nntsuzu/KFTT huggingface dataset:
English: Zeami performed a dance in a play called 'Hojo-gawa River' in Takigi-sarugaku (Sarugaku performed at night by a fire) held in 1429, and also performed a dance in a play called 'Ichitani senjin' in Tonomine-yo tachiai sarugaku (joint performance of Tonomine-style Sarugaku) with Onami held at Kasagake Baba in the same year.
Japanese: なお、永享元年の薪猿楽では「放生川」を、同年の笠懸馬場では音阿弥とともに多武峰様立合猿楽で「一谷先陣」を舞っている。
English: Motomasa was as talented as Zeami; however, he did not have a spectacular career commensurate with his talent.
Japanese: 元雅は世阿弥に劣らぬ名人であったが、そのキャリアは、実力に見合う華々しいものではなかった。
English: This is because Onami who acted independently of Zeami and his son, was favored by the Seii Taishogun (literally, "great general who subdues the barbarians") Yoshinori ASHIKAGA.
Japanese: というのも、世阿弥父子から独立した活動を見せていた音阿弥が、征夷大将軍足利義教の寵愛を一身に受けていたためである。
English: As shown by the fact that the Noh performance to be held at the Sento Imperial Palace in 1429 was cancelled by Yoshinori who favored Onami, Zeami and Motomasa were out of favor.
Japanese: 音阿弥を偏愛する義教によって、永享元年に既に決まっていた仙洞御所での演能を中止させられるなど、世阿弥・元雅は露骨な圧迫を受けることとなる。
English: Motomasa seems to have continued his activities without losing his sense of mission even under such circumstances, and masks offered to Tenkawa Daibenzaiten-sha Shrine in Yoshino in Yamato Province survive to this day.
Japanese: 元雅はその状況下でも志を失わずに活動を続けたとみられ、大和国吉野の天河大弁財天社に奉納した尉面が現存している。
English: However, Motomasa, unable to overcome his hardships, suddenly died in his thirties in Anotsu in Ise Province while traveling for performances, before he could fully exercise his talent.
Japanese: しかし苦境から脱することが出来ず、その才能を十分に発揮できないまま、三十代の若さで巡業先の伊勢国安濃津で急死した。
English: Another opinion about the cause of his death is that he was involved in a political confrontation and assassinated as Motomasa was close to the side of the Southern Court (Japan) in his latter years because the power of the Southern Court was strong at both of the aforementioned places, Tenkawa Shrine and Ise at the time.
Japanese: 死因については、前述の天河社、また伊勢はともに当時南朝(日本)の勢力が強かった地であったことから、晩年の彼が南朝側に近かったとし、その結果政治的対立に巻き込まれて暗殺されたとする説もある。
English: Although Motomasa was young, Zeami praised him profusely saying, 'he is a specialist although he is my son,' and 'he is more proficient than Kanami,' and Motomasa was the best successor who 'could record and hand down all inherited secret teachings and esoteric points' and 'perfectly mastered the esoteric points.'
Japanese: 若年ながら世阿弥をして「子ながらも類なき達人」「観阿弥にも越えたる堪能」と絶賛され、「道の秘伝・奥義ことごとく記し伝へつる」「道の奥義を極め尽くす」最良の後継者であった。
English: Since the remaining works show that his talent was extraordinary, it is really regrettable that he died at his 'peak' in his mid thirties..
Japanese: 遺された作品からも非凡な才能を持っていたことが窺えるだけに、三十代半ばという「盛りの極み」に死去したことが惜しまれる。
English: Therefore, it is also said that had he lived longer, subsequent Noh would have been further developed in diverse ways.
Japanese: そのため、彼が長命であったならその後の能はより多様な展開を迎えただろうとさえ言われている。
English: It is said that Juro KANZE's child was also an actor of Sarugaku, but a direct line from Zeami died out after this grandson Motomasa (refer to Ochi Kanze).
