nntsuzu/KFTT huggingface dataset:
English: There existed some kinds of events within the Toshiya, and among them, 'Oyakazu' is well-known, in which participants competed for the most number of arrows that could be shot through from the southern edge to the northern edge of the hallway during an entire day and night.
Japanese: いくつかの種目があったが、一昼夜に南端から北端に射通した矢の数を競う「大矢数」が有名である。
English: Toshiya was at its peak in the early Edo period, when many shooters backed by powerful feudal clans challenged the best record to hit new highs one after another.
Japanese: 江戸時代前期に最盛期となり、有力藩の後ろ盾のもと多くの射手が挑戦して記録更新が相次いだ。
English: Besides Kyoto Sanjusangen-do Hall, Toshiya was also held at Edo Sanjusangen-do Hall & the cloister of the Great Buddha Hall of Todai-ji Temple, both made for Toshiya.
Japanese: 京都三十三間堂の他、通し矢用に作られた江戸三十三間堂や東大寺大仏殿回廊でも行われた。
English: Some say Toshiya began around the year of the Hogen War (around 1156), when Genta KABUSAKA in Kumano shot through the hallway with neya (arrows for actual battle) under the eaves of Kyoto Sanjusangen-do Hall, but it is just a legend.
Japanese: 保元の乱の頃（1156年頃）に熊野の蕪坂源太という者が三十三間堂の軒下を根矢（実戦用の矢）で射通したのに始まるともいわれるが、伝説の域を出ない。
English: Toshiya is said to have caught on from around the Tensho era in reality, and in 1595, Hidetsugu TOYOTOMI banned it saying, 'It is prohibited to try to shoot an arrow at Sanjusangen-do Hall in Yamashiro Province (the present southern part of Kyoto Prefecture).'
Japanese: 実際には天正年間頃から流行したとされ、文禄4年（1595年）には豊臣秀次が「山城三十三間堂に射術を試むるを禁ず」とする禁令を出している。
English: The Heibei ASAOKA in 1606 that first appeared in "Nendai Yakazu Cho" (the chronicle of arrow number records, published in 1651) was the first source to record the score of Toshiya.
Japanese: 通し矢の記録を記した『年代矢数帳』（慶安4年〈1651年〉序刊）に明確な記録が残るのは慶長11年（1606年）の浅岡平兵衛が最初である。
English: Being a vassal of Tadayoshi MATSUDAIRA, the seigneur of the Kiyosu Clan, and a pupil of ISHIDO Chikurinbo Josei, the leader of Chikurin sect of Heki school (one of schools of Kyujutsu), Heibei shot 51 arrows out of 100 through the hallway of Kyoto Sanjusangen-do Hall on January 19, 1606, thereby gaining fame as Tenka-ichi (number one under the sun).
Japanese: 平兵衛は清洲藩主松平忠吉の家臣で日置流竹林派（ちくりんは）の石堂竹林坊如成の弟子であり、この年の1月19日、京都三十三間堂で100本中51本を射通し天下一の名を博した。
English: Many shooters tried to beat the new record, but the contest was expensive (reportedly, 1000 ryo), so it was indespensible for a contestant to have feudal backing.
Japanese: 多くの射手が記録に挑んだが、実施には多額の費用（千両という。）が掛かったため藩の援助が必須だった。
English: After the Kanei era, it began to appear that the contest was a one-on-one battle between the Owari Clan and the Kishu Clan, and a new record was established one after another.
Japanese: 寛永年間以降は尾張藩と紀州藩の一騎打ちの様相を呈し、次々に記録が更新された。
English: On May 2, 1669, Shigenori (Kanzaemon) HOSHINO, the samurai who belonged to the Owari Clan, became Tenka-ichi with 8,000 arrows shot out of 10,542.
Japanese: 寛文9年（1669年）5月2日には尾張藩士の星野茂則（勘左衛門）が総矢数10,542本中通し矢8,000本で天下一となった。
English: On April 27, 1686, Norito (Daihachiro) WASA in Kishu Clan became Tenka-ichi with 8,133 arrows shot out of 13,053.
Japanese: 貞享3年（1686年）4月27日には紀州藩の和佐範遠（大八郎）が総矢数13,053本中通し矢8,133本で天下一となった。
English: After that, Oyakazu gradually decreased its challengers, and from the middle of the eighteenth century, it was scarcely held.
