nntsuzu/KFTT huggingface dataset:
English: Odaiko (large drums), bells and dora (gongs) are played together with Shamisen and ohayashi (the four instruments described earlier).
Japanese: 三味線と「お囃子」（前述の4種の楽器）だけでなく、さらに大太鼓や鉦、銅鑼なども加えて演奏される。
English: The four ohayashi instruments, and the percussion instruments that were additionally played are often collectively called 'narimono' (musical instruments).
Japanese: 「お囃子」の４種と、追加された打楽器をまとめて「鳴物」(なりもの)と呼ぶことが多い。
English: Geza ongaku is also called 'kuromisu' (black bamboo screen) music because the performer plays while hidden behind a black bamboo screen called a 'kuromisu' from where he peeks at the actions of the actors on the stage while playing.
Japanese: この「下座音楽」の演奏者は「黒御簾」(くろみす)という黒いスダレの後ろに隠れ、舞台の役者の様子を覗いながら演奏するので「黒御簾音楽」とも呼ばれる。
English: Stage music became available among the common people and was often played alone, not as a part of play or dance.
Japanese: 舞台音楽は民間にも広まり、演劇や舞踊なしで演奏される機会も多かった。
English: Stage music and genres of music such as minyo and matsuri-bayashi (Japanese festival music) influenced each other, and short kouta (ballads sung to shamisen accompaniment) and hauta (traditional Japanese song or ballad sung to the accompaniment of the shamisen) were created to be performed at banquets called 'ozashiki.'
Japanese: そして民謡や祭囃子など、他の分野の音楽とも相互に影響を及ぼしあい、「お座敷」と呼ばれる宴席で披露するための小曲「小唄」「端唄」が生まれた。
English: High-class Japanese-style restaurants and yukaku (red-light districts) in which maiko (apprentice geisha) dance in time to songs by geisha, shamisen and ohayashi became popular among the common people.
Japanese: 芸妓の唄・三味線・お囃子で舞妓が舞い踊る華やかな料亭・遊郭は、庶民の人気を集めた。
English: Many 'shino-bue' solos and ensembles have been written in recent years, and ensembles featuring Japanese musical instruments other than those described above as well as western musical instruments (including folk music instruments from abroad) have been frequently played.
Japanese: 近年では「篠笛」による「独奏」「合奏」といった器楽曲も多く作られ、上記の分野以外の和楽器および洋楽器、他国の民族楽器との合奏も盛んに行われている。
English: Shinobue are often played by groups that play original music using Japanese drums.
Japanese: 特に、和太鼓を用いた創作曲を演奏するグループにおいて、篠笛が盛んに用いられている。
English: The mouthpiece and tone holes are made in a piece of shinodake (small bamboo) (Pleioblastus simonii) which is then wrapped the tube in to (Japanese wisteria) and the inside coated with lacquer to protect it and enhance the sound.
Japanese: 篠竹（雌竹）に歌口と音孔（手孔、指穴）を開け、藤で管を巻き、内面に漆を塗り管内を保護すると同時に鳴りをよくする。
English: Nowadays, nylon thread is often used instead of to (Japanese wisteria,) and man-made lacquer is often used instead of lacquer tree sap.
Japanese: 現在では藤の代わりにナイロン糸、漆の代わりに合成漆を用いることも多い。
English: On the other hand, shinobue made from plastic, wood or synthetic resin are stable for tuning, but produce a different from bamboo shinobue.
Japanese: プラスチック・木・合竹は比較的調律が安定しているが、竹とは音色・演奏感が異なるとも言われている。
English: The two most common styles of shinobue are the 'tenchimaki' on which the left and right parts are wrapped in to (Japanese wisteria), and the 'shiratake' (plain bamboo flute) which is not wrapped
Japanese: 最も一般的なのが管の左右両端に藤（とう）を巻いた「天地巻き」と、巻きを略した「素竹」の２種である。
English: There are also the 'somaki' which has a lot of wrapping, and 'nuribue' which is entirely coated in lacquer or paint.
