ABSTRACT
This chapter explores the legacy of the Freedom and People’s Rights Movement in performance during the postwar years. It looks at a renewed interest in the sōshi on stage and film in Inagaki Hiroshi’s Sōshi gekijō, Fukuda Yoshiyuki’s Oppekepe, and Mishō Kingo’s Oppekepe. It argues that this remembrance of the sōshi is an attempt to re-think the political possibilities of theater of resistance. Rather than a passive activity, these performances theorize the third space of the theater as one where performers and audience are co-producers in meaning making.
