nntsuzu/KFTT huggingface dataset:
English: Nowadays, there are many pro protagonists who descended from original pro Noh chorus or pro Nohwaki's families.
Japanese: 現在のシテ方にももと地謡方、あるいはワキ方の家であったものは多く存在する。
English: The role played by a Noh farce pro is called an "interlude (Ai)" or "comic interlude in Noh (Ai kyogen) ".
Japanese: 狂言方が担当する役を「アイ」もしくは「間狂言（あいきょうげん）」と呼ぶ。
English: Legend says that, in order for the protagonist (shite) to have time to change costumes, the role of the Noh farce pro was created to relate the two sessions of the Noh story.
Japanese: 前後でシテが装束を変えるために、その場をつなぐ目的で狂言方の役者が能の物語にまつわる古伝承や来歴を語るものである。
English: Moreover, while there are Noh farce pros simply telling the story only (a sitting interlude teller is called "igatari-ai" and a standing interlude teller is called "tachigatari-ai"), there are also Noh farce pros who move around the Nohwaki or the protagonist (shite) and form part of the story.
Japanese: また単純に物語をするだけのものと、ワキ方やシテ方に絡んで物語の筋を構成するものとがある。
English: The former is called the story telling interlude while the latter is called "bow interlude (ashirai-ai)".
Japanese: 前者を語アイ（坐って語るものを「居語アイ」、立って語るものを「立語アイ」と呼ぶ）、後者を「会釈アイ（あしらいアイ）」と称する。
English: From the right stage seen from the audience, flute (fue), small hand drum (kotsuzumi), large drum (large leather) and Japanese side drum (taiko) are arranged in the order respectively.
Japanese: 上手より笛（ふえ）、小鼓（こつづみ）、大鼓（大革）（おおつづみ、おおかわ）、太鼓（たいこ）と並ぶ。
English: Rather than playing the melody, the flute is used frequently as a percussion instrument for symbolizing the scene.
Japanese: 笛は旋律を奏でるというより、情景を象徴したり打楽器的に用いられたりする。
English: However, it is considered that this ancient masked drama may be the oldest staged public entertainment in Japan introduced from the Chinese continent to Japan in about the seventh century, or it may be originated from some variety show performance introduced from the continent during the Nara period.
Japanese: 7世紀頃に中国大陸より日本に伝わった日本最古の舞台芸能である伎楽や、奈良時代に大陸より伝わった散楽に端を発するのではないかと考えられている。
English: However, they soon spread among the people, merging with the old public entertainment existing at that time, and developed into comic dramas or short plays that centered on mimicry etc.
Japanese: やがて民衆の間に広まり、それまでにあった古来の芸能と結びつき、物まねなどを中心とした滑稽な笑いの芸・寸劇に発展していった。
English: Before long, they became the so-called "Sarugaku," and formed the prototype of what is generally known nowadays as Noh.
Japanese: それらはやがて猿楽と呼ばれるようになり、現在一般的に知られる能の原型がつくられていった。
English: On the other hand, from about the middle Heian period, public entertainment like the ritual music (Dengaku) originating from Shinto rituals, and dancing for celebrating longevity (Einen) organized in Buddhist temples had become popular and developed respectively.
Japanese: 一方、平安時代中期頃より、神道的宗教行事が起源の田楽や、仏教の寺院で行われた延年などの芸能も興り、それぞれ発達していった。
English: Although these performers were originally farmers and monks, from about the late Heian Period, occupational groups performing their own specialties were also established.
Japanese: これらの演者は元々農民や僧侶だったが、平安末期頃から専門的に演じる職業集団も成立していった。
English: From about the 12th and the 13th century, "theatre (literally "seat," or za in Japanese)" was born as Business Union and they came to be protected by temples and shrines.
Japanese: 12世紀・13世紀頃から同業組合として「座」が生まれ、寺社の保護を受けるようになる。
English: From the 14th century samurai were protecting the ritual field music and stage costumes, small props, and stages had also become gorgeous.
Japanese: 14世紀になると、代わって武家が田楽を保護するようになり、衣装や小道具・舞台も豪華なものになっていった。
English: Under this situation, Kan-ami emerged from Yuzaki-za, which is the theatre of Yamato Sarugaku (literally "Japanese Monkey Music").
