nntsuzu/KFTT huggingface dataset:
English: During the time of the fifteenth master, Soi, the residence of the Shino family burned to the ground as a result of a fire caused by Kinmon Incident in 1864, and they moved to Nagoya under the wing of the Owari family.
Japanese: 15世宗意の時、元治元年（1864年）の禁門の変の兵火により家屋を焼失、尾張家の庇護により名古屋に移った。
English: Until then, both the incense-smelling ceremony and the tea ceremony of the Shino school had been passed on as a unit, but the original tea ceremony of the Shino school performed by the Hachiya family has been discontinued since that time.
Japanese: それまで香道・茶道一体として受け継がれていたが、この時期に蜂谷家における元来の志野流茶道は絶えている。
English: The incense-smelling ceremony declined after the Meiji Restoration just like other public entertainments, but after the World War II, it made a comeback and now there are two branches; the Shino school and the Oie school.
Japanese: 香道は諸芸能と同様維新後に衰退したが、戦後に盛り返して現在は御家流と共に大きく二分している。
English: Although the art of the tea ceremony of the Shino school has been taught again since the Meiji period, it is said to be different from the original one.
Japanese: 明治以降改めて茶道の教授も行われるようになったが、これは元の志野流とは異なるものとされる。
English: On the other hand, the original tea ceremony style of the Shino school was passed on in the Inaba region because Nakamasa IKEDA, the lord of the Tottori Higashi Yakata, which was the branch domain of Tottori, preferred the style of the Shino school of the tea ceremony, built the statue of its founder, and let 大谷平奉弘 teach that style as sado (a person in charge of the tea ceremony).
Japanese: 一方で鳥取藩の支藩鳥取東館の池田仲雅が志野流の茶道を好み、流祖像を作り大谷平奉弘を茶頭として志野流茶道を指導させたことから、志野流の元来の茶道が因幡地方に伝来することになった。
English: The Juko school counts Juko MURATA, who was a founder of wabi-cha, as its founder and passes on the ancient style of the tea ceremony, with a unique history that the practices of the tea ceremony were held at Myoshin-ji Temple Keijo Branch Temple in Seoul Special City during the period of Japan's rule.
Japanese: 侘び茶の創始者とされる村田珠光を祖と仰ぎ古式を伝えるが、日本統治時代ソウル特別市の妙心寺京城別院にて行われるという独特の来歴を持つ。
English: Living during the Genroku era, Dogi Bichoan, who was the seventh-generation tea master called as the restorer of the school, left many records of oral teaching; he moved from Kyoto to Owari because of a great fire.
Japanese: 中興と称せられる7代備長庵道義は元禄期の人で、伝書などを多く残しているが、大火により京都を離れ尾張に移っている。
English: Soko Shukan, the ninth master of the school, had a profound knowledge of zazen (Zen sitting meditation) and received the ango 'Manian' from Sohan Kensho.
Japanese: 9代珠翫宗光は座禅への造詣が深く、見性宗般より庵号「摩尼庵」を受ける。
English: Soon after the death of Soko Shukan, the Juko school was passed on to Sohaku Bishoan,a shihandai (assistant instructor), and moved to Keijo (Seoul Special City) with her.
Japanese: 珠翫宗光の没後まもなく、珠光流は師範代の梅笑庵宗雹に預けられ、京城（ソウル特別市）に移る。
English: Although the position of the tea master was passed to Sosen Shinjo, a deputy of the chief abbot of Myoshin-ji Temple, and then to Reijo Jinpo, subsequently moving to Ise City with her; however, the practices of the tea ceremony of the school were frequently performed in Keijo, and because of the end of the World War II, the school was evacuated from Keijo.
Japanese: 宗匠位は妙心寺管長代理の真浄宗詮、のちに仁峰令譲へと引き継がれて伊勢へ移るが、引き続き京城にて盛んに行われ終戦により引き揚げとなった。
English: According to the context of the literature, some ancient styles would be listed among the present-day styles of the Juko school of tea ceremony.
Japanese: 珠光流の現在の流儀のうち、文献に照らして古式と判断される点を挙げる。
English: While it is a general preparation for tea ceremony that water utensils are arranged in the way the host would bring them into the tearoom; thus a hishaku (a ladle) and a hutaoki (a rest for the lid of a tea kettle) rest in a kensui (a waste-water container [for tea ceremony]).
