役者: 631 Terms and Phrases
- 役者
- actor
- actress
- performer
- thespian
- player
- 教役者
- Minister (Christianity)
- 役者絵
- actor print
- ukiyo-e print of kabuki actors
- 立役者
- leading actor
- person who acts as driving force behind something
- key figure
- leading spirit
- central figure
- 旅役者
- itinerant entertainer or troupe
- 花形役者
- leading actor
- star actress
- top-billed performer
- 役者気質
- characteristic temperament (spirit) of an actor
- 役者生命
- acting career
- career as an actress
- 役者子供
- skilled actor who is like a child offstage
- good actor who knows but little of the ways of the world
- child kabuki actor
- 役者馬鹿
- good actor who is inept in all other matters
- demon for acting who is utterly indifferent to all other concerns
- skilled actor who knows little of life
- person who excels in one occupation (profession) but lacks simple common sense
- 役者稼業
- stage career
- acting career
- 役者冥利
- the happiness (good fortune) of being an actor
- feeling blessed for being an actor
- 人気役者
- stage favorite
- stage favourite
- star
- 千両役者
- star (actor)
- prima donna
- leading figure
- great actor
- 名題役者
- chief actor in a kabuki play
- star actor
- leading actors of a troupe
- 立て役者
- leading actor
- person who acts as driving force behind something
- key figure
- leading spirit
- central figure
- 緞帳役者
- low-class actor (kabuki)
- actor who plays in low-class or cheap theater
- 初演の役者
- Actors of the first performance
- 大坂の役者。
- He was an actor in Osaka.
- 運動の立役者
- a big figure in the movement
- 役者の代理人
- an agent who represents performers
- 御用役者として
- As Official Actor
- 役者への掛け声
- Kakegoe for actors
- 七段目:役者息子
- Act Seven: Yakusha Musuko (a son who is an actor)
- 歌舞伎役者を輩出
- Emergence of kabuki actors
- 役者の衣装担当者
- a wardrobe assistant for an actor
- 5. 役者の異名
- 5. Nicknames of actors
- 幼年期から役者へ
- To be an actor from a young age
- 阿州侯の能役者也。
- He was a Noh actor from the Awa Province.
- 白浪役者と白浪作者
- Shiranami Actor and Playwright
- 役者、大道芸人、等
- Actors, street performers, and so on
- 役者の屋号: 菊屋
- Stage family name: Kikuya
- 上方落語の立役者。
- He was a key player of Kamigata rakugo.
- 役者以外への掛け声
- Kakegoe for performers except actors
- 『役者舞台之姿絵』
- 'Yakusha Butai no Sugata e' (Portraits of Actors on the Stage: The Actor Yamatoya [Iwai Hanshiro])
- 役者の屋号: 河内屋
- Stage family name: Kawachiya
- 役者の屋号: 音羽屋
- Stage family name: Otowaya
- 役者の屋号: 成田屋
- Stage family name: Naritaya
- 大根役者の貧弱な演技
- poor acting by a ham actor
- (役者A)「サァ、」
- Actor A: 'Sah' ('sah' is a call for urging other person)
- (役者B)「サァ、」
- Actor B: 'Sah'
- 彼は役者中の役者だ。
- He is an actor among actors.
- 息子二人も歌舞伎役者。
- Both of his sons are also Kabuki actors.
- 病気のため役者を引退。
- He retired from his career as a Kabuki actor due to his sickness.
- 喜劇役者にからかわれる役
- a performer who acts as stooge to a comedian
- 彼は一番の看板役者だった
- he was the biggest drawing card they had
- 演技をやりすぎるへたな役者
- an unskilled actor who overacts
- (大向う)「役者も役者!」
- O-muko: 'Yakusha mo Yakusha!' (The best actor amongst actors)
- 全国を巡業して公演をする役者
- an actor who travels around the country presenting plays
- 叔父は歌舞伎役者淺尾工左衛門。
- His uncle was a Kabuki actor, Kuzaemon ASAO.
- 初演役者:中村芝翫 (4代目)
- First performer: Shikan NAKAMURA the fourth
- 歌舞伎役者を経て映画デビュー。
- He made his debut as a movie actor after the career as Kabuki (traditional drama performed by male actors) actor.
- あの喜劇役者は大変こっけいだ。
- That comedian is very funny.
- 能役者を士分に取り立てたこと。
- Promoting Noh performers to the class of samurai.
- 初演役者:尾上菊五郎 (5代目)
- First performer: Kikugoro ONOE the fifth
- 初演役者:岩井半四郎 (8代目)
- First performer: Hanshiro IWAI the eighth
- 初演役者:市川團十郎 (9代目)
- First performer: Danjuro ICHIKAWA the ninth
- 役者の屋号: 山崎屋 (歌舞伎)
- Stage family name: Yamazakiya (kabuki)
- 書状形式で、鼓役者の心得を記す。
- It is in a letter style and talks about how a Tsuzumi player should be.
- 立合は役者同士の真剣勝負である。
- Tachiai is a play performed in earnest by players.
- (他の役者の)従属的役割を務める
- play a subordinate role to (another performer)
- その役者の事は聞いたことが無い。
- I've never heard of the actor.
- 役者たちと他の劇場スタッフが使う
- used by performers and other theater personnel
- 広島市安佐南区出身の歌舞伎役者。
- Kichiroku is a Kabuki actor and is from Asa-minami Ward, Hiroshima City.
- 同時に光秀役者の演じどころである。
- At the same time, this is the scene where the actor playing Mitsuhide must give his best performance.
- 役者の屋号: 紀伊國屋 (歌舞伎)
- Stage family name: Kinokuniya (kabuki)
- 熊本藩お抱えの能役者の家に生れる。
- He was born in a family of Noh performers sponsored by the Kumamoto Domain.
- あなたの大好きな役者はだれですか。
- Who is your favorite actor?
- へま(特に役者が台詞を忘れること)
- a blunder (especially an actor's forgetting the lines)
- 役者の瀬川菊之丞 (3代目)の兄。
- He was the older brother of actor Kikunojo SEGAWA (the third).
- 役者が舞台上に出入りするために使う。
- Actors use it to enter or exit the stage.
- 初演役者:三代目関三十郎 (3代目)
- First performer: Sanjuro SEKI the third
- 慶長期の能役者・下間仲孝の『童舞抄』
- 'Dobusho (Comments on Noh Plays)' by Nakataka SHIMOTSUMA, Noh performer in the Keicho era
- 甥には長門裕之、津川雅彦の役者一家。
- His family is known for producing many actors/actresses including his nephews Hiroyuki NAGATO and Masahiko TSUGAWA.
- 歌舞伎役者としての続柄は以下の通り。
- The details of his family-relations as a Kabuki actor are as follows:
- 顔を白いメーキャップで覆った道化役者
- a clown whose face is covered with white make-up
- ひたすら身振りと表情のみで演じる役者
- an actor who communicates entirely by gesture and facial expression
- 西田幾多郎とならぶ京都学派の立役者。
- He was a luminary of the Kyoto school, along with Kitaro NISHIDA.
- 役者は台詞を暗記しなければならない。
- An actor has to memorize his lines.
- 最初は歌舞伎役者で市山七蔵を名乗る。
- Originally he called himself Shichizo ICHIYAMA as a Kabuki actor.
- その場にいる他の役者より目を引く役者
- an actor who draws more attention than other actors in the same scene
- 定九郎役をもらった役者・中村仲蔵の話。
- It is a story of Nakazo NAKAMURA, an actor, who was given the role of Sadakuro.
- 第29条は役者の日頃の心がけについて。
- Section 29 is about the things that the actors should bear in mind every day.
- 冗談を言って、滑稽な行為を行うプロの役者
- a professional performer who tells jokes and performs comical acts
- 能役者の各家が、徳川幕府に提出した文書。
- These are the documents that all noh actors submitted to the Tokugawa Shogunate.
- なお義経役は子方(子供の能役者)が演じる。
- The role of Yoshitsune is played by a ko-kata (a child player in a Noh dance).
- したがって役者の顔ぶれは11月に変わった。
- Thus, a cast of actors changed every November.
- 役者の屋号: 播磨屋 (歌舞伎) → 萬屋
- Stage family name: Harimaya (kabuki) => Yorozuya
- 名題役者に対する優遇の一つといえるだろう。
- It is probably a preferential treatment for main actors.
- 澤村源之助 (3代目) 幕末期の歌舞伎役者
- Gennosuke SAWAMURA the third was a kabuki actor in the end of the Edo period.
- この役者のことはいままで聞いたことがない。
- I've never heard of this actor.
- シンをとる役者が粋な祭り姿の鳶頭を務める。
- In the dance, the leading actor plays 'tobi-gashira' (head of constructors, engineers and firemen) wearing a cool costume for the festival.
- 「役者道の開山」「希代の名人」と呼ばれた。
- He was referred to as 'the founder of many great kabuki actors' and 'an unrivaled maestro.'
- 能楽協会には20名弱の役者が登録されている。
- About twenty performers are enrolled the Nohgaku Performers' Association.
- 腕の良い役者が演じるコメデイリリーフである。
- She is a comedy relief character that should be played by a skilled actor.
- 能役者で能作者である金春禅鳳にとっては祖父。
- Chikuzen was the grandfather of Zenpo KONPARU, who was also a Noh play actor and playwright.
- あの歌舞伎役者は若い人達に非常に人気がある。
- That Kabuki actor is very popular with young people.
- グリース状の物質で役者がメーキャップに用いる
- a greasy substance used as makeup by actors
- 尾上 左近(おのえ さこん)は、歌舞伎役者。
- Sakon ONOE is the name of a Kabuki actor lineage.
- 3代目以降、歌舞伎役者が兼ねて襲名している。
- Starting from the third generation, this family name has been succeeded by kabuki actors who were simultaneously assuming their own names.
- 介添先の役者の弟子や脇役が担当することが多い。
- Actors' disciples or supporting players usually work as kurogo.
- 座着き:笛の前奏によって役者が舞台に登場する。
- Zatsuki (an entrance on the stage): The actors come onstage with a flute prelude.
- 中村 亀鶴(なかむら きかく)は、歌舞伎役者。
- Kikaku NAKAMURA is a Kabuki (traditional drama performed by male actors) actor.
- 片岡 我當(かたおか がとう)は、歌舞伎役者。
- Gato KATAOKA is a Kabuki (traditional drama performed by male actors) actor.
- もとは上方役者だったが、三代目が江戸に下った。
- He was originally an actor in Kamigata (Kyoto and Osaka area), but the third went down to Edo.
- 建武の新政の立役者として足利尊氏らと共に活躍。
- He participated actively as a leading figure in the Kenmu Restoration with Takauji ASHIKAGA and others.
- それからもう一人は、全く見知らぬ無言役者、――
- the other, the strange dummy
- フォービズムの立役者(1869年−1954年)
- leading figure of fauvism (1869-1954)
- この劇に最適の役者を選び出すのは簡単ではない。
- It's not easy to pick out the best actors for this play.
- 澤村 訥子(さわむら とっし)は、歌舞伎役者。
- Tosshi SAWAMURA is a name used by Kabuki actors.
- 中村 霞仙(なかむら かせん)は、歌舞伎役者。
- Kasen NAKAMURA is a name which was used by some Kabuki (a traditional form of drama and music performed by male actors) actors.
- 中村 松江(なかむら まつえ)は、歌舞伎役者。
- 'Matsue NAKAMURA' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 片岡 芦燕(かたおか ろえん)は、歌舞伎役者。
- 'Roen KATAOKA' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 役者絵 歌舞伎役者などの人気役者を描いたもの。
- Yakushae: Pictures depicting popular Kabuki actors and so on.
- その若い男優はジェームス・ディーン張りの役者だ。
- That young actor is a James Dean.
- 坂東 薪水(ばんどう しんすい)は、歌舞伎役者。
- Shinsui BANDO was a name used by Kabuki actors.
- 片岡 亀蔵(かたおか かめぞう)は、歌舞伎役者。
- 'Kamezo KATAOKA' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 鳥山石燕のもとで学び、細判の役者絵や絵本を制作。
- He studied with Sekien TORIYAMA, creating the portraits of Kabuki-actors in hosoban (a narrow print size, about 33 cm by 15 cm) and picture books.
- 役者が一人舞台中央に正座し、客に挨拶するのである。
- Kojo is done by a kabuki player kneeling center stage and announcing to the audience.
- 能楽協会に登録された役者は、2006年現在13名。
- 13 performers of this school are registered with the Nohgaku Performers' Association as of 2006.
- いずれも仲居や幇間役の下回り、中堅の役者が演じる。
- These are played by low- or middle-ranking actors who play the roles of nakai (waitress) or hokan (professional jester).
- 「俳名」は、歌舞伎役者が持つ異名を指すことが多い。
- Haimyo often refers to another name of a Kabuki actor.
- 尾上 辰之助(おのえ たつのすけ)は、歌舞伎役者。
- Tatsunosuke ONOE is a Kabuki (traditional drama performed by male actors) actor.
- 曲芸師・道化役者・調教された動物の巡業団による演技
- a performance given by a traveling company of acrobats, clowns, and trained animals
- 特定の役者または演技に割り当てられた見世物の一部分
- a section of an entertainment that is assigned to a specific performer or performance
- 澤村 訥升(さわむら とっしょう)は、歌舞伎役者。
- Tossho SAWAMURA was a name used by Kabuki actors.
- 尾上 菊次郎(おのえ きくじろう)は、歌舞伎役者。
- Kikujiro ONOE was a name used by Kabuki actors.
- 歴史絵や美人画、役者絵などの浮世絵を主に手がける。
- He mainly drew pictures of historical subjects, beautiful women, and actors for ukiyoe woodblock prints.
- あらゆる意味で明治の新時代にふさわしい役者だった。
- He was an appropriate actor for the new Meiji era in all senses.
- (このほかにも役者の趣向でさまざまな尽しものがある)
- Depending on the actor, there are wide variations in this kind of pun for listing things in a category.)
- 賄賂を受け取る師直の家臣である伴内役者の腕の見せ所。
- This is a scene in which the actor playing the role of Bannai, Moronao's retainer who receives the bribe, can show his skill as an actor.
- 歌舞伎役者が黒装束を着込んで、他の演者の介添をする。
- Kabuki actors wear black costumes and help other actors.
- 能楽協会に登録された役者は、2006年の時点で4人。
- As of 2006, four players have been registered at The Nohgaku Performers' Association.
- 片岡 秀太郎(かたおか ひでたろう)は、歌舞伎役者。
- Hidetaro KATAOKA is a Kabuki (traditional drama performed by male actors) actor.
- 片岡 松之助(かたおか まつのすけ)は、歌舞伎役者。
- Matsunosuke KATAOKA is a Kabuki (traditional drama performed by male actors) actor.
- 中村 勘太郎(なかむら かんたろう)は、歌舞伎役者。
- Kantaro NAKAMURA was the stage name of several Kabuki actors.
- 澤村源之助(さわむら げんのすけ)は歌舞伎役者の名跡
- Gennosuke SAWAMURA was a professional name of a kabuki actor.
- 貧しい聖職者か貧しい役者然とした人物が戸口に現れた。
- A person resembling a poor clergyman or a poor actor appeared in the doorway.
- 市川 銀之助(いちかわ ぎんのすけ)は、歌舞伎役者。
- Ginnosuke ICHIKAWA is a name used by Kabuki (a traditional form of drama and music performed by male actors) actors.
- 片岡 愛之助(かたおか あいのすけ)は、歌舞伎役者。
- Ainosuke KATAOKA is a kabuki actor.
- 中村 梅之助(なかむら うめのすけ)は、歌舞伎役者。
- 'Umenosuke NAKAMURA' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 坂東 鶴之助(ばんどう つるのすけ)は、歌舞伎役者。
- 'Tsurunosuke BANDO' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 澤村 宗之助(さわむら そうのすけ)は、歌舞伎役者。
- Sonosuke SAWAMURA is a name which has been used by some Kabuki (a traditional form of drama and music performed by male actors) actors.
- 澤村 由次郎(さわむら よしじろう)は、歌舞伎役者。
- 'Yoshijiro SAWAMURA' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 尾上 新七(おのえ しんしち)は、歌舞伎役者の名跡。
- Shinshichi ONOE is a hereditary name of a line of traditional Japanese Kabuki drama actors.
- 尾上 鯉三郎(おのえ こいさぶろう)は、歌舞伎役者。
- Koisaburo ONOE was a kabuki actor.
- 尾上 芙雀(おのえ ふじゃく)は、歌舞伎役者の名跡。
- Fujaku ONOE is a professional name used by a succession of Kabuki actors.
- 舞台を壊しかけたチャリ掛けを役者が救った例と言える。
- That is a good example of an actor saving a bad chari that almost spoiled the performance.
- 代表作に「役者口三味線」、「絵本浅香山」などがある。
- His representative works are 'Yakusha kuchijamisen' (actor humming a shamisen tune), 'Ehon Asakayama' (picture book of Asakayama), and others.
- 能楽協会に登録された役者は、2007年現在、20名強。
- Over 20 actors are registered in the Nohgaku Performers' Association as of 2007.
- 清心と十六夜は当代の人気役者が演じるのが慣行となった。
- Traditionally, the roles of Seishin and Izayoi have been acted by popular actors of each age.
- お辰は三婦役の役者に対抗できるだけの芸力が求められる。
- For Otatsu, performing ability to be an opponent of the actor in Sabu's role is required.
- 四日目以降は、役者はセリフが入っていなくてはならない。
- From the fourth day on, actors must have speeches.
- 紀州藩の能役者・徳田隣忠(1679-?)の『隣忠秘抄』
- 'Chikatada Hisho (Secret Notes of Chikatada)' by Chikatada TOKUDA (1679-?), Noh performer from the Kishu Domain
- 役者の屋号: 鶴屋 (歌舞伎) → 高嶋屋 (歌舞伎)
- Stage family name: Tsuruya (kabuki) => Takashimaya (kabuki)
- 片岡 市蔵(かたおか いちぞう)は、歌舞伎役者の名跡。
- Ichizo KATAOKA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 中村 時蔵(なかむら ときぞう)は、歌舞伎役者の名跡。
- Tokizo NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 坂田 藤十郎(さかた とうじゅうろう)は、歌舞伎役者。
- Tojuro SAKATA is a kabuki actor.
- 必要な際にいつもの役者の代わりを務めることができる俳優
- an actor able to replace a regular performer when required
- 中世に王や貴族を楽しませるために雇われた職業的道化役者
- a professional clown employed to entertain a king or nobleman in the Middle Ages
- 中村 歌昇(なかむら かしょう)は、歌舞伎役者の名跡。
- 'Kasho NAKAMURA' is a professional name which has been used by Kabuki (a traditional form of drama and music performed by male actors) actors.
- 尾上 多見蔵(おのえ たみぞう)は、歌舞伎役者の名跡。
- 'Tamizo ONOE' is a professional name which was used by some Kabuki (a traditional form of drama and music performed by male actors) actors.
- 坂東 亀三郎(ばんどう かめさぶろう)は、歌舞伎役者。
- 'Kamesaburo BANDO' is a name which has been used by several Kabuki (a traditional form of drama and music performed by male actors) actors.
- 中村 鶴蔵(なかむら つるぞう)は、歌舞伎役者の名跡。
- Tsuruzo NAKAMURA is a hereditary name of a line of traditional Japanese Kabuki drama actors.
- 中村 翫右衛門(なかむら かんえもん)は、歌舞伎役者。
- Kanemon NAKAMURA was a kabuki actor.
- 初代から三代目までが道化方役者、四代目以後が狂言作者。
- From the first to the third generations were Dokegata (one of the suitable parts of Kabuki, which provoke a laughter mainly) actors and after the forth generation were playwrights of Kyogen (farce played during a No play cycle).
- そのため非常に多忙であり多くの工員・力役者が付属した。
- Therefore, it had many things to do, and many workpeople and physical workers belonged to it.
- 福田という版元は芝居が好きで役者絵を多く出版していた。
- A publisher called FUKUDA favored theatrical plays, and published many Kabuki actor portraits.
- 侠客を歌舞伎の舞台でよく勤めた役者が多門庄左衛門である。
- Shozaemon TAMON was a Kabuki actor who often played an role of kyokaku on Kabuki stages.
- 愛嬌と妙を得た即興など役者のユーモアの感性が求められる。
- To act the role the actor is required to have the sensitivity of humor including improvisation with amiability and skillfulness.
- なお、壽應の父(初代花柳壽輔)も壽應ももとは歌舞伎役者。
- The father of Jukei (Jusuke HANAYAGI I) and Jukei were once kabuki actors.
