nntsuzu/KFTT huggingface dataset:
English: Shoroku ONOE (II) (March 28, 1913 - June 25, 1989) was a Kabuki actor in the Showa period.
Japanese: 二代目尾上松緑（にだいめおのえしょうろく、大正2年（1913年）3月28日-平成元年（1989年）6月25日）は昭和期の歌舞伎役者。
English: He received training from Kikugoro ONOE (VI) and with his stout imposing build he was active in lead roles in both historical and dramatic theater as well as being known as a superb dancer.
Japanese: 六代目尾上菊五郎の薫陶を受け、恰幅のいい体つきで時代・世話を問わず立役として活躍し、また踊りの名手としても知られた。
English: He was born in Tokyo as the third son of celebrated actor Koshiro MATSUMOTO (VII) on March 28, 1913.
Japanese: 1913年3月28日、名優松本幸四郎(7代目)の三男として東京に生れる。
English: Thereafter, he received thorough instruction in lead roles from his teacher, and in 1935 he took the name Shoroku ONOE (II) after Shoroku OTOWAYA (Kabukiza Theater "Meiboku Sendaihagi" starring Otokon Oosuke Arajishi and others)
Japanese: 以後師によって立役としての厳しい薫陶を受け、1935年音羽屋所縁の名跡二代目尾上松緑を襲名する（歌舞伎座『伽羅先代萩』荒獅子男之助ほか）。
English: During World War II, he was sent to the battlefront in China, and at the end of the war his eldest son was born (1946 Tatsunosuke Onoe (I)).
Japanese: 戦中は中国戦線に出征し、終戦を挟んで、長男亨の誕生（1946年。後尾上辰之助(初代)）
English: It was an eventful year (1949) as his father Koshiro MATSUMOTO (VII) and Kikugoro ONOE (VI) died, however after the death of Kikugoro ONOE (VI), he formed the Kikugoro theater, and was very active in Kabuki.
Japanese: 父七代目松本幸四郎と六代目尾上菊五郎の死（1949年）など身辺多端であったが、六代目の死後ただちに菊五郎劇団を結成し、旺盛な活躍を見せるようになる。
English: His style was that of Kikugoro (VI) who was not blessed with a successor to the lead roles, and along with Baiko ONOE (VII), Sadanji ICHIKAWA (III) and Uzaemon ICHIMURA (XVII) they formed the Kikugoro Theater and successfully transmitted the kabuki skills of Kikuyoshi's age.
Japanese: 芸風は、立役の後継者に恵まれなかった六代目菊五郎のそれをよく受継ぎ、尾上梅幸(7代目)、市川左團次(3代目)、市村羽左衛門(17代目)らとともに菊五郎劇団を支え、菊吉時代の歌舞伎を伝えることに大きな功績があった。
English: With his imposing stature and bright and open hearted benevolence, he won acclaim in roles in domestic dramas including Benkei in "Kanjincho," Gongoro KAMAKURA in "Shibaraku," aragoto style such as Kumedera Danjo in "Kenuki," Gonta in "Yoshitsune Senbon-zakura," "Kamiyuishinzo," "Mekuranagaya-umega-kagatobi," "Sakana Sogoro," and historical plays including Yuranosuke OBOSHI in "Kanadehon Chushingura," Heiemon TERAOKA and Naozane KUMAGAI in "Kumagai Jinya," Tomomori and Tadanobu KITSUNE in "Yoshitsune Senbon-zakura."
Japanese: 恰幅のいい体つきと、明るく豪放磊落な仁で、『勧進帳』の弁慶、『暫』鎌倉権五郎、『毛抜』の粂寺弾正のような荒事や、『義経千本桜』の権太、『髪結新三』、『盲長屋梅加賀鳶』、『魚屋宗五郎』といった世話物、『仮名手本忠臣蔵』の大星由良助、寺岡平右衛門、『熊谷陣屋』の熊谷直実、『義経千本桜』の知盛、狐忠信などの時代物にも定評があった。
English: Moreover, in dancing he was a virtuoso unrivalled in his generation, and gave many outstanding performances including in "Tsuchigumo," "Ibaragi" and "Sekinoto."