Japanese: 柄杓・蓋置・建水を運び出す時に、全てを建水に仕組むのが一般的である。
English: However, it is the preparation of the Juko school's style that the host enters the tearoom, bringing in a hishaku and a hutaoki with his right hand and only kensui with his left hand in the same way to put these utensils away after the tea ceremony is over.
Japanese: しかし仕舞いと同様右手で柄杓・蓋置を持ち左手は建水のみを持って運び出す。
English: After sitting the imae position (the correct seating position for the host when performing tea ceremony), the host purifies chaki (tea utensils) and a chashaku (bamboo tea spoon for making Japanese tea) deftly with fukusa (small cloth for wiping tea utensils) and after that, additionally purifies a hishaku.
Japanese: 居前について後、帛紗を捌いて茶器・茶杓を清めるが、その後さらに柄杓を清める。
English: Although 'Juko-ryu kikigaki (dictation of oral narrative, or interview report about the Juko school)' shows the family tree whose founder was Kogyoku Ichijuan, one of the disciples of Juko, written by Dogen NOMOTO, who was a sadoyaku (a tea-server sustaining Japanese tea ceremony of bakufu and domains) during the Genroku period, 'Sado Juko-ryu Keifu (family tree of the Juko school of tea ceremony)' written by Bichoan SUZUKI, the tea master of almost the same period as Dogen NOMOTO, reads that the founder of the Juko school was Juko MURATA and the seventh-generation head of the school was Bichoan SUZUKI.
Japanese: 元禄期津軽藩の茶道役野本道玄の「珠光流聞書」には珠光の弟子である一樹庵光玉を流祖とする系図が示されているが、ほぼ同時期の宗匠である鈴木備長庵による「茶道珠光流系譜」によれば流祖は村田珠光であり備長庵は7代にあたるとされる。
English: It was founded by Shigenari FURUTA, and the seventeenth Master of the Oribe School, Bokusen ASANO, proposed that there were two traditions, Wabi-cha and Shikisei Oribe.
Japanese: 古田重然の創始による流儀で、侘茶法と式正茶法の両伝があると織部流十七世を称した浅野牧仙が提唱した。
English: The Shikisei tea ceremony was systemized by Zuiami AKIMOTO and referred to as the Shikisei Oribe School, and the Oribe Kikyokai Association in Konodai, Ichikawa City, Chiba Prefecture provides instruction and is designated as an Intangible Cultural Asset by Chiba Prefecture.
Japanese: 式正茶法は秋元瑞阿弥が体系化し、式正織部流（しきせいおりべりゅう）と称して千葉県市川市国府台の織部桔梗会が教授にあたっており、千葉県指定文化財一覧に指定されている。
English: As can be seen in the 'Oribe Hyakkajo' (A Hundred Rules for Oribe Tea Ceremony), the Oribe school of tea ceremony strictly observed the Rikyu way of tea ceremony, but now there are two branches.
Japanese: 織部の茶は「織部百ヶ条」にみられるように、利休の茶を遵守したものだったが、現代では大きく二つにわかれている。
English: The Wabi-cha school is said to favor a style of tea ceremony performed in a simple thatched cottage (soan) that is derived from SEN no Rikyu; the Shikisei school, on the other hand, is a style of tea ceremony performed in a study (Shoincha) or grand hall, and this is the original way developed by Zuiami AKIMOTO, who incorporated the philosophy of the samurai called Reigi Saho (civilities) and the spirit of Wabi-cha into the Shoincha way of tea ceremony from the post-Muromachi period.
Japanese: 侘茶法は千利休ゆずりの草庵の茶といい、これに対して式正茶法は書院および広間の茶で、室町以来の書院茶に武家の礼儀作法と侘茶の精神とを取り入れた秋元瑞阿弥独自の流儀である。
English: The characteristics of the Shikisei way of tea are that the tea implements aren't placed directly on the tatami mat but on a 'tea-bowl stand', and purification is emphasized by washing hands when sitting in the Imae position and separating the used fukusa cloths.
Japanese: 式正茶法の特色として、畳の上に直接道具を置くことがなく、「茶碗台」というものが考案され、居前で手を清めたり、帛紗を使い分けるなど清潔を旨としていることが挙げられる。
English: The founder, Oribe FURUTA, was the son of Shigesada FURUTA of Mino (his usual name was Sasuke and his posthumous name was Shigenari), but he was adopted by his uncle Shigeyasu and married the sister of Kiyohide NAKAGAWA.
