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gracemyheart · 1 year

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Not me almost destroying my KuroMyu DVD booklets while trying to scan them. Actually I was so lucky to get all programs and visual books of Yuta’s era on yahoo auctions and since I am tired of scans with watermark on it, I want to scan those as well once they arrived. If there are any requests let me know! :3

#kuromyu #kuroshitsuji musical #black butler musical #yuta furukawa #reo uchikawa #lycoris that blazes the earth #Noah's Ark Circus #tango on the campania #idk why the white line is there #blame the copier lol

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mourninglockets · 3 years

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Izumi Shuhei as Undertaker in Kuroshitsuji: Lycoris that Blazes the Earth (2014)

#kuroshitsuji #kuromyu #kuromyu 3 #lycoris that blazes the earth #undertaker #izumi shuhei #ciel phantomhive #nayuta fukuzaki #o!ciel #my gifs

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she-who-reads-fanfiction · 3 years

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KUROMYU HELP

hello friends i am deseperatly trying to find an english subtitle file for Kuryomyu 2.5 -the most beautiful death in the world (2013 rerun).

I have the raw musical but no subtitles. if someone could help me out as i have been looking for ages. i have all the other shows with english subtitles i can trade in exchange? (folk can also message just if they want the musicals) Please help cause i really wanna watch the show

#kuromyu #Kuroshitsuji Musical #the most beautiful death in the world #kuromyu 2 #kuromyu 2.5 #subtitles #kuroshitsuji #black butler #musical #subtitle help #kuromyu 3 #kuromyu 3.5 #kuromyu 4 #kuromyu 5 #kuromyu 6 #musical trade #kuromyu sub #kuroshitsuji musical subtitles

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chibimyumi · 5 years

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Alan’s Crossdressing & Laughing Stock

Dear @aurorashenanigans,

First of all, thank you for your interesting prompt and your permission to use a screenshot of your comment.

Your question is very worthy of discussion in my opinion, because in theatre, even with the exact same script, one could still be watching an entirely different show if an actor has a different interpretation, and manages to express their interpretation.

This ⇊ post is an expansion to this post wherein I discussed the strikingly transphobic script and performance in ‘The Most Beautiful Death in the World’ (MBD).

Note: Please do read the post I referred to beforehand for a better and more complete understanding of this post, though this post will also contain a lot of overlapping information. If you are only interested in the conclusion of this post, please scroll all the way down to the 4th header ‘4. In Conclusion’.

So, let us unpack the differences between the scenes of MBD 2010 and 2013 wherein the characters prepare for the crossdressing-infiltration.

1. Premise of the Plot

The mystery around which the plot of the musical is based has its setting in the Crystal Palace where a masquerade is held which only permits the attendance of adult men - if - one is accompanied by a woman.

With most of the main characters being male, the key to solving this problem became ‘crossdressing’.

Grell in this musical was given the role as ‘a professional at crossdressing’ by making her criticise Ciel’s crossdresssing, which was given some weight (more or less) by making her use jargon such as ‘Clothes Language’. Herewith, the scriptwrights put Grell’s transgender identity on the same level as simple ‘crossdressing’.

2. Comparing Performances - 2010

In the 2010 of MBD, Alan makes his entrance in crossdress, starting with a traditionally feminine performative which is met with a roar of laughter from the audience. Only after having ‘successfully’ induced laughter from the audience, he drops the femininity and assumes a more neutral performative. Alan speaks the following line with a neutral voice:

皆さん、準備は整いましたね　行きましょう！

Mina-san, junbi wa totonoimashita ne, ikimashou!

Everyone, all the preparations are ready right? Let us go!

Grell is absolutely enraged, and challenges Alan as follows:

“なんでアンタまで女装する必要あるのヨ?”

“Nande anta made josou suru hitsuyou aru no yo?”

“Why do even you need to cross-dress as a woman?”

By saying this, Grell sends two messages: 1. that Alan does not acknowledge her femaleness as sufficient to get Alan through the security’s screening, and 2. herewith the script equates Grell’s dress to Alan’s crossdress.

