The Challenges of the Theatre Museum Amidst and Beyond the Pandemic: Digital Archiving and Revitalization Practices of Japanese Theatre
Minako Okamuro*
Abstract
In 2020, the world underwent a dramatic transformation due to the COVID-19 pandemic. On April 7, the Japanese government declared a state of emergency in seven prefectures, including Tokyo. This pandemic severely impacted the Japanese performing arts sector, leading to numerous stage performance cancellations or postponements. However, this crisis prompted the Tsubouchi Memorial Theatre Museum at Waseda University, which specializes in the performing arts, to reconsider what it ought to collect and preserve for future generations. The present article focuses on the museum’s initiatives taken during and after the pandemic and reflects on the significance of archiving for the future.
Keywords: performing arts archive, digital archive, theatre museum, JDTA, theatre in pandemic, ENPAKU, Waseda University
Introduction
Having served as the Director of the Tsubouchi Memorial Theatre Museum at Waseda University, or ENPAKU, for a decade from 2013 to 2023, I will share insights into the museum’s diverse initiatives related to performing arts archiving. We’ll delve into the challenges and future directions of preserving the vital cultural heritage, a task that, at times, feels as dramatic as the performances we document. Together, we embark on a journey through the captivating world of theatre archiving, a realm where the past intersects with the present, and the ephemeral art of performance is transformed into an enduring legacy.
This article will explore the challenges faced by theatre museums, with a particular focus on ENPAKU. The first half of the presentation will introduce ENPAKU, providing a historical overview and exploring our innovative approach to performing arts archives, which we affectionately refer to as the “donut” metaphor. The reason why it is not about actual donuts, despite their appeal, will be explained later. Next, we’ll examine the effective utilization of our digital archives—the 21st century’s answer to dusty boxes in the basement.
The second half of the article will shift focus to ENPAKU’s initiatives during the COVID-19 pandemic, including the establishment of the Japan Digital Theatre Archives, a testament to our resilience and adaptability in the face of an unexpected intermission. Finally, we’ll wrap up with an in-depth discussion of the Donuts Project, our human resource development initiative aimed at cultivating the next generation of performing arts archivists—the unsung heroes of theatre preservation.
1. Introducing ENPAKU: The Tsubouchi Memorial Theatre Museum at Waseda University
Waseda University Theatre Museum, fondly known as “ENPAKU,” a name that echoes the essence of our mission, is an abbreviation for “Engeki” meaning theatre and “Hakubutsukan” meaning museum. This clever fusion of words encapsulates our dedication to preserving the rich tapestry of theatre arts, not just as a repository of artifacts, but as a vibrant hub for exploration, inspiration, and innovation.

ENPAKU’s rich history dates back to 1928, established to honor Professor Tsubouchi Shoyo, a pioneer of Japanese modern literature and drama. It coincided with the completion of his monumental life’s work – the translation of all 40 volumes of Shakespeare’s complete works into Japanese. Professor Tsubouchi’s influence extended to the museum’s architecture, which reflects the design of the historic Elizabethan Fortune Playhouse built in 16th century London. The covered area in front of the building embodies the playhouse’s main stage, even featuring the inscription “All the world’s a stage” in Latin. As you step through our doors, you are transported to a bygone era, where the spirit of theatre lingers in every corner. The museum’s centennial anniversary arrives in 2028, a testament to its enduring dedication to the performing arts.
ENPAKU’s core activities encompass four major undertakings: collection, exhibitions and digital dissemination, research, and public events. I will delve deeper into some of these initiatives in the following sections.
2. Reframing the Performing Arts Archive: The “Donut” Metaphor
ENPAKU takes a unique approach to archiving the performing arts, viewing them as “donuts.” Theatre, by its very nature, is an ephemeral art form. Unlike a painting or sculpture, a live performance vanishes once the curtain falls. Its brilliance is fleeting, leaving behind only memories and echoes of applause. This is where ENPAKU’s unique approach to archiving comes into play. We view theatre archives not as mere collections of stage materials, but as “donuts” – rings of materials surrounding an absent center, the performance itself. The donuts will spark our imagination and show us what the absent center, the stage, might have been like.
These materials encompass a vast array: scripts, stage design blueprints, costume drawings, props, photographs, videos, and so on. Advertising materials, reviews, and social media commentary all contribute to a rich and textured archive. Within this donut lies a treasure trove of insights: the emotions of the audience, the creative spark of the playwright, the intricate choreography of the dancers, the very essence of the performance captured in its myriad forms.
We see the performing arts archive not just as a repository of the past, but as a “future-oriented” endeavor. These donuts offer a window into the social, political, and economic realities of the period. We can glimpse love stories, family dynamics, responses to epidemics or disasters, and the everyday lives rarely documented in history. The archive preserves the “earnest feelings and breaths” of a bygone era, keeping the memories of the past alive for future generations.

