nntsuzu/KFTT huggingface dataset:
English: The Japan's National Defense Women's Association, which was organized in 1932, carried out various activities such as sewing senninbari (a cotton belt with a thousand red stitches, which was an amulet to avoid bullets), seeing off soldiers who were to leave for the front, donating money earned from collecting and selling waste materials, visiting and comforting the soldier's bereaved family, and so on, in the uniform of kappogi and tasuki-gake (tucking up the sleeves of a kimono with a cord) with the slogan "National Defense starts from the Kitchen."
Japanese: 1932年に成立した国防婦人会は「国防は台所から」というスローガンを掲げ、割烹着に襷掛けという会服で、千人針、出征兵士の見送り、廃品回収による献金、軍人遺族の慰問などの諸活動をおこなった。
English: Under these circumstances, it can be said that this uniform enabled it to achieve more widespread mass mobilization than the other Women's Clubs that were apt to be thrown into "the competition of Japanese kimono".
Japanese: その際、この会服は「着物競争」に陥りがちな他の婦人会にくらべ、より広汎な大衆動員を可能にしたといえる。
English: In 1941, the Patriotic Women's Association and the Japan Women's Group Association were absorbed into the Japan's National Defense Women's Association and they were integrated into the Japan Women's Association.
Japanese: 1941年には愛国婦人会と大日本連合婦人会を吸収、統合して大日本婦人会となった。
English: But as the war situation worsened and the homeland defense war drew near, the Japan Women's Association was dissolved to prepare for it, and people began running out of goods rapidly and cotton became impossible to come by; as a result, women began to wear monpe (women's work pants).
Japanese: しかし、戦況が悪化し本土決戦が近づくと、それにそなえて大日本婦人会は解散、また、急速に物資が欠乏して木綿も入手できなくなったため、婦人の服装ももんぺ姿へと変わっていった。
English: This section describes an example of common procedures for putting on kappogi over kimono.
Japanese: ここでは一般的に行われている、着物に割烹着をかける手順の一例を示す。
English: Holding the collar straps of the kappogi and being careful to touch only the outside of the kappogi, stretch the kappogi so that the upper part of the sleeves are smooth and then pass each arm through first one sleeve and then the other.
Japanese: 割烹着の襟ヒモを持ってから、割烹着の外側だけに触れるようにして、袖山を滑らすように伸ばし、片方ずつ袖を通す。
English: At this time, if an adjustable strap is attached to the lining of the kappogi, and its position is on the obijime (decorative string used to hold a kimono sash in place) of the kimono, tie and fasten the adjustable strap to the obijime.
Japanese: このとき割烹着の裏地の、着込んでいる着物の帯締めの位置に調節ヒモがある場合は調節ヒモを帯締めに結わえる。
English: This section describes an example of common procedures for hanging kappogi on the hanger for kappogi.
Japanese: ここでは一般的に行われている、割烹着掛けに割烹着をかける手順の一例を示す。
English: Holding the kappogi on the left hand with the right hand inside of the kappogi, pull the left hand from the kappogi and take it off.
Japanese: 割烹着の内側に入れた右手で左手の割烹着を押さえながら左手を割烹着から引いて脱ぐ。
English: 千秋楽 (senshuraku) is also written as 千穐楽 or 千龝楽, and, being an industrial term, indicates the last day, when plays on the same program are performed repeatedly every day for two or more days.
Japanese: 千秋楽（せんしゅうらく）は「千穐楽」、「千龝楽」などとも表記され、複数日にわたって同じ演目を行う興行において、「最終日」を指す業界用語。
English: Related to this term, the day before senshuraku or the play performed before the last one is called maeraku (the day before rakubi).
Japanese: これにちなみ、千秋楽の前日、もしくは1つ前に行われる公演は「前楽」（まえらく、楽日の前の意）と呼ばれることがある。
English: Additionally, when a play on the same program is performed in various places on a tour, the play that is performed at the site visited last is sometimes called osenshuraku or oraku in particular.
Japanese: また、1つの演目で各地を巡業した場合、最後の公演地で行われる千秋楽の公演を、特に「大千秋楽」（おおせんしゅうらく、略して「大楽」（おおらく）とも）と呼ばれることがある。
English: The expressions using different characters, such as 千穐楽, are employed because the 火 (fire) included in character 秋 is observed a taboo.
