Ortolani, Benito 　著

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<DT>Preface to the Revised Edition <DT>Introduction<DT>Periods in Japanese History <DT>Ch. I. The Beginnings<DL><DT>Jomon Period (-ca. 250 B.C.) <DT>Yayoi Period (ca.250 B.C.-ca. 300 A.D.) <DT>Kofun Period (ca. 300 A.D.-710 A.D.) TheHaniwa <DT>Kojiki and Nihongi (Eighth Century) <DT>Uzume's Trance<DT>Umisachi's Pantomime <DT>Utagaki <DT>"Indigenous"versus "Imported" <DT>Ch. II. Kagura <DL><DT>The WordKagura <DT>Use of the Name Kagura <DT>Division of Kagura<DT>Mikagura <DT>Satokagura <DT>Ch. III. Gigaku<DL><DT>History <DT>Contents and Style<DT>Controversy about the Origins <DT>Survival of Gigaku<DT>Ch. IV. Bugaku <DL><DT>The Words Bugaku and Gagaku<DT>History of Gagaku and Bugaku <DT>Division of Bugaku<DT>Historical Outline of Bugaku Dances <DT>Bugaku Costumes<DT>Bugaku Masks <DT>Bugaku Props <DT>Musical Instruments<DT>The Bugaku Stage <DT>Ch. V. Theatrical Arts in the Ninth tothe Thirteenth Century <DL><DT>The Words No, Kyogen, Nogaku<DT>The Sangaku and Sarugaku Traditions <DT>The Words Sangaku andSarugaku <DT>Relation between Sangaku and Sarugaku <DT>Heian ShinSarugaku in Performance <DT>The Shushi Sarugaku <DT>The OkinaSarugaku <DT>The Furyu Tradition <DT>The Ennen Tradition<DT>The Dengaku Tradition <DT>The Shugen Tradition<DT>Kusemai, Shirabyoshi, Ko-uta and Rambu <DT>Social Position ofthe Performers <DT>Ch. VI. Nogaku <DL><DT>Theories on theOrigins of No <DT>History of Nogaku <DT>Zeami's Secret Traditionof the No <DT>Basic Concepts of Zeami's Aesthetics <DT>Zenchiku'sTheories on the No <DT>The No Plays <DT>The Performance of No<DT>The No Stage <DT>Costumes, Props, and Masks <DT>Kyogen:A New Perspective <DT>The Theories of Okura Toraaki<DT>Classification of Kyogen Plays <DT>The Performance of Kyogen<DT>Mystery Plays and School Theatre of the Jesuits <DT>Ch.VII. Kabuki <DL><DT>Background of Kabuki and Joruri<DT>History of Kabuki: An Overview <DT>Kabuki in Performance<DT>Costumes and Make-up <DT>Theatre Buildings, Stage, and Decor<DT>Kabuki and Joruri Playwrights <DT>Kabuki Juhachiban<DT>Geidan: Actors' Memoirs <DT>Ch. VIII. The Puppet Theatre<DL><DT>The Words Joruri and Bunraku <DT>History of Joruri<DT>Bunraku after the Meiji Restoration <DT>The Stage<DT>Bunraku Aesthetics <DT>Ch. IX. The Modern Theatre: Shimpa<DL><DT>Origins of the Shimpa Movement: Sudo Sadanori<DT>Kawakami Otojiro <DT>Seibikan and Other Companies<DT>The Golden Age of Shimpa <DT>The Decadence of Shimpa<DT>Shimpa from World War II <DT>Ch. X. Shingeki: The New Drama<DL><DT>The Period of Trial Plays (1906-1913) <DT>ThePeriod of Commercialization (1914-1923) <DT>The Early Tsukiji LittleTheatre Movement (1924-1927) <DT>The Leftist Propaganda Plays(1928-1932) <DT>The Artistic Period (1933-1940) <DT>Shingekiafter World War II (1944-1994) <DT>The Underground Theatre Movement(1960-1985) <DT>Ch. XI. Modern Music and Dance Theatre<DL><DT>Opera <DT>The Takarazuka Revue Company<DT>Revue, Operetta, Miscellaneous Entertainments <DT>Buto andthe Phenomenon of Circularity <DT>Ch. XII. History of WesternResearch on the Japanese Theatre <DL><DT>From Mid-Sixteenth toMid-Nineteenth Century <DT>From Mid-Nineteenth Century to Showa<DT>The Showa Period to the End of World War II <DT>FollowingWorld War II <DT>Japanese Contributions to Western Languages<DT>Glossary <DT>Bibliography <DT>Index