nntsuzu/KFTT huggingface dataset:
English: While this kind of atsugesho does not look very good outdoors, it often harmonizes with the level of light created by candles indoors.
Japanese: 屋外では浮いた感じになる厚化粧も、屋内の、蝋燭の明かり程度の明るさでは調和する場合が多い。
English: Their makeup is basically the same as that of a girl acting in Kabuki, but differences include not covering the eyebrows, drawing them naturally, and putting on modest eye makeup.
Japanese: 歌舞伎の娘役と、基本は同じであるが、眉を塗りつぶさず、自然な感じで描く、アイメークも控えめになる、等の違いはある。
English: Unless they wear a Japanese coiffure, they do not use shironuri (white makeup), but they do apply a more considerable amount of atsugesho than women of the same age in other occupations.
Japanese: 日本髪でない場合は白塗りにならないが、同年代の他の職業の女性より、かなり厚化粧になる。
English: A novice of maiko (apprentice geisha) does not use black eyeliner and they only put lipstick on their lower lip.
Japanese: 舞妓になりたての時は黒のアイライナーを使わず、口紅は下唇のみに差す。
English: After being promoted to a geigi, they begin to draw distinct eyebrows and put on thicker eyeliners than when they were a maiko in order to look more mature.
Japanese: 芸妓になると、眉をはっきり描くようになり、アイライナーも舞妓時代より太くなるため、舞妓時代より、大人っぽい感じになる。
English: In occupations such as employees in restaurants, department stores, hotels, Japanese-style inns, cabin attendants, race queens, and campaign girls, women are often required to wear atsugesho appropriate to the formality and atmosphere of their job.
Japanese: 飲食店、デパート、ホテル、旅館の従業員、客室乗務員、レースクイーン、キャンペーンガール、等の職業も格式や雰囲気等に合わせた厚化粧になる場合が多い。
English: Fashion models always wear makeup that goes well with the latest clothes and accessories made by a designer and often end up putting on atsugesho as a natural result.
Japanese: デザイナーによる最先端の服飾に合う様に化粧する場合が多く、勢い厚化粧になることがしばしばある。
English: In fashion magazines or books related to beauty treatment for children, a large proportion of girl models aged three to thirteen wear makeup, especially when they are modelling for wafuku (Japanese traditional clothes).
Japanese: 子ども向けファッション雑誌や美容関係の図書ではモデルの3～13歳の少女も化粧する場合が割合多く、特に和服の場合は厚化粧になる傾向がある。
English: Even those who are under thirty years old tend to wear heavier atsugesho than singers of the same age in other genres.
Japanese: 30歳以下でも同年代の他のジャンルの歌手より厚化粧になる場合が多い。
English: Male enka singers tend to wear atsugesho as well when they dress in wafuku, such as thick eyeliner.
Japanese: 男性演歌歌手も、和服の場合は太いアイライナーを入れる、等、厚化粧の傾向はある。
English: Singers of mood music, shanson, Latin music, etc. show a tendency to wear makeup similar to enka singers as well.
Japanese: ムード歌謡、シャンソン、ラテン音楽、等の歌手にも演歌歌手と同様の傾向がある。
English: There are even some cases of male singers wearing makeup similar to that used by the women, such as Akihiro MIWA and Kenichi MIKAWA.
Japanese: 男性歌手にも美輪明宏、美川憲一の様に女性と同様の化粧をするケースがある。
English: Heavy Metal or visual artists often wear atsugesho in order to make an impact on their audiences.
Japanese: ヘヴィメタルやヴィジュアル系のアーティストは観客にインパクトを与えるために厚化粧する場合が多い。
English: Atsugesho is often used in sports where there is competition for artistic quality such as figure skating, rhythmic gymnastics, synchronized swimming, athletic dance, etc..
Japanese: フィギュアスケート、新体操、シンクロナイズドスイミング、競技ダンス、等、芸術性を競う競技においても、厚化粧する場合が多い。
English: In impersonation and comical performances, atsugesho is sometimes used to go along with planned content or to achieve an effect by the performer.
