見た目の美しさを強調するに対し、上方は勘平はあくまで猟師としてであり、死に臨んで武士に戻るという理屈である。
English: Kamigata: After being questioned closely by SENZAKI and HARA, Kanpei commits seppuku while both are checking Yoichibei's wound.
Japanese: 上方：千崎と原に問い詰められたあと、二人が与市兵衛の傷跡を確認しているときに切腹。
English: Kamigata makes the most of a wording of joruri, "Isuka no hashi no kuichigai (Nothing goes right as it should)," and emphasizes the nature of the tragedy that he dies immediately before his innocence is proven.
Japanese: 上方は浄瑠璃の文言「いすかの嘴のくいちがい」を活かして、無罪が晴れる直前に死ぬという悲劇性を強調する。
English: The Edo-style ending attaches importance to stylization, while Kamigata maintains the logic that Kanpei showed courtesy as a samurai at the end.
Japanese: 江戸のは様式性を重視する幕切れであるが　上方は最後は武士として礼を尽くすという理屈である。
English: As seen above, the rational and logical aspects are conspicuous, and it is thought this has a certain relationship with characteristics of Osaka, where a merchant society had matured.
Japanese: このように、合理的、論理的な面が目立つが、これは町人社会が成熟していた大阪という土地の特色も関係が有ると思われる。
English: Another feature of Kamigata Kabuki is the use of highly individual staging, such as keren (eye-catching performances) and ad-libbing adopted in order to please an audience by various means.
Japanese: 観客をあの手この手で喜ばせるため、ケレンや、アドリブ、その他アクのつよい演出が行われたりするのも上方歌舞伎の特色である。
English: With respect to the entertainment factor, a similar tendency is seen in today's Yoshimoto Shin Kigeki (Yoshimoto New Comedy Troupe) and Kamigata Rakugo (traditional Japanese comic storytelling as performed in the Kyoto-Osaka region).
Japanese: エンターテイメント性については、今日の吉本新喜劇や上方落語などにも同様の傾向が見られる。
English: When "Megumi no kenka" (literally, fighting by "megumi" group) was performed in Osaka in the Taisho period, the curtain was closed for a scene in which tobi (firemen) and sumo wrestlers taunt each other.
Japanese: 大正期に『め組の喧嘩』が大阪で上演されたとき、鳶と力士の双方の訴えをすることで幕切れとなった。
English: On that occasion the audience complained, shouting "What, is it over? What is this junk?"
Japanese: そのとき｢ええっ。もう終いでっか。何じゃカスみたいなもんや。｣と観客から苦情が出た。
English: This is the reason Utaemon NAKAMURA III (sandaime) and Kodanji ICHIKAWA IV (yondaime) were not well accepted by certain spectators in Edo.
Japanese: 三代目中村歌右衛門(3代目)や四代目市川小團次(4代目)が江戸の一部の観客に受け入れられなかったのもこの点にあった。
English: Staging of Kamigata Kabuki declined after World War II, but in recent years has been reevaluated thanks to efforts by performers such as Ennosuke ICHIKAWA and Tojuro SAKATA.
Japanese: 上方歌舞伎の演出は戦後衰亡したが、近年、市川猿之助や坂田藤十郎らの努力で再評価されている。
English: In the Edo Period there was an active exchange between Kabuki in eastern and western Japan, and many of the Kamigata-style stagings were brought to Edo and used as a source of nourishment for Edo Kabuki.
Japanese: 江戸時代は東西の歌舞伎交流が盛んに行われ、上方風の演出が数多く江戸にもたらされ江戸歌舞伎の栄養源ともなった。
English: These included the use of gidayu called Takemoto, kerengei such as quick costume changes and realistic performance.
Japanese: 竹本と呼ばれる義太夫の使用、早変わりなどのケレン芸、リアルな演技などである。
English: Nanboku TSURUYA IV, Mokuami KAWATAKE and others added arrangements as the Edo style.
