The "suburbs" in Japan have been discussed extensively since the 1990s, but if we look at it from the perspective of today, when "suburbs" are a global issue, it has been a dumping ground for the junk of capitalism, or, as the writer Celine once wrote, a barren land that has been "trampled on" as a "gateway mat to the city". On the other hand, it is also a fact that, beyond the thoroughness of this barrenness, art that could only be born in the suburbs has sporadically shone forth, illuminating the vanity of the "city" and the "countryside" from the other side.

This work is a manifesto of "New Suburbanism," and through the flashing performance of various texts, images, and videos that have been discarded in the barren "suburbs," -- for example, Tatsumi Hijikata's "Tohoku" rejects all kinds of "hometowns" and sharpened its "suburbanity" by creating "Tohoku" as a "suburb -- the capitalist realism that globally covers the present will be brought into relief, the ghosts of alternatives that haunt it will roam about, and the human body of the "suburbs" that is to come will be depicted.

The state of "suburbanity" being pulled out of the ship's hold and its internal time collection, to the staging of these "total barrenness"
--

Gekidan Kaitaisha has opened a rehearsal space and theatre named "Hachioji Dock" in Uenomachi, Hachioji-City, Tokyo.