nntsuzu/KFTT huggingface dataset:
English: However, being drunk as well, Omiyo treats him coldly and says spiteful things to him.
Japanese: しかしながら、おみよは酔いも手伝って新助を冷たくあしらい愛想づかしをする。
English: Seeing the note Shizaburo left behind by Otsuyu, the wife at Nobanaya, Omiyo knows the truth for the first time,and writes a letter for apology to Shinsuke.
Japanese: おみよは野花屋の女房お露から新三郎の書置きを見せられはじめて事の真相を知り、新助に詫びの手紙を書く。
English: The disappointed Shinsuke is advised by Rokubei, the landlord of the inn, and Sakusuke, a manservant there, that he should forget about Omiyo.
Japanese: 傷心の新助は宿の主人六兵衛と下男作助に、もうおみよのことは忘れろと意見される。
English: Shinsuke buys a yoto sword (mysterious sword) named Muramasa at a gadget shop he happened to visit by chance, and immediately when holding the sword, he becomes deranged and starts running to kill Omiyo.
Japanese: たまたま来た小道具屋から妖刀村正を買った新助は、刀を手にした途端、狂い出しておみよを殺しに駆け出していく。
English: From an image of Fudomyoo (Acala) attached to the letter, it is found that Omiyo is actually Shinsuke's sister, who was separated from him in her childhood.
Japanese: 手紙とともに添えられた不動の尊像に、おみよは幼い時に生き別れた新助の実の妹と言う事が分かる。
English: Omiyo is captured by Akama's followers and abducted in a palanquin, but the palanquin was stopped by Shinsuke and Omiyo was tortured to death.
Japanese: おみよは赤間の子分に捕まり駕籠で拉致されるが、新助に駕籠を止められ、なぶり殺しにされる。
English: Coming to himself after that, Shinsuke knows the truth from Sakusuke who has come to him running, and kills himself to atone for his sin.
Japanese: その後、新助は正気にもどるが、駆けつけた作助から、事の真相がわかり、申し分けなさに自害して果てる。
English: The story in which a thoroughly straight fellow from ouside an urban area is cheated by an urban woman is also included in "Godairiki Koi no Fujime" (Godairiki) written by Gohei NAMIKI.
Japanese: 正直一途な地方出身の男が、都会の女性にだまされ破滅する物語は、並木五瓶の『五大力恋緘』（五大力）にも見られる。
English: Shinzaburo's lines include "as Gohei NAMIKI wrote in Godairiki the line of 'No love exists for geisha girls and their loves are for treasures,'" which is a material known in the kabuki world, and this suggests that Shinshichi was conscious of "Godairiki."
Japanese: 新三郎の科白に「五大力のせりふにも妓女に恋なし、宝を以って恋とすと、並木五瓶が書いた通り」という内輪ネタがあり、新七が『五大力』を意識して書いたことが窺われる。
English: Based on "Chizimiya Shinsuke," Shinshichi KAWATAKE, a disciple of Shinshichi, wrote for Sadanji ICHIKAWA (the first) in the Meiji period "Kago Tsurube Satono Eizame" (Basket bucket in red-light district) (Basket bucket), whose story and characters were almost the same as those of "Chizimiya Shinsuke," but "Basket bucket" was vastly inferior to "Chizimiya Shinsuke" in its story structure and the maturity level of the contents.
Japanese: この『縮屋新助』を下敷きにして、明治時代に新七の門弟・河竹新七が登場人物やあらすじがほぼ同じの『籠釣瓶花街酔醒』（籠釣瓶）を市川左團次(初代)に書いているが、『籠釣瓶』は構成や内容の成熟度で『縮屋新助』に甚だしく劣る。
English: However, while "Basket bucket" is popular even today because it's performed by excellent actors, "Chizimiya Shinsuke" effectively remains a 'buried masterpiece' because it's not been performed by any outstandingt actors other than Kichiemon NAKAMURA (the first) and Hakuo MATSUMOTO the first).
Japanese: ところが役者に恵まれた『籠釣瓶』が今日でも人気の演目なのに対し、中村吉右衛門(初代)や松本白鸚(初代)の他にこれといった役者に恵まれなかった『縮屋新助』の方は今日では事実上「埋もれた名作」と化している。
English: The story that a seeming 'act of abandoning someone in disgust' develops into 'an act of killing in resentment instead' is often used in kabuki plays, but this play uses 'act of abandoning someone in disgust' on the double.
Japanese: 本心でない「愛想尽かし」が「逆恨み殺し」に発展するというのは歌舞伎ではよく使われるあらすじだが、本作では二重の「愛想尽かし」を用いている。
English: The elaborate story structure is as follows: Shinzaburo seeming abandons Omiyo, and then in seemimg despair, Omiyo genuinely abandons Shinsuke, saying that this situation has been caused by Shinsuke
Japanese: 新三郎が本心でない愛想づかしをおみよにし、自棄になったおみよが新助のせいでこうなったと本心からの愛想づかしをするという、手の込んだ構成がそれである。
English: It is also a feature of this play that Shinsuke's genuine love for Omiyo that started with a lie is expressed quite naturally.
Japanese: また嘘から出た真の新助のおみよへの恋心の発露が極めて自然に描かれているのも特徴的である。
English: Kodanji's true-to-life performances were highly praised, and in particular, those of seriousness and insanity in the scene at the inn for Chizimiya were superb.
Japanese: 小團次の迫真の演技は大好評で、特に縮屋宿の深刻さと狂気は絶品といわれた。
English: The okurisuzume (sparrow that sends off) is a specter handed down in Wakayama Prefecture and Higashi-yoshino Village, Yoshino County, Nara Prefecture.
Japanese: 送り雀（おくりすずめ）は、和歌山県や奈良県吉野郡東吉野村に伝わる妖怪。
English: When a person is walking along a mountain road at night, there comes an okurisuzume chirping 'chi, chi, chi,...'
Japanese: 夜、人が山道を歩いていると「チチチチ......」と鳴きながら飛んでくる。
English: It is said that a wolf or a specter, okuri-inu (dog that sends off) appears after the chirping sound, and once the person stumbles, he or she will be immediately attacked by such animal or monster, thus those who heard the chirping of okurisuzume used to walk watching their steps not to fall.
Japanese: この鳴き声の後にはオオカミもしくは妖怪・送り犬が現れるといい、道で転倒するとすぐにそれらに襲撃されてしまうため、送り雀の鳴き声を聞いた者は、転ばないよう足元に注意を払いつつ歩いたという。
English: The film received award for Achievement in costume design (to Sanzo WADA) and honorary award in the Academy Awards in the United States, and Grand Prix in the Cannes International Film Festival.
Japanese: アカデミー賞にてアカデミー衣裳デザイン賞（和田三造）と名誉賞を、カンヌ国際映画祭でもグランプリを受賞した。
English: As its copyright protection period is assumed to have passed, today public-domain DVD is on sale (it is possible to be requested to stop sales since less than thirty-eight years have passed after the director died).
Japanese: 著作権の保護期間が終了したと考えられることから、現在パブリックドメインDVDが発売中（但し監督没後38年以内なので発売差し止めを求められる可能性あり）。
English: Showa-modern is a term referring to a modern civil culture that flourished in the early Showa period merging Japanese and Western styles.
Japanese: 昭和モダン（しょうわモダン）とは昭和時代の始めに花開いた和洋折衷の近代市民文化のことである。
English: The occurrence of events such as the May 15 Incident (1932) and the February 26 Incident (1936) indicated that the shadow of war was creeping over the Japanese society of those days.
Japanese: その頃の世相は五・一五事件・二・二六事件などが起こり、戦争の影が忍び寄る時代であった。
English: On the other hand, new styles such as art nouveau and art deco, which combined functionality with beauty and flourished in Europe in around 1910, entered and spread through Japan.
Japanese: その一方で、1910年ごろにヨーロッパで花開いたアール・ヌーボーやアール・デコといった機能と美しさと兼ね備えた様式が日本にも浸透していった。
English: Popular music such as French chansons, jazz music and Charleston which were in fashion in the USA and Argentinian tangos sung by Carlos Gardel became popular in Japan with the spread of gramophones and the start of radio broadcasting.
Japanese: フランスのシャンソンやアメリカ合衆国で流行ったジャズやチャールストン、カルロス・ガルデルが歌うアルゼンチン・タンゴといったポピュラー音楽も蓄音機の普及やラジオ放送の開始などで多くの人が聞くようになった。
English: The film making industry in Hollywood was in the early days of its development, and the movies starring the comedians such as Charles Chaplin and Buster Keaton and actresses including Greta Garbo and Marlene Dietrich were put on the screen and entertained people.
Japanese: またハリウッド映画の草創期であり、チャールズ・チャップリン、バスター・キートンと言ったコメディアン、グレタ・ガルボ、マレーネ・ディートリッヒといった女優の出演する映画が映画館で娯楽として見られるようになった。
English: While the mass culture was blooming as stated above, a number of musicians - conductors, composers, pianists and singers such as Arturo Toscanini, Sergei Rachmaninov, Alfred Cortot, Enrico Caruso and Tino Rossi - took a lively part in the classical music field and increasingly gained popularity in Japan as well.
Japanese: このような大衆文化が開花に時期にはクラシック音楽ではアルトゥーロ・トスカニーニ、セルゲイ・ラフマニノフ、アルフレッド・コルトー、エンリコ・カルーソー、ティノ・ロッシなどの優れた音楽家、ピアニスト、歌手が活躍し、日本でも人気を博していった。
English: While the sophisticated Western culture as described above was brought to and accepted by Japanese people, a culture unique to Japan was fostered at the same time.
Japanese: このような欧米の洗練された新しい文化が流入、受容される中、日本でも独自の文化が醸成されていった。
English: In addition, a number of magazines including "Kaizo", "King" and "Bungei Shunju" were published together with Iwanami bunko series and en-pon (one-yen books - inexpensive books published in the second half of the 1920s and sold for one yen apiece).
Japanese: また『改造』、『キング(雑誌)』、『文藝春秋(雑誌)』などいった雑誌や岩波文庫や円本と呼ばれる廉価な書籍が刊行された。
English: The literature which emerged also during this period include that of the neo-sensualists such as Yasunari KAWABATA and Riichi YOKOMITSU, the esthetic literature of Junichiro TANIZAKI and the popular literature of authors such as Eiji YOSHIKAWA and Kaizan NAKAZATO.
Japanese: 川端康成、横光利一などの新感覚派文学や谷崎潤一郎の耽美的な文学、吉川英治、中里介山などの大衆文学が出たのもこの時期である。
English: Included among those actively involved in other cultural fields in this period are film actors in historical plays such as Kanjuro ARASHI, Denjiro OKOCHI and Tsumasaburo BANDO, composers such as Ryoichi HATTORI, Masao KOGA and Shinpei NAKAYAMA and singers including Noriko AWAYA, Ichiro FUJIYAMA and Taro SHOJI.
Japanese: その他、映画では嵐寛寿郎、大河内伝次郎、阪東妻三郎といった時代劇スターが現れ、音楽では服部良一、古賀政男や中山晋平と言った作曲家や淡谷のり子、藤山一郎、東海林太郎などの歌手が活躍した。
English: Significant changes occurred in the lifestyle of people as well; acts such as wearing Western clothing instead of kimonos, cutting hair short and having hats on became common to some working women, and new types of jobs for female workers emerged along with the increasing social participation by women, including a female bus conductor named a 'bus girl' in those days and a waitress (called a 'jokyu' then).
Japanese: また生活様式も大きく変わり服装も女性は着物に日本髪といったものから洋服を着、断髪し帽子をかぶるといったことが一部の勤め人の女性では一般に浸透しつつあったし、それにともない女性の社会進出も進み、「バスガール」と呼ばれたバスの女性車掌やウェイトレス（当時は女給とよばれた）など職業婦人が出現するようになった。
English: Women wearing the most fashionable dresses at the time were called 'modern girls' or 'mo-ga' in short (モガ: an abbreviation for モダンガール [modern girl]).
Japanese: 最先端の洋装を着た女性は「モダン･ガール（モガ）」と呼ばれるようになった。
English: It also began in the early Showa period that railways extended their network as citizen's methods of transportation and developed the land along the railroad lines, where houses were built and people went out shopping on holidays at department stores at railway terminals, and that such a lifestyle became common among people.
Japanese: 市民の足として鉄道会社が開発する沿線の土地には住宅が建てられ、そこに暮らす人々がターミナル駅のデパートで休日に買い物などに立ち寄るといった市民生活が一般的になったのも昭和初期からであった。
English: It was also around this time that people like businessmen who came back from trips to Western countries opened Western style restaurants successfully in the midtown area.
Japanese: 洋行帰りの実業家らが洋食のレストランをひらき、都心で成功をおさめるようになったのもこの頃である。
English: Coffee shops or cafés as called in those days attracted great popularity, mainly among men, for their modernity.