Then, Alan explains why he resorted to crossdressing and speaks the following line with a deeper voice:

“俺エリックと話さなければ　そのためなら… どんな屈辱でも甘んじてうけてみせる！”

“Ore, Eric to hanasanakereba. Sono tame nara… donna kutsujoku demo amanjite ukete miseru!”

“I need to speak to Eric. For that sake… I will resign myself to any humiliation!”

Instead of just walking down the stairs, Alan jumps down in an incredibly unrefined and masculine manner. However, is is entirely unnecessary to jump because the stairs connect to the ground normally. As such, it is safe to assume that Alan is trying to “compensate” for his crossdress with more pronounced masculinity. This is further confirmed by the line “resign myself to any humiliation”, which makes it explicit that Alan considers wearing a dress something a man should be ashamed of.

3. Comparing Performances - 2013

This script for the same scene in the rerun of BMD remains mostly unchanged. Just like in 2010, Alan enters the scene in crossdress. Unlike the previous however, 2013Alan speaks the line “everyone, all the preparations are ready right? Let us go!” in a high pitched voice. Instead of a slightly raised pitch however, he uses the type of exaggerated high pitch men conventionally use to mock women. Not unlike in 2010, Alan’s feminine performative is welcomed by a wave of laughter from the audience. This performative is so ‘funny’, that even Sebastian - who according to canon doesn’t give a damn about human gender norms - finds it hard to suppress the urge to laugh. Really, Sebastian, really?

After Crossdress!Alan’s introduction, both Grell and Alan are given a new line in the 2013 version before the scene proceeds like before.

Upon seeing Alan’s dress, Grell challenges as follows:

ちょっとアンタ！何を、それ！？

Chotto anta! Nani wo, sore!?

Hey you! What (the hell) is this about!?

“One roar of laughter at men in dresses was not enough, let’s get an encore!” thought however came up with the following line:

Alan:

巻いたほうがよかったかしらっ？

Maita hou ga yokatta kashira?

Should I have curled my hair instead?

Grell: “No! Why do even you need to cross-dress as a woman?”

Then, instead of jumping down the stairs, Alan walks down normally, but strikes a dominant stance wherein he shows off his triangular MANLY chest and muscular arms. Not unlike 2010!Alan, 2013!Alan also feels the need to ‘compensate’ for the dress as he speaks the line “I will resign myself to any humiliation!”

In both versions of the musical, Grell responds with the following line:

“だからそんな屈辱受ける必要ないわよ!”

“Dakara sonna kutsujoku ukeru hitsuyou nai wa yo!”

“But there is no need for you to endure that humiliation!”

Using Grell’s reply the script reconfirms that what Alan said is right. By making Grell echo Alan’s opinion, the script effectively makes her agree that ‘a man wearing a dress is indeed a humiliation’.

After some petty-fighting, Sebastian decides to put an end to this fight, and says:

Sebastian: “まぁ女性は何人いても良いでしょう。それに　グレルさんよりもお似合いですし。”

“Maa, josei wa nannin ite mo ii deshou. Sore ni, Grell-san yori mo oniai desu shi.”

“Well, it does not matter how many women there are. And moreover, [the crossdressing] suits [Alan] better than Grell-san.”

Here, Sebastian acknowledges how there is no such thing as ‘too many women’. Herewith, he effectively confirms how a man can be turned into a woman using a mere dress. By having Sebastian say: “the crossdressing SUITS Alan better”, Sebastian invalidates Grell’s gender identity by reducing her to ‘a lesser crossdresser’ than Alan.

4. In conclusion

In conclusion, in both versions of BDM, Grell’s dress as well as EVERYONE’s crossdress is a joke and a source of ‘humiliation’, and EVERYONE’s crossdress except maybe Ciel’s is a laughing stock.

Alan‘s crossdress is, as extensively explained above ⇈, the script’s tool to shame ‘men’ in dresses, and delegitimise transgender identity. Alan’s character is normally rather neutral and certainly does not ooze with toxic masculinity. The moment he put on a dress however, he plays his masculinity up, as though to assure both the audience and himself that his ‘precious male identity’ is unharmed, despiiittee wearing a dress that’s not for men!