Japanese: また舞踊でも同世代の中で抜きんでた名手で『土蜘』『茨木』『関の扉』など代表作は数多い。
English: He also made many appearances on television and in movies and in NHK Taiga dramas where he starred as Naosuke II in "Hana-no-shogai," Kokichi KATSU in "Katsu Kaishu" (NHK Taiga drama) and Emperor Goshirakawa in "Kusa Moeru."
Japanese: テレビや映画の出演も多く、日本放送協会大河ドラマでは『花の生涯(NHK大河ドラマ)』で井伊直弼、『勝海舟(NHK大河ドラマ)』で勝小吉、『草燃える』で後白河天皇を好演して評判を取った。
English: After the National Kabuki Theater opened, he was active in restoring performances of Japanese classics which had fallen into obscurity, and drew attention for his performances of Kabuki "juhachi ban" repertoire including "Zohiki," "Nanatsumen," "Gedatsu," "Kan-u," "Fudo" and "Gohiiki Kanjincho" by Jisuke SAKURADA (I).
Japanese: 国立劇場開場後は積極的に埋もれた古典の復活上演を行い、歌舞伎十八番の『象引』『七つ面』『解脱』『関羽』『不動』や初代桜田治助作『御摂勧進帳』などで話題を集めた。
English: He also attempted Kamigata style Kyogen including "Yadonashi Danshichi," and performed the first performance of the new dance "Dattan" at the Ceremony of Water and Fire at Nigatsudo Hall, Todaiji Temple, as well as performing with new theater actors in Western productions such as Othello and Cyrano De Bergerac, displaying the breadth of his talents.
Japanese: また、『宿無團七』などの上方狂言に挑戦したり、東大寺二月堂お水取りに取材した新作舞踊『達陀（だったん）』の初演、さらには『オセロ』『シラノ・ド・ベルジュラック』などの欧米演劇で新劇俳優と共演するなど芸域の広さを見せた。
English: In 1975, he passed on the name Kansai FUJIMA (II) to his eldest son Tatsunosuke, who became the fifth head of the style, however in 1987 Tatsunosuke, on whom his father had pinned his hopes, passed away, and in Shoroku's later years he cannot be said to have had an abundance of successors (although his students included Kikugoro ONOE (VII) and Matsusuke ONOE (VI), and in particular Kikugoro (VII) took on the lead roles after Tatsunosuke's death).
Japanese: 1975年、二世藤間勘斎を名のって五世家元を長男辰之助に譲ったが、1987年、期待をかけていたその辰之助に先立たれ、晩年は必ずしも後継者に恵まれたとは言いがたいものだった（それでも弟子には尾上菊五郎(7代目)や尾上松助(6代目)などがおり、とくに七代目菊五郎は辰之助の死から立役に転じたとされる）。
English: In memory of Tatsunosuke, he closely followed the growth of his grandson Sakon ONOE (II) (now Shoroku ONOE IV), however he soon followed Tatsunosuke to the grave, dying of acute pneumonia on June 25, 1989.
Japanese: 辰之助の忘れ形見で孫の二代目尾上左近（現・尾上松緑(4代目)）の成長を気にかけながら1989年6月25日、辰之助の後を追うかのように急性肺炎のため没した。
English: Jukai (壽海) ICHIKAWA III ('寿海' in new simplified Chinese characters; July 12, 1886 - April 3, 1971) was a kabuki actor, who was active from the Taisho to the beginning of Showa period.
Japanese: 三代目市川壽海（さんだいめいちかわじゅかい、新字体：寿海、明治16年（1886年）7月12日-昭和46年（1971年『4月3日）は大正から昭和前期にかけて活躍した歌舞伎役者。
English: Although, he was called 'Sandaime' (third), only Shozo OTA used the name 'Jukai ICHIKAWA,' and he was sometimes simply called "Jukai ICHIKAWA."
Japanese: 「三代目」とはいいながら、この「市川壽海」の名跡を襲名したのはこの太田照造ただ一人なので、かれのことを単に市川壽海（いちかわじゅかい）と呼ぶこともあった。
English: He mainly performed in Kansai Kabuki and, after the death of Ganjiro NAKAMURA (I), Kaisha NAKAMURA and Baigyoku NAKAMURA (III), he established an epoch called 'Soju Jidai' (era of two Ju) together with Jusaburo BANDO (III).
