nntsuzu/KFTT huggingface dataset:
English: "Nanori, Shimenawa-kiri, Himatsuri" is a series of annual events held from New Year's Eve through New Year's Day in Daio-cho, Shima City, Mie Prefecture.
Japanese: 名のり・注連縄切り・火祭り（なのり・しめなわきり・ひまつり）は、三重県志摩市大王町で大晦日から元日にかけて行なわれる一連の年中行事。
English: On the night of New Year's Eve, several Nanori-sendo boatmen and children of junior high school students and younger gather in the Namikiri branch of the Shimano-kuni fisheries cooperative association and the event starts with the Ise Dance song (the song played at the moment is the one arranged locally).
Japanese: 大晦日の夜、志摩の国漁協波切支所にて複数の名のり船頭と中学生以下子供達が集まり、伊勢音頭を歌って行事が始まる（この時の伊勢音頭は当地にアレンジされているものである）。
English: After that, children who hold barrels and bales break up into groups and go door-to-door in respective area, accompanied by Nanori-sendo boatmen wearing a red livery coat with a chochin (Japanese paper lantern) labeled as 'Deguchi-daimyojin.'
Japanese: この後子供たちは樽と俵を手に持ち、赤い半被を着て「出口大明神」の札が書かれた提灯を持つ船頭に付き添われ、各地区に分かれて家々を回る。
English: They walk along the path with the call of 'horoisa,' etc. and on hearing this call, all the family at each house or tourists in a Japanese-style hotel welcome them by opening up the front door.
Japanese: 「ホロイサー」などのかけ声と共に道を歩き、各家はこの声が聞こえたら玄関を開け家族総出で、また、旅館では観光客が出迎える。
English: Also, each house is not allowed to bake New Year's rice cakes if this event is not held at home.
Japanese: また各家は、この行事が家にて行われないと新年の餅は焼くことができない。
English: After going-door-to-door, they gather group by group at the fisheries cooperative association or the house of Nanori-sendo boatman or their relatives and distribute the rice cakes and other stuffs they received.
Japanese: 回り終えたところでグループ毎に漁業協同組合、または船頭の自宅、親戚などにて、貰ったお餅などを分配する。
English: They throw burned embers of bamboo poles into the sea, saying 'We give them to Jingusan.'
Japanese: 燃え残った竹竿は残り火は「ジングサンさんへあげる」と唱え海に投げ込む。
English: In the past, as mandarin oranges and other stuffs were also offered by each house, 40 to 50 mandarin oranges were distributed to each child.
Japanese: 過去には蜜柑なども一緒に各家から出たため、子供一人当たり4、50個の蜜柑を分配されることもあった。
English: The meaning of 'Jingusan' is not known exactly but some research indicates that it may be the name of 'Watatsumi no kami' (tutelary of the sea).
Japanese: 「ジングサン」の意味は定かではないが、「海神」である可能性が指摘されている。
English: Zosui is made by simmering cooked rice again with meat, fish and shellfish, mushroom and vegetable, seasoned with soy sauce, miso, etc.
Japanese: 雑炊（ぞうすい）は、米飯に肉、魚介類、キノコや野菜を加えて、醤油や味噌などの調味料とともに再度炊く。
English: In ancient times, zosui was shown as '増水' (increased water), which probably had a strong connotation of increasing the volume of rice with water.
Japanese: 古くは「増水」と表記され、米飯の量を水で増やすという意味合いが強かったと思われる。
English: It seems that after other ingredients were added to this 増水, kanji characters '雑炊' came to be used.
Japanese: この増水に他の具材を加えるようになってから「雑炊」の文字があてられるようになったようである。
English: Ojiya used to be the lady's language for zosui, but today it is sometimes recognized as different from zosui.
Japanese: おじやは、もともとは雑炊のことをいう女房言葉であったが、今日では、雑炊とおじやとが別種のものとして認識されることもある。
English: Zosui is made with cooked rice that is once washed before cooking in order to remove the surface starch, resulting in a light texture.
