"Nuo-xi", the farm village ritual, which remains in the whole China, is very important when considering not only the history of the Chinese Theater but the Chinese culture. The "Nuo-xi" was developed in the form indivisible from a folk ritual, a ceremony and private sector religion in a farm village, therefore the past literati and the researcher tended to overlook them. It is clear that it is folkloric effective data as a " living fossil of demon purification event", besides, there is a meaningful problem included when considering generating of theater. This is clear in the "the history of the Chinese theater" by Mr. Issei Tanaka.Researchers paid attention to the area which corresponds to a marginal district for successive regime of Chinese southwest. Then analyzed "Anshun Di-xi" with strong dramatic aspect that remained in the stationing village of the army dispatched in Ming era from the center and "Nuo-xi" with strong ritualistic aspect that distributed on the outskirts. In this research, a person in charge visited the filed repeatedly and analyzed a material deeply. I believe this could lead the foundation to a new idea.During a research period, Hosoi mainly conducted listening comprehension investigation 3 times at Duangong in Sichuan Province, and many opinions were searched from many scholars through an exhibition held at theater museum which display the whole aspect of masks and puppets. About Qianbei district, Ito, Hashimoto, and Inaba investigated Meitan, Zunyi, etc., and active arguments were exchanged with a local researcher called the Meitan Zunyi study group. An overseas joint researcher, Guizhou Ethnic Institute investigated the document and the tool used for ceremony courtesy mainly around Daozhen of Qianbei as a new investigation ground. About the Anshun area, Inaba investigated verious places on an angle of original viewpoint. In this report, Hosoi reports the Duangong of Sichuan Province, and Inaba reports a stratified overlap of the entertainment of Narrative Literature in Anshun area in detail

We carried out the pre-subject "The Masque of the Southwest China, Research of Basis Culture" paying attention to their appearance, when the <masque> remained in whole China considered generation, development, change, and the special feature of the "basis culture" not only in the history of the Chinese theater but the whole Chinese culuture.This research is based on the result of a pre-subject, and the archaeological viewpoint which considers the remains excavated from the ruins of every place over China is also called with the cooperation of the China archaeology community. Opinion exchange was performed during the research with several researchers in archaeology. And Inahata summarized the discovered view on the work "Symphony music of God and a Man : The World of a Chinese Mask" in the 2003 fiscal year. Thus, the necessity of positioning the representation of not only the role in the ceremony courtesy entertainments of a <masque> but the <mask> itself into the China culture and world culture came out. And it is possible.The researched points and the investigation about a religious function person which were conducted during the period are summarized in this booklet. In addition to Qianbei area in Guizhou, at the International Nuoxi Society held in Dejiang, Guizhou in 2003, the courtesy of a Qiandongbei area Dejiang and Tongren town was also able to be visited. So many ceremony courtesy remain from Qianbei area to Qiandongbei area. Speaking of Tongren of Qiandongbei area, it is close to the <Chu> cultural sphere in Hunan. I want to open the investigation ground further and to also investigate the representation of a <mask> from now on

1.Making text criticism on Joururi Shou-hon scripts (scripts of Joururi) and collecting photocopies of themThere are a lot of Joururi Shou-hon scripts throughout Japan. But it is not easy for contemporary Japanese to read original Joururi Shou-hon scripts because of old characters used in Edo Period. There fore, we have to publish Joururi Shou-hon scripts in Modern characters.First, we collated as many Joururi Shou-hon scripts as possible. We confirmed the whereabouts of Joururi Shou-hon scripts that are listed in Gidayu Nenpyou Kinsei-hen (Chronology of Gidayu narration and Bunraku puppet theatre in Edo period) published in 1990,and we could find some titles of Joururi Shou-hon scripts which had been unknown in 1990. Second, being based on these researches, we investigated Joururi Shou-hon scripts for the purpose of reprinting from original ones. Finally we selected two texts per title : sourse texts and texts for collation. Furthermore, we made photocopies or took photos of these Joururi Shou-hons.2.Making a manual for reprinting from original Joururi Shou-hon scripts.We cannot write all of original Joururi Shou-hon characters with computers or word processors because some of characters are not in JIS-code (equivalent ASCII-code) and original Joururi Shou-hon scripts include not only texts but also Mojifu (a score for narrating and singing). We considered this feature of Joururi Shou-hon scripts, and discussed problemes which had occurred through reprinting works with computers. Through these attempts, we developed a manual.3.Making high-quality textsTo make a high-quality text, we checked the text through 5 steps. Each text was checked by 3 researches. In these 4 years, we made 14 title texts of Jourui scripts.4.For publishing a bookIn the 4 years, we made an effort to look for publishers. Fortunately, we came up with a publisher who will publish some titles in 2005 and this project will be continued.5.Completing a reportWe completed a report about these 4 years research

It is the purpose of my research, to know how the play in the early Edo period was transmitted to the Japanese whole country. From 2004 to 2006,1 took up "Furyu-Odori" and "Kojoruri-Ningyo" as the material, and investigated several points.1. I investigated "Bon-Odori", that is handed down to Tsushima Island of Nagasaki Pref. My survey item was the route, historic changes, present transmission situation and folklore of "Tsushima Bon-Odori". "Tsushima Bon-Odori" differs largely from "Bon-Odori" in the latter Edo period. However, there is the common point called "Bon Furyu-Odori" in them. I evaluate "Tsushima Bon-Odori" was carried out in the mainland and handed down to until today. "Tsushima Bon-Odori" was based on various "Furyu-Odori". In 2004, I investigated "Furyu-Odori" of Tsushima Island periphery area and also Kyushu all area. In 2005, I investigated "Furyu-Odori" of Kyushu northwest department in detail. In 2006, I investigated "Furyu-Odori" of the detached island of the Kyushu south. There is a Tokara Island in Kagoshima Pref. I discovered that the song of "Tokara Bon-Odori" resemble "Tsushima Bon-Odori". I compared the "Tokara Bon-Odori" song with the song book of Kabuki. I investigated even the "Bon-Odori" of the island of the periphery. I tried the comparison of those songs.2. I investigated "Kojoruri-Ningyo" of Niigata Pref. Sado city and Kagoshima Pref. Tougou-cho. I tidied and analyzed old recording of "Sado Bunya-Joruri". I recorded the play not performed recently. Those were written by Monzaemon Chikamatsu. In Togo, I investigated historical material, and studied "Togo Bunya-Joruri" about the time and route of transmission. I asked the situation in the past to the transmission person of Togo, and knew about the changes since the Meiji period. I summarized that "Kabuki-Odori" and "Ningyo-Joruri" were transmitted to many areas in the early Edo period. Those were appreciated and changed every place