nntsuzu/KFTT huggingface dataset:
English: The players are in charge of background music, and they play the accompaniment & the sound effects in the area (called "Kuromisu") specially set up on the left side of the stage.
Japanese: また、劇中音楽(BGM)を担当し、舞台下手脇の専用の区域（黒御簾（くろみす）と呼ばれる）で伴奏音楽や効果音を演奏する。
English: They create various sound effects with their instruments, for example, a sound effect of water with a drum, or a sound effect of a temple bell using a gong.
Japanese: 効果音では、太鼓を使った水辺を表す音や鉦による寺院の鐘の音など、楽器を使ってさまざまな効果を表す。
English: The dramas of Ningyo Joruri progressed in accordance with the performance of Gidayu-bushi (a kind of Joruri), so the programs of Kabuki whose stories came from Ningyo Joruri (for example, "Yoshitsune Senbonzakura" [Yoshitsune and One Thousand Cherry Trees] & "Kanadehon Chushingura" [The Treasury of Loyal Retainers]) are similarly accompanied by Gidayu-bushi.
Japanese: 人形浄瑠璃は、義太夫節（浄瑠璃の一種）の演奏に合わせて劇が進行する構成であり、歌舞伎でも人形浄瑠璃から移入した演目（『義経千本桜』『仮名手本忠臣蔵』など）は同様に義太夫節が演奏される。
English: In Ningyo Joruri, the lines of the characters & descriptions of situations are all given by "Tayu" (a narrator) of Gidayu-bushi, while in Kabuki, lines are basically given by actors and Tayu only describes the situation.
Japanese: 人形浄瑠璃では登場人物の台詞と状況説明を全て義太夫節の太夫（語り手）が行うが、歌舞伎での台詞は基本的に役者が担当し、太夫は状況の説明のみを語ることになる。
English: And so, Gidayu-bushi in Kabuki is occasionally called "Takemoto" (also called "Chobo") to make a distinction between itself and that in Ningyo Joruri.
Japanese: このため、歌舞伎における義太夫節を竹本（チョボ）といって区別することがある。
English: Gidayu-bushi in Gidayu-kyogen is mainly played in the area (called "Yuka") specially set up on the right side of the stage.
Japanese: 義太夫狂言での義太夫節は主に舞台上手に専用の舞台（床（ゆか）という）で演奏する。
English: In contrast to Gidayu-bushi that developed in Osaka, they developed it in Edo, so they are called "Edo Joruri."
Japanese: 大阪で発展した義太夫節に対し、これらは江戸で発展したもので江戸浄瑠璃と呼ばれる。
English: Compared to the profound Gidayu-bushi, their characteristic is the witty and polished style of art, and Kiyomoto-bushi additionally possesses a sensitive flavor.
Japanese: 重厚な義太夫節に比べ軽妙洒脱な芸風が特徴で、清元節は更に繊細な持ち味を備える。
English: To know about Tokiwazu-bushi, such as "Seki no to" (The Door of the Barrier Station) & "Modori Kago" (The Palanquin Returning from Shimabara), or about Kiyomoto-bushi, such as "Michiyuki Tabiji no Hanamuko" (The Bridegroom Accompanying the Journey) & "Yasuna," please refer to the article of "Tokiwazu-bushi" or "Kiyomoto-bushi."
Japanese: ぞれぞれ、常磐津節・清元節を参照（常磐津節『関の扉』『戻駕』、清元節『道行旅路の花聟』『保名』など）。
English: "Tomimoto-bushi," a kind of Edo Joruri, was frequently used during the Edo period, but from the modern age, it declined, and it is never played today.
Japanese: 江戸浄瑠璃の一つ富本節は江戸時代に盛んに用いられたが、近代以降衰退し現在では演奏されることは無い。
English: Other than Kuromisu & Yuka, musicians play sitting on a board which placed upon the stage, and their performances are called "Debayashi" or "Degatari."