Japanese: これらは四代目鶴屋南北、河竹黙阿弥らにより江戸風のアレンジが加えられた。
English: Also, Kabuki actors of the east and west devoted themselves to brushing up their skills as good rivals, which improved performances on both sides.
Japanese: また、東西の歌舞伎俳優も良きライヴァルとして芸の研鑽に勤め双方のレベルアップにつながったのである。
English: In Kamigata, "form" is not given importance, and exerting one's originality and ingenuity is considered important with respect to performance.
Japanese: 上方では、『型』を重視せず、演じ方は自分自身で創意工夫することが大事とされた。
English: In Edo it was considered important to carry on the beauty of the style, but in Kamigata, a performer was criticized for lack of original effort if he performed as taught.
Japanese: 江戸では様式美の継承が重んじられ、教えられたとおりに演じないと非難されるが、上方では教えられたとおりに演じると工夫が足らないと非難された。
English: A good example is Ganjiro NAKAMURA I, who performed the same Kabuki play in a different way every day, and who scolded his son Ganjiro II (Senjaku I at that time) for performing "Kamiji" as he had learned from his father, saying, "Why you perform as you were taught? There is no ingenious thought of your own."
Japanese: 初代中村鴈治郎が同じ狂言を毎日違う演じ方をおこない、子息の二代目鴈治郎（当時は初代扇雀）が父の教えられたとおりに『紙治』を演じたとき「何で教わったままにするんや。お前の工夫はないやないか。」と叱った事などは、その好例である。
English: This is perhaps the reason the number of generations of Kamigata Kabuki actors is very small compared to that to Edo Kabuki.
Japanese: そのせいか、上方歌舞伎役者の代数も江戸のそれに比べると極めて少ない。
English: The reason is thought to be the difference between Edo, a city of samurai where "family" and formality were considered important and Osaka, a city of merchants where personal capability governed.
Japanese: これは、『家』と格式を重んじる武士の都の江戸と実力本位の町人の都大阪との違いが影響していると考えられる。
English: However, with respect to succession to a professional name, for example, factors such as family line and blood relationship are considered important.
Japanese: ただし、名跡の襲名などについてはやはり家系や血縁などが重んじられるところがある。
English: As an example in the Showa period, the circumstances surrounding succession to the professional name Raizo by Raizo ICHIKAWA VIII are well known.
Japanese: 昭和期になるが八代目市川雷蔵の雷蔵を襲名するまでに至る経緯などはよく知られるところである。
English: In the Genroku era (the latter half of 17th century), Tojuro SAKATA I (shodai) completed performances of wagoto in cooperation with Monzaemon CHIKAMATSU.
Japanese: 元禄期（17世紀後半）に初代坂田藤十郎(初代)が近松門左衛門と提携して和事の芸を完成させた。
English: "Yatsushi" in which a person of high rank disguised as a poorly dressed townsman meets a familiar harlot was a typical pattern.
Japanese: 貴人が粗末な町人姿で馴染みの遊女に逢うという『やつし』が御決まりのパターンであった。
English: In the same period, famous actors such as Sanemon ARASHI I (shodai), Ayame YOSHIZAWA I (shodai), Jinzaemon YAMATOYA and Tatsunosuke MIZUKI I took active parts.
Japanese: ほか、初代嵐三右衛門(初代)、初代芳沢あやめ(初代)、大和屋甚左衛門、初代水木辰之助などの名優が同時期に活躍した。
English: Kabuki theaters were centered on Minami-za in Shijogawara in Kyoto, and in Osaka many theaters were concentrated in Dotonbori, where playhouses such as Dainishi, Naka, Kado, Kadomaru, Wakadayu and Takeda stood side by side.
