In the wake of the 2011 tsunami, the Rikuzentakata coastline was raised by excavating material from the surrounding hills. The landscape was radically altered as a result. Toshiki Okada, the foremost protagonist of Japanese contemporary theatre, presented at the Wiener Festwochen in 2019 Five Days in March Re-creation. In this new piece he examines the topographical intervention of Rikuzentakata and discusses some of the pressing issues of the Anthropocene. Okada’s Eraser Mountain explores the hierarchical relations between people and objects, in a collaboration with visual artist and set designer Teppei Kaneuji. He attempts to establish an egalitarian landscape comprised of materials, projections, performers and sound. It all begins when a washing machine breaks down. Now redundant, it no longer has a useful purpose and becomes uncontrollable. On stage the performers disappear among the objects. Deprived of their connections with mundane life, they create an unmanageable commotion. Space and time not conceived from a human perspective. What might that be? Does humankind exist if time does not? Is there time without humankind?
Toshiki Okada / chelfitsch, Teppei Kaneuji
Theatre, Visual Arts