nntsuzu/KFTT huggingface dataset:
English: Only the head and the branch families are allowed to use the name, and in case of disciples using the name, it is limited to someone who has a successful career in style or is an honored master.
Japanese: 主として宗家および分家にしかゆるされず、弟子家の場合には特に流儀に功績のある者もしくは名手の誉れ高い者にかぎられる。
English: Kuroemon KATAYAMA is the name of the family head of the Kyoto Katayama family, of shite-kata (main roles) of Kanze school of Noh.
Japanese: 片山九郎右衛門（かたやまくろうえもん）は能シテ方観世流の京都片山家における当主名。
English: Performed as a tachi-kata (as opposed to the musicians in noh plays) of "Kinri" (the Imperial Palace) Noh through the ages, it is commonly called 'Kyoto shoshidai [The Kyoto deputy or The Kyoto Commissioner] of Kanze school.'
Japanese: 古くから禁裏能の立方として活躍し、「観世流の京都所司代（京都探題）」などと俗称される。
English: The number of Nohgakushi (Noh actors) of the school registered in The Nohgaku Performers' Association is more than 560.
Japanese: 能楽協会に登録された能楽師は2006年の時点で560名あまりにのぼる。
English: The UMEWAKA family once became independent as Umewaka-ryu from Kanze-ryu temporarily, it has returned to Kanze-ryu now.
Japanese: 一時梅若家が梅若流として独立したこともあったが、現在は観世流に復帰している。
English: Since the school is large, there are different styles of performances inside the school; however, it is said that the performance of the school has characteristics of luscious and sophisticated tastes.
Japanese: 大流であるため、内部に芸風の差があるが、豊麗で洗練された味わいが特色とされる。
English: A characteristic of Utai (Noh song) is that it is sung brilliantly with high-pitched tones without elongating a vowel at the end of a word.
Japanese: 謡はギンを出さず（産み字をつけない）、高音を利かせて、華やかに謡うのが特色である。
English: Kiyotsugu KANAMI (1333-1384), the founder of the school, is Mr So-and-so's third son adopted by Mino dayu of Yamada sarugaku.
Japanese: 流祖観阿弥清次（1333年〜1384年）は山田猿楽の美濃大夫に養子入りした何某の三男である。
English: He changed Yuzaki troupe whose main performance had been in shrine ritual sarugaku into the one centered in sarugaku (form of theatre popular in Japan during the 11th to 14th centuries).
Japanese: それまで式三番など神事猿楽を中心としていた結崎座を猿楽中心の座へと改めた。
English: In and after his middle age, he gradually came to be recognized as the master of sarugaku even outside Yamato Province.
Japanese: 中年以降は次第に猿楽の名手として大和国以外でもその芸が認められるようになった。
English: Especially, he was recognized by Yoshimitsu ASHIKAGA in Kanjin Noh (performances held to raise subscriptions for the construction of shrines or temples) played at Rakuchu Imakumano in around 1374.
Japanese: 特に1374年ごろに行われた洛中今熊野の勧進能において足利義満に認められた。
English: Motokiyo ZEAMI, the second Head Master (1363?-1443), got the patronage of Yoshimitsu ASHIKAGA, Yoshimoto NIJO and Doyo SASAKI since his childhood because of his good looks.
Japanese: 二世世阿弥元清（1363年？〜1443年）はその美貌によって幼時より足利義満・二条良基・佐々木道誉らの庇護を受けた。
English: After the death of his father Zeami, he, as the tayu (a leading actor) of Kanze group, competed with Inuo of Omi Sarugaku for the popularity.
Japanese: 父観阿弥の没後は、観世座の新大夫として近江申楽の犬王らと人気を争った。
English: He succeeded in establishing so-called Utamai Noh by introducing the elements of utamai in Dengaku Noh into Sarugaku Noh, which had been performed mainly in a mimicry form.
