ABSTRACT
This chapter provides an in-depth evaluation of two post-‘Fukushima’ plays by Okada Toshiki that take an entirely opposite approach: While Unable to See (2012) is a harsh satire that looks at the precarious situation at the molten reactor from the short-term perspective; Current Location (Genzaichi, 2012) takes a more long-term view. Dwelling on the dispute regarding fūhyō higai (harmful rumors), the play reveals the deep fault lines running through post-disaster Japan. I scrutinize the significance of Okada’s recent concept of fiction as “recessive reality” in his attempt to encourage the audiences’ critical engagement and argue that there has been a major turning point in Okada’s work, triggered by the catastrophe. (110 words)