Japanese: そのような状況のなか、大和猿楽の一座である結崎座より観阿弥（觀阿彌）が現れた。
English: It introduced surprising plays such as "kusemai (literally "Music Dance")" (Shirabyoshi-no-gei), etc to the melody and this brought about a big reformation to traditional Sarugaku.
Japanese: 旋律にとんだ「曲舞（くせまい）」（白拍子の芸）などを導入して従来の猿楽に大きな革新をもたらした。
English: The so-called "Joint-meeting Noh (Tachiai Noh)" performed at that time was being thought to be one of the backgrounds of such a reformation.
Japanese: このような革新の背景の一つと考えられているのが、当時行われていた「立ち会い能」と呼ばれる催しである。
English: This refers to performance matches in which theatres of Sarugaku and ritual field music were competing against each other.
Japanese: これは猿楽や田楽の座がお互いに芸を競い、勝負を決するというものである。
English: The reformation of Sarugaku, in Kanze-za, was also intended to win in this "Joint-meeting No".
Japanese: 観世座における猿楽の革新も、この「立ち会い能」を勝ち上がる為という側面があった。
English: In 1375, Shogun Yoshimitsu ASHIKAGA enjoyed watching a Sarugaku performed by Kan-ami and his son, Zeami in Imagumano of Kyoto.
Japanese: 1375年、将軍足利義満は、京都の今熊野において、観阿弥とその息子の世阿弥（世阿彌）による猿楽を鑑賞した。
English: Impressed by their performance, Yoshimitsu protected Kan-ami and his son's theatre Yuzaki-za (Kanze-za).
Japanese: 彼らの芸に感銘を受けた義満は、観阿弥・世阿弥親子の結崎座（観世座）を庇護した。
English: As a result, they managed to secure their protector, Yoshimasa ASHIKAGA and a body of spectators, that is, the community of samurais.
Japanese: この結果、彼らは足利義満という庇護者、そして武家社会という観客を手に入れることとなった。
English: Moreover, including Yoshimoto NIJO, they also managed to come into contact with the court noble society in Kyoto, absorbed the culture of these upper classes, and refined their Sarugaku to become more elegant.
Japanese: また二条良基をはじめとする京都の公家社会との接点も生まれ、これら上流階級の文化を取り入れることで、彼らは猿楽をさらに洗練していった。
English: Like this, with the successive generations of leading actors in Theatre Kanze-za being connected to the contemporary powers, the prototype of the present Noh was accomplished.
Japanese: こうして歴代の観世大夫たちは時の権力と結びつきながら、現在の能の原型を完成させていった。
English: Tobi-za, Yuzaki-za, Sakado-za, and Enmai-za, which were the Yamato Sarugaku (literally "Japanese Monkey Music") established during Muromachi Period, were collectively called Yamato-shiza (literally "Japanese four Theatres").
Japanese: なお、室町期に成立した大和猿楽の外山座（とびざ）・結崎座（ゆうさきざ）・坂戸座（さかどざ）・円満井座（えんまいざ）を大和四座（やまとしざ）と呼ぶ。
English: Thus, the legend saying that they are respectively related to the succeeding Hosyo-za, Kongo-za, Kanze-za, and Komparu-za, is in fact rational and persuasive.
Japanese: それぞれ、後の宝生座・観世座・金剛座・金春座につながるとする説が有力である。
English: It is thought that there was no large developments in the contents of Noh as an art form during the Warring States Period (Japan).
Japanese: 戦国時代(日本)には能の芸の内容に大きな発展は無かったと考えられている。
English: According to 'Mondo UNO's Diary', in 1582, Nobunaga enjoyed watching UMEWAKA family's Sarugaku with Ieyasu TOKUGAWA in Soken-ji Temple in Azuchi and he himself also liked playing the small hand drum.
Japanese: 『宇野主水日記』によると、信長は1582年に安土の総見寺で徳川家康とともに梅若家の猿楽を鑑賞しており、自身も小鼓をたしなんだと言われる。
English: Hideyoshi TOYOTOMI, who became the leading powerful authority in Japan succeeding Nobunaga, practiced Noh ardently in his later years.
Japanese: 信長に続き日本の最高権力者となった豊臣秀吉は、晩年熱心に能を演じた。
English: In October, 1593, Hideyoshi performed Noh drama and Noh farces in front of Emperor Goyozei for three consecutive days.
Japanese: 1593年10月には秀吉は後陽成天皇の前で3日間連続で何番もの能や狂言を演じている。
English: However, to an extreme, Hideyoshi showed no interest in Sarugaku other than the Yamato-shiza and as a result, a lot of theatres of Sarugaku disappeared during this time.
