[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"article:kabuki-noh-bunraku":3},{"meta":4,"markdown":78,"quiz":79},{"type":5,"articleId":6,"slug":7,"title":8,"titleEn":9,"category":10,"summary":11,"publishedAt":12,"image":13,"vocabulary":14,"quizId":77},"article","culture-kabuki-noh-bunraku","kabuki-noh-bunraku","歌舞伎・能・文楽 — 日本三大伝統演劇の世界","Kabuki, Noh, and Bunraku: Japan's Three Great Traditional Theatres","culture","An introduction to Japan's three great traditional performing arts — Kabuki, Noh, and Bunraku — all designated as UNESCO Intangible Cultural Heritage. The article traces each form's history (Izumo no Okuni and Edo-period Kabuki, Kan'ami and Zeami's perfection of Noh, the Osaka birth of puppet theatre), explains their distinctive stage conventions (mie poses, the hanamichi, Noh masks, three-puppeteer Bunraku), introduces the shared concepts of kata and the iemoto system, and shows modern visitors how to enjoy a performance through earphone guides and single-act tickets.\n","2026-04-28T00:00:00Z","https:\u002F\u002Fimages.yamiyomi.com\u002Fculture-kabuki-noh-bunraku.png",[15,20,24,29,33,37,41,45,49,53,57,61,65,69,73],{"word":16,"reading":17,"meaning":18,"level":19},"伝統演劇","でんとうえんげき","traditional theatre","N1",{"word":21,"reading":22,"meaning":23,"level":19},"無形文化遺産","むけいぶんかいさん","intangible cultural heritage",{"word":25,"reading":26,"meaning":27,"level":28},"歌舞伎","かぶき","kabuki","N2",{"word":30,"reading":31,"meaning":32,"level":19},"女形","おんながた","male actor playing female roles",{"word":34,"reading":35,"meaning":36,"level":19},"隈取","くまどり","kabuki face makeup",{"word":38,"reading":39,"meaning":40,"level":19},"見得","みえ","dramatic pose (kabuki)",{"word":42,"reading":43,"meaning":44,"level":19},"花道","はなみち","runway through audience to stage",{"word":46,"reading":47,"meaning":48,"level":28},"能","のう","Noh theatre",{"word":50,"reading":51,"meaning":52,"level":19},"能面","のうめん","Noh mask",{"word":54,"reading":55,"meaning":56,"level":19},"文楽","ぶんらく","bunraku puppet theatre",{"word":58,"reading":59,"meaning":60,"level":19},"人形浄瑠璃","にんぎょうじょうるり","puppet narrative theatre",{"word":62,"reading":63,"meaning":64,"level":19},"太夫","たゆう","chanter (bunraku)",{"word":66,"reading":67,"meaning":68,"level":28},"三味線","しゃみせん","shamisen (three-stringed instrument)",{"word":70,"reading":71,"meaning":72,"level":19},"家元制度","いえもとせいど","grand-master \u002F lineage system",{"word":74,"reading":75,"meaning":76,"level":19},"一幕見席","ひとまくみせき","single-act seating","culture-kabuki-noh-bunraku-quiz","\n::para\n[歌舞伎]{かぶき:kabuki:N1}、[能]{のう:Noh:N3}、[文楽]{ぶんらく:bunraku:N4}の[三つ]{みっつ:three:N5}は、[日本]{にほん:Japan:N5}を[代表]{だいひょう:represent:N3}する[伝統演劇]{でんとうえんげき:traditional theatre:N1}であり、いずれも[ユネスコ]{ユネスコ:UNESCO}の[無形文化遺産]{むけいぶんかいさん:intangible cultural heritage:N1}に[登録]{とうろく:registration:N2}されています。[同じ]{おなじ:same:N4}[国]{くに:country:N5}で[育まれた]{はぐくまれた:nurtured:N3}にもかかわらず、[歌舞伎]{かぶき:kabuki:N1}は[華やか]{はなやか:gorgeous:N1}で[庶民的]{しょみんてき:populist:N1}、[能]{のう:Noh:N3}は[静謐]{せいひつ:serene:N1}で[抽象的]{ちゅうしょうてき:abstract:N1}、[文楽]{ぶんらく:bunraku:N4}は[人形]{にんぎょう:puppet:N3}を[使った]{つかった:using:N4}[語り物]{かたりもの:narrative:N4}の[芸術]{げいじゅつ:art:N2}と、[まったく]{まったく:completely}[異なる]{ことなる:to differ:N1}[個性]{こせい:character:N2}を[持って]{もって:to have:N4}います。\n\n#en\nKabuki, Noh, and Bunraku are the three traditional performing arts that represent Japan, and all three are inscribed on UNESCO's list of Intangible Cultural Heritage. Although they grew up in the same country, each has a completely different character: Kabuki is gorgeous and populist, Noh is serene and abstract, and Bunraku is a narrative art performed with puppets.\n::\n\n::heading\n[歌舞伎]{かぶき:kabuki:N1} — [江戸]{えど:Edo:N1}の[町人]{ちょうにん:townspeople:N4}が[愛した]{あいした:loved:N3}[華やか]{はなやか:gorgeous:N1}な[舞台]{ぶたい:stage:N3}\n\n#en\nKabuki — The Gorgeous Stage Beloved by Edo Townspeople\n::\n\n::para\n[歌舞伎]{かぶき:kabuki:N1}の[起源]{きげん:origin:N1}は[一六〇三]{いちろくまるさん:1603:N5}[年]{ねん:year:N5}、[出雲]{いずも:Izumo:N2}の[阿国]{おくに:Okuni:N1}という[女性]{じょせい:woman:N3}が[京都]{きょうと:Kyoto:N3}の[四条河原]{しじょうがわら:Shijō riverbank:N1}で[踊った]{おどった:danced:N2}「[かぶき踊り]{かぶきおどり:kabuki dance:N2}」だと[言われて]{いわれて:to be said:N4}います。