Japanese: 調理にあたり、米飯をいったん水で洗い、表面の粘りをとってから用いることで、さらっと仕上げたものが雑炊。
English: Zosui is just heating ingredients with soup or not stewing them enough to extract water from them in order to leave the original shape of rice.
Japanese: 汁とともに温めるだけ、または水分が飛ぶほどには煮込まず、米飯の粒の形を残すものが雑炊。
English: However, both the usual takikomi gohan (mixed rice) and high moisture zosui are referred to as Jyusi.
Japanese: ただし通常の炊き込みご飯も、水分の多い雑炊も共にジューシーと呼称される。
English: There are several theories about the origin of ojiya, but according to researchers of the European dish, Spanish cuisine and Portuguese cuisine, it is thought to be derived from Spanish dish OLLA.
Japanese: おじやの語源は諸説あるが、南蛮料理研究家やスペイン料理研究家やポルトガル料理研究家によれば、スペイン料理のオジャOLLAが語源だとされる。
English: During trades with Spain and Portugal, and Christian missionary work from the end of the 16th century through the beginning of the 17th century, ojiya was believed to have been introduced to the Kansai region and parts west by the Jesuits and to Edo by the Franciscan monks, respectively.
Japanese: 16世紀末期から17世紀初頭の南蛮貿易及びキリスト教布教活動の際、関西以西にイエズス会の修道士によって、また江戸にフランシスコ会の修道士によって伝わったとされる。
English: (It is highly possible that in both the cases ojiya had been introduced by the missionaries from Seville and Andalusia.
Japanese: （いずれもアンダルシア、セビリア出身の宣教師の可能性が高いとされている）
English: There are some dishes for which kanji was given later like Tempura, but similar to castella sponge cake, konpeito (confetti, candy), etc., kanji was not given for ojiya and it remained as its pronunciation, making people think it is a traditional Japanese dish.
Japanese: テンプラなど、後に漢字が充てられたものもあるが、オジャは、カステラやコンペイ糖等のように、漢字が充てられず発音のままに名前が残った為、日本の伝統料理と思われているが、漢字が存在しない。
English: In Spain, there are dishes of rice made with soup named '… caldoso,' 'arroz …' and 'arroz anb …,' similar to 'olla de ….'
Japanese: スペインでは「オジャ　デ　〜」の他、「〜　カルドソ」「アロス　〜」「アロス　アンブ　〜」という名称で同様のお米入りスープ仕立ての料理がある。
English: In addition, the word olla also exists in Portugal and Tunisia as well as the Spanish-speaking countries as the name of dish (recipe), which means traditional one-pot dish cooked at the table or the pot itself, and today sometimes means a pressure cooker (dish cooked with the pressure cooker).
Japanese: なお、オジャOLLAは、スペイン語圏の他、ポルトガル、チュニジアにも同様、同名の料理(法)があり、伝統的な鍋料理、または鍋そのものを意味し、現代では圧力釜（料理）もさす場合がある。
English: Another theory is that ojiya was derived from the sound 'jiyajiya,' but it is not supported in recent years.
Japanese: なお「じやじや」という音から派生したという説もあるが、最近は支持されていない。
English: Kiraibashi, also called Imibashi or Kinjibashi, is the banned usage of chopsticks in Japan.
Japanese: 嫌い箸（きらいばし）または、忌み箸、禁じ箸とは、日本に於いて箸を使うときの禁じ手。
English: As important people used to do so in old times, it can be considered as the behavior of suspecting the food is poisoned.
Japanese: 古来の要人がそうしたように、食べ物に毒が入っていると疑っている仕草と思われる。
English: It is considered as a good manner to take a sip of soup as the start of a meal to avoid Mogibashi.
Japanese: これを行わないために食事の最初には汁物を一口すするのが作法とされる。
English: To friends or on the occasion where a host wants the guests to feel free to eat a lot, the host sometimes suggest them 'Jikabashi' purposely.
