nntsuzu/KFTT huggingface dataset:
English: Kodan features: samurai, male-dominated society, stories on great people, public stances, psychologically great distance between the performer and the audience, official views, consistency, objective depiction in descriptive texts, and emphasis on tempo of narrative.
Japanese: 講談-武士、男性社会、エラい人の物語、タテマエ、演者と客との心理的距離の遠さ、公式的見解、無矛盾性、地の文による客観的描写、語りのテンポと歯切れを重視
English: Rakugo features: townspeople/common people, women, stories on poor people, true feelings, a sense of unity between performers and audience, standpoints from underneath, affirmation of inconsistency in the world, affirmation of antisocial nature, descriptions of sentiment, development by conversation, and required pacing of narrative.
Japanese: 落語-町人庶民、女性、ダメな人の物語、ホンネ、演者と客との一体感、下からの目線、世の矛盾を肯定、反社会性の肯定、心情描写、会話により展開される、しゃべりに緩急が必要
English: Danshi TATEKAWA says that rakugo is an affirmation of human "gyo" (conduct), that is, inconsistency.
Japanese: 立川談志は落語とは、人間の『業』（＝矛盾）の肯定であるといっている。
English: Therefore, kodanshi is supposed to be higher in performing rank than rakugoka, providing that their class and careers are identical.
Japanese: よって講談師と落語家では（身分・キャリアが同じなら）どういう場合であっても講談師のほうが芸格が上ということになっている。
English: Wartime propaganda: Since kodan originally celebrated feudalistic ideas, it was incorporated into militaristic propaganda during the war.
Japanese: 戦時プロパガンダ-講談の内容はもともとは封建思想を賛美するものであり、戦時中には軍国主義プロパガンダの一環となった。
English: Never losing its antisocial nature, many rakugo acts were suppressed and forbidden during war.
Japanese: 落語は反社会性が抜けず、戦時中に多くの演目が禁演落語として弾圧された。
English: Political propaganda: As a general rule, performers in kodan are said to be capable of delivering messages to the audience in a more straightforward way than in rakugo.
Japanese: 政治プロパガンダ-一般には、講談のほうが演者が客にストレートにメッセージを発することができるとされている。
English: There are many people who perform kodan for purposes of political propaganda, including Chiyu ITO the first, Ichimatsu ISHIDA and Nanryo KYOKUDO the fourth, all of whom were members of the Diet.
Japanese: また、政治プロパガンダのために講談をやっている者（初代伊藤痴遊、石田一松、四代目旭堂南陵。いずれも国会議員）も多い。
English: But it is true that much propaganda may also be seen in rakugo, though it is associated with Buddhism and shingaku (mind school).
Japanese: ただし、プロパガンダが多いのは間違いがない（但し仏教や心学である）。
English: Gundan: Essential for kodan, shiraba (dreadful scene) depicts battles fought by samurai.
Japanese: 軍談-講談に欠かせないのが修羅場（しらば）で、これは武士の合戦の模様を描写したものである。
English: On the other hand, rakugo basically feature townspeople, and always have a townsperson appear as a character somewhere in the story even when samurai are involved.
Japanese: 反面、落語は、基本的に町人の話で、武士がからんでもどこかに町人が登場人物として顔を出す。
English: In addition, there are many 'rakugo intended to make people laugh,' whereas there are no kodan intended to make people laugh unless newly created.
Japanese: また、「笑わせるための落語」（滑稽噺）は多数存在するが、笑わせる講談は（新作でもない限り）存在しない。
English: Not all kodan and rakugo are formalized this way, however, making it difficult to categorize them by substance and form.
Japanese: しかしこの形式に沿わない講談、落語は多数存在するため、内容や形式から分類することは困難である。
English: And there are many 'rakugo that intentionally incorporated kodan' like Genpei Seisuiki (The Rise and Decline of the Minamoto and Taira clans) and Gomoku Koshaku (Mixed Koshaku).