The significance of performing arts archives can be summarized in the following four points:
- Value generators: By repurposing archived materials – such as images and recordings – we can create new experiences and revenue streams beyond the live stage.
- Memory keepers: They preserve not just performance data but also the intangible aspects – the emotions, sentiments, and social context that official records often miss.
- Revival platforms: Archives create opportunities for people of all ages and backgrounds to share cherished memories and celebrate the enduring power of theatre.
- Global connectors: The potential for repurposing and recontextualizing archived materials opens doors to international collaboration and innovative uses in various fields.
3. Harnessing the Power of Digital Archives
Now, let’s turn our attention to ENPAKU’s digital archive of performing arts and its innovative applications. In today’s digital age, ENPAKU has embraced the transformative power of technology to preserve and share our vast collection. Our digital archive, our very own “digital donut,” houses a treasure trove of performing arts materials. While the metaphor might not be as appetizing, the content is certainly enriching.
The ENPAKU digital archive collection is now integrated into a university-wide database called the Waseda Cultural Resources Database, and a significant portion of this database consists largely of the ENPAKU’s collection. Our digital efforts predate the university-wide database. In 1997, we launched a search system for “yakusha-e,” portraits of actors in Kabuki, the traditional Japanese theatre. In 2001, the same year Wikipedia was launched, we pioneered the public display of digital archive collections. Today, ENPAKU’s digital archive boasts a staggering 97.2 million items, encompassing images, sounds, high-resolution visuals, and even 3D data. Fifty of these databases, including the yakusha-e database, are freely accessible to the public.
A highlight of our collection is the world’s largest database of actor portraits, a testament to ENPAKU’s rich holdings of ukiyo-e prints. Nearly 47,000 of these exquisite woodblock prints grace our collection, forming the foundation laid by our museum’s founder, Dr. Shoyo Tsubouchi. The majority depict the captivating world of Kabuki through the lens of “yakusha-e.”


Digital technology has revolutionized the way we interact with cultural heritage. No longer confined to the walls of museums, our collections can now reach a global audience, bridging cultural divides. Unlike physical objects, digital data is easily reproduced and disseminated. Its potential for cross-referencing and integration with other databases unlocks exciting possibilities for research and exploration. Let’s delve into some concrete examples of these collections within our digital archive.
ENPAKU’s digital archive transcends geographical boundaries.
We are part of Japan Search, a national cross-search platform. This allows fascinating discoveries. For instance, searching for small Noh masks on Japan Search yields results from various institutions, presented side-by-side. Clicking on an ENPAKU result takes you to our digital archive, where you can explore a rich 3D database of these masks. ENPAKU’s 3D technology allows this level of interactivity, enabling you to rotate, zoom in, and manipulate a Noh mask on your screen. You can even adjust the lighting, background, and surface colors. This flexibility allows us to simulate different viewing experiences, such as a traditional torchlight Noh performance.


The innovations of the digital archive at the ENPAKU are not limited to 3D. Take the “Yokai Hikimaku” Kabuki curtain, a masterpiece attributed to Kawanabe Kyosai. This curtain features a vibrant scene teeming with Yokai, fantastical creatures from Japanese folklore – think ghosts, demons, and mischievous spirits. Legend has it that Kyosai painted this depiction of spectral kabuki actors in a single night. To bring this artwork to life, we collaborated with Toppan, a Japanese company, and PICS, an animation studio. The result? A mesmerizing animation that breathes new life into this classic curtain, allowing viewers to experience the vibrant world of Yokai alongside the captivating Kabuki performance. This animation exemplifies the potential of digital archives. Digitizing cultural heritage not only preserves it but also opens doors to innovative storytelling and reinterpretation. It allows us to connect with the past in new and engaging ways.