Japanese: その後大矢数に挑む者は徐々に減少し、18世紀中期以降はほとんど行われなくなった。
English: In 1642, Edo Sanjusangen-do Hall was constructed at Asakusa in Edo, and with more events held than the Kyoto Sanjusangen-do Hall, it had a large crowd, but it never did beat the new record in Oyakazu set by Kyoto.
Japanese: 江戸では、寛永19年（1642年）、浅草に江戸三十三間堂が創建され、京都よりも多様な種目が行われて活況を呈したが、大矢数では京都の記録を上回ることはなかった。
English: Even in the last days of the Tokugawa shogunate, the event of Toshiya was held, but in 1872, Edo-sanjusangen-do Hall was deconstructed.
Japanese: 幕末に至っても通し矢は行われたが、明治5年（1872年）に解体された。
English: It was held under the eaves of the outside west cloister of the Great Buddha Hall (106.8m), and compared to Kyoto Sanjusangen-do Hall, the distance of the hallway was shorter, but its height was also shorter (from 3.8m to 4.1m), so the difficulty was much higher.
Japanese: 大仏殿西回廊外側の軒下（106.8m）を北から南に射通すもので、京都三十三間堂より距離は短いものの天井が低い(3.8〜4.1m)ため難度は高かった。
English: In 1842, Hayataro ANDO, who was a vassal of the Koromo Clan at that time and later became a member of Shinsengumi (a Kyoto city guard unit), shot 8,685 arrows through the hallway out of 11,500 (the success rate - 75.5%) from around 6:00 p.m. on April 20 to around 3:00 p.m. on the following day.
Japanese: 天保13年(1842年）には当時挙母藩士で後の新撰組隊士安藤早太郎が、4月20日酉の刻（18時頃）より翌21日未半刻（15時頃）までで総矢数11,500本中、8,685本を射通した（成功率75.5%）。
English: During the Edo period, Toshiya became quite popular, but even in those days, some people were critical about its excessive sensationalization, and so, for example, Sadatake ISE said Toshiya was just play shooting and had no use in actual fighting.
Japanese: 江戸時代大いに流行した通し矢であったが、当時から過度の競技化には批判があり、伊勢貞丈は「実戦には何も役立たない遊射である」と述べている。
English: And even within the Owari Clan Chikurin sect that set many records, some groups did not participate in Toshiya because they regarded it as harmful to the essence of shooting.
Japanese: また多くの記録を樹立した尾州竹林派の内部でも、射の本質を損なうとして通し矢を行わなかった系統もあった。
English: Within Oyakazu, the last record chronicled is that of Masayuki WAKABAYASHI who shot 4,457 arrows through the hallway in 1899.
Japanese: 大矢数では明治32年（1899年）の若林正行が4,457本を射通したのが最後の記録である。
English: At present, 'O-mato Zenkoku Taikai' (The National Competition of Arrow Shooting at Large Targets) is held at Sanjusangen-do Hall around the middle of January every year, but the competition is such that the participants take aim at targets located 60 meters away, which is similar in appearance to, but different in substance from, Toshiya.
Japanese: 現在は毎年1月中旬に京都三十三間堂で「大的全国大会」が開催されているが、距離60mの遠的競技の形式であり、通し矢とは似て非なる物である。
English: Kyoto Renge-o-in Temple (Sanjusangen-do Hall) - The full length (from edge to edge) of the hallway is 121.7m, and the height is from 4.5m to 5.3m, and the width is 2.36m.
Japanese: 京都蓮華王院（三十三間堂）…全長（小口から小口まで）121.7m、高さ4.5〜5.3m、幅2.36m。
English: Incidentally, it is incorrect to calculate the full length of the hallway to be 120 meters by multiplying 33 and 2 and 1.82 together, based on the premises that each of the 33 column spacings is equivalent to "2間" (2 ken) and that 1間 is about 1.82m.
Japanese: なお、「33ある柱間は長さ2間に相当するから堂の全長は33×2×1.82で約120ｍ」とするのは誤り。
English: Edo Sanjusangen-do Hall (in Fukagawa) - The full length (from edge to edge) of the hallway is 122.0m, and the height is from 5.0m to 5.6m, and the width is 2.69m.
Japanese: 江戸三十三間堂（深川）…全長（同）122.0m、高さ5.0〜5.6m、幅2.69m。
English: The west cloister of the Great Buddha Hall of Todai-ji Temple - The full length (from edge to edge) of the hallway is 106.8m, and the height is from 3.8m to 4.1m, and the width is 2.10m.
