「The Kabuki」に関連した英語例文の一覧と使い方(27ページ目) - Weblio英語例文検索

As for the performance by the Kabuki actors, it appears that this play had not been performed until the new version was produced; the new version was supplemented and directed by Masakatsu GUNJI, and Tatsunosuke ONOE (the first) played Gengobe, Ninzaemon KATAOKA (the fifteenth) played Sangoro, and Tamasaburo BANDO (the fifth) played Koman. 例文帳に追加

歌舞伎関係者の上演は郡司正勝の補綴、演出と尾上辰之助(初代)の源五兵衛・片岡仁左衛門(15代目)の三五郎・坂東玉三郎(5代目)の小万の配役によって復活されるまで、長く絶えていたようである。 - Wikipedia日英京都関連文書対訳コーパス

The play performed today is based on the performance at the Kabuki-za Theater in September 1941, interpreted by Onitaro OKA, with Kichiemon the first as Daihanji, Baigyoku the third as Sadaka, Tokizo the third as Koganosuke and Utaemon NAKAMURA the sixth as Hinadori. 例文帳に追加

なお今日演じられるのは1941年（昭和16年）9月歌舞伎座上演、岡鬼太郎演出、初代吉右衛門の大判事・三代目梅玉の定高、三代目時蔵の久我之助、六代目中村歌右衛門の雛鳥によるテキストが底本となっている。 - Wikipedia日英京都関連文書対訳コーパス

"Kanadehon chushingura"(Revenge of the Forty-Seven Ronin) of Ningyojoruri (Japanese puppet show) and Kabuki (Japanese classical drama) could not directly portray the incident of Forty-Seven Ronin, Ako Roshi that the setting was changed to the Muromachi period to portray this incident, but incorporated the story of KO no Moronao by introducing Takasada ENYA and his wife, Kaoyo Gozen (Lady Kaoyo), who wandered in streets, at the beginning of the play. 例文帳に追加

人形浄瑠璃、歌舞伎の仮名手本忠臣蔵では、赤穂浪士事件を直接描けず、舞台を室町時代に変えてこの事件を描いているが、巷間に流布した塩冶高貞とその妻顔世御前、そして高師直にまつわる物語を芝居の発端として取り入れている。 - Wikipedia日英京都関連文書対訳コーパス

Moreover, unlike kabuki or its derived Japanese dance, which requires that dancing on an oblong stage be shown facing towards the spectators from the frontal direction, Noh on a stage near the square, on the contrary, considers the spectators from the three directions and this also accounts for its rotary motions in Noh. 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踊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、正方形に近い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

The most important works of Shin Kabuki are "Kiri Hitoha" (A Single Paulownia Leaf) & "Hototogisu Kojo no Rakugetsu" (The Sinking Moon Over the Lonely Castle Where the Cuckoo Cries) both by "Shoyo TSUBOUCHI," "Musuko" (Son) by "Kaoru OSANAI," "Shuzenji Monogatari" (The Tale of Shuzen-ji Temple) & "Toribeyama Shinju" (Love Suicides on Mt. Toribe) both by "Kido OKAMOTO," "Imayo Satsuma Uta" (Modern Style Satsuma Songs) by Onitaro OKA, "Genroku Chusingura" (The 47 Ronin) by Seika MAYAMA, "Saigo to Buta Hime" (Saigo and His Favorite Fat Woman) by Daigo IKEDA. 例文帳に追加

代表作には坪内逍遥の『桐一葉』『沓手鳥孤城落月』、小山内薫の『息子』、岡本綺堂の『修善寺物語』『鳥辺山心中』、岡鬼太郎の『今様薩摩歌』、真山青果の『元禄忠臣蔵』、池田大伍の『西郷と豚姫』などがある。 - Wikipedia日英京都関連文書対訳コーパス

On the other hand, after he went to Tokyo, along with the smart artistic style of Uzaemon XV, he became Shoroku ONOE II's pupil and learned extensively of the art of Kikugoro ONOE's sewamono (the realistic genre of a play that deals with life and current events of the common people) as well as aragoto (kabuki play featuring exaggerated posture, makeup, and costume) and the dancing which was Shoroku's forte. 例文帳に追加