Japanese: 流祖の古田織部は美濃の古田重定の子で、字は左介、諱を重然といい、伯父重安の養子となり、中川清秀の妹を娶った。
English: As a shogun he served Nobunaga ODA and Hideyoshi TOYOTOMI, and as a master of the tea ceremony he studied under SEN no Rikyu and numbered among the Rikyu Shichitetsu (seven sages of Rikyu).
Japanese: 武将として織田信長・豊臣秀吉に仕え、茶人としては千利休に学び利休七哲の一人に数えられる。
English: After Rikyu's death by ritual suicide, Oribe FURUTA was appointed master of the tea ceremony for the second Tokugawa shogun, Hidetada TOKUGAWA, and instructed various daimyo (feudal lords), including Masakazu KOBORI.
Japanese: 利休切腹の後に、徳川2代将軍徳川秀忠の茶湯の師範を勤め、小堀政一をはじめとする諸大名にも茶の湯を伝授した。
English: He was known for his innovative approach, and many things--from gardens, architecture and various tools to cooking--have been labeled 'Oribe Konomi' (Oribe taste).
Japanese: 作意趣向を凝らしたことで知られ、造園、建築、諸道具から料理に至るまで「織部好み」と呼ばれるものが伝わっている。
English: In 1615, at the Osaka Natsu no Jin (Summer Siege of Osaka) between the forces of Tokugawa and Toyotomi, because the tea master Muneyoshi KIMURA collaborated at Toyotomi's side, Furuta was implicated in a conspiracy against Tokugawa and forced to commit suicide along with his eldest son.
Japanese: 元和(日本)元年（1615年）、大坂夏の陣で茶堂木村宗喜が豊臣方に内通したため、嫡男とともに自刃させられた。
English: Oribe's adopted father, Shigeyasu, subsequently had his own son, Shigetsugu, so Oribe had his daughter adopted into his wife's Nakagawa family and had her marry his adoptive brother, Shigetsugu.
Japanese: さて織部の養父重安には後に実子重続が生まれたので、織部は娘を妻の実家中川家の養女として義弟である重続に嫁がせていた。
English: Shigetsugu's family was absolved of Oribe's crime and continued as chief retainer to the Nakagawa household in the Oka Clan, in Bungo Province.
Japanese: 重続の一族は織部の罪が及ぶべき所を特に赦されて、豊後岡藩中川家の家老として存続した。
English: The fourteenth Enari (Hiroe) learned the Oribe style of tea ceremony that had been passed on to the Fukuoka clan, and adopted it as his own style of tea ceremony, so it was passed on to the Furuta household.
Japanese: 14世淵黙（広計）は福岡藩に伝わっていた織部流を習い、自家の茶法としたため、古田家に伝えられることになった。
English: Subsequently, the fourteenth Sokan FURUTA (Shigena) moved from Bungo Province to Tokyo during the Meiji Restoration, and in 1898 he started a tea-ceremony association and taught his students the Oribe style.
Japanese: そして14世古田宗関（重名）は維新に際して豊後から東京へ移り、明治31年（1898年）に茶道温知会を起こして弟子に織部流を教授した。
English: Zuiami taught the Shikisei tea ceremony to Bokusen ASANO, the chief priest of Kosho-ji Temple in Kyoto, and subsequently the chief priests of this temple followed a hereditary succession; as a result, the tea ceremony was difficult to pass on.
Japanese: 瑞阿弥は京都興聖寺の住職浅野牧仙に式正茶法を伝え、以後、同寺の住職が世襲することになったため、茶法が伝わりづらくなった。
English: On the other hand, at the Kikyokai Association in Konodai, the Shikisei tea ceremony continued to be taught after Zuiami's death.
Japanese: 一方、国府台の織部桔梗会では、瑞阿弥没後も引き続き式正茶法を教授している。
English: Elsewhere are schools of tea ceremony using the Oribe name, including the Fusoha school, which was established by Kenchusai Beisan of Omotesenke (the house of Omotesen), who refurbished Kosho-ji Temple in Kyoto together with Nishugosan in the Meiji Era, and which continues in the Shikisei way of tea.
Japanese: ほかに織部流を称す流派に扶桑派があり、明治時代に日種譲山とともに京都興聖寺を復興させた表千家の見中斎米山により創始されたもので、やはり式正茶法を伝えている。
English: Nogaku Kyokai is an organization comprised of nogakushi (Noh actors) who belong to the schools that have directly inherited the methods of Yamato-yoza or Yamato-shiza (four sarugaku performance groups in the Yamato Province).
