ABSTRACT
Some recent performances have addressed events that created “human no-go zones,” such as Chernobyl (CEZ), Fukushima (FEZ), and the Korean DMZ. In the wake of the destruction that results in the absence of humans, nonhuman residents begin the process of recuperation, and the “no-go zones” become inadvertent sanctuaries for wild and abandoned domestic animals. In this chapter, I examine how dramatists across Korea, Japan, and the Philippines employ heightened poetic diction and resort to mythical precedents in the attempt to capture the immensity of both the event and its aftermath.
