Arts and Culture
2.5-dimensional theatrical performances are Japan-based theatrical adaptations of the fictions in manga, anime, and games. The term “2.5-dimension (2.5 jigen)” first signified voice actors of anime who are alternatively called naka no hito(person inside the fictional characters). However, it began to mean some cultural practices exercised in the intersection between the 2 dimension (fictions) and the 3 dimension (reality), such as 2.5-dimensional stages, cosplay, contents tourism, and cheering-along version of anime movies (Sugawa, 2014) due to the reproduction of fictional characters and narrative worlds, and/or the deep commitment of fans. This presentation focuses on the 2.5-dimensional theatrical performances, the representative of 2.5-dimensional culture. It first explores how female fans use and consume the 2.5-dimensional stages by examining the three spaces that make the 2.5-dimensional world possible and to which fans access and take pleasure: fictional, physical, and cyber spaces (Okamoto, 2016). These fans are weakly connected each other by sharing their preferences because they are “intimate strangers” (Tomita, 2009). However, this weak tie allows the fans to expand their communities. By analyzing fans’ practices relevant to Musical Prince of Tennis(2003-), and the Token Ranbuseries (2015-), I argue that “communities of preferences” may serve to promote inter-generational, inter-cultural understandings.