The 1980s were the time when “history” came to an end and “narrative” was deconstructed. Writers did not rely on the unity of plot or character but expressed themselves through the rearrangement of fragmented scenes. Watanabe Eriko's drama is an example of such an attempt.
The playwright Kisaragi Koharu's (1956-2000) career charts the trajectory of a woman carving out a new subject-position as a playwright and the leader of an experimental theatre company in the late twentieth century. Kisaragi is well-known for her postmodern sense of discontinuity and her “incredulity toward metanarratives.” Her incredulity was directed toward the notion of identity, and her early works contain breathtaking theatrical maneuverings of plots that reflect identity as a narrative construct. This sense of incredulity resonates with the postmodernity in Kisaragi's work, and it is also derived from Kisaragi's anxiety about her subject-position as woman, as a playwright, and as company leader, roles which had conventionally been reserved for men in the theatre up to the 1970s. Kisaragi spoke in double voices. Her dominant narratives focus on the problems in consumer society, interpersonal communication, identity formation, the dysfunctional nuclear family, and the role of art and artist in modern Japanese society. She also portrayed muted narratives under the surface that show the anxiety and despair of feminine voices that have been suppressed. Kisaragi's works demonstrates the playwright's constant endeavor to rupture and deconstruct narratives of self, modernity, and gender, creating and carving out a subject position for herself as woman playwright in modern theatre.