nntsuzu/KFTT huggingface dataset:
English: Even during the war, as an exception, Kitcho was able to continue its operation through the offices of governor of Osaka Prefecture Kakichi KAWARADA.
Japanese: 戦時中も吉兆は大阪府知事河原田稼吉の計らいで特別に営業を続けられた。
English: In April of the following year, 1949, he bought a shop that was concurrently being used as a main residence from Kasuke KOJIMA and opened the present-day Koraibashi shop (Osaka City).
Japanese: 翌1949年4月に児島嘉助の店舗兼本邸を購入して現在の高麗橋店（大阪市）を開く。
English: The restaurant's fame rose, as chajin (master of tea ceremony) and businessmen in Kansai patronized the restaurant, it established itself as a high-class Japanese style restaurant essential to entertaining very important persons in and outside of Japan who visited Osaka.
Japanese: 関西の茶人・財界人の引き立てを受けて名声を高め、来阪する内外の要人をもてなすのに欠かせない高級料亭となる。
English: Teiichi wrote many books about Chakaiseki (dishes served before the tea ceremony), and began a serialization concerning the 'Kitcho Tsurezurebanashi' in a magazine "Kurashi no Techo" (Notes on Daily Life) in the form of interviews with Yasuji HANAMORI in 1969.
Japanese: 貞一には茶懐石に関する著述が多いが、1969年には『暮しの手帖』に花森安治のインタビューによる「吉兆つれづればなし」の連載が始まった。
English: In the 5th summit in 1979, and other summit conferences held in Japan in 1986 and 1993, Kitcho was assigned to preside over other Japanese cuisine fixed at famous Japanese-style restaurants, and came to be known internationally.
Japanese: 1979年・1986年・1993年の第5回先進国首脳会議で他の有名料亭をさしおいて日本料理担当に選ばれたことで、世界的に知られる存在となった。
English: In 1988, the 'Yuki Museum of Art' was established for storing the founder's collection of tea utensils.
Japanese: 1988年には創業者の茶道具コレクションをおさめた「湯木美術館」を設立。
English: In 1991, the founder Teiichi gave his son and his daughters' husbands, who were cooks of Kitcho, the shops respectively, allowing them to form independent shops under the Kitcho name, and established the group businesses as Kitcho Group.
Japanese: 1991年、創業者の貞一の息子や料理人である娘婿たちを暖簾分けの形で独立させて、吉兆グループとしてグループ会社制に移行。
English: His eldest son Toshio YUKI succeeded Honkitcho, his eldest daughter's husband Shojiro YUKI succeeded Tokyo Kitcho, his second daughter's husband Koji TOKUOKA succeeded Kyoto Kitcho, his third daughter's husband Masanori YUKI succeeded Senba Kitcho, and his fourth daughter's husband Yoshikazu YUKI succeeded Kobe Kitcho.
Japanese: 長男湯木敏夫が本吉兆、長女の婿湯木昭二朗が東京吉兆、次女の婿徳岡孝二が京都吉兆、三女の婿湯木正徳が船場吉兆、四女の婿湯木喜和が神戸吉兆を継承した。
English: Japanese cuisine is categorized into Yusoku ryori (dishes prepared for the royal court) derived from court dishes, honzen ryori (full-course haute cuisine) which are party dishes for feudal lords, Kaiseki ryori (formally arranged dinner to enjoy sake) established as party dishes for townspeople in the Edo period, and so on.
Japanese: 日本料理には宮廷料理の系統である有職料理、大名の宴会料理である本膳料理、江戸時代に町人の宴会料理として確立した会席料理などがある。
English: The services of Kitcho including the menus and the 'shitsurai', by which fittings and furnishing goods are changed in accordance with the atmosphere and seasons under the concept of Ichigo Ichie (Treasure every encounter), are strongly affected by Kaiseki ryori (a simplified version of honzen ryori; dishes different from the Kaiseki ryori mentioned above, although the pronunciation is the same).
Japanese: 吉兆の料理は、献立や、建具や調度品などを一期一会その場の雰囲気や季節に応じて変える「室礼（しつらい）」に至るまで、懐石料理の影響を強く受けている。
English: This was because the founder Teiichi YUKI had a profound knowledge of tea ceremony, and Teiichi established the Yuki Museum of Art later based on his collection of tea utensils.
