nntsuzu/KFTT huggingface dataset:
English: Later it included 'Midnight Yose' within the program 'ABC Young Request' to broadcast routines performed for the ABC Society for Kamigata Rakugo.
Japanese: のちには「ABCヤングリクエスト」内に「ミッドナイト寄席」というコーナーを設けて「上方落語をきく会」での演目を放送した。
English: In the mean time, grand household names were restored: Harudanji KATSURA III in 1959 and Shokaku SHOFUKUTEI VI in 1962.
Japanese: そのような中で1959年（昭和34年）に3代目桂春團治、1962年（昭和37年）に6代目笑福亭松鶴と大名跡が相次いで復活。
English: The number of the tellers of rakugo stories steadily increased: TSUYU no Gorobe II, Matsunosuke SHOFUKUTEI and Bunga KATSURA (III) who all joined the rakugo world almost simultaneously with those new household names, Somemaru HAYASHIYA III who was their age though starting rakugo before the War, Somegoro HAYASHIYA (III), Bunko KATSURA (IV), Beishi KATSURA, and Kacho TSUKITEI, all of whom started in the late 1950s and were improving their skills as mid-level storytellers.
Japanese: この二人とほぼ同時期に入門した露の五郎兵衛2代目、笑福亭松之助、桂文我(3代目)、戦前入門ながら彼らとは同世代の3代目林家染丸のほか、林家染語楼(3代目)、昭和30年代前半入門組の桂文紅(4代目)、桂米紫、月亭可朝などの中堅も力をつけてくるなど、落語家の人数も着実に増え始めた。
English: Overcoming power schism, Kamigata rakugo united and formed the Kamigata Rakugo Association (whose first chairman was Somemaru III) in 1957, heading for its miraculous revival.
Japanese: そして分裂していた上方落語は1957年（昭和32年）、上方落語協会を結成して一つにまとまり（初代会長3代目染丸）、奇蹟的な復興へと向かっていった。
English: In the mid 1960s, vigorously recruited disciples of Shokaku, Beicho, Harudanji and Bunshi (then Kobunshi III) rose to popularity against the background of the TV age and a boom of late-night radio shows.
Japanese: 昭和40年代に入ると、松鶴、米朝、春團治、文枝（当時は3代目小文枝）らが積極的に採り続けてきた弟子たちが、テレビ時代・深夜放送ブームを背景に台頭。
English: The following rakugo storytellers held center stage: Kacho, Nikaku SHOFUKUTEI (III), Sanshi KATSURA, Tsuruko SHOFUKUTEI, Shuncho KATSURA (II), Tsurube SHOFUKUTEI, and Zakoba KATSURA (II) (then Chomaru KATSURA).
Japanese: 可朝、笑福亭仁鶴(3代目)、桂三枝、笑福亭鶴光、桂春蝶(2代目)、笑福亭鶴瓶、桂ざこば(2代目)（当時は桂朝丸）らが注目を浴びる。
English: In 1972 he regularly appeared on almost every TV and radio show, rapidly rising to stardom.
Japanese: 1972年（昭和45年）には、テレビラジオのレギュラー番組にひっぱりだこで、一躍スターダムにのしあがった。
English: Master storytellers such as Shokaku found it acceptable as a means to publicize Kamigata rakugo so that the younger tellers of rakugo advanced into mass media.
Japanese: 松鶴ら師匠連は、若手のマスコミ進出を上方落語を広く認知してもらう最良の手段として容認した。
English: It was around this time that the target of radio relays of rakugo shows shifted from traditional stand-up comedies and Tokyo rakugo to Kamigata rakugo.
Japanese: ラジオによる寄席中継が、従来の漫才や東京落語から、上方落語中心になったのもこのころだ。
English: In October 1971 ABC held '1080-Minute Rakugo Show' commemorating its twentieth anniversary.
Japanese: 1971年（昭和46年）10月には朝日放送が開局20周年を記念して「1080分落語会」を開催。
English: The following radio shows particularly attracted young listeners: 'Onward Rakugo Selection' by Osaka Broadcasting Corporation and 'Kamigata FM Yose' by FM Osaka.
Japanese: ほか大阪放送の「オンワード落語特選」、エフエム大阪の「上方FM寄席」などが、若者を中心に多くのファンを開拓した。
English: Solo rakugo shows began to be held at big theaters, starting with 'Beicho Spot Show' in 1966.
