The Design Studio of Participatory Playwright Cynthia K. Wakefield
So, now that we all know what we’re talking about (at least if you read my previous post), exactly what degree of cinematic diegesis is possible or desirable in participatory theatre or LARP?
Answer:
As much as is practically possible.
(tip o’ the tam-o’shanter to Eric Johnson)
Mike was, by general agreement, one of the most annoying kids in his grade. Nobody really liked him. He was one of those brats who likes to pretend they’re really mature by making everything, everything they encounter have something to do with sex. At age nine he claimed he wanted to be a gynecologist so he could feel up women.
The point at which Mike went from being a weird kid to being a total social pariah came when he shut himself and another boy in the janitor’s closet. Spent ten minutes trying to convince the other boy to do “things” with him. He didn’t force himself on the kid or anything; he didn’t even know what he was asking for. He just begged and pleaded. Anyone could hear him through the door, just begging. Naturally, as soon as he got out of the closet (oh the irony) he blamed everything on the other boy and not a blamed soul believed him.
It was obvious what was going on. First, this kid was gay, already having feelings about it, and desperately trying to talk himself up as sex-obsessed to seem straight to the violently homophobic boys around him. Second, I’m telling a very uncomfortable story specifically to illustrate a point.