Japanese: それまで物まね中心であった猿楽能に田楽能における歌舞の要素を取りいれていわゆる歌舞能を完成させた。
English: In the era of Yoshimochi Ashikaga, while he competed with Zoami, the master of Dengaku supported by Yoshimochi for the popularity, he wrote new Noh plays such as "Takasago," "Tadanori," "Kiyotsune," "Saigyozakura," "Izutsu (Noh play)," "Eguchi (Noh play)," "Sakuragawa (Noh play)," "Ashikari," "Toru," "Kinuta (Noh play)" and "Koi no Omoni (The Burden of Love)."
Japanese: 足利義持の代となると、義持の後援した田楽の名手増阿弥と人気を争う一方で、『高砂(能)』『忠度』『清経』『西行桜』『井筒(能)』『江口(能)』『桜川(能)』『蘆刈』『融』『砧(能)』『恋重荷』などの能を新作した。
English: He also wrote theory books of Nohgaku such as "Fushikaden," "Shikado" and "Kakyo," trying to establish Nohgaku in the fields of performance, writing Noh dramas and theory.
Japanese: 『風姿花伝』『至花道』『花鏡』といった能楽論を執筆して、実演・実作・理論の諸方面で能楽の大成につとめた。
English: Zeami handed his position as Tayu (the head master) to his eldest son Motomasa KANZE (?-1432) when he entered into priesthood in around 1422.
Japanese: 世阿弥は1422年ごろの出家と前後して、大夫を長男観世元雅（？〜1432年）に譲った。
English: Motomasa was such an excellent Noh player that Zeami wrote in his book "Museki isshi" (A Page on the Remnant of a Dream) as "I must admit that he is an unparalleled master although he is my son."
Japanese: 元雅は世阿弥が『夢跡一紙』で「子ながらもたぐひなき達人」と評したほどの名手であった。
English: He was also excellent at writing Noh dramas such as "Sumida-gawa River," "Yoroboshi," "Kasen" and "Morihisa."
Japanese: 『隅田川(能)』『弱法師』『歌占』『盛久』など能作においても優れていた。
English: However, after the death of Yoshimochi, Yoshinori ASHIKAGA who supported Otoami (Motoshige KANZE) assumed the position of Seii-taishogun (the commander in chief of samurai).
Japanese: しかし義持の没後、世阿弥の甥音阿弥（観世元重）を後援する足利義教が征夷大将軍に就任した。
English: Much pressure including the cancellation of the Noh performance at Sento Imperial Palace and replacement of gakuto-shiki (right to play sarugaku) in Daigoji-Temple, Kiyotaki-miya Shrine with Otoami was put on the father and son of Zeami and Motomasa (Great Dictionary of National History).
Japanese: 仙洞御所での演能の中止（1429年）や醍醐寺清滝宮の楽頭職を音阿弥と交代させられるなどさまざまな圧迫が世阿弥・元雅親子に加えられた（国史大辞典）。
English: Zeami, in his later years, handed down his book "Shugyoku Tokka" (gathering gems and gaining flowers) to his son-in-law Zenchiku KONPARU and was actively engaged in his activities such as writing kikigaki (account of what one hears) "Sarugaku Dangi" (lecture about Sarugaku).
Japanese: 晩年の世阿弥は『拾玉得花』を女婿金春禅竹に相伝し、聞書『申楽談義』を残すなどなお意欲的に活動した。
English: But he was exiled to Sado Island by the order of Yoshinori, and therefore Otoami completely took over Kanze-za.
Japanese: だが、1434年、義教の命によって佐渡島に配流され、ここに観世座は完全に音阿弥の掌握するところとなった。
English: After he had obtained the position of Kanze dayu, the third Otoami Motoshige (1398-1467), as the master of sarugaku had the patronage of Yoshinori.
Japanese: 観世大夫を襲って後、三世音阿弥元重（1398年〜1467年）は猿楽の第一人者として義教の寵愛を受けた。
English: It is considered that Otoami became more popular as the 'master of pioneers of Noh' than Zeami.
