「The Kabuki」に関連した英語例文の一覧と使い方(22ページ目) - Weblio英語例文検索

Due to their livelihood, their relationship to subsequent groups such as miko (shrine maidens), Kabuki (traditional drama performed by male actors) performers, ichigo (female fortune-tellers) and Itako (The Japanese shaman) has been identified. 例文帳に追加

その生活体系から、後の時代の、巫女、歌舞伎、市子、イタコ等との関連性が指摘されている。 - Wikipedia日英京都関連文書対訳コーパス

Works on the subject of Katakiuchi have been widely supported, so much so that there is a genre called "Adauchi kyogen" (comic drama on Adauchi) in Kabuki and Joruri. 例文帳に追加

歌舞伎や浄瑠璃の一ジャンルとして「仇討狂言」という物が存在するほど、敵討を主題とした作品は広く支持されてきた。 - Wikipedia日英京都関連文書対訳コーパス

Entertainment: cherry blossom viewing, shell gathering, fireworks in the Japanese history, viewing of autumnal leaves, Edo's three licensed kabuki theaters, grand sumo tournament, visit to Naritasan Shinsho-ji Temple, and pilgrimage to Ise (Shrine) 例文帳に追加

娯楽：花見、潮干狩り、花火日本での歴史、紅葉紅葉狩り、江戸三座、大相撲、成田参詣、お伊勢参り - Wikipedia日英京都関連文書対訳コーパス

The Kabuki-za’s familiar appearance will be maintained while its function as an information center on Japanese culture will be upgraded. 例文帳に追加

歌舞伎座のおなじみの外観が維持される一方で，日本文化の情報センターとしての機能は高められる。 - 浜島書店 Catch a Wave

I'm working hard so that this traditional form of comic storytelling will be known worldwide the way Kabuki and Kyogen are. 例文帳に追加

この伝統ある落語が歌(か)舞(ぶ)伎(き)や狂(きょう)言(げん)と同様に世界中で知られるように一生懸命がんばっています。 - 浜島書店 Catch a Wave

Japan now has 22 entries on the list, including Kabuki theater and gagaku, or Japanese court music.例文帳に追加

歌(か)舞(ぶ)伎(き)や日本の宮廷音楽である雅(が)楽(がく)など，日本は現在リストに22件の登録がある。 - 浜島書店 Catch a Wave

Originally, it was a gohengebuyo (five-transformation variety of dance) in which a girl coming out of a picture dances, but since the time of Kikugoro ONOUE the sixth the stage effects were altered to that of a wisteria spirit dancing as a girl, and this style became common and is now a popular Kabuki Buyo (Kabuki Dance). 例文帳に追加

もともとは絵から出て来た娘が踊ると言う趣向の五変化舞踊のひとつだったが、六代目尾上菊五郎が藤の精が娘姿で踊るという内容に変えて舞台演出を一新して以来、そのスタイルが一般的になり、現在では人気の歌舞伎舞踊の一つである。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

There are two explanations regarding the origin of gando gaeshi, one of which is that it was invented by Shozo NAMIKI (1730-73), a Kabuki Kyogen (comic drama) writer of Osaka in the mid Edo period, and another of which is that it was invented by Haruzo TAKEDA, a playwright of Kabuki play in 1726. 例文帳に追加

強盗返は回り舞台を初めとして後の舞台機構に数々の影響を与えた江戸中期の大阪出身の歌舞伎狂言作者の並木正三（なみきしょうぞう,1730–73）が考案したとする説と、宝暦12年(1726)に狂言作者の竹田治蔵（たけだはるぞう）が考案したとする説がある。 - Wikipedia日英京都関連文書対訳コーパス

It is said that Nizaemon KATAOKA, the thirteenth once outraged when he saw Danshichi by a certain kabuki actor in Tokyo who lacked kamigata color, and therefore he appealed to Tojuro SAKATA (then Senjaku NAKAMURA) saying that 'This is blasphemous to the kamigata kabuki, so would you please play Danshichi as an example?' 例文帳に追加

かつて十三代目片岡仁左衛門は、上方色の乏しい東京の某歌舞伎役者の団七を観て激怒し、坂田藤十郎（当時は中村扇雀）に、「これは、上方歌舞伎への冒とくや、あんさん、手本に団七をやっておくれやす」と頼み込んだという。 - Wikipedia日英京都関連文書対訳コーパス