Japanese: しかしその一方で、秀吉は大和四座以外の猿楽には興味を示さなかった為、この時期に多くの猿楽の座が消滅していった。
English: So to speak, it was Hideyoshi who is responsible for selecting Noh which has succeeded to the present among the various Sarugaku theatres.
Japanese: 言わば、秀吉によって現在に続く能がそれ以外の猿楽から選別されたのである。
English: During the Edo Period, because the successive generations of shoguns such as Ieyasu TOKUGAWA, Hidetada TOKUGAWA, Iemitsu TOKUGAWA, all liked Noh, Sarugaku came to have a significant meaning as a cultural capital of the community of samurai.
Japanese: 江戸期には徳川家康や徳川秀忠、徳川家光など歴代の将軍が能を好んだ為、猿楽は武家社会の文化資本として大きな意味合いを持つようになった。
English: Moreover, Sarugaku came to be the formal music (ritual music) for ceremonies in the community of samurais and each clan came to employ its retained Sarugaku performer.
Japanese: また猿楽は武家社会における典礼用の正式な音楽（式楽）も担当することとなり、各藩がお抱えの猿楽師を雇うようになった。
English: There was in fact a well known person called Akifusa MANABE who was originally a Sarugaku performer but succeeded even to the Daimyo (Japanese feudal lord).
Japanese: 猿楽師出身でありながら大名にまで出世した間部詮房という人物も知られている。
English: However, Hidetada protected Kita Shichidayu Noh, which was deviated from Yamato-shiza, and recognized the establishment of Kita Style (Kita-ryu) in Genwa Era.
Japanese: しかし秀忠は大和四座を離れた猿楽師であった喜多七太夫長能に保護を与え、元和年間に喜多流の創設を認めている。
English: However, because Tsunayoshi TOKUGAWA liked Hosho Style (Hosho-ryu), it is said that during the reign of Tsunayoshi, Kaga Domain and Owari Domain replaced the retained Noh musician from Komparu Style to Hosho Style.
Japanese: しかし徳川綱吉は宝生流を好んだ為、綱吉の治世に加賀藩や尾張藩がお抱え能楽師を金春流から宝生流に入れ替えたと言われている。
English: On the other hand, since Sarugaku had become the ceremonial music for the community of samurai, common people had gradually less and less chance to see Sarugaku.
Japanese: その一方、猿楽が武家社会の式楽となった結果、庶民が猿楽を見物する機会は徐々に少なくなっていった。
English: However, lNoh song lessons became popular among town people and a lot of Noh songbooks were published (There were even examples of Noh songbooks [Utai-bon] used as textbooks in private schools [Terakoya, temple elementary schools during the Edo Period] for children).
Japanese: しかし、謡曲は町人の習い事として流行し、多くの謡本が出版された（寺子屋の教科書に使われた例もある）。
English: Although the chance to in fact see Sarugaku was rare, the common people's concern was strong and whenever there was Noh performance event aiming at collecting donations for temples or shrines, a lot of spectators gathered.
Japanese: 実際に見る機会は少ないながらも、庶民の関心は強く、寺社への寄進を集める目的の勧進能が催されると多くの観客を集めたという。
English: However in 1872, the Noh farce "Imitating the Emperor, Insulting a Superior" was prohibited and "Encourage goodwill and punish evil" was also banned by law.
Japanese: しかし1872年（明治5年）には能・狂言の「皇上ヲ模擬シ、上ヲ猥涜」するものが禁止され、「勧善懲悪ヲ主トス」ることも命じられた。
English: However in 1878, Emperor Mutsuhito of Meiji set up a Noh stage in Aoyama Imperial Palace (Aoyama-gosyo), and enjoyed watching a lot of Noh dramas.
Japanese: しかし、明治天皇は1878年には青山御所に能舞台を設置し、数々の能を鑑賞した。
English: And in 1879, Tomomi IWAKURA invited Ulysses Grant to his mansion to watch Noh.
Japanese: また岩倉具視は1879年にはユリシーズ・グラントを自邸に招いて能を上演させた。
English: Furthermore, he facilitated establishing the Noh Society (Nohgaku-sha) (the later Noh Association (Nohgaku-kai)) and the construction of Shiba Noh Music Hall (Shiba-nohgaku-do completed in 1881).