Japanese: 「千穐楽」など異体字での表記は「秋」の文字にある「火」を忌んだものである。
English: This is because kabuki huts were often burned down by catching fires during the Edo period.
Japanese: これは、江戸時代の歌舞伎小屋は火事の際に類焼することが多かったためである。
English: It came from the ancient custom that, when gagaku (traditional court music) was played, "senshuraku," which suggested congratulations, was played as the last number of the day.
Japanese: 雅楽を演奏する際、1日の最後の曲には祝言の意味から必ず「千秋楽」を演奏したという古い風習
English: Or in Tsukeshugen (a short celebratory Noh play) of a Noh play, "Stroking people in general in Senshuraku" and the following part at the end of "Takasago (a Noh play)" was often sung.
Japanese: 能の付祝言において、「高砂(能)」キリの「千秋楽は民を撫で」以下が謡われることが多かった
English: At any rate, either of them is a pun and is not related directly to the programs of gagaku or Noh.
Japanese: いずれにしろ地口の一種であり、雅楽や能の曲目と直接の関係があるわけではない。
English: When plays on the same program are performed for days, the three days of shonichi (the first day), nakabi (the middle day) and senshuraku (the final day) are considered to be the most important ones, and it is customary that the performers visit each other at their respective backstage rooms and pay their compliments to each other.
Japanese: 興行の中で、初日・中日（なかび）・千秋楽の3日が特に重要な日として考えられており、出演者が互いに楽屋を訪れ挨拶するなどの習慣がある。
English: Although these formalities especially nakabi's compliment have been simplified these days, importance is still placed on shonichi and senshuraku.
Japanese: 現在では儀礼が簡略化され、中日の挨拶などは略されることが多いが、初日と千秋楽は重要視されている。
English: When the head performer or a star performer is fixed as in kabuki and commercial theatrical performances, it is also customary that the performer entertains the lower-ranked performers on the senshuraku day.
Japanese: 歌舞伎や商業演劇のように、一座の座頭や花形役者が明確に決まっている場合、下回りの役者に対して座長が振る舞いをする習慣もある。
English: Senshuraku has the special meaning as the day when a sense of unity should be confirmed among the performers, and they all take delight in having achieved a play together.
Japanese: 興行における一座の一体感を確認し、共にひとつの舞台をつくりあげてきたことを喜び合う日として、千秋楽は独自の意味を持っているといえる。
English: A party celebrating that a run of performances has completed is often held on the senshuraku day, even when the performances aren't commercial ones.
Japanese: また、商業的な演劇でなくともこの日にいわゆる「打ち上げ」が行われることも多い。
English: In kabuki, there was an unwritten rule that performers can banter and joke with one another onstage on the senshuraku day, and they sometimes mock other performers by preparing puns and mischief in advance, but only to the extent that it won't hinder the flow of the play.
Japanese: 千秋楽の日の舞台は歌舞伎などにおいては役者のふざけや冗談が許されるという不文律があり、芝居の流れを壊さない程度で、しゃれやいたずらを用意して共演者をからかうこともある。
English: To excite audiences, something not included in the script is said, the planned flow of the play is changed, ad-lib words are said, and/or an unexpected guest will appear onstage.
Japanese: その時限りの台詞や演出の変更があったり、アドリブをきかせたり、サプライズゲストが登場して観客を盛り上げることがある。
English: Therefore, performances on the senshuraku day are favored, and advance tickets are sometimes sold out before those for the other days.
Japanese: そのため千秋楽の公演は人気があり、他の公演日に先駆けて前売りチケットが売切れになったりする。
English: In the grand sumo tournaments before 1909, when Ryogoku Kokugikan (National Sumo Stadium) opened, it was customary that no wrestler in the elite Maku-uchi division would appear in the sumo ring on the senshuraku day.
Japanese: 大相撲においては、1909年（明治42年）の両国国技館開館以前は、千秋楽は幕内力士は出場しないしきたりがあった。
English: However, during the Edo period, matches between Kanban Ozeki ("guest Ozeki," big strong-looking local lads who were only brought in to draw local crowds) sumo wrestlers were sometimes scheduled on the senshuraku day alone.
