nntsuzu/KFTT huggingface dataset:
English: With youthful performances, Jukai established a new art that had never been seen in Osaka kabuki.
Japanese: 寿海は若若しい演技でそれまで大阪の歌舞伎になかった新しい芸を確立した。
English: Jusaburo also had been showing such ability in Shinkabuki (new kabuki) as he was called "Sadanji in Kansai," and, gradually his skill in maruhonmono, which was his weak point, began to improve.
Japanese: 寿三郎も『関西の左團次』と呼ばれるように新歌舞伎で本領を発揮していたが、不得手であった丸本物でも演技が上達し始めた。
English: "Takechi Kabuki" was started by Tetsuji TAKECHI, who ushered in a new phase in Kansai Kabuki, which had stagnated, through his method of working with young Kansai Kabuki actors and concentrating on staging that emphasized the original work.
Japanese: 武智鉄二による『武智歌舞伎』が始まり、関西歌舞伎の若手役者を対象に、原作重視の演出中心のやり方で、沈滞化していた関西歌舞伎に新風を送り込んだ。
English: In particular, Senjaku was enormously popular for his tremendously successful performance of "Sonezaki Shinju," and he obtained nationwide awareness that spread beyond the bounds of Kabuki.
Japanese: 特に『曽根崎心中』で大当たりをとった扇雀の人気は凄まじく（扇雀ブーム）、歌舞伎の枠を超えて全国的知名度を得た。
English: In 1953, a toshikyogen (performance of an entire play) of "Kanadehon Chushingura" (The Treasury of Loyal Retainers) was staged at Teikoku-Gekijo Theater in Tokyo by all-star performance by Kansai Kabuki, including Jukai and Jusaburo.
Japanese: 1953（昭和28）年には寿海、寿三郎らオール関西歌舞伎総出演による『仮名手本忠臣蔵』の通しが東京の帝国劇場で上演された。
English: Although such events made it appear that young skills had been nurtured, it proved to be the last flickering of the stage lights just before they burned out.
Japanese: これらにみられるように若い力がようやく育ってきたかに見えたが、それは燃えつきようとする蝋燭の最後の輝きでもあった。
English: Ganjiro and Tomijuro, who had not been given important roles and had been treated coldly in the shadow of the popularity of "soju" and "senkaku," were smoldering with dissatisfaction.
Japanese: すでに『双寿』『扇鶴』の人気の影で、重い役をもらえず冷や飯を食べるかたちとなっていた鴈治郎、富十郎らの不満がくすぶっていた。
English: Shochiku took only temporary stopgap measures, such as making Jukai perform the star role of Ganjiro I, for example, which injured Ganjiro's pride and showed a lack of consideration for the proper successors of Kansai Kabuki.
Japanese: 例えば、松竹は寿海に初代鴈治郎の当り役を演じさせ鴈治郎のプライドを傷つけるなど、その場しのぎの対応ばかりで、関西歌舞伎の正当の後継者に対する考慮が欠けていた。
English: In April 1955, Minosuke brought accusations against the management of Shochiku at the Regional Legal Affairs Bureau, alleging that the problems with respect to Tsurunosuke constituted human right violations.
Japanese: 翌1955(昭和30)年4月、蓑助が、鶴之助のもめごとが人権侵害にあたるとして松竹幹部を法務局に訴える騒動。
English: In addition, within a period of slightly more than six months a series of problems occurred, including the decision by Ganjiro and Senjaku, who were father and son, to join the cinema world.
Japanese: さらに鴈治郎、扇雀親子の映画界入りと、僅か半年余りで連続して騒動が続く。
English: Jukai, who was comparable to Jusaburo, held the important post of chairman of the Kansai Kabuki Actors' Association, and with his great personality had become the greatest kabuki actor both in name and reality because of his improvement of the level of performance.
Japanese: 寿三郎とならぶ寿海は関西歌舞伎俳優協会会長の要職にあり、人格もよく芸格も向上して名実とも当代一流の歌舞伎役者となっていた。
English: Because he had been born in Tokyo, however, and partly because of the negative impact of Shochiku's above-mentioned policy of overemphasizing Jukai, no one supported him.