Japanese: 更に能楽社（のちの能楽会）の設立や芝能楽堂（1881年落成）の建設を進めた。
English: However, before long, because each sect came to present its own exclusive posture, the exchange and co-starring between sects disappeared.
Japanese: やがて各流派はお互いに排他的姿勢を見せるようになり、流派間の交流や共演は消滅していった。
English: Afterwards, when militarism intensely increased, attention to critical viewpoints poured into Noh dramas whose themes were related to the Emperor's family.
Japanese: その後、軍国主義が激しさを増すと、天皇家を多く題材とした能には厳しい目が注がれるようになった。
English: In 1939, Tokyo Metropolitan Police Department Office of Security banned the public performance of the Noh drama "Goko OHARA" as being disrespectful.
Japanese: 1939年（昭和14年）、警視庁保安課は不敬を理由に「大原御幸」を上演禁止とした。
English: On the other hand, new Noh dramas with themes such as the Sino-Japanese War, Russo-Japanese War, and World War II came to be made.
Japanese: その一方で、日清戦争、日露戦争、第二次世界大戦を題材とした新作能も作られるようになった。
English: Because a lot of Noh stages were burnt down due to war damage, Noh musicians, who had been practicing their own style of Noh performance exclusively from the other sects, united and began to practice jointly on the Noh stages that were left standing.
Japanese: 戦災によって多くの能舞台が焼失した為、それまで流派ごとに分かれて演能を行っていた能楽師たちが、流派の違いを超えて焼け残った能舞台で共同で稽古を行いだしたのである。
English: As a result, young Noh artists were able to receive teachings and a lot of stimulation from excellent Noh artists of other sects.
Japanese: その為、若手の能楽師たちは他流派の優秀な能楽師からも教えを受けることが多くなり、大いに刺激を受けるようになった。
English: Hideo KANZE, the second son of Tetsunojo KANZE's family, received at this time a big impact from the differences in body theories between the Kanze Style and other sects.
Japanese: 観世銕之丞家の次男であった観世栄夫は、この時、観世流と他流の身体論の違いに大きな衝撃を受けた。
English: Consequentially, he transferred to Kita Style as an art apprentice and became an adopted son of Roppeita KITA. He introduced himself as Hideo GOTO.
Japanese: 結果的に芸養子という形で喜多流に転流して喜多六平太の養子となり、後藤栄夫を名乗った。
English: Even Hideo's younger brother Shizuo KANZE, who became Tetsunojo KANZE VIII, talked a lots about the big impact of beginning exchanges with other sects of the time.
Japanese: また栄夫の弟で八世観世銕之丞となった観世静夫も、この時期の他流との交流開始の衝撃の大きさを語っている。
English: Tamagawa Noh Stage (Tamagawa-no-butai) was an example of such an exchange type Noh stage at the time (The building was moved and reconstructed as Tessenkai Noh Theatre [Tessenkai Nohgaku Kenkyujo] now).
Japanese: なお、この時期にこうした交流の場となった能舞台としては多摩川能舞台（現在は銕仙会能楽研修所に移築）などが挙げられている。
English: The sects in Noh can be divided according to the system of Yamoto-shiza, and local Noh sects in various places in Japan.
Japanese: 能の流派は大和四座の系統の流派と、それ以外の日本各地の土着の能に分けられる。
English: Yamoto-shiza (literally "The four theatres of Japan") are Kanze-za, Hosho-za, Komparu-za, and Kongo-za. In addition, Kita Style was spun off from Kongo-za during the Edo Period. They are collectively called Shiza Ichiryu (literally "four theatres, five styles").
Japanese: 大和四座とは観世座、宝生座、金春座、金剛座であるが、更に江戸期に金剛座から分かれた喜多流の五つを併せて四座一流と呼ぶ。
English: Spun off from Kongo Style, Kita Style, which continued to receive influence from Komparu Style, was a new sect born in the Edo Period and during the Meiji Period, the Kita Style achieved the same status as the other four major styles.
Japanese: 喜多流は金剛流より出、金春流の影響を受けつつ江戸期に生れた新興の一派であって、明治期にいたってほかの四流と同格とされた。
English: Among the four theatres, Kanze and Hosho (which advanced from Nara to Kyoto) are called Kami-gakari, while Komparu and Kongo (which continued to be based in Nara for their activities) are called Shimo-gakari.
