b'T3 Journal - Student Writing in Drama, University of Exeter 2019-20How and why do cosplayers in the US, UK and Japan use representations of animated and comic book fictional characters to play with their identity?Dissertation ExtractRebecca WarnerCosplay is the cultural phenomenon where fans dress upbetween a given body and a set of texts from which it at conventionsit has gained notoriety in mainstreamis modelled and made to relate (2014: 8). Cosplay can, culture through how it inspires participants to createtherefore, be described as performance, and analysed elaborate, imaginative and accurate costumes that embodyfrom a performance studies perspective. It is live, and imagined worlds. Cosplay as a phenomenon has only risenits liveness even in photography is emphasised by its in popularity since the term was coined by Takahashiutilisation of a tableaux vivant style, which creates the in 1983 after a visit to WorldCon in LA. He coined itfeeling of action in a still picture (Domsch 2014: 127). kosupure, or cosplaya portmanteau term combiningIn both the con space, and the interaction a cosplayer costume and play (Mountfort et al. 2018: 4). Planetmay have with the digital space through carefully craft-Cosplay dates the beginnings of cosplay culture to culturaled photographs, there is an intentionality on behalf of collaboration between the US and Japan in the 1960s, 70s,the performer that they will be observed, and a rough 80s and 90s (2018: 5). This saw the rise in fans dressingperformance contract will be drawn up. up as characters from popular shows like Star Trek (1966-1969), which inspired similar costuming in Japan, whereIn the con space, there is clear etiquette set out: The the term kosupure was adopted by Japanese fans. As thecosplayers must be asked for a photo so that they can internet aided the rise of a Western audience for Japanesearrange themselves appealingly and perform their media, this back-and-forth collaboration between thecostumes; consent must be requested for physical contact; two cultures led to the costuming of Japanese charactersone must respect the spaces that are carved out and not in Western countries. Little has been studied in terms ofinterrupt the composition of a photograph by walking in cosplay and convention culture prior to when Costumingfront of a cosplayer while a photo is being taken. Some the Imagination: Origins of Anime and Manga Cosplaycosplayers remain static and perform their costumes was published in the Mechademia journal in 2006, and sincethrough static poses and photo ops, while others roam then, research has often been taken from a fan, culturearound freely, out of character, until they come alive and media studies perspective (Winge 2006). through crafted gestures and poses for the camera. These performances are momentary sparks rather than According to Gay McAuley, a performance can besustained, rehearsed scenes, and the melding of the real defined as: and the digital, the self and the fictional character, creates a liminality that further blurs the lines between fantasy The live presence of the performers and those witnessing it, that thereand reality. The thrill of this interaction is what inspires must be some intentionality on the part of the performer or witness ortheir craft and creates the electric, unique energy of the both, and that these conditions in turn necessitate analysis of the placeconvention space. Schechner outlines seven functions of and temporality which enable both parties to be present to each other,performance, and of these cosplay sets out: To entertain; as well as what can be described as the performance contract betweenTo create beauty; To mark or change identity; To make them, whether explicit or implicit. (2009: 45) or foster community (Schechner 2013: 46). It is akin to performance art, taking on the habitus of a particular Matthew Hale defines cosplay as a performative actioncharacter through costume, accessories, gesture and in which one dons a costume and/or accessories andattitude; it is therefore not simply dressing up but manipulates his or her posture, gesture and languagerather inhabiting the role of a character both physically in order to generate meaningful correspondencesand mentally (Bainbridge and Norris 2013: 3).8'