Japanese: 一方では1966年（昭和41年）の「米朝スポットショー」を皮切りに、大ホールでの独演会が行なわれるようになった。
English: Widely known as a media personality, Beicho held a number of his solo and family shows.
Japanese: 特に米朝は放送タレントとしての知名度のフォローもあって独演会や一門会を展開。
English: Kobunshi also held his solo shows in Tohan, together with his fans who gathered at the 'Kobunshi Club.'
Japanese: 文枝も「小文枝の会」に集うファンと一体となった独演会を東阪で開催した。
English: As rakugo's popularity increased, groups of amateur rakugo storytellers called 'Tengu-ren' before the War were formed one after another.
Japanese: 落語人気とともに、戦前は「天狗連」と呼ばれた素人落語のサークルも次々と生まれた。
English: Many talented students became professional storytellers, providing the backbone of today's Kamigata rakugo industry.
Japanese: ここから多くの俊才がプロの門をくぐって、現在の上方落語界を支えている。
English: In 1986 Shokaku VI who led post-War Kamigata rakugo, died.
Japanese: 1986年（昭和61年）、戦後の上方落語を牽引してきた6代目松鶴が他界する。
English: Soon after his death Shijaku KATSURA (II) rose to popularity and became so popular that he acquired the nickname of 'King of Laughter' at the height of the so-called 'MANZAI (stand-up comedy) boom.'
Japanese: 前後して桂枝雀(2代目)が台頭し、いわゆる「MANZAIプーム」の渦中にありながら、のちに「爆笑王」と呼ばれる程の人気を築く。
English: In the 1990s what we call 'Owarai (-gei)' (comedies) including rakugo and manzai continued to attract the public's interest.
Japanese: 平成に入っても、落語、漫才などいわゆる「お笑い(芸)」に対する世間の関心は下がらなかった。
English: Since 'the MANZAI boom' the center stage of comedies has shifted from the yose theater to the broadcasting media.
Japanese: 「MANZAIプーム」以降、お笑いの主舞台は寄席から放送メディアに移る。
English: The number of engei programs, by contrast, decreased and popular rakugo storytellers often appeared in variety shows.
Japanese: その反面演芸番組は減少し、有力落語家のバラエティ番組への起用が相次いだ。
English: As a result, rakugo storytellers were subsumed under the abstract name of 'owarai-geinin' (comedians) together with stand-up comedians, comic-chat artists, slapstick comedians so that the spectators and viewers could not distinguish one from the others.
Japanese: この結果、落語家は「お笑い芸人」という抽象的名称の下に漫才師・漫談家・コント芸人と観客・視聴者レベルでボーダーレスとなった。
English: Many want to become comedian TV personalities (who are effectively stand-up, comic-chat or slapstick comedians and who likewise have little opportunity to demonstrate their art).
Japanese: 放送タレントとしてのお笑い芸人（実質上は漫才・漫談・コントだが、彼らとて放送メディアで本来の芸を披露する機会は少ない）を希望する人材は多い。
English: Fewer people in fact become rakugo storytellers than those during the 1960s and 1970s.
Japanese: 具体的に落語の世界に入る者は、昭和40年代に比べると少なくなっている。
English: In Kamigata rakugo, however, the premature death of Shijaku II in 1999 was also influential to a large extent.
Japanese: だが、上方落語においては1999年（平成11年）の2代目枝雀の早世の影響も大きい。
English: It was not easy to fill the gap left by charismatic Shijaku who was very popular.
Japanese: カリスマ性を持った人気者だった枝雀の穴は、容易に埋められるものではなかった。
English: The successive deaths of the following promising storytellers who were born after the War also came as a blow to Kamigata rakugo: Shokaku SHOFUKUTEI (VII), Utanosuke KATSURA (II), Kimaru KATSURA, Somegoro HAYASHIYA (IV), and Kiccho KATSURA.
Japanese: また、笑福亭松鶴(7代目)、桂歌之助(2代目)、桂喜丸、林家染語楼(4代目)、桂吉朝といった、将来を嘱望されていた戦後生まれの落語家の相次ぐ他界も痛手であった。
English: Koharudanji KATSURA (III) and Kakusho SHOFUKUTEI (Muppet Rakugo) actively held rakugo shows abroad.