一方で東京に出てからは、十五代目羽左衛門系の颯爽とした芸系とともに、尾上松緑(2代目)に師事して尾上菊五郎(6代目)の写実的な世話物の系統、また松緑が得意とした荒事や舞踏にいたるまで広く学んだ。 - Wikipedia日英京都関連文書対訳コーパス

Since the Edo period, Musashi's legends such as the duel at Ganryu-jima Island had been adapted for many kabuki, joruri (dramatic narrative chanted to a samisen accompaniment), kodan storytelling and so on, and through Eiji YOSHIKAWA's novel "Miyamoto Musashi" serialized in the Asashi Shinbun in the 1930s, the image of the young, strongest swordsman Musashi had been popularized and fixed. 例文帳に追加

巌流島の戦いなど、武蔵に関わる物語は江戸時代から脚色されて歌舞伎、浄瑠璃、講談などの題材にされ、吉川英治が1930年代に朝日新聞に連載した小説『宮本武蔵』によって最強の青年剣士武蔵のイメージが一般に広く定着した。 - Wikipedia日英京都関連文書対訳コーパス

In the age of the civilization and enlightenment, from the review of the traditional nonsensical Kabuki, Danjuro, intended to reform it, tackling dramas based on historical backgrounds (called Katsureki) together with people of learning and culture (Theatrical performance movement) in the second decade of the Meiji era. 例文帳に追加

文明開化の時代にあって、従来の荒唐無稽な歌舞伎への反省から歌舞伎の革新を志し、明治10年代には学術関係者や文化人と組んで時代考証を重視した劇（「活歴」と呼ばれた）に取り組んだ（演劇改良運動）。 - Wikipedia日英京都関連文書対訳コーパス

He was the founder of the Hanayagi school, the biggest in the classical Japanese dance world, and he played a starring role in Buyo dance (classical Japanese dance) world and Kabuki (traditional drama performed by male actors) world by choreographing for a lot of states such as "Kanjincho" (a statement to explain reasons for gathering donations for Buddhist activities) and "Funa Benkei" (Benkei Aboard Ship) from the Edo period to the early Meiji period. 例文帳に追加

日本舞踊界において最大の流派である花柳流の創始者であり、江戸期から明治初期にかけて『勧進帳』『船弁慶』など多くの舞台において振付を行い、舞踊界、歌舞伎界の中心的な役割を果たした。 - Wikipedia日英京都関連文書対訳コーパス

Danjuro the ninth maintained the name 'Shin Kabuki Juhachi Ban,' which had been given by his father, Danjuro the seventh, but the selection contained more than eighteen programs, and in the end he selected thirty-two or forty programs based on an interpretation of 'Juhachi Ban' not as '18 programs' but as 'Ohako, one's favorite stunt.' 例文帳に追加

九代目は、父・七代目が銘打った「新歌舞伎十八番」という名称は維持したが、その演目数は18に収まりきらず、結局「十八番」を数字の「じゅうはちばん」ではなく、むしろ得意芸の「おはこ」の意味に解釈して、32ないし40を撰じた。 - Wikipedia日英京都関連文書対訳コーパス

For example, it is said that the leader of Kabuki-mono, Ichibei OTORI (大鳥居いつ兵衛: His name is also spelled "大鳥一兵衛," "大鳥逸兵衛"and "大鳥逸平"), who was captured and beheaded in 1612, refused to divulge the names of the members of his group to the end, instead writing down the names of national feudal lords, even though he was brutally tortured. 例文帳に追加

1612年(慶長17年)に捕縛・斬首されたかぶき者の巨魁大鳥居いつ兵衛（大鳥一兵衛、同逸兵衛、逸平などとも書く）は、厳しい拷問を受けながらも仲間の名は最後まで吐かず、代わりに全国の大名の名を書き出してみせたという。 - Wikipedia日英京都関連文書対訳コーパス

Apart from "Kanadehon Chushingura" (The Treasury of Loyal Retainers), plays so called `Gishi gaiden' (The biography and story about the person except Ako Roshi) that includes "Matsu-ura no taiko," "Chushin Renri no Hachiue" (uekiya, gardener), 赤垣源蔵徳利の別れ,""Hato no Heiemon," "Yasaku no Kamabara," and "Honzo Simoyashiki,"are the plays of Kabuki dealing with the raid of Ako Roshi. 例文帳に追加