Japanese: 当時のカフェーは独身男性の利用が主であったがいずれもモダンさが受け、人気が高かった。
English: Well known examples of the land development along the railroads mentioned earlier include the case of Tobu Railway led by Kaichiro NEZU (the founder) and that of Hankyu Railway under the lead of Ichizo KOBAYASHI.
Japanese: 前述の鉄道沿線開発では東武鉄道の根津嘉一郎(初代)、阪急電鉄の小林一三の近代田園都市建設は名高い。
English: The Takarazuka Grand Theater and the Hanshin Koshien Stadium were constructed around this time (Hanshin-kan Modernism: Modernism between Osaka and Kobe).
Japanese: 宝塚大劇場や阪神甲子園球場が開場したのはこの頃である（阪神間モダニズム）。
English: In the latter half of 1930s, after the ascendancy of the military and the end of the party politics following the Incident of February 26 and the Incident of May 15, the Sino-Japanese War intensified and the international tensions ran high, which led to the promulgation of the National Mobilization Law, and, against such a background, the culture described so far was criticized as being 'weak and wasteful' and 'against the "new order",' and Showa-modern was terminated.
Japanese: 二・二六事件や五・十五事件以降の軍部の台頭と政党政治の終焉以降の1930年代後半ころには、日中戦争の激化と世界的な国際関係の緊張を受け国家総動員法となり、これらの文化は「軟弱で贅沢」「反“新体制”的」として排斥され、昭和モダンは終わりを迎える。
English: "Magemono"or "wagemono" is a container made by bending a shaved lumber of Japanese cypress or Japanese cedar, and by sewing its joint with the bark of birch or Japanese cherry.
Japanese: 曲物（まげもの・わげもの）は、ヒノキ・スギなどの薄く削り取った材を円形に曲げ、合せ目をカバ・サクラの皮などで綴じて作った容器。
English: For instance, the paintings from the Heian period through the Kamakura period, such as 'Senmen Koshakyo' (ancient sutra manuscripts on a fan), 'Choju Jinbutsu Giga' (caricatures of frolicking birds, animals and humans), 'Shigisan Engi Emaki' (picture scroll depicting the stories about Mt. Shigi), 'Obusuma Saburo Ekotoba' (picture scroll of the Kamakura period), the Koan version of 'Kitano Tenjin Engi' (history of Kitano Tenjin Shrine), and 'Tohoku-in Shokunin Utaawase-emaki (Touhoku-in poetry Contest among persons of various occupations), depict 'oke' (wooden bucket); judging from the periods when these paintings were produced, these oke are not 'yuioke' (wooden bucket with a bottom) which were developed after the Kamakura period, but are 'mageoke,' which suggests that the 'oke' in a form of magemono was used on a daily basis after the Heian period.
Japanese: その例として、例えば平安時代から鎌倉時代の絵画である「扇面古写経」・「鳥獣人物戯画」・「信貴山縁起絵巻」・「男衾三郎絵詞」・「北野天神縁起（弘安本）」・「東北院職人歌合絵巻」などには「桶」が描かれており、絵画の制作年代から類推して、この「桶」は鎌倉時代以降に作られた結桶ではなく曲桶であり、曲物の「桶」が遅くても平安時代以降には日用的に使用されていたとされている。
English: In addition to these 'oke,' magemono is also said to have been used as 'izutsu' (wooden frame around well) in ancient times.
Japanese: また古来、曲物はこの「桶」の他に「井筒」としても使用されたといわれる。
English: These are called 'magemono-izutsu,' which had magemono on the inside of a well to prevent the sidewall from collapsing.
Japanese: 曲物井筒と呼ばれるもので、井戸の内壁に曲物を施し、側壁が崩れないようにした。
English: Although izutsu is often made of ishigaki (stone wall) of nozura zumi (laid with mostly unprocessed natural stones), it was made of wood materials in ancient times, including magemono-izutsu, which is also considered to have been used in ancient times.
Japanese: 井筒は野面積みの石垣などが多く用いられるが、古代は木材を使用しており、曲物井筒もその方法の一つとして古代から用いられたとされる。
English: Examples of magemono-izutsu were found in the Jike site and the Takaza site in Ishikawa Prefecture (Medieval period), the Suzaki site in Akita Prefecture (end of the 13th century), and the Ochiai site in Iwate Prefecture (Kamakura period).