Japanese: 黒御簾や床以外での演奏は出囃子または出語りといい、舞台に置かれた台に座って演奏される。
English: And occasionally, the different schools are played by taking turns in a single program, such as the performance of Nagauta after Gidayu-bushi in "Kyoganoko Musume Dojoji" (The Dance of a Maiden at the Dojo-ji Temple, Wearing the Costume Tie-dyed in Kyoto).
Japanese: また、一つの演目で違う流派が順番に演奏を担当する演目（『京鹿子娘道成寺』…義太夫節の後長唄）もある。
English: In the dancing drama "Momijigari" (Viewing Autumnal Trees), Tokiwazu-bushi, Nagauta and Gidayu-bushi are played in concert, which is called "Sanpo-kakeai."
Japanese: 舞踊劇『紅葉狩(歌舞伎)』では常磐津節、長唄、義太夫節が合奏しこれを三方掛合いという。
English: And Nagauta & each school of Joruri are not only used in the Kabuki performance, but also used as accompaniment for Japanese dancing.
Japanese: また、長唄や浄瑠璃各流派は、歌舞伎公演のほか日本舞踊の伴奏でも用いられる。
English: One theory says that "Geidai" (the title of the performance) was shortened into "Gedai," and the other theory says that "Gedai" has its origin in the short and main title written on the outer part of the picture scroll, which was called "Gedai" from ancient times to the medieval age.
Japanese: 「芸題」（げいだい）が詰まって「げだい」になったとする説もあるが、古代から中世にかけては絵巻物の外側に書かれた短い本題を「外題」と言っており、これが起源だとする説もある。
English: Gedai was the expression originally used in Kamigata, and in Edo Kabuki, "Nadai" was used instead.
Japanese: 外題はもともと上方歌舞伎の表現で、江戸歌舞伎では名題（なだい）といっていた。
English: And a theory says Naidai was shortened into Nadai, and this theory makes Nadai in Edo & Gedai in Kamigata come as a pair, so it supports the theory that Gedai originated from the title on the picture scroll.
Japanese: こちらにも「内題」（ないだい）が詰まって「なだい」になったとする説があり、上方の「外題」と江戸の「内題」で対になることが、絵巻物起源説の根拠となっている。
English: And so, the title composed of even-numbered Chinese characters, such as "義経" (Yoshitsune) and "四谷怪談" (Yotsuya Kaidan), was intentionally added odd-numbered Chinese characters, such as "千本櫻" (Senbonzakura) and "東海道"(Tokaido), so Gedai became long, as is exemplified by "義経千本櫻" (Yoshitsune Senbonzakura) and "東海道四谷怪談" (Tokaido Yotsuya Kaidan).
Japanese: このため『義経』や『四谷怪談』のようにどうやっても割れてしまう字数には、あえて「千本櫻」や「東海道」などの奇数の字を付け足して『東海道四谷怪談』や『義経千本櫻』などいった長い外題とした。
English: In addition, fully utilizing phonetic equivalents & arbitrarily used substitutes, Kabuki writers & promoters competed for the best sophisticated Gedai with each other, so most Gedai were composed of 5 or 7 elaborate Chinese characters, which were arbitrarily used as substitutes.
Japanese: しかも作者や興行主は当て字や当て読みを駆使して粋を競ったので、外題には凝った漢字五文字か七文字のものに長大な読みを無理に付けたものが多い。
English: Some of them are too difficult for us, living in today's world, to read.
Japanese: その中には、今日のわれわれから見ると字面だけでは何と読めば良いのか分らないようなものある。
English: Therefore, when a program has the Gedai composed of more than 5 Chinese characters, it is often accompanied by a more familiar common name.