- 以下は芝居茶屋や出方と関わりのあった代表的な歌舞伎役者。
- Following are representative kabuki actors with some connection with the tea rooms and ushers.
- その後寛政6年(1794年)には写楽の役者絵を出版した。
- Later, in 1794, he published 'Yakushae' (prints of Kabuki actors) by Sharaku.
- 役者から作者に転身、さらに長唄や常磐津の作詞も手がけた。
- He changed his career from an actor to a writer and also wrote the lyrics of nagauta (long epic songs with shamisen accompaniment) and Tokiwazu (a performance of Joruri [the Japanese-type puppet play]).
- 實川 延若(じつかわ えんじろう)は、歌舞伎役者の名跡。
- 'Enjiro JITSUKAWA' is a professional name which was used by some Kabuki (a traditional form of drama and music performed by male actors) actors.
- 實川 額十郎(じつかわ がくじゅうろう)は、歌舞伎役者。
- Gakujuro JITSUKAWA was a Kabuki performer.
- 役者に対して掛けるが、その掛けかたには以下の種類がある。
- The followings are the varieties of kakegoe for actors.
- 屋号の詳細については「歌舞伎役者の屋号一覧」の項を参照。
- For further details about yago, refer to the article 'Kabuki Yakusha no Yago Ichiran' (the Catalogue of Yago of Kabuki Actors).
- 単純な筋であるが、役者の風格と芸で見せる楽しい演目である。
- Although it is a simple story, it is an enjoyable play in which the audience are attracted to the style and skill of the actors.
- 全役者・音楽・裏方は楽屋に一日中詰めていなければならない。
- All the actors, musicians and backstage staff must stay in their dressing rooms all day long.
- しかし役者が顔の表情を作って表現することは禁じられている。
- However, the performer is forbidden from using facial expressions.
- 風景、歌舞伎役者や関取、または遊女の似顔絵などが描かれた。
- Landscapes, portraits of kabuki actors, Sumo wrestlers and Yujo (prostitutes) were depicted.
- 中村 獅童(なかむら しどう)は、歌舞伎役者の名跡の一つ。
- Shido NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 中村 勘九郎(なかむら かんくろう)は、歌舞伎役者の名跡。
- Kankuro NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 中村 歌右衛門(なかむら うたえもん)は歌舞伎役者の名跡。
- Utaemon NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 尾上菊之助(おのえ きくのすけ)は、歌舞伎役者の名跡の一。
- Kikunosuke ONOE is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 『四座役者目録』などはこの越智観世の初代を元雅としている。
- 'Yoza yakusha mokuroku' (Catalog of Actors of the Four Noh Troupes) specified the founder of Ochi-Kanze as Motomasa.
- 中村 錦之助(なかむら きんのすけ)は、歌舞伎役者の名跡。
- Kinnosuke NAKAMURA is the professional name of kabuki actors.
- 尾上 松助(おのえ まつすけ)は、歌舞伎役者の名跡の一つ。
- 'Matsusuke ONOE' is a professional name used by Kabuki (a traditional form of drama and music performed by male actors) actors.
- 尾上 多賀之丞(おのえ たがのじょう)は歌舞伎役者の名跡。
- 'Taganojo ONOE' is a professional name used by Kabuki (a traditional form of drama and music performed by male actors) actors.
- 山下 又太郎(やました またたろう)は、歌舞伎役者の名跡。
- Matataro YAMASHITA is a hereditary family name for an actor of Kabuki, a Japanese traditional theatrical drama.
- 中村 芝鶴(なかむら しかく)は、歌舞伎役者の名跡の一つ。
- Shikaku NAKAMURA is one of the myoseki (family names) of kabuki actors.
- 役者以外には、まれに浄瑠璃や長唄の演者に掛かることがある。
- Sometimes audience does kakegoe for performers of Joruri (dramatic narrative chanted to a samisen accompaniment) or of Nagauta (long epic song with shamisen accompaniment).
- 「大」(おお): その屋号を代表する長老や看板役者に対して
- Prefix '大' (o): It is used for the most important elder and the star actor among the actors who share the same yago.
- 寛政年間、写楽の直後に出て、写楽とよく似た役者絵を描いた。
- In Kansei era (1789-1801), he appeared right after Sharaku TOSHUSAI and drew yakusha-e (prints of Kabuki actors) similar to those drawn by Sharaku.
- 出演したのは、『実録忠臣蔵』同様、無名の役者ばかりであった。
- Similar to 'Jitsuroku Chushingura,' all the actors that appeared were unknown.
- これ以外にも、「幕の内側で役者が食べるから」という説もある。
- There are other explanations for the origin of the name: one is that makunouchi means 'behind curtains,' describing where actors ate their bento.
- 現代の演劇では、幕の開閉や役者の動作の補助などを介錯と呼ぶ。
- In the modern theatrical performance, Kaishaku refers to such tasks of opening and closing the curtain and supporting performer's action.
- 1963年3月 松竹に復帰し、歌舞伎役者としての活動を再開。
- In March 1963, he returned to Shochiku and restarted his activity as a kabuki actor.
- 大鼓は能楽の職掌のうちでももっとも役者数の不足に悩んでいる。
- Among the Nogaku performers, otsuzumi players are most shorthanded.
- 坂東 三津五郎(ばんどう みつごろう)は、歌舞伎役者の名跡。
- Mitsugoro BANDO is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 中村 吉右衛門(なかむら きちえもん)は、歌舞伎役者の名跡。
- Kichiemon NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 間部宮内は、猿楽師(現在の能役者)喜多七太夫の弟子であった。
- Kunai MANABE (Akifusa's earlier name) was a disciple of a Noh play actor, Shichidayu KITA.
- 尾上 松緑(おのえ しょうろく)は、歌舞伎役者の名跡の一つ。
- Shoroku ONOE is one of professional names for kabuki actor.
- 中村 勘三郎(なかむら かんざぶろう)は、歌舞伎役者の名跡。
- Kanzaburo NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 坂東 蓑助(ばんどう みのすけ)は、歌舞伎役者の名跡の一つ。
- 'Minosuke BANDO' is a professional name used by Kabuki (a traditional form of drama and music performed by male actors) actors.
- 長州征討と戊辰戦争で長州藩兵を指揮し、勝利の立役者となった。
- He commanded Choshu forces in the Choshu War and the Boshin War, becoming the architect of triumph.
- 勝川派は、役者似顔絵を得意として、多数の弟子を抱え隆盛する。
- The specialty of the Katsukawa school was actor portraits, and the school flourished with many apprentices.
- 画像-24:『東都???七津意呂婆 浦橋八十之助』 役者絵。
- Picture-24 '??? Nanatsu Iroha URAHASHI Yasonosuke': Yakusha-e
- 桜丸が切腹をする時に着る襦袢の色は、役者の考え方で違っている。
- The color of underwear worn under kimono at the time when Sakuramaru committed seppuku differed with ideology of actors.
- 歌舞伎などで、黒装束を着用し役者の介添や舞台装置を操作する人。
- Kurogo are persons dressed in black who help actors and manipulate stage props at Kabuki theaters.
- 片岡 當十郎(かたおか とうじゅうろう)は、歌舞伎役者の名跡。
- Tojuro KATAOKA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 澤村 宗十郎(さわむら そうじゅうろう)は、歌舞伎役者の名跡。
- Sojuro SAWAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 囃方という枠にとらわれず、役者としても優れていたことが窺える。
- This shows that he was free from the limitation of classification as Hayashikata and was also prominent as an actor.
- 中村 梅雀(なかむら ばいじゃく)は、歌舞伎役者、ベーシスト。
- Baijaku NAKAMURA is a Kabuki theater actor and a bassist.
- 中村 芝雀(なかむら しばじゃく)は、歌舞伎役者の名跡の一つ。
- Shibajaku NAKAMURA is a professional name used by several Kabuki actors.
- 澤村 藤十郎(さわむら とうじゅうろう)は、歌舞伎役者の名跡。
- Tojuro SAWAMURA is a professional name of Kabuki actors.
- 澤村 四郎五郎(さわむら しろうごろう)は、歌舞伎役者の名跡。
- Shirogoro SAWAMURA is a Kabuki actor's professional name.
- これが歌舞伎役者が他分野の演劇に進出するひとつのきっかけとなる。
- This was one of triggers that led kabuki actors to branch out into other areas of theater.
- 後には本来の目的が薄れ、能役者の収益のため行われるようになった。
- The original purpose of kanjin-Noh gradually became weakened, and kanjin-Noh were held in order that Noh performers could make a profit afterward.
- 歌舞伎役者の中村吉右衛門 (2代目)が歌舞伎作者として使う筆名。
- The pan name which Kabuki actor Kichiemon NAKAMURA (the second) uses as a kabuki writer.
- 彼はとてもよく訓練された役者だけが本当に成功し得ると思っている。
- He thinks that only very well trained actors can be really successful.
- 鶴屋 南北(つるや なんぼく)は、歌舞伎の役者および作者の名跡。
- Nanboku TSURUYA was a professional name of Kabuki (traditional drama performed by male actors) actors and playwrights.
- 一、何所ニ於テ刑罰ノ行ハルルトイヘドモ、役者ノ外出向スベカラズ。
- • When a legal judgement or punishment is being handed out, no-one except those in charge may be present.
- 能役者の追放・登用、また流派を超えての移籍などを繰り返したこと。
- Repeatedly ousting and appointing Noh performers, and moving them from school to school.
- (役者A、役者B)「サァ、サァ、サァサァサァサァ!」(くり上げ)
- Actor A and Actor B in the style of 'kuriage' (gradually elevate their voice): 'Sah, sah, sahsahsahsah!'
- 東京、大阪などが主要な地盤で、能楽協会に登録された役者は20名余。
- Its main bases of activity are Tokyo and Osaka etc., and over 20 players are registered with the Nohgaku Performers' Association.
- 東京、大阪などが主要な地盤で、能楽協会に登録された役者は10名余。
- Its main bases of activity are Tokyo and Osaka etc., and some ten players are registered with the Nohgaku Performers' Association.
- 東京、京都を地盤とし、能楽協会には20名余の役者が登録されている。
- They are based mainly in Tokyo and Kyoto, and there are over 20 players who are registered with the Nohgaku Performers' Association.
- 東京及び九州が主要な地盤で、能楽協会に登録された役者は10名程度。
- They are active particularly in Tokyo and the Kyushu region, and approximately 10 performers from this school are registered with the Nohgaku Performers' Association.
- 進取の気性に富み、従来の歌舞伎役者の殻を破る活動に積極的に挑んだ。
- Full of enterprising spirit, he actively engaged in activities not done by traditional kabuki actors.
- 江戸中期に活躍した歌舞伎役者初代中島三甫右衛門によって大成された。
- It was perfected by Mihoemon NAKAJIMA the first, a Kabuki actor in the mid-Edo period.
- 江戸時代に入ると、歌舞伎役者などをかたどった押絵羽子板が流行した。
- By the time the Edo period arrived, Hagoita racquets festooned with cloth applique-like portraits of traditional Japanese Kabuki theatre actors etc were a fad.
- 片岡 仁左衛門(かたおか にざえもん)は、歌舞伎役者の名跡の一つ。
- Nizaemon KATAOKA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 中村雀右衛門(なかむら じゃくえもん)は、歌舞伎役者の名跡の一つ。
- Jakuemon NAKAMURA is a Kabuki (traditional drama performed by male actors) actor's professional name.
- また江戸時代成立の『四座役者目録』は元雅の項で、下記の記述がある。
- The section about Motomasa in 'Yoza yakusha mokuroku' (list of actors in four Noh performance groups) established in the Edo period mentions as follows.
- 牢内では服役者の医療に努め、また劣悪な牢内環境の改善なども訴えた。
- In prison, he was engaged in medical care of prisoners and also called for the improvement of the poor prison environment.
- このことから「阿古屋の右升」とまで呼ばれるほどの人気役者となった。
- Therefore he became quite a popular actor to be called 'Akoya no Usho' (nobody can equal Usho as an actor playing Akoya).
- 歌舞伎における女形は、次のような種類の役を専門的に演じる役者を指す。
- The onnagata of kabuki refers to actors who expertly act the following roles.
- 老女・尼などは、江戸時代には花車方の役者が専門的に演じたものである。
- In terms of an old woman or a nun, actors of kashagata (old female roles) expertly played those roles in the Edo period.
- そのせいか、上方歌舞伎役者の代数も江戸のそれに比べると極めて少ない。
- This is perhaps the reason the number of generations of Kamigata Kabuki actors is very small compared to that to Edo Kabuki.
- 百姓や町人、果ては落語家や役者といった芸人から遊女まで家紋を用いた。
- Farmers, tradesmen, craftsmen, and even entertainers like Rakugo story tellers, actors, and Yujo (prostitute) used Kamon.
- 能楽師(のうがくし)は職業的に能楽を演じる人を指し、能役者ともいう。
- Those who perform Noh plays as a profession are called the Noh actors or Noh performers.
- 加賀在の手猿楽役者として活躍した初代野村万蔵保尚の家系がこれである。
- This is the family of the first Manzo Yasuhisa NOMURA, who was active as a tesarugaku actor in Kaga Province.
- 父:中村梅之助 (4代目)(存命で現役の歌舞伎役者、劇団前進座代表)
- Father: Umenosuke NAKAMURA (the Fourth) (an active Kabuki actor and the representative of the Zenshinza theater company)
- 湯島天神町の生まれ、最初は歌舞伎役者の市川團十郎 (7代目)の門下。
- He was born in Yushima tenjin town and he initially became a disciple of Danjuro ICHIKAWA VII, who was a kabuki actor.
- 河原崎 権之助(かわらさき ごんのすけ)は、歌舞伎役者の名跡の一つ。
- Gonnosuke KAWARASAKI is a hereditary family name for an actor of Kabuki, a Japanese traditional theatrical drama.
- 幼少から役者を志し、1874年に大垣で市川千之助の名で初舞台を踏む。
- He aspired to become an actor from early childhood and made his debut in Ogaki City (Gifu Prefecture) with the stage name Chiyonosuke ICHIKAWA in 1874.
- 流儀の地盤は東京と金沢で、能楽協会には20名弱の役者が登録されている。
- The school's bases are Tokyo and Kanazawa, and little less than 20 players are being registered with the Nohgaku Performers' Association.
- 美人画、役者絵、武者絵のほか、旅行ブームに伴い名所絵(風景画)が発達。
- Bijinga (a type of Ukiyoe portraying beautiful women), Yakushae (print of Kabuki actors), Mushae (Ukiyoe prints of warriors) and Meishoe (landscape drawings), as a result of travel boom, were developed.
- 能楽協会に登録された役者は、2006年の時点で守家由訓ただ1人である。
- Yoshinori is the only actor of the group registered at The Nohgaku Performers' Association as of 2006.
- その後も歌舞伎役者に家芸を伝えたとして能楽界への復帰は許されなかった。
- However, blamed for passing down the school's specialty to Kabuki actors, they were not allowed to return to the Nohgaku circles even after the failure.
- ちなみに現在では俳名由来の名跡を継いだ役者にもそれとは別に俳名がある。
- By the way, an actor who has inherited a succession of a family name derived from Haimyo also has another Haimyo.
- ドラマ内の最ベテラン役者や重要な役どころの俳優が名を連ねるのが一般的。
- Usually, the name of the most experienced actor or the actor who plays an important role takes up the position.
- 實川 延若(じつかわ えんじゃく、新字体:実川)は、歌舞伎役者の名跡。
- Enjaku JITSUKAWA is a professional name for kabuki actor.
- 代々続く歌舞伎役者だが、テレビドラマや時代劇にも積極的に出演している。
- Although he is from a line of Kabuki actors, he actively appears in TV dramas and period dramas.
- 河原崎 権三郎(かわらさき ごんざぶろう)は、歌舞伎役者の名跡の一つ。
- Gonzaburo KAWARASAKI is a hereditary family name for an actor of Kabuki, a Japanese traditional theatrical drama.
- 後輩の役者が、「先日あなたの通りに演じたら好評でした。」と礼を述べた。
- A junior actor expressed his gratitude for Tojuro, saying, 'The other day, I played like you and received good reviews.'
- 玄人の中では当時の代表的な役者である喜多七太夫長能を父同様に贔屓した。
- Like his father Hidetada, Iemitsu favored Nagayoshi Shichidayu KITA, the leading Noh actor of the time.
- 嘉永5年(1852)に豊国の役者絵の一部を描き、門人八十八と署名する。
- When he was helping Toyo-no-kuni to draw a portrait of kabuki actor in 1852, he signed his name as 'disciple Yasoya.'
- 本外題は主役の助六を勤める役者によって変わる(詳細は今日の助六を参照)。
- The title is different for the actor to impersonate the leading role Sukeroku (for further details, see 'Currently Performed Sukeroku.')
- 外山座はその看板役者・宝生太夫の名を取って宝生座と呼ばれるようになった。
- The Tobi-za then began to be called Hosho-za, named after Tayu HOSHO, who was the star performer of the group.
- 幕が終わると、義平次役の役者は全身泥だらけで、洗い落とすのに一苦労する。
- After the curtain falls, the actor who plays Giheiji is covered with mud and it is very difficult to wash it away.
- ある役者が源蔵を演じた時、緊張して桶の中に首を入れるのを忘れてしまった。
- One actor forgot to put the head in a bucket when he performed as Genzo.
- 役者絵にも写実さが加わり勝川春章によってブロマイド的な似顔絵が描かれた。
- Realistic delineation was also added to Yakushae, and bromide-like Nigaoe (portraits) were drawn by Shunsho KATSUKAWA.
- その流行の発端をつくるのはたいがい遊女、芸者、そして歌舞伎役者であった。
- Dispatchers of fashion were almost always prostitutes, geisha and kabuki actors.
- その経営者や使用人のなかからは、後代に大名跡となる歌舞伎役者も生まれた。
- Some kabuki actors who later came to have significant family names in Kabuki were born into the families who were managers or employees of these tea rooms.
- 江戸時代後期に歌舞伎役者の格好を見た女性達が真似をし、広まったとする説。
- During the late Edo period, an increasing number of women, stimulated by the appearances of kabuki actors into imitating the way the kabuki actors dressed, which is also cited as the origin of Tsunokakushi.
- 俳名が役者の愛称として、舞台に声を掛ける際などにも使われるようになった。
- Haimyo has been used as a nickname when calling an actor on a stage.
- 河原崎 権十郎(かわらさき ごんじゅうろう)は、歌舞伎役者の名跡の一つ。
- Gonjuro KAWARASAKI is a Kabuki (traditional drama performed by male actors) actor's professional name.
- 増阿弥(ぞうあみ、生没年未詳)は世阿弥と同時期に活躍した田楽新座の役者。
- Zoami (year of birth and death unknown) was an actor of the Dengaku Shinza (New Dengaku Guild), who was active during the same time period as Zeami.
- 尾上 榮三郎(おのえ えいざぶろう、新字体:栄三郎)は歌舞伎役者の名跡。
- Eizaburo ONOE is a hereditary family name for an actor of Kabuki, a Japanese traditional theatrical drama.
- 稽古が非常に厳しいことで知られ、「雷師匠」として役者や門弟に恐れられた。
- He was known for bloody hard training, and he was feared as 'Kaminari Shisho' (the master of thunder) by actors and disciples.
- 技芸部(俳優)は、トーキーに通用する役者たちなので引く手はあまたであった。
- Players belonged to the Gigeibu (players) were very much in demand since they could play in talkie films.
- あらすじらしいものはなく、ただ十数人の役者が舞台上に登場してにからみ合う。
- With no specific story, ten plus actors appear on a stage and perform a play entangled with each other.
- この狂言は、大病を患い長期休養した役者の復帰狂言として使われることが多い。
- That play is often performed as the comeback play after the leading actor takes a long rest because of a serious illness.
- 始めは、大勢の共演者が賑やかに踊り、盛り上がったところで主演役者が現れる。
- Following the cheerful dance by many actors, the leading actor comes to the stage.
- トップを失い興行も減少、役者たちは将来に不安を募らせ、やる気を失っていった。
- As top stars were lost and the number of performances dwindled, actors worried about their future and lost their motivation.
- 東京を主たる地盤にし、能楽協会に登録された役者は、2006年の時点で16人。
- The major regional area is Tokyo, and the number of actors registered at The Nohgaku Performers' Association is 16 as of 2006.
- 当時を代表する能役者であったとともに、能作者、能楽論の著者としても知られる。
- He was a representative Noh actor in that period and was also famous for writing Noh plays, as well as books of theories of Nohgaku (theories of Noh drama).
