nntsuzu/KFTT huggingface dataset:
English: Motoya contested the issues at law, but the Supreme Court passed judgment, 'the order given by the association to make the plaintiff withdraw from membership is lawful,' indicating that 'he was not approved as the family head.'
Japanese: 元彌は裁判で争ったが、最高裁は、「原告は宗家と認められていない」と指摘、「退会命令も適法」と判断。
English: Since 1995, the head family has not been appointed in the Izumi school, instead being placed in the custody of Matasaburo NOMURA, the 12th, who is a patriarch of the school, at the request of the gathering of the school's occupational branch family.
Japanese: 1995年以後、和泉流は宗家を定めておらず、現在、職分会の委嘱を受けて流派の長老である12世・野村又三郎が宗家預かりとなっている。
English: At present, the Izumi school is mainly divided into three groups; the first group is the Matasaburo NOMURA family (based in Nagoya, the so-called Nomura-ha group); the second group consists of the Manzo NOMURA family, the Mansaku NOMURA family, and the Ukon MIYAKE family (based in Tokyo, the so-called Miyake-ha group); and the third group is Kyogen Kyodosha (The Kyogen Collective, based in Nagoya, the so-called Nagoya-ha group).
Japanese: 現在和泉流は、野村又三郎家（名古屋を本拠。いわゆる野村派）、野村万蔵家・万作家・三宅右近家（東京を本拠。いわゆる三宅派）、狂言共同社（名古屋を本拠。いわゆる名古屋派）に大別される。
English: As for the style of performance, the school is believed to have adopted the realistic Kamigata (Kyoto and Osaka area) style in the Edo period.
Japanese: 芸風は江戸時代においては上方系の写実性に富んだものであったようである。
English: However, since the school moved to Tokyo in modern times it has changed the style to smart and elegant Tokyo style.
Japanese: しかし近代に入り東京に進出してからは東京風のスマートで洗練された芸風に変化した。
English: Four Kyogen performers belonging to the Izumi school received the honor of being named Living National Treasures; Manzo NOMURA, the sixth, Tokuro MIYAKE, the ninth, Man NOMURA, the first (Manzo NOMURA, the seventh, a Kyogen performer on the active list) and Mansaku NOMURA (a Kyogen performer on the active list).
Japanese: 過去に和泉流から人間国宝に認定されたのは6世・野村万蔵、9世・三宅藤九郎、初世・野村萬（7世・野村万蔵。現役）、野村万作（現役）の4人。
English: Niemon Sogen SAGI (1560-1650), a retained Kyogen performer of Ieyasu TOKUGAWA, established the Sagi school by himself.
Japanese: 鷺流は徳川家康のお抱え狂言師となった鷺仁右衛門宗玄（1560生-1650没）が一代で築き上げた流派である。
English: Initially belonging to the Chomei-za troupe of the Yamashiro Sarugaku group, Sogen transferred to the Hosho school after the Chomei-za troupe was merged into the Kongo school.
Japanese: 宗玄は、もとは山城猿楽系の長命座に属していたが、長命座が金剛流に吸収されてからは宝生流に移った。
English: It is believed that the style of performance adopted by the school was modern and realistic when it was seen in a favorable light, but in other words, it was showy, unrefined, and coarse.
Japanese: 芸風は当世風で写実的、悪く言えば派手で泥臭く卑俗なものであったらしい。
English: The head family was the Niemon SAGI family and the branch family was the Denemon SAGI family (the fourth ranked bakufu-sponsored official Kyogen school), followed by subordinate families such as the Namekawa family.
Japanese: 宗家は鷺仁右衛門家、分家に鷺伝右衛門家（幕府狂言方序列4位）、弟子家に名女川家などがあった。
English: Gonnojo SAGI, the 19th, the family head at that time, was famous for being an eccentric person, and lacked ability to lead the school.
Japanese: 時の家元であった19世・鷺権之丞は変人と評されるほどの人物でとても流派を統率する力はなかった。
English: A large number of the occupational branch families that had been suffering from poverty joined the Azuma Nohkyogen (blending play of Nohgaku and Kabuki [traditional drama performed by male actors], disappearing in around 1881) only to fail.