Japanese: しかし、彼は東京生まれであり、先述した松竹の寿海偏重方針も災いして誰にも支持されていなかった。
English: As top stars were lost and the number of performances dwindled, actors worried about their future and lost their motivation.
Japanese: トップを失い興行も減少、役者たちは将来に不安を募らせ、やる気を失っていった。
English: Some left Kansai Kabuki and others grew discouraged, and many left even though they continued to be actors as shown below.
Japanese: 関西歌舞伎に対してある者は見切りをつけ、またある者は失望し、役者稼業を続けるにせよ、以下の様な形で離れてゆく者が続出する。
English: With each actor working for his own gain, Kansai Kabuki had virtually disintegrated.
Japanese: こうして各自が勝手な方向に向かい、関西歌舞伎は事実上の空中分解状態になった。
English: Afterwards Senjaku did not return to the world of kabuki for eight years, and Ganjiro for ten years.
Japanese: その後、扇雀は8年、鴈治郎は10年の長きに渡り歌舞伎の世界へ戻る事はなかった。
English: Tsurunosuke and Minosuke, who sought their ways in Tokyo, never moved their base of operations back to Kansai.
Japanese: 東京に活路を求めた鶴之助や蓑助もその後関西に本拠を戻す事はなかった。
English: Many Kabuki actors also worked as movie actors, as seen in the case of Tomoemon OTANI VII (present Jakuemon NAKAMURA (yondaime)).
Japanese: また、七代目大谷友右衛門（現中村雀右衛門(4代目)）など、映画俳優などとの兼業を行った者も多い。
English: Repetition of easy performances, and lack of efforts by people in the business to foster capable successors, were the large bill that came due.
Japanese: 安易な興行を繰り返し、関係者が後継者育成の努力を怠ったことが、大きなツケとなってここに跳ね返ってきたのである。
English: With respect to Raizo ICHIKAWA VIII in particular, considering his later achievements in the movie industry, the fact that the kabuki world would not develop his talent and let him move to the film industry because of his weak blood relationship with the kabuki world and the fact his initial foster father was a supporting player resulted in major damage to Kansai Kabuki, in the sense of kabuki's performance as a business, because kabuki at that time was competing with films.
Japanese: また、特に八代目市川雷蔵については、その後の映画界での大活躍を鑑みた場合、歌舞伎界との血縁の薄さ、当初の養父が脇役役者という境遇ゆえに、歌舞伎界がその才能を伸ばす事ができず映画界へと流出させてしまった事が、興行という意味において当時の歌舞伎と映画は競合する関係にあった以上、関西歌舞伎にとっては後年さらに大きな痛手となってゆく。
English: After World War II, like Osaka, the kabuki world in Tokyo also began to decline because of the successive deaths of famous actors such as Koshiro MATSUMOTO VII, Kikugoro ONOE VI and Kichiemon NAKAMURA I.
Japanese: 戦後は、東京の歌舞伎界も七代目松本幸四郎、六代目尾上菊五郎、初代中村吉右衛門などの名優が相次いで没するなど、大阪と似たような衰退に向かい掛けた。
English: Thanks to efforts of leading actors such as Utaemon NAKAMURA VI, Shoroku ONOE II and Sadanji ICHIKAWA III, however, kabuki in Tokyo was able to hold its ground.
Japanese: 六代目中村歌右衛門、二代目尾上松緑、三代目市川左團次ら幹部俳優の活躍で踏みとどまった。
English: Connections with the political and business worlds since Danjuro ICHIKAWA IX also had an effect, and support from these connections helped significantly.
Japanese: 他方では九代目市川団十郎以来の政財界の繋がりが功を奏して、その方面からの援助が大きな支えとなっていた。
English: With performances in America by Utaemon and the performance announcing the succession of Danjuro ICHIKAWA XI serving as triggers, Tokyo recovered smartly.