- 一忠(いっちゅう、生没年不詳)は、南北朝時代 (日本)に活躍した田楽能役者。
- Icchu (year of birth and death unknown) was a Dengaku (refer to the descriptions below) and Noh player who was active in the period of the Northern and Southern Courts (in Japan).
- あなたは眼が大きいから役者になるときっと似合いますと清がよく云ったくらいだ。
- Kiyo even once suggested that I should make a fine actor because I had big eyes.
- なお、是閑に始まった大野家の3代助左衛門は面を打たず能役者となったと伝わる。
- In addition, it is said that Sukezaemon, who was the third of Ono family founded by Zekan, didn't become Noh-men uchi but Noh play performer.
- 世阿弥が生まれたとき父である観阿弥は31歳で、大和猿楽の有力な役者であった。
- When Zeami was born, his father, Kanami was 31 years old and a leading player of the Yamato-Sarugaku.
- 役者絵では歌川国貞が師匠歌川豊国の流れを受け継いで、力強い役者絵を手がけた。
- In the category of Yakushae, Kunisada UTAGAWA, as the successor to his teacher Toyokuni UTAGAWA, drew strong Yakushae.
- ゆえに人々は小團次を「白浪役者」「泥棒小團次」、黙阿弥を「白浪作者」と呼んだ。
- So people called Kodanji 'Shiranami Actor' or 'Kodanji the Thief' and Mokuami 'Shiranami Playwright.'
- 歌舞伎役者の権門の家に生まれ、長じては名跡を襲名することが定められている男子。
- One meaning is a son who is born into a Kabuki family and supposed to succeed to one of the family's stage names when he becomes an adult.
- 立役(たちやく)は、歌舞伎における尋常な成年男子の役、またその役を演じる役者。
- Tachiyaku means the role in Kabuki (traditional performing act) of a normal adult male, and it also stands for the actor who plays the role.
- 回復してからは再び役者として活動するが、左傾した前進座に嫌気が差して退団する。
- Though he restarted an actor after he recovered from illness, he left Zenshinza theatrical group, which was then left-leaning, because he became weary of it.
- 子供に野村万蔵 (7世)(野村萬)、野村万作、野村四郎(能役者)、野村万之介。
- His children were Manzo NOMURA (the seventh)(Man NOMURA), Mansaku NOMURA, Shiro NOMURA (Noh performer), and Mannosuke NOMURA.
- 加えて舞金剛と呼ばれる金剛流の特色である写実能にもその実力を発揮する役者である
- In addition, he is a Noh actor who shows real ability in realistic Noh called Mai-Kongo which is the feature of the Kongo school.
- 国周の役者絵は、戊辰戦争を受けて不況となった歌舞伎界を盛り上げたともといえる。
- It can be said that Kunichika's portraits of Kabuki actors helped boosting the popularity of the Kabuki community, which had suffered a slump because of the Boshin War.
- 能楽協会に登録された役者は4名で、現宗家十一世藤田六郎兵衛を含む全員が名古屋在。
- Four performers from this school are registered with the Nohgaku Performers' Association, and all the performers including the current head Rokurobyoe FUJITA the 11th live in Nagoya.
- このとき半四郎が得意としていた八百屋お七を基本として旅役者崩れの女装盗賊とした。
- The role of Yaoya Oshichi, which was Hanshiro's specialty at that time, became the base for the robber dressed like a woman who used to be an itinerant actor.
- 戦国時代 (日本)末期の素人能役者下間仲孝の演能記録「能之留帖」に頻出している。
- The name of the work often appeared in '能之留帖' written by Nakataka SHIMOTSUMA who was an amateur Noh actor in the late Sengoku Period (period of warring states).
- 八汐は立役が加役として演じることが多いが、政岡役の役者と対等の芸力が要求される。
- Although Yashio is often played by an actor who usually plays a male role, he is required to have the acting skills equivalent to that of the actor playing Masaoka.
- 晩年の十年間は完全に盲目だったにもかかわらず、主演の役者として舞台活動を続けた。
- He was completely blind in the last decade of his life, but he continued his activity on the stage as lead actor.
- 特に茶道や僧侶、能楽師、歌舞伎役者、芸人などはほとんどの場合白足袋をはいている。
- In particular, almost all tea masters, priests, Noh players, Kabuki players and entertainers as well as the persons concerned with the tea ceremony wear white tabi.
- 一休宗純に帰依してその引導を受けたと『四座役者目録』などに語られるが、疑わしい。
- It was stated in 'Yoza yakusha mokuroku' (Catalog of Actors of the Four Noh Troupes) that he became a believer of Sojun IKKYU and received a requiem from him, but this is doubtful.
- 男色家であった為、生涯にわたって妻帯せず、歌舞伎役者らを贔屓にして愛したという。
- It is said that since he was a homosexual, he remained single throughout his life, but that he favored and loved Kabuki actors.
- ほめことばは、歌舞伎で、役者をほめたたえるために発し、投げかけられることばである。
- Homekotoba refers to words of praise to be uttered or shouted to applaud playactors of Kabuki play on stage.
- 彼自身は後年、もし歌舞伎役者にならなかったら画家を目指していただろうと語っている。
- He himself said that if he had not become a kabuki actor, he would have liked to have been a painter.
- 初世梅若実は明治に入り、弟子に対し独自に能役者としての免状を発行するようになった。
- The first Minoru UMEWAKA had issued a license to play the Noh to his disciples in his own right since the beginning of the Meiji period.
- 祖父:中村翫右衛門 (3代目)(歌舞伎役者、劇団前進座創設メンバー、前進座幹事長)
- Grandfather: Kanemon NAKAMURA (the Third) (a Kabuki actor, the founding member of the Zenshinza theater company, and the director general of Zenshinza)
- 宗家絶家後に活躍した役者としては、森本登喜、森田光風、杉市太郎、寺井政数などがいる。
- Some performers such as Toki (登喜) MORIMOTO, Mitsukaze MORITA, Ichitaro SUGI, and Masakazu TERAI gave great performances after the head family became extinct.
- 以後小芝居で花形役者として活躍するが、その才能を尾上菊五郎 (6代目)に見出された。
- He had been a top-billed actor in Koshibai until Kikugoro ONOE (the sixth) spotted his talent.
- 10月17日「寄初(よりぞ)め」といい、新一座の役者全員が最初の顔合わせを行なった。
- On October 17 (in the old calendar), an event called 'yorizome' was held in which a new cast of actors met for the time.
- なお代役は自らの型を捨てて、休演している役者とまったく同じ型を演じなければならない。
- The substitute must throw away his own style, and perform in exactly the same style with the initial actor.
- この文化的流行が歌舞伎役者に一般化するにつれて俳名に変化した(現代の俳優名に発展)。
- As this cultural fashion was generalized to Kabuki actors, the item branched into Haimyo (a pen name of the haiku poet), which later developed into a name used by current actors.
- 又一郎の名跡は、元禄期に「又一郎歌舞伎」を演じた役者に由来し、「二代目」を名乗った。
- The professional names for kabuki actor, Mataichiro, derived from an actor acting 'Mataichiro Kabuki' in the Genroku era, and he identified himself as 'the second.'
- 役者としての修行を積み大舞台への進出を狙っていたが、1839年に養父・吉五郎が急死。
- He had been training as an actor to appear on the big stage, but his foster father, Yoshigoro, suddenly died in 1839.
- 松次郎の運命を左右することになったのが大阪の人気役者初代中村鴈治郎との提携であった。
- Matsujiro's partnership with Ganjiro NAKAMURA I who was a popular actor in Osaka determined his destiny.
- 数人の名題役者が巨額の賃金を得、それによって門弟を抱える江戸時代以来の制度を改めた。
- He reformed the Edo system in which a handful of lead actors acquired huge amounts of salary with which they supported their disciples.
- 團十郎や海老蔵が助六を勤める場合は、この口上は市川宗家の門弟筋にあたる家の役者が行う。
- When Sukeroku is impersonated by Danjuro or Ebizo, Kojo is done by an actor from apprentice families of the head of the Danjuro ICHIKAWA family.
- ただし、両者とも役者としては優秀であったが、業界を牽引するという指導力には欠けていた。
- However, although both were very good actors, they lacked the skills to lead the industry.
- 関西歌舞伎の聖地である道頓堀に歌舞伎役者の幟が立ちならび、大阪の夏の年中行事となった。
- In Dotonbori, a sacred place for Kansai Kabuki, banners of kabuki actors lined the street and the performance became a regular annual event for the summer in Osaka.
- 必然的に(東京へ客演する場合を別にすれば)立物級の役者は一座することを余儀なくされた。
- Inevitably (except when making guest appearance in Tokyo), leading actors were obliged to build a troupe together.
- 役者は一定の期間別火(べっか)という物忌みを行う(特に女性と同じ火を使うことを忌む)。
- Actors engage in Monoimi (purification through fasting and abstention) called Bekka (literally, 'separate fire,' during which they cook with sacred fire, avoiding unclean fire used by others, particularly women) for a period of time.
- 当時の延命院住持は日潤といい、歌舞伎役者尾上菊五郎の隠し子だと言われる(異説もある)。
- The chief priest of the Enmei-in Temple at that time was called Nichijun, and it was theorized that he was an illegitimate child of the Kabuki actor, Kikugoro ONOUE (a different theory exists as well).
- 1900年(明治33年)には関西で名を尾上小亀とした女役者になり、再会も果たしている。
- In 1900, Isoko became an actress called Kogame ONOE in the Kansai Region and was later reunited with her father.
- 河原崎 長十郎(かわらさき ちょうじゅうろう)は、江戸市村座の座元、歌舞伎役者の名跡。
- 'Chojuro KAWARASAKI' is a name used by successive proprietor of the Edo Ichimura-za Theater, and it is also a professional name used by Kabuki (a Japanese traditional form of drama and music performed by male actors) actors.
- 数奇屋河岸にあった羽子板問屋明林堂の仕事を引き受け、その役者絵は評判が良かったという。
- He took on a job at hagoita warehouse merchant Meirindo near Sukiya kashi riverbank area; it is said that his portraits of kabuki actors were highly appreciated.
- 舞台の夫婦役者であいついで死去した役者の場合、これをあわせて1つに描くこともなされた。
- There were some cases that two actors were put together in one Shini-e, for those who played the role of a couple in a theatrical stage, and died one after another in real life.
- その「けいせい色三味線」「役者口三味線」で、その後の役者評判記、浮世草子の原型を作る。
- Keisei Iro-jamisen' and 'Yakusha Kuchi Samisen' written by Kiseki became the basis of hyoban-ki (books of public estimation on various matters) of actors and Ukiyozoshi.
- 「ウケ」を勤める役者は、金冠に銀の束帯、王子鬘に公家荒と呼ばれる魁偉な青の隈取をつける。
- The actor who plays the role of 'Uke' wears a golden crown, a silver sokutai (traditional ceremonial court dress), oji katsura (a wig of long hair), and a hefty blue Kumadori called Kugeare.
- 以後『勧進帳』の三役は歴代の看板役者が生涯に一度は演じる歌舞伎の代表作のひとつとなった。
- Since that time, the three roles of 'Kanjincho' have been some of the major roles which are to be performed by marquee players once in their lifetimes.
- このほか江戸時代に歌右衛門の門弟で中村福助を名乗った役者がいるが、通常代数には数えない。
- Other that, there was a disciple of Utaemon who claimed Fukusuke NAKAMURA in Edo era, but normally is not counted as a generation.
- 前述の『四座役者目録』は「乱舞道の名人」、また諸道において暗きところなし、と評している。
- In 'Yoza yakusha mokuroku' mentioned above, he was praised as 'the master of sarugaku' and excelled at everything.
- あの喜劇役者のジョークときたら、どれもこれも古くて、以前に聞いたことのあるものばかりだ。
- That comic's jokes are all old hat and we've heard them before.
- 現在では中村福助の前に襲名、中村芝翫か中村歌右衛門を嗣ぐべき役者の初名とすることが多い。
- Nowadays this name is often used before Fukusuke NAKAMURA as the first professional name of Kabuki actors who will eventually succeed to the name of Shikan NAKAMURA or the name of Utaemon NAKAMURA.
- 助六を勤めるそれぞれの役者とその演目の本外題、および「出端の唄」の浄瑠璃形式は以下の通り:
- The actors that played Sukeroku, the titles of the play, and the forms of the Joruri for 'Deha no Uta' are shown below.
- 江戸時代、劇場の役者の雇用契約は満1箇年であり、11月から翌年10月までが1期間であった。
- In the Edo period the kabuki actors were hired for a full year, starting in November and ending next October.
- 以上のように大体の型はあるものの、隈取は役者が自分で書き入れるものなので一人一人形が違う。
- As shown above, it had certain structure, but Kumadori was different for each individual since actor applied it himself.
- 伝統芸能において、役者等が一定の距離を関係者らと行列して歩く(あるいは船で航行する)こと。
- It also refers to performers marching along (or traveling by boat) with their staff for some distance in traditional performing arts.
- しかし、文楽であれば全編を太夫が語るのに対して歌舞伎の場合は役者の台詞の部分を抜いて語る。
- In Bunraku, the whole story is narrated by Tayu whereas in Kabuki, Tayu narrate a story only when actors do not speak their lines.
- ギリシャ古典劇での演技で、(声をそろえて話すか、または歌うことによって)注釈する役者の一団
- a company of actors who comment (by speaking or singing in unison) on the action in a classical Greek play
- 歌川派の創始者歌川豊春の元で学び、理想の美しさを表現した役者絵や美人画で絶大な人気を得た。
- He learned under Toyoharu UTAGAWA, the founder of the UTAGAWA school, and gained enormous popularity for his yakusha-e (a print of Kabuki actors) and bijin-ga (a print of beautiful women) in which his ideal beauty was portrayed.
- 五右衛門は演じる役者の技量もさることながら、役者の人間の大きさも必要な役どころといわれる。
- The role of Goemon requires not only technique but also broad-mindedness of the actor himself.
- 一座の第二位の役者、もしくは第一位の役者(「太夫」と言う)の後見役にある役者がワキである。
- The second actor in the Noh company, or the actor sitting in the prompter seat of the leading actor (Tayu, leading actor in a Noh play) is the Nohwaki.
- 安土桃山時代に、京の手猿楽役者初世石井庄左衛門滋長が名人樋口久左衛門に師事して一流を興した。
- In the Azuchi-Momoyama period, the first head Shozaemon Shigenaga ISHII who was a te-sarugaku (amateur Noh) player established the school in Kyoto under the guidance of master Kyuzaemon HINOKUCHI.
- 『四座役者目録』によれば道善は大柄な美男子で「高安エビス」のあだ名のある名人であったという。
- According to the 'Yoza Yakusha Mokuroku' (Catalog of Actors of the Four Noh Troupes), Dozen was a tall handsome man who was a master nicknamed 'Ebisu TAKAYASU.'
- 1. 歌舞伎役者が舞台の上で使う名跡(芸名)とは別に、公私にわたって自由に使用した名(号)。
- 1. a name (pseudonym) freely used by kabuki actors both in public and private matters, apart from their family name which they used on the stage (stage name)
- ・・・・今度はそれをやるようになるだけの歌舞伎役者をつくっていかなければいけないと思います。
- I believe we must train kabuki actors who can do it.
- 顔見世公演の際に楽屋を訪ね贔屓の役者に簪の「まねき」に名前を入れてもらうという慣わしがある。
- Maiko customarily visit dressing rooms on the occasion of a kaomise performance (traditional kabuki performance in Kyoto) and asks her favorite actor to sign the 'maneki' of her kanzashi.
- 台詞と地のつけ具合や役者のしぐさに合わせて語るなど文楽の場合とは多少の技術的な違いが生じる。
- In Kabuki, Tayu are required to use techniques that slightly differ from those adopted in Bunraku, such as the harmonization of musical narratives and actors' dialogues and the deployment of narratives well-coordinated with actors' gestures.
- 大和猿楽に吸収・統合されて江戸期の武家社会の式楽の担い手となっていった猿楽の役者たちがいた。
- Some Sarugaku actors were assimilated and incorporated into Yamato Sarugaku (Sarugaku in Yamato Province) and became the bearers of the Shikigaku (the ceremonial art) of the Samurai, or warrior, society in the Edo Period.
- またチャリの笑いのエネルギーを、おかしみのある芝居では役者が引き継いで盛り上げる場合もある。
- In comedies, sometimes actors take advantage of the energy of chari to arouse the audience to enthusiasm.
- (例)劇中の役者がたまたま実際の親子で、その二人が抱き合って感涙に咽ぶとても感動的なシーン。
- Example 4: When a real father and son play the roles of a parent and a child (sometimes mother and daughter), at the scene such actors embrace each other shedding tears of emotion
- 大久保ら維新の立役者の絵が多数残っている中、西郷は自分の写真が無いと明治天皇に明言している。
- There are many portraits of leaders in the restoration, such as Okubo and others, but Saigo told Emperor Meiji not to have portraits made of him.
- 出雲阿国以後に現れた重要な歌舞伎役者の一人、中村座開祖で、中村姓の歌舞伎役者の始祖でもある。
- He was one of the most important kabuki actors after IZUMO no Okuni, a founder of Nakamura-za Theater, and also a progenitor of kabuki actors named NAKAMURA.
- 大田南畝が書いたオリジナルに近いのが「これは歌舞妓役者の・・・一両年に而止ム。」の部分である。
- The part that 'He painted … within a few year' is close to the original text written by Nanbo OTA.
- この能役者の素顔を「直面(ひためん)」と呼び、その名のとおり自分の素顔を能面と見立てて演ずる。
- This unmasked face of a noh performer is called the 'hitamen' (lit. direct mask) and, as the name suggests, the performer acts using his own face as a noh mask.
- CS放送「歌舞伎チャンネル」を運営する伝統文化放送では、歌舞伎役者で唯一取締役に就任している。
- He is an only Kabuki actor appointed as a board member of Traditional Culture Broadcasting that manages 'Kabuki Channel' of CS broadcasting.
- 振付師に戻った芳次郎は、玉屋やかつて縁のあった役者たちの後ろ盾を得て、次第に活躍の場を広げる。
- Yoshijiro, who returned to a choreography, gradually widened his appeal with the backing of Tamaya and actors he associated with in previous times.
- つっころばしは上方独特の役種で、演技の巧拙以上に役者の持味、舞台の雰囲気に左右されることが多い。
- Tsukkorobashi is an acting role peculiar to the Kyoto-Osaka area; it is more influenced by an actor's personality or the stage atmosphere rather than degrees of the actor's skill.
- 一忠もこれにトップバッターとして出演し、新座の花夜叉なる役者と「恋の立合」なる曲をともに舞った。
- Icchu played as the first performer as well, dancing in the play named 'Koi no tachiai' (literally, love tachiai (for 'tachiai,' see below)) together with a player named Hanayasha at Shin-za.
- 彼が犯罪の専門家になった時、科学が鋭い理論家を失ったように、演劇界は優れた役者を失ったのである。
- The stage lost a fine actor, even as science lost an acute reasoner, when he became a specialist in crime.
- 当初は能流派以外の役者を士分としていたが、次第に諸座の大夫・家元クラスがその対象となっていった。
- At the beginning, the performers promoted were those who didn't belong to the main Noh schools, but gradually leading actors and the heads of each company were targeted.
- 登用された役者たちは、三世喜多七太夫宗能改め中条直景のように九百石取りにまで出世するものもいた。
- Some of the promoted performers, such as Naokage NAKAJO whose stage name was Shichidayu Muneyoshi KITA III, received 900 koku.
- また、坂本龍馬や井上毅など、明治維新の立役者やのちの明治新政府の中枢の多くもここを訪問している。
- Also, the key players of the Meiji Restoration such as Ryoma SAKAMOTO and Kowashi INOUE and a number of later pivotal members of the New Meiji Government visited there.
- それにもかかわらず、風刺画や役者絵禁止令が出された後にも「落書き」と称して役者絵を出版している。
- However, even after caricatures and Yakushae were banned, it published Yakushae as 'scribbling.'
- 東京・名古屋が主要な地盤で、能楽協会には10名の役者が登録されている(2008年6月30日現在)。
- Its main bases of activity are Tokyo and Nagoya, and ten players are registered with the Nohgaku Performers' Association (as of June 30, 2008).
- その壽海を中心に据えたする興行の形態が、関西歌舞伎の役者たちからの反発を招いたのも無理はなかった。
- It was only natural that the performance having Jukai at the center of it elicited an angry response from actors of Kansai Kabuki.