Japanese: また、「講談を意図的に取り入れた落語」も多い（源平盛衰記、五目講釈など）。
English: Ultimately, it would be called rakugo when performed by rakugoka, and kodan when performed by kodanshi.
Japanese: 究極的には、落語家と呼ばれる人が演じれば落語、講談師と呼ばれる人が演じれば講談ということになろう。
English: Until the Taisho period, rakugo was often performed while reading koshakubon (text for koshaku) on kendai, which contained the story line and the characters, and which had been passed on from the masters generation after generation.
Japanese: また、講談は古くは大正時代頃まで見台に講釈本（代々師匠から受け継いだ物や自身が記した物であらすじや登場人物が書かれている）を置き読みながら演じられる事がしばしばあった。
English: Menchi katsu or minchi katsu is a meat dish, in which ground pork or beef (minchi) is mixed well with minced onions, salt and pepper, formed into flat ovals, coated with breading made of flour, beaten eggs and panko (Japanese-style coarse bread crumbs), and deep fried in oil.
Japanese: メンチカツまたはミンチカツは、豚肉や牛肉の挽肉（ミンチ）に、タマネギのみじん切り、食塩、コショウなどを混ぜて練り合わせ、小判型にして小麦粉、溶き卵、パン粉からなる衣をつけて油で揚げる肉料理である。
English: In other words, it's a raw hamburger patty that is breaded like a cutlet and deep fried.
Japanese: いうなれば、加熱前のハンバーグにカツレツの衣をつけて揚げたものである。
English: Various theories exist, but it is said to have been created by a western-style restaurant in Asakusa, Taito Ward, Tokyo, where it was sold as a "minced meat cutlet" during the Meiji period.
Japanese: 諸説があるが、明治に東京都台東区浅草の洋食店がミンスミートカツレツとして販売したのが起源とされている。
English: There are various theories; in the Kansai region, it is said to have begun at Genuine Kobe Beef Mitsuwaya Butcher Shop (present-day Mitsuwaya Sohonten (main store), established in 1901) during the early Showa period, using 'menchi boru' (meatballs) from a western-style restaurant in Tokyo as a hint, and the second owner, Mitsuji MIZUNO invented and named it 'menchi katsu.'
Japanese: 諸説があるが、関西地方では兵庫県神戸市兵庫区にある純神戸肉三ッ輪屋精肉店（明治34年創業、現三ツ輪屋総本店）が、東京の洋食店の「メンチボール」をヒントに昭和初期に、二代目水野三次氏が命名考案した「ミンチカツ」が始まりとされる。
English: In the regions where the word 'menchi katsu' is used, the word is often abbreviated as 'menchi.'
Japanese: なお、メンチカツという表現を用いる地域においてはしばしば「メンチ」と省略される。
English: However, in the Kansai area, 'minchi' is a word used solely to mean ground meat, and the word 'minchi' is not used as an abbreviation for 'minchi katsu'.
Japanese: しかし、関西ではミンチはあくまでもひき肉を意味する単語であるため、ミンチカツの短縮形として「ミンチ」という呼称が用いられることはない。
English: In the Kansai region, the word 'menchi' can suggest the expression 'menchi wo kiru' (to glare at someone), a vulgar expression used when fighting.
Japanese: 関西地方では「メンチ」という言葉は、「メンチを切る」という、喧嘩の際に使われるガラの悪い表現を連想させることがある。
English: This has the same meaning as "gan wo tsukeru" or "gan wo tobasu" (both meaning to glare at someone), slang expressions in the Tokyo metropolitan area.
Japanese: これは、首都圏方言の俗語表現で“ガン（眼）をつける”または“ガンを飛ばす”と同義である。
English: Therefore, in the Kansai region, the word 'menchi' or 'menchi katsu' is avoided.
Japanese: したがって、関西地方では「メンチ」あるいは「メンチカツ」という表現は避けられる。
English: In the neighborhood of Tsutenkaku in Naniwa Ward, Osaka City, Osaka Prefecture, it is just as popular as croquette and kushi katsu (cutlets on skewers).