Japanese: このため五文字以上の外題がついた演目には、より親しみやすい通称がついていることも多い。
English: "Miyakodori Nagare no Shiranami" (Ripples on the River in Edo Made by a Migratory Bird) => "Shinobu no Sota"
Japanese: 『都鳥廓白波』（みやこどりながれのしらなみ）→『忍の惣太』（しのぶのそうた）
English: "Oto no miya Asahi no Yoroi" (Imperial Prince Moriyoshi's Suppression of Rokuhara Rebels) => "Migawari ondo" (The Scapegoat in the Circle)
Japanese: 『大塔宮曦鎧』（おおとうのみやあさひのよろい）→『身替り音頭』（みがわりおんど）
English: "Haji Momiji Ase no Kaomise" (The Man Heavily Sweating Over Myriad Costume Changes) => "Date no juyaku" (A Dandy Playing Ten Roles)
Japanese: 『慙紅葉汗顔見勢』（はじもみじあせのかおみせ）→『伊達の十役』（だてのじゅうやく）
English: "Karukaya Doshin Tsukushi no Iezuto" (Ishidomaru's Visit to His Father Karukaya Doshin) => "Karukaya Doshin"
Japanese: 『刈萱桑門筑紫𨏍』（かるかやどうしんつくしのいえづと）→『刈萱同心』（かるかやどうしん）
English: "Aoto Zoshi Hana no Nishikie" (The Story of Aoto and the Gorgeous Woodblock Print) => "Shiranami Gonin Otoko" (The Five Bandits)
Japanese: 『青砥稿花紅彩画』（あおとぞうしはなのにしきえ）→『白浪五人男』（しらなみごにんおとこ）
English: "Yo wa Nasake Ukina no Yokogushi" (Assignations of Otomi & Yosaburo) => "Kirare Yosa" (Slashed Yosa)
Japanese: 『与話情浮名横櫛』（よはなさけうきなのよこぐし）→『切られ与三』（きられよさ）
English: "Ashiya Doman Ouchi Kagami" (A Courtly Mirror of Doman ASHIYA) => "Kuzunoha"
Japanese: 『蘆屋道満大内鑑』（あしやどうまんおおうちかがみ）→『葛の葉』（くずのは）
English: And in Kabuki, Toshi-kyogen is rarely performed, so in usual cases, a popular part ("dan" [Section], "ba" [Scene] or "maku" [Act]) in each program is independently performed instead.
Japanese: また歌舞伎は通し狂言として上演されることが稀で、通常は各演目の中から人気のある場面（段・場・幕など）のみが単独で上演される。
English: In these cases, a name entirely different from the Gedai, the common name, or the part's original name, is occasionally used.
Japanese: その場合、外題でも通称でもその場面本来の名称でもない、全く別の名前が用いられることがある。
English: "Heike Nyogo no Shima" (Suzaku Palace Which Tokiwa Gozen Pulled Young Men in), Section 2, "Toba no Tsukurimichi no ba" (Scene That the Road to Return to Kyoto Was Opened), plus Section 2, "Kiri, Kikaigashima no ba" (the climax, Scene of Kikaiga-shima Island) => "Shunkan"
Japanese: 『平家女護島』二段目「鳥羽の作り道の場｣＋二段目切り「鬼界が島の場」→『俊寛』（しゅんかん）
English: Incidentally, "Kaeshi" means the part in a program where the scene is changed with the lights on and with the draw curtain kept open, and "Kiri" means the part of a climax in a program before the curtain is drawn.
Japanese: なお返しとは明るいままで幕を引かずに場面が換わるところ、切りとは幕切れ前に舞台が盛り上がるところをいう。
English: The Kiri in Section 4 of "Yoshitsune Senbonzakura" was popular for its showy performances, and the scene was performed so frequently that "Shino-kiri" became the synonym for the scene above.
Japanese: 『義経千本桜』の四段目の切りは派手な演出で有名な人気の場面で、これが上演されることが特に多かったことから、ただ「四ノ切」と言えばこの場面を指すようになった。
English: Small creatures, such as a butterfly or a bird, are made for their own expression on stage with props, and "Koken," or sometimes "Kuroko," (both an assistant to Kabuki actors, and the latter is dressed in black) move those creatures stuck to one end of a long bar.
Japanese: 蝶や鳥などを舞台上で表現する場合に、小道具で創り、後見（舞台上で補佐する役。黒衣のときもある）が長い棒にさして動かす。
English: Kuromaku itself does not mean "evil," but supposedly, "black" was associated with "evil," and people began to use Kuromaku as the word standing for a power broker and the like, for example, "'Kuromaku' in the political community."
