performances were created by Munich's most important artists, including painters, sculptors, and illustrators. Among the most prominent were the Simplizissimus illustrator Olaf Gulbranson, painter and sculptor Ignatius Taschner, and sculptor and a professor at the Academy of Fine Arts Josef Wackerle （1880－1959）. Also, nine members of the “Jugend” magazine, including Juliius Diez （1870－1957）, a professor at the Kunstgewerbeschule and Kunstakademie and the second head of the München Secession, were also involved. Each of them was an important artist in the Munich art scene at the time, but their work as designers for puppetry has not been well studied.So how did the theater become known in Japan? Schnitzler's "Der tapfere Cassian," which was performed by the company in 1908, was the starting point. A photo of the puppet from the show was published in a Japanese literary magazine in 1910. The image is blurry, because it was copied from a clipping of some printed matter handed to a Japanese by a German. The caption of the photo in the magazine reads, "Puppets of “der Tapfere Cassian”, played by a Puppet Theater of Ignatius Taschner （which means Marionettentheater Münchner Künstler）, A newspaper clipping given to us by our friend Fritz Rumpf”.Two years later, “Cassian” was staged in Japan, imitating the German puppetsʼ look. In a review of the show, the reviewer wrote: "I saw a picture of puppets of “Der tapfere Cassian” in a magazine called Shin Shicho. When the curtain opened, the costume of Martin was so puppet-like that I recognized it immediately.Since a Japanese company made the costumes for the stage based on such a fuzzy photo, they must have liked it very much.Cassian" is one of the earlier examples of Western-style theater in Japan.At this time, Japan's government was pursuing a policy of westernization in all sectors of life and culture. One such policy was "Theatrical Improvement" that began around 1877. This was a government initiative to modernize Kabuki, a traditional actor's drama, by changing its plot to be more "realistic and rational". Although traditional Japanese theater did not change immediately, improvements continued to be made, and in the 1900s two new theater groups were founded in Tokyo, using translated scripts from Ibsen and Chekhov, and other European playwrights as well as Western-style costumes and stage design. One such new group made the 1912 ― 524 ―― 524 ―
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