舞: 1000 Terms and Phrases
- 舞事
- Mai-goto (concerns Noh dance)
- 鷺舞
- Sagi mai (dance of hernshaw)
- お見舞
- calling on someone who is ill
- enquiry
- inquiry
- 舞鶴弁
- Maizuru-ben (Maizuru dialect)
- 仕舞袴
- Shimai bakama (hakama for Noh)
- Shimaibakama
- 急之舞
- Kyu no mai (dance at a very quick tempo)
- 破之舞
- Ha no mai (literally, the Broken Dance)
- 中之舞
- Chu no mai (A basic type of dance in Noh danced between quieter dances and faster dances)
- 舞鶴蕪
- Maizuru (name of a city in Kyoto Prefecture) kabu
- 大黒舞
- Daikoku mai (The dance of Daikoku)
- 天女之舞
- Tennyo no mai (the heavenly maiden's dance)
- 狂言舞事
- Mai-goto in Kyogen (a farce played during a Noh cycle)
- 延年の舞
- Ennen no mai (Ennen Dance)
- 恵比寿舞
- Ebisu mai (The Dance of Ebisu)
- 林家舞楽
- Hayashike (Hayashi family) bugaku
- 翁舞と能面
- Okinamai (dance of an old man) and Noh masks
- 糸崎の仏舞
- Hotokemai (Buddha Dance) of Itosaki
- 歌舞伎の場合
- In the case of Kabuki
- 舞妓変身の例
- Examples of maiko makeover.
- 民謡等の舞踊
- Buyo for Minyo, etc.
- 京都府舞鶴市
- Maizuru City, Kyoto Prefecture
- 能舞台の構造
- Structure of Noh stage
- 能舞台の歴史
- History of Noh stage
- 舞鶴かまぼこ
- Maizuru Kamaboko (Fish Minced and Steamed)
- 舞台からくり
- Butai karakuri (karakuri theater)
- 舞踊り・神楽
- Maiodori, kagura (sacred music and dancing performed at shrines)
- 中国の獅子舞
- Chinese lion dance
- 舞、日本舞踊
- Mai (a formal, traditional Japanese dance), and Classical Japanese dance
- 日本の獅子舞
- Japanese Shishimai
- 越中の稚児舞
- Chigomai dance of Ecchu
- 花園の御田舞
- Ondamai of Hanazono
- 歌舞伎舞踊等
- Kabuki Buyo (Kabuki dance, a traditional form of Japanese theater) and so on
- 手古舞の髪型
- Hairstyle of Tekomai (float leading dance)
- その他の舞鶴弁
- The other examples of Maizuru dialect
- 関西歌舞伎時代
- The Kansai-kabuki period
- 東京歌舞伎時代
- The Tokyo-kabuki period
- 早舞・黄鐘早舞
- Haya mai (literally, the fast dance) and Oshiki Haya-mai (literally, the fast dance with Oshiki-cho tone)
- 歌舞音曲・芸能
- Music and dancing/Entertainment
- 風流系の獅子舞
- Furyu school of shishimai
- 伎楽系の獅子舞
- Gigaku school of shishimai
- 杉野原の御田舞
- Ondamai of Suginohara
- 岩国行波の神舞
- Kanmai dance at Yukaba, Iwakuni
- 遠江森町の舞楽
- Bugaku of Totomimori-machi
- 歌舞伎役者を輩出
- Emergence of kabuki actors
- 京都の舞妓、芸妓
- Maiko and Geigi in Kyoto
- 呂中干ノ地 の舞
- Mai of Ryochukan no ji mono (mai-goto based on Ryochukan (repeated four-line score of Japanese flute)
- - 舞妓の豆撒き
- Beans are thrown by maiko girls.
- 歌舞伎舞踊の藤娘
- Fuji Musume in Kabuki Buyo
- 伝統歌舞伎保存会
- The Organization for the Preservation of Kabuki
- 車大歳神社の翁舞
- Okinamai of Kurumaotoshi-jinja Shrine
- 水海の田楽・能舞
- Dengaku and Noh dance of Mizuumi
- 京舞井上流との関係
- The relationship with Kyomai Inoue-ryu
- 吉松隆 「鳥夢舞」
- Takashi YOSHIMATSU, 'Chomu Mai' (dream dance of a bird)
- 序之舞・真之序之舞
- Jo no mai (A type of very quiet, elegant dance in Noh) and Shin no jo no mai (Noh which old god dance solemnly)
- あこがれ:舞妓さん
- Most admired: Maiko (apprentice geisha)
- 本物の舞妓との違い
- Differences from real maiko
- 出囃子 (歌舞伎)
- Debayashi (Kabuki)
- 紅葉狩 (歌舞伎)
- Momijigari (Viewing Autumn Leaves) (Kabuki)
- 日本の中国獅子舞団
- Chinese lion dance groups in Japan
- 舞という名称のもの
- Dances with the name mai
- 糸魚川・能生の舞楽
- Bugaku of Itoigawa and Nou
- 1944年、初舞台。
- He debuted in 1944.
- 歌舞伎音楽等で使用。
- It is used for Kabuki (traditional performing art) music and others.
- 元々は歌舞伎の用語。
- The word originates from kabuki.
- 明治時代以降の歌舞伎
- Kabuki during and after the Meiji period
- 奈良豆比古神社の翁舞
- Okinamai of Narazuhiko-jinja Shrine
- 上鴨川住吉神社神事舞
- Shinjimai of Sumiyoshi-jinja Shrine in Kamikamogawa.
- 演劇改良会と天覧歌舞伎
- Engeki Kairyo Kai and Tenran Kabuki (a Kabuki performance with the Emperor in attendance)
- 息子二人も歌舞伎役者。
- Both of his sons are also Kabuki actors.
- 太鼓方も舞台には出る。
- Otsuzumi-kata also appears on the stage.
- - 三色の鬼が舞い踊る
- Three oni in different colors perform dancing.
- 歌舞伎狂言の演劇的要素
- Elements of drama in Kabuki Kyogen
- 歌舞伎から派生した言葉
- Derivatives of Kabuki
- 舞楽(舞を伴った雅楽)
- Bugaku (Kagaku with mai dance)
- 伝統歌舞伎保存会専務理事
- Managing Director of the Traditional Kabuki Preservation Association
- 太鼓中之舞よりやや軽快。
- This mai is danced more lightly than the Chu no mai accompanied on dai-sho hand drums.
- 詳細は、素人歌舞伎参照。
- For details, please refer to the article of 'Shiroto Kabuki' (amateur Kabuki).
- 胡蝶 (歌舞伎)を参照。
- Refer to Kocho (Kabuki) section.
- 1をモチーフにした舞楽。
- Bugaku (traditional Japanese court music accompanied by dancing) that used Kocho (Butterflies) as a subject.
- 寒中見舞いの逆にあたる。
- The opposite of a kanchumimai (winter greeting card).
- 高座(板)寄席の舞台の事。
- Koza (plate): The stage in a yose
- チョボ、歌舞伎義太夫とも。
- Takemoto is also referred to as Chobo or Kabuki Gidayu.
- 出願時の名称は「鶴の舞」。
- At the time of application, the name was 'Tsuru no mai.'
- 舞台と同じく板を縦に敷く。
- Like the stage, a board is provided longitudinally.
- 「田舎の舞方」からの発展説
- Developed from country mekata' theory
- 特設舞台を使用するイベント
- Events performed on a specially arranged stage
- - 残暑見舞い、盆、お中元
- Zanshomimai (late-summer greeting card), Bon festival (a Festival of the Dead or Buddhist All Souls' Day), and Ochugen (Bon Festival gifts)
- また、歌舞伎十八番の一つ。
- It is one of the eighteen best kabuki plays.
- 渡来芸・舞台芸 (75件)
- Entertainment that came from abroad and entertainment for stages (75 entities)
- Entertainment from abroad and stage performance (75)
- 日本舞踊や剣舞などで使う袴。
- A hakama is used for classical Japanese dances, sword dances, and so on.
- 能や歌舞伎で用いられる横笛。
- A Nohkan is a yokobue that is used in Noh and Kabuki.
- 翁之舞:翁が祝言の舞を舞う。
- Okina no mai (the dance of Okina): Okina dances a celebratory dance.
- 屋号は天王寺屋 (歌舞伎)。
- His yago (trade name) is Tennojiya (kabuki).
- The stage family name was Tennojiya (Kabuki).
- 歌舞伎における人形振りの口上
- The kojo of a ningyoburi (acting like a puppet) in kabuki
- - 七夕(7日)、暑中見舞い
- Tanabata festival (the 7th), and Shochumimai (summer greeting card)
- 初演大正7年8月、歌舞伎座。
- First staged at the Kabukiza in August, 1918.
- 神社では巫女が舞う場合も多い。
- When performed in shrines, it is often danced by shrine maidens.
- 1906年、京都南座で初舞台。
- In 1906, he made his debut in Kyoto Minamiza theater.
- 以下に主な仕舞の型の例を示す。
- The following are major forms in Shimai.
- 1905年、京都南座で初舞台。
- In 1905, he acted for the first time in his life in the Minami-za theater of Kyoto.
- 1939年、関西歌舞伎へ移籍。
- In 1939, he moved to Kansai kabuki.
- 早舞だが位が早いわけではない。
- The tempo isn't fast, although the 'haya mai' means the 'fast dance'.
- 鷺舞は山口市、潟上市にもある。
- The Sagi mai also exists in Yamaguchi and Katagami Cities.
- 歌の舞台は静岡県伊東市である。
- The stage of the song was Ito City, Shizuoka Prefecture.
- 国風歌舞、催馬楽に用いられる。
- It is used in kuniburi no utamai (ancient Japanese song and dance) or saibara (ancient Japanese music).
- 明治の歌舞伎らしい演出である。
- This staging is just like Kabuki in the Meiji period.
- 鷺舞(1994年12月13日)
- Sagi-mai heron dance (December 13, 1994)
- 観世流は京舞井上流と関係が深い。
- Kanze-ryu has close relationship with Kyomai Inoue-ryu.
- 歌舞伎をテーマにした上方落語には
- Kamigata rakugo based on kabuki is described below.
- 役者の屋号: 山崎屋 (歌舞伎)
- Stage family name: Yamazakiya (kabuki)
- - 伝統歌舞伎保存会会長に就任。
- He assumed the post of president at the Organization for the Preservation of Kabuki.
- 鈴之舞:三番叟が祝言の舞を舞う。
- Suzu no mai (a bell dance): Sanbaso dances a celebratory dance.
- 歌舞伎仮名手本忠臣蔵大序の幕開き
- The opening of the daijo (prologue) of kabuki 'Kanadehon Chushingura' (The Treasury of Loyal Retainers)
- - 舞妓(京都から出張)の豆撒き
- Beans are thrown by maiko (apprentice geisha girls) dispatched from Kyoto on business.
- 1969年、花房小蝶二で初舞台。
- In 1969, he made his debut by the name of Kochoji HANABUSA.
- 走り舞など動きの大きい舞の衣装。
- This costume is used when players perform huge movements such as a running dance.
- 元々は歌舞伎の女形の日常の髪型。
- It was originally a hairstyle for the daily use of kabuki actors who took female roles.
- 糸崎の仏舞(2004年2月6日)
- Itozaki's Hotoke-no-mai buddha mask dance (February 6, 2004)
- 役者の屋号: 紀伊國屋 (歌舞伎)
- Stage family name: Kinokuniya (kabuki)
- 背の低い人の舞で、滑稽技に属する。
- Hikihitomai is a dancing art performed by people of short stature, belonging to comical acts.
- 延年の舞の巧緻さと飛び六方の豪快。
- The excellent Ennen Dance and the splendid Roppo Exit.
- 神楽は能の神楽とは別の舞事である。
- Kagura in Kyogen is mai-goto different from that of Noh.
- この場合仮設の能舞台も用いられる。
- In Takigi Noh, a temporary Noh stage is also used.
- 舞妓はさらに殿西から分かれて進む。
- The maiko divided into groups, and continued along the western side of Kyoshoden.
- 「ささら」を欠く三匹獅子舞もある。
- The three lion dance is sometimes performed without a 'sasara.'
- 刷毛先(はけさき):手古舞の髪型。
- Hakesaki: A hairstyle for tekomai (float leading dance).
- 松尾寺の仏舞(2004年2月6日)
- Matsunoo-dera Temple's Hotoke-no-mai dance (February 6, 2004)
- 弓矢を射る事を模式的に例えた舞踊り。
- It is a dance which shows shooting Yumiya.
- 他に富山県や舞鶴市のものが知られる。
- The ones in Toyama Prefecture and Maizuru City are also famous.
- 歌舞伎には、多彩な音楽が用いられる。
- In Kabuki, various kinds of music are used.
- 歌舞伎の伴奏音楽として発達した音楽。
- 'Nagauta' is the music that was developed as an accompaniment of Kabuki.
- 神社では巫女や少女が舞う場合もある。
- Miko (a shrine maiden) or girls may dance in a shrine.
- 仕舞いを「きちっと」する事でもある。
- It also means putting an orderly end to a thing or action.
- 先笄(江戸後期、町人既婚→現代舞妓)
- Sakko (Late Edo Period; Worn by, originally, the married women of townspeople, and now modern maiko)
- 岩国行波の神舞(1979年2月3日)
- Yukaba, Iwakuni City's Kanmai sacred dance (February 3, 1979)
- 歌舞伎の女形は、普段から、これを着用。
- Kabuki actors of female roles regularly wear this mokko fundoshi.
- 日本でも歌舞伎で用いられることがある。
- In Japan, it is sometimes used in Kabuki (traditional drama performed by male actors).
- 歌舞伎では特に所作事を出す場合が多い。
- In Kabuki (traditional drama performed by male actors), shosagoto (a dance in Kabuki) is especially presented in most cases.
- 昭和後期の歌舞伎界を支えた立役の名優。
- He was one of the excellent actors acting as man, who supported the kabuki society in the late Showa period.
- 揉之段:露払役の舞を三番叟自身が舞う。
- Momi no dan (the act of softening the audience through a kinetic dance involving foot stomping on the floor while chanting time): Sanbaso dances the dance of the opening performer himself.
- 千歳之舞:翁の露払役として若者が舞う。
- Senzai no mai (the dance of Senzai): A youth dances as the opening performer of Okina.
- 江戸時代に歌舞伎の伴奏音楽として発展。
- Nagauta developed as a form of music performed in conjunction with Kabuki (a type of drama).
- 延年で行われた舞を「延年の舞」と呼ぶ。
- Dance that was performed in Ennen is called 'Ennen no mai' (Ennen Dance).
- 2をモチーフにした歌舞伎舞踊(長唄)。
- Kabuki Buyo; Kabuki Dance (nagauta [long epic song with shamisen accompaniment]) that used Bugaku as a subject.
- 胡蝶の舞はサクラ大戦に登場する必殺技。
- kocho no mai (a dance of butterfly) is a special weapon that appeared in Sakura Taisen (a game).
- 舞楽用の装束では下襲と一体化している。
- As a costume for bugaku dancing, this underwear is united with shitagasane (a long inner robe.)
- 上方舞の世界でも好んで伴奏に舞われる。
- Kamigata uta has also been in favor with the world of Kamigata mai as the dance accompaniment.
- 雅楽、猿楽、能、狂言、歌舞伎、日本舞踊
- Gagaku, Sarugaku, Noh, Kyogen, Kabuki, Nihonbuyo
- 嫐(うわなり)は歌舞伎十八番のひとつ。
- Uwanari is one of the eighteen best plays of kabuki by the Ichikawa family.
- 都をどり期間中の祇園甲部の舞妓の髪型。
- This hairstyle is worn by the maiko of Gion kobu during the period of Miyako odori (the dance performance held by geisha and maiko in Kyoto's Gion district in April)
- 鳴神(なるかみ)は歌舞伎の演目の一つ。
- Narukami is one of the kabuki plays.
- 遠江森町の舞楽(1982年1月14日)
- Totoumimori town's bugaku dance (January 14, 1982)
- 歌舞伎以外では長谷川一夫と交友を持った。
- Outside the kabuki world, he had friendship with Kazuo HASEGAWA.
- 1949年 武智鉄二の武智歌舞伎に参加。
- In 1949, Tojuro SAKATA joined the Takechi kabuki led by Tetsuji TAKECHI, a movie director.
- 歌舞伎でいう「頭取」のようなものである。
- They are just like 'todori' in kabuki.
- 現代歌舞伎のスターにして、三之助の一人。
- He is a star in modern kabuki and also one of 'Sannosuke' (three younger Kabuki actors).
- 青年歌舞伎の活動は足掛け七年にわたった。
- His activity in Seinen-kabuki continued for seven years.
- 獅子に限って演者は手に何も持たずに舞う。
- In shishi alone, the player dances with nothing in hands.
- 大津絵に題をとった長唄、日本舞踊の演目。
- A nagauta (long epic song with shamisen accompaniment) derived from Otsu-e, and finally, also a number in Classical Japanese dance.
- 上記の鷺舞をアレンジした新しい郷土芸能。
- Kosagi odori dance is a new type of folk entertainment that had arranged the above-described Sagi mai.
- 高麗楽と、国風歌舞の内の東遊で使われる。
- It is used in komagaku (music from the Korean Peninsula) and azuma-asobi (entertainment of the eastern Japan), a genre of kuniburi no utamai (Japanese traditional dance executed in the ceremonies of the court).
- - 神戸華僑総会舞獅隊 神戸南京町獅誠館
- The Lion Dance Group of the Kobe Overseas Chinese Association/The Lion Dance Group of the Kobe Nankin-cho
- 『不動』(ふどう)は歌舞伎十八番の一つ。
- 'Fudo' is one of the best eighteen Kabuki plays.
- 象引(ぞうひき)は、歌舞伎の演目の一つ。
- Zohiki (Pulling the Elephant) is a kabuki play.
- 「モドリ」とよばれる歌舞伎の技法である。
- This is a technique of Kabuki called 'modori' (showing one's real good character after disguising it as a bad one).
- 杉野原の御田舞(1987年12月28日)
- Suginohara's Onda-mai rice field dance (December 28, 1987)
- その他、舞鶴弁では「とって」も有名である。
- Another famous Maizuru dialect is 'totte.'
- 役者の屋号: 播磨屋 (歌舞伎) → 萬屋
- Stage family name: Harimaya (kabuki) => Yorozuya
- 現在の歌舞伎における女形の大御所(立役)。
- He is an influential figure as an actor of female roles in today's Kabuki world.
- 能楽師が仕舞や舞囃子の際に用いる特殊な袴。
- Special hakama used by Nohgakushi (Noh actors) during shimai (Noh dancing in plain clothes) or maibayashi (an abbreviated style of Noh).
- 歌舞伎舞踊とバレエの中間的、折衷的な感じ。
- The makeup used in Minyo Buyo (dances for local folk songs) takes the middle road compromising between the styles of Kabuki Buyo and ballet.
- 関西歌舞伎界に与えた影響はきわめて大きい。
- The influence on Kansai kabuki was significant.
- 舞台芸能では世話をすることを介錯と称する。
- In a theatrical performance, Kaishaku refers to assisting (taking care of) someone.
- 伎楽面や舞楽の仮面などの影響を受けている。
- Noh masks have been influenced by gigaku-men (masks for gigaku, an ancient form of masked drama) and bugaku (Japanese court dance and music) masks.
- 舞妓、半玉、といった年少芸妓もこれを履く。
- Younger geisha girls such as maiko (apprentice geisha) and hangyoku (child geisha) also wear this Geta.
- 都や農村では能や田楽などの舞踊が発達した。
- Noh (traditional masked dance-drama) and dengaku (a style of dancing and music performed at agricultural festivals) developed in the capital and farming villages.
- このため当時の映画館には必ず舞台があった。
- It was for this reason that movie theaters in those days always had a stage.
- 吟詠に剣舞、あるいは詩舞を伴うこともある。
- Ginei is sometimes accompanied by a sword dance or shimai (Noh dance).
- また歌舞伎十八番の一つにも数えられている。
- It's also counted as one of the eighteen best plays of kabuki by the Ichikawa family.
- 『関羽』(かんう)は歌舞伎十八番のひとつ。
- 'Kanu' is one of the eighteen best plays of kabuki by the Ichikawa family.
- 割れしのぶ(江戸後期、町人少女→現代舞妓)
- Wareshinobu (Late Edo Period; Worn by, originally, the girls of townspeople, and now modern maiko)
- 隠岐の田楽と庭の舞(1992年3月11日)
- Oki's dengaku and Niwa-no-mai Dance in Oki (March 11, 1992)
- 車大歳神社の翁舞(2000年12月27日)
- Kuruma Otoshi-jinja Shrine's Okina-mai dance (December 27, 2000)
- 侏儒舞(ひきひとまい)は、猿楽の一種である。
- 'Hikihitomai' is a kind of 'sarugaku' (form of theatre popular in Japan during the 11th to 14th centuries).
- 舞踊的要素が強く抽象的・象徴的表現が目立つ。
- Noh is characterized by an element of dancing, having plenty of intangible and symbolic expressions.
- 日本舞踊藤間流四世家元藤間勘右衛門を襲った。
- He assumed the name Kanemon Fujima (IV), which is given to the representative of the Fujima style of Japanese dance.
- 1918年、帝国劇場において松本豊で初舞台。
- His first stage performance was at the Imperial Theater in 1918 under the name Yutaka MATSUMOTO.
- 歌舞伎の隈取りに似た化粧をするバンドもある。
- There are some bands whose members wear makeup resembling kumadori of Kabuki.
- 仕舞(し-まい)とは能の一部を素で舞うこと。
- Shimai refers to a part of the Noh play where a performer dances without wearing masks or costumes.
- 1924年、歌舞伎座で四代目片岡我當を襲名。
- In 1924, he succeeded to the stage name Gafu KATAOKA and became the fourth to do so in Kabuki-za theater.
- シテにかぎらず曲によってさまざまな役が舞う。
- Depending on the shite or the music, various performers dance.
- 3舞台 常寸京間三間四方(=ほぼ6m四方)。
- 3 Stage (about six meters square)
- 先斗町:歌舞伎踊り:出雲の阿国の故事に因む。
- Ponto-cho: Kabuki odori dance (performance which was the actual start of the history of kabuki with vivacious dancing and gay songs and amusing stories), taken from the historical event of Okuni from Izumo Province.
- 横浜絵横浜市を舞台にした異国情緒あふれる絵。
- Yokohama-e: Pictures full of the exotic atmosphere of Yokohama.
- この儀が終わって、舞人らは東面南階から上る。
- After this ritual, dancers approached the emperor from the southern staircase of the eastern hall of Seiryoden.
- 水車髷(江戸後期、町人少女~妙齢→現代舞妓)
- Suisha mage (Late Edo Period; Worn by, originally, the girls and young women of townspeople, and now modern maiko [apprentice geisha])
- やがて天女があらわれ、優美に天女の舞を舞う。
- After a little while, a tennyo appears and dances Tennyo no mai (the heavenly maiden's dance.
- 歌舞伎舞踊の『隅田川』が今日よく上演される。
- As for Kabuki Buyo (Kabuki Dance) 'Sumidagawa' is often played nowadays.
- 丹後弁と舞鶴弁の境界は宮津市奈具の辺りである。
- Border line between Tango dialect and Maizuru dialect exists around Nagu, Miyazu City.
- 民謡や民舞の伴奏には一般に三味線が用いられる。
- Shamisen (a three-stringed Japanese banjo) are generally used as an accompaniment for folk songs and folk dances.
- 現在は「片山家能楽・京舞保存財団」を設立運営。
- Currently it presides over Katayamake Nohgaku Kyobu hozon zaidan (the foundation of protecting the Katayama family's heritage of Noh-gaku and Kyobu dance).
- 能のシテ方金春流でも仕舞袴を蝶結びにして穿く。
- Shimai bakama (hakama for Noh) is put on by tying its straps in a chomusubi in Noh shite-kata (main role) of Konparu-ryu school.
- 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.
- そして、祝言の謡を謡いながら相舞(翔)をする。
- They dance Aimai (a dance that two or more dancers dance simultaneously on the same stage, in this case Kakeri, or an anguish dance, which refers to the movement indicating the deranged state of warriors who have fallen into the suffering of the Shura-do, or the world of eternal struggle, crazed women, or other delusional characters) while chanting a celebratory Noh text.
- 壽海は舞台上・日常を問わず、温厚な紳士だった。
- He was a gentleman with a warm personality on and off the stage.
- これら種々の型の連続によって仕舞が構成される。
- Shimai consists of a series of these forms.
- おとぎ話、歌舞伎・浄瑠璃物、歴史物などがある。
- They included: fairy tales, kabuki plots, dramatic recitatives and historical sagas.
- 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.
- また、集落内に舞台を作り演奏される場合もある。
- Also, in some cases performances take place on a stage that is built in the local community.
- 歌舞伎十八番『助六』で主人公がはいている下駄。
- This was Geta put on by a main character in 'Sukeroku,' one of Kabuki juhachiban (eighteen best plays of the Ichikawa family of kabuki actors).
- おふく:割れしのぶより年上の姉さん舞妓の髪型。
- Ofuku: a hairstyle of senior maiko who are elder than the maiko who wore wareshinobu
- ひとしきり舞ったところへ、主役の別雷神が登場。
- After the tennyo dances a little while, Wakeikazuchi no kami appears.
- 舞鶴弁で最もポピュラーなのは「ちゃった」である。
- The most popular expression of Maizuru dialect is 'chatta.'
- 左方(唐)楽に属する童子の四人舞で、番舞は胡蝶。
- It belongs to Saho no gaku (category of gagaku music), or Togaku (Chinese music), and accompanies dance by four children; the dance performed to form Tsugaimai (a Pair of Dances) with Karyobin is called 'Kocho' (butterfly).
- 特に妙厳寺(豊川市)は歌舞伎舞踊にきわめて近い。
- The makeup of the chigo of Myogon-ji Temple (Toyokawa City) especially resemble what is seen in Kabuki Buyo.
- また仕舞いの茶筅通しに湯を用いることなどがある。
- Also hot water is used in the tea bowl to rinse the used chasen (tea whisk) before putting the utensils away when the tea ceremony is over.
- とくに芸談や歌舞伎関係の貴重な資料も多く残した。
- Particularly, he left speeches on acting and important kabuki-related references.
- 呂中干ノ地ものの基本形式とされるのが中之舞でる。
- It is said that Chu no mai constitutes the basic format of Ryochukan no ji mono.
- 拍子木(ひょうしぎ)、ツケ (歌舞伎)、柝(き)
- Hyoshigi, Tsuke (Kabuki), Ki
- 曲芸的な要素の一部は、後に歌舞伎に引き継がれた。
- Some of the stunt elements were later inherited by kabuki (traditional performing art).
- 他にもたくさんの歌舞伎の演目で博多帯は登場する。
- Other than these, Hakata obi sash was used in lots of Kabuki performances.
- 歌舞伎の演目の題名のことを外題(げだい)という。
- The title of the Kabuki program is called 'Gedai.'
- 饗宴が終わって、舞妓は中宮に参入し、饗禄を給う。
- After a banquet, they visited chugu (Palace of the Empress) and were rewarded by the empress for their performance.
- 国風歌舞と、一部の近代に作られた神楽で使われる。
- This instrument is used in kuniburi no utamai (Japanese traditional dance executed in the ceremonies of the court) and some kagura performances (sacred music and dancing performed at shrines) made in modern times.
- 歌舞伎 寛延元年(1748年)五月、江戸・中村座
- Kabuki May 1748, Edo Nakamura-za Theater
- 「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.
- 歌舞伎演目の人気投票で常に上位を占める所以である。
- This is the main reason why Kanjincho is always voted one of the most popular kabuki programs.
- クセなどの前にシテが静かに舞台を一めぐりする働事。
- It is one of hataraki-goto in which the shite makes a circuit of the stage silently before kuse (strongly rhythmic dance from medieval Japan, kuse had an influence on the development of Noh, masked dance-drama form).
- 狂言の舞事として、三段之舞、楽、神楽、鞨鼓がある。
- The mai-goto in Kyogen include Sandan no mai (a dance in three sections), Raku, Kagura and Kakko.
- 相撲で行われる神事としての舞、一種の神楽といえる。
- This is a dance performed as a Shinto ritual after sumo wrestling and is a kind of Kagura.
- 歌舞伎の花道と同じように演技の場として重視される。
- Like Hanamichi (passage through audience to stage) in Kabuki, Hashigakari is considered as an important place of performance.
- 7月中旬:山口祇園祭(山口県山口市)(鷺舞が登場)
- Mid-July: Yamaguchi Gionsai Festival (held in Yamaguchi City, Yamaguchi Prefecture) (Sagi mai is performed)
- 舞方(メーカタ)とは、沖縄方言で踊りの意味である。
- Mekata, a word from the Okinawa dialect, refers to 'dance.'
- この髪型は女歌舞伎の芸人を書いた資料にも見られる。
- This hairstyle also appears in material written by a female kabuki actress.
- 現代では舞踊の素踊りで女性が男役を踊るときの髪型。
- Today it is worn when a woman plays a male role in the dance of suodori (dancing without costume and hairpiece).
- 第6編 「南部坂雪の別れ」(1938年、歌舞伎座)
- Act 6 'The parting in the snow at Nanbuzaka' (first performed at the Kabuki Theater in 1938)
- 古要神社の傀儡子の舞と相撲(1983年1月11日)
- Koyo-jinja Shrine's Kugutsu-no-mai puppet dance and sumo wrestling (January 11, 1983)
- また、歌舞伎で用いられる義太夫節のことを竹本という。
- Also, Gidayu-bushi featured in Kabuki plays is called Takemoto.
- 1996年(平成8年)の舞台を最後に療養生活に専念。
- He performed on the stage for the last time in 1996 and spend time under medical treatment.
- 平成期に入ると、舞台に立つ機会はさらに少なくなった。
- When the Heisei period started, he had fewer opportunities to be on stage.
- 性格はおのおの中之舞・楽に準じ、太鼓入りで奏される。
- Their features correspond to those of Chu no mai and Raku, respectively, and they are danced with drums as accompaniment.
- 他の舞台芸術と同様に、実演を生で見るのが一番である。
- Like other performing arts, it is the best to enjoy live performance.
- 浅草寺(台東区)の「白鷺の舞」も、これを参考にした。
- The 'Shirasagi no mai' (dance of the egrets) performed at Senso-ji Temple (in Taito Ward) also drew upon the Sagi mai.
- 山形・酒田では若手の社員芸妓を「舞娘」と呼んでいる。
- In Sakata City, Yamagata Prefecture, young shain geigi (geigi who are employed by organizations) are called 'maiko' (舞娘).
- 藤娘や汐汲などの日本舞踊の衣装を着ていることが多い。
- They are often dressed with Japanese dance costumes such as the wisteria maiden or shiokumi doll (doll carrying sea water to make salt).
- 割れしのぶ(われしのぶ):現代年少舞妓の一般的な髪型
- Wareshinobu: a common hairstyle of junior maiko (apprentice geisha) today
- 勝山髷(かつやま):祇園祭期間中の姉さん舞妓の髪型。
- Katsuyama: a hairstyle worn by senior maiko during the period of Miyako odori
- 大漁の時に漁師が振舞ったのが、はらこ飯と言われている。
- It is said that harakomeshi was served by fishermen when they had a good catch.
- 昭和26年12月大阪歌舞伎座顔見世興行『少将滋幹の母』
- December 1951, Osaka Kabukiza kaomisekogyo (the season's first performance with the new company) 'Shosho Shigemoto no haha' (Mother of shosho Shigemoto)
- 囃子事としてはほぼ舞働に等しいが、位はさらに早くなる。
- As a hayashi-goto it is almost same as maibataraki but performance tempo and rhythm gets faster.
- 常磐津節は歌舞伎の伴奏用浄瑠璃として盛んに用いられた。
- Tokiwazu-bushi was often used as the accompaniment Joruri for Kabuki.
- 歌舞伎座の前の天津甘栗の露天商などが代表的な例である。
- The tenshinamaguri rotensho in front of the Kabuki-za Theater is a famous example.
- 舞台で切られた役がここから退場するので臆病口ともいう。
- This is also called Okubyoguchi (coward's door), because the role who is slashed on the stage exits through Kiridoguchi.
- 歌舞伎で用いられる黒幕は、通常夜を表すための幕である。
- 'Kuromaku' in Kabuki is a black-colored curtain usually used for expressing the night.
- 胡蝶(こちょう)は胡の国のチョウをモチーフにした舞楽。
- Kocho is a bugaku (traditional Japanese court music accompanied by dancing) using butterflies in Ko (barbarian) Country as a subject.