Japanese: さらに巻きの多い「総巻き」や、管全体を漆や塗料で塗った「塗り笛」などもある。
English: Shinobue are classified according to the number of finger holes, the length of the resonance tube (frequency of fundamental tone), usage and tuning.
Japanese: 篠笛は、指孔の個数と共鳴管の長さ（基本音の周波数）と用途、調律により分類される。
English: Such shinobue should be classified based on the manufacturer name or proprietary name.
Japanese: そのような改良篠笛については、製作者や商標名で分類したほうが良いであろう。
English: The fundamental tone or reference tone (the sound produced when the first finger hole is open in the case of a seven-hole shinobue) is expressed using the 'nanbon-joshi' scale.
Japanese: 「何本調子」という呼び方で基本音/基準音（七孔の場合、第一孔を開放した音）を指定する。
English: The lowest tone (tsutsune), which is produced when all the finger holes are closed, is not regarded as the fundamental tone as it varies greatly depending on the manufacturer, and it is rarely used in musical composition.
Japanese: 指孔すべてを閉じて出す最低音（「筒音」、つつね）は竹と製作者による差が大きいため、基本音とは見なされておらず、楽曲で用いることもまれである。
English: As the 'nanbon-joshi' scale is reduced by one degree, the fundamental tone will be lower by a half tone, and the length of the tube proportionally longer.
Japanese: 「何本調子」の数が一本小さくなると、基本音が半音低くなり、管はその分長くなる。
English: There are also shinobue that are tuned to half of a Western semitone such as the 'ropponhan' note.
Japanese: 「六本半」のように、洋楽の半音のさらに半分刻みの調律のものも用いられることがある。
English: Shinobue ranging from 'ippon-joshi' (the first degree) (low F) to 'jusanbon-joshi' (the thirteenth degree) (high F) are commonly used, but those which produce even lower tones can rarely be seen.
Japanese: 「一本調子（低F）」から「十三本調子（高F）」までが一般に使用されているが、さらに低音の笛もまれに見られる。
English: The character '笨' is used instead of '本' in the notation of 'nanbon-joshi' in some schools (there is the practice of specifying the fundamental tone using nanbon-joshi even in shamisen music, sokyoku (koto music), sankyoku (music performed by a shamisen (three-stringed Japanese guitar), so (thirteen-stringed Japanese zither), and shakuhachi (bamboo flute) trio), and biwa (Japanese flute) music, but attention is required because the actual tones vary according to the instrument).
Japanese: 「何本調子」の表記に「笨」の字を用いる流派もある（なお、三味線音楽、箏曲・三曲、琵琶においても「何本調子」で基本音を定める慣習があるが、分野によって実際の音の高さは異なっているので注意が必要である）。
English: Shinobue which have been used since ancient times for the rites and festivals in various places such as matsuri-bayashi (Japanese music), kagura (sacred music and dancing performed at shrines), and shishimai (lion dance) are called 'hayashi-yo' (lit. for hayashi (musical accompaniment played on traditional Japanese instruments)) shinobue or 'koten-cho' (lit. classical style) shinobue.
Japanese: 祭囃子、神楽、獅子舞等、各地の祭礼に古来から用いられてきた篠笛を便宜的に「囃子用」「古典調」と呼ぶ。
English: However, it is difficult to play together with instruments, such as the shamisen, which have a distinct scale as it is not tuned according to a scale.
Japanese: だが、音階に調律されていないため、三味線等の音階がはっきりした楽器とは合わせにくい。
English: It is for this reason that, in the early Showa period, the uta-yo (lit. for songs) shinobue was developed by improving the layout and size of the finger holes, making it easy to play along to songs (folk songs and nagauta) of traditional Japanese music.
