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