Japanese: 大阪府大阪市浪速区の通天閣界隈では串カツやコロッケと並んで、ミンチカツも人気がある。
English: A shelled boiled egg wrapped with a similar ground meat mixture, breaded in a similar manner and deep fried is called Scotch egg.
Japanese: 同種の挽き肉生地でゆで卵を丸ごと包み、同様の衣をつけて揚げたものはスコッチエッグと呼ばれる。
English: The word "Kyogen" is derived from a Buddhist term 'Kyogen Kigo' that means an unreasonable phrase and a decorative word.
Japanese: 狂言は、道理に合わない物言いや飾り立てた言葉を意味する仏教用語の「狂言綺語」（きょうげんきぎょ）に由来する。
English: This Buddhist terminology was mainly used to criticize novels, poems, and so on (for example, Bai Letian said, "Having been absorbed in worldly literature, I have made mistakes to lure people by using 'Kyogen Kigo.' Recognizing such a sin, I would like to admire Buddhism and devote myself to enlighten people by delivering sermons in the next life.")
Japanese: この語は主に小説や詩などを批評する際に用いられた(例願以今生世俗文字業狂言綺語之誤翻為当来世々讃仏乗之因転法輪之縁白楽天)。
English: The word "Kyogen" has also come to be used as a general noun indicating a joke, a lie, behavior plotted to cheat others, and so on.
Japanese: 一般名詞としても、滑稽な振る舞いや、冗談や嘘、人をだます意図を持って仕組まれた行いなどを指して狂言と言うようになった。
English: In addition, Kyogen performances including lines contain lots of realistic expressions, because Kyogen was derived from Sarugaku by sophisticating its comical and mimic elements.
Japanese: 猿楽の持っていた物まね・道化的な要素を発展させたものであり、せりふも含め写実的表現が目立つ。
English: In addition, there are other ways to call several Ado separately; the most important performer playing the supporting role is called Ado, while others are called "Ji-Ado" (the next ranked Ado), "Omo" (title used only in the Okura school), "Ko-Ado" (title used only in the Izumi school), and so on.
Japanese: 代表的な者のみをアド、それ以外を次アドまたはオモ（大蔵流の場合）、小アド（こあど。和泉流の場合）などと称したりする。
English: Although it is possible to distinguish performers by using the above-mentioned titles, in fact, they are mostly called by the role name of each program, such as Shu, Tarokaja, Suppa, and Teishu.
Japanese: 一応こういう区別は存するが、実際には主（しゅう）、太郎冠者（たろうかじゃ）、すっぱ、亭主等、その曲その曲の役名で呼ばれることの方が多い。
English: Betsu Kyogen indicates Sanbaso (usually written as "三番叟" in Chinese characters, except the Okura school, which writes it as "三番三"), which is one of Acts in a Noh program 'Okina' (dance performance putting on a mask of an old man), and its special version 'Furyu.'
Japanese: 能「翁」の一部をなす三番叟（さんばそう。大蔵流では「三番三」と書く）と、その特別演出である風流（ふりゅう）をいう。
English: The classification used in "Okura-torahiro-bon" (Kyogen script compiled by Torahiro OKURA in 1792) is introduced hereafter, although differences among times and schools have hampered broad acceptance of the classification.
Japanese: 時代や流儀によっても相違があり一定していないが、大蔵虎寛本（1792年成立）の分類を代表として挙げておく。
English: (It also includes the title for classifying the order of program, like 'Waki Kyogen,' and therefore, this classification must be blamed for lacking the unity.)
Japanese: (また「脇狂言」という番組順の分類名もふくまれており、不統一であるというそしりはまぬかれない。）
English: It includes such programs as 'Futari bakama' (a story of Muko and his father over one pair of Hakama [formal men's divided skirt]), 'Yahata no mae' (a story of a man without special talent), 'Bikusada' (a story that a man Bikusada became a parent to give a child a name), 'Oko Sako' (troubles caused by two farmers, Oko and Sako), 'Chigiriki' (a story of a cowardly man trying to revenge an insult he received),and 'Ne ongyoku' (a story of a servant singing songs with his head pillowed in his master's lap).
