nntsuzu/KFTT huggingface dataset:
English: There are words to assist in remembering how to wear kimono, 'dyed kimono with woven obi (a belt or sash for kimono) (for formal wear), and woven kimono with dyed obi (for casual wear).'
Japanese: 着物の装いの早覚え法として「（正装は）染めの着物に織の帯、（趣味着は）織の着物に染めの帯」という言葉がある。
English: Dyed kimono refers to Yuzen, which is a specialty of Kyoto as well, and woven obi refers to Nishijin's nishiki (brocade), which is considered the most graceful obi of all.
Japanese: 染めの着物とは同じく京都の特産品である友禅のことで、織の帯とは最も品格が高いとされる西陣の錦をさす。
English: The woven kimono is a textile of lower quality and made for personal interests such as tsumugi, while dyed obi refers ones with Yuzen-printed patterns.
Japanese: 続く織の着物とは紬などの格の低い趣味的な織物のこと、染めの帯は友禅などの染め模様の帯をさす。
English: When the fourteenth shogun, Iemochi TOKUGAWA, planned to goto Kyoto, the origin of his wife Imperial Princess Kazunomiya Chikako, he asked her what she wanted as a souvenir, and she asked him to bring Nishijin ori.
Japanese: 14代将軍徳川家茂は京都行きが決まると妻和宮親子内親王に故郷の土産は何がよいかと訊ねたところ、和宮は西陣織をねだった。
English: However, Iemochi passed away at Osaka-jo Castle, so Kazunomiya, who was given the Nishijin ori, composed a poem in sorrow.
Japanese: しかし家茂は大坂城で亡くなり、和宮には西陣織が届き悲しみつつ歌を詠んだ。
English: Noh is a type of "Nohgaku (Noh music)" used in a kind of Japanese original stage performing art of which the completion was realized in the late Kamakura period or the beginning of the Muromachi period.
Japanese: 能（のう）は、鎌倉時代後期から室町時代初期に完成を見た、日本独自の舞台芸術の一種である「能楽」の一分野である。
English: In today's Japan, Noh is regarded as a traditional performing art internationally recogniｚed and is as highly reputed as kabuki is (a Japanese traditional drama performed only by male actors).
Japanese: 現在では日本における代表的な伝統芸能として遇され、歌舞伎に並んで国際的に高い知名度を誇る。
English: Based upon the Law governing the Protection of Intangible Cultural Properties, it has been published in the representative list of "human's intangible cultural properties," and in fact, it has already been decided to be the first intangible world property to be registered in September, 2009.
Japanese: 無形文化遺産保護条約に基づく「人類の無形文化遺産の代表的な一覧表」に掲載されており、2009年9月に予定される初の登録での世界無形遺産への登録が事実上確定している。
English: Behind the protagonist (Shite) is a traditional Noh musicians (facing from the right are a whistle, a small drum, a big drum, and a side base drum) and prompters are sitting.
Japanese: シテの後に能囃子方（向かって右から、笛、小鼓、大鼓、太鼓）、後見が座っている。
English: Noh is a music-and-mask play comprising mainly of the dance of a protagonist (Shite) accompanied by a Noh chorus and Noh musicians.
Japanese: 能は、俳優（「シテ」）の歌舞を中心に、伴奏である地謡（じうたい）や囃子（はやし）などを伴って構成された音楽劇・仮面劇である。
English: Dancing and chanting of the Noh text and in fact performing the art are done by the protagonist (Shite), the Nohwaki and the Noh jester (Kyogenkata), while the accompanied music is performed by musicians (small drum, big drum and side bass drum).
Japanese: 舞と謡を担当し、実際に演技を行うのがシテ方、ワキ方および狂言方であり、伴奏音楽を担当するのが囃子方（笛方、小鼓方、大鼓方、太鼓方）である。
English: Because a Noh play is centered on the protagonist (Shite), the Nohwaki, the musicians and the Noh jester (Kyogenkata) are generically called, "the three key characters (Sanyaku)".
Japanese: 能は、シテ方が中心となって行われるため、ワキ方、囃子方、狂言方を総称して「三役」と呼ぶ。
English: Noh has a lot of unusual features, among which an especially important feature is that the "dead" play a central role in Noh.
Japanese: 能の特徴は数多いが、中でも重要なのは「死者」が能の中心となっているという点である。
English: Tetsunojo KANZE VIII pointed out, that the fundamental structure in Noh is "the perspective from the world of the dead."