Japanese: 音阿弥は「当道の名人」として世阿弥以上の世評を博したと考えられている。
English: Dengaku and Omi Sarugaku, which had been strong competitors in the previous generation, were driven out almost completely in this period, and Muromachi bakufu treated Kanze-za preferentially as the head of sarugaku.
Japanese: 前代には有力な競争相手であった田楽や近江国猿楽がこの時代にはほとんど駆逐され、観世座が猿楽の筆頭として室町幕府に重用された。
English: Following Otoami, the fourth Matasaburo Morimasa (Otoami's son), the fifth Saburo Yukishige (Masamori's son), the sixth Shiro Motohiro (Yukishige's son) and the seventh Sakon Mototada (his homyo (a Buddhist name given to a person who has died or has entered the priesthood) was Sosetsu, Motohiro's son) succeeded the position of dayu in order; thus, infant dayu continued for four generations.
Japanese: 音阿弥の後は四世又三郎政盛（音阿弥の子）、五世三郎之重（政盛の子）、六世四郎元広（之重の子）、七世左近元忠（法名宗節、元広の子）と四代にわたって幼少の大夫が続いた。
English: Because of this, Nobumitsu KANZE (the seventh son of Otoami) and his son Nagatoshi KANZE played an important role as guardians.
Japanese: このため、音阿弥の七男観世信光とその子観世長俊が後見として大きな役割を果した。
English: Meanwhile, he wrote extravagant and easy-to understand works of Noh such as "Yukiyanagi," "Momijigari (Noh)," "Funa Benkei" whose main themes are miraculous virtue, vengeful spirits and mysteries and he became very popular at that time.
Japanese: 一方で『遊行柳』『紅葉狩(能)』『船弁慶』など霊験や怨霊、怪奇を主題とした派手でわかりやすい能を書き、時流に迎えられた。
English: Such tendency was succeeded by Nagatoshi (Nobumitsu's son) who also acted as waki no shite and wrote many plain works that appealed to the eye including "Shozon" and "Enoshima."
Japanese: この傾向は同じく脇の仕手を勤めた子長俊にも受けつがれ、『正尊』『江野島』などより視覚に訴える平明な作が多く作られた。
English: After Sosetsu KANZE, the seventh (1509-1583), lost his father when he was fourteen, he grew under the tutelage of Nagatoshi, and began to wait upon Ieyasu TOKUGAWA around 1571.
Japanese: 七世観世宗節（1509年〜1583年）は十四歳で父を失った後、長俊の後見によって成長し、1571年ごろから徳川家康に伺候するようになった。
English: He is known for his active copying densho (books on esoterica), utai-bon (singing texts) and kata tsuke (choreography) in odor to restore the influence of his school of Noh which had a little declined after the death of his last predecessor Nagatoshi.
Japanese: 先代元広・長俊の没後、やや退転していた流儀の勢いを旧日に服すべく、伝書・謡本・型付の書写を旺盛に行ったことでも知られる。
English: Kokusetsu KANZE, the ninth (1566-1626) waited on Ieyasu TOKUGAWA in Shizuoka from his infancy.
Japanese: 九世観世黒雪（1566年〜1626年）は、幼少より静岡で徳川家康に仕えた。
English: With the establishment of Edo bakufu in 1603, he was given an important role as the head of four sarugaku groups.
Japanese: 1603年の江戸幕府開府とともに四座棟梁の筆頭として家康から重んじられた。
English: But several years later, he caused an incident that he ran away from Sunpu and entered into priesthood in Koyasan.
Japanese: だが、数年後、駿府を出奔して高野山で出家するという事件を引き起こす。
English: Although later he was allowed to return, he handed over the position to the tenth Sakon Shigenari and it is considered that he was put under virtual house arrest.
Japanese: 後に帰参は認められるものの、十世左近重成に大夫職を譲り、事実上の蟄居状態が続いたと見られている。
English: In the early-modern times the school of Kanze was recognized as the head of Shiza Ichiryu that was given patronage by bakufu, and the school exerted the greatest influence until the end of the Edo period.