Japanese: そのものに「悪」の意味はないが、「政界の黒幕」のように、「黒」から「悪」への連想から、いわゆる陰に隠れた人、のような用いられ方になったと考えられる。
English: Originally, on the list of casts that made up a troupe, the leading actor who played a prudent and reasonable man with dignity was called "Ichimaime," the actor who played a handsome man popular with women was called "Nimaime," and the actor who played a humorous man was called "Sanmaime."
Japanese: 一座を構成する配役の番付の上で、座頭にあたる思慮分別をわきまえた貫禄のある役を演じる役者を「一枚目」、女性にもてる美男子の役どころを「二枚目」、面白おかしい役を演じる役者を「三枚目」としていたことが起源。
English: Originally, the closing of a draw curtain at each scene (act) was called "Makugire," the climax around when Toshi-kyogen was reaching the final scene was called "Ozume," and the happy ending after troubles' complete and peaceful settlement was called "Daidanen."
Japanese: それぞれの場（幕）の終わりに引き幕が閉まることを幕切れ、通し狂言で最終幕にさしかかる頃の盛り上がりを大詰め、すべてが丸く収まりめでたしめでたしとなることを大団円といった。
English: And today, these words are used like, "Difficult case as it was, it came to a quick 'Makugire,'" "This week, the baseball pennant race came to an 'Ozume,'" and "The story comes to 'Daidanen.'"
Japanese: 現在でも「さしもの事件もあっけない幕切れとなった」、「ペナントレースも大詰めを迎えた今週」、「物語が大団円を迎える」のように使用される。
English: During and after the Meiji period, Kabuki was still quite popular, but it also began to be criticized from intellectuals and others as inappropriate content for a civilized country.
Japanese: 明治時代以降も相変わらず歌舞伎の人気は高かったが、知識人などからは文明国にふさわしい内容でないと批判も受けるようになった。
English: Movements calling for innovation of Kabuki emerged from the inside & outside of the Kabuki community, and the form of the performances was transformed as the time went by.
Japanese: 歌舞伎界内外から革新を訴える動きも起こり、興行形態も時代とともに変わっていった。
English: Criticisms were that the plots were absurd and premodern-style, and that the visually eccentric choreography (what is called "Keren"), such as "chunori" (a flight on wires from the stage over the heads of the audience) & "hayagawari" (a quick change of costume), were not orthodox, and so on.
Japanese: 批判の内容は、筋書きが荒唐無稽で、前近代的であるとか、宙乗りや早替わりなどの、見た目には奇抜な演出（ケレンと呼ばれる）が、演劇として本来あるべき演出ではない、などであった。
English: Under these criticisms, a reform campaign of the style of Kabuki, which is called Theater Reform Campaign, was advanced during and after the Meiji period.
Japanese: このような批判を受けて、明治時代から、演劇改良運動と呼ばれる歌舞伎様式の改良運動が進められた。
English: Politicians became involved in this campaign, because the campaign coincided with the Meiji Government's purpose of establishing a theater suitable for the upper & middle classes of a civilized country to watch.
Japanese: これは明治政府の文明国の上流、中流階級が観劇するにふさわしい演劇の成立を目指す目論見ともかさなり、政治家を巻き込んだ運動となった。
English: And the establishment of a new styling Japanese theater, called "Shinpa-Geki" (a New-School Play), can be said to be another good result.
Japanese: また、新派劇と呼ばれる、日本の新しい演劇形式が成立したことも成果といえる。
English: In such a campaign, some Kabuki programs were created anew, and their first ones were "Katsureki-mono" (a historical drama), which faithfully performed the historical facts, & "Zangiri-mono" (the plays the cropped hair people appeared), which portrayed new western-style customs, both made by experienced writers, including Mokuami KAWATAKE, or by intellectuals, including Ochi FUKUCHI, but they failed.
Japanese: このような運動の中で創作された歌舞伎演目は、最初、河竹黙阿弥らの旧来の作者や福地桜痴ら文化人によって、歴史的事実をありのままに演じる活歴物や、西洋風の新しい風俗を描いた散切物などが作られたが成功しなかった。
English: Afterward, under the influence of Theater Reform Campaign, many works, called "Shin Kabuki" (New Kabuki), were born from the Meiji period to the prewar age of the Showa period.