Japanese: 主に関西歌舞伎を中心に舞台を勤め、中村鴈治郎(初代)・中村魁車・中村梅玉(3代目)らの死後は、阪東壽三郎(3代目)と並んで「双壽時代」と呼ばれる一時代を築く。
English: He was born as a child of Rikizo NAKAMURA, who was a tailor, in Nihonbashi Kakigara-cho, Nihonbashi Ward, Tokyo City, Tokyo Prefecture.
Japanese: 東京府東京市日本橋区日本橋蛎殻町の仕立職・中村力蔵の子として生まれる。
English: In May 1894, he became a pupil of Kodanji ICHIKAWA (V) and took the name of Takamaru ICHIKAWA and performed for the first time at the Meijiza theater.
Japanese: 明治27年(1894)5月、市川小團次(5代目)に入門して市川高丸と名乗り、明治座で初舞台。
English: In May 1905, he was adopted by Sumizo ICHIKAWA and inherited the name of Tomasu ICHIKAWA (市川登升).
Japanese: 明治38年(1905)5月、市川壽美蔵の養子となって市川登升を襲名。
English: In March 1907, he succeeded Sumizo ICHIKAWA (VI) at the Meijiza theater.
Japanese: 翌明治40年(1907)3月、明治座において六代目市川壽美蔵を襲う。
English: In Tokyo Oo Kabuki, however, he was unable to obtain satisfactory roles and, in the Taisho period, he joined the theater reform movement of Sadanji ICHIKAWA (II).
Japanese: しかし東京大歌舞伎ではなかなか役に恵まれず、大正時代には市川左團次(2代目)の演劇革新運動に加わった。
English: After Sadanji's death, he joined Eno ICHIKAWA's company from 1935, then he joined Kansai Kabuki from 1948.
Japanese: 左團次の死後は昭和10年(1935)から市川猿翁の一座に、また昭和23年(1948)からは関西歌舞伎に身を投じた。
English: In February 1949, he succeeded Jukai ICHIKAWA (III) in "Sukeroku" and "Omori Hikoshichi" at the Osaka Kabukiza theater.
Japanese: 昭和24年2月、大阪歌舞伎座の『助六』と『大森彦七』で三代目市川壽海を襲名。
English: In Kansai Kabuki, which did not have a sufficient number of middle class actors because of the successive deaths by famous actors during and after the War, Jukai played a central role together with Jusaburo BANDO and, after Jusaburo's death, kept watching it as the leader.
Japanese: 戦中戦後の名優の相次ぐ死で中堅の役者が手薄になった関西歌舞伎において、阪東壽三郎と並んで中心的な役割を担い、壽三郎の死後は文字通りその重鎮としてこれを見守った。
English: In contrast with Jusaburo who was the 'Kansai Kabuki actor from the start,' Jukai was dogged with the prejudice that 'he is an actor transferred from Tokyo.'
Japanese: しかし「関西歌舞伎生え抜き」の壽三郎に対して、壽海には「東京から移籍してきよった役者」という偏見がつきまとった。
English: It was only natural that the performance having Jukai at the center of it elicited an angry response from actors of Kansai Kabuki.
Japanese: その壽海を中心に据えたする興行の形態が、関西歌舞伎の役者たちからの反発を招いたのも無理はなかった。
English: Although Jukai himself held the position of chairman of the Kansai Kabuki Haiyu Kyokai (the Kansai Kabuki Actors' Association), he could not stop waves of confusion, and the decline of Kansai Kabuki started with the death of Jusaburo.
Japanese: 壽海自身も関西歌舞伎俳優協会会長の立場にありながら、壽三郎の死をきっかけに起きた関西歌舞伎の混乱と衰退への怒濤のような流れを食い止めることができなかった。
English: Eventually, Jukai himself had difficulty in securing opportunities to perform, which was one of the reasons his adopted son, Raizo ICHIKAWA (VIII) left the kabuki world to enter the world of cinema.
Japanese: やがて壽海も自らの舞台の確保に苦しむことになり、これが養子に迎えた市川雷蔵(8代目)が梨園と決別して映画界入りする一因ともなった。
English: By this time, he had lost much of his physical strength, and it was a great effort for him to stand, much less walk.