Japanese: 懇意な仲同士や遠慮なく多くの料理を客に食べて欲しい時には敢えて「直箸で」と勧めることがある。
English: The Narutomaki (written in Japanese character as: 鳴門巻き) is a type of kamaboko, steamed fish paste, made from minced fish and with a spiral pattern in cross section.
Japanese: 鳴門巻き（なるとまき）は、魚肉のすり身を使用し、断面に渦巻状の模様がある蒲鉾の一種。
English: A boiled fish-paste product in the shape of a long and narrow cylinder made from two colored minced fish; white one and red one colored with food dye.
Japanese: 白色と、食用色素で赤く着色した二色のすり身を用いて作られた細長い円筒形の魚肉練り製品。
English: Its periphery is serratted as if pressed with a makisu (a 'sushi mat', a bamboo mat used in food preparation) and a spiral pattern is seen in cross section.
Japanese: 周りが巻き簾で押したようにギザギザになっており、小口に渦巻き模様が見られる。
English: The Narutomaki is often used in slices and the right side of a slice is thought to be the side where the spiral pattern is recognized as 'の' (a hiragana character which sounds 'no').
Japanese: 薄切りにして使われる事が多く、渦巻の部分が「の」の字に見える面が表とされる。
English: Although the one having a white periphery is mainstream nationwide, a red-periphery one is seen in some areas such as Kyusyu region.
Japanese: 全国的には周囲が白いものが主流だが、九州地方など一部の地域では周囲が赤いものも存在する。
English: Considering the Narutomaki was originally made by rolling two paste sheets of different colors as a double layer, the red-periphery one could be rather closer to the original and thus the akamaki kamaboko, a local special product of Toyama Prefecture, and the like are regarded as original.
Japanese: 元々は二色の練り物を重ねて巻いたであろうことから想像すると、こちらの方がより本来の姿に近いと考えられ、富山県の特産である赤巻などにその原型を見ることができる。
English: In Hokkaido and Tohoku region, a three-colored one with a red periphery and a green spiral pattern is seen as well.
Japanese: また、北海道や東北では外側の赤と緑色の渦巻きという三色使いのものも見られる。
English: The Narutomaki sold abroad in Hawaii, etc. also has a red periphery dyed bright red.
Japanese: ハワイなど海外で売られているなると巻きも周囲が赤く、鮮やかな紅色が使われている。
English: It is assumed that the red-periphery Narutomaki has been inherited from its original brought by immigrants during the Meiji and Taisho eras.
Japanese: これは明治・大正期の移民が伝えた当時の姿が継承されているためと推測される。
English: Although it remains uncertain where that came from, there is a hypothesis that "among the 'Goshokumaki' (five colored kamaboko) in the late Edo era, only the akamaki (red roll) kamaboko remains.'
Japanese: その由来は定かではないが、「江戸時代後期の「五色巻」の赤巻だけが独立して残ったもの」という説もある。
English: The title is different for the actor to impersonate the leading role Sukeroku (for further details, see 'Currently Performed Sukeroku.')
Japanese: 本外題は主役の助六を勤める役者によって変わる（詳細は今日の助六を参照)。
English: As the sophisticated ultimate Edo culture that embodied 'Iki', the ideal chic or stylish Eco culture, "Sukeroku" had a decisive impact on the future of Japanese culture.
Japanese: ｢粋」を具現化した洗練された江戸文化の極致として後々まで日本文化に決定的な影響を与えた。
English: "Sukeroku" is not just one of the eighteen Kabuki repertoire items that are specialties of the Danjuro ICHIKAWA family, the head of Kabuki, but also the most frequently performed play among them because it is one of the most popular items because whenever it was performed, it always played to full houses.
Japanese: 歌舞伎宗家市川團十郎家のお家芸である歌舞伎十八番の一つで、その中でも特に上演回数が多く、また上演すれば必ず大入りになるという人気演目である。
English: That is a reason for its somewhat nonsensical setting such that a street knight Sukeroku is 'in fact SOGA no Goro,' and the sake-seller is 'in fact SOGA no Juro, an older brother of Goro.'
Japanese: そのため侠客の助六が「実ハ曾我五郎」で、白酒売りは「実ハ五郎の兄曾我十郎」という、ややもすると荒唐無稽な設定になっている。
English: But that is only for traditional rules for a Kabuki setting, i.e., specifying 'the world to avoid vagueness,' and "Sukeroku" is not based on the real SOGA brothers revenge story, there are neither historical sources nor legends to prove that the real SOGA no Goro Tokimune was such a dandy good-looking man as Hanakawado no Sukeroku.
Japanese: しかしそれは歌舞伎における「世界(曖昧さ回避)」の指定という、設定上の伝統的な決まり事であって、『助六』は実際の曾我兄弟の仇討ちを題材にしたものではなく、また史実の曾我五郎時致が花戸川助六のような痛快な色男だったという史料も伝承もない。
English: An opinion has it that there was a young master of a large merchant house of a rice wholesaler or fish wholesaler in Asakusa, Edo named Sukeroku OWAKE or Sukeroku TOZAWA and he might have been the model for Sukeroku; another opinion has it that a street knight in Kyoto and Osaka who was renowned for his chivalrous spirit might have been the model for Sukeroku; and another opinion has it that a rice broker in Kuramae, Edo who was renowned as a chic, stylish, generous man of culture named Gyouu OGUCHIYA might have been the model for Sukeroku.
Japanese: 江戸浅草の米問屋あるいは魚問屋の大店に大捌助六（おおわけすけろく）あるいは戸澤助六（とざわすけろく）という若旦那がいたという説、京都・大坂でその男気をもって名を馳せた助六という侠客だとする説、そして江戸・蔵前の札差で、粋で気前のいい文化人として知られた大口屋暁雨（おおぐちやぎょうう）だとする説である。
English: They say that 'Sukeroku' might have been a probable name in the Kamigata area including Osaka, Kyoto and Kobe, but it must have been outside of the sensitivities of 'Iki' among the Edo people, i.e., who considered 'Yabo', quite rough and uncouth in Edo.
Japanese: これは上方でならありそうな名だが、江戸の「粋」の感覚からはどうにも野暮な名なのだという。
English: Edo was a place where people changed the word 'Sukibei' that originally meant 'a man of refined taste' or simply meant 'a dilettante' into 'Sukebei' with the new meaning 'lecherous,' which is the etymology of the modern word 'Sukebe' meaning 'a lecher, and coined from a Japanese Word of Chinese Origin 'Junroku' that means 'a placid person who is ignorant of the world' the new word 'Jinroku' with the meaning 'a dunce' in a phrase 'the eldest sons is proverbially a dunce,' for example.
Japanese: なにしろ、そもそもは「風流を好む人」または単に「好事家」という意味だった「好き兵衛」（すきべえ）という語を「助平」（すけべい）と読んで、意味も「好色な」と変えてしまったり（これが「スケベ」の語源）、「おっとり者で世間知らず」という意味の「順禄｣（じゅんろく）という漢語を「甚六｣（じんろく）と読んで「総領の甚六」という新語を作ってしまうのがお江戸である。
English: As it is said of the second opinion that Sukeroku in Kyoto and Osaka was a street knight and was regarded as comparable to Chobei BANZUIN, the most famous street knight in Edo, he must have been a real person during the early Edo period.
Japanese: 京坂の助六はというと、江戸の幡随院長兵衛と並び称されるほどの侠客だったというから、江戸時代江戸時代初期に実在した人物であることは想像に難くない。
English: It is said that this Sukeroku fell in love with a courtesan named Agemaki in Shimabara, Kyoto but their love and social obligations were at odds and they committed double suicide in Hozen-ji Temple in Osaka during the Enpo era.