- 舞楽以外には神社・寺院での伝統芸能などでも用いられる。
- Besides gagaku, they are also used in traditional arts performed at shrines and temples.
- 8月8日を過ぎてからの書き込みは、残暑見舞いとされる。
- A greeting card written after August 8th is called zanshomimai.
- 風流系の獅子舞は関東地方・東北地方に主に分布している。
- The Furyu school of shishimai is seen mainly in the Kanto and Tohoku regions.
- 現代では極一部の歌舞伎舞踊や祭で見られるだけになった。
- Today it is only seen in very limited Kabuki Buyo (Kabuki Dance) and festivals.
- また、喜劇俳優の榎本健一によって舞台や映画にもなった。
- Also, the story was made into a play and a movie by a comic actor Kenichi ENOMOTO
- 八幡古表神社の傀儡子の舞と相撲(1983年1月11日)
- Yahatakohyo-jinja Shrine's Kugutsu-no-mai puppet dance and sumo wrestling (January 11, 1983)
- 幸若舞(1976年5月4日 みやま市大江 幸若舞社中)
- Kowaka-mai dance (May 4, 1976; Oe, Miyama City; Kowaka-mai Shachu [Kowaka-mai Dance Guild])
- 六方(ろっぽう)とは歌舞伎・人形浄瑠璃・舞踊の演技動作。
- Roppo is an acting motion in Kabuki, Ningyo joruri (traditional Japanese puppet theater), and Buyo dance (classical Japanese dance).
- 能だけではなく歌舞伎、寄席囃子や祇園囃子でも用いられる。
- It's used not only in 'Noh' (traditional masked dance-drama), but also in 'Kabuki' (traditional drama performed by male actors), 'Yosebayashi' (rakugo theater music), and 'Gion bayashi' (Japanese orchestra of Gion Festival).
- 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.
- また、日本舞踊などのお稽古着として使用されることもある。
- Also, yukata may be used as practice wear for nihon-buyo (classical Japanese dance).
- (流儀によっては開演の前に舞台に切火を切ることもある。)
- (Some ryugi throw out sparks on the stage before the curtain goes up.)
- 父は中村富十郎 (4代目)、母は日本舞踊家元の吾妻徳穂。
- His father is Tomijuro NAKAMURA IV, and his mother is Tokuho AZUMA from a head family of a school for Japanese dancing.
- 金剛流能楽師と井上流の舞い手が夫婦となっている例もある。
- There have been some examples of a married couple of a Noh actor from the Kongo school and a dancer from the Inoue school.
- 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.
- 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.
- これは、ワキと装束のある舞囃子とでもいうべき内容である。
- This is a content, which can be called 'Maibayashi' (An abbreviated style of Noh) with 'Waki' and Shozoku (costume).
- 調子や位、舞手の役柄などによって下記に述べる種類がある。
- There are the following types depending on the tune, tempo, or the dancer's character in the play.
- 序がより荘厳に変化した真之序之舞(太鼓入りのみ)もある。
- In Shin no jo no mai (always accompanied on drums), the jo becomes more stately.
- 最高積み替え 仕舞い仕事のあとも米の温度はさらに上がる。
- 'Saiko tsumikae' - Even after shimaishigoto the temperature of rice continues to increase.
- 今ではもっぱら舞台からシテが落ちたときに用いられている。
- Today, Kizahashi is used mainly when Shite falls down from the stage.
- (今の京都での主産地は精華町、田辺町、舞鶴市などである。
- (The present major sources are Seika-cho, Tanabe-cho, and Maizuru city.)
- このような歌舞伎狂言は、江戸時代には単に芝居と呼ばれた。
- These Kabuki Kyogen were simply called 'Shibai' (play) during the Edo period.
- 巻絹をたまわったときはそれを腰に挿して拝舞した(腰差)。
- When a makiginu (bolt of silk) was given, haibu was conducted with it on his or her belt (koshizashi).
- このときに佐太神社で振る舞われたのが「神在もち」である。
- It was on this occasion that 'Jinzai Mochi' was handed out at the Sata-jinja Shrine.
- 梅雨明けから立秋の間に送り、それ以降は残暑見舞いとなる。
- It is sent from the end of the rainy season till risshu (the first day of autumn) and after that it changes to zanshomimai (late-summer greeting card).
- それを見る事が出来る祭りや、舞踊作品、等をここで挙げる。
- Festivals, dance performances and so on in which it can be seen are as follows.
- 第10編 「大石最後の一日」(1934年2月、歌舞伎座)
- Act 10 'Oishi's last day' (first performed at the Kabuki Theater in February, 1934)
- 舞台への出し入れで持ち運ぶ際は、見台の上に膝隠しを乗せる。
- When the performer brings them into or out of the stage, he places a screen on top of the small desk.
- その後舞台芸になり寄席で俄の開幕(前座)として演じられた。
- Gradually, these entertainments evolved into theatrical arts which were performed as a type of niwaka (an impromptu comic play) as zenza (a opening act) at vaudeville theaters.
- 歌舞伎十八番の一つで、松羽目物の先駆けとなった作品である。
- It is one of the kabuki juhachiban (the eighteen best plays of the Ichikawa family of kabuki actors), and it also set a precedent for a series of kabuki plays called Matsubamemono, which is typically performed against a backdrop of pine trees.
- 江戸時代盛んになった歌舞伎には主に能管、篠笛が用いられる。
- Nohkan and shinobue (Japanese bamboo flutes) were mainly used for Kabuki (traditional drama performed by male actors), which became popular in the Edo period.
- 「二人袴」(三段之舞)、「唐相撲」(楽)などで用いられる。
- They are played in 'Futari bakama' in the Sandan no mai style and 'Tozumo' in the Raku style.
- 本来は江戸時代の歌舞伎や大相撲における用語・風習であった。
- Originally, this term and custom was used in kabuki (traditional drama performed by male actors) and grand sumo (Japanese-style wrestling) tournaments.
- ただし東京では「上方舞」の伴奏音楽としてのイメージがある。
- However, in Tokyo it has a strong image as an accompaniment to 'kamigatamai' (dance developed in Kyoto and Osaka) in Tokyo.
- その後、江戸では歌舞伎舞踊の伴奏音楽としての長唄へと変化。
- After that, it transformed into nagauta as an accompaniment to kabuki dance in Edo.
- 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.
- 第17条は勧進猿楽の舞台・桟敷についての具体的な留意事項。
- Section 17 is about specific instructions on the stage and sajiki (reviewing stand) of kanjin sarugaku
- 寒中見舞い(かんちゅうみまい)は、日本の慣習の一つである。
- Kanchumimai (a winter greeting card) is one of the Japanese customs.
- 奴島田(やっこしまだ):黒紋付を着る時の姉さん舞妓の髪型。
- Yakkoshimada: a hairstyle worn by senior maiko when wearing black crested haori.
- 上鴨川住吉神社神事舞(1977年5月17日 加東市上鴨川)
- Kamikamogawa Sumiyoshi-jinja Shrine sacred dance (May 17, 1977; Kamikamogawa, Kato City)
- 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.
- 魔や禍に見舞われないように、地蔵や道祖神を設けて結界とした。
- Therefore, in order to prevent evils and misfortunes from occurring, jizo (guardian deity of children) statues and Doso-jin (traveler's guardian deity) were enshrined to mark the boundaries of the sacred realms.
- 声楽が主体だが、それにあわせて器楽で伴奏し、舞いも踊られた。
- Singing constituted the major portion of the music, but musical instruments were also played to accompany the songs, and also dances were performed to the music.
- 三段之舞は中之舞を、楽は能の楽を、それぞれ模した舞事である。
- Sandan no mai is the mai-goto imitating Chu no mai, and Raku is the one imitating Raku in the Noh play.
- 現在も雅楽に含まれる「国風歌舞」(御神楽など)で演奏される。
- At present, wagon is used for playing one of gagaku (ancient Japanese court dance and music) called 'Kokufu kabu' (such as mikagura - music performed in court Shinto ceremony).
- 京都府舞鶴市が1995年10月に「肉じゃが発祥の地」を宣言。
- Maizuru City, Kyoto Prefecture declared the city to be the 'birthplace of nikujaga' in October, 1995.
- 地方の村祭りでは、相撲と弓矢を模した舞神楽を行うものもある。
- In some village festivals in local regions, maikagura (Shinto music and dance) imitating sumo and Yumiya is performed.
- ここから、舞台音楽の「江戸長唄」が分かれたと考えられている。
- It is thought that the stage music 'Edo Nagauta' branched off from this.
- 舞台に上る際にはどんな場合にも白足袋を履くことを求められる。
- It is always required to wear Shirotabi (white Japanese socks) on the stage.
- 従って柱は演能上必須の舞台機構であり省略することができない。
- Thus, the pillars are essential stage components and cannot be omitted.
- 仕舞い仕事(しまいしごと) また熱を散らすため、米を広げる。
- 'Shimaishigoto'(literally, 'final work') - In order to further disperse heat, rice is spread and its temperature is lowered.
- 歌舞伎(かぶき)は、日本独特の演劇で、伝統芸能の一つである。
- 'Kabuki' is a theater peculiar to Japan, and is one of the traditional performing arts.
- 童舞(わらべまい)として作られ、原則として4名の少年が舞う。
- It was created as Dobu (Warawamai Dance), and four boys dance as a basic rule.
- 振る舞いの無い家では悪態をつく内容の歌を歌われることもある。
- If children are not treated in one's house, the children may sing a bad song for them.
- 袖の無い胴着だが舞楽では豪華に刺繍されており、狭い袖がつく。
- Although the word hanpi means a kind of body wear without sleeves, when used as a costume for bugaku dancing, it is a gorgeously embroidered garment with narrow sleeves.
- ついで面をかぶり赤い頭をかぶった童子2人が大鼓を持って舞う。
- And two boys in masks and red hoods dance with drums.
- 身なりや振る舞いが洗練されていて、格好よいと感じられること。
- It is being refined in dress and manners and considered good-looking.
- これは、男女対抗戦であり、負けた方が、酒を振舞ったとされる。
- This was a competition between men and women, and it is said that losers entertained winners with sake.
- 弁士に対して歌舞伎のような礼賛の掛け声がかかることがあった。
- Occasionally, katsudo benshi won a call of praise from the audience, like in Kabuki.
- 「ささら」をする人は舞庭の四方に配置され、この楽器を奏する。
- Sasara' performers play at the four corners of the garden stage of the dance.
- 天津司舞(1976年5月4日 甲府市小瀬町 天津司舞保存会)
- Tenzushi-mai dance (May 4, 1976; Kose-machi, Kofu City; Tenzushimai Hozonkai [Tenzushi-mai Dance Preservation Association])
- 隠岐国分寺蓮華会舞(1977年5月17日 隠岐郡隠岐の島町)
- Renge Emai lotus dance ceremony in Oki-kokubunji Temple (May 17, 1977; Okinoshima-cho, Oki-gun)
- しかし、むかしの歌舞伎の台本には義太夫の地に点が振ってあった。
- One belief is that this comes from the fact that traditional Kabuki scripts highlighted Gidayu's part with dots.
- 「呂音」同様に唄もの・芝居・舞踊の引き立て役として多用される。
- It is often used to enhance songs, plays and dances just as a ryoon (lower tone) is.
- 歌舞伎の下座音楽として、哀切な場面に胡弓が使われることがある。
- In Geza music (music supporting kabuki performances effectively) in Kabuki, Kokyu is sometimes used in moving scenes.
- - 市村座にて『幼字劇書初』の桜丸で大谷廣太郎を名のり初舞台。
- He made a debut under the name of Hirotaro OTANI, playing the role of Sakuramaru in 'Osanamoji Kabuki no Kakizome' at the Ichimura-za Theater.
- なお「馬乗袴」の言換えとして仕舞袴の語が用いられることもある。
- The term Shimai bakama may be used instead of 'umanori hakama.'
- 舞事に比べると、全体的に勇壮で活発なものが多いのが特色である。
- Compared to mai-goto, hataraki-goto has features that it contains many gallant and vigorous movements on the whole.
- 関西歌舞伎の伝統を継承し、立役から女形まで幅広い芸域を誇った。
- He succeeded the heritage of Kansai Kabuki and was capable of covering a wide range of performances as an actor from tachiyaku (a leading male-role actor) to oyama (actor of female roles).
- 藤娘は、大津絵の「かつぎ娘」に題をとった長唄、日本舞踊の演目。
- Fuji Musume is a song in a nagauta and a classical Japanese dance derived from the Otsu-e, 'katsugimusume.'
- 常装束(つねしょうぞく)は、舞楽で最も普通に使われる衣装一式。
- Tsune-shozoku means a set of most ordinary costumes worn by performers of bugaku (traditional Japanese court music accompanied by dancing on stage).
- この曲に舞を付けたものは「今様舞」と呼ばれ、白拍子装束で舞う。
- The dance set to this music is called 'Imayo Mai' (the dance in accord with Imayo), which is performed in a costume of Shirabyoshi (a Japanese traditional dance).
- 子供たちが石を搗くとその家では、餅や菓子、小遣いなどを振舞う。
- In the house where children pound the stone, a person in the house treats the children with dumplings, sweets, or pocket money.
- 世阿弥は佐渡に流罪となり、その後表舞台に戻ることなく死去した。
- Meanwhile, Zeami was exiled to Sado Island and died never to come back to the front stage.
- 一献はてて国栖歌笛を奏し、二献三献にして舞妓が40人参入する。
- When the first dish was finished, Kuzu no Utabue (the music and dance dedicated to the emperor by kuzu [people who lived in Mt. Yoshino, Yamato Province]) was performed, and when the second and third dishes were served, as many as 40 maiko (apprentice geisha) arrived.
- 押戻(おしもどし)は、歌舞伎における話型の一にして荒事芸の一。
- Oshimodoshi is one of the scenes as well as one of 'aragoto' (dynamic performance or a role of kabuki, featuring exaggerated posture, makeup, and costume).
- 「小金吾討死の段」は歌舞伎の様式美溢れる立ち回りが人気である。
- Section of the death of Kokingo on the battle field is popular for Tachimawari which is full of the beauty of style of Kabuki.
- 市川團十郎 (7代目)によって、歌舞伎十八番の内に指定される。
- It was designated as one of the Kabuki juhachiban (eighteen best plays of the Ichikawa family of kabuki actors) by Danjuro ICHIKAWA, the seventh.
- - 歌舞伎座にて『金閣寺』の雪姫ほかで四代目中村雀右衛門を襲名。
- He succeeded to the name, Jakuemon NAKAMURA (the Fourth) by playing the roles such as Yukihime in 'Kinkaku-ji Temple' at the Kabuki-za Theater.
- 呉市:舞鶴赴任より10年前に呉鎮守府の参謀長として赴任している。
- Kure City: Togo was appointed chief of staff of Kure Chinjufu ten years before he was dispatched to Maizuru.
- 9横板 舞台とは違って板を横に渡しているところからこの名がある。
- 9 Yokoita (board provided side to side): This name is given because, unlike the stage, the board is provided side to side.
- そのため、歌舞伎においては男性役も女性役も、すべて男優が演じる。
- And so, in Kabuki, both the male's role & the female role are acted only by men.
- それはいわゆる歌舞伎座、専用形式の劇場への移行と無関係ではない。
- This was not irrelevant to Kabuki's facilitating transition to the theater specialized for Kabuki, what we call the Kabuki-za (Kabuki theater).
- 江戸時代の中期までは、上方で創作された歌舞伎狂言の比重は大きい。
- Until the middle of the Edo period, Kabuki Kyogen created in 'Kamigata' (Kyoto and Osaka area) weighed so much.
- 7月中旬:津和野祇園祭(島根県津和野町)(鷺舞、子鷺踊りが登場)
- Mid-July: Tsuwano Gion Matsuri Festival (held in Tsuwano-cho, Shimane Prefecture) (Sagi mai and Kosagi odori dance are performed)
- こちらも、舞台化粧と同様の厚化粧で登場、額に黒と白の点を付ける。
- They also appear in wearing much stage makeup with black and white dots on their foreheads.
- 戦後、漫才師たちは、相方の戦死・病死・消息不明などに見舞われる。
- In the post war period, many manzai-shi suffered their own partners' death from war, death by disease, and unexplained disappearance, etc.
- 胡蝶楽(こちょうらく)、胡蝶の舞(こちょうのまい)とも呼ばれる。
- It is also called the Kocho raku (a dance of butterfly) or Kocho no mai (a dance of butterfly).
- 舞台では、嫉妬と復讐心に顔を歪める女性の能面「橋姫」が使われる。
- On the stage, the 'Hashihime' mask used depicts a female face distorted with jealousy and desire for revenge.
- 能、狂言、歌舞伎、文楽、落語、講談(講釈)、浪花節(浪曲)、寄席
- Noh, Kyogen (farce played during a Noh cycle), Kabuki (traditional drama performed by male actors), Bunraku (Japanese puppet theater), Rakugo (traditional comic storytelling), Kodan storytelling (or called Koshaku storytelling), Naniwabushi (a kind of sung narrative popular during the Edo period), and Yose (storyteller theater)
- 日本の獅子舞は、全土で行われておりバリエーションは多岐にわたる。
- Shishimai is seen all over Japan, and its styles differ greatly from place to place.
- 先笄(さっこう):舞妓が襟変え(半衿参照)前の1~4週間結う髷。
- Sakko: A topknot worn by maiko one to four weeks before erigae (the promotion to a full-fledged geisha; refer to haneri [neckpiece]).
- 綾子舞(1976年5月4日 柏崎市女谷 柏崎市綾子舞保存振興会)
- Ayako-mai dance (May 4, 1976; Onadani, Kashiwazaki City; Kashiwazaki-shi Ayako-mai Hozon Shinkokai [Kashiwazaki City Ayako-mai Dance Preservation and Promotion Association])
- 後者は舞踊が苦手だった市川中車_(7代目)のために書き下ろされた。
- The latter was written especially for Chusha ICHIKAWA the Seventh, who was bad at dancing.
- 「松羽目物」と言われる能楽写しの舞踊劇の演出に多大な影響を与えた。
- They exerted a great influence on the dramaturgy of dance drama modeled after Nohgaku that is called 'Matsubamemono' (performance in front of a panel with a picture of pine trees).
- 最後の舞台は前年12月京都南座顔見世『将軍江戸を去る』の徳川慶喜。
- His last performance was the role of Yoshinobu TOKUGAWA in Kyoto Minamiza theater's kaomise kogyo 'Shogun Edo wo saru' (Shogun leaving Edo) in December 1970.
- 延宝年間に舞台で大人気を博した女形の初代上村吉弥の考案によるもの。
- It was devised by Kichiya UEMURA I, an actor of female roles who had won immense popularity on stage during the Enpo era.
- 現代でも小豆島の農村歌舞伎などで、わりご弁当という形で残っている。
- It still survives as a warigo lunch box in Noson kabuki (farmers' kabuki) in Shodo-shima Island.
- 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.
- 能舞台の音響は、基本的にはPA/SRを行わない、自然なものである。
- The sounds in the Noh stage are basically natural sounds without PA/SR.
- 観客にとっても歌舞伎狂言を観劇することは一日がかりの行楽であった。
- And so, Kabuki Kyogen was an all day long entertainment even for the audience.
- この運動のひとつの成果として、現在につながる歌舞伎座の開場がある。
- This campaign achieved one good result, the opening of the Kabuki-za (Kabuki theater), which impacts today's theaters.
- 現代では京都の舞妓、芸妓、嶋原の太夫が使う他、染料として使われる。
- Beni is currently used by maiko (apprentice geisha) and geigi (geisha) in Kyoto and tayu (geisha of the highest rank) in Shimabara (the geisha district in Kyoto), and is also used as dye.
- 神社内で祭が行われる場合、境内にある能舞台、神楽殿等で演奏される。
- For festivals taking place within shrines, performances take place on stage areas within the temple grounds and in dedicated temple halls used for music.
- 喜悦のあまり手の舞い足の踏むところをしらないというさまを表示する。
- This indicates that he or she doesn't know what to do with his or her hands and legs due to a feeling of great joy.
- 関西では「舞妓」、それ以外の地域の花街では「半玉」が一般的である。
- They are called 'maiko' (舞妓) in Kansai region, and commonly 'hangyoku' in the hanamachi of other areas.
- 例をあげれば「舞妓」「藤娘」「町娘」「武家娘」「姫君」などがある。
- For example, 'apprentice geisha,' 'wisteria maiden,' 'town maiden,' 'samurai daughter' or 'noble lady'.
- 舞(まい)は、舞踊のうちメロディに合わせた旋回運動を主としたもの。
- Mai dances are mainly dances which include circling movements in time with melodies.
- 重要無形民俗文化財に指定されている舞楽、平安時代からの歴史を持つ。
- Bugaku designated as important Intangible Folk Cultural Properties and with a history from the Heian period.
- 時代劇や素人歌舞伎で使われる場合が多いが、時代考証上は誤りとされる。
- It is now often it is worn by players of jidai-geki (dramas on the eras) and amateur Kabuki, but the result of historical research denies the credibility of their background of wearing hantako.
- 2007年、国際文化会館で行われた「松竹大歌舞伎」を天皇が鑑賞した。
- In 2007, the Reigning Emperor attended the 'Shochiku O-Kabuki' (a series of Kabuki performances) event held at the International House of Japan.
- 舞台音楽は民間にも広まり、演劇や舞踊なしで演奏される機会も多かった。
- Stage music became available among the common people and was often played alone, not as a part of play or dance.
- 能・歌舞伎・日本舞踊・落語・雅楽・茶道・華道・詩吟等伝統芸能の従事者
- Those engaged in traditional performance arts like Noh, Kabuki, Japanese dance, comic storytelling, ceremonial imperial court music, tea ceremony, flower arrangement, and recitation of Chinese poems.
- その意味では、鷺流の歌舞伎界に与えた影響は決して小さなものではない。
- In that sense, the Sagi school exerted not a little influence on the Kabuki circles.
- 舞妓になりたての時は黒のアイライナーを使わず、口紅は下唇のみに差す。
- A novice of maiko (apprentice geisha) does not use black eyeliner and they only put lipstick on their lower lip.
- ベースの作り方はバレエに似ており、ポイントメークは歌舞伎舞踊に近い。
- The base makeup resembles the ballet and the point makeup resembles what is used in Kabuki Buyo.
- 破之舞は序之舞や中之舞のあとに付けくわえられる一段程度の舞事である。
- Ha no mai is the mai-goto, with a duration of about one section, which is added after Jo no mai or Chu no mai.
- また大名らも家来を率いて幕府政庁を訪れ征夷大将軍に舞を披露していた。
- In addition, feudal lords with their retainers also visited the bakufu (Japanese feudal government headed by a shogun) government office to perform a dance for Seii Taishogun (literally, 'great general who subdues the barbarians').
- 枡席は江戸時代の初め頃から歌舞伎や人形浄瑠璃の劇場で普及しはじめた。
- Masuseki gradually became popular in theaters showing kabuki (a kind of traditional drama performed by male actors) and ningyo joruri (a traditional drama performed with puppets) from early in the Edo period.
- 踏歌の舞人は右近陣前庭から楽を奏しつつ仙華門をはいって庭前にすすむ。
- Performing gagaku (ancient Japanese court music), toka dancers came from the forecourt of Shishinden, went under Senka-mon Gate, and entered the forecourt of Seiryoden.
- 神明恵和合取組(かみの めぐみ わごうの とりくみ)は歌舞伎の演目。
- Kami no Megumi Wago no Torikumi is the title of a Kabuki play.
- それまでの濃い舞踊色とは打って変わって、写実的な激しさで演じられる。
- In a sharp contrast with the calmness of Japanese dancing in the previous scenes, the performance is vigorous and realistic in this scene.
- 特に左團次の一人舞台である「江戸城堀端の場」を巡ってはかなり揉めた。
- The most contentious issue was 'Edojo Horibata no Ba,' a scene played only by Sadanji.
- 曾祖母の実家の屋号・萬屋が、80年を経てここに歌舞伎屋号として甦った。
- Thus after 80 years, Yorozuya, the name of the household of their great-grandmother was once again used as a stage family name (kabuki).
- 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.
- 能舞台、所作板、弓道場などは白足袋着用でなければあがれないことが多い。
- It is mostly not allowed, without wearing white tabi, to step on or enter Noh stages, Shosa-ita (board for shosa (the steps and movements of Kabuki and Noh actors)) and archery-training halls.
- 長女は、女優の寺島しのぶ、長男は、歌舞伎俳優の尾上菊之助 (5代目)。
- His daughter is an actress, Shinobu TERASHIMA, and his son is a kabuki actor, Kikunosuke ONOE (the Fifth).
- 「素浄瑠璃」は、人形/歌舞伎などが伴わない「浄瑠璃」の演奏形態である。
- Su-joruri' is a style of 'pure joruri' performance without the accompaniment of puppets or kabuki.
- 狂言の働事には、大小物の「舞働」と「責メ」、太鼓物の「カケリ」がある。
- There are 'maibataraki' and 'seme' (a play of Enma, a devil or Oni, an ogre accusing a sinner to the hell) in Daishomono and 'kakeri' in Taikomono in Hataraki-goto for Kyogen.
- 能舞台や所作板はすべりをよくし、つやを出すためにおからで乾拭きをする。
- Okara is used for polishing Noh stage and Shosa-ita (board for shosa (the steps and movements of Kabuki and Noh actors)) with a dry cloth to make them smooth and glossy.
- 異様な振る舞いや装いをカブキといい、それをする人物をカブキ者と言った。
- Strange acts and clothes were called 'kabuki,' and a man of these features was said to be 'kabuki-mono.'
- ついで鬼の面をかぶった童子1人が金銀で左巻に画いた短い棒を持って舞う。
- After that, a young boy wears a mask of a demon and dances holding a short stick decorated in gold and silver.
- 獅子舞や風流における「屋敷ぼめ」の歌などにも、同様の性格がみてとれる。
- The same goes for Shishimai (a ritual dance by a performer wearing a lion's mask) and 'Yashikibome' (a celebratory chant-like song for residence) performed with a Furyu dance (a folk dance).
- 日本郵政では、暑中見舞い用に、「夏のおたより郵便葉書」を発売している。
- Japan Post Holdings Co., Ltd sells Summer Greetings Postcards for shochumimai.
- しかし、歌舞伎では場面の名称が本文の段名とは異なることがある(例1)。
- However, in Kabuki, some of the scene titles are different from the section names in the text (example 1).
- 現在は祭りで若い女性が扮する場合が多い手古舞は元々は芸者の男装に由来。
- Tekomai, which is now performed mostly by young women in festivals, originated from geisha in male clothing.
- 『小袖曾我薊色縫』(こそで そが あざみの いろぬい)は歌舞伎の演目。
- 'Kosode Soga Azami no Ironui' is a program of Kabuki (traditional performing act).
- 鬼剣舞(1993年12月13日 北上市、奥州市 鬼剣舞連合保存会ほか)
- Onikenbai demon sword dance (December 13, 1993; Kitakami and Oshu Cities; Onikenbai Rengo Hozonkai [Onikenbai Preservation Joint Association])
- 永井の大念仏剣舞(1980年1月28日 盛岡市 永井大念仏剣舞保存会)
- Nagai Dainenbutsu kenbai sword dance (January 28, 1980; Morioka City; Nagai Dainenbutsu Kenbai Hozonkai [Nagai Dainenbutsu Kenbai Preservation Association])
- 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.
- 「MANZAIプーム」以降、お笑いの主舞台は寄席から放送メディアに移る。
- Since 'the MANZAI boom' the center stage of comedies has shifted from the yose theater to the broadcasting media.
- 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.
- しかし仕舞いと同様右手で柄杓・蓋置を持ち左手は建水のみを持って運び出す。
- However, it is the preparation of the Juko school's style that the host enters the tearoom, bringing in a hishaku and a hutaoki with his right hand and only kensui with his left hand in the same way to put these utensils away after the tea ceremony is over.
- 関西では正月などに甘酒と同様、飴湯が寺社で参拝客に振舞われることも多い。
- In Kansai, 'candy' drinks, just like Amazake (sweet mild sake), are often offered to visitors at many temples and shrines during New Year's holidays.
- 地方によって女児の初潮を祝して赤飯を振舞う習慣があったが、廃れつつある。
- People in some regions had the custom of serving sekihan rice in celebration of a girl's first menstruation, but that custom is now going out of fashion.
- また地唄舞として演奏される曲目は地歌として伝承されている曲の一部である。
- Moreover, the numbers played as jiutamai are only a part of the jiuta that have been passed down.
- 天皇臨席の、いわば宴席で、白酒(しろき)・黒酒(くろき)が振る舞われた。
- It was a kind of banquet in the presence of the Emperor, and shiroki (white sake) and kuroki (black sake) were served.
- 男性は剣舞をし、女性は傀儡回しという唄に併せて動かす人形劇を行っていた。
- Men performed sword dancing and women did puppet shows to music called Kugutsu mawashi.
- 従って猿楽が中心とすべくは(物真似芸などではなく)、舞と歌であるとする。
- Therefore, what should be set at the center of sarugaku is dancing and songs, not the art of mimic.
- 1人が1匹を担当し、それぞれが腹にくくりつけられた太鼓を打ちながら舞う。
- In the Furyu school, one person performs one lion, and each person does the dance beating the drum tied to its belly.
- 舞台には、白い壇に白羽の矢が立った能作リ物、小道具が後見の手ですえらる。
- A stage setting of a white platform with white arrows sticking in it and props are set on the stage by koken (stage assistant).
- 頻繁に上演されるため歌舞伎の世界では、「四の切」といえばこの場面を指す。
- Since this section is often performed, in the world of Kabuki, 'Shinokiri' indicates this scene.
- 1951年(昭和26年)には再建なった歌舞伎座で六代目中村歌右衛門を襲名。
- He succeeded to Utaemon NAKAMURA VI in the Kabuki-za Theater reconstructed in 1951.
- 「蛸芝居」「質屋芝居」「本能寺」などの芝居噺では、歌舞伎の下座音楽となる。
- In kabuki routines like 'Octopus' Kabuki,' 'A Pawnbroker's Kabuki' and 'Honno-ji Temple,' background music play the role of off-stage music in kabuki theater.
- 『勧進帳』(かんじんちょう)は、能の演目『安宅』をもとにした歌舞伎の演目。
- 'Kanjincho' is a kabuki program which is based on the Noh play 'The Ataka Barrier.'
- また、鷺畔翁をはじめ能楽界を追放された鷺流狂言師たちは歌舞伎界に接近した。
- Meanwhile, Kyogen performers of the Sagi school expelled from Nohgaku circles, including Bano SAGI, made an approach to the Kabuki circles.
- そのため、場合によっては一曲の能から数番の仕舞が掲出されていることもある。
- Therefore, several numbers of Shimai are excerpted from one piece in some cases.
- これは、江戸時代の歌舞伎小屋は火事の際に類焼することが多かったためである。
- This is because kabuki huts were often burned down by catching fires during the Edo period.
- 歩き巫女とは各地を回って芸や舞を見せ、時には男性に身を任せることもあった。
- Arukimiko toured many places in Japan and performed tricks and traditional Japanese dances, and occasionally provided sex for money.
- これらを地芝居と呼び、歌舞伎と人形浄瑠璃のどちらかかが演じられる事が多い。
- These plays are called 'Jishibai,' and in most cases, their content is either Kabuki or Ningyo Joruri.
- また、長唄や浄瑠璃各流派は、歌舞伎公演のほか日本舞踊の伴奏でも用いられる。
- And Nagauta & each school of Joruri are not only used in the Kabuki performance, but also used as accompaniment for Japanese dancing.
- 中世の武家社会においても武運長久に通じるとされ、陣中見舞などに用いられた。
- Believed to bring good fortune in battles among warriors during the Japanese medieval period, abalone was used as gifts for soldiers at the time of war.
- 出囃子(でばやし)とは、演奏者が舞台に出て演奏する歌舞伎音楽のことである。
- Debayashi is a kind of kabuki music played on a stage by performers.
- また謡が入る場合や木遣り(手古舞)と合わさる場合、掛け声が入る場合もある。
- Furthermore, in cases when Noh chanting is an element and incorporated along with Kiyari (workman's work chants) (Tekomai (float leading dance)), shouts of encouragement are sometimes included in proceedings.
- 大きく分けて、伎楽(ぎがく)系の獅子舞と風流(ふりゅう)系の獅子舞がある。
- It is roughly divided into two types, 'Gigaku' school and 'Furyu' school.
- 弁士は舞台上でななめに構え、奥のスクリーンと観客席を交互に見ながら語った。
- Katsudo benshi sat sideways on stage, and narrated while watching the audience and the screen (at the back of the stage) alternately.
