Focusing on Ōnobu Pelican's play Kiruannya and U-ko-san (2011), this article analyzes documentary theater from the area afflicted by the triple disaster of March 11, 2011. Kiruannya and U-ko provides a rich tapestry of the multiple and often contradictory features of Fukushima Prefecture in the aftermath of the Fukushima calamity, weaving a dense fabric of fictional material, newspaper clippings, and reality. I show that Ōnobu's play opposes national discourses of a spatially limited disaster, and that it offers keen insights into the highly ambivalent and emotional landscape of those residents of Northern Japan, whose homeland was turned into a disaster zone and/or radioactive wasteland after 3.11.