Japanese: これが総角（あげまき）という名の京・嶋原の傾城と果たせぬ恋仲になり、大坂の法善寺で心中したのが延宝年間のことであるという。
English: But detailed information on this Sukeroku has not been handed down, therefore, there are a lot of different views including that Sukeroku was not a street knight but a young master of a large merchant house Yorozuya in Osaka; that Agemaki was a prostitute in the licensed quarters of Shinmachi in Osaka; and that their death was not a double suicide but Sukeroku was killed in a fight and Agemaki was brave enough to take revenge on Sukeroku.
Japanese: ただし詳細は伝わらず、したがって異説も多く、助六は侠客ではなく大坂の大店・萬屋（よろずや）の若旦那だったとする説、総角は大坂・新町遊廓の遊女だったとする説、そして事件も心中などではなく喧嘩で殺された助六の仇を気丈な総角が討ったものだとする説など、さまざまである。
English: Gyouu OGUCHIYA can be identified with a real person, one of eighteen rice brokers called 'the eighteen splendid sophisticates and big spender' who vied with one another to show their spirit of 'Iki' by spending a lot of money at the three theaters in Edo and the licensed quarters in Yoshiwara during the Kanen and Horeki eras.
Japanese: 大口屋暁雨は実在が確認できる人物で、寛延から宝暦年間に江戸の江戸三座や吉原で豪遊して粋を競った18人の札差、いわゆる「十八大通」の一人に数えられている。
English: As he was a patron of Danjuro ICHIKAWA II among other actors, he bought all the tickets for the play of Danjuro ICHIKAWA II even though it had a small attendance.
Japanese: 特に二代目團十郎のファンだったことから、彼の勤める舞台ならどんなに客入りの悪い興行でもチケットを買い上げてくれた。
English: This led to their forming a good relationship, and the rumor gradually spread in Edo that 'Danjuro's Sukeroku was modeled after OGUCHIYA.'
Japanese: そうしたことから二人は親交を深めるようになり、江戸では次第に「團十郎の助六は大口屋を真似たもの」という噂が広まる。
English: It is said that Gyouu, on the other hand, visited Yoshiwara attired as Sukeroku and was pleased at being called 'the contemporary Sukeroku.'
Japanese: 暁雨の方も助六そっくりの出で立ちで吉原に出入りし、｢今様（いまよう）助六」などと呼ばれてご満悦だったという。
English: Although it is unknown who imitated first, Gyouu OGUCHIYA was a great influence on Sukeroku because it is said that it was from this period that the headband of Sukeroku was dyed Edomurasaki purple, the favorite color of OGUCHIYA.
Japanese: どちらがどちらを先に真似たのかは不明だが、いずれにしてもこの頃から助六の鉢巻が大口屋の好んだ江戸紫に染め直されたというから、その影響を看過することはできない。
English: Gyouu OGUCHIYA seemed to have had such an impact on Kabuki that he himself became a motif of Kabuki during the Meiji period.
Japanese: 大口屋暁雨の存在の大きさは余程のものだったらしく、明治になると彼自身が歌舞伎の題材にされている。
English: The Kabuki play was "Kyokaku Harusamegasa" written by Ochi FUKUCHI, the main character of which was 'formerly a young master of a rice broker OGUCHIYA, and now the famous street knight Gyouu.'
Japanese: 福地桜痴作の『侠客春雨傘』（きょうかくはるさめがさ）がそれで、主人公は「元は札差の大口屋の若旦那で治兵衛といったが、今ではその名もとどろく侠客・暁雨」という設定。
English: He appeared by real name, and, by way of entertainment, the main character was written with the background of the other two models of Sukeroku who were said to have existed in the past.
Japanese: 実名での登場だが、過去に存在したといわれる他の二人の助六のモデルの素性までもがすべて一束把にされているのはご愛嬌である。
English: On the first stage and mostly during the early period, this verse was narrated by Hanpeita EDO and his disciples for successive generations.
Japanese: 初演時および初期の興行の多くでは代々の江戸半太夫とその弟子たちがこの詩章を語った。
English: Kato MASUMI and his disciples called 'Katobushi renju' had performed the accompaniment in most stages from that period until the present for successive generations.