Japanese: 物真似、お笑い、等では企画内容や出演者の意図によって厚化粧をする場合がある。
English: A few examples of this are Korokke, (an entertainer) who gained popularity and increased the popularity of Kenichi MIKAWA by imitating MIKAWA and wearing similar makeup; Tayu KOUME has appeared with voluptuous makeup on, making use of her stage experience; Gori@Garage Sale has put on atsugesho and disguised himself as a woman to appear a Gorie MATSUURA, and so on.
Japanese: コロッケ(タレント)が上記の美川憲一の真似で美川に似た化粧で出演して人気を博し、美川の人気も回復、小梅太夫も舞台経験を生かした妖艶な舞台化粧で出演する、ゴリ＠ガレッジセールが厚化粧女装して松浦ゴリエとして出演する、等のケースがある。
English: Actors, singers and so on who generally do not wear atsugesho may occassionally use it to follow planned content or to achieve an effect desired by the performers themselves or by a producer when they appear in photographs, movies, special programs, or advertisements for cosmetics.
Japanese: 普段は厚化粧しない俳優、歌手、等も、特別番組、化粧品等の広告や写真集、ビデオクリップ等を撮影する場合に、企画内容や、出演者や制作者の意図によって厚化粧をする場合がある。
English: Hideki TOGI, for example, who hardly ever puts on any makeup during his performances in gagaku (ancient Japanese court dance and music), appeared in a photo book wearing stage makeup similar to what is used in Kabuki Buyo, and Ayumi HAMASAKI, who already gives a strong impression of wearing atsugesho, puts on even heavier atsugesho in advertisements for digital cameras and other similar cases too numerous to mention.
Japanese: 例えば、雅楽の演奏の時には殆ど化粧しない東儀秀樹が写真集の中で歌舞伎舞踊と同様の舞台化粧で登場する、元々厚化粧の印象が強い浜崎あゆみもデジタルカメラの広告で更に厚化粧になる、と言うようなケースは枚挙にいとまが無い。
English: When participating in festivals, getting dressed up in haregi (the best clothes) or performing a recital of music or dance, even people who usually do not wear makeup often put on atsugesho.
Japanese: 祭り、晴れ着、音楽や舞踊等の発表会においては、普段は化粧しない人でも厚化粧する場合が多い。
English: In particular, men, boys and girls who are normally highly likely to never wear makeup during their daily lives may often put on atsugesho at festivals.
Japanese: 特に、普段、化粧することが、先ずありえない、男性や少年少女が厚化粧する場合が多い。
English: Chigo (children of a festival) are the boys and girls onto whom divine spirits are believed to descend to, and in order to achieve images of the divine spirits they often put on atsugesho.
Japanese: 神霊が降臨しやすいとされた少年少女に、神霊の理想的な姿に近づけるために厚化粧する場合が多い。
English: Since the bare skin of boys and girls is clean to begin with, they become surprisingly beautiful after only putting on lipstick, but even if they wear heavy atsugesho similar to elderly women, rather than giving the impression of toshima no atsugesho, they become even more beautiful.
Japanese: 元々少年少女は、肌がきれいなので、口紅を塗っただけで驚くほど美しく、華やかになるが、その一方で、年配女性と同様の厚化粧をしても年増の厚化粧という感じにならず、清楚で可憐で華やかな感じになる。
English: Miko (shrine maidens) usually do not wear atsugesho, but when they dedicate mikomai (a female Shinto dance where young girls each carry a small baton with a bell) during festivals, they sometimes wear atsugesho for the same reason as chigo.
Japanese: 普段は厚化粧しない場合が多いが、祭り等で巫女舞を奉納する場合は上記の稚児と同じ理由で厚化粧する場合がある。
English: The dancers of Awa Odori (Awa Dancing Festival) and Yosakoi Matsuri (Yosakoi Festival) also generally wear atsugesho to harmonize with the beauty of their costumes.