Japanese: 困窮した職分は大挙して吾妻能狂言（能楽と歌舞伎の折衷演劇。明治14年頃に消滅）に参加、失敗に終わった。
English: However, blamed for passing down the school's specialty to Kabuki actors, they were not allowed to return to the Nohgaku circles even after the failure.
Japanese: その後も歌舞伎役者に家芸を伝えたとして能楽界への復帰は許されなかった。
English: The Sagi school was eliminated from the school list belonging to the Nohgaku Performers' Association after Bano SAGI (who called himself the family head of the Sagi school in his last years), the last Kyogen performer of the Sagi school, died in 1922.
Japanese: 大正11年（1922年）に最後の鷺流狂言師であった鷺畔翁（晩年は鷺流宗家を自称した）の死去により、能楽協会に所属する流派として廃絶するに至った。
English: However, the Kyogen of the Sagi school remains in Yamaguchi City, Yamaguchi Prefecture (Kyogen of the Denemon line is performed, registered as intangible cultural property designated by the Prefecture), in Sado City, Niigata Prefecture (Kyogen of the Niemon line is performed, registered as cultural property designated by the Prefecture), in the Takashi area, Chiyoda-cho, Kanzaki City, Saga Prefecture (Kyogen performed in this area is called Takashi Kyogen, registered as intangible cultural property designated by the Prefecture).
Japanese: なお、鷺流の狂言自体は山口県山口市（伝右衛門派、県指定無形文化財）、新潟県佐渡市（仁右衛門派、県指定文化財）、佐賀県神埼市千代田町高志（たかし）地区（高志狂言という名称で県指定無形民俗文化財として）などに残っている。
English: Meanwhile, Kyogen performers of the Sagi school expelled from Nohgaku circles, including Bano SAGI, made an approach to the Kabuki circles.
Japanese: また、鷺畔翁をはじめ能楽界を追放された鷺流狂言師たちは歌舞伎界に接近した。
English: In that sense, the Sagi school exerted not a little influence on the Kabuki circles.
Japanese: その意味では、鷺流の歌舞伎界に与えた影響は決して小さなものではない。
English: Hitsumabushi is a regional cuisine made with eel that is eaten mainly in the Nagoya area.
Japanese: ひつまぶし（櫃塗し）とは主に名古屋市近辺で食べられている、ウナギを用いた郷土料理である。
English: Eel kabayaki is chopped into small pieces and placed on top of rice, which is served in a small ohitsu (container for cooked rice), and is eaten in 3 different ways.
Japanese: ウナギの蒲焼を細かく刻み、小ぶりなおひつに入れた飯に乗せて出され、3つの異なる食し方で供される。
English: The name hitsumabushi comes from the word 'mamushi,' which means rice topped with eel in the Kansai area.
Japanese: また関西で鰻飯を意味する「まむし」という語からひつまむしとも呼ばれている。
English: In Nagoya, both names are used (the dominant view is that 'mabushi' comes from the word 'mabusu,' which means to scatter around.
Japanese: 名古屋では両方の呼び名が通用する（「まぶし」は散りばめる意味の「まぶす」からとする見方が大勢である。
English: Therefore, the well-browned skin is crunchy and the fatty flesh alone becomes tender and fluffy.
Japanese: そのため、よく焦げた皮は香ばしく脂ののった中の身だけがふんわりと柔らかくなる。
English: Hitsumamushi is said to have started within Nagoya City during the Meiji Period, and the restaurant that originally began serving this dish is said to be either 'Atsuta Horaiken' in Atsuta Ward or 'Ibasho' in Naka Ward (Nagoya City).
Japanese: 明治時代に名古屋市内で始まったとされており、発祥となった店は熱田区の「あつた蓬莱軒」とも、中区(名古屋市)の「いば昇」とも言われている。
English: Hitsumabushi is served in a rice tub, because, in the beginning, the dish was served in individual ceramic bowls, just like at other eel specialty restaurants.
Japanese: ひつまぶしがおひつに入っているのは当初、他の鰻専門店と同じように1人前ずつ陶磁器のお椀に盛られていた。
English: However, young workers at the restaurant often broke the bowls when collecting the bowls after they delivered the food by them.
Japanese: しかし、配達した後に回収した店の若い衆が御椀を割ることが頻繁にあった。
English: Therefore, it is said that there was a need to serve the food in containers that could withstand rough handling and provide a large number of servings at once.