Japanese: これは創始者の湯木貞一が茶道に造詣が深かったことに理由があり、貞一は後に自らの茶道具コレクションを基に湯木美術館を設立した。
English: In particular, the 'Ginza shop' and 'Hotel Seiyo Ginza shop' operated by Tokyo Kitcho, Koraibashi shop operated by Honkitcho in Osaka, and Arashiyama shop operated by Kyoto Kitcho are often used to entertain influential people in politics and business, as well as foreign VIPs.
Japanese: 特に東京吉兆の「銀座店」や「ホテル西洋銀座店」、大阪の本吉兆高麗橋店、京都吉兆嵐山店などは、政財界有力者や外国要人の接待で利用されることが多い。
English: It is well known that Junichiro KOIZUMI often visited 'Hotel Seiyo Ginza shop' while he was the prime minister.
Japanese: 東京吉兆「ホテル西洋銀座店」は小泉純一郎が首相在任中に度々利用したことでも知られている。
English: In Senba Kitcho, part of the 'Kitcho' group, a series of scandals caused by mislabeled expiration dates and best before dates occurred in 2007.
Japanese: 「吉兆」グループの一角であった船場吉兆では2007年、消費期限・賞味期限偽装に端を発する一連の不祥事が発覚した。
English: In May of the following year, 2008, the fact that Senba Kitcho served the leftover food from previous guests to other guests was revealed and reported to the general public.
Japanese: 翌2008年5月には、客が食べ残した料理を別の客に使い回していたことが判明、報道により知れ渡った。
English: The incident as a whole damaged the image of 'Kitcho,' and had such a serious impact on the other companies in the group that the number of guests visiting Honkitcho dropped by half compared to the previous year.
Japanese: この事件は、「吉兆」全体のブランドイメージを損ね、本吉兆では前年度に比べ客が半減するなど、グループ他社にも深刻な影響を与えた。
English: As a result of this, his eldest son succeeded Honkitcho, eldest daughter's husband succeeded Tokyo Kitcho, second daughter's husband succeeded Kyoto Kitcho, third daughter's husband succeeded Senba Kitcho, and fourth daughter's husband succeeded Kobe Kitcho.
Japanese: これにより、長男が本吉兆、長女の婿が東京吉兆、次女の婿が京都吉兆、三女の婿が船場吉兆、四女の婿が神戸吉兆を継承。
English: Kitcho Group consisted of eleven companies including one holding company, five companies operating Japanese-style restaurants, five property management companies, and one incorporated foundation, the Yuki Museum of Art.
Japanese: 持ち株会社1社、料亭会社5社、不動産管理会社5社の計11社と1つの財団法人湯木美術館で吉兆グループを構成した。
English: Among the five companies operating Japanese-style restaurants, Senba Kitcho discontinued its business in May 2008 due to the successive scandals, and was unable to receive support from other companies in the group.
Japanese: 料亭5社のうち、船場吉兆は不祥事が立て続けに発覚しグループ他社から支援を得られず、2008年5月に廃業。
English: Kitcho Co., Ltd. used to be a company operating Japanese-style restaurants, but is now a wholly owned holding company which holds all shares in five subsidiaries managing the Kitcho brand and properties such as the main shop, and so on, of each restaurant.
Japanese: 株式会社吉兆は、かつては料亭の営業を行っていた会社だが、現在は吉兆ブランドの管理と各料亭の本店等の不動産を管理する子会社5社に全額出資する持株会社となっている。
English: At present, there are four companies operating Japanese-style restaurants such as Honkitcho Co., Ltd., Kobe Kitcho Co., Ltd. (the main office is based in Osaka City), Kyoto Kitcho Co., Ltd. and Tokyo Kitcho Co., Ltd., and they operate Japanese-style restaurants by leasing the Kitcho brand from Kitcho Co., Ltd., and leasing shops from five property management companies.
Japanese: 料亭営業会社は、現在株式会社本吉兆、株式会社神戸吉兆（本社の所在は大阪市）、株式会社京都吉兆、株式会社東京吉兆の4社からなり、各会社が株式会社吉兆から吉兆ブランドを、不動産管理会社5社から店舗を借り受けて料亭の営業を行っている。
English: Each company in Kitcho Group has a regular meeting, but announced that each operating company was managing independently.
