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Chamberlarps and the Audience Problem

  • Can 2016 be the year we make a breakthrough on the subject of how to deal with audience at chamberlarps?

By Martin Nielsen

When attending contemporary theatre performances the past year, I have been following closely what happens when the actors try to involve the audience in doing something. Even though the audience at these kind of performances should not be alien to some kind of interactivity, the bar seems to be extremely high for people to take part. One example I remember well is when Lisa Lie addressed the audience and invited them to «tap three times» in Blue Motel (Blackbox Theatre, Oslo, 2015). Not a single spectator responded until she had repeated the request three times, with increasing intensity – and frustration. At last, one spectator simply tapped the floor three times with their shoe, and the show could go on.

Blue motel at Trøndelag Teater. Press photo from Trøndelag Teater.

Blue motel at Trøndelag Teater. Press photo from Trøndelag Teater.

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Sharing your body with your character – the secret ways our body controls our minds

(An adaptation of the Keynote given by Ane Marie Anderson at Knudepunkt, Denmark, 2015)

 

When we play larps, we create fictional universes where we stimulate ourselves – psychologically and physically – and we try to make the experiences we have within these universes feel real. To do this, we take on characters, and we use our bodies to convey our characters to our fellow players and to ourselves.

 

Taking on a character in a larp is a very conscious act, and through the history of larp we have developed and borrowed many techniques that we can consciously use to try to make our fictional realities more real to ourselves. But when we make the conscious decision to enter a larp, we bring our bodies with us, and our bodies are adapted to life. Even though we try hard, most of our physical selves don’t change when we larp, and we always carry subconscious and physical aspects of our real selves with us.

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The Chamberlarp Revolution

The genre of chamberlarps, in the meaning of larps playable in 1-2 rooms, have changed dramaticly during the past five years. In this blogpost, based on my key note at the Knudepunkt conference, I will try go give an historical overview of what has changes, what this means and a few predictions for the future. I have included a few examples from before 2010, larps that I believe have been influential to late design. However, the main focus in this article is on what has happened the last five years.

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Rollespill om kulturmøter

Av Martin Nielsen

Denne uken besøkte vi Musikk og Ungdom. Dette er en organisasjon som blant annet arbeider med utveksling av ungdommer som arbeider med musikk med partnere i land i Afrika. Vi hadde blitt bedt om å lage et rollespill som kunne sette i gang diskusjoner om hvordan kulturforskjeller kan påvirke samarbeidsprosesser med tanke på arbeidet ungdommene skal gjøre når de kommer til Malawi eller Mosambique.

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Culture calibration in pre-larp workshops

By Martin Nielsen

With a few exceptions, all larps take place in a set culture. This can be either a fictional culture or a culture based on the real world. For the previous larps where I have been part of the organizer team, we have made an effort to define the culture together with the players through a pre-larp workshop. This includes facilitating that the players calibrate their understanding of the culture. Earlier this month, I facilitated a workshop on this subject based on the larps Tinget (2011), Till Death Do Us Part (2012) and Huntsville (2013) at the Swedish larp conference Prolog. This blogpost is based on that workshop.

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Workshops og kulturforståelse på laiv

Av Martin Nielsen

Laiver foregår med noen få unntak i en bestemt kultur. Kulturen kan være fiksjon eller basert på virkeligheten. For de siste laivene jeg har vært med å lage, har vi lagt stor vekt på å utvikle kulturen sammen med spillerne gjennom workshops før laiven. På den svenske konferansen Prolog holdt jeg i begynnelsen av måneden en workshop om dette, basert på teknikkene for oppbygging og kalibrering av kultur i pre-game workshops for Tinget (2011), Till Death do Us Part (2012) og Huntsville (2013).

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Introduksjon til pre-laiv workshops

Av Martin Nielsen

I helgen deltok jeg på den svenske laivkonferansen Prolog. Jeg brukte mye av tiden på «pre-larp workshops», det vil si prosesser som arrangørene av et rollespill/laiv fasiliterer for deltakerne før det starter. De siste årene har stadig flere arrangører erkjent at de færreste spillere er klare for å kastes rett inn i et rollespill med kun skriftlig materiale som forberedelse, og at en workshop kan betydelig øke utbyttet av rollespillet.

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