Japanese: 歌舞伎の劇場は京は四條河原の南座が中心で、大阪は道頓堀に集まり大西・中・角・角丸・若太夫・竹田の芝居小屋が軒を並べていた。
English: Among them were Naka and Kado, which were high-class oshibai (a licensed theater in the Edo period), while others were hamashibai (nakashibai, or small theaters in Dotonbori in the Edo period) where plays could be enjoyed with low admission charge.
Japanese: このうち中と角が格の高い大芝居で、他は廉価な値段で見られる浜芝居（中芝居）であった。
English: Minami-za still maintains the old traditions by carrying out kaomisekogyo (the season's first performance with the new company) at the end of the year, but almost all the playhouses in Dotonbori have disappeared.
Japanese: 南座は現在も年末の顔見世興行を行って古い伝統を維持しているが、道頓堀の芝居小屋はほとんどが消滅している。
English: As the 18th century commenced, Kabuki lost its popularity to ningyo joruri, but many scripts of ningyo joruri such as "Kanadehon Chushingura" (The Treasury of Loyal Retainers), "Sugawara Denju Tenarai Kagami" (Sugawara's secrets of calligraphy), "Yoshitsune Senbonzakura" (Yoshitsune and One Thousand Cherry Trees) and "Meido no Hikyaku" (Courier to the Hell) were arranged for Kabuki.
Japanese: 18世紀に入ると歌舞伎は人形浄瑠璃に人気を奪われるが、その間に「仮名手本忠臣蔵」「菅原伝授手習鑑」「義経千本桜」「冥途の飛脚」などの人形浄瑠璃の台本が歌舞伎化された。
English: They are called maruhonmono (Kabuki drama of joruri (puppet-play) origin) and had a major influence as an important repertory of Kabuki on later generations.
Japanese: これらは丸本物と呼ばれ、歌舞伎の重要なレパートリーとして後世に大きな影響を与えている。
English: At the beginning of the mid-18th century, Kabuki was revived with completion of shosagoto (dance in Kabuki) by star actors for female roles such as Kikunojo SEGAWA I (shodai) and Tomijuro NAKAMURA I (shodai), the restoration of forgotten wagoto performances by Kichitaro OGAWA and the creation of excellent scripts and improvement of stage installations by Shozo NAMIKI I in cooperation with Utaemon NAKAMURA I (shodai).
Japanese: 18世紀中期初には初代瀬川菊之丞(初代)、初代中村富十郎(初代)ら名女形が所作事を大成し、初代小川吉太郎は途絶えていた和事芸を再興し、初代並木正三は初代中村歌右衛門(初代)と提携して優れた脚本を作り舞台装置の改良をするなどして歌舞伎は息を吹き返した。
English: In the latter half of the 18th century, Gohei NAMIKI as a Kabuki playwright and Hinasuke ARASHI I, Kikugoro ONOE I (shodai) and Sojuro SAWAMURA I (shodai) as actors went up to Edo and had a major influence on Edo Kabuki.
Japanese: 18世紀後半には狂言作者並木五瓶、役者では初代嵐雛助のほか、初代尾上菊五郎(初代)や初代澤村宗十郎(初代)らが江戸に下り江戸歌舞伎に大きな影響を与えている。
English: From the 19th century to the last days of the Tokugawa shogunate, famous actors such as Utaemon NAKAMURA III, who was called "kaneru (to serve concurrently)" and an all-round excellent actor, Nizaemon KATAOKA (nanadaime), Nizaemon KATAOKA VIII (hachidaime), Kichizaburo ARASHI II (later, Rikan ARASHI I (shodai), Tamizo ONOE II, who was famous for keren performances and Gakujuro JITSUKAWA II, who was good at wagoto performances, all played an active role.