Japanese: この時すでに体力が衰え、歩くことはおろか立つことさえもままならなかった。
English: While he mainly sat while on stage, on the day of senshuraku (closing day), he stood up as if possessed during the final scene of the 'Senju Ohashi no B'" (scene of Senju Ohashi Bridge) just before the fall of the curtain.
Japanese: 舞台ではずっと座りっぱなしだったが、千穐楽の日、大詰の「千住大橋の場」幕切れで、ふと何かに取り憑かれたかのようにすっくと立ち上った。
English: Surrounded by enthusiastic shouts from the regular audience 'Tatta!' (he stood up!) and thunderous applause in the hall, the johikimaku (curtain) was closed to hide Jukai into the back of the stage.
Japanese: 大向うからの「立ったぁ〜！」の掛け声と場内万雷の拍手に包まれながら、定引幕が引かれて壽海を舞台奥に消し去った。
English: Jukai's merits lay in his taking new works by Seika MAYAMA and Kido OKAMOTO to the realm of 'masterpieces.'
Japanese: 真山青果や岡本綺堂の新作を「名作」の域に昇華させたのも壽海の功績である。
English: He learned well from Sadanji ICHIKAWA (II) and was the top player in new plays such as MINAMOTO no Yoriie in "Yoritomo no shi" (Yoritomo's death), Shigenari KIMURA in "Kiri hitoha" (a single paulownia leaf), Hankuro KIKUCHI in "Toribe yama shinju" (Love-suicides at Mt. Toribe), Harima AOYAMA in "Ban-cho sarayashiki," Yoshinobu TOKUGAWA in "Shogun Edo wo saru," and Tokihira in "Shosho Shigemoto no haha."
Japanese: 二代目市川左團次によく学び、『頼朝の死』の源頼家、『桐一葉』の木村重成『鳥辺山心中』の菊地半九郎『番町皿屋敷』の青山播磨、『将軍江戸を去る』の徳川慶喜、『少将滋幹の母』の時平などの新作物の第一人者であった。
English: His well known roles from classic works include, "Kumonimago Ueno no hatsuhana" (Kochiyama), Moritsuna in "Omi-Genji senjinyakata," KI no Aritsune in "Hadekurabe Ise monogatari," etc.
Japanese: 古典作品では『天衣紛上野初花』（河内山）や『近江源氏先陣館』（盛綱陣屋）の盛綱、『競伊勢物語』の紀有常などが代表作としてあげられる。
English: In his late years, refinement of his performance was highly appreciated and he assumed a position as a member of the Japan Art Academy in 1959.
Japanese: 晩年にはその芸品が高く評価され、昭和34年(1959)、芸術院会員に就任。
English: Ganjiro NAKAMURA, the second (February 17, 1902 - April 13, 1983) was a kabuki actor who is representative of the Showa period.
Japanese: 二代目中村鴈治郎（にだいめなかむらがんじろう、明治35年（1902年）2月17日-昭和58年（1983年）4月13日）は昭和を代表する歌舞伎役者の一人。
English: In particular, he showed his real ability in roles as a lover, something inherited from his father, Ganjiro NAKAMURA (the first).
Japanese: 特に、父中村鴈治郎(初代)譲りの二枚目役においてその本領を発揮した。
English: In the infant stage, he performed in a children's play and later actively performed as zagashira (the leader of a troupe) of the troupe of Senjaku NAKAMURA for youth plays.
Japanese: 幼少期は子供芝居で、やや長じては青年劇中村扇雀一座の座頭として活躍する。
English: In 1924, he came back to okabuki (kabuki performance by A-listers) and learned under Ganjiro I, Enjaku JITSUKAWA (the second), Nizaemon KATAOKA (the twelfth), etc.
Japanese: 1924年、大歌舞伎に復帰し、初代鴈治郎、實川延若(2代目)、片岡仁左衛門(12代目)などのもとで修行。
English: Since around this time, he was deemed as a promising young actor and, in 1941, he succeeded Kanjaku NAKAMURA, the fourth, and, in 1947, Ganjiro NAKAMURA, the second.
