ABSTRACT
In the midst of a busy late-autumn season, more than 120 kabuki scholars and critics gathered for three days at the Edo-Tokyo Museum to explore the present and future status of kabuki as an international theatre art. The occa sion was the international symposium entitled "Kabuki: Changes and Pros pects," sponsored by the Tokyo National Research Institute of Cultural Properties (Tokyo Kokuritsu Bunkazai Kenkyiijo) and held November 1214, 1996. This was a unique occasion, and I eagerly made special arrange ments to attend all the sessions.