4. Navigating the Pandemic: ENPAKU’s Three Initiatives
I will now discuss three innovative initiatives undertaken by ENPAKU during the COVID-19 pandemic: the Lost in Pandemic Project, the establishment of the Japan Digital Theatre Archives, and the Donuts Project.
4-1. Lost in Pandemic: Archiving Theatrical Memories and Records
To begin, I’d like to introduce you to the “Lost in Pandemic Project,” a groundbreaking initiative that redefined the role of museums during the pandemic. This project was also an endeavor to “historicize the present.”
The COVID-19 pandemic plunged postwar theatre into its biggest crisis yet, with countless stages forced to close and an estimated 1,600 performances cancelled or postponed by April 2021 in Japan (according to ENPAKU’s survey conducted on April 21, 2021). The stark reality of theatre as a physical art form, reliant on the human body as a potential carrier of the virus, necessitated a significant shift in how the art form was experienced and preserved.
The COVID-19 crisis forced us to re-evaluate the social and cultural mission of our museum. If our role is to transmit knowledge and experiences to future generations, what should we prioritize in this unprecedented situation? We identified three key areas:
- Preserving the Legacy of Lost Performances
- Archiving the Pandemic’s Impact
- Building a “Donut” for Absent Theatre

Flyers for some shows were ready for distribution when cancellations hit, while others existed only in digital form, never printed. We learned that many flyers were destined for disposal. Recognizing the potential loss of these irreplaceable records, we embarked on a mission to collect and preserve them, along with other materials. Launched in April 2020, the “Lost in Pandemic” project aimed to document the impact of the pandemic on live performance. Led by Dr. Ryuki Goto who was the assistant professor at ENPAKU, the project collected materials – flyers, posters, scripts, and even the testimonials of those involved– related to cancelled or postponed productions. The project’s philosophy was encapsulated in the phrase “historicize the present.” By archiving these materials, ENPAKU strived to create a record of this pivotal moment in theatre history, ensuring that the “lost performances” are not simply forgotten.
Our goal went beyond materials as objects. We sought to capture the pandemic’s impact on theatre in its entirety – not just cancelled shows, but also the thoughts, emotions, and experiences of everyone involved. This extended beyond playwrights, directors, actors, and staff to encompass audience members as well. We aimed to prevent this period of artistic silence from becoming a historical void.
Theatre companies generously provided a diverse range of materials – programs, scripts, cancellation notices, videos, and photos – in addition to flyers and posters. As our archive grew, we decided to launch an online exhibition, “Lost in Pandemic: Archiving Theatrical Memories and Records.” This online showcase, emphasizing its timeliness and historical significance, opened on October 7, 2020, six months after the initial state of emergency declaration by the Japanese government. The exhibition began with 63 flyers and expanded to encompass over 600 materials. Contributions came from a wide range of organizations: small and large, urban and regional, professional and those dedicated to children and youth or puppetry. We also incorporated personal reflections from those involved in the productions, weaving their narratives into the tapestry of this challenging period.
4-2. Lost in Pandemic: Theatre Adrift, Expression’s New Horizons

ENPAKU’s commitment extended beyond documenting the lost. The 2021 spring exhibition “Lost in Pandemic: Theatre Adrift, Expression’s New Horizons” explored the resilience of the theatre community, showcasing not only cancelled productions but also those that persevered under challenging circumstances, as well as innovative new expressions born from the pandemic.
This exhibition, presented alongside historical materials on pandemics and theatre from ENPAKU’s collection, served as a testament to the enduring power of art in the face of adversity. These materials explored the intersection of theatre and past epidemics, such as the 1853 cholera outbreak and the 1918 Spanish Flu pandemic. A 1921 Japanese government poster, created after the devastating Spanish Flu pandemic, the artwork emphasizes preventative measures like mask-wearing and public hygiene to combat the spread of infectious diseases. Another poster from 1976 advertises a performance of A Journal of the Plague Year by the renowned playwright Shuji Terayama. This play uniquely reimagines the relationship between epidemic and theatre, using the former as a metaphor for the latter.