- 顔見世(かおみせ)は、歌舞伎で、1年に1回、役者の交代のあと、新規の顔ぶれで行う最初の興行である。
- Kaomise refers to the first kabuki performance played by new actors following an annul renewal of actors.
- 台詞は語り手(「太夫」たゆう)・唄い手に任されて役者や踊り手は一言も発しないという演目・曲も多い。
- In many plays and songs, dialogues are assigned to a narrator (tayu) and singer, while actors and dancers don't speak at all.
- 当時人気であった歌舞伎役者が衣裳の着崩れを防止する為に、帯の上に締めたヒモが帯締めのルーツである。
- Kabuki actors who were popular around that time tied strings on their kimono sashes in order to prevent their costumes from coming undone, and these strings developed into obijime.
- 郵便創業の立役者であったのは「紳士遊覧団」として日本に留学経験のあった弱冠30歳の洪英植であった。
- Hong Young Shik, who had studied in Japan as a member of the Courtiers' Observation Mission and only 30 years old at that time, was the central figure in establishment of postal service.
- しかし、その後、旅役者の一座に混じって放浪生活に入り、旅役者や肉体労働者として浅草などで生活する。
- However, he went on to join a troupe of traveling performers, living life on the road at places such as Asakusa as an itinerant entertainer and manual laborer.
- 立役役者は歌舞伎における中心的な存在であり、ほかの職掌にある役者よりも高い地位にあるものとされた。
- Tachiyiaku actors played the leading role in Kabuki, and were considered to be in a higher class than actors in other positions.
- 維新後、十世宗家進藤信啓が零落し、後嗣を含めた多くの役者が家芸を廃したため、明治初年に流儀が絶えた。
- After the Meiji Restoration, since the 10th generation head Nobuhiro (信啓) SHINDO ruined the family, many performers including his successors stopped performances in this school style, and the school eventually became extinct in 1868.
- 備考:助六を市村羽左衛門と市川團十郎以外の役者が演じた舞台で河東節「所縁江戸櫻」が使われた唯一の例。
- Note: This was the only performance where Katobushi 'Yukari no Edozakura' was used on the stage of Sukeroku impersonated by an actor other than Uzaemon ICHIMURA and Danjuro ICHIKAWA.
- 歌舞伎の家の芸(かぶきの いえのげい)では、歌舞伎役者の権門が家の芸として特に定めた演目集をあげる。
- Kabuki ie no gei is a program list that is especially selected by the influential members of kabuki actors as the specialty pieces of their kabuki schools.
- 式場では頭取の発声で囃子方の四海波の謡がはじまり、太夫元から座頭、書き出しの役者と順次盃事があった。
- With the manager's vocal cue, theatre musicians first sang the song called 'Shikainami' and then the chief producer offered a drink to the zato (the leader of a troupe), then to the leading actor, which is known as 'sakagoto.'
- 大詰めに役者が不動明王に扮して出現するという単純なもので、市川團十郎の成田山信仰に由来する芸である。
- The story is simply that an actor disguised as Fudo myoo appears in the final stage, and this act comes from the belief in Mountain Narita in which ICHIKAWA Danjuro believed.
- 御母のお弔いのためにこれから管弦講という法要を催されるので、管弦の役者は集まるように言ってください。
- He is going to hold Buddhist memorial service known as kangenko (pipes, strings, and preaching) to mourn for his mother, so please gather those who perform kangen (gagaku piece without dance).
- 十二月:「まねき」(歌舞伎役者などの名前を記す木の看板)、(これに「餅花」の飾りが付いていることも)
- December: 'Maneki' (wooden signboard on which kabuki actor's name is written) (decoration of rice cake flower is sometimes attached)
- その子も猿楽役者であったらしいが、この元雅の孫を以って世阿弥の直系は絶えたらしい(越智観世を参照)。
- It is said that Juro KANZE's child was also an actor of Sarugaku, but a direct line from Zeami died out after this grandson Motomasa (refer to Ochi Kanze).
- しかし、田楽本座所属の役者として活躍して高い評価を受けていたことが、世阿弥の著作などで知られている。
- However, it is known through Zeami's writing that he worked actively as a player belonging to Dengaku Honza and his plays were evaluated highly.
- このような相手からの「仕掛け」に当意即妙に対応してみせてこそ、優れた役者であると世阿弥は語っている。
- Zeami said that a truly excellent player had to be able to cope wittily with a challenge posed by the other player.
- 1909年(明治42年)、岡山の金光教で見つけた旅役者尾上松之助を主演に『碁盤忠信・源氏礎』を撮る。
- In 1909, MAKINO made 'Goban Tadanobu Genji no Ishizue' featuring Matsunosuke ONOE, an itinerant actor and member of the Konkokyo religion he found in Okayama.
- 魚の顔を役者の似顔にするなど、さまざまな便法で禁令を潜り抜け、絵師は役者の似顔を世に送り出し続けた。
- He used various methods to slip through the ban to release portraits of Kabuki actors; for example, one of his Ukiyo-e portrays a fish with the face of a Kabuki actor.
- 工藤は座頭級の役者が受け持ち、動きこそ少ないが、他の役者を圧倒するだけの貫禄を持つことが求められる。
- Kudo is generally played by the leader of the troupe or someone of the equal status, and although the role does not require much movement, it is required that the actor has a presence which overpowers that of other actors.
- 六代目 澤村田之助(ろくだいめ さわむら たのすけ、1932年(昭和7年)8月4日 -)は歌舞伎役者。
- Tanosuke SAWAMURA VI (August 4, 1932 -) is a kabuki actor.
- 顔見世の式例は、江戸では江戸三座の幹部が集まり、夏に来年の役者の割り振りの予定をたて、9月に決定する。
- The details of kaomise were determined in September (in the old calendar) after the managers of three theatres in Edo got together during summer to decide upon casts for the following year's productions.
- 三人の登場人物が出てくるが、この三人を一人の役者が早替わりで勤めるというのも繰り返しとられる形である。
- There are three characters, and in many cases the same actor plays the role of the three characters by hayagawari (quick change in roles).
- 歌舞伎のファンの中には楽屋に絹本を持ち込んで、役者に隈取を写し取ってもらってコレクションする人もいる。
- Some Kabuki fans bring kempon (a painting or calligraphy executed on silk) to the back stage and make actors to copy their own kumadori and make it into their collection.
- 七代目市川團蔵、七代目市川中車、二代目尾上松緑など歴代の光秀役者の名舞台が現在にまで語り継がれている。
- Successive Mituhide actors such as Danzo ICHIKAWA the seventh, Cyusha ICHIKAWA the seventh, Shoroku ONOE the second, their excellent stages became legendry.
- 延二郎、扇雀、鶴之助は経験不足、となると、純然たる上方役者は、鴈治郎と又一郎兄弟のみということになる。
- Because Enjiro, Senjaku and Tsurunosuke were not sufficiently experienced, the only pure actors from Kamigata were Ganjiro and Mataichiro, his younger brother.
- ことに、戦後、関西における歌舞伎役者の数が漸減しはじめると、当地で複数の座を組むことが不可能になった。
- After World War II in particular, the number of kabuki actors in Kansai gradually decreased, and it became impossible to organize multiple troupes in this region.
- 市川團十郎 (9代目)の門人として役者になり、後に片岡仁左衛門 (11代目)の門人となって大坂で修業。
- He became an actor as a student of Danjuro ICHIKAWA (IX) and then trained in Osaka as a student of Nizaemon KATAOKA (XI).
- 江戸後期の人気役者であった三代目歌右衛門が好んだ、芝翫茶や芝翫縞が成駒屋全体の家の色、柄になっている。
- The colors of Shikan-cha (Shikan's red-brown) and Shikan-jima (Shikan's stripe) which the third Utaemon, a popular actor in the late Edo period, liked to use are the family color and family pattern of Narikomaya.
- 伯父に六世野村万蔵(人間国宝)、従兄弟に野村萬(人間国宝)、野村万作、野村四郎(能役者)、野村万之介。
- His uncle was Manzo NOMURA, the sixth (Living National Treasure), his cousins are Man NOMURA (Living National Treasure), Mansaku NOMURA, Shiro NOMURA (Noh performer), Mannosuke NOMURA.
- 豊国は華麗な役者絵で一世を風靡した花形絵師であり、弟子に歌川国貞(1786年 - 1864年)がいる。
- Toyokuni was a star painter who swept the Ukiyo-e art world with his gorgeous Ukiyo-e prints of Kabuki actors, and his disciples included Kunisada UTAGAWA (1786 - 1864).
- 1863年(文久3年)8月18日 (旧暦)これを成功させ(八月十八日の政変)、薩会同盟の立役者となる。
- On August 18, 1863, he succeeded it (Coup of August 18), which made him a leading figure of Satsuma-Aizu Alliance.
- 観光人力車の他、結婚式やお祭りなどでの演出としての使用や、歌舞伎役者のお練りなどに使用されることがある。
- Besides sightseeing, jinrikisha are sometimes used in wedding ceremonies and festivals, as well as in parades of kabuki actors.
- 元来は禁裏に出仕した手猿楽の役者であったと思われるが、後に尾張藩に仕え、江戸時代は長らく同地で活躍した。
- It is said that performers of this school were originally te-sarugaku (amateur Noh) performers who served at the Imperial Court, and then they served at the Owari Domain, where they had been active during the Edo period.
- 女の敵役(『伽羅先代萩』の八汐、『加賀見山再岩藤』の岩藤など)は、女形ではなく、敵役の役者の職掌である。
- It is not onnagata but the actors for enemies who take charge of the role of female enemies (examples; Yashio of 'Meibokusendaihagi,' Iwafuji of 'Kagamiyama Gonichi no Iwafuji').
- 七代目 中村 芝翫(しちだいめ なかむら しかん、1928年(昭和3年)3月11日 -)は、歌舞伎役者。
- The seventh Shikan NAKAMURA (March 11, 1928 -) is a Kabuki actor.
- しかし成長しても商いには興味を示さず、芝居の真似事ばかりしていたので実家に追い返され、晴れて役者に転身。
- However as Udanji grew older he failed to show any interest in the trade, and as he failed to do much except copy the stage actors he was sent back to his home and turned to his beloved acting.
- その代わり役者としての活動によって、観世座を大成させ、また現代に至るまで名優としての名を遺したのである。
- Instead, he rose within the Kanze guild as an actor and left his name as the greatest actor even to the present day.
- 兄弟が狂言師となる中でひとり能役者に進むべく、1952年、二十五世観世元正に内弟子入門、観世寿夫に師事。
- While all other brothers became Kyogen (farce played during a Noh cycle) actors, he, who was seeking the path to be a Noh actor, was apprenticed to Motomasa KANZE, the 25th, in 1952, and underwent training under Hisao KANZE.
- 大根役者! / へたくそ!(今ではこうした厳しい声はまず掛からないが、戦前までは日常的だったとされる。)
- 'Daikon Yakusha' or 'Heta-kuso' (you bad actor); at present these kakegoe are rarely heard, however, until before the War, they had been often heard in theatres.
- 彼女は歌舞伎役者の璃鶴(「璃鶴」は三代目嵐璃珏の俳名、後の二代目市川権十郎)との役者買いにのめり込んだ。
- Okinu got absorbed in a Kabuki actor, Rikaku ('Rikaku' was a Kabuki actor's offstage name that can be used officially and privately of the third Rikaku ARASHI, and he was later to be known as the second Gonjuro ICHIKAWA), paying for sex with him.
- 後者の場合は、1人または複数の決められた観客が花道上に上がり、ひいきの役者に対して賛辞的なつらねを発した。
- In the latter case, one or more fixed spectators ascended onto hanamichi (an elevated runway through audience leading to stage) and uttered complimentary speech of tsurane (a long declamatory speech) toward their favorite player.
- 朝比奈の衣装、得意な隈や「モサ言葉」とばれる科白は17世紀の歌舞伎役者初代中村傳九郎が考案したものである。
- Asahina's costumes and makeup as well as his special lines called 'Mosa kotoba' were originally the idea of Denkuro NAKAMURA the First, the Kabuki actor from the seventeenth century.
- 下段には座頭を中心に立女形を左方に、敵役を右方に全役者をそれぞれ相当の位置に配して絵姿を描いたものである。
- An image of zato was drawn at the center of the lower, tateoyama's image (leading female impersonator) on his left, the villain actor's image on his right, and the images of other actors were drawn in certain positions they were assigned.
- いわゆる「フルーティーな香り」を醸し出す代表的品種で、1980年代以来、吟醸酒の誕生の立役者となっている。
- This is a representative variety that gives a so-called 'fruity flavor' and has served as a main actor in the birth of ginjo sake since the 1980s.
- これによると、伊賀国の服部氏族・上嶋元成の三男が申楽(能)役者・観阿弥で、母は楠木正成の姉妹だったという。
- According to the document, the third son of Gensei UESHIMA who was a member of the Hattori clan in Iga Province was an actor of Sarugaku (form of theater becoming the basis for Noh), Kanami and his mother was a sister of Masashige KUSUNOKI.
- 団十郎、菊五郎、左団次らの名優が「勧進帳」などを演じ、これによって、歌舞伎役者の社会的地位は大いに上った。
- At the event, famous Kabuki actors such as Danjuro, Kikugoro, and Sadanji presented the programs such as 'Kanjincho,' which resulted in great improvement in the social standing of Kabuki actors.
- 歌舞伎などの芝居が流行し、錦絵や浮世絵で役者の服飾が紹介されると、庶民の装いは更に絢爛豪華なものとなった。
- As theatrical performances including Kabuki became popular and players clothing were printed in colored woodblock prints, the common people began to wear more luxurious clothes.
- 五代目 中村富十郎(ごだいめ なかむら とみじゅうろう、1929年(昭和4年)6月4日 -)は、歌舞伎役者。
- Tomijuro NAKAMURA V (June 4, 1929 -) is a kabuki actor.
- しかしこの頃、当時トップの役者であった9代目市川團十郎 (9代目)と、舞台の表現を巡って対立することになる。
- However, at this time, he was opposed to Danjuro ICHIKAWA the ninth, who was the top star at the time, about the expressions on stage.
- こうした役者が新たに選んだ歌舞伎役者の屋号一覧は、その多くが実家の芝居茶屋や出方の屋号を転用したものだった。
- The list of kabuki stage family names chosen by these actors indicates that they often used the names of their family's tea room or the shop name of the usher.
- その芸のよさについては、ほとんど当代の役者を褒めなかった池波正太郎が絶賛していたことでも一端をうかがいえよう。
- One is able to get some idea of how excellent his performance was, from the tremendous acclaim by Shotaro IKENAMI who seldom praised the actors of the day.
- 上方歌舞伎の伝統にのっとって、型を意識しない写実的な芸風が特徴で、身ごなしや風情に独特の艶のある役者であった。
- Based on traditions of Kamigata Kabuki, his characteristics were realistic art without sticking to the patterns and he was an actor who had unique charm in his carriage and taste (elegance).
- とくに戦いにおいては、弓矢の改良に負けず劣らず改良され、弓矢を支える武具としての、陰の立役者ともいえるだろう。
- Especially in battle, it was improved as well as for Yumiya, so it can be thought of as a shadow hero, an arm to support Yumiya.
- 母が市村羽左衛門の姉だった縁で市村座の座元(所有権)を継承、のちに役者にも転じて八代目市村宇左衛門を襲名した。
- He inherited the proprietorship of the Ichimura-za theater because his mother was an elder sister of Uzaemon ICHIMURA, and he later became an actor and adopted the name Uzaemon ICHIMURA (VIII).
- このシリーズにより「役者絵の国周」として知られるようになり、後世、小島烏水によって「明治の写楽」と称せられる。
- He became known as 'Kunichika of Kabuki actor prints' with the series, which later earned him the moniker of 'Sharaku in Meiji period' from Usui KOJIMA.
- 1828年、7代目市川團十郎 (7代目)に見込まれて役者となり、実家の「魚吉」にちなみ市川鯉吉と名付けられる。
- In 1828, he became an actor as expected by Danjuro ICHIKAWA the seventh, and he was named Koikichi ICHIKAWA (市川鯉吉) after his father's business 'Uoyoshi' (魚吉).
- 四座筆頭の観世流座付であるところから、江戸時代には幕府、紀州藩をはじめとして諸藩に森田流の役者が抱えられていた。
- Since they belonged to the Kanze school, which was the biggest school among yoza (literally, 'four schools,' representing major four Noh schools: the Kanze school, the Hosho school, the Kongo school, and the Konparu school), the bakufu (Japanese feudal government headed by a shogun) and various domains including the Kishu Domain had performers from the Morita school.
- 役者としての初舞台は明治24年 (1891)、市川鬼三郎の名前で東京四谷江戸三座『鈴木主水噂新宿』(鈴木主水)。
- He made a debut in 'Suzuki Mondo Uwasa Sinjuku' (Suzuki Mondo) under the stage name, Kisaburo ICHIKAWA at Tokyo Yotsuya Edo Sanza in 1891.
- 明治期には、幕切れに鱶七に絡んだ後トンボを切る演出があって、腕達者な役者は裾の長い緋色の袴を美しく捌いて見せた。
- In the Meiji period, there was a scene, before the curtain fell, where she flipped after picking a fight with Fukashichi, and then a skilled actress beautifully swings her long red Hakama (skirt).
- しかし「関西歌舞伎生え抜き」の壽三郎に対して、壽海には「東京から移籍してきよった役者」という偏見がつきまとった。
- In contrast with Jusaburo who was the 'Kansai Kabuki actor from the start,' Jukai was dogged with the prejudice that 'he is an actor transferred from Tokyo.'
- 四代目 坂田 藤十郎(よだいめ さかた とうじゅうろう、1931年12月31日 -)は、日本の俳優、歌舞伎役者。
- Yodai-me (IV) Tojuro SAKATA (male, December 31, 1931 -) is a Japanese actor and kabuki actor.
- 体重の面を「忠実に」再現した役者となれば、『春日局 (NHK大河ドラマ)』での渡辺徹 (俳優)がその代表である。
- Toru WATANABE (actor) correctly represented the body weight, in 'Kasuga no tsubone' (NHK's taiga drama).
- 明治2年(1869)、人形町具足屋嘉兵衛を版元にし、彫工太田升吉による役者似顔大首絵を多数制作し、力量を示した。
- In 1869, he demonstrated his skills by producing a large series of okubi-e (large-head pictures) of Kabuki actors with woodcrafter Shokichi OTA, and armor maker Kahei GUSOKUYA in Ningyocho district as publisher.
- 死絵(しにえ)は、役者、文学者などで有名なものが死去したとき、その冥福を祈るために版行された似顔絵の浮世絵である。
- The Shini-e is a Japanese woodcut print Ukiyo-e, (lit. Pictures of the floating world) produced and published for the commemoration of a famous actor or a writer when he passed away.
- 維新後、一噌又六郎、島田巳久馬の師弟によって流儀の統一がはかられたこともあって、役者・地域ごとの芸風の差は少ない。
- After the Meiji Restoration, followers of Matarokuro ISSO and Mikuma SHIMADA standardized the performance styles within the school, and consequently, there is little difference in performance style between performers or regions.
- すっぽんとは、歌舞伎などの劇場にある花道上に、舞台下の奈落から、役者が登場してくるためにある舞台装置のことである。
- Suppon is a stage setting for an actor to make a stage appearance from the trap cellar, and it is located on the hanamichi (an elevated runway) in kabuki (traditional drama performed by male actors) theater.
- 前後でシテが装束を変えるために、その場をつなぐ目的で狂言方の役者が能の物語にまつわる古伝承や来歴を語るものである。
- Legend says that, in order for the protagonist (shite) to have time to change costumes, the role of the Noh farce pro was created to relate the two sessions of the Noh story.
- 江戸時代後期に入ると名題以上の役者は、屋号、芸名のほかに、俳句を作る作らないに関わりなく必ず俳名を持つようになる。
- In the late Edo period, actors other than the chief Kabuki actors certainly had Haimyo in addition to a family stage name and other stage names whether or not he wrote haiku.
- そして明治になると劇場が企業化し、経営権が座元の手から離れた結果、「中村勘三郎」は単に役者の名跡のひとつとなった。
- In the Meiji period, as the result that theaters were corporatized and Zamoto lost the management right, 'Kanzaburo NAKAMURA' became simply one of professional names of actors.
- キツネが役者の家へ入り込んで、役者の持ち物を片っ端から引っかき回していると、人間の顔を見事に模造したお面があった。
- A FOX entered the house of an actor and, rummaging through all his properties, came upon a Mask, an admirable imitation of a human head.
