In addressing the topic of shibai goya surviving in Japan's Tohoku region, this study has primarily clarified the following points with regard to the community role and Actual situation of these local playhouses.
 (1) More so than in more highly developed urban areas, significant numbers of shibai goya survive in farming and fishing villages.
 (2) Shibai goya in Tohoku exhibited similar tendencies as in major cities, including their decline in popularity after coming to be used primarily as film houses with the popularization of cinema. Regional characteristics were also apparent in that this transformation and decline occurred comparatively slowly. Also, surviving shibai goya have generally undergone renovations or changes of ownership and usage in answer to local pressures. In some cases, they have been repurposed for public use as their community role has been reassessed.
 (3) Surviving shibai goya can be classified into a) theater-type playhouses equipped with large stages, hanamichi (a runway connecting the stage to the rear of the auditorium), revolving stages (mawari butai) and stage rigging (tsurimono kikō); b) multi-purpose-type playhouses lacking in any sort of stage equipment, in which the audience is on the same level as the performance space; and c) other playhouses with small stages that are now mostly used as cinemas.
 (4) In terms of managing authority, surviving shibai goya can be classified into a) playhouses jointly operated by private firms in partnership with the local municipality; b) playhouses operated by civil society organizations; c) playhouses operated by local municipalities; and d) playhouses operated by private individuals.
 (5) In terms of business models, playhouses can be classified into a) those providing venue rental in addition to conducting independent business ventures; b) those that do not conduct independent business ventures; and c) those which provide venue rental only.
 (6) The results of a survey of local residents' attitudes toward and usage of shibai goya revealed that, while the level of awareness was around 90% for all such playhouses, the proportion of residents who participated in events held at shibai goya varied widely, from around 90% at some facilities to below 50% at others, with some slight difference apparently depending on whether the local municipality was involved in their operation.
 (7) The proportion of facilities being used for purposes other than events also varied by facility, ranging from around 50% to as low as 10%. The proportion of such usage tended to be higher in facilities that provided venue rentals and whose operation involved the local municipality.
 (8) Around 25 to 35% of nearby residents hoped that their local shibai goya would be put to better use. The desire to be involved in their operation was also relatively high for facilities operating independently in conjunction with local residents and municipalities, with many local residents already being involved in such operation. Also, the openness of operations was also influenced by attitudes on the part of such facilities toward residents who had never visited and who otherwise had no direct connection to local playhouses.

 The foregoing has shed light on the state of shibai goya and how they feature in local awareness. In summary, part of shibai goya have served as culturally important buildings used for local tours and public performances attended by visitors from outside the local community. Also, by accepting administrative and operational assistance from local governments, neighborhood shibai goya can become facilities supporting a variety of cultural and creative endeavors, including rehearsals for community events and the performing arts. Furthermore, residents who use such facilities frequently tend to develop an affinity for shibai goya and are also more willing to participate in their management.