By juxtaposing these historical materials with the contemporary situation of the COVID-19 pandemic, the exhibition highlighted the enduring themes and remarkable adaptability of theatre in the face of crisis. In response to the pandemic, Japan’s Parco Theatre implemented innovative social distancing measures for actors during productions. This image showcased the theatre’s adaptability in the face of unforeseen challenges. By capturing both the disruptions and the innovations of this period, ENPAKU’s project served as a valuable resource for future generations. It reminded us of theatre’s ability to reflect our world and provides a roadmap for navigating future challenges.
5. The Birth of the Japan Digital Theatre Archives (JDTA)
Now, let me introduce you to ENPAKU’s second initiative during the pandemic: the establishment of the Japan Digital Theatre Archives (JDTA). This is a story of how ENPAKU served as a medium to convey the allure of theatre to society during the pandemic.
EPAD is an abbreviation for “Eternal Performing Arts Archive + Digital Theatre Support Project.” It was launched by the Terada Warehouse Co., Ltd. and the Emergency Performing Arts Network as part of the Agency for Cultural Affairs Project to Strengthen Earning Capacity of Cultural Arts in 2020, with the aim of supporting performing arts that have fallen on hard times due to the COVID-19 pandemic. EPAD is unique in that it not only supports new recordings of stage performances in the three fields of theatre, dance, and traditional performing arts, but also collects existing performance videos from theatre companies and other organizations, pays for their cooperation, and makes them available for distribution after digitization and rights processing.
Theatre productions involve a multitude of rights holders: playwrights, directors, designers, costume and sound crews, musicians, choreographers, actors – a veritable “web of rights.” This complexity extends to video recordings of performances, where video rights holders come into play. These factors can pose significant hurdles for archiving performance footage. The EPAD project stands out for its groundbreaking approach to copyright clearance. EPAD has assembled a dedicated copyright processing team under the leadership of Kensaku Fukui, the project’s representative director and a preeminent figure in Japanese copyright law. Fukui’s extensive expertise in copyright matters has proven invaluable in navigating the complexities of copyright clearance, enabling EPAD to efficiently process rights for a vast collection of performance videos.
Recognizing the need for a digital repository during the pandemic, ENPAKU partnered with EPAD to preserve and share Japan’s rich performing arts heritage. Through this collaboration, ENPAKU received a substantial collection of performance videos and related materials from EPAD. Building upon this invaluable resource, ENPAKU created the Japan Digital Theatre Archives (JDTA), a groundbreaking information search platform.
The JDTA houses over 2,000 performance videos, encompassing contemporary theatre, dance, and traditional performing arts, along with supplementary materials. ENPAKU’s meticulous archiving and curation ensure an unparalleled user experience. The site’s intuitive design encourages exploration and discovery, fostering a deeper appreciation for the arts. Currently, over 541 videos have undergone copyright processing, expanding the JDTA’s reach and accessibility.
More than a mere repository, the JDTA is a beacon of hope for the future of theatre. By preserving and sharing this cultural heritage, ENPAKU ensures that the magic of live performance continues to inspire and captivate audiences. The platform’s dynamic web site displays randomly selected performance thumbnails, each leading to detailed information pages with synopses, stage photos, and links to related works.

If you click one of the thumbnails, the information page provides comprehensive details about the play, including the title, playwright, production company, theatre, and a synopsis. Scrolling down reveals stage photos from the performance and links to other works by the same theatre company.
The JDTA offers diverse search options, enabling users to explore by keyword, genre, or other criteria. For example, a search for outdoor play yields results like Twilight by the renowned Theatre Company, Ishinha, a theatre company led by the late Yukichi Matsumoto. Ishinha, known for its grand-scale outdoor productions, garnered critical acclaim but disbanded following the passing of Matsumoto. These archived recordings hold immense value.
The JDTA plays a crucial role in developing new audiences and in contributing to the financial sustainability of performing arts institutions in the following three ways:
- Nurturing New Interests: By providing a gateway to a diverse range of performances, the JDTA encourages individuals to explore and discover new genres of performing arts.
- Fostering Engagement: The user-friendly interface and engaging content of the JDTA help cultivate deeper interest in the performing arts, leading to increased attendance at live performances.
- Expanding Reach: The JDTA’s bilingual website attracts international audiences, broadening the potential consumer base for performing arts institutions.
Furthermore, under the leadership of Sachiko Miyoshi, a member of the EPAD’s board of directors, a project was initiated to leverage the collection for educational purposes. Studying theatre fosters empathy and imagination, and digital archives like the JDTA make high-quality productions accessible to schools in remote areas. Last year, we created a textbook called Compass, featuring eight productions with explanations of their content and educational applications. I’m proud to be part of this initiative.
The JDTA is a powerful tool for preserving, sharing, and promoting Japanese performing arts. Its commitment to accessibility, discovery, and global reach ensures that the magic of live performance continues to thrive. Explore the boundless realm of Japanese performing arts with the JDTA, and expand your cultural horizons.
6. The Donuts Project: Cultivating Future Archivists
Now I would like to introduce you to the Donuts Project. ENPAKU has launched the Donuts Project, a human resource development initiative to nurture skilled archivists dedicated to preserving performing arts heritage. Selected under the Agency for Cultural Affairs’ Grant Program for Promotion of Arts and Culture in Universities from 2022 to 2024, the Donuts Project reflects ENPAKU’s view of performing arts archives as holistic entities, like donuts with an absent core and encompassing diverse materials.
Driven by the scarcity of specialized digital archivists in the performing arts, the Donuts Project aims to:
- Equip participants with knowledge of the value and potential of digital archiving in the performing arts.
- Develop skills for handling diverse digital materials, including performance videos, photographs, and promotional materials.
- Provide instruction on copyright and contractual considerations to ensure proper archiving and potential monetization of valuable stage performance records.
The Donuts Project’s comprehensive curriculum is delivered through a series of courses, available in two formats:
- Interactive Classroom Sessions: Held at the university, these sessions promote active learning and engagement with instructors.
- Archived Video Courses: Offering flexibility, participants can access recorded lectures by subject matter experts at their convenience.
Each year, the curriculum comprises three core modules:
- Theory: Lectures and discussions provide a strong theoretical foundation in key concepts and best practices.
- Technical Skills: Instructors equip participants with the technical skills required to manage and preserve digital archival materials.
- Practical Applications: Hands-on exercises and projects reinforce learning, providing real-world experience in managing performing arts archives.