Japanese: 「二人袴」「八幡前」「比丘貞」「右近左近」「千切木」「寝音曲」など。
English: Oni Yamabushi Kyogen is a Kyogen in which the performer playing the role of Enma Daio (the King of Hell), Oni (ogre), or others assumes the role of "Shite"; it includes programs with the story that people turn into Oni.
Japanese: 閻魔大王や鬼の類がシテを勤めるもの（人が鬼に化ける話もこれに含まれる）。
English: It includes such programs as 'Asahina (Kyogen)' (a story of a strong man Asahina), 'Yao (Kyogen)' (a story of a man Yao), 'Shimizu (Kyogen)' (a story over spring water), 'Fukuro (Kyogen)' (a story of people possessed by an owl), and 'Kaki Yamabushi '(a story of Yamabushi and persimmons).
Japanese: 「朝比奈(狂言)」「八尾(狂言)」「清水(狂言)」「梟(狂言)」「柿山伏」など。
English: There were three schools introducing the Iemoto system (the system of licensing the teaching of a traditional Japanese art) in the Edo period, the Okura school, the Izumi school, and the Sagi school.
Japanese: 江戸時代に家元制度を取っていた流派としては、大蔵流、和泉流、鷺流の三つの流派が存した。
English: Of them, however, only the Okura school and the Izumi school survive as schools belonging to the Nohgaku Performers' Association at present.
Japanese: 現在能楽協会に所属する流派として存続しているのは大蔵流と和泉流だけである。
English: In addition, it is known that there was a school termed "Nanto-negi school" from the end of the Muromachi period to the early Edo period, whose core members were Jinin (associates of Shinto shrines).
Japanese: その他に、室町後期～江戸初期には南都禰宜流という神人（じんにん。じにん）を中心とした流派が存していたことが知られている。
English: It is believed that the school disappeared after being merged with other existing schools (such as the Okura school) in the early Edo period.
Japanese: 江戸初期には既存の流派（大蔵流など）に吸収されて消滅したと言われている。
English: In addition, there were apparently various unknown small schools that had already disappeared.
Japanese: その他にも無名の群小諸派が存在したようで、流派としては既に滅んでしまった。
English: However, a part of their scenario was published in the style of books for the general public in the Edo period, such as "Kyogenki" (Collections of farces), "Zoku Kyogenki" (Collections of farces Continued), "Kyogenki Shui " (Collections of farces) and "Kyogenki gaihen" (Collections of farces), which have been handed down to subsequent generations.
Japanese: しかし一部の台本は『狂言記』『続狂言記』『狂言記拾遺』『狂言記外編』という一般読者向けの読み物となって江戸時代に出版され、世に残った。
English: Branch familes included the Hachiemon OKURA family (the head branch family, third ranked official Kyogen school in the Shogun's court), the Yadayu OKURA family, and the Yasoemon OKURA family.
Japanese: 分家に大蔵八右衛門家（分家筆頭。幕府序列3位）、大蔵弥太夫家、大蔵弥惣右衛門家があった。
English: The Okura school had lots of subordinate families (families studying under the school) such as the Chodayu OKURA family, the Sengoro SHIGEYAMA family in Kyoto, and the Chuzaburo SHIGEYAMA family.
Japanese: 大蔵長太夫家や京都の茂山千五郎家、茂山忠三郎家をはじめとして弟子家も多かった。
English: However, in Tokyo, Tojiro YAMAMOTO, the first (real name: Norimasa, name after retirement: Azuma) maintained the tradition of the Okura school by himself.