Japanese: 阿波踊りやよさこい祭りなどの踊り子も、華やかな衣装に合わせて、華やかな感じの厚化粧をする場合が多い。
English: In Yosakai especially, numerous groups wear showy makeup to remind people of kumadori in Kabuki.
Japanese: なかでも、よさこいの場合は歌舞伎の隈取りを思わせる派手な化粧をするグループが目につく。
English: In Himeshima Bon Odori (Himeshima Bon Festival Dance) (Himeshima Village, Oita Prefecture), although dancers wear makeup similar to Kabuki Buyo, they sometimes use blue eye shadow.
Japanese: 姫島盆踊り(姫島村)では歌舞伎舞踊と同様だが青いアイシャドーを使う場合がある。
English: In traditional performing arts all over the world (especially in East Asia and Southeast Asia) there is a tendency to wear atsugesho as well.
Japanese: 世界各地の伝統芸能(特に東アジア、東南アジア)でも厚化粧の傾向がある。
English: Some groups of baton twirlers, cheerleaders, color guard teams, etc. also often wear atsugesho.
Japanese: バトンガール、チアガール、カラーガード隊、等も団体によっては厚化粧の場合が多い。
English: The makeup of amateur Kabuki is basically the same as the Kabuki described above, but because most of the performers are not accustomed to wearing makeup, their painted eyebrows and lipstick often get blurred, giving the impression of amateur Kabuki.
Japanese: 基本的に上記の歌舞伎と同じだが、化粧に慣れてない人が多いため、眉や口紅がかすれた感じになったりして、素人歌舞伎らしい素朴な感じになる場合が多い。
English: In some regions, experts sometimes help them wear makeup, and in those cases the final conditions can be very sophisticated and beautiful.
Japanese: 地方によっては専門家が化粧する場合があり、その場合は非常に洗練された美しい仕上がりになる。
English: In Jidai Gyoretsu (a procession of people in historical costumes) where they reproduce the manners of the Heian and Edo Periods, people wear gorgeous costumes and wigs, and to harmonize with their costumes they wear atsugesho similar to that of Kabuki Buyo and Minyo Buyo, even if it is held outdoors.
Japanese: 平安時代や江戸時代を再現した時代行列では、あでやかな衣装を着て鬘を被るため、それに見合うように、屋外で行われる場合でも歌舞伎舞踊、民謡舞踊と同様の厚化粧をする。
English: In most cases, experts help the people wear makeup so that the final conditions are sophisticated and beautiful.
Japanese: 多くの場合、専門家が化粧するため、非常に洗練された美しい仕上がりになる。
English: When one is dressed up in Western clothes as a haregi, they usually wear light or no makeup, but when one is dressed up in Japanese traditional clothes, they put on heavier makeup than in Western clothes.
Japanese: 洋服系の場合は素顔のままか、薄化粧の場合が多いが、和服系の場合は洋服系の場合より厚化粧になる傾向がある。
English: Girls especially, who wear light or no makeup when wearing Western clothes, often wear atsugesho when they are in Japanese traditional clothes.
Japanese: 特に少女は洋服の場合は化粧しないか、しても薄化粧の場合が多いが、和服の場合は化粧する場合が多く、時には厚化粧になる。
English: In this case, a girl's makeup carries the meaning of the rite of passage, similar to a boy's fundoshi (loincloth).
Japanese: この場合の少女の化粧には少年のふんどしと同様、通過儀礼の色彩がある。
English: As for recitals of various types of music, people often wear no makeup with Western music, but in Minyo or wagakki (a traditional Japanese musical instrument), they usually dress up in Japanese traditional clothes and sometimes wear atsugesho to harmonize with their clothes.
Japanese: 音楽系の発表会では、洋楽系の場合は化粧しない場合が多いが、民謡、和楽器の場合は和服を着る場合が多く、それに合わせて、時には厚化粧になる。
English: In the case of Kabuki Buyo or Minyo Buyo, experts often help the performers wear their stage makeup and the final conditions can be very beautiful.
