つきぢ田村の一番だしをとるときは、まず、鍋に水をはり、昆布をいれて火にかけ、沸騰直前に昆布をとりだす。再度沸騰したら、お水を足して、火を止め、かつお節とめじ節(メジマグロの節)を一気に入れて、余熱でうま味を出す。この一番だしが、お椀のだしとなっている。この3つの素材の相乗効果によってだしの香りとうま味が確立され、それらのバランスが正確に決まった時に'究極のおいしいだし'となる。このだしを使えば、塩や醤油を沢山入れなくても、味を薄目にしても、料理をおいしく食べられ、減塩にもつながる。だしの素材からくる味と香りのバランスをとり、料理に活かす事が日本料理の基本である。そのような料理を日々作り、適切なタイミングで提供するのがの仕事であると考えている。

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　NHK「きょうの料理」に掲載された中から煮物レシピを抽出し，煮物に関する変遷を明らかにした。1960年度から15年間隔で収集した42冊を資料とした。料理総数3,373件のうち煮物は535件（15.9％）を占め，特に1975年度は和風煮物が74.8％であった。煮物で使われる主材料は野菜類がもっとも多く，だいこんはどの年代においても使用頻度が高かった。肉類では，牛肉・豚肉・鶏肉がよく使われ，年代で順位は変化した。
　煮物のレシピは，食生活の変化とそれに伴った健康志向・簡便化志向を意識したものになっていた。

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The objective of this article is a reassessment of the year 1959, which has been considered as the first year of Ankoku Butoh because of the première of “Kinjiki (The Forbidden Colours)” by Tatsumi Hijikata, and of the facts surrounding the inception of Ankoku Butoh from the perspective of Hijikata's contemporary Kazuo Ohno.
On the premise of Ohno's artistic endeavor and style as a modern dancer, there had been a considerable amount of inspiration from paintings and literature in his creative processes especially in this era. Ohno had been in his exploratory phase since 1954. Recently discovered letters of Ohno reveal his artistic ambition and intention for the 1959 staging of “The Old Man and the Sea, ” which was adopted from Ernest Hemingway novel. According to these letters, this dance piece was a faithful rendition of the original story, and it was not an experimental and avant-garde work that had been gradually gaining popularity at that time. Instead, it was a modern dance with a leaning toward the expressionism that had been beginning to take root in the post World War II Japan, following the wake of pre-war heritage. Ohno had been engaged in self-exploration for a long time, because he thought that the internal motivation of the self was indispensable for creating movements and expressions. In this dance piece, however, Ohno's acquired modern dance techniques and the impulsive imagery in his psyche came to a rupture, and the performance was a failure.
Tatsumi Hijikata had been aware of Ohno's uncompromising self-exploration and inherent talent as a dancer from his early career. The encounter between Hijikata and Ohno is considered to have taken place during the mid 1950s. It was a definitive turning point not only for Ohno, but also for Hijikata's conception of Ankoku Butoh. Specifically, only one month after the staging of “The Old Man and the Sea, ” which Hijikata had taken part as an assistant director, Hijikata created the basic concept of “Kinjiki” and decided to cast Ohno's son Yoshito. The modern dance piece “The Old Man and the Sea” by Kazuo Ohno precipitated the emergence of Ankoku Butoh, and by severing Ohno from modern dance lineage, installed him as a critical counterpart in the germination of Hijikata's Ankoku Butoh.

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