「かぶく」とは[当時]{とうじ:at that time:N3}「[常識]{じょうしき:common sense:N3}を[外れた]{はずれた:departed from:N5}[派手]{はで:flashy:N1}な[行動]{こうどう:behavior:N4}」を[指す]{さす:to refer to:N3}[言葉]{ことば:word:N3}で、[斬新]{ざんしん:novel:N2}な[出で立ち]{いでたち:appearance:N4}と[大胆]{だいたん:bold:N1}な[振付]{ふりつけ:choreography:N1}が[人々]{ひとびと:people:N5}を[熱狂]{ねっきょう:wild enthusiasm:N1}させました。\n\n#en\nKabuki traces its origins to 1603, when a woman known as Izumo no Okuni performed a \"kabuki dance\" on the Shijō riverbank in Kyoto. At the time the word \"kabuku\" referred to flashy, unconventional behavior, and Okuni's novel costumes and bold choreography sent the public into a frenzy.\n::\n\n::para\nところが[江戸]{えど:Edo:N1}[幕府]{ばくふ:shogunate:N1}は[風紀]{ふうき:public morals:N1}を[乱す]{みだす:to disturb:N2}として[女性]{じょせい:women:N3}と[少年]{しょうねん:young men:N4}の[出演]{しゅつえん:appearance on stage:N3}を[次々]{つぎつぎ:one after another:N3}と[禁止]{きんし:to ban:N2}し、[最終的]{さいしゅうてき:ultimately:N3}に[成人]{せいじん:adult:N3}[男性]{だんせい:men:N3}のみが[演じる]{えんじる:to perform:N3}「[野郎歌舞伎]{やろうかぶき:yarō kabuki:N1}」に[落ち着きました]{おちつきました:settled into:N3}。これが[現在]{げんざい:current:N3}まで[続く]{つづく:to continue:N3}「[男性]{だんせい:male:N3}のみの[歌舞伎]{かぶき:kabuki:N1}」の[原点]{げんてん:starting point:N3}であり、[女性]{じょせい:female:N3}[役]{やく:roles:N3}を[専門]{せんもん:specialty:N2}に[演じる]{えんじる:to perform:N3}[役者]{やくしゃ:actor:N3}を[女形]{おんながた:onnagata:N3}と[呼びます]{よびます:to call:N3}。[女形]{おんながた:onnagata:N3}は[ただ]{ただ:merely}[女装]{じょそう:dressing as a woman:N2}するのではなく、[女性]{じょせい:woman:N3}よりも[女性]{じょせい:woman:N3}らしい[理想]{りそう:ideal:N3}の[姿]{すがた:figure:N1}を[体現]{たいげん:to embody:N3}する[高度]{こうど:advanced:N4}な[専門職]{せんもんしょく:specialty profession:N2}です。\n\n#en\nThe Edo shogunate, however, banned women and then young men from the stage on grounds of public morality, until kabuki settled into the form known as \"yarō kabuki,\" performed only by adult men. This is the starting point of the all-male kabuki that continues to this day, and male actors who specialize in female roles are called onnagata. An onnagata is not simply a man in women's clothing — he is a highly trained specialist who embodies an ideal of femininity more refined than any real woman.\n::\n\n::callout\n[歌舞伎]{かぶき:kabuki:N1}の[象徴]{しょうちょう:symbol:N1}と[言える]{いえる:can be called:N4}のが[隈取]{くまどり:kabuki face makeup:N1}という[独特]{どくとく:distinctive:N1}な[化粧]{けしょう:makeup:N1}です。[赤]{あか:red:N4}は[正義]{せいぎ:justice:N1}や[勇気]{ゆうき:courage:N2}、[青]{あお:blue:N4}は[悪]{あく:evil:N4}や[超自然]{ちょうしぜん:supernatural:N2}、[茶]{ちゃ:brown:N4}は[妖怪]{ようかい:demons, monsters:N1}を[表し]{あらわし:to represent:N3}、[役柄]{やくがら:character role:N1}が[一目]{ひとめ:one glance:N4}で[分かる]{わかる:to understand:N5}ようになっています。[役者]{やくしゃ:actor:N3}が[最大]{さいだい:maximum:N3}の[感情]{かんじょう:emotion:N3}を[表現]{ひょうげん:to express:N3}する[瞬間]{しゅんかん:moment:N1}に[ピタリ]{ピタリ:exactly}と[動きを止める]{うごきをとめる:to freeze movement:N4}「[見得]{みえ:dramatic pose:N3}」を[切る]{きる:to strike (a pose):N4}と、[観客]{かんきゃく:audience:N3}は[割れんばかり]{われんばかり:as if to split:N3}の[拍手]{はくしゅ:applause:N1}で[応えます]{こたえます:to respond:N1}。\n\n#en\nThe symbol of kabuki may well be the distinctive makeup called kumadori. Red represents justice and courage, blue represents evil and the supernatural, and brown represents demons — making each character's nature legible at a glance. When an actor strikes a \"mie\" — freezing his movement at the peak of an emotion — the audience answers with thunderous applause.\n::\n\n::para\n[歌舞伎]{かぶき:kabuki:N1}の[舞台]{ぶたい:stage:N3}には[花道]{はなみち:hanamichi:N4}という[客席]{きゃくせき:audience seating:N3}を[貫く]{つらぬく:to run through:N1}[長い]{ながい:long:N5}[通路]{つうろ:passageway:N3}があり、[役者]{やくしゃ:actor:N3}はここを[歩いて]{あるいて:to walk:N4}[登場]{とうじょう:to appear:N3}・[退場]{たいじょう:to exit:N3}します。[花道]{はなみち:hanamichi:N4}を[通る]{とおる:to pass through:N4}[役者]{やくしゃ:actor:N3}に[向かって]{むかって:toward:N3}、[舞台]{ぶたい:stage:N3}の[上方]{じょうほう:upper area:N4}や[後方]{こうほう:rear:N4}から「[成田屋]{なりたや:Naritaya (yagō):N3}！」「[音羽屋]{おとわや:Otowaya (yagō):N2}！」と[屋号]{やごう:family stage name:N3}を[叫ぶ]{さけぶ:to shout:N2}[常連]{じょうれん:regulars:N3}の[ファン]{ファン:fans}を[大向]{おおむこう:ōmukō (back-of-house callers):N3}と[呼びます]{よびます:to call:N3}。[絶妙]{ぜつみょう:exquisite:N1}な[タイミング]{タイミング:timing}での[掛け声]{かけごえ:shout, call:N3}は[公演]{こうえん:performance:N3}を[一層]{いっそう:even more:N2}[盛り上げる]{もりあげる:to enliven:N1}、[江戸]{えど:Edo:N1}[以来]{いらい:since:N4}の[粋]{いき:chic:N1}な[文化]{ぶんか:culture:N3}です。