Japanese: 例として、石川県寺家遺跡や高座遺跡の例（中世期）や秋田県洲崎遺跡（13世紀末）、岩手県落合遺跡（鎌倉時代）などがある。
English: In excavation and research of the provincial capital of Izumo Province in Shimane Prefecture, magemono containers were found in a well as the remnants of a ritual site during the Nara period.
Japanese: 島根県の出雲国国府の発掘調査：奈良時代の祭祀遺構として、井戸から曲物容器が出土。
English: In excavation and research of the Korekawa-nakai site in Hachinohe City, Aomori Prefecture: the unearthed 'lacquered barky containers' were assessed by the city's board of education as 'magemono with a lacquered lid' made about 3,000 years ago during the beginning of the late Jomon period.
Japanese: 青森県八戸市の是川中居遺跡の発掘調査：出土した「漆塗り樹皮製容器」について、同市教育委員会は約3,000年前の縄文時代晩期初めごろの「漆塗りふた付き曲げ物」であると評価。
English: These magemono went into a decline over time and replaced by 'oke' in 'yuioke' and 'ishigaki' in 'izutsu,' but they were used as lunchboxes, trays, and bowls for confectionary, flower arrangement and tea ceremonies, and are still produced in quite a volume today.
Japanese: 時代の経過とともに、これらの曲物は「桶」における「結桶」や「井筒」における「石垣」などの登場によって廃れていったが、江戸時代以降も弁当箱や膳、盆、菓子器、華器、茶道用器などに利用され、現在も少なからず生産されている。
English: Due to various alternative products and the difficult situation in which to procure materials, magemono are produced in limited amounts.
Japanese: 種々の代替製品が存在することや、資材調達が難しい状況から、生産量は限定的である。
English: At present, the following regions designate magemono as their artifact, local product or specialty:
Japanese: 現在、曲物を地域の工芸品・特産品・名産品としている主な地域は以下のとおり。
English: It is a container with a lid and base on its side made by bending a thin lumber of Japanese cypress or Japanese falsecypress produced locally into a circular or oval form, and by sewing its joint with the bark of Japanese mountain cherry; it is used as a rice cooker, lunchbox, tool for tea ceremonies and soba (buckwheat noodle) dish, and seiro (wooden frame holder with reed base used to steam food over a pot).
Japanese: 地元で産出されるヒノキやサワラ(植物)の薄板を円形・楕円形に曲げ加工し、合わせ目を山桜の皮で綴じた側板に底や蓋を付けた器物で、日用品として飯器、弁当箱、茶道具、そば道具、せいろなどに用いられる。
English: In an oval lunch box with a lid, the point of contact between the lid and the box differ in position depending on how deep the lid is; when it has a deep lid, the point of contact is displaced in order to avoid friction with it.
Japanese: 蓋のある楕円形の弁当箱等は、深蓋と浅蓋で合わせ目の位置が異なり、深蓋の場合には合わせ目の摩擦を避けるため、蓋と本体の合わせ目の位置をずらしてある。
English: It looks like a human being aged 11 or 12 in appearance, but as the name indicates, it has a red body like a newly-born baby and hair like a Shojo (a kind of Japanese sea spirit with red face and hair and a fondness for alcohol).
Japanese: 外見は11歳か12歳ほどの人間のようだが、その名が示すように産まれたばかりの赤ん坊のように赤く、髪は猩猩のようだという。
English: It is said that fishermen sometimes see it hiding himself under the water, but it does not harm people.
Japanese: 漁師が水中に隠れている赤子を目撃することがあるものの、特に人間に対して危害を加えることはないという。
English: It is described in picture scrolls of specters in the Meiji period called "Bakemono Emaki" (Picture Scrolls with Monstrous Beings) (writer unknown) with a title 'Akago no kai' (mystery of Akago).
Japanese: 明治時代の妖怪絵巻『ばけもの絵巻』（作者不詳）に「赤子の怪」と題して記述されている。
English: When he peeked into the next room, he found someone like newly-born baby dancing and its number was multiplying enormously until it reached several hundred in the end.
Japanese: 覗き見ると、生まれたばかりの赤ん坊のような者が踊っており、しかもどんどん数を増し、遂には数百人にも達した。
English: He stood paralyzed all that night and then, at the crack of dawn, all Akago (babies) vanished.