Japanese: 四座のうち奈良から京都に進出した観世、宝生を上掛り（かみがかり）と呼び、引き続き奈良を根拠地とした金春、金剛を下掛り（しもがかり）と呼ぶ。
English: Because of Hideyoshi TOYOTOMI's policies, Yamoto-shiza had absorbed the theatres of other Sarugaku such as Tanba sarugaku sanza.
Japanese: 大和四座は豊臣秀吉が政策的に他の猿楽の座（丹波猿楽三座など）を吸収させた。
English: Consequently, entering the Edo period, the majority of Sarugaku in Japan became subsidiaries of Yamoto-shiza.
Japanese: そのため、江戸時代に入る頃には事実上、日本の猿楽の大半を傘下におさめていた。
English: At present, Noh artists in the system of "four theatres, five styles" have organized The Nohgaku Performers' Association and members of the Nohgaku Performers' Association are entitled professional Noh artists.
Japanese: 現在、四座一流の系統の能楽師たちは社団法人能楽協会を組織しており、能楽協会に加盟している者が玄人の能楽師と位置づけられている。
English: In these local Noh sects, one may enjoy watching performances other than those of "four theatres, five styles" and peculiar local dances.
Japanese: 四座一流では演じられない曲目や、その地域独特の舞いを見ることが出来る。
English: Famous examples include Kurokawa Noh (spread around Kasuga-Jinja Shrine of Yamagata Prefecture) and Osudo Noh (spun off from Kurokawa Noh, but spread around in Niigata Prefecture).
Japanese: 有名なものとしては、山形県の春日神社に伝わる黒川能、黒川能から分かれた新潟県の大須戸能などがある。
English: Concerning Noh preformed by the Noh artists affiliated with the Nohgaku Performers' Association, the style of the entire Noh drama is represented by the Style of the protagonist (shite).
Japanese: なお、能楽協会所属の能楽師によって上演される能においては、能全体の流儀はシテ方の流儀によって示される。
English: In fact, during the Edo Period, it was the Kanze Sect that first set up a branch (Bunke). Afterwards, based upon this exceptional case, other heads of the school also followed.
Japanese: これは江戸期に観世家に限り分家(現在の観世銕之亟家）を立て、これをほかの家元並みに扱うという特例が認められたことに基づくものである。
English: To distinguish itself from the branch sect, the home sect is called the "Head of the School (soke)," meaning the originator of the sect.
Japanese: 分家に対し、本家が「宗家」と称したのがやがて「家元」の意味で用いられるようになったものである。
English: Now, as long as it is not used when the branch sect shares the same surname, "Head of the School" is almost an equivalent saying to "originator of the sect".
Japanese: 現在では、同姓の分家との関係で用いられないかぎり、ほぼ「家元」の言いかえである。
English: Before the Edo period, performers of Sarugaku had to be affiliated to one of the theatres and because of this, unlike the protagonists (shite) today, they could not choose freely among the three key roles from their favorite sect.
Japanese: 江戸時代以前、猿楽の役者たちはいずれかの座に所属して活動していた為、現在のようにシテ方が自由に三役を好きな流派から選んで演能をすることは無かった。
English: Kanze Style (561), Hosho Style (270), Kongo Style (100), Komparu Style (120), Kita Style (54)
Japanese: 観世流(561)、宝生流(270)、金剛流(100)、金春流(120)、喜多流(54)
English: Kadono Style (12), Takayasu Style (13), Ishii Style (10), Okura Style (13), Kanze Style (1)
Japanese: 葛野流(12)、高安流(13)、石井流(10)、大倉流(13)、観世流(1)
English: Sagi Style (although descendants continue to practice on Sado Island, Yamaguchi, etc., they are not recognized by the Nohgaku Performers' Association)
Japanese: 鷺流（佐渡島、山口などに末流が存続しているが、能楽協会会員資格は認められていない）
English: In Chapter 1 "Longtime practice (Nenraikeikojojo)"of this book, there are well-known contents such as "Not to forget intention to begin with" and "Flower at season (Jibun-no-hana)" and these theories are highly evaluated as being still practical at present.
Japanese: この書の第一章にあたる「年来稽古条々」は「初心わするべからず」や「時分の花」などよく知られた内容があり、その理論は現代で通用するものと評価されている。
English: Afterwards, Zeami wrote his theories as private writings based on his devoted study on the Noh dramas such as "Kakyo (the Mirror of the Flower)", "Shugyoku Tokka (gathering gems and gaining flowers)" and "Sarugaku dangi (Talks about Sarugaku)".
