The new Kabuki-za, with a seating capacity of 4000, which was opened on January 6, 1925. Under construction at the time of the earthquake disaster, September 1, 1923, the concrete structure remained intact. Japanese architectural features have been used throughout the Kabuki-za, and, rising out of the ruins of the city, it is one of the most imposing buildings in Tokyo.] Kabuki, always acquisitive, standing between the idealism of the Nō and the realism of the Doll-theatre, is no longer self-centred, but has become, like Kim, the friend of all the world, and is ever ready to learn from London, New York, Paris, or Berlin. On the other hand, to cause the inner consciousness of the Japanese people to speak to that of the West through the medium of what is genuine in Kabuki—this is the large untried experiment of the future. The Western Theatre, possessing the traditions of the Greeks and of Shakespeare, has yet to discover the Eastern Theatre, a sphere of human endeavour that remains unexplored and unexploited. Out of the theatrical wisdom of the East may come a force to produce a new era of creativeness in the West. By the recognition and appreciation of Kabuki, the Western Theatre would not only greatly enrich itself, but stimulate the actors of Asia to higher things. BIBLIOGRAPHY Nippon Engeiki Shi, History of the Japanese Stage. Ihara Seiseiin. Two volumes (published Meiji). Nippon Gikyoku Shi Kowa. Lectures on the History of Japanese Drama. Ihara Seiseiin (published Meiji). Generations of the Ichikawa Family. Ihara Seiseiin (published Meiji). Kabuki Sosho. Collection of Kabuki Records. Including Kokon Yakusha Taizen, Ancient and Modern Actors; Jijinshu, Collection of the Year’s Dust; Kabuki Koto Hajime, Beginnings of Kabuki; Shinroku Yakusha Komoku, Stories of Actors; Yakusha Zensho, All About Actors. Published by Hachimonjiya. Collected and edited by Seisetsu Sasa (published Meiji). Kokon Yakusha Taizen, Ancient and Modern Actors. Published by Hachimonjiya, 1626. Criticism of actors. Jijinshu, Collection of the Year’s Dust. Kaneko Kichizaemon. Anecdotes of the actors, chiefly Sakata Tojuro. Kabuki Koto Hajime, Beginnings of Kabuki. Tamenaga Icho. Criticisms of the actors. Published by Hachimonjiya, 1762. Kabuki Shoshi Sosan. Collection of old records. Hana Yedo Kabuki Nendaiki, Flower Yedo Chronology of Kabuki. Records of plays and players in Yedo, by Emba Danshuro, and continued in many volumes by other writers. Published by Hachimonjiya. Zoku Zoku Kabuki Nendaiki, Continued-Continued Kabuki Chronicles, from Ansei to Meiji 36. Tamura Nariyoshi. Two volumes (published Taisho 11). Engeiki Taizen, Complete Account of Drama. Sekine Mokuan. Meiji Engeiki Gojunenshi, Fifty Years’ History of Meiji Stage. Sekine Mokuan. Ayame Gusa, Sayings of Ayame. Yoshizawa Ayame. Amayo Sanbai Kigen, Three Cups of Sake on a Rainy Night. Criticisms of Kabuki. Ihara Saikaku.