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| Illustrations | |
| Preface | |
| Introduction | |
| Kabuki History | |
| The Performing Arts of Sixteenth-Century Japan: A Prelude to Kabuki | |
| Origins of Kabuki Acting in Medieval Japanese Drama | |
| Bakufu versus Kabuki | |
| Nakamura Shichisaburo I and the Creation of Edo-Style Wagoto | |
| Episodes in the Career of the Kabuki Actor Nakamura Utaemon III, Including his Rivalry with Arashi Rikan I | |
| Flowers of Edo: Eighteenth-Century Kabuki and its Patrons | |
| Hiiki Renchu (Theatre Fan Clubs) in Osaka in the Early Nineteenth Century | |
| Kabuki Goes Official: The 1878 Opening of the Shintomiza | |
| Breaking the Kabuki Actors' Barriers: 1868-1900 | |
| Communist Kabuki:A Contradiction in Terms? | |
| New (Neo) Kabukiand the Work of Hanagumi Shibai | |
| Kabuki Performance | |
| From Gay to Gei, The Onnagata and the Creation of Kabuki's Female Characters | |
| Actor, Role, and Character: Their Multiple Interrelationships in Kabuki | |
| Kabuki:Signs, Symbols, and the Hieroglyphic Actor | |
| The Tsurane of Shibaraku: Communicating the Power of Identity | |
| Conjuring Kuzunoha from the World of Abe no Seimei | |
| Miracle at Yaguchi Ferry: A Japanese Puppet Play and Its Metamorphosis to Kabuki | |
| Kabukiand the Elizabethan Theatre | |
| Surveying the Field | |
| Kabuki:Changes and Prospects: An International Symposium | |
| Kabuki as National Culture: A Critical Survey of Japanese Kabuki Scholarship | |
| Selected Bibliography | |
| About the Editor and Contributors | |
| Index | |
| Table of Contents provided by Ingram. All Rights Reserved. |