Japanese: どうすることもできない内に、夜明けと共に赤子たちは消え去ったという。
English: One day, when a priest stayed at a zashiki (Japanese style guest room with tatami flooring) called Ogasawara, he heard a bustling sound like a lot of people were dancing in the next room in the middle of night.
Japanese: ある法師が小笠原という座敷に停まったところ、夜中に隣室で大勢の人間が踊っているような音が聞こえた。
English: The title is same as "Bakemono Emaki" and the content is very similar to it, but their association is unclear.
Japanese: 題名は『ばけもの絵巻』のものと同じであり、内容も酷似しているが、関連性は不明。
English: A theory has it that the origin of the word comes from 'shareru,' which means 'exposed' ('sarasareru'), and it described the state in which someone/something achieved to be without an excess through exposure.
Japanese: 語源は、一説には、「曝れる（しゃれる）」、つまり「曝される（さらされる）」の意味で、曝されて余分なものがなくなったということからという。
English: Knead shiratamako with water which weighs 80 to 90 percent of the shiratamako and divide the dough into bite-sized pieces.
Japanese: 白玉粉に重量の80～90％の水を加えてこね、一口大の大きさに成形する。
English: You can put the completed shiratama into shiruko (sweet red-bean soup), or garnish anmitsu (traditional Japanese dessert made with kanten [agar agar] jelly, fruits, and sweet red bean paste), mitsumame (dessert made with gelatin cubes and mixed fruits) or shaved ice (flavored with syrup) with it.
Japanese: できあがった白玉は、汁粉に入れたり、あんみつ・みつまめやかき氷に添えたりする。
English: Miyakokoryu is a style of ikebana (flower arrangement, or kado) which was created by Kuhyodo Hitoami ISOGAI in November 1902.
Japanese: 都古流（みやここりゅう）は、明治35年11月空瓢堂磯貝一阿彌が創ったいけばなの流儀（華道のこと）。
English: It is separated into several branch schools, namely Miyakokoryu (ryuso [a founder of school, an originator]), Miyakokoryu Suzuki School (separated by a high-caliber disciple), Miyakokoryu Kazutaka Group (relinquished iemoto [the head family of a school] to Kazumizu MURASE in 1919 which was succeeded by Kasuyu UCHIDA, then by Kazutaka UCHIDA), and Miyakokoryu Seiha.
Japanese: 都古流（流祖）、都古流鈴木派（流祖の高弟が分派）、都古流一孝会（大正８年に家元を村瀬一水氏に譲り,その後,内田一油、一孝と継承。
English: Seika is a classical flower arrangement which was established in Edo era to decorate tokonoma (alcove in a traditional Japanese room where art or flowers are displayed).
Japanese: 生花とは江戸時代に床の間を飾る為に成立した古典様式のいけばなのこと。
English: In Miyakokoryu, there are two styles side by side: "seika", classical style passed down from ryuso, and "shinseika" which is developed from seika for modern space.
Japanese: 都古流には、流祖より伝わる伝統の｢生花｣と床の間以外の現代空間に向けて生花を進化させた｢新生花｣が並立している。
English: Wife of Kuhyodo Hitoami ISOGAI (real name: Waka) is famous as a professional performer of Chanoyu (the tea ceremony) of Sekishu school in the name of Sowa ISOGAI (1854 - 1940).
Japanese: 空瓢堂磯貝一阿彌の夫人（本名　和歌）は磯貝宗和（1854年～1940年）として石州流の茶の湯者として有名。
English: Rakugo is a traditional Japanese narrative art handed down through the generations that was established in early modern times.
Japanese: 落語（らくご）は、近世期の日本において成立し、現在まで伝承されている伝統的な話芸の一種。
English: In the early days of rakugo it was performed by a variety of people having another main occupation, but at present it is usually performed by professionals.
Japanese: 成立当時はさまざまな人が演じたが、現在は通常、それを職業とする人が演じる。
English: It is a unique performance using gesture and narration rather than costume, props, or music, and requires a high degree of skill to perform.
Japanese: 衣装や道具、音曲に比較的頼らず、身振りと語りのみで物語を進めてゆく独特の演芸であり、高度な技芸を要する伝統芸能でもある。
English: Originally, rakugo referred to otoshi-banashi, performances which were humorous and had a punchline, but at present, rakugo is used as a general term which includes otoshi-banashi, ninjo-banashi (a story with human interest), and shibai-banashi (a story with an element of drama).