Japanese: 歌舞伎舞踊、民謡舞踊の場合は上記の舞台化粧を専門家が化粧する場合が多く、非常に美しい仕上がりになる。
English: In the case of the ballet, since parents or guardians help the performers wear makeup, the final conditions are often more uneven than when experts help them wear makeup.
Japanese: バレエの場合は保護者が化粧する場合が多いため、専門家が化粧する場合より、仕上がりにばらつきが見られる場合が多い。
English: Transformational studios (many are found in Kyoto City), such as maiko makeovers, jidaigeki, Takarazuka Revue, and so on, often provide the same costumes and wigs as actual maiko, geigi or actors depending on their roles, as well as assist in putting on atsugesho.
Japanese: 舞妓変身、時代劇、宝塚歌劇、等の変身スタジオ(京都市内に多い)では、それぞれの役柄に応じて実際の舞妓、芸妓、俳優と同じ衣装、鬘が用意され、同じ厚化粧をして貰える場合が多い。
English: Mainly in the Northern Kanto region, boys and girls who take part in dashi matsuri (float festival) as players of matsuri-bayashi (Japanese festival music), carriers of mikoshi (a portable shrine), and haulers of dashi (a float) often wear atsugesho (the same as with Hamamatsu Matsuri (Hamamatsu City)) (in the Southern Kanto region they usually do not wear makeup).
Japanese: 主に北関東の山車祭りにおいては祭囃子の奏者、御輿の担ぎ手、山車の引き手となる少年少女が厚化粧をする場合が多い(浜松まつり(浜松市)も同様)(南関東は素顔の場合が多い)。
English: In Western Japan, noriko (riding kids) of taiko-dai (floats to carry drums on) often wear atsugesho similar to chigo (in some regions, the makeup is similar to kumadori of Kabuki).
Japanese: 西日本では太鼓台の乗り子が稚児と同様の厚化粧(地方によっては歌舞伎の隈取りと同様の化粧)をする場合が多い。
English: Moreover, there are some cases in which men disguise themselves as women during festivals (drag festivals), in which case they always wear atsugesho.
Japanese: 又、祭りの中で、男性が女装する場合がある(女装祭り)が、その場合は必ず厚化粧になる。
English: When young women get dressed up in Kosupure (cosplay; costume play to transform oneself into a favorite character) or Gosurori (Gothic Lolita) fashions in parks and on holidayds they often wear atsugesho.
Japanese: 若い女性が休日に公園等でコスプレやゴスロリファッションを着用するときにも厚化粧になる場合が多い。
English: Enshu school is a style of tea ceremony initiated by Masakazu KOBORI and passed on in the Kobori family.
Japanese: 遠州流（えんしゅうりゅう）は小堀政一（政一）に始まる小堀氏に伝わる武家茶道の一派である。
English: The headquarters is in Shinjuku Ward, Tokyo, and it is supported by the foundation Kobori Enshu Kensho-kai as well as its fellow organization Chado Enshu-kai.
Japanese: 宗家は東京都新宿区にあり、財団法人として小堀遠州顕彰会、同門組織として茶道遠州会がある。
English: Furthermore, the Kobori Enshu school is a style of tea ceremony formed as a breakaway from Enshu by the younger brother, Seiko KOBORI; its headquarters is in Nerima Ward, Tokyo, and its fellow organization is called Shorai-kai.
Japanese: また小堀遠州流（こぼり-）は遠州から弟の小堀正行に分かれた流派で、家元は東京都練馬区にあり、同門組織は松籟会という。
English: Enshu school is a school of tea ceremony that can be said to represent the samurai tea ceremony; it features a style called 'kirei-sabi' (pure elegance), which is a synthesis of the austere and introspective way of tea incorporating 'wabi' (simplicity) and 'sabi' (elegance) developed by Joo TAKENO and SEN no Rikyu, and Masakazu KOBORI's original aesthetic sense, as influenced by Shigenari FURUTA.