赤穂浪士の討ち入りを題材とした歌舞伎の演目には、『仮名手本忠臣蔵』のほかにもいわゆる「義士外伝」としてこの『松浦の太鼓』をはじめ、『忠臣連理の鉢植』（植木屋）、『赤垣源蔵徳利の別れ』、『鳩の平右衛門』、『弥作の鎌腹』、『本蔵下屋敷』などがある。 - Wikipedia日英京都関連文書対訳コーパス

Because there is a description in "The Tale of the Heike" to imply that the Emperor Antoku could have been a woman, in the story of Yoshitsune Sen-bon Zakura (Yoshitsune's one thousand cherry trees) of Joruri and Kabuki there is a story based on the possibility that Emperor Antoku was a woman (WATANABE, 199082; please refer to page 122). 例文帳に追加

また『平家物語』に安徳天皇は実は女子であったのではないかという疑念を起こさせるような記述があることをもとにして、浄瑠璃・歌舞伎の「義経千本桜」などでは、女子であったという筋立てを採用している（渡辺199082-122ページ参照）。 - Wikipedia日英京都関連文書対訳コーパス

This incident is also commonly known as 'Chushingura' (The treasury of Loyal Retainers); however, the name does not indicate the actual event, since it came from a ningyo joruri (traditional Japanese puppet theater) play as well as a kabuki (traditional performing art) play called 'Kanadehon Chushingura' (The Treasury of Loyal Retainers) and the general term for other related materials. 例文帳に追加

この事件は一般に「忠臣蔵」の名でも知られているが、この名称は本件を題材とした人形浄瑠璃と歌舞伎の『仮名手本忠臣蔵』の通称、およびそこから派生したさまざまな作品群の総称であり、本件自体を指す語ではない。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

As few professional performers have specialized in Katobushi through the history of kabuki, it has been performed in alternative basis for the stage of "Sukeroku" by merchant ship-owners in the past and amateur narrators belonging to the narrator group called 'Masumikai' at present. 例文帳に追加

河東節を専業で行う者は今も昔も非常に少ないため、『助六』が上演されるときは、かつては蔵前の旦那衆が、そして今日では「十寸見会｣（ますみかい）という愛好会に所属する素人の語り手たちが、交代でこれを勤めることになっている。 - Wikipedia日英京都関連文書対訳コーパス

Having also had scenes made by providing 'haiku or other techniques' to famous scenes in popular kabuki kyogen plays such as "Karigane Gonin Otoko" (Five gans of Karigane, the head), "Shin Usuyuki Monogatari" (The Tale of Usuyuki), "Sanmon Gosan No Kiri" (The Temple Gate and the Paulownia Crest) and so on, this play was a witty masterpiece by a writer, Mokuami, who changed those into whole new plays. 例文帳に追加

歌舞伎の人気狂言『雁金五人男』『新薄雪物語』『楼門五三桐』などの有名な場面を「俳句その他の技法」した場面も見られ、それをまったく新しい作品に作り変えた作者黙阿弥の機知に富む傑作。 - Wikipedia日英京都関連文書対訳コーパス

During the Edo period, the tale of Yoshitsune had been developed as a theme of Sarugaku (present Noh) and Kabuki and became popular enough to form an independent field called 'Yoshitsune-mono' (Yoshitsune story), however, in the course of this process his profile had been glamorized and the typical image of a handsome and noble young Yoshitsune was established. 例文帳に追加

江戸時代には猿楽（現能）や歌舞伎の題材として義経物語が「義経物」と呼ばれる分野にまで成長し、人々の人気を博したが、そこでの義経は容貌を美化され、美男子の御曹子義経の印象が定着していった。 - Wikipedia日英京都関連文書対訳コーパス

In 1936, she came back to Japan at last, and she was engaged in performing "Madama Butterfly" at Kabuki-za Theater, but after the musical activities were banned because World War II broke out soon, she moved with her mother to the neighborhood of Lake Yamanaka, where she spent the rest of her life calmly away from the fires of war. 例文帳に追加