Japanese: その後現在に至るまで最も多くの興行でこれを勤めているのは代々の十寸見河東とその弟子たち、いわゆる「河東節連中｣（かとうぶしれんじゅう）である。
English: As few professional performers have specialized in Katobushi through the history of kabuki, it has been performed in alternative basis for the stage of "Sukeroku" by merchant ship-owners in the past and amateur narrators belonging to the narrator group called 'Masumikai' at present.
Japanese: 河東節を専業で行う者は今も昔も非常に少ないため、『助六』が上演されるときは、かつては蔵前の旦那衆が、そして今日では「十寸見会｣（ますみかい）という愛好会に所属する素人の語り手たちが、交代でこれを勤めることになっている。
English: The amateur narrators here means that they have regular occupations other than being a Katobushi narrator, and needless to say their technique is comparable to those of the professionals.
Japanese: ただしここでいう素人とは本職が別にあるという意味で、その技量は玄人はだしであることはいうまでもない。
English: As Danjuro ICHIKAWA VII made the Naritaya Danjuro ICHIKAWA family the proprietor of Katobushi, it has become the rule that when other families put "Sukeroku" on stage, they substitute Nagauta, Tokiwazu, or Kiyomoto for Katobushi for 'the Deha no Uta' out of consideration for the Naritaya family.
Japanese: この河東節は、市川團十郎(7代目)が成田屋市川團十郎の専売特許扱いにしてしまったため、以来他家が『助六』を上演するときは成田屋に遠慮して、｢出端の唄」は長唄・常磐津・清元などに代えて行うことが決まり事になっている。
English: Danjuro ICHIKAWA of successive generations have been deeply involved with the establishment and transition of "Sukeroku" behind the scenes.
Japanese: 『助六』の成立とその変遷の背景には、歴代の市川團十郎が密接に関わっている。
English: It is not accidental that "Sukeroku" has been a special play among the eighteen Kabuki repertoire items such that it has always been put at the top of the eighteen items, has been put on the stage for the most frequently among the eighteen items, and its performance time is the longest among the eighteen items.
Japanese: 『助六』が歌舞伎十八番では常に第一にあげられ、上演回数では群を抜いて最多、その上演時間も最も長いという、特別なものとなっているのもただの偶然ではない。
English: Notes: From this performance, "Sukeroku" was incorporated into 'Sogamono' that made a great hit in Edo.
Japanese: 備考：この作品で『助六』は当時時江戸で大人気だった「曾我もの」の中に取り込まれ、以後はこれが踏襲される。
English: Notes: Katobushi has been used from this performance, and the title of the 'Deha no Uta' in this performance was 'Yukari no Edozakura.'
Japanese: 備考：この上演から河東節を使うようになり、このときの「出端の唄」の曲名が「所縁江戸櫻」（ゆかりのえどざくら）だった。
English: From this performance, this song was used only when Takenojo ICHIMURA IV changed to Uzaemon ICHIMURA VIII had impersonated Sukeroku at the Ichimura-Za the proprietor of which was Uzaemon ICHIMURA VIII.
Japanese: この唄はこれ以後、四代目市村竹之丞改め市村羽左衛門(8代目)が座元として所有するこの市村座で助六を演じるときのみにしか使われないようになる。
English: This was succeeded to successive Uzaemon ICHIMURA, and Katobushi 'Yukari no edozakura' began the song dedicated to Uzaemon for over seventy years
Japanese: これが歴代の市村羽左衛門にも継承され、河東節「所縁江戸櫻」は70年以上にわたって羽左衛門占有の曲となった。
English: Notes: People lived as long as fifty years in those days as expressed in a famous song, and the actors who turned fifty were generally retired, but Ebizo ICHIKAWA II (Danjuro ICHIKAWA II) played the role of young man Sukeroku at the age of sixty-one in this program for the first time over thirty-three years.