Japanese: また、吉兆グループ各社で定期的な会合を持っているが、営業会社はそれぞれ独自に経営を行っていると発表している。
English: However, in response to a series of scandals by Senba Kitcho Co., Ltd. which was one of the companies operating Japanese-style restaurants, each Kitcho Group company decided to establish a compliance committee auditing whether foodstuffs and products are being treated properly.
Japanese: しかし、料亭営業会社の一つであった株式会社船場吉兆による一連の不祥事を受けて、吉兆グループ各社は食材や製品の取り扱いが適正に行われているかを監査するコンプライアンス委員会を新設することを決めた。
English: 1930: Teiichi YUKI started 'Ontai Chadokoro Kitcho' in Shinmachi, Nishi-ku Ward, Osaka City.
Japanese: 1930年湯木貞一が大阪市西区(大阪市)新町にて「御鯛茶處吉兆」を創業。
English: Hari-ogi, also called Hari-sen, refers to a special fan that is made for the purpose of making noise by slapping something during Nohgaku theatre, kodan storytelling and rakugo (traditional comic storytelling) (Kamigata rakugo (traditional Japanese comic storytelling as performed in the Kyoto-Osaka region)).
Japanese: 張扇（はり-おうぎ、はり-せん）は能楽や講談、落語（上方落語）においてものをたたいて音を立てるためにつくられた専用の扇子のことをいう。
English: The Shaku byoshi was used to keep the beat using Shaku (a plate shaped like a scepter) in ancient gagaku (ancient Japanese court dance and music), and as evidenced by the fact that old Joruri (dramatic narrative chanted in accompaniment to a samisen) also had the same kind of Ogi byoshi (fan rhythm), slapping the palm with a handheld instrument was the most widely and easily used way to use an instrument to keep rhythm before early-modern times in Japan.
Japanese: 古く雅楽において笏によって拍子をとる笏拍子なる役掌が見られ、古浄瑠璃にも同様の扇拍子と呼ばれるものがあったことを見てもわかるように、拍子楽器として近世以前の日本でもっとも広くかつ簡便に用いられたのは、手に持つ道具によって手のひらを打つことであった。
English: After early modern times, due to the drastic development and popularization of percussion instruments centered on Tsuzumi (hand drum), Ogi byoshi gradually lost its popularity.
Japanese: 近世以降、鼓を中心とする打楽器の飛躍的な発達と流布によって扇拍子は徐々に下火になっていった。
English: However, Ogi byoshi maintained through the use of the dedicated Hari-ogi still remains in many cases because it was easy-to-use.
Japanese: しかしながら、その簡便さから専用の張扇によって扇拍子の残った例も少なくない。
English: In Nohgaku, Ogi byoshi is sometimes used as a substitute for Kotsuzumi (shoulder drum), Otsuzumi (hip drum) and Taiko (stick drum) for practice or moshiawase (run-through rehearsal), which is called Ashirai.
Japanese: 能楽では、アシライと称して、稽古や申合せの際に、小鼓・大鼓・太鼓を扇拍子で間に合わせることがある。
English: Although this is just a simplified performance, it is used as an alternative method for playing instruments especially such as the Otsuzumi for which the preparation requires time.
Japanese: これはあくまで略式の演奏であるとされるが、特に大鼓のように道具の準備に時間のかかる楽器においてはすぐれた代替法として用いられている。
English: This is the best way to play instruments for Nohgaku which value pauses more than tones.
Japanese: 音色よりも間を尊重する能楽の楽器にあっては当を得た奏法であるといえる。
English: Each specialist performs, while a master sometimes conducts Ashirai in practicing Utai (the chanting of a Noh text).
Japanese: それぞれ専門の職掌の者が行うほかに、謡の稽古の際に師匠がアシライをすることもある。
English: Although Hari-ogi is not used, conducting Ashirai with Ogi byoshi is the usual alternative to Tsuzumi when Tsuzumi is broken on stage, and until the Edo period, jigashira (the leader of group reciters) controlled ji (reciters) by conducting Ogi byoshi in the performance of Su-utai (Noh lyrics without music).
Japanese: なお、張扇を用いることはないが、舞台上で鼓が破れた場合には扇拍子でアシライを打つのが正規の代替法であり、江戸期までは素謡の席で地頭が扇拍子をとって地を統率することもあった。
English: In kodan storytelling, Hari-sen is used to signal a change in the scene or to augment a highlight by slapping a shakudai pedestal.
