Kabuki in the Meiji period had been undergoing changes centered around Ichikawa Danjuro 9th and Onoe Kikugoro 5th, and, accompanying the rapid changes in society following the Meiji Restoration, each actor developed new activities which had not existed in traditional Kabuki.

In Meiji and Taisho, Kabuki performances of new works written by writers outside of Kabuki, who were not Kyogen-sakusha (playwrights who wrote exclusively for Kabuki), began to be performed based on modern acting and production methods influenced by theatrical performances and novels in Europe and North America. Due to the influence of the "Engeki kairyo undo" (theatrical performance improvement movement), it was easy for people from outside Kabuki to become involved in Kabuki. No leading writers had appeared since Kawatake Mokuami died. Works produced by writers from outside of Kabuki in this period were called "Shin-kabuki" (New Kabuki) to distinguish them from works written earlier. Tsubouchi Shoyo, Okamoto Kido, Mayama Seika, and Hasegawa Shin can be mentioned as representative writers of Shin-kabuki.

However, Danjuro's arguments concerning "Katsurekimono" and the improvement of Kabuki were radical and he was unable to gain the support of audiences. "Katsurekimono" performances ended some time after Meiji 25 [1892].
Another leading actor, Onoe Kikugoro, performed a series of works called "Zangirimono," depicting people with zangiri-atama (cropped heads) after their topknots were cut off, symbolizing the rapid changes of society, but the dramatic method used remained the same as that employed since the Edo period for Sewamono.
In and after Meiji 30s [1897-], Danjuro and Kikugoro began more refinements of the dramatic techniques used for works performed in the Edo period. Their stage performances until they both died in 1903 set the standards for future generations.