Japanese: その後世阿弥は、『花鏡』、『拾玉得花』、『申楽談儀』（口述）など研鑽に基づく理論を伝書として残している。
English: Which dramas and in what order the dramas are presented are determined by the concept of "introduction, development, and climax. "
Japanese: どの曲をどのような順序で上演するのかも、序破急の概念を用いて決められていた。
English: Between these Noh dramas, Noh farces enter. Therefore, it takes a long time for the entire show.
Japanese: これらの能の間には狂言が挟まれるため、全体では大変な長時間を要した。
English: Nowadays, Noh performances of such a long duration are difficult and it is common in public performances that only the first Noh farce (Kyogen-Ichiban) is inserted between the Noh second drama (Noh-Niban).
Japanese: 現在ではこれだけ長時間の演能は難しく、能二番の間に狂言一番程度をはさむ形態の公演が多い。
English: For instance, it is very rare to have the fifth Noh drama "Ishibashi" followed by the third Noh drama "Izutsu".
Japanese: 例えば五番目物『石橋(能)』の後に三番目物『井筒(能)』を上演するようなことは稀である。
English: For a Noh performance with the five dramas, if the fifth drama is not happy (celebratory Noh) but is dark content, then the second half of a god Noh such as "Takasago" will be performed (It is called a half Noh because only the second half is performed) so that a happy ending supposedly comes to the end.
Japanese: 五番立で演能する際、五番目がめでたい曲（祝言能）ではなく暗い内容の能である場合は、『高砂(能)（たかさご）』等、神能ものの後場のみを演じ（後半部分のみ演ずることを半能という）、めでたい気分で納めるのが建て前であった。
English: It is still possible to see this custom called Tsukeshugen (a short celebratory Noh play) in today's Noh dramas with a shortened duration of performance.
Japanese: 「付祝言（つけしゅうげん）」と称するこの習慣は、演能時間が短くなった今日でも見られる。
English: It is a common practice that the performer's name of the protagonist (shite) is written on the right of and a bit below the program name, while the performer's name of the Nohwaki is written directly below the program name.
Japanese: シテの演者名は演目の右肩に書かれ、ワキの演者名は演目の真下に書かれるのが慣例である。
English: In this chapter, we are introducing those classics completed in the Middle Ages but are still frequently presented nowadays.
Japanese: 本節では中世に成立した古典の曲目のうち、現在でも頻繁に上演されているものを紹介する。
English: These are called modern dramas (Genkokyoku) in which they may be different in accordance with the sect and there are roughly 200 to 300 modern dramas.
Japanese: これらは現行曲と呼ばれ、流派によって異なるが、おおむね二百数十番が現行曲とされている。
English: However, historically, besides these, about 2000 to 3000 dramas have been made.
Japanese: しかし歴史的にはこれらの他にも2000番から3000番程度の曲が作成されている。
English: Even among the dramas which were discontinued, some are being presented again nowadays.
Japanese: これら廃曲となった曲の中には、現代になって再演を試みられる（復曲）こともある。
English: There are various theories about its origins, including that it developed from a 'ta-asobi' ritual to pray for a good harvest before planting rice or that it was introduced from overseas, but there are still many uncertainties as to its origins.
Japanese: 「田植えの前に豊作を祈る「田遊び」から発達した」「渡来のものである」などの説があり、その由来には未解明の部分が多い。
English: In 1096, people in Kyoto became enthusiastic about Dengaku and the aristocracy arranged performances for the Emperor.
Japanese: 1096年には、京都の人々が田楽に熱狂することがあり、天皇にも貴族たちがその様をみせた。
English: It is written in the 'Taiheiki' (The Record of the Great Peace) that Takatoki HOJO, a regent in the Kamakura bakufu (Japanese feudal government headed by a shogun), was addicted to Dengaku and the Shogun Yoshimochi ASHIKAGA in the Muromachi bakufu liked the performances of a dancer named Zoami.
Japanese: 鎌倉幕府の執権北条高時は田楽に耽溺したことが「太平記」に書かれており、室町幕府の将軍足利義持は増阿弥の芸を好んだ。
English: By the present day, Dengaku dances have become divided into Bin-zasara and Suri-sasara, depending on the type of percussion instrument used.
Japanese: 現在までには、びんざさらを使う躍り系の田楽と、擦りささらを使う田はやし系の田楽とに分かれてきた。
English: Dengaku dances include dances that are prayers for a good harvest, and dances that are prayers for driving away evil.
