This ethnography of a live-action role play (LARP) community examines the structure of play, how new participants are introduced and apprenticed into the culture, player expectations and motivations, and games as they are designed and as they are performed. The main focus is on LARP's affordance for learning across a variety of disciplines and interests. The book is intended for LARP participants, academics interested in play or in collaborative development, those interested in new uses of familiar learning environments, and game developers with an interest in creating games with highly interactive narratives and co-creative play experiences in which the role of designer and player is blurred.
Exposing a subculture only beginning to enter the imagination of mainstream America, this is the story of live action role-playing (LARP) games. A hybrid of games—such as Dungeons & Dragons, historical reenactment, fandom, and good old-fashioned pretend—LARP games are thriving and this book explores its multifaceted culture and related phenomenon, including the Society for Creative Anachronism, a medieval reenactment group that boasts more than 32,000 members. The history of LARP is detailed and is shown to have arisen from the pageantry of Tudor England and is currently being used as a training tool for the U.S. military. Along the way, the author duels foes with foam-padded weapons, lets the great elder god Cthulhu destroy her parents' beach house, and endures an existential awakening in the high-art LARP scene of Scandinavia.
Role-play as a Heritage Practice is the first book to examine physically performed role-enactments, such as live-action role-play (LARP), tabletop role-playing games (TRPG), and hobbyist historical reenactment (RH), from a combined game studies and heritage studies perspective. Demonstrating that non-digital role-plays, such as TRPG and LARP, share many features with RH, the book contends that all three may be considered as heritage practices. Studying these role-plays as three distinct genres of playful, participatory and performative forms of engagement with cultural heritage, Mochocki demonstrates how an exploration of the affordances of each genre can be valuable. Showing that a player’s engagement with history or heritage material is always multi-layered, the book clarifies that the layers may be conceptualised simultaneously as types of heritage authenticity and as types of in-game immersion. It is also made clear that RH, TRPG and LARP share commonalities with a multitude of other media, including video games, historical fiction and film. Existing within, and contributing to, the fiction and non-fiction mediasphere, these role-enactments are shaped by the same large-scale narratives and discourses that persons, families, communities, and nations use to build memory and identity. Role-play as a Heritage Practice will be of great interest to academics and students engaged in the study of heritage, memory, nostalgia, role-playing, historical games, performance, fans and transmedia narratology.
Immersive theater calls upon audience members to become participants, actors and "others." It traditionally offers binary roles--that of oppressor or that of victim--and thereby stands the risk of simplifying complex social situations. Challenging such binaries, this book articulates theatrical "grey zones" when addressing juvenile detention, wartime interventions and immigration processes. It presents scripts and strategies for directors and playwrights who want to create theatrical environments that are immersive and pedagogical; aesthetically evocative and politically provocative; simple and complex.
This book engages non-digital role-playing games—such as table-top RPGs and live-action role-plays—in and from Japan, to sketch their possibilities and fluidities in a global context. Currently, non-digital RPGs are experiencing a second boom worldwide and are increasingly gaining scholarly attention for their inter-media relations. This study concentrates on Japan, but does not emphasise unique Japanese characteristics, as the practice of embodying an RPG character is always contingently realised. The purpose is to trace the transcultural entanglements of RPG practices by mapping four arenas of conflict: the tension between reality and fiction; stereotypes of escapism; mediation across national borders; and the role of scholars in the making of role-playing game practices.
Experiential Theatres is a collaboratively edited and curated collection that delivers key insights into the processes of developing experiential performance projects and the pedagogies behind training theatre artists of the twenty-first century. Experiential refers to practices where the audience member becomes a crucial member of the performance world through the inclusion of immersion, participation, and play. As technologies of communication and interactivity have evolved in the postdigital era, so have modes of spectatorship and performance frameworks. This book provides readers with pedagogical tools for experiential theatre making that address these shifts in contemporary performance and audience expectations. Through case studies, interviews, and classroom applications the book offers a synthesis of theory, practical application, pedagogical tools, and practitioner guidance to develop a praxis-based model for university theatre educators training today’s theatre students. Experiential Theatres presents a holistic approach for educators and students in areas of performance, design, technology, dramaturgy, and theory to help guide them through the processes of making experiential performance.
Through classroom activities, wizard rock concerts, and organizations like the Harry Potter Alliance, Harry Potter fans are using creativity to positively impact the world. This collection of essays and interviews examines how playful fandom--from fanfiction to Muggle quidditch, cosplay, role-playing games, and even Harry Potter burlesque--not only reimagines the canon but also challenges consumerism, questions notions of identity, and fosters participatory culture. The contributors explore issues applicable to fan studies and performance studies at large, such as the role of performance, the nature of community, and questions of representation and ownership in the digital age. Presented in three parts, the essays discuss discrepancies between sanctioned versions of Harry Potter and fan creations, the reenactment and reinterpretation of the original narrative in fan performance, and collaborative and participatory performances that break down the boundaries between actors and audiences.