Japanese: 講談では釈台を張扇で叩いて、場面転換の合図にしたり、山場で調子を出したりするときに用いる。
English: Because of this, the saying that an improbable story which ignores historical facts 'was knocked out by the sound of a Hari-sen,' or 'sounded Hari-sen,' etc. came about.
Japanese: 史実を無視した荒唐無稽な作り話を「張扇の音と一緒に叩き出した」「張扇の音がする」などというのは、このため。
English: Hari-ogi is made through the processes of dividing a normal fan into two parts, wrapping the whole fan in paper, then sticking leather or paper on the wrapped fan, and finally attaching a handle to somewhere on the kaname (pivot).
Japanese: 通常の扇子を二つに割り、全体に紙を巻き、さらに上から皮もしくは紙で化粧貼りをした上で、要のあたりに持手をつける。
English: Hari-sen is made through almost the same processes as Hariogi in Nohgaku, but, a comparatively large fan is made only for Hari-sen from the beginning.
Japanese: だいたいは能楽のそれと同様だが、最初から張扇専用に、かなり大き目のものをつくる。
English: In some cases, Hari-sen is only made in the shape of a fan, which is created from pasted paper or the like.
Japanese: 場合によっては、単に扇のかたちをしているだけで、紙貼などによって型で作ることもある。
English: Tsukeshugen (付祝言, also written as 附祝言) is one of the performance styles of noh (traditional masked dance-drama).
Japanese: 付祝言（つけしゅうげん、附祝言とも）は、能における演奏形態のひとつ。
English: Originally it meant performing further an additional celebratory number in order to finish dancing the en-noh of the day happily when the fifth noh was an uncelebratory number such as a play featuring kichiku (brute).
Japanese: 本来は、五番目の能が鬼畜物など祝言性を持たない曲目であった場合に、一日の演能をめでたく舞いおさめる意味で、さらに一番、祝言の曲を追加して上演したことを指す。
English: Generally it was performed in han-noh style which omitted maeba (the first half of the drama) because it was ritualistic en-noh.
Japanese: 儀式的な演能であるために、多くの場合、前場を省略した半能形式で上演された。
English: Having changed from it, there appeared a style that kiri (the concluding segment) of a celebratory number was chanted additionally, taking the place of the original tsukeshugen, even at a noh-performed concert which was not in the gobandate style.
Japanese: そこから転じて、五番立ではない演能会であっても、祝言曲のキリ終曲部分をつけくわえて謡い、本来の付祝言に代える形式が発生した。
English: The part was chanted by jiutai (noh chorus) that stayed on a stage on its own following the withdrawal of Shite (a main actor of a noh play) and hayashikata (people who play hayashi, or the musical accompaniment) after the last number.
Japanese: それは最後の曲の後でシテや囃子方が退出した後、地謡だけが舞台に居残って謡われた。
English: This style, which has become popular after the Meiji restoration, is exclusively called tsukeshugen at present.
Japanese: 明治維新の後に盛んになったこの形式を、現在ではもっぱら付祝言と称している。
English: Having changed further from it, there sprang up a custom to add the last part of a suitable number for mourning at a memorial concert and so on.
Japanese: また、ここからさらに転じて、追善会などの際に、追悼にふさわしい曲の終曲部分をつけくわえる慣習も生まれた。
English: Waki noh (a noh whose main character is god) in quick rhythm such as 'Takasago (noh)' and 'Naniwa' or gobanme shugen-mono (the-fifth-section celebratory piece of a noh play) such as 'Shojo' is considered suitable for the number to be chosen as tsukeshugen.
Japanese: 付祝言に選ばれる曲は、「高砂(能)」や「難波」のような調子の早い脇能か「猩猩」のような五番目祝言物がふさわしいとされる。
English: In days gone by, only the style in which one omitted haori (a Japanese half-coat) was particularly called kinagashi, and if only he had haori on, he could be considered to be in a formal costume even if he didn't have hakama on, but now kinagashi often indicate the style without hakama, whether he had haori on or not.
Japanese: 古くは羽織を略したもののみを特に着流しと称し、袴をつけなくとも羽織を着ていれば礼装にかなうとされていたが、現在では羽織の有無にかかわらず袴を着けない様を指すことが多い。
English: In the Edo period, while the samurai warriors always put on hakama, the commoners in towns didn't have that convention, and therefore, kinagashi was thought to be a custom peculiar to the townspeople.