Japanese: やがて歌右衛門のアメリカ興行、十一代目市川団十郎襲名披露興行などを起爆剤として見事に立ち直っていくのである。
English: Kansai Kabuki proved unlucky by comparison because of overlapping negative elements, including a lack of solidarity among actors and promoters and a drop in the number of sponsors because of the decline of Osaka's economy.
Japanese: その点、俳優興行共にまとまりを欠き、大阪の経済の地盤沈下による後援者の減少などマイナスの要件が重なった関西歌舞伎は不運であった。
English: In August 1958, Nizaemon KATAOKA XIII held a "Shichinin no Kai" in Osaka Mainichi Hall.
Japanese: 1958(昭和33)年8月大阪毎日ホールで、十三代目片岡仁左衛門が『七人の会』を開催する。
English: This was an independent performance with a lineup of the seven kabuki actors Nizaemon, Ganjiro, Gado KATAOKA (jusandaime)(posthumously, conferred Nizaemon KATAOKA XIV), Mataichiro, Enjaku, Senjaku and Fukusuke NAKAMURA (Takasagoya V) and produced by Koichi YAMAGUCHI.
Japanese: 顔ぶれは仁左衛門、鴈治郎、片岡我童(13代目)（十四代目片岡仁左衛門追贈）、又一郎、延若、扇雀、中村福助(高砂屋5代目)の七人の歌舞伎役者と、山口廣一のプロデュースによる自主公演であった。
English: It disappeared because of financial reasons, but the performances themselves were successful and served as a motive for rehabilitation of Kansai Kabuki.
Japanese: 採算面の問題で消滅したが公演自体は成功裏に終わり、関西歌舞伎の復興のきっかけとなった。
English: Despite every effort by people in the business, no kabuki performance was conducted in Osaka in the latter half of the 1950s.
Japanese: 関係者の努力にもかかわらず、1950年代後半、大阪では歌舞伎公演がまったく行われていなかった。
English: As kabuki continued its internal discord, audiences in Osaka looked the other way and flocked to cinema, shinkigeki (new comedy) and popular song shows.
Japanese: 大阪の観客も内紛つづきの歌舞伎にそっぽを向いてしまい、映画や新喜劇、歌謡ショーに足を運んでいた。
English: Although kabuki was performed at the Shin Kabuki-za Theater to celebrate its grand opening in 1958, the theater came to be used for performances by actresses and entertainers and kabuki was performed only once a year or not at all in certain years.
Japanese: 1958（昭和33）年開業の新歌舞伎座は、こけら落としこそ歌舞伎が行われたものの女優やタレント興行中心に行われるようになり、年に一回あるかないかの状態となった。
English: Furthermore, in the latter half of the 1960s the theater was used for kabuki only for performances given in commemoration of actor's succession and memorial performances.
Japanese: さらに1960年代後半期には襲名興行や追善興行のみになってしまった。
English: On the other hand, kaomisekogyo held in Kyoto at year-end was well rooted among local citizens as a seasonal event and attendance never fell.
Japanese: 一方、京都で歳末に行われる顔見世興行は、市民に季節の風物として根付いており客足が途絶える事はなかった。
English: At one point, however, Osaka's theater was renamed Tozaigodo (literally, east and west jointly) and the number of performances of Tokyo-style kabuki increased.
Japanese: しかし、いつしか東西合同と銘打たれるようになり、東京風歌舞伎の上演頻度が高まっていった。
English: "Nizaemon Kabuki," which was an independent performance by Nizaemon KATAOKA, XIII, commenced on August 19, 1962.
Japanese: 1962（昭和37）年8月19日、十三代目片岡仁左衛門によって自主公演「仁左衛門歌舞伎」が始まった。
English: Nizaemon, who had taken part in a spectacular show announcing the succession to Danjuro ICHIKAWA XI in Tokyo Kabuki-za in January 1962, also experienced the small audience for the performance at Minami-za in April and was shocked at the depressing conditions of Kansai Kabuki.