Japanese: 躍り系の田楽には、豊穣を祈念するものと、魔事退散を祈念するものとがある。
English: There are Dengaku dances featuring child dancers, including the Oji-jinja Shrine Dengaku dance, Shirahige-jinja Shrine Dengaku dance, Gohoden's Children's Dengaku/Furyu, Kotaki Chokurairo Dance, Dainichi-do Dance and more.
Japanese: 王子神社の田楽・、白鬚神社の田楽、御宝殿の稚児田楽・風流、小滝のチョウクライロ舞、大日堂舞楽などには稚児が演じる躍り系の田楽がある。
English: As of 2006, the following 24 performances are designated important intangible assets in the classification of Dengaku Folk Performances (Date of designation, Prefecture).
Japanese: 2006年現在、以下の24件が民俗芸能の田楽の分類で、重要無形民俗文化財に指定されている（指定日都道府県）。
English: Dengaku performances also sometimes include 'taka-ashi' or short stilts, and this is thought to be the origin of the name of the dish 'miso dengaku', or tofu with miso is grilled on short skewers that look like small stilts.
Japanese: 田楽の芸に高足というものがあり、竹馬に乗るようなものだったので、これに由来する。
English: The term "Kamon" refers to a crest used in Japan to indicate one's origins; that is, one's family lineage, blood line, ancestry and status from ancient times.
Japanese: 家紋（かもん、英語：）とは、特に日本において古くより出自といった自らの家系、血統、家柄・地位を表すために用いられてきた紋章である。
English: While the term "symbol" in English means an abstract design and "emblem" means visual design, "Kamon" in Japan is expressed as " " in English in the sense of 'Kabutokazari (兜飾り).'
Japanese: 英語で用いられる象徴（）は抽象な図案を指し、紋章（）は視覚な図案を指すが、日本の家紋は「兜飾り」の意味から、といった英語で表現されている。
English: This is because the component of an individual crest in the West has the same function as that in Japan, having the same component in common to identify a family.
Japanese: これは西洋の個人紋章（）の構成要素が一族・家族で共有と、日本の家紋と同様の機能を有するからである。
English: In the age of 'Gen Pei To Kitsu,' when a strong Shizoku family like the Minamoto clan, the Taira clan, or the Fujiwara or Tachibana clans, were in their prime, a part of the Shizoku population that moved to local regions began to use other names, for example like a place name, for its Kamei (Yago, house name) to distinguish themselves from other people from the same clan, and this led to Myoji (family name) being used later.
Japanese: 「源平藤橘（げんぺいとうきつ）」と呼ばれる源氏、平氏、藤原氏、橘氏といった強力な氏族が最も名を馳せていた時代、地方に移り住んだ氏族の一部が他の同じ氏族の人間と区別をはかるため土地の名前などを自分の家名（屋号）とし、それが後の名字となった。
English: A Kamon was created to serve as an unique emblem that represented a family's identity, clearly revealing the family name of its owner.
Japanese: 家紋は家の独自性を示す固有の目印的な紋章として生まれ、名字を表す紋章としての要素が強い。
English: Later, Buke (samurai, warriors) and Kuge (the nobility) made use of Kamon, that are classified into some groups according to blood line or historical origin.
Japanese: その後、武家や公家が家紋を使用するようになり、血統や元々の帰属勢力としていくつかのグループに大きく分けることができ、
English: In addition, some Kamon, created by Gozoku (a powerful family (clan)), have been handed down and are still in use.
Japanese: その他、各地の豪族がそれぞれ新たに創作した家紋が現代まで伝わっているものもある。
English: Multiple Kamon were allowed, except for particular crests, and Kamon spread widely and were used on even graves, furniture, and ships.
Japanese: 特別な紋章や場合を除いて、家紋を幾つも所有することは自由だったこともあり、墓地や家具、船舶にまで付けられるほどまでに広まる。
English: However, although there were no limitations placed upon usage, freely using other family's Kamon caused friction or conflict.
Japanese: しかし家紋の使用に制限はなかったと言っても、他家の家紋を無闇勝手に使用してはそれなりの軋轢や摩擦が生じる。
English: Especially using Kamon of a higher class, such as Daimyo (Japanese feudal lord) or Shogun (general) created more friction.
Japanese: 特に大名であったり将軍であったり、地位の高いものとなれば尚のことであった。