Japanese: そこで昭和初期に、指孔の位置と大きさを工夫し、邦楽（伝統音楽）の唄物（民謡、長唄等）に合わせやすい「唄用」篠笛が開発された。
English: As a result of this, the scale of uta-yo shinobue changed so that the tone produced when the first hole is open became 'do,' the tone produced when the first and second holes are open became 're,' the tone produced when the first, second and third holes are open became close to 'mi,' and fa, so, la and ti were produced when subsequent holes are open.
Japanese: その結果、「唄用」篠笛の音階は、第一孔を開放した音を階名における「ド」とすると、第一孔と第二孔を開放した音が「レ」、第三孔までを開放した音が「ミ」に近く、以降孔を開放する毎にファ、ソ、ラ、シに近い音になる。
English: As the opportunity to play the shino-bue together with western musical instruments increases, 'improved versions of the shino-bue' with a musical score that is closer to the meantone temperament, such as the 'do re mi-like shino-bue' and the 'misato-bue flute' (trademark), have been developed.
Japanese: 西洋楽器との合奏が増えるにつれ、これを更に平均律に近付けた「ドレミ調」篠笛、「みさと笛」（商標）等の「改良型篠笛」も開発されている。
English: Nowadays, most shinobue are six-hole hayashi-yo, seven-hole hayashi-yo, seven-hole uta-yo, or six/seven-hole do-re-mi/misatobue versions.
Japanese: 現在、一般的に用いられている篠笛は「囃子用・六孔」「囃子用・七孔」「唄用・七孔」「ドレミ調/みさと笛・七孔/六孔」が大部分である。
English: A seven-hole uta-yo shinobue is generally lower than the fundamental tone by a minor triad but this depends on the manufacturer and region.
Japanese: 「唄用・七孔」篠笛では基本音に対し短三度程度低い音になるのが一般的であるが、製作者・地域によって異なる。
English: The note an octave lower than the fundamental tone (the low tone range), is called 'ryoon' (lower tone), the note an octave higher than the fundamental tone (the medium tone range) is called 'kanon' (medium tone), and the note an octave higher than kanon tone is called 'daikan' (high-pitched tone).
Japanese: 基本音からの一オクターブ（低音域）を「呂音（りょおん）」、そのオクターブ上（中音域）を「甲音（かんおん）」、更にオクターブ上の高音域を「大甲（だいかん）音」と呼ぶ。
English: The tsutsune and ryoon tones have a bamboo-like, warm and soft timbre, and their range somewhat resembles that of the shakuhachi bamboo flute.
Japanese: 「筒音」および「呂音」は竹らしく暖かみのある柔らかい音色で、尺八との共通点も感じられる音域である。
English: The shino-bue is used in traditional music to enhance lyrical songs (such as folk songs and nagauta) as well as plays and dances performed in kabuki and bunraku (or ningyo joruri [traditional Japanese puppet theater]).
Japanese: 伝統音楽では叙情的な唄もの音楽（民謡、長唄等）や歌舞伎・文楽（人形浄瑠璃）等の芝居・舞踊を引き立てる役割として用いられる。
English: In combination with the daikan (high-pitched) tone, it is favored in the music for rites and festivals such as matsuri-bayashi (Japanese music) and kagura (sacred music and dancing performed at shrine).
Japanese: また祭囃子・神楽等の祭礼音楽でも「大甲」と合わせて大変好まれる音域である。
English: The daikan (high-pitched) tone is an extremely high-pitched, sharp tone and is so loud that it can be heard over great distances.
Japanese: 「大甲」は非常に「甲高い」鋭い音で、遠くまで聞こえる派手な大音量である。
English: The shinobue is a transposing instrument, and the actual tone varies depending on the length of tube.
Japanese: 篠笛は「移調楽器」であり、実際に出る音（実音）は管の長さによって異なる。
English: Note that the tsutsune tone is not regarded as a fundamental tone and varies according to the manufacturer.
Japanese: 「筒音」は基本音とは見なされず、製作者によって異なるので改めて注意されたい。
English: In terms of the traditional style of shinobue playing, the most characteristic feature when compared with transverse flutes from other countries is that tonguing is not used.