Japanese: 備考：「人間五十年」の時代、不惑の歳を迎えた役者は隠居するのが常だったが、この年61歳になった二代目海老蔵（二代目團十郎）は33年ぶりに若衆の助六を演じた。
English: In these performances, the outfit for Sukeroku became almost the same as that of the present Sukeroku such as 'a shiny silk short sleeve kimono lined with scarlet cloth, a set of pure pale greenish-blue underwear, a purple silk crepe headband, and a small lacquered container bearing a crest and a sharkskin attached scabbard at the waist'
Japanese: この興行で衣装の拵えが「二重の小袖に紅裏、浅葱色無垢の下着を一つ前、紫縮緬の鉢巻、腰に一つ印籠と鮫鞘」という、ほぼ現在のかたちに整う。
English: In those days, a rumor spread that this outfit was arranged imitating Gyouu OGUCHIYA, a rice broker in Kuramae.
Japanese: これは二代目と親交のあった蔵前の札差・大口屋暁雨の出で立ちをモデルにしたもの、という噂がこの頃から広まる。
English: Notes: By those days, it was accepted among Edo people that 'Hanakawado no Sukeroku was Gyouu OGUCHIYA.'
Japanese: 備考：この頃までに江戸では「花戸川助六は大口屋暁雨」という構図が定説になっていた。
English: It was from this performance that the headband of Sukeroku was redyed Edomurasaki purple, the favorite color of OGUCHIYA.
Japanese: 助六の鉢巻きが大口屋が好んだという江戸紫に染め直されたのも本作から。
English: Katobushi 'Yukari no Edozakura' was used by Kamezo ICHIMURA (later Uzaemon ICHIMURA IX), the proprietor of the Ichimura-Za, in this performance for the last time and thereafter, it has been exclusively used by successive Danjuro ICHIKAWA.
Japanese: なおこのとき市村座座元の市村亀蔵（後の九代目羽左衛門）が河東節「所縁江戸櫻」を使ったのを最後に、以後はこれがもっぱら歴代の市川團十郎によって使われるようになる。
English: Note: This was the only performance where Katobushi 'Yukari no Edozakura' was used on the stage of Sukeroku impersonated by an actor other than Uzaemon ICHIMURA and Danjuro ICHIKAWA.
Japanese: 備考：助六を市村羽左衛門と市川團十郎以外の役者が演じた舞台で河東節「所縁江戸櫻」が使われた唯一の例。
English: The main programs during the period when "Sukeroku" was performed with the main character 'Sukeroku' highlighted the entire play.
Japanese: 「助六」を全面に打ち出して演じられるようになった時代の主な上演演目：
English: Artificial cherry blossoms were decorated from the stage to the hanamichi for the first time in this performance during the history of Sukeroku, and here, a style of likening the entire auditorium to the quarters of Yoshiwara was completed in this performance.
Japanese: 備考：このとき初めて舞台一面から花道にかけて桜の造花が飾られ、芝居小屋そのものを吉原に見立てるという体裁が完成。
English: Sukeroku' was incorporated in the title for the first time in this performance during the history of Sukeroku, and all programs of the present "Sukeroku" had been made a model of this version.
Japanese: 外題に「助六」が入るのもここからで、現行の『助六』はすべてこの版を原型としたものとなっている。
English: Notes: The title of Hanpeitabushi performed in this program was 'Kuruwa no momoyogusa.'
Japanese: 備考：このときの半太夫節の曲名が「曲輪菊」（くるわのももよぐさ）だった。
English: In this performance, it was shown that Katobushi was no longer dedicated to Uzaemon ICHIMURA and that Danjuro ICHIKAWA had a patent on Katobushi.
Japanese: 河東節はもう市村羽左衛門の占有物ではなく、市川團十郎の専売特許だということを見せつけた。
English: Notes: This was the name-changing performance of Danjuro ICHIKAWA VIII, the son of Danjuro ICHIKAWA VII, in which Danjuro ICHIKAWA VIII impersonated the medicine peddler.