Japanese: 江戸時代には、武家方では袴を着用することが常であったのに対し、町人にはその習慣がなかったため、町方特有の風俗であるとされた。
English: Generally speaking, kinagashi is considered to be an informal and casual style, and especially it is thought that the costume in which haori is omitted shows a unique aesthetic sense which is common to iki (粋, traditional aesthetic ideal in Japan like nattiness) and tsu (通, highly cultivated person in Japan like a connoisseur), and high spirits and vulgar impressions which illustrate characteristics of the lower classes.
Japanese: 一般に略式のくだけた格好であると考えられており、特に羽織を略した姿は粋や通にかよう独特の美意識と下層階級的な意気のよさ、卑俗な感じを持つものであるとされる。
English: However, there are also some cases where the commoners in towns as such have an original awareness of kinagashi, and they treat it as a formal dress: for example, in Sado (Japanese tea ceremony) of the Sen Family line, they think that kinagashi with jittoku (a kind of haori) on is the utmost formal dress; and in the case of nagauta (long epic song with shamisen accompaniment) or joruri (dramatic narrative chanted to shamisen accompaniment), when they wear kamishimo (samurai costume, old ceremonial costume) they don't put on hakama but maedare (an apron).
Japanese: ただし着流しに町方としての独自の意識を持ち、礼装として扱っている場合もあり、千家系統の茶道では十徳に着流しを最礼装とし、長唄や浄瑠璃では裃の際に袴ではなく前垂れを用いる。
English: Generally even in the Edo period, kinagashi with jittoku on is often considered to be a formal attire for doctors, sado (a person in charge of the tea ceremony), chabozu (tea-server), hired commoners in towns, and so on, which is thought to be based on the lifestyle of the commoners in towns in the Muromachi period.
Japanese: 一般に江戸期にあっても、医師、茶頭、茶坊主、お抱町人などにおいては十徳に着流しが正装であるとされることが多く、これは室町期の町人風俗に基づくものであろうと考えられる。
English: Mawarikata-doshin (patrolling police constables) of Edo Kitamatchi-bugyo (one of two town magistrates) are known to have worn kinagashi of "Onarisaki-gomen" which exempted them from putting on hakama at the place Shogun visited (this was the privilege granted only to them.)
Japanese: 江戸・北町奉行の回り方同心が、将軍の御成先でも袴を着用しなくてよい「御成先御免」の着流しを着ていた事で知られる（彼らにのみ許されていた特権である）。
English: In a broad sense, it indicates performances that include Shimai and Maibayashi (an abbreviated style of Noh); however, in contrast with Maibayashi, Shimai generally indicates a short dance without being accompanied by music, in which mai-goto (instrumental dances) and hataraki-goto (descriptive pieces) are abbreviated.
Japanese: 広義にはいわゆる仕舞と舞囃子を含めたものを指すが、一般的には舞囃子とは異り、囃子を伴わず、舞事・働事などの部分を略した短い素舞を指す。
English: In Maibayashi, most parts relating to dances by Noh shite (leading role) is performed in one play, while in Shimai, dances performed by the shite which is accompanied by Utai (the chanting of a Noh text) are extracted.
Japanese: 舞囃子が一曲のうち能シテの舞がかかわる部分の大半を上演するのに対して、仕舞においては謡のあるシテの舞を抜きだしたものである。
English: Therefore, several numbers of Shimai are excerpted from one piece in some cases.
Japanese: そのため、場合によっては一曲の能から数番の仕舞が掲出されていることもある。
English: In most cases, a style is based on kuse or Maiguse in Noh (a long segment, the aural highlight of a Noh play), segments subject to it, Kiri (the concluding segment of a Noh play which combines chant and dance) and danmono (the most important type of the koto solo instrumental music.)
Japanese: たいていはクセ（舞グセ）およびこれに準ずるもの、キリ、段物などで、型は能のそれを基本とする。
English: However, a form specific to Shimai is originally choreographed so that the beginning and ending parts are settled, and in other parts, forms are also choreographed toward raising the symbolic nature of the whole by revising the choreography that has a strong nature of Ateburi (expressing the meaning of verses by dancing).