- 舞妓・芸妓が京都の「華」なら、辰巳芸者は江戸の「粋」の象徴とたたえられた。
- They were praised as a symbol of 'the spirit of Edo' while Maiko (apprentice geisha) and Geigi (geisha) as 'the flower of Kyoto.'
- 歌舞伎では珍しい喜劇で、極悪人だがどこか憎めない法界坊の演技が眼目である。
- The play is a comedy, which is unusual in kabuki, and the acting the role of Hokaibo who is evil but somehow lovable is the most important point in the play.
- 下平井の鳳凰の舞(2006年3月15日 西多摩郡日の出町 鳳凰の舞保存会)
- Shimohirai's Hoo-no-mai phoenix dance (March 15, 2006; Hinode-machi, Nishitama County; Hoo no Mai Hozonkai [Hoo-no-mai Dance Preservation Association])
- 舞踊でも『娘道成寺』、『お夏狂乱』、『藤娘藤娘』など数多くの当たり役がある。
- He also gained a reputation for a great number of dances including 'Musume Dojoji' (The maiden at Dojo-ji Temple), 'Onatsu Kyoran' (Onatsu's Madness) and 'Fuji Musume' (Wisteria Maiden).
- 文楽義太夫とは別に、歌舞伎義太夫の独自性を主張する意味合いも込められている。
- The name also implies the assertion of the originality of Kabuki Gidayu, which is independent of Bunraku Gidayu.
- また、舞台の袖でお囃子や鐘の音など効果音を出す裏方に合図を送るためにも使う。
- They are also employed to give a cue to stagehands who produce sound effects such as ohayashi music and the ringing of a bell in the wings of the stage.
- 田楽・流鏑馬・競馬・相撲・王の舞・獅子舞などとともに行われていた事例が多い。
- Hitotsumono has been frequently held along with other performances such as denraku (ritual dance and music), yabusame (horseback archery), horse racing, sumo, the king dance and shishimai (lion dance).
- 芝居の下座音楽や郷土芸能の音楽、祭囃子、阿波踊りなどの民族舞踊に用いられる。
- It's used in 'geza' (off-stage) music, music for local performing arts, 'matsuri-bayashi' (Japanese festival music), and folk dances such as Awa Dancing Festival.
- 当日は鏡の間に祭壇をしつらえ、舞台に上がる前に各役が盃事と切火で身を清める。
- On the day of the performance, an altar is set up in Kagami no ma (literally, the 'mirror room' behind Agemaku, or the curtain separating it and the stage, in which the fully-dressed performers don their masks and gaze into a large mirror to concentrate on their roles while they wait to enter the stage), and each actor purifies himself through Sakazuki-goto (the drinking of Omiki, or sacred sake) and with Kiribi (sacred sparks produced by rubbing together two pieces of wood, generally Hinoki, which is chamaecyparis obtusa, or by striking a flint against iron) before going on the stage.
- 昭和24年2月、大阪歌舞伎座の『助六』と『大森彦七』で三代目市川壽海を襲名。
- In February 1949, he succeeded Jukai ICHIKAWA (III) in 'Sukeroku' and 'Omori Hikoshichi' at the Osaka Kabukiza theater.
- 乱には猩々乱と鷺乱の二種があり、それぞれ当該曲のみに限られる特殊な舞である。
- Two types of Midare, Shojo Midare (disorder of Shojo (an imaginary animal)) and Sagi Midare (disorder of heron), exist, and each of them is a special dance specific to the program.
- 京おどり(きょうおどり)は4月初旬から下旬にかけて宮川町歌舞練場で上演する。
- Kyo Odori (Kyoto Dance) is played in Miyagawa-cho Kaburenjo Theater between early April and late April.
- このため、歌舞伎における義太夫節を竹本(チョボ)といって区別することがある。
- And so, Gidayu-bushi in Kabuki is occasionally called 'Takemoto' (also called 'Chobo') to make a distinction between itself and that in Ningyo Joruri.
- 叙任のとき、その親族があつまってそのために拝舞することを「親族拝」といった。
- The haibu conducted by relatives in the event of jonin (investiture) was called Shinzokuhai.
- 内容は歌舞伎の内容を再現したものや、滑稽な話を演じるものがあったようである。
- It is said that contents of niwaka included reproduction of kabuki plays and presentation of humorous stories.
- ハレの場においては、衣食住や振る舞い、言葉遣いなどを、ケとは画然と区別した。
- Food, shelter and clothing, behavior and the types of language used at the time of hare were definitely distinguished from those of ke.
- 室の神官の参拝を賀茂の神が喜んでおられ、舞を舞えと命じられたので舞うという。
- Massha no kami says that the god of Kamo is pleased with the priest's visit and he will dance because he was ordered to dance by the god.
- 辰五郎内の舞台は、凝り性の菊五郎がわざわざめ組の関係者に問い合わせて作った。
- Kikugoro was such a perfectionist that he took the trouble to ask the relevant people of the Me-gumi firefighter brigade to make the stage setting of Tatsugoro's place.
- 『樟紀流花見幕張』(くすのきりゅう はなみの まくはり)は、は歌舞伎の演目。
- 'Kusunokiryu Hanami no Makuhari' is a program of Kabuki (traditional drama performed by male actors).
- 小滝のチョウクライロ舞(2004年2月6日 にかほ市 鳥海山小滝舞楽保存会)
- Otaki Chokurairo-mai longevity dance (February 6, 2004; Nikaho City; Chokai-san Kotaki Bugaku Hozonkai [Mt. Chokai Kotaki Bugaku Preservation Association])
- 実際に活歴は歌舞伎のファンには奇異な印象を与えるもので、概ね興行的に失敗した。
- These performances actually made a grotesque impression on Kabuki fans and generally ended as box-office failures.
- 1965年5月 歌舞伎座にて『寿曽我対面』の十郎ほかで四代目尾上菊之助を襲名。
- May, 1965: He succeeded to the name, Kikunosuke ONOE, the Fourth, by performing such as Juro in 'Kotobuki Soga no Taimen' (confront with the enemy) in Kabuki-za theater.
- 姫島盆踊り(姫島村)では歌舞伎舞踊と同様だが青いアイシャドーを使う場合がある。
- In Himeshima Bon Odori (Himeshima Bon Festival Dance) (Himeshima Village, Oita Prefecture), although dancers wear makeup similar to Kabuki Buyo, they sometimes use blue eye shadow.
- 急之舞は呂中干ノ地もののなかではもっとも位がはやい舞で、神舞の替に用いられる。
- Of Ryochukan no ji mono, Kyu no mai is played at the fastest tempo, and is played as the replacement for kami mai.
- 黄鐘早舞は「松虫」のような曲のほか、早舞ものを脇能として演ずる際に用いられる。
- Oshiki Haya-mai is performed not only in programs such as 'Matsumushi' (Pine Cricket) but also when playing haya mai as waki Noh.
- 江戸において歌舞伎の劇付随音楽として用いられたためにまたたくまに大流行を見た。
- Because it was used in Edo as the accompanying music of Kabuki, it soon became very popular.
- 囃子方や後見などが舞台に出入りする際には幕を上げずに、片側をめくって人を通す。
- When Hayashikata or Koken enters or exists the stage, one side of the curtain is flipped instead of raising it to allow them to walk through.
- 本来的に歌舞伎狂言として創作されたものは、基本的に下座の音楽が演劇を演出する。
- 'Geza' (sound effects in Kabuki) basically produces the atmosphere of the original Kabuki Kyogen.
- 現代の歌舞伎公演は、劇場設備などをとっても、江戸時代のそれと全く同じではない。
- Kabuki performances today are not entirely the same as those during the Edo period, which is simply exemplified by the theater facilities in each time.
- また本項では、中国の獅子舞、いわゆるライオンダンスについてもあわせて解説する。
- This section also describes the Chinese version, which is simply called the lion dance.
- 歌舞伎・舞踊以外の演劇活動は行わず、映画やテレビドラマに出演することもなかった。
- He only performed kabuki and Japanese dance and did not appear in movies nor TV dramas.
- 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.
- その他多くの流派が棒の手、獅子舞、棒踊りや祭りの露払いとして地方に伝わっている。
- In addition, Bojutsu of many schools have succeeded as Bo no te, shishimai, bo-odori and a herald of festival in various regions.
- 棒の手は、剣術、棒術、薙刀術など日本武術の形を踊りにした伝統芸能日本舞踊である。
- Bo-no-te is a traditional performing arts of classical Japanese dance, in which basic forms of Japanese martial arts such as sword, staff, and halberd techniques are transformed into dancing.
- 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.
- それは最後の曲の後でシテや囃子方が退出した後、地謡だけが舞台に居残って謡われた。
- The part was chanted by jiutai (noh chorus) that stayed on a stage on its own following the withdrawal of Shite (a main actor of a noh play) and hayashikata (people who play hayashi, or the musical accompaniment) after the last number.
- 壽應は六代目を師とし、尾上菊太郎という名で、歌舞伎のほか多数の映画にも出演した。
- Jukei learned kabuki from the sixth and appeared in many movies by the name Kikutaro ONOE, in addition to performing on kabuki stages.
- 約600年前に存在した「笠鷺鉾」の周りで舞われていたが、江戸時代中期に途絶えた。
- It used to be performed around the 'Kasasagi hoko' (literally, 'a decorative float of Kasasagi - European magpie') presented about 600 years ago, but it was discontinued in the middle of the Edo period.
- 歌舞伎界内外から革新を訴える動きも起こり、興行形態も時代とともに変わっていった。
- Movements calling for innovation of Kabuki emerged from the inside & outside of the Kabuki community, and the form of the performances was transformed as the time went by.
- 衣服をたまわったときは肩にその衣をかずきながらに拝舞した(被物(かずけもの))。
- When clothes were given, haibu was conducted with them on his or her shoulder (kazukemono).
- 弔事などのお見舞いやその互助活動の手間に対する謝意は不祝儀(ぶしゅうぎ)という。
- Money given to express sympathy during a period of mourning or in appreciation of the time and effort spent helping with the event is called bushugi.
- 衆道における若衆や、歌舞伎の女形を描いた浮世絵も美人画のうちに含める場合がある。
- Sometimes, ukiyoe depicting a young man in a homosexual relationship or an actor in a female role is also counted as bijinga.
- ちなみに早稲田大学稲吟会は、学生吟では珍しく剣扇舞や殺陣を取り入れた吟詠も行う。
- Waseda University Togin Kai performs ginei incorporating kensenbu (dancing with sword, folding fan or both of them) or tate (sword battle), which is uncommon in gakuseigin.
- 舞台上は二つの一畳台を宮中の御殿に見立て、シテ雷神とワキ法性坊が激しく立ち回る。
- On the state, two ichi-jo-dai are used as the setting representing the palace buildings, and shite, Raijin and waki, Hossho-bo fiercely fight.
- 歌舞伎外題は『雷神不動北山桜』(なるかみふどうきたやまざくら)、初演は寛保二年。
- The title in kabuki is 'Narukamifudo Kitayamazakura,' and it was first played in 1742.
- 最近では十七代目勘三郎が愛嬌の後ろに悪の暗さと哀愁がにじみ出て優れた舞台だった。
- Recently Kanzaburo NAKAMURA, the 17th performed the role well, revealing Hokaibo's darkness of the evil and melancholiness behind the lavableness.
- 歌舞伎は明治時代から昭和にかけて高尚化を目指し、ケレンを廃する演出が志向された。
- During the Meiji to Showa periods, people tried to get rid of keren in order to sophisticate Kabuki.
- 下北の能舞(1989年3月20日 下北郡東通村ほか 下北の能舞保存会連合会ほか)
- Shimokita noh dance (March 20, 1989; Higashidori-mura, Shimokita County, etc.; Shimokita no Nomai Hozonkai Rengokai [Federation of Associations for the Preservation of the Shimokita Noh Dance], etc.)
- 毛越寺の延年(1977年5月17日 西磐井郡平泉町字大沢 毛越寺延年の舞保存会)
- Motsu-ji Temple Ennen longevity dance (May 17, 1977; Aza Osawa, Hiraizumi-cho, Nishiiwai-gun; Motsu-ji Ennen no Mai Hozonkai [Association for the Preservation of Ennen-no-mai Dance at Motsu-ji Temple])
- 歌舞伎の幕内では長らく竹本が使われていたが、最近では対外的にも用いるようになった。
- Takemoto has been used as backstage accompaniment to Kabuki plays for a long time, but it now appears in external performance events, as well.
- 翌1955年(昭和30年)の東宝歌舞伎第一回公演ではともに東京宝塚劇場で共演した。
- In the first kabuki stage by Toho Co., Ltd. in the following year, 1955, they performed together at Tokyo Takarazuka Theater.
- 名前の由来は、蒲鉾を舞い散る木の葉に見立てたものといわれるが、発祥は定かではない。
- It is said that the name came from the comparison of the kamaboko to the tree leaves fluttering down, but the origin is unclear.
- 私生活も女性のごとく振舞うようになったのは、最愛の妻を亡くしてからであったという。
- He started to behave like a woman in his private life after his wife died.
- 芸妓の唄・三味線・お囃子で舞妓が舞い踊る華やかな料亭・遊郭は、庶民の人気を集めた。
- High-class Japanese-style restaurants and yukaku (red-light districts) in which maiko (apprentice geisha) dance in time to songs by geisha, shamisen and ohayashi became popular among the common people.
- 他の芸能との交流も進み、講釈での人気演目が歌舞伎や人形浄瑠璃化されることもあった。
- Interacting with other forms of public entertainment helped popular koshaku acts to be performed in kabuki and ningyo joruri (traditional Japanese puppet theater).
- - 三越劇場にて『源平布引滝』の小万,『御所五郎蔵』の逢州で女形として舞台に復帰。
- He came back to the stage as an actor of female roles, by playing the roles of Koman in 'Genpei Nunobiki no Taki' and Oshu in 'Gosho no Gorozo' at the Mitsukoshi Theater.
- 1948年4月 新橋演舞場にて『助六曲輪菊』の禿で五代目尾上丑之助を名のり初舞台。
- April, 1948: He performed as Kamuro (apprentice of a high-class prostitute) in 'Sukeroku Kuruwa no Momoyogusa' at Shinbashi Enbujo theatre, referred to himself as Ushinosuke ONOE, the fifth.
- 中国から渡来した曲目で、元林邑調であったが、後には壱越調で舞うようになったらしい。
- Probably, it was introduced from China and originally composed in Rinyu style (Vietnamese music); later, it was performed in the key of Ichikotsu (which closely corresponds to D major in Western music).
- 京舞井上流の家元、二世井上八千代は金剛流の舞を学び、井上流のその要素を取り入れた。
- Yachiyo INOUE the second, who was the head of the Inoue school of Kyomai (Kyoto dancing), learned the performance of the Kongo school, and introduced its elements to the Inoue school performance.
- 楽は「鶴亀」「邯鄲」など唐人のシテが舞楽を模して舞うもので、大小物と太鼓物がある。
- In Raku, the shite, an actor representing a person of Tang China, for example in 'Tsuru-kame' (The Crane and the Tortoise) and 'Kantan' (The Pillow of Kantan, Noh play), dances imitating bugaku (traditional Japanese court music accompanied by dancing), accompanied by dai-sho (big and small) hand drums or drums.
- 「熊野」と「松風」には「イロエガカリ」と呼ばれる特殊な譜があってから中之舞に入る。
- In the programs 'Yuya' and 'Matsukaze', the mai enters the basic type of dance Chu no mai following a special score called 'Iroegakari' (a score of an action to make around the stage).
- そして、地唄舞が持つ「はんなり」とした雰囲気を持つ曲という印象を持たれがちである。
- Therefore, it is often considered to have the graceful atmosphere of jiutamai (jiuta dance).
- また長歌は江戸で歌舞伎舞踊の伴奏としても使われるようになり、長唄へと発展して行く。
- Furthermore, nagauta became an accompaniment to Kabuki dance in Edo, and it developed into nagauta.
- つまり、幕府は舞踊主体の公演は売色などをともない、風紀上望ましくないと考えていた。
- In short, the Tokugawa shogunate regarded the performances that centered on dancing as undesirable, since they were accompanied by male prostitution and other undesirable activities.
- 特に明治期以降、軽視されがちであった歌舞伎本来の様式が重要だという認識が広がった。
- Especially, recognition of the importance of the original Kabuki style spread, which tended to be underestimated during and after the Meiji period.
- 近代に作られた神楽である豊栄の舞も、現代版「越天楽今様」・「今様舞」と言って良い。
- Toyosaka no Mai (the dance celebrating the blessed prosperity), which was one of kagura (the sacred music and dance performed at shrines) produced in the Japanese modern age, can be said the modern version of 'Etenraku Imayo' and 'Imayo Mai.'
- 現在一般的な意味での祭は、神社や寺院をその主体または舞台として行われることが多い。
- At present, many matsuri in the general sense are held under the initiative of shrines or temples, or by having settings in shrines or temples.
- 二十四節気の小寒(1月5日頃)から立春(2月4日頃)までの寒中に行う見舞いである。
- It is the greeting card during mid-winter from Shokan (the second coldest day) in 24 divisions of the old calendar (around January 5) to Risshun (the first day of spring) in 24 divisions of the old calendar (around February 4).
- したがって、説明を担う話芸者が舞台に登場することは自然な流れであったと考えられる。
- Therefore, it seems natural for a storytelling artist to have appeared on stage and narrated movies.
- 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.
- 1940年(昭和15年)には父五代目歌右衛門が没し、若き福助は歌舞伎界の孤児となる。
- His father, Utaemon V died in 1940, Fukusuke was left alone in the kabuki world so young.
- 1. 歌舞伎の芝居をそのままに演じるやり方:「加賀見山」「本能寺」「自来也」「綱七」
- 1. Routines that perform kabuki plays as they have been transmitted:'Mt. Kagami,' 'Honno-ji Temple,' 'Jiraiya,' 'Tsunashichi.'
- 現在でも祭礼で棒術が棒の手や棒術、棒踊り、獅子舞などと呼ばれ演じられる例が多くある。
- Even now, Bojutsu is often performed in rituals and festivals by the names of Bo no te (Japanese traditional dance), Bojutsu, bo-odori (bar dance) and shishimai (lion dance).
- 姿はからから小僧と同様に一つ目一本足だが、強風の吹く日に人を大空に舞い上げると言う。
- In appearance, it has a single eye and a single leg, similar to karakasa-kozo; however, it is said to let people soar up into the sky on a strong windy day.
- 九条通に出て羅城門が正面に見えてきた頃、急に激しい風に見舞われ、馬が動かなくなった。
- When he got to Kujo-dori Street and saw Rajo-mon Gate ahead of him, strong wind stunned the horse.
- 獅子が牡丹に戯れる様を勇壮に描き、中世に流行した獅子舞を能に取入れたものといわれる。
- The mai depicts a shishi (lion) playing with peonies, and it is said that the style of shishimai (lion dance), which was played widely in the medieval period, has been incorporated in it.
- 獅子は「石橋 (能)」「望月」「内外詣」の三番にのみかぎられる太鼓入りの舞事である。
- Shishi is the mai-goto specific to the three programs of 'Shakkyo (in Noh)' (Stone bridge, Noh Play), 'Mochizuki' (The Full Moon) and 'Uchito mode' (The Pilgrimage), and is always danced with drums as the accompaniment.
- また、その後に創作された踊り主体の演目も含める場合もある(歌舞伎舞踊の項目も参照)。
- In some cases, Kabuki Odori also includes the program focusing on dancing created after Wakashu Kabuki; please refer to the article of 'Kabuki Buyo' (Kabuki Dance).
- そのため、本物に近い扮装を施す場合ほど、観光舞妓の自由な街歩きを制限する傾向にある。
- For this reason, the more exactly a tourist maiko is dressed up to look like a real maiko, the less freedom she will be allowed in strolling in the city.
- 獅子舞(ししまい)とは、伝統芸能の一つで、祭囃子にあわせて獅子が舞い踊るものである。
- 'Shishimai' (Japanese lion dance) is one of the traditional Japanese performing arts, in which performers mimic a lion's movements in a lion costume to festival music.
- 越中の稚児舞(1982年1月14日 射水市、黒部市、富山市 加茂神社神事伝承会ほか)
- Ecchu's children's dance (January 14, 1982; Imizu, Kurobe, and Toyama Cities; Kamo-jinja Shinji Denshokai [Group for the Transmission of Shinto Rituals in Kamo-jinja Shrine], etc.)
- 水海の田楽・能舞(1976年5月4日 今立郡池田町 (福井県)水海 鵜甘神社氏子会)
- Mizuumi's dengaku and noh dance (May 4, 1976; Mizuumi, Ikeda-cho, Imadate-gun (Fukui Prefecture); Ukan-jinja Ujikokai [Ukan-jinja Shrine Parishioners Association])
- 翌1887年には、外務大臣井上馨邸に設けた仮設舞台で、明治天皇の天覧歌舞伎が実現した。
- In the following year (1887), the organization realized the attendance of the Meiji Emperor to a Kabuki presented on the temporary stage set up at the residence of Foreign Minister Kaoru INOUE.
- 1941年10月 道頓堀・角座にて『八重桐廓話』の金時で二代目中村扇雀を襲名し初舞台。
- In October 1941, he acted for the first time in his life as Kintoki in 'Yaegiri-Kuruwa-Banashi,' a story of Yaegiri working in a licensed quarters, at the Kado-za theater in Dotonbori when he succeeded to the stage name Senjaku NAKAMUA and became the second thereof.
- 特に歌舞伎においては、さらに「下座音楽」(げざおんがく)と呼ばれる演出音楽が発達した。
- In kabuki, the music for stage effects called 'geza ongaku' (music for plays) developed.
- この年11月、父の意向により歌舞伎座『絵本太功記・十段目』の初菊で六代目中村福助襲名。
- In November of that year, he succeeded to Fukusuke NAKAMURA VI by acting Hatsugiku of 'Judanme (Act X) of Ehon Taikoki' (The Picture Book of the Meritorious Prince) at Kabuki-za Theater on his father's wishes.
- 現在では大相撲の呼び出しや歌舞伎の道具方、手古舞が穿いているのを目にすることができる。
- Currently, yobidashi (sumo ushers who announce the names of wrestlers, sweep the ring, and so on) of grand sumo tournaments, sceneshifters of Kabuki (traditional drama performed by male actors) or tekomai (float leading dancers) wear hakama.
- また舞踊でも同世代の中で抜きんでた名手で『土蜘』『茨木』『関の扉』など代表作は数多い。
- Moreover, in dancing he was a virtuoso unrivalled in his generation, and gave many outstanding performances including in 'Tsuchigumo,' 'Ibaragi' and 'Sekinoto.'
- なかでも、よさこいの場合は歌舞伎の隈取りを思わせる派手な化粧をするグループが目につく。
- In Yosakai especially, numerous groups wear showy makeup to remind people of kumadori in Kabuki.
- 男舞は「安宅」「盛久」など現在物の直面の武士が速く颯爽と舞う舞事で、必ず大小物に限る。
- Otoko-mai is the mai-goto that samurai with no masks dance quickly and vigorously in Genzai-mono (noh plays of a miscellaneous or contemporary character), including 'Ataka' or 'Morihisa', and always accompanied on dai-sho hand drums.
- 早舞は五段からなるが現在では三段に略されることが一般的で、かならず太鼓入りに限られる。
- Haya mai, which was originally composed of five sections but now is generally condensed to three sections, should be always accompanied on drums.
- しかし、地唄舞は地歌に舞を付けたものであって、最初から舞のために作曲されたものはない。
- However, jiutamai was created by adding dance movements to jiuta, so jiuta was not composed initially for the dance.
- 舞台に対してだいたい110度前後の角度で取りつけられ、正面の客から見やすくなっている。
- Hashigakari is provided at an angle of about 110 degrees with respect to the stage so that it is easy to see from the front audience.
- 演劇の内容は史実や物語、事件などを題材にして演じる芝居であり、歌舞伎狂言とも呼ばれる。
- The content of the drama came from historical facts, fiction, events and other topics, and the drama was called 'Kabuki Kyogen.'
- 黒御簾や床以外での演奏は出囃子または出語りといい、舞台に置かれた台に座って演奏される。
- Other than Kuromisu & Yuka, musicians play sitting on a board which placed upon the stage, and their performances are called 'Debayashi' or 'Degatari.'
- 迦陵頻の番舞(つがいまい)として作られたため、迦陵頻を形式や装束のベースにおいている。
- It was created as Tsugaimai Dance for Karyobin, and the form or costume is based on Karyobin.
- 落語で、最も簡略にして最も大切な舞台装置が、高座の中央にぽつんと置かれた座布団である。
- In Rakugo, the most simple and most important piece of stage equipment is the lone zabuton sitting in the middle of the stage.
- 起源は中国大陸から伝来したものと考えられ、現在の中国獅子舞とも繋がるものと考えられる。
- This school's shishimai is deemed to have originated from China, so it seems to have the same origin as today's Chinese lion dance.
- 貴船川、大井川、清滝川と次々に川の名前をつらね、それにまつわる古歌を謡い、連れ舞する。
- They quote the names of the rivers of Kibune-gawa River, Oi-gawa River and Kiyotaki-gawa River one after another, sing old poem related to the rivers and dance together.
- 歌舞伎では、当初は舞台への登場時に使われたが、現在では花道への引っ込みの場合に行われる。
- In Kabuki, Roppo was initially used when actors are entering the stage, but today, it is used when they are leaving by the passage through audience to stage.
- 興行中に他の出演者に高級弁当を振る舞い、終演したら真打本人が全経費を払う飲み会が始まる。
- He treats fancy box lunches to other performers during the show, and after the show ends, a party starts, which the shinuchi himself pays all cost.
- 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.
- 狂言の舞台で用いる黄色い足袋(狂言足袋)は皮製の足袋の外見を真似て考案されたものである。
- The yellow tabi used on the Kyogen stage (farce played during a Noh play cycle) (Kyogen tabi) were designed imitating leather tabi.
- 1943年(昭和18年)8月、大阪中座「鏡獅子」の胡蝶で四代目坂東鶴之助を名乗り初舞台。
- He made his first appearance on stage in August 1943 by the name, Tsurunosuke BANDO IV, performing as Kocho of 'Kagamijishi' (The Lion Dance) at Osaka Nakaza theater.
- また、歌舞伎だけにとどまらず、『わてらの年輪』で花柳章太郎と共演するなど幅広く活躍した。
- Not staying within the world of kabuki, he was active in a wide range including 'Watera no nenrin' (literally, our growth rings) in which he performed with Shotaro HANAYAGI.
- 仕舞は鑑賞用としても上演されているが、能を演ずるための稽古の段階としても利用されている。
- Shimai is also performed for stage, but, is used as a phase of practicing Noh.
- 祇園の舞妓は基本的に歯を客に見せないようにしつけられる(歯を見せて笑わない、食べない)。
- Basically, real maikos in Gion are trained not to show their teeth to their customers (when they smile or eat).
- また、足拍子を踏む事がよくあるが、その音が響くよう舞台の床下には共鳴腔が設けられている。
- Ashibyoshi is frequently stepped, and resonance holes are provided under the stage floor to reverberate the stepping sounds.
- また、江戸時代までは、歌舞伎は被差別階級の仕事という考えが強く、差別も根強く残っていた。
- And until the Edo period, Kabuki was strongly believed to be a profession occupied by the people of the discriminated class, and the discrimination against them remained deep-rooted.
- このような公演活動を通じて、歌舞伎は現代に生きる伝統芸能としての評価を得るに至っている。
- These performance activities earn Kabuki a good reputation as the traditional performing arts living in today's world.
- 舞踊劇『紅葉狩 (歌舞伎)』では常磐津節、長唄、義太夫節が合奏しこれを三方掛合いという。
- In the dancing drama 'Momijigari' (Viewing Autumnal Trees), Tokiwazu-bushi, Nagauta and Gidayu-bushi are played in concert, which is called 'Sanpo-kakeai.'
- 木の板の上に御所人形と造花、毛植人形などを取り付け、能の舞台や吉祥物などを表現した人形。
- Dolls with a Gosho doll standing on a wooden dais with flowers or animals, and representing the Noh stage or lucky charms.
- 暑中見舞い(しょちゅうみまい)とは、暑中に知人などへ安否を尋ねるために出した手紙のこと。
- A shochumimai is a letter sent to acquaintances to ask how they are doing in the mid-summer.
- 東北の一部には7~8頭で1組の鹿踊もあるが、もっとも多いのは3匹1組の三匹獅子舞である。
- In some parts of the Tohoku region, 'shishiodori' (the deer dance) is performed in groups of seven to eight people, and the most common is the three lion dance performed in groups of three people.
- 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.
- 市川團十郎 (9代目)らは、正確な時代考証を目指して上演したが、歌舞伎関係者は軒並み反発。
- Kabuki actors such as Danjuro ICHIKAWA IX presented performances that aimed for the accurate reconstruction of history, but Kabuki circles opposed these performances without exception.
- また、改良会員だった福地桜痴らの手によって、1889年には東京木挽町に歌舞伎座が開場した。
- Moreover, under the leadership of Ochi FUKUCHI, a member of the Kariyo Kai, and other contributors, the Kabuki-za Theatre was completed at Kobiki-cho, Tokyo in 1889.
- 危機を脱出した一行に、富樫は失礼なことをした、と酒を勧め、弁慶は舞を披露する(延年の舞)。
- Yoshitsune and his company have now passed the crisis, and Togashi offers them sake to make up for his rudeness, while Benkei performs a dance (the Scene of the Ennen no mai (Ennen Dance)).
- 「尾上菊五郎劇団」を率いて江戸歌舞伎の世話物を今に伝えるなど、演技以外の活動も盛んである。
- Apart from acting, he also commits himself to activities such as laeding 'Kikugoro ONOE theatrical company' to pass down Sewamono of 'Edo Kabuki' (kabuki of old Tokyo).
- 管絃の遊びにも用いられたが名前の由来からもわかるように、仏教行事の舞楽として多く奏された。
- This piece was also used for music entertainment; however, as its name suggests, it was mainly played as Bugaku (dance and music) in Buddhist events.
- 民謡、等の舞踊には華やかさを出すため、絵羽の浴衣に錦などで仕立てた半幅帯を結ぶ場合が多い。
- To create a glamorous air in the dancing of traditional folk songs, the hanhaba obi made of nishiki (brocade) is often used for yukata with an unified picture across the entire canvas of the kimono, which is not interrupted at the seams.
- このため、現在はほとんど廃れて、芸者、舞妓、等の花柳界や、婚礼衣装ぐらいにしか使われない。
- Therefore, it is seldom used at present other than by the people of karyukai (world of the geisha), such as geisha and maiko (apprentice geisha), or for bridal dress.
- 祭り、晴れ着、音楽や舞踊等の発表会においては、普段は化粧しない人でも厚化粧する場合が多い。
- When participating in festivals, getting dressed up in haregi (the best clothes) or performing a recital of music or dance, even people who usually do not wear makeup often put on atsugesho.
- 日本舞踊花柳流二代目家元・二代目花柳壽輔改め花柳壽應とは、妻同士が姉妹(片岡のほうが妹)。
- His wife and the wife of Jukei HANAYAGI, the second head of the HANAYAGI School of Japanese dance, who changed his name from Jusuke HANAYAGI II, are sisters (KATAOKA's wife is younger).
- また地に用いる笛の譜によって、呂中干ノ地ものとそれ以外の特殊な舞事に分ける分類方法もある。
- There is another method in which mai-goto is classified into Ryochukan no ji mono (standard score-based mai-goto) and other special mai-goto, depending on the score for the fue that is played in the background.
- 謡曲『安宅』(あたか)には、登場人物の弁慶が踊る男舞として、延年の舞が踊られることがある。
- In the yokyoku (noh song) 'Ataka,' Ennen no mai is used as otoko-mai (a male dance) danced by Benkei, one of the characters.
- 歌舞伎の醍醐味が“外連(けれん)味のある演出”といわれるのは、こういった背景にも由来する。
- This background partly explains why the real pleasure of kabuki is said to be 'Keren (theatrical) staging.'
- しかし、全体としては歌舞伎愛好家の支持を得られず、今日では上演される作品はあまり多くない。
- But on the whole, they could not gain the Kabuki lovers' favor, and there are not many of these works that are performed today.
- 現代日本では、物語の“起承転結”、舞台の“三幕構成”などの類似語として使われることがある。
- Johakyu is used as a synonym of 'kishotenketsu' (the four-part organization of Chinese and Japanese narratives), and the 'three-act play' in the theatrical arts in Japan today.