Japanese: 海外公演を積極的に進める桂小春団治(3代目)や笑福亭鶴笑（マペット落語）。
English: In 2007 Kakashi KATSURA assumed the grand household name of Utanosuke KATSURA (III), which was also his master's name, and in 2008 Kobeicho KATSURA (III) inherited the name of Yonedanji KATSURA V for the first time in fifty years.
Japanese: 2007年には桂歌々志が師匠の名跡である桂歌之助(3代目)を、2008年には桂小米朝(3代目)が半世紀ぶりに5代目桂米團治を襲名。
English: In 2009 grand household or famous names which have been long in disuse were expected to be assumed: Haruna KATSURA will be rechristened Shuncho KATSURA III, Kotsuru SHOFUKUTEI Shikaku SHOFUKUTEI, and Tsukushi KATSURA Bunzo KATSURA V.
Japanese: 2009年以降も桂春菜の3代目桂春蝶、笑福亭小つるの笑福亭枝鶴、桂つく枝の5代目桂文三など、長く途絶えていた大名跡や著名な名跡の襲名が控えている。
English: In 2010 onwards Tomaru KATSURA will succeed to Shiodai KATSURA IV and Kogoro KATSURA to Nanten KATSURA II.
Japanese: 2010年以降は桂都丸の4代目桂塩鯛、桂こごろうの2代目桂南天等の襲名が控えている。
English: As of 2008, 114 Kamigata storytellers participated in 'The Great Ginza Rakugo Festival' held by 'the Rokuninnokai,' strengthening friendship between the eastern and western storytellers.
Japanese: 「六人の会」主催の「大銀座落語祭」に参加する上方落語家が2008年現在114人に迄に達し、東西落語家の親睦交流が深まった。
English: On the other hand, Kamigata storytellers increasingly appear in major yose theaters in Tokyo, including the Fukagawa Edo Museum, the Oedo Nihonbashi Tei Hall, the National Engei Hall, and Yoshimoto Asakusa Kagetsu.
Japanese: 一方で、深川江戸資料館、お江戸日本橋亭、国立演芸場、よしもと浅草花月などの主な演芸場における上方落語家出演も増えた。
English: Kamigata rakugo mainly uses the Kansai dialect, which is not easy for those who do not come from the Kinki region.
Japanese: 主に関西弁を用いるため、近畿地方外出身者がその会得に苦労する点でもある。
English: Recently, some storytellers have performed rakugo in their own dialects (the Kishu dialect).
Japanese: また近年は、自身の出身地に由来する方言（紀州弁など）で演じる落語家もいる。
English: While many characters speak Kamigata dialects in Edo rakugo (e.g. 'A Pair of Sake Bottles,' 'Matsu the Idiot,' 'On the Ferry Boat' and 'Gion-e' - ceremony for commemorating the dead in Gion), few characters in Kamigata rakugo speak the Tokyo dialect.
Japanese: 江戸落語では上方の言葉を話す人物が多く出るが(例「御神酒徳利」「金明竹」「三十石」「祇園会」）、上方落語では江戸言葉はあまり出ない。
English: Before the War Kamigata rakugo did not appeal to the audience in Tokyo because of its different dialects and style.
Japanese: 戦前までは言葉や芸風の違いで、上方落語は東京の客層には受け入れてもらえなかった。
English: Kosan YANAGIYA (III) and others transplanted many of the classical Kamigata routines to Tokyo.
Japanese: 古典落語については、柳家小さん(3代目)らによって多くのネタが東京に移植された。
English: This caused certain Kamigata routines to have different titles from their Edo counterparts though the contents are the same.
Japanese: そのため、同じ内容でも上方落語と江戸（東京）落語で題名が異なる噺がある。
English: However, this does not apply to those routines which are told in either region as communication between the east and the west improved after the War.
Japanese: ただし片方にしかない噺については、東西交流の進んだ太平洋戦争後はこの限りではない。
English: Below are the routines transplanted from Edo to Kamigata: 'Rotten Bean Curd' ('Chiritotechin' in Kamigata), 'Revenge at Cherry-blossom Viewing' ('Sakuranomiya' in Kamigata), 'Incense for Invoking the Dead (rakugo)' ('Takao' in Kamigata), 'Sumo Wrestler's Loincloth' ('A Thief's Intermediary' in Kamigata), 'Hot Pepper Vendor' ('Pumpkin Vendor' or 'Pumpkin' in Kamigata), 'Shibahama' ('A Dream of a Leather Wallet' in Kamigata), etc.