Japanese: しかし東京では初世・山本東次郎（則正。隠居名：東あずま）が大蔵流の孤塁を死守した。
English: Meanwhile, in Kyoto, Masatora (later Sengoro, the ninth, and also Sensaku, the first) and Masashige (later Sengoro, the 10th, and also Sensaku, the second) performed unpretentious Kyogen; both belonged to the Sengoro SHIGEYAMA family that adopted as the school's slogan 'O-tofu shugi' (a principle that Kyogen should be accepted by people naturally as tofu [bean curd]).
Japanese: 京都では「お豆腐主義」を標榜する茂山千五郎家の正虎（9世千五郎。初世千作）、正重（10世千五郎、2世千作）が庶民的な狂言を演じた。
English: In 1941, Kichijiro married into the Okura family; he was the second son of Kyuji SHIGEYAMA (later Yagoro ZENCHIKU, the first Living National Treasure in Kyogen circles), an adopted son of Chuzaburo SHIGEYAMA, the second (Yoshitoyo) who came from a branch family of the Sengoro SHIGEYAMA family.
Japanese: 昭和16年（1941年）には茂山千五郎家の分家の二世茂山忠三郎（良豊）の養子であった茂山久治（後の善竹彌五郎。狂言界初の人間国宝）の次男・吉二郎が大蔵家に婿入りした。
English: Afterward, Kichijiro inherited the head family as Yataro OKURA, the 24th (later Yaemon OKURA), which resulted in the restoration of the head family.
Japanese: 二十四世大蔵弥太郎（のち大蔵弥右衛門）として宗家を継ぎ、宗家は再興された。
English: At present, the Okura school consists of the Tojiro YAMAMOTO family (based in Tokyo), the Yataro OKURA family (the head family, based in Tokyo), the Sengoro SHIGEYAMA family (based in Kyoto), the Chuzaburo SHIGEYAMA family (based in Kyoto), the Chuichiro ZENCHIKU sect (based in Osaka and Kobe) and the Juro ZENCHIKU family (based in Tokyo).
Japanese: 現在大蔵流には山本東次郎家（東京を本拠）、大藏弥太郎家（宗家。東京を本拠）、茂山千五郎家（京都を本拠）、茂山忠三郎家（京都を本拠）、善竹忠一郎一門（大阪・神戸を本拠）、善竹十郎家（東京を本拠）がある。
English: Scripts are mainly divided into two groups; one consists of scripts embraced in the Tojiro YAMAMOTO family that has inherited the artistic tradition of the Okura head family in Edo, the other consists of those embraced in the Sengoro SHIGEYAMA family based in Kyoto since the Edo period.
Japanese: 台本は江戸の大蔵宗家の芸系を受け継ぐ山本東次郎家のものと、江戸時代以来京都を本拠としてきた茂山千五郎家のものとに大別される。
English: The style of performance in the Tojiro YAMAMOTO family is antique and upright, inheriting the tradition of "buke shikigaku" (dance and music performed in the official place of Buke [samurai family]), while that in the Sengoro SHIGEYAMA family is realistic and easy to understand.
Japanese: 山本東次郎家が武家式楽の伝統を今に残す古風で剛直な芸風なのに対して、茂山千五郎家は写実的で親しみやすい芸風である。
English: In the past, three Kyogen performers belonging to the Okura school received the honor of being named Living National Treasure, Yagoro ZENCHIKU (Kyuji SHIGEYAMA), Sensaku SHIGEYAMA, the third (real name, Shinichi, and also Sengoro SHIGEYAMA, the 11th) and Sensaku SHIGEYAMA, the fourth (real name, Shime, and also Sengoro SHIGEYAMA, the 12th, a Kyogen performer on the active list).
Japanese: 過去に大蔵流から人間国宝に認定されたのは善竹弥五郎（茂山久治）、3世・茂山千作（真一。11世・茂山千五郎）、4世・茂山千作（七五三しめ。12世・茂山千五郎。現役）の3人。
English: According to the family record, Gene Hoin, a scholar monk of Mt. Hiei was the founder of the Okura school, who was a Jiko (teacher) of the Emperor Godaigo in the 14th century.
