nntsuzu/KFTT huggingface dataset:
English: In Kamigata rakugo (from the Kyoto and Osaka area), it is usual to include the music of a geza (background musician) in every genre of rakugo as the hamemono (musical accompaniment for stage effect) during the storytelling, but in Tokyo (Edo rakugo) it is not.
Japanese: 上方落語では噺の途中にはめものとして下座の音曲が利用されることがふつうであり、この点が東京とは異なる。
English: Most performances of zenza-banashi are simple and short, so they are suitable for acquiring basic storytelling skills, and they are also used for improving a storyteller's vocal technique and letting a beginner become accustomed to performing.
Japanese: 多くは口慣らしや口捌きを兼ねた単純で短い、しかし基礎的な技術を養うのに適したネタである。
English: Regarded as a relatively brief and light story, zenza-banashi are never performed by established storytellers called tori, although they may be played by futatsu-me performers, situated between the zenza beginner storytellers and shin-uchi skilled performers, and occasionally by shin-uchi themselves.
Japanese: 二つ目や真打によって演じられることもあるが、比較的簡単な軽い話とみなされるためにトリの演目になることは無い。
English: In contrast, within the category ninjo-banashi, or of those performances which are considered masterpieces, works which are particularly difficult to perform are commonly called 'oneta.'
Japanese: 逆に大作といわれるネタや人情噺などのうちで特に難易度の高い作品を「大ネタ」と俗称することもある。
English: This is because it is said that the performance is convenient to punctuate for the next performer who is about to appear on stage.
Japanese: どこで切って次の演者をあげてもいいようにできているためだといわれる。
English: Otoshi-banashi have various kinds of sage or ochi, such as niwaka-ochi (punchlines using a pun), hyoshi-ochi (forming part of a rhythmical story), sakasa-ochi (which have been hinted at to the audience early on), kangae-ochi (which might make the audience think or may be difficult to understand), mawari-ochi (which link to the beginning of the story), mitate-ochi (which liken something to a different thing), manuke-ochi (ending in nonsense or absurdity), totan-ochi (which add plausibility to the story as a whole), buttsuke-ochi (where characters' words are at odds with each other), and shigusa-ochi (using gestures) (see the article Ochi for details).
Japanese: にわか落ち、ひょうし落ち、逆さ落ち、考え落ち、まわり落ち、見立て落ち、まぬけ落ち、とたん落ち、ぶっつけ落ち、しぐさ落ちなどがある（落ちの項参照）。
English: In addition to the classification above, the second Shijaku KATSURA classified otoshi-banashi into four categories according to the type of punchline, namely, donden (punchlines which amuse the audience with an unexpected twist to an ordinary story line), nazotoki (that suggest the answer to a riddle presented to the audience within the story), hen (that amuses the audience by taking the story on a tangent), and awase (punchlines that amuse the audience by bringing together two separate things mentioned earlier in the story).
Japanese: このほかに桂枝雀(2代目)による四分類法（ドンデン、謎解き、へん、合わせ）がある。
English: Methods of expression in rakugo can be classified into five categories as follows :
Japanese: 落語において用いられる表現の要素は、以下の五種に区分することができる。
English: Only five props may be used, a sensu (fan), tenugui (hand towel), kendai (bookstand), hyoshigi (wooden clapper), and a harisen (a fan used as a stick-shaped object), the latter three being used only in Kamigata rakugo.
Japanese: 扇子、手ぬぐい、上方落語における見台と拍子木、張扇の五種に限定される。
English: Words and gestures are the most significant, and they can be said to be the essence of the rakugo performance.
Japanese: このうち特に重要なのは言葉と仕草であり、これが落語という芸の根幹を成しているといえる。
English: Generally, classical rakugo has a fixed model of narration, and a storyteller memorizes and reproduces this on stage.
Japanese: 一般的に古典落語には定められた口演台本があり、噺家はこれを記憶して高座で再現する。
English: For this reason the most basic component of rakugo can be said to be the spoken words, rather than any physical element.
