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.
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Ichikawa Sadanji 2nd, active in the Taisho period and early Showa period, performed Shin-kabuki based on the techniques and knowledge he acquired while he was studying in Europe, and he was supported by students. Previously, students had not been much involved, so this differed from the previous audiences for Kabuki. "Shuzenji monogatari" and "Bancho sarayashiki" written by Okamoto Kido, and "Genroku chushingura" written by Mayama Seika, are often performed even now. Each of those works was first performed by Ichikawa Sadanji. Sandanji's most praiseworthy deeds were the revival performances of "Narukami" of the Kabuki-juhachiban and of works written by Tsuruya Namboku 4th which had not been performed for a long time.
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