Japanese: この年1月東京歌舞伎座での華やかな十一代目市川團十郎襲名披露に出演し、つづく4月の南座公演で逆に不入りを経験した仁左衛門は、関西歌舞伎の暗澹たる現状に衝撃を受けていた。
English: As he described in his autobiography, he was recommended to move to Tokyo and he considered leaving Kansai and moving to Tokyo
Japanese: 自伝にあるように、彼自身東京移住を勧められ、関西に見切りをつけて東京に移籍することも考えていた。
English: He also wrote, however, that "If I gave up Kamigata in its present state, I would not have any excuse not only to the ancestors of the Kataoka family but also to my predecessors who had built up shibai (drama) in Kamigata up until now. By all means, I had to protect Kamigata Kabuki shibai." ("Yakusha nanajunen (literally, seventy years as an actor)" by Nizaemon KATAOKA; published by The Asahi Shimbun Company), and his heart-felt sorrow for kabuki and his thoughts for his ancestors instilled in him the tragic but brave thought that "If failed, I will die with kabuki."(ibid.).
Japanese: だが「現在この有様上方を捨てては、片岡家の先祖は言うに及ばず、何代かかって上方の芝居をここまで築き上げてきた先輩たちにこれほど申し訳ないことはないではないか。何としても上方の灯は守らなければ。」（片岡仁左衛門著「役者七十年」1976年朝日新聞社）とあるように、切実な関西歌舞伎の愛惜と先祖への思いとが「それでも駄目なら歌舞伎と心中しよう。」（同上）という悲壮な決心に向かったのである。
English: Thanks to the cooperation and understanding of his family, Nizaemon started his activity toward independent performances.
Japanese: 幸い家族の協力と理解とを得て、仁左衛門は自主公演にむけての動きを始めた。
English: As a result of his efforts to hold his own press interview to explain his wish and energetically meet with various persons asking for support, the performance held in Bunraku-za Theater was a great success.
Japanese: 彼自身が記者会見をして思いを訴え、精力的に後援を依頼して回った結果、文楽座で行われた公演は大盛況であった。
English: With the basic policy of an inexpensive admission charge and toshi of Kamigata kyogen, performances were given five times until 1967.
Japanese: 安価な料金、上方狂言と通しの基本方針で、1967（昭和42)年まで計5回。
English: It had proven that kabuki can also be performed in Osaka, and the last flame of Kansai Kabuki was maintained.
Japanese: 大阪でも歌舞伎はできるということが立証され、関西歌舞伎の最後の灯が守られた。
English: Afterwards, together with his son Nizaemon held kabuki kyoshitsu (kabuki classroom) for high school students and continued his effort to foster fans for kabuki.
Japanese: その後仁左衛門は子息とともに高校生対象の歌舞伎教室を開催し、終生に渡ってファンの開拓に努め続けた。
English: Many kabuki actors actively engaged in kabuki today entered the kabuki world after becoming interested in kabuki through Nizaemon's kabuki kyoshitu.
Japanese: 今日の歌舞伎界で活躍している役者の中にも、仁左衛門の歌舞伎教室をきっかけに歌舞伎に興味を持ち、歌舞伎の門を叩いた者が少なくない。
English: Even in the long history of Kansai Kabuki, the role played by Nizaemon KATAOKA XIII is extremely large.
Japanese: 関西歌舞伎の長い歴史のなかでも、十三代目片岡仁左衛門の果たした役割はあまりにも大きい。
English: Although Kansai Kabuki emerged from the crisis of its collapse thanks to Nizaemon Kabuki, the end of the slump in Kansai Kabuki was not seen in the 1960s and 1970s and conditions of great distress continued.
Japanese: 仁左衛門歌舞伎によって、とりあえず滅亡の危機は脱したものの、昭和40年代から50年代にかけて、関西歌舞伎の不振は終焉が見えず、青息吐息の状態が続いていた。
English: Kabuki was performed sporadically in Dotonbori or Shinkabuki-za but did not last.