Japanese: すなわち落語のもっとも基礎的構成要素は、これらの台本を含めた「言葉」であるといえる。
English: A rakugo story consists of descriptive parts and dialog, and when the story comes to a point the conversations between the characters are exchanged in an increasingly lively rhythm and the descriptive parts become fewer; this characteristic is not seen in another narrative art called kodan (vaudeville storytelling).
Japanese: 地の文と会話文（対話文）で構成されているが、噺の勘所にくると会話文によってテンポよく話を進めてゆき、説明的な地の文が少なくなる（この点が話芸としての講談との相違である）。
English: The details of the descriptive parts which are difficult to narrate, such as subtle changes in the feelings of the characters and the background to their feelings and conversations, are expressed by gestures as a complement to the spoken words.
Japanese: 地の文の省略によって伝えきれないディテール（登場人物の細かい気持の変化や感情、会話をとりまく情景）は仕草によって補われて表現される。
English: Therefore, the storyteller contrives to convey the personality of each character by differentiating their tone of voice, choice of words, way of talking, and other factors.
Japanese: このため声調、言葉づかい、話しかたなどによって登場人物の個性を印象づける工夫がなされる。
English: When a conversational part precedes a descriptive part in the story, and vice versa, or when conversations take place among many minor characters, it is unclear sometimes as to which character is speaking, and the storyteller may change character without being noticed, but this does not sound unnatural to the audience.
Japanese: 会話文から地の文への移りやその逆の場面、あるいはその他大勢的な多人数の会話においては、だれの視点から語られているのか判然としない語りが存在したり、気づかない間に語りの担い手が入れ替わったりするが、それが聴衆には不自然に聞こえない。
English: In other words, rakugo differs from theatrical performances that are accompanied by gestures in every part of the story, and gestures in rakugo are added to complement the words when it is difficult for them to convey the meaning of the story on their own.
Japanese: すなわち演劇のように話のすべての部分について仕草が伴っているわけではなく、言葉だけでは表現しきれない部分に補足的な意味を持って仕草が付加されているのである。
English: The parts of a story which are difficult to convey with words range from simple ones, such as actions that words cannot express in a straightforward way, or sections of the performance which complement the descriptive parts mentioned above, to highly artistic ones that are added as improvisation to stimulate the imagination of the audience.
Japanese: もっとも「言葉だけでは表現しきれない」内容については、言葉では端的に表現できない動作や前述「言葉」の項で述べたような地の文の欠如を補うといった低次のものから、素の芸において聴衆の想像力を刺激するために付加されるきわめて高度のものまで含まれる。
English: Just as a single storyteller uses a variety of verbal communication styles to differentiate between the characters as dictated by the story, an array of gestures are also used to convey the various characters.
Japanese: 仕草においても言葉同様、一人全役が原則であり、噺家は必要に応じて次々にさまざまな役のさまざまな仕草を仕分ける。
English: Line of sight: in scenes where an elder character talks to a younger one the storyteller looks to the left of the stage (seen from the audience), and in scenes where a younger character talks to an elder one the storyteller looks to the right of the stage.
Japanese: 視線：上位の人物が下位の人物に話しかける場合には舞台下手を向き、逆の場合には舞台上手を向く。
English: Within a dialog such a switch of the line of sight effectively conveys to the audience differences between the characters.
Japanese: 会話の部分において、こうして視線を切り替えることが、登場人物を仕分けて聴衆に印象付ける効果的な手法となる。
English: Eating gestures: in rakugo there are a range of gestures to represent the act of eating something, using a folded fan like a pair of chopsticks, or moving a hand in a way that conveys the image of eating something with bare hands.
Japanese: ものを食べる：閉じた扇子を箸に見立てて、あるいは手づかみで、さまざまなものを食べる仕草が落語のなかにはある。
English: As an example, the consummate performances of the master Bunraku KATSURA are well-known, such as his gesture of eating sweetened adzuki beans in the performance of Ake-garasu (A Crow Nesting at Dawn), and the gesture of eating boiled green soybeans in Umanosu (The Hair of a Horse's Tail).
