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Paper short abstract

Senda Koreya resided in Germany ca.1930, engaging with workers' theater consisting of individuals from diverse backgrounds after the fall of the German Empire. Upon returning to the Japanese Empire, he engaged with individuals of Korean descent, applying the knowledge he had gained as an outsider.

Paper long abstract

Senda Koreya, an actor and director, resided in Berlin, Germany from 1927 to 1931 to pursue studies in workers' theater. At that time, Germany was a republic, and its population was composed of individuals from a variety of backgrounds. In essence, these origins can be categorized into two distinct classifications: those stemming from the republic itself and those outside its territorial boundaries. The term "outside" in this context specifically refers to the territories which the former German Empire abandoned in 1919, primarily regions within continental Europe, such as parts of the newly formed Poland, including Poznań, and secondarily the former colonies outside continental Europe.

Therefore, it can be concluded that the agitprop theater performed by workers in Germany at that time, in which Senda participated, undoubtedly featured diverse backgrounds among both creators and audiences. In light of the fact that the background was likely of minimal significance, the Berlin creators proactively welcomed and collaborated with Senda, an outsider. In this setting, productions with anti-colonialist content were staged, including "Revue Imperialismus" (Revue Imperialism, 1929).

Subsequent to this experience, Senda returned to Japan and engaged in agitprop theater as an insider, often collaborating with individuals of Korean descent under the imperial regime. While his stage name itself signified solidarity with Koreans, it is also reasonable to assume that his experiences as an outsider in Germany played a definite role in his following agitprop theater activities with people of Korean descent after returning to Japan.