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NEWS: London Talk About Anime on Stage




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PostPosted: Thu Nov 22, 2018 9:36 am Reply with quote
I actually wasn't aware that there were any foreigners in the 2.5D field, though. That's interesting to learn, since I want to work in that field.

I hope they talk about Tsukipro... Tsukipro did 7 stage plays this year, three of which were AU-based, and form a sort of trilogy that's pretty much independent from the stories they've done in other media. And next month's play, Cyber-Dive Connection, seems like it's going to have some interesting technological things. Which could end up really good, or really awkward, but like. It's an experiment. That's what experiments are, and that's what makes the franchise so great, that they're not afraid to experiment.

Quote:
Theatre faces a challenge to become more diverse, accessible and inclusive; by bringing “high” and “low” art together, 2.5D challenges theatre to break barriers, attract a new audience and create opportunities for British East-Asian artists.


This sentence is... ehhhhh.

Basically.... stop making walls between "theatre" vs. "anime" vs. "books" vs. "live action", etc.
And stop making walls between "high" and "low" art.

The "high vs. low" thing, first... *sigh* this is... such a dead horse. Because on one hand, you have the "real art" people who are so... self-consciously obsessed with being "real" and "gritty" and only representing the most dismal, miserable situations on Earth, and trying to be "uncomfortable", because anything pretty is "too commercial" and "fake" and "sellout", etc... And meanwhile, they're not actually saying anything, and not actually contemplating any deep, philosophical ideas... and the things that are contemplating deep, philosophical ideas or whatever... are all commercial things like mecha anime.

If they're talking about 2.5D as an intersection of "high and low" art, I hope they realize that Gundam 00 is the "high" side of that equation, and anything like the London or New York "fine art" scenes would be the "low".

Also...

2.5D shouldn't be seen as separate from anime. It shouldn't be seen as "part of the theatre world, separate from the anime world". For one story, or one franchise, the drama CDs, games, manga, anime, novels, stage plays, anything, should all be seen as one work.
It's not like the sort of situation where, say, a movie producer buys the rights to a book, and makes something completely separate that's made for an audience that hasn't necessarily read the book, that might be a good movie, but if you try to talk about it with the book's fans, they'll glare at you and say that it's a different thing.

In that scenario, the book and the adaptation are meant as separate, alternative wholes.

In the current sphere of otaku/otome media, the different pieces are parts of one whole. The stage play is one chapter, the drama CDs are one chapter, the anime is one chapter. They're not separable, and they're definitely not in opposition to each other.

There are still things where, like, there's an original novel, and the anime is a watered-down adaptation of the novel, and the stage play is an even more watered down adaptation of the anime (or a side story like a Shonen Jump movie)... but there are so many series nowadays that aren't that (and from what I hear about HeroAca and Boruto, even actual Shonen Jump adaptations aren't like that anymore).

So yeah, like. I'm glad 2.5D is getting more recognition, but there are still a lot of preconceived categorizations that need to be dealt with for a lot of people.

. . . . . . . . *sigh* but like, not only are the theatre fields in NY and London territorial and provincial about other media, they're also really provincial about international works. But like. That's the thing, 2.5D doesn't need them. Broadway can welcome 2.5D, or they can turn up their noses, only to wake up five years from now and realize 2.5D has taken their place.

(............... from the way her LinkedIn profile talks about the Madoka thing, I feel like they'd probably think that Touken Ranbu and Tsukipro aren't valid because they have (usually) all male casts... even though they have pretty much all female audiences (though there are a nice amount of guys recently who aren't afraid to show their faces at Tsuki events... including one guy with a Kai ita bag, that was nice.)
If you want to talk about gender in art or whatever, non-harem bishounen media with non-gender-conforming boys are at least as noteworthy as anything with a cast of Keyakizaka46 members.)
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