[1] According to the theatre historian, David G. Goodman, "Kara conceived his theatre in the premodern mold of kabuki—not the sanitized, aestheticized variety performed today, but the erotic, anarchic, plebeian sort performed during the Edo period (1600–1868) by itinerant troupes of actors who were rejected by bourgeois society as outcasts and 'riverbed beggars.'

[1] The "Little Theatre" movement, also known as Angura, sought to free itself of the mainstream social norms and fixated on fantasy and dream versus the realistic portrayal of daily life of other theatrical forms.

It corresponded with many foreign influences such as the rise of the Off-Off-Broadway movement in New York, the productions of The Living Theatre, and Polish director Jerzy Grotowski's ideas of the importance of the body, who also had many of his writings translated into Japanese at the time.

What was once mainly linear, realistic plays, became complex, multi-layered structures where time sequences were distorted and where the barriers that disconnected the ordinary from the extraordinary and reality from illusion were cast away.

Kara's theory of the privileged body and Tadashi Suzuki's physical method arose from this range of work.

In the past, actors couldn't even live amongst the poorest men and were treated with ridicule, yet at the same time they captivated those in the normal world.

This group was also driven by the intensity and passion arising from their experiences participating in the massive Anpo Protests against the U.S.-Japan Security Treaty in 1959 and 1960.

Fukuda had influenced Kara, as well as Minoru Betsuyaku and Satoh Makoto, all influential angura playwrights who worked with Seinen.

Hideki Noda, born in 1955, who was also influenced by Kara Jūrō, was the founder of the Dream Wanderers (Yume no Yūminsha) in 1976 at the University of Tokyo.

[9] Through the theatre company Jōkyō Gekijo that Kara had created, he started to have guerrilla-like performances that adopted what is known as the tokkenteki nikutairon (the theory of the privileged body).

He boldly affirmed that there was no longer a need for great play manuscripts in contemporary drama, and that it was the dramatic body of those who were on stage that was more important.

Kara's beliefs of the "privileged body" was a dichotomy where the actor was a social pariah and a medium for the manifestation of the audience's dreams and desires.

To counter the flowing and coherent narratives of modern drama, he liberates the bodies of the actors from the constraints of the script and brings back the bizarre and eerie being and grim emotions that arise from Japan's Noh and Kabuki tradition.

"Logic cannot make a U-turn so easily" The creep of a superman with that mouth said, in an instant putting his chin in his hand like a dwarf.

[11] Hanchô: Jinnansho Azumihan (TV Series, episode 4.1), 2011 Ekrio (TV Movie), 2009 The Woman Prosecutor of Kyōto (TV Series, episode 4.7), 2007 Dreaming of Light (as Jūrō Kara), 2005 Yoru o Kakete, 2002 Kita no Kuni Kara 2002 Yuigon (TV Movie), 2002 Dr. Akagi (as Umemoto), 1998 Umihoozuki (as Haida), 1995 800 Two Lap Runners (as Yasu-san), 1994 Rasuto Furankenshutain, 1991 Jazz Daimyo (as Kyunosuke), 1986 Yasha-ga-ike (as Denkichi), 1979 The Boxer, 1977 Kyōfu Gekijō Umbalance (TV Series), 1973 Demons (as Sango),1971 Zenigeba, 1970 Violated Angels (as The Handsome Boy), 1967 Summer (as Yoshihide Ôtsuru), 1956 Dreaming of Light (novel "Garasu no Tsukai" - as Jūrō Kara) / (screenplay - as Jūrō Kara), 2005 Nonki na Neesan (novel), 2004 Genji Monogatari: Asaki Yume Mishi (written by), 2000 Umihoozuki, 1995 Namidabashi (writer), 1983 Violated Angels, 1967 Genkai-Nada, 1976 The Shiatorikaru: Juro Kara and His Stagework (Documentary, as himself), 2007 Gekiteki Document Report '78-'79 (Documentary, as himself), 1979 Diary of a Shinjuku Thief (as himself/singer), 1969