Japanese: 道頓堀や新歌舞伎座で散発的に歌舞伎の興行が行われるのだが、継続しないのである。
English: Kamigata Rakugo (traditional Japanese comic storytelling performed in the Kyoto-Osaka region), which like kabuki had been in slump after World War II, was restored around 1970 and an unprecedented boom in manzai (standup comics) occurred around 1980.
Japanese: また、同じように戦後不振であった上方落語が1970年頃に復興し、1980年頃からは漫才に史上空前の大ブームが始まった。
English: Kabuki, however, was still treated as behind the times in Kansai and the desired growth in new fans could not be realized.
Japanese: しかし、その陰で関西では歌舞伎は相変わらず時代後れのものとされて、新たなファン層の拡大さえもままならない状態が続いていた。
English: Under these circumstances, Tojuro SAWAMURA II in Tokyo established the "Kansai de kabuki wo sodateru kai" (Association to Foster Kabuki in the Kansai Region) as an independent performance.
Japanese: そんな中で、東京の二代目澤村藤十郎が自主公演『関西で歌舞伎を育てる会』を立ち上げる。
English: It was said his sense of responsibility was roused by the fact that because of the slump in kabuki performance, the Shinkabuki-za in Osaka decided to withdraw from kabuki performances following the final show to announce the succession to stage name for him and his elder brother Sojuro IX.
Japanese: 歌舞伎興行の低迷ゆえに大阪の新歌舞伎座が、藤十郎と兄九代目宗十郎の襲名披露を最後として、ついに歌舞伎公演から手を引くことになり、これに責任を感じての奮起であったと言う。
English: Persons involved in kabuki in Tokyo also harbored a considerable sense of crisis that the decline of Kansai Kabuki might result in the decline of the entire kabuki world.
Japanese: 東京の歌舞伎関係者も、関西歌舞伎の凋落は歌舞伎界全体の衰退に繋がりかねないと、相当の危機感を抱いていたのである。
English: Because of the enthusiasm of people who sought to restore Kansai Kabuki, a subsidy from Osaka City and cooperation from Minrokyo (liaison conference of private sector labor union), the promoter also got moving.
Japanese: そんな関西歌舞伎の復興を目指す人々の熱意と大阪市の助成金やの協力もあり、興行側も重い腰を上げた。
English: In May 1979, the first performance was given in Asahi-za and Funa Norikomi (Kabuki actor on board greets fans on the bank of the river) was conducted for the first time in fifty-two years.
Japanese: 1979(昭和54)年5月に朝日座で第1回公演が行われ、実に52年ぶりとなる船乗り込みも行われた。
English: In addition to Sojuro and Tojuro brothers, the father and son actors Kanzaburo NAKAMURA XVII (junanadaime) and Kankuro NAKAMURA (present Kanzaburo NAKAMURA (juhachidaime), Baiko ONOE VII (nanadaime), Danjuro, Kikugoro, Kichiemon, Koshiro and Tomijuro took part from Tokyo.
Japanese: 東京からは宗十郎、藤十郎兄弟のほか、十七代目中村勘三郎(17代目)、中村勘九郎（現中村勘三郎(18代目)）親子、七代目尾上梅幸(7代目)、団十郎、菊五郎、吉右衛門、幸四郎、富十郎。
English: From the local area, Nizaemon KATAOKA XIII, Gado KATAOKA XIII, Ganjiro NAKAMURA II, Takao KATAOKA (present Nizaemon KATAOKA (jugodaime)), Gato KATAOKA, Hidetaro KATAOKA, Enjaku JITSUKAWA III (sandaime), Tokusaburo ARASHI VII, Senjaku NAKAMURA (present Tojuro SAKATA) and others participated.
Japanese: 地元は十三代目片岡仁左衛門、十三代目片岡我童、二代目中村鴈治郎、片岡孝夫（現片岡仁左衛門(15代目)）、片岡我當、片岡秀太郎、三代目實川延若(3代目)、七代目嵐徳三郎、中村扇雀(現坂田藤十郎）などが参加。
English: In Dotonbori, a sacred place for Kansai Kabuki, banners of kabuki actors lined the street and the performance became a regular annual event for the summer in Osaka.