Japanese: 東大寺大仏殿西回廊…全長（同）106.8m、高さ3.8〜4.1m、幅2.10m。
English: Orikake had three pairs of bamboo poles which stood in the same direction, and each pair of bamboo poles had a horizontal rope that substituted for the roof of Sanjusangen-do Hall.
Japanese: 折掛は、一対の竹を立て間に縄を張ったものを3ヶ所設置し、縄を屋根に見立てた物。
English: Dogata imitated the real hallway more faithfully with wood, and as its types, there existed a simple version that had only the part of the roof, and a full-scale version modeled on the real one.
Japanese: 堂形はより本格的に、木材で模して作る物で、簡略に矢の弾道の最も高い部分だけを作る場合と、本格的に全長を模す場合があった。
English: With various distances (the full hallway, the half hallway, or 91 meters) and hours (a whole day and night, or a day) and arrow numbers (limitless, "Seni," or "Hyakui" [One Hundred Shoots]) combined, various events were held.
Japanese: 距離（全堂、半堂、五十間など）、時間（一昼夜、日中）、矢数（無制限、千射、百射）を組み合わせて様々な競技が行われた。
English: The half hallway event involved participants shooting from the middle of the hallway and competed for the number of arrows shot through, and was aimed at younger people.
Japanese: 半堂は堂の中程から射て半分の距離を射通した本数を競うもので、年少者が行った。
English: When Kanzaemon HOSHINO achieved the record of 8,000, his tools were as follows, they say.
Japanese: 星野勘左衛門が8,000本の記録を達成した時の道具は次のようであったという。
English: The strength of the bow - When a weight of 16kg was hung on the string, the string was drawn by 58cm, they say.
Japanese: 弓力…四貫三百匁（約16kg）の重りを弦に掛け一尺九寸（約58cm）開いたという。
English: The thickness of the curved limb of the bow (at the upper part of the grip) - Around 2.03cm to 2.06cm
Japanese: 弓の分（握り上部の弓の厚さ）…六分七八厘（約2.03～2.06cm）
English: At nakazeki (the part in the string, to which the arrow is fitted), the thread of shamisen (a Japanese stringed instrument), which was made of silk, was rolled twice, they say.
Japanese: 中関（矢をつがえる部分）に三味線の糸（絹糸製）を二重に巻き付けたという。
English: The weight of an arrow - Starting with a heavy one (from 15.8g to 16.1g) in the morning, Kanzaemon decreased the weight of an arrow gradually, and in the evening, he used a lighter one (from 13.9g to 14.3g), they say.
Japanese: 矢の重さ…朝方は四匁二三分（15.8～16.1g）、次第に軽くして夕方には三匁七八分（13.9～14.3g）にしたという。
English: Sakon no sakura (the cherry tree of Sakon) is a cherry tree which existed in the first bay of the south-east corner to the left of the South floor down from the inner court ceremonial hall of Heian-kyo.
Japanese: 左近桜（さこんのさくら）は、平安京内裏紫宸殿からおりる南階の、紫宸殿から見て左方、東南隅第一間にあった桜の樹。
English: The name Sakon no sakura comes from the fact that the battle array for the Capital Guard of the Left was set in the direction of this cherry tree during court ceremonies.
Japanese: 左近桜という名称は、殿上で儀式のあるときこの桜の方に左近衛の陣を敷いたことによる。
English: Originally a plum tree was planted when the Emperor Kanmu transferred the capital; however, a cherry tree was planted instead during the period of the Emperor Ninmyo as the original plum tree died during the Showa era (834 to 847).
Japanese: もとは梅の樹で桓武天皇の遷都のときに植えられたが、承和(日本)年間（834年-847年）枯死したため、仁明天皇のときあらためて桜を植えた。
English: The cherry tree died during the Jogan era (859 to 876), but SAKANOUE no Takimori grew a spaling from its root as per the Emperor's orders, and the tree regained much of its branches and leaves.
Japanese: 貞観(日本)年間（859年-876年）に枯れたが、その根から生じた芽を坂上滝守が勅命で培養し、ふたたび枝葉が盛んになった。
English: The cherry tree was also burnt down during a fire which occured in the inner court in September 959; the Yoshino cherry tree at the residence of Imperial Prince Shigeakira was replanted when the inner court was rebuilt, and it was replanted twice in November 964 and New Years in 965.