Japanese: 備考：七代目の倅・市川團十郎(8代目)の襲名披露興行で、八代目は外郎売で登場。
English: Notes: Danjuro ICHIKAWA VII who was banished from Edo in the Tempo reform performed at the Kado-Za in Osaka by the name of 'Shigezo HATAYA.'
Japanese: 備考：天保の改革のあおりで江戸所払いになった七代目が「幡谷重蔵」（はたやしげぞう）の名で大坂・角の芝居の舞台にたって演じたもの。
English: Notes: This was a domestic play scene as the second scene of "Edozakura Kiyomizuseigen" of a series of play written by Mokuami KAWATAKE in cooperation with Kodanji, that is to say, 'Sukeroku of their own style.'
Japanese: 備考：小團次と提携して河竹黙阿弥が書いた一群の作品のひとつ『江戸櫻清水清玄』（えどざくらきよみずせいげん）の二番目・世話場面で、いわば「我流の助六」。
English: Although Kodanji had been wanting to do "Sukeroku," he was small and not suitable for the role.
Japanese: 小團次は常々『助六』をやりたいと思っていたが、小柄な自分では偉丈夫な助六がさまにならない。
English: In response to the complaints of Kodanji, Mokuami remade the conventional "Sukeroku" as "Kurotegumi no Sukeroku" by condensing the essence of the original "Sukeroku" including gorgeous outfit, exaggerated Kumadori makeup, romantic drama, sophisticated words, and big fights.
Japanese: そんな愚痴を聞いた黙阿弥は、鮮やかな衣装、派手な隈取、艶やかな舞台、粋なセリフ、そして派手な喧嘩などといった『助六』の随を凝縮するかたちでこれを『黒手組の助六』に書き換える。
English: In contrast to the original version that was a one-act play lasting as long as three hours, Mokuami made the new one a concise three-act play lasting half as long as the original one, making it like the model of Edo Kabuki.
Japanese: また原版が全一幕で上演時間が3時間という冗長な演目だったのに対し、新作は全三幕で上演時間は原版の約半分という簡潔なものにまとめ、江戸歌舞伎の見本のような作品に仕上げた。
English: Notes: During the transition period when Danjuro ICHIKAWA IX returned from his adoptive family, the Kawarazaki family, to the house where he was born, the Horikoshi family, Danjuro temporarily took the name 'Sansho KAWARAZAKI' for 10 months.
Japanese: 備考：九代目は明治6年から7年にかけて、養家の河原崎家から生家の堀越家に戻る際、ひとつの過渡期として「市川三升」（かわらざきさんしょう）という名跡を10ヵ月間だけ名乗っていた。
English: He performed "Sukeroku," the representative of the eighteen Kabuki repertoire items in this transition period, which shows he might have been enthusiastic about his succession to 'Danjuro ICHIKAWA IX' immediately after the performance.
Japanese: そこに歌舞伎十八番の代表格である『助六』をぶつけたのは、この直後に襲名することになっていた「九代目市川團十郎」に対する彼の意気込みの現れとみることができる。
English: Out of consideration for the new government, 'Edozakura' was substituted by 'Yaezakura' to avoid using the letters 'Edo' as the city of Tokyo had been just established.
Japanese: なお「江戸櫻」を「八重櫻」に替えたのは、東京奠都日も浅い東京に腰を据えた明治維新をはばかって「江戸」の二字を避けたもの。
English: It is not uncommon for a play to have multiple nicknames other than its original title.
Japanese: ある演目に、本来つけられた外題のほかにも、複数の通称がついていることは珍しくない。
English: For example, the play entitled "Kotobuki Soga no Taimen" is generally called by its nicknames "Kichirei Kotobuki Soga," "Soga no Taimen," and "Taimen."
Japanese: たとえば、本外題が『寿曽我対面』という演目を、通常われわれは『吉例寿曽我』、『曽我の対面』、あるいは『対面』などといった通称で呼んでいる。