Japanese: しかし、始曲部分や終曲部分は収まりのよいように仕舞独自の型が付され、そのほかの部分でもあて振り的な要素のつよい型はこれを改めて全体的に象徴性をより高くする方向で型付が行われている。
English: Shimai is performed only to the accompaniment of Noh-jiuta (Noh chorus), and donning of Montsuki hakama (formal Japanese attire for a man, consisting of a kimono dyed with the family crest and a long, loose, pleated skirt) or kamishimo (samurai costume, old ceremonial costume), instead of wearing Noh costumes and Noh masks.
Japanese: 伴奏は能地謡のみによって行われ、能装束・能面は用いず、紋付袴か裃などで演ずる。
English: A performer chants the first phrase in a sitting posture regardless of original designation, then stands up and dances, and finally performs a movemenet called Uchikomi (the Scooping Point), and then sits down and finishes the piece.
Japanese: 演者は、本来の指定にかかわらず最初の一句を坐ったまま謡い、次に立ち上って舞い、最後に打ち込みと呼ばれる型を行って坐って一曲を終える。
English: For most Yokyoku (Noh song), Jiutai (Noh chorus) is used; however, sometimes the performer and Jiutai sing in turn.
Japanese: 謡曲はほとんどを地謡が取るが、なかには演者との掛け合いになっているものもある。
English: The performance is quite short, about ten minutes on average, and the longest being about twenty minutes.
Japanese: 上演にあたっての時間はきわめて短く、平均で十分程度、長くても二十分ほどのものである。
English: Although Shimai is mainly performed by a shite-kata (main role), there are other variations such as dances carried out by two performers in the form of Ryojite (dual Shite) like 'Kosode Soga' (The Soga and the wadded silk robe) and "'Futari Shizuka' (a couple of the young ladies named Shizuka), and performances of different dances between Shite (main role) and Tsure (performer appearing after the shite) on the same stage like 'Ryoko (Noh)' (dragon and tiger) and 'Shari (Noh)' (bones left after cremation).
Japanese: 主としてシテ方が一人で行うが、なかには「小袖曾我」や「二人静」のように両ジテ的な相舞のもの、「龍虎(能)」「舎利(能)」のようにシテとツレが異なった舞をひとつの舞台で見せるものがある。
English: In this case, two actors perform together (Shimai also has another variation in which two actors, Shite and Waki (supporting actor), perform together like 'Daija' (big snake).
Japanese: このような場合には演者が二人となる（「大蛇(能)」のようにシテとワキの二人で舞う仕舞もある）。
English: Shimai is also performed by Waki-kata (supporting actors) like 'Choryo' and 'Rashomon Gate,' and a Noh farce actor also performs komai (short dances in Noh farce) that is similar to Shimai.
Japanese: また「張良(能)」「羅生門(能)」のようにワキ方の仕舞もあり、能狂言方においても小舞として仕舞に似た上演形態がある。
English: Shimai is also performed for stage, but, is used as a phase of practicing Noh.
Japanese: 仕舞は鑑賞用としても上演されているが、能を演ずるための稽古の段階としても利用されている。
English: The basis of Shimai is Suriashi (shuffle), which is a unique way of walking (Particularly known as Hakobi) in which the sole of the feet slide along the floor without raising the heels.
Japanese: 仕舞の基本は摺り足であるが、足裏を舞台面につけて踵をあげることなくすべるように歩む独特の運歩法で（特にこれをハコビと称する）。
English: In order to do this smoothly, actors have to lower their center of gravity by bending their knees.
Japanese: これを円滑に行うためには膝を曲げ腰を入れて重心を落とした体勢をとる必要がある。
English: Another characteristic of Noh is that performers move in a circular pattern on a square stage in consideration for audiences on three sides, while Kabuki (traditional Japanese drama performed by male actors) and Classical Japanese dance derived from Kabuki are performed on a rectangular stage on the premise for showing the performance to audiences in the front.
Japanese: また能は、歌舞伎やそこから発生した日本舞踏が横長の舞台において正面の客に向って舞踏を見せることを前提とするのに対して、正方形の舞台の上で三方からの観客を意識しながら、円を描くようにして動く点にも特徴がある。
English: The Noh stage is made so as to resonate sound, as performer's stamping on the floor of the stage (Ashi Byoshi) is considered an important element.