Japanese: 家伝によれば、大蔵流は14世紀に後醍醐天皇の侍講を勤めていた比叡山の学僧・玄恵法印を流祖とする。
English: It is believed that Gene created Kyogen with the aim to form a fine personality as well as to preach the path of humanity in the times of uncertainty filled with relentless conflicts.
Japanese: 玄恵は戦争の打ち続く不安定な時代において、立派な人格の養成と人としての生きる道を説くために狂言を創始したという。
English: The Kyogen was passed down to Yahe HIYOSHI, the second, who was a Sarugaku performer of Omi Sarugaku living in Sakamoto, and then to Yataro, the third, Yajibe, the fourth and Yaemon, the fifth in that order.
Japanese: その狂言は坂本在住で近江猿楽の猿楽師であった2世・日吉彌兵衛に伝えられ、3世・彌太郎、4世・彌次兵衛、5世・彌右衛門と受け継がれた。
English: After the Yaemon the seventh period, Shirojiro KONPARU, the eighth, a sotomago (a grandchild from a daughter married into another family) of Zeami, inherited the artistic tradition of the school.
Japanese: 7世・彌右衛門の後に世阿弥の外孫にあたる8世・金春四郎次郎が芸系を受け継いだ。
English: After Shirojiro's death, Mangoro HIYOSHI, originally from the Yoshino-Sarugaku troupe, temporarily inherited the family, however, an adopted son Yataro UJI ultimately inherited the family as the ninth family head.
Japanese: 四郎次郎の死後、吉野猿楽出身の日吉万五郎が一時家を継いだが、最終的には養子の宇治彌太郎が9世を継いだ。、
English: In 1660, Yaemon Toraakira, the 13th wrote "Waranbe gusa" (literally, Young Leaves), the oldest Kyogen-densho (esoteric book on Kyogen) in the Okura school.
Japanese: 13世・彌右衛門虎明（とらあきら）は万治3年（1660年）大蔵流最古の狂言伝書『わらんべ草』を著わした。
English: In 1694, Yaemon received a residence in Edo with an order issued by the fifth Shogun Tsunayoshi TOKUGAWA, and he moved from Nara to Edo.
Japanese: 元禄7年（1694年）になると5代将軍徳川綱吉の上意により江戸屋敷を拝領し、それまでの奈良住まいから江戸住まいとなった。
English: Afterward, receiving Horoku (salary) from the bakufu (Japanese feudal government headed by a shogun) for generations until the period headed by Yataro Toratoshi, the 22nd, the family steadily maintained Kyogen as the head family of the Okura school with the oldest tradition.
Japanese: その後も22世・彌太郎虎年まで代々幕府の俸禄を受け、最古の伝統を持つ大蔵流の宗家として狂言を着々と守り続けてきた。
English: Every Kyogen performer, who had been retained and cordially supported by the Tokugawa bakufu and many Daimyo over long periods, lost Horoku, with the result that they had no choice but to change their jobs.
Japanese: 徳川幕府や諸大名のお抱えとして、長年にわたり手厚い庇護を受けていた大蔵流の狂言師たちはみな俸禄を失い、転業・転職を余儀なくされた。
English: After the 1881 death of Toratoshi at the age of 41, who had moved to Nara after the Meiji Restoration, Toraichi, the 23rd inherited the family, but he left the Nohgaku circles after only two years.
Japanese: 明治維新後奈良に移住していた虎年が明治14年（1881年）に41歳で死去すると、跡を継いだ23世・虎一はわずか2年で能楽界を去った。
English: After the end of World War II, they also had to endure the long gloomy period until Japan accomplished postwar rehabilitation.
Japanese: さらに太平洋戦争の終戦後も復興を待つまでの間、長い暗黒の時代が続くことになった。
English: However, during those gloomy periods, Kyogen performers of the Okura school such as Tojiro YAMAMOTO and Sengoro SHIGEYAMA improved their skills to hand down the Kyogen of the Okura school to subsequent generations.
