She wrote several plays about women and the problems they faced in a patriarchal society that run parallel with the second wave of the feminist movement in Japan.
She was qualified for the bar, but instead chose to join Shūji Terayama’s theater company Tenjō Sajiki (Ceiling Gallery).
She collaborated with Terayama, who she viewed as a mentor, in writing Shintokumaru (Poison Boy), The Audience Seats, and Lemmings.
[3] Kishida, with the permission from Terayama, founded her own company Because of My Older Brother Theater and wrote her own plays that were independent from Tenjō Sajiki in 1978.
It wasn't until after her mentor's death in 1983 that she had established herself as being completely independent from Tenjō Sajiki and left Terayama's shadow.
While working with the Singaporean director Ong Keng Sen, Kishida rewrote several of William Shakespeare's plays for performances in multiple languages.
Both Desdemona and Lear were written with characters from all around the world and different backgrounds including a noh actor, a Burmese puppeteer, and a Korean musician.
Kishida became the lead organizer of 3rd Asian Women's Theatre Conference after Kahoru Kisaragi died in 2001.