Japanese: 能楽協会（のうがくきょうかい）とは、大和四座の流れを直接継承している流派に所属する能楽師によって構成される団体である。
English: The performing art now known as nogaku was established during the Muromachi period by Kanami, Zeami, Onami and Zenchiku KONPARU, and during the Shokuho period, the so-called Yamato-yoza, consisting of Kanze-za, Hosyo-za, Konparu-za and Kongo-za, held a dominant position as a performing group which specialized in sarugaku (comical mimicry and speech performance), except for Kurokawa Noh.
Japanese: 現在、能楽と呼ばれる芸能は、室町時代に観阿弥、世阿弥、音阿弥、金春禅竹らによって大成され、織豊期に観世座、宝生座、金春座、金剛座のいわゆる大和四座が、専ら猿楽を上演する芸能集団として、黒川能などの例外を除くと寡占的な地位を占めるに至った。
English: During the early Edo period, Yamato-shiza was regarded as the official musical function of the Edo bakufu, and it was called Shiza Ichiryu, together with Kita-ryu, which was derived from Kongo-za.
Japanese: 大和四座は江戸時代に入ると江戸幕府の正式な音楽担当者と位置づけられ、金剛座から分かれた喜多流を加えて四座一流と呼ばれた。
English: Nogaku Kyokai is an organization for the nogakushi who have inherited those schools that were part of Yamato-shiza and who are professionally involved in Noh performances, not the kind taken as a lesson by amateurs.
Japanese: 能楽協会は、この四座一流に所属していた諸流派の系譜を継ぐ能楽師たちのうち、素人の習い事としての能楽ではなく、能楽上演を職業とする者が所属する団体である。
English: To qualify for membership in Nogaku Kyokai, one is required to get referrals from a current member of the association and from the soke (head of family, originator) of the school, to which he or she belongs, and to be a nogakushi of one of the following schools; Kanze-ryu, Hosho-ryu, Konparu-ryu, Kongo-ryu and Kita-ryu for shite-kata (main roles); Takayasu-ryu, Fukuo-ryu and Hosho-ryu for waki-kata (supporting actors); Isso-ryu, Morita-ryu and Fujita-ryu for fue-kata (roles who play the flute); Ko-ryu, Kosei-ryu, Okura-ryu and Kanze-ryu for kotsuzumi-kata (small hand drum players); Kadono-ryu, Takayasu-ryu, Ishii-ryu, Okura-ryu and Kanze-ryu for otsuzumi-kata (large hand drum players); Kanze-ryu and Konparu-ryu for taiko-kata (drum players), and; Okura-ryu and Izumi-ryu for kyogen-kata (comic actors).
Japanese: シテ方は観世流、宝生流、金春流、金剛流、喜多流、ワキ方は高安流、福王流、宝生流、笛方は一噌流、森田流、藤田流、小鼓方は幸流、幸清流、大倉流、観世流、大鼓方は葛野流、高安流、石井流、大倉流、観世流、太鼓方は観世流、金春流、狂言方は大蔵流、和泉流に所属する能楽師で、所属する流派の宗家および既に能楽協会の会員である者一名の推薦が必要とされる。
English: Additionally, one must withdraw from Nogaku Kyokai when he or she goes out of business, which means that being a member of the association is in effect equivalent to being a regular nogakushi.
Japanese: また廃業の際には退会しなければならず、能楽協会会員であることが玄人の能楽師であることと事実上は同義となっている。
English: Even the schools that were once part of Yamato-shiza do not qualify for membership in the association if they have gone out of business like Kasuga-ryu of fue-kata.
Japanese: なお、かつて四座一流に所属していた流派であっても、笛方の春日流のように既に廃絶した流派は入会資格に示されていない。
English: Ueda Soko School is one of the tea ceremony schools and also one of the buke sado (the tea ceremony of samurai family) which has been handed down in the Ueda family, the former chief retainer of the Asano family in the Hiroshima domain.
Japanese: 上田宗箇流（うえだそうこりゅう）は茶道流派の一つで、広島藩浅野家の家老であった上田家に伝わる武家茶道の一流。
English: The founder Shigeyasu UEDA, a busho (Japanese military commander) famous for his prowess, worked under Hidenaga NIWA at first, and then for Hideyoshi TOYOTOMI..