Japanese: そのため、多少乱暴に扱っても割れず、かつ複数人分をいっぺんに用意できる容器にするためであったとされている。
English: It is said that the reason for chopping the eel was to serve the eel in equal amounts when dishing out the rice from the rice tub, or it was an attempt to make an efficient use of eels during the period of food shortages after the war.
Japanese: ウナギが刻まれているのは御櫃から取り分ける際に鰻の量を均等に分けて盛り付けるようにすることが目的であったとも、戦後の食糧難の時期にうなぎの有効活用を図ったためであったともいう。
English: Therefore, 'Atsuta Horaiken' can call it 'hitsumabushi', but all other restaurants have to call it 'hitsumamushi'.
Japanese: そのことにより、同店はひつまぶしと呼ぶが、それ以外の店はひつまむしとしか呼べなくなった。
English: Rice is served with chopped eel on top, and a rice paddle is used to divide the rice by making an 'X' in the rice.
Japanese: ご飯の上に刻んだ鰻が載ったまま出されるので、これをしゃもじで十の形に切分ける。
English: Then, the second serving is portioned out, and it is eaten with relishes (wasabi, seaweed, mitsuba (Japanese wild parsley), and so on).
Japanese: 次はおかわりの様に2杯目を取り、薬味（わさび・のり・みつば等）をのせて食べる。
English: The third dish is served like the second dish, but with tea (sencha, Japanese green tea) or broth (depends on the restaurant) poured over it, and it is eaten simply like chazuke (rice soaked with green tea).
Japanese: 3杯目は2杯目の様にしたものにお茶（煎茶）もしくは出汁（店単位で異なる）をかけ、さっぱりと茶漬けのように食べる。
English: It is said that this manner of eating was invented to provide a tasty way to eat eel whose quality has degraded.
Japanese: この食べ方は、質の落ちた鰻をおいしく食べるために考案されたと言われている。
English: It also means an actor whose name appears last in the end-title credits of TV dramas and movies.
Japanese: テレビドラマや映画などで、クレジットタイトルの最後に名前が出る俳優。
English: Usually, the name of the most experienced actor or the actor who plays an important role takes up the position.
Japanese: ドラマ内の最ベテラン役者や重要な役どころの俳優が名を連ねるのが一般的。
English: In many cases, it is a funny part, but the term can be used for an ending of ghost stories and others, so that it cannot be said definitely.
Japanese: 多くの場合おかしみのある部分だが怪談などの結末も指すため一概には言えない。
English: Although it is the most common method of classification for ochi in rakugo, there are some shortcomings such as unintegrated points of view, resulting in the emergence of new classifications.
Japanese: 落語の落ちとしては最も一般的な分類法だが、分類の視点が統一されていないなどの欠点があるため、あたらしい分類が複数考案されている。
English: This is a punch line which is hard to understand immediately, but gets a laugh after people ponder on it for a while.
Japanese: パッと聞いたところではよく分からないがその後よく考えると笑えてくるもの
English: Shijaku KATSURA (the second) constructed a theory that a laugh is drawn by release of tension, and in keeping with his theory, he classified the ochi of rakugo into four categories.
Japanese: 桂枝雀(2代目)は笑いは緊張の緩和によって起こるという理論を立て、それと平行して落語の落ちを4種類に分類した。
English: In this pattern, audience psychology first leans towards stability when the story shows signs of stability or consistency, but later unexpected developments shake it towards instability, which causes laughter.
Japanese: 物事の展開がいったん落ち着きや一致を見せることによって観客の心理が一度安定に傾き、その後に意外な展開になって不安定な方向に振れることで、落差により笑いが起きる。
English: A riddle comes up in the development of the story, which gives the audience a sense of instability, but later, when the solution comes, people regain their sense of stability and laugh.
Japanese: 物事の展開が観客にとっての謎を生むことで心理が不安定に傾き、その後に謎が解決して安定することで笑いが起きる。
English: In this pattern, the audience does not experience stability as the story line suddenly provides a sense of instability from a normal state, which causes a laugh,
Japanese: 安定状態を経由せず、通常の状態からいきなり物事が不安定な方向に逸脱してしまう作用によって笑いが起きる。
English: This pattern skips the state of instability, and as two different things happen to coincide, it brings a sense of stability to the audience and makes them laugh.