\n\n#en\nKabuki stages have a hanamichi — a long runway that cuts through the audience — along which actors enter and exit. The seasoned fans who shout out the actor's family stage name (\"Naritaya!\" \"Otowaya!\") from the upper rear of the auditorium as he passes are called ōmukō. Their exquisitely timed calls heighten the performance, and the practice itself is a chic Edo-era tradition.\n::\n\n::para\n[現在]{げんざい:currently:N3}、[本格的]{ほんかくてき:authentic:N3}な[歌舞伎]{かぶき:kabuki:N1}を[毎月]{まいつき:every month:N5}[上演]{じょうえん:to perform:N3}している[劇場]{げきじょう:theatre:N2}が、[東京]{とうきょう:Tokyo:N4}・[銀座]{ぎんざ:Ginza:N3}の[歌舞伎座]{かぶきざ:Kabuki-za:N1}と、[半蔵門]{はんぞうもん:Hanzōmon:N2}の[国立劇場]{こくりつげきじょう:National Theatre:N2}です。[歌舞伎座]{かぶきざ:Kabuki-za:N1}は[一八八九]{いちはちはちきゅう:1889:N5}[年]{ねん:year:N5}[創建]{そうけん:founding:N1}、[二〇一三]{にせんじゅうさん:2013:N5}[年]{ねん:year:N5}に[現在]{げんざい:current:N3}の[第五期]{だいごき:fifth iteration:N1}[建物]{たてもの:building:N4}が[完成]{かんせい:completed:N3}し、[伝統]{でんとう:traditional:N1}と[現代]{げんだい:modern:N3}が[融合]{ゆうごう:fusion:N1}した[ランドマーク]{ランドマーク:landmark}となっています。\n\n#en\nToday, the venues that perform full-scale kabuki every month are the Kabuki-za in Tokyo's Ginza district and the National Theatre in Hanzōmon. The Kabuki-za was founded in 1889; its current fifth-generation building was completed in 2013 and stands as a landmark blending tradition and modernity.\n::\n\n::heading\n[能]{のう:Noh:N3} — [武家]{ぶけ:warrior class:N2}が[愛した]{あいした:loved:N3}[幽玄]{ゆうげん:profound mystery:N1}の[世界]{せかい:world:N4}\n\n#en\nNoh — The World of Yūgen Beloved by the Samurai Class\n::\n\n::para\n[能]{のう:Noh:N3}の[源流]{げんりゅう:source, origin:N1}は[平安時代]{へいあんじだい:Heian period:N3}の[猿楽]{さるがく:sarugaku:N1}という[大衆]{たいしゅう:popular:N1}[芸能]{げいのう:performing arts:N2}にありますが、[十四世紀]{じゅうよんせいき:fourteenth century:N1}に[観阿弥]{かんあみ:Kan'ami:N1}・[世阿弥]{ぜあみ:Zeami:N1}の[親子]{おやこ:father and son:N4}が[現在]{げんざい:current:N3}の[形]{かたち:form:N3}に[完成]{かんせい:perfected:N3}させました。[特に]{とくに:especially:N4}[世阿弥]{ぜあみ:Zeami:N1}は『[風姿花伝]{ふうしかでん:Fūshikaden:N1}』などの[著作]{ちょさく:writings:N2}で「[幽玄]{ゆうげん:profound mystery:N1}」という[美意識]{びいしき:aesthetic ideal:N3}を[打ち立て]{うちたて:established:N3}、[能]{のう:Noh:N3}は[室町]{むろまち:Muromachi:N4}[幕府]{ばくふ:shogunate:N1}の[将軍]{しょうぐん:shōgun:N2}・[足利]{あしかが:Ashikaga:N3}[義満]{よしみつ:Yoshimitsu:N1}の[庇護]{ひご:patronage:N1}を[受けて]{うけて:receiving:N3}[武家]{ぶけ:warrior class:N2}の[式楽]{しきがく:ceremonial music\u002Ftheatre:N3}としての[地位]{ちい:status:N3}を[確立]{かくりつ:established:N3}しました。\n\n#en\nNoh's source lies in sarugaku, a popular performing art of the Heian period, but it was perfected in its current form in the fourteenth century by the father-and-son pair Kan'ami and Zeami. Zeami in particular established the aesthetic ideal of yūgen — \"profound mystery\" — through writings such as the Fūshikaden, and Noh secured its position as the ceremonial theatre of the warrior class under the patronage of the Muromachi shogun Ashikaga Yoshimitsu.\n::\n\n::para\n[能]{のう:Noh:N3}を[最も]{もっとも:most:N3}[特徴づける]{とくちょうづける:to characterize:N1}のは[能面]{のうめん:Noh mask:N3}です。[主役]{しゅやく:lead role:N3}である「[シテ]{シテ:shite (lead)}」は[多く]{おおく:many:N4}の[場合]{ばあい:case:N3}[面]{おもて:mask:N3}を[着け]{つけ:to put on:N4}、その[小さな]{ちいさな:small:N5}[木彫り]{きぼり:wood carving:N1}の[表情]{ひょうじょう:expression:N3}に[喜怒哀楽]{きどあいらく:joy, anger, sorrow, pleasure:N1}を[込めます]{こめます:to imbue:N3}。[代表的]{だいひょうてき:representative:N3}な[面]{おもて:mask:N3}には[若い]{わかい:young:N3}[女性]{じょせい:woman:N3}の[小面]{こおもて:koomote (young woman mask):N3}、[嫉妬]{しっと:jealousy:N1}に[狂った]{くるった:gone mad:N1}[女]{おんな:woman:N5}の[般若]{はんにゃ:hannya (jealous demon mask):N2}、[老人]{ろうじん:old person:N3}の[尉]{じょう:jō (old man mask):N1}などがあり、[役者]{やくしゃ:actor:N3}が[少し]{すこし:slightly:N4}[顔]{かお:face:N3}を[傾ける]{かたむける:to tilt:N2}だけで[同じ]{おなじ:same:N4}[面]{おもて:mask:N3}が[微笑んだり]{ほほえんだり:to smile:N1}[泣いたり]{ないたり:to cry:N1}しているように[見える]{みえる:to appear:N5}と[言われます]{いわれます:to be said:N4}。\n\n#en\nWhat most defines Noh is the Noh mask. The lead role, the shite, usually wears a mask, and the small carved wooden expression carries the full range of human emotion. Famous masks include the koomote of a young woman, the hannya of a woman driven mad by jealousy, and the jō of an old man — and it is said that the same mask can appear to smile or weep when the actor merely tilts his head.