This chapter draws together the threads of the basic argument informing the book, focusing on the androgynous ambivalence of Japanese modernity. In 1969, the Japanese playwright Kara Jūrō shocked audiences with Shōjo Mask, his surrealistic play about the Takarazuka Revue, portraying Takarazuka as a nefarious remnant of Japanese imperialism; actors and fans alike were cast as pathological and pathetic. Shōjo Mask attests to the continuing salience of Takarazuka as a site of and for social commentary and criticism. Of course, the Revue's self-referential exoticism and public image as a dreamland effectively places it outside Japanese history. The Revue continues to manipulate the long-problematic erotic allure of Takarasiennes by anticipating the appetite of fans for physical beauty.
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