Japanese: 近世期、観世流は幕府に抱えられる四座一流の筆頭とされ、幕末まで最大の流勢を誇った。
English: Soke (the family of Kanze-ryu) was succeeded by the eleventh Sakon Shigekiyo (Shigenari's son), the twelfth Samon Shigetaka (Shigekiyo's son), the 13th Shigenori ORIBE (Shigekiyo's nephew) and 14th Kiyochika ORIBE (Shigenori's son) in order.
Japanese: 宗家が十一世左近重清（重成の子）、十二世左門重賢（重清の子）、十三世織部重記（重清の甥）、十四世織部清親（重記の子）と相続する。
English: Meanwhile, Kokusetsu's nephew Soha HATTORI was adopted by the Fukuo family of waki-kata (supporting actors) working in the theater, and then he succeeded the fifth Fukuo-ryu.
Japanese: 一方、黒雪の甥服部宗巴は座付のワキ方福王家に養子入して福王流五世を相続した。
English: After his retirement, he moved to Kyoto and exclusively taught Su-utai (Noh lyrics without music), and he built the foundation for spreading Kanze-ryu's utai there.
Japanese: 隠居後には京都に移って素謡教授を専門とし、以後同地に観世流の謡が広まる地歩を築いた。
English: Later, the seventh Morinobu Fukuo of Fukuo-ryu lost his confidence, which led to the incident that his five high-caliber disciples, so-called Kyo Kanze Gokenya (The Five Kanze Families in Kyoto), of Iwai, Inoue, Hayashi, Sono and Asano moved to the school of Kanze.
Japanese: 後に福王流七世福王盛信は信望なく、高弟の岩井・井上・林・薗・浅野のいわゆる京都五軒家が観世流に転ずるという事件を引き起こす。
English: However, later on until the end of the Edo Period the Gokenya and the family of Kuroemon KATAYAMA who served as the Noh players in the Imperial Palace led Kanze school in Kyoto, and formed a school called 'Kyokanze' (the Kanze school in Kyoto).
Japanese: だが、以後幕末まで五軒家と禁裏能楽御用の片山九郎右衛門家が京都の観世流を主導し、いわゆる「京観世」と呼ばれる一派を成すことになった。
English: During the era of the 15th Motoakira Kanze (1722-1774), Kanze-ryu monopolized the position of Noh teacher in the two successive reigns of Ieshige TOKUGAWA and Ieharu TOKUGAWA.
Japanese: 十五世観世元章（1722年〜1774年）に至り、観世流は徳川家重・徳川家治二代にわたる能師範を独占した。
English: Under such circumstances, Motoakira had his younger brother Kiyohisa Oribe (later the 17the head of the family) found another family, Kanze Oribe family, and gain the treatment of the quasi-tayu in Shiza.
Japanese: 元章はこれらの状況を受けて、弟織部清尚（後に十七世宗家）を別家して観世織部家を立て、四座の大夫に準ずる待遇を獲得させた。
English: Also, he created kogaki (small scripts) by taking advantage of his knowledge about kokugaku (the study of Japanese classical literature), and he was in full of activity such as going so far as to annotate upon Zeami Densho and publish it.
Japanese: ほかにも、国学の素養を生かした小書を多く創作し、さらには世阿弥伝書に加註のうえ上梓するなど旺盛な活動を行った。
English: Especially, 'Utai Libretto Revised in the Meiwa Era,' the first edition of which was published in 1765, had 210 pieces including reprints, being the largest in scale among Utai-bon officially recognized so far.
Japanese: なかでも1765年に刊行のはじまった「明和改正謡本」は、復曲を含む全二百十番組という公定の謡本としてはかつてない規模である。
English: The content was ambitious as the words of the book were revised with the cooperation of Munetake TAYASU and KAMO no Mabuchi.
Japanese: 田安宗武・賀茂真淵らの協力によって字句の改訂を加えるなどきわめて意欲的な内容であった。
English: However, the revision had a very bad reputation because for Noh actors it meant to memorize all the pieces again.