Japanese: 篠笛の伝統的奏法を他国の横笛と比較するにおいて最も特徴的なのは、タンギングを行わないことである。
English: Instead, the sound is 'tapped' by opening and closing the tone hole rapidly while the same tone is being played.
Japanese: そのかわり、同音連続の際は極短時間音孔を開閉操作して「音を打つ」（音を区切る）。
English: This is a traditional technique for playing the shinobue which is called 'uchiyubi' (lit. tapping finger), and it is often used in the music of rites and festivals such as matsuri-bayashi (Japanese music), kagura (sacred music and dancing performed at shrine), and shishimai (lion dance).
Japanese: これは「打ち指」と呼ばれる伝統的演奏技法であり、祭囃子・神楽・獅子舞等の祭礼音楽において特に多用される。
English: The flute sound of festivals is commonly expressed using the onomatopoeia 'pi-hyarara,' and 'hyarara' perfectly represents the characteristic of the uchiyubi technique.
Japanese: 祭り笛の音は俗に「ぴーひゃらら」と擬音で表現されるが、「ひゃらら」の部分が「打ち指」技法の特色をよく表している。
English: To produce semitones without using basic fingering, it is preferable to raise or lower the scale by closing a finger hole by half, slightly adjusting the breathing and the angle of the mouthpiece rather than using the complicated cross fingering technique.
Japanese: 基本運指以外の「半音」を出す際には、複雑な指使い（「クロスフィンガリング」）をあまり用いず、指孔の半開や息と歌口の角度（マウスピース(楽器)アンブシュア）を微妙に調整して音程を上げ下げする方法のほうが好まれる。
English: Lowering the scale is called 'meri' (the technique of lowering the chin in conjunction with fingering and breath technique), while slightly raising the scale is called 'kari' (the technique of raising the chin in conjunction with fingering and breath technique) (refer to the 'Playing' section of 'Shakuhachi').
Japanese: 音程を下げることを「メリ」、微妙に音程を上げることを「カリ」と呼ぶ（「尺八」の奏法も参照されたい）。
English: In some pieces which have been newly composed in recent years, the techniques of tonguing and vibration are used as 'the modern style of playing' like they are used with Western flute and piccolo.
Japanese: 近年の新作曲では、西洋のフルートやピッコロ同様にタンギング、ビブラートも「現代奏法」として用いられることがある。
English: Other special techniques (portamento, flutter-tonguing, glissando, trill, etc.) are under development.
Japanese: その他特殊奏法（ポルタメント、フラッタータンギング、グリッサンド、トリル等）も開拓されつつある。
English: In the Meiji period, musical notation using numerals modeled on the numeric musical notation of the harmonica came to be used in Fukuhara School nagauta bayashi, and became widespread among other schools and fields.
Japanese: 明治期にハーモニカの数字譜を手本として、数字による記譜が福原流長唄囃子で行われるようになり、他の流派・分野にも広がった。
English: In the Fukuhara School, a score is vertically indicated, and the music pitch is indicated using numerals (the ryoon (lower tone) is indicated using Chinese numerals, while the kanon (medium-higher tone) is indicated using Arabic numerals).
Japanese: 福原流では楽譜は縦書きで、音程は数字（呂音＝低音は漢数字、甲音＝中高音はアラビア数字）で表す。
English: Rhythm is expressed by drawing a vertical line after the number to indicate that the note value is to be extended (drawing a diagonal line instead of a number).
Japanese: リズム（拍子）は数字の横に縦線を引いたり音価を延ばすことを示す記号（数字の代わりに斜線を引く）を用いて表現する。
English: In terms of Western musical instruments, the shinobue is a transposing instrument, and numeric notation is a form of tablature.
Japanese: つまり、西洋の管楽器で言えば移調楽器であり、「数字譜」もタブラチュアの一種である。
English: In such cases, only the pitch is indicated in the numeric musical notation while the rhythm is indicated in the staff notation.