Japanese: 名人桂文楽が甘納豆（「明烏」）・枝豆（「馬のす」）などで見せた至芸が有名。
English: Walking: kneeling formally while resting the buttocks on the heels or being in a half-kneeling position, a storyteller swings the arms and moves the knees left and right.
Japanese: 歩く：正座したまま、あるいは軽くひざ立ちぐらいになって、手をぶらぶら動かしながら、両膝を交互に動かす。
English: Writing: most commonly a storyteller uses a tenugui to represent a notebook or a piece of paper, and uses sensu fan like a writing brush.
Japanese: 書く：もっとも一般的には手ぬぐいを帳面や紙、扇子を筆に見立てて字を書く。
English: Rowing a boat: this is an exceptionally showy movement for rakugo, using a sensu like a pole or an oar.
Japanese: 舟を漕ぐ：落語にはめずらしい大きな動きで、扇子を竿や艪にして演じる。
English: Pointing a finger or staring: rakugo does not allow the storyteller to bring objects mentioned in the story onto the stage, so he or she skillfully acts as if the object were on stage by pointing a finger at an empty space, or by staring at a particular point on the stage.
Japanese: 指さす・目をつかう：落語の性質上、噺のなかに登場するモノを実際に高座に持出すことは不可能であるために、虚空を指さしたり、見たりすることで、あたかもそれらがあるかのように演じる工夫がある。
English: For example, there is a tradition within the rakugo community that the gesture of drawing a sword can be well conveyed to the audience by moving a folded fan like the hilt of a sword, and then by shifting the eyes from the end of the fan to a point of empty space representing the point of the sword to indicate the length of the blade.
Japanese: 例えば「刀を抜く」という仕草の場合、扇子を柄に見立てて抜いた後、鍔元から切先まで視線を動かしながら見ると、刀の長さが観客に伝わるという口伝がある。
English: The storyteller dips a finger into a cup of tea or hot water brought onto the stage, and he or she draws a vertical line under the eyes with the finger.
Japanese: 高座に持参した湯呑みの中の茶や湯に指をつけ、その指で目の下を縦になぞる。
English: To make the performance lively, actions such as eating, drinking, walking, running, dressing, and so on expressed in a defined manner without moving from the zabuton play quite a significant role in rakugo, though the action is not part of the art of storytelling in a strict sense.
Japanese: 厳密には話芸ではないが、食べる、飲む、歩く、走る、着るなど、登場人物の動作を、座布団の上に制限された動きで表現することも、臨場感を出す上で非常に重要な役割を果たす。
English: In principle, the props to be used in rakugo are limited to sensu and tenugui, but in rare cases a teacup is also used.
Japanese: 使用する道具は、原則として扇子と手ぬぐいに限られる（稀に湯呑みも使われる）。
English: The sensu and tenugui are given a great deal of versatility in rakugo as they are used to symbolize a range of things, for example, the former may be used to represent a pair of chopsticks or a sword, and the latter a wallet or a document.
Japanese: 扇子と手ぬぐいは、落語の表現上抽象性があらかじめ与えられており、状況に応じて、前者は箸や刀になり、後者は財布や証文になるなど、様々な用途で使用される。
English: When folded, a sensu is used like a sword, a pike, chopsticks, a writing brush, a kiseru (traditional Japanese cigarette pipe), or other things which are long and thin, and when unfolded, the sensu is used like a letter or paper lantern.
Japanese: 刀、槍、箸、筆、キセルなど棒状の物の他に、開いた状態で手紙や提灯に見立てられる。
English: A tenugui is used to represent a wallet, a document, a cigarette case, a book, any object made of cloth or in the shape of a bag, such as a drawstring money pouch, and even a string or a rope.
Japanese: 財布や証文、煙草入れ、本、巾着など袋状・布状の物の他に、紐や縄として使われる。
English: In Kamigata rakugo a simple bookrack called a kendai or a low single-leaf screen called a hiza-kakushi are sometimes placed in front of the storyteller.
Japanese: 上方落語ではこれらの他に見台と呼ばれる簡素な台と膝隠しが演者の前に置かれることがあるなどの特徴がある。
English: Firstly, the haori is taken off to signify that the story is progressing from the makura (a related topic, or the background to the story, which serves as an introduction to the performance) to the main topic.