1936年についに帰国し、歌舞伎座で『蝶々夫人』の上演に取り組んだが、やがて第二次世界大戦の勃発により音楽活動を禁じられると、山中湖に母親を連れて移住し、その地で戦火を逃れて静かな余生を送った。 - Wikipedia日英京都関連文書対訳コーパス

Dialogues in the Mokuami-cho tone are called 'Yaku-harai' (a 7-5 arrangement of syllables set to music in a special lilting rhythm) in the kabuki terminology, which are spoken in the rhythmical seven-five syllable meter, exploiting rhetorical devices for waka poetry such as Kakekotoba (a type of pun that uses a word in such a way as to suggest two or more meanings) and Engo (a related or associated word), and a monologue or a dialogue among a plurality of actors spoken in the Mokuami-cho tone can produce a similar effect to that of an aria or duet in an opera. 例文帳に追加

歌舞伎界では「厄払い」と呼ばれ、リズミカルな七五調に掛詞・縁語を駆使し、一人で或いは複数で語ることでオペラのアリアや二重唱のような効果を上げている。 - Wikipedia日英京都関連文書対訳コーパス

Reviews confirmed the great popularity of Tojuro: "He was the unrivalled maestro of Keisei-kai in Osaka, the city of great entertainment." "Once he appears on stage, the audience breaks into rapturous applause saying, 'Hey, here comes Mr. Kabuki!' His popularity will continue to grow to future generations." 例文帳に追加

当時の評判記には「難波津のさくや此花の都とにて傾城買の名人」「舞台にによつと出給ふより、やあ太夫さまお出じゃったと、見物のぐんじゅどよめく有さま、一世や二世ではござるまい。」とその人気振りが書かれている。 - Wikipedia日英京都関連文書対訳コーパス

The Karamete-mon Gate building itself was often inconspicuous, being small and narrow and in some instances, the Karamete-mon Gate was built according to the specification of a compact Kabuki-mon gate and not a Yagura-mon gate, but it was very securely designed to be adequately guarded by a small number of people, in contrast to a large koguchi (castle entrance), such as the Ote-mon Gate. 例文帳に追加

建物自体は、小型で狭く目立たない仕様であることも少なくなく、櫓門ではなく小型の冠木門を建てるのみということもあったというが、きわめて厳重で大手門などの大きな虎口に比べて少人数で警備できるように設計してあった。 - Wikipedia日英京都関連文書対訳コーパス

In many cases, those old people tend to be seen with jealousy and envy by generations who could not see those great actors in person because they insist 'their performance was the real Kabuki (but they are dead and it is impossible now to see 'the real Kabuki'), based on the secret sense of superiority that they were able to see the past great actors' performance in person but the younger generations cannot. 例文帳に追加

多くの場合、自分は過去の名優の舞台を実見することができたが、それより若い世代は彼らを見ることができない、というひそかな優越感をもとにして、「彼らの舞台こそがほんとうの歌舞伎である（しかしながら彼らはもはや死に、今となっては「ほんとうの歌舞伎」というものを見ることは不可能である）」といった主張をするために、実際にそれらの名優を見られなかった世代からは一種の嫉妬と羨望を抱かれやすい。 - Wikipedia日英京都関連文書対訳コーパス

In addition to innate good looks, a strong desire to learn as seen in his effort to learn performances of various actors both in the east and west including Enjaku I and Danjuro ICHIKAWA IX (kudaime) and gorgeous performances full of efforts to please the audience, made Ganjiro the king of Kansai Kabuki. 例文帳に追加

生来の美貌に加え、初代延若、九代目市川團十郎(9代目)などの東西の役者の芸を学ぶなどの旺盛な研究心、そして華やかなサービス満点の演技などが鴈治郎をして関西歌舞伎の王者たらしめたのである。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

But that is only for traditional rules for a Kabuki setting, i.e., specifying 'the world to avoid vagueness,' and "Sukeroku" is not based on the real SOGA brothers revenge story, there are neither historical sources nor legends to prove that the real SOGA no Goro Tokimune was such a dandy good-looking man as Hanakawado no Sukeroku. 例文帳に追加