Japanese: その子も猿楽役者であったらしいが、この元雅の孫を以って世阿弥の直系は絶えたらしい（越智観世を参照）。
English: "Sarugaku dangi" (Section 3) has a description that Motomasa had a conflict of opinion with his father over the stage direction of 'Noh Sumida-gawa River' written by Motomasa.
Japanese: 『申楽談儀』（第3段）には、元雅作の「隅田川(能)」の演出をめぐって父と意見の対立があったことが記されている。
English: Since the climax of this drama was that a mother losing her child was visited by an apparition of her dead child for a moment, Motomasa insisted on in fact having a child actor play the apparition on stage, but Zeami opposed this idea.
Japanese: この作品のクライマックスでは、子を喪った母の前に一瞬その亡霊が現れるが、元雅が実際に子方（子役）を舞台に上げてその亡霊を演じさせることを主張したのに対し、世阿弥は子方を出さない演出を提案した。
English: Motomasa firmly denied his father's stage direction by saying 'it was totally impossible to do it.'
Japanese: 元雅は父の演出を「えすまじき（そんなことはとても出来ない）」と強く否定している。
English: As Zeami respected his stepson, Zenchiku, more than his own son, Juro Daifu, and gave Zenchiku good lessons on the chanting of Noh text, Zeami was exiled to Sado Province against the will of the shogun's representative.
Japanese: ……世阿ノ聟禅竹ヲ、我子ノ十郎太夫ヨリ崇敬シ、禅竹ニ能謡ヲ好ク被教候ニヨリ、公方ノ御意ニ違、佐渡ノ国ヘ配流セラレ……
English: The above introduces a story that Motomasa was disowned due to disagreement with his father, and went down to Kanto, but because Zeami favored his daughter's husband, Zenchiku KOMPARU, and took his own son lightly, Zeami was banished to Sado.
Japanese: 元雅は父との不和から勘当されて関東に落ち逃び、一方の世阿弥は女婿の金春禅竹を寵愛し、実子を軽んじたあまりに佐渡へ流罪となったという伝承を上記で紹介している。
English: The contents of this story itself are false, but, in any case, taking into account the episode of 'the Sumida-gawa River,' it appears that the father and son had a tense relationship as Noh actors.
Japanese: この伝承の内容自体には真実性がないが、いずれにせよ「隅田川」のエピソードも含め、父子にはともに傑出した能楽師として、一種の緊張関係があったことが窺える。
English: Meanwhile, it is true that Zeami looked very much to him as the successor to the Kanze theater.
Japanese: 一方で世阿弥が、次代の観世大夫として彼に強く期待していたことは間違いない。
English: In fact, Zeami wrote the "Kakyo" (the Mirror of the Flower), a theory of Nogaku (noh music) following "Fushikaden," for Motomasa who was the successor as the leader of the Kanze group, and it is believed that many writings with no specification of recipient were handed down to Motomasa.
Japanese: 事実世阿弥の『風姿花伝』に次ぐ能楽論『花鏡』は観世座の後継者である元雅のために書かれているほか、贈与先の書かれていない多くの伝書も、多く元雅に託されたものと考えられている。
English: In response to Zeami's expectations, Motomasa is said to have 'attained Buddhahood' in his twilight years.
Japanese: また元雅もそれに応え、晩年には「得法」即ち悟りの境地にまで至っていたという。
English: However, Motomasa eventually died young, and Zeami wrote "Museki Isshi (A Page of the Remnant of a Dream) when mourning Motomasa's death.
Japanese: しかし元雅は結局夭逝し、世阿弥は元雅の死をいたんで『夢跡一紙』を書いた。
English: The loss of a successor was a matter of deep regret for Zeami who was over 70 years old, and in the year following the death, Zeami was banished to Sado in frustration.
Japanese: 七十を越えて後継者を失ったことは、世阿弥にとっては致命的痛恨事であり、その死の翌年、失意のうちに世阿弥は佐渡に流罪となる。
English: Motomasa's Noh had elegant style by containing both the dramatic factors of his grandfather, Kanami, and the subtle and profound factors of his father, Zeami, and showed his exceptional talent by including a new original taste.