- 皺尉(しわじょう)、石王尉(いしおうじょう)、舞尉(まいじょう) 真ノ序ノ舞を舞う後シテ。
- Shiwajo, Ishiojo, and Maijo: nochi-shite (the leading role in the latter half of a noh play) who performs Shin-no-jo-no-mai (a dignified dance performed by an elderly deity).
- 重要無形民俗文化財に指定されている舞という名称のもので、室町時代以前からの歴史のあるもの。
- These are dances with the name of mai which are designated important Intangible Folk Cultural Properties and have a history from prior to the Muromachi period.
- 1964年(昭和39年)4月、歌舞伎座『頼朝の死』の畠山重保ほかで六代目市村竹之丞を襲名。
- In April 1964, he succeeded to the name, Takenojo ICHIMURA VI, performing as Shigeyasu HATAKEYAMA and others of 'Yoritomo no shi' (The Death of Yoritomo) at Kabukiza theater.
- 仕舞袴よりもふつうの袴に近い外見を持つが、立居の際に皺や襞ができないような工夫がされている。
- This hakama closely resembles an ordinary hakama in appearance than a shimai hakama, and is designed so that it does not get wrinkled or folded while standing and sitting.
- 華麗・優美な芸風から「舞金剛」、装束や面の名品を多く所蔵することから「面金剛」とも呼ばれる。
- This school is also called 'Mai-Kongo' (literally, 'dancing Kongo') because of their magnificent and elegant performance style, and they are also sometimes called 'Omote-Kongo' (literally, 'mask Kongo') because this school owns a good many of masterpieces of Noh costumes and masks.
- 歌舞伎ではもっぱら長唄曲の鳴物として活用され、特に松羽目物・能取物において重要な役割を担う。
- In Kabuki, it is mostly used as the narimono (musical instruments) for nagauta-mono (item featuring long epic songs), and plays an important role especially for Matsubamemono and Notorimono (Nogaku style).
- たいていはクセ(舞グセ)およびこれに準ずるもの、キリ、段物などで、型は能のそれを基本とする。
- In most cases, a style is based on kuse or Maiguse in Noh (a long segment, the aural highlight of a Noh play), segments subject to it, Kiri (the concluding segment of a Noh play which combines chant and dance) and danmono (the most important type of the koto solo instrumental music.)
- さらに特殊であるが、「高砂」の小書にある八段の舞や、「融」の小書にある十三段の舞などもある。
- As even more special mai-goto, there are the eight-section mai specified by kogaki for 'Takasago' or thirteen-section mai specified by kogai for 'Toru.'
- 大小序之舞で特に老女物はあらゆる舞事のなかでももっとも位取りを重く、静かに舞うものとされる。
- Particularly, it is said that among the Jo no mai accompanied on dai-sho (big and small) hand drums, those the main role of which is an elderly woman should be danced quietly at the slowest tempo.
- 1972年(昭和47年)9月、歌舞伎座『逆櫓』の樋口と『娘道成寺』で五代目中村富十郎を襲名。
- In September 1972, he succeeded to the name, Tomijuro NAKAMURA V, performing as Higuchi in 'Sakaro' and 'Musume Dojoji' (The Maiden at Dojo-ji temple) at Kabukiza theater.
- こういったけれん味のある舞台装置を使う発想は、後に歌舞伎に取り込まれていったとする説もある。
- Some people assert that this idea of using affected sets was later introduced into kabuki.
- 舞台の床と寸法が適当で、四方に柱があり、橋懸を用意できれば、能はいかなる場所でも演じられる。
- Noh plays can be performed in any place a long as the stage has an appropriate floor, an appropriate size, and pillars on four sides and Hashigakari (bridge-form passageway to main stage) is provided.
- 2人一組で家々を訪れ、新年を祝う口上を述べた後に、1人片方が打つ鼓に合わせてもう1人が舞う。
- A pair of performers visit each house, with one of them playing the drum and the other dancing with it after delivering a congratulatory speech for the New Year.
- 結果『談儀』が書かれた頃には、本来の形での翁舞はほとんど行われなくなったことが記されている。
- And it is also described that by the time when 'Sarugaku dangi' was written, Okinamai in original form was rarely played.
- 正座をすることは、いくつかの伝統的な日本の茶道、日本舞踊、武道など芸道では必須の作法である。
- Sitting seiza style is a required part of some traditional Japanese arts such as tea ceremony, classical Japanese dance, and budo (martial arts).
- 生卵は冷凍保存できないことから、南極観測隊では年に一度の御馳走として卵かけ御飯が振舞われた。
- Because a raw egg cannot be refrigerated, tamago kake gohan was served for Antarctic Research Expedition as a special menu once a year.
- 女たちは「石川やせみの小川の清ければ」と、新古今集にある鴨長明の和歌をひき、やがて舞になる。
- The women quote a waka (Japanese traditional poem of thirty one syllables) by KAMO no Chomei in Shin Kokinshu (Japanese literary anthology) 'ishikawaya semi no ogawa no kiyokereba (if the stream in Semi is clear)' and then they start to dance.
- ちなみに、「毛抜き歌舞伎十八番「毛抜」」が三段目、「鳴神」は四段目、「不動」は五段目である。
- To be more specific, 'Kenuki kabuki juhachiban 'Kenuki' is Act 3, 'Narukami' Act 4 and 'Fudo' Act 5.
- これは「揚げ」と「巻き」で揚巻(歌舞伎『助六』に登場する花魁の名)という洒落による名称である。
- This name was after a pun for a relationship between the words of 'age' and 'maki' and the word of agemaki (name of Oiran (prostitute) appearing in 'Sukeroku' of Kabuki (traditional drama performed by male actors).
- 後に腰鼓、二鼓、四鼓は絶えたが、壱鼓は舞楽に残り、三ノ鼓は高麗楽(こまがく) で使われている。
- Afterward, waist drums, Ni no tsuzumi drum, and Yon no tsuzumi drum were died out, and Ikko drum has been used in bugaku (traditional Japanese court music accompanied by dancing) while San no tsuzumi drum is used in Komagaku music.
- また、無類の尊皇家であり、皇族が観劇に訪れた際は、病気休演中を押して舞台を勤めることもあった。
- Also, he enthusiastically paid reverence to the emperor so when the Imperial family attended Kabuki, he once performed in spite of the fact that he was absent from the stage due to illness.
- 1922年(大正11年)、10月東京新富座で『真田三代記』で三代目中村児太郎を襲名して初舞台。
- He succeeded to Kotaro NAKAMURA III in 'Sanada Sandaiki' (three generations of the Sanada family) as his debut at the Shintomiza Tokyo in October, 1922.
- 上方落語や上方歌舞伎の衰退などが原因で、現在ではその殆ど(特に1. のやり方)が絶滅している。
- Most of the routines (especially those in the first group) are extinct due to the decline of Kamigata rakugo and kabuki.
- 歌舞伎舞踊を素踊り、又は半素で、鬘を被らず、地毛で結う場合も、このような化粧になる場合が多い。
- Additionally, this style of makeup is often used when Kabuki Buyo is performed as a suodori (dancing without a costume or hairpiece) or as a hansu (semi-suodori) when natural hair is arranged without a wig.
- 分家後、源次郎は観世清之を名乗り、牛込矢来町に舞台を設けて、九皐会としての活動を行うようになる
- After creating a branch family, Genjiro gave his name as Kiyoshi KANZE, prepared a stage in Ushigomeyarai-cho, and started the activity as Kyukokai.
- このような批判を受けて、明治時代から、演劇改良運動と呼ばれる歌舞伎様式の改良運動が進められた。
- Under these criticisms, a reform campaign of the style of Kabuki, which is called Theater Reform Campaign, was advanced during and after the Meiji period.
- しかし、ここでは歌舞伎や能、神楽などの舞台芸術に付随する音楽的要素としての「囃子」を含まない。
- However, elements of musical performances associated with Kabuki, Noh and Shinto are not included within this classification.
- 弘法大師の乗船した遣唐使船が嵐に見舞われたとき,船中に湧き現れた観音を描いたものと伝えられる。
- It is said that this depicts the Kannon who suddenly appeared in the ship, when the Kentoshi Ship (ship for a Japanese envoy to Tang Dynasty China) on which Kobo Daishi boarded met with a storm.
- 祝言音曲・曲舞謡・かかり・訛り・拍子・位などがライバルたちのエピソードも交えて詳細に語られる。
- The sections explain in detail music of shugen (celebration), kakari utai (chanting of a Noh text), namari (accent), hyoushi (beat) and kurai (rank), telling the rival's episodes.
- 京の花街や大阪の花街の花柳界、上方舞の世界の地方(じかた)を務める人々によって伝承されている。
- Kamigata uta has been handed down by people in the world of geisha of Kamigata, and by jikata (people in charge of music) in the world of Kamigata mai.
- 江戸時代には小書(特殊演出)「舞入」として番組に書いていたが、現在では通常の演出となっている。
- Though this modified work was listed as a shosho (special direction) 'Maiiri (with dancing)' in programs in Edo period, this is an ordinary direction at present.
- 1934年(昭和9年)2月に歌舞伎座で「大石最後の一日」が初演された後、全10編が制作された。
- After part of the program, 'Oishi's last day', was first performed at the Kabuki Theater in February, 1934, a total of ten acts were produced.
- 歌舞伎や時代劇の衣装(股道具)として作られた、最初から見せることを目的に作られた特殊なふんどし。
- 'Sagari' is a special fundoshi loincloth made particularly for showing purpose as a costume (crotch gear) for players of Kabuki and jidaigeki (period dramas) on stage.
- 本格的な劇場・舞台では、それに「笛(能管・篠笛)」「小鼓」「大鼓」「締太鼓」を加えることが多い。
- In full-fledged performances in theaters or on stage, fue (Nohkan flutes, shinobue), kotsuzumi (shoulder drums), otsuzumi (hip drums) and shime-daiko drums are often played in addition to shamisen.
- また韓国では結婚式、誕生日、還暦等の祝い事の席やそれが終わった後にウドンが振舞われる場合もある。
- Moreover, in South Korea, Udon is sometimes used to treat guests in the midst of or after ceremonial events, such as weddings, birthdays, sixtieth birthday.
- 頼政の矢に貫かれた鵺は赤蔵ヶ池に舞い戻って池の主となったものの、矢傷がもとで命を落としたという。
- It is said that the Nue shot by the Yorimasa's arrow flew back to Azoga-ike Pond and became the guardian of the pond, but died from the arrow wound.
- ただし囃子方などは3時間前後、舞台に上がりっぱなしとなる為、体力的にも最も高いものを要求される。
- Yet, they are also physically the most demanding ones, because some performers, such as Hayashi-kata (instrumental performers), have to be on the stage for about three hours.
- このような場合には演者が二人となる(「大蛇 (能)」のようにシテとワキの二人で舞う仕舞もある)。
- In this case, two actors perform together (Shimai also has another variation in which two actors, Shite and Waki (supporting actor), perform together like 'Daija' (big snake).
- その後、演劇改良運動の影響下において、新歌舞伎と呼ばれる多くの作品が昭和戦前期にかけて生まれた。
- Afterward, under the influence of Theater Reform Campaign, many works, called 'Shin Kabuki' (New Kabuki), were born from the Meiji period to the prewar age of the Showa period.
- 正月に見る獅子舞や神楽での獅子舞をはじめ、一般に獅子舞というとこの系統の獅子舞を指すことが多い。
- Mostly, 'shishimai' performances, including those shown at New Year's or in 'kagura,' are this school's.
- それまで物まね中心であった猿楽能に田楽能における歌舞の要素を取りいれていわゆる歌舞能を完成させた。
- He succeeded in establishing so-called Utamai Noh by introducing the elements of utamai in Dengaku Noh into Sarugaku Noh, which had been performed mainly in a mimicry form.
- 近年は京舞の井上流と関係が深く、三世以降の井上八千代はいずれも片山九郎右衛門の妻あるいは娘である。
- In recent years it has kept the close ties with Inoue-ryu of Kyomai (Kyo dance), and the third and after Yachiyo INOUE, the head of the Inoue family, has been Kuroemon KATAOKA's wife or daughter.
- 表生地/底生地に紺や黒の生地を使用し舞台の黒子が動いたときに白い部分が目立たないようなものも有る。
- With dark blue cloth used for the surface part and black cloth for the sole part, the tabi of this kind are used by the stage assistants dressed in black on stages so that the tabi (usually white) do not stand out when the kuroko moves.
- 明治27年 (1894) 5月、市川小團次 (5代目)に入門して市川高丸と名乗り、明治座で初舞台。
- In May 1894, he became a pupil of Kodanji ICHIKAWA (V) and took the name of Takamaru ICHIKAWA and performed for the first time at the Meijiza theater.
- そして、歌舞伎舞踊や日本舞踊にも取入れられているほか、各地の郷土芸能・神事としても保存されている。
- It has not only been incorporated into Kabuki and Japanese dancing, but it has also been preserved as a folk entertainment and a Shinto ritual around the country.
- 「大般若」のように鈴を持って舞う巫女の舞事を笛と小鼓で囃すものであり、三番叟の鈴之段を模している。
- In Kagura in Kyogen, as in 'Daihannya' (Sutra of Great Wisdom), the mai-goto danced by a miko with a bell is enlivened by music with fue and kotsuzumi, imitating the section for bells in Sanbaso (a dance dedicated to the shrine and performed in a Japanese style with three dolls, Chitose, Okina and Sanbaso, manipulated by three doll handlers).
- 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.
- 2006年 創立50周年を迎え、記念の「バースデーコンサート」を先斗町歌舞練場で(6月18日)開催
- In 2006, to commemorate its fiftieth anniversary, Kyoto Symphony Orchestra gave a commemorative 'Birthday Concert'(June 18) at the Pontocho Kaburenjo Theater.
- 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.
- これで米の熱を散らす作業は終わりという意味から仕舞い仕事と呼ぶのだが、実際上はこれが最後ではない。
- This process is called shimaishigoto meaning that it is the final work to disperse heat of rice, but, in fact, it is not final.
- 地方でも多目的ホールや野外に仮設の能舞台を用意し演能することがあり、決して観能の機会は少なくない。
- In local cities, Noh is performed in a temporary Noh stage created in a multipurpose hall or in the open air, so there are a quite few opportunities to enjoy Noh.
- その後大阪には映画館を改装した大阪松竹座、福岡には博多座が開場し歌舞伎の興行はさらに充実さを増す。
- After that, there was the opening of the Osaka Shochiku-za Theater in Osaka, which was remodeled from a movie theater, and the Hakata-za Theater in Fukuoka, so Kabuki performances became more prosperous.
- 兜とは名づけられているものの錦や金襴で華麗に仕立てられ、舞楽の種類によっても微妙に色彩などが違う。
- Although it is called a kabuto (helmet) it is made from gorgeous brocade and baudekin and the colors vary subtly among the different types of gagaku.
- 二十四節気に基づく目安としては、相手先の居住環境が梅雨明けしてからの書き込みが暑中見舞いとされる。
- According to Nijushisekki (24 divisions of the old calendar), a greeting card written after the end of the rainy season in the destination area is called shochumimai.
- 太平記、北野天神縁起絵巻などに取材しており、後世の歌舞伎、菅原伝授手習鑑にも影響を与えたとされる。
- This story introduced elements from Taiheiki (a collection of war stories in the old days in Japan), Kitano-tenjin-engi-emaki (a series of picture books of stories about Michizane SUGAWARA and Kitano-tenjin shrine), etc., and it is said that Raiden also influenced a kabuki work, Sugawa-denju-tenarai-kagami created in the later days.
- 『隅田川続俤』(すみだがわ ごにちの おもかげ)は奈河七五三助(ながわ しめすけ)作の歌舞伎狂言。
- 'Sumida-gawa Gonichi no Omokage' is one of the kabuki kyogen play written by Shimesuke NAGAWA.
- 祭囃子、神楽、獅子舞等、各地の祭礼に古来から用いられてきた篠笛を便宜的に「囃子用」「古典調」と呼ぶ。
- Shinobue which have been used since ancient times for the rites and festivals in various places such as matsuri-bayashi (Japanese music), kagura (sacred music and dancing performed at shrines), and shishimai (lion dance) are called 'hayashi-yo' (lit. for hayashi (musical accompaniment played on traditional Japanese instruments)) shinobue or 'koten-cho' (lit. classical style) shinobue.
- 歌舞伎舞踊、民謡舞踊の場合は上記の舞台化粧を専門家が化粧する場合が多く、非常に美しい仕上がりになる。
- In the case of Kabuki Buyo or Minyo Buyo, experts often help the performers wear their stage makeup and the final conditions can be very beautiful.
- 大鼓方(おおつづみ がた、おおかわ がた)は、能楽囃子や歌舞伎鳴物において大鼓を担当する専門の職掌。
- Otsuzumikata refers to a special duty that is to take charge of an otsuzumi (big drum) in Nogaku-hayashi (Japanese orchestra for Noh performance) or kabuki musical accompaniment.
- また歌舞伎では、『忠臣蔵』五段目の定九郎のように、身をやつした浪人の姿として紋付の着流しが描かれる。
- And in Kabuki, an actor coordinates kinagashi with montsuki for his role as a ruined, masterless samurai like Sadakuro, who appears in scene five of 'Kanadehon Chushingura' (The Treasury of Royal Retainers).
- したがって、当時創作された演目は、休憩時間や舞台転換などの幕間を考慮しても、比較的長大なものが多い。
- Therefore, many of the programs created at that time were relatively long, though the time of intermission for rest & stage change was deducted.
- 上記と同様の白絹の羽を纏い、舞台化粧並みの厚化粧をした小学生位の少年少女6名が優雅に可憐に舞い踊る。
- In the Kosagi odori dance, six elementary-age boys and girls are wrapped with white silk feathers, like the Sagi mai, wearing a lot of stage makeup, and dance elegantly.
- 秀吉は午前中は茶頭として茶を振舞い、午後には会場内各所を満足げに視察して1日を過ごしたとされている。
- In the mornings, Hideyoshi spent the morning conducting tea ceremonies as leader of the ceremony and in the afternoons he satisfied himself by observing events in the various ceremony spaces.
- 弓道と同じように最後まで気を抜かず、手先足先まで神経を行渡らせ区切りの「お仕舞い」まで踊る事を指す。
- It suggests not losing concentration until the end as in kyudo, and performing the dance until the 'oshimai', or the end of a section in the dance, by straining every nerve up to fingers and toes.
- 酒造りの舞台は朝廷から寺院へと移り、醸造についての専門知識を備えた僧たちが僧坊酒を造るようになった。
- The main stage of sake brewing shifted from the Imperial Court to temples, and priests who had expert knowledge about brewing began to brew soboshu (sake brewed at major temples).
- このように歌舞伎と異なる芸の世界に出て貪欲にその雰囲気を吸収したことも名優を作り上げる原動力となった。
- He went out into the entertainment world different from Kabuki and eagerly absorbed the different culture around him, which made him the acting master.
- 困窮した職分は大挙して吾妻能狂言(能楽と歌舞伎の折衷演劇。明治14年頃に消滅)に参加、失敗に終わった。
- A large number of the occupational branch families that had been suffering from poverty joined the Azuma Nohkyogen (blending play of Nohgaku and Kabuki [traditional drama performed by male actors], disappearing in around 1881) only to fail.
- 信長のように異様な姿をして遊びまわる若者達は自らを「傾き者」と称して、衣装や振る舞いの奇抜さを競った。
- Young men who lived in idleness wearing peculiar clothes like those of Nobunaga called themselves 'kabukimono' (the eccentric), and they competed each other the eccentricity of their costumes and performances.
- 一方では高校生を対象とする歌舞伎教室を開催、「若鮎の会」を主宰して若手俳優の指導など人材育成に努めた。
- However, he made efforts to develop human resources including holding kabuki classes for high-school students and instructing young actors and actresses by leading 'wakaayu-no-kai (group of young sweetfish).'
- 神舞は「高砂 (能)」「養老」のような脇能に用いられる舞事で、かなり位が速く颯爽と目出度く演じられる。
- Kami mai is the mai-goto used in waki Noh, such as 'Takasago (in Noh)' (one of the masterpieces of Shugen-noh (Noh for celebration)) and 'Yoro' (Longevity Springs), and is played at a rather quick tempo, joyously and energetically.
- これを黄鐘調かつ大小物で奏するのが黄鐘早舞で、通常の早舞よりも鬼や幽霊のつよさが勝ったさまを表現する。
- In Oshiki Haya-mai, haya mai is played in the Oshiki-cho (scale in gagaku similar to Dorian mode on A), accompanied on dai-sho hand drums, and the mai is played so that ogres and ghosts look stronger than those in haya mai.
- 明治以降、能舞台と見所(けんしょ、客席のこと)の全体を建物でくるむ形式が増え、これを「能楽堂」と呼ぶ。
- After the Meiji period, the number of buildings surrounding the entire Noh stage and Kensho (guest seating) increased, and such buildings are called 'Nohgakudo' (Noh theater).
- 地方によっては、狐などの仮面をつけて踊る場合や、舞台化粧並の厚化粧をして華やかな衣装で踊る場合がある。
- In some regions, a mask of a fox or something is worn, while in other regions thick makeup (like stage makeup) and gorgeous clothing are worn.
- 1603年に北野天満宮興行を行い、京都で評判となった出雲阿国(いずものおくに)が歌舞伎の発祥とされる。
- Kabuki is said to have originated from 'IZUMO no Okuni,' who delivered a performance at Kitano Tenman-gu Shrine in 1603, and thereby gaining a good reputation in Kyoto.
- そのような変動の中、昭和38(1963)年の市川團十郎 (11代目)襲名から、歌舞伎は人気を回復する。
- Under such a transformation, Kabuki's popularity took a turn for the better when the heir succeeded to the eleventh 'Danjuro ICHIKAWA' in 1963.
- 正月には、初詣客に有料または無料で甘酒を振る舞ったり、自宅に持ち帰る甘酒を初詣客に販売する寺社が多い。
- Many temples and shrines either sell amazake or provide it free of charge to worshippers on New Year's Day, and sell it for visitors to bring home.
- 各地に広まった萬歳は、後に能や歌舞伎などの要素を取り入れたりしたことによって、さらに衣装が多様化した。
- The manzai spread across Japan became more diversified in its costume by incorporating the elements of 'noh' or 'kabuki' later.
- 催馬楽の歌い方は流派によって異なるが、伴奏に琵琶、箏(そう)、笙(しょう)などがもちいられ、舞はない。
- How to sing Saibara depends on the school, but Biwa (Japanese lute), So (a long Japanese zither with thirteen strings), Sho (Japanese flute), etc. are used as the accompaniment and there is no mai (a formal, traditional Japanese dance).
- 義経千本櫻(よしつね せんぼんざくら)は、義太夫節またそれに合せて演じられる人形浄瑠璃・歌舞伎の演目。
- Yoshitsune Senbonzakura is a program of ningyo joruri (traditional Japanese puppet theater) or Kabuki of Gidayu-bushi (musical narrative of the puppet theatre) or performed along with Gidayu-bushi.
- 和太鼓や鉦などの打楽器と共に用いられ、「祭囃子」「神楽」「獅子舞」の「主旋律」(メロディー)を担当する。
- These flutes are combined with percussion instruments such as a Japanese drums or bells, and are used to play the melody in 'matsuri-bayashi' (Japanese music), 'kagura' (sacred music and dancing performed at shrines), and 'shishimai' (lion dance).
- 国際文化会館は井上邸跡地であり、井上邸での天覧歌舞伎から120年目にあたることから催されたものであった。
- The International House of Japan is located at the site where Inoue's residence once stood, and the event commemorated the 120th anniversary of the Kabuki attended by the Meiji Emperor, held at Inoue's residence.
- これは「打ち指」と呼ばれる伝統的演奏技法であり、祭囃子・神楽・獅子舞等の祭礼音楽において特に多用される。
- This is a traditional technique for playing the shinobue which is called 'uchiyubi' (lit. tapping finger), and it is often used in the music of rites and festivals such as matsuri-bayashi (Japanese music), kagura (sacred music and dancing performed at shrine), and shishimai (lion dance).
- しかし東京大歌舞伎ではなかなか役に恵まれず、大正時代には市川左團次 (2代目)の演劇革新運動に加わった。
- In Tokyo Oo Kabuki, however, he was unable to obtain satisfactory roles and, in the Taisho period, he joined the theater reform movement of Sadanji ICHIKAWA (II).
- 西洋や現代が題材の場合は概ねバレエと同様、時代劇、等、和風の場合は歌舞伎舞踊や大衆演劇に近い感じになる。
- When the subject matter of a program is related to the West or modern times, makeup is generally similar to that of ballet, but when they are in Japanese style such as Jidaigeki, makeup seems to be closer to that of Kabuki Buyo or Taishu Engeki.
- 江戸時代にはご法度とされたが、現在では歌舞伎鳴物の大鼓方が能楽囃子の大鼓方に師事している例も少なくない。
- Today, it is common for otsuzumi players of kabuki to study under an otsuzumi player of Nohgaku theatre although it was not allowed in the Edo period.
- 乱拍子は現在「道成寺」にしかない特殊な舞事で、小鼓のみの裂帛の気合にあわせたシテの特殊な足づかいで舞う。
- Ranbyoshi is the mai-goto specific only to 'Dojo-ji Temple' at present, and the shite dances in a special leg-moving style corresponding to each sharp sound of the kotsuzumi, which is hit vigorously.
- 現在は舞鶴、呉がライバル関係をアピールしながら連携して肉じゃがと海軍ゆかりの街をアピールする活動が多い。
- Today we see many activities in which Maizuru and Kure collaborate with each other to gain attention for nikujaga and their cities associated with the Imperial Japanese Navy, while announcing they are in rivalry.
- 新内節は一時期、歌舞伎にも用いられたことがあるが、江戸時代後期からは主として門付けを中心として行われた。
- Although it was used for Kabuki for a period, Shinai-bushi was performed mainly as kadotsuke (performance in front of houses) starting in the late Edo period.
- 若衆歌舞伎が禁止される際に、幕府より「物真似狂言づくし」を義務付けられたことも演劇的発展の一因になった。
- Before banning Wakashu Kabuki, the Tokugawa shogunate ordered them to play 'impersonation & 'Kyogen' (Noh comedies),' and this also encouraged the development of Kabuki as a drama.
- 田舎の武術的要素をもった琉球舞踊から、沖縄固有の武術「手(ティー)」が生まれ、空手へと発展したとする説。
- This theory asserts that a country-style Ryukyu dance having an element of a martial art developed into 'tee,' a martial art peculiar to Okinawa, which in turn developed into karate.
- その中で長い伝統を持つ歌舞伎の演劇様式を核に据えながら、現代的な演劇として上演していく試みが続いている。
- Under this change, the Kabuki community continues to try performing Kabuki as a modern drama while placing the long-established traditional performance style at its center.
- 漫才の発祥と言われる万歳(まんざい)は、平安時代から始まった芸能で、新年を言祝ぐ(ことほぐ)歌舞である。
- Manzai (written in different kanji from the main topic Manzai) which is said to be the origin of manzai is a form of entertainment that started in the Heian period to deliver a congratulatory speech for the New Year along with chanting and dancing.
- なお返しとは明るいままで幕を引かずに場面が換わるところ、切りとは幕切れ前に舞台が盛り上がるところをいう。
- Incidentally, 'Kaeshi' means the part in a program where the scene is changed with the lights on and with the draw curtain kept open, and 'Kiri' means the part of a climax in a program before the curtain is drawn.
- なお、「ちゃった」は舞鶴弁だけでなく丹波弁や播州弁の一部地域(兵庫県多可町加美町 (兵庫県))でも用いる。
- The same 'chatta' is used not only in the Maizuru dialect area but also in the areas of Tanba dialect and a part of Banshu dialect (Kami-cho, Taka County, Hyogo Prefecture).
- 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.
- 演劇改良会の主張は急進的であり、受け入れられない面もあったが、歌舞伎の近代化に向けて大きな影響を及ぼした。
- Engeki Kairyo Kari embraced radical ideas, and some of their proposals were disapproved, but it exerted a strong influence on the modernization of Kabuki.
- 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.
- 2人が正座し簡単な小道具、衣装を身に付け謎かけ問答や知恵比べ問答歌舞伎、芝居の物真似をし人気を取っていた。
- Sitting straight in costumes, two people played riddles and compared wits with each other, or parodied theatrical plays such as kabuki, and this style of arts became popular.
- これは中国、肘の故事を借りたものであるといい、そうであるならば、当時、日本で侏儒舞が行われたか不明である。
- This description is said to quote a Chinese historical event referring to an elbow and if so, it is unknown whether or not hikihitomai was performed in Japan at that time.
- 庶民の祭礼(祭囃子)、神楽里神楽(里神楽)、獅子舞には篠笛が多く見られるが、龍笛や能管を用いる地方もある。
- Shinobue were often used in the rites and festivals (matsuri-bayashi festival music) of common people, satokagura (kagura dances held at somewhere other than the imperial court) and the shishimai (lion dance), but ryuteki or Nohkan were used in some regions.
- 舞事と同じく、能管、小鼓、大鼓、太鼓(太鼓は入るものと入らないものがある)の四種の楽器が囃子に用いられる。
- Similar to mai-goto (instrumental dances), hayashi (musical accompaniment played on traditional Japanese instruments) for hataraki-goto consists of four kinds of musical instruments: nohkan (Japanese Noh flute), kotsuzumi (small hand drum), otsuzumi (big drum), and taiko (stick drum).
- 役柄にもよるが、時代劇より、更に写実的な感じ、しかし、舞台の場合は全般的にやはりかなり厚化粧の感じになる。
- The makeup used in contemporary dramas varies depending on the role, and although it looks far more realistic than what is used in Jidaigeki, a consirable amount of atsugesho is generally applied when performances are on a stage.
- 西日本では太鼓台の乗り子が稚児と同様の厚化粧(地方によっては歌舞伎の隈取りと同様の化粧)をする場合が多い。
- In Western Japan, noriko (riding kids) of taiko-dai (floats to carry drums on) often wear atsugesho similar to chigo (in some regions, the makeup is similar to kumadori of Kabuki).
- 普段は厚化粧しない場合が多いが、祭り等で巫女舞を奉納する場合は上記の稚児と同じ理由で厚化粧する場合がある。
- Miko (shrine maidens) usually do not wear atsugesho, but when they dedicate mikomai (a female Shinto dance where young girls each carry a small baton with a bell) during festivals, they sometimes wear atsugesho for the same reason as chigo.
- 東西声(とうざいごえ)は歌舞伎や人形浄瑠璃の序びらき、口上の前などに「東西、東西」と裏から声を掛けること。
- Tozaigoe refers to shouts of 'tozai, tozai' (east west) from the backstage at the jobiraki (an opening) or before kojo (a ceremony to announce that an actor takes a new stage name) of kabuki (traditional drama performed by male actors) or ningyo joruri (traditional Japanese puppet theater).
- 同時に、このころから緑内障のために徐々に視力が衰え、最晩年には失明状態に陥ったが、生涯舞台に立ちつづけた。
- At this time his eyesight was gradually weakening due to glaucoma and he lost his eyesight in his last days, but he continued to act on the stage until the last day of his life.
- この延年の舞は、他の芸能のなかに取り入れられていることがあり、そこから往事の延年の様子を伺うことができる。
- As Ennen no mai was sometimes incorporated into other arts, we can gather from them the image of Ennen in the old days.
- 舞鶴市 宮津市 綾部市 京丹後市 南丹市 京田辺市 木津川市 彦根市 長浜市 近江八幡市 高島市 名古屋市
- Maizuru City, Miyazu City, Ayabe City, Kyotango City, Nantan City, Kyotanabe City, Kizugawa City, Hikone City, Nagahama City, Omihachiman City, Takashima City and Nagoya City
- 17日の山鉾巡行では金襴の振袖に紋織りの袴、鳳凰の天冠で登場、禿を両脇に従え、鉾の中央で稚児舞を披露する。
- In the Yamahoko Junko on 17th, the chigo appears in Kinran no Furisode (long-sleeved kimono with gold brocade), hakama (Japanese male pants) with figured textiles, and Ho-o no Tenkan (crown of Chinese phoenix), with the kamuro on both sides of him and performs Chigo mai (dance by children of festivity) in the center of the hoko float.
- 道行初音旅 → 吉野山 本文では四段目の冒頭だが、歌舞伎の通し上演では大物浦の場の後に上演される事が多い。
- Michiyuki Hatsune no Tabi => Yoshino yama Although this is the first scene of the fourth section in the text, when the whole play is performed in Kabuki, it is often performed after the section of Daimotsu-ura.
- 奈具は海岸沿いの険しい山岳地帯であり、人の往来が出来なかったことが丹後弁と舞鶴弁の違いを生んだとの説がある。
- According to a theory, the difference between the two dialects is due to a rugged mountainous area along the coast that blocked traffics of people where Nagu is located..