\n::\n\n::callout\n[歌舞伎]{かぶき:kabuki:N1}が[視覚的]{しかくてき:visual:N1}な[豪華]{ごうか:lavish:N1}さで[見せる]{みせる:to show:N5}のに[対し]{たいし:in contrast to:N3}、[能]{のう:Noh:N3}は[極限]{きょくげん:extreme:N2}まで[無駄]{むだ:waste, excess:N1}を[削ぎ落とした]{そぎおとした:stripped away:N1}[抽象]{ちゅうしょう:abstraction:N1}の[芸術]{げいじゅつ:art:N2}です。[舞台]{ぶたい:stage:N3}には[原則]{げんそく:rule:N2}として[背景]{はいけい:scenery:N3}の[絵]{え:painting:N3}は[一切]{いっさい:none at all:N4}なく、[正面]{しょうめん:facing:N3}の[鏡板]{かがみいた:back panel:N1}に[描かれた]{えがかれた:painted:N1}[一本]{いっぽん:one:N5}の[老松]{おいまつ:old pine tree:N1}のみ。[役者]{やくしゃ:actor:N3}の[ゆっくりとした]{ゆっくりとした:slow}[所作]{しょさ:movement:N3}と[謡]{うたい:chant:N1}、[笛]{ふえ:flute:N1}と[太鼓]{たいこ:drum:N1}の[音]{おと:sound:N4}が、[観客]{かんきゃく:audience:N3}の[想像力]{そうぞうりょく:imagination:N2}を[呼び起こします]{よびおこします:to evoke:N3}。\n\n#en\nWhile kabuki dazzles the eye with lavish visuals, Noh is an art of abstraction stripped of all excess. The stage has, as a rule, no painted scenery — only a single old pine tree painted on the back panel. The actor's slow movements and chanting, together with the sound of flute and drum, awaken the audience's imagination.\n::\n\n::para\n[能]{のう:Noh:N3}を[構成]{こうせい:to compose:N3}する[要素]{ようそ:elements:N1}には、[演技]{えんぎ:acting:N2}そのものに[加え]{くわえ:in addition to:N3}、[舞台]{ぶたい:stage:N3}の[脇]{わき:side:N2}に[座って]{すわって:to sit:N3}[物語]{ものがたり:story:N4}を[歌い上げる]{うたいあげる:to chant out:N4}「[謡]{うたい:chant:N1}」、[役者]{やくしゃ:actor:N3}が[扇子]{せんす:folding fan:N1}や[小道具]{こどうぐ:small props:N3}を[使って]{つかって:to use:N4}[舞う]{まう:to dance:N3}「[仕舞]{しまい:Noh dance:N3}」などがあります。[現在]{げんざい:currently:N3}、[東京]{とうきょう:Tokyo:N4}・[千駄ヶ谷]{せんだがや:Sendagaya:N1}の[国立能楽堂]{こくりつのうがくどう:National Noh Theatre:N3}が[最大]{さいだい:largest:N3}の[拠点]{きょてん:base:N1}で、[毎月]{まいつき:every month:N5}[定例]{ていれい:regular:N3}[公演]{こうえん:performance:N3}が[行われて]{おこなわれて:to be held:N5}います。\n\n#en\nBeyond the acting itself, Noh is composed of elements such as the utai chant — sung from the side of the stage — and the shimai dance, performed with a folding fan or small props. Today, the National Noh Theatre in Tokyo's Sendagaya district is the largest hub, with regular monthly performances.\n::\n\n::heading\n[文楽]{ぶんらく:bunraku:N4} — [人形]{にんぎょう:puppets:N3}が[語る]{かたる:to tell:N5}[人間]{にんげん:human:N5}[ドラマ]{ドラマ:drama}\n\n#en\nBunraku — Human Drama Told by Puppets\n::\n\n::para\n[文楽]{ぶんらく:bunraku:N4}は[正式]{せいしき:formal:N3}には[人形浄瑠璃]{にんぎょうじょうるり:puppet narrative theatre:N1}と[呼ばれ]{よばれ:to be called:N3}、[十七世紀]{じゅうななせいき:seventeenth century:N1}の[大阪]{おおさか:Osaka:N2}で[完成]{かんせい:perfected:N3}した[人形劇]{にんぎょうげき:puppet theatre:N2}です。[江戸]{えど:Edo:N1}が[歌舞伎]{かぶき:kabuki:N1}の[町]{まち:town:N4}なら、[大阪]{おおさか:Osaka:N2}は[文楽]{ぶんらく:bunraku:N4}の[町]{まち:town:N4}—[町人]{ちょうにん:townspeople:N4}[文化]{ぶんか:culture:N3}が[花開いた]{はなひらいた:bloomed:N4}[商業]{しょうぎょう:commercial:N3}[都市]{とし:city:N3}で、[心中]{しんじゅう:double suicide:N4}や[義理]{ぎり:duty:N1}と[人情]{にんじょう:human feeling:N3}の[葛藤]{かっとう:conflict:N1}を[描いた]{えがいた:depicted:N1}[名作]{めいさく:masterpieces:N4}が[次々]{つぎつぎ:one after another:N3}と[生まれました]{うまれました:were born:N5}。[近松]{ちかまつ:Chikamatsu:N1}[門左衛門]{もんざえもん:Monzaemon:N1}の『[曽根崎心中]{そねざきしんじゅう:Sonezaki Shinjū:N1}』はその[代表作]{だいひょうさく:representative work:N3}です。\n\n#en\nBunraku — formally known as ningyō jōruri, \"puppet narrative theatre\" — is a puppet art perfected in seventeenth-century Osaka. If Edo was the town of kabuki, Osaka was the town of bunraku, a commercial city where townsperson culture blossomed and where masterpieces depicting the conflict between duty and human feeling, including double suicides, were born one after another. Chikamatsu Monzaemon's \"Sonezaki Shinjū\" is the representative work.\n::\n\n::para\n[文楽]{ぶんらく:bunraku:N4}の[最大]{さいだい:greatest:N3}の[特徴]{とくちょう:characteristic:N1}は、[主要]{しゅよう:principal:N3}な[人形]{にんぎょう:puppet:N3}[一体]{いったい:one (puppet):N4}を[三人]{さんにん:three people:N5}で[操る]{あやつる:to manipulate:N1}「[三人遣い]{さんにんづかい:three-person operation:N1}」です。[頭]{かしら:head:N3}と[右手]{みぎて:right hand:N4}を[動かす]{うごかす:to move:N4}「[主遣い]{おもづかい:principal operator:N1}」、[左手]{ひだりて:left hand:N4}を[動かす]{うごかす:to move:N4}「[左遣い]{ひだりづかい:left operator:N1}」、[両足]{りょうあし:both feet:N3}を[動かす]{うごかす:to move:N4}「[足遣い]{あしづかい:foot operator:N1}」の[三名]{さんめい:three persons:N5}が[呼吸]{こきゅう:breath:N3}を[一つ]{ひとつ:one:N5}にして[一体]{いったい:one entity:N4}の[人形]{にんぎょう:puppet:N3}に[命]{いのち:life:N3}を[吹き込みます]{ふきこみます:to breathe into:N3}。