Japanese: しかしその間も山本東次郎や茂山千五郎といった大蔵流の狂言師たちは己の芸を磨き、後世に大蔵流の狂言を伝えていった。
English: In 1941, Kichijiro, the second son of Yagoro ZENCHIKU (Kyuji SHIGEYAMA at that time), married Yasu, a sotomago of Toratoshi's daughter, assuming the post of the family head as Yataro OKURA, the 24th (later Yaemon) to restore the head family.
Japanese: そして昭和16年（1941年）、善竹彌五郎（当時・茂山久治）の次男・吉二が虎年の娘の外孫にあたる安と結婚し、24世彌太郎（のち彌右衛門）を名乗り、宗家を再興した。
English: At present, five family members, Yataro OKURA (Mototsugu), who is the oldest son of Yataro OKURA, the 24th and assumed the post of the 25th family head; Mototsugu's younger brother Kichijiro (Motoyoshi); and their children Sentaro OKURA (the oldest son of the 25th family head), Motonari OKURA (the second son of the 25th family head), and Noriyoshi OKURA (the oldest son of Kichijiro), perform Kyogen under the name of Okura, mainly in Tokyo.
Japanese: 現在大蔵家では24世の長男で宗家25世を継いだ大蔵彌太郎（基嗣）と弟の吉次郎（基義）、そして彼らの子である大蔵千太郎（25世の長男）・大蔵基誠（25世の次男）、大蔵教義（吉次郎の長男）の五人が大蔵の名を名乗り東京を中心に活躍している。
English: While dominating his colleagues, the Tokuro MIYAKE family and the Matasaburo NOMURA family, Yamawaki Izumi no Kami Motoyoshi, the seventh established the Izumi school soon after the Edo period came, and was an official Tesarugaku-shi (a professional Sarugaku performer who was originally an outsider) in the Imperial Palace living in Kyoto, as well as a retainer of the Lord of Owari Domain Yoshinao TOKUGAWA.
Japanese: 和泉流は、江戸極初期に京都の手猿楽師（てさるがくし。素人出身の職業狂言師）として禁裏御用を勤めつつ、尾張藩主徳川義直に召し抱えられていた7世山脇和泉守元宜が、同輩の三宅藤九郎家、野村又三郎家を傘下に収めて創流した。
English: The school had introduced the Iemoto system, however, the head family was little influential through the early modern age due to the background that the above-mentioned three families jointly decided the school style.
Japanese: もっとも、一応家元制度を取っていたとは言え、三派合同で流儀を形成したという過去の経緯もあって、近世を通じて家元の力は弱かった。
English: Especially, the Tokuro MIYAKE family and the Matasaburo NOMURA family were allowed to maintain their individualities; for example, they had the privilege of possessing their original Rikugi (Kyogen scripts, a jargon exclusively used in the Izumi school).
Japanese: とりわけ三宅藤九郎家と野村又三郎家は独自の六義（りくぎ。和泉流における狂言台本の称）を持てるという特権を有するなど、一定の独自性を保っていた。
English: After the head family moved to Nagoya in 1696, the school was based in Nagoya.
Japanese: 元禄9年（1696年）に家元が名古屋に移住してからは名古屋を本拠とした。
English: However, compared with the two other main schools, the Sagi school and the Okura school serving as official Kyogen schools in the Shogun's court by belonging to Yoza (four troupes of Kyogen), the Izumi school before the Meiji period was no more than a local school performing Kyogen in and around Nagoya (base for the head family and the Matasaburo NOMURA family), Kyoto, and Kanazawa (base for the Tokuro MIYAKE family).
Japanese: しかし、四座に属し幕府御用を勤めていた鷺・大蔵二流に比べれば、明治以前の和泉流は名古屋（宗家、野村又三郎家）・京都・金沢（三宅藤九郎家）を中心として活動する地方流儀に過ぎなかった。
English: Not only the head family but also many occupational branch families moved to Tokyo, taking advantage of the history that the Izumi school had long served as an official Kyogen school in the Imperial Palace.