- 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.
- 江戸時代中期に、京都の露の五郎兵衛初代や大阪の米沢彦八初代が道端に舞台を設け、自作の噺を披露して銭を稼いだ。
- In the mid Edo period TSUYU no Gorobe I in Kyoto and Hikohachi YONEZAWA I in Osaka set up a stage wayside to perform comic stories of their own making for money.
- 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.
- 1924年、大歌舞伎に復帰し、初代鴈治郎、實川延若 (2代目)、片岡仁左衛門 (12代目)などのもとで修行。
- In 1924, he came back to okabuki (kabuki performance by A-listers) and learned under Ganjiro I, Enjaku JITSUKAWA (the second), Nizaemon KATAOKA (the twelfth), etc.
- 1956年 4月に自治体直営のオーケストラとして創立し、6月18日、先斗町歌舞練場に於いて披露演奏会を開催。
- In April 1956, it was established as an orchestra directly operated by a municipality and gave its first public performance on June 18 in the Pontocho Kaburenjo Theater.
- パソコンで作成する場合は、あて先のデータを管理できる年賀状や暑中見舞い作成用のソフトウェアを使う場合が多い。
- To create postcards using a personal computer, it's popular to use software, which manages address data, for the creation of nengajo and shochumimai (summer greeting cards).
- この『安宅』を原作とした歌舞伎十八番の『勧進帳』では、弁慶役が延年の舞を踊る場面が見せ場の一つとなっている。
- In 'Kanjincho,' one of the kabuki juhachiban (eighteen best plays of the Ichikawa family of kabuki actors) based on 'Ataka,' the scene where the actor playing Benkei dances Ennen no mai is a highlight of the play.
- 24日の花笠巡行に、一般的なお揃いの浴衣を着て舞台化粧並みの厚化粧をした小学生位の少女多数が可憐に舞い踊る。
- Many elementary-age girls dance in the same Japanese summer kimono, wearing stage makeup in Hanagasa Junko parade on the 24th.
- だが、ダグラス・マッカーサーの副官で親日家フォービアン・バワーズの尽力により歌舞伎は保護され、危機を脱した。
- But Faubion Bowers, a Japanophile & the adjutant of Douglas MacArthur, made every effort to protect Kabuki, so Kabuki passed the crisis.
- 江戸深川を舞台にしたテレビ時代劇破れ奉行では、主人公の速水右近と向井将監との情報交換の場としてよく使われる。
- Yakata-bune was used as a place to exchange information for main characters, Ukon HAYAMI and Shogen MUKAI, in Yabure Bugyo, a historical television drama based on Fukagawa, Edo.
- 千秋萬歳は平安時代の末期には貴族の間で毎年正月の慣習となっており、千秋萬歳法師が訪れ祝い言を述べ舞を舞った。
- Senzumanzai was an annual practice of the New Year among the aristocrats during the late Heian period and the senzumazai hoshi (Buddhist priest wishing a New Year) visited each house to give a celebration and danced.
- 東京の内海桂子は弟子の笑組、ナイツ (お笑いコンビ)と舞台に上がる時、軽口の演目であった『名鳥名木』を演じる。
- Keiko UTSUMI, a Tokyo-based comedian, also performs one of karukuchi repertoires, called 'Meicho Meiboku' when she appears on stage with her pupil comedian duo, Knights.
- 江戸時代末期に京都四条河原町、大坂天満宮の神社の境内に舞台を設けひとりでに歌舞伎、芝居の物真似演じられた起源。
- Karukuchi has its origin in plays such as kabuki parodied and developed on a stage prepared in the precincts of the Osaka-tenmangu Shrine, in Shijo Kawaramachi, Kyoto City at the end of the Edo Period.
- 大向うからの「立ったぁ〜!」の掛け声と場内万雷の拍手に包まれながら、定引幕が引かれて壽海を舞台奥に消し去った。
- Surrounded by enthusiastic shouts from the regular audience 'Tatta!' (he stood up!) and thunderous applause in the hall, the johikimaku (curtain) was closed to hide Jukai into the back of the stage.
- 映画出演の傍ら、1958年からは片岡仁左衛門 (13代目)らとともに歌舞伎の自主公演「七人の会」にも出演した。
- While acting for movies, he took part in the independent performance of the kabuki 'Shichinin no kai' (party of seven persons) from 1958 together with Nizaemon KATAOKA, the thirteenth, and others.
- 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).
- 海軍経理学校で1938年に刊行された海軍厨業管理教科書(舞鶴総監部保管)にはレシピが次のように紹介されている。
- The following is the recipe of nikujaga in 'The Textbook of Cooking at Navy' published in 1938 by the Naval Paymasters' School (held in Maritime Self-Defense Force Maizuru District Headquarters):
- 天然酵母が育てた塩昆布「舞昆」という新しい発酵食品を開発した「こうはら本店」は食品昆布発酵技術の先駆けである。
- Kohara Honten Corporation is a pioneer in the ferment technology of kelp, which developed a new fermented food called 'Maikon,' shio-konbu fostered by wild yeasts.
- 一方、後者は江戸時代の町民に向けて製作されるうちに、現代に見られるような、日本舞踊的要素を備えた演劇となった。
- Meanwhile, Kabuki Geki was produced for the common people during the Edo period, and it sometimes became the drama, just as it is today, possessing the factor of Japanese dancing.
- 鷺舞(さぎまい)は白絹の羽を纏い、雌雄の鷺に扮した成人男性の舞い手二人が囃子に合わせて優雅に舞い踊る郷土芸能。
- In the Sagi mai, two adult male dancers wrapped with white silk feathers, dressed like male and female hernshaws, elegantly dance with the festive music.
- 日本舞踊における残心とは、主に踊りの区切りの終わりに用いられ、表現として「仕舞いが出来ていない」ともいわれる。
- Zan-shin in Japanese dancing is mostly applied to the end of a section in a dance, and is referred to in expressions such as ''shimai' (end) is not performed well.'
- 第二次世界大戦期には軍国主義的な色彩を強く帯び、現状を打破し突撃精神を鼓舞する意味で使われることが主となった。
- It took on a militaristic tinge during World War II, and it was mainly used with the meaning of encouraging an offensive spirit to break the status quo.
- 法性坊が印を結んで真言をとなえると火は消え、その煙のうちに菅原道真の霊は能能舞台めがけて走り去り、幕内に入る。
- When Hossho-bo makes In (shapes made with fingers to invoke supernatural power) and chants Shingon (words to be chanted to invoke divine help), the fire is put out and, in the smoke of it, the ghost of Michizane SUGAWARA rushes away to the noh stage and enters inside the curtain.
- このような解析は、登場人物の外づらが決まれば興行も大入りとなった往事の歌舞伎の様子を端的に言いあわらしている。
- His comment clearly demonstrates past circumustances of Kabuki, in which if only the outward appearances of characters worked well, the performance would draw a large audience.
- 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.
- 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.'
- さらに流儀によっては神舞のなかでも特に位のはやい「高砂」「弓八幡」の二曲を真之神舞として独立して扱うこともある。
- Furthermore, depending on the Noh school, the two programs of 'Takasago' and 'Yumi Yawata' (The Bow at the Hachiman Shrine), which are played at an especially fast tempo among the kami mai dances, are handled independently as genuine kami mai.
- 多くが人形浄瑠璃や歌舞伎といった舞台芸能と結びついて発展してきた近世邦楽の中で、舞台芸能とは比較的独立している。
- Among the many pieces of modern traditional Japanese music that developed in association with stage entertainment, such as ningyo joruri (traditional Japanese puppet theater) and kabuki, jiuta is relatively independent from stage entertainment.
- 敵討ちなどの忠義や武勇伝、浄瑠璃・歌舞伎、謡曲、仮名双紙、軍記物、お伽双紙、浮世双紙など多様な内容になってきた。
- Contents varied and ranged widely: revenge, loyalty and martial stories, dramatic narrations, Kabuki and Noh stories, depictions written in phonetic Japanese kana syllabary, fairy tales, poignant stories etc.
- こうして格差がついた後方の土間のことを「高土間」(たかどま)といい、舞台近くの「平土間」(ひらどま)と区別した。
- Doma placed at the rear at a higher level were called 'taka-doma' (raised earthen floor) to distinguish them from the doma in the vicinity of the stage, which were called 'hira-doma' (flat earthen floor).
- 『江次第抄』によれば、初め再拝するのは詔命を欽ぶ意で、後に舞踏するのは恩恵にあずかるのをよろこぶ意であるという。
- According to 'Goshidaisho' (a commentary book written by Kanera ICHIJO on 'Koke Shidai,' which is a classic rule book about ceremonial and public functions), bowing twice in the beginning indicates respect for the Imperial edict, and the following dance expresses joy for receiving a favor.
- 明治以前は踊りとは、はっきりと区別されていたが、ダンスの和訳として舞踊という言葉ができ区別が意識されなくなった。
- Prior to the Meiji Restoration, dances were clearly distinguished however after the term Buyo (Japanese dance) was created as a Japanese translation of the English 'dance,' the distinctions became vague.
- 現代でも時代劇や歌舞伎、祭りの時代行列の姫役は吹輪のカツラをかぶるので、比較的現物に近いものを見ることができる。
- Even today a role of princess in a period drama, Kabuki and Jidai Gyoretsu (a procession of people in historical costumes) in a festival wears a fukiwa wig and so we can see something which is comparatively close to the real one.
- また、博多を舞台にした青春劇画『博多っ子純情』(長谷川法世)では、博多祇園山笠が重要なイベントとして描かれている。
- The 'Hakatakko Junjo,' a seishun-gekiga (story comics of youths), written by Hosei HASEGAWA, having its setting in Hakata, depicts the Hakata Gion Yamagasa summer festival as an important event.
- 1991年11月 歌舞伎座にて『廓文章・吉田屋』の伊左衛門、『心中天網島・河庄』の治兵衛で三代目中村鴈治郎を襲名。
- In November 1991, he succeeded to the stage name Ganjiro NAKAMURA and became the third thereof when he played Izaemon of 'Kuruwa-bunsho, Yoshida-ya (stories in an entertainment house called Yoshida-ya in a licensed quarter), and Jihei in 'Shinju-Ama-no-Tsunashima, Kawasho.'
- 芝居(歌舞伎の下座音楽など)の効果音として使うもの、狩で獲物を誘い出すために使うものが多く、玩具としても使われる。
- Many kinds of fue are used to produce sound effects for plays (geza [off-stage] music for Kabuki, and so on) or luring game, and some are also used as toys.
- その活動範囲は広く、特に息子・野村萬斎はテレビドラマ出演や舞台演出を手掛けるなど各方面に精力的な姿勢を見せている。
- They work in a range of fields and Mansaku's son Mansai NOMURA in particular has been working tirelessly in different fields, such as appearing in TV drama series and producing theatrical plays.
- 歌舞伎の娘役と、基本は同じであるが、眉を塗りつぶさず、自然な感じで描く、アイメークも控えめになる、等の違いはある。
- Their makeup is basically the same as that of a girl acting in Kabuki, but differences include not covering the eyebrows, drawing them naturally, and putting on modest eye makeup.
- 鞨鼓は「花月」「自然居士 (能)」など遊芸者のシテが鞨鼓を打ちながら舞う舞事で、大小物に限り、三段から構成される。
- Kakko is the mai-goto in which the shite, an entertainer visiting various places, as in 'Kagetsu' and 'Jinen koji,' dances while hitting Kakko (a double-headed barrel drum played with two sticks), always accompanied by dai-sho (big and small) hand drums, and comprises three sections.
- そのなかで時代物を好む観客や世話物を好む観客など、さまざまな観客を楽しませることが、歌舞伎狂言の公演に求められた。
- Under the circumstances, various spectators began to want the performances of Kabuki Kyogen to satisfy their own tastes, such as one for Jidaimono, or one for Sewamono.
- 中国式の獅子舞は日本においては中華街や中国・台湾と関係の深い自治体・施設に獅子舞団がありイベントごとに演じられる。
- Also in Japan, there exist Chinese lion dance groups at Chinatowns and at the municipalities and other institutions that have close ties with China or Taiwan, and their performances are seen whenever an event is held.
- 呼称としては「半玉」「おしゃく(お酌とも雛妓とも書く)」「舞妓」「赤襟」「金魚」「雛妓(ひなつこ)」「振袖」など。
- Names for nensho geigi include 'hangyoku' (literally, half gyokudai), 'oshaku' (お酌 or 雛妓, person who pours sake liquor), 'maiko' (舞妓, apprentice geisha), 'akaeri' (red collar), 'kingyo' (goldfish), 'hinatsuko' (little geigi), and 'furisode' (a kimono with long, trailing sleeves).
- 物を包む布としての起源は奈良時代に遡ることができ、正倉院宝物の中に舞楽の衣装包みとして用いられたものが残っている。
- Its origin as a piece of cloth to wrap up things is traced back as far as the Nara period and there remains one which was used to wrap up the costume for Bugaku (traditional Japanese court music accompanied by dancing) among the Shoso-in treasures.
- (上方落語から身を引いてヘルスセンターに社員として勤務していたが、その舞台に自ら上がるなど、何かしら芸はしていた。)
- (He resigned Kamigata Rakugo and worked for a health center as an employee, but he performed somehow, for example on the stage there.)
- ちなみに、この演目が歌舞伎で上演される場合は、阿古屋を演ずる女形が3つの楽器を実際に演奏することが通例となっている。
- Incidentally, when this program is played in Kabuki, it is customary that the male actor playing the female role of Akoya actually plays the three instruments.
- 後代になると、さまざまな事情により、歌舞伎の門閥の方から芝居小屋の方に逆に養子を送り込んでくるという事例も出てくる。
- Later on, for a variety of reasons, there were also examples of the reverse happening as distinguished kabuki acting families had their children adopted by the tea rooms.
- 能管、小鼓、大鼓、太鼓によって奏される働事には「舞働」、「打合働」、「イノリ」(祈)、「立廻り」(上記参照)がある。
- In hataraki-goto played with nohkan, kotsuzumi, otsuzumi, and taiko, there are 'maibataraki,' 'uchiai-bataraki' (one scene in which the shite, a main role fighting with the tsure or the waki, a supporting role of maibataraki, dance with hayashi), 'inori' (in scenes in which a monk or Yamabushi, the waki uses magic to fend off an crazed witch, shite, inori, or prayer, refers to the movement in which the witch submits to the prayers of the monk or Yamabushi, a movement of the hayashi), and 'tachimawari' (see above).
- 舞働のうち、特にシテとツレまたはワキが一対一で闘争する場面を主にしたものを指す(『舎利 (能)』『龍虎 (能)』)。
- It especially refers to the scenes in which mainly shite and tsure or waki play one-on-one battle among maibataraki ('Shari' [Noh], 'Ryoko' [Noh]).
- 以上のほか、特殊な舞事として、「雪 (能)」の雪踏之拍子や「羽衣」や「杜若」の小書に用いられる盤渉序之舞などがあり、
- In addition to the mai-goto described above, there are the Setto no hyoshi (a rhythm of treading on snow) in 'Yuki' and Banshiki Jo no mai (the slow-tempo dance played in a key called Banshiki, which is close to the western key of B) used for a kogaki for 'Hagoromo' or 'Kakitsubata'.
- 1998年3月に広島県呉市も「肉じゃが発祥の地?」(最初に宣言した舞鶴市に配慮して?をつけた)として名乗りを上げた。
- Kure City, Hiroshima Prefecture also declared itself to be the 'birthplace of nikujaga?' (added '?' in consideration for Maizuru City, which made the first declaration).
- 現在の金太郎伝説が完成したのは江戸時代であり、浄瑠璃や歌舞伎を通して頼光四天王の怪力童子のイメージが定着していった。
- The present legend of Kintaro was perfected in the Edo period, and the image of a boy with immense physical strength among Yorimitsu's Shitenno became fixed in popular culture through Joruri (dramatic narrative chanted to a shamisen (a three-stringed Japanese banjo) accompaniment) and Kabuki (traditional drama performed by male actors).
- 絵師吃又(どもまた。吃の又平の意味。)が描いた大津絵から絵の精たちが次々と抜け出て悪者を懲らしめるという五変化舞踊。
- It was a gohengebuyo in which the spirits of pictures come out one after the other from an Otsu-e painting drawn by the painter Domomata (meaning Matahei, the stammerer), and the villain is chastened.
- ついで金の立烏帽子に大口を着て小さい鞨鼓を前に懸け、打ち鳴らしながら舞い、また半上下を着たものが笛、小鼓で打ち囃す。
- Then, a man in gold Eboshi and Okuchi (a type of trousers) dances while beating a small Kakko (a Japanese drum) around his neck, and a man in short Kamishimo plays the flute and beats the Kotsuzumi (small hand drum).
- 伎楽系(神楽系)の獅子舞は西日本を中心として全国的に分布し、胴体部分に入る人数で大獅子、中獅子、小獅子と区分される。
- The Gigaku school (also called Kagura school) is seen nationwide (in particular, in western Japan), and it is categorized into three types, big lion, middle-sized lion, and small lion, according to the number of people who get into the body part of the lion costume.
- 初演は「古今の大当たり」と評され(『浄瑠璃譜』)、以来人形浄瑠璃・歌舞伎とも人気演目として現在でも盛んに上演される。
- The debut performance was thought to be 'one of the best hits ever' ('Jorurifu') and since then it is often performed as Ningyo joruri and Kabuki as a popular play even today.
- ただ、初代小春團治が花柳芳兵衛として舞踊家に転じたのち、芸の伝承のためNHKに幾つかのネタを映像として収録させていた。
- However, Koharudanji I had NHK film some kabuki routines to transmit his art after he became a dancer.
- 一般名詞としても、滑稽な振る舞いや、冗談や嘘、人をだます意図を持って仕組まれた行いなどを指して狂言と言うようになった。
- The word 'Kyogen' has also come to be used as a general noun indicating a joke, a lie, behavior plotted to cheat others, and so on.
- 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.
- 一部神社の巫女や現代の女性皇族、雅楽舞踊の演者などには、男子同様の足を通す部分が二つに分かれたタイプの着用も見られる。
- Miko of some shrines, female members of modern imperial families, players of gagaku buyo (ancient court music and dance) and so on put on hakama of the type that have divided legs like men's hakama.
- 少女が掛ける赤い半襟から一人前の女性の白い半襟へ襟を掛け替える習慣を言い、半玉、舞妓などの雛妓が芸妓となることを指す。
- It means the practice of changing red haneri of young girls for white haneri of adult women, and in karyukai, it refers the promotion from hinakko, such as hangyoku (child geisha) and maiko (apprentice geisha), to geigi (geisha).
- 『杜若』『桜川』のように女のシテが多いが、『弱法師』のように男のシテが舞うものもあり、『花筐』ではクセの後に奏される。
- Like in 'Kakitsubata' (The Iris, Noh play) or 'Sakuragawa,' this is often performed by women shite, but some are performed by men shite such as in 'Yoroboshi' (The Beggar and His Savior) and this is performed after kuse in 'Hana-gatami' (Flower Basket).
- 神楽は巫女(「巻絹」)や女体の神(「三輪」)が舞うもので実際の神楽を模してつくられており、かならず太鼓入りで奏される。
- Kagura is danced by a miko (a shrine maiden) (in 'Makiginu' (bolt of silk) or by a goddess (in 'Miwa'), imitating a real kagura dance, and is always accompanied by drums.
- 道の追求という点については、残心(残身、残芯)などの共通する心構え所作などから茶道や日本舞踊、芸道ともかかわりを持つ。
- In pursuit of the 'do' or 'michi' (the way), it has something to do with 'sado' (the way of tea), 'nihon buyo' (Japanese dance) or 'geido' in that they share the common mental attitudes or movements, such as 'zanshin' (a state of awareness; of relaxed alertness, which is spelled as 残心, 残身, 残芯).
- 海軍はむつ市、横須賀市、舞鶴市、呉市、佐世保市といった限られた都市にしかいなかったのに対し、陸軍が全国に駐屯していた。
- While Navy's stations were in limited cities such as Mutsu City, Yokosuka City, Maizuru City, Kure City, and Sasebo City, the Army was stationed all across the country.
- つまり歌舞伎というのは当て字であるが、歌い、舞い、伎(技芸、芸人)を意味する、この芸能を表現するのに適切な文字である。
- And so, the Chinese characters '歌舞伎,' that reads 'Kabuki,' are merely the phonetic equivalent, but nevertheless, '歌' (ka) means 'singing,' '舞' (bu) means 'dancing,' and '伎' (ki) means 'performances (or performers),' so the characters are appropriate for expressing this performing art.
- また、劇中音楽(BGM)を担当し、舞台下手脇の専用の区域(黒御簾(くろみす)と呼ばれる)で伴奏音楽や効果音を演奏する。
- The players are in charge of background music, and they play the accompaniment & the sound effects in the area (called 'Kuromisu') specially set up on the left side of the stage.
- 拝舞(はいぶ、はいむ)は、平安時代、宮中で、叙位、任官、賜禄の際などに、謝意を表して左右左(さゆうさ)を行う礼である。
- Haibu (haimu) refers to a ritual of bowing which includes sayusa (a series of movement from left to right to left) for expressing one's gratitude on occasions such as joi (investiture of a court rank), appointment, and shiroku (receiving a stipend) in the Imperial Court during the Heian period.
- 現代を舞台にした作品の場合、古風だが強い意志を持った男子というキャラクターを強調するアイテムとして使用されることが多い。
- In the works set in the background of modern times, a fundoshi loincloth is often used as an item to emphasize the male character as archaic but strong will.
- 大喜利という名は能・浄瑠璃・歌舞伎といった古典芸能の舞台で、最後の演目を意味する言葉として使われる「大切り」に由来する。
- The name Ogiri is derived from a word 'ogiri' or 'okiri' according to the Chinese characters and means the last item of the show in classical Japanese popular performing arts including Noh (traditional masked dance-drama), Joruri (ballad drama), and Kabuki.
- また「張良 (能)」「羅生門 (能)」のようにワキ方の仕舞もあり、能狂言方においても小舞として仕舞に似た上演形態がある。
- Shimai is also performed by Waki-kata (supporting actors) like 'Choryo' and 'Rashomon Gate,' and a Noh farce actor also performs komai (short dances in Noh farce) that is similar to Shimai.
- ただし、江戸を中心にして発達した「金平浄瑠璃」と呼ばれる一連の作品は、後に歌舞伎の荒事に大きな影響を与えることになった。
- However, works called 'Konpira Joruri,' which developed mainly in Edo, later had a significant influence on the aragoto (a style of play featuring exaggerated posture, makeup and costume) of Kabuki.
- 以上の豊後節、およびそこから派生した豊後節系浄瑠璃の特徴は、歌舞伎芝居、門付けの違いはあるにしろ, 以下のとおりである。
- Despite the difference in the way of performance, namely as the accompaniment of Kabuki or kadotsuke, Bungo-bushi and Bungo-bushi-origin Joruri have common characteristics as described below.
- この祀りは神楽(かぐら)などの巫女の舞や太神楽などの曲芸や獅子舞などであり、広く親しまれるものとして恵比寿講などがある。
- This matsuri refers to Miko no mai (shrine maidens dancing) such as Kagura (sacred music and dancing performed at shrines) and so on, or acrobatics and shishimai (lion dance) such as Daikagura (Street performances of a lion dance and jugglery) and so on, and a festival in honor of Ebisu and so on is popularized broadly.
- 低い音から高い音の間を縦横無尽に駆け抜けるその音色は「舞い立ち昇る龍の鳴き声」と例えられ、それが名前の由来となっている。
- The name of Ryuteki flute (literally means a dragon flute) is derived from its tone, which is compared to 'a roar of the rising dragon,' sounding as if there is no barrier between the lowest pitch and the highest pitch
- 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.
- 伝統音楽では叙情的な唄もの音楽(民謡、長唄等)や歌舞伎・文楽(人形浄瑠璃)等の芝居・舞踊を引き立てる役割として用いられる。
- The shino-bue is used in traditional music to enhance lyrical songs (such as folk songs and nagauta) as well as plays and dances performed in kabuki and bunraku (or ningyo joruri [traditional Japanese puppet theater]).
- 左團次の死後は昭和10年 (1935) から市川猿翁の一座に、また昭和23年 (1948) からは関西歌舞伎に身を投じた。
- After Sadanji's death, he joined Eno ICHIKAWA's company from 1935, then he joined Kansai Kabuki from 1948.
- 中庸の位で、特に固有の性格というものも持たず、囃子の構成(大小中之舞・太鼓中之舞)や曲趣、役柄によってそれぞれに仕分ける。
- With a moderate tempo and without any particular characteristics, the mai is classified depending on the configuration of hayashi (Chu no mai accompanied on dai-sho (big and small) hand drums or Chu no mai accompanied on drums), on the characteristics of the music or on the performers' character in the Noh play.
- 明治時代以降も相変わらず歌舞伎の人気は高かったが、知識人などからは文明国にふさわしい内容でないと批判も受けるようになった。
- During and after the Meiji period, Kabuki was still quite popular, but it also began to be criticized from intellectuals and others as inappropriate content for a civilized country.
- 江戸時代後期には天竺徳兵衛をモデルにした自来也ものが読本・浄瑠璃・歌舞伎で当たりし、児雷也の蝦蟇への大変身が話題となった。
- Jiraiya modeled after Tokube TENJIKU became popular in books, Joruri (dramatic narrative chanted to a shamisen accompaniment), and kabuki during late Edo Period, and the transformation of Jiraiya into gama no abura (oil of toad) became a popular topic of conversation.
- 歌舞伎十八番「助六由縁江戸桜」の主人公、助六の愛人の名が揚巻であることから、 油揚げとのり巻きの洒落から名付けられている。
- This name is taken from the hero's name in a Kabuki 'juhachiban' play, 'Sukeroku yukarino Edozakura' (Sukeroku, Flower of Edo), and because the name of Sukeroku's mistress is Agemaki, the sushi of a combination of aburaage (age) and norimaki (maki) was so named as a pun.
- 絲鞋(しがい・いとのくつ・しあい)とは、未成年の皇族や童舞の舞楽装束や神道の儀式に参加する幼い巫女に用いられる絹糸製の靴。
- Shigai (also known as Ito no Kutsu, or Shiai) is a pair of silk shoes worn by underage member of Imperial family, performers of Dobu (also known as Warawamai Dance, performed by children), or young shrine maidens who participate in the Shinto rituals.
- 舞は佳境にいたり、地謡の「賀茂のやしろにすごすごと、歩みよるべの水のあや(中略)倒れふしてぞなきいたる」で、女は倒れ伏す。
- The dance comes to the climax and she falls down when the Jiutai sings, 'Walking along the shore to Kamo Shrine with a heavy heart, I fell down and wept.'
- 日本髪文化は歌舞伎、時代劇、花柳界、結婚産業以外では殆ど衰退したが現在では正月等の晴れ着の場合に新日本髪を結う場合が多い。
- Although the Japanese coiffure culture almost perished except in kabuki (the traditional drama performed by male actors), period dramas, karyukai (the world of geisha), and the wedding industry, people today usually dress the new Japanese coiffure when wearing haregi (festive dress) in New Year's day and other occasions.
- 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.
- 父・五代目歌右衛門は歌舞伎座幹部技芸委員長として当時の劇界を支配する名優であり、御曹司として何不自由ない幼年時代を過ごした。
- His father, Utaemon V was the acting master who dominated the then theater world as the chief of the executive artistry committee of Kabuki-za Theatrical Corporation and spent his childhood in the lap of luxury as a son of a distinguished family.
- 手軽な庶民食、米食の代用食として、また祝い事に際して振る舞われる「ハレとケ」の食物として、古くから日本全国で食べられてきた。
- Regarding Udon noodles as simple everyday dishes, substitutes for boiled rice, and foods of 'hare and ke' (unusual events and daily events) served at festive events, Japanese people nationwide have eaten them from ancient times.
- 伊福部昭にも『交響舞楽「越天楽」』と題したオーケストラによるバレエ音楽があるが、これは創作的意図で書かれた独自の作品である。
- Although a piece of ballet music titled 'Orchestral dance music Etenraku' is included in works composed by Akira IFUKUBE, it was produced as his own original work.
- 歌舞伎鳴物 - はっきりとした家元制度があるわけではないが、田中傳左衛門の名跡を中心に鼓方全体で一定のまとまりを見せている。
- Kabuki musical accompaniment: Although there is not clear iemoto system (the system of licensing the teaching of a traditional Japanese art), the whole drum players are stuck together around the successor of Denzaemon TANAKA.
- 舞囃子が一曲のうち能シテの舞がかかわる部分の大半を上演するのに対して、仕舞においては謡のあるシテの舞を抜きだしたものである。
- In Maibayashi, most parts relating to dances by Noh shite (leading role) is performed in one play, while in Shimai, dances performed by the shite which is accompanied by Utai (the chanting of a Noh text) are extracted.
- 前半では笛と小鼓が特殊な手を奏する神楽部分3段、後半は神舞2段に変化する(直り)のが普通(巫女に神が乗り移った解釈)である。
- Ordinarily, the first half is composed of three kagura sections where fue and kotsuzumi play a special tune and the latter half is changed (fixed) into two kami mai sections (it is construed that the miko has been possessed by the goddess).
- 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.
- 京都市東山区の祇園一帯など花街では、新暦8月1日に芸妓や舞妓がお茶屋や芸事の師匠宅へあいさつに回るのが伝統行事になっている。
- In and around hanamachi (fleshpot) such as Gion in Higashiyama Ward, Kyoto City, it is a traditional event conducted on August 1 (solar calendar) for geiko (young geisha) and maiko (apprentice geisha) to pay courtesy calls to ochaya (literally 'teahouse' which refers to places where geisha entertain their guests) and shishotaku (residences of their masters who teach them various accomplishments).
- 現在では実用されていないが、江戸時代の正式の演能の際には、開演前に大目付がここから舞台上にのぼり、幕に向かって開演を告げた。
- Kizahashi is not practically used today, but in the Edo period, Ometsuke (chief inspector of the Edo bakufu) walked up Kizahashi to the stage before the performance and announced the commencement of the performance in formal Enno (performance of Noh play).
- また歌舞伎は通し狂言として上演されることが稀で、通常は各演目の中から人気のある場面(段・場・幕など)のみが単独で上演される。
- And in Kabuki, Toshi-kyogen is rarely performed, so in usual cases, a popular part ('dan' [Section], 'ba' [Scene] or 'maku' [Act]) in each program is independently performed instead.
- 由来の一つとして木枕に蝶が休んでいる所に扇を投げつけた所その蝶と扇が舞い、木枕に乗る様子がおもしろいとしたというものがある。
- Some people say that it started when someone threw a fan at a butterfly which was resting on a wooden pillow, and found it amusing to see the butterfly and fan floating in the air and landing on the wooden pillow.
- ここで世阿弥12歳の今熊野の公演において、初めて翁舞を座の大夫が演じることになり、翁舞そのものが変質した瞬間が語られている。
- In the section, it is described that in the performance of Imakumano tayu (leading actor in a Noh play) of the troupe performed Okinamai for the first time in history and at that moment Okinamai itself transformed.
- かつては「半人前」の身分であるとして「花代」(玉代、線香代とも)が芸妓の半分であることもあった(京都の舞妓はそうではない)。
- Formerly they earned half 'the hanadai' (fee for geisha) of geigi (also referred as gyokudai or senkodai), since their status was considered to be 'half' of that of geigi (excluding the geigi in Kyoto).
- なお、詩吟の振興に関する全国的な組織として、財団法人日本吟剣詩舞振興会があり、その傘下に各都道府県の吟剣詩舞道総連盟がある。
- And as a nation-wide organization concerning the promotion of shigin, Nippon Ginkenshibu Foundation exists and under that Ginkenshibudo Sorenmei exists in each prefecture.
- 京都の風物詩として著名で、「東北院職人尽歌合」や「七十一番職人歌合」など中世の職人歌合において記され、狂言・舞踏にも登場する。
- Since oharame is well known as fubutsushi (a poetic expression for certain events or things) of Kyoto, it is mentioned in works of contests of craftspeople in the medieval period such as ''Tohokuin Shokunin Zukushi Uta-awase' (Poetry Contest of Craftspeople of Tohokuin Temple)' and 'Shichiju-ichi-ban Shokunin Uta-awase' (Poetory Contest Among People of Various Occupations in Seventy-one Rounds), and it also appears in Kyogen (farce played during a Noh cycle) and dance performances.
