The official title of the play is ’Kyoganoko-musume-dojoji’. This repertoire, based on Noh theater ‘Dojoji’, has been performed continuously since its premiere. It is a distinguished masterpiece in Japanese performing arts history and known as an outstanding Kabuki dance repertoire. ‘Musume-dojoji’ is originated in a legend, ‘Anchinkiyohime’ in Dojoji (Dojoji Temple) in Wakayama Prefecture. It deals with the sequel of the story. The vengeful spirit of a woman in the fable, who killed a man in a fit of jealousy, turns into a shirabyoshi (woman performer) and reproduces her error. It begins with a “dance within a dance” like a “play within a play” by Shirabyoshi. She plays from a young girl to a full-grown woman with a sensitive performance. Getting excited, she sometimes unveils herself as a ghost. We can see skillful mixture of Shirabyoshi and the soul. However, when it comes to the modern dance pieces built on Dojoji, most of them thoughtlessly focus on “the pathos of woman”. In this ‘Musume-dojoji’ presented by Kitamari, we are not fettered by the passion of woman. We re-construct it with making critical analysis of traditional dance pieces. We not only specify the traditional structure of this work but also reflect the general view of woman today. Enjoy our ‘Musume-dojoji’ with modern somesthesis.