Japanese: ただし、江戸時代の看板大関の場合、千秋楽だけに看板大関同士の取組がくまれることもあった。
English: The three sumo wrestlers for these three bouts on the east and the west sides would appear, corresponding to the announcement of their wrestler names, in the sumo ring at the same time, clap their hands and stamp in unison in a ceremonious way.
Japanese: この3番に登場する力士は、呼び上げとともに東西各3人が同時にあがり、拍手をうち、四股をふむ。
English: An arrow is given to the winner of the first bout, a string to the winner of the second bout and a bow to the winner of the last bout.
Japanese: 最初の取組の勝者には矢、次の取組の勝者には弓弦、結びの勝者には弓が与えられる。
English: The announcement of the winner by the sumo referee takes the form of "Yakuzumo ni kanau XX (the name of the winner of the bout)"
Japanese: 行司による勝ち名乗りも、〈役相撲にかなう○○（勝った力士のしこ名）〉というものになる。
English: When a sumo wrestler is absent and the bout is not fought, whereby a win is given to the opponent, the order of the bouts is changed so that three wrestlers are always available for soroibumi.
Japanese: なお、休場者がでて不戦勝(相撲)になるときには、取組順を変えて、そろい踏みの前に動かし、必ず3人がそろい踏みをできるようにする。
English: The maximum number of appearances in "Koreyori Sanyaku" is 58 by Koyo MUSASHIMARU, the maximum number of wins in it is 40 by Koki TAIHO, and the maximum number of losses in it is 34 by Ryuji CHIYOTAIKAI.
Japanese: 〈これより三役〉への最多登場回数は、武蔵丸光洋の58回、最多勝利は大鵬幸喜の40勝、最多敗戦は千代大海龍二の34敗である。
English: Takaya KOTOFUJI had only one opportunity to participate in soroibumi in the September sumo tournament of 1991, but he failed to do so because he was injured in a bout on the fourteenth day and lost the bout on the next day by default.
Japanese: また、琴富士孝也は、唯一の登場機会であった1991年9月場所、14日目の相撲で負傷し休場、不戦敗となったために、そろい踏みの機会を逸してしまった。
English: "Han-Noh" is a style of "Nohgaku" that a play is performed with largely shortened "Maeba" (the first half of the drama), focusing on "Nochiba", (the second half of the drama) for "Tsukeshugen" (a short celebratory Noh play).
Japanese: 半能（はん-のう）とは、能楽において付祝言のために、一曲の能を後場に焦点をあて、前場を大幅に略して演じる形態。
English: From the reason above, normally "Han-Noh" is only performed as "Waki noh" (Noh plays in which central character is God) or "Shugen-mono" (celebratory piece of Noh play) for "Gobanme-mono" (fifth-category plays).
Japanese: 上記のような理由から、通常半能は脇能か五番目物の祝言物においてしか行われない。
English: The style of "Han-Noh" shortens "Maeba" scenes after initial "shidai" (one of component parts of a Noh play) or "dan" (a section) including "nanori" (announcement of one's name) and "michiyuki" (going on a road) of "Waki" (supporting actor), and performs scenes after machi-utai (a song sung by a waki in the middle of a noh play).
Japanese: その形態は、冒頭の次第もしくはワキの名乗から道行などまでのワキを中心とする段を演じた後、前場の残りの部分を略し、待謡以降を演奏するといったものである。
English: On the other hand some pieces, such as "Shakkyo" (Stone Bridge, Noh Play), are played more often in Han-Noh style.
Japanese: しかし「石橋(能)」のように半能形式で上演されることの多い曲もある。
English: Also there are some pieces like "Shojo" (Monkey like animal in legend) and "Iwafune" (a boat-like rock), which are played in Han-Noh style too often that finally Han-Noh style became their formal performance style.
Japanese: また、「猩猩」や「岩船」のように半能形式で上演されることがあまりに頻繁であったために、ついに半能の形態が正規の上演法になってしまった曲もある。
English: Mai-goto means abstract acts (mai) that, in Noh, the shite (an actor playing the leading part), tsure (a supporting actor) and waki (the partner of a shite) perform accompanied solely by the hayashi (music played in the background), mostly in the latter half of a Noh or a Kyogen (a farce played during a Noh cycle) play.