Japanese: まず、演目のイントロダクションともいうべき関連した話題や背景を紹介していく枕から本題に移行する合図として、羽織を脱ぐ。
English: Secondly, the haori is not taken off during performances where a merchant house, especially a large one, forms the focus of the story.
Japanese: また大店（おおだな）などの商家を扱った演目では羽織は羽織ったままである。
English: Thirdly, the haori is taken off in performances where an ordinary merchant or artisan, typically named Hattsuan or Kumasan, appears.
Japanese: 八つぁん・熊さん等の名で代表される町人や職人が登場するものでは羽織を脱ぐ。
English: Moreover, the ability of the storyteller to slip the haori from the shoulders in a moment is also worthy of note.
Japanese: 更に、羽織の脱ぎ方も肩から滑らせるようにして一瞬で脱ぐ所作も注目すべき点である。
English: By adhering to these rules the storyteller attracts the attention of the audience to his or her art of narration.
Japanese: このような決めごとにより、観衆の耳目を自身の芸そのものに集中させる。
English: In rakugo the focus is on the art of narration, so music, sound effects and the like are not used when the storyteller narrates the story.
Japanese: 落語は純粋な話芸であり、演じている最中は、音曲や効果音などは制限される。
English: However, in some areas, or in some specific performances, music and sound effects are used when the storyteller narrates the story.
Japanese: ただし地域や演目などによっては、出し物の最中に音曲や効果音が使用される場合がある。
English: The makura fills a variety of roles in rakugo, such as to amuse the audience and get them to relax before the start of the main topic, to lead the audience into the main topic of the story using a related scene, or as a tool to set up the final punchline, among others.
Japanese: これの果たす役割は、小話で笑わせて、本題の前に聴衆をリラックスさせる、本題に関連する話題で聴衆の意識を物語の現場に引きつける、落ちへの伏線を張る、などが挙げられる。
English: Some classical rakugo performances contain words and customs that are obsolete today, and the audience may not be able to enjoy the whole story or the punchline fully without previous knowledge, so the makura is often used to provide the audience with assistance in this regard.
Japanese: 古典落語の演題の中には、現在では廃れてしまった風習、言葉を扱うものがあり、それらに関する予備知識がないと、話全体や落ちが充分に楽しめないことがあり、枕がこの目的にあてられることも多い。
English: The storyteller also sometimes inserts a humorous tale which is not seen in the original plot called a 'kusuguri.'
Japanese: 本来の筋にはない、演者によって挿入されたおかしみのある部分を「くすぐり」と呼ぶ。
English: In general, otoshi-banashi should conclude with a punchline, but nowadays they often end before the punchline because of such factors as time constraints (a storyteller generally has only about fifteen minutes on stage) and for the reason that some punchlines are difficult for modern audiences to understand.
Japanese: 本来は落し咄は落ちによって締めくくられるが、最近は口演時間（寄席では概ね一人15分見当）の制約や、時代的に判り難い下げが出て来たなどの関係で、本来の下げまで行かずに終ることも多い。
English: Being an art based on a fixed model that is reenacted on stage rakugo can be distinguished clearly from other performing arts such as theatrical and dance performances because storytellers do not dress up as each character but rather appear as themselves, whereas theatrical and dance performers usually dress up as a character.
Japanese: 落語が再現芸術でありながら演劇や舞踏と一線を画して考えられるのは、演劇・舞踏といった芸能が通常扮装を伴って演技されるのに対して、落語においては扮装を排し、素のままで芸を見せるためである。
English: In rakugo, storytellers convey the attire and appearance of the characters they portray not with various physical objects such as costume, props, the stage setting, kakiwari, stage lighting, and sound effects, but with words and gestures.
Japanese: すなわち落語では、噺家は登場人物や話の流れに相応しい身なりや格好をモノ（衣装・小道具・大道具・書割・照明・効果音）で表現することはなく、主として言葉と仕草によって演出効果をねらう。
English: Accordingly, methods of expression in rakugo can be classified into two categories, basic factors (words and gestures) directly linked with the art of the storyteller, and restricted tools (props and costume) that complement these basic factors through their versatility.
Japanese: そのために、落語の表現要素は(1)噺家の芸に結びつく基本的な要素（言葉、仕草）と(2)1を助けるためにその場に応じて何にでも変化できるようなニュートラルな最低限のモノ（小道具、衣装）とに区分することができるのである。
English: The fact that the art itself, rather than the costume or scenery, is central to the performance is the overriding characteristic of rakugo.
Japanese: これは、素の芸であることを前提とする落語の大きな特徴であるといえるだろう。
English: Mandan is in the style of a monologue, while rakugo is mostly occupied with the dialogue between several characters, which could be said to be the remarkable characteristic of rakugo.
Japanese: しかし、漫談が聴衆に語りかける話法を用いるのに対し、落語は主として登場人物同士の対話によって話が進められてゆくことがひとつの大きな特徴といえるであろう。
English: In rakugo the main topic centers around the dialogue between the characters, and the remainder is minimal background description (called ji) or a monologue which is separate from the main story and has the aim of relaxing the audience, though the structure of the introductory makura is different.
Japanese: 枕の部分を別とすれば、落語の本筋の部分では、必要最小限の情景の叙述（「地」といわれる部分）と、演出上、話からはなれて緊張を解くなどの目的で、「語りかけ」に戻ることもあるが、主として、物語は対話で成り立っている。
English: Stories made up of so-called descriptive parts and few dialogues are called 'ji-banashi,' exemplified by "Kishu Rakugo."
Japanese: 会話が少なく、主にいわゆる「地の文」で展開される話を「地噺（じばなし）」と呼ぶ（『紀州(落語)』など）。
English: The origin of comic story telling can be traced back to the tales included in "Taketori Monogatari" (The Tale of the Bamboo Cutter), "Konjaku Monogatari" (Tales of Now and Then), and "Uji Shui-shu" (Collection of Tales from Uji).
Japanese: おもしろみのある話の源流は『竹取物語』、または『今昔物語』や『宇治拾遺集』に収められた説話にまでさかのぼる。
English: The first collection of amusing stories in Japan was "Seisuisho," which is said to have been written in 1623 by Sakuden ANRAKUAN at Seigan-ji Temple, based on the tales he told to Shigemune ITAKURA, the Governor-General of Kyoto.
Japanese: 滑稽な話を集めた本の元祖としては、誓願寺の安楽庵策伝が京都所司代の板倉重宗に語った話をもとに作られたという1623年の『醒睡笑』が挙げられる。
English: Several stories still performed today are derived from this collection, such as "Kohome" (A Flattered Baby), "Ushihome" (A Flattered Cow), "Tonasuya-seidan" (A Pumpkin Vendor) and "Tarachine."
Japanese: この本を元にして『子ほめ』『牛ほめ』『唐茄子屋政談』『たらちね』など現在でも演じられるはなしが生まれた。
English: Some people say Shinzaemon SORORI (a tea-drinking companion and one of entertainers of Hideyoshi TOYOTOMI) was the first comic storyteller in Japanese history, but others say Shinzaemon was a mythical figure.
Japanese: また、豊臣秀吉の茶話相手をつとめる御伽衆の一人、曽呂利新左衛門も落語家の先祖であるといわれるが、架空の人物であるとも言われる。
English: In the latter half of the seventeenth century, Buzaemon SHIKANO from Osaka began 'Zashiki Shikata Hanashi' (theatrical comic storytelling performed inside a house) at playhouses and bathhouses within Edo.
Japanese: 17世紀後半になると、江戸の町では大坂出身の鹿野武左衛門が芝居小屋や風呂屋で「座敷仕方咄」を始めた。
English: Around the same time at Shijo Gawara in Kyoto, TSUYU no Gorobei (the first) was busily engaged in rakugo, and he sometimes performed in front of the imperial princesses of Emperor Gomizunoo.
Japanese: 同時期に京都では露の五郎兵衛が四条河原で活躍し、後水尾天皇の皇女の御前で演じることもあった。
English: It is said to have been the first Hikohachi who made the original story of "Jugemu" (a well-known rakugo program).
