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Paper short abstract

This paper analyzes casting philosophies in Japanese 2.5D theater, comparing star-centered, character-faithful, and multi-cast systems. It demonstrates how each model balances fidelity, artistry, and industry demands, revealing casting as a key site of adaptation and cultural negotiation.

Paper long abstract

This paper examines the evolution of casting philosophies in the broadly defined Japanese 2.5-dimensional (2.5D) theater, focusing on how different performance traditions negotiate the tension between character fidelity and performer interpretation when adapting two-dimensional source material. The term “2.5D” describes cultural practices that bridge the fictional worlds of manga, anime, and video games with live performance, creating hybrid spaces where casting choices highlight fundamental strategies of embodiment, authenticity, and audience engagement.

The analysis identifies three major casting philosophies that have shaped the development of 2.5D theater. Takarazuka Revue’s 1974 adaptation of The Roses of Versailles established a star-system model in which the stage personas of established performers take precedence over strict character replication. The otokoyaku (female performers of male roles) tradition further enables fluid gender performativity, privileging interpretive authority and cultivated presence over visual accuracy.

In contrast, the 2003 Prince of Tennis Musical (Tenimyu) codified the character-driven casting system that now dominates mainstream 2.5D theater. Productions recruit relatively unknown actors who physically resemble their manga or anime counterparts, with performers expected to reproduce signature gestures, vocal qualities, and visual aesthetics. This model reflects both commercial pressures and fan demands for faithful character embodiment.

Between these two poles, companies such as Studio Life developed rotational casting practices in which multiple actors portray the same role across successive runs or even within the same production cycle. By foregrounding multiplicity over strict fidelity, multi-cast systems challenge the assumption that authenticity lies in visual or behavioral sameness, instead emphasizing the creative potential of performative diversity within 2.5D theater.

These competing philosophies reveal that casting in 2.5D theater is a strategic site where cultural values and industrial imperatives intersect. Whether privileging performer charisma, character accuracy, or theatrical experimentation, each model articulates a different vision of how popular media can be translated into live performance. The paper argues that these visions collectively shape the aesthetic, economic, and affective foundations of 2.5D performance today.