Japanese: このころから若手の有望株と目され、1941年には四代目中村翫雀を、また1947年には二代目中村鴈治郎を襲名した。
English: In 1952, he performed revival "Sonezaki shinju" (Lovers' suicide in Sonezaki) by Monzaemon CHIKAMATSU with the script by Nobuo UNO and it became his star role throughout his life.
Japanese: 1952（昭和27）年には宇野信夫の脚本により近松門左衛門の『曾根崎心中』を復活上演、以後生涯の当たり役となった。
English: However, the decline of Kansai Kabuki became significant and because of sluggish growth in his own performances, due to the pressure of expectation of those around him and friction with Shochiku with respect to the performance policy to mainly use Jukai ICHAWA, the third, he left Shochiku in 1955.
Japanese: しかしこの頃になると関西歌舞伎の凋落がいちじるしく、周囲の期待の重圧に対する自身の芸の伸び悩み、さらに市川壽海(3代目)を主とする興行方針をめぐる松竹との軋轢などがあり、1955年に松竹を離れる。
English: After that, together with the eldest son, Tojuro SAKATA, the fourth, he was actively engaged in movies and TV and, in particular in cinemas, Ganjiro played an important role centering on Daiei Co., Ltd. for approximately ten years.
Japanese: 以後は長男坂田藤十郎(4代目)とともに映画やテレビで活躍するようになり、とりわけ映画では大映を中心に約10年間目覚しい活躍を見せた。
English: As main works in which he appeared in that period, there are "Enjo" (burning), "Kagi" (key) (directed by Kon ICHIKAWA), "Ukikusa" (Floating Weeds), "Kohayagawa-ke no Aki" (The End of Summer) (directed by Yasujiro OZU), "Donzoko" (rock bottom) (directed by Akira KUROSAWA) and "Kari no tera" (Temple of the Wild Geese) (directed by Yuzo KAWASHIMA).
Japanese: 当時の主な出演作には『炎上_(映画)』『鍵』（市川崑監督）、『浮草』『小早川家の秋』（小津安二郎監督）、『どん底(1957年の映画)』（黒澤明監督）、『雁の寺』（川島雄三監督）などが挙げられる。
English: While acting for movies, he took part in the independent performance of the kabuki 'Shichinin no kai' (party of seven persons) from 1958 together with Nizaemon KATAOKA, the thirteenth, and others.
Japanese: 映画出演の傍ら、1958年からは片岡仁左衛門(13代目)らとともに歌舞伎の自主公演「七人の会」にも出演した。
English: However, as he could not perform sufficiently under the situation in which performance of kabuki in Kansai was drastically decreased, he often left Kansai and performed with Tokyo Kabuki.
Japanese: しかし、関西での歌舞伎公演が激減する状況下では充分な活躍ができないと、関西を離れ東京歌舞伎と一座することが多くなる。
English: In the meantime, he could improve his art by appearing in cinemas and came out of doldrums, and he displayed the art which we can call the spirit of Kamigata wagoto (the production style of a love scene in Kamigata (Kyoto and Osaka area)) and he was highly appreciated.
Japanese: その間に映画出演などで芸の力がつきスランプを脱すると上方和事の真髄とも言う芸を見せて高く評価された。
English: He had an elder brother, Mataichiro HAYASHI and younger sisters, Tami who married Kazuo HASEGAWA and Yoshiko NAKAMURA who was an actress and married Tomijuro NAKAMURA (the fourth).
Japanese: 兄に林又一郎、妹に長谷川一夫に嫁したたみ、中村富十郎(4代目)に嫁した女優の中村芳子など。
English: He could perform all types of roles, including tachiyaku, oyama, katakiyaku (a hate figure) and fukeyaku (a role of an aged person), but he showed his real ability in roles as a lover, inherited from his father Ganjiro, the first, and Kamigata wagoto influenced by Enjaku, the second, such as tsukkorobashi (a weak and feeble but somehow comical nimaime in Kamigata wagoto).
Japanese: 立役、女形、敵役、老役とあらゆる役種をこなしたが、本領は父・初代鴈治郎ゆずりの二枚目と二代目延若の影響を受けたつっころばしなどの上方和事にある。
English: Based on traditions of Kamigata Kabuki, his characteristics were realistic art without sticking to the patterns and he was an actor who had unique charm in his carriage and taste (elegance).