Japanese: しかしこれらの改正は能楽師にとって全曲の覚えなおしを意味するもので評判が大変悪かった。
English: But, part of the revision made by him has remained intact as seen in the verse of 'Kamiuta' such that 'dodo tarari' has been changed to a clear sound 'toto tarari.'
Japanese: ただ「神歌」の詞章「どうどうたらり」を「とうとうたらり」と済んだ音にするなど、一部に元章が手を加えた跡が残される。
English: After Motoakira, Kanze-ryu was succeeded in order by Sanjuro Akinori, the 16th (son of Motoakira), Kiyohisa ORIBE, the 17th (Motoakira's younger brother, the first of the branch family), Kiyomitsu ORIBE, the 18th (Kiyohisa's son), Kiyooki ORIBE, the 19th (Kiyomitsu's younger brother, the second of the branch family), Sakon Kiyonobu, the 20th (Kiyooki's son), Sakon Kiyonaga, the 21st (Kiyonobu's son), and Sanjuro Kiyotaka, the 22nd (Kiyonaga's son).
Japanese: 元章の後は、十六世三十郎章学（元章の子）、十七世織部清尚（元章の弟、分家初世）、十八世織部清充（清尚の子）、十九世織部清興（清充の弟、分家二世）、二十世左近清暢（清興の子）、二十一世左近清長（清暢の子）、二十二世三十郎清孝（清長の子）と相続した。
English: Kosetsu KANZE of the branch family (the fifth of the branch family, a great-grandson of Kiyooki being the 19th of Kanze-ryu family) and Minoru UMEWAKA recognized as the head Tsure of Kanze-ryu came to keep Kanze-ryu in Tokyo.
Japanese: 東京の観世流は分家の観世紅雪（分家五世、十九世宗家清興の曾孫）と観世流のツレ筆頭とされた梅若家の初世梅若実が孤塁を守ることとなった。
English: Passing through the declining period of 1868, after the Noh play (performed) with the Emperor in attendance at the residence of Tomomi IWAKURA in 1876, Minoru UMEWAKA and Kosetsu put efforts to develop the Kanze-ryu while the field of Noh was gradually restoring its popularity.
Japanese: 明治初年の衰微期を経て、1876年の岩倉具視邸天覧能以後、徐々に人気を回復しはじめた能楽界にあって梅若実は紅雪とともに観世流の普及につとめた。
English: In the end, Minoru UMEWAKA began to issue the diploma of his school to his professional and amateur disciples in the name of Umewaka.
Japanese: ついには玄人・素人の弟子に対して梅若の名によって流儀の免状を発行するに至った。
English: However, facing the overwhelming authority of Minoru UMEWAKA who was called one of 'three masters in Meiji' with Kuro HOSHO and Banma SAKURAMA, Kiyotaka who later returned to Tokyo did not have the power to control Umewaka family any more.
Japanese: しかし宝生九郎・櫻間伴馬とともに「明治の三名人」と称された梅若実の圧倒的な権威もあって、後に東京に戻った清孝には梅若家を抑える力はなかった。
English: Kiyokado, the 23rd who had succeeded the position from Kiyotaka did not have a successor, so Sakon Motoshige adopted from the Katayama family in Kyoto succeeded the position and became the 24th soke (the grand master) of Kanze-ryu.
Japanese: 清孝の跡を襲った二十三世清廉には後嗣がなく、京都の片山家から養子に入った左近元滋が相続して二十四世宗家となった。
English: Around this time, the authority of the head family had returned to the original status; and although the family began to make a strong case against Minoru UMEWAKA, the second, about the issue of diploma, the negotiation was so tough as to made slow progress.
Japanese: このころになると宗家の権威も旧に復し、免状問題で二世梅若実に対して強硬な主張が行われるようになったが、交渉は難航。
English: Finally in 1921, the brothers Minoru UMEWAKA and Manaburo UMEWAKA and Kasetsu KANZE, the sixth of the branch family, became independent from Kanze-ryu and established Umewaka-ryu.