Japanese: 遠州流は武家茶道の代表とも言える流儀で、武野紹鴎・千利休と発展した質素で内省的な「わび」「さび」の茶道に、古田重然を経て小堀政一独特の美意識を加えた「綺麗さび」と呼ばれる茶風を特徴とする。
English: If Oribe is samurai-like and flamboyant, Enshu can be said to portray a natural gracefulness with the heart of the way of tea.
Japanese: 織部を武家らしい華やかさとすれば、遠州は茶の湯の心を用いて自然な雅やかさを加えたものと言える。
English: Enshu Masakazu KOBORI was the child of Masatsugu KOBORI who was chief retainer of Hidenaga HASHIBA, and from a young age he studied tea ceremony under Shigenari FURUTA.
Japanese: 小堀遠州政一は羽柴秀長の家老を務めた小堀正次の子で名は正一といい、若い頃から古田重然のもとで茶の湯を学んだ。
English: In 1604, at the age of 26, his father Masatsugu died suddenly, whereupon Masakazu succeeded to the family estate, taking care of Matsuyama Castle (Bicchu Province); subsequently, in 1617 he became a daimyo (feudal lord) upon receiving a Shuinjo(shogunate license to trade), and two years later he was transferred to the Omi Komuro Domain.
Japanese: 慶長9年（1604年）26歳のときに父正次が急死し、家督を継いで松山城(備中国)を預かり、その後元和2年（1617年）に朱印状を得て大名となり2年後近江小室藩に移封される。
English: Masakazu's style came to be called Enshu because he was appointed Totomi no kami (the Governor of Totomi (Enshu) Province) due to his achievement in rebuilding Sunpu Castle in 1608; however, he also gained renown as an architect of buildings and gardens, in which capacity he built and restored buildings around Japan, including the building of the Imperial Palace for Emperor Goyozei, the restoration of Tenshukaku Tower at Nagoya Castle and the reconstruction of Matsuyama Castle in Bicchu Province.
Japanese: 遠州の通り名は慶長13年（1608年）駿府城修築の功績によって遠江守に任ぜられたことによるが、これ以外に後陽成天皇御所造営、名古屋城天守閣の修築、松山城(備中国)の再建など、各地で建物の新造・修繕を務め建築家・造園家として名を馳せた。
English: He learned Waka poetry from son and father of Reizei family, Tamemitsu and Tameyori and Choshoshi KINOSHITA, and was a man of literature who absorbed the works of FUJIWARA no Teika.
Japanese: 冷泉為満・為頼父子、木下長嘯子に和歌を学び、藤原定家風の書を身につける文人でもあった。
English: As a master of the tea ceremony, he held at least 400 tea parties during his lifetime; in addition to making utensils such as tea caddies, tea bowls and vases, he had exquisite taste and chose outstanding items from the Higashiyama Gomotsu collection, which later came to be called chuko meibutsu (later famous objects).
Japanese: 茶人としては生涯で400回ほどの茶会を催し、茶入、茶碗、花入などを多く作製したほか、審美眼に優れ東山御物などから優品を選定しこれらは後に中興名物と呼ばれるようになる。
English: He created the style of tea called 'kirei-sabi' (pure elegance), which fused the spirit of the Momoyama period with SEN no Rikyu and Oribe styles of tea ceremony; he became the tea master for the third shogun, Iemitsu TOKUGAWA, and instructed many daimyo (feudal lords), nobles and Buddhist monks in the tea ceremony.
Japanese: 千利休・織部の茶風に桃山時代の気風を取り入れた「綺麗さび」と呼ばれる茶風に達し、3代将軍徳川家光の茶道師範を務めた他、諸大名、公卿、僧侶などに茶道を指導した。
English: Masamine KOBORI, the fifth head of the clan, served the three generations of Ietsugu TOKUGAWA, Yoshimune TOKUGAWA and Ieshige TOKUGAWA, and was appointed as a wakadoshiyori (a managerial position in Edo bakufu) twice, being active as a member of the feudal government and having a prestigious designation as a hereditary daimyo.