- 各地の大名を弟子に持ち、金春流では長らく途絶していた秘曲「関寺小町」を復活させ、「童舞抄」などの伝書を記すなどの活躍を見せた。
- He took some local daimyo (feudal lord) as his pupils, and as a performer in the Konparu school, he revived an old classic, 'Seki-dera Komachi (Komachi at Seki-dera),' which had ceased to be performed for a long time, and left 'Dobusho' (Comments on Noh Plays).
- 仕舞の基本は摺り足であるが、足裏を舞台面につけて踵をあげることなくすべるように歩む独特の運歩法で(特にこれをハコビと称する)。
- The basis of Shimai is Suriashi (shuffle), which is a unique way of walking (Particularly known as Hakobi) in which the sole of the feet slide along the floor without raising the heels.
- 酒粕には、ビタミン類、炭水化物、アミノ酸等が豊富に含まれていて、体を温める効果があるため、冬の行事などで振舞われることが多い。
- Sake lees are rich in vitamins, carbohydrates, amino acids, etc. and are effective in warming up bodies, so kasujiru is often served at events in winter.
- これらのことに、地方の酒蔵はおおいに驚くとともに鼓舞され、各地で自分たちの水と米に適合した酒造りが研究・発展されることになる。
- The sake breweries in local districts were very surprised at these and inspired, and began to research and develop their sake brewing methods which were suitable for their own water and rice in various places.
- 演劇改良運動(えんげきかいりょううんどう)とは、明治時代に歌舞伎を近代社会にふさわしい内容のものに改めようとして提唱された運動。
- Engeki Kairyo Undo (Theatrical Performance Improvement Movement) was a campaign launched during the Meiji period, that advocated reforming Kabuki (traditional drama performed by male actors) so it could meet standards of modern society.
- 1975年(昭和50年)には来日した英国のエリザベス2世 (イギリス女王)の前で公演を行うなど、歌舞伎の海外への紹介に尽力した。
- He performed in front of Elizabeth II from the United Kingdom who visited Japan in 1975, and devoted himself to introduce Kabuki overseas.
- 上記の歌舞伎と、基本的に同じだが、舞踊の発表会では黒のアイライナーを太く入れる場合が多い、極稀に、付けまつげを付ける場合もある。
- Although the makeup of Kabuki Buyo (Kabuki dance) is essentially the same as the aforementioned Kabuki, the dancers often put on thick black eyeliner and sometimes wear excessively tipped eyelashes during dance recitals.
- 小袖の模様は熨斗目もしくは無地であるが、現在では無地のみが用いられ、熨斗目小袖の紋付は歌舞伎や時代劇の衣装として残るのみである。
- Montsuki kosode has two types of patterns: the solid-color type and noshime type; today, however, only the solid-color kosode is used among the public, and noshime kosode is seen just in Kabuki or historical dramas.
- 平安時代に成立した初期の猿楽に歌舞音曲が組み合わされ、現在で言うところの能楽の原型が出現したのが鎌倉時代であると考えられている。
- It is believed that the original model of the current Nogaku (Noh music) was created during the Kamakura period after Sarugaku, which was created in the Heian period and was in its early stage at the time, was combined with music and dance.
- むろん歌舞伎の劇付随音楽としても用いられたが、それだけにとどまらず、素人の習事、座敷音曲としての性格をも備えるようになってゆく。
- These were used, needless to say, as the musical accompaniment of Kabuki, but they also became the subjects of amateur learning or as music played at Japanese-style restaurants.
- 延年風流と呼ばれる演劇的な出し物では、二階建ての装置や移動可能な山車のようなものなど、大がかりな舞台装置も使われる場合もあった。
- In performing Ennen furyu, which was similar to theater arts, large-scale sets like two-storied sets and movable floats were used.
- 古くは寺社などの神託を受けて商品ではなく縁起物を振舞うことを生業とし、その謝意として祝儀を受け取る祭りには欠かせない、職である。
- The Lotus Leaf Trade were businesses that were asked by shrines and temples to sell holy good luck charms, rather than merchandise, receiving in return gifts of gratitude, and as such were indispensible for festivals.
- スカパー!(CSデジタルテレビ放送)の能番組は充実しており、「歌舞伎チャンネル」や「京都チャンネル」で度々能を録画放送している。
- Japan's Sky Perfect! (CS digital television broadcasting) provides excellent programs of Noh, and recorded Noh performances are often broadcasted through 'Kabuki Channel' and 'Kyoto Channel.'
- プロ野球やレジャー産業の人気上昇、映画やテレビ放送の発達が見られるようになり、歌舞伎が従来のように娯楽の中心ではなくなってきた。
- The professional baseball & the leisure industry became popular, and the development of the movies & the television broadcasting began to be seen, so Kabuki slipped out of the central part of recreation that it occupied in the past.
- しかし、特に上方舞の世界や関西の一部の地歌箏曲の世界で使われるこの名称がさすものはそれとは少し異なるジャンルの音楽のようである。
- Kamigata uta has also been used in the world of 'Kamigata mai' (dances born in the pleasure quarters of Kamigata) and in some parts of the world of 'jiuta sokyoku' (songs accompanied with shamisen and koto [the long Japanese zither with 13 strings]), but this Kamigata uta seems to be a little different from the above-mentioned 'Kamigata uta.'
- 「晴れの舞台」(=生涯に一度ほどの大事な場面)、「晴れ着」(=折り目・節目の儀礼で着用する衣服)などの言い回しで使用されている。
- It is used in expressions such as 'hare no butai' (a situation so important that it happens almost only once in a life time) and 'haregi' (clothes worn at rituals that take place at milestones or specific changes).
- 戦後のある時期までは、文楽の側に竹本を低く見る意識がつよく、歌舞伎に出ることは義太夫にとって「身をおとす」という意識がつよかった。
- Until a certain period after World War II, Bunraku practitioners had a strong tendency to look down upon Takemoto and inclined to consider that their appearance in Kabuki was a 'disgrace.'
- それに「ハレとケ」の食物として麺類が用いられる風習が一部にあり、結婚式等の祝い事の席やそれが終わった後に素麺が振舞われる事がある。
- There is a custom of eating noodles as a feast of hare and ke (sacred-profane dichotomy) in some areas, and somen is sometimes served in or after a celebratory event such as a wedding ceremony.
- ただし、近年では一般社会と多少の意識がずれた、若しくは或る種の名門的な存在の特別な社会としてあえて歌舞伎界を梨園と呼ぶことがある。
- However in the recent years, rien is sometimes employed to mean the world of Kabuki as something which does not quite reflect the public at large, or a kind of an exclusive society that serves only elites.
- 特に表意的な内容はなく、その後に続くクセや舞事呂中干ノ地などの序奏的なものとして扱われる(したがって舞囃子などでは通常略される)。
- It has no special ideographical implication and it is treated as an introduction to kuse or mai-goto Ryochukan no ji following it (therefore, it is usually omitted in Maibayashi [an abbreviated style of Noh]).
- 1993年12月の京都南座顔見世における『八陣守護城・御座船の段』の佐藤正清が最後の舞台となり、1994年3月26日、京都で死去。
- His final role was that of Masakiyo SATO in 'Hachijinnokami-mamorijiro, Gozabune-no-dan,' which he performed in an all-cast performance series at Minami-za in Kyoto in December 1993; he died in Kyoto on March 26, 1994.
- 柳田国男の論を受けた渡辺保によれば、「踊り」が飛躍や跳躍を含む語であるのに対し、「舞」は「まわる」つまり円運動を意味する語である。
- According to Tamotsu WATANABE who is following a theory by Kunio YANAGIDA, the term 'Odori' (dances in Classical Japanese dance, and so on) also refers to jumping, but, the term 'Mai' (dances in Noh) means 'revolving' which means a circular movement.
- 正倉院御物の「弾弓散楽図」などから推測される限りでは、軽業や手品、物真似、曲芸、歌舞音曲など様々な芸能が含まれていたものとされる。
- What we can guess from 'Dankyu Sangaku zu,' one of the Shoso-in gyobutsu (Shoso-in Treasures), is that various arts such as acrobatics, the conjuring of tricks, mimicry, stunts, dance and music, etc., were included in Sangaku.
- 今日では地蔵盆は子供のための祭とも言え、地蔵に詣った子供達は地蔵の前に集まった席で供養の菓子や手料理などを振る舞われる場合が多い。
- Nowadays Jizo-bon can mean a festival for children, after they pray for Jizo they were given some sweets or home made foods prepared for service for dead people in the area where children gathered around Jizo.
- 同書は倭人のことを「人性嗜酒(さけをたしなむ)」と評しており、喪に当たっては弔問客が「歌舞飲酒」をする風習があることも述べている。
- This book describes Japanese were 'fond of the drink' and also had a custom for mourners to 'sing, dance and drink' at funeral services.
- 舞方は諸流派があり風流系(ふりゅうけい)、神楽系(かぐらけい)などが知られるが、他にも多くの舞があり同じ物は二つとないとも言える。
- A large variety of dance schools exist, including the well-known Furyu school and 'Kagura' school ('Kagura' means the sacred music and dancing performed at shrines), and every school can be said to be unique.
- 順風満帆に思えた舞台人生だが、1933年(昭和8年)に兄・五代目中村福助(俗に慶ちゃん福助と呼ばれた)が病没するや、それは一転する。
- His stage life seemed smooth sailing, but when his brother Fukusuke NAKAMURA V (commonly called Kei-chan Fukusuke) died from disease in 1933, it was turned around.
- これは民衆の習俗として登場した舞踊が舞台芸術化するにつれて、衣装などの外形は保存しつつも舞台栄えする華やかさを要求された結果である。
- This is because folk dancing, which originated from people's folkways and has become theatrical art, needs glamorous air as theatrical art while maintaining traditional appearance such as costume etc.
- 舞台ではずっと座りっぱなしだったが、千穐楽の日、大詰の「千住大橋の場」幕切れで、ふと何かに取り憑かれたかのようにすっくと立ち上った。
- While he mainly sat while on stage, on the day of senshuraku (closing day), he stood up as if possessed during the final scene of the 'Senju Ohashi no B'' (scene of Senju Ohashi Bridge) just before the fall of the curtain.
- やがて壽海も自らの舞台の確保に苦しむことになり、これが養子に迎えた市川雷蔵 (8代目)が梨園と決別して映画界入りする一因ともなった。
- Eventually, Jukai himself had difficulty in securing opportunities to perform, which was one of the reasons his adopted son, Raizo ICHIKAWA (VIII) left the kabuki world to enter the world of cinema.
- 演者は、本来の指定にかかわらず最初の一句を坐ったまま謡い、次に立ち上って舞い、最後に打ち込みと呼ばれる型を行って坐って一曲を終える。
- A performer chants the first phrase in a sitting posture regardless of original designation, then stands up and dances, and finally performs a movemenet called Uchikomi (the Scooping Point), and then sits down and finishes the piece.
- 調子が高くなり、あかるくのびのびと舞い、「融」のような貴公子の遊舞ものや、「海人 (能)」のような成仏の喜びをあらわす舞事に用いる。
- With the tune raised, this mai is played in a cheerful, relaxed way, and is used in the playful mai by the young noble in 'Toru' (MINAMOTO no Toru) or in the mai-goto, expressing the delight of becoming a Buddha, such as 'Ama (in Noh)' (Diver Woman).
- 興行における一座の一体感を確認し、共にひとつの舞台をつくりあげてきたことを喜び合う日として、千秋楽は独自の意味を持っているといえる。
- Senshuraku has the special meaning as the day when a sense of unity should be confirmed among the performers, and they all take delight in having achieved a play together.
- 能や歌舞伎を観覧する人々が幕間(まくあい)にこの特製の弁当を食べていたため「幕の内弁当」と呼ばれるようになったという説が有力である。
- There is a theory that the name Makunouchi-bento comes from the fact that people who saw Noh and Kabuki (traditional drama performed by male actors) enjoyed this special bento during intervals (between acts), that is, Makuai, and this theory is widely accepted..
- 松囃子はその様相から、人家の門前で音曲を奏し金品を貰う「門付け」や、念仏踊りや獅子舞の起源である中世芸能の「風流」の一種とも言える。
- From this aspect, it can be said that Matsubayashi is a kind of 'Kadotsuke' whereby performers play music in front of the gate of a house and are given money, or a kind of 'taste' of medieval performing arts, which is the origin of nenbutsu odori (dance while others say nenbutsu - Buddhist prayer) and shishimai Lion dance.
- お迎え提灯と花笠巡行には舞台化粧と同様の厚化粧をしてカラフルな水干を着た少年3名が馬長稚児(うまおさちご)として馬に乗って登場する。
- In the Omukae Chochin and Hanagasa Junko parade, three boys known as uma osa chigo appear riding on horses, wearing stage makeup and suikan (everyday garment worn by commoners in ancient Japan).
- いわゆる明治時代の後半期になると、大阪では豊竹呂昇、東京では竹本綾之助が空前の人気を博し、芸能での人気を歌舞伎と二分するほどになった。
- During the latter half of the Meiji period, Rosho TOYOTAKE in Osaka and Ayanosuke TAKEMOTO in Tokyo gained unprecedented popularity, nearly equaling that of kabuki in the entertainment world.
- 広義にはいわゆる仕舞と舞囃子を含めたものを指すが、一般的には舞囃子とは異り、囃子を伴わず、舞事・働事などの部分を略した短い素舞を指す。
- In a broad sense, it indicates performances that include Shimai and Maibayashi (an abbreviated style of Noh); however, in contrast with Maibayashi, Shimai generally indicates a short dance without being accompanied by music, in which mai-goto (instrumental dances) and hataraki-goto (descriptive pieces) are abbreviated.
- 呂中干ノ地以外の笛の譜による舞事としては楽、神楽、鞨鼓、乱、獅子、乱拍子があり、これらはそれぞれ異なった固有の笛の譜によって舞われる。
- The score of fue accompanied mai-goto other than Ryochukan no ji mono include Raku (literally, ease dance), Kagura ((sacred music and dancing performed at shrines), Kakko (double-headed barrel drum played with two sticks), Midare (literally, chaos dance), Shishi (lion dance) and Ranbyoshi (mad rhythm), each of which is danced in accompaniment to a different specific fue score.
- 全席を椅子席にして観客が「腰掛ける」ようにしたのは、演劇改良運動の一環として明治22年 (1889) に落成した歌舞伎座が最初だった。
- The Kabuki-za Theater, which was completed in 1889 as part of the Engeki kairyo undo (theatrical performance improvement movement), was the first theater to change all the floor seats to chair-based seating, with the result that audiences were forced to 'sit' on chairs.
- 1973年10月 - 11月 歌舞伎座にて『弁天娘女男白浪』の弁天小僧菊之助、『京鹿子娘道成寺』白拍子花子ほかで七代目尾上菊五郎を襲名。
- October to November 1973: He succeeded to the name, Kikugoro ONOE, the Seventh, by performing such as Kikunosuke, the Benten Kozo (a thief) in 'Bentenmusume Meono Shiranami,' and Hanako, a Shirabyoshi (a women who plays Japanese traditional dance) in 'Kyo Kanokomusume Dojoji' (The maiden at Dojo-ji Temple) in Kabuki-za theater.
- お祭り(祭囃子、神楽里神楽、獅子舞など)、民謡、歌舞伎・日本舞踊(邦楽囃子)などの舞台音楽、座敷音楽(端唄、小唄など)で用いられる横笛。
- A shinobue is a yokobue that is used in festivals (matsuri-bayashi, satokagura, shishimai, and so on) stage music such as folk music, Kabuki and classical Japanese dance (hogaku-bayashi [orchestra of Japanese classical music]) and zashiki music (literally, music in tatami-room; hauta [a Japanese traditional song or ballad sung to the accompaniment of the samisen, Japanese banjo] and kouta [a ballad sung to samisen accompaniment], and so on).
- 東京の浅草、京都の京の花街、大阪の北新地などでは、芸者(舞妓、芸妓)やホステスが、節分の前後に通常の芸妓衣装ではない、様々な扮装をする。
- Around the time of setsubun, geisha (maiko, geiko) (Japanese professional female entertainers at drinking parties) as well as other hostesses in such places as Asakusa in Tokyo, Kyo no Hanamachi (Kagai) in Kyoto and Kita-Shinchi in Osaka make themselves up in costumes other than their usual attire.
- 4-7目付柱(角)、シテ柱、笛柱、脇柱(大臣柱) 面をつけると視野が非常に制限されるので、舞台上ではこれらの柱を目印(目付)にして舞う。
- 4-7 Metsukebashira (sighting pillar), Shitebashira (principal character's pillar), Fuebashira (flute pillar), and Wakibashira (also called Daijinbashira, downstage left pillar): A performer wearing a mask has very limited sight, so these pillars help the performer to position himself upon the stage while dancing.
- 八坂神社での宮入では、舞殿の周囲を3周する拝殿回しを行い、神輿3基がここぞとばかりに力を振り絞りながらの勇壮豪快な最後の練りを披露する。
- In the miyairi at the Yasaka-jinja Shrine, three portable shrines turn around the buden (building for dance) three times, known as haiden mawashi, to have the last brave and thrilling procession, taking the opportunity to use every exertion.
- 演出にも野田秀樹、蜷川幸雄、串田和美、三谷幸喜、わかぎえふら現代劇の演出家が迎えられ、現代劇のテイストを加えた歌舞伎公演が行われている。
- Even in direction, modern theater directors, such as 'Hideki NODA,' 'Yukio NINAGAWA,' 'Kazumi KUSHIDA,' 'Koki MITANI' and 'Efu WAKAGI,' were invited, thereby adding the modern theater flavor to Kabuki performances.
- しかしながら、明治維新を迎えて、日本酒が政府のお墨付きと後押しを受けて表舞台を通じてヨーロッパに入っていったことは事実であるといえよう。
- However, it can be said to be true that sake was introduced to Europe officially with the government's approval and support after the Meiji restoration.
- たとえば能であれば、所縁曲の相違、使用する謡曲の相違、戯曲に対する解釈の相違、舞の調子や工夫の相違、装束の選びかたの相違などがあげられる。
- For example, in case of Noh, schools have differences in music, songs used in dramas, interpretation of dramas, tones and ideas for dances, selection of costumes, and so on.
- 語源はその具を串刺しにした格好が、田楽のひとつである、田んぼに棒を突き立てその上で踊る「高足の舞」に似ている事から名づけられたと言われる。
- The name is said to have been derived from one of the Dengaku (style of dancing and music originally performed at agricultural festivals) pieces, 'Takaashi-no-mai' (dance on high legs), since the shape of skewered foodstuffs looked like the dance performed on poles put up on the rice field.
- 以後師によって立役としての厳しい薫陶を受け、1935年音羽屋所縁の名跡二代目尾上松緑を襲名する(歌舞伎座『伽羅先代萩』荒獅子男之助ほか)。
- Thereafter, he received thorough instruction in lead roles from his teacher, and in 1935 he took the name Shoroku ONOE (II) after Shoroku OTOWAYA (Kabukiza Theater 'Meiboku Sendaihagi' starring Otokon Oosuke Arajishi and others)
- 1951年には亡父の後を襲って片岡仁左衛門を襲名するも、1960年代に入ってから関西歌舞伎の凋落いちじるしく、思わしい活動が行えなかった。
- In 1951, he succeeded to the stage name Nizaemon KATAOKA after his late father, but with the dawn of the '60s Kansai kabuki started a significant decline and he couldn't act as he wanted.
- 石川県金沢市では、背から切れ目を入れた鯛におからを詰め、蒸した鯛を2匹腹合わせに盛りつけた鯛の唐蒸しという料理が結婚披露宴で振る舞われる。
- In Kanazawa City, Ishikawa Prefecture, there is a dish called Tai no Karamushi (Chinese-style steamed sea bream), which is prepared by stuffing two sea bream with okara through a cut in their backs and then steaming them, after which they are served on a plate with their stomachs facing each other at a wedding party.
- 10日の、お迎え提灯、16日の宵宮神賑奉納神事に、一般的なお揃いの浴衣を着て舞台化粧並みの厚化粧をした小学生位の少女多数が可憐に舞い踊る。
- Many elementary-age girls dance in the same Japanese summer kimono, wearing stage makeup in the Omukae Chochin on the 10th and the Yoimiya Shinshin hono shinji on the 16th.
- 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.
- また、葛の葉を主人公とする文楽『蘆屋道満大内鑑(あしやどうまんおおうちかがみ)』、および翻案による同題の歌舞伎も通称「葛の葉」と呼ばれる。
- The bunraku play featuring Kuzunoha, 'Ashiya Doman Ouchi Kagami' (A Courtly Mirror of Doman ASHIYA), and the kabuki play with the same title which is based on the bunraku play are also commonly called 'Kuzunoha.'
- 女は男のさしだした烏帽子をかぶり、「加茂川の後瀬静かに後も逢わん(加茂川が合流する地点であるこの地で恋する人と出会おう)」と舞いはじめる。
- She puts on eboshi (formal headwear for court nobles) offered by the man and begins to dance to the tune 'I'll meet my sweetheart at this place where the River Kamo joins.'
- 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.
- 中之舞に序とよばれる段がつけくわえられ、さらに位を重く(速度を遅く)したのが序之舞であり、女体や老人のシテが閑寂かつ幽玄に舞うものとされる。
- Jo no mai is generated by adding to Chu no mai a section called Jo and by making the tempo slower, and it is said that a female or elderly shite dances quietly and gracefully in this mai.
- このころは能舞台などでおこなわれており、歌舞伎座の花道は(下手側が本花道、上手側が仮花道であることなども含め)ここから来ていると考えられる。
- Around that time, Kabuki was performed on a Noh stage or the like, and 'Hanamichi' (a passage running through the audience to the stage) of the present Kabuki theater seems to have its origin in the Noh stage, including the details, such as the structure of the left side of the stage 'Hon-hanamichi' (the main hanamichi) and the right side of the stage 'Kari-hanamichi' (the secondary hanamichi).
- 半纏と前掛けには蔵の名前が染め抜かれ、造り仕舞い(つくりじまい)のときなどに鯛の粉菓子や下駄などとともに新しい半纏と前掛けが蔵から贈られた。
- A hanten and an apron respectively had a brewery's name relieved on its colored field, and these items were newly given to a worker from the brewery at the end of the sake brewing process of the year, along with some other gifts such as sea bream-shaped candy and a pair of Japanese wooden sandals.
- 福島県須賀川市の『松明通り』(福島県道54号須賀川三春線)を舞台に2005年から開催されているYOSAKOIの名称に「祭天」が使われている。
- The name 'Saiten' is used for YOSAKOI, a festival that has been held on 'Taimatsu Dori' Street (between Sukagawa and Miharu on Prefectural Highway 54), Sukagawa City, Fukushima Prefecture since 2005.
- 「ポチ袋」(点袋)と呼ばれることもあるが、この「ポチ」は関西方言で「心づけ、祝儀」を意味し、もっぱら舞妓などに与えていた祝儀袋のことであった。
- It is sometimes called 'pochi bukuro,' which means 'tip, gratuity' in Kansai dialect, shugibukuro (special envelope for monetary gifts) which was usually given to Japanese dancing girls in and around Kyoto (apprentice geigi or geiko).
- 子供は片岡我當 (5代目)、日本舞踊家花柳寿々、片岡秀太郎 (2代目)、片岡仁左衛門 (15代目)、新劇女優片岡静香(演劇集団 円)らがいる。
- His children include: Gafu KATAOKA (V); Suzu HANAYAGI, a performer of Japanese dance; Hidetaro KATAOKA (II); Nizaemon KATAOKA (XV); and Shizuka KATAOKA, an actress of shingeki (new dramas influenced by Western stage plays).
- 散楽(さんがく)は、日本の奈良時代に大陸から移入された、物真似や軽業・曲芸、奇術、幻術、人形まわし、日本舞踊など、娯楽的要素の濃い芸能の総称。
- Sangaku, which was imported from the Asian continent into Japan in the Nara period, is the collective name of various amusement arts including, but not limited to, mimicry, acrobatics/stunt, trick, magic, puppet show and Japanese dancing.
- 例えば、雅楽に用いる鳥兜と火炎太鼓に紅葉を添えたものは、源氏物語「紅葉の賀」で主人公が紅葉の下で鳥兜をかぶる優美な舞青海波を舞った場面を表す。
- For instance, the uta-e depicting a torikabuto (a traditional hat worn when playing gagaku (ancient Japanese court dance and music)), a kaendaiko (a large drum decorated with flames), and Japanese maple leaves suggests the scene where the hero of 'Genji Monogatari' performed an elegant dance 'Seigaiha' (Blue Ocean Wave) donning a torikabuto under Japanese maple trees, which appears in the chapter of 'Koyo-no-ga' (An Autumn Excursion).
- 多くの萬歳は舞扇のような扇子を用いるが、三河萬歳は中啓(能楽で使う扇の一種で、閉じた状態を横から見た時に先が広がっている)を用いる場合が多い。
- In many manzai, the performers use a folding fan like 'maisen' (folding fan for dancing), but in Mikawa manzai they often use a 'chukei' (a kind of folding fan in nogaku, when we see the closed one from the side, its end is spreading).
- 芝居茶屋の食事は芝居見物の楽しみの一つで、この日ばかりは下は庶民から上は大名に至るまで、できる限りの大判振る舞いをして各茶屋自慢の味を堪能した。
- The meals served in the theater tea rooms were part of the attraction of watching the theater and on these days people from all walks of life from commoners to feudal lords dined lavishly, enjoying the specialty cuisine of each tea room.
- 『平家物語』剣の巻にある一条戻橋の鬼の話では、綱が鬼の腕を斬り落とす場面の舞台は一条戻橋であり、この後に鬼が綱の乳母に化けて腕を奪い去るとある。
- In the tale of ogre at Ichijo Modori-bashi Bridge in the chapter, named 'Tsurugi (sword)' of 'Heike Monogatari (The Tales of the Taira family)', the scene Tsuna slashed off an arm of the ogre was set on Ichijo Modori-bashi Bridge, and after that, it is said that the ogre changed himself into Tsuna's nanny and took his arm away.
- 舞事(まい-ごと)とは、能において、主として一曲の能や狂言の後半部分に能シテ、能シテ、能ワキが能囃子のみによって演じる抽象的な所作(舞)をいう。
- Mai-goto means abstract acts (mai) that, in Noh, the shite (an actor playing the leading part), tsure (a supporting actor) and waki (the partner of a shite) perform accompanied solely by the hayashi (music played in the background), mostly in the latter half of a Noh or a Kyogen (a farce played during a Noh cycle) play.
- 畳の材料であるイグサ素材を編んだ古風な「畳表草履」は、歌舞伎などの舞台用か、ごく一部の男性用として見かける程度に過ぎず、現代では廃れてしまった。
- These days, tatami omote zori with insoles made of bulrush and resembling tatami mats are quite rare; they are only seen in kabuki or occasionally being worn by some men.
- 絵画、浮世絵、歌舞伎、時代劇などに出てくる頭頂部を剃った丁髷の髪型に多くの人々が、日々剃刀などで整えることは、予想以上に手間のかかることである。
- It took a lot of trouble for many people to keep the chonmage hairstyle by shaving the top of the head with a razor everyday like fictional characters' one seen in paintings, ukiyoe (Japanese woodblock prints), kabuki (traditional drama performed by male actors) and period dramas, etc.
- ただし、華やかな装飾や「後れ毛」は芝居・舞台用のアレンジであり、実際の武家の姫君は銀・べっこう細工の櫛・こうがい等のみで地味であったといわれる。
- However, it is said that the gorgeous decoration and 'loose hair' are arrangements for plays and dramas, and actual ladies of samurai families were modest, wearing only silverwork/tortoiseshell work combs and Kogai (one of hair ornaments for women in the Edo period).
- 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.
- 鴈治郎時代の2002年、京都のある舞妓(後に芸妓)とホテルで密会し、バスローブをはだけて、自身の陰部を露出させたことが写真週刊誌にスクープされた。
- In 2002, when his stage name was Ganjiro, it was scooped by a weekly photo magazine that, when he secretly saw an apprentice geisha (later on, a geisha) of Kyoto at a hotel, he opened his bathrobe and exposed himself.
- 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.
- ただ自然に振舞うには、俗なところが無く悟った境地にある者でないと難しいともしており、未熟者はそういった脱俗の境地にいる者をまねるべきだとしている。
- However it says that in order to behave naturally you must be the one who does not have philistine attitude and arrived at a deep awareness of things, and then amateurs should follow such a unworldly person.
- 地歌は劇場のような広い場所での演奏でなく、また芝居や舞踊の伴奏ではない純粋な音楽として、音に注意を集中し、室内でじっくりと音色を味わうからである。
- Jiuta is enjoyed as a pure music, focusing on the sound and savoring the quality of the sound within the room, instead of as an accompaniment to a play or a dance performed in a large venue such as a theater.
- たとえば、人形浄瑠璃及び歌舞伎の伴奏音楽である義太夫節では、「阿古屋の琴責め」が有名であり、ここでは地歌三味線、箏、胡弓の三曲がすべて演奏される。
- For example, among the gidayu-bushi, accompaniment for ningyo joruri (traditional Japanese puppet theater) and kabuki (traditional Japanese drama), 'Akoya-no-kotozeme' is the most famous, and the sankyoku of jiuta shamisen, so and kokyu are all played in it.
- 家元の存在する分野としては、各種の武術・武道、江戸期の公家家職に由来する有職故実・礼式の類、華道、茶道、書道、盆庭、能、邦楽、日本舞踊などがある。
- Iemoto exist in fields including various martial arts, practices and etiquette of the court or military households originating from Edo period court nobility professions, flower arranging, tea ceremony, calligraphy, bontei (tray gardening), noh, traditional Japanese music, and Classical Japanese dance.
- 長男の大は2001年(平成13年)に中村大を名乗り初舞台を踏み、2005年(平成17年)11月に初代中村鷹之資(なかむら たかのすけ)を襲名した。
- In 2001, his first son Dai made his first appearance on the stage by taking the name Dai NAKAMURA, and in November of 2005, he succeeded to the name, Takanosuke NAKAMURA I.
- ある場面では合戦の再現を、ある場面では抽象劇の写実劇化(能の歌舞伎化)を、ある場面ではまったくの創作、と多彩な形態の場面群を提供する事に成功した。
- It succeeded to provide various types of scenes by reproducing a scene of the battle, making an abstractive performance into a realistic one (i.e. making a Noh play into a Kabuki play), and creating a completely fictional story.
- なお、京都の舞妓が祇園祭の間の一定期間(7月10日頃~24日)にのみ結う「勝山」と呼ばれる髷は後れ毛のない点を除けばほぼこの「吹輪」と同形である。
- Also, the mage called 'Katsuyama' which is worn by Maiko (Japanese dancing girls in and around Kyoto) during the fixed period (around July 10 to 24) of Gion Festival is almost in the same shape as this 'fukiwa' except the absence of loose hair.
- 現在、歌舞伎の竹本を専門に業とする太夫には豊竹姓がおらず、今後も竹本姓だけを用いることがとりきめられているために、このような名称を定めるにいたった。
- The reason why the name Takemoto was given to Kabuki Gidayu is because there is no Tayu specialized in Kabuki Takemoto who currently use the TOYOTAKE surname, and Takemoto Tayu are required to use only the TAKEMOTO surname in the future.
- このため地歌以外の三味線音楽が歌舞伎や人形浄瑠璃などの視覚的要素を伴う伴奏音楽として発展したのに対し、箏曲は劇場とは関係のない純音楽として発展した。
- As a result, while shamisen music other than jiuta developed as accompanying music for kabuki and ningyo joruri (traditional Japanese puppet theater) that involve visual elements, Soh music developed as purely music independently from theater arts.
- また、浄瑠璃や長唄の三味線は歌舞伎・文楽・日本舞踊といった伝統芸能と共に用いられてきたため、広い劇場でもよく聞こえるよう、音量を増す方向に進化した。
- Additionally, the Shamisen used to accompany Joruri or Nagauta have also developed to increase their sound volume levels so that their sounds could be heard clearly even in large concert halls, because they have also been used for traditional performing arts such as Kabuki, Bunraku and Nihon-buyo (traditional Japanese dance).
- だが、太平洋戦争の激化にともない劇場の閉鎖や上演演目の制限など規制が行われ歌舞伎の興行も困難になり、空襲で劇場が焼失するなど物的人的被害も多かった。
- However, as the Pacific War intensified, Kabuki performances became difficult owing to the authorities' regulations, such as the closure of theaters & the restriction on performance programs, and casualties & property damages in the Kabuki community, such as the theaters' burning down by air raids, piled up.
- 薪能(たきぎのう)は、主として夏場の夜間、能楽堂、もしくは野外に臨時に設置された能舞台の周囲にかがり火を焚いて、その中で特に選ばれた演目を演じる能。
- Takigi-noh (Noh play performed at night by a fire) is a Noh play that is especially chosen and performed in Noh Theater or on a Noh stage with a beacon fire around which is temporarily installed outside mainly on summer nights.