Japanese: 上方歌舞伎の伝統にのっとって、型を意識しない写実的な芸風が特徴で、身ごなしや風情に独特の艶のある役者であった。
English: His important works are Tokubei in 'Sonezaki shinju,' Jihei in 'Shinju ten no amishima' (Lovers' suicide in Amijima), Chubei in 'Fuinkiri (breaking the seal), Koibikyaku Yamato orai' (The Amorous Courier on the Yamato Highway), Jubei in "Iga-goe dochu sugoroku (Japanese backgammon); Numazu" (Through Iga Pass with the Tokaido Board Game, Numazu post), Jujibei MINAMIGATA in "Futatsu chocho kuruwa nikki; Hikimado"(Skylight of "A Diary of Two Butterflies in the Pleasure Quarters"), Igami no Gonta of "Yoshitsune senbon zakura; sushiya" (Sushi restaurant of "Yoshitsune and the 1000 cherry trees") and Lord Tsuchiya in "Tsuchiya Chikara" (Chikara TSUCHIYA, hatamoto (a direct vassal of the shogun)).
Japanese: 「曾根崎心中」の徳兵衛、「心中天網島」の治兵衛、「恋飛脚大和往来・封印切」の忠兵衛、『伊賀越道中双六・沼津』の重兵衛、『双蝶々曲輪日記・引窓』の南方十次兵衛、『義経千本櫻・すし屋』のいがみの権太、『土屋主税』の土屋侯などが代表作。
English: As oyama, his important works are Chiyo in "Sugawara denju tenarai kagami; terakoya" (Terakoya (temple elementary school during the Edo period) of Sugawara's secrets of calligraphy), Ohatsu in "Kagamiyama kokyo no nishikie" (old brocade pictures of Mt. Kagami) and Yashio in "Meiboku sendai hagi" (The trouble in the Date Clan).
Japanese: 女形では『菅原伝授手習鑑・寺子屋』の千代、『鏡山旧錦絵』のお初・岩藤、『伽羅先代萩』の八汐。
English: He was also good at playing as fukeoyama (oyama as aged woman) at Kakuju in "Domyoji" (Domyo-ji temple), as katakiyaku, Moronao in "Kanadehon Chushingura" and Lord Tokihira in "Sugawara denju tenarai kagami; kurumabiki" (Pulling the Cow Carriage of Sugawara's secrets of calligraphy), as heroic roles, Fukashichi in "Imoseyama onna teikin" (An Exemplary Tale of Womanly Virtue) and Tsumahei in "Shin usuyuki monogatari" (The Tale of Usuyuki), and among comics as Zenroku in "Mitsugumi Makie (or Choinose)."
Japanese: 老女形では『道明寺』の覚寿、敵役は『仮名手本忠臣蔵』の師直、『菅原伝授手習鑑・車引』の時平公、また勇壮な『妹背山婦女庭訓』の鱶七、『新薄雪物語』の妻平、喜劇では『三升蒔画（ちょいのせ）』の善六なども得意とした。
English: Also, roles which he played with a seasoned style of performance were masterpieces, such as the Cloistered Emperor Goshirakawa in "Kenreimonin" and Funaosa (shipmaster) in "Sumida-gawa" (the Sumida-gawa River) which he performed with Utaemon NAKAMURA, the sixth, and Shozo NAMIKI in "Yadonashi Danshichi" (Homeless Danshichi) which he performed with his first son Senjaku the second in his later years.
Japanese: 中村歌右衛門(6代目)と共演した『建礼門院』の後白河法皇、『隅田川』の舟長や、晩年長男・二代目扇雀と共演した『宿無団七』の並木正三など枯れた芸風で演じた役も傑作。
English: Not staying within the world of kabuki, he was active in a wide range including "Watera no nenrin" (literally, our growth rings) in which he performed with Shotaro HANAYAGI.
Japanese: また、歌舞伎だけにとどまらず、『わてらの年輪』で花柳章太郎と共演するなど幅広く活躍した。
English: He displayed youthful performances until his last and, when his eldest son, Tojuro the fourth (Senjaku the second at that time) with whom he performed together in 'Sonezaki shinju,' found favor with public, he showed his competitive spirit saying 'No need to say, I feel jealous.'
