Continued : A short history of theatre in Japan

In the nineties, in parallel to the development of public theaters and festivals, playwrights such as Oriza HIRATA worked on a native form of theater, sometimes called colloquial or silent theater. Japanese is a high context culture, and this also reflects in the language with its lack of conjugation, subject, plural, masculine/feminine forms. Dramatic plays from low context cultures, with the expression of feelings, passions, can sometimes sound out of place. 
The theater developped by Hirata, for instance with Citizens of Seoul (1989) or Tokyo Notes (1994) includes silences, simultaneous dialogues. Toshiki OKADA inscribes himself in this new trend, enhancing him with repetitions and reported dialogues (see 5 days in March). His works as well as his company, Chelfitsch, has received international recognition, and he was himself nominated artistic director of Tokyo Metropolitan Theater in 2025. 

Yoji SAKATE and Ai NAGAI are more focused on social issues, remaining in a realistic mode. Utawasetai otokotachi / Let us make those men sing, focuses on the national anthem and the requirement to introduce it at school, to the dismay of often left-leaning teachers. Ai Nagai and his company is definitely important in the current scene. Sakate also touched topic of Hiro Hito’s responsibility in the war with The emperor and the kiss (2001). Shin KURUMIZAWA, a very productive playwright, is also very critical of the Japanese society. A psychiatrist, he highlights the contradiction of the medical system from education to institutions, but also on many other topics such as militarism or nuclear technocracy. Myrtle Arts stages many of his plays such a the recent The flag and the apron (2024).

Angura movement is surviving, and a number of companies as well as new authors perpetuate the spirit of Juro KARA. Shall we not include there Tanino KURO (another former psychiatrist) and his company Niwa Gekidan ? His Black Master series, initially set up in intimate grounds – he started having his works played in an appartment – and his appetite for provocation definitely resonate with the Black tent. Provocative are also the works of Daisuke MIURA and his troup Potudo-ru. On their side, the Banyuinryoku company headed by J.A. Seazer perpetuates the works of Shuji TERAYAMA, an early companion of this movement, while Yukio NODA company, Noda Map, still strives and produces new works.