Japanese: また、『寿限無』の元になる話を作ったのが初代の彦八であると言われている。
English: In the latter half of the eighteenth century, hanashi (comic stories) began to be collected in Kamigata by people who wrote zappai (a lighthearted form of literature which originated from haiku, a Japanese poem in seventeen syllables having a 5-7-5 syllabic form) and kana zoshi, a story book written in kana characters.
Japanese: 18世紀後半になると、上方では雑俳や仮名草子に関わる人々が「咄（はなし）」を集め始めた。
English: These stories were introduced to Edo by Bouun HAKURIKAN, a writer of comic tanka (a Japanese poem made up of thirty-one syllables), who gave birth to Edo-kobanashi (short Edo comic stories).
Japanese: これが白鯉館卯雲という狂歌師によって江戸に伝えられて江戸小咄が生まれた。
English: A gathering of comic storytellers was begun in Kamigata in 1770s, and also in Edo in 1786 by Enba UTEI among others.
Japanese: 上方では1770年代に、江戸では1786年に烏亭焉馬らによって咄の会が始められた。
English: Before long, in 1798, Mansaku OKAMOTO and Karaku SANSHOTEI (the first) each opened two storytellers' halls in Edo, and thereafter the number of venues increased rapidly.
Japanese: やがて1798年に岡本万作と初代三笑亭可楽がそれぞれ江戸で2軒の寄席を開くと、その後寄席の数は急激に増えた。
English: Encho SANYUTEI, a popular storyteller who performed from the last days of the Tokugawa shogunate to the Meiji period, was known as a historic master of storytelling, and the book based on shorthand notes of his storytelling had a great impact on the literature of the time, particularly in relation to sentences written in a colloquial style.
Japanese: 幕末から明治にかけて活躍した三遊亭圓朝は歴史的な名人として知られ、圓朝の高座を書き記した速記本は当時の文学、特に言文一致の文章の成立に大きな影響を与えた。
English: In August 1917, the Yanagi Group and Sanyu Group (both storyteller groups) merged, and the core members, Enzo TACHIBANAYA (the fourth), Enu SANYUTEI, Kosan YANAGIYA (the third) and others, established Tokyo Vaudeville Co. Ltd, and Ryutei SARAKU (the fifth) also established the Sanyu-yanagi Friendship Association (commonly called 'Mutsumi-kai' in Japanese).
Japanese: 1917年8月には柳派と三遊派が合併し、橘家圓蔵(4代目)、三遊亭圓右、柳家小さん(3代目)らが中心となって演芸会社「東京寄席演芸株式会社」を、柳亭左楽は「三遊柳連睦会（通称、睦会）」を設立した。
English: In 1923 the Mutsumi-kai and TELP merged to form Tokyo Rakugo Association (the predecessor of the Rakugo Association).
Japanese: 1923年に「睦会」と「会社」が合併し「東京落語協会」（落語協会の前身）を設立した。
English: From the 1940s and 50s rakugo study associations known as ochiken began to appear in several universities as a form of extra-curricular activity, Tokyo University and Waseda University being among the first.
Japanese: 大学のサークルとしての落語研究会(サークル活動)（通称「落研（おちけん）」）が生まれたのは昭和20年代頃で、東京大学や早稲田大学のものが始まりだと言われている。
English: Today, the All Japan Students Rakugo Championship (Sakuden Award), a nationwide rakugo competition for students, is held annually in Gifu City.
Japanese: 現在、学生落語の全国大会として、「全日本学生落語選手権・策伝大賞」が年1回、岐阜市で開催されている。
English: Compact discs and cassettes of recorded rakugo stage performances are on the market, and some people have recorded rakugo aired on the radio on media such as cassettes and minidiscs.
Japanese: 高座の模様が収録されたコンパクトディスクやカセットテープが販売されており、ラジオ等で放送される音源をカセットテープやミニディスク等の記録メディアに録音・収集することも行われている。
English: Others have collected standard-playing records (SP records) of famous storytelling performances by rakugo-ka before World War II, which are unavailable today.