Japanese: 最終的に1921年、梅若実・梅若万三郎の兄弟及び分家六世観世華雪が独立して梅若流を創設するに至る。
English: Those engaged in the three roles of Nohgaku (waki kata (supporting actor), people of hayashi kata (musical accompaniment played on traditional Japanese instruments) and kyogen kata (comic actor)) supported the head family and made an agreement not to appear on the stage of Umewaka-ryu.
Japanese: 三役（ワキ方・囃子方・狂言方）は宗家側を支持して、梅若流の演能に出演しないことを申し合わせた。
English: As Umewaka-ryu had difficulty continuing its activities because of the agreement, Manaburo and Kasetsu returned to Kanze-ryu first.
Japanese: このため、同流の活動はいきづまり、万三郎と華雪はいちはやく観世流に復帰。
English: In 1954 the new generation of Minoru UMEWAKA also returned to Kanze-ryu, thus Umewaka-ryu disappeared in 24 years.
Japanese: 1954年には代替わりした梅若実も能楽協会の斡旋で観世流に復帰し、二十数年にして梅若流は消滅した。
English: By taking advantage of the problem of Umewaka-ryu, he tried to unify the schools and extend the influence of Kanze-ryu.
Japanese: 梅若流問題をきっかけにかえって流儀の統一をはかり、流勢の伸張に意をつくした。
English: Also, he planned and published Taisei Utai-bon in order to unify the content of utai, which was different depending on each school.
Japanese: さらには家ごとに差の大きかった謡の統一をはかるべく、大成版謡本を企画・刊行した。
English: From 1950's through 1960's, Noh actors of new generation, whose main contributors were Hisao Kanze who was a son of Gasetsu, Hideo KANZE and Shizuo KANZE, made great achievements in the areas such as performance, theory of techniques and playing opposite to players in different fields.
Japanese: 1950年代から60年代にかけては雅雪の子観世寿夫、観世栄夫、観世静夫を中心とする新世代の能楽師が、演能、技法論、異分野との競演などでめざましい活躍を見せた。
English: Especially, Hisao was so excellent a performer as to be called a second coming of Zeami; there were many Noh actors affected by him, including Tetsunojo KANZE (the eighth) (Shizuo KANZE) and Kuroemon KATAYAMA (the ninth).
Japanese: 特に寿夫は世阿弥の再来とまで評された名手で、観世銕之亟(8世)（観世静夫）や片山九郎右衛門(9世)など、その影響を受けた能楽師は多い。
English: After the death of Motoshige, Motomasa (Motoshige's son) succeeded the 25th soke (the grand master), and current soke is Kiyokazu, the 26th.
Japanese: 元滋の没後は、子の元正が二十五世宗家を相続し、現宗家二十六世清和に至る。
English: There are many distinguished families within Kanze-ryu as it is a big school, and it allows families having a certain family status (being an occupational branch family or higher) to train Noh actors unlike Hosho-ryu that has all the experts have training at soke (the head family).
Japanese: 大流であるためにいくつもの名家があること、すべての玄人を宗家のもとで修行させる宝生流などとは異なり一定の家格を持つ家（職分家以上）に能楽師の養成を認めている。
English: Because of these facts, there are several groups that have a different style of performance within the Kanze-ryu, and each group forms its own school.
Japanese: こうしたことなどから、流儀のなかにいくつかの芸系があり、おのおの一派を成している。
English: It has its own unique performance style called 'Umewaka gakari (Umewaka style), which has much more gorgeous and elaborate utai and performance style among Kanze-ryu which is characterized as to be gorgeous.
Japanese: 「梅若がかり」などと呼ばれる独自の芸風を持ち、華やかとされる観世流のなかでもいっそう華麗で巧緻な謡・型を特色とする。
English: However, while it keeps the Umewaka style, it is said that the style of acting and manner has subtle difference from the head family.
Japanese: だが、おなじ梅若がかりの芸風を受けつぎつつ、本家とは型や作法などに細かな違いがあるとされる。
English: In recent years it has kept the close ties with Inoue-ryu of Kyomai (Kyo dance), and the third and after Yachiyo INOUE, the head of the Inoue family, has been Kuroemon KATAOKA's wife or daughter.