Japanese: 関西歌舞伎の聖地である道頓堀に歌舞伎役者の幟が立ちならび、大阪の夏の年中行事となった。
English: "Kansai de kabuki wo sodateru kai" still exists today as the "Kansai kabuki wo aisuru kai" (Association for Loving Kansai Kabuki).
Japanese: 『関西歌舞伎を育てる会』は『関西歌舞伎を愛する会』として現在に至っている。
English: Ennosuke ICHIKAWA III learned from Enjaku JITSUKAWA III and introduced keren staging into his super kabuki.
Japanese: また三代目市川猿之助は三代目実川延若の師事を受けケレン芝居の演出を自身のスーパー歌舞伎に取り入れた。
English: Keren, which had been disdained as a cheap gimmick, found a new lease of life and provided a tailwind for the rehabilitation of Kansai Kabuki.
Japanese: それまで邪道として蔑視されていたケレン芝居が見直されたがそれは関西歌舞伎復興の追い風となった。
English: Thanks to efforts of many individuals, kabuki enjoyed a boom with the change from the Showa to Heisei period in 1989.
Japanese: 多くの人々の努力により、昭和から平成に変わる頃には歌舞伎がブームとなる。
English: In Osaka the number of young fans of Kabuki also increased when Senjaku NAKAMURA succeeded Ganjiro NAKAMURA as sandaime (III) in 1991.
Japanese: 1991（平成3）年中村扇雀が三代目中村鴈治郎を襲名するころになると大阪でも若い歌舞伎ファンが増えた。
English: Sadly, however, Enjaku died in the same year, just before the rehabilitation of Kansai Kabuki.
Japanese: ただ同年に延若が関西歌舞伎の再建を目前に没したのは一大痛恨事であった。
English: In addition, Ganjiro NAKAMURA II died in 1982 and Gado KATAOKA XIII died in 1992, and Nizaemon KATAOKA XIII, who made a major contribution to the rehabilitation of Kansai Kabuki, died in 1993.
Japanese: ほか1982（昭和57）年に二代目中村鴈治郎が、1992（平成4）年には十三代目片岡我童、1993（平成5）年には関西歌舞伎復興に多大の貢献をした十三代目片岡仁左衛門がそれぞれ没した。
English: Today performances of kabuki well-rooted in Osaka and Kyoto are carried out as seen in the "Kamigata Kabuki Juku (literally, cram school for Kamigata Kabuki)" operated by Shochiku and in "Wakaayu no kai (literally, party of young sweet fish)," which is an independent performance by young actors.
Japanese: 現在は、松竹による『上方歌舞伎塾』の開催、若手俳優の自主公演『若鮎の会』など大阪京都に根付いた歌舞伎復興が行われている。
English: Well known names in Kansai Kabuki, such as Kanjaku NAKAMURA V (godaime), Senjaku NAKAMURA III (sandaime), Ainosuke KATAOKA VI (rokudaime) and Kichiya UEMURA VI (rokudaime), have been succeeded by young actors.
Japanese: 五代目中村翫雀(5代目)、三代目中村扇雀(3代目)、六代目片岡愛之助(6代目)、六代目上村吉弥(6代目)などの関西歌舞伎ゆかりの名跡が若手により継がれている。
English: Plays such as "Kagamiyama" and "Kanadehon Chushingura" are performed after Kamigata-style staging, and in 1998 the Landmark near Ebisubashi was completed as a theater dedicated to theatrical arts.
Japanese: 上方演出による『鏡山』・『仮名手本忠臣蔵』などの上演も行われ、1998(平成9)年には戎橋戎橋付近のランドマークが演劇専門の劇場として落成した。
English: In 2006 Ganjiro NAKAMURA IV succeeded Tojuro SAKATA, which is a legendary name in Kamigata, as yondaime (IV), and talk including revival performances of old program increased.