Japanese: 八世観世銕之丞は能の大きな特徴として「死者の世界からものを見る」という根本的な構造を指摘している。
English: Many Noh plays have some supernatural creatures such as ghosts, fairies or demons, etc. as the protagonist (Shite), and the play structure is mostly the supporting player (Nohwaki), who is often a flesh-and-blood character, who discovers their stories by questioning.
Japanese: すなわち、能においては多くの場合、亡霊や神仙、鬼といった超自然的な存在が主役（シテ）であり、常に生身の人間である脇役（ワキ）が彼らの話を聞き出すという構造を持っているのである。
English: Tetsunojo has attributed the reason for this structure to the fact that Sarugaku (literally "monkey music," a form of Japanese theatre performing art resembling a circus, that was popular in Japan during the 11th to 14th centuries) was compiled by Kan-ami, Zeami, Zenchiku KOMPARU, et al during the Muromachi period, a chaotic war period during which death was extremely close by.
Japanese: これについて銕之丞は、観阿弥・世阿弥・金春禅竹らによって猿楽が集大成された室町期は戦乱の時代であり、死が人々にとって極めて身近なものであったことを、こうした構造の理由に挙げている。
English: Naohiko UMEWAKA also pointed out that, Noh's structure of treasuring dialogue by the dead has made possible the construction of a Noh world of original beauty.
Japanese: 梅若猶彦もこのような死者による語りの構造を重視し、能はこのような構造を持つことで、能独自の美の世界の構築を可能としていると指摘している。
English: UMEWAKA quoted as the example the revenant (one who returns after death) of the protagonist (Shite) Sanemori SAITO appears in the dream of a Nohwaki and there is a scene which the revenant, while talking about how he died, washes his own severed head.
Japanese: 梅若はその例として、「実盛」のシテである斉藤実盛の亡霊がワキの夢の中に登場し、己の死に様を語りながら、己の生首を洗うという場面を挙げている。
English: In this scene, although Sanemori's revenant performed by the protagonist (Shite) has his head still attached, at the same time, the revenant is holding his own severed head in his hands.
Japanese: この場面ではシテ演じる実盛の亡霊には首が付いているのであるが、同時に実盛の亡霊は切り落とされた自分の生首を手に持っているのである。
English: To explain such an irrational scene, UMEWAKA points out that Noh has in general an incomprehensible structure such as 'Nohwaki dreaming of protagonist (Shite) who is also dreaming in it.'
Japanese: このような不条理な演出が可能となっている理由として梅若は、能が一般に「ワキの夢の中でシテが夢を見ている」という難解な構造を持っていることを指摘した。
English: He argues that this "dialogue by the dead," a basic structure of Noh, has in fact realized the construction of a story world unachievable by other types of plays.
Japanese: 「死者による語り」という能の基本構造が、こうした他に例を見ない物語世界の構築を実現していると論じている。
English: Moreover, some peculiar Noh plays by professionals are elaborate one-time performances without rehearsal.
Japanese: また玄人による能は、入念なリハーサルを行わない上に一度きりの公演であるという点も独特である。
English: In usual drama, rehearsals are repeatedly done before the performance and occasionally, there may even be a general probe during which the actors and actresses who dress up in the same costumes rehearse on the same stage before the actual performance.
Japanese: 通常の演劇では事前にリハーサルを重ね、場合によってはゲネプロという形で全て本番と同じ舞台・衣装を用いる。
English: For Noh, performers are mustered only once for "mutual agreement and arrangement" before the actual performance as a rule and moreover, masks and costumes are not used.
Japanese: 能では事前に出演者が勢揃いする「申し合わせ」は原則一回であり、しかも面や装束は使用しない。
English: Bearing upon this, Tetsunojo KANZE VIII argues that, Noh were originally completely impromptu performances and if the performers understood one another too much, it becomes a demerit.
Japanese: これについて前出の八世観世銕之丞は、能は本来、全て即興で演じられるものであり、出演者同士がお互いのことを解りすぎていることは、能においてはデメリットになると論じている。
English: Even in the writings of Zeami, who compiled Noh, it is said that the meaning of "Yugen" is not necessarily consistent.
Japanese: 能を大成した世阿弥の著述においても「幽玄」が意味するところは必ずしも一定していない。
English: For instance, the "Yugen" in "Kakyo (literally flower mirror)" means "only a body of beauty and tenderness" such as the mode of behavior and atmosphere expressed by Kuge (court nobles) of the contemporary early Muromachi Period.
