ACKNOWLEDGEMENT
In my study of Kabuki I am deeply indebted to Mr. Seiseiin Ihara, the author of several volumes on the history of the popular stage of Japan. No progress toward an understanding of the development of Kabuki can be made without extensive reference to this valuable work. I wish particularly to acknowledge Mr. Ihara’s investigations into the mass of chronicles of the theatre, his lives of the actors, his painstaking researches into drama, also his collection of facts relating to the interference of the officials with the theatre and persecution of the actors. His Generations of the Ichikawa Family has also proved a record of great assistance.
Mr. Ihara has not only furnished me with data for study, but has been an indefatigable friend. A true lover of the theatre, he is one of the leading dramatic critics of Tokyo, and has not only given generously of his knowledge as a recognised authority on Kabuki, but acted on my behalf to smooth away a misunderstanding or straighten out a difficulty that sometimes arose concerning my attendance at the theatre.
To the late Mr. E. Motono, brother of the late Viscount Motono, I owe many of the first translations that opened up before me a new theatre world. Mr. Eishiro Hori, Professor of English at Keio University, rendered the greatest assistance in translations that gave me an insight into the history and technique of the Nō and Doll-theatre.
I also acknowledge my indebtedness to Mr. Mokuan Sekine for his Engeki Taizen, or Complete Drama, relating to the old customs of Kabuki, and to his Fifty Years of Meiji Kabuki. Another fruitful source of information has been Kabuki Sosho, a collection of old Kabuki records.
I take this opportunity to thank the friends who so often accompanied me to the theatre, and who were unfailing in their help, Mrs. Koto-ko Kuroda, Miss Shige Takenaka, Miss Chiyo-ko Hiraiwa, Mr. Hisashi Fujisawa, and Mr. M. Kinai.
Nor can I fail to acknowledge the kindness of the three leading managers of Tokyo who allowed me free access to their theatres, Mr. K. Yamamoto of the Imperial, the late Nariyoshi Tamura of the Ichimura-za, and later his son and successor, and Mr. Otani, head of the Matsutake Company, which now controls the greatest number of playhouses in Japan.
For twelve years I sat among the critics of the Tokyo stage at the regular performances, and cannot forget the unfailing courtesy of my journalistic associates.
To my good friends among the actors, Nakamura Utayemon of the Kabuki-za; Onoe Baiko and Matsumoto Koshiro of the Imperial; Onoe Kikugoro, the sixth, of the Ichimura-za; Nakamura Kichiyemon of the Kabuki-za, and Nakamura Ganjiro of Osaka; to Mr. Y. Ninomiya, stage producer and playwright of the Imperial; Miss Ritsu-ko Mori, leading actress of the Tokyo stage; Mr. Kiyotada Torii, the theatre artist; Mr. Beisai Kubota, stage designer,—to all the friends of long standing in the theatre, I take this opportunity to express my gratitude for the privilege of their friendship and kind assistance.
ZOË KINCAID.
London, March 2, 1925.