Japanese: 江戸→上方：「酢豆腐」（上方では「酢豆腐」）、「花見の仇討」（同「桜の宮」）、「反魂香(落語)」（同「高尾」）、「締めこみ」（同「盗人の仲裁」）、「唐茄子屋政談」（同「南京屋政談」または「なんきん政談」）、「芝浜」（同「夢の革財布」）など。
English: The following Kamigata routines were adopted in Edo: 'Camel' (in rakugo), 'Second Brewing,' 'Udon Noodle for Flu' ('Udon Restaurant' (rakugo) in Tokyo), 'A Cat's Misfortune,' 'Play Yoshiwara,' 'Playing Go with a Thief,' 'The Ghost of Fudobo,' 'Hallelujah!' 'Aona' (Greens), 'Orange Peddler' ('Pumpkin Vendor' in Tokyo).
Japanese: 上方→江戸：「らくだ(落語)」、「二番煎じ」、「かぜうどん」（東京では「うどん屋(落語)」」、「猫の災難」、「二階ぞめき」、「碁どろ」、「不動坊」、「高砂や」、「青菜」、「みかん屋」（同「かぼちゃ屋」）。
English: Time Udon Noodles' ('Time Soba Noodles' in Tokyo), 'On the Ferry Boat,' 'The Poor Man's Cherry-blossom Viewing' ('Cherry-blossom Viewing at a Slum' in Tokyo), 'Praise a Boy,' 'Praise a Cow,' 'Descent into Hell' ('Hell Tour' in Tokyo), 'Enemy at the Inn' ('Revenge at the Inn' in Tokyo), 'Lottery at Kozu Shrine' ('Lottery and the Inn Keeper' in Tokyo), 'Irachi's Pilgrimage to Atago' ('Horinouchi' in Tokyo), 'Konoike Dog' ('Butler Dog' in Tokyo), 'Kikue in the Buddhist Altar' ('White Kimono' in Tokyo).
Japanese: 「時うどん」（同「時そば」）、「三十石」、「貧乏花見」（同「長屋の花見」）、「子ほめ」、「牛ほめ」、「地獄八景亡者戯」（同「地獄めぐり」）、「宿屋仇」（同「宿屋の仇討」）、「高津の富」（同「宿屋の富」）、「いらちの愛宕詣り」（同「堀の内」）、「鴻池の犬」（同「大どこの犬」）、「菊江仏壇」（同「白ざつま」）。
English: Superstitious Brothel' ('Credulous Brothel' in Tokyo), 'Selling Bamboo Baskets' ('Seller of Sieves' in Tokyo), 'Renting a House' ('Kobe KOGOTO' in Tokyo), 'Dying Incense' ('Time Out' in Tokyo), 'Sasaki's Judgment' ('Sasaki's Politics' or 'Daisuke IKEDA' in Tokyo), 'Fox in Takakura' ('Fox in Oji' in Tokyo), 'All Shaven Heads' ('Pilgrimage to Mt. Oyama' in Tokyo), 'Bed,' 'Recent Son,' 'Terrible Manju,' 'Korekiyo,' 'Straw Umbrella Hat and Go Players,' 'Three Written Vows,' 'Kitten,' etc.
Japanese: 「けんげしゃ茶屋」（同「かつぎ茶屋」）、「米揚げ笊」（同「ざる屋」）、「借家借り」（同「小言幸兵衛」）、「立ち切れ線香」（同「たちきり」）、「佐々木裁き」（同「佐々木政談」「池田大助」）、「高倉狐」（同「王子の狐」）、「百人坊主」（同「大山詣り」）、「寝床」、「近日息子」、「饅頭こわい」、「景清」、「笠碁」、「三枚起請」、「仔猫」など。
English: The following are performed only in Kamigata: 'Finally Found,' 'Winter Play,' 'Hyobe's Strategy,' 'Lighting a Cigarette,' 'Long Live Tsuchibashi!' 'Piss at Arima,' 'You've Got it Wrong,' 'Greedy Kumataka,' etc.
Japanese: 上方のみ：「百年目」、「冬の遊び」、「算段の平兵衛」、「莨の火」、「土橋万歳」、「有馬小便」、「日和違い」、「欲の熊鷹」など。
English: The following are performed only in Tokyo: 'Three Houses in a Terrace,' 'Greed,' 'The Carpenter's Finishing Touch,' 'Tsukuda Festival,' 'Yokachoro Tune,' 'The Brothel's Waiting List,' etc.
