Tamura Nariyoshi, the influential theatre manager of Meiji, a contemporary of Morita Kanya, once said that new actors could not grow up like mushrooms, but they must be thoroughly imbued with the atmosphere of Kabuki and understand all that had taken place in the past before trying to produce new things. Contrary to this view the reformers did not think it necessary to build on institutions already existing, and their efforts were misguided and misdirected. Tamura Nariyoshi for half a century fought for all that was best in Kabuki, carefully preserving the traditions amidst the welter of new movements, managing and producing for Kikugoro, the fifth, and his son, the sixth, at the Ichimura-za. Towards the close of Meiji, in 1910, the height of the reform was reached in the building of the Imperial, Japan’s premier theatre. Erected according to a French model, it has a beautiful European interior with all modern equipment and comforts. In connection with the Imperial a school for actresses was established. Signor G. V. Rossi, an Italian ballet-master from London theatres, was engaged, and opera was produced for some years, but like all other Western methods of improvement, interest in it died away, in spite of Signor Rossi’s earnest endeavours. The lack of singers was the chief obstacle. It was during this opera vogue that Madame Miura, who has been so well received on the Western stage as Madame Butterfly, made her debut. The Imperial Theatre, under its capable manager, Mr. K. Yamamoto, continues to be the centre of the conflict of old and new ideas. Here modern playwrights are encouraged, the Kabuki actors create new things, or act in the old plays of which the audience never seems to grow tired, while the actors, musicians, and dancers of England, America, and Europe, and even the stars of the Peking and Moscow stages, are warmly welcomed. VI Actresses of Meiji One of the striking developments of the theatre in Meiji was the appearance of various types of actresses for the first time since the prohibition of the women’s stage in 1629. Returned travellers told tales of the prominent place the actresses held in the Occident. The female player had not been seen with the actor for centuries in Japan. She was a feature of the Western stage, then why not of the stage in Japan? Danjuro, eager to try new experiments, and believing that women should have an equal chance with men in the theatre, decided to introduce his two daughters on the stage. The uproar and confusion that ensued among the theatre folk because of this petticoat invasion of the male sphere of influence caused them to withdraw. Danjuro also acted with a French actress to show that he was not bound by the conventions of Kabuki.