Japanese: この場合は数字譜は音程を簡略に記すのみで、リズム部分は五線譜に任せて省略する場合もある。
English: It is possible to go up by one octave in both scores, but the timbre and atmosphere would become completely different.
Japanese: いずれの譜も1オクターブ上げて演奏することが可能であるが、音色と表情が大きく異なった曲になる。
English: Meanwhile, in the music for rites and festivals such as matsuri-bayashi (Japanese music) music was been handed down orally and by imitation, while notation was used in only some areas.
Japanese: 一方、祭囃子など、祭礼音楽では口承と手真似による伝承が主で、楽譜の使用は一部地域に限られていた。
English: However, the number of areas in which numeric and staff notation have become supplementary or widely used has increased in recent years.
Japanese: だが、近年は数字譜・五線譜を補助的あるいは積極的に用いる地域も増えつつある。
English: If the tones are written in staff notation, they are indicated with few key signatures since the shino-bue is a transposing musical instrument with a fundamental tone of C and fingering 1.
Japanese: なお、五線譜によって記譜する場合、通常は運指「一」の基本音＝「C」（階名）の移調楽器としてなるべく調号が少ない譜面で表すことが多い。
English: Utaemon NAKAMURA, the sixth (January 20, 1917 - March 31, 2001) was a kabuki (traditional drama performed by male actors) actor representative of the postwar period.
Japanese: 六代目中村歌右衛門（ろくだいめなかむらうたえもん、1917年（大正6年）1月20日−2001年（平成13年）3月31日）は戦後を代表する歌舞伎役者。
English: He was committed to kabuki, especially female roles throughout his life and was called the greatest actor among the kabuki actors in the postwar period.
Japanese: 生涯を通じて歌舞伎、それも女形に専念し、戦後の歌舞伎界に最高峰と呼ばれた。
English: He only performed kabuki and Japanese dance and did not appear in movies nor TV dramas.
Japanese: 歌舞伎・舞踊以外の演劇活動は行わず、映画やテレビドラマに出演することもなかった。
English: He was born as the second son of Utaemon NAKAMURA (the fifth), the acting master in the Meiji period, on January 20, 1917.
Japanese: 1917年（大正6年）1月20日、明治の名優中村歌右衛門(5代目)の次男として生まれる。
English: He was adopted by the Kawamura family, his mother's parental house, in childhood, so his real name became Fujio KAWAMURA.
Japanese: 幼少時に母親の実家、河村家に養子入りしたため、本名は河村藤雄となる。
English: His father, Utaemon V was the acting master who dominated the then theater world as the chief of the executive artistry committee of Kabuki-za Theatrical Corporation and spent his childhood in the lap of luxury as a son of a distinguished family.
Japanese: 父・五代目歌右衛門は歌舞伎座幹部技芸委員長として当時の劇界を支配する名優であり、御曹司として何不自由ない幼年時代を過ごした。
English: He succeeded to Kotaro NAKAMURA III in "Sanada Sandaiki" (three generations of the Sanada family) as his debut at the Shintomiza Tokyo in October, 1922.
Japanese: 1922年（大正11年）、10月東京新富座で『真田三代記』で三代目中村児太郎を襲名して初舞台。
English: His stage life seemed smooth sailing, but when his brother Fukusuke NAKAMURA V (commonly called Kei-chan Fukusuke) died from disease in 1933, it was turned around.
Japanese: 順風満帆に思えた舞台人生だが、1933年（昭和8年）に兄・五代目中村福助（俗に慶ちゃん福助と呼ばれた）が病没するや、それは一転する。
English: In November of that year, he succeeded to Fukusuke NAKAMURA VI by acting Hatsugiku of "Judanme (Act X) of Ehon Taikoki" (The Picture Book of the Meritorious Prince) at Kabuki-za Theater on his father's wishes.
Japanese: この年11月、父の意向により歌舞伎座『絵本太功記・十段目』の初菊で六代目中村福助襲名。
English: His father, Utaemon V died in 1940, Fukusuke was left alone in the kabuki world so young.
