Graduates from Ibaraki High School,Osaka. Enters the Bachelor of Engineering program in polymer chemistry, Kyoto University. In the fall he catches wind of a theatrical company and begins to actively participate in their activities. His first appearance is in a socialist staging of Song of Nishijin.
The student protest movement that peaked during the negotiations of the U.S.-Japan Security Treaty, subsequently subsided after the Treaty's renewal. During this period of calm, he turns towards existentialism.
In response to a question asking him what he thinks about Kyoto University, "...there are places where the consciousness of anti-war and anti-establishment activity, not just intellectually, permeate...", interview with Heibon Punch, August, 1973 issue.
Earns Bachelor of Engineering degree, Kyoto University.
Continue research in his field of polymer chemistry at Kyoto University's graduate school.
Becomes one of the founding members of the "Bara" (Rose), which stages the works of Samuel Beckett, Eugene lonesco and other playwrights from the movement of the Theater of the Absurd. As art director, his large scale stage design for Beckett's The End Game is acclaimed
At an academic conference on Polymer Chemistry, he presents his research on polymerization of ɿ-propiolactone by metal compounds.
Multi-Play Group, a union of art and theater, establishes an open theater, "Engekijo". It is conspicuous in creating a sense of liberation that is a departure from even the underground movement at its peak. He begins acting as playwright and director after his production of Multi-Play Declaration.
He presents "Unit Theater", which can be the metabolism of a unit of space and also a stimulation of metropolitan space. In multi-Play No.3, Who Will be Murdered Next?,
A number of independent spaces are interactively used. As the emotion escalates, performers and spectators alike exit to the street and begin to parade.
Through his Engekijo, Ikeda leads a diverse genre of people in order to illustrate the 'anarchic relationships' that exist within one body. (as critiqued in the monthly art magazine, Bijutsu Techo, October, 1972.)
In a demonstration of "flowing", fifty people perform Soft and Soft Life at a department store. In a performance of Non-Horizontal Life, a 200 meter vinyl balloon is used to draw a line on the sea.
He purchase a seventy-five passenger bus and begins the "Tokaido Megalopolis Bus Theater." Repelled by the strong exclusionary nature of communities, he creates a "moving community" from which one can move in, out and about freely.
It makes a round trip between Tokyo and Himeji in forty-five days.
On a deserted island, a floating island in Tokyo Bay, there is a cave hollowed into a cliff. From there in open air theater, he produces Kingdom.
"How was Tokyo, how was Japan seen from this deserted island?" Bijutsu Techo, November, 1972
He publishes on article, "Aiming for an Eternal Theater", in the Nihon Dokusho newspaper. He writes that "...the goal of theater is to usurp the surface and holding the relics of Incan civilization..."
His article "Oviparous Theater" is published in the magazine Breathtic No.8. He introduces images that give us a momentary glimpse of miracles and transformations between birth and death which instantaneously appear like eggs hatching. The article proposes to peacefully obliterate the concept of borders.
He quits his activities with the trope and concentrates on writing the play Kunibiki (Country with no borders). In it's preamble: "Striving towards Continental Theater".
He encounters the book about an African tribe, The Ik, and attempts to dramatize the life of tribes living on the Ugandan and Kenyan border.
He hosts a workshop and stages Mr. TEIG's Commemoration Day at Art Theater Shinjuku. Written on an insert in the program, "...the trend of especially these past couple years has been to take control of the obscurities in art and define them in terms of a (Japan's) rigid 'art system'. Ikeda has made a step towards taking art back to its fundamentals as a live, active institution..."