[完璧]{かんぺき:perfect:N1}な[三人遣い]{さんにんづかい:three-person operation:N1}を[習得]{しゅうとく:to master:N3}するには[最低]{さいてい:minimum:N2}でも[三十]{さんじゅう:thirty:N5}[年]{ねん:years:N5}かかると[言われ]{いわれ:to be said:N4}、まさに[一生]{いっしょう:lifetime:N5}を[賭けた]{かけた:wagered:N1}[修練]{しゅうれん:discipline:N1}です。\n\n#en\nBunraku's defining feature is the \"three-person operation\" by which a single principal puppet is manipulated by three people. The omozukai handles the head and right hand, the hidarizukai handles the left hand, and the ashizukai handles both feet — and the three breathe as one to bring a single puppet to life. Mastering perfect three-person operation is said to take at least thirty years — a discipline pursued over a lifetime.\n::\n\n::callout\n[人形]{にんぎょう:puppet:N3}たちに[声]{こえ:voice:N3}と[感情]{かんじょう:emotion:N3}を[与える]{あたえる:to give:N3}のは、[舞台]{ぶたい:stage:N3}[向かって]{むかって:facing:N3}[右]{みぎ:right:N5}の[太夫席]{たゆうせき:chanter's platform:N3}に[座る]{すわる:to sit:N3}[太夫]{たゆう:chanter:N3}と、その[隣]{となり:next to:N1}で[演奏]{えんそう:to play music:N1}する[三味線]{しゃみせん:shamisen:N2}[弾き]{ひき:player:N1}です。[太夫]{たゆう:chanter:N3}は[一人]{ひとり:one person:N5}で[老若男女]{ろうにゃくなんにょ:young and old, men and women:N3}すべての[役]{やく:roles:N3}を[語り分け]{かたりわけ:to narrate distinctly:N5}、[時]{とき:at times:N5}に[絞り出す]{しぼりだす:to wring out:N1}ような[声]{こえ:voice:N3}で[登場人物]{とうじょうじんぶつ:characters:N3}の[喜び]{よろこび:joy:N3}・[悲しみ]{かなしみ:sorrow:N3}を[表現]{ひょうげん:to express:N3}します。[人形]{にんぎょう:puppet:N3}・[太夫]{たゆう:chanter:N3}・[三味線]{しゃみせん:shamisen:N2}の[三業]{さんぎょう:three professions:N4}が[一体]{いったい:one:N4}となって[初めて]{はじめて:for the first time:N3}[文楽]{ぶんらく:bunraku:N4}が[成立]{せいりつ:to come into being:N3}します。\n\n#en\nVoice and emotion are given to the puppets by the tayū chanter, who sits on the chanter's platform to the right of the stage, and by the shamisen player beside him. A single tayū performs every role — young, old, male, female — and at times wrings out the joys and sorrows of his characters in an almost agonizing voice. Bunraku exists only when its three professions — puppeteer, chanter, and shamisen — come together as one.\n::\n\n::para\n[文楽]{ぶんらく:bunraku:N4}の[本拠地]{ほんきょち:headquarters:N1}は[今]{いま:now:N5}も[大阪]{おおさか:Osaka:N2}・[日本橋]{にっぽんばし:Nipponbashi:N2}にある[国立文楽劇場]{こくりつぶんらくげきじょう:National Bunraku Theatre:N2}です。[東京]{とうきょう:Tokyo:N4}でも[国立劇場]{こくりつげきじょう:National Theatre:N2}で[年]{ねん:year:N5}に[数回]{すうかい:several times:N3}[公演]{こうえん:performance:N3}があり、[海外]{かいがい:overseas:N4}[ツアー]{ツアー:tour}でも[高い]{たかい:high:N5}[評価]{ひょうか:evaluation:N1}を[受けて]{うけて:to receive:N3}います。\n\n#en\nBunraku's headquarters remains the National Bunraku Theatre in Osaka's Nipponbashi district. Tokyo's National Theatre also stages several performances a year, and the company is highly regarded on its overseas tours.\n::\n\n::heading\n[三大]{さんだい:three great:N5}[演劇]{えんげき:theatres:N2}に[共通]{きょうつう:common:N3}する[考え方]{かんがえかた:way of thinking:N4}\n\n#en\nIdeas Shared by All Three Great Theatres\n::\n\n::para\n[歌舞伎]{かぶき:kabuki:N1}・[能]{のう:Noh:N3}・[文楽]{ぶんらく:bunraku:N4}に[共通]{きょうつう:common:N3}するのが「[型]{かた:form, pattern:N2}」と「[家元制度]{いえもとせいど:grand-master system:N3}」という[考え方]{かんがえかた:way of thinking:N4}です。[型]{かた:form:N2}とは[先人]{せんじん:predecessors:N5}が[長い]{ながい:long:N5}[年月]{ねんげつ:years:N5}をかけて[磨き上げた]{みがきあげた:polished:N2}[所作]{しょさ:movement:N3}や[表現]{ひょうげん:expression:N3}の[定型]{ていけい:fixed form:N2}で、[役者]{やくしゃ:performer:N3}は[若い]{わかい:young:N3}[頃]{ころ:time:N2}から[徹底的]{てっていてき:thoroughly:N1}にこれを[体]{からだ:body:N4}に[叩き込みます]{たたきこみます:to drill into:N1}。[個性]{こせい:individuality:N2}は[型]{かた:form:N2}を[完全]{かんぜん:complete:N3}に[体得]{たいとく:to master:N3}した[後]{あと:after:N5}に[初めて]{はじめて:for the first time:N3}[滲み出す]{にじみだす:to seep out:N1}—これが[日本]{にほん:Japanese:N5}[伝統]{でんとう:traditional:N1}[芸能]{げいのう:performing arts:N2}に[共通]{きょうつう:common:N3}する[美学]{びがく:aesthetic:N3}です。\n\n#en\nWhat kabuki, Noh, and bunraku all share is the concept of \"kata\" (fixed forms) and the iemoto (grand-master) system. Kata are the patterns of movement and expression refined by predecessors over centuries, and performers drill them thoroughly into their bodies from a young age. Individuality is allowed to seep out only after the kata has been completely mastered — this is the aesthetic shared by all of Japan's traditional performing arts.