Japanese: 元雅の能は、祖父観阿弥のドラマ性と、父世阿弥の幽玄をあわせもつ優美な作風で、さらに元雅独自の新味が加わって、その異才を示している。
English: Some people say that Motomasa denied the style of Zeami which reveals illusional salvation existing among people, and attained to show anxiety deriving from existential philosophy.
Japanese: 世阿弥の共同幻想的な救いを否定して実存哲学的な不安にまで達しているとする声もある。
English: In addition to the above, 'Tomonaga,' 'Koremori' and 'Tsunemori' were believed to have been written by Motomasa.
Japanese: ほか、「朝長」「維盛」「経盛」なども元雅作の可能性が高いと考えられている。
English: Ochi-Kanze or the Ochi-Kanze group was founded by a son of Motomasa, 'Juro dayu,' and was a branch school of the Kanze group which carried out activities over the middle of the Muromachi period and the Sengoku period (period of warring states).
Japanese: 越智観世、または越智観世座とは、元雅の子「十郎大夫」を初代とし、室町時代中期から戦国時代(日本)にかけて活動した、観世座の分派。
English: This branch school was called Ochi-Kanze later because it was based in Yamato Province, and especially because Juro dayu (the third) carried out activities under the protection of the Ochi clan.
Japanese: 大和国を根拠地とし、特に三世十郎大夫が越智氏の庇護の下で活動したため、後世この名で呼ばれている。
English: Under circumstances where family members of Onami succeeded to Kanze-dayu thereafter, Ochi-Kanze carried out activities as a quasi-independent group in the Kanze theater.
Japanese: 音阿弥の系譜が以後観世大夫を継承していく中、観世座内において半独立したグループとして活動した。
English: Motomasa actually found his way into a provincial tour during the dark days; however, it was after Motomasa's death that a troupe of touring actors became an independent group, 'Ochi-Kanze,' and it is believed now that the founder of Ochi-Kanze, 'Juro dayu KANZE,' was not Motomasa but the son with the same name.
Japanese: しかし元雅が不遇の中で地方巡業に活路を見出したのは事実であったが、それが独立したグループ「越智観世」となったのは元雅の死後のことであり、越智観世初代「観世十郎大夫」は、元雅ではなく、同名の息子であると現在では考えられている。
English: There remains a record that this child of Motomasa, Juro KANZE, played Noh for a coming-of-age celebration for boys in front of the shrine building of Hachiman-gu Shrine of Todai-ji Temple on August 14, 1447, and this child is considered to have been an infant under five years old when Motomasa died.
Japanese: この元雅の遺児観世十郎は、文安4年（1447年）6月24日に東大寺八幡宮の社前で元服祝賀の能を演じたことが記録に残っており、元雅逝去時は5歳にもならぬ幼児だったらしい。
English: This is why the group in a direct line from Zeami was finished after Motomasa died; however, it is believed that as this Juro dayu grew up, he carried out activities based on Yamato which was a place remembered in connection with his father, with the support of Motomasa's younger brother, Motoyoshi KANZE (scribe of "Sarugaku dangi" (An Account of Zeami's Reflections on Art)), and Motoyoshi's son, Saburo, and the Juni family (branch of the Honami family) who was close to the Kanze group and was an influential Sarugaku performer.
Japanese: そのため元雅の死後、世阿弥直系の座は一度破滅を見ていたが、この十郎大夫の成長に従い、元雅の弟観世元能（『申楽談義』の筆記者）とその息子・三郎、また観世座に近い有力な猿楽師であった十二家などの後援を受け、父祖ゆかりの大和の地を根拠に活動したと考えられている。
English: There remain records about Juro that all of his activities were carried out in Nara such as participation in Takigi-sarugaku with Onami held at Kofuku-ji Temple Daijo-in in 1457, performance of the role of 'Tsurujiro' as a member of the Kanze theater in Noh jointly performed by four groups held in 1465 when Yoshimasa ASHIKAGA visited Nanto, and a Noh performance held at Kofuku-ji Temple Chu-in in 1479.
