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日本的歌舞伎兴起于十七世纪中叶。Kabuki appeared in the mid-seventeenth century in Japan.

塔座周围有砖雕歌舞伎，是辽代砖雕艺术的珍品。Tazuo surrounded by brick Kabuki is a Liao Dynasty brick art treasures.

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此间戏剧艺术歌舞伎的繁荣也推动了浮世绘的发展。Here dramatic art kabuki prosperity also impelled the ukiyoe development.

为此，歌舞伎剧院进行改革，由男孩演员扮演女性角色。In response, kabuki theaters switched to boy actors for the female roles.

歌舞伎演员身穿传统戏服，除了表演之外还要唱歌。The kabuki actors wear traditional costumes, and sing in addition to acting.

花魁最初是在河床上搭的舞台进行表演，表演的舞蹈被称为“歌舞伎”，这也是歌舞伎剧场开始。The dances were called "kabuki, " and this was the beginning of kabuki theater.

歌舞伎和能剧一样是日本最有代表性的传统戏曲之一。Kabuki and Noh in Japan as the most representative one of the traditional operas.

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艺妓的舞蹈是从歌舞伎的表演舞台上演变而来的。The dance of the geisha has evolved from the dance performed on the kabuki stage.

它的特色是女形表演者，也就是扮演女性角色的男歌舞伎演员。It features the onnagata performers, male kabuki actors who perform the roles of women.

独特的处理和头部形状的小型歌舞伎将便于联系起伏在途中。The unique handle and head shape of our small kabuki will allow easy touch ups on-the-go.

据说寿司本来是给观看歌舞伎的人在幕间休息时吃的小点心。It is said that sushi got its start as a snack eaten at intermissions of kabuki performances.

这给歌舞伎带来了坏名声，并最终导致在1629年禁止妇女在剧场演出。This gave kabuki a bad name and eventually led in 1629 to women being banned from performing in theaters.

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由于担心出现经济不景气，现在爱德华·杰·爱普斯坦正在美国上演着金融歌妓表演。With fears of a recession looming, Edward Jay Epstein on the financial Kabuki play now unfolding in the U. S.

随着新一代明星承担最主要的角色，现在歌舞伎再度流行。Kabuki is now in an age of renewed popularity as a fresh generation of stars has taken over the leading roles.

他们只想要一个歌舞伎的习惯技巧或者舞踏停顿的小型示范表演。They expected a minor demonstration of, say, Kabuki costume technique, or perhaps butoh suspension performance.

当说到处理中东问题时，总统指出，“现在场上如同上演日本歌舞伎，真人表演，持续不停。When it comes to dealing with the Middle East, the president noted, "there is a Kabuki dance going on constantly.

为了创造这些几乎超人的人物，团十郎发展了歌舞伎引人注目的化妆风格。To create these almost superhuman characters, Danjuro developed the striking style of makeup employed in kabuki today.

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几百年以来，日本的歌舞伎演员们和艺妓们一直都在使用没有乐趣的莺去除瑕疵和弥补不足，保持皮肤的柔软。Kabuki actors and geishas have been using uguisu no fun for hundreds of years to remove make up and to keep their skin soft.

1951年，日本，歌舞伎剧场，演员坂东三津五郎在上台之前，在自己的换衣间中的神龛前祈祷。Japan . kabuki theatre . actor bondo mitsugoro praying in front of an altar in his dressing room , before going on stage . 1951

歌舞伎经过数百年艺术上的千锤百炼和不断完善，已经深深扎根于日本广大人民群众之中，并为他们所喜爱。Through hundreds of years of polish and improvement, Kabuki has taken root among the masses and is strongly attractive to them.