 The diversity of theatrical forms is also revealed by the study of theatrical performances and their literatures that arose at different times within Japan. The oldest form is Noh theater (originating around 1300 and continuing to the present), which can be characterized not only by having different aims than its, possibly Chinese, predecessor form, but also by being largely dependent on its performers being proficient in either pantomime or vocal acrobatics or both. Bunraku, in contrast (originating around the mid-1500s and still being performed), is a form of theater that consists of large puppets with visible puppeteers dressed in black to imply invisibility, with the dialogue spoken by a single person who uses extensive vocal technique and range to present the language and expression of the different characters. Kabuki theater (beginning at the end of the 1500s) is also distinguishable from Noh theater, if not in subject matter (most of its subject matter comes from Noh or Bunraku theater), then in form because it employs dance, singing, pantomime, as well as physical acrobatics. Even more distinctive—and as distant from these predecessors as one can imagine—is Butoh (originating after World War II) that includes dance, performance, and abstract movement, in the service of challenges to public authority by means of presenting grotesque imagery, “forbidden” topics, as well as absurd environments and situations. Butoh is performed in white make-up and may be purely conceptual, having no movement at all.