Japanese: 19世紀から幕末期にかけて、「兼ねる」役者と呼ばれた万能選手の名人三代目中村歌右衛門や片岡仁左衛門(7代目)・八代目の片岡仁左衛門(8代目)、二代目嵐吉三郎（のちの初代嵐璃寛(初代)）、ケレン芸で売り出した二代目尾上多見蔵、和事芸の名人二代目実川額十郎などの名優が活躍した。
English: On the other hand, many actors such as Kodanji ICHIKAWA IV, Utaemon NAKAMURA IV (yondaime) and Shikan NAKAMURA IV (yondaime) went up to Edo and gave outstanding performances, and the level of actors was not inferior to that of Edo.
Japanese: 一方、四代目市川小團次、四代目中村歌右衛門(4代目)、四代目中村芝翫(4代目)のように江戸に下って活躍する者も多く、役者のレベルは江戸にひけととらなかった。
English: However, the difference in quality with Edo Kabuki was reversed as actors of oshibai performed in lower-ranked hamashibai, decreasing the dignity of the plays, and capable Kabuki playwrights did not appear, which resulted in the rewriting of titles with same content and representation of popular plays of hamashibai, and originality was lacking as revue-style plays emphasized variety.
Japanese: ただ大芝居の役者がランク下の浜芝居に出るようになって芝居の品格が低下したり、有能な狂言作者が出ず、演目の内容が同じ種目の書き換えや浜芝居の人気狂言の上演、さらには趣向中心のレビュー形式の狂言になるなど独創性に欠けるなど、江戸歌舞伎との質の差が逆転する。
English: I believe the causes of decline of Kamigata Kabuki were theater audiences that thought it was enough if the play was interesting and not expensive and the fact that all of Kabuki playwrights, actors and theaters lost moderation with respect to Kabuki as a drama."("Kamigata Kabuki no Fukei (literally, landscape of Kamigata Kabuki) by Yoshikazu GONDO, 2005, Izumi Shoin)
Japanese: 「安くて面白ければよいとする観客、そして狂言作者、役者、劇場のいずれもが、歌舞伎というドラマに対して節度を喪失したこと、上方歌舞伎衰退の原因ではなかったかと思うのである。」（権藤芳一「上方歌舞伎の風景」2005年　和泉書院）
English: After the start of the Meiji period, however, the great promoters Sanei and Daisei produced successful plays in Dotonbori.
Japanese: それでも明治に入ると名興行師の三栄と大清が道頓堀の芝居を盛りたてた。
English: There were many great actors such as Enjaku JITSUKAWA (shodai), who was the top performer of Kamigata wagoto, Udanji ICHIKAWA I (shodai), who excelled at keren and Sojuro NAKAMURA I, who aimed at new Kabuki.
Japanese: 役者も、上方和事の第一人者初代實川延若(初代)、ケレンを得意とした初代市川右團次(初代)、新しい歌舞伎を目指した初代中村宗十郎らの名優がいた。
English: Around the end of the 19th century Ganjiro NAKAMURA I (shodai), whose existence was decisive for Kansai Kabuki, entered the picture.
Japanese: そして19世紀終わり頃に、関西歌舞伎の決定打ともいえる存在である初代中村鴈治郎(初代)が登場する。
English: From Meiji to Taisho, the art of wagoto reached the height of sophistication under Ganjiro NAKAMURA.
Japanese: 明治から大正にかけ、中村鴈治郎によって和事の芸が極限にまで洗練された。
English: In addition to innate good looks, a strong desire to learn as seen in his effort to learn performances of various actors both in the east and west including Enjaku I and Danjuro ICHIKAWA IX (kudaime) and gorgeous performances full of efforts to please the audience, made Ganjiro the king of Kansai Kabuki.
Japanese: 生来の美貌に加え、初代延若、九代目市川團十郎(9代目)などの東西の役者の芸を学ぶなどの旺盛な研究心、そして華やかなサービス満点の演技などが鴈治郎をして関西歌舞伎の王者たらしめたのである。
English: Similar to today's teenage stars, young girls rushed to the stage yelling "Ganjiro-han," and goods bearing his "ibishi (diamond shape formed with katakana "I") family crest fast-selling items.