しかしそれは歌舞伎における「世界(曖昧さ回避)」の指定という、設定上の伝統的な決まり事であって、『助六』は実際の曾我兄弟の仇討ちを題材にしたものではなく、また史実の曾我五郎時致が花戸川助六のような痛快な色男だったという史料も伝承もない。 - Wikipedia日英京都関連文書対訳コーパス

It is a well-known Kabuki trivia that only the Naritaya family performed "Sukeroku" by the title "Sukeroku Yukari no Edozakura," but it can be more strictly said that "Sukeroku" is performed by the title "Sukeroku Yukari no Edozakura" only when Ebizo ICHIKAWA or Danjuro ICHIKAWA impersonates Sukeroku. 例文帳に追加

「『助六』を『助六所縁江戸櫻』という外題で上演するのは成田屋だけ」というのはよく知られた歌舞伎のトリビアだが、これをもうすこし厳密にいうと「『助六』を『助六所縁江戸櫻』という外題で上演するのは、市川團十郎または市川海老蔵が助六を勤める興行においてのみ」ということになる。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

Among the kabuki programs, this 'sewamono' deals with the then current affairs (of roughly the Edo period) and contains various characteristic stories including a sequel to "Tokaido Yotsuya Kaidan" (a sewamono dealing with a ghost story in Yotsuya), a rewrite of "Godairiki Koi no Fujime" (a sewamono based on a real-life serial murderer) originally written by Gohei NAMIKI and a side story of "Kanadehon Chushingura" (a famous story of loyal retainers). 例文帳に追加

歌舞伎作品の中でも、当時（大まかな時代として江戸時代）の出来事を扱う世話物であるこの作品は、『東海道四谷怪談』の後日譚、並木五瓶の『五大力恋緘（ごだいりきこいのふうじめ）』の書き換え、『仮名手本忠臣蔵』の外伝としての性格を持つ物語が展開される。 - Wikipedia日英京都関連文書対訳コーパス

In addition to the master's permission for Mysoeki name title inheritance to proceed, to ascertain whether or not a candidate for Myoseki name/title inheritance is appropriate, it is a common requirement that decisions must be made by Shochiku Co., Ltd., (when involving kabuki), or a theater's owner/master (when rakugo related), and even sometimes in further addition, support is required of the principle figure who goes by the same family name/same teigo (school name). 例文帳に追加

それ以上の、名跡にふさわしいか否かについての判断のために、しばしば襲名にあたっては、当該襲名者の師匠の許し、歌舞伎であれば松竹、落語ならば席亭や師匠の判断、さらに場合によっては同姓同亭号の大立者の協賛などが必要になってくる。 - Wikipedia日英京都関連文書対訳コーパス

In the Edo period, plays based on the Shotai Incident, such as "Tenjin-ki," "Sugawara Denju Tenarai Kagami" (Sugawara's secrets of calligraphy), and "Tenmangu Natane no Goku," were performed, with "Sugawara Denju Tenarai Kagami" in particular performed as Ningyo Joruri (puppet drama) and Kabuki, becoming a big hit and it is regarded as one of the most outstanding Gidayu Kyogen (comic drama). 例文帳に追加

江戸時代には昌泰の変を題材にした芝居、『天神記』『菅原伝授手習鑑』『天満宮菜種御供』等が上演され、特に『菅原伝授手習鑑』は人形浄瑠璃・歌舞伎で上演されて大当たりとなり、義太夫狂言の三大名作のうちの一つとされる。 - Wikipedia日英京都関連文書対訳コーパス

He had many friends also in the world of public entertainment, for example, Danjuro ICHIKAWA (the 9th)(Inoue helped him with clearing financial problem of slumping Kawarazaki Kabuki Theater which Ichikawa had undertaken asked by his adoptive family), a Rakugo story teller Encho Sanyutei, Kiyomoto (a performance of Joruri [the Japanese-type puppet play]) player Oyo and a gidayu (a style of reciting dramatic narratives) player Echigodayu TAKEMOTO. 例文帳に追加

芸能界との親交も多く、歌舞伎役者の市川團十郎(9代目)（かつての養家から泣きつかれて背負いこんだ経営不振の河原崎座の借財整理に協力した）、落語家の三遊亭圓朝、清元のお葉、義太夫の竹本越後太夫などが名を連ねる。 - Wikipedia日英京都関連文書対訳コーパス