Japanese: 例えば『花鏡』においては、同時代（室町初期）の公家の挙措やたたずまいのように「ただ美しく柔和なる体」を「幽玄」としている。
English: However, UMEWAKA pointed out that the most important esthetic concept in Zeami's theory of Noh is not "Yugen (Subtle and profound)" but "Myo (Strangeness)" and "Yugen" is not a ruling principle of Noh from the aesthetic aspect.
Japanese: ただし、梅若猶彦は世阿弥の能論における最も重要な美的概念が「幽玄」ではなく「妙」であることを指摘しており、「幽玄」が能の美的側面における支配原理というわけではない。
English: Concerning "Myo (Strangeness)," Zeami did not completely finish explaining the principle and the content of Myo's emergence. He tried to explain by using metaphors "Appearance without shape" and "Innocence."
Japanese: 「妙」については世阿弥もその出現の原理や内容を完全に説明しきれておらず、「形無き姿」「無心」といった比喩によって説明を試みた。
English: Moreover, he pointed out this aesthetic character is also felt occasionally in the performing techniques of the Noh players.
Japanese: またこの美的性質は子方の演技においても稀に感得されることがあると指摘している。
English: UMEWAKA compared "Myo (Strangeness)" and "Yugen (Subtle and profound)" and he argued that "Myo" acts on both the performers and the spectators when it appears; on the contrary, "Yugen" is nothing more than the aesthetic character which a performer intentionally expresses to the spectators.
Japanese: 梅若は「妙」と「幽玄」を比較し、「妙」はそれが現れた時には演技者と観客のいずれにも作用するものであるのに対し、「幽玄」はあくまでも演技者が観客に対して意図的に表現しようとする美的性質に留まると論じている。
English: According to Tamotsu WATANABE who accepted Kunio YANAGIDA's theory, while the word "Dance" contains leaps and jumps, the word "dance" in Noh means "turn," or in other words "rotary motion," a characteristic of Noh dancing.
Japanese: 柳田国男の論を受けた渡辺保によれば、「踊り」が飛躍や跳躍を含む語であるのに対し、「舞」は「まわる」つまり円運動を意味する語であり、そこに能の舞の特色があるとされる。
English: The features of a Noh dance are the excessive sliding of one's feet along, the peculiar posturing of one's body, and rotary motions.
Japanese: 能の舞の特徴は、極端な摺り足と独特の身体の構え、そして円運動である。
English: The sliding feet is a peculiar stepping or way of walking where the soles are slipped along the stage surface without raising the heels (this is called hakobi in particular) and to do this smoothly, it is necessary to pose so the center of gravity is lowered by flexing one's knees and dropping one's waist.
Japanese: 摺り足とは、足裏を舞台面につけて踵をあげることなくすべるように歩む独特の運歩法で（特にこれをハコビと称する）、これを円滑に行うためには膝を曲げ腰を入れて重心を落とした体勢をとる必要がある。
English: Moreover, unlike kabuki or its derived Japanese dance, which requires that dancing on an oblong stage be shown facing towards the spectators from the frontal direction, Noh on a stage near the square, on the contrary, considers the spectators from the three directions and this also accounts for its rotary motions in Noh.
Japanese: また能は、歌舞伎やそこから発生した日本舞踊が横長の舞台において正面の客に向って舞踏を見せることを前提とするのに対して、正方形に近い舞台の上で三方からの観客を意識しながら、円を描くようにして動く点にも特徴がある。
English: Noh dancing is static and has no drastic changes from fast to slow in one performance and it is characterized by showing stiff line by forcing a body to be under extreme tension.
Japanese: また能の舞は、静的であり、一曲の中にはなはだしい緩急がなく、身体に極度の緊張を強いることでかたい線を出そうとするという特色も持っている。
English: The portion chanted with the eight-beat rhythm is called "Hyoshi-ai (congruent rhythm)" and the standard tempo is called "Hiranori," the fast tempo is called "Chunori," and the slow tempo is called "Onori".
Japanese: 八拍子で謡われる部分を「拍子合」（ひょうしあい）と呼び、標準的なテンポを平ノリ（ひらのり）、速めのテンポを中ノリ、遅めのテンポを大ノリと呼ぶ。
English: The chanting of a Noh text with a rhythm other than the eight-beat rhythm is called "Hyoshi-awazu, (unmatched or noncongruent rhythm) ".