Japanese: その後、演劇改良運動の影響下において、新歌舞伎と呼ばれる多くの作品が昭和戦前期にかけて生まれた。
English: The most important works of Shin Kabuki are "Kiri Hitoha" (A Single Paulownia Leaf) & "Hototogisu Kojo no Rakugetsu" (The Sinking Moon Over the Lonely Castle Where the Cuckoo Cries) both by "Shoyo TSUBOUCHI," "Musuko" (Son) by "Kaoru OSANAI," "Shuzenji Monogatari" (The Tale of Shuzen-ji Temple) & "Toribeyama Shinju" (Love Suicides on Mt. Toribe) both by "Kido OKAMOTO," "Imayo Satsuma Uta" (Modern Style Satsuma Songs) by Onitaro OKA, "Genroku Chusingura" (The 47 Ronin) by Seika MAYAMA, "Saigo to Buta Hime" (Saigo and His Favorite Fat Woman) by Daigo IKEDA.
Japanese: 代表作には坪内逍遥の『桐一葉』『沓手鳥孤城落月』、小山内薫の『息子』、岡本綺堂の『修善寺物語』『鳥辺山心中』、岡鬼太郎の『今様薩摩歌』、真山青果の『元禄忠臣蔵』、池田大伍の『西郷と豚姫』などがある。
English: But on the whole, they could not gain the Kabuki lovers' favor, and there are not many of these works that are performed today.
Japanese: しかし、全体としては歌舞伎愛好家の支持を得られず、今日では上演される作品はあまり多くない。
English: And the ninth "Danjuro ICHIKAWA" & the fifth "Kikugoro ONOE," both great Kabuki actors during the Meiji period, tidied up the classical style of Kabuki acting.
Japanese: また、明治の名優九代目市川団十郎と五代目尾上菊五郎が古典の型を整備。
English: During the Taisho period, old Kabuki works were re-evaluated through, for example, the revival of hidden classics by the second "Sadanji ICHIKAWA," and the completion of wagoto, the performances in a love scene by the first "Ganjiro NAKAMURA" in Kamigata.
Japanese: 大正期には市川左團次(2代目)が埋もれていた古典の復活を行い、上方では中村鴈治郎(初代)が和事の芸を大成するなど従来の作品の見なおしも行われた。
English: During the Showa period, many great actors were active, such as the sixth "Kikugoro ONOE," the first "Kichiemon NAKAMURA," the fifteenth "Uzaemon ICHIMURA," the second "Enjaku JITSUKAWA" and the third "Baigyoku NAKAMURA," and they had a great impact on today's Kabuki.
Japanese: 昭和期には尾上菊五郎(6代目)・中村吉右衛門(初代)、市村羽左衛門(15代目)、實川延若(2代目)、中村梅玉(3代目)など多くの名優が活躍し今日の歌舞伎に大きな影響を与えた。
English: However, as the Pacific War intensified, Kabuki performances became difficult owing to the authorities' regulations, such as the closure of theaters ＆ the restriction on performance programs, and casualties & property damages in the Kabuki community, such as the theaters' burning down by air raids, piled up.
Japanese: だが、太平洋戦争の激化にともない劇場の閉鎖や上演演目の制限など規制が行われ歌舞伎の興行も困難になり、空襲で劇場が焼失するなど物的人的被害も多かった。
English: And then, after the war, the General Headquarters of the Allied Powers began to regulate Kabuki for the reason that it was feudalistic and not suitable for democracy.
Japanese: 終戦後、今度は封建的で民主主義に合わないとの理由で連合国軍最高司令官総司令部による規制が始まる。
English: But Faubion Bowers, a Japanophile & the adjutant of Douglas MacArthur, made every effort to protect Kabuki, so Kabuki passed the crisis.
Japanese: だが、ダグラス・マッカーサーの副官で親日家フォービアン・バワーズの尽力により歌舞伎は保護され、危機を脱した。
English: The revival of Kabuki was symbolized by the event in November 1947 at Tokyo-gekijo Theater, that is, the presentation of a whole play of Kanadehon Chusingura, in which all major Kabuki actors in Japan appeared.