Japanese: 本来「落語」とは落語家が行う演目（ネタ）のなかでも滑稽を中心とし、落ちを持つ「落とし噺」（おとしばなし）のことを指したが、現在では人情噺・芝居噺をも含めた総称として用いられる。
English: Mostly, rakugo has been performed at yose (storytellers' halls), but in recent years small live rakugo performances by young comic storytellers have also appeared.
Japanese: 落語は寄席（よせ）と呼ばれる常設館で演じられることが多いが、近年は若手による小さなライブもある。
English: There are several methods of classifying rakugo, each of the methods categorizing and dividing performances in a different way.
Japanese: 落語演目の分類にはいくつかの方法があり、それによって立てられる種類や区分も異なってくる。
English: Classical rakugo refers to those performances which were established in some form between the Edo and Meiji periods, and which were staged World War Ⅱ.
Japanese: 江戸時代から明治ごろまでに原型が成立し、戦前までの時期に演出が確立した演目を「古典落語」とする。
English: New rakugo has mainly been performed either by the authors themselves or young or inexperienced storytellers, and most of the performances do not constitute the common property of the whole rakugo community.
Japanese: それ以外の「新作落語」は、多くの場合、作者もしくは初演者以外の噺家がネタにしていることが少なく、斯界全体の共通財産となっていないことが多い。
English: However, many of them have been quick to respond to social trends by including topical references and introducing satirical elements.
Japanese: だが、社会の動向に機敏に反応した時事的な作品や風刺性の濃いものが多いのが特徴である。
English: The distinction between classical rakugo and new rakugo is not always clear, and a number of works such as Little Flute (a new rakugo performance created by the third Beicho KATSURA and performed by many storytellers) are deemed to be ambiguous in terms of which category they belong to.
Japanese: なお、両者の線引きは必ずしも明確ではなく、多くの演者によって演じられる新作落語（桂米朝(3代目)作「一文笛」等）のように境界線上にある作品も少なくない。
English: Within classical rakugo, stories characterized by their comic content and punchlines called "ochi" or "sage" are categorized as otoshi-banashi.
Japanese: 古典落語のうち、滑稽を中心とし、噺の最後に落ちまたはサゲのあるものを「落とし噺」という。
English: Mostly ninjo-banashi form a long series of connected works, so in the past the central storyteller, or tori, performed a sequence of ninjo-banashi for ten consecutive days, but nowadays only individual sections of the sequence are performed in many cases.
Japanese: 人情噺はたいていの場合続きものによる長大な作品で、かつては主任（トリ）に出た噺家が10日間の興行中連続して演じるものであったが、現在ではその区切りのいい一部分が取出されて演じられることが多い。
English: Otoshi-banashi and ninjo-banashi are both performed simply by talking, but in contrast shibai-banashi are staged like a shibai (theatrical performance or play), in which a kakiwari (stage setting) and music are used, and occasionally the performer may stands up and pose as part of the performance.
Japanese: 「落とし噺」や「人情噺」が素で上演されるのに対して、芝居のような書割や音曲を利用し、場合によっては演者が立って芝居のごとき見得をしたりする演目を「芝居噺」という。
English: Kaidan-banashi ghost stories, which come under the category of shibai-banashi, mostly consist of a ninjo-banashi-like story with a shibai-banashi-like ending.
Japanese: 特に幽霊の出てくるような怪談噺は、途中までが人情噺で、末尾が芝居噺ふうになっている場合が多い。
English: In a broad sense, shibai-banashi may also include performances where the central topic is derived from a shibai or performances that parody them.
Japanese: 広義には芝居を題材にしたり、パロディにしたりしている演目を芝居噺とすることもある。
English: In these kinds of shibai-banashi, the story is similar to an otoshi-banashi as a whole, and some parts contain dramatic, kabuki-like lines and gestures, but the performer does not stand up or pose as part of the performance.
Japanese: この場合には、全体として「落とし噺」の構造を取り、なかにところどころ歌舞伎ふうの台詞廻しが混じる程度で、立って所作を行うことはない。
English: Performances called onkyoku-banashi unfold with background music but do not use exaggerated gestures.
Japanese: また大げさな所作が加わらなくても、音曲を利用して話をすすめてゆくネタもあり、これらを「音曲噺」と称する。