Japanese: 5世小堀政峯は、徳川家継・徳川吉宗・徳川家重の3代に仕え、若年寄を2度務めるなど幕閣の一員として活躍し、譜代大名並の格式を許された人である。
English: However, Masamichi KOBORI, the seventh head of the clan, was engaged as an obanto (head of the Imperial Guards) and Fushimi Bugyo (municipal administrator of Fushimi) under Okitsugu TANUMA, and was dismissed during the Fushimi Riot that occurred in 1788.
Japanese: しかし7世小堀政方は田沼意次のもとで大番頭や伏見奉行の要職を務めたが、伏見騒動によって天明8年（1788年）改易されることになる。
English: The eighth tea master, Masayasu KOBORI, was the son of the sixth tea master Masahisa KOBORI, and he was young when the Kobori family was dismissed; however, in 1828 he was welcomed as a direct retainer of the shogun or a Kobushin-gumi (samurai without official appointments who receive small salaries) with a fief of 300 koku, whereupon the utensils that had been passed on to a new family were recovered and the house of Kobori restored.
Japanese: 8世正優は6世正寿の子で、幼少の頃に小堀家が改易されたが、文政11年（1828年）に300俵小普請組の旗本として迎えられ、親族へ引き渡されていた伝来の道具なども戻して本家を再興した。
English: He was invited by Naritaka TOKUGAWA, the twelfth head of the Owari Tokugawa family to give his expert opinion and teach the chief retainer of the castle Hogetsu of Imao clan; consequently, he taught tea ceremony to a wide range of daimyo retainers and court nobles and was called the restorer of the Enshu school of tea ceremony.
Japanese: 尾張徳川家12代徳川斉荘に招かれて目利きを行い、その城代家老今尾藩篷月侯に相伝するなど、大名旗本、公家などに幅広く茶道教授を行い遠州流中興と称せられる。
English: During the Meiji Restoration, in the time of the tenth master, Soyu KOBORI, he became a member of the warrior class and widely conveyed the Enshu school of tea ceremony to common people.
Japanese: 10世宗有のとき、明治維新により士族となり、遠州流の茶道を広く一般に教授することになる。
English: Enshu's younger brother, Masayuki KOBORI, was a page (kosho gumi) with a fief yielding 1,000 koku of rice, but when he succeeded to Enshu's estate he received a fief yielding 2,000 koku as a retainer with 3000 koku.
Japanese: 遠州の弟小堀正行は1000石の小姓組であったが、遠州が家督を継ぐ時に2000石の分知を受けて、都合3000石の旗本となった。
English: In the Meiji period, the family became alienated from the main school, and in 1959 Sotsu KOBORI, the fifth tea master, requested independence; as a result, his way of tea ceremony became called the Kobori Enshu school.
Japanese: 明治頃から本家とは疎遠になり、昭和34年（1959年）15代宗通が独立を申し入れて小堀遠州流を称するようになった。
English: The original branch of the family were feudal lords, the Omi Komuro Domain with a fief of 10,000 koku, but they were dismissed during the time of the seventh-generation master, Masamichi KOBORI.
Japanese: 小堀本家は近江小室藩1万石余りを預かる大名であったが、7世政方のときに改易となった。
English: The branch of the family that passed on the Kobori Enshu school of tea ceremony originated with Enshu's younger brother Masayuki KOBORI when Masayuki succeeded to the family estate, and while the generations up to the sixth master, Masasato KOBORI, were a collateral line of descent, the seventh master, Masatsugu KOBORI, and the eighth master, Masayasu KOBORI, were adopted from the original family; thereafter, the line of descent has continued directly from Enshu.