Japanese: 近年は京舞の井上流と関係が深く、三世以降の井上八千代はいずれも片山九郎右衛門の妻あるいは娘である。
English: And there have been some instances such that a Noh actor in the family of Kuroemon KATAYAMA in Kanze-ryu and a natori (a person given a diploma) got married.
Japanese: また片山九郎右衛門門下の観世流の能楽師と井上流の名取りが結婚している例もある。
English: In the case of Kanze-ryu shite-kata (main roles of Kanze school), there are six ranks in professionals and quasi-professionals: soke, bunke, shokubun (occupational), jun shokubun (quasi-shokubun), shihan (instructor) and jun shihan (quasi-shihan).
Japanese: 観世流シテ方の場合、玄人及びそれに準ずる者の職位として、宗家、分家、職分、準職分、師範、準師範の六段階がある。
English: (Among the families mentioned above, prestigious families such as the Yoshiyuki KANZE family, Kuroemon KATAYAMA family, and both Umewawa families are classified into shokubunke (occupational branch family), and other families that serve as professionals are classified into jun shokubun (quasi-occupational families).)
Japanese: （上記の観世喜之家、片山九郎右衛門家、両梅若家など流内の名家が職分家、それ以外で能を家業とする家が準職分家）。
English: However, a child of shokubunke, for example, starts with shihan, and after a certain period of time he will rise to the rank of shokubun or jun shokubun.
Japanese: だが、たとえば職分家の子弟であれば師範からはじまり、時期を経て職分・準職分に昇ることになる。
English: A successor to shokubunke is supposed to be apprenticed to soke or bunke to practice for five years.
Japanese: 職分家の後継者は職分家もしくは宗家・分家などに5年間内弟子として入って修業することとなっている。
English: A child of jun shokubunke is supposed to be apprenticed to shokubunke for five years, and after that he will become a professional by recommendation of his master.
Japanese: 準職分家の子弟は職分家に5年間内弟子に入り、師匠から宗家への推薦を得て玄人となる。
English: Hikozaemon Toyoji KANZE (1525-1585), who was a grandchild of Nobumitsu KANZE, was apprenticed to Yazaemon Chikakata (1482-1556) and established his school.
Japanese: 観世信光の孫・観世彦左衛門豊次（1525年〜1585年）が宮増弥左衛門親賢（1482年〜1556年）の弟子となって流儀を興した。
English: In terms of tradition of the school, the school associates Nobutomo MIYAMASU, the first and Mino Gonnokami Yoshihisa, the second, and treats Chikakata as the third, Toyoji as the fourth.
Japanese: 流儀の伝承では、初世宮増信朝、二世美濃権守吉久を加上し、親賢を流儀の三世、豊次を四世として扱っている。
English: One of the disciples of the school Heiji YUASA (the 15th), who had held the position of the head temporarily, died early, and the position became vacant.
Japanese: 一時家元を預かった門弟湯浅平次（十五世）も早くに没し、家元が空位となる。
English: After Meiji Restoration, Michihiro ISHIURA (the 16th) was adopted by the head family that had changed its family name into 'MIYAMASU' to resuscitate the family of Miyamasu, and his son Junzo MIYAMASU (the 17th, the current family head) succeeded the position.
Japanese: 維新後、姓を「宮増」に改めた家元家に石浦通宏（十六世）が養子入りして再興し、子の宮増純三（十七世・当代）が後を襲った。
English: Recently the head family changed its family name back to 'KANZE' again, Junzo is named 'Toyosumi KANZE' and his son Shinichiro 'Shinkuro.'
Japanese: 近年、家元家ではふたたび姓を「観世」に服し、純三が「観世豊純」を、子の新一郎が「新九郎」を名乗っている。
English: However, the school has strong characteristics in that it lacks the fifth kakegoe (call) in mitsuji (a Noh music rhythm where the beats of 3,5,7 are emphasized)), and uses a lot of "Kan" notes (a high pitched tune).
