Chapter 5

Please stand right there, Tomoya-kun.

Huh? Wh–why…? You’re not gonna do anything weird, right?

What kind of person do you take me for, hm? I wouldn’t fool around in the middle of a performance.

Now then, Tomoya-kun, open up your mind and imagine that right now, you are Juliet.

You’re young and foolish, a precious, fragile thirteen year old girl.

Whoa, Juliet’s only thirteen? I didn’t think she’d be so young—She’s just a kid!

Yes. In the time period during which the story is set, this would be right in the middle of a marriageable age for her.

Uhh, okay but… You want me to be Juliet, but what am I even supposed to do?

All you need to do is stand there.

Now, I am Romeo. I’ve snuck into the ball hosted by your family, my face hidden by a mask. Please, take my hand. I may not know your name, but you are a beautiful young lady ♪

Huh? Oh uh, sure! Right, ‘cause I’m Juliet, right…?

You seem confused, or perhaps embarrassed. Forgive me my poor manners.

Um, huh…?

(What? What’s going on? I know this is the same old drama club room, but…?)

(But this is so weird! I can totally see a ballroom! It’s like everything around me turned into some upscale, extravagant masquerade ball…?)

If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.¹

(Huh? Huh? What’s that supposed to mean? Like, some kinda metaphor with lips and hands, so you’re gonna make a pilgrimage to… to me, and I’m a holy shrine?)

(What does he mean, smooth that rough touch?)

(Wait, hang on. Did he say kiss…?)

… ♪

…!

…All right, that’s a wrap ♪

…?

Fufufu. It really is hard to enjoy a story with religious themes if you don’t have prior knowledge of the subject matter.

I’ll borrow the words of the great Juliet, herself: “You speak so much for a mere kiss.”²

Hm. Just as I’d expect from you, Buchou. I was even able to envision a ballroom, with you two as Romeo and Juliet. How did you do that? Was it magic?

I can’t use magic, so no. But because humans have such wild imaginations…

I was able to stimulate the minds of those watching with my voice and mannerisms to incite a hallucination. It’s hypnosis, or an aspect of it.

Hmm. Is that what you meant when you mentioned a little trick? I don’t think I can imitate that; it would require specialized knowledge and a lot of rigid training, right?

Oh no, no. This scene just now was the one where Romeo met Juliet for the first time… So to begin with, it ought to be played with great joy and exuberance.

But the scene that you and Tomoya-kun acted out was the one in which Romeo was banished…

It is a tragic, painful scene which mourns the cruel loss of all hope that the two of them could be wed.

In this scene, he intentionally uses the same tone of voice and movements as in the scene where they meet.

And thus it appears as though he is slowly collapsing in on himself… Like this, like this.

Oh, I see. You’re using the exact same gestures. Incredible, it’s a perfect parallel.

Precisely. Then, you go like this… It’s a slow, progressive distortion. Because the audience has already seen it happen once, the memory of it is stored in their minds.

As a happy memory. And so this gives it the illusion of that being destroyed.

You simulate the loss and sorrow, and everyone watching feels their own hearts break with it.

And Romeo’s grief is conveyed all the more intensely.

Then, because their heartstrings have been pulled, his sorrow will resonate with the audience and they’ll sympathize with him, and in some cases even shed real tears.

It’s a little trick that takes advantage of simple psychology. I was employing some magic tricks—optical illusions and the like.

But this, specifically, is a technique you can apply to your performance instantly. Of course, it takes practice and careful calculation to have any real effect.

But there is meaning in itself to simply perform while being cognizant of how you can stimulate the audience’s minds.

We adjust the level of emotion they feel through the accumulation of such small details.

Whew… Who knew acting was so systematic, am I right?

There are aspects of it here and there.

It was merely easier to explain this to Hokuto-kun in this manner, as if I were coding a program.

It’s also important to change what you say and how you perform to suit your fellow actors… I’d imagine.

Indeed, it is. You’ve matured quite nicely, Hokuto-kun. In the past, you never would have read so far into it.

……

Oh? What’s the matter, Tomoya-kun? You’re staring off into space… Did you get a little too stimulated back there?

Oh, whatever will I do with you? You can’t continue to get this agitated by a simple kiss scene!

You’ll just have to get used to it, and then you won’t feel a thing—So let’s practice! Give Buchou a kiss! Smooch ♪

Nngyaaaaaaaah?! Cut it out! Get away from me, you pervert…!

Ahaha! I know that was supposed to be shock therapy or whatever, but if you pick on this guy too much, he’s gonna get pissed… Got it, Wataru-chin?

But I am relived, honestly. You’ve been taking this whole drama club thing so seriously… You’ve still got a lot to learn though, so keep at it, Tomo-chin ♪

Hang on—Don’t just laugh at me, help me! Nii~chan!!!

You can’t just sit back and watch while this pervert is trying to mess around with me! He’s just pretending to teach me things, can’t you see?!

Ahaha, sorry. I’m an outsider here. I can’t get up on stage to help you out, so you’re on your own for this one.

But this whole experience is gonna be really good for you in the end, I’m sure of it ♪