Japanese: 能舞台は音がよく反響するように作られており、演者が足で舞台を踏む（足拍子）ことも重要な表現要素である。
English: The form of performing Shikake and Hiraki in succession is called Shikake-hiraki (or Sashikomi-hiraki).
Japanese: シカケとヒラキを連続させる型をシカケヒラキ（サシコミヒラキ）と呼ぶ。
English: The form of raising the right hand and taking one or several steps to the right after raising a left hand and taking one or several steps to the left.
Japanese: 左手を掲げて左に一足ないし数足出た後、右手を掲げて右に一足ないし数足出る型。
English: According to Tamotsu WATANABE who is following a theory by Kunio YANAGIDA, the term 'Odori' (dances in Classical Japanese dance, and so on) also refers to jumping, but, the term 'Mai' (dances in Noh) means 'revolving' which means a circular movement.
Japanese: 柳田国男の論を受けた渡辺保によれば、「踊り」が飛躍や跳躍を含む語であるのに対し、「舞」は「まわる」つまり円運動を意味する語である。
English: Characteristics of dances in Noh are extreme Suriashi, a unique posture, and a circular movement.
Japanese: 能の舞の特徴は、極端な摺り足と独特の身体の構え、そして円運動である。
English: The general impression of dances in Noh is static; however, dances in Noh have a slow and quick movement called Johakyu (three segments of performance and speed of plays; slower and quieter performance during the jo (beginning), gradually gaining tempo in the ha (middle portion), and becoming more energetic during the kyu (denouement)), and in Hakobi, performers also start moving slowly, step up the tempo gradually and stop suddenly.
Japanese: 能の舞はきわめて静的であるという印象が一般的だが、序破急と呼ばれる緩急があり、ハコビにおいてもゆっくりと動き出して、徐々にテンポを早くし、ぴたっと止まるように演じられる。
English: In some rare cases, acrobatic performances (Tobikaeri (backward somersault), Hotokedaore (performance that represents death or falling unconscious), and so on) are performed in aggressive types of pieces.
Japanese: 稀に激しい曲ではアクロバテックな演技（飛び返りや仏倒れなど）もある。
English: However, it does not mean that performers are taking a break while standing still; rather it means that performers are simply remaining stationary in order to balance a multitude of the forces.
Japanese: しかし止まっている場合でもじっと休んでいるわけでなく、いろいろな力がつりあったために静止しているだけにすぎない。
English: As stated above, Shimai has another characteristic of eliciting forces and tension from inside out, producing a large impact on the audience.
Japanese: このように、身体に極度の緊張を強いることで、内面から湧き上がる迫力や気合を表出させようとする特色も持っている。
English: Kappogi is a kind of apron originated in Japan and mainly worn over wafuku (Japanese traditional clothes).
Japanese: 割烹着（かっぽうぎ）は、日本で考案された、主に和服にかけるエプロンの一種。
English: It was first designed to protect kimono while one was doing the housework, with its sleeve size and a sleeve length being big enough to put the tamoto (sleeve pouch) of kimono in, and with its mitake (length of clothing) generally hanging to the height of knees (the mitake of some kappogi is as long as kimono.)
Japanese: 家事労働の際に着物を保護するために考案されたもので、着物の袂が納まる程度の袖幅（袖の太さ）と袖丈（袖の長さ）であり、おおむね身丈は膝まである（着物並みの身丈の割烹着もある）。
English: It is used to prevent troubles with hygiene or protect kimono from dirt and stain during cooking or cleaning.
Japanese: 調理や掃除などの際、衛生上の問題や、着物が汚れるのを防ぐために着用する。
English: Because it was a main current to be cut square around the collar until the mid Showa period, even now some people prefer that old-fashioned image.
Japanese: 昭和中期までは襟周りが角ばっているものが主流であったため、現在でもその古めかしいイメージを好む者もいる。
English: The kappogi adopted as a uniform by the Japan National Defense Women's Association is thought to have been a type of "clothing for household chores" that was invented by Sachiko SASAKI and introduced in an edition of the magazine "Fujin no Tomo" (a Japanese magazine for urban middle-class women) that was published in 1913.
Japanese: 国防婦人会の会服となった割烹着は、1913年発行の雑誌『婦人之友』に掲載された笹木幸子考案の「家庭用仕事着」であるとされる。