Japanese: 舞事（まい-ごと）とは、能において、主として一曲の能や狂言の後半部分に能シテ、能シテ、能ワキが能囃子のみによって演じる抽象的な所作（舞）をいう。
English: Mai-goto in Noh are largely classified into dai-sho mono (a type that uses big and small hand drums), which is accompanied on fue (Japanese flutes), Kotsuzumi (small hand drums) and otsuzumi (big hand drums); and taiko mono (a drum-using type), in which drums are included among the instruments for playing the music.
Japanese: 能においては、囃子に用いる楽器の構成から、笛・小鼓・大鼓から成る大小物と、太鼓の加わる太鼓物に大別することができる。
English: There is another method in which mai-goto is classified into Ryochukan no ji mono (standard score-based mai-goto) and other special mai-goto, depending on the score for the fue that is played in the background.
Japanese: また地に用いる笛の譜によって、呂中干ノ地ものとそれ以外の特殊な舞事に分ける分類方法もある。
English: Ryochukan no ji mono is used as the term to collectively call the mai-goto in which a standard score (Ryochukan no ji) is played repeatedly and is changed slightly at each break point, and then the slightly changed standard score is played repeatedly with the tempo gradually increased.
Japanese: 呂中干ノ地ものは、定型的な譜（＝呂中干ノ地）を繰り返しながら、段落で少し変化（オロシ）をつけながらも、さらに定型的な譜を繰り返し、少しづつ位（速度）を早めていく舞事の総称である。
English: Although the abbreviated format using san-dan-yon-setsu (three sections and four measures) is widely used, yon-dan-go-setsu (four sections and five measures) is used formally for kamigakari (Kanze and Hosho schools) and go-dan-roku-setsu (five sections and six measures) for shimogakari (Konparu, Kongo and Kita schools) (either of which is called go-dan (five sections)).
Japanese: 三段四節の省略形式が一般的になっているが、上掛（観世・宝生）では四段五節、下掛（金春・金剛・喜多）では五段六節が正式（どちらも五段と称する）である。
English: With a moderate tempo and without any particular characteristics, the mai is classified depending on the configuration of hayashi (Chu no mai accompanied on dai-sho (big and small) hand drums or Chu no mai accompanied on drums), on the characteristics of the music or on the performers' character in the Noh play.
Japanese: 中庸の位で、特に固有の性格というものも持たず、囃子の構成（大小中之舞・太鼓中之舞）や曲趣、役柄によってそれぞれに仕分ける。
English: In the programs "Yuya" and "Matsukaze", the mai enters the basic type of dance Chu no mai following a special score called "Iroegakari" (a score of an action to make around the stage).
Japanese: 「熊野」と「松風」には「イロエガカリ」と呼ばれる特殊な譜があってから中之舞に入る。
English: Jo no mai is generated by adding to Chu no mai a section called Jo and by making the tempo slower, and it is said that a female or elderly shite dances quietly and gracefully in this mai.
Japanese: 中之舞に序とよばれる段がつけくわえられ、さらに位を重く（速度を遅く）したのが序之舞であり、女体や老人のシテが閑寂かつ幽玄に舞うものとされる。
English: There are mai accompanied on drums such as "Hagoromo" (Celestial Feather Robe), and dai-sho mono such as "Eguchi" (literally, Mouth-of-Sound) and "Izutsu" (The Well Head).
Japanese: 「羽衣」のような太鼓入りと「江口」「井筒(能)」のような大小物とがある。
English: Particularly, it is said that among the Jo no mai accompanied on dai-sho (big and small) hand drums, those the main role of which is an elderly woman should be danced quietly at the slowest tempo.
Japanese: 大小序之舞で特に老女物はあらゆる舞事のなかでももっとも位取りを重く、静かに舞うものとされる。
English: The mai of this type is limited to that in the waki Noh (noh sequence corresponding to shin that is performed first after the Okina (a performance art patterned after an ancient ritualistic ceremony)) played by an elderly noh player, as in "Oimatsu" (literally, an old pine), and it is said that, although the tempo is slow, such mai should be danced very smoothly without becoming stagnant.