Japanese: 2006（平成18）年には三代目中村鴈治郎が上方における伝説的名跡の坂田藤十郎を四代目として襲名、埋もれた狂言の復活上演など話題を呼ぶことも多くなった。
English: "Although I said many things, it is of utmost importance to Kamigata Kabuki to be performed and watched by many persons."
Japanese: 「やはり上方歌舞伎というのは、さきほどからいろいろ申し上げましたが、多くの方に演じていただく、見ていただくことがまず第一だと思います。
English: Therefore we have to exert various efforts to realize it.
Japanese: ですからそういうことになるようにいろいろな意味で頑張らないといけませんね。
English: I believe we must train kabuki actors who can do it.
Japanese: ・・・・今度はそれをやるようになるだけの歌舞伎役者をつくっていかなければいけないと思います。
English: In order to create such actors, the number of persons who like Kamigata Kabuki and want to do it must increase.
Japanese: じゃ、どうやってつくっていくかと言ったら、まず上方歌舞伎を好きだ、やろうという人間が多くならないといけません。
English: We must help such individuals understand what Kamigata Kabuki is about, to help its popularity spread.
Japanese: そういう人たちにはいわゆる上方歌舞伎はこういうものであることを理解してもらう、浸透させていくということですね。
English: Compared to earlier periods, Kansai Kabuki has revived to certain extent as seen in the increase in the number of performances, fostering of human resources and improvement of staging equipment.
Japanese: 一時期と比べると、関西歌舞伎も公演が増えたり人材育成やハード面の充実などかなり復活している。
English: Today kabuki performances are held at Osaka Shochiku-za and Kyoto Minami-za several times each year at intervals of a few months.
Japanese: 歌舞伎全体の上演も現在では大阪松竹座・京都南座などで一年のうち数カ月おきに歌舞伎公演が観られるようになっている。
English: Abdication of the throne implies resignation by a monarch such as an emperor or a king from his or her position.
Japanese: 退位（たいい）とは、天皇や国王といった世襲の君主がその地位を退く事。
English: Also, unless the monarchy is abolished, for example by a revolution, the position is automatically passed on to the successor.
Japanese: また、革命などによって君主制が廃止されない限りは、自動的に継承者に譲り渡す事になる。
English: Transferring of a monarch's position that accompanies abdication of the throne is called 'abdication.'
Japanese: 退位に伴う君主の地位の変動を「譲位（じょうい）」・「遜位（そんい）」という。
English: In Japan, the oldest example is that of the Emperor Kogyoku handing down the Imperial Throne to his younger brother, the Emperor Kotoku, and there exist 89 examples (*) of abdication (because of the unification of the Southern and Northern Courts the throne was passed down to the Emperor Gokomatsu twice).
Japanese: 日本では皇極天皇が弟の孝徳天皇に皇位を譲った例を最古とし、89例（※）の退位が存在する（なお、後小松天皇は南北朝合一によって2度譲位を受けている）。
English: * While 3 examples from the Northern Court (Japan) are included, the 4 examples of the Emperor Junnin, the Emperor Chukyo, and the Emperor Kogon and the Emperor Suko of the Northern Court, which effectively were dethronement, are excluded.
Japanese: ※…北朝_(日本)3例を含む一方で事実上の廃位である淳仁天皇・仲恭天皇、北朝の光厳天皇・崇光天皇の4例は省く。
English: Following the Heian Period, a system of ceremonies centered on two rituals, one in which the abdicating emperor issued an edict proclaming his abdication, and the other in which the Kenji (the Sacred Sword and the Sacred Jewel) were passed down to the successor (the new emperor) became customary.
Japanese: 平安時代以後の慣例として、退位する天皇が譲位の宣命を宣布する儀式とその後に行われる継承者（新帝）への剣璽を引き渡す儀式（剣璽渡御の儀）の2つを中心として儀式体系が組まれてきた。
English: According to the Imperial House Act established during the Meiji Period, succession to the Imperial Throne presumes the death of the Emperor, and therefore, it is interpreted that, under the existing law, abdication is not possible while an emperor is still alive (it is said that, when the Imperial House Act was established, the reason for this limit was to prevent the Emperor from abdicating and thereby pressuring the government if there was a confrontation between the Emperor and the government. Also, it is said that Emperor Showa considered abdicating after World War II, but because of opposition from all sides this issue faded away).