- 跳び六方(とびろっぽう)とは、歌舞伎において役者の舞台からの退場時、大きく横とびをして、感動を高める演技技法である。
- Tobiroppo refers to a performing technique in Kabuki (traditional drama performed by male actors) to raise the excitement by taking big sideways jumps when an actor exits the stage.
- あるいは鎌倉時代からこの地方を治めた武藤氏が京から能役者を招いた事があったのが伝説の背景なのではないかともいわれる。
- The legends are also said to be from the background that the Muto clan, who had governed the area since the Kamakura period, invited Noh players from Kyoto.
- これは歌舞妓役者の似顔をうつせしが、あまり真を画かんとてあらぬさまにかきなさせし故、長く世に行はれず一両年に而止ム。
- He painted pictures of faces of Kabuki [traditional drama performed by male actors] actors, but his pictures were too real because he was really keen to draw true likenesses of them, so his popularity did not last long and he eventually disappeared after a few years.
- 当初は、座頭級の役者の紹介は、「連ね」という長い科白を言い合ったり、一対一で乱闘したりするなど、素朴なものであった。
- Initially, the introduction of zagashira-class actors took the simple forms of each making a long speech, called 'tsurane,' or fighting violently between two actors.
- 役者たちのために作られる書抜き(台本のうちその役の科白だけを書抜いたもの)の表紙には、役名と俳名のみが書かれている。
- An excerpt for actors (lines of the role excerpted from the scripts) has only the name of the role and Haimyo on its cover.
- 友枝 喜久夫 (ともえだ きくお。1908年9月25日 - 1996年1月3日) は昭和期に活躍した喜多流の能役者。
- Kikuo TOMOEDA (September 25, 1908 - January 3, 1996) was a Noh performer in the Kita school who was active in the Showa period.
- 音阿弥(おんあみ、またはおんなみ 応永5年(1398年)- 文正2年(1467年)1月2日)は室町時代の猿楽能役者。
- Onami (Onnami) (1398 - February 15, 1467) was a sarugakuno actor (actor for sarugaku (form of theatre popular in Japan during the 11th to 14th centuries) of Noh (traditional masked dance-drama)) of the Muromachi period.
- 旗本寄合席(はたもとよりあいせき)は、江戸幕府の3,000石以上の上級旗本無役者・布衣以上の退職者(役寄合)の家格。
- Hatamoto-yoriaiseki was kakaku (family status) of high-ranking hatamoto with income of 3,000 koku or greater without official appointment, or retirees (known as yakuyoriai) who possessed social standing higher than hoi (those with the rank who wore clothes that did not bear family crests) in the Edo bakufu (Japanese feudal government headed by a shogun).
- 後年は伝統的な役者似顔絵の七分身像を多く描き、3枚続の画面に一人立ちの半身役者絵を描く大胆な構図の作品なども描いた。
- In later years, he produced many prints of Kabuki actors depicted in the traditional three-quarter view style, while he also painted Kabuki actor portraits in a daring composition, featuring a single actor standing alone in waist and up view within the set of three panels.
- 作家の勝俵藏が歌舞伎役者の名跡である「鶴屋南北」を襲名したのは、妻・お吉が歌舞伎役者の三代目鶴屋南北の娘だったから。
- Although 'Nanboku TSURUYA' was the professional name of Kabuki actor, a playwright Hyozo KATSU succeeded to the name because he married Okichi, a daughter of Nanboku TSURUYA III.
- 女形・女方(おやま・おんながた)とは、歌舞伎において若い女性の役を演じる役者、職掌、またその演技の様式そのものを指す。
- Oyama or Onnagata refers to the actor who acts the role of a young woman, the duty of the actor, or the pattern of acting itself, in Kabuki.
- 嘉永2年11月に中村歌右衛門 (4代目)が苦境にある江戸市村座を救うべく役者交代の時期を翌春にのばしたのが因であった。
- This was because Utaemon NAKAMURA postponed the renewal of cast members in December 1849 until the new year to help Edo-Ichimura-za Troupe which had financial difficulties.
- それは現在の歌舞伎界で最高の役者たちを揃えること, その中に関西歌舞伎の高砂屋(三代目中村梅玉)を加えることであった。
- The condition was to use the best kabuki actors at the time, including Takasagoya (Baigyoku NAKAMURA the third) of Kansai kabuki.
- 菅丞相役の役者や太夫は、「天神さま」という信仰の対象であることもあって、舞台に立つ時は精進潔斎してこれを行なっている。
- Actors of Kanshojo and tayu was compared with the 'lord Tenjin' worship, and they performed after purifying oneself (religiously) by abstaining from eating meat.
- 役者の芸と能面作家の腕によって、一つの面から深く様々な表情を見せることができ、仮面劇としての能を今日までも支えている。
- A single mask can express various deep emotions due to the skill of the noh performer and the mask craftsman, and this has supported the noh medium of masked theater until today.
- 明治維新により、江戸幕府の式楽の担い手として保護されていた猿楽の役者たちは失職し、猿楽という芸能は存続の危機を迎えた。
- After the Meiji Restoration, Sarugaku actors, who had been protected by Edo bakufu (Japanese feudal government headed by a shogun) as bearers of Shikigaku (the music and plays for official ceremonies), lost their job, and the performing art Sarugaku faced a crisis of survival.
- このときには役者の名前を勘亭流で書いた「まねき」と呼ばれる、白木の看板が劇場の入り口上にずらりと並べられることで有名。
- The many plain wooden boards called 'Maneki' having each actor's name written in Kanteiryu (a special calligraphy style for Kabuki) arranged above the entrance of the theater during this period are well-known.
- 四代目 中村 雀右衛門(よだいめ なかむら じゃくえもん、大正9年(1920年)8月20日 -)は、俳優、歌舞伎役者。
- Jakuemon NAKAMURA the Fourth (August 20, 1920 -) is an actor and Kabuki actor.
- 同年の東横映画『五人の目撃者』では作品が現代劇であったことから、歌舞伎役者くさい莚司という芸名から加東大介に改名する。
- In the same year, when he appeared in the movie 'Gonin no mokugekisha' (Five Witnesses), a contemporary drama produced by Toyoko Film Company, he changed his screen name from Enji to Daisuke KATO since Enji sounded like the stage name of a Kabuki actor.
- そもそも歌舞伎役者は姓名ではなく屋号で呼びかけるのが礼儀(「市川さん」「團十郎さん」ではなく、「成田屋さん」と呼ぶ)。
- Basically, kabuki actors should be called by yago, not by myoseki ('yago' is substitute name which actor calls himself; in the Edo period kabuki actors were not allowed to use their surnames, so they used yago; 'myoseki' is a successive name); therefore, the twelfth Danjuro ICHIKAWA (myoseki) should not be called 'Ichikawa-san' nor 'Danjuro-san' ('san' means 'Mr.'), he should be called 'Narita-ya-san' ('Narita-ya' is his yago).
- 翌1922年(大正11年)、牧野は映画にまだ出演したことのない無名の歌舞伎役者を集め、長篇劇映画『実録忠臣蔵』を撮った。
- In the following year 1922, Makino gathered obscure kabuki actors who have never yet appeared in a film, and shot a feature film titled 'Jitsuroku Chushingura' (True Record of the Forty-seven Ronin).
- 華美をいましめる天保の改革(1841年 -)以後、幕府の禁令によって役者や遊女の1枚刷り錦絵は出版できなくなってしまう。
- After the Tenpo Reforms (1841 -) which prevented people from enjoying luxury items, Bakufu (Japanese feudal government) banned a stand-alone full color Nishiki-e (colored woodblock print) featuring Kabuki actors or Yujo (prostitute).
- ことに彼の子孫にワキ方の役者が多かったことから、ワキの名人だったともいう(『四座役者目録』の記述を信用しない説もある)。
- It was also said that he may have been a master of Waki (supporting actor) since his decedents had produced particularly many Wakikata (supporting actor) (Some opinions, including this one, did not rely on the description of 'Yoza yakusha mokuroku').
- 3. 役者の自宅の町名その役者が、近親以外で同じ屋号の格上の役者と同じ舞台に立つときには、屋号を用いないで町名で掛ける。
- 3. Using names of towns where the actors' houses are located: It is used for actors co-starring with higher-ranked actors who share the same yago and are not relatives.
- 現在、シテ方金春流は東京、奈良、熊本、名古屋などを主たる地盤として活動するが、能楽協会に登録される役者は100名強である。
- Nowadays the shite Konparu school is active at its bases in Tokyo, Nara, Kumamoto and Nagoya, and more than 100 of its actors are enrolled in the Nohgaku Performers' Association.
- 関西歌舞伎に対してある者は見切りをつけ、またある者は失望し、役者稼業を続けるにせよ、以下の様な形で離れてゆく者が続出する。
- Some left Kansai Kabuki and others grew discouraged, and many left even though they continued to be actors as shown below.
- 寿三郎とならぶ寿海は関西歌舞伎俳優協会会長の要職にあり、人格もよく芸格も向上して名実とも当代一流の歌舞伎役者となっていた。
- Jukai, who was comparable to Jusaburo, held the important post of chairman of the Kansai Kabuki Actors' Association, and with his great personality had become the greatest kabuki actor both in name and reality because of his improvement of the level of performance.
- 1815年、商人の山崎権兵衛が、歌舞伎役者の市川団十郎と岩井半四郎に、歌舞伎の「夏祭浪花鑑」で博多帯を締めて演じてもらう。
- In 1815, a merchant named Gonbei YAMAZAKI had Kabuki actors, Danjuro ICHIKAWA and Hanshiro IWAI wear Hakata obi sash to perform the Kabuki drama 'Natsumatsuri Naniwa-kagami' (Summer festival in Naniwa).
- 名古屋の和泉流狂言師には、別に生業を持つ手猿楽的な役者が多かったため、比較的ゆるやかなつながりで開明的な傾向を持っている。
- As Izumi school Kyogen performers in Nagoya were mostly half-amateur noh performers, who had other jobs to make their livings, they tended to be open and liberal and to have a relatively loose bond among them.
- 江戸時代、歌舞伎役者には素養として俳句をはじめとする風流の道をたしなむ者が多く、もともとはそのための号として俳号が生れた。
- Many Kabuki actors enjoyed furyu including haiku as part of the education in the Edo period, and Haimyo originated as an item for the Kabuki actors.
- 1923年、近藤伊与吉の仲介で日活撮影所に入所するが、当初はつまらない脚本や売れない役者を押し付けられるなど不遇であった。
- In 1923, he joined Nikkatsu Studio through Iyokichi KONDO, but he experienced hardship in which he was at first forced to use poor scenarios and unknown actors and actresses.
- また、前年に亡くなった人気の歌舞伎役者である市川團十郎 (8代目)の死絵も、「大鯰後の生酔」という鯰絵に影響を与えている。
- The shini-e (woodblock prints for commemoration issued as a memorial when a famous actor, etc. dies) of Danjuro ICHIKAWA (VIII), who was a kabuki actor and died in the previous year influenced the namazu-e titled 'Onamazu nochi no namayoi' (Drunk after the big catfish).
- 役者:市川團十郎、嵐三右衛門 (初代)、坂田藤十郎、瀬川菊之丞 (3代目)、尾上菊五郎 (3代目)、松本幸四郎 (5代目)
- Actors: Danjuro ICHIKAWA, Sanemon ARASHI the first, Tojuro SAKATA, Kikunojo SEGAWA the third, Kikugoro ONOE the third, and Koshiro MATSUMOTO the fifth
- その後は花形役者として道頓堀の大芝居で活躍、「名人延若、上手宗十郎 業物右團次」と呼ばれ、この「延宗右」で芸を競い合った。
- He performed well as a top-billed performer on the big stage in Dotonbori and people called him 'master Enjaku, superior Sojuro, sharp like katana Udanji' so this 'Ensou' competed with each other.
- 舞台上のある役者が、あらたに登場してくる役者をほめる場合と、舞台上で演技中の役者に観客席の観客が投げかける場合とがあった。
- There were two cases where homekotoba were used; one case being for a player on stage to make a compliment to a newly appearing player, and another case being for some audience to shout applause to a player on stage.
- 八代目 坂東 三津五郎(はちだいめ ばんどう みつごろう、1906年10月19日 - 1975年1月16日)は、歌舞伎役者。
- Mitsugoro BANDO the 8th (October 19, 1906 - January 16, 1975) was a kabuki actor.
- 三婦が権と八を追い立てて花道を去るときは「ようよう○○屋!」と三婦役の役者の屋号を呼びたて、客席を沸かせる演出となっている。
- Staging excites the audience calling an actor's stage family name of Sabu as 'yo, yo, OO-ya!' when Sabu left the passage heeling Gon and Hachi.
- ガス灯が灯され、軍楽隊が演奏する中、座元の守田勘彌 (12代目)、九代目團十郎をはじめとする歌舞伎役者は燕尾服で式に臨んだ。
- Surrounded by the lit gas lamps and performing military band in the background, Kabuki actors such as Kanya MORITA XII, the owner of the theatre, and Danjuro IX, who were dressed in tailcoats, attended the ceremony.
- 当時女形は役者の中でも格下とみなされており、当然批判が出たが、宗十郎は「いい芸なら女形でも手本にする」と答えて動じなかった。
- At that time, actors of female roles were considered as lower among actors and were criticized, as a matter of course, but Sojuro didn't mind and answered 'if it is a good performance, I will imitate female roles.'
- ただし書き直しが多く、そのうえ台本の字が小さく、指示も細か過ぎるうえ、作品自体も冗長で、役者や観客からはすこぶる不評だった。
- However, he was extremely unpopular among the actors and theater audiences, because he rewrote frequently, letters he wrote in scripts were small, his instructions were too meticulous and his plays themselves were redundant.
- 歌舞伎や商業演劇のように、一座の座頭や花形役者が明確に決まっている場合、下回りの役者に対して座長が振る舞いをする習慣もある。
- When the head performer or a star performer is fixed as in kabuki and commercial theatrical performances, it is also customary that the performer entertains the lower-ranked performers on the senshuraku day.
- 同様に、浅草公園六区の「浅草オペラ」の役者たちや国際活映大都映画巣鴨撮影所のスタッフや俳優たちが、この新撮影所になだれ込んだ。
- Similarly, players of 'Asakusa Opera' located in Asakusakoen Rokku as well as players and staff of the Sugamo studio of Kokusai Katsuei Daito Eiga rolled in this new studio.
- ともに、京都の手猿楽役者であった野村又三郎と三宅藤九郎を客分として招き、京都を地盤として和泉流を創設し、禁裏能などで活躍した。
- While inviting two tesarugaku actors from Kyoto, Matasaburo NOMURA and Tokuro MIYAKE, he also established the Izumi school with its base in Kyoto and played an active role in Kinri (the Imperial Palace) Noh.
- 初世野村萬斎(1862年(文久2)7月21日 -1938年(昭和13)1月14日)は加賀藩の狂言役者であった野村万蔵家の五世。
- Mansai NOMURA, the first (August 16, 1862 – January 14, 1938) was the fifth generation of the Manzo NOMURA family who had served as Kyogen actors of the Kaga Domain.
- そもそも、士農工商に含まれない身分、(公家・僧侶・神主・検校・役者、穢多など)も相当数おり、これらも公認の身分を保持していた。
- A considerable portion of the population was excluded from the shi-no-ko-sho (such as court nobles, Buddhist monks, Shinto priests, kengyo (the highest title of official ranks within the Todo-za, the guild for the blind)), and these people also had respective official ranks.
- 「誰々がこうこうすると、しかじかとなる」といった説明を、役者の科白に続けて「ト両人歩み寄り…」「ト源蔵ふり返り…」などと書いた。
- If a playwright needed to write Togaki in order to direct actors and staging, he wrote, for example, 'To (abbreviation of suruto) ryonin ayumiyori ---' (Then both actors walk up to each other, and ---), 'To Genzo furikaeri ---' (Then Genzo looks back, and ---), etc. next to a dialogue of actors.
- 今日の歌舞伎界で活躍している役者の中にも、仁左衛門の歌舞伎教室をきっかけに歌舞伎に興味を持ち、歌舞伎の門を叩いた者が少なくない。
- Many kabuki actors actively engaged in kabuki today entered the kabuki world after becoming interested in kabuki through Nizaemon's kabuki kyoshitu.
- 実質的な祖は鳥飼元光で、摂津国猿楽の鳥飼座に属したのち京都に出て手猿楽の役者として活躍し、和泉守の守領号を下賜されたといわれる。
- The actual founder is said to be 鳥飼元光, who belonged to Torikai za (a troupe of Sarugaku (form of theater popular in Japan during the 11th to 14th centuries)) of Settsu Province sarugaku, was later active as a tesarugaku (amateur noh) actor, and was granted a shuryogo as Izuminokami Guard.
- 金春 禅竹(こんぱる ぜんちく、応永12年(1405年) - 文明 (日本)3年(1471年)以前)は室町時代の能役者、能作者。
- Zenchiku KONPARU (1405 to sometime before 1471) was a Noh play actor and playwright during the Muromachi period.
- 春章は、容貌を役者によって差別化しない鳥居派の役者絵とは異なる、写実的で、ブロマイド的な役者似顔絵を完成させ、大衆に支持された。
- Shunsho established realistic art of kabuki actor portraits different from those by artists of the Torii school, who applied the same drawing style to every actor's portrait, and Shunsho's prints were widely accepted by the public.
- その意味でも、中村鴈治郎 (2代目)と中村勘三郎 (17代目)は、丸本物狂言のコクと線の強さに色気を備え、八汐役者の双璧であった。
- In this sense, Ganjiro NAKAMURA (the second) and Kanzaburo NAKAMURA (the seventeenth) were two great actors for Yashio, for their dramatic acting typical to Maruhonmono play (Kabuki adaptation of Ningyo Joruri play), strength and charms.
- 観客から見て二次元的な存在の舞台上から、役者が客席側に出ることで三次元的な演出を可能にしている点で、演劇史上特筆すべき装置といえる。
- This device is worth mentioning in the history of theater because this enables to create a three-dimensional space by making an actor come out from the stage, where is a two-dimensional space for the audience, and appear in the space where the audience is located.
- 松本 白鸚(まつもと はくおう、1910年(明治43年)7月7日 - 1982年(昭和57年)1月11日)は日本の俳優、歌舞伎役者。
- Hakuo MATSUMOTO (July 7, 1910 - January 11, 1982) was a Japanese theater, film and kabuki actor.
- 初期の代表的な役者に初代井上菊次郎や狂言画で有名な伊勢門水がおり、現在では井上家の子孫である井上菊次郎(四代目)が中心となっている。
- The most important actors from the early time of this group include the first Kikujiro INOUE and Monsui ISE, who is famous for his Kyogenga pictures, and at present, Kikujiro INOUE (the fourth), a descendant of the Inoue family, leads the group.
- このため自然その子弟が芝居小屋に出入りするようになり、そうした者のなかには芸に目覚てそのまま役者になってしまう者も珍しくはなかった。
- As a result, naturally the children of the tea rooms had access to the theaters and it wasn't unusual for these children to learn the art and become actors themselves.
- そして続く9年の間、わたしはひたすらあちこちさまよい続け、世界という劇場で上演される芝居の役者となるおりも観客となり続けようとした。
- And, during the nine subsequent years, I did nothing but roam from one place to another, desirous of being a spectator rather than an actor in the plays exhibited on the theater of the world;
- それまでの華美な役者絵・美人画は発行を厳しく制限され、風景画や風刺画、あるいは色数の少ない作品への転換を余儀なくされていたのである。
- Publishing ornate yakusha-e (prints of kabuki actors) and bijinga (type of ukiyo-e portraying beautiful women) were strictly restricted and painters were obliged to shift to landscape drawings, satirical drawings or works with a lesser number of colors.
- 当時は役者と振付師の個人的な関係が重んじられたため、同じ舞台に上がった役者でもそれぞれ異なる流派の振付師がつくことが珍しくなかった。
- At that time, the relationship between an actor and a choreographer was valued, and it was not unusual that actors, who took same stage, had different schools for choreography.
- 当時の役者は大成するために大阪へ行って修行することが通例となっていたが、養母を連れての大阪修行は無理と考え、役者を続けることを断念。
- At that time, actors generally went to Osaka to practice for great success, but he thought it was impossible to take along his adopted mother to train in Osaka, and gave up acting.
