The first significant wave of Western scholarship about Japanese theatre came after World War II in the combined efforts of Brandon, Ernst, Keene, Scott, Bowers, Maim and others, who provided an encyclopedic introduction to the histories, practices and aesthetics of traditional Japanese theatre. The scope of this collective undertaking (no less than the [re]construction of a cultural legacy pre-dating Shakespeare) was, and remains, a stunning achievement in terms of its sheer exuberance as well as in its revelatory contribution to Western knowledge. Yet, in spite of such an auspicious beginning (as well as the excellent contributions of subsequent scholars), extant studies of Japanese theatre in English remain scarce and new ones, scarcer still. Even now, more than a half-century after the war, the emphases of these examinations often privilege the study of traditional practices over contemporary ones. A near-absence of translated studies by Japanese scholars further compounds this imbalanced perspective.