When he was young, he learned the forms of kabuki and kyogen from excellent actors such as Koshiro MATSUMOTO VII, Chusha ICHIKAWA VII, Hazaemon ICHIMURA XV and Enjaku MINOKAWA II in addition to his father; this was an important asset not only for Nizaemon (XIII) but also for kabuki society as a whole. 例文帳に追加

若いときに父を始め、松本幸四郎(7代目)、七代目市川中車、市村羽左衛門(15代目)、實川延若(2代目)ら名優に歌舞伎狂言の型を教えられたが、これは、十三代目仁左衛門のみならず歌舞伎界にとって貴重な財産であった。 - Wikipedia日英京都関連文書対訳コーパス

Since he was hidden behind his great father and younger brother, and further experienced a sluggish period of Kansai Kabuki, he had been obscure all his life without achieving any success as an actor, however, he showed an antique and skillful taste when acting Manjiro in "Ise Ondo" (Ise Dance), and a wakashu (a teenage kabuki apprentice and also male prostitute) such as Chube in "Meido no hikyaku" (From The Courier for Hell), etc. 例文帳に追加

偉大な父や弟の陰に隠れ、さらには、関西歌舞伎の不振期にも出くわすなど役者として大成せぬままに終わり不遇であったが、『伊勢音頭』の万次郎、『冥途の飛脚』の忠兵衛などの若衆を演じるときは、古風な好い味を見せていた。 - Wikipedia日英京都関連文書対訳コーパス

In addition, even a rumor went around that government officials sexually assaulted women in the fancy ball (according to the record of Michitsune MISHIMA) because they were accused of holding a costume ball in the prime minister's official residence on April 20 despite the death of Imperial Princess Shizuko HISANOMIYA on April 4, 1887, (in fact, they merely let a venue for the dance at the request of the minister to Britain), and were also accused of taking place Tenran Kabuki (Kabuki the royal family attend to watch) in the house of Kaoru INOUE on April 26. 例文帳に追加

更に1887年4月4日に久宮静子内親王が亡くなったにも関わらず、4月20日に首相官邸で仮装舞踏会を開催（ただし、実際は駐英公使の依頼により会場を貸しただけであった）し、4月26日に井上馨邸で天覧歌舞伎が行われた事に対する非難から、仮装舞踏会では政府高官による婦女暴行が行われているという風説（三島通庸の記録より）まで飛んだのである。 - Wikipedia日英京都関連文書対訳コーパス

He also wrote, however, that "If I gave up Kamigata in its present state, I would not have any excuse not only to the ancestors of the Kataoka family but also to my predecessors who had built up shibai (drama) in Kamigata up until now. By all means, I had to protect Kamigata Kabuki shibai." ("Yakusha nanajunen (literally, seventy years as an actor)" by Nizaemon KATAOKA; published by The Asahi Shimbun Company), and his heart-felt sorrow for kabuki and his thoughts for his ancestors instilled in him the tragic but brave thought that "If failed, I will die with kabuki."(ibid.). 例文帳に追加

だが「現在この有様上方を捨てては、片岡家の先祖は言うに及ばず、何代かかって上方の芝居をここまで築き上げてきた先輩たちにこれほど申し訳ないことはないではないか。何としても上方の灯は守らなければ。」（片岡仁左衛門著「役者七十年」1976年朝日新聞社）とあるように、切実な関西歌舞伎の愛惜と先祖への思いとが「それでも駄目なら歌舞伎と心中しよう。」（同上）という悲壮な決心に向かったのである。 - Wikipedia日英京都関連文書対訳コーパス

At the beginning of the mid-18th century, Kabuki was revived with completion of shosagoto (dance in Kabuki) by star actors for female roles such as Kikunojo SEGAWA I (shodai) and Tomijuro NAKAMURA I (shodai), the restoration of forgotten wagoto performances by Kichitaro OGAWA and the creation of excellent scripts and improvement of stage installations by Shozo NAMIKI I in cooperation with Utaemon NAKAMURA I (shodai). 例文帳に追加

18世紀中期初には初代瀬川菊之丞(初代)、初代中村富十郎(初代)ら名女形が所作事を大成し、初代小川吉太郎は途絶えていた和事芸を再興し、初代並木正三は初代中村歌右衛門(初代)と提携して優れた脚本を作り舞台装置の改良をするなどして歌舞伎は息を吹き返した。 - Wikipedia日英京都関連文書対訳コーパス

However, the difference in quality with Edo Kabuki was reversed as actors of oshibai performed in lower-ranked hamashibai, decreasing the dignity of the plays, and capable Kabuki playwrights did not appear, which resulted in the rewriting of titles with same content and representation of popular plays of hamashibai, and originality was lacking as revue-style plays emphasized variety. 例文帳に追加