Japanese: 十郎については、康正元年（1457年）興福寺大乗院で音阿弥とともに薪猿楽に出演、寛正6年（1465年）足利義政が南都を訪れるにあたっての四座立合能では観世方の一員として「鶴次郎」を演じ、文明(日本)11年（1479年）には興福寺中院で演能と、いずれも奈良での活動が記録に残っている。
English: Beyond activities as a member of the Kanze group, Juro performed Noh performances held to raise subscriptions for the construction of shrines or temples at Omi Hyakusai-kyoji Temple in April 1477, and traveled for performances in 1464 and 1481.
Japanese: またこうした観世座の一員としての活動に留まらず、文明9年3月には近江百済教寺で勧進能を興行し、寛正5年、文明13年にも地方興行を行った。
English: As mentioned in above, Juro carried out activities independently from the Onami group which conducted activities mainly in Kyoto.
Japanese: 上述のように、京を中心とした音阿弥の座に対し、独自の活動を見せている。
English: Literature from that time has a description that Juro was referred to as 'Soryo no Fujiwaka (heir of Fujiwaka), Kanze dayu,' and shows that this Juro was regarded as a main branch of the Kanze family by Kofuku-ji Temple which was a traditional patron of four Sarugaku performance groups in the Yamato Province, and also succeeded to 'Fujiwaka,' a childhood name of his grandfather, Zeami.
Japanese: また当時の文献に十郎を指して「惣領ノ藤若観世大夫」という文言が見え、大和四座の伝統的な後援者である興福寺がこの十郎を観世家の嫡流と見做していたこと、また十郎も祖父・世阿弥の幼名たる「藤若」を襲名していたことが分かる。
English: The Ochi-Kanze group temporarily broke up when Juro died in his fifties in February 1483; however, in 1497 fourteen years later, his son participated in Takigi noh.
Japanese: 十郎が文明15年（1483年）2月、50代で世を去ったことで、一時越智観世座は崩壊するが、14年後の明応6年（1497年）にはその子が薪能に出演している。
English: No records other than this remain about this second leader, but the bloodline of Motomasa seems to have died out after his generation.
Japanese: この二代目についてはこれ以外の記録が残っていないが、彼の代で元雅の血統は絶えたと見られる。
English: This third Juro dayu who moved down to Suruga Province was protected by the Imagawa clan, and was also called Suruga Juro dayu.
Japanese: この三世十郎大夫は駿河に下向して今川氏に保護されて、駿河十郎大夫とも呼ばれる。
English: At this time, he became a Noh teacher for Ieyasu TOKUGAWA, and presented Ieyasu with Zeami Densho (Zeami's writings) including "Fushikaden" and "Sarugaku dangi" which had been handed down from Motomasa.
Japanese: この時徳川家康の能の師となり、元雅以来伝えられてきた『風姿花伝』『申楽談儀』などの世阿弥伝書を家康に献上した。
English: Although Ochi-Kanze soon died, he had played an important role in history by creating an opportunity to approach the Tokugawa family for the Kanze group, and handing Zeami's writings down to posterity.
Japanese: 程なくして越智観世は消滅したものの、観世座が徳川家に近付くきっかけを作り、世阿弥の著作を後世に伝えるなど、歴史上重要な役割を果たしたといえよう。
English: Zenchiku KONPARU (1405 to sometime before 1471) was a Noh play actor and playwright during the Muromachi period.
Japanese: 金春禅竹（こんぱるぜんちく、応永12年（1405年）-文明(日本)3年（1471年）以前）は室町時代の能役者、能作者。
English: Zenchiku was the leader of the Konparu School of Noh, an offspring of the Enmani School, which was a prestigious school believed to be the oldest school of Japanese Noh art.