Japanese: 天徳(日本)3年（959年）9月内裏焼失のとき桜も焼けたため、内裏造営におよんで、重明親王の家の吉野桜を移植し、康保元年（964年）11月、同2年（965年）正月の2回にわたり改栽した。
English: Ukon no Tachibana (the mandarin orange tree of Ukon) is a mandarin orange tree which existed on the right of the South floor down from the Shishin-den Hall (hall for state ceremonies) of the Imperial Palace in the Heian-kyo.
Japanese: 右近橘（うこんのたちばな）は、平安京内裏紫宸殿からおりる南階の、紫宸殿から見て右にあったタチバナの樹。
English: According to "Tenryaku Gyoki," the emperor's diary, the tree originally existed at the residence of HATA no Kawakatsu; it was replanted in the Shishin-den Hall when the Imperial Palace was built as the land was related to the residence, and existed until the Tentoku era (957 to 961).
Japanese: 『天暦御記』によれば、もとは秦河勝の宅にあったのを、内裏建造の際に紫宸殿があたかも宅の故地に相当するから、旧によってこれを植えたもので、天徳(日本)年間（957年-961年）まであったという。
English: According to "Nihon Kiryaku" (the Abstracted Records of Japan), a new mandarin orange tree having a height of 12 feet was transplanted on December 7, 959; it was the tree of Prince Higashi-Sanjo, Danjonokami, Governor of the Impeachment Office, and it was planted under the Emperor's ordinance.
Japanese: 『日本紀略』によれば、天徳3年（959年）12月7日あらたに橘樹1本、高さ1丈2尺を植え替え、これは弾正尹親王東三条殿の樹で、勅命によった。
English: Later, the tree was sometimes transplanted due to reasons including a fire at the Imperial Palace; it was also transplanted to the temporary imperial residence.
Japanese: のちに、皇居の炎上その他でしばしば植え替えが行なわれたが、里内裏のさいにもまたこれを植え替える例となった。
English: A mandarin orange tree was transplanted not only for its relation with Kawakatsu; with the name of "Tokijikuno Kakuno-konomi," an ever-shining fruit, it was treated as a symbol of long life and auspiciousness since old times due to its always having dense leaves regardless of the difference in temperature.
Japanese: 橘を植えるのは、河勝宅地の縁だけではなくて、橘が古くからトキジクノカクノコノミといわれ、その葉が寒暖の別なく常に生い茂り栄えるから、長寿瑞祥の樹として珍重されたからでもあるという。
English: Kanji day is the memorial day, which the Japan Kanji Aptitude Testing Foundation has established in 1995.
Japanese: 漢字の日（かんじのひ）とは、財団法人日本漢字能力検定協会が1995年（平成7年）に制定した記念日。
English: This date was settled on because 1212 may sounds similar to "good word one word" in Japanese.
Japanese: 「いい字一字」が「1（いい）2（じ）1（いち）2（じ）」の語呂合わせになることにちなむ。
English: Every year the Japan Kanji Aptitude Testing Foundation collects "Kanji that express the year, aka, the Kanij of the year," which symbolizes the social trend of the year, from nationwide and introduces them in Kiyomizu-dera Temple, Kyoto city, Kyoto prefecture on Kanji day.
Japanese: 日本漢字能力検定協会では、毎年その年の世相を象徴する「今年を表現する漢字（今年の漢字）」を全国から募集し、この日に併せ、京都市の清水寺で発表している。
English: It is on "The Representative List of the Intangible Cultural Heritage of Humanity," which is based on Convention for the Safeguarding Intangible Cultural Heritage, and it is almost guaranteed to be registered as the first World Intangible Heritage in September 2009.
Japanese: 無形文化遺産保護条約に基づく「人類の無形文化遺産の代表的な一覧表」に掲載されており、2009年9月に予定される初の登録での世界無形遺産への登録が事実上確定している。
English: Strange acts and clothes were called "kabuki," and a man of these features was said to be "kabuki-mono."
Japanese: 異様な振る舞いや装いをカブキといい、それをする人物をカブキ者と言った。
English: This background partly explains why the real pleasure of kabuki is said to be "Keren (theatrical) staging."
Japanese: 歌舞伎の醍醐味が“外連（けれん）味のある演出”といわれるのは、こういった背景にも由来する。
English: And so, the Chinese characters "歌舞伎," that reads "Kabuki," are merely the phonetic equivalent, but nevertheless, "歌" (ka) means "singing," "舞" (bu) means "dancing," and "伎" (ki) means "performances (or performers)," so the characters are appropriate for expressing this performing art.
