1998. 3
		TO BE FLAT Aoyama Round Theater
		In a steeply inclined living room where one should be so cautious not to slip down, a mysterious family who make efforts to keep homey and pleasant atmosphere which requires physical and mental toughness. What is it to be flat? The author questions "the revival of home".

	1997.11
		I CAN ONLY SEE YOUR VOICE Theater Sun-mall
		On the stage you see a room in reality with a low table and a desk on one side, and a room of memories with numerous white boxes in various sizes piled up on the other side. Senile dementia being its subject matter, the author tries to dramatize the change in mentality of an old man growing senile from his own standpoint, not from that of those who attend him.

	1997.8
		Participated in Youth Festival A MIDSUMMER NIGHT'S TAPIR Kinokuniya Southern Theater
		A world through the eyes of a boy, where people appear in their mental age. Based on Yumiko Oshima's A MIDSUMMER NIGHT'S TAPIR, this play describes a touching story about a family.

	1997.7
		VIOLENCE OF JOY THEATER/TOPS
		This play is about a young man who has "pager friends" with whom he never meets but communicates only through pager signals, and the void and violence caused by such kind of relationship.

	1997.2
		POLKA BY A YOUNG GIRL AND AN OLD WOMAN THEATER/TOPS
		How can male performers play the roles of a girl and an old woman without arranging their hair or putting on makeup? In this production the audience may find how far acting can transcend the differences of sex/age without the help of pretentious voices or gestures.

	1996.10
		NEW EDITIONTHE NIGHT WHEN PHANTOM WRITERS SCRABBLE-THE DAWN WILL NEVER COME TO kenji MIYAZAWA, osamu DAZAI, chuya NAKAHARA- Theater V Akasaka
		MIYAZAWA Kenji, DAZAI Osamu, NAKAHARA Chuya (the most famous Japanese novelists/poets) appear on stage. The action of 'writing' is substituted by that of 'playing the piano'. All the performers play the piano live on stage. 'The new pieces' of these already dead writers are introduced.

	1996.7
		RESET The Suzunari
		With the story of a suddenly dead patient as its central narrative, time goes backwards to the past from the very beginning to the end of this play. The audience is also required to remember the previous scenes. While revealing the present status of medical treatment and the abuse of anti-cancer medicine, the true reason of this patient's death is disclosed.

	1996.3
		MEN WHO LOVE TOO MUCH Theater Sun-mall
		This play focuses on in-vitro fertilization, describing the 'the age of sterility treatment' from the male perspective. The text is structured so that time moves in a very complicated way. The whole theater is designed as a waiting room, which aims to involve the audience with what is happening on stage.

	1995.11
		I CAN ONLY SEE YOUR VOICEOR A BIG REBELLION OF MR.K'S RIGHT EYE Small Hall 1 of Tokyo Metropolitan Art Space
		The stage consists of two rooms, stage left and stage right - a room with a round, low table and a desk, and a room with numbers of white boxes in different sizes piled up at random. This play's theme is senile dementia. The room on stage left indicates reality, while the other room on stage right holds the memory of the past. It tries to dramatize the change of consciousness of the old man growing senile, not from the viewpoint of the helpers but from that of the old man himself.

	1995.7
		A CORPSE IN THE SLEEPING FOREST Aoyama Round Theater

	1995.4
		A SERENADE OF "ON" AND "OFF" Rikkokai Hall

e-mail: isseki@m5.gyao.ne.jp / Masashi KISHIMOTO

translated by Yuka ANDO