This research objectives are to examine Western-dance, which Miss Mix and G.V.Rosi taught in Kageki-bu in the Tokyo Imperial Theater, by looking at the example of Toshi Komori, the first student at that Kageki-bu.

To begin, I considered the physical training methods used by Miss Mix for the material. Komori did not learn ballet while he stayed in America and France, so bar-exercise in the classes of Toshi Komori Dance Studio was based on the Cecchetti Method and used to build up bodies. The results are the following:

1. Miss Mix taught ballet in both Kageki-bu and Gigei-Gakko in the Tokyo Imperial Theater.

2. Ballet which was taught in the Tokyo Imperial Theater didn’t take root, but it has been successfully used as the training method for Japanese modern dance.

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This study ailns to investigate the process of rnovement creation in a kindergarten creative movement class by referring to the concept of "vitality arect" by D.N. Stern.

In this research, I observed a series of creative rnovement sessions leading up to a recitalin a kindergarten, for about three months. The results showed that there were two types of "vitality affect" evident in children's creative movement session; those owned by children and those possessed by the subject to be expressed. Through the sessions, the children challenge their limitation ofrnovement and devise movement and composition. lt was inferred that this experience leads the children to feel and express "vitality afect possessed by the subjects to express" richly.

On the other hand,if children focus on the challenges and ingenuity of rnovement, they cannot immerse themselves into the imagery of the subiect, and the "vitality arect possessed by the subiect to be expressed" will be lost.

However, if children participate in activities that allow them to experience imagery through their bodies, or given an imagery and impression of expression subjects as a cue by the teacher, the children regain "vitality afect possessed by the subiect to be expressed". By experiencing such a process, the children were able to feel and express "vitality afect of subiects to expres" more freely in creative movement sessions.

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The purpose of this research was to clarify the gaze point of viewers in unison group dance, to aid in the composition of the group dance and for the performance. We created six kinds of street dance videos with different numbers and positions by five dancers with different technical levels. We watched these videos using eye camera and analyzed gaze points of viewers. The viewers ware 20 college students (5 boys and 5 girls who had dance experience, 5 boys and no girls without dance experience).

As a result, regardless of the technical level of the dancer, the number of dancer, the standing position, and the dance experience of the viewer, it was confirmed that viewers mainly appreciate the heads of dancers and dancers in the center. Also, even if they are not in the center, it turned out that dancers with high technical level and remarkable movements and facial expressions are easy to be noticed by viewers.

Therefore, when composing the group dance, it was suggested that it is important to arrange dancers of high technical level in the center, and dancers to dance with greatly sharp motions and rich facial expressions.

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This article used the dance study journal Gendai Buyō issued by Takaya Eguchi as the reference for understanding his thoughts on avant-garde dance as presented in the journal. Eguchi thought that modern dance was equipped from the beginning with an avant-garde attitude, and he paid respect to this attitude. However, among avant-garde dance, dance accompanied by explicit sexual expressions, shocking dance, and the characteristics of postmodern dance without structure were not acknowledged because he felt they ignored the procedure of the dance creation; he thought of them as dance in which dance did not exist. Even with avant-garde works, he thought the dance should be structured on a theme, should create a new movement that was not dependent on style, and should be fully elaborated through repeated trial and error with the works being practiced many times. While publishing opinions, discussions, and information on the advantages and disadvantages of avant-garde dance in Gendai Buyō, Eguchi was determining the definition of modern dance.

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