Japanese: つまり歌舞伎というのは当て字であるが、歌い、舞い、伎（技芸、芸人）を意味する、この芸能を表現するのに適切な文字である。
English: Originally, however, not "伎" (ki) but "妓" (ki) was used because of the history of Kabuki's birth, and during the Edo period, both of those characters were confusedly used, and from the Meiji period, only the character "伎" has been used and continues to be used today.
Japanese: ただし当初はその発生史から伎ではなく妓の字が使われ、江戸時代には混用していたようであるが、明治時代以降、現在のように統一した表記になった。
English: Kabuki is said to have originated from "IZUMO no Okuni," who delivered a performance at Kitano Tenman-gu Shrine in 1603, and thereby gaining a good reputation in Kyoto.
Japanese: 1603年に北野天満宮興行を行い、京都で評判となった出雲阿国（いずものおくに）が歌舞伎の発祥とされる。
English: Some say Okuni was "miko" (a shrine maiden), while others say she was a derelict, but neither of them is sure.
Japanese: 阿国は出雲大社の巫女であったとも河原者でもあったというが、定かなことは明らかでない。
English: Okuni showed the dance matched to popular songs at that time, wore men's clothes, and adopted the act of Kabuki-mono, thereby creating the cutting edge entertainment in those days.
Japanese: 阿国はその時代の流行歌に合わせて、踊りを披露し、また、男装して当時のカブキ者のふるまいを取り入れて、当時最先端の演芸を生み出した。
English: Around that time, Kabuki was performed on a Noh stage or the like, and "Hanamichi" (a passage running through the audience to the stage) of the present Kabuki theater seems to have its origin in the Noh stage, including the details, such as the structure of the left side of the stage "Hon-hanamichi" (the main hanamichi) and the right side of the stage "Kari-hanamichi" (the secondary hanamichi).
Japanese: このころは能舞台などでおこなわれており、歌舞伎座の花道は（下手側が本花道、上手側が仮花道であることなども含め）ここから来ていると考えられる。
English: As Okuni became popular, many imitators appeared, including "Yujo-kabuki" (courtesans' Kabuki, or women's Kabuki), performed by "yujo" (prostitutes) & "Wakashu-kabuki" (young men's Kabuki), performed by boy actors who did not undergo genpuku (the coming-of-age ceremony for boys) yet.
Japanese: 阿国が評判になると多くの模倣者が現れ、遊女が演じる遊女歌舞伎（女歌舞伎）や、前髪を剃り落としていない少年俳優たちが演じる若衆歌舞伎がおこなわれていた。
English: But the former was banned in 1629 for the reason that it corrupted public morals, and the latter was also banned in 1652 because the Kabuki groups which also engaged in the business of male prostitutes were rampant, so Kabuki became the style of "Yaro-kabuki" (men's Kabuki) that has continued until today.
Japanese: しかし、風紀を乱すとの理由から前者は1629年に禁止され、後者も売色の目的を兼ねる歌舞伎集団が横行したことなどから1652年に禁止され、現代に連なる野郎歌舞伎となった。
English: Kabuki was sophisticated and completed in the mature culture during the Edo period, and it now forms its peculiar world of beauty.
Japanese: それは江戸時代の文化の爛熟のなかで洗練されて完成し、独特の美の世界を形成するに至っている。
English: Kabuki Odori lasted until the time of Wakashu-kabuki, and it showed dances matched to the popular songs of those days; Wakashu Kabuki is said to have shown even acrobatics.
Japanese: 前者は若衆歌舞伎までを言い、流行の歌に合わせた踊り（若衆歌舞伎はアクロバットなども見せていたとされる）を指す。
English: In some cases, Kabuki Odori also includes the program focusing on dancing created after Wakashu Kabuki; please refer to the article of "Kabuki Buyo" (Kabuki Dance).
Japanese: また、その後に創作された踊り主体の演目も含める場合もある（歌舞伎舞踊の項目も参照）。
English: Meanwhile, Kabuki Geki was produced for the common people during the Edo period, and it sometimes became the drama, just as it is today, possessing the factor of Japanese dancing.
