Paper short abstract:

Recent works by Okada Toshiki, Koizumi Meiro, and Takayama Akira apply technological devices and use few/no real live performers. Their so-called "non-human theater" seem to be suitable for depicting physically or socially dead/dying peoples in Japan today.

Paper long abstract:

Some Japanese artists present recently their works which can be categorized to both theater and visual art, and it is remarkable that they apply technological devices and use no real live performers. This paper analyzes such "non-human theater" created by Okada Toshiki, Koizumi Meiro, and Takayama Akira and the meaning of the absence of real live performers.

Playwright and director Okada collaborates with visual artists in his "projection theater (eizo-engeki)" which shows performers on screens in front of moving spectators. He developed the concept in his latest work "Eraser Forest (Keshigomu-Mori)" (2020) which makes the Great East Japan Earthquake its theme: The spectators are required to move while watching both real live performers and performers on screen.

Screens and projectors are in case of the visual artist Koizumi also often in usage. His installation "We Mourn the Dead of the Future" (2019) was held in a room with some projectors and a wide screen, and a movie running in a loop showed young amateur performers playing figures in two groups in a ritual. By rewinding in the middle, the movie gave the image that the one group was both killed and reborn. The spectators could stay in the room as long as they wanted.

Director Takayama uses often MP3 player as technological devise. In his installation "McDonald's Radio University" (2017 in Germany, 2018 in Japan), spectator visits a shop of McDonald's or a room in a museum and orders lecture(s) to be listened through MP3 players. The visitors listen the lectures of minorities of the city/country picked up by Takayama as the voices of the "invisible", unknown or ignored people.

All these three artists use few/no real live performers, while spectators move to experience the works. The spectators are required to behave actively and become themselves rather the real performers as "emancipated spectators" (Rancière). In this way, the contrast to the past/forgotten/unknown/ignored figures is highlighted. The absence of real live, flesh-and-blood performers can be suitable for depicting people in Japan today who are physically or socially dead/dying.