- また、風流の格好・芸能・感覚は江戸時代に確立した歌舞伎・文楽などにも影響を与えた他、安土桃山時代桃山文化や元禄文化の建築などにもその影響が見られる。
- The styles, performances and sensations of Furyu affected Kabuki and Bunraku, which were established in the Edo period, the architecture of the Azuchi-Momoyama period, and Genroku culture.
- 一説には毬が羽に変化したのは、紐や羽のついた分銅を蹴る武術や舞や遊びが中国から伝わり、日本の毬杖と渾然一体となり現在の羽根突きになったとも言われる。
- One theory says that the reason why Gi was replaced by Hane was that the martial art, dance or game of kicking a laced or fletched weight was imported from China, and was blended together with Gi-Cho in Japan, and then present-day Hanetsuki was formed.
- 大正から昭和初期にかけては桂春団治、桂三木助 (2代目)、三遊亭圓馬3代目、立花家花橘2代目、桂小春団治(のち舞踊に転じ花柳芳兵衛)らが人気を集めた。
- From the Taisho period to the early Showa, the following storytellers were popular: Harudanji KATSURA, Mikisuke KATSURA (II), Enba SANYUTEI III, Kakitsu TACHIBANAYA II, and Koharudanji KATSURA (who later became a dancer named Yoshibe HANAYAGI).
- 阿波踊りの女踊りでは一般の浴衣や上記の舞踊と異なり、襦袢、裾除け、手甲を付け、黒繻子の半幅帯を歌留多結びに結ぶ場合が多い(黒の名古屋帯の場合もある)。
- Unlike the case of yukata or the above dancing, female dancers of Awa-odori dancing festival put on juban (undershirt for kimono), susoyoke (half-slip) and tekko (covering for the back of the hand and wrist) and tie a hanhaba obi made of black satin in karuta-musubi knot (a black Nagoya obi is also used).
- 人形浄瑠璃の演目を移植したものは丸本物と呼ばれる(義太夫狂言と呼ぶ場合も多いが、これは義太夫節を用いる歌舞伎の称であり、意味するところは多少異なる)。
- Kabuki Kyogen, with stories that came from Ningyo Joruri are called 'Maruhonmono' (doll theater); in many cases, they are also called 'Gidayu-kyogen,' but 'Gidayu-kyogen' is the name of the Kabuki which uses 'Gidayu-bushi' (the musical narrative of the puppet shows), so it differs a bit from Maruhonmono.
- すなわち日本人の平均的な日本酒の飲み方は、年に数回だけ振る舞い酒を、枡の角に盛った塩を舐めながら飲み、飲んだからにはとことん泥酔するような様式だった。
- At one time, Japanese commonly had sake only several times a year with licking salt on the corner of masu and drank heavily.
- だが、東国の風流系の獅子舞はもっと古くからある日本古来の獅子舞であり、獅子頭(ししがしら)も本来はシカやイノシシを模したものであったという説も根強い。
- But another long-lasting theory says that Furyu school of shishimai in eastern Japan originated from ancient Japanese dance, and that the headgear was originally modeled on that of a deer or wild boar.
- これが今日見られるような巫女舞になっていくのであるが、依然として「神がかり」の系統を受け継いだ古い形の巫女舞を残している神社も僅かながら存在している。
- Thus even though mikomai has developed into the style seen today, there still remain some older, albeit rare, style of mikomai with its tradition of 'kamigakari' (literally, 'spiritual possession').
- しかし、そんな中でも舞台の監修(監督)を積極的に行い、後進の中村雀右衛門 (4代目)、坂東玉三郎 (5代目)、中村福助 (9代目)らに指導を行っている。
- However, he actively supervised (directed) plays in the meantime and instructed the younger Jakuemon NAKAMURA IV, Tamasaburo BANDO V, and Fukusuke NAKAMURA IX.
- 有力な後盾を失った福助は、1941年(昭和16年)10月歌舞伎座において、前述の初菊、『浮世柄比翼稲妻(鈴が森)』の権八などで六代目中村芝翫を襲名した。
- Fukusuke lost the dominant backing, but he succeeded to Shikan NAKAMURA VII by acting the previously cited Hatsugiku and Gonpachi of 'Ukiyozuka Hiyoku no Inazuma' at the Kabuki-za Theater in October, 1941.
- 高物(たかもの)は転びや三寸が地面で商売するのに対し、大掛かりに仮設建築として床を持つ小屋を作る(見世物小屋)舞台や床などがあるのでこのように呼ばれる。
- Takamono (literally 'high thing') are so called because, in contrast with korobi or sanzun selling on the ground, they were big makeshift buildings (theaters) with stages and floors.
- 太平洋戦争末期には、連合国の海上封鎖と空襲、働き盛りの男性が徴兵されたことによる労働力不足のために、日本は深刻な食糧難と物資不足に見舞われることになる。
- At the end of the Pacific War, Japan suffered serious shortages of food and supplies due to sea blockades and air raids by allied nations, and a labor shortage because of the military draft of men in their most productive years.
- 王の舞と同じように、これら一連の芸能を構成する一つの芸能として平安後期の畿内の祭礼・法会でヒトツモノは成立し、中世に各地に伝播していったと考えられている。
- In the late Heian period, like the king dance, as one of such a series of performance arts, Hitotsumono was established in the festivals or Buddhism gatherings in the countries near Kyoto, and in the Medieval Period, it spread to various regions.
- また舞事は大半が能シテまたは能シテなどによって一人で行われるが、働事には「斬組」や「立廻り」のようにシテを中心とする多人数によって行われるものが含まれる。
- Though mai-goto is mostly performed by single performer such as the Noh shite (main role) or the tsure, hataraki-goto contains performances by many performers around the shite such as in 'kirikumi' (many samurai killing each other using a blade) and 'tachimawari' (a type of action piece, hataraki in Noh, in which the dancer circles the stage to the left to noncongruent instrumental music, the stick drum may be used in the accompaniment).
- 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.
- 一説には土佐の第12代藩主、山内豊資(とよすけ)が土佐清水でこれを振舞われた際に名づけたという伝承があるが、豊資は1794年生まれである為信憑性に乏しい。
- One theory is that its history started when the 12th lord of the Tosa Domain, Toyosuke YAMAUCHI, was served this appetizer in Tosashimizu and he named it Shuto, but this story lacks credibility as Toyosuke was born in 1794.
- また第二次世界大戦末期に日本全土が大規模な空襲に見舞われたが、これへの対処策として2枚の座布団を組み合わせた防空頭巾で頭部や肩を落下物の衝突から保護した。
- In addition, towards the end of World War II, Japan was subject to large scale air raids nationwide and one protective measure taken was to use two zabuton together make an 'air raid hood' to protect the head and neck from falling objects
- 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.
- 本来は、五番目の能が鬼畜物など祝言性を持たない曲目であった場合に、一日の演能をめでたく舞いおさめる意味で、さらに一番、祝言の曲を追加して上演したことを指す。
- Originally it meant performing further an additional celebratory number in order to finish dancing the en-noh of the day happily when the fifth noh was an uncelebratory number such as a play featuring kichiku (brute).
- この為に、卓上にある食器その他は派手に宙を舞うものの、空中で半回転して裏向きになった卓袱台の下敷きになるように押しつぶされ、あまり遠くに飛ばないことが多い。
- Although tableware on the chabudai flies dramatically into the air, they usually do not go far, as they are crushed under the table which turns upside down in midair.
- 観世栄夫によると、能楽協会における暗黙の了解として玄人には平等に仕事を斡旋することとなっており、シテ方の場合は年間で30番程度の舞台をこなしているとされる。
- According to Hideo KANZE, there is a tacit consensus in the Nohgaku Performers' Association to equally offer jobs to Kuroto, and it is said that Shitekata performs in about 30 stages per year.
- 先述の通り「歌舞伎」はもともと、最初から劇として作られた演目、人形浄瑠璃を原作とした演目、さらには舞踊といったさまざまのジャンルの舞台を総称したものである。
- As is mentioned above, Kabuki is the general term for various genres of stages, such as the program created as the drama from the start, the program whose story comes from Ningyo Joruri, and in addition, the program of dancing.
- また義満との出会いの前に没していた佐々木道誉から一忠についての話を聞いたこと、12歳の時に喜阿の舞台を観たことが記されているなど、少年時代の記憶も興味深い。
- Zeami's memories of his childhood that he had heard about Icchu from Doyo SASAKI who died before he met Yoshimitsu ASHIKAGA, and that he saw the Kia's stage when he was twelve years old are also interesting.
- 日本は話芸の文化が多彩であり、特に人形浄瑠璃における太夫と三味線、歌舞伎における出語り、写し絵、錦影絵の解説者といったナレーション文化がすでに定着していた。
- Japan has various kinds of storytelling arts, and in those days, there already existed the established culture of narration, which was shouldered by, for example, 'tayu' (a storyteller in 'ningyo joruri' [traditional Japanese puppet theater]) accompanied with 'shamisen' (the three-stringed Japanese banjo), 'degatari' (the musicians who appear on stage of Kabuki [the classical Japanese dance-drama]), and a talker in 'utsushie' (also called 'nishiki-kagee,' a magic lantern picture).
- 明治時代に入って文明開化の世となり、西洋の演劇に関する情報も知られるようになると、歌舞伎の荒唐無稽な筋立てや、興行の前近代的な慣習などを批判する声が上がった。
- As information about Western theatres was introduced to Japan thanks to the civilization and enlightenment movement during the Meiji period, criticisms were voiced at Kabuki for its far-fetched scenarios and outdated performance practices.
- 上記の歌舞伎と、基本的に同じだが、アイメークに赤をあまり使わず、黒のアイライナーを思いっきり太く入れる、口紅は輪郭だけ赤く、内側はクリーム色に塗る場合が多い。
- The makeup used in Taishu Engeki (popular drama) is also essentially the same as the aforementioned Kabuki, but there are many cases in which the actors do not use as much red for their eye makeup, putting on an uncommon amount of thick, black eyeliner, and paint only the outlines of their lips in red with the inside painted a cream color.
- 歌舞伎では『青砥稿花紅彩画』浜松屋の日本駄右衛門や『三人吉三廓初買』お竹蔵のお坊吉三等のように、武家方などの落ちついた年配りの男が微行の際に用いることが多い。
- Sojuro-zukin is often worn by a cool, aged samurai or the like such as Daemon NIPPON from Hamamatsu-ya in 'Aoto Zoshi Hana no Nishikie' (the title of the play about exhilarating action of five thieves), or Obo Kichisa from Otakegura in 'Sannin Kichisa Kuruwa no Hatsugai' (the title of the play about the personal relationships of three thieves), when they are under an incognito in Kabuki.
- 桜の開花状態を示す指標の一分咲き・二分咲きと同様に葉桜では葉と花の割合を示す言葉として満開以降は舞い始め、六分葉桜、七分葉桜、八分葉桜、九分葉桜のように呼ぶ。
- Similar to the terms used to represent the blooming status of cherry blossoms, such as Ichibuzaki (ten percent of blooms bud on the tree) and Nibuzaki (twenty percent of blooms bud on the tree), there are terms used to represent the status of Hazakura, such as Maihajime (blossoms starting to fall and scatter), Rokubu hazakura (sixty percent of young leaves on the cherry tree), Shichibu hazakura (seventy percent of young leaves on the cherry tree), Hachibu hazakura (eighty percent of young leaves on the cherry tree) and Kubu hazakura (ninety percent of young leaves on the cherry tree).
- 1872年(明治5年)歌舞伎関係者が東京府庁に呼ばれ、貴人や外国人が見るにふさわしい道徳的な筋書きにすること、作り話(狂言綺語)をやめることなどを申し渡された。
- In 1872, Kabuki representatives were summoned to the prefectural office of Tokyo and required to revise Kabuki scenarios so they could become morally acceptable for aristocratic audiences or audiences from overseas and to stop offering bombast (wild words and decorative phrases).
- 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.
- 題材は(米朝見解による)狭義の人情噺同様、町人の世界を舞台にするが、親子愛、夫婦の情愛、江戸っ子ないしは浪花っ子の人情、身分違いの悲恋など情に訴えるものを扱う。
- (According to Beicho's opinion,) similarly as narrowly defined Ninjo-banashi, their stage is in the world of townspeople, and features love between parents and children, love among a couple, humanity of a typical person from Edo or Naniwa, tragic love between different classes, and other sentimental things.
- 国立劇場開場後は積極的に埋もれた古典の復活上演を行い、歌舞伎十八番の『象引』『七つ面』『解脱』『関羽』『不動』や初代桜田治助作『御摂勧進帳』などで話題を集めた。
- After the National Kabuki Theater opened, he was active in restoring performances of Japanese classics which had fallen into obscurity, and drew attention for his performances of Kabuki 'juhachi ban' repertoire including 'Zohiki,' 'Nanatsumen,' 'Gedatsu,' 'Kan-u,' 'Fudo' and 'Gohiiki Kanjincho' by Jisuke SAKURADA (I).
- 平安時代や江戸時代を再現した時代行列では、あでやかな衣装を着て鬘を被るため、それに見合うように、屋外で行われる場合でも歌舞伎舞踊、民謡舞踊と同様の厚化粧をする。
- In Jidai Gyoretsu (a procession of people in historical costumes) where they reproduce the manners of the Heian and Edo Periods, people wear gorgeous costumes and wigs, and to harmonize with their costumes they wear atsugesho similar to that of Kabuki Buyo and Minyo Buyo, even if it is held outdoors.
- 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.
- 1932年、松竹・新宿第一劇場(現:大塚家具新宿店)で青年歌舞伎を結成し座頭をつとめる(書き出坂東志うか(十四代目守田勘弥)、トメ四代目片岡我當(千代之助))。
- In 1932, he founded Seinen-kabuki (youth kabuki troupe) in Shinjuku Daiichi Gekijo (currently the Shinjuku branch of Otsuka Furniture Store) of Shochiku, and he led the troupe (as kakidashi, a young actor gaining popularity who appears first on the actors' name board) along with Shiuka BANDO (Kanya MORITA XIV) and tome (the core actor appearing last on the actors' name board) Gafu KATAOKA IV (Chiyonosuke).
- 庶民の間では演劇(歌舞伎、文楽)や刊行物(浮世草子、読本、浮世絵など)が愛好され、世俗文化が栄えた(プロスポーツとしての相撲である大相撲が始まったのもこの頃)。
- Among common people, performances (Kabuki (traditional performing art) and Bunraku (Japanese puppet theater)), and publications (Ukiyozoshi (literally, Books of the Floating World), Yomihon (copy for reading), Ukiyoe (Japanese woodblock of prints), etc.) were loved, and secular culture was prosperous (it was around this time when a grand sumo tournament which was the start of Sumo (Japanese-style wrestling) as a professional sport started).
- 歌舞伎の市川一門の宗家である市川團十郎をさす語、また團十郎が不在のときは宗家の当主である市川海老蔵・市川新之助・市川三升のいずれかをさす語 →「成田屋」を参照。
- It refers to 'Danjuro ICHIKAWA' (a stage name taken on by kabuki actors of the Ichikawa family) which is the 'soke' (head of the family) of the Ichikawa family of kabuki, and during Danjuro's absence, it refers to one of the family heads of the soke, Ebizo ICHIKAWA, Shinnosuke ICHIKAWA, or Sansho ICHIKAWA (Refer to 'Naritaya').
- 歌舞伎の演技の中で、着物の裾をはしょり、見得を切る場面などは、陰部や臀部を見せて褌を締めていることを表すことで、自分は成人した者であるとの証を象徴したものである。
- On a Kabuki stage, a player who kilts hems of kimono to make a proud gesture is presenting himself as an adult by showing his pubic region and buttocks covered by a fundoshi loincloth.
- 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.
- 1937年(昭和12年)に六代目尾上菊五郎が、五変化舞踊のひとつだった藤娘を独立させ、長唄の間に「藤音頭」(岡鬼太郎作)を挿入し、舞台演出を一新して上演したもの。
- It was established by Kikugoro ONOUE the sixth in 1937 who separated Fuji Musume the gohengebuyo, and inserted 'fujiondo' (marching songs of the wisteria, by Onitaro OKA) between parts of the nagauta, transforming the stage effects.
- 葛の葉が保名を見舞っているうち、いつしか二人は恋仲となり、結婚して童子丸という子供をもうける(保名の父郡司は悪右衛門と争って討たれたが、保名は悪右衛門を討った)。
- While Kuzunoha nurses Yasuna, the two love each other, then, get married and have a son, Dojimaru (Gunji, the father of Yasuna, was killed by Akuemon, but Yasuna was avenged on Akuemon).
- 江戸時代の武家社会における礼装は、その者の官位により直垂・狩衣・大紋(大名の場合・忠臣蔵などで見られる)、素襖(旗本以下の場合・能、狂言の舞台で見られる)であった。
- Meanwhile, formal clothes of the people of samurai society in the Edo period depended on their official ranks, ranging from hitatare, kariginu, daimon (worn by a feudal lord as seen in the drama 'Chushingura') and suo (worn by lower ranks than Hatamoto or direct retainers of the shogun, as seen on the stages of Noh, Kyogen and other plays.)
- 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.
- 主に関西歌舞伎を中心に舞台を勤め、中村鴈治郎 (初代)・中村魁車・中村梅玉 (3代目)らの死後は、阪東壽三郎 (3代目)と並んで「双壽時代」と呼ばれる一時代を築く。
- He mainly performed in Kansai Kabuki and, after the death of Ganjiro NAKAMURA (I), Kaisha NAKAMURA and Baigyoku NAKAMURA (III), he established an epoch called 'Soju Jidai' (era of two Ju) together with Jusaburo BANDO (III).
- 通常は、10日の、お迎え提灯、16日の宵宮神賑奉納神事と24日の花笠巡行に登場、2006年(平成18年)以降は上記の事情により大人の鷺舞の代役を務めるようになった。
- Usually, the Kosagi odori dance is performed in the Omukae Chochin on the 10th, the Yoimiya Shinshin hono shinji on the 16th, and the Hanagasa Junko parade on the 24th; since 2006, due to the above-described reason, the six elementary-age boys and girls dance on behalf of the adults dancing the Sagi mai.
- 近松門左衛門の『雙生隅田川』、鶴屋南北 (4代目)の『桜姫東文章』や『隅田川花御所染』、河竹黙阿弥の『都鳥廓白浪』(忍の惣太)などの歌舞伎狂言が今日よく上演される。
- The kabuki kyogen works performed often currently are 'Futago Sumidagawa' written by Monzaemon CHIKAMATSU, 'Sakurahime azuma bunsho' and 'Sumidagawa hanano goshozome' by Nanboku TSURUYA and 'Miyakodori nagareno shiranami' by Mokuami KAWATAKE.
- 歌舞伎作者の河竹黙阿弥はこうした動きに嫌気して引退を宣言、「もう自分は黙る」という皮肉を込めて「河竹黙阿弥」と改名した(1881年、ただしその後も創作活動は続けた)。
- Shinshichi KAWATAKE, a Kabuki writer, who became sick of the movement, declared his retirement from the Kabuki arena and changed his name to 'Mokuami KAWATAKE' (The word 'Moku' means 'quiet' in English) in 1881, with the satirical connotation of 'I will live in dumb silence' (However, he continued his creative activities afterwards).
- 逆に言えば、ほかの分野との共演が必要でなく、素人弟子の数が多い分野では新流創設が容易であり、実際に日本舞踊や華道においてはほぼ無数に流儀があると言っても過言ではない。
- Conversely, in fields where no cooperation with other fields is necessary and the number of lay disciples is large, a new branch is easy to establish and in fact, it is safe to say that the fields of buyo (dance) and kado (flower arrangement) include a myriad of ryugi schools.
- 他の舞事・働事とちがって、固定した型があるのではなく、曲ごとに異なった型がついており、事実上、働事の分類のうえでほかの項目に入らないものをまとめて立廻りといっている。
- Unlike other mai-goto and hataraki-goto, there is no fixed pattern of movement but each music has its different movement and, virtually, for classification of hataraki-goto, those that do not fall other categories are gathered together and called collectively tachimawari.
- 単独の芸能ではなく、舞楽や散楽、台詞のやりとりのある風流、郷土色の強い歌舞音曲や、猿楽、白拍子、小唄など、貴族的芸能と庶民的芸能が雑多に混じり合ったものの総称である。
- It is not an independent art but is the collective name of various aristocratic and folk arts, including bugaku (traditional Japanese court music accompanied by dancing), sangaku (form of theater popular in Japan during the 11th to 14th century), furyu with lines (form of theater popular in Japan during the 11th to 14th century), local music and dance, sarugaku (form of theater popular in Japan during the 11th to 14th century), shirabyoshi (Japanese traditional dance) and kouta (a ballad sung to samisen accompaniment) etc.
- 祇園祭では、10日の、お迎え提灯では小学生位の少女が、24日の花笠巡行では祇園東の芸舞妓が、いずれも元禄風の衣装、髪型、舞台化粧並みの厚化粧で、典雅に可憐に舞い踊る。
- In the Gion Matsuri Festival, elementary-age girls and geimaiko (Japanese professional female entertainer at drinking parties) from Gion Higashi fleshpot all dance elegantly in Genroku manner costumes and hair styles, wearing much stage makeup in the Omukae Chochin on the 10th and in the Hanagasa Junko parade on the 24th, respectively.
- 文化という言葉は、芸術や学問など人間が生み出した高い達成度を持つもの(ハイカルチャー)を指すとともに、人間の社会が長年にわたって形成してきた慣習や振舞いの体系を指す。
- The term 'Culture' refers to anything including art and learning, which was generated by people and has a high level of achievement (high culture), and also refers to a system of custom or behavior which has been formed by a human society over the years.
- 一説には、世の中が安定期に入るにつれ文化に対する民衆の関心が高まり、娘に舞踊を習わせる習慣が生まれたが、その際に身振りを美しく見せるために袖を長大化させていったという。
- According to one theory, the onset of an era of peace and stability was accompanied by growing interest in cultural pursuits among the general populace, leading to the rise of a new custom of having one's daughters learn how to dance, and that kimono sleeves were lengthened during this time in order to show off one's motions more gracefully.
- 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.
- その後関東のおでんは廃れていくが、関東大震災(1923年)の時、関西から救援に来た人たちの炊き出しで「関東煮」が振る舞われたことから東京でもおでんが復活することになる。
- Although Oden in Kanto became out of fashion afterward, when the Great Kanto Earthquake occurred in 1923, 'Kanto daki' (関東煮) was distributed by volunteers from Kansai, which led to the re-establishment of Oden in Tokyo.
- 幇間(ほうかん、または、たいこ、とも読む。)は、宴席やお座敷などの酒席において主や客の機嫌をとり、自ら芸を見せ、さらに芸者・舞妓を助けて場を盛り上げる男性の職業をいう。
- Hokan (also called Taiko) is a profession of a man who indulges hosts and guests at a drinking party such as a banquet or ozashiki (banquets in which guests are attended by geisha), does performances himself, and helps geisha (Japanese professional female entertainers at drinking party) and maiko (apprentice geisha) to set the groove.
- 能の舞はきわめて静的であるという印象が一般的だが、序破急と呼ばれる緩急があり、ハコビにおいてもゆっくりと動き出して、徐々にテンポを早くし、ぴたっと止まるように演じられる。
- The general impression of dances in Noh is static; however, dances in Noh have a slow and quick movement called Johakyu (three segments of performance and speed of plays; slower and quieter performance during the jo (beginning), gradually gaining tempo in the ha (middle portion), and becoming more energetic during the kyu (denouement)), and in Hakobi, performers also start moving slowly, step up the tempo gradually and stop suddenly.
- 江戸時代には、全国各地でその地名を冠した尾張萬歳、三河萬歳、その後、大和万歳などが興り、歌舞のみでなく言葉の掛け合い噺や謎かけ問答を芸に加えて滑稽味を増し発展していった。
- In the Edo period, manzai named after its originating location including Owari Manzai, Mikawa Manzai and Yamato Manzai became popular in many places throughout the country, which developed into something much funnier by adding more wisecracks and riddle dialogues to utamai (a performance of singing and dancing).
- 歌舞伎伴奏などのプロの長唄奏者は営業が続けられたが、街角の稽古場で三味線を教えるようないわゆる「街のお師匠さん」(今で言う個人宅の音楽教室)は禁止されてしまったのである。
- Although professional nagauta players could continue to play the instruments to the accompaniment of kabuki and for other occasions, giving shamisen lessons in town, so-called 'music teachers in your town' (similar to private music lessons held at the teacher's house today), was banned.
- なおこれとは別に、市川團十郎 (12代目)が平成4年 (1992年) に復活上演した『成田山分身不動』があるが、こちらは原型を異にするため「歌舞伎十八番之内」とはしない。
- ICHIKAWA Danjuro XII revived 'Naritasan funjin fudo' in 1992 but it is different from the original version, it is not included in the best eighteen Kabuki plays.
- 休みの月は、海外旅行に出かけることも多く、特に1960年(昭和35年)の歌舞伎初のアメリカ公演の折に訪れて以来、ラスベガスはお気に入りで、カジノで終日楽しむことも多かった。
- During a month he did not had a stage, he was mostly on overseas travels, and especially since he had the first kabuki stage in the United States in 1960, he was fond of visiting Las Vegas and often enjoyed the casino all day long.
- (記録としては蕎麦がきの様なものが麺状に切られたのが「1574年(天正2年)初めの建物修復工事完成に際しての寄進物一覧の中に「振舞ソハキリ 金永」というくだりが確認できる)
- (However, there is a description of 'Mr. KANENAGA donating Sobakiri' on the list of donations for cerebrating the completion of restoration work of a building in early 1574, which suggests that Sobagaki was cut in thin noodle-shape at that time.)
- なお、張扇を用いることはないが、舞台上で鼓が破れた場合には扇拍子でアシライを打つのが正規の代替法であり、江戸期までは素謡の席で地頭が扇拍子をとって地を統率することもあった。
- Although Hari-ogi is not used, conducting Ashirai with Ogi byoshi is the usual alternative to Tsuzumi when Tsuzumi is broken on stage, and until the Edo period, jigashira (the leader of group reciters) controlled ji (reciters) by conducting Ogi byoshi in the performance of Su-utai (Noh lyrics without music).
- 1956年(昭和31年)に鷺舞保存会が、祇園祭の鷺舞を伝えていた島根県津和野町から舞を逆輸入して復活させ、経費を氏子組織(清々講社)が負担して八坂神社境内で奉納されていた。
- In 1956, Sagi mai hozon kai (Preservation Society of Sagi mai) reimported and restored the dance from Tsuwanocho, Shimane Prefecture, which had conveyed the sagi mai of the Gion Matsuri Festival; its costs were paid by the ujiko soshiki (organization of shrine parishioners) (Seisei kosha - organization of Ujiko shrine parishioners of Yasaka-jinja shrine) and then the dance came to be dedicated to the Yasaka-jinja Shrine.
- (踏歌は宮中などにおいて春を寿ぐ行事で、男踏歌の舞人が舞楽の「万春楽(ばんすらく)」を足を踏み鳴らすように舞う際には万春楽と囃し、女踏歌の時は千春楽(せんずらく)と囃した)
- (Toka is the event to celebrate spring at court and so on, when the dancer of 'otoko-toka' (male-toka) danced stomping, he sang 'bansuraku,' and when the dancer of 'onna-toka' (female-toka) danced, she sang 'senzuraku.')
- 歩き巫女に国境は無く、全国何処でも自由に行けたため、関東から畿内を回って口寄せや舞を披露し、時には売春もしながら情報を収集し、ツナギ(連絡役)の者を通じて信玄に逐一報告した。
- Because the arukimiko were allowed to freely cross the border and go everywhere, they gathered information, acted as liaisons with and reported everything to Shingen, performed kuchiyose (spiritualism) and dances, and sometimes prostituted themselves in the Kanto and Kinai regions (provinces surrounding the ancient capitals of Nara and Kyoto).
- それだけではなく、吉右衛門が得意とする丸本歌舞伎の舞台に多く出演することで、戯曲に対する解釈力と役の把握を深め、古典的な様式美と近代的な心理描写の手法を着々と身につけていった。
- Besides, by performing many times on the scene of Maruhon Kabuki (kabuki plays of doll theatre origin) which Kichiemon was good at, he deepened the interpretation of the play and the understanding of the role and steadily acquired the classic beauty of style and techniques of modern psychological descriptions.
- 主人公が紅筋隈、鋲打ちの胴着、菱皮鬘、三本太刀の格好に、竹の子笠・蓑を身につけ、大青竹をかかえて登場し、悪霊・怨霊などが花道に来ようとするのを本舞台に押しもどす、といった内容。
- It is about the main character who wears striking style of red facial makeup, jirkin with gold rivets, an upswept wig, belted three swords, a hat of woven bamboo and a straw raincoat, carries a green bamboo and appears on a stage, then pushes evil or vengeful spirits which are trying to reach 'hanamichi' (a passage through audience to stage) back on the main stage.
- 具は切り身の鮭、川魚の甘露煮、舞茸、ワラビ、きゃらぶき、紅ショウガ、田麩、しめさば、キュウリ、漬け物のみじん切りなどバラエティに富んでいるが、地方がら山の幸が中心となっている。
- The ingredients have a wide variety including sliced salmon, kanroni (a dish boiled in a syrup) of freshwater fish, maitake mushroom, bracken, kyarabuki (stalks of butterbur boiled in soy sauce), red pickled ginger, denbu (mashed and seasoned fish, flesh of whitefish and shrimp that has been boiled, shredded, parched, seasoned, and colored red), shimesaba (salted and vinegared mackerel), cucumber, minced pickles, and so on; they are mainly Yama-no-sachi (edible wild plants and freshwater fish) since the regions are surrounded by high mountains.
- 『延喜式』によれば、小正月には宮中において米・小豆・粟・ゴマ・黍・稗・葟子(ムツオレグサ)の「七種粥」が食せられ、一般官人には米に小豆を入れたより簡素な「御粥」が振舞われている。
- According to the 'Engishiki' (an ancient book for codes and procedures on national rites and prayers), on the day of koshogatsu, 'nanakusa-gayu'(rice porridge with seven spring herbs) was eaten in the Imperial Court, which contained rice, azuki bean, awa (foxtail millet), sesame, kibi (common millet), hie (Japanese millet) and mutsuoregusa (Glyceria acutiflora Torr.), and the general government staff were served with more modest porridge of rice and azuki bean, which was called 'okayu.'
- 能楽全体が危殆に瀕していた時期にあって、舞台、装束、面などが思うように手に入らない劣悪な環境のなかで、宝生九郎知栄らの援助によって演能をつづけ、東京における金春流の孤塁を守った。
- While the art of Noh itself faced extinction and a difficult time when stages, costumes and masks to perform were not as available as they had been, he continued to perform Noh with the aid of Kuro Tomoharu HOSHO and others and protected the lone base of the Konparu school in Tokyo.
- 呂中干ノ地ものは、定型的な譜(=呂中干ノ地)を繰り返しながら、段落で少し変化(オロシ)をつけながらも、さらに定型的な譜を繰り返し、少しづつ位(速度)を早めていく舞事の総称である。
- Ryochukan no ji mono is used as the term to collectively call the mai-goto in which a standard score (Ryochukan no ji) is played repeatedly and is changed slightly at each break point, and then the slightly changed standard score is played repeatedly with the tempo gradually increased.
- 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.
- このことから、アルコール飲料としての清酒と同様の扱いをして、本来アルコール飲料でないにもかかわらず、ドライバーが出席する場や未成年の集まる集会での振る舞いが見送られることが多い。
- For this reason, although amazake is not an alcoholic beverage, is often treated in a similar manner to sake, which is an alcoholic beverage, and the serving of amazake is of avoided when drivers or children are present.
- 沖縄県の高平良萬歳(たかでーらまんぢゃい・高平萬歳とも表記)は、一般的に組踊「万歳敵討」(まんざいてきうち)の一場面を抜き出した舞踊の演目であって、この項目でいう萬歳とは異なる。
- Takadera-manjai (written as 高平良萬歳 or 高平萬歳 in Chinese characters) in Okinawa Prefecture is generally a program of dancing which extracts one scene from kumi-odori (combination dance) called 'Manzai Tekiuchi' (Vengeance Fulfilled) and is different from the manzai in this section.