Japanese: 不安定な状態を経由せず、二つの異なる物事が合致してしまう安定化の作用によって笑いが起きる。
English: The title of this article is 'Ochi', which is written in kanji (Chinese characters), while in the field of Manga, 'ochi' is usually written not in Kanji but in Katakana.
Japanese: 本記事の記事名は「落ち」だが、漫画の分野においては、漢字ではなくカタカナで「オチ」と表記されることが多い。
English: In four-frame comics, each of the four frames forming a vertical line represents kishotenketsu (the structure and development of Chinese and Japanese narratives), and it is a basic style to have ochi in the fourth frame.
Japanese: 4コマ漫画では、縦に1列に並べた4コマを起承転結の配置とし、4コマ目にオチを配置するのが基本的な表現形式である。
English: Some ochi in four-frame comics are similar to those in rakugo, as they involve dajare and word games or bring about some crazy situation out of blue.
Japanese: 4コマ漫画でのオチは、駄洒落や言葉遊びを用いるもの、突拍子も無い状態に突然移行させるものなどのように、落語の落ちと同様のものもある。
English: There are various other patterns; some deal with the personalities of characters, whereas others remind readers of the fact that the first three frames are already absurd.
Japanese: また、キャラクターの性格を用いるもの、既に1-3コマ目が充分に不条理であることを再認識させるものなど、様々なパターンがある。
English: Recently, there are many comics which draw a laugh not always being in line with kishotenketsu, but using different methods such as nidan ochi in which punch lines come twice in the third and the fourth frames, and using a subtitle of the manga which should originally be a title of contents as a factor of ochi (in this case, readers will understand what the subtitle means after reading the whole four frames).
Japanese: 但し、最近は、3コマ目にもオチを配置した2段オチと呼ばれるものや、本来は内容の表題であった小見出し（サブタイトル）もオチの要素とするもの（4コマ目まで読んで初めて小見出しの意味がわかるもの）など、必ずしも起承転結に沿わない形で笑いを取るものも多い。
English: In these cases, the word 'ochi' loses its original meaning of 'ending' and is used just as a kind of device to cause a laugh (where artists placed a device to make readers laugh).
Japanese: ここにおいて、「オチ」という語は、本来の「結末」の意味は既に失われ、単に笑わせどころ（作者が読者を笑わせるための仕掛けを施した箇所）の意としてのみ使われている。
English: There is also a style called "story four-frame" in which punch lines come every four frames although the story goes on to the next four.
Japanese: また、各4コマごとにオチをつけながら完結させずに次の4コマに連続させる、ストーリー4コマと呼ばれる形式も存在する。
English: Meanwhile, some of this kind have no funny parts even though they are four-frame comics.
Japanese: が、この形式においては、4コマ漫画でありながら笑わせどころが存在しない場合もある。
English: In such cases, the fourth frame has something to appeal to people's emotions, such as touching scenes, or to drop a hint of something to come in the next piece and to give the readership expectations; thus, although it is not something to draw a laugh, it is appropriate as an 'ending of a story.'
Japanese: この場合の4コマ目は、感動させるなど情動に訴えるものや、次回への伏線を貼って期待を持たせるものなど、“笑いどころではないが「話の結末」としては適切なもの”になることが多い。
English: Still, in these examples, the word 'ochi' is used despite the lack of provocation of laughter, as the former is sometimes called "kando ochi."
Japanese: 但し、この場合にも前者は感動オチと称されることがあり、笑わせどころでなくても「オチ」という語が使われている。
English: It can be said that 'ochi' in four-frame comics cannot be defined unambiguously in pointing out which frame or what kind of depiction is the one.
Japanese: 4コマ漫画での「オチ」は、どの場面を指し、どのような描写であるか、一義的に定まるものではないといえよう。
English: It usually means entering the stage weraing funny clothes or make-up or with funny appearance, or coming onstage naked or nearly naked.
Japanese: 主に変な服装・格好・メイク、あるいは裸・裸に近い格好で登場することを指す。
English: However well prepared the appearance, it only works at the time of entry and does not last long once everyone sees it in terms of drawing a laugh, and performers will have to stay in an embarrassing state, which can be felt by the audience as well.
