- 1Acknowledgement
- 2Introduction
- 3Chapter I — Kabuki
- 4Chapter II — Kabuki Audiences
- 5Chapter III — Conventions of Kabuki
- 6Chapter IV — Craftsmanship of Kabuki
- 7Chapter V — Kabuki’s School of Acting
- 8Chapter VI — Actor Ceremonials
- 9Origin of Kabuki
- 10Chapter VIII — Onna Kabuki: The Woman’s Stage
- 11Chapter IX — Wakashu Kabuki: The Young Men’s Stage
- 12Chapter X — Theatres of the Three Towns
- 13Yakusha
- 14Chapter XII — Yakusha of Genroku
- 15Chapter XIII — Yakusha of Horeki
- 16Chapter XIV — Yakusha of Pre-Restoration Period
- 17Chapter XV — Onnagata
- 18Chapter XVI — Yakusha and Marionette
- 19Chapter XVII — Lives of the Yakusha
- 20Shibai
- 21Chapter XIX — Shibai and Outside Influence
- 22Chapter XX — Music of Shibai
- 23Chapter XXI — Shibai and Interference
- 24Chapter XXII — Externals of Shibai
- 25Sakusha
- 26Chapter XXIV — Representative Sakusha
- 27Plays
- 28Chapter XXVI — Motives of Kabuki Plays
- 29Chapter XXVII — Kabuki Rôles
- 30Chapter XXVIII — Meiji Kabuki
- 31Kabuki To-Day — Chapter XXIX — Contemporary Kabuki
- 32Bibliography
Kabuki: The Popular Stage of Japan
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