Japanese: ただし三ツ地の五拍目の掛け声を欠き、甲の音を多用するなど、譜の面で独自色のつよい流儀である。
English: Ryuso (the founder of the school) is Saburo Nobukata KANZE (1672-1718), the fourth son of Kotsuzumi-kata Kanze-ryu Toyoshige KANZE, the ninth (1672-1688).
Japanese: 流祖は小鼓方観世流九世観世豊重（1672年〜1688年）の四男・観世弥三郎信方（1672年〜1718年）。
English: As otsuzumi had derived from rencho (a play performed by utai and a single percussion instrument in combination) of kotsuzumi, its independence was later than other hayashi kata (musician in Noh) groups.
Japanese: 大鼓は小鼓の連調から発達した職掌であるため、その独立は、他の囃子方観世流に比べても遅いものであった。
English: In 1694, it was ordered by Tsunayoshi TOKUGAWA who favored Hosho-ryu to work in Hosho-za, and it changed its family name to 'HOSHO.'
Japanese: 1694年、宝生流を好んだ徳川綱吉の命により宝生座座付を命ぜられ、家元家も姓を「宝生」に改めた。
English: But in the case that the 3rd Nobuharu HOSHO did not have his successor, Renzaburo 豊羨, the third son of Kanze-ryu kotsuzumi-kata 豊綿 KANZE, the 13th was adopted into the family.
Japanese: ただし三世・宝生信春が後嗣を欠いたときには、観世流小鼓方十三世観世豊綿の三男錬三郎豊羨が養子入する。
English: With the circumstances mentioned above, it was not recognized as a school and called 'otsuzumi-kata Hosho-ryu of Renzaburo school' for a long time after the Meiji Restoration.
Japanese: 以上のような事情により、維新後は長らく一流と認められず、「大鼓方宝生錬三郎派」とされてきた。
English: But with activities by Kinjuro MORIYA in Okayama, it was recognized as a school in Kanze-ryu in 1986.
Japanese: だが、岡山の守家金十郎らの運動により、1986年に観世流として認められた。
English: Yoshinori is the only actor of the group registered at The Nohgaku Performers' Association as of 2006.
Japanese: 能楽協会に登録された役者は、2006年の時点で守家由訓ただ1人である。
English: But there is one shosei (a student who is given room and board in exchange for performing domestic duties) in the group, who appears in study groups of Osaka Nohgaku Yoseikai (Osaka Nohgaku Training Facility) and other Noh theaters.
Japanese: だが、修行中の書生が1人いて、大阪能楽養成会のほか大阪の各能楽堂の研究会などに出演している。
English: Yoshiro Yoshikuni KANZE (1440-1493), a son of the 3rd shite-kata Kanze-ryu Otoami, apprenticed himself to Harutoyo KONPARU, the founder of Konparu-ryu taiko-kata, and founded the school.
Japanese: シテ方観世流三世音阿弥の子・観世与四郎吉国（1440年〜1493年）が、金春流太鼓方の流祖金春豊氏の弟子となって流儀を興した。
English: The performance style was succeeded by Yoshihisa HIGAIMOTO, the second, Kunitada HIGAIMOTO, the third and the master Jibayozaemon Kunihiro (?-1580), the fourth.
Japanese: その後、芸系は二世檜垣本吉久、三世檜垣本国忠を経て、名手・四世似我与左衛門国広（？〜1580年）が相続した。
English: At that time Shigetsugu was famous as a drum player and made many improvements in the techniques of drum playing including devising the stand (Sakichi dai) to put the drum; before the devising of the stand, the drum was held by hands of his disciples.
Japanese: 重次は当時名手として有名で、それまで弟子に持たせて打っていた太鼓を置くための台（左吉台と呼ばれる）を考案するなど、太鼓技法に多くの改良を加えた。
English: The major regional area is Tokyo, and the number of actors registered at The Nohgaku Performers' Association is 16 as of 2006.
Japanese: 東京を主たる地盤にし、能楽協会に登録された役者は、2006年の時点で16人。