Particularly with regard to the traditional performance arts, court nobles and the founders of a particular style of performing art (philosophy) would pass on the knowledge and skills of their tradition to their descendants; this would result in a kind of family business and even today heredity is commonly found in Kabuki, Noh drama, Kyogen (farce played during a Noh play cycle), swordsmanship, martial arts, Japanese archery and manners. 例文帳に追加

ことに伝統芸能については公卿やその芸道(哲学)の開祖が子々孫々その伝統を継承したことから家業となし、今日でも歌舞伎、能、狂言をはじめ、剣術・武道、弓術、礼法などでは世襲が一般的にみられる。 - Wikipedia日英京都関連文書対訳コーパス

In the Meiji period onward, the following plays were composed and are today counted among major kabuki plays: 'Shimoyonokane jujino tsujiura' (1879), 'Kumoni magou uenono hatsuhana' (commonly called Kochiyama to Naozamurai) (1881), 'Shimachidori tsukino shiranami' (commonly called 'Shimachidori') (1881), 'Shisenryo kobanno umenoha' (1885), 'Mekuranagaya umegakagatobi' (1886). 例文帳に追加

明治以降も、「霜夜鐘十時辻占」（1879）・「天衣粉上野初花」（通称　河内山と直侍）（1881）・「島鵆月白浪」（通称　島ちどり）（1881）・「四千両小判梅葉」（1885）・「盲長屋梅加賀鳶」（1886）などの作品が作られ、いずれも今日の歌舞伎における重要な演目となっている。 - Wikipedia日英京都関連文書対訳コーパス

Shoyo cited the following motives for creating "Kiri Hitoha" in 1915: Dissatisfaction with historical dramas; wishing to combine the advantages of Shakespeare's histories and Kabuki; and wishing to compose a serious tragedy of different episodes. 例文帳に追加

逍遥は、1915（大正6）年に、活歴物への不満、シェークスピアの史劇の長所と歌舞伎の長所をうまく調和させたかったこと、深刻な悲劇を歌舞伎風のさまざまな挿話で作り上げたかったことなどが「桐一葉」創作の動機であると述べている。 - Wikipedia日英京都関連文書対訳コーパス

Also at his time he created many masterpieces: with the help of Mokuami KAWATAKE a Kabuki playwright, he completed "Hojo Kudai Meika no Isaoshi" (Takatoki), "Kiwametsuki Banzui" (Chobei in a bathroom), "Kumonimagou Ueno no Hatsuhana" (ouchiyama), "Funabenkei," "Hikoshichi OMORI" and so on, and, together with Ochi FUKUCH, he created "Kagamijishi" (The Lion Dance), "Sukeroku" and so on. 例文帳に追加

またこの時期に作者河竹黙阿弥を得て『北条九代名家功』（高時）、『極付幡随長兵衛』（湯殿の長兵衛）、『天紛衣上野初花』（河内山）、『船弁慶』、『大森彦七』などを完成し、また福地桜痴と組んで『鏡獅子』『助六』などを創り上げるなど、数多くの名作を残した。 - Wikipedia日英京都関連文書対訳コーパス

In addition, a considerable amount of Japanese culture (the Haiku [a Japanese poem in 17 syllables], horticulture, modern Japanese music, Bunraku [Japanese puppet theater], Kabuki [traditional drama performed by male actors], Ukiyoe [Japanese woodblock prints], Netsuke (miniature carving attached to the end of a cord hanging from a pouch), Japanese cuisine, Japanese-style confectionary, ceramic ware, lacquer art, clothing, etc.), which are extolled world wide, started during this period, or developed for establishment. 例文帳に追加

更に今日、世界的にもてはやされる日本文化のかなり多くの部分（俳句、園芸、近世邦楽、文楽、歌舞伎、浮世絵、根付、日本料理、和菓子、陶磁器、漆芸、服飾など）がこの時期に生まれ、あるいは発展、確立したものである。 - Wikipedia日英京都関連文書対訳コーパス

A good example is Ganjiro NAKAMURA I, who performed the same Kabuki play in a different way every day, and who scolded his son Ganjiro II (Senjaku I at that time) for performing "Kamiji" as he had learned from his father, saying, "Why you perform as you were taught? There is no ingenious thought of your own." 例文帳に追加

