2.5D musicals refers to 3-dimensional theatrical adaptations of 2-dimensional animations, comics, and games (ACG) in Japan. 2.5D musical is a part of the 2.5D culture, which, according to Joel Gn, facilitates the dissemination of fictional content from Japanese ACG products (2D) to physical reality (3D) via intermedia communication (2023). Within the broader spectrum of 2.5D culture, encompassing various creative expressions derived from original 2D ACG content like idol concerts, voice actor performances, cosplay, and merchandise, my study concludes that 2.5D musicals represent a significant aspect: it is the 2.5D musicals that exemplify the characteristics of the 2.5D phenomenon, particularly in terms of virtual embodiment and fans’ dedication to the 2.5D environment.
I argue that the incorporation of diverse media within 2.5D musicals across 3 aspects – spatiality, corporeality, and tonality – would remix fan’s interpretations and affection for the characters/ actors as they perceive multiple layers of bodies/images (created through media mix) and serve to intensify the connections its associated fan subculture, which the musicals apart from other 2.5D practices in Japan as well as their Western counterpart – Disney on Broadway. Furthermore, by adopting this model, 2.5D theatrical productions also form a reciprocal relationship with fan performance. They are not only influenced by fan desire but also exert an influence on fans in return, shaping their participation and performance in a more productive and generative way. To be specific, I conclude that this approach encourages fans to engage with the narrative dynamically as they find materiality in actors at all points during their process of becoming and even legitimize actors’ images as the “original”. I will explore this dynamic interaction through a study of Tenimyu – Prince of Tennis, Naruto – Akatsuki no Shirabe, My Hero Academia, Demon Slayer – Infinite Train, and Spirited Away 2.5D musicals as well as their original ACG products as primary resources.
Author(s): Minh Nguyen, Theatre and Arts Management Major
Advisor(s): Kazue Harada, Department of German, Russian, Asian, and Middle Eastern Languages and Cultures
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