Japanese: 昭和22年（1947年）11月、東京劇場で行われた東西俳優総出演による『仮名手本忠臣蔵』の通し興行は、その象徴的イベントと言える。
English: The professional baseball & the leisure industry became popular, and the development of the movies & the television broadcasting began to be seen, so Kabuki slipped out of the central part of recreation that it occupied in the past.
Japanese: プロ野球やレジャー産業の人気上昇、映画やテレビ放送の発達が見られるようになり、歌舞伎が従来のように娯楽の中心ではなくなってきた。
English: And the transformation age of the Kabuki community started, which was symbolized by some incidents, such as Kabuki actors' going into the film world, the slump of Kabuki in Kansai area, and the disappearance of the low-class theater.
Japanese: そして歌舞伎俳優の映画界入り、関西歌舞伎の不振、小芝居が姿を消すなど歌舞伎の社会にも変動の時期が始まった。
English: Under such a transformation, Kabuki's popularity took a turn for the better when the heir succeeded to the eleventh "Danjuro ICHIKAWA" in 1963.
Japanese: そのような変動の中、昭和38（1963)年の市川團十郎(11代目)襲名から、歌舞伎は人気を回復する。
English: Besides Danjuro, many actors were active, such as the sixth "Utaemon NAKAMURA," the second "Shoroku ONOE," the second "Ganjiro NAKAMURA," the seventeenth "Kanzaburo NAKAMURA," the seventh "Baiko ONOE," the first "Hakuo MATSUMOTO," the thirteenth "Nizaemon KATAOKA," the seventeenth "Uzaemon ICHIMURA."
Japanese: 俳優も團十郎のほか、中村歌右衛門(6代目)、尾上松緑(2代目)、中村鴈治郎(2代目)、中村勘三郎(17代目)、尾上梅幸(7代目)、松本白鸚(初代)、片岡仁左衛門(13代目)、市村羽左衛門(17代目)などの人材が活躍。
English: From 1960s to 1970s, when Kabuki was in its postwar prime, new movements emerged one after another.
Japanese: 戦後の全盛期をむかえた1960～1970年代には次々と新しい動きがおこる。
English: Especially, recognition of the importance of the original Kabuki style spread, which tended to be underestimated during and after the Meiji period.
Japanese: 特に明治期以降、軽視されがちであった歌舞伎本来の様式が重要だという認識が広がった。
English: In 1965, Kabuki received the overall designation as an important intangible cultural property, whose holder is the Organization for the Preservation of Kabuki, and National Theater opened, and moreover, performances, such as the whole play of revived Kyogen, went well.
Japanese: 昭和40年（1965年）に歌舞伎が重要無形文化財に総合指定され（対象は伝統歌舞伎保存会）、国立劇場が開場し、復活狂言の通し上演などの興行が成功する。
English: After that, there was the opening of the Osaka Shochiku-za Theater in Osaka, which was remodeled from a movie theater, and the Hakata-za Theater in Fukuoka, so Kabuki performances became more prosperous.
Japanese: その後大阪には映画館を改装した大阪松竹座、福岡には博多座が開場し歌舞伎の興行はさらに充実さを増す。
English: And moreover, the third "Ennosuke ICHIKAWA" energetically performed revived Kyogen, into which he fully reintroduced the factors of Keren that were once despised; Ennosuke sought to improve Kabuki as the theater, so he tried a much more boldly staged Kabuki, called Super Kabuki.
Japanese: さらに、市川猿之助(3代目)は復活狂言を精力的に上演し、その中では一時的には蔑まれたケレンの要素を存分に復活させた（猿之助は、さらなる演劇形式としての歌舞伎を模索しスーパー歌舞伎と呼ばれる、より大胆な演出を強調した歌舞伎にも挑戦した）。
English: Recently, some trials were also made, such as Cocoon Kabuki by the eighteenth Kanzaburo NAKAMURA, the performances of Heisei Nakamura-za Theater, and the Kabuki revival project in Kansai area by the fourth "Tojuro SAKATA" and others.