Japanese: 初代上田重安（上田重安）ははじめ丹羽長秀、のちに豊臣秀吉の配下となり、武勇で知られる武将である。
English: He is so well-known as a warrior that there are not so many episodes of him as a master of tea ceremony, but judging from the gardens he made on the premises of Tokushima-jo Castle and Nagoya-jo Castle, and from the excellent hand-made tea utensils including bamboo tea scoops and tea bowls, it seems that he was good at both the literary and military arts.
Japanese: 武人としてあまりに高名であるために、茶人としての逸話はあまり伝えられていないが、徳島城、名古屋城などの作庭や、茶杓、茶碗など手作りの茶器に逸品が多く文武両芸に秀でた人であったと考えられる。
English: There was an episode: when he was temporarily hiding in the bamboo woods during the Siege of Osaka, he saw a beautiful bamboo, and he started whittling it into a tea scoop.
Japanese: 大坂の役で一時竹藪に隠れていた折りに、美竹を見つけて茶杓を削りはじめた。
English: The enemy soldiers were scared by his fervent manner, and ran away, and the tea scoop, named 'Teki Gakure' which means enemy runaway, is said to be the one he made at the time.
Japanese: あまりに無心に削っているため敵兵がかえって怪しんで逃げたという逸話があり、「敵がくれ」はこの時の茶杓と伝えられている。
English: In 1619, following Nagaakira ASANO, he moved to the Hiroshima domain, since then, the Ueda family has stayed in Hiroshima all the way to the present day, experiencing the Meiji Restoration and the Atomic-bomb attack.
Japanese: 元和5年（1619年）浅野長晟に従って広島藩に移って以来、広島の地で維新や被爆を経て現在に至る。
English: In the samurai family style, the host must not wear anything on his left waist, because his left waist is to be saved for the swords, so he has the fukusa, or silk cloth, on his right waist, and has required movements on his right lap.
Japanese: 武家茶道の常として左腰は刀の位置であるため、帛紗は右につけ、右膝上での所作が多い。
English: In Ueda Soko School, the men's style of serving tea is distinctly different from women's, and the women's style has some similarities in basics to the counterpart at three Senke Schools, and the women's style of serving tea at Omotesenke School is different from the above mentioned.
Japanese: 上田宗箇流には男性と女性で点前の区別がはっきりしており、女性点前の方が（表千家の婦人点前とは異なり）三千家の基本の所作に近い。
English: For example, in the women's style, a rest for the kettle lid, or futaoki, and the bamboo ladle must be inside the rinse-water container called kensui, while in the men's style, the rest for the kettle lid must be inside the rinse-water container, and the bamboo ladle must be held in the right hand, which is, namely, (horse riding ladle way.)
Japanese: 例えば柄杓・蓋置・建水の運び出しは、女性は全てを建水に仕組むが、男性は建水に蓋置を仕込んだ上で柄杓は「乗馬柄杓」と称して右手に持つ。
English: Furthermore, a woman must vertically fold a tea cloth three times, and horizontally four times, while a man must fold it diagonally, which is called in Urasenke School, 'Chidori Chakin' meaning plover tea cloth.
Japanese: 茶巾のたたみ方も、女性は縦三つ横四つに捌くのに対して、男性は斜め（裏千家でいうところの「千鳥茶巾」）に捌く。
English: The Ueda family did not directly instruct tea ceremony to the disciples as is the case with daimyo (Japanese territorial lord), and had the Nomura family and tne Nakamura family work as the entrusted instructors giving a stipend of 100 koku.
Japanese: 大名家における茶道の常として上田家においても家元自ら門下を指導することはなく、野村家と中村家より茶道預師範として禄100石を与えて茶道の役を務めさせた。
English: However, when the 17th entrusted instructor, Seido KAKEI died in 1955 after the war, the system was abolished, and the head family has been directly teaching the desciples since then.
Japanese: しかし戦後1955年に17代預師範加計静堂の没するを以て預師範制度を廃止し、以後は家元が直接指導している。
English: Atsugesho is a word in Japanese referring the use of heavy makeup and cosmetics in order to make one's face look obviously different from a face without makeup.
Japanese: 厚化粧（あつげしょう）とは、化粧品を多めに使った、素顔とは明らかに違う感じの化粧の事。
English: As a whole, atsugesho can be classified into three types: the first is a rich-based type in which a color foundation is used that is much lighter than a natural skin color; another is a rich-pointed type in which thickly colored eye shadow is used widely around the eyes, thickly colored blush on the cheeks and lipstick; or a combination of both types.