Japanese: 禅竹は大和猿楽最古参とされる由緒ある流派、円満井座のながれをうけつぐ金春一座をひきいて活躍した。
English: The theoretical books on Noh written by Zeami, "Rikugi" (Principles of Noh) and "Shugyokutokka" (Essays on Noh), both dated 1428, were given to Zenchiku by Zeami himself.
Japanese: 世阿弥の能についての理論書『六義』『拾玉得花』は、それぞれ応永35年と正長元年の日付で（応永35年、正長元年はともに、1428年）禅竹につたえられている。
English: Well versed in renga and waka poetry and Buddhism, Zenchiku wrote a number of books that discussed theories of Noh in combination with religious philosophies.
Japanese: 連歌、和歌、仏教に深く通じ、能楽論と宗教思想をむすびつけた著作を数多くあらわした。
English: He is also believed to have maintained friendships with Ikkyu Sojun and Kaneyoshi ICHIJO and many of his Noh plays are mysterious and profound.
Japanese: 一休宗純、一条兼良との交流もあったとされ、能楽作品も幽玄にして深遠なものが多い。
English: His style reflected the age in which the Noh art changed from a form of popular entertainment to fine art appreciated by nobles and upper-class warriors.
Japanese: 能が庶民のものから貴族や上流武士の深い鑑賞にうつっていく時代をその作風に反映しているといえる。
English: Kenji MIZOGUCHI (May 16, 1898 - August 24, 1956) was a film director born in Tokyo.
Japanese: 溝口健二（みぞぐちけんじ、1898年5月16日-1956年8月24日）は、東京都出身の映画監督。
English: After graduating from jinjo elementary school (elementary schools that existed until 1941), Mizoguchi engaged himself in the design of yukata (Japanese summer kimono), and then, sponsored by his sister, he studied at the Aoibashi Western Painting Institute in Tokyo, which was organized by Seiki KURODA.
Japanese: 尋常小学校卒業後、浴衣の図案化に奉公し、姉の援助を受けて黒田清輝主催の東京葵橋洋画研究所に学ぶ。
English: In 1918, he landed a job as an advertising graphic designer at the Kobe Yushin Nippo (a daily newspaper), but resigned after a year.
Japanese: 1918年(大正7年)に神戸又新日報に広告図案係として就職したが僅か1年で退職。
English: As he lived off his sister, Mizoguchi was fascinated by movies, opera and literature; in 1920, favored by an actor for the Nikkatsu (a movie studio), Tadashi TOMIOKA, he was hired by the Nikkatsu Studio.
Japanese: 姉の家に居候しながら映画やオペラ、文学にひたり、日活の俳優であった富岡正の知遇を得、9年に日活撮影所に入社。
English: After having served as an assistant to directors such as Tadashi OGUCHI and Eizo TANAKA, Mizoguchi, at the age of 24, debuted in February, 1923, as a movie director with "Ai ni yomigaeru hi" (The Resurrection of Love), which was based on an original script by a senior director, Osamu WAKAYAMA.
Japanese: 監督助手として小口忠や田中栄三らについたのを経て、大正12年2月、先輩監督の若山治のオリジナル脚本による『愛に甦る日』で24歳にして映画監督デビューを果たした。
English: However, his depiction of poverty was so realistic that the movie was extensively censored and thus he had no choice but to release the movie with the biwa-geki (a play accompanied by the music of the biwa, or Japanese lute) as a filler.
Japanese: しかし、貧乏生活の描写が余りにも写実的過ぎて検閲で大幅にカットされ、やむなくつなぎで琵琶劇を入れて公開したという。
English: Producing ten films that year, Mizoguchi demonstrated that he was a prolific director: their genres were mixed, ranging from a detective story to an expressionist style.
Japanese: 同年は一年のうちに10作を製作するなど多作なところを見せ、その内容も探偵劇から表現主義風までと様々であった。
English: On September 1 of the same year, Mizoguchi moved to Nikkatsu's Taishogun Studio due to the Great Kanto Earthquake, and made fine films such as 'Toge no uta' (The Song of the Mountain Pass) and 'Daichi wa hohoemu' (The Earth Smiles).