ただ大芝居の役者がランク下の浜芝居に出るようになって芝居の品格が低下したり、有能な狂言作者が出ず、演目の内容が同じ種目の書き換えや浜芝居の人気狂言の上演、さらには趣向中心のレビュー形式の狂言になるなど独創性に欠けるなど、江戸歌舞伎との質の差が逆転する。 - Wikipedia日英京都関連文書対訳コーパス

He gained a reputation for roles such as Okaru, Enya hangan and Oishi of "Kanadehon Chushingura," Shizuka Gozen of "Yoshitsune Senbonzakura" (Yoshitsune and One Thousand Cherry Trees), Omiwa of "Imoseyama (Mt. Imose) Onna Teikin" (An Exemplary Tale of Womanly Virtue), Omitsu of "Shinpan Utazaimon" (The Love of Osome and Hisamatsu) (Nozaki Village), Tamate-Gozen of "Sesshu Gappo ga Tsuji" (A Kabuki Drama of Unfettered Evil) (Gappo Anjitsu [hermitage of Gappo]), Sakuramaru of "Sugawara Denju Tenarai Kagami" (Sugawara's secrets of calligraphy) and Yoshitsune of "Kanjincho" (The Subscription List) and "Jinya KUMAGAI, Ichi no Tani Futabagunki" (Chronicle of the Battle of Ichinotani) in the area of maruhonmono (Kabuki drama of joruri [puppet-play] origin). 例文帳に追加

丸本物では『仮名手本忠臣蔵』のお軽、塩冶判官、お石、『義経千本櫻』の静御前、『妹背山婦女庭訓』お三輪、『新版歌祭文』（野崎村）のお光、『攝州合邦辻』（合邦庵室）の玉手御前、『菅原伝授手習鑑』の桜丸、『勧進帳』や『一谷嫩軍記・熊谷陣屋』の義経などが当たり役であった。 - Wikipedia日英京都関連文書対訳コーパス

Kabuki Eiga Pro,' in cooperation with Nakane Pro and YAMAGUCHI's 'Yamaguchi Toshio Productions,' Kobunji acted in the first films that were produced by these two production companies and Yoshinosuke ICHIKAWA (later known as Kiyoshi SAWADA), who had come from Ayameike Studio of Ichikawa Utakemon Productions (Uta Pro) in Nara and joined 'Kabuki Eiga Pro,' also acted in "Aizo Ketsurui" (Love and Hate, Blood and Tears) produced by Chie Pro, but YAMAZAKI's 'Kanshu Renmei' fell apart early at the end of July in 1928. 例文帳に追加

「歌舞伎映画プロ」は、中根プロ、および山口の「山口俊雄プロダクション」に協力し、小文治はそれらの第1作に出演、奈良の市川右太衛門プロダクションあやめ池撮影所（右太プロ）から「歌舞伎映画プロ」に参加した市川芳之助（のちの沢田清）も千恵プロの『愛憎血涙』に出演したが、同年7月末に早くも山崎らの「館主連盟」が瓦解してしまった。 - Wikipedia日英京都関連文書対訳コーパス

Furthemore, since 1884 when he had Kinsaku TAKESHIBA succeed to Shinshichi KAWATAKE III (the Third) and changed the name of Noshin KATSU to Noshin KAWATAKE, as a kyogen-sakusha (kabuki playwright), he had used until his death a signature of Mokuami FURUKAWA in every official document such as banzuke (playbill), shohon (promptbook) and daicho (kabuki scripts), thus leaving no evidence of using a signature of 'Mokuami KAWATAKE' by himself. 例文帳に追加

さらに明治17年（1884年）に竹柴金作に三代目河竹新七をつがせ、勝能進に河竹姓を与えて河竹能進と名乗らせてから死去するまで、狂言作者名としては番付・正本・台帳に至るまで古河黙阿弥と署名しており、本人がこれらに「河竹黙阿弥」と署したことは一度もない。 - Wikipedia日英京都関連文書対訳コーパス

In order to claim his legitimate right to use the name Matsushimaya (a Kabuki guild name that had existed since Nizaemon KATAOKA the tenth), Gado KATAOKA the thirteenth chose to use the number 13 for his name, adding one to the number used in the name of his father, Nizaemon KATAOKA the twelfth (who had earlier been known as Gado KATAOKA the fourth), instead of adopting the name Gado KATAOKA the fifth. 例文帳に追加