Japanese: 八拍子から外れているリズムの謡は「拍子不合」（ひょうしあわず）と呼ばれる。
English: In Noh, the chanting of a Noh text can be roughly divided into the characters in the play (such as the protagonist (Shite), the Nohwaki, Tsure et al), and the back-up chorus of eight people called "Jiutai".
Japanese: 能において謡をうたうのは大別するとシテ、ワキ、ツレなど劇中の登場人物と、「地謡（じうたい）」と呼ばれる8人のバックコーラスの人々である。
English: On one hand, jiutai reveals a character's psychological portrait and describes a scene and on the other hand, it may occasionally represent the feelings of the protagonist (shite), or a dialogue duet with the Nohwaki.
Japanese: 一方、地謡は登場人物の心理描写や情景描写を担当しているが、場合によってはシテの感情を代弁してうたうこともあり、ワキと地謡が掛け合いをするケースもある。
English: In jiutai, the so-called jigashira (literally "Head of jiutai") is playing the role of a concertmaster.
Japanese: 地謡は地頭（じがしら）と呼ばれる存在がコンサートマスターのような役割を果たしている。
English: Moreover, jiutai intentionally adopts a heterophony such that the pitch of the voice for each individual is changed.
Japanese: また地謡は意図的に個々の者が声の高さを変えてうたうヘテロフォニーを用いている。
English: The vocalization of a Noh chant can be classified into two kinds; "weak chanting" (yowagin) and "strong chanting" (tsuyogin).
Japanese: 謡の発声法は「弱吟」（よわぎん）と「強吟」（つよぎん）の2種類に分かれている。
English: Similarly, according to Tetsunojo KANZE VIII, while "weak chanting" is a melodious expression with a fine musical scale, "strong chanting" is an expression to emphasize the strength of the sound.
Japanese: 同じく八世観世銕之亟によると、「弱吟」は細かい音階をもつメロディアスな表現、「強吟」は音の強弱を強調した表現とされる。
English: A Noh chant can be roughly divided into the part with melody (fushimawashi) and the part without melody (kotoba).
Japanese: 謡は大きく、節回しのある部分と節回しのない部分（コトバ）とに分けることができる。
English: Kotoba corresponds to the usual dialogues and conversations and only the acting performers (protagonist (shite), Nohwaki, and tsure) utter it.
Japanese: コトバは通常の科白、対話に相当し、役を演じる者（シテ、ワキ、ツレ）だけが発声する。
English: Moreover, even if it is a conversation between the actors, it is not uncommon that an exchange of kotoba may suddenly switch to a melodic chant according to the climax of one's feelings.
Japanese: また役を演じる者同士の対話であっても、ある点までコトバのやりとりであったものが、片方の感情の高潮によって途中から節のついた謡へと切替わることが少なくない。
English: The musical instruments used by the Noh musicians (Noh gaku-hayashi) have 4 types: flute (Noh pipe), small hand drum (kotsuzumi), big drum (ohkawa, also called "big skin"), and side drum (taiko).
Japanese: 能の囃子（能楽囃子）に用いられる楽器は、笛（能管）、小鼓（こつづみ）、大鼓（おおかわ、大皮とも称する）、太鼓（たいこ、締太鼓）の4種である。
English: A play is a complicated assembly composed of 3 components: "scenes composed only of a Noh chant," "scenes during which both a Noh chant and the musician's performance," "scenes with only musician's performance (with the protagonist (shite) dancing in most cases)."
Japanese: 一曲のうちには、「謡のみによって構成される場面」「謡と囃子がともに奏される場面」「囃子のみが奏される場面（たいていの場合、これはシテの舞である）」の3つが複雑に入り組んでいる。
English: Generally speaking, when the musicians perform with the chanting from a Noh text, it serves as musical accompaniment.
Japanese: 概していえば囃子が謡とともに奏される場合には謡の伴奏的な役割をはたす。
English: Moreover, now, as a signal that the Noh play is starting, "a musical note (Oshirabe)" is performed by the Noh musical band in "Mirror Room (Kagami-no-ma) " located in the back of the bridge leading to the stage.
Japanese: また現在では能が始まる合図として、橋がかりの奥にある「鏡の間」で囃子方が音出しを行う「お調べ」が用いられている。
English: The Noh pipe is a flute made of bamboo, with a mouthpiece (the hole into which air is blown) and seven note apertures and the surface is covered with cherry birch or Japanese lacquer.
Japanese: 能管は、竹製の横笛で、歌口（息を吹きこむ穴）と音孔（7つ）を持ち、表面を桜樺・漆で覆っている。
English: Thanks to this "throat (nodo)," a high pitched sound (Hishigi) peculiar to Noh music can be easily made as distinct from other flutes such as dragon flute and Japanese transverse bamboo flute.
Japanese: これによって龍笛・篠笛など他の横笛とは異色の、能楽独特の高音（「ヒシギ」）を容易に発することができる。
English: Since the Noh pipe is the only melody musical instrument with the four-beat-rhythm, it plays a central role during a Noh dance (jo-no-mai or chu-no-mai) when only the Noh musicians are providing the sound.
Japanese: 能管は「四拍子」のなかでは唯一の旋律楽器で、囃子のみによる舞（序之舞、中之舞など）では中心的なはたらきをする。
English: During the Noh musician's solo performance, a melody congruent to the rhythm is played but when accompanying a Noh chant, a melody not congruent to the rhythm is played.
Japanese: 囃子単独の演奏の場合には拍子にあった旋律を吹くが、謡にあわせるときには拍子に合わないメロディーを吹く。
English: Each of the two leather skins is mounted on the front and back (horse leather covers a ring of plastron) and is secured with hemp yarn (called "adjusting string (sirabeo)").
Japanese: 表裏2枚の革（馬革を鉄製の輪に張ってある）を置き、麻紐（「調緒（しらべお）」という）で締めあげた楽器である。
English: Depending upon how the adjusting string is gripped, where drum head is struck, and how strong the strike is, it will play one of four sounds (called as"chi," "ta," "pu" and "po").
Japanese: 調緒のしぼり方、革を打つ位置、打ち方の強弱によって4種類の音（チ、タ、プ、ポ、という名前がつけられている）を打ちわける。
English: Since some moisture is always necessary for the performance, the artist breathes on the leather and the tuning paper (Choshigami, a small piece of Japanese paper mounted on the back of the leather) is adjusted by wetting with saliva.
Japanese: 演奏にはつねに適度な湿気が必要で、革に息をかけたり、裏革に張ってある調子紙（和紙の小片）を唾でぬらしたりして調節する。
English: Although the big drum is called "a large skin" to distinguish it from the small hand drum, the material and the construction are almost the same as the small hand drum; only the size is bigger overall.
Japanese: 大鼓は、小鼓と区別するために大皮とも呼ばれるが、材質、構造はほぼ小鼓に等しく、全体的にひとまわり大きい。
English: Because moisture is an extreme nuisance, the leather should be dried over a charcoal fire before the performance.
Japanese: 湿気を極度に嫌うので、革は演奏の前に炭火にかざして乾燥させる必要がある。
English: Because it is very painful to hit with a bare-hand leather mounted with the thick, long hemp rope, "finger leather (Yubikawa)" are worn on the middle finger and the ring finger with "leather (Ategawa)" placed on the palm.
Japanese: 太く長い調緒を使って張りつめた皮を素手で打つのは大変痛いので、中指や薬指に「指皮」をはめ、掌（てのひら）に「当て皮」をつける。
English: It is said that a big drum was originally a musical instrument that evolved from a small hand drum and in early days it is thought that younger drummers accompanied the small hand drums by playing the big drums.
Japanese: 本来大鼓は小鼓の連調から発展してきた楽器であるといわれ、初期には鼓方の若手が大鼓にまわって小鼓の伴奏をしたのではないかと考えられている。
English: Therefore, the striking style of the big drum is derived from that of the small hand drum and the hand (score) is carefully written so that when accompanying the small drums, it is easier for small drums to strike.
Japanese: そのため、大鼓の流儀は小鼓のそれから派生したもので、同流の小鼓が打ちやすいように手（譜）が考慮されている。
English: There are 2 plectra and the side drum is mounted on a stand (called hidarikichidai) put on the floor and the side drum is struck in front of the body sitting upright.
Japanese: 撥は2本で、太鼓を台に載せて床に置き（この台を左吉台という）、正座した体の前で打つ。
English: There are two types of sounds which initiates a four-beat-rhythm; the weaker sound that doesn't ring out (the plectrum is held and it sounds like tsukutsuku), and the louder sound that rings out (small plectrum, medium plectrum, big plectrum, or shoulder plectrum is used, and it sounds like "tenten").