Japanese: 現代のアイドルよろしく、若い女性が「ガンジロハン」と嬌声をあげて舞台に殺到し、紋所のイ菱をあしらったグッズは飛ぶように売れたのである。
English: He did not end as a mere teenage star, however, and his numerous excellent stage appearances became legends and still have a great influence on present Kansai Kabuki.
Japanese: ただ彼が単なるアイドルで終わらなかったのは、その数多い素晴らしい舞台は伝説となり今日の関西歌舞伎に大きな影響を与えつづけているということである。
English: Popular plays that are performed today such as "Shinju Ten no Amijima - Kawasho," "Futatsu Chocho Kuruwa Nikki - Hikimado," "Tsuchiya Chikara (Chikara TSUCHIYA)" and "Tojuro no Koi" were originated by Ganjiro.
Japanese: 今日上演される『心中天網島・河庄』・『双蝶々曲輪日記・引窓』・『土屋主税』・『藤十郎の恋』などの人気狂言は鴈治郎によって作られたものである。
English: His performance was acknowledged not only by audiences in Osaka and Kyoto, but also by audiences in Tokyo, leading to Ganjiro Nakamura being regarded as a synonym for Kansai Kabuki.
Japanese: そして彼の芸は大阪京都だけでなく東京の観客にも認められ、関西歌舞伎イコール中村鴈治郎という現象が生まれる。
English: Other actors who flourished in Kabuki roles included Enjaku JITSUKAWA II (nidaime), Nizaemon KATAOKA XI (juichidaime), Baigyoku NAKAMURA II (nidaime), Jakuemon NAKAMURA III (sandaime), Usaburo ONOE II (nidaime), Tamizo ONOE III (sandaime), Gansho ARASHI and Rikan ARASHI IV (yondaime).
Japanese: ほかの歌舞伎役者には、二代目實川延若(2代目)・十一代目片岡仁左衛門(11代目)・二代目中村梅玉(2代目)・三代目中村雀右衛門(3代目)・二代目尾上卯三郎(2代目)・三代目尾上多見蔵(3代目)・嵐巌笑・四代目嵐璃寛(4代目)などが活躍した。
English: Each had the ability to establish his own school, but they could not compete with Ganjiro both in popularity and awareness.
Japanese: いずれも一家をなす力を有してはいたが、如何せん人気度、知名度ともに鴈治郎に食われていた。
English: The way the promoter Shochiku ran its performances to center on Ganjiro, however, created various biases and distortions.
Japanese: だが、興行会社松竹の鴈治郎中心の興行形態はさまざまな歪みを生んでいく。
English: Capable rivals such as Nizaemon KATAOKA XI and Enjaku JITSUKAWA II were treated coldly and forced to shift their field of activity to Tokyo.
Japanese: 十一代目片岡仁左衛門、二代目實川延若といった有能なライバルは冷遇され、東京に活躍の場を移していかざるを得なくなる。
English: The Kansai Kabuki environment, in which awareness of family performance was low, was not active in fostering successors and the situation of Ganjiro sweeping the board continued.
Japanese: それに家の芸という意識の低い関西歌舞伎の風土は後継者作成に積極的でなく、鴈治郎一人勝ち状態が続いた。
English: People involved in the Kabuki business did not take any measures to prepare for the post-Ganjiro era, however, and Ganjiro died in 1935.
Japanese: 関係者はポスト鴈治郎について何ら対策を講じる事無く1935(昭和10)年の鴈治郎の死を迎える。
English: After Ganjiro's death the big three, namely Enjaku II, Kaisha NAKAMURA (shodai) and Baigyoku NAKAMURA III (sandaime), became the driving force of Kamigata Kabuki.