Japanese: 一方、後者は江戸時代の町民に向けて製作されるうちに、現代に見られるような、日本舞踊的要素を備えた演劇となった。
English: Before banning Wakashu Kabuki, the Tokugawa shogunate ordered them to play "impersonation & 'Kyogen' (Noh comedies)," and this also encouraged the development of Kabuki as a drama.
Japanese: 若衆歌舞伎が禁止される際に、幕府より「物真似狂言づくし」を義務付けられたことも演劇的発展の一因になった。
English: In short, the Tokugawa shogunate regarded the performances that centered on dancing as undesirable, since they were accompanied by male prostitution and other undesirable activities.
Japanese: つまり、幕府は舞踊主体の公演は売色などをともない、風紀上望ましくないと考えていた。
English: The content of the drama came from historical facts, fiction, events and other topics, and the drama was called "Kabuki Kyogen."
Japanese: 演劇の内容は史実や物語、事件などを題材にして演じる芝居であり、歌舞伎狂言とも呼ばれる。
English: This served not only as the equivalent of today's movies & TV dramas, but also as entertainment like a daytime TV variety program to satisfy people's curiosity with its visual & auditory effects.
Japanese: これは現代における映画やテレビドラマに相当するだけでなく、さらにはワイドショー的な好奇心を満たす視覚・聴覚を動員したエンターテイメントとして形成されていった。
English: Through the staging of separating time using a draw curtain, the time flow was naturally introduced into the story, and this enabled a complicated play to be developed.
Japanese: 引き幕によって時間を区切るという演出は物語に時の流れを自然に導入し、複雑な劇の展開を可能にした。
English: And Hanamichi, the passage running through the audience on which Kabuki actors enter on and depart, provides the audience with the two-dimensional image (or depth) that cannot be experienced in other kinds of theater, and "seri" (a trapdoor) & "chunori" (a flight on wires from the stage over the heads of the audience) provide the audience with the three-dimensional image (or the height), thereby upgrading Kabuki to the higher level of theater.
Japanese: また、客席を貫いて歌舞伎役者が登場・退場する花道によって他の演劇には見られないような2次元性（奥行き）を、またセリと宙乗りにより3次元性（高さ）を獲得し、高度な演劇へと進化した。
English: This is indicated, for example, by the number of programs at the time where stories came from "Ningyo Joruri" (traditional Japanese puppet shows) which were mainly played in Kamigata.
Japanese: それは、上方が中心であった人形浄瑠璃から移植された演目の数からもわかる。
English: Afterward in the Bunka-Bunsei era, "Nanboku TSURUYA" created many works of Kabuki Kyogen in Edo.
Japanese: その後、文化・文政期に鶴屋南北が江戸において多くの作品を創作している。
English: And from the last days of the Edo period to the early Meiji period, "Mokuami KAWATAKE" did the same as Nanboku.
Japanese: また、江戸時代末期から明治時代初期にかけて、河竹黙阿弥が多数の作品を創作している。
English: This suggests that the Edo's relative position as the cultural center in comparison with Kamigata was raised during and after the later Edo period.
Japanese: 江戸時代後半から、上方と比較して、江戸の文化的発信地としての地位が向上したことがうかがえる。
English: And until the Edo period, Kabuki was strongly believed to be a profession occupied by the people of the discriminated class, and the discrimination against them remained deep-rooted.
Japanese: また、江戸時代までは、歌舞伎は被差別階級の仕事という考えが強く、差別も根強く残っていた。
English: Kabuki Kyogen programs, created during the Edo period and handed down to the present, are roughly divided into two categories, those borrowed from Ningyo Joruri (also called "Bunraku") & those created as the original Kabuki Kyogen.
Japanese: 現在伝承されている江戸時代に創作された歌舞伎狂言の演目は、大きく分けて人形浄瑠璃（文楽）の演目を移植したものと、歌舞伎狂言として創作されたものがある。
English: Kabuki Kyogen, with stories that came from Ningyo Joruri are called "Maruhonmono" (doll theater); in many cases, they are also called "Gidayu-kyogen," but "Gidayu-kyogen" is the name of the Kabuki which uses "Gidayu-bushi" (the musical narrative of the puppet shows), so it differs a bit from Maruhonmono.
Japanese: 人形浄瑠璃の演目を移植したものは丸本物と呼ばれる（義太夫狂言と呼ぶ場合も多いが、これは義太夫節を用いる歌舞伎の称であり、意味するところは多少異なる）。
English: "Geza" (sound effects in Kabuki) basically produces the atmosphere of the original Kabuki Kyogen.