Japanese: 音は響かせない小さな音（押さえる撥・ツクツク）と響かせる大きな音（小の撥、中の撥、大の撥、肩の撥・テンテン）の2種で、四拍子のリズムを主導する役割を担う。
English: Basically, the side drum is played only during a grotesque scene when a departed spirit or a devil appears and apart from that, only flutes and big and small hand drums are used (with the big drum initiating the rhythm).
Japanese: 太鼓が入るのは基本的に死者の霊や鬼畜の登場する怪異的な内容の曲のみで、そのほかの場合には笛と大小の鼓のみで演じる（この場合には大鼓がリズムの主導役を担う）。
English: To distinguish the 2 types of scenes, the former is called "side drum scene (Otuzumimono or Otuzumiirimono)" or "four-beat-rhythm (Yonbyoshimono or Shibyoshimono)", while the latter is called "big-and-small-drum scene (Daishomono)".
Japanese: 前者を「太鼓もの（太鼓入りもの、四拍子もの）」、後者を「大小もの」と呼んで区別する。
English: Besides the above-mentioned, occasionally the protagonist (Shite) hits a gong drum (shoko) on the stage ('Sumida-gawa River (Noh)' and 'Mii-dera Temple').
Japanese: 以上のほかに、舞台上でシテが鉦鼓（しょうこ）を鳴らす場合もある（『隅田川(能)』『三井寺』）。
English: Mostly, the purpose is to express the sound of a bell or gong from a prayer to the Buddha but in this case, the drum is not struck at random and rather, there is a decided score.
Japanese: 多くは鐘の音や念仏の鉦鼓の音を表現するためだが、この場合もやみくもに打つのではなく、決まった譜がある。
English: Moreover, in modern Noh, musicians other than Noh occasionally join the performance for background music (In the Noh play "garasha", Christian hymns and pipe organs, etc are used).
Japanese: また新作能においては、これら囃子方以外の音楽家が背景音楽の演奏に加わることもある（「伽羅沙」でのキリスト教の賛美歌やパイプオルガンなど）
English: The details of how these forms were established are not clear but UMEWAKA, as mentioned above, wondered if the forms that first appeared during Edo Period, evolved and became stabilized during the Showa Period.
Japanese: これらの型の成立の経緯についてははっきりしないが、前出の梅若猶彦は型の出現を江戸期、型が安定的に継承されるようになったのは昭和期ではないかと推測している。
English: As for the reason why this form appeared, UMEWAKA quoted the fact that study achieves efficiency by attaching names to the bodily movements.
Japanese: 型が出現した理由として梅若は、身体動作に名前を付けることで学習が効率的になるということを挙げている。
English: Moreover, UMEWAKA pointed out that, in modern Noh, these forms are unnecessarily valued too much to the harmful extent that it has become like the object of a kind of belief.
Japanese: また梅若は、現代の能においてはこれらの型が必要以上に重視され、一種の信仰の対象のようになっていることの弊害も指摘した。
English: UMEWAKA also pointed out that in Zeami's writing, a belief in form is not mentioned, and the important thing is to acquire the ability for a performer to freely control the relationship between the inside and the body in which it is impossible to acquire by merely studying the form.
Japanese: また世阿弥の著述からは型への信仰は窺えないこと、重要なのは役者が自分の内面と身体の関係を自由にコントロールできる能力を身に付けることであり、型の学習のみではそれは不可能なことを指摘している。
English: Hang the left hand up and move out to the left by one or several steps and then, hang the right hand up and move out to the right by one or several steps.
Japanese: 左手を掲げて左に一足ないし数足出た後、右手を掲げて右に一足ないし数足出る型。
English: Today, the costumes are stylized, and the directions on how to use them are strictly outlined.
Japanese: 今日では装束（しょうぞく）も様式化され、使用法が厳格に定められている。
English: The underlying background is the development of fabric technology in the Edo Period, and the inflow of abundant capital from statesmen including the shogun's families.
Japanese: その背景には、江戸期における織物技術の発達、将軍家をはじめとする為政者の潤沢な資金の流入がある。
English: For the props on the stage, those kept rom before are called "small properties," while those made each time for a Noh performance are called "replicas."