Japanese: 禁裏御用を勤めていた縁により、家元をはじめとする職分の多くが東京に移住した。
English: As a result, the Izumi school monopolized the Kyogen performance in Tokyo, despite successive downfall of the two schools, the Sagi school and the Okura school, which had taken sides with the bakufu.
Japanese: 幕府側であった鷺・大蔵二流が相次いで没落するのを尻目に、和泉流ひとりが東京の狂言界を席巻した。
English: In addition, the adopted son-in-law Motoyasu, the 18th, who had no experience in Kyogen performance, was exiled because he fell out with his pupils immediately after inheriting the family head.
Japanese: 婿養子になった18世元康は狂言の経験がなく、弟子たちとも早々に衝突して追放された。
English: Even in such a tight situation that not a few occupational branch families retired from Kyogen circles following these feuds, only Manzo NOMURA, the fifth (name after retirement, Mansai) gave remarkable performance.
Japanese: これらの内紛により廃業した職分は少なくなかったが、その中でひとり気を吐いていたのは5世・野村万造（隠居名・萬斎）であった。
English: Manzo was originally from a subordinate family of the Tokuro MIYAKE family whose family head Tokuro MIYAKE was a retained Kyogen performer of the Kaga Domain.
Japanese: 万造は加賀藩のお抱え狂言師であった三宅藤九郎家の弟子家の出身であった。
English: He was supported by his oldest son Manzo, the sixth, as well as his second son Tokuro MIYAKE, the ninth, who restored the extinct Shike (master family).
Japanese: 長男の6世万蔵と、次男で断絶していた師家を再興した9世三宅藤九郎が父を支えた。
English: In 1940, Yasuyuki MIYAKE (six years old at that time), who was the oldest son of Tokuro MIYAKE, the ninth, became an adopted son of the daughter of Motokiyo YAMAWAKI, the 16th family head, inheriting the family as Motohide YAMAWAKI, the 19th family head.
Japanese: そして昭和15年（1940年）には、9世三宅藤九郎の長男・三宅保之（当時6歳）が16世宗家山脇元清の娘の養子になって、19世宗家山脇元秀となった。
English: However, Motohide was a controversial figure because he frequently acted according to his dogmatic judgment; for example, he threw the family into an uproar by ordering his own younger brother Ukon MIYAKE (the second son of Tokuro MIYAKE, the ninth) to leave the school, and he not only made his oldest daughter Junko and his second daughter Shoko Kyogen performers after overwhelming the opposition from people close to him, but also let Shoko assume the title of Tokuro MIYAKE, the 10th.
Japanese: しかし、実弟の三宅右近（9世三宅藤九郎の次男）に対して破門騒ぎを起こしたり、周囲の反対を押し切って長女・淳子と次女・祥子を狂言師とした上、祥子に10世・三宅藤九郎を継がせたりと、独断専横が目立ち、とかく問題の多い人物であった。
English: Following the death of Motohide in 1995, his oldest son Motoya IZUMI unilaterally declared that he assumed the post of the 20th family head, without obtaining consent within the school.
Japanese: 1995年に元秀が死去すると、長男・和泉元彌が流内の同意を得ることなく一方的に20世宗家を宣言。
English: In 2002, the Nohgaku Performers' Association ordered him to withdraw from membership (This is the second heaviest punishment after 'expulsion,' but there is some possibility that the person ordered could come back to the association), because he not only caused the dispute over the succession although lacking in skill, but also he frequently made troubles and was involved in scandals repeatedly.
Japanese: 加えて芸力の不足や度重なるトラブルとスキャンダルを引きおこしたこともあって、2002年、能楽協会からは退会命令（「除名」の次に重い処分であるが、復帰の可能性は残されている）の処分を受けた。