Japanese: 小堀遠州流を伝える分家は遠州が家督を継ぐ時に弟小堀正行に分知したのが始まりで、6代政郷までは遠州傍系であったが、7代政報・8代政展は本家から迎えた養子であり、以来血脈としては遠州直系となる。
English: The Niemon KOBORI family were retainers to the shogun and held a fief of 600 koku; successive generations served as local governors in Kyoto, mainly overseeing the construction of the Imperial Palace.
Japanese: 小堀仁右衛門家は600石の旗本で、代々京都代官を務め主に禁裏の作事を担っていた。
English: Tomijuro NAKAMURA V (June 4, 1929 -) is a kabuki actor.
Japanese: 五代目中村富十郎（ごだいめなかむらとみじゅうろう、1929年（昭和4年）6月4日-）は、歌舞伎役者。
English: He made his first appearance on stage in August 1943 by the name, Tsurunosuke BANDO IV, performing as Kocho of "Kagamijishi" (The Lion Dance) at Osaka Nakaza theater.
Japanese: 1943年（昭和18年）8月、大阪中座「鏡獅子」の胡蝶で四代目坂東鶴之助を名乗り初舞台。
English: In April 1964, he succeeded to the name, Takenojo ICHIMURA VI, performing as Shigeyasu HATAKEYAMA and others of "Yoritomo no shi" (The Death of Yoritomo) at Kabukiza theater.
Japanese: 1964年（昭和39年）4月、歌舞伎座『頼朝の死』の畠山重保ほかで六代目市村竹之丞を襲名。
English: In September 1972, he succeeded to the name, Tomijuro NAKAMURA V, performing as Higuchi in "Sakaro" and "Musume Dojoji" (The Maiden at Dojo-ji temple) at Kabukiza theater.
Japanese: 1972年（昭和47年）9月、歌舞伎座『逆櫓』の樋口と『娘道成寺』で五代目中村富十郎を襲名。
English: When he was to succeed to the name of Takenojo VI, Takenojo's professional name was considered to be the childhood name of Uzaemon ICHIMURA, and this family name was a noble one for the Uzaemon ICHIMURA family.
Japanese: 六代目竹之丞襲名の際、竹之丞の名跡は市村羽左衛門の幼名とされ、市村羽左衛門家にとっては由緒ある名跡である。
English: It was said that wishes of Tetsuji TAKECHI, his master, had strong influence on this succession, but during kojo (a ceremony to announce that an actor takes a new stage name), he received a remark 'He is essentially, not the person who should succeed to the family name of Takenojo', from the leader of troupe Uzaemon ICHIZAWA XVII, which may be taken as a severe criticism, and the discord with Tachibana head family was clearly brought to light.
Japanese: この襲名には、師である武智鉄二の意向が強く働いていたと言われるが、襲名披露の口上の席で座頭である市村羽左衛門(17代目)より「本来ならば、竹之丞の名跡を継ぐべき人ではない」との強烈な批判ともとれる発言をされるなど、橘屋宗家との確執が浮き彫りになった。
English: His first son Dai was born in 1999, and his first daughter Aiko was born in 2003, and since the latter was born when Tomijuro was at the age of 74, it became a great subject of conversation.
Japanese: 1999年（平成11年）に長男・大が、2003年（平成15年）年には長女・愛子が生れ、特に後者は富十郎74歳の子供であるところから大きな話題にもなった。
English: In 2001, his first son Dai made his first appearance on the stage by taking the name Dai NAKAMURA, and in November of 2005, he succeeded to the name, Takanosuke NAKAMURA I.
Japanese: 長男の大は2001年（平成13年）に中村大を名乗り初舞台を踏み、2005年（平成17年）11月に初代中村鷹之資（なかむらたかのすけ）を襲名した。
English: Tomijuro declared publicly that he would make Takanosuke, who is referred to as "Mame tennojiya" to succeed the family name when he turned 20 years-old, and Tomijuro's latest goal is to vie with Takanosuke in "Musume Dojoji" (The maiden at Dojoji Temple) at the Kyogen where he will make an announcement of his succession.