Japanese: 江戸のみ：「三軒長屋」、「黄金餅」、「大工調べ」、「佃祭り」、「よかちょろ」、「五人廻し」など。
English: Central to Kamigata rakugo, the travel routines are divided into four: 'Travel to the East,' 'Travel to the West,' 'Travel to the South,' and 'Travel to the North.'
Japanese: 上方落語の中心をなす「旅ネタ」は、「東の旅」「西の旅」「南の旅」「北の旅」の四つに分かれる。
English: Travel to the East' is a saga that takes more than six months to complete if performed in its entirety.
Japanese: 「東の旅」は全てをきちんと演じると優に半年かかるという大河落語である。
English: It consists of 'Introduction,' 'Easting Place,' 'Spiteful Fox,' 'Acrobatics,' 'Three Travellers,' 'Lucky Sake,' 'On the Boat,' 'Tavern Town,' 'Lump on Benkei's Face,' 'On the Ferry Boat.'
Japanese: 「発端」、「煮売屋」、「七度狐」、｢軽業｣、「三人旅」、「運つく酒」、「矢橋舟」、「宿屋町」「こぶ弁慶」、「三十石」などで構成される。
English: Other travel routines include 'Descent into Hell' in which the protagonist tours Hell, 'Voyage from Ogura' ('Dragon King's Palace') which is an undersea travelogue, 'Moon Palace and City of Stars' telling of a celestial trip, and 'Islands Tour' ('Farting Islands Tour') which is about a trip to foreign countries.
Japanese: このほかの旅ネタには、冥土の旅に「地獄八景亡者戯」、海底の旅に「小倉船」（「竜宮界竜の都」）、天空の旅に「月宮殿星の都」、異国の旅に「島巡り」（「島巡り大人の屁」）がある。
English: Kamigata rakugo does not treat sentimental routines which constitute the axis of Edo rakugo alongside 'otoshi banashi' (rakugo in the strict sense), (and which refer to the humane stories in the strictest sense of the term and are closer to kodan storytelling without a final punch line as in 'Peony Lantern,' 'Bunshichi's Barber Shop,' 'The Spine-Chiller in Kasanegafuchi).
Japanese: 落とし噺（狭義の落語）と並んで江戸落語の軸を成す人情噺（狭義の人情噺。内容が講談に近く、落ちがない。「牡丹灯籠」、「文七元結」、「真景累ヶ淵」など）は、上方落語には存在しないと言ってよい。
English: Dying Incense,' 'Zakohachi the Grain Broker,' and 'Daimaruya Affair' which fall into sentimental routines in the broader sense include final punch lines.
Japanese: 広い意味での人情噺に含まれるとされる「立ち切れ線香」、「ざこ八」、「大丸屋騒動」などは落とし噺である。
English: There are some exceptions such as 'Gangster Oniazami' that does not have a punch line (and others that have been transplanted from the telling of war stories).
Japanese: ただし、「鬼あざみ」のように例外的にサゲがつかないネタもある（講釈から移植されたものなど）。
English: Beicho KATSURA said of this difference, 'Kamigata rakugo had little or no reason to tell sentimental stories which were dealt with by the puppet theater that was firmly established in Kamigata.'
Japanese: この差異に関して「上方では浄瑠璃（文楽）が確固たる地位を築いていたので、落語が人情噺を受け持つ必然性が薄かったからだろう」と桂米朝は述べている。
English: Today some storytellers perform sentimental routines in Kamigata style as communication between the east and the west has improved.
Japanese: 東西交流の進む現代では、人情噺を上方風の演出で口演する落語家がいる。
English: 1. Routines that perform kabuki plays as they have been transmitted:'Mt. Kagami,' 'Honno-ji Temple,' 'Jiraiya,' 'Tsunashichi.'
Japanese: 1.歌舞伎の芝居をそのままに演じるやり方：「加賀見山」「本能寺」「自来也」「綱七」
English: No, I work for a drugstore at 1 Chome, Nihonbashi and I thought of advertising the store here.
Japanese: 「いいえな。わたい、日本橋一丁目の薬屋の者だすねやが、ここで店の宣伝しょう思いまして。」
English: 2. Routines that switch from common rakugo storytelling to kabuki style: 'Kelp-roll Kabuki,' 'Octopus Kabuki,' 'Apprentice in the Warehouse,' 'A Pawnbroker's Kabuki,' 'Missing Foot,' 'The Seventh Step.'
Japanese: 2.普通の落語から芝居になるやり方：「昆布巻芝居」「蛸芝居」「蔵丁稚」「質屋芝居」「足あがり」「七段目」
English: (In most of these routines a character who is a great fan of kabuki improvises a kabuki play).
Japanese: （登場人物が芝居好きで俄で演じ出すという仕立てになっているものが殆ど）
English: Kabuki routines in Edo are staged in such a way that the storyteller makes a quick change in the middle of a sentimental story and the background setting is introduced.
Japanese: 江戸の芝居噺の演出は人情噺の途中から一転、衣装を引き抜き背景に書割を設ける。
English: Skilled in kabuki routines were Bunga KATSURA I during the Meiji period, Koharudanji KATSURA I during the Showa period and Kobunji KATSURA who moved to Tokyo.
Japanese: 明治期に初代桂文我、昭和に入って初代桂小春團治、東京に移った桂小文治などが得意としていた。
English: Most of the routines (especially those in the first group) are extinct due to the decline of Kamigata rakugo and kabuki.
Japanese: 上方落語や上方歌舞伎の衰退などが原因で、現在ではその殆ど（特に1.のやり方）が絶滅している。
English: However, Koharudanji I had NHK film some kabuki routines to transmit his art after he became a dancer.
Japanese: ただ、初代小春團治が花柳芳兵衛として舞踊家に転じたのち、芸の伝承のためNHKに幾つかのネタを映像として収録させていた。
English: Based on the films, Beicho KATSURA is now trying to restore 'Honno-ji Temple' and 'Sotten Kabuki.'
Japanese: 現在、桂米朝らがそれを元に「本能寺」や「そってん芝居」などの復活を試みている。
English: Those of Kamigata include 'Scrivenery' (or 'A Scrivener') by Yonedanji KATSURA IV, 'A Little Flute' by Beicho KATSURA III, 'Outdoor Haircut' by Somegoro HAYASHIYA III and 'Baby Racoon' by Junichi MITA.
Japanese: 上方では4代目桂米團治作「代書」（「代書屋」とも）、3代目桂米朝作「一文笛」、3代目林家染語楼作「青空散髪」、三田純市作「まめだ」などがある。
English: Today, many routines are created chiefly by Sanshi KATSURA ('My wife's Trip,' 'A Sea Bream,' and 'Before the Dawn of Golf') under the name of 'creative rakugo.'
Japanese: 現在は、桂三枝（「妻の旅行」、「鯛」、「ゴルフ夜明け前」などを創作）を中心に「創作落語」の名でさかんに作られている。
English: As in the case of 'Royal Shiruko' (sweet-bean soup with a rice cake) (which changed from 'Revised Zenzai' (sweet-bean past with a rice cake) to 'Cultural Shiruko,' which was modified as 'Zenzai Co., Ltd.' which in turn changed to 'Maxim's de Zenzai,' all of which goes back to a routine transplanted from Edo rakugo), some routines were revised by many storytellers so that their contents changed over time.
Japanese: 「御膳しるこ」（「改良ぜんざい」→「文化しるこ」→「ぜんざい公社」→「マキシム・ド・ゼンザイ」。元は江戸落語からの移植）のように多くの演者によって手が加えられていくうちに演題が変わっていったものもある。
English: Matsunosuke SHOFUKUTEI and Bunko KATSURA IV wrote new stories using the pennames, 'Koji AKASHI' and 'Saodake AOI,' respectively.
Japanese: 笑福亭松之助は「明石光司」、4代目桂文紅は「青井竿竹」の筆名で、新作を手がけていた。
English: Typical characters of rakugo routines include Kiroku, Seihachi, Osaki, Genbe, landlords and doctors (often called 'Shuan AKAKABE').
Japanese: 噺の登場人物は、喜六、清八、おさき、源兵衛、家主、医者（「赤壁周庵」の名が多い）など。
English: Kiroku (also known as Ki-ko or Ki-san) is a 'fool' figure corresponding to 'Yotaro' in Edo rakugo.
Japanese: 喜六（喜イ公、喜イさんとも）は、江戸の｢与太郎」にあたる「アホ」役。
English: He is different from the latter in that he has a job (often a shoemaker) and a wife (usually named 'Osaki' or 'Omatsu').