Japanese: 1940年（昭和15年）には父五代目歌右衛門が没し、若き福助は歌舞伎界の孤児となる。
English: On this occasion, Kikugoro ONOE V, who assumed the next generation, gained power rapidly, and people around Utaemon V gathered around Kikugoro without scruple after Utaemon V's death.
Japanese: このとき、すでに次世代を担う尾上菊五郎(6代目)の台頭はめざましく、五代目没後周囲の人々は手のひらを返すようにして菊五郎のもとへ集まった。
English: Fukusuke, who had been treated as a son of the distinguished family of the most influential person in the theater world, did not even have a guardian.
Japanese: それまで劇界第一の実力者の御曹司として遇されてきた福助には後見者すらなかったという。
English: Fukusuke lost the dominant backing, but he succeeded to Shikan NAKAMURA VII by acting the previously cited Hatsugiku and Gonpachi of "Ukiyozuka Hiyoku no Inazuma" at the Kabuki-za Theater in October, 1941.
Japanese: 有力な後盾を失った福助は、1941年（昭和16年）10月歌舞伎座において、前述の初菊、『浮世柄比翼稲妻（鈴が森）』の権八などで六代目中村芝翫を襲名した。
English: He asked Kichiemon NAKAMURA I to allow him to enter the Kichiemon troupe, had training as a young actor of female roles, and was under the tutelage of senior acting masters such as Kichiemon, Baigyoku NAKAMURA III in Osaka, and Enjaku JITSUKAWA II.
Japanese: 中村吉右衛門(初代)を頼んで吉右衛門劇団に入り、ここで若手女形としての修行を重ね、吉右衛門や大阪の中村梅玉(3代目)、實川延若(2代目)ら先輩の名優の薫陶をうける。
English: There were not so many actors of female roles in the Kichiemon troupe, so he was actively selected to act major roles especially since the later stages of the war, replacing his real brother Tokizo NAKAMURA III, who had played opposite to Kichiemon for a long time, and Kichiemon trained Utaemon by leading him on the stage.
Japanese: 吉右衛門劇団では同世代の女形が少なく、長らく吉右衛門の相手役をつとめてきた実弟の中村時蔵(3代目)に代わり、特に戦争末期ごろから積極的に大役に抜擢され、舞台上で吉右衛門がリードするかたちで歌右衛門を育てていった。
English: Utaemon was famous for his shining beauty in those days and ranked with Kikunosuke ONOE III (later Baiko ONOE VII) among young actors.
Japanese: このころの歌右衛門はその輝くような美貌で有名で、若手のなかでは三代目尾上菊之助（後の七代目尾上梅幸）と並び称された。
English: Besides, by performing many times on the scene of Maruhon Kabuki (kabuki plays of doll theatre origin) which Kichiemon was good at, he deepened the interpretation of the play and the understanding of the role and steadily acquired the classic beauty of style and techniques of modern psychological descriptions.
Japanese: それだけではなく、吉右衛門が得意とする丸本歌舞伎の舞台に多く出演することで、戯曲に対する解釈力と役の把握を深め、古典的な様式美と近代的な心理描写の手法を着々と身につけていった。
English: On the other hand, he acted together with Utaemon ICHIKAWA, who got intimate for his namesake, at the Actors Festival, and had mischief to act 'Mondonosuke SAOTOME, a woman.'
Japanese: その一方で俳優祭では、同名のよしみで懇意だった市川右太衛門と共演し、｢女早乙女主水之介」を演じるなどの茶目っ気があった。
English: He succeeded to Utaemon NAKAMURA VI in the Kabuki-za Theater reconstructed in 1951.
Japanese: 1951年（昭和26年）には再建なった歌舞伎座で六代目中村歌右衛門を襲名。
English: At kojo (a ceremony to announce that an actor takes a new stage name), only three people were there, including Kichiemon NAKAMURA I, Utaemon, and Fukusuke (present Shikan NAKAMURA VII) in front of a gilded folding screen, but the kojo itself was done by Kichiemon alone.