- ある猪役の役者は本舞台にかかると、松の木に手をかけ見得をして「あすこに見えるは芋畑。どりゃひとつ食べてみるべえかい」との科白を吐いた。
- Another time, an actor playing the role of the inoshishi touched a pine tree on the stage and said, 'I can see a sweet potato field. I think I'm going to eat one.'
- 本来の語義からいえば、女形を演じる役者は男にかぎられるものではないが、現在では「男が女を演じる」という認識に立って理解されることが多い。
- In the original meaning, the term, actors who play oyama should not be limited to men, but today, oyama is often recognized as the word which refers to `the man acting a woman.'
- 元尚の子はまだ幼く、前大夫の宗節は浜松に引きこもり、他の役者らも散り散りになって活動する情況では、神事への参勤など出来るはずもなかった。
- Because Motohisa's child was too young, the former Dayu Sosetsu was retired in Hamamatsu, and other performers were acting separately, it was not possible to conduct rituals.
- これは「立合」と呼ばれる、二座の役者が同時に同じ曲を舞って、その出来を競い合うという趣向であり、役者同士の真剣勝負というべきものである。
- In 'Tachiai,' two players danced at the same time for the same music, competing to see which of them performed better, and therefore, Tachiai was an occasion in which players competed in earnest with each other.
- 周囲の石柵は大正4年5月に歌舞伎役者をはじめとする当時の著名芸人達の寄付によって建立された物で、発起人は京都の侠客「伏見の勇山」と伝わる。
- In May 1915, the surrounding stone fence was donated by kabuki actors and other famous entertainers, and the promoter is said to have been 'Fushimi no Yuzan', a yakuza in Kyoto.
- 浮世絵の風景画は当時「名所絵」と呼ばれており、このシリーズの商業的成功により、名所絵が役者絵や美人画と並ぶジャンルとして確立したと言える。
- The landscape Ukiyoe picture was called 'Meishoe' in those days; this series was such a great commercial success that Meishoe was defined as a new genre along with Yakushae (a print of a Kabuki actor) and Bijinga (a type of Ukiyoe portraying beautiful women).
- しかし、あなたがたは主の祭司ととなえられ、われわれの神の役者と呼ばれ、もろもろの国の富を食べ、彼らの宝を得て喜ぶ。 (イザヤ書 61:6)
- But you shall be named the priests of Yahweh; men will call you the ministers of our God: you will eat the wealth of the nations, and you will boast in their glory. (Isaiah 61:6)
- 家康や秀忠同様に能を好んだが、風流を主体とした催しをしたり、役者ではない諸大名や家臣に演じさせたりと、やや「屈折」した愛好の仕方であった。
- Like Ieyasu and Hidetada, Iemitsu also liked Noh, but his hobby for Noh was a little distorted, shown by how he would first hold Noh events with elegance and then let feudal lords or retainers play on the stage.
- 初めは紺屋の染物職人であったが、初代歌川豊国の門下となり師を超えると言われた才能を持ちながら、最期は引退、歌舞伎役者の仮面売りを営み早世。
- At first he was a craftsman for dyeing goods at a Koya dye shop but later became a disciple of Toyokuni UTAGAWA the first, and although he had a good talent which was said to exceed his master, in the end he retired to run a business for selling the masks of Kabuki actors and died young.
- 独特の誇張された役者絵によって話題を呼ぶが、特徴を誇張しすぎ、人気が振るわなかったことと、歌川豊国『役者舞台姿絵』の絶大な人気に敗退した。
- Though he attracted public attention with his uniquely exaggerated Yakushae, his popularity made a poor showing due to the excessive exaggeration of features, and he was defeated by 'Yakusha butai no sugatae' (likenesses of actors on the stage) by Toyokuni UTAGAWA, which were overwhelmingly popular.
- 役者に演技をつけずやり直しを命じ、悩んだ役者がどうすればいいのか訊いても「演技するのが役者の領分でしょう」といっさい助言などをしなかった。
- When actors, who were puzzled when Mizoguchi asked them for retakes without telling them how to act, requested for his help, Mizoguchi never gave any advice, saying, 'It is the actor's job to act.'
- 二代目尾上松緑(にだいめ おのえ しょうろく、大正2年(1913年)3月28日 - 平成元年(1989年)6月25日)は昭和期の歌舞伎役者。
- Shoroku ONOE (II) (March 28, 1913 - June 25, 1989) was a Kabuki actor in the Showa period.
- 七代目 尾上菊五郎(しちだいめ おのえ きくごろう、1942年10月2日 -)は、日本の俳優、歌舞伎役者、歌舞伎の名跡「尾上菊五郎」の当代。
- Kikugoro ONOE, the Seventh (October 2, 1942 -) is a Japanese actor and a kabuki actor, and the present head of the profesional name of kabuki, 'Kikugoro ONOE.'
- 武智鉄二による『武智歌舞伎』が始まり、関西歌舞伎の若手役者を対象に、原作重視の演出中心のやり方で、沈滞化していた関西歌舞伎に新風を送り込んだ。
- 'Takechi Kabuki' was started by Tetsuji TAKECHI, who ushered in a new phase in Kansai Kabuki, which had stagnated, through his method of working with young Kansai Kabuki actors and concentrating on staging that emphasized the original work.
- とりわけ斯波高経は足利氏と同族で、鎌倉幕府を滅亡させた立役者である新田義貞を越前で討つなど活躍し、初期の室町幕府においては相当な勢力を持った。
- In particular, Takatsune SHIBA, who was in the same family as the Ashikaga clan, performed brilliantly and contributed to defeat Yoshisada NITTA in Echizen Province who was the central figure in the downfall of the Kamakura Bakufu, so that he gained tremendous power in the early Muromachi period.
- 中村 宗十郎(なかむら そうじゅうろう、天保6年(1835年) - 明治22年(1889年)10月8日)は明治時代に上方で活躍した歌舞伎役者。
- Sojuro NAKAMURA (1835 - October 8, 1889) was a kabuki actor who acted in Kamigata (Kyoto and Osaka area) during the Meiji period.
- 写真の流行する時代の影響を受け、明治3年(1870)に「写真所」と題した役者のブロマイドがあり、陰影法を用いた木版画を制作したが成功しなかった。
- Influenced by the popularity of photography in his time, there were commercial photographic portraits publisher of Kabuki actors known as 'shashinjo' photo studio in 1870, upon which he produced woodblock prints using the shadow method, only to be proven unsuccessful.
- 役者も、上方和事の第一人者初代實川延若 (初代)、ケレンを得意とした初代市川右團次 (初代)、新しい歌舞伎を目指した初代中村宗十郎らの名優がいた。
- There were many great actors such as Enjaku JITSUKAWA (shodai), who was the top performer of Kamigata wagoto, Udanji ICHIKAWA I (shodai), who excelled at keren and Sojuro NAKAMURA I, who aimed at new Kabuki.
- 江戸時代以前、猿楽の役者たちはいずれかの座に所属して活動していた為、現在のようにシテ方が自由に三役を好きな流派から選んで演能をすることは無かった。
- Before the Edo period, performers of Sarugaku had to be affiliated to one of the theatres and because of this, unlike the protagonists (shite) today, they could not choose freely among the three key roles from their favorite sect.
- 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。
- 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.
- 七代目 尾上 梅幸(しちだいめ おのえ ばいこう、大正4年 (1915年) 8月31日 - 平成7年 (1995年) 3月24日)は、歌舞伎役者。
- Baiko ONOE the Seventh (August 31, 1915 to March 24, 1995) was a kabuki actor.
- また着用する役者、俳優によって二重に仕立てた下がりの下の部分の左右に鉛のおもりを入れて(五円玉が適当な重さ)、きれいに垂れ下がるように見せている。
- Depending on the players or actors, an apron of the sagari loincloth is made in double layers, at the bottom of which two lead weights (each weight of five yen coin is appropriate) are put on the right and left ends, in order to make the apron droop down neatly.
- 背景の事情: 市川小團次 (4代目)の実子として生まれたが、すでに小團次には養子の市川左團次 (初代)がおり、これをあえて役者にする気はなかった。
- Background: He was born to Kodanji ICHIKAWA (IV) however Kodanji already had an adopted child called Sadanji ICHIKAWA (I) and he was not keen to make him an actor.
- 江戸芝居町(浅草の江戸三座猿若町)に住み、その居宅内には、一般の人々と、役者衆とを分けた稽古舞台、更にお浚いができる舞台と合計三つの舞台があった。
- She lived in Edo Shibai-cho (drama town, specifically, Saruwaka-cho, Asakusa where Edo Sanza [three licensed kabuki theaters in Edo] stood), and in that residence were three stages in all: a stage which general people used to train themselves, a stage which actors used to train themselves, and a stage which they were able to use to have a run-through.
- 中村重助は寛政6年頃まで役者として舞台に立っていたらしく、その後役者番付に見えないから、歌舞妓堂艶鏡の作画年代の寛政7年から8年のころと一致する。
- Jusuke NAKAMURA seems to have been acting on stage until around 1795, and after that he was not included in actors banzuke (literally, ranking lists, which referred to kabuki playbills), which matches the timing of the production by KABUKIDO Enkyo, from 1796 to 1797.
- 6. 役者の姓一座のほぼ全員が同じ屋号をもつ場合、上記 3 で役者の住所が不明な場合、前進座の役者で歌舞伎の名跡を得ていない場合などにこれが出る。
- 6. Surnames of actors: Used when almost all the co-starring actors share the same yago, and when the address of the actors as the above example No. 3 is unknown, and when the actors belong to Zenshin-za and don't have myoseki (successive names) of kabuki, and so on.
- 永享2年(1430年)11月、世阿弥の次男で、観世座の太鼓役者であった観世元能が、父がこれまで語った芸談を筆録・整理して、世阿弥に贈ったものである。
- In November, 1430, Motoyoshi KANZE who was the second son of Zeami and taiko yakusha (drum player) at Kanzeza troupe wrote down what had been told by his father and presented it to his father Zeami.
- これを祝って人々が義教の元に参上していることから、この催しが義教の手で行われたものであり、音阿弥が将軍家の御用役者として認められていたことが分かる。
- As people went to pay a visit to Yoshinori celebrating this event, it could be observed that this activity was hosted by Yoshinori and Onami was accepted as the official actor of Shogunke.
- それぞれの事件は、他の事件の前奏曲であり、そしてその最高の峠を越してしまうと、その登場役者たちは、忙わしい我々の生活から、永久に消え去ってしまった。
- Each case has been the prelude to another, and the crisis once over, the actors have passed for ever out of our busy lives.
- 5代目澤村 四郎五郎(さわむら しろうごう、1877年(明治10年)9月15日 - 1932年(昭和7年)8月27日)は日本の歌舞伎役者、映画俳優。
- Shirogoro SAWAMURA V (September 15, 1877 - August 27, 1932) was a Japanese Kabuki actor and movie actor.
- 七代目 坂東 三津五郎(しちだいめ ばんどう みつごろう、1882年(明治15年)9月21日 - 1961年(昭和36年)11月4日)は、歌舞伎役者。
- Mitsugoro BANDO VII (September 21, 1882 - November 4, 1961) was a Japanese kabuki actor.
- 惣太役の役者にぼけ的な峰蔵を給仕として早変わりで登場させるなど、深刻な内容の劇を洒落た見世物に仕立て上げ、後味を良くしてしまう黙阿弥独特の手法が光る。
- Mokuami's brilliant and unique techniques including the actor's quick change from Sota to dull-witted Minezo as a waiter turn the play of a serious story into a witty show leaving the audience with a pleasant aftertaste.
- 二代目 林 又一郎(にだいめ はやし またいちろう、1893年(明治26年)7月3日 - 1966年(昭和41年)12月31日)は、大阪の歌舞伎役者。
- Mataichiro HAYASHI the second (July 3, 1893 – December 31, 1966) was a kabuki actor in Osaka.
- 八代目 市川海老蔵(はちだいめ いちかわ えびぞう、弘化2年(1845年) - 明治19年(1886年)11月12日)は幕末から明治初期の歌舞伎役者。
- Ebizo ICHIKAWA the 8th (1845 - November 12, 1886) was a Kabuki actor, who actively played various roles from the end of Edo Period to the early Meiji Period.
- 由良之助役者としても知られたが、七段目では、豪遊ぶりがいかにも自然で、それはまさしく普段から自分の金で現実に豪遊しているからだという評があるほどである。
- He was famous for his work in the role of Yuranosuke (one of the core characters of Chushingura, a famous kabuki play), in the seventh episode of Chushingura, and his portrayal of going on an extravagant spree was totally natural; it even brought forth the opinion that such natural acting was because he usually went on extravagant sprees at his own expense.
- 士分に取り立てられた役者は、特に貞享以後はこのために新設された廊下番のポストにつけられて表向き能役者を廃業し、綱吉が城中で私的に催す能に出演させられた。
- Performers promoted to samurai were, especially in and after the Jokyo era, conferred the newly-created post of rokaban (a kind of officer in Edo-jo Castle) and officially retired from the stage but were made to perform Noh plays privately held by Tsunayoshi in the castle.
- また維新後にも十四世英勝(喜叟)、弟子の清水然知(石井一斎・津村又喜とともに大鼓方の三名人と呼ばれた)など優れた役者が輩出し、流勢はきわめて盛んであった。
- After the Meiji Restoration, this school was still extremely influential and produced some excellent performers such as the 14th head Hidekatsu (also known as Kiso [喜叟]) and his follower Nenchi SHIMIZU (Issai ISHII, Mataki TSUMURA, and he were referred to as three greatest drum masters).
- 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。
- 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.
- その直後には、「国内各論の融和を図る」ことを大義名分として、治安維持法違反の共産党員や二・二六事件の逮捕・服役者を大赦しようと主張して、周囲を驚愕させた。
- Immediately after, he dismayed those around him by granting an amnesty to Communist Party members who had violated the Maintenance of Public Order Law and detainees from the February 26 Incident, justifying his actions as 'an attempt to reconcile the various opinions within the nation.'
- この『勧進帳』への参加が後の振付において大きな経験となり、また海老蔵ら当時一流の役者達に見込まれたことによって、振付師としての大成に向けた下地が作られた。
- Participation in this 'Kanjincho' became a great experience for his later choreography, and also the foundation for a great success as a choreographer was laid down by winning the favor of top grade actors of the times including Ebizo.
- 職業は時代によって差があり、井戸掘りや造園業、湯屋、医師、代言人(弁護士)、能役者(主役級)、歌舞伎役者、野鍛冶のように早期に脱賎化に成功した職業もある。
- There was a difference in the occupations depending on the period, and some of them managed to escape from Senmin at an early stage, such as well diggers, landscape gardeners, bathhouse, doctors, those who pled (lawyers), Noh performers (lead roles), Kabuki performers and blacksmiths.
- 備考:「人間五十年」の時代、不惑の歳を迎えた役者は隠居するのが常だったが、この年61歳になった二代目海老蔵(二代目團十郎)は33年ぶりに若衆の助六を演じた。
- Notes: People lived as long as fifty years in those days as expressed in a famous song, and the actors who turned fifty were generally retired, but Ebizo ICHIKAWA II (Danjuro ICHIKAWA II) played the role of young man Sukeroku at the age of sixty-one in this program for the first time over thirty-three years.
- 十三代目 片岡 仁左衛門(じゅうさんだいめ かたおか にざえもん、明治36年(1903年)12月15日 - 平成6年(1994年)3月26日)は歌舞伎役者。
- Jusandai-me (the thirteenth) Nizaemon KATAOKA (male, December 15, 1903 to March 26, 1994) was a kabuki actor.
- 米国のどたばた喜劇の役者(英国生まれ)で、多くの映画でローレルとハーディーのデュオの落ちつきがなくてしばしば悲しいメンバーを演じた(1890年−1965年)
- United States slapstick comedian (born in England) who played the scatterbrained and often tearful member of the Laurel and Hardy duo who made many films (1890-1965)
- この点は近年のドラマ、舞台などでは忠実に再現され、舞台『SANADA』、大河ドラマ『葵徳川三代』などにおいて成人後の秀頼は身長の面で大柄な役者が演じている。
- In drama and on stage in recent years, this point was reproduced exactly, and, on stage 'SANADA' and Taiga-drama (NHK's historical drama) 'Aoi Tokugawa Sandaiki,' and so on, large, tall actors played the adult Hideyori.
- 特に「東扇(あずまおおぎ)」の連作は、人気役者の似顔絵を扇に仕立てて身近に愛用するために、扇の形に線が入っており、大首絵(おおくびえ)の先駆的作品とされる。
- In his 'Azuma Ogi' series depicting portraits of popular actors, a fan-shaped frame was drawn on each sheet of paper so that people could use it to make a fan (ogi) and enjoy seeing it in their daily life, and this series' half-lengths are believed to have been the pioneering works later developed into Okubie ('large-head' pictures).
- 前者は、天和 (日本)以前から、あるいは元禄ころから、作者は脚本の一部に「ほめことば」を挿入し、役者の口から、共演役者の容貌的な魅力をほめさせたものである。
- In the first case, script writers began to put 'homekotoba' as a part of script and let a player speak them to praise the costar for his attractive visage, from before the Tenna era (1681-1683) or around Genroku era (1688-1703).
- 当初は、筋に関係なく一年間の興行期間の最初の興行である顔見世で、劇場と契約した座頭級の役者を観客に紹介するための見せ場で、「お目見えだんまり」と呼ばれていた。
- Initially, the kaomise performance, the first performance of the year, included a scene to introduce the zagashira (the leader of an actor troupe)-class actors in a contract with the theater to the audience, regardless of the story to be performed, and was called 'omemie-danmari' (literally danmari for introducing actors).
- 現在でも文楽座の太夫、三味線方が歌舞伎に出演する際には、特殊なとりきめ(歌舞伎役者が台詞を言わず、全編を義太夫がとる)があり、通常はこうした交流は行われない。
- Even today, special arrangements should be made when Tayu and Shamisen-kata belonging to the Bunraku-za Theatre appear in Kabuki performances (Kabuki actors do not speak the line, and the whole story is narrated by Gidayu), and under normal conditions, this type of interactive events are not practiced.
- このような方法を取らずに、現実の空を使って役者の芝居、カット数もある夜明けシーンを撮ろうとしても、一瞬で空は明るくなってしまうため現実問題として不可能である。
- It is actually impossible to shoot many cuts at dawn with a real sky because dawn breaks in a minute.
- 他にも甲府時代のお抱え役者の登用、さらに貞享3年には喜多流三世喜多七太夫を追放し、喜多座を解体するという「能界を震撼させる大事件」を起こしている(翌年赦免)。
- Additionally, Tsunayoshi promoted performers from his Kofu days and, in 1686, he caused a big incident by banishing Shichidayu KITA III of the Kita school and dissolving the Kita-za company, an act which 'shook the Noh world' (he was pardoned the following year).
- 芸事が好きで踊りや三味線を習い、家を出て旅役者の一座に入り、嵐亀蔵と名乗り伊勢から名古屋で舞台に立つうち、来合わせた大坂の芝居関係者に見いだされて大坂に行く。
- He loved the arts and learned dance, shamisen (a three-stringed Japanese banjo), joined an itinerant actors troupe leaving his home and called himself Kamezo ARASHI and while he was acting on stage from Ise Province to Nagoya, he was discovered by theater officials who happened to see his play and in Osaka.
- 初代中村勘三郎(しょだい なかむら かんざぶろう、慶長3年(1598年) - 万治元年6月9日 (旧暦)(1658年7月9日))は、江戸時代初期の歌舞伎役者。
- Kanzaburo NAKAMURA, the first (1598 - June 9, 1658) was a kabuki actor in early Edo period.
- 戦中戦後の名優の相次ぐ死で中堅の役者が手薄になった関西歌舞伎において、阪東壽三郎と並んで中心的な役割を担い、壽三郎の死後は文字通りその重鎮としてこれを見守った。
- In Kansai Kabuki, which did not have a sufficient number of middle class actors because of the successive deaths by famous actors during and after the War, Jukai played a central role together with Jusaburo BANDO and, after Jusaburo's death, kept watching it as the leader.
- 一方、四代目市川小團次、四代目中村歌右衛門 (4代目)、四代目中村芝翫 (4代目)のように江戸に下って活躍する者も多く、役者のレベルは江戸にひけととらなかった。
- On the other hand, many actors such as Kodanji ICHIKAWA IV, Utaemon NAKAMURA IV (yondaime) and Shikan NAKAMURA IV (yondaime) went up to Edo and gave outstanding performances, and the level of actors was not inferior to that of Edo.