Likewise, Aberline and Hanks are established comic reliefs in the Kuromyu universe, so it is not hard to see how their crossdressing is also the laughing stock of the show. The moment they are crossdressed, the jokes they make suddenly all surround their failure to ‘pass as women’. Just like Alan, they are “proper men whose masculinity remains unthreatened.”

Only Ciel’s dress does not seem to be something that the writers wrote as a active shaming-tool. Ciel is still a child, and unlike adult men’s masculinity, a boy’s masculinity does not need to be protected at all cost. As boys are ‘lesser men’ or ‘not men yet’ anyway, gender-nonconforming behaviour by them are not considered a threat to society’s gendered order, and do not need to be punished immediately. However, I could still argue the pink dress to be a laughing-stock, albeit a smaller one. While the audience is still supposed to find Ciel in a dress funny, this joke is supposed to appeal to a sense of endearment, and maybe even from a type of pity because Ciel obviously hates wearing the dress.

Finally, we can conclude that even though 2010!Alan is slightly less demeaning towards transgender women and men in dresses, his small-dick-energy/fragile masculinity is still very obvious.

Soooo,

🥇 The gold medal goes to 2013!Alan for being 1. transphobic, 2. demeaning towards women, 3. playing the cross-dress-joke up to 11, and 4, not even having bothered trying to be respectful about it!

🥈 The silver medal goes to 2010!Alan for first making us think that despite being a bit transphobic, you were somewhat respectful towards men in dresses... and only THEN backstabbing us.

🥉 The bronze medal goes to Sebastian for being complacent in reinforcing transphobia and laughing at men in dresses, even though you really should know better after 3000+ years history of laughing at humans and their ridiculous social standards.

🎖️🎖️Aberline and Hanks get honourary mentions for their participation in the Small-Dick-Energy Cup🏆.

5. Epilogue

I am very aware that this musical is very dear to many people. But I beg you. Please do not wilfully unsee the problematic aspects just because you like something. One can like the musical for what it is, namely a show with flaws that some people enjoy.

Liking a problematic thing does not automatically make you look bad, justifying the problematic aspects does!

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animetheaterpodcast · 4 years

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To be or not to be… in 2.5D

Episode 3 - Black Butler Musicals

This week we dive into the Black Butler musical series, spanning 7 productions in 8 years starting in 2009.

If you’d like to purchase them and view them for yourself, I’ve provided links below to both CDJapan and Amazon Japan to help you begin your journey. Please keep in mind that DVDs are region-locked, Blu-rays are region-free, and that none of them will come with subtitles.

CDJapan Amazon Japan

Actor Highlights

Akane Liv Twitter Uehara Takuya Twitter | Instagram Furukawa Yuuta Twitter | Instagram

===================================

Ko-fi: (x)

#audio #2.5D Podcast #2.5D #Kuromyu #Namashitsuji #Black Butler Musicals #episode 3 #the devils quote is from The Tempest

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theprocrastinatingredkitty · 7 years

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Remember how in KuroMyu 3, there were two Ciels—one sitting inside the cage and raised up with his face hidden from view, and the other one with Sebastian on stage? Yeah, that's like, a hugeass hint to 2CT, imo

Well played, Yana. I ain't even mad! 😂😂😂😂

#kuromyu 3 #kuroshitsuji #black butler #2ct

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thenevarranseeker · 7 years

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Surprise surprise Kuro fandom, after years and years I’m finally starting to transcribe some of the Chi ni Moeru Lycoris pieces. I figured I’d start off with something easy to get myself back into it if I do in fact decide to do any of the more complicated pieces, but we’ll see. *Use headphones for optimal listening since I haven’t mastered it for speakers yet!*

So anyway, here’s a preview of the transcription/arrangement of Michi ni Mayowanai You ni (Don’t Lose Your Way/So That You Don’t Lose Your Way/however you want to translate it) I’m working on right now. With any luck it’ll be finished within the month. Technically you could just rip the DVD menu music for the instrumental version, but it’s not super high quality and it’s just a hair below key. I’m positive that’s intentional, but it still bothers me.