Japanese: 近年では、中村勘三郎(18代目)によるコクーン歌舞伎、平成中村座の公演、坂田藤十郎(4代目)などによる関西歌舞伎の復興のプロジェクトなどがある。
English: We could say these activities also pursued the original style of Kabuki & its modern innovation at the same time.
Japanese: これらも、歌舞伎本来の姿と新しい時代にふさわしい歌舞伎の姿を同時に模索する活動といえるだろう。
English: Even in direction, modern theater directors, such as "Hideki NODA," "Yukio NINAGAWA," "Kazumi KUSHIDA," "Koki MITANI" and "Efu WAKAGI," were invited, thereby adding the modern theater flavor to Kabuki performances.
Japanese: 演出にも野田秀樹、蜷川幸雄、串田和美、三谷幸喜、わかぎえふら現代劇の演出家が迎えられ、現代劇のテイストを加えた歌舞伎公演が行われている。
English: Kabuki performances today are not entirely the same as those during the Edo period, which is simply exemplified by the theater facilities in each time.
Japanese: 現代の歌舞伎公演は、劇場設備などをとっても、江戸時代のそれと全く同じではない。
English: Under this change, the Kabuki community continues to try performing Kabuki as a modern drama while placing the long-established traditional performance style at its center.
Japanese: その中で長い伝統を持つ歌舞伎の演劇様式を核に据えながら、現代的な演劇として上演していく試みが続いている。
English: These performance activities earn Kabuki a good reputation as the traditional performing arts living in today's world.
Japanese: このような公演活動を通じて、歌舞伎は現代に生きる伝統芸能としての評価を得るに至っている。
English: The corporation of the Organization for the Preservation of Kabuki is a group of members who are the most highly-skilled of all people involved in Kabuki.
Japanese: 社団法人伝統歌舞伎保存会は歌舞伎関係者のうち技能に優れたものを会員として構成されている団体。
English: Well-known members include the eighteenth Kanzaburo NAKAMURA & the eleventh "Ebizo ICHIKAWA."
Japanese: 会員としては中村勘三郎(18代目)や市川海老蔵(11代目)などが有名。
English: In addition to the plays by the expert performers, local residents all over Japan perform plays in the name of, for example, the festival ritual dedicated to a god, following the tradition from the Edo period.
Japanese: 専門の演者による公演の他、地域住民が祭礼の奉納行事などとして江戸時代以来の伝統に則った芝居を日本各地で上演している。
English: These plays are called "Jishibai," and in most cases, their content is either Kabuki or Ningyo Joruri.
Japanese: これらを地芝居と呼び、歌舞伎と人形浄瑠璃のどちらかかが演じられる事が多い。
English: In Kabuki, various plays exist, such as Farmers' Kabuki, performed in farming areas, and the play on a Hikiyama festival float, performed in urban areas' Hikiyama-matsuri Festival.
Japanese: 歌舞伎では農村で行われる芝居（農村歌舞伎）や都市における曳山の上での芝居（曳山祭り）等がある。
English: Many Jishibai programs overlap with those of expert performers, which indicates that Jishibai is strongly influenced by the experts' performances.
Japanese: 地芝居における演目の多くは専業の演者による公演と重なり、その影響が強く見られる。
English: But there also exist some originally developed performances, including those having their own original programs.
Japanese: しかし中にはその地域独自の演目を備えるなど、個性的な発展をみせている公演も存在する。
English: Kabuki is difficult for today's Japanese to understand when they see the play for the first time, so it is said that they can understand Kabuki more deeply and more easily if they check out the story's content beforehand.
Japanese: 歌舞伎は、現代日本人には初見での理解は難しいため、事前に物語の内容を調べた後に見るとより歌舞伎の深さが理解しやすくなると言われている。
English: A soy sauce dumpling is made with a steamed dumpling lightly covered with soy sauce.
Japanese: 醤油だんご（しょうゆだんご）は、蒸した団子に醤油を薄く塗って作られる。
English: It is characterized in the saltiness of soy sauce itself, and this seasoning brings out the sweetness of the dumpling.