Japanese: いくら手の込んだ格好をしても、一度見せたらそれでお終いなので、その後は笑いの効果が全く無い、傍から見ても居心地が悪い状態を晒し続ける事となる。
English: Such situations often occur when ordinary people do comedy performances of this kind at parties.
Japanese: 一般人が宴会やパーティーなどの場で出オチとなる芸を行ってしまうと、このような状況に陥る場合が殆ど。
English: Meanwhile, on TV shows, this is effective to a certain degree, as performers often have only several seconds to appear.
Japanese: テレビ番組では出演時間が数秒程度しかないことも少なくないためそれなりに有効な手法である。
English: It also makes the viewers feel that 'the comedians were brought all the way to do only this,' and thus becomes a cause of laughter.
Japanese: 「たったこれだけのためにわざわざ呼んだのか」と視聴者に感じさせることで笑いを誘う働きもある。
English: As this is used in an emergency when comedians cannot think of anything else to provoke laughter, it is considered a low quality punch line among comedians.
Japanese: ほかに笑わせる方法が思いつかないときの緊急手段として使われることが多いため、お笑いの世界ではクオリティの低いものとされている。
English: The first two sometimes work as furi (giving the audience a sense of expectancy to the story line) for ochi (there are some cases in which the three serve as 'furi, ko ochi [small punch line], and o ochi [big punch line]'.)
Japanese: そのうち最初の2つは最後のオチのフリとして用いられる（「フリ・小オチ・大オチ」の例もある）。
English: (e.g., Kindon Yoiko Waruiko Futsunoko [a comedy TV program of Kinichi HAGIMOTO, a Japanese comedian], Tensai Shusai Baka [a segment of the radio program hosted by Shinji TANIMURA, a Japanese singer], and a TV commercial for items to encourage people to quit smoking)
Japanese: （例：欽ドン!欽ドン!良い子悪い子普通の子、天才・秀才・バカ、禁煙グッズのTV-CM）
English: This can be seen in gag phrases, which is a method often used by comedians Shoji MURAKAMI and Joji SHIMAKI.
Japanese: これはギャグのフレーズにも用いられ、村上ショージや島木譲二がよく使う手法である。
English: Other than a washtub, there are some variations that use a cooking bowl or an 18-liter drum.
Japanese: 様々なパターンがあり、金盥以外にも、料理用のボウル、一斗缶なども用いられる。
English: In this kind of ochi, comedians set a device in a stage set such as a building (called yatai) in advance, and pull it down on a large scale at the end of the story.
Japanese: 建物などの大道具（屋体）に仕掛けを組み込んでおき、これを盛大に崩してオチにする。
English: Meanwhile, it is no longer used often in TV short comedies, as there are problems of safety as well as the high insurance cost on actors.
Japanese: ただし、安全性やタレントの保険の費用高騰などから、現在のテレビのコントではそれほど用いられない手法である。
English: The repetition of a pattern, in which one person shows an example and the other tries in vain to copy it or the other misunderstands what the first person did, is called tendon.
Japanese: Aが見本を見せてBが真似するが上手くいかない、または、Aが言ったことBが勘違いするというパターンを繰り返すこと。
English: It is funny for entertainers, staff, and people in the business, but most of the time it is not understandable for ordinary audiences or viewers, so that it is considered targeting only regulars as well as enthusiasts.
Japanese: 演者やスタッフ・関係者にはウケるが、一般の観客・視聴者にとっては理解できない場合が多く、常連やマニアを対象にした手法とも言える。
English: On the other hand, when the gakuya ochi is widely recognized, these affairs become a well known fact for the audiences and viewers.
Japanese: 逆に、楽屋オチがよく認知されると、その周辺事情が観客・視聴者にも周知の事実になる。
English: On TV, "Oretachi Hyokin Zoku" (a comedy program) and Tonneruzu (a Japanese comedian duo) are some typical examples.
Japanese: テレビでは『オレたちひょうきん族』・とんねるずなどが楽屋オチの代表格。
English: One example is that audiences are provided information that a big personality is coming but find out later that it is not so famous a name.
Japanese: 例えば「大物タレント登場」という前フリをしておきながらそれほど大物ではないタレントが登場するパターン。
English: Or, in another pattern the personality is a physically big person, meaning the audiences were misled by the comment.
Japanese: 「大物」とは実は地位ではなく体格のことであったなどのように視聴者に勘違いをさせたりといったパターンがある。
English: This is a punch line in which a story develops full of events, only to end with the conclusion that 'it was a dream.'