Japanese: 口上には金屏風を前に、中村吉右衛門(初代)、歌右衛門、福助（現・中村芝翫(7代目)）の三人のみで臨み、口上そのものは、吉右衛門のみが行った。
English: After Kichiemon died, he started a voluntary workshop named 'tsubomi-kai' in 1954 and had many experimental approaches.
Japanese: 吉右衛門没後は、1954年（昭和29年）、自主的勉強会「莟会」をスタートさせ、数々の実験的試みも行った。
English: He was certified as the youngest (forty-six years old) member of the Japan Art Academy in 1963 and an Important Intangible Cultural Property (Living National Treasure) in 1968.
Japanese: 1963年（昭和38年）には史上最年少（46歳）で日本芸術院会員、1968年、重要無形文化財（人間国宝）に認定された。
English: In 1969, following the death of Sadanji ICHIKAWA III, the chairman of the Japan Actor's Association, he was appointed to be the deputy chairman of the association.
Japanese: 1969年、日本俳優協会会長にあった市川左團次(3代目)の逝去を受け、会長代行に就任。
English: Then, in 1971, he was officially appointed as chairman of the association and served the position for twenty eight years until 1999.
Japanese: その後1971年（昭和46年）には正式に同協会会長に就任し1999年（平成11年）まで28年もの長きにわたりその職を務めた。
English: In 1996, he received Grand Cordon of the Order of the Sacred Treasure (it was the first time for a living person to receive the Grand Cordon in the entertainment industry).
Japanese: 1996年、勲一等瑞宝章を授与（芸能界初の勲一等生存者叙勲）されている。
English: He had many overseas performances in the United States in 1960 as the beginning, Soviet Union (present Russia), Hawaii, Canada, England, Germany, and France.
Japanese: 海外公演も1960年（昭和35年）のアメリカ公演を皮切りにソビエト連邦（現ロシア）、ハワイ、カナダ、イギリス、ドイツ、フランスなど多数。
English: He performed in front of Elizabeth II from the United Kingdom who visited Japan in 1975, and devoted himself to introduce Kabuki overseas.
Japanese: 1975年（昭和50年）には来日した英国のエリザベス2世(イギリス女王)の前で公演を行うなど、歌舞伎の海外への紹介に尽力した。
English: In the years from 1975 to 1980, it became noticeable that his legs were weakened, so a performance labeled as 'once in a lifetime' started to be played.
Japanese: 昭和50年代後半になると、足の衰えが顕著になり始め、「一世一代」と銘打たれた興行も見られるようになった。
English: He carefully performed and fulfilled many major roles that he was good at such as Yaegaki-hime of "Jusshuko" (Incense Burning) and Yatsuhashi of "Kago Tsurube" (Basket bucket) and his last performance of the role was even heroic.
Japanese: 得意としていた大役の数々、例えば『十種香』八重垣姫や『籠釣瓶』の八つ橋などを丁寧に演じ、打ち収める姿は悲壮ともいえた。
English: However, he actively supervised (directed) plays in the meantime and instructed the younger Jakuemon NAKAMURA IV, Tamasaburo BANDO V, and Fukusuke NAKAMURA IX.
Japanese: しかし、そんな中でも舞台の監修（監督）を積極的に行い、後進の中村雀右衛門(4代目)、坂東玉三郎(5代目)、中村福助(9代目)らに指導を行っている。
English: It was said that Utaemon VI suffered from congenital dislocation of his left leg, so he was laid up for a few years since it got worse when he was young but could eventually walk again after major surgery.
Japanese: 六代目歌右衛門は、先天性の左足脱臼を患っており、幼少時にそれが悪化して数年寝込み、大手術を行ってやっと歩けるようになったといわれる。
English: When he was young, he caused an incident when he ran away with his male attendant and escaped to hot springs.