\n::\n\n::para\n[家元制度]{いえもとせいど:grand-master system:N3}は、[各]{かく:each:N2}[流派]{りゅうは:school:N1}の[頂点]{ちょうてん:summit:N3}に[家元]{いえもと:grand master:N4}と[呼ばれる]{よばれる:to be called:N3}[宗家]{そうけ:head family:N1}が[いて]{いて:to exist}、[弟子]{でし:disciples:N4}に[免状]{めんじょう:certificate of mastery:N1}を[授与]{じゅよ:to confer:N1}し、[流派]{りゅうは:school:N1}[全体]{ぜんたい:whole:N3}の[芸]{げい:art:N2}の[統一]{とういつ:unification:N1}を[守る]{まもる:to maintain:N3}[仕組み]{しくみ:system:N3}です。[歌舞伎]{かぶき:kabuki:N1}では[市川]{いちかわ:Ichikawa:N3}、[尾上]{おのえ:Onoe:N1}、[中村]{なかむら:Nakamura:N2}などの[名跡]{みょうせき:hereditary stage name:N2}が[親子]{おやこ:parent and child:N4}[代々]{だいだい:generation after generation:N4}[受け継がれ]{うけつがれ:to be inherited:N1}、[幼少期]{ようしょうき:early childhood:N2}から[舞台]{ぶたい:stage:N3}に[立つ]{たつ:to stand on:N4}「[世襲]{せしゅう:hereditary succession:N1}」が[当然]{とうぜん:as a matter of course:N3}とされています。\n\n#en\nThe iemoto system places at the top of each school a \"grand master\" — the head of the family — who confers certificates on disciples and preserves the unity of the school's art. In kabuki, hereditary stage names such as Ichikawa, Onoe, and Nakamura are passed from parent to child across generations, and stepping onto the stage from early childhood as part of this hereditary succession is taken for granted.\n::\n\n::heading\n[現代]{げんだい:modern:N3}の[観客]{かんきゃく:audience:N3}にとっての[楽しみ方]{たのしみかた:way to enjoy:N4}\n\n#en\nHow Modern Audiences Can Enjoy It\n::\n\n::para\n[古典]{こてん:classical:N1}[芸能]{げいのう:performing arts:N2}と[聞く]{きく:to hear:N5}と「[難しそう]{むずかしそう:seems difficult:N3}」「[言葉]{ことば:language:N3}が[分からない]{わからない:to not understand:N5}」と[尻込み]{しりごみ:to hesitate:N2}する[人]{ひと:people:N5}も[多い]{おおい:many:N4}でしょう。しかし[現在]{げんざい:currently:N3}、[各]{かく:each:N2}[劇場]{げきじょう:theatre:N2}では[イヤホンガイド]{イヤホンガイド:earphone guide}という[同時]{どうじ:simultaneous:N4}[解説]{かいせつ:commentary:N3}[サービス]{サービス:service}が[用意]{ようい:to prepare:N4}されており、[日本語]{にほんご:Japanese:N5}と[英語]{えいご:English:N4}の[両方]{りょうほう:both:N3}で、[物語]{ものがたり:story:N4}の[筋]{すじ:plot:N1}や[衣装]{いしょう:costume:N2}・[音楽]{おんがく:music:N4}の[意味]{いみ:meaning:N4}を[リアルタイム]{リアルタイム:real-time}で[聞く]{きく:to listen:N5}ことができます。[英語]{えいご:English:N4}[版]{ばん:version:N2}は[海外]{かいがい:overseas:N4}からの[観光客]{かんこうきゃく:tourists:N3}にも[大人気]{だいにんき:very popular:N5}です。\n\n#en\nMany people who hear \"classical performing arts\" hesitate, fearing they will be too difficult or hard to understand linguistically. But each theatre now offers a simultaneous commentary service called the \"earphone guide,\" available in both Japanese and English, that explains the plot and the meaning of costumes and music in real time. The English version is hugely popular with foreign tourists.\n::\n\n::callout\n[歌舞伎座]{かぶきざ:Kabuki-za:N1}には[一幕見席]{ひとまくみせき:single-act seating:N1}という[非常]{ひじょう:extremely:N3}に[便利]{べんり:convenient:N3}な[制度]{せいど:system:N3}があります。[全幕]{ぜんまく:all acts:N1}を[見る]{みる:to see:N5}と[四]{よん:four:N5}〜[五時間]{ごじかん:five hours:N5}・[一万円]{いちまんえん:ten thousand yen:N5}[前後]{ぜんご:approximately:N5}かかる[公演]{こうえん:performance:N3}を、[一幕]{ひとまく:one act:N1}だけなら[千]{せん:one thousand:N5}〜[二千円]{にせんえん:two thousand yen:N5}[程度]{ていど:approximately:N3}で[気軽]{きがる:casual:N2}に[楽しめます]{たのしめます:to be able to enjoy:N4}。[当日券]{とうじつけん:same-day ticket:N2}のみの[販売]{はんばい:sale:N2}ですが、[初心者]{しょしんしゃ:beginner:N3}にも[海外]{かいがい:overseas:N4}[ゲスト]{ゲスト:guest}にも[最適]{さいてき:ideal:N3}な[入口]{いりぐち:entrance:N4}です。[夕方]{ゆうがた:evening:N4}の[短い]{みじかい:short:N2}[公演]{こうえん:performance:N3}や[文楽]{ぶんらく:bunraku:N4}の[一部]{いちぶ:partial:N3}[公演]{こうえん:performance:N3}など、[ライフ]{ライフ:life}[スタイル]{スタイル:style}に[合わせた]{あわせた:matching:N3}[選択肢]{せんたくし:options:N1}も[広がって]{ひろがって:to expand:N4}います。\n\n#en\nThe Kabuki-za offers a wonderfully convenient option called hitomakumi-seki — single-act seating. A full-length performance lasting four to five hours and costing around ten thousand yen can be enjoyed casually, just one act at a time, for around one to two thousand yen. Tickets are sold only on the day of performance, but they are an ideal entry point for beginners and overseas visitors. Shorter evening programs and partial bunraku performances are also expanding the options to fit different lifestyles.