Japanese: 鴈治郎の死後は、二代目延若と、中村魁車(初代)、三代目中村梅玉(3代目)の三巨頭が上方歌舞伎を牽引する。
English: Moreover, Kabuki performance itself was popular, and as far as tateoyama (the leading Onnagata actor) is concerned, Kansai was superior.
Japanese: まだ、歌舞伎興行自体も人気があり、立女形にかんしては関西のほうが充実していた。
English: Baigyoku often came to Tokyo and showed his unrivaled performance in role such as Sadataka in "Yoshinoyama" and Tamategozen in "Gappo Anshitsu (Gappo's country hermitage)", and was appreciated highly by Kabuki fans in Tokyo.
Japanese: 梅玉はしばしば上京しては「吉野山」の定高や「合邦庵室」の玉手御前などの至芸を見せて東京の歌舞伎ファンから高く評価されていた。
English: Nizaemon KATAOKA XII (junidaime) moved to Tokyo to cover the shortage of tateoyama in Tokyo.
Japanese: 十二代目片岡仁左衛門(12代目)が東京に移ったのも、東京の立女形不足を補強するためでもあった。
English: Performances by the big three - Enjaku the amorous tachiyaku (a leading male-role actor), Baigyoku the classic tateoyama and Kaisha the technical actor - showed unique characteristics and their level was comparable to Ganjiro I.
Japanese: 色気のある立役の延若、古風な立女形の梅玉、技巧派の魁車と、三巨頭の芸は独特の個性があり初代鴈治郎とならぶほど高レベルなものであった。
English: In supporting players as well there were many versatile actors such as Ichizo ICHIKAWA IV (yondaime), Hakotora ICHIKAWA I (shodai), Kichisaburo ARASHI VII (nanadaime), Enjo ICHIKAWA I (shodai), Okuzan ASAO IV and Kasen NAKAMURA II.
Japanese: 脇も四代目市川市蔵(4代目)、初代市川箱登羅(初代)、七代目嵐吉三郎(7代目)、初代市川筵女(初代)、四代目浅尾奥山、二代目中村霞仙ら芸達者がならんでいた。
English: For theaters, Kabuki was performed in Minami-za in Kyoto and at Naka-za, Naniwa-za, Osaka Kabuki-za and Dotonbori Kado-za in Osaka.
Japanese: 劇場では京都で南座、大阪で中座・浪花座・大阪歌舞伎座・道頓堀角座が歌舞伎を上演していた。
English: However, both promoters and audiences pursued the illusion of Ganjiro NAKAMURA I and demanded Enjaku perform Ganjiro's star role, which had an poor result that did not take advantage of the actor's characteristics.
Japanese: だが、興行側も観客も初代中村鴈治郎の幻影を追い求め、延若に鴈治郎の当り役を演じさせるなどピントのずれた興行がおこなわれ、役者の持ち味を活かせぬ弊害をもたらしていた。
English: Despite difficult wartime conditions in which many theaters and shibaijaya (restaurant attached to a theater) were closed, kabuki centered on the big three achieved wide-spread popularity in Kansai.
Japanese: 戦時下、劇場の閉鎖や芝居茶屋の廃業などのきびしい状況にもかかわらず、三巨頭を中心に歌舞伎は関西のファンの人気を集めた。
English: The main theaters except the Minami-za in Kyoto and Osaka Kabuki-za in Osaka were destroyed by fire in air raids, resulting in great damage to the world of Kabuki.
Japanese: 京都南座・大阪歌舞伎座をのぞく、主要劇場の空襲による焼失は大きな痛手であった。
English: In addition, following the death of Kaisha NAKAMURA from war injuries in March 1945 and the unexpected death of Nizaemon KATAOKA XII in 1946, Baigyoku NAKAMURA died in 1948 and Enjaku II, who was called "the last actor of Kamigata," died in 1951.