Japanese: 同年9月1日の関東大震災のため京都の大将軍撮影所に移り、「峠の唄」「大地は微笑む」などの佳作を手がけた。
English: In 1925, however, he was temporarily suspended in the middle of shooting 'Akai yuhi ni terasarete' (Shining in the Red Sunset) because of the incident in which he was stabbed in the back with a razor by his girlfriend and, at the same time, live-in housekeeper (who would be forced into prostitution because of poverty after separation) as a result of a quarrel between the couple.
Japanese: しかし、14年「赤い夕日に照らされて」を撮影中痴話喧嘩のもつれから、恋人であり同棲中の雇女（別れた後､貧しさのため娼婦となる）に背中を剃刀で斬られるという事件を起こし、しばらく謹慎処分となる。
English: After he came back from suspension and released the fine films featuring women filled with emotions of a shitamachi (traditional working-class neighborhood), 'Kaminingyo haru no sasayaki' (A Paper Doll's Whisper of Spring) and 'Kyoren no onna shisho' (The Love-Mad Tutoress) in 1926, Mizoguchi further developed his unique sense of expression in portraying women and gained a good reputation for his movies such as 'Tojin Okichi' (Mistress of a Foreigner) of 1930.
Japanese: 復帰後の15年に下町の情緒を下敷きにした女性劇の佳作「紙人形春の囁き」「狂恋の女師匠」を発表してからは女性を描く独特の感性にさらに磨きをかけ、昭和5年「唐人お吉」などが好評を博した。
English: At the same time, he also focused on realism in the upsurge of left-wing ideology during the early Showa era by directing keiko eiga (tendency film) such as 'Tokai kokyogaku' (Metropolitan Symphony) and 'Shikamo karera wa yuku' (And Yet They Go).
Japanese: この間、昭和初期の左翼思想の高揚に乗じて「都会交響楽」「しかも彼等は行く」などの傾向映画も監督してリアリズム追及に邁進した。
English: He himself, however, did not believe in left-wing ideology; in 1932 after the decline of the proletarian movement, he showed his opportunistic side by being invited by Shinko Kinema to direct the propaganda film called 'Manmo kenkoku no reimei' (Dawn in Manchuria).
Japanese: しかし、溝口自身は左翼思想の持ち主でもなく、プロレタリア運動が退潮後の7年には新興キネマに招かれて国策映画「満蒙建国の黎明」を撮るなど、変わり身の早いところも見せている。
English: In 1933, Mizoguchi left the Nikkatsu and began working for Takako IRIE's Irie Production.
Japanese: 1932年（昭和8年）、日活を辞め入江たか子の入江ぷろだくしょんで仕事をするようになった。
English: His movie 'Taki no shiraito' (Cascading White Threads), which, featuring Takako IRIE, portrayed the expressive world of Kyoka IZUMI's novel, became a big hit, and was ranked second in Kinema Junpo (a film magazine).
Japanese: 泉鏡花原作の情緒の世界を入り江たか子主演で描いた『瀧の白糸』が大ヒットし、キネマ旬報ベスト2位に入った。
English: In 1934, Mizoguchi joined Daiichi Eiga-sha (a production company) established by Masaichi NAGATA, and made his name by releasing movies such as 'Orizuru Osen' (The Downfall of Osen), which, based on Kyoka IZUMI's novel, featured Isuzu YAMADA, 'Naniwa ereji' (Naniwa Elegy), which was produced together with a talented screenwriter Yoshikata YODA for the first time, and 'Gion no shimai' (Sisters of the Gion), a masterpiece set in Gion, Kyoto.