Japanese: 現在では入手不能な、戦前の落語家たちの名演が聞けるSP盤を集める者もいる。
English: The eighth Utaroku MIYAKOYA and Norio OKADA are well-known collectors of SP records.
Japanese: 特に著名な収集家として、レコード(SP)蒐集では八代目都家歌六と岡田則夫が挙げられる。
English: "Great Masters of Classical Rakugo/Storytelling at Storytellers' Halls/Storytelling at Entertainment Halls" (the first term/the second term): A set of CDs selected by Sadakichi KAWADO (produced by Geo Corporation)
Japanese: CDボックスセット川戸貞吉（撰）『古典落語の巨匠たち・寄席の噺・ホールの噺』第一期・第二期（ゲオ）
English: Hiroshi TAMAOKI acknowledged in 'Hall of Masters on the Radio' that he was also a collector of the rakugo storage media.
Japanese: その他、玉置宏は「ラジオ名人寄席」にて収集家であることが放送された。
English: Shunichi KUSAYANAGI is a recording engineer who knows more about the sound source of rakugo than any other person in Japan, and he participated many times in the recording of rakugo as a recording engineer.
Japanese: 草柳俊一は「日本一落語音源に詳しいレコーディング・エンジニア」で、数多くの落語録音にレコーディング・エンジニアとして参加。
English: The Gokuraku-tei Project is a project that collects, appraises, and conserves media recordings of rakugo performances (aired in the past on the radio and other formats), and this project aims to establish a "Sound Museum" in the vaudeville world in the future.
Japanese: 極楽亭プロジェクトとは、過去に放送された落語演芸の音源等を収集、鑑定、保存し、将来的には「寄席演芸の『音の博物館』」を目指しているとされているプロジェクトである。
English: "An Introduction of CDs and DVDs Recording Excellent Rakugo": cowritten by Seiichi YANO and Shunichi KUSAYANAGI (ISBN - 978-4479300168)
Japanese: 矢野誠一・草柳俊一（著）『落語CDDVD名盤案内』ISBN978-4479300168
English: Besides this, there are three collectors who collect every kind of material related to rakugo (books old and new, media containing sound recordings, prints, related merchandise, items signed by storytellers, and so on).
Japanese: 落語に関するありとあらゆる資料（書籍・古書・音源・刷物・グッズ・自筆物など）の個人収集家としては次の3氏が挙げられる。
English: Since the Meiji period some comic storytellers have had a hard time in earning a living only through receiving a percentage of box-office revenues.
Japanese: 明治時代から興行収入の歩合（割(寄席)）だけでは生活が成り立たなくなってきた。
English: Some received a stipend from sponsors called danna or odan, relied on their wives' income, or earned money for themselves by putting on entertainment at Japanese-style banquets.
Japanese: スポンサー（旦那、お旦）からのお小遣いや、妻の賃労働収入をあてにしたり、落語家自身がお座敷（酒席）での余興から収入を得たりした。
English: Danjiri-bayashi is festival music which is played to accompany the drawing danjiri (decorative portable shrines; floats used in festivals), and in the region centered on the northern part of Osaka City which does not possess danjiri for some reasons it refers to the 'hetari' style which is festival music played by itself on a stage, turret and also a boat for funatogyo (a ritual to place divine spirits on boat, to cross a river).
Japanese: 地車囃子（だんじりばやし）とは、地車曳行の際に演奏される祭囃子のことであるが、何らかの事情で山車（地車）を保有していない大阪市北部を中心とした地域などで、地車とは独立した音楽として舞台や櫓（矢倉）、さらに船渡御の船等において「へたり」で演奏・奉納される祭囃子のことでもある。
English: Hetari' means to sit and play a drum (on a stage and turret), as a counter-expression to the musical performance during the drawing danjiri.
Japanese: 「へたり」とは（舞台・櫓で）座り（＝へたり）込んで叩くという意で、曳行での演奏とは対をなす表現。
English: Also, after the drawing danjiri, a performance and dedication in 'hetari' style often occurs on a stage and turret.
Japanese: また、曳行後、舞台・櫓において「へたり」での演奏・奉納がなされる場合も少なくはない。