Gundzi, M. Japanese Kabuki Theater (Yaponskiy teatr Kabuki), 1969. In Russian.

Гундзи М. Японский театр Кабуки. / Пер. с япон. Б. В. Раскина; под ред. и с предисл. Л. Д. Гришелевой.
Москва : Прогресс, 1969.
232 с. : ил. Твёрдый издательский переплёт, суперобложка, обычный формат.
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Gundzi, M. Japanese Kabuki Theater (Yaponskiy teatr Kabuki). / Trans. from Japanese by B. V. Raskin; edited with an introduction by L. D. Grisheleva.
Moscow : Progress, 1969.
232 pp. : ill. Hardcover, original dust jacket, standard format.

This 1969 edition is the definitive Russian translation of a seminal work by Masakatsu Gunji (1913–1998), the foremost authority on traditional Japanese theater and a professor at Waseda University. Published by Progress, this volume introduced Soviet readers to the rigorous scholarly analysis of Kabuki, moving beyond mere exoticism to explore the deep structural, historical, and sociological roots of this "stylized" drama.
The book offers a comprehensive journey through the world of Kabuki, from its 17th-century origins in the dances of Okuni to its evolution into a sophisticated urban art form during the Edo period. Gunji masterfully dissects the "essence" of Kabuki, explaining the intricate balance between kata (stylized forms), the specialized acting techniques of onnagata (male actors playing female roles), and the unique architecture of the Kabuki stage, including the hanamichi (flower path) ramp.
Richly illustrated with both color and black-and-white photographs and traditional woodblock prints (ukiyo-e), the edition provides a visual encyclopedia of the genre. Readers can examine the complexities of kumadori (the bold, symbolic facial makeup), the transformation of costumes on stage (hiken), and the stylized poses (mie) used to heighten emotional impact.
Beyond the performance itself, Gunji examines the vital relationship between the theater and its audience, detailing how Kabuki reflected the tastes and social tensions of the merchant class. Accompanied by an analytical introduction and detailed appendices, this work remains an indispensable resource for Japanologists, theater critics, and cultural historians. The presence of the original dust jacket makes this specific copy a particularly desirable acquisition for collectors of fine Soviet art and ethnographic publishing.