Japanese: 9年、永田雅一が設立した第一映画社に参加し、山田五十鈴出演で泉鏡花原作の「折鶴お千」、名脚本家依田義賢とはじめて組んだ「浪華悲歌」、京都の祇園を舞台にした傑作「祇園の姉妹」などを発表して名声を高めた。
English: After the company was dissolved due to poor management, Mizoguchi moved to Shinko Kinema and then to Shochiku's Shimogamo Studio, and there he produced a series of excellent films such as 'Zangiku monogatari' (The Story of the Last Chrysanthemums) based on Shofu MURAMATSU's novel, 'Naniwa Onna' (A Woman of Osaka) featuring Kinuyo TANAKA in his own movie for the first time, 'Geido ichidai otoko' (The Life of an Actor) based on the novel of his old friend from elementary school, Matsutaro KAWAGUCHI.
Japanese: 同社が経営悪化のため解散した後は新興キネマを経て、松竹下賀茂撮影所に移り、村松梢風の「残菊物語」、初めて田中絹代を自作に迎えた「浪花女」、小学校時代からの旧友・川口松太郎原作の「芸道一代男」など秀作を連発した。
English: From 1941 to 1942, he directed the two-part epic film based on Seika MAYAMA's work, 'Genroku chushingura' (The 47 Ronin), which he spent a long period and an extremely large sum of money producing.
Japanese: 16年から17年にかけて長い撮影期間と破格の費用をかけて真山青果の「元禄忠臣蔵」を前後編の大作映画に仕立た。
English: Although the large-scale set that perfectly reproduced the matsu no roka (the large corridor with pictures of pine trees on the wall in Edo-jo Castle) received attention and the film won a Special Award of the Minister of Education, Mizoguchi was upset by the huge commercial failure of the film.
Japanese: 松の廊下を完全に再現したという大掛かりなセットが注目を集めて文部大臣特別賞を受けたものの、興行的には大失敗するという苦渋を嘗める。
English: In 1946 after World War II, he came back with the democracy film 'Josei no shori' (The Victory of Women) featuring Kinuyo, but his movies remained unsuccessful, possibly affected by his utter failure of 'Genroku chushingura.'
Japanese: 戦後は21年に絹代出演の民主主義的映画「女性の勝利」で復帰したが、「元禄忠臣蔵」での大失敗が尾を引いたのか不調が続いた。
English: After a long slump, he finally turned things around in 1949 with the movie 'Yoru no onnatachi' (Women of the Night) portraying the women who lost their husbands in a war and were forced into prostitution due to poor living conditions.
Japanese: 24年、戦争で夫を亡くし敗戦後の生活苦から娼婦に堕していく女性のシビアに描いた「夜の女たち」で長きスランプから復調。
English: Afterward, Mizoguchi created literary films such as Seiichi FUNAHASHI's 'Yuki fujin ezu' (A Picture of Madame Yuki), Junichiro TANIZAKI's 'Oyu-sama' (Lady Oyu), and Shohei OOKA's 'Musashino fujin' (Lady Musashino).
Japanese: その後は舟橋聖一「雪夫人絵図」、谷崎潤一郎「お遊さま」、大岡昇平「武蔵野夫人」といった文芸映画を作った。
English: In 1952, he produced 'Saikaku ichidai onna' (The Life of Oharu), which, based on Saikaku IHARA's 'Koshoku ichidai onna' (The Life of an Amorous Woman and Other Writings), featured Kinuyo.
Japanese: 27年には井原西鶴の「好色一代女」を基に絹代出演で撮った「西鶴一代女」を製作。
English: Initially, the film was ranked ninth in Japan, but when it was screened at the Venice Film Festival, it was highly praised by people in the film industry and won the Silver Lion.
Japanese: 当初国内ではベストテン9位の評価だったが、ヴェネツィア国際映画祭に出品されるや海外の映画関係者から絶賛され、サンマルコ銀獅子賞を受賞。
English: In 1953, he won first place in the Silver Lion award at the same festival with his proudly directed film 'Ugetsu Monogatari' (Tales of Moon and Rain), which portrayed the mysterious beauty of Akinari UEDA's original story (his film practically won the highest prize since no film won the Golden Lion in this year).
