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From ‘Theatrical Novelty’ toward 'People's Memory’: Kim Jiha's Performances in 1970s-80s Japan

  • The Journal of Korean drama and theatre
  • 2026, (88), pp.217~255
  • DOI : 10.17938/tjkdat.2026..88.217
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : April 7, 2026
  • Accepted : May 4, 2026
  • Published : May 31, 2026

KIM Moran 1

1waseda university

Accredited

ABSTRACT

When considering Kim Jiha's impact in 1970s–1980s Japan, the context of theatrical reception is crucial. In the political solidarity movement to free Kim Jiha, the stage functioned as a major vehicle, and his name held special significance for Japanese theater practitioners encountering new theatrical forms. Despite this, the specifics of the theatrical reception of Kim Jiha’s works have not been thoroughly examined. This paper is the first attempt to explore the significance of Kim Jiha's presence in the Japanese theater scene during the 1970s and 1980s. While the performances of his plays at the time were intertwined with both the political solidarity movement and the ethnic cultural movement of Zainichi Koreans, this paper focuses specifically on the reception of Kim Jiha from a theatrical perspective. The subjects of analysis are performances by Gekidan Mingei (representing shingeki, modern theater) and Theater Center 68/71 (representing the Angura, underground theater movement). Through an examination of performance scripts, troupe newsletters, and theatrical reviews, this study clarifies how these works were actually performed and considers their historical significance. In doing so, this paper demonstrates that Kim Jiha provided these troupes with an opportunity not only for theatrical innovation to overcome the limitations of shingeki, but also for creating genuine theatrical solidarity by confronting the historical memories of Asian peoples. Consequently, this study broadens the body of knowledge concerning Kim Jiha in Japan and offers valuable perspectives for reconsidering his place in the history of Korea-Japan theatrical exchange.

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