Japanese: 舞台に乗せる道具類で、予め作って保管しておくものを「小道具」、演能の度に作る物を「作リ物」と呼ぶ。
English: A replica may be extremely simplified. For instance, a "boat" in Noh is not bigger than an enlarged main wing of a model aircraft made of bamboo poles. It is big enough for Noh though.
Japanese: 作リ物は極端なまでに簡略化され、例えば「舟」は竹ヒゴ製模型飛行機の主翼を大きくしたようなものに過ぎないが、能にはこれで十分である。
English: In many cases, a protagonist (Shite) plays the role of a supernatural entity like god, revenant, long-nosed goblin, or demon and occasionally, he does play some flesh-and-blood roles such as Benkei in the Noh play "Ataka".
Japanese: 多くの場合、シテが演じるのは神や亡霊、天狗、鬼など超自然的な存在であるが、生身の人間を演じることも無いわけではない（「安宅」における弁慶など）。
English: A Noh play in which the protagonist plays the role of a supernatural entity is called a fantasy Noh, while a Noh play in which the protagonist plays the role of a realistic human is called a modern Noh.
Japanese: シテが超自然的な存在を演じる曲を夢幻能、シテが現実の人間を演じる曲を現在能と呼ぶ。
English: Generally, a child role is played by a child who is receiving training as a pro protagonist.
Japanese: また、一般に子方はシテ方としての訓練を受けている最中の子供が演じる。
English: The main character related to the protagonist, is called "tsure," a minor role without much relation to the story stripe is called "tomo," and among the tomo, a role that appears in order to make up a large number of people on the stage is called the "standing crowd" (tachishu).
Japanese: シテにかかわりのある登場人物のうち、主だったものをツレ、物語の筋に深く関係を持たない端役的なものをトモ、トモのうち単に大人数を舞台に出すことを目的として登場する役を立衆（たちしゅう）と呼ぶ。
English: In some Noh plays such as "semi-maru," and "Goko OHARA," the tsure is playing a role almost as important as the protagonist and such Noh plays are called "double protagonist Noh,"
Japanese: このうちツレには『蝉丸（せみまる）』『大原御幸（おはらごこう）』のように、ごくまれにシテとほぼ同格と言える重要な役割を持つものがあり、このような能を「両ジテもの」と称する。
English: Moreover, as mentioned above, since this role is one-sided, listening to messages from the protagonist, it is rare for Nohwaki to show any brilliant activity on the stage.
Japanese: また、その役割は上記のとおり一方的にシテの言うところを受けとめるものなので、舞台上で華々しい活躍を見せることはめったにない。
English: Thus, a Nohwaki sits on the stage most of the time and there is even a comic haiku (Senryu) saying, "A Nohwaki monk may like to have a tobacco tray."
Japanese: その役柄故、舞台上では座っていることが殆どなので、「ワキ僧は煙草盆でもほしげなり」という川柳も詠まれている。
English: Generally, compared with a pro protagonist, a pro Nohwaki is required to have a harder, upright acting style.
Japanese: ワキ方はシテ方との対比上、硬質で剛直な芸風を求められるとするのが一般的な説である。
English: Nohwaki was originally an abbreviation for "Side protagonist (waki-no-shite)" and in the old days, there was no difference between pro protagonist and pro Nohwaki.
Japanese: ワキは本来「脇のシテ」の略であり、古くはシテ方ワキ方の別はなかったとされる。
English: The second actor in the Noh company, or the actor sitting in the prompter seat of the leading actor (Tayu, leading actor in a Noh play) is the Nohwaki.
Japanese: 一座の第二位の役者、もしくは第一位の役者（「太夫」と言う）の後見役にある役者がワキである。
English: During the Middle Ages, Nohwaki took the leadership of the Noh chorus (jiutai) and because of this influence, even during the Edo period when a pro protagonists (shitekata) and pro Nohwaki (wakikata) were separated, Noh chorus was taken up mostly by pro Nohwaki.
Japanese: 中世期、ワキが地謡の統率者（地頭）を兼ねており、その影響で、江戸時代に入ってシテ方とワキ方が分離した時期においても地謡はワキ方が担当することが多かった。
English: As time went by, the part, sometimes, switched alternatively to the pro protagonists, or might be performed by some specialist called the "pro Noh chorus" during some transitional period and now, it has assumed the present form.
Japanese: 時代が下るにつれてシテ方と交替し、あるいは過渡期的に「地謡方」という専門の役職ができたりして変遷をたどりながら現在のかたちに落ちついたとされる。