Japanese: 概ね、自然の肌色より大幅に明るい色のファンデーションを塗る、ベースリッチ型と、濃い色のアイシャドーを広い範囲に塗ったり濃い色のほほ紅、口紅を塗ったりするポイントリッチ型、及び、その両方に分類される。
English: Wrinkles in the face increase and skin is liable to become rough with aging, so makeup often gets heavier the older one gets in order to cover up these imperfections.
Japanese: 年齢を重ねてくると皺が増えたり肌が荒れやすくなってきたりするので、それをカバーするため、若い時と比べて厚化粧になる場合が多い。
English: However, symbolized by the phrase "toshima no atsugesho" (heavy makeup by a middle-aged woman), using such heavy makeup often gives an unfavorable impression.
Japanese: 只、年増の厚化粧という言葉に象徴されるように、好感を持たれない場合が多い。
English: In order to conceal things like stains, bruises and scars, camouflage makeup is used to cover them with foundation, but this often leads to the impression of atsugesho.
Japanese: しみ、あざ、傷あと、等を目立たなくするためにファンデーションでカバーするカモフラージュメイクがあるが、そのために厚化粧の印象になる場合が多い。
English: Every cosmetics manufacturer understands this issue, and are continually researching how to get as close as possible to the natural color and feel of skin.
Japanese: この点については、各化粧品メーカーも承知してるようで、自然の肌色、肌の質感に極力近づけるように研究中らしい。
English: A number of occupations require the use of atsugesho from a young age (sometimes from boyhood or girlhood).
Japanese: 職業によっては若い内から(時には少年少女の頃から)厚化粧する場合がある。
English: In particular, when young women with these types of occupations use makeup for everyday life, they tend to wear heavier makeup than women of the same age who work in other occupations.
Japanese: 若い女性の場合、その職業の影響で普段の化粧も同年代の他の職業の女性より厚化粧になる傾向がある。
English: Makeup often gets daringly heavy on the stage since it makes very little impression to the audience to appear with only light or no makeup.
Japanese: 素顔のままや薄化粧では観客に対する印象が薄いため、思い切った厚化粧をする場合が多い。
English: There are some differences depending on the role, but in general, ballet dancers frequently put on foundation somewhat lighter than natural flesh color (considerably whitish in the case of Russian dancers) on their entire face, brownish blush and nose shadow, blue eye shadow covering the whole eyelid as well as a brown double line, boldly thick eyeliner on the upper and lower eyelids, they wear tipped eyelashes, and clearly paint the shape of the lips with brilliant-colored lipstick.
Japanese: 役柄による多少の違いはあるが、おおむね、自然の肌色より若干明るめ(ロシア系は、かなり白目)のファンデーションを顔全体に塗る、茶色がかったほほ紅、ノーズシャドーを入れる、青いアイシャドーを、まぶた一杯に差す、茶色のダブルラインを入れる、上下のまぶたにアイライナーを、思いっきり太く入れる、付けまつげを付ける、鮮やかな口紅を、輪郭をはっきり描く、という場合が多い。
English: In cases such as the flamenco, the samba, hula dancing, and ballroom dancing, there is a tendency to use makeup that resembles what is used in ballet.
Japanese: フラメンコ、サンバ、フラダンス、社交ダンス等もバレエと似通った傾向がある。
English: Makeup used in modern dance, jazz dance, contemporary dance, etc. resembles that of the ballet but looks more realistic.
Japanese: モダンダンス、ジャズダンス、コンテンポラリー・ダンス等の化粧もバレエに似てるが、バレエよりは写実的な感じになる。
English: For example, a Kabuki actor who plays the role of a young girl or young man in love will wash their face, rub bintsukeabura (hair oil) onto their whole face, cover their eyebrows with hard bintsukeabura, rub face powder paste on their chest, their neck and nape and then spread it with a sponge; then they rub face powder paste on their face and spread it with a sponge, put on red nose shadow, eye shadow, and blusher, apply crimson to the ends of their eyes, paint their eyebrows first with red and then with black, and paint the shape of their lips clearly with a bright red lipstick.