While initially emphasizing practical skills, the project team recognized the importance of fostering a shared understanding of performing arts archives as a foundational element. Open dialogue and diverse perspectives have been crucial in shaping a well-rounded curriculum. Overall, the Donuts Project’s curriculum reflects a commitment to continuous improvement and equipping participants with the knowledge and skills needed to excel in performing arts archiving. Each year, the Donuts Book, a comprehensive handbook encapsulating the program’s lectures and workshops, is compiled and distributed to participants, promoting knowledge sharing and continuous learning.
Conclusion: A Beacon of Hope for the Future
As we delve deeper into the world of performing arts archiving, it becomes clear that while these endeavors are immensely rewarding, they are not without their challenges. A critical hurdle lies in transforming performing arts archives from short-term, grant-funded projects into enduring cultural institutions. This requires not only securing initial funding but also establishing sustainable long-term financial models, such as endowments or consistent public support.
Human resource development is equally critical. While individual passion often serves as the initial driving force, a single person or small team faces limitations in building and maintaining a comprehensive archive. The challenge lies in fostering a dedicated and skilled workforce. This necessitates investments in training, professional development opportunities, and building a strong organizational culture that values long-term commitment.
Ultimately, the sustainability of performing arts archives hinges on a broader societal shift. It’s crucial to cultivate a collective understanding of the significance of preserving these cultural assets for future generations. Raising public awareness and garnering widespread support, both financial and through volunteer contributions, are essential for ensuring the continued existence and growth of these vital repositories.
Envision a future where the curtain rises not on a single stage, but on a global platform where performing arts flourish. Envision a world where performing arts archives, once isolated repositories, evolve into vibrant online communities, sharing not just data, but the very essence of artistic expression. Through collaboration, these digital “donuts,” interconnected and ever-expanding, will weave a comprehensive tapestry of performing arts, accessible to all.
This is the future within our reach. With open hearts and a shared purpose, let us join hands – artists, archivists, and audiences alike – to ensure that the richness of performing arts becomes a treasured legacy for generations to come. May the “digital donuts” movement inspire you, encourage your participation, and remind you of the boundless potential of shared creativity.
NOTE: Keynote Lecture presented at the 34th SIBMAS Hong Kong, 2024.
Bibliography
Sant, Toni, ed. Documenting Performance: The Context and Processes of Digital Curation and Archiving. Bloomsbury Methuen Drama, 2017.
Borggreen, Gunhild and Rune Gade, eds. Performing Archives/Archives of Performance. Museum Tusculanum, 2013.

*Minako Okamuro is a professor at the Faculty of Letters, Arts, and Sciences at Waseda University. She received her Ph.D. in Arts from the National University of Ireland, Dublin (UCD). She is well-known for serving as the director of the Tsubouchi Memorial Theatre Museum from 2013 to 2023. Professor Okamuro holds esteemed positions on various boards, including the Japan Society for Theatre Research, the Japan Society for Digital Archive, and the Broadcasting Program Center of Japan. She is also a member of the Council for Cultural Affairs. She has co-edited several books, including Rethinking of Japanese Theatre in 1960s (2012), Ireland on Stage: Beckett and After (2012), and Samuel Beckett Today/Aujourd’hui 19: Borderless Beckett/Beckett sans frontiers (2009). In addition to her scholarly contributions, she has translated many of Beckett’s plays into Japanese, among them Waiting for Godot and Endgame.
Critical Stages/Scènes critiques, #30, Dec. 2024
e-ISSN: 2409-7411
This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.