Japanese: 波乱に満ちたストーリー展開を見せるが、「それは夢だった」という結末で終わること。
English: It is sometimes used when the story becomes too outrageous or when it is necessary to put an end to the story at one stretch.
Japanese: 収拾がつかなくなったりした場合や、話を一気に終わらせる場合に用いられることもある。
English: When used casually in movies or manga, productions can be considered to be corner-cutting.
Japanese: 映画や漫画などでは、安易に用いると手を抜いていると思われる手法である。
English: Like the above-mentioned 'gakuya ochi' in owarai, it is not funny unless one knows the affairs of artists or of the business.
Japanese: 上記のお笑いにおける「楽屋オチ」同様、その作者、または業界の周辺事情を知っていないと笑えないオチ。
English: The common method is that the artist him- or herself, as well as the editor, appears in the story and the artist gets told off about the slow progress or the low quality of the production.
Japanese: 劇中に作者と担当編集者が登場し、作者が編集者から筆の遅さや作品の質にダメ出しされたりするのはよくある手法である。
English: Rettsuragon' by Fujio AKATSUKA (appeared in "Weekly Shonen (boy) Sunday" from 1971 to 1974) was a cartoon which pursued this method of gakuya ochi to the extreme.
Japanese: 赤塚不二夫による「レッツラゴン」（1971年-1974年、『週刊少年サンデー』連載）は、この手法における楽屋オチの極北を追求した作品である。
English: For example, in manga, one of the characters is doing something quicker than usual and, when asked by some other character the reason why, he or she answers that it is to save the page; this is also called 'gakuya ochi.'
Japanese: 例えば、漫画においていつもより速いペースで作業を行う人間に対し別の人間がその理由を質問したところ、答えが「ページの都合」だった……という場合にこれを「楽屋オチ」と称する。
English: Although it is called 'ochi,' it is rather similar to kusuguri (making the audience or the readers laugh with the entertainment and writings on purpose) in rakugo.
Japanese: 「オチ」という名前が付いているものの、どちらかと言えば落語の「くすぐり」の一種であるとも考えられる。
English: However, there are some exceptions that have a fully worked-out plot to take the story to bakuhatsu ochi, such as manga called 'Super Bomberman' by Atsushi MUSASHINO (appeared in "Monthly Korokoro Comic" from 1993 to 2002).
Japanese: だが、むさしのあつし「スーパーボンバーマン(漫画)」（1993年-2002年、『月刊コロコロコミック』連載）のように、どのようにして爆発オチに持っていくかに趣向を凝らしたものもある。
English: This kind of ochi can often be seen in pieces whose discontinuance was decided because of the closing down of the magazines or unpopularity of the works.
Japanese: 雑誌の廃刊や作品自体の人気不振などから打ち切りが決まった作品に多い。
English: In this case, all plots which were supposed to come up in the course of time cannot be explained, so that the story has to have a vague ending implying the main character's future move.
Japanese: 本来であれば時間をかけて解決するはずの設定を消化しきれず、主人公の動向に含みを持たせた形でフェードアウトする。
English: As a result of this, hints dropped in earlier episodes cannot be explained in most cases and it leaves a bad taste in the mouths of both artists and fans.
Japanese: 結果として伏線なども回収されないケースがほとんどであり、ファンにとっても作者にとっても後味の悪い終わり方といえる。
English: However, turning people's understanding of the circumstances to good account, this kind of ending is saometimes used in gag strips and gag animations as a predictable punch line.
Japanese: しかしそのことを逆手に取り、ギャグ漫画やギャグアニメの中で「ベタなオチ」として用いられることがある。
English: In such cases, as this ochi is used on the assumption that readers (or viewers) know this is typical of discontinued pieces, it also has an aspect of 'gakuya ochi' at the same time.
Japanese: この場合、打ち切り作品特有のオチであることを読者（視聴者）が知っている前提で用いられるため、同時に「楽屋オチ」としての側面も持ち合わせている。
English: A pair of tabi is a Japan-specific traditional item of clothing, and a kind of underwear worn on the feet.
Japanese: 足袋（たび）とは日本固有の伝統的な衣類で、足に履く一種の下着である。
English: There is also a tabi called jikatabi that is made of durable cloth and a rubber plate is pasted on the sole so that it can be worn outdoors.