Japanese: 若手時代付き人の男性と駆け落ち、温泉地に逃亡するといった事件も起こしている。
English: He started to behave like a woman in his private life after his wife died.
Japanese: 私生活も女性のごとく振舞うようになったのは、最愛の妻を亡くしてからであったという。
English: He spoke very politely to people and was soft in manner, but he was actually resolute to carry through to the end once he decided to do something and sensible to pull back when he should do so.
Japanese: 人に対しては、非常に丁寧な言葉を使い、物腰もやわらかかったが、実際は、一度決めたら最後までやり通す意志の強さと、引くべきところは引くという良識も兼ね備えていた。
English: He was fortunate to have many good rivals that led Utaemon to grow up.
Japanese: 多くの良きライバルに恵まれていたことが歌右衛門の成長のもととなった。
English: Both of them regarded the same characters as their successful characters--Shirabyoshi Hanako of "Musume Dojoji," Tamate-Gozen of "Sesshu Gappo ga Tsuji," Onoue and Ohatsu of "Kagamiyama," Okaru, Tonase and Oishi of "Chushingura,"--these were the pearls of post-war Kabuki as stages where both actors rivaled each other.
Japanese: それぞれが当たり役とした『娘道成寺』の白拍子花子、『合邦辻』の玉手御前などをはじめ『鏡山』の尾上とお初、『忠臣蔵』のおかる・戸無瀬・お石などは、両優が火花を散らす舞台として戦後歌舞伎の精華であった。
English: Also, Ganjiro NAKAMURA II was the rival and the best friend as their fathers were.
Japanese: また、中村鴈治郎(2代目)は双方の父親と同様ライバルでもあり、無二の親友でもあった。
English: The stages that both east and west Narikoma-ya performed with great chemistry, such as Omiwa and Fukashichi of "Imoseyama," Hanjo and Funaosa of "Sumida-gawa," Masaoka and Yashio of "Meiboku Sendai Hagi," Onoue and Iwafuji of "Kagamiyama," Kenreimonin and Cloistered Emperor Goshirakawa of new Kabuki, "Kenreimonin" attracted audiences.
Japanese: 『妹背山』のお三輪と鱶七、『隅田川』の班女と舟長、『先代萩』の政岡と八汐『鏡山』の尾上と岩藤、そして新歌舞伎『建礼門院』の建礼門院と後白河法皇、など東西成駒屋の息のあった舞台は観客を魅了した。
English: When Ganjiro II died, Utaemon grieved saying 'he was a brilliant person and took wonderful performance with him.'
Japanese: 二代目鴈治郎が没した時は「花のある方でしたねえ。素晴らしい芸を持っていかれました」と嘆いたほどであった。
English: When his son Tojuro SAKATA IV succeeded to Ganjiro NAKAMURA III he had kojo and performed Koharu of "Kawasho, Shinju Ten no Amishima" (Double Suicide) in spite of his handicapped body.
Japanese: その息子である坂田藤十郎(4代目)が三代目中村鴈治郎を襲名する際は、不自由な身体を押して口上や『心中天の網島・河庄』の小春を務めている。
English: Having been a disciple of Ganjiro NAKAMURA I, Hasegawa was connected to Utaemon as a disciple of the same Narikoma-ya line.
Japanese: 長谷川自身、初代中村鴈治郎の門弟であったことから歌右衛門とは成駒屋同士のつながりがあった。
English: In August 1954, both of them went on a Hokkaido tour with a troupe of actors.
Japanese: 1954年（昭和29年）8月、両者は一座を組んで北海道巡業を行っている。
English: There were ulterior motives in both of the Toho Co., Ltd. side, which Hasegawa belonged to and was searching for an actor of female roles, and Utaemon, who was searching for personal contacts outside Shochiku Co., Ltd.
Japanese: これには、長谷川が所属している東宝側が女形を求めていたことと、歌右衛門が松竹以外の人脈を求めていたからという思惑が動いていた。