十三代目は十代目片岡仁左衛門以来の松嶋屋正系を主張する意味から、五代目ではなく、父十二代目仁左衛門の代数に一を加えた十三代目を名乗っていた。 - Wikipedia日英京都関連文書対訳コーパス

Kobunji ICHIKAWA joined Toa Kinema Tojiin Studio at the end of 1924, making his debut in a film in 1925 and although he stayed with Toa when Shozo MAKINO established Makino Productions in June of 1925, he joined Makino in August of 1926 and then established 'Ichikawa Kobunji Kabuki Eiga Productions' (Kabuki Eiga Pro) in June of 1928 after leaving Makino. 例文帳に追加

1924年（大正13年）末の東亜キネマ等持院撮影所入社、翌1925年（大正14年）に映画デビュー、同年6月の牧野省三によるマキノ・プロダクション設立のさいには東亜に残ったが、1年後の1926年（大正15年）8月にはマキノに合流した市川小文治が、1928年（昭和2年）6月にマキノを退社して設立したのが、この「市川小文治歌舞伎映画プロダクション」（歌舞伎映画プロ）である。 - Wikipedia日英京都関連文書対訳コーパス

In October, 1931, he co-starred with Ganjiro at the Kabuki-za Theater, playing the role of Goemon in "Sanmon" (the scene of 'Nanzenji Sanmon' of "Sanmon Gosan no Kiri"), which became famous as the top actor of the East Narikoma-ya (Utaemon from Tokyo) and the top actor of the West Narikoma-ya (Ganjiro from Osaka) had made the sparks fly on the stage. 例文帳に追加

1931年（昭和6年）10月の歌舞伎座で鴈治郎と共演した『山門』の五右衛門が、東西成駒屋の火花を散らす共演として有名。 - Wikipedia日英京都関連文書対訳コーパス

It is not accidental that "Sukeroku" has been a special play among the eighteen Kabuki repertoire items such that it has always been put at the top of the eighteen items, has been put on the stage for the most frequently among the eighteen items, and its performance time is the longest among the eighteen items. 例文帳に追加

『助六』が歌舞伎十八番では常に第一にあげられ、上演回数では群を抜いて最多、その上演時間も最も長いという、特別なものとなっているのもただの偶然ではない。 - Wikipedia日英京都関連文書対訳コーパス

He had since acquired the following theatres: the Asahi-za Theatre and the Bunraku-za Theatre in Osaka (1909), the Shintomi-za Theater in Tokyo (1910), the Doshima-za Theatre in Osaka (1911), the Tokyo Kabuki-za Theater (1913), the Dotonbori Kado-za Theater in Osaka (1917) and the Naka-za Theater in Osaka (1918). 例文帳に追加

以後、大阪朝日座、同文楽座（1909年）、東京新富座（1910年）、大阪堂嶋座（1911年）、東京歌舞伎座（1913年）、大阪道頓堀角座（1917年）、大阪中座（1918年）を次々と手中に収める。 - Wikipedia日英京都関連文書対訳コーパス

In the first rally of the Campaign for the Defense of the Constitutionalism held at Kabuki-za Theater on December 19, many people took part, such as the Diet members of the Seiyukai and the Rikken Kokuminto (Constitutional National Party, hereinafter referred to the Kokuminto), journalists, businessmen, students and about 3,000 audiences, and they adopted a resolution that 'cliques should be overthrown and that constitutionalism should be defended.' 例文帳に追加

19日の歌舞伎座での憲政擁護第1回大会では、政友会、国民党の代議士や新聞記者のほか実業家や学生も参加し、約3,000の聴衆を集めて「閥族打破、憲政擁護」を決議している。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

The play 'Date Kurabe Okuni Kabuki' was set in the world of Onin-ki (The Records of the Onin War), where the Hosokawa clan and Yamana clan fought each other, and also adopted the story of Kasane and Yoemon, dramatizing the legend of Kasane. 例文帳に追加

「伊達競阿国戯場」は、騒動の舞台を細川氏・山名氏が争う応仁記の世界にとり、累伝説を脚色した累・与右衛門の物語と併せて劇化した。 - Wikipedia日英京都関連文書対訳コーパス

As an influential person of kabuki world of the East and the West, his residence of Sendagaya of Tokyo had the premises of 9900 sq.m. and the residence of 660 sq.m. (it was 30 meters from the gate to the main housing), and was provided many servants and even policemen for the security. 例文帳に追加