Japanese: これは「老松」のような老体の脇能に限り、位は重いが運びが停滞しないようにさらさらと演じることを旨とする。
English: Ha no mai is the mai-goto, with a duration of about one section, which is added after Jo no mai or Chu no mai.
Japanese: 破之舞は序之舞や中之舞のあとに付けくわえられる一段程度の舞事である。
English: Haya mai, which was originally composed of five sections but now is generally condensed to three sections, should be always accompanied on drums.
Japanese: 早舞は五段からなるが現在では三段に略されることが一般的で、かならず太鼓入りに限られる。
English: With the tune raised, this mai is played in a cheerful, relaxed way, and is used in the playful mai by the young noble in "Toru" (MINAMOTO no Toru) or in the mai-goto, expressing the delight of becoming a Buddha, such as "Ama (in Noh)" (Diver Woman).
Japanese: 調子が高くなり、あかるくのびのびと舞い、「融」のような貴公子の遊舞ものや、「海人(能)」のような成仏の喜びをあらわす舞事に用いる。
English: In Oshiki Haya-mai, haya mai is played in the Oshiki-cho (scale in gagaku similar to Dorian mode on A), accompanied on dai-sho hand drums, and the mai is played so that ogres and ghosts look stronger than those in haya mai.
Japanese: これを黄鐘調かつ大小物で奏するのが黄鐘早舞で、通常の早舞よりも鬼や幽霊のつよさが勝ったさまを表現する。
English: Oshiki Haya-mai is performed not only in programs such as "Matsumushi" (Pine Cricket) but also when playing haya mai as waki Noh.
Japanese: 黄鐘早舞は「松虫」のような曲のほか、早舞ものを脇能として演ずる際に用いられる。
English: When "Kutsurogi" (relaxing) is written as Kogaki (a special phrase that specifically describes how the Noh is to be played), the score becomes a special one, making the shite relax at Hashigakari (the entrance portion of a main Noh stage).
Japanese: 小書として「クツロギ」がつくと途中で特殊な譜となりシテが橋掛かりでくつろぐ演出がある。
English: Otoko-mai is the mai-goto that samurai with no masks dance quickly and vigorously in Genzai-mono (noh plays of a miscellaneous or contemporary character), including "Ataka" or "Morihisa", and always accompanied on dai-sho hand drums.
Japanese: 男舞は「安宅」「盛久」など現在物の直面の武士が速く颯爽と舞う舞事で、必ず大小物に限る。
English: The Noh is configured as four or five sections depending on the Noh school, but nowadays, such programs are generally condensed to three sections.
Japanese: 構成は流儀によって四段もしくは五段と異なるが、現在では三段に略することが多い。
English: Kami mai is the mai-goto used in waki Noh, such as "Takasago (in Noh)" (one of the masterpieces of Shugen-noh (Noh for celebration)) and "Yoro" (Longevity Springs), and is played at a rather quick tempo, joyously and energetically.
Japanese: 神舞は「高砂(能)」「養老」のような脇能に用いられる舞事で、かなり位が速く颯爽と目出度く演じられる。
English: A tsure of Tennyo no mai sometimes dances before the shite, and in such cases this mai is played in the three-section format.
Japanese: シテが舞う前にツレの天女が舞う場合があり、そこで演奏される３段形式の舞。
English: Of Ryochukan no ji mono, Kyu no mai is played at the fastest tempo, and is played as the replacement for kami mai.
Japanese: 急之舞は呂中干ノ地もののなかではもっとも位がはやい舞で、神舞の替に用いられる。
English: In addition to the mai-goto described above, there are the Setto no hyoshi (a rhythm of treading on snow) in "Yuki" and Banshiki Jo no mai (the slow-tempo dance played in a key called Banshiki, which is close to the western key of B) used for a kogaki for "Hagoromo" or "Kakitsubata".
Japanese: 以上のほか、特殊な舞事として、「雪(能)」の雪踏之拍子や「羽衣」や「杜若」の小書に用いられる盤渉序之舞などがあり、
English: Furthermore, depending on the Noh school, the two programs of "Takasago" and "Yumi Yawata" (The Bow at the Hachiman Shrine), which are played at an especially fast tempo among the kami mai dances, are handled independently as genuine kami mai.
Japanese: さらに流儀によっては神舞のなかでも特に位のはやい「高砂」「弓八幡」の二曲を真之神舞として独立して扱うこともある。
English: As even more special mai-goto, there are the eight-section mai specified by kogaki for "Takasago" or thirteen-section mai specified by kogai for "Toru."
Japanese: さらに特殊であるが、「高砂」の小書にある八段の舞や、「融」の小書にある十三段の舞などもある。
English: The score of fue accompanied mai-goto other than Ryochukan no ji mono include Raku (literally, ease dance), Kagura ((sacred music and dancing performed at shrines), Kakko (double-headed barrel drum played with two sticks), Midare (literally, chaos dance), Shishi (lion dance) and Ranbyoshi (mad rhythm), each of which is danced in accompaniment to a different specific fue score.
Japanese: 呂中干ノ地以外の笛の譜による舞事としては楽、神楽、鞨鼓、乱、獅子、乱拍子があり、これらはそれぞれ異なった固有の笛の譜によって舞われる。
English: In Raku, the shite, an actor representing a person of Tang China, for example in "Tsuru-kame" (The Crane and the Tortoise) and "Kantan" (The Pillow of Kantan, Noh play), dances imitating bugaku (traditional Japanese court music accompanied by dancing), accompanied by dai-sho (big and small) hand drums or drums.
Japanese: 楽は「鶴亀」「邯鄲」など唐人のシテが舞楽を模して舞うもので、大小物と太鼓物がある。
English: The fue is basically played in the Oshiki-cho scale, but there is also Banshiki-raku in which, as a replacement, the scale is changed to Banshiki-cho before the initial section is played (always accompanied by drums).
Japanese: 笛は黄鐘調が基本であるが、替として初段前に盤渉調に転調する盤渉楽（太鼓物のみ）もある。
English: Kagura is danced by a miko (a shrine maiden) (in "Makiginu" (bolt of silk) or by a goddess (in "Miwa"), imitating a real kagura dance, and is always accompanied by drums.
Japanese: 神楽は巫女（「巻絹」）や女体の神（「三輪」）が舞うもので実際の神楽を模してつくられており、かならず太鼓入りで奏される。
English: Ordinarily, the first half is composed of three kagura sections where fue and kotsuzumi play a special tune and the latter half is changed (fixed) into two kami mai sections (it is construed that the miko has been possessed by the goddess).
Japanese: 前半では笛と小鼓が特殊な手を奏する神楽部分３段、後半は神舞２段に変化する（直り）のが普通（巫女に神が乗り移った解釈）である。
English: Kakko is the mai-goto in which the shite, an entertainer visiting various places, as in "Kagetsu" and "Jinen koji," dances while hitting Kakko (a double-headed barrel drum played with two sticks), always accompanied by dai-sho (big and small) hand drums, and comprises three sections.
Japanese: 鞨鼓は「花月」「自然居士(能)」など遊芸者のシテが鞨鼓を打ちながら舞う舞事で、大小物に限り、三段から構成される。
English: Two types of Midare, Shojo Midare (disorder of Shojo (an imaginary animal)) and Sagi Midare (disorder of heron), exist, and each of them is a special dance specific to the program.
Japanese: 乱には猩々乱と鷺乱の二種があり、それぞれ当該曲のみに限られる特殊な舞である。
English: Shojo Midare is danced accompanied by drums, and its features are that the tempo suddenly changes from a fast one to a slow one or from a slow one to a fast one, and a special dance style of nagare-ashi (making the legs slip) is used.
Japanese: 猩々乱は太鼓入りで、調子の緩急が激しく、流れ足などの特殊な型を用いるところに特色がある。
English: Shishi is the mai-goto specific to the three programs of "Shakkyo (in Noh)" (Stone bridge, Noh Play), "Mochizuki" (The Full Moon) and "Uchito mode" (The Pilgrimage), and is always danced with drums as the accompaniment.