Japanese: 生業（下駄屋がよく出る）を持ち、妻帯（妻の名は「おさき」「お松」がよく用いられる）している点が「与太郎」と異なる。
English: He is somewhat cool in contrast to Yotaro who is a born idiot.
Japanese: 性格は、与太郎が天然の馬鹿と設定されることが多いのに対し、どことなく醒めたところがみられる。
English: Kumagoro and Hachigoro, popular characters in Edo rakugo, are played by Kiroku and Seihachi in Kamigata.
Japanese: 江戸落語によく出てくる熊五郎、八五郎は、上方では喜六・清八の役どころとなる。
English: In Kamigata Kumagoro and Hachigoro appear only in 'Camel' (where Kumagoro is called 'Impatient Kumagoro), 'Ghost in the Kitchen Stove,' 'Easygoing Kumagoro,' 'Hachigoro the Monk,' and 'Hachigoro.'
Japanese: 上方で熊五郎、八五郎の名が登場するのは「らくだ」「へっつい幽霊」に「脳天の熊五郎」（「らくだ」では「弥猛（ヤタケタ）の熊五郎」とも）、「八五郎坊主」に「八五郎」があるくらいである。
English: The chief carpenter of 'Three Houses in a Terrace' in Edo rakugo appears in Kamigata as Matabe the Assistant.
Japanese: また江戸落語「三軒長屋」などに出てくる大工の棟梁は、上方では手伝い（テッタイ）の又兵衛として登場する。
English: In productions where the period is unspecified or set from the Meiji period onwards when common people were allowed to have surnames, the performers occasionally introduce characters whose surnames relate back to the real names of the storytellers to whom they are related, and whose family names are common.
Japanese: 時代設定を特に定めない、あるいは庶民にも名字を名乗ることが許された明治以降に置いた演出では、演者にゆかりのある噺家の本名に因みかつ一般的な姓が出る場合がある。
English: (For example, the performers of the Shokaku VI family use 'Takeuchi-san' and those of the Hayashiya family 'Ohashi-san' or 'Okamoto-san').
Japanese: （例えば6代目松鶴一門なら「竹内さん」、林家一門なら「大橋さん」「岡本さん」）。
English: Some storytellers use a kendai only in certain routines and others rarely use it (like Harudanji KATSURA III, Shijaku KATSURA II and Sanshi KATSURA who gesticulate extensively during performance).
Japanese: もっとも、演じる噺によって使わない場合や、滅多に使わない落語家もいる。3代目桂春団治、2代目桂枝雀、桂三枝など大きな動きのある演目をする落語家など）。
English: Wooden clappers are usually put on the kendai and the performer holds them with his left hand to strike them against the desk if he wants to make sound.
Japanese: 普段は見台の上に置かれており、鳴らすときは左手で小拍子を持ち、見台を打つ。
English: They are also employed to give a cue to stagehands who produce sound effects such as ohayashi music and the ringing of a bell in the wings of the stage.
Japanese: また、舞台の袖でお囃子や鐘の音など効果音を出す裏方に合図を送るためにも使う。
English: A young storyteller rhythmically strikes the wooden clappers together to introduce the day's performers before the feature presentation starts, thus inviting spectators.
Japanese: 前座の若手が、調子をとって小拍子を打ち鳴らしながら口上を述べて客を集める用途もある。
English: In a creative routine a performer (Bunchin KATSURA) used the wooden clappers as the mouse of a PC, an exceptional case.
Japanese: 変わったところでは、創作落語でパソコンのマウス(コンピュータ)に見立てて使用した例（桂文珍）がある。
English: Nabira' on which a performer's name is written and 'mekuri' which is a stand that supports the nabira were only used in Kamigata until the Meiji period, though they are commonly used today; likewise nowadays common 'debayashi' (music played when a performer appears on stage) was exclusive to Kamigata until the early Showa period.
Japanese: 今日では普通に使用されている、演者の名前を書いた名ビラやそれを掲げておく台のメクリは明治時代まで、出囃子(落語)は昭和初期まで、上方の寄席でしか使用されていなかった。
English: When the storytellers says, for example, 'I'm going to Shin-machi (a red-light district), a very merry place' (from 'Three Written Vows'), the musicians in the backstage begin to play the shamisen as they sing, expressing the glamour of the district.