東西歌舞伎の重鎮らしく、東京千駄ヶ谷の自宅は三千坪の敷地に二百坪の屋敷（門から母屋まで３０ｍ）という壮大なもので、多数の使用人と警備の警官まで備えていた。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

During the Taisho period, old Kabuki works were re-evaluated through, for example, the revival of hidden classics by the second "Sadanji ICHIKAWA," and the completion of wagoto, the performances in a love scene by the first "Ganjiro NAKAMURA" in Kamigata. 例文帳に追加

大正期には市川左團次(2代目)が埋もれていた古典の復活を行い、上方では中村鴈治郎(初代)が和事の芸を大成するなど従来の作品の見なおしも行われた。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

With his father's (Tanosuke V) retirement in 1964, he succeeded his name as Tanosuke SAWAMURA VI when he performed Konami of "Kudanme of Kanadehon Chushingura" (9th Act of The Treasury of Loyal Retainers), Ofune of "Shinrei Yaguchi no Watashi" (The Yaguchi Ferry and the Magic Arrows), and Kosuo of "Yoritomo no shi" (The Death of Yoritomo) at the Kabuki-za Theater on April of the same year. 例文帳に追加

1964年（昭和39年）父・五代目田之助の引退に伴い、同年4月に歌舞伎座『仮名手本忠臣蔵・九段目』小浪、『神霊矢口渡』のお舟、『頼朝の死』の小周防で六代目澤村田之助を襲名。 - Wikipedia日英京都関連文書対訳コーパス

In kabuki, it is decided as a traditional form that a character who enters from the hanamichi stops the action and shows short performance (sometimes the performance is long) when he comes to the place where is between three-tenths and four-tenths of the hanamichi (three-tenths of the hanamichi) if it is divided into ten equal parts. 例文帳に追加

歌舞伎では花道から登場する人物は、七三の位置（花道を十等分して舞台から三分目と四分目の間）で一旦動きを止め、短い演技（長いこともある）を見せるのが定石である。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

Surnames of actors: Used when almost all the co-starring actors share the same yago, and when the address of the actors as the above example No. 3 is unknown, and when the actors belong to Zenshin-za and don't have myoseki (successive names) of kabuki, and so on. 例文帳に追加

役者の姓一座のほぼ全員が同じ屋号をもつ場合、上記3で役者の住所が不明な場合、前進座の役者で歌舞伎の名跡を得ていない場合などにこれが出る。 - Wikipedia日英京都関連文書対訳コーパス

His achievements are noteworthy; especially in "Kirare Yosa," he established the bases of the sewa kyogen (a category of plays depicting the people's common life) in the end of Edo Period by introducing seven-and-five syllabic rhythmical dialogues prior to another Kabuki playwright Mokuami, and in the "Sakura Gimin Den" he created the first peasant play in Japan. 例文帳に追加

とくに『切られ与三』では七五調の台詞を黙阿弥に先駆けて使用して幕末期の世話狂言の基本を築き、『佐倉義民伝』では日本最初の農民劇を創作するなどの功績をあげている。 - Wikipedia日英京都関連文書対訳コーパス

Bringing the catfish under control with a keystone was originally a role of the Kashima Daimyojin (The Kashima Deity) and there was no scene like that in "Shibaraku" in kabuki, so the composition is judged as the combined features of both. 例文帳に追加

要石による大鯰の制圧は本来は鹿島大明神の役割で、歌舞伎の『暫』にはこのような場面は登場せず、両者の特徴を組み合わせた構図とみられる。 - Wikipedia日英京都関連文書対訳コーパス

Since then, Miyako Odori has been performed devising new plans associated with the Oriental Zodiac or topics of the year, as well as following the style since Meiji Period based on kabuki (Japanese classical drama) or the Tale of the Genji. 例文帳に追加

以来、歌舞伎や源氏物語などを題材して明治以来のスタイルを踏襲しながらその年の干支や話題にちなみ、新たなる志向で上演され続けている。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

Among audiences of kabuki, "Kyu-daime" (the ninth) usually refers to the ninth Danjuro ICHIKAWA, "Roku-daime" (the sixth) usually refers to the sixth Kikugoro ONOE, therefore, at present, "Kyu-daime" and "Roku-daime" are rarely used for the other actors. 例文帳に追加

ただし歌舞伎の世界では通常「九代目」といえば市川團十郎(9代目)のことを、「六代目」といえば尾上菊五郎(6代目)のことを指すので、「九代目」「六代目」という声が掛かることはまずない。 - Wikipedia日英京都関連文書対訳コーパス