What Everyone Knows About Stories

Johnson, JE; Bacon, S; Dicieanu, M; Edrei, S; Forcier, E; Ganzon, SC; Krikowa, N; Ravy, T; Riches, G; Van Steenhuyse, V

What Everyone Knows About Stories

Johnson, JE Bacon, S Dicieanu, M Edrei, S Forcier, E Ganzon, SC Krikowa, N

Ravy, T Riches, G Van Steenhuyse, V

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Publisher:: BRILL
Publication Type:: Chapter
Citation:: Words, Worlds and Narratives: Transmedia and Immersion, 2019, pp. 219-242
Issue Date:: 2019-01-01

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Field	Value	Language
dc.contributor.author	Johnson, JE
dc.contributor