Japanese: たとえば、「新町にまいります、その陽気な事」（「三枚起請」）と演者が言うと、楽屋にいるお囃子が三味線を弾き唄を唄って華やかな遊里を表現する。
English: When, conversely, a character walks along a deserted street at night in 'Androgyny' or 'The Dish Mansion' for instance, the shamisen player makes a gentle sound to evoke a desolate scene.
Japanese: 逆に「ふたなり」「皿屋敷」などで登場人物が寂しい夜道を歩くときは、三味線が静かに弾かれ寂しい情景を表現する。
English: Thus, background music is often used to represent emotional landscapes though it can be used to simulate sounds of various objects like a moving ship in 'Pilgrimage to Nozaki.'
Japanese: 以上のように情景描写に使われる事が多いが、「野崎詣り」などでは舟が移動するなどの擬音に用いられる。
English: In 'musical routines' such as 'A Scavenger' and 'The Fortune-teller's Café,' the performer and the musicians chase one another.
Japanese: 「紙屑屋」「辻占茶屋」などの「音曲噺」では演者と掛け合いの型となる。
English: In kabuki routines like 'Octopus' Kabuki,' 'A Pawnbroker's Kabuki' and 'Honno-ji Temple,' background music play the role of off-stage music in kabuki theater.
Japanese: 「蛸芝居」「質屋芝居」「本能寺」などの芝居噺では、歌舞伎の下座音楽となる。
English: Bunchin KATSURA uses computer-generated mechanic sounds, a variant of hamemono.
Japanese: 桂文珍はコンピューターの機械音を用いる事があるが、これもはめものの一変形である。
English: Rakugo musicians are called 'geza' (off-stage) or 'hetari' (a warm-up), consisting of players of shamisen and 'narimono' such as drums and flutes.
Japanese: お囃子奏者は「下座」あるいは「ヘタリ」とも呼ばれ、三味線奏者と太鼓・笛などの鳴物奏者で構成される。
English: The shamisen player was on the brink of extinction after the death of Tomi HAYASHIYA (the wife of Somemaru HAYASHIYA II), who was designated as a selected intangible cultural property, as it became difficult to find her successors after the War.
Japanese: 三味線奏者は、戦後の後継者難から、選択無形文化財に指定された林家とみ（2代目林家染丸の妻）の没後滅亡の危機に晒された。
English: Beicho KATSURA III covered this in his program named "Beicho Family Warotei" (ABC Television).
Japanese: 3代目桂米朝が自身の番組『米朝ファミリー和朗亭』（朝日放送テレビ）で取り上げたこと。
English: Current leading shamisen players include Eika UTSUMI, Shiyo KATSURA (the wife of Shijaku II), Kazume HAYASHIYA (the wife of Kosome HAYASHIYA (V) and the elder sister of Ayame KATSURA (III)).
Japanese: 現代の代表的な三味線奏者としては内海英華、かつら枝代（2代目枝雀の妻）、林家和女（林家小染(5代目)の妻、桂あやめ(3代目)の姉）らがいる。
English: After the War, however, it was secretly revived within the Kamigata Rakugo Association though it became symbolic due to the Kamigata rakugo fad in the mid 1960s to the mid 1970s.
Japanese: 戦後、上方落語協会の部外秘の内規として復活したが、昭和40年代の上方落語ブームによって有名無実化した。
English: At the opening of the Tenma Tenjin Hanjotei Theater, Sanshi KATSURA who was the president of the Kamigata Rakugo Association planned to reinstitute shinuchi rank, but had to give it up because of overwhelming opposition.
Japanese: 天満天神繁昌亭の開設を機に、桂三枝上方落語協会会長が真打制度を復活させる計画だったが、反対意見が多く断念した。
English: When the term 'zenza' (warm-up) is used in Kamigata rakugo it therefore mostly designates the order of appearance.
Japanese: よって通常上方落語で「前座」などの言葉を用いる際は、出番を表す言葉として使われることが多い。
English: The word 'zenza' goes back to the Buddhist term 'maeza' by which name called were trainee monks who gave a talk before a high priest's lecture.
Japanese: 元は、仏教の高僧が説教をする際、出番前に話をする修行僧を「前座（まえざ）」と呼んだことに由来する。
English: Kaburi' (bite), also known as 'kaburitsuki' (digging in), 'tsukami' (grabbing) or 'kuitsuki' (nabbing) in Edo rakugo, refers to a storyteller who appears after the intermission.
Japanese: カブリ：「かぶりつき」、「ツカミ」、江戸落語では「くいつき」とも言う。