Japanese: 本来的に歌舞伎狂言として創作されたものは、基本的に下座の音楽が演劇を演出する。
English: Kabuki Kyogen is classified according to its drama content into some categories, such as "Jidaimono," which dramatizes the historical facts, and "Sewamono," which portrays the social conditions at the time, and Sewamono is equivalent to today's TV dramas of commercial broadcasting.
Japanese: 演劇的な内容としては、歴史的事実を演劇化した時代物、その当時の世相を描写した（現在なら民放のテレビドラマに相当する）世話物などに分けられる。
English: And there existed some rules called "sekai" (world), which set the basic framework of the stories constituting the background of the program.
Japanese: また、世界と呼ばれる約束事があり、演目の背景となっている物語の基本的な大枠が決まっていた。
English: For example, there existed some sekai, such as "Taiheiki no sekai" (The World of "Taiheiki" [The Record of the Great Peace]), "Heike Monogatari no sekai" (The world of "Heike Monogatari" [The tale of Taira Clan]), "Gikeiki no sekai" (The World of "Gikeiki" [A Military Epic About the Life of Yoshitsune]), "Soga-mono no sekai" (The World of "Soga-mono" [the tale of Soga Brothers]) and "Sumidagawa-mono no sekai" (The World of "Sumidagawa-mono" [the tale of an apostate Hokai]).
Japanese: 例えば「太平記の世界」、「平家物語の世界」、「義経記の世界」、「曾我物の世界」、「隅田川物の世界」などがある。
English: Even a first-time spectator knew well about the characters of the story, their mutual relations and other details, so spectators found pleasure in how the writer of the popular story developed the drama.
Japanese: 登場人物やその関係などは初めて見物する観客にとってもよく知っているなかで、観客は戯作者がどのようにストーリーを展開させるかを楽しむようになった。
English: During the Edo period, the performances of Kabuki Kyogen were under control of the authorities, so they obeyed the rules set down by the Tokugawa shogunate that all of the performances should be finished within the daytime; the shogunate was afraid that a gathering of a mob after sunset could develop into disorderly political activities, they say.
Japanese: 江戸時代には歌舞伎狂言の公演は公許制度の下にあり、多くの時代において日の出から日没までにすべてを公演するという幕府によって定められた規則の下で公演された（理由は、日没後に大衆が集まることで不穏な政治行動に発展することを幕府が恐れたためとされる）。
English: Therefore, many of the programs created at that time were relatively long, though the time of intermission for rest & stage change was deducted.
Japanese: したがって、当時創作された演目は、休憩時間や舞台転換などの幕間を考慮しても、比較的長大なものが多い。
English: Under the circumstances, various spectators began to want the performances of Kabuki Kyogen to satisfy their own tastes, such as one for Jidaimono, or one for Sewamono.
Japanese: そのなかで時代物を好む観客や世話物を好む観客など、さまざまな観客を楽しませることが、歌舞伎狂言の公演に求められた。
English: And so, many had a complicated story that alternately showed, for example, Jidaimono & Sewamono in a single program, with an intermission in between.
Japanese: そのためにひとつの演目で、時代物と世話物が幕間をはさんで混在するような、複雑なストーリー展開をみせるものも少なくない。
English: The performance of the popular scene extracts from the program is called "Midori-kyogen," which is said to have come from the Japanese noun "Yoridorimidori" (being at your choice).
Japanese: 人気のある場面を抜粋して上演することをみどり狂言と呼ぶ（「よりどりみどり」から来たとされる）。
English: As is mentioned above, Kabuki is the general term for various genres of stages, such as the program created as the drama from the start, the program whose story comes from Ningyo Joruri, and in addition, the program of dancing.
Japanese: 先述の通り「歌舞伎」はもともと、最初から劇として作られた演目、人形浄瑠璃を原作とした演目、さらには舞踊といったさまざまのジャンルの舞台を総称したものである。
English: It is often played in the dancing dramas and in dances, such as "Kanjincho" (The List of Contributors) & "Renjishi" (Lion Dancing), and it is sometimes played in Kabuki Geki, such as "Kuruwa Bunsho" (Love Letters from the Licensed Quarter).
Japanese: 舞踊劇や舞踊で演奏される（例：『勧進帳』『連獅子』など）ことが多いが、歌舞伎劇中に演奏される例（『廓文章』など）もある。