Abstract
ABSTRACT This essay considers how performances by Takayama Akira (founder of Port B) are made to explore experiences of mobility and migration among people who traverse geographical and geopolitical spaces in Japan and elsewhere. In making works that uncover hidden sites that are connected to diasporic and migratory passage, Takayama invites reflections on questions of borders, zones, regions, and the passages between them. Our paper will discuss how Takayama’s work is a form of place-making. His tour performances and mobile ideas of theatre create complexities around the meaning of place in terms of re-spatialized institutional strata and civic designations. We aim to explore how civic institutions and designations such as “rural” and “city” are being broken and/or made liminal. Our paper will outline how this spatial dramaturgy has ramifications for the “global countryside” (Woods) as something both institutionalized and yet to be.
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