Metrons' Theater: I Thought It Wouldn't Work, But It Did - A Glimpse into Comedian Theater - With a Lacanian Analysis

In mid-September of the 7th year of Reiwa, I went to see a theater troupe called Metrons. I have been a theater enthusiast for over 15 years, but the troupes I originally loved have also been around for 15 years, and the performers are clearly entering the late-stage elderly society, so I am currently looking for even a few new troupes.
Metrons is a seven-member theater team formed in 2021, consisting of three comedy duos belonging to Yoshimoto Kogyo—Sizzle, Rice, and Sarugorira—along with writer and director Motoki Nakamura.
This time, I went to see their 9th performance, 'No Sing, No End!' at the Akasaka RED/THEATER.
The story is a plastic comedy that unfolds primarily around the Okamura Pear Orchard in Chiba Prefecture.
A mysterious wealthy couple from Tokyo, Tokunori (Tomohiro Kodama) and Hijiri (Yuri Kawakami), arrive at the pear orchard and have a staff member, Yamazaki (Jun), pick some pears for them. Then, Ogata (Jin Tadokoro), who lives in the neighborhood, comes to the 'Okamura Pear Orchard'.
While they are talking about how they didn't know there was a pear orchard in such a place, the couple eats the pears Yamazaki brought and are moved by how delicious they are.
However, Hideo (Kazuma Ikeda) and his wife Takako (Natsu Fukui), who had been held captive by Yamazaki, suddenly appear and claim that Yamazaki has taken over the orchard. It turns out that Yamazaki had been using Hideo's land without permission to grow pears. In the end, everyone cooperates to create the 'Ari' (Ant) that lies beyond the taste of the pears Yamazaki envisions.
Personally, I feel that the desire for the existence of 'Ari,' which can be called a fantasy arising from the complicated pear situation, suggests that for the characters, libido toward the pears was externally cathected, the object petit a was extracted, transference was triggered, and the signifier of transference appeared. That signifier remained strictly within the pears, and a phantasm (fantasy world) was established. On the other hand, only Yamazaki, who blindly believes in the existence of 'Ari,' silently denies reality, regresses into narcissism, experiences a Lacanian delocalization of jouissance, causes a dysfunction of the phantasm, and creates a substitute for the phantasm (delusional metaphor) through delusional function, ultimately identifying himself with 'Ari' and leading to a tragic conclusion.
Lacanian analysis aside, it was a very meaningful time, including the elements of laughter scattered throughout the dialogue and the catharsis of all the performers at the end.
For me, it was a valuable theatrical experience that allowed me to discover the potential for jouissance in other comedian-led theater.
By the way, it seems that all of Metrons' past performances can be watched on YouTube, so if you have time, please take a look. It feels like a great deal.
Internet culture is amazing!!

Reference: Takuya Matsumoto, Everyone Has Delusions (Expanded New Edition), Seidosha