Japanese: 「豆天王寺屋」と呼ばれている鷹之資には20歳になった時に、富十郎の名跡を襲名させることを公言しているが、その襲名披露狂言には『娘道成寺』で競演するのが近頃の富十郎の目標であると言われている。
English: It is said that there are many requests coming from his fans in the back stage that they would like to see the father and son in "Renjishi" (A string of Lions) soon.
Japanese: 楽屋内・ファンからは、この親子での『連獅子』を早く見たいとの要望も多く寄せられているという。
English: When he was performing actively mainly in Kamigata (Kyoto and Osaka) at a younger age, he was called 'Senkaku duo' along with Tojuro SAKATA for their beauty, and won immense popularity.
Japanese: 若年時上方を中心に活躍した際には、坂田藤十郎(4代目)とともに、その美貌から「扇鶴コンビ」と呼ばれ人気を博した。
English: During this time, he also participated in Takechi Kabuki, and it is crucial that he came in touch with and actively experienced its experimental techniques and learned of the dignity and interpretations of the classics.
Japanese: この時期には武智歌舞伎にも参加し、ここで積極的に実験的な手法に触れ、古典の品格や解釈を学んだことは大きい。
English: In addition, the fact that he performed Azuma Kabuki as Japanese dance at performance in Europe and America with his mother after the war, gave both moral and material effect on his art as Tomijuro himself described.
Japanese: 加えて、終戦後母とともにアヅマ・カブキとして日本舞踊の欧米公演を行ったことは、富十郎自身が語るように、その芸に有形無形の影響を与えている。
English: On the other hand, after he went to Tokyo, along with the smart artistic style of Uzaemon XV, he became Shoroku ONOE II's pupil and learned extensively of the art of Kikugoro ONOE's sewamono (the realistic genre of a play that deals with life and current events of the common people) as well as aragoto (kabuki play featuring exaggerated posture, makeup, and costume) and the dancing which was Shoroku's forte.
Japanese: 一方で東京に出てからは、十五代目羽左衛門系の颯爽とした芸系とともに、尾上松緑(2代目)に師事して尾上菊五郎(6代目)の写実的な世話物の系統、また松緑が得意とした荒事や舞踏にいたるまで広く学んだ。
English: In the Heisei era, he was praised for making a great pair with Jakuemon NAKAMURA IV, and left behind a masterpiece such as 'Ninin Wankyu' (Love Story of Wankyu and Matsuyama).
Japanese: 平成に入ってからは中村雀右衛門(4代目)との名コンビを謳われて「二人椀久」などの傑作を残している。
English: He had many successful roles, but he especially had intense feelings towards 'Kyo Kanokomusume Dojoji" (The Maiden at Dojoji Temple) as his family's specialty that Tomijuro I performed for the first time, and he put it out on performance when he succeeded to the name of Tomijuro V.
Japanese: 当り役は数多いが、特に初代が初演した『京鹿子娘道成寺』にはお家芸としての思い入れがあるらしく、五代目襲名の興行にも出している。
English: One is able to get some idea of how excellent his performance was, from the tremendous acclaim by Shotaro IKENAMI who seldom praised the actors of the day.
Japanese: その芸のよさについては、ほとんど当代の役者を褒めなかった池波正太郎が絶賛していたことでも一端をうかがいえよう。
English: The Tamagawa (also known as Gyokusen) Enshu-ryu school is a school of tea and green tea ceremony.
Japanese: 玉川遠州流（たまがわえんしゅうりゅう、ぎょくせん-）は茶道および煎茶道の流派。
English: Zansai OMORI, the first-generation head of the school, whose home town was Kyoto, preferably practiced kenjutsu (the art of swordsmanship) when young; he subsequently became the disciple of Enshu KOBORI.
Japanese: 初代大森漸斎は京都の人で、若い頃は剣術を好んでしたが、後に小堀遠州の門に入る。