Japanese: 獅子は「石橋(能)」「望月」「内外詣」の三番にのみかぎられる太鼓入りの舞事である。
English: The mai depicts a shishi (lion) playing with peonies, and it is said that the style of shishimai (lion dance), which was played widely in the medieval period, has been incorporated in it.
Japanese: 獅子が牡丹に戯れる様を勇壮に描き、中世に流行した獅子舞を能に取入れたものといわれる。
English: Ranbyoshi is the mai-goto specific only to "Dojo-ji Temple" at present, and the shite dances in a special leg-moving style corresponding to each sharp sound of the kotsuzumi, which is hit vigorously.
Japanese: 乱拍子は現在「道成寺」にしかない特殊な舞事で、小鼓のみの裂帛の気合にあわせたシテの特殊な足づかいで舞う。
English: Kakko is the same as that for Noh, but in Kyogen the shite plays an acrobatic dance toward the end of a kyogen program.
Japanese: 鞨鼓は能の鞨鼓と同じもので、狂言ではシテが最後のほうに曲芸的な様を見せる型がついている。
English: In Kagura in Kyogen, as in "Daihannya" (Sutra of Great Wisdom), the mai-goto danced by a miko with a bell is enlivened by music with fue and kotsuzumi, imitating the section for bells in Sanbaso (a dance dedicated to the shrine and performed in a Japanese style with three dolls, Chitose, Okina and Sanbaso, manipulated by three doll handlers).
Japanese: 「大般若」のように鈴を持って舞う巫女の舞事を笛と小鼓で囃すものであり、三番叟の鈴之段を模している。
English: "Shiki Sanban" is one of the performing arts that form part of Nohgaku (the theatrical art of Noh), along with Noh (Noh plays) and Kyogen (a farce presented between Noh plays).
Japanese: 式三番（しき-さん-ばん）とは、能・狂言とならんで能楽を構成する特殊な芸能の一つ。
English: It has not only been incorporated into Kabuki and Japanese dancing, but it has also been preserved as a folk entertainment and a Shinto ritual around the country.
Japanese: そして、歌舞伎舞踊や日本舞踊にも取入れられているほか、各地の郷土芸能・神事としても保存されている。
English: Incidentally, contemporary Nohgaku-shi (Noh actors) call it 'Okina' (the elder or an old man) or 'Kamiuta' (a song for god) (during su-utai, which is the chanting of a Noh text without music or dance).
Japanese: なお、現代の能楽師たちはこの芸能を「翁」「神歌」（素謡のとき）と呼んでいる。
English: According to Tetsu no jo KANZE the eighth, it was originally a farming community event to pray for a bountiful grain harvest, and Okina, Senzai, and Sanbaso respectively personified a village chief, a youth, and a farmer.
Japanese: 8世観世鐵之丞によると、もともとは五穀豊穣を祈る農村行事であり、翁は集落の長の象徴、千歳は若者の象徴、三番叟は農民の象徴であるとされる。
English: It is composed of Chichi no jo (the dance of the father elder), Okina (the celebratory words and dance of white Okina), Sanban Sarugaku (or Sanbaso written as 三番叟 and in the case of Okura-ryu (Okura school) as 三番三 in kanji (Chinese characters), which consists of the celebratory words and dance of black Okina), and Furyu (a program performed by Kyogen-kata in special stage performances).
Japanese: 父尉（ちちのじょう）・翁（おきな）・三番猿楽（三番叟（さんばそう）、大蔵流では三番三）および風流から構成される。
English: However, Chichi no Jo, Okina, and Sanban Sarugaku have been always put on the stage in a series and, as such, it has the common name of Shiki Sanban.
Japanese: しかし、父尉・翁・三番猿楽はかならず連続して上演されたためにこの呼び名がある。
English: In the case of Gobandate (a five-play program), Shiki Sanban is performed as Shugen (which is the abbreviation for Shugen Noh, meaning celebratory Noh) for the entire performance before Waki Noh (which is the Noh that is positioned to the waki, or side, of the Okina and that is also known as Shobanme-mono (first-group plays) and Kami Noh (god Noh plays)).
Japanese: 五番立（ごばんだて）の場合には脇能に先だって、全体の祝言（しゅうげん）として演ぜられる。