Japanese: それに、1945(昭和20)年3月の中村魁車の戦災死、1946(昭和21)年の十二代目片岡仁左衛門の不慮の死に続いて、1948(昭和23)年には中村梅玉が、そして1951(昭和26)年に『最後の上方役者』と呼ばれた二代目延若が、それぞれ没した。
English: Kado-za and Naniwa-za were converted into movie theaters, however, and one after another the kabuki theaters with long history disappeared from Dotonbori in Osaka.
Japanese: だが、角座、浪花座は映画館になり、大阪の道頓堀から歴史ある歌舞伎の劇場が相次いで消えて行った。
English: In addition there were young actors, such as Tsurunosuke BANDO IV (later, Tomijuro NAKAMURA V (godaime)) and Senjaku NAKAMURA II (later, Ganjiro NAKAMURA III and Tojuro SAKATA (yondaime)).
Japanese: そして若手に四代目坂東鶴之助（のち五代目中村富十郎(5代目)・二代目中村扇雀（のち三代目中村鴈治郎・坂田藤十郎(4代目)）らであった。
English: Furthermore there were many supporting actors, starting from Kasen NAKAMURA who was acting before World War II, and including Shojaku NAKAMURA, Kichisaburo ARASHI VII (nanadaime), Sanemon ARASHI XI (or X) (juichidaime), Hinasuke ARASHI X (judaime), Ainosuke KATAOKA V (godaime) and Kikujiro ONOE IV (yondaime).
Japanese: ほかに戦前からの中村霞仙をはじめとして、中村松若、七代目嵐吉三郎(7代目)、十一代目（十代目トモ）嵐三右衛門(11代目)、十代目嵐雛助(10代目)、五代目片岡愛之助(5代目)、四代目尾上菊次郎(4代目)など脇役がいた。
English: Among them, Jukai, Minosuke and Tomijuro were born in Tokyo and Gato, whose style of performance was modest and reserved, was not a pure actor from Osaka.
Japanese: このうち、寿海・蓑助・富十郎は東京の生まれ、我當は芸風が地味であり純然たる大阪の俳優ではない。
English: Because Enjiro, Senjaku and Tsurunosuke were not sufficiently experienced, the only pure actors from Kamigata were Ganjiro and Mataichiro, his younger brother.
Japanese: 延二郎、扇雀、鶴之助は経験不足、となると、純然たる上方役者は、鴈治郎と又一郎兄弟のみということになる。
English: Mataichiro had a delicate constitution, however, and only Ganjiro could lead the next generation.
Japanese: そして又一郎は身体が弱く、次の世代を引っ張るのは鴈治郎のみであった。
English: Ganjiro himself was in extreme slump under the pressure of expectations from his surroundings and acute awareness for his great father.
Japanese: 鴈治郎自身は、周囲の期待のプレッシャーの中で偉大な父を意識するあまりに、極度の不振に陥っていた。
English: However, although both were very good actors, they lacked the skills to lead the industry.
Japanese: ただし、両者とも役者としては優秀であったが、業界を牽引するという指導力には欠けていた。
English: At the promoter Shochiku, after Matsujiro SHIRAI's death, management power shifted to his younger brother (who he had adopted as his male successor), Shintaro SHIRAI.
Japanese: 興行側の松竹では、白井松次郎の死後、子息（実弟）の白井信太郎に経営が移った。
English: He too, however, had too little ability to revive Kansai Kabuki,, which was already in its period of decline.
Japanese: すでに凋落期にある関西歌舞伎を立てなおすにはあまりにも力量不足であった。
English: In addition, because Osaka's economy declined after World War II, sponsors who had supported Kabuki successively relocated to Tokyo.
Japanese: また、戦後大阪の経済が衰退しそれまで歌舞伎を贔屓していた後援者が東京に相次いで移ってしまった。
English: Following World War II, Kansai Kabuki had no strong leader or support and appeared set to collapse at any moment.
Japanese: 終戦後の関西歌舞伎は、強力なリーダーも後援もなく、いつ崩壊してもおかしくない状態であった。