璃寛の英語

葛飾十右衛門：嵐璃寛(3代目)例文帳に追加

Rikan ARASHI III as Juemon KATSUSHIKA.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

紀海音（きのかいおん、寛文3年（1663年）-寛保2年10月4日(旧暦)（1742年10月31日））は、江戸時代中期の浄瑠璃作家、狂歌師、俳人。例文帳に追加

KI no Kaion (1663 - October 31, 1742) was joruri (dramatic narrative chanted to a shamisen accompaniment) author, kyokashi (a person who makes and teaches a comic tanka), and haiku poet who lived during the middle of the Edo period.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

同じく寛延2年（1749年）初演の人形浄瑠璃（後に歌舞伎化）『源平布引滝』では、青年期の実盛が幼年の義仲と対面する。例文帳に追加

In the Ningyo Joruri piece (later made into a Kabuki play) called "Genpei Nunobiki no Taki" that premiered in 1749, young Sanemori meets Yoshinaka who is still a child.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

近松門左衛門の人形浄瑠璃、平家女護島の2段目俊寛に妹尾兼康が悪役として登場している。例文帳に追加

In Heike Nyogoga Shima, which is a piece of ningyo joruri (traditional Japanese puppet theater) by Monzaemon CHIKAMATSU, Kaneyasu SENOO appears as akuyaku (villain's role) in the Second-Stage titled "Shunkan" (after a priest named Shunkan).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

いずれにせよ安珍・清姫の名はまだ見られず、安珍の名の初出は『元亨釈書』、清姫の名の初出は操浄瑠璃「道成寺現在蛇鱗」（寛保2年（1742年）初演）とされる。例文帳に追加

In either way, the names of Anchin and Kiyohime did not appear yet, and Anchin first appeared in "Genko shakusho" (History of Buddhism of the Genko era), and Kiyohime first appeared in Joruri (ballad drama), 'Dojo-ji genzai uroko' (the scales of Dojo-ji Temple, a modern version) (first staged in 1742).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

寛政から文化(元号)にかけては浄瑠璃作家から転じた芝屋芝艘や、京都から大阪へ下って御霊などの社地で噺を演じた松田彌助が台頭。例文帳に追加

From the Kansei to the Bunka era, the following storytellers were popular: Shibaso SHIBAYA who had composed joruri (dramatic narratives chanted to shamisen accompaniment) before he became a teller of comic stories as well as Yasuke MATSUDA who, moving from Kyoto to Osaka, performed comic stories in shrines and temples such as Mitama-jinja Shrine.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

18世紀末から19世紀のはじめにかけて（寛政年間）、初世植村文楽軒は歌舞伎の人気に押されて廃れつつあった人形浄瑠璃の伝統を引き継ぎ、高津橋（大阪市中央区(大阪市)）に座を作り再興させた。例文帳に追加

During the Kansei era, between the end of the eighteenth century and the early nineteenth century, Bunrakuken UEMURA I created a za (theater) at Kozu-bashi Bridge (Chuo Ward, Osaka City), inheriting the tradition of ningyo joruri, which was about to go out of fashion with the popularity of kabuki.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス