“Character Acting in Anime” in The Cambridge Companion to Manga and Anime, edited by Jaqueline Berndt. Cambridge University Press: Cambridge, U.K.; New York. 2024: 146-157.
When attention is paid to the ways characters perform and are performed in anime narratives, it becomes apparent that there are certain regularly utilized approaches to the character acting widespread in anime’s animation. Two of the most prominent modes of performance have been called embodied acting and figurative acting. Each uses distinct techniques to act out a specific character’s personality and, in the process, imply different notions of selfhood. This chapter examines the specific utilization of embodied and figurative acting in Yūri!!! on Ice and how these interrelated modes of performance dovetail with the narrative. Through its balancing of embodied and figurative modes of performance, the anime moves between an individualized self whose interior is expressed externally and an open acknowledgment of the interrelation of external others in the performance of self and gender.
Link to book: 「動畫行爲者的演出：跨越疆域與身體」(“Performing Anime’s Actors: Across Borders, Across Bodies,” translated into Chinese by Ming Hong Tu) in 『故事與另外的世界：台灣 ACG 研究學會年會論文集1』, edited by Ding Gang Liu, Yiyun Li (奇異果文創事業有限公司: 台北, 2023)
Translated from the keynote speech of the 1st Animation Comics Games (ACG) Research Association Conference in Taiwan. This talk begins with examining a common method of analysis of anime which focuses on an anime as the commentary of the director about Japanese society. It explores how this method “acts” as it frames the understanding of where the creative locus of anime is located. By attending to the performance of anime as a media-form, with the enactment of animation as central to its production, a different conception of anime, who makes it, and where it comes from, is brought into view. Indeed, many of anime’s animators, colorists, and background artists are located outside of Japan—something which is not just a recent development, but reaches back decades to the very early days of TV anime. Taking account of their contributions to the performances of anime’s animation enables us to rethink cultural production under globalization. To sustain a shift in the way anime is conceptualized, the second portion of this talk explores the dynamics of such performances of anime to enable lasting recognition of the importance of the aesthetics of animation. The operations of anime’s character acting are analyzed through the examination of two distinct but interrelated modes of performance. The first, embodied performance builds characters through their individualized movement, similar to Method Acting. The second, figurative performance, constructs characters through combinations of reiterated codified expressions. Exploring such aesthetics of animation provides insights not only into anime but also the implications of how these modes of performance operate in our everyday lives.
Link to book: “Les acteurs de l’anime: construire une individualité par la performance en animation” (“Anime’s Actors: Constituting “Self-hood” through Performance in Animation” translated into French by Marie Pruvost-Delaspre) in La qualité du cinéma d’animation en question,entre économie et esthétique Full Animation vs. Limited Animation? Edited by Sébastien Denis, Lucie Merijeau, Marie Pruvost-Delaspre, Sébastien Roffat (L’Harmattan: Paris, 2023)
If animation allows us to envision a world of active objects through animating their movement, then surely how the objects are made to move through the animation changes how they are constituted as actors. In other words, how bodies move in animation, human and object alike, also entails certain conceptions of ” self ” as it is constituted through the dynamics of its animation. This study aims to (re) consider Donald Crafton’s conceptualization of animation performance forms (embodied and figurative performance), specifically in relation to Japanese anime. In embodied acting, the expression of character is produced through distinctive movements, where characters are constituted as individuals, each with their own discrete inside and outside. Figurative acting, on the other hand, utilizes various gestures and codified expressions. Due to this reliance on codified expressions, figurative performances build from previous ones, replaying and reiterating them in different contexts. Each of these forms enacts a different conception of selfhood: embodied acting performing the modern conception of individualism bound to the singular body on the object which performs the movement; figurative acting performing a type of “particularity” entailing a different conception of the strict internal/external borders of ” individuality, ” where the self is a composite configured through the citation of codes. Figurative performance thus facilitates an aesthetic well attuned to the contemporary performance of self under the conditions of neoliberalism, selecting from a vast array of options, jerkily moved from one product and expression to another.
Link to book: “Objetualidad en el Final Del Mundo: La Actuación en el Anime y los Riesgos Ecológicos En Neon Genesis Evangelion” (“Objecthood at the End of the World: Anime’s Acting and its Ecological Stakes in Neon Genesis Evangelion” translated into Spanish) In Estudios de Anime: Aproximaciones a Neon Genesis Evangelion desde una perspectiva de medios, edited by José Andrés Santiago Iglesias and Ana Soler Baena. (Satori Ediciones C.B.: Madrid, 2023)
Different forms of selfhood enacted in the TV and filmic endings of the anime Evangelion can be revealed by building on Donald Crafton’s typology of performance of/in animation of “embodied acting” and “figurative acting.” Embodied acting is “introverted,” and tends towards the production of modernistic, anthropomorphic individuals that appear to provide a sense of depth in their enactment of emotion through their individualized movement. Figurative acting, which repeats similar codes in varying combinations for different characters, is “extroverted,” as the codes appear shared between various characters, forcing a recognition of the surface location of the code for that emotion, on not in the character. As such, the interrelation and tension between these forms of performing selfhood play out in Evangelion: objects of human creation, the Eva-units, boldly display their agency as they exhibit shocking performances of embodied acting, the Eva-units appearing with the same autonomy as human individuals; on the other hand, humans are broken into parts, their psyche examined in pieces as they delve into their minds to find only more pieces of other characters, an interrogation of the constitutive codes of figurative acting—the examination of objecthood that we see in the TV ending. However, the filmic ending departs from the optimistic embrace of objecthood and presents the harrowing vision of ecological catastrophe as it explores different individualisms, taking them to their world-ending climax.
Original English version published in Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion. Ed. José Andrés Santiago Iglesias and Ana Soler Baena (Stockholm: Stockholm University Press, 2021), 135-180.