Japanese: 娘役や、同年代の恋する男性の役の場合は、洗顔の後、鬢付け油を顔全体にすり込む、眉を硬い鬢付け油で塗りつぶす、胸、首、襟足に練りおしろいを塗り、スポンジで伸ばす、顔に練りおしろいを塗り、スポンジで伸ばす、赤でノーズシャドー、アイシャドー、ほほ紅を差す、目じりに紅を差す、眉を、先ず赤で、続けて黒で描く、真っ赤な口紅を、輪郭をはっきり描く、という具合。
English: An actor who plays the role of a brave man called an aragoto (a Kabuki play featuring exaggerated postures, makeup, and costumes) draws red or black lines called kumadori on their face to give the impression that he is brave.
Japanese: 荒事(あらごと)と呼ばれる勇猛な男性の役は隈取り(くまどり)と呼ばれる赤や黒の線を入れて勇猛な感じを強調する。
English: Although the makeup of Kabuki Buyo (Kabuki dance) is essentially the same as the aforementioned Kabuki, the dancers often put on thick black eyeliner and sometimes wear excessively tipped eyelashes during dance recitals.
Japanese: 上記の歌舞伎と、基本的に同じだが、舞踊の発表会では黒のアイライナーを太く入れる場合が多い、極稀に、付けまつげを付ける場合もある。
English: The makeup used in Taishu Engeki (popular drama) is also essentially the same as the aforementioned Kabuki, but there are many cases in which the actors do not use as much red for their eye makeup, putting on an uncommon amount of thick, black eyeliner, and paint only the outlines of their lips in red with the inside painted a cream color.
Japanese: 上記の歌舞伎と、基本的に同じだが、アイメークに赤をあまり使わず、黒のアイライナーを思いっきり太く入れる、口紅は輪郭だけ赤く、内側はクリーム色に塗る場合が多い。
English: The base makeup resembles the ballet and the point makeup resembles what is used in Kabuki Buyo.
Japanese: ベースの作り方はバレエに似ており、ポイントメークは歌舞伎舞踊に近い。
English: Additionally, this style of makeup is often used when Kabuki Buyo is performed as a suodori (dancing without a costume or hairpiece) or as a hansu (semi-suodori) when natural hair is arranged without a wig.
Japanese: 歌舞伎舞踊を素踊り、又は半素で、鬘を被らず、地毛で結う場合も、このような化粧になる場合が多い。
English: In Bugaku (traditional Japanese court music accompanied by dancing), while it is a rule to apply atsugesho only for Dobu (a dance performed by children) with sometimes no makeup at all, there are some groups which apply atsugesho on adults.
Japanese: 舞楽では童舞のみ厚化粧が原則だが化粧しない場合がある一方で、大人の舞楽も厚化粧する団体もある。
English: The makeup of Jidaigeki (period drama) is similar to Kabuki and Kabuki Buyo, but it is a little more realistic with the base being closer to natural skin color as well as eye makeup that is more modest.
Japanese: 歌舞伎、歌舞伎舞踊に似てるが、やや写実的になり、ベースは肌色寄りになり、アイメークも若干控えめになる。
English: Even though makeup is even more realistic in movies and television dramas, there is a tendency to use thicker eyeliner and other makeup than what is used in Jidaigeki since it comes out on film and video.
Japanese: 映画、テレビドラマの場合はフイルム、ビデオに写る事から、更に写実的になるが、それでも、アイライナーが太くなる等、現代劇よりは厚化粧の傾向はある。
English: The makeup used in contemporary dramas varies depending on the role, and although it looks far more realistic than what is used in Jidaigeki, a consirable amount of atsugesho is generally applied when performances are on a stage.
Japanese: 役柄にもよるが、時代劇より、更に写実的な感じ、しかし、舞台の場合は全般的にやはりかなり厚化粧の感じになる。
English: Although makeup used in musicals, Takarazuka Revue, etc. varies depending on the stage effects, atsugesho becomes more heavily applied as greater emphasis is placed on the stage effects.
Japanese: ミュージカル、宝塚歌劇、等は演出等にもよるが、演出を重視する場合ほど、厚化粧になる。
English: When the subject matter of a program is related to the West or modern times, makeup is generally similar to that of ballet, but when they are in Japanese style such as Jidaigeki, makeup seems to be closer to that of Kabuki Buyo or Taishu Engeki.
Japanese: 西洋や現代が題材の場合は概ねバレエと同様、時代劇、等、和風の場合は歌舞伎舞踊や大衆演劇に近い感じになる。