Japanese: 醤油由来のしょっぱい味付けが特徴であるが、団子の甘さが薄い醤油味により引き出されている。
English: A soy sauce dumpling originated as offerings to a shrine or a household Shinto altar, i.e., offerings to the gods, and it is said that five dumplings on a skewer expresses a man's whole body.
Japanese: 醤油だんごは、神社や神棚への供物、すなわち神饌に由来し、串に5つの団子を指すのも人間の五体を表すとされる。
English: Since dumplings for offerings to gods were only steamed, they became dried and hard when served after the prayer.
Japanese: 神饌の団子は蒸したままのものであったため、祈祷を済ませた後、それを食する際には既に水分が飛んで硬くなっていた。
English: The "mitarashi dango" that were sold in front of Shimogamo-jinja Shrine gate were originally soy sauce dumplings as described above.
Japanese: 下鴨神社門前で「みたらし団子」との名称で売られていたものも、元来、このような醤油だんごであった。
English: However, in 1922, the Kamo Mitarashi Tea House was opened in front of Shimogamo-jinja Shrine gate, and they sold dumplings covered with sweet sauce made with brown sugar and soy sauce.
Japanese: が、1922年（大正11年）、下鴨神社門前に「加茂みたらし茶屋」が開店し、黒砂糖と醤油で作った甘いたれをつけて売った。
English: Since then, the name of "mitarashi dango" and its recipe using a sweet kudzu starch sauce, spread nationwide.
Japanese: これ以降、『みたらし団子』の名称と共に甘い葛餡を用いる製法が全国に広がった。
English: Although "soy sauce dumpling" may mean "mitarashi dango" nowadays, here, "soy sauce dumpling" are made in accordance with the old recipe before the appearance of "mitarashi dango."
Japanese: 現在、「醤油だんご」との名称で『みたらし団子』を指す場合もあるが、ここでは、『みたらし団子』出現以前の古い製法に則ったものを「醤油だんご」と言うことにする。
English: However, since "soy sauce dumplings" that have remained in various districts are merchandised nowadays, there are variety of recipes that have changed from the old recipe, such as, dipping hot steamed dumplings into raw soy sauce, roasting and dipping dumplings into soy sauce, and something similar to Isobe rice cake.
Japanese: ただし、現在「醤油だんご」として各地に残るものは商品化しているため、蒸したままの柔らかい団子に生醤油をつけたものや、焼きながら醤油をつけたもの、あるいは、磯辺餅に似たものなど、既に古い製法からの変化が見られる。
English: When a dumpling is roasted, it may be prepared like Isobe rice cake; it may be sprinkled with seaweed seasonings, wrapped with dried seaweed, or dipped into soy sauce seasoned with wasabi.
Japanese: 団子を焼く場合は、磯辺餅に類似した食べ方も見られ、海苔のふりかけをかけたり、板海苔を巻いたり、わさび醤油につけたりして食べるなど、様々なバリエーションがある。
English: Skewered dumpling: about five small rounded dumplings are on a bamboo stick and lightly covered with raw soy sauce.
Japanese: 約5個の小粒大に丸めた蒸し団子を串に刺し、生醤油を薄くかけた串団子。
English: They are sold with seaweed seasonings sprinkled on or covered with wasabi soysauce.
Japanese: 海苔がふりかけられたり、わさび醤油につけられたりした状態で売られている。
English: Dumplings are sold with or without dried seaweed wrapped around, and those with dried seaweed are also called Isobe dumplings.
Japanese: 板海苔を巻いたものは磯部団子とも呼ばれるが、板海苔を巻かないものも売られている。
English: It is sometimes written as "イノダコーヒー," but its official name does not have any macron at the end.
Japanese: イノダコーヒーと書かれる場合もあるが、正式名称には末尾の長音符は付かない。
English: Also, a painting of 'a donkey and a man transporting beans' painted by Shichiro INODA, who was the founder of the company is also a symbol of the company.
Japanese: また、画家でもあった創業者の猪田七郎が描いた「豆を運ぶロバと男」の絵も同社の象徴である。