- 18世紀後半には狂言作者並木五瓶、役者では初代嵐雛助のほか、初代尾上菊五郎 (初代)や初代澤村宗十郎 (初代)らが江戸に下り江戸歌舞伎に大きな影響を与えている。
- In the latter half of the 18th century, Gohei NAMIKI as a Kabuki playwright and Hinasuke ARASHI I, Kikugoro ONOE I (shodai) and Sojuro SAWAMURA I (shodai) as actors went up to Edo and had a major influence on Edo Kabuki.
- 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。
- 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.
- 栄御前の登場まで政岡が2人の子役とやりとりする「飯焚き」の部分は、政岡役者が舞台上で茶の湯の手前を行うという演出だが、大きな筋の動きがなく短縮されることが多い。
- As for the scene of 'Preparation of Rice' in which Masaoka talks with two children until Sakae Gozen appears, the actor playing Masaoka demonstrates tea ceremony, but there is not much story in it and the scene is often shortened.
- 観世 宗節(かんぜ そうせつ、永正6年(1509年) - 天正11年12月5日 (旧暦)(1584年1月17日))は、戦国時代 (日本)に活躍した観世流能役者。
- Sosetsu KANZE (1509 - January 17, 1584) was a Noh performer of the Kanze school active during the Sengoku Period (Period of Warring States).
- その版画には印章、版元、商標など全くなく、経歴は拠るべきものは無く、「浮世絵類考」では、役者似顔を描いたが、拙劣であったため半年ほどで世に行われなかったという。
- His block prints did not bear seals, hanmoto (publisher) or trade marks at all, and there is nothing to tell about his career, and according to Ukiyo-e ruiko (Various Thoughts on Ukiyo-e) he drew the portraits of actors, but they were inartificial and lasted only about half a year.
- 五代目 上村 吉彌(ごだいめ かみむら きちや、新字体:吉弥、明治42年 (1909年) 12月13日 - 平成4年 (1992年) 1月1日)は、歌舞伎役者。
- Kichiya KAMIMURA the fifth (December 13, 1909-January 1, 1992) was a Kabuki (traditional performing art) actor.
- 二代目 中村鴈治郎(にだいめ なかむら がんじろう、明治35年(1902年)2月17日 - 昭和58年(1983年)4月13日)は昭和を代表する歌舞伎役者の一人。
- Ganjiro NAKAMURA, the second (February 17, 1902 - April 13, 1983) was a kabuki actor who is representative of the Showa period.
- 櫓下番付、辻番付という大版1枚刷りのものと形状はおなじであるが、上段には定紋を打った櫓幕を描き、その周囲に座元、役者、作者などの名をいっていの位置に配して書いた。
- Printed on a large sheet of paper similar in the form to 'yagura banzuke' (rankings lists at theatres) or 'tsuji banzuke' (ranking lists put up in the streets), in the upper half of the kaomise banzuke, stage curtains with family crests around were drawn with the names of a chief producer, actors and playwrights arranged in certain positions.
- 初代 坂田 藤十郎(しょだい さかた とうじゅうろう、正保4年(1647年) - 宝永6年11月1日 (旧暦)(1709年12月1日))は、江戸時代の歌舞伎役者。
- Tojuro SAKATA (1647-December 1, 1709) was a kabuki (traditional drama performed by male actors) actor in the Edo period.
- もとは『櫻清水清玄』(鶴屋南北作)という脚本であったが、人気作に恵まれず不遇をかこっていた新七が上方下りの人気役者市川小團次 (4代目)のために改訂版として作った。
- The original script of the play was 'Sakura Kiyomizu Seigen' (written by Hyozo KATSU the second), and 'Miyakodori nagare no shiranami' is its revised edition which Shinshichi wrote for a popular actor from Kamigata (Kyoto and Osaka area), Kodanji ICHIKAWA (the fourth) when Shinshichi was in obscurity without hits.
- だが、興行側も観客も初代中村鴈治郎の幻影を追い求め、延若に鴈治郎の当り役を演じさせるなどピントのずれた興行がおこなわれ、役者の持ち味を活かせぬ弊害をもたらしていた。
- However, both promoters and audiences pursued the illusion of Ganjiro NAKAMURA I and demanded Enjaku perform Ganjiro's star role, which had an poor result that did not take advantage of the actor's characteristics.
- 和服のなかでは比較的安価であることから、別誂えの反物を染めて歌舞伎役者などが贔屓への配りものとすることも多かったが、最近ではこうした風習も徐々に少なくなりつつある。
- Because the yukata is comparatively inexpensive among the various kinds of Japanese clothing, kabuki players used to present to their patrons specially ordered rolls of dyed cloth for yukata, although in recent years that custom has become less frequently employed.
- 『西鶴一代女』を製作した児井英生によると溝口監督はわがままで、権威のある人には弱く、目下のものには横暴というタイプであるため、役者からもスタッフからも嫌われていた。
- According to Eisei KOI, who was the producer of 'Saikaku ichidai onna,' Director Mizoguchi was selfish, obedient to authority figures, and cruel to inferiors; and that is why he was hated by actors and staff.
- 「大首絵」に残された役者の面相を美化することのみに終始しない研ぎ澄まされた感性は他の追従を許さない鋭さが見られ、「美人画」の上品な描写に独自の才能を見ることができる。
- His finely honed sensibility seen in his 'Okubie' (large-head pictures) was never limited to the beautification of the looks of actors and allowed no one else to imitate, and his refined original talent is seen in the elegant portrayal of 'Bijinga' (beautiful-woman pictures),
- 兄の長吉が南伝馬町に押絵屋を開業したことがきっかけで、長谷川派の豊原周信に師事し役者似顔を学び、羽子板押絵の原図を制作した(一説には羽子板師・に就いたとも言われる)。
- After his older brother, Nagoyoshi, opened an osier (raised cloth picture) shop in the Minamidenmacho district, Kunichika studied under the artist of the Hasegawa school Chikanobu TOYOHARA to learn how to draw portraits of kabuki actors; he went on to draw original paintings for hagoita battledores (some says that he took on a job at hagoita maker Rinshun's studio).
- 豆腐買いの女は「おむら」という役割であるが、軽い役ながら中村勘三郎 (17代目)、河原崎権十郎 (3代目)、市川猿之助 (3代目)などの看板役者が「御馳走」として出る。
- The woman buying tofu is called 'Omura,' a minor role, but played by famous actors like Kanzaburo NAKAMURA the seventeenth, Gonjuro KAWARAZAKI the third and Ennosuke ICHIKAWA the third, as a 'treat.'
- 千秋楽の日の舞台は歌舞伎などにおいては役者のふざけや冗談が許されるという不文律があり、芝居の流れを壊さない程度で、しゃれやいたずらを用意して共演者をからかうこともある。
- In kabuki, there was an unwritten rule that performers can banter and joke with one another onstage on the senshuraku day, and they sometimes mock other performers by preparing puns and mischief in advance, but only to the extent that it won't hinder the flow of the play.
- その後、辰五郎役は市村羽左衛門 (15代目)、尾上松緑 (2代目)、中村勘三郎 (17代目)、そして尾上菊五郎 (7代目)と、江戸前の世話物を得意とする役者が勤めている。
- Later, the role of Tatsugoro was performed by Uzaemon ICHIMURA the fifteenth, Shoroku ONOE the second, Kanzaburo NAKAMURA the seventeenth, and Kikugoro ONOE the seventh, who were all good at acting in the Edo-style sewamono drama.
- 観世 元雅(かんぜ もとまさ、 応永元年(1394年)、あるいは応永8年(1401年)頃-永享4年8月1日 (旧暦)(1432年8月26日))は室町時代の能作者、能役者。
- Motomasa KANZE (1394 or around 1401 - August 26, 1432) was a playwright and an actor of Noh (traditional masked dance-drama) during the Muromachi period.
- 初代鴈治郎には中村梅玉 (2代目)や市川中車 (7代目)が、二代目鴈治郎には片岡仁左衛門 (13代目)、現藤十郎には市村羽左衛門 (17代目)など腕達者な役者がつきあった。
- Great actors played such supporting roles like Baigyoku NAKAMURA the second and Chusha ICHIKAWA the seventh for Ganjiro the first, Nizaemon KATAOKA the 13th for Ganjiro the second, and Uzaemon ICHIMURA the 17th for present-day Tojuro.
- 三代目 尾上 多賀之丞(さんだいめ おのえ たがのじょう、明治22年(1889年)9月21日 - 昭和53年(1978年)6月20日)は、戦前戦後にかけて活躍した歌舞伎役者。
- Taganojo ONOE the third (Sep 21, 1889 - June 20, 1978) was a Kabuki actor who was popular around the World War II.
- 薩長連合、薩土密約、大政奉還等は、坂本龍馬が中心に描かれたテレビドラマや小説が多いが、その発想や行動において真の立役者は本当はどちらかであったかは議論が分かれるところである。
- There are many novels and TV dramas about the Satsuma-Choshu alliance, the Satsuma-Tosa pact, and the return of political power to the Emperor by the Tokugawa Shogunate with an emphasis on Ryoma SAKAMOTO; however, there is debate as to who the central person in these events was.
- 宿願を果たした義経は法皇から戦勝を讃える勅使を受け、一ノ谷、屋島以上の大功を成した立役者として、平家から取り戻した八咫鏡八尺瓊勾玉を奉じて4月24日_(旧暦)京都に凱旋する。
- Having achieved his long desired objective, Yoshitsune received an imperial envoy dispatched by the Cloistered Emperor to glorify his victory, after which he made a triumphal return to Kyoto on April 24 (old old lunar calendar); it was here that, as the leading figure in the Battle of Dannoura (for which the strategy had been more successful than that of the Battle of Ichinotani and the Battle of Yashima), he embraced the mirror Yata no Kagami and the jewel Yasaka no Magatama (two of the Three Sacred Treasures of Japan), which had been recovered from the Taira family.
- 経清もまた安倍氏の滅亡の際に頼義に囚われ斬首されたが、その妻(つまり頼時の娘)は頼義の3倍の兵力を率いて参戦した戦勝の立役者である清原武則の長男・武貞に再嫁することとなった。
- Tsunekiyo was also captured and decapitated by Yoriyoshi when the Abe clan was destroyed, but his wife (that is, a daughter of Yoritoki) remarried KIYOHARA no Takesada, the first son of KIYOHARA no Takenori who had joined the war with three times as much military power as Yoriyoshi's and so immensely contributed to Yoriyoshi's victory.
- 当初「中村勘三郎」は江戸三座の一つ・中村座の座元(座を主宰し芝居小屋を経営する者)の名跡だったが、後代になると座元が役者に転じたり、逆に役者が座元を兼ねたりすることが多くなる。
- Kanzaburo NAKAMURA' was initially a professional name of Zamoto (leader and manager of a theatrical company) of Nakamura-za Theater, which was one of Edo's three licensed kabuki theaters, but in later ages, Zamoto often became actors, or actors additionally became Zamoto.
- また、客席を貫いて歌舞伎役者が登場・退場する花道によって他の演劇には見られないような2次元性(奥行き)を、またセリと宙乗りにより3次元性(高さ)を獲得し、高度な演劇へと進化した。
- And Hanamichi, the passage running through the audience on which Kabuki actors enter on and depart, provides the audience with the two-dimensional image (or depth) that cannot be experienced in other kinds of theater, and 'seri' (a trapdoor) & 'chunori' (a flight on wires from the stage over the heads of the audience) provide the audience with the three-dimensional image (or the height), thereby upgrading Kabuki to the higher level of theater.
- 江戸時代から戦後にかけては見世物としての女相撲興行が盛んに行われていたし、大衆演劇の世界では男装した女役者が着物をはしょり、ふんどしを見せながらの剣戟を演じて客の喝采を浴びたという。
- From the Edo period to the postwar period, women's sumo exhibitions were actively performed as an entertainment show, and in the society of popular dramas, a female player wearing men's dress performed sword fights kilting her kimono and showing her fundoshi loincloth to gain plaudits from the audience for her performance.
- 三代目 市川壽海(さんだいめ いちかわ じゅかい、新字体:寿海、明治16年(1886年)7月12日 - 昭和46年(1971年『4月3日)は大正から昭和前期にかけて活躍した歌舞伎役者。
- Jukai (壽海) ICHIKAWA III ('寿海' in new simplified Chinese characters; July 12, 1886 - April 3, 1971) was a kabuki actor, who was active from the Taisho to the beginning of Showa period.
- 特に薩長は全国の他の諸藩よりも圧倒的に藩政改革が早く、不平等条約による開国という状況や幕末という時代変化にいち早く対応していたため、殉国者含め、倒幕の立役者となる人材を多く輩出していた。
- Especially Satcho, having started domain duty reform far earlier than the other domains, were quick to deal with the uncertainties of the changing times such as the chaotic situation caused by the opening Japan to the world by the Unequal Treaty and the ending of the Edo period, so they threw up many major figures in the overthrow of the Shogunate including martyrs.
- 生来の美貌に加え、初代延若、九代目市川團十郎 (9代目)などの東西の役者の芸を学ぶなどの旺盛な研究心、そして華やかなサービス満点の演技などが鴈治郎をして関西歌舞伎の王者たらしめたのである。
- In addition to innate good looks, a strong desire to learn as seen in his effort to learn performances of various actors both in the east and west including Enjaku I and Danjuro ICHIKAWA IX (kudaime) and gorgeous performances full of efforts to please the audience, made Ganjiro the king of Kansai Kabuki.
- 天才女形として三代目澤村田之助を襲名、翌年には16歳にして立役となるなど、大御所時代における女形の第一人者だったが、間もなく舞台上の事故から脱疽を患い四肢を切断、役者引退を余儀なくされた。
- He took the name Tanosuke SAWAMURA (III) as a brilliant actor of female roles and in the following year when he was only 16 he took leading roles and became the top performer of female roles in the Ogosho Period (1787 - 1841); however after a stage accident gangrene set in and he had to have his legs amputated, and was forced to retire from acting.
- 景徐周鱗の書いた「観世小次郎信光画像讃」や『四座役者目録』などよると、15歳の時後花園天皇の御前での猿楽に参加し, 天皇の扇を同席した足利義政の手添えで授けられるという栄誉を受けたという。
- According to 'KANZE Kojiro Nobumitsu ga zo-san' (inscription to the portrait of Kojiro Nobumitsu KANZE) and 'Yoza yakusha mokuroku' (Catalog of Actors of the Four Troupes) written by KEIJO Shurin (abbot of Nanzen-ji Temple in Kyoto), when the 15-year-old Nobumitsu took part in a Sarugaku performed before Emperor Gohanazono, the Emperor gave Nobumitsu a fan to honor his performance through Yoshimasa ASHIKAGA who watched Sarugaku with the Emperor.
- また世阿弥の著述からは型への信仰は窺えないこと、重要なのは役者が自分の内面と身体の関係を自由にコントロールできる能力を身に付けることであり、型の学習のみではそれは不可能なことを指摘している。
- UMEWAKA also pointed out that in Zeami's writing, a belief in form is not mentioned, and the important thing is to acquire the ability for a performer to freely control the relationship between the inside and the body in which it is impossible to acquire by merely studying the form.
- 顔ぶれは仁左衛門、鴈治郎、片岡我童 (13代目)(十四代目片岡仁左衛門追贈)、又一郎、延若、扇雀、中村福助 (高砂屋5代目)の七人の歌舞伎役者と、山口廣一のプロデュースによる自主公演であった。
- This was an independent performance with a lineup of the seven kabuki actors Nizaemon, Ganjiro, Gado KATAOKA (jusandaime)(posthumously, conferred Nizaemon KATAOKA XIV), Mataichiro, Enjaku, Senjaku and Fukusuke NAKAMURA (Takasagoya V) and produced by Koichi YAMAGUCHI.
- 7代目澤村訥子(しちだいめ さわむら とっし、安政7年4月8日 (旧暦)(1860年5月28日)※月日に関しては諸説あり - 大正15年(1926年)3月26日)は明治から大正期の歌舞伎役者。
- Tosshi SAWAMUWA (the 7th Tosshi SAWAMURA, May 28, 1860 (various theories exist on the date) - March 26, 1926) was a Kabuki actor from the Meiji to Taisho periods.
- 酒と遊びが大好きで、画料が入っても宵越しの金は持たないとばかりにすぐ使ってしまい、晩年は着物一枚で過ごし舞台に出る役者をスケッチする「中見」の際には版元から着物を貸してもらうほどだったという。
- A drinker and pleasure-seeker, he spent money as soon as he earned, as if saying 'money is not something you keep overnight'; in his later years he seems to have had only one kimono to wear, thus he had to ask publishers to lend him a kimono for doing 'nakami' to sketch Kabuki actors appeared on stage.
- 化政文化にはさらに演出が変化し、黒服で天狗の面をつけていた者がいきなり豪華な衣装の盗賊に代わるなど、演技の途中で役者の衣装を引きぬいて別の人物に変えるといった視覚的な変化を追究するようになった。
- In the Kasei (1804 - 1928) culture era, the nature of the performance changed further, resulting in visual changes where the costumes of the actors on stage were removed during their performances to alter their roles to that of other characters: For example, the actor who wore a face mask for a tengu (long-nosed goblin) in a black costume suddenly changed into a bandit in a gorgeous costume.
- 一通り客への挨拶を終えた後、役者は舞台上手に特設された黒御簾の中の河東節連中に向かって、ひれ伏すような低姿勢で「それでは河東節御連中様、なにとぞお始め下されましょう」と最大の敬語表現で呼びかける。
- After the announcement to the spectators, the actor, with a humble attitude, calls to the Katobushi chorus who are behind the black bamboo curtain set up at the right of the stage from the spectators' viewpoint especially for the play, 'Please start' using the most polite expressions.
- 美貌を売り物にする女形役者がこうした役をつとめると、ふてぶてしい極悪人であることを観客に納得させることが容易ではなく、舞台演出が困難になってしまうことが配慮されていることもそのひとつの理由である。
- One of the reasons that those roles are not acted by onnagata actors, who are famous for their beauty, is that it is difficult to convince audience that they are villains, which will make it difficult to produce a drama.
- 18世紀中期の『隣忠見聞集』に「甚左衛門、源四郎、源三郎、今の甚左衛門」といった役者名が挙がり、『三井寺』の「三井寺の威徳ぞめでたかりける」のくだりで打った頭が見事であったため流儀の名としたと伝える。
- 'Rinchu Kenmonshu' (The Collection of Noh Anecdotes), which was issued in the middle of the 18th century, lists some performer names such as 'Jinzaemon, Genshiro, Genzaburo, and the current Jinzaemon,' and it also insists that the school was named after their brilliant drumbeats made along with the passage 'the itoku (virtue and influence) of Mii-dera Temple is satisfactory' in the Noh play titled 'Mii-dera Temple.'
- その芸は連歌師心敬に「今の世の最一の上手といへる音阿弥」と評されたのを初め、同時代の諸書に「当道の名人」「希代の上手、当道に無双」などと絶賛され、役者としては世阿弥以上の達人であったと推測されている。
- His performance was highly regarded; 'Onami who could be said to be the best of the present day' described by a renga poet (linked-verse poet) Shinkei of the same period, and many manuscripts of that time called him 'skilled in his path' or 'a skilled performer unlike others'; Onami could be interpreted as the expert who surpassed Zeami.
- 明治21年 (1888) に『寺子屋』の武部源蔵を勤めた際には、源蔵の女房戸浪を勤める後輩役者から戸浪のやり方を聞かれ、下記のように理論的に説明している(大阪朝日新聞 1889年10月11日の記事)。
- In 1888, when he performed Genzo TAKEBE in the drama 'Terakoya,' he was asked how to play Tonami by his junior who played Genzo's wife Tonami and he asked him, 'Tonami is whose wife and what her husband Genzo's position?
- 三宅派は、野村又三郎派と同じく、もと京都の手猿楽役者であった三宅藤九郎が和泉流樹立にあたって客分として招かれたもので、後に三世三宅藤九郎喜納が在京のまま加賀藩の扶持を受けたため、その芸系が加賀に伝播した。
- Like the Matasaburo NOMURA school, the Miyake school started when Tokuro MIYAKE, a tesarugaku actor in Kyoto, was invited as a guest to establish the Izumi school, and later, as 三宅藤九郎喜納, the third was granted fuchi by the Kaga Clan while living in Kyoto, their performances spread in Kaga Province.
- 九代目 市川 團十郞(くだいめ いちかわ だんじゅうろう、新字体:団十郎、天保9年10月13日 (旧暦)(1838年11月29日) - 明治36年(1903年)9月13日)は明治時代に活躍した歌舞伎役者。
- Danjuro ICHIKAWA (the ninth) (Danjuro '團十郞 [old letter shape], 団十郎 [new letter shape]),' (November 29, 1838 - September 13, 1930) was a great kabuki actor in the Meiji period.
