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Japan’s calamities of March 2011 — the Great East Japan Earthquake and tsunami, and the start of an ongoing nuclear disaster — changed not only the social awareness of the general public who make up theater audiences, but also how dramatists approached their work. Many questioned why so many mistakes have been, and continue to be made, in the steering of Japan.

None of those concerns has been allayed as political turmoils at home and abroad, and deepening economic stagnation, have continued to furnish dramatists and stage directors with social themes. This year, however, there has been a shift from grappling with the sheer enormity of Japan’s woes to imagining future scenarios in light of them.

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