- しかし、始曲部分や終曲部分は収まりのよいように仕舞独自の型が付され、そのほかの部分でもあて振り的な要素のつよい型はこれを改めて全体的に象徴性をより高くする方向で型付が行われている。
- However, a form specific to Shimai is originally choreographed so that the beginning and ending parts are settled, and in other parts, forms are also choreographed toward raising the symbolic nature of the whole by revising the choreography that has a strong nature of Ateburi (expressing the meaning of verses by dancing).
- 日本古来からの物真似や形態模写などのお笑い芸や剣舞や独り相撲の舞踊りと唐から伝わった奇術や手品または、軽業や曲芸などの芸が合わさりできた芸能で、奉納相撲や御神楽祭の夜祭で演じられた。
- It consisted of impersonations and other comedy routines, sword dancing, and dancing in one man sumo, as well as Tang's magic shows, acrobatics and stunts performed at honozumo (ritual sumo matches held at a shrine) and kagura (Shinto music and dance) festivals held at night.
- - 江戸後期には的屋(まとや)が営む矢場に登場した女性で、客の放つ矢を掻い潜りながら、的に刺さった矢や落ちている矢を拾い集め、舞う様に矢の飛び交う中を駆け回るのが、一つの芸であった。
- These were women who, in the late Edo-Period, worked in the yaba owned by matoya, picking up arrows shot by customers from the ground and running through the flying arrows which was considered as a kind of show.
- 現代においては島田髷、桃割れ、等、娘の髪型は結婚式や舞踊発表会、祭りの時代行列等で見る機会が多いが、丸髷や先笄、両輪等の既婚女性の髪型は歌舞伎や文楽、時代劇以外では見る機会が少ない。
- Today young girls' hairstyles such as shimada-mage, momoware (literally, split peach; female hair style in kimono that the bun is split and a red fabric woven in the center) and so on can be often seen at the weddings, programs of dance performances by students, Jidai Gyoretsu (a procession of people in historical costumes) in festivals and so on, but married women's hairstyles such as marumage, sakko, ryowa and so on are seldom to be seen except for in Kabuki (traditional performing art), Bunraku (Japanese puppet theater) and period dramas.
- 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.
- 人形浄瑠璃は、義太夫節(浄瑠璃の一種)の演奏に合わせて劇が進行する構成であり、歌舞伎でも人形浄瑠璃から移入した演目(『義経千本桜』『仮名手本忠臣蔵』など)は同様に義太夫節が演奏される。
- The dramas of Ningyo Joruri progressed in accordance with the performance of Gidayu-bushi (a kind of Joruri), so the programs of Kabuki whose stories came from Ningyo Joruri (for example, 'Yoshitsune Senbonzakura' [Yoshitsune and One Thousand Cherry Trees] & 'Kanadehon Chushingura' [The Treasury of Loyal Retainers]) are similarly accompanied by Gidayu-bushi.
- 昭和期には尾上菊五郎 (6代目)・中村吉右衛門 (初代)、市村羽左衛門 (15代目)、實川延若 (2代目)、中村梅玉 (3代目)など多くの名優が活躍し今日の歌舞伎に大きな影響を与えた。
- During the Showa period, many great actors were active, such as the sixth 'Kikugoro ONOE,' the first 'Kichiemon NAKAMURA,' the fifteenth 'Uzaemon ICHIMURA,' the second 'Enjaku JITSUKAWA' and the third 'Baigyoku NAKAMURA,' and they had a great impact on today's Kabuki.
- 同寺での1574年(天正2年)初めの建物修復工事完成に際しての寄進物一覧の中に「振舞ソハキリ 金永」というくだりが確認でき、少なくともこの時点で蕎麦切りが存在していたことが判明している。
- An entry reading 'Sobakiri, donated by 金永' in the list of oblations for the occasion to mark the completion of building renovation in early 1574 has been confirmed which, at any rate, ascertained that sobakiri existed at this point of time.
- これはコンサートなどにおけるアンコールに相当し、現在の演芸の舞台でもよく耳にする「お客様方のご機嫌を伺いたいと思います」というフレーズは、このサービスという観念に由来するものと思われる。
- This is relevant for encores in concerts, and phrases such as 'We would like to ask you the audience how you liked the show,' which is still often used on the stage in present theatrical entertainment, may have originated from the concept of the bonus.
- 「的矢」は、関西では楊弓場(ようきゅうじょう)、関東で矢場(やば)といわれ、祭礼の立つ日の庭場や遊郭で出店や夜店として、弓矢を使い的に当て、的の位置や種類により、商品や賞金が振舞われた。
- Matoya' was known as 'yokyu-jo' (yokyu place) in the Kansai region of western Japan and 'yaba' (arrow place) in the eastern Kanto region and during festivals, stalls were set up in niwaba and in red light districts (or licensed quarters), with prizes or money awarded depending on the position or the type of the target.
- また、伝統などの違いにより例外もあるが、多くの祭りにおいては工夫を凝らした美しい衣装や化粧、厚化粧を施して稚児、巫女、手古舞、踊り子、祭囃子、行列等により氏子が祭礼に参加することも多い。
- In many matsuri, although there are exceptions due to a difference of tradition, shrine parishioners often participate in the rites and festivals by putting on an artful and beautiful costume, and makeup or heavy makeup, as chigo (beautifully dressed children parading at festivals), miko (a shrine maiden), performers of tekomai (float leading dance), dancers, performers of festival music, participants in the parade and so on.
- 丸本歌舞伎において三味線とともに語られる(歌うようでもあるが、義太夫は「歌う」と表現せず、「語る」と表現する)義太夫節、あるいはそれを語る太夫および三味線方、また語ること自体を竹本という。
- Takemoto refers to Gidayu-bushi featured in Maruhon Kabuki (kabuki plays of doll theatre origin), which, accompanied by shamisen (a three-stringed Japanese banjo), is narrated a story (Although it seems that tayu are singing, the expression 'to narrate' is used in Gidayu instead of 'to sing'), or Tayu who narrate a story and shamisen-kata (accompanying shamisen players), and narration itself.
- 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.
- 主としてシテ方が一人で行うが、なかには「小袖曾我」や「二人静」のように両ジテ的な相舞のもの、「龍虎 (能)」「舎利 (能)」のようにシテとツレが異なった舞をひとつの舞台で見せるものがある。
- Although Shimai is mainly performed by a shite-kata (main role), there are other variations such as dances carried out by two performers in the form of Ryojite (dual Shite) like 'Kosode Soga' (The Soga and the wadded silk robe) and ''Futari Shizuka' (a couple of the young ladies named Shizuka), and performances of different dances between Shite (main role) and Tsure (performer appearing after the shite) on the same stage like 'Ryoko (Noh)' (dragon and tiger) and 'Shari (Noh)' (bones left after cremation).
- 謡曲『羅生門』は『平家物語』で綱と鬼との戦いまでの話をもとに、舞台を一条戻橋から羅城門に変えて創作されたものとされ、その後の鬼の報復の話は謡曲では『羅生門』とは別作品の『茨木』になっている。
- Yokyoku 'Rashomon'is considered to have been created by transferring the set of th escene from Ichijo Modori-bashi Bridge to Rajo-mon Gate, based on the story of the battle of Tsuna and the ogre in 'Heike Monogatari,' and the story of the ogre's retaliation afterwards is in yokyoku 'Ibaraki' which is a different story from 'Rashomon'.
- 1966年、歌舞伎座で演じた『廓文章』(吉田屋)の伊左衛門が好劇家から高い評価を受け、それまでどちらかといえば独特な持味はあるものの、手堅いだけとされていた仁左衛門の演技に変化がおとずれる。
- In 1966, Nizaemon's portrayal of Izaemon in 'Kuruwa-Bunsho' (Yoshida-ya) at the Kabuki-za theater received a high reputation from play lovers, and Nizaemon's acting, which until then had been called merely reliable despite its unique characteristics, started to vary.
- 『妹背山』のお三輪と鱶七、『隅田川』の班女と舟長、『先代萩』の政岡と八汐『鏡山』の尾上と岩藤、そして新歌舞伎『建礼門院』の建礼門院と後白河法皇、など東西成駒屋の息のあった舞台は観客を魅了した。
- The stages that both east and west Narikoma-ya performed with great chemistry, such as Omiwa and Fukashichi of 'Imoseyama,' Hanjo and Funaosa of 'Sumida-gawa,' Masaoka and Yashio of 'Meiboku Sendai Hagi,' Onoue and Iwafuji of 'Kagamiyama,' Kenreimonin and Cloistered Emperor Goshirakawa of new Kabuki, 'Kenreimonin' attracted audiences.
- アミノ酸が生成される主な原因はタンパク質分解酵素の酸性プロテアーゼであり、麹造りの仲仕事(なかしごと)から仕舞い仕事(しまいしごと)のあいだに、34℃から38℃の温度帯でほとんどが生成される。
- The main cause of amino acid generation is acid protease that is a protein-cutting enzyme and almost all amino acids are generated between nakashigoto and shimaishigoto in the koji producing process in the temperature range of thirty-four to thirty-eight degrees centigrade.
- - 祭り矢・祭り弓を起源とし、江戸時代には市や縁日が立つ参道や境内、門前町で出店や夜店として、弓矢を使い的に当て、的の位置や種類により、商品や賞金が振舞われ、庶民はこれを縁起担ぎとして楽しんだ。
- It originates from matsuriya and matsuriyumi, for in the Edo period common people enjoyed, as superstition, aiming at targets with a bow and arrows and were given prizes and prize money according to the position and type of targets on an approach to the temple where a fair or festival was held and at stands and yomise (night stall) in temple grounds and Monzen-machi.
- 祭りや市や縁日が立つ寺社の参道や境内、門前町・鳥居前町・遊郭で出店や夜店として大規模な楊弓店、から小さな矢場といわれる小店があり、弓矢を使い的に当て、的の位置や種類により、商品や賞金が振舞われた。
- It ranged from large-sized Yokyu shops opened at festivals, sando (an approach to a temple) or precincts of a shrine on the days of festivities, Monzen-machi (a temple town), Toriimae-machi (town in front of torii - Shinto shrine gateway) and yukaku (red-light district) to small shops called yaba, where Yumiya was used to hit a target and prizes or money was given in accordance with the positions or types targets.
- なお能流派では、宝生流の大後援者であった加賀藩主前田氏が菅原道真の子孫と称していたことに遠慮して、道真の霊が雷神となって内裏を暴れまわるところを改作し、朝廷を寿いで舞を舞うという筋にして上演する。
- The lord of Kaga Domain, the Maeda clan who were the big supporters of Hosho-ryu school said that they were descendants of Michizane SUGAWARA and, taking into account this fact, the noh schools perform the story changing the scene in which the ghost of Michizane becomes raijin, a thunder god, and rushes around wildly to a scene in which the ghost dances to celebrate the Imperial Court.
- 大正10年 (1921) 四代目尾上丑之助を名乗って初舞台、昭和10年 (1935) の三代目尾上菊之助を襲名を経て、昭和23年 (1948) に六代目の未亡人のたっての希望で七代目尾上梅幸を襲名。
- He debuted in the name of Ushinosuke ONOE the Fourth in 1921, succeeded to the name of Kikunosuke ONOE the Third in 1935 and succeeded to the name of Baiko ONOUE the Seventh in 1948 at the strong request of Kikugoro's widow.
- それぞれが当たり役とした『娘道成寺』の白拍子花子、『合邦辻』の玉手御前などをはじめ『鏡山』の尾上とお初、『忠臣蔵』のおかる・戸無瀬・お石などは、両優が火花を散らす舞台として戦後歌舞伎の精華であった。
- Both of them regarded the same characters as their successful characters--Shirabyoshi Hanako of 'Musume Dojoji,' Tamate-Gozen of 'Sesshu Gappo ga Tsuji,' Onoue and Ohatsu of 'Kagamiyama,' Okaru, Tonase and Oishi of 'Chushingura,'--these were the pearls of post-war Kabuki as stages where both actors rivaled each other.
- しかしこの頃になると関西歌舞伎の凋落がいちじるしく、周囲の期待の重圧に対する自身の芸の伸び悩み、さらに市川壽海 (3代目)を主とする興行方針をめぐる松竹との軋轢などがあり、1955年に松竹を離れる。
- However, the decline of Kansai Kabuki became significant and because of sluggish growth in his own performances, due to the pressure of expectation of those around him and friction with Shochiku with respect to the performance policy to mainly use Jukai ICHAWA, the third, he left Shochiku in 1955.
- またこの条では、「隅田川 (能)」を巡り元雅との間に意見の対立があったことや、また世阿弥が義満の御前で摂津猿楽の榎並と競演したとき、わざと舞を止めて榎並を出し抜いた話など、興味深い挿話が記されている。
- In this section, there are some interesting episodes; there was conflict of opinion with Motomasa over a Noh program 'Sumidagawa River', and when Zeami was playing opposite to Enami of Settsu Sarugaku, he outwitted Enami by deliberately stopping the performing, and the like.
- また「吾妻獅子」(峰崎勾当作曲)、「越後獅子」(同)、 「御山獅子」(菊岡検校作曲)など「獅子物」と呼ばれる曲群の手事は、直接獅子舞を描写するというよりは、格調高くしかも華麗な旋律を持つのが特徴である。
- Also a group of pieces of tegoto called 'shishimono' (pieces about lions) such as 'Azuma Jishi' and 'Echigojishi,' both by Koto MINEZAKI, and 'Miyamajishi' (by Koto ISHIKAWA) have a feature of stylish and gorgeous melodies rather than being a direct description of shishimai (lion dance).
- 昭和7年(1932年)10月 日午前3時30分ごろ、大谷光瑞が全精力を注ぎ込み、英才教育の推進や建築、園芸、西域探検などの調査、研究を通じて、教団を近代化に導く舞台とした二楽荘は、不審火によって焼失した。
- Around 3:30 in October 1932, Nirakuso was burned down by suspicious file where Kozui Otani put their full energy and the temple was led to modernization through the implementation of special education, architecture, horticulture and research and studies like western area expedition.
- また能は、歌舞伎やそこから発生した日本舞踏が横長の舞台において正面の客に向って舞踏を見せることを前提とするのに対して、正方形の舞台の上で三方からの観客を意識しながら、円を描くようにして動く点にも特徴がある。
- Another characteristic of Noh is that performers move in a circular pattern on a square stage in consideration for audiences on three sides, while Kabuki (traditional Japanese drama performed by male actors) and Classical Japanese dance derived from Kabuki are performed on a rectangular stage on the premise for showing the performance to audiences in the front.
- 明治維新によって混乱した国内で歌舞伎や見世物でグロテスクなものが登場し歌川国芳の門人落合芳幾と月岡芳年によって血みどろで無残絵と呼ばれる種類の『英名二十八衆句』や、新聞記事を題材とした錦絵新聞を描いている。
- While in Japan which was domestically disrupted by the Meiji Restoration, grotesque things appeared in Kabuki and other shows, Yoshiiku OCHIAI and Yoshitoshi TSUKIOKA, who were disciples of Kuniyoshi UTAGAWA, drew 'Eimei nijuhachishuku,' which depicted bloody scenes and were called Muzan-e, as well as illustrations for articles in Nishikie-shinbun.
- このような運動の中で創作された歌舞伎演目は、最初、河竹黙阿弥らの旧来の作者や福地桜痴ら文化人によって、歴史的事実をありのままに演じる活歴物や、西洋風の新しい風俗を描いた散切物などが作られたが成功しなかった。
- In such a campaign, some Kabuki programs were created anew, and their first ones were 'Katsureki-mono' (a historical drama), which faithfully performed the historical facts, & 'Zangiri-mono' (the plays the cropped hair people appeared), which portrayed new western-style customs, both made by experienced writers, including Mokuami KAWATAKE, or by intellectuals, including Ochi FUKUCHI, but they failed.
- 人が近づくと神楽が鳴り出して機械仕掛けの獅子舞がはじまり、硬貨を投入しておみくじ(みくじ)の種類(英文、和英対訳、子供用など6種類)を選ぶと、神楽に合わせて獅子が舞いながら御籤を届ける仕掛けが人気となっている。
- When you come near to the karakuri mikuji, kagura (the sacred music performed at shrines) and a mechanical Japanese lion dance automatically begin, and when you put coins into a box and select a fortune-telling slip from among the six kinds (including that in English, that in both Japanese and English, and that for a child), the mechanical lion brings you the slip, performing the Japanese lion dance in accord with kagura --- these comical devices have become popular.
- 松囃子では、唱門師や散所などの芸能専業者のみならず村民や町人など各階層の人間が着飾り仮装し、京都においては花の御所へ、地方においては守護など各地の権力者の邸宅へ参向し、日本舞踊や囃子が披露され、祝辞が述べられる。
- In Matsubayashi, not only full-time performers, including Shomonji (lower-ranked diviner) and sanjo (manor's area where people of the sanjo provided special skills to the imperial authority instead of rice tax), but also citizens in every class, including villagers and merchants, put on costumes todress up and visited Hana no gosho (residence of Shogun in Kyoto) or the lords called Shugo in each region; they performed the Classical Japanese dance and musical accompaniment and a congratulatory address was given.
- 吉右衛門劇団では同世代の女形が少なく、長らく吉右衛門の相手役をつとめてきた実弟の中村時蔵 (3代目)に代わり、特に戦争末期ごろから積極的に大役に抜擢され、舞台上で吉右衛門がリードするかたちで歌右衛門を育てていった。
- There were not so many actors of female roles in the Kichiemon troupe, so he was actively selected to act major roles especially since the later stages of the war, replacing his real brother Tokizo NAKAMURA III, who had played opposite to Kichiemon for a long time, and Kichiemon trained Utaemon by leading him on the stage.
- 例えば、雅楽の演奏の時には殆ど化粧しない東儀秀樹が写真集の中で歌舞伎舞踊と同様の舞台化粧で登場する、元々厚化粧の印象が強い浜崎あゆみもデジタルカメラの広告で更に厚化粧になる、と言うようなケースは枚挙にいとまが無い。
- Hideki TOGI, for example, who hardly ever puts on any makeup during his performances in gagaku (ancient Japanese court dance and music), appeared in a photo book wearing stage makeup similar to what is used in Kabuki Buyo, and Ayumi HAMASAKI, who already gives a strong impression of wearing atsugesho, puts on even heavier atsugesho in advertisements for digital cameras and other similar cases too numerous to mention.
- 高麗楽(三韓楽の一つである高麗楽(高句麗の民族音楽)では無く、渤海楽・三韓楽を中心に平安時代に編集された音楽様式)・右方の舞に属するが、渤海 (国)や朝鮮半島が起源なのではなくて高麗楽の様式に則って日本で作られた曲。
- It belongs to Komagaku music (the music form arranged in the Heian period mainly based on the Bohai music and sankangaku [the music of three old Korean countries; Silla, Peakche, and Koguryo], not based on the Komagaku music, one of sankangaku, [Goguryeo folk lore music]) and Uhomai Dance; it was not originated in Bokkai (country) or Korean Peninsula, and it was created in Japan based on the form of Komagaku music.
- また、『宿無團七』などの上方狂言に挑戦したり、東大寺二月堂お水取りに取材した新作舞踊『達陀(だったん)』の初演、さらには『オセロ』『シラノ・ド・ベルジュラック』などの欧米演劇で新劇俳優と共演するなど芸域の広さを見せた。
- He also attempted Kamigata style Kyogen including 'Yadonashi Danshichi,' and performed the first performance of the new dance 'Dattan' at the Ceremony of Water and Fire at Nigatsudo Hall, Todaiji Temple, as well as performing with new theater actors in Western productions such as Othello and Cyrano De Bergerac, displaying the breadth of his talents.
- 芸風は、立役の後継者に恵まれなかった六代目菊五郎のそれをよく受継ぎ、尾上梅幸 (7代目)、市川左團次 (3代目)、市村羽左衛門 (17代目)らとともに菊五郎劇団を支え、菊吉時代の歌舞伎を伝えることに大きな功績があった。
- His style was that of Kikugoro (VI) who was not blessed with a successor to the lead roles, and along with Baiko ONOE (VII), Sadanji ICHIKAWA (III) and Uzaemon ICHIMURA (XVII) they formed the Kikugoro Theater and successfully transmitted the kabuki skills of Kikuyoshi's age.
- 京おどりは1950年(昭和25年)に初演され、1954年(昭和29年)から1968年(昭和43年)の時期は阪急電鉄京都線河原町延長工事のため南座で上演され、1969年(昭和44年)から新装された歌舞練場にもどり、現在に至る。
- Kyo Odori was played for the first time in 1950, and it was played in Minami-za Theater between 1954 and 1968 due to extension work of Kawaramachi of Hankyu Railway Kyoto Line, and then went back to the renovated Kabu-renjo Theater from 1969 to the present.
- 更に鎌倉時代に書かれた『古今著聞集』には、平安時代中期の僧・歌人である道命(藤原道長の甥)が、山の住人より蕎麦料理を振舞われて食膳にも据えかねる蕎麦料理が出されたことに対する素直な驚きを示す和歌を詠んだという逸話を記している。
- Additionally, there is an episode in 'Kokon Chomon ju' (A Collection of Tales Heard, Past and Present) written in the Kamakura period, that Domyo (the nephew of FUJIWARA no Michinaga), who was a priest as well as a poet in the mid Heian period, composed waka poetry expressing his honest amazement at being served the humble buckwheat dish which seemed inappropriate to be on the table in front of a mountain man.
- 7月1日の「お千度」(おせんど)を皮切りに数多くの行事に舞台化粧と同様の厚化粧で登場、13日午前中の「稚児社参」では狩衣に金の烏帽子で登場、「正五位近衛府内部官職」(大名と同等)の位を授かり、これ以降は女子の手を一切借りない。
- Naginata boko Chigo wearing stage makeup appears in many events beginning with 'Osendo' (a thousand visits to a shrine) on July 1, and then in 'chigo shasan' (child of festivity visiting the shrine) in the morning on the 13th in Kariginu costumes and golden eboshi (lacquered headgear originally worn by court nobles in ancient Japan); Naginata boko Chigo is then awarded the rank of 'Shogoi Konoefu Naibukanshoku' (the senior fifth rank with a post guarding inside the palace and imperial families) (as high as feudal lord); after that, no women can assist the chigo.
- 純歌舞伎では『青砥稿花紅彩画』(白浪五人男)の弁天小僧、『与話情浮名横櫛』(切られ与三)のお富、『新皿屋舗月雨暈』(魚屋宗五郎)の女房おはま、そして無類の貴公子ぶりを見せた『新薄雪物語』(薄雪)の左衛門などの世話物を得意とした。
- In the area of pure kabuki, he was very good at plays dealing with the lives of ordinary people, playing Bentenkozo of 'Aoto Zoshi Hana no Nishikie' (The Story of Aoto and the Gorgeous Woodblock Print) or 'Shiranami Gonin Otoko' (The Five Shiranami Men), Otomi of 'Yohanasake Ukinano Yokogushi'or 'Kirare Yosa' (Scarface Yosa), Ohama the wife of 'Shinsarayashiki Tsuki no Amagasa' or 'Sakanaya Sogoro,' and, above all, Saemon of 'Shin Usuyuki Monogatari' (The Tale of Usuyuki) or 'Usuyuki,' which he played with unmatched nobleness.
- 古くは舞楽の装束をまね、太夫は鳥兜(とりかぶと)をかぶっていたが、室町時代になると烏帽子(さむらいえぼし)をかぶり、素襖(すおう)に平袴(ひらばかま)姿に、才蔵は大黒頭巾風のものをかぶり、大袋を背負う格好が普通であったようである。
- In ancient times, imitating the costume of 'bugaku' (court dance and music), tayu put on 'torikabuto' (ornamental hat in bugaku), but in the Muromachi period tayu seems to have put on 'samurai-eboshi' (formal headwear for court nobles), 'suo' (ceremonial dress of lower-class samurai) and 'hirabakama' (man's formal divided skirt) and saizo put on something like 'daikokuzukin' (hood like the god of good luck) and normally shouldered a big bag.
- 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.
- 通常は、宵山の16日と山鉾巡行・神幸祭の17日、花傘巡行・還幸祭の24日の3日間八坂神社境内で奉納されるが、2006年(平成18年)以降は鷺舞保存会と神社、氏子組織の対立が深まったために行われず、代りに、次項の子鷺踊りが奉納された。
- Usually, the sagi mai is dedicated to the Yasaka-jinja Shrine for three days: in Yoiyama on the 16th, in Yamahoko Junko and Shinkosai on the 17th, and Hanagasa Junko and Kankosai on the 24th; since 2006, the sagi mai has not been performed because the relationship between the Sagi mai hozon kai, shrines, and ujiko soshiki has become worse; instead, Kosagi odori dance has been dedicated to the shrine (described below).
- 本来の沖縄の萬歳は、首里郊外の安仁屋部落にいた萬歳行者(まんぢゃいこーしー)が年のはじめに各家々の門に立ちよって祝言をとなえ人形を舞わせていたようであるが、大正時代には今帰仁などではすでに見受けられず、萬歳行者という言葉だけが伝えられていた。
- In the traditional manzai in Okinawa, manjai-koshi (strolling comic dancer) in the Shuri suburb of Aniya hamlet seems to have stood by the gate of each house, given celebration words and made dolls dance at the beginning of the year, but in the Taisho period they were not seen in Nakijin and so on, and only the word manjai-koshi remains.
- 江戸時代には歌舞伎狂言の公演は公許制度の下にあり、多くの時代において日の出から日没までにすべてを公演するという幕府によって定められた規則の下で公演された(理由は、日没後に大衆が集まることで不穏な政治行動に発展することを幕府が恐れたためとされる)。
- During the Edo period, the performances of Kabuki Kyogen were under control of the authorities, so they obeyed the rules set down by the Tokugawa shogunate that all of the performances should be finished within the daytime; the shogunate was afraid that a gathering of a mob after sunset could develop into disorderly political activities, they say.
- 歌舞伎・文楽・日本舞踊等、江戸時代に盛んになった伝統芸能、特に庶民階級を対象にして劇場や屋外の舞台で演じられたものには、「浄瑠璃」(じょうるり)のような「語り」あるいは「唄」と三味線によって、旋律と緩急がはっきりした大衆的な音楽をつけることが一般的であった。
- It was common that popular music like joruri (dramatic narrative chanted to a shamisen accompaniment), which contained narration or songs with a distinct melody played by shamisen, composed of up-tempo tunes and slow-tempo tunes, was used for traditional performing arts that became popular during the Edo period such as kabuki (traditional drama performed by male actors), bunraku (Japanese puppet theater), and classical Japanese dance, especially for performances for the common people in a theater or on an outdoor stage.
- かつて能の客席は正面(しょうめん)、脇正面(わきしょうめん、橋掛側。地謡と正対するかたちになる)、中正面(なかしょうめん、正面と脇正面との間。目付柱のほうを向く)、地裏(じうら、地謡座の背後。脇正面と相対する)の4か所に分けられ、舞台を三方から見ることができた。
- In the past, the audience seats are divided into the following four places so that the stage could be seen from three directions: Shomen (the front), Wakishomen (the left side of the stage, on the Hashigakari side, directly facing Jiutai), Nakashomen (middle front, between Shomen and Wakishomen, facing Metsukebashira), and Jiura (behind Jiutaiza, facing Wakishomen).
- 通常は、各種の武芸である日本武術、江戸期の公家家職に由来する有職故実・礼式、そのほか能楽、歌舞伎、人形浄瑠璃などの芸能、邦楽、茶道、華道、香道、書道、盆庭などをはじめとして、伝統工芸的な手工業、古典園芸など、ひろく技術を伝承する分野においてこうした観念が見られる。
- This concept can normally be seen in the various Nihon bujutsu (Japanese martial arts) and the Yusoku kojitsu (traditional protocol of the imperial court and samurai families) or reishiki (etiquette) that are derived from the practices and manners observed by court nobles in the Edo period; it can also be seen in fields where skills are passed down from one generation to the next, ranging from performing arts such as Nohgaku, Kabuki, and Ningyo Joruri (traditional Japanese puppet theater), Hogaku (traditional Japanese music), Sado (tea ceremony), Kado (flower arrangement), Kodo (traditional incense-smelling ceremony), Shodo (calligraphy), Bontei (tray garden) to traditional handicrafts and classic gardening.
- 現在、浄瑠璃音楽として残っているものは、義太夫節(丸本歌舞伎専用の義太夫を特に「竹本(チョボ)」と呼ぶことがある)、常磐津節、清元節、それに河東節、一中節、宮薗節(河東節、一中節、宮薗節に上方地歌の系統を引く荻江節を加えた4種を「古曲」と総称する)、新内節、富本節の8種である。
- Eight kinds of Joruri music are existent today, namely Gidayu-bushi (Gidayu specializing in Marumoto Kabuki is sometimes called 'Takemoto (Chobo)'), Tokiwazu-bushi, Kiyomoto-bushi, Kato-bushi, Icchu-bushi, Miyazono-bushi (Kato-bushi, Icchu-bushi, Miyazono-bushi and Hagie-bushi, which derived from Kamigata jiuta (a genre of traditional songs with shamisen accompaniment), are collectively called 'Kokyoku'), Shinnai-bushi and Tomimoto-bushi.
- これは、喪中「欠礼」という言葉の示すとおり、「年賀の挨拶をお断りします」というよりは、「自分の家は今年は忌中なので年賀の挨拶ができなくて申し訳ありません」という意味だからである(昨今では喪中の家に年賀状を出すのは失礼という人もいる。一般的には寒中御見舞いのはがきを出すことが多い。)。
- As indicated by the phrase 'refraining from greetings' due to mourning, the concept of sending the postcard is to say, 'We are sorry we can't send a New Year's greeting due to the mourning period,' as opposed to, 'We won't accept a New Year's greeting from you,' (while some people believe it's rude to send the nengajo to a mourning family, it's common to send a kanchuomimai [winter greeting card] instead).
- かつて明治時代後期には、酒が一升瓶で流通するようになったために、日本人の酒の消費の仕方が、年に数回だけハレの日に振る舞い酒をとことん泥酔するまで飲む様式から、ほとんど毎日ケの日に自分の好みの酒を晩酌や独酌としてほどほどに酔う(なま酔い)様式へ変化した(参照:「流通と消費の形態変化」)。
- In the latter part of the Meiji period, since sake came to be distributed in 1.8 liter bottles, the way of consuming sake of the Japanese changed from a style in which they drank sake as a treat heavily only a few special days in a year to one in which they drank their favorite sake for dinner or individually almost every normal day and got drunk to some extent (namayoi) (see the section of 'The change of distribution and consumption forms').
- 寄席が落語と切り離せないのは、落語家にとって寄席が修行の場であり芸を磨く唯一無二の舞台とされること、観客も贔屓の演者の成長と演者ごとの演出の違いを楽しむという点にあり、「完成品」を見せるホール落語と違い寄席落語には「未完成」なりの面白さ、真剣さがあるとされる(新宿末廣亭初代席亭の北村銀太郎の発言より)
- According to a remark by Gintaro KITAMURA, the first owner of the Shinjuku Suehirotei theater, a yose and rakugo cannot be separated because, for rakugo storytellers, yose are only the place where they can polish their storytelling techniques, and audiences also enjoy the growth of the performers and the differences in the performance of each rakugo storyteller; it is said that while 'complete' performances are presented in the rakugo performed in halls, rakugo in yose are, due to their being 'incomplete,' interesting and performed seriously.
- シテ、ワキともに中入りした舞台に、狂言方が扮する従者が登場、前段のあらすじを語ったのち「道真は雷となって内裏に行き悪事をなさっている。案の定、僧正(法性坊)のもとに勅使がきて内裏でご祈祷せよとのこと、初めは断っていた僧正も三度目の使いを受け、この上は是非におよばずと参上せられる。皆々用意をせよ」と言う。
- On the stage without shite and waki who are taking a break, enter the follower acted by a kyogen-kata (kyogen player), and he speaks a rough plot of the first half and, thereafter, says 'Michizane went to the Imperial Palace precincts and is doing bad things. As I expected, the imperial messenger went to the priest (Hossho-bo) and ordered the priest to come to the Imperial Palace precinct and pray to expel the evil spirit. The priest first refused the order but, receiving the third messenger, the priest thought there was no choice and went there. Every body, please be ready.'
- また、「専用の」装束などは着用せず、その状況に合った服装(町中では町人の格好、屋敷などに侵入する場合には使用人の格好)を用いており、黒装束については、歌舞伎などに登場させる際に黒子のように観客に対して「見えない存在であること」を表現したものが後に、現実にもそのような格好で活動していたと誤認されたとする説もある。
- They didn't wear 'exclusive' costume, but appropriately dressed for the situation (in the town, dressed like townspeople and when they broke into a residence, dressed like a servant), and there is a theory that people believed that ninja was wearing black costume because ninja in kabuki was described as 'invisible presence' like kuroko (stage assistants dressed in black).