Japanese: 最後まで若々しい芸を見せ、「曽根崎心中」で共演した長男・四代目藤十郎（当時・二代目扇雀）が人気を集めると「嫉みますがな」とライバル心をむき出しにしていた。
English: When he became designated a Living National Treasure, he really felt uneasy telling 'If I become a national treasure, may I not enjoy the horse race?'
Japanese: 人間国宝に認定されると「国宝なったら競馬したらアカンのか」と本気で心配した。
English: He also had a chivalrous spirit as seen in the fact that he treated kindly Ennosuke ICHIKAWA the third, who had been fighting singlehanded at that time, and often took part in his troupe.
Japanese: また、当時孤軍奮闘していた市川猿之助(3代目)を可愛がり彼の一座によく参加するなど義侠心も併せ持つ人物だった。
English: Although he was not good at remembering his lines, he had a bold challenging spirit to cope with new programs or new roles aggressively.
Japanese: 台詞覚えは悪かったものの、新作や新しい役柄には進んで挑戦するチャレンジ精神に富んでいた。
English: He had a special talent that, even if he had only a faint memory of his lines, he could perform without having the audience notice it.
Japanese: 台詞がうろ覚えでも本番では観客に悟られることなく演じることが出来る特技を持っていた。
English: In practicing for a new program, when he was asked by the writer of the original work, 'Ganjiro-san, please memorize your lines!,' he showed an angry expression and he continued to resent this.
Japanese: ある新作の稽古で、原作者から「鴈治郎さん。台詞覚えて下さい！」と駄目を出された時は、今まで見せたことのない怒りの表情になり、後々までもこのことを恨んでいたという。
English: When he performed Kamashichi in 'Imoseyama; Kinden,' people around him were worried if Ganjiro, who was good at wagoto, could perform Kamashichi, which was aragoto (Kabuki play featuring exaggerated posture, makeup, and costume) in its nature or it might be a miscasting.
Japanese: また、「妹背山・金殿」の鎌七を演じたとき、周囲は荒事の鎌七を和事の鴈治郎が演じられるのか、あるいはミスキャストではないかと案じた。
English: However, Ganjiro learned from Shoroku ONOE (II) concerning the nature of the role and played his own Kamashichi excellently and received praise.
Japanese: しかし鴈治郎は尾上松緑(2代目)から役の性を教えてもらうなど、自身なりの鎌七を見事に演じ切って賞賛を浴びた。
English: This was because Utaemon NAKAMURA (VI), who performed together as Omiwa, had acknowledged his performing capability and had strongly recommended telling 'Kamashichi by Narikoma-ya (Ganjiro) must be fantastic.'
Japanese: これには、お三輪役で共演した中村歌右衛門(6代目)が、以前から「成駒屋(鴈治郎のこと）の鎌七はすごいわよ」とその芸力を認め強く推薦していたからであった。
English: It is one of typical Japanese dishes, and is served in a wide range of situations ranging from daily prepared food to those served at high-class restaurants.
Japanese: 代表的な日本料理であり、日常の惣菜から高級料亭の物まで、その範囲は広い。
English: It may be specifically called in a 'food and flavor' format such as 'aji no shioyaki' ("aji" is a horse mackerel and "shioyaki" means to broil with salt) and 'buri no teriyaki' ("buri" is a yellowtail and "teriyaki" means to grill with soy sauce and sugar).
Japanese: また、味付けによって「鯵の塩焼き」「ブリの照焼き」と「食材名+味付け」で具体的に表現することもある。
English: One of the features of yakizakana in Japanese cuisine is its use of direct fire, which dates back before the Edo period, when the method of broiling fish on a hot plate had not been invented in Japanese cooking.
Japanese: 日本料理における焼き魚の特徴は直火焼きである事で、これは江戸時代以前の日本料理に鉄板で物を焼く技法が無かった事による。
English: Broiling fish over a charcoal fire helps get rid of excess oil and moderately extract water from it by far infrared ray heating, making the fish crispy on the outside and tender inside.
Japanese: 炭火などで焼くと遠赤外線の効果で無駄な油分を取り除き、水分を適度に飛ばし、皮をこんがり、中をふんわりと焼上げることが出来る。
English: The roles of skewers include conducting heat inside the fish as well as forming the shape of fish, which is called 'odorigushi' ("odori" is dancing, "gushi" is a skewer, i.e., literally means "dancing and a skewer") because the fish looks like waving and dancing.