- 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。
- 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.'
- 詞の内容は遊里物・遊女物(遊里のお色気を扱ったもの)、慕情物・情痴物(市井のお色気を扱ったもの)、芝居物・役者物(芝居や役者を題材にするもの)、バレ唄(諷刺・洒脱のきいたもの)、田舎唄(民謡系)などがある。
- There exist various lyrics, such as yuri mono (also called yujo mono, the song of love affairs in the red-light district), bojo mono (also called jochi mono, the song of love affairs of the public), shibai mono (the song featuring a drama), yakusha mono (the song featuring an actor), bareuta (the song that has a satirical or sophisticated flavor), and inakauta (a traditional folk song and the like).
- 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。
- 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).
- ところが東の歌舞伎座と並び称される西の京都南座には、役者を上げ下げする「小迫り」はあっても大道具を上げ下げできる「大迫り」がなかったので、歌舞伎の代表作の一つであるこの演目を上演することが長らく出来なかった。
- In the past, the Minami-za Theatre of Kyoto, which had been as famous as the Kabuki-za Theatre of Tokyo, had 'ko-zeri' for moving actors, but however, didn't have 'o-zeri' for moving big sets, so one of the masterpieces of kabuki 'Sanmon' hadn't been performed in the theatre for a long time.
- かつて十三代目片岡仁左衛門は、上方色の乏しい東京の某歌舞伎役者の団七を観て激怒し、坂田藤十郎(当時は中村扇雀)に、「これは、上方歌舞伎への冒とくや、あんさん、手本に団七をやっておくれやす」と頼み込んだという。
- It is said that Nizaemon KATAOKA, the thirteenth once outraged when he saw Danshichi by a certain kabuki actor in Tokyo who lacked kamigata color, and therefore he appealed to Tojuro SAKATA (then Senjaku NAKAMURA) saying that 'This is blasphemous to the kamigata kabuki, so would you please play Danshichi as an example?'
- 偉大な父や弟の陰に隠れ、さらには、関西歌舞伎の不振期にも出くわすなど役者として大成せぬままに終わり不遇であったが、『伊勢音頭』の万次郎、『冥途の飛脚』の忠兵衛などの若衆を演じるときは、古風な好い味を見せていた。
- Since he was hidden behind his great father and younger brother, and further experienced a sluggish period of Kansai Kabuki, he had been obscure all his life without achieving any success as an actor, however, he showed an antique and skillful taste when acting Manjiro in 'Ise Ondo' (Ise Dance), and a wakashu (a teenage kabuki apprentice and also male prostitute) such as Chube in 'Meido no hikyaku' (From The Courier for Hell), etc.
- 芸能界との親交も多く、歌舞伎役者の市川團十郎 (9代目)(かつての養家から泣きつかれて背負いこんだ経営不振の河原崎座の借財整理に協力した)、落語家の三遊亭圓朝、清元のお葉、義太夫の竹本越後太夫などが名を連ねる。
- He had many friends also in the world of public entertainment, for example, Danjuro ICHIKAWA (the 9th)(Inoue helped him with clearing financial problem of slumping Kawarazaki Kabuki Theater which Ichikawa had undertaken asked by his adoptive family), a Rakugo story teller Encho Sanyutei, Kiyomoto (a performance of Joruri [the Japanese-type puppet play]) player Oyo and a gidayu (a style of reciting dramatic narratives) player Echigodayu TAKEMOTO.
- 五代目 中村 歌右衛門(ごだいめ なかむら うたえもん、慶応元年12月29日 (旧暦)(1866年2月14日) - 昭和15年(1940年)9月12日)は、明治から大正、昭和の戦前期にかけて活躍した歌舞伎役者。
- The fifth Utaemon NAKAMURA (February 14, 1866 - September 12, 1940) was a kabuki actor who was active in the Meiji period and the Taisho period and the prewar period of the Showa period.
- なお、本来「大向う」とは舞台から見た「向う」側であり、「お客様は神様」という発想から偉いという意味の「大」をつけた役者側から見た尊敬語なので、掛け声を掛ける者が「私、大向うをやります」などと言うのは誤った用法である。
- Note that '大向う' (o-muko) originally means the other side seen from the stage ('向う' (muko) means 'the other side'), and '大' represents the respect from actors toward audiences based on the idea 'the visitors are the gods' (often used in service industry as 'the customer is always right'), therefore, it is a wrong usage when audience says 'I'll do o-muko.'
- ただし芯からの悪人(敵役)、滑稽を主とするもの(道化役)、老人(老役)は含まない(ただし現在では役者の職掌としての敵役・道化役はなくなり、立役役者がこれをかねているものの、役の分類としては右のような区別が存在している)。
- It does not include katakiyaku (a true villain), dokeyaku (a funny person) and fukeyaku (an old person) (currently, katakiyaku and dokeyaku as an actor's position do not exist and tachiyaku actors play those roles; these names remain only as the types of the roles).
- 戦前の大谷友右衛門 (6代目)、近年では實川延若 (3代目)、浅尾奥山 (4代目)、中村源左衛門、四代目市川段四郎など腕のいい役者が印象に残るが、最近は、十八代目中村勘三郎が「平成中村座」で演じた時の笹野高史が好評であった。
- Skillful actors such as prewar Tomoemon OTANI (the sixth), recent Enjaku JITSUKAWA (the third), Okuzan ASAO (the fourth), Genzaemon NAKAMURA, and Danshiro ICHIKAWA the fourth were impressive and lately Takashi SASANO was received well when Kanzaburo NAKAMURA, the eighteenth played at 'Heisei Nakamura-za Theater'.
- 「安くて面白ければよいとする観客、そして狂言作者、役者、劇場のいずれもが、歌舞伎というドラマに対して節度を喪失したこと、上方歌舞伎衰退の原因ではなかったかと思うのである。」(権藤芳一「上方歌舞伎の風景」2005年 和泉書院)
- I believe the causes of decline of Kamigata Kabuki were theater audiences that thought it was enough if the play was interesting and not expensive and the fact that all of Kabuki playwrights, actors and theaters lost moderation with respect to Kabuki as a drama.'('Kamigata Kabuki no Fukei (literally, landscape of Kamigata Kabuki) by Yoshikazu GONDO, 2005, Izumi Shoin)
- 式三番に要する役者は、翁役の大夫(シテ方)、千歳役(上掛りではシテ方、下掛りでは狂言方)、三番叟役(狂言方)、面箱持役(上掛りに限って出る。狂言方。三番叟の段で問答の相手役を勤める)、笛方、小鼓方3名、大鼓方の計8ないし9名。
- Shiki Sanban requires the total of eight or nine actors who play the role of Okina (Shite-kata, which means the protagonist) which is performed by Tayu (the head of each school of Noh), the role of Senzai (Shite-kata in Kamigakari composed of the Kanze and Hosho schools of Noh sharing the same roots in Kyoto and Kyogen-kata, or Kyogen-shi, in Shimogakari comprising the Konparu, Kongo, and Kita schools of Noh sharing the same roots in Nara), the role of Sanbaso (Kyogen-kata), the role of Menbako-mochi (who makes an appearance as Kyogen-kata only in Kamigakari to play opposite in the dialogue of the Sanbaso section), Fue-kata (a flute player), three Kotsuzumi-kata (small hand-drum players), and Otsuzumi-kata (a large hand-drum player).
- 座内の分業が定着する室町時代後期ごろからは、親子間の世襲が多くなり、『四座役者目録』などに多くの逸話を残す三世勝氏(豊氏の子)、金春禅鳳・氏照らの舞台につきあい権守に任せられた四世氏重(勝氏の子)の二代は際だった名人として知られる。
- Handing down methods from father to son had increased since the late Muromachi period, when the members' roles inside the troupe became traditional, and two of the heads are known as striking masters: the third head Katsuuji (the son of Toyouji) about whom a lot of anecdotes are seen in 'Yoza yakusha mokuroku (Catalog of Actors of the Four Noh Troupes)', and the fourth head Ujishige (the son of Katsuuji) who accompanied Zenpo and Ujiaki KONPARU on their stage and was appointed to Gon no kami.
- 代々の市川團十郎(團十郎が不在のときは宗家当主の海老蔵・新之助・三升のいずれか)が歌舞伎を代表する特別な役者であり、特にそのお家芸である荒事の創始者・継承者であることを尊重して、比喩的にこれを歌舞伎の宗家とみなすこと →「市川流」を参照。
- It is to consider figuratively the successive Danjuro ICHIKAWA (during Danjuro's absence, it would be one of the family heads of soke, Ebizo ICHIKAWA, Shinnosuke ICHIKAWA, or Sansho ICHIKAWA) as the soke of kabuki, on the respect of being a special actor who represents kabuki, and especially as the founder and successor of their 'oiegei' (the specialty of a family or a school of the performing arts), 'aragoto' (dynamic performance of kabuki, featuring exaggerated posture, makeup, and costume) (Refer to 'Ichikawa-ryu').
- それに、1945(昭和20)年3月の中村魁車の戦災死、1946(昭和21)年の十二代目片岡仁左衛門の不慮の死に続いて、1948(昭和23)年には中村梅玉が、そして1951(昭和26)年に『最後の上方役者』と呼ばれた二代目延若が、それぞれ没した。
- In addition, following the death of Kaisha NAKAMURA from war injuries in March 1945 and the unexpected death of Nizaemon KATAOKA XII in 1946, Baigyoku NAKAMURA died in 1948 and Enjaku II, who was called 'the last actor of Kamigata,' died in 1951.
- 作品は役者絵、武者絵、美人画、名所絵(風景画)から戯画、春画までさまざまなジャンルにわたっているが、中でも歴史・伝説・物語などに題材を採り、大判3枚つづりの大画面に巨大なクジラや骸骨、化け物などが跳梁するダイナミックな作品に本領を発揮している。
- His works cover various genres from prints of Kabuki actors (Yakusha-e), warriors (Musha-e), beautiful women (Bijin-ga) and landscapes (Fukei-ga), to caricature and erotic arts (Shun-ga), but especially, his skills are most reflected on three dynamic large-sized pieces which depict histories, legends and stories through powerful subjects, such as massive whales, skeletons and monsters.
- ただ大芝居の役者がランク下の浜芝居に出るようになって芝居の品格が低下したり、有能な狂言作者が出ず、演目の内容が同じ種目の書き換えや浜芝居の人気狂言の上演、さらには趣向中心のレビュー形式の狂言になるなど独創性に欠けるなど、江戸歌舞伎との質の差が逆転する。
- However, the difference in quality with Edo Kabuki was reversed as actors of oshibai performed in lower-ranked hamashibai, decreasing the dignity of the plays, and capable Kabuki playwrights did not appear, which resulted in the rewriting of titles with same content and representation of popular plays of hamashibai, and originality was lacking as revue-style plays emphasized variety.
- ほかの歌舞伎役者には、二代目實川延若 (2代目)・十一代目片岡仁左衛門 (11代目)・二代目中村梅玉 (2代目)・三代目中村雀右衛門 (3代目)・二代目尾上卯三郎 (2代目)・三代目尾上多見蔵 (3代目)・嵐巌笑・四代目嵐璃寛 (4代目)などが活躍した。
- Other actors who flourished in Kabuki roles included Enjaku JITSUKAWA II (nidaime), Nizaemon KATAOKA XI (juichidaime), Baigyoku NAKAMURA II (nidaime), Jakuemon NAKAMURA III (sandaime), Usaburo ONOE II (nidaime), Tamizo ONOE III (sandaime), Gansho ARASHI and Rikan ARASHI IV (yondaime).
- また、大学寮の学生が退学した場合は本貫に通告すること(学令)、徴発された労役者が帰還前に死亡した場合には本貫に通告すること(賦役令)、本主が死亡した帳内・資人は本貫に送還すること(選叙令)、病気になって倒れた防人は本貫に送還すること(軍防令)などの規定が存在した。
- Furthermore, there were stipulations such as when a student withdrew from Daigaku-ryo (Bureau of Education under the Ritsuryo system) notification must be made to hongan (Gaku-ryo [law on scholarship]); when a commandeered laborer died before his return, notification must be made to hongan (Fueki-ryo [law on tax]); chonai and shijin (lower rank officers) whose master died must be returned to hongan (Senjo-ryo [law on recruitment and promotion of government officials]); and sakimori (soldiers deployed for boarder defenses) who fell sick must be returned to hongan (Gunbo-ryo [law on military defense]).
- 諸職人(刀鍛冶や、石工、薬売り、紺屋、筆結、木樵、鎧細工、笠張り、仏師など)や舟渡、陰陽師、宿曜師、山伏、禰宜、巫女、白拍子、舞々、楽人、能役者(端役)、連歌師、俳諧師、通事(飜訳業)、瓦版売り、高利貸(銀行員)などのように地域・時代によっては賎民とされた職業もある。
- Some occupations were defined as Senmin depending on the region/period, such as various craftsmen (swordsmiths, masons, medicine peddlers, dyers, pen makers, wood cutters, armor makers, umbrella makers, sculptors of Buddhist statues and others), boatmen, Yin yang masters, astrologers, mountain priests, shrine priests, shrine maidens, dancing girls, dancers, musicians, Noh performers (minor roles), linked-verse poets, haikai poets, interpreters (translators), news-sheet sellers, and usurers (bankers).
- 戦国時代 (日本)末期から安土桃山時代にかけては、それまで座の第二位の役者が担当し、特にシテ方と区別されることのなかったワキの役(通常これを後世のワキ方と区別して「脇のシテ」「脇の棟梁」などと呼ぶ)が、徐々に独自の職掌としてシテ方から区分されるようになってきていた時期であった。
- From the end of the Sengoku period (period of warring states) (Japan) to the Azuchi-Momoyama period, waki (supporting actors), which had until then been played by the secondary actor in the troupe and had not been differentiated from shite-kata (main roles) (usually, this was called as 'waki no shite' or 'waki no toryo' to be distinguished from the later waki-kata), was gradually differentiated from shite-kata as own official duties.
- 19世紀から幕末期にかけて、「兼ねる」役者と呼ばれた万能選手の名人三代目中村歌右衛門や片岡仁左衛門 (7代目)・八代目の片岡仁左衛門 (8代目)、二代目嵐吉三郎(のちの初代嵐璃寛 (初代))、ケレン芸で売り出した二代目尾上多見蔵、和事芸の名人二代目実川額十郎などの名優が活躍した。
- From the 19th century to the last days of the Tokugawa shogunate, famous actors such as Utaemon NAKAMURA III, who was called 'kaneru (to serve concurrently)' and an all-round excellent actor, Nizaemon KATAOKA (nanadaime), Nizaemon KATAOKA VIII (hachidaime), Kichizaburo ARASHI II (later, Rikan ARASHI I (shodai), Tamizo ONOE II, who was famous for keren performances and Gakujuro JITSUKAWA II, who was good at wagoto performances, all played an active role.
- 明治9年 (1876)、大阪に来演した澤村田之助 (3代目)と喧嘩したときは、気位の高い田之助が成り上がりと宗十郎を侮蔑したので、双方負けん気が強いこともあってこじれにこじれ、宗十郎は突然役者を廃業して、大阪太左衛門橋に呉服屋を開店、本名の藤井重兵衛で呉服商に転職して周囲を驚かせた。
- In 1876, when he had a fight with Tanosuke SAWAMURA Ⅲ, haughty Tanosuke despised Sojuro as an upstart and the fight got worse and worse because both had a strong fighting instinct, Sojuro suddenly gave up acting and opened a drapery shop in Tazaemon-bashi, Osaka with his real name Shigebe FUJIImade and everybody around him surprised this career change.
- 市松人形の名前の由来としては、顔立ちが江戸時代中期の歌舞伎役者、佐野川市松に似ていたため市松人形と名付けられたと言う説、当時「市松」と言う子供が多かったので、子供の人形と言う意味合いで市松人形と呼ばれたと言う説、市松模様の衣装を着せて売られていたため、市松人形と名付けられたと言う説がある。
- There are three widely held explanations regarding the origin of the name of Ichimatsu ningyo; the name came from Ichimatsu SANOGAWA, a kabuki actor in the mid- Edo period, who resembles the doll in its face, the name carries the connotation of the doll for kids whose prevailing name at that time was 'Ichimatsu,' and it was named so because it was sold with a checkered pattern costume.
- そのため養父母の教育はさらに厳しいものになり、ある日ひどい頭痛で舞台を休もうとしていたところ、養父が「貴様は何だ、役者ではないか。役者が舞台へ出るのは、武士が戦場へ行くのと同じことだ。舞台へ行って死んでこい」と叱責されて無理矢理舞台に出されたこともあった(川尻清潭『九代目市川團十郎回想録』)。
- Because of that his foster parents trained him more strictly, and one day when he, having a bad headache, tried to skip a stage, his foster father forced him to appear on the stage, saying in a stern tone, 'You are an actor, an actor's stage is the same as a samurai's battlefield, go to the stage and die' (Seitan KAWAJIRI 'Commentaries of Danjuro ICHIKAWA [the ninth]'.)
- 明治の市川團十郎 (9代目)・尾上菊五郎 (5代目)、あるいは戦前の尾上菊五郎 (6代目)・中村吉右衛門 (初代)こそが最高の役者であるという信念に基き、彼らに今の役者は遠く及ばないという下降史観によって役者や舞台を批判する老人のことを、それよりも若い世代が揶揄的に、あるいは老人自身が自嘲的に言う言葉。
- They are the terms by which younger generations teasingly refer to old people (or what old people call themselves with ridicule), who, based on the belief that Danjuro ICHIKAWA (9th) and Kikugoro ONOE (the fifth) in the Meiji Period or Kikugoro ONOE (the sixth) and Kichiemon NAKAMURA (1st) before World War Ⅱ were the best actors, criticizing actors and their performance thinking no present actors can approach them in performance.
- また、特に八代目市川雷蔵については、その後の映画界での大活躍を鑑みた場合、歌舞伎界との血縁の薄さ、当初の養父が脇役役者という境遇ゆえに、歌舞伎界がその才能を伸ばす事ができず映画界へと流出させてしまった事が、興行という意味において当時の歌舞伎と映画は競合する関係にあった以上、関西歌舞伎にとっては後年さらに大きな痛手となってゆく。
- With respect to Raizo ICHIKAWA VIII in particular, considering his later achievements in the movie industry, the fact that the kabuki world would not develop his talent and let him move to the film industry because of his weak blood relationship with the kabuki world and the fact his initial foster father was a supporting player resulted in major damage to Kansai Kabuki, in the sense of kabuki's performance as a business, because kabuki at that time was competing with films.
- これまでの彼の行動を知らない人たちから「驚いた。人間国宝でも所詮芸人か。ほんとうに驚いた」と批判をくらったが、そのときも夫人・扇は「彼は芸人ですから」と前置きした後で、「彼は常に女の人(若い子でなくともよい)がいないとダメですから」「女性にモテない夫なんてつまらない」とコメント、役者女房の神様のような発言を行い、度量の大きさを見せた。
- He was criticized by those who did not know of all his previous deeds, who said, 'It's surprising... even a living national treasure is but a performer... I was really surprised...'; however, even in such a situation his wife, Ogi, made an introductory remark, saying, 'It's because he is just a performer...' and commented by saying, 'He always needs ladies (including those not young) in order to live,' and, 'If he isn't popular among ladies, I won't be interested in him'; thus she showed her generosity with such a statement befitting a goddess among wives of performers.
- だが「現在この有様上方を捨てては、片岡家の先祖は言うに及ばず、何代かかって上方の芝居をここまで築き上げてきた先輩たちにこれほど申し訳ないことはないではないか。何としても上方の灯は守らなければ。」(片岡仁左衛門著「役者七十年」1976年朝日新聞社)とあるように、切実な関西歌舞伎の愛惜と先祖への思いとが「それでも駄目なら歌舞伎と心中しよう。」(同上)という悲壮な決心に向かったのである。
- He also wrote, however, that 'If I gave up Kamigata in its present state, I would not have any excuse not only to the ancestors of the Kataoka family but also to my predecessors who had built up shibai (drama) in Kamigata up until now. By all means, I had to protect Kamigata Kabuki shibai.' ('Yakusha nanajunen (literally, seventy years as an actor)' by Nizaemon KATAOKA; published by The Asahi Shimbun Company), and his heart-felt sorrow for kabuki and his thoughts for his ancestors instilled in him the tragic but brave thought that 'If failed, I will die with kabuki.'(ibid.).