Japanese: さらに28年には、上田秋成の原作を幽玄な美で表現した自信作「雨月物語」が同映画祭でサンマルコ銀獅子賞1位を獲得(この年は金獅子賞の該当作がなく、本作が実質の最高位であった)に選ばれる。
English: Around this time, his enthusiasts began to emerge even internationally, and at the same festival in 1954, he won the Silver Lion again with 'Sansho dayu' (Sansho the Bailiff), which was based on Ogai MORI's novel.
Japanese: この頃から海外にも熱烈な溝口ファンが生まれ始め、29年にも森鴎外「山椒大夫」でも同映画祭サンマルコ銀獅子賞を受賞。
English: Mizoguchi achieved the feat of being awarded at the same festival for three consecutive years, and immediately became an internationally renowned director.
Japanese: 3年連続の同映画祭の入賞を果たすという快挙を成し遂げ、一躍国際的に認知される映画監督となった。
English: His winning of the award at the festival for three consecutive years has been an unprecedented achievement in Japan.
Japanese: 3年連続の同映画祭での入賞は、日本国内では他に類を見ない功績である。
English: Subsequently, he made excellent films such as 'Gion bayashi' (A Geisha), 'Uwasa no onna' (The Crucified Woman), 'Yokihi' (Empress Yank Kwei Fei), 'Shin heike monogatari' (The New Tale of the Heike), and finally, the film 'Akasen chitai' (Street of Shame), which depicted the women in Yoshiwara (a red-light district) before the enactment of the Anti-Prostitution Law, became his posthumous work.
Japanese: その後も「祇園囃子」「噂の女」「楊貴妃」「新・平家物語」と優れた作品を生み出すが、31年売春防止法成立前の吉原の女たちを描いた「赤線地帯」が遺作となった。
English: Mizoguchi became ill when preparing for his next film 'Osaka monogatari' (An Osaka Story), and went to the hospital saying, 'Hey, I'm going to hospital.'
Japanese: 次回作「大阪物語」の準備中に体調を崩し、「ちょっと病院に行ってくる」と告げて病院に行った。
English: He was diagnosed with leukemia and immediately admitted to the hospital, but there was nothing the medicine at that time could do to cure leukemia; he passed away without any sign of recovery.
Japanese: 白血病だとわかり急遽入院したが、その当時の医学では手の施しようがなく、そのまま回復に向かうことなくこの世を去った。
English: He greatly influenced European film directors in the generation of the Nouvelle Vague, including Jean-Luc GODARD as well as Francois TRUFFAUT, Eric ROHMER, Bernardo BERTOLUCCI, Jacques RIVETTE, Pier Paolo PASOLINI, and Victor ERICE.
Japanese: ジャン＝リュック・ゴダールをはじめ、フランソワ・トリュフォー、エリック・ロメール、ベルナルド・ベルトルッチ、ジャック・リヴェット、ピエル・パオロ・パゾリーニ、ビクトル・エリセなどヌーヴェルヴァーグ世代のヨーロッパの映画作家に多大な影響を与えた。
English: In particular, Godard, who had even visited Mizoguchi's grave, was famous for idolizing him: he said, 'Mizoguchi, Mizoguchi, and Mizoguchi,' when he was asked, 'Could you tell me three of your favorite directors?'
Japanese: とりわけ溝口の墓参までしたゴダールの溝口への傾倒ぶりは有名で、「好きな監督を3人挙げると?」との問いに「ミゾグチ、ミゾグチ、ミゾグチ」と答えるほどだった。
English: In the year 2006, which marked the fiftieth anniversary of his death, Mizoguchi's films received public attention again through the release of a DVD box set and the commemorative special of his films at the Meigaza (a classic film theater).
Japanese: 没後50年にあたる2006年には、DVDBOXのリリースや名画座などでの回顧特集が組まれ、改めて注目を浴びた。
English: It is agreed that the period of copyright protection for his films prior to 1953 has been completely expired (they meet the criteria of both 50 years after the release and 38 years after the death of a director).
Japanese: 1953年までの作品は著作権の保護期間が完全に終了した（公開後50年と監督死後38年の両方を満たす）と考えられている。