Japanese: 丈夫な生地で作られた本体にゴム底を貼り付け、直接屋外で履く事ができるようにした地下足袋（じかたび）と呼ばれる足袋もある。
English: At present, approximately 80% of tabi produced in Japan are made in Gyoda City, Saitama Prefecture.
Japanese: 現在、日本で生産されている足袋の約80%が埼玉県行田市で製造されている。
English: Its origin is that the production of tabi was promoted to support the finance of the province since around the early 17th century.
Japanese: 17世紀の初期頃から藩財政を助けるための産業として足袋の生産が奨励されたことに起源をもつ。
English: However, it is not known whether it indicated footwear similar to the present tabi, nor whether it was pronounced as 'tabi.'
Japanese: しかし、現在の足袋と同様の物であるかは不明で、発音も「たび」と呼ばれていたのかは分からない。
English: Although the origin remains uncertain, it is considered to be socks called shitozu, which were worn by nobles in the Heian period, or leather socks, which are said to have been worn by hunters in that period.
Japanese: 明確な起源は分かっていないが、平安時代の貴族が履いていた下沓（しとうず）と呼ばれる靴下か、当時の猟師が履いていたとされる皮製の靴下が源流であると考えられている。
English: Tabi were initially provided with laces in the ankle, and the laces were fastened to prevent the tabi from slipping off.
Japanese: 初期の足袋は足首部分に紐が縫い付けてあり、紐を結ぶことで脱げ落ちないように留めていた。
English: It is said that the conflagration in 1657 (of the Meireki era) caused a shortage of leather, raising the cost of leather, and making tabi made of cotton used more widely.
Japanese: 明暦3年（1657年）に起きた明暦の大火によって皮が品不足となり高騰したことから、木綿製のものが急速に普及していったと言われている。
English: Corresponding to the wide use of cotton-made tabi, buttons instead of laces became to be used to prevent a tabi from slipping off.
Japanese: 木綿製足袋の普及と同時に、紐止め式からボタン止め式へと足袋を留める方式も変化していった。
English: In present-day tabi, the ankle is fastened by hooking metallic parts called 'kohaze' on looped threads called "ukeito" (or 'kakeito').
Japanese: 現在の足袋は「こはぜ」（甲馳、牙籤、甲鉤、骨板）と呼ばれる金属製の金具（ホック）を「受け糸」（または掛け糸）と呼ばれる糸のループに引っ掛けて留めるようになっている。
English: Tabi were originally made of the leather obtained by tanning hide, and no cotton-made tabi existed until the early Edo period.
Japanese: 足袋は本来皮革をなめして作られたものであり、江戸時代初期までは布製のものは存在しなかった。
English: However, as the war era was ending, tabi gradually became to be worn as peacetime clothing as well.
Japanese: しかし、戦乱が収まるにつれて次第に平時の服装としても一般的に着用されるようになった。
English: The yellow tabi used on the Kyogen stage (farce played during a Noh play cycle) (Kyogen tabi) were designed imitating leather tabi.
Japanese: 狂言の舞台で用いる黄色い足袋（狂言足袋）は皮製の足袋の外見を真似て考案されたものである。
English: White tabi are mostly used together with formal attire or on the occasions of celebration or mourning.
Japanese: 白足袋は主として改まった服装の際や慶弔等の行事ごとの際に用いられる。
English: However, while black tabi and colored tabi can be worn only with informal dresses, white tabi can be worn with informal dresses as well as formal attire.
Japanese: しかしながら、黒足袋・色足袋が平服にしか合わせられないのに対し、白足袋は平服から礼服まで広汎に着用することができる点に特色がある。
English: In particular, almost all tea masters, priests, Noh players, Kabuki players and entertainers as well as the persons concerned with the tea ceremony wear white tabi.
Japanese: 特に茶道や僧侶、能楽師、歌舞伎役者、芸人などはほとんどの場合白足袋をはいている。
English: It is mostly not allowed, without wearing white tabi, to step on or enter Noh stages, Shosa-ita (board for shosa (the steps and movements of Kabuki and Noh actors)) and archery-training halls.
Japanese: 能舞台、所作板、弓道場などは白足袋着用でなければあがれないことが多い。