It feels good to be working on music again after so long. Enjoy!

I don’t own Kuroshitsuji, Kuromyu, or the music, which belong to Yana Toboso and Square Enix.

#kuroshitsuji #kuromyu #chi ni moeru lycoris #musical kuroshitsuji #kuroshitsuji musical #black butler #black butler musical #michi ni mayowanai you ni #madam red #aarri's arrangements #lycoris that blazes the earth #akane liv #kuromyu 3 #wip

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mourninglockets · 3 years

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Izumi Shuhei as Undertaker in Kuroshitsuji: Lycoris that Blazes the Earth (2015)

#kuroshitsuji #Kuromyu #kuromyu 3 #lycoris that blazes the earth #izumi shuhei #undertaker #nayuta fukuzaki #ciel phantomhive #ociel #my gifs

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chibimyumi · 3 years

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Cast Talk - Tango on the Campania - Part 3/4

The continuation of:

Cast Talk part 1 “The Two who Returned”

Cast Talk part 2 “This Time's Number One is Undertake”

Part 3: “Stage Adaptation “Black Butler” - The Trail of 10 Years.”

Terayama: Kuromyu is about to see the arrival of its 10th anniversary.

Uehara: When is it going to be 10 years?

Izumi: Once it’s 2018 it shall be the 10th year.

Furukawa: Wow, that is impressive.

Terayama: What was it like in the very beginning?

Izumi: I think we started off with two original stories, right? The first titled “Music Gala”.

Furukawa: I went to see that one.

Izumi: I wasn’t used to saying the [English] term ‘Death Scythe’, and with Grell’s phrase of saying “Death Scy~~the” I messed up and said “Death Scyt~he”.

Uehara: “Eh? Is there a difference in stressed vowel?” I learned the hard way But now after many years practice has made perfect.

Izumi: At the time the term of “2.5D” didn’t even exist right?

Terayama: The characters who made their debuts after were Hide (Druitt) and I.

Sasaki: The one who played Druitt before me was Mr. Fujita Rei, and that’s why they made him speak French (Fujita is half French). But because of that [when I succeeded him] I was made to speak French as well (laughs). To this day I still have no idea what I blurted.

All: Wahahaha (roaring laughter).

Uehara: Reo, how old were you when we did Kuromyu for the first time?

Uchikawa: Year 2009, so I was 5.

Uehara & Izumi: No way~! (laughs).

Uehara: We’ve been at this already when Reo was only 5? Now that really makes me think...

Terayama: Amazing!! (Laughs). So, After that it was Yuta who joined us, right? What was that like at the time?

Furukawa: It was a really big project on different levels... well, for me it was like a crushing pressure.

Izumi: Clearly so.

Furukawa: For many years Mr. Matsushita Yuya had been the one to take that responsibility, and then suddenly that changed. Moreover, it was also the lead role. More-moreover, it was such a popular franchise... in such a big theatre... so when I received word I was like: “whut?”

All: (Laughs).

Terayama: "whut” was your reaction?

Furukawa: I was most importantly very happy that I was able to play the lead role. But by the time the rehearsals started I did slowly get the hang of it all, as well as the expectations of the staff. I really felt like I entered a fantastic place.

Terayama: What about you, Reo? What was the first [Kuromyu] you saw?

Uchikawa: It was the “Lycoris that Blazes the Earth” rerun in Akasaka. Before that I only watched everything on DVD, so being able to watch [Kuromyu] live really blew me away. The musical really resonated within me like “booom”. And then afterwards I was allowed a place in Kuromyu myself. I really in all honestly wanted to play it, but a great part of me also doubted whether I was good enough, and I was so nervous... but I was able to become so close with the cast and ensemble members, and bit by bit I made progress, and now I stand in the theatre.

Terayama: ... those were some 10 years, right?

Izumi: A lot of things happened in 10 years.

Terayama: Alright, let’s do our best for the 10th anniversary then!