Japanese: 串は魚の形を整える（魚体がうねるように打って「踊り串」などと称する）と共に、伝導熱で中まで火を通す役割がある。
English: Although rarely seen today, people broiling fish on a wire sheet over shichirin (earthen charcoal brazier) were frequently seen in many Japanese households until the mid Showa period.
Japanese: 最近は殆ど見られなくなったが昭和の中ごろまでは七輪に金網を乗せて、その上で魚を焼く姿が多くの日本の家庭で見られた。
English: If broiled on a frying pan, it is called differently, such as 'fish broiled in oil' and 'sautéed fish.'
Japanese: フライパンで魚を焼いた場合は、「魚のオイル焼き」「魚のソテー」等と言って区別する。
English: It is for the sake of this dish that most Japanese gas cookers have a grilling function.
Japanese: この料理のため、日本のガスコンロには、グリル機能が付いていることが多い。
English: Yakizakana using inexpensive fish like aji, saba (mackerel) and sanma (saury) are the most common and traditional dishes served at home.
Japanese: 安価な魚（鯵・サバ・秋刀魚等）を用いた焼き魚は、家庭におけるもっとも一般的かつ伝統的な料理である。
English: In mountain areas far from the sea, freshwater fish such as ayu (sweetfish) and iwana (char), and shiosake (salted salmon), which is suitable for distribution, are used for yakizakana, while in areas where coastal fishing is active, inshore fish such as mebaru (black rockfish) and bera or kyusen (wrasse) are used.
Japanese: 海から遠い山間部では川魚（アユ・岩魚等）や流通に適した塩サケ、沿岸漁業が盛んな地域ではメバル・ベラ（キュウセン）等磯魚も用いられる。
English: On the other hand, there are many cases where high-class fish such as tai (sea bream) and tachiuo (cutlass fish) are used and served as a high-class dish in the form of elaborately prepared food like misozuke (pickling in miso).
Japanese: その一方、高級魚（鯛・太刀魚等）を使用したり、味噌漬けなど手の込んだ調理をへて高級な料理として供される機会も多い。
English: To classify more specifically, shioyaki is the one in which fish is pickled in salt, after which its surface salt is washed away, then the fish is sprinkled with salt again and broiled, whereas shira-shioyaki is the one in which fish is simply sprinkled with salt before being broiled.
Japanese: 細かく分けると、魚を塩漬けの後に表面の塩分を洗い流して改めて塩を振って焼いたものを指し、単に魚の身に塩を振ったたけでそのまま焼いたものは白塩焼きと呼んで区別する。
English: Additional salt is sprinkled on easily-burnable portions such as a tail and a fin of the fish to keep them from burning, which is called 'kazarijio' or 'keshojio' ("kazari," "kesho" and "jio" mean "ornament," "makeup" and "salt," respectively).
Japanese: 尾やひれなど、焦げ易い部分には厚めに塩をまぶし（これを「飾り塩」ないし「化粧塩」と言う）焦げを防ぐ。
English: Kabayaki (grilled eel or similar long slender fish), which is cooked by broiling and dipping the fish in sauce alternately, can be referred to as yakizakana or a type of teriyaki, but generally it is not regarded as yakizakana and considered to be another type of dish.
Japanese: ウナギ等をタレに浸けながら焼く蒲焼は、焼き魚（照り焼きの一種）と言えるが、一般的には焼き魚と見なされず、別の調理法とされている。
English: Until the Taisho period, "saiho" (sewing) meant wasai, but in order to distinguish between "yosai" (dressmaking), sewing wafuku came to be referred to as 'wafukusaiho' or 'wasai.'
Japanese: 大正時代の頃までは、裁縫といえば和裁のことであったが、洋裁と区別するために、和服の裁縫のことを和服裁縫、または和裁と呼ぶようになった。
English: In the case of Western clothing, even if they are ready-made, clothes in different sizes are made according to the wear's particular body shape.
Japanese: 洋服の場合は、既製品であっても、着る人のそれぞれの体型に合わせてサイズの異なる服が作られる。