\n::\n\n::heading\nおわりに\n\n#en\nConclusion\n::\n\n::para\n[歌舞伎]{かぶき:kabuki:N1}・[能]{のう:Noh:N3}・[文楽]{ぶんらく:bunraku:N4}は、[同じ]{おなじ:same:N4}[日本]{にほん:Japan:N5}という[土壌]{どじょう:soil:N1}に[根差し]{ねざし:rooted in:N2}ながら、[まったく]{まったく:completely}[異なる]{ことなる:different:N1}[花]{はな:flowers:N4}を[咲かせて]{さかせて:to bloom:N2}きました。[庶民]{しょみん:common people:N1}の[熱気]{ねっき:heat, passion:N3}に[応えた]{こたえた:responded to:N1}[歌舞伎]{かぶき:kabuki:N1}、[武家]{ぶけ:warrior class:N2}の[精神]{せいしん:spirit:N3}を[映した]{うつした:reflected:N4}[能]{のう:Noh:N3}、[町人]{ちょうにん:townspeople:N4}の[涙]{なみだ:tears:N2}を[誘った]{さそった:invited, drew out:N1}[文楽]{ぶんらく:bunraku:N4}—それぞれが[四百]{よんひゃく:four hundred:N5}[年]{ねん:years:N5}[以上]{いじょう:or more:N4}にわたって[受け継がれ]{うけつがれ:to be inherited:N1}、[今]{いま:now:N5}も[生きた]{いきた:living:N5}[舞台]{ぶたい:stage:N3}として[私たち]{わたしたち:us:N4}の[前]{まえ:before:N5}に[立ち現れます]{たちあらわれます:to appear:N3}。[一度]{いちど:once:N4}[本物]{ほんもの:genuine article:N4}を[体験]{たいけん:to experience:N4}すれば、[日本]{にほん:Japan:N5}という[国]{くに:country:N5}の[豊かさ]{ゆたかさ:richness:N2}を、[まったく]{まったく:completely}[新しい]{あたらしい:new:N4}[角度]{かくど:angle:N2}から[見つめ直す]{みつめなおす:to look at anew:N3}ことができるはずです。\n\n#en\nKabuki, Noh, and Bunraku are flowers of completely different colors that bloomed from the same Japanese soil. Kabuki answered the heat of the common people, Noh reflected the spirit of the warrior class, and Bunraku drew tears from the townspeople — each has been passed down for over four hundred years and still appears before us as a living stage. Once you experience the real thing, you will be able to see the richness of Japan from an entirely new angle.\n::\n",{"id":77,"title":80,"topicPath":10,"questions":81},"三大伝統演劇 確認テスト",[82,104,125,146,167,188,209],{"id":83,"question":84,"options":87,"correctLabel":95,"explanation":101},"q1",{"en":85,"jp":86},"Which of Japan's three great traditional theatrical forms uses puppets?","日本三大伝統演劇のうち、人形を使った演劇はどれですか？",[88,91,94,97],{"label":89,"jp":25,"en":90},"ア","Kabuki",{"label":92,"jp":46,"en":93},"イ","Noh",{"label":95,"jp":54,"en":96},"ウ","Bunraku",{"label":98,"jp":99,"en":100},"エ","狂言","Kyōgen",{"en":102,"jp":103},"Bunraku (formally ningyō jōruri) is the only traditional theater that uses puppets. The main puppets are operated in the san-nin-zukai style, with three handlers — the lead handler, the left handler, and the foot handler — controlling a single puppet.","文楽（正式には人形浄瑠璃）は、人形を使う唯一の伝統演劇です。主要な人形は「三人遣い」と呼ばれ、主遣い・左遣い・足遣いの三人が一体の人形を操ります。",{"id":105,"question":106,"options":109,"correctLabel":92,"explanation":122},"q2",{"en":107,"jp":108},"Which is correct about the performers in present-day kabuki?","現在の歌舞伎の出演者について、正しいのはどれですか？",[110,113,116,119],{"label":89,"jp":111,"en":112},"男性も女性も出演する","Both men and women perform",{"label":92,"jp":114,"en":115},"男性のみが出演し、女性役は女形が演じる","Only men perform, and female roles are played by onnagata",{"label":95,"jp":117,"en":118},"女性のみが出演する","Only women perform",{"label":98,"jp":120,"en":121},"子役のみが出演する","Only child actors perform",{"en":123,"jp":124},"Ever since the Edo shogunate banned women and boys from performing, kabuki has consisted only of adult men. Actors who specialize in female roles are called onnagata — a highly specialized profession that embodies a feminine ideal more refined than real women.","江戸幕府が女性と少年の出演を禁止して以来、歌舞伎は成人男性のみで構成されています。女性役を専門に演じる役者を「女形（おんながた）」と呼び、女性以上に女性らしい理想を体現する高度な専門職です。",{"id":126,"question":127,"options":130,"correctLabel":89,"explanation":143},"q3",{"en":128,"jp":129},"Whose 'kabuki dance' is considered the origin of kabuki, and when did it begin?","歌舞伎の起源とされるのは、いつ・誰が始めた「かぶき踊り」ですか？",[131,134,137,140],{"label":89,"jp":132,"en":133},"1603年、出雲阿国が京都・四条河原で踊った","Izumo no Okuni danced it on the Shijō riverbank in Kyoto in 1603",{"label":92,"jp":135,"en":136},"14世紀、観阿弥・世阿弥が完成させた","Kan'ami and Zeami perfected it in the 14th century",{"label":95,"jp":138,"en":139},"17世紀、近松門左衛門が大阪で創始した","Chikamatsu Monzaemon founded it in Osaka in the 17th century",{"label":98,"jp":141,"en":142},"平安時代、僧侶が中国から伝えた","Monks brought it from China in the Heian period",{"en":144,"jp":145},"Kabuki is said to have originated in the kabuki dance performed by Izumo no Okuni on the Shijō riverbank in Kyoto in 1603. Kan'ami and Zeami are the figures who perfected Noh, while Chikamatsu Monzaemon is the representative playwright of bunraku.","歌舞伎は1603年、出雲阿国が京都・四条河原で踊った「かぶき踊り」が起源とされます。