初代中村鴈治郎が同じ狂言を毎日違う演じ方をおこない、子息の二代目鴈治郎（当時は初代扇雀）が父の教えられたとおりに『紙治』を演じたとき「何で教わったままにするんや。お前の工夫はないやないか。」と叱った事などは、その好例である。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

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。 - Wikipedia日英京都関連文書対訳コーパス

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. 例文帳に追加

『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。 - Wikipedia日英京都関連文書対訳コーパス

In an onshi's inn, dressed up onshi would entertain visitors to keep them from being bored, by serving all sorts of delicacies in Ise and Matsuzaka City and other lavish meals on fine dishes, offering kabuki performance, and letting the peasants sleep on a silk futon which they had never used at home. 例文帳に追加

御師の宿屋では盛装した御師によって豪華な食器に載った伊勢や松阪市の山海の珍味などの豪勢な料理や歌舞でもてなし、農民が住んでいるところでは使った事がない絹の布団に寝かせる、など、参拝者を飽きさせないもてなしを行った。 - Wikipedia日英京都関連文書対訳コーパス

For the first film, Yamaguchi Pro shot "Hanpeita TSUKIGATA," the hit shinkoku-geki (realistic period-drama) written by Rifu YUKITOMO, at 'Narabigaoka Studio' by recruiting Makino's Hiroshi INNAMI, who had written the screenplay of "Adauchi Junjo Roku" starring YAMAGUCHI, and appointed him as a director; Shuichi OTSUKA of Toa Kinema Kyoto Studio was selected as a cameraman; costars included Kobunji ICHIKAWA, who had set up 'Ichikawa Kobunji Kabuki Eiga Productions' (Kabuki Eiga Pro); Yoshinosuke ICHIKAWA (later known as Kiyoshi SAWADA), who had come from Ichikawa Utakemon Productions' (Uta Pro) Ayameike Studio in Nara and acted in "Nozaki-mura village," the first movie produced by Kobunji's "Kabuki Eiga Pro"; Tamiji FUJII, who had been recruited away from Makino; Atsushi TAKADA and Sakura MIYAKO, who had been recruited away from Toa Kinema Kyoto Studio; Ayako CHIYODA, who acted for Makino while belonging to Kinugasa Eiga Renmei; and Katsuyo ISSHIKI, who had acted in films in Bando Tsumasaburo Productions' Uzumasa movie studio. 例文帳に追加

設立第1作は、行友李風の新国劇ヒットナンバー『月形半平太』を「双ヶ丘撮影所」で製作、監督には山口がマキノで主演した『仇討殉情録』の脚本を書いた印南弘をマキノから引き抜き、撮影技師には東亜キネマ京都撮影所の大塚周一を起用、共演には「市川小文治歌舞伎映画プロダクション」（歌舞伎映画プロ）を立ち上げた市川小文治、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）から来て小文治の「歌舞伎映画プロ」の第1作『野崎村』に出演した市川芳之助（のちの沢田清）、マキノから引き抜いた藤井民次、東亜キネマ京都撮影所から引き抜いた高田篤と都さくら、衣笠映画連盟からマキノに出演した千代田綾子、阪東妻三郎プロダクション太秦撮影所に映画に出演していた一色勝代を起用した。 - Wikipedia日英京都関連文書対訳コーパス

Besides, in his later years, 'the 100th anniversary of the third Utaemon NAKAMURA' held at the Kabuki-za Theater in November of 1936 and top actors of the East and of the West all gathered and performed "Himaneki no Kiyomori" with the total of ninety actors, Utaemon played the leading role TAIRA no Kiyomori, sitting like a king at the middle of the ninety performers; his brilliant performance on the stage has been still told among people (the film recording the stage was found resently). 例文帳に追加

また、晩年の1936年（昭和11年）11月歌舞伎座で行われた「三代目中村歌右衛門百年祭」には東西の幹部俳優が集まり、『日招きの清盛』では総勢九十名の出演者の真ん中に王者のように座して平清盛を演じたが、その立派さは後世の語り草となっている（近年、その舞台のフィルムが発見された）。 - Wikipedia日英京都関連文書対訳コーパス