Japanese: 明治時代に制定された皇室典範において皇位継承は天皇の崩御（死亡）を前提としているため、現行法では生前退位は出来ないと解釈されている（明治の皇室典範制定時に皇位継承を崩御時に限定したのは、天皇と政府が対立した時に天皇が退位をもって政府を圧迫するのを防ぐ意図もあったとされている。また、第二次世界大戦後に昭和天皇が退位を検討したとも言われているが、内外の反対で立ち消えとなった）。
English: There are views that say abdication before death should be allowed, based on respect for the Emperor's free will and the existence of former examples, but there are strong opposing views because of the issues of how the Emperor should be treated after his abdication (financial matters and issues on his position in the political administration. The latter, in particular, is a problem of political administration by the retired emperor), complications in the succession to the Imperial Throne, and the possibility of the extinction of the Imperial Line due to the lack of a successor.
Japanese: これについて、先例の存在や天皇の自由意思を尊重するべきであることを理由として生前の退位を容認すべきとの意見もあるが、退位後の天皇の処遇（財政的、政治的位置付けの問題。特に後者は院政の問題）や皇位継承の複雑化及び後継者の不足による皇統断絶の可能性などの点から反対の意見が強い。
English: King Edward VIII is the only king from the House of Windsor to have abdicated.
Japanese: ウィンザー朝の国王で退位したのはエドワード8世(イギリス王)のみである。
English: In order to marry a divorcee, he abdicated in 1936, less than a year after he ascended the throne.
Japanese: 1936年、離婚経験がある女性と結婚するために即位後1年を待たず退位した。
English: In cases where abdication is accomplished relatively peacefully, the former monarch and his family members are often guaranteed treatment with the same degree of honor as before.
Japanese: 退位が比較的平穏裡に行われた場合、退位した元君主やその親族は、旧来と同等の礼遇を以て接することが約されることが多い。
English: The Japan-Korea Annexation Treaty (1910): The Emperor of Korea and the imperial family were entitled to suitable honorific titles, authority and honor, and in accordance with the Act, which acknowledges the former Emperor of Korea as King, establishes titles for each prince, future successor, and the empress, and treats them with courteous reception, the status of 'king' was granted to the former emperor of Korea, a system known in Japanese as Okozoku.
Japanese: 韓国併合ニ関スル条約（1910年）韓国皇帝及び韓国皇族に相当な尊称、威厳及び名誉を享有させること等が約され、s前韓國皇帝ヲ册シテ王ト爲シ皇太子及將來ノ世嗣、太皇帝及各其儷匹ノ稱呼ヲ定メ竝ニ禮遇ノ件により、前韓国皇帝に対して「王」の身分が与えられる等した（王公族制度）。
English: This status was lost in 1947 when the Constitution of Japan, which abolished the aristocracy except for the Imperial Family, came into effect.
Japanese: 皇族を除く貴族制度を否定した日本国憲法施行により1947年に身位喪失。
English: Conditions for the favorable treatment of the Emperor of the Qing (Shinshitsu yutai joken) (1912): After his abdication, the last emperor of China was given the honorific title 'Emperor Daishin' and received the same treatment as monarchs of foreign countries.
Japanese: 清室優待条件（1912年）「大清皇帝」の尊号を受け、外国君主と同等の待遇を受けることとなった。
English: Abdication of the throne by Edward VIII (King of England) (1936): He voluntarily abdicated as 'King of Great Britain, Northern Ireland and the British Dominions beyond the Seas, Emperor of India.'
Japanese: エドワード8世(イギリス王)の退位（1936年）「グレートブリテンおよび北アイルランド連合王国ならびに海外自治領の国王、インド皇帝」を自発的に退位した。