観阿弥・世阿弥は能を完成させた人物、近松門左衛門は文楽の代表的な作家です。",{"id":147,"question":148,"options":151,"correctLabel":95,"explanation":164},"q4",{"en":149,"jp":150},"Which is a distinctive stage element of Noh?","能の特徴的な舞台要素として正しいのはどれですか？",[152,155,158,161],{"label":89,"jp":153,"en":154},"客席を貫く長い通路「花道」","The hanamichi, a long walkway running through the audience",{"label":92,"jp":156,"en":157},"舞台右の「太夫席」と三味線","The tayū's seat on the right side of the stage and the shamisen",{"label":95,"jp":159,"en":160},"鏡板に描かれた一本の老松と能面","A single old pine painted on the kagami-ita (back wall) and the Noh mask",{"label":98,"jp":162,"en":163},"派手な隈取と回り舞台","Flamboyant kumadori makeup and a revolving stage",{"en":165,"jp":166},"A Noh stage has no scenic painting at all — its only decoration is a single old pine painted on the kagami-ita at the back. The wooden Noh mask worn by the shite (lead actor) is Noh's most defining feature. The hanamichi belongs to kabuki, the tayū's seat and shamisen to bunraku, and kumadori to kabuki.","能舞台は背景の絵が一切なく、正面の鏡板に描かれた一本の老松のみが装飾です。能面（のうめん）はシテ（主役）が着ける木彫りの面で、能の最大の特徴です。花道は歌舞伎、太夫席と三味線は文楽、隈取は歌舞伎の要素です。",{"id":168,"question":169,"options":172,"correctLabel":95,"explanation":185},"q5",{"en":170,"jp":171},"What is the hitomakumi-seki (single-act viewing seat)?","「一幕見席」とは何ですか？",[173,176,179,182],{"label":89,"jp":174,"en":175},"能楽堂の特別な VIP 席","A special VIP seat in a Noh theater",{"label":92,"jp":177,"en":178},"文楽の太夫が座る舞台脇の席","The side-stage seat where the bunraku tayū sits",{"label":95,"jp":180,"en":181},"歌舞伎座で一幕だけを安価に当日券で楽しめる席","A seat at the Kabuki-za, sold same-day, that lets you enjoy a single act cheaply",{"label":98,"jp":183,"en":184},"家元のみが座れる伝統的な席","A traditional seat that only the head of a school may take",{"en":186,"jp":187},"The hitomakumi-seki is a Kabuki-za system. A full performance lasts several hours and costs about 10,000 yen, but with this seat you can enjoy just one act for roughly 1,000–2,000 yen. Sold only same-day, it is the ideal entry point for beginners and overseas guests.","一幕見席（ひとまくみせき）は歌舞伎座の制度で、全幕通すと数時間・約一万円かかる公演を、一幕だけなら千〜二千円程度で気軽に楽しめます。当日券のみの販売で、初心者や海外からのゲストにも最適な入口です。",{"id":189,"question":190,"options":193,"correctLabel":95,"explanation":206},"q6",{"en":191,"jp":192},"Which is correct about Japan's three great traditional theaters and UNESCO Intangible Cultural Heritage?","日本三大伝統演劇とユネスコ無形文化遺産について、正しいのはどれですか？",[194,197,200,203],{"label":89,"jp":195,"en":196},"歌舞伎のみが登録されている","Only kabuki is inscribed",{"label":92,"jp":198,"en":199},"能と文楽だけが登録されている","Only Noh and bunraku are inscribed",{"label":95,"jp":201,"en":202},"歌舞伎・能・文楽の三つすべてが登録されている","All three — kabuki, Noh, and bunraku — are inscribed",{"label":98,"jp":204,"en":205},"いずれもまだ登録されていない","None of them are inscribed yet",{"en":207,"jp":208},"Kabuki, Noh, and bunraku are all three inscribed on the UNESCO Intangible Cultural Heritage list, internationally recognized as Japan's representative traditional theatrical forms.","歌舞伎・能・文楽の三つはすべてユネスコの無形文化遺産に登録されており、日本を代表する伝統演劇として国際的に認められています。",{"id":210,"question":211,"options":214,"correctLabel":95,"explanation":227},"q7",{"en":212,"jp":213},"How many people operate a single main puppet in bunraku?","文楽で一体の主要な人形を操るのは何人ですか？",[215,218,221,224],{"label":89,"jp":216,"en":217},"一人","One person",{"label":92,"jp":219,"en":220},"二人","Two people",{"label":95,"jp":222,"en":223},"三人","Three people",{"label":98,"jp":225,"en":226},"五人","Five people",{"en":228,"jp":229},"The main bunraku puppets use the san-nin-zukai system: the omozukai moves the head and right hand, the hidarizukai moves the left hand, and the ashizukai moves both legs. The three breathe as one to give the puppet life. Full mastery is said to take at least thirty years.","文楽の主要な人形は「三人遣い」で、頭と右手を動かす「主遣い（おもづかい）」、左手を動かす「左遣い（ひだりづかい）」、両足を動かす「足遣い（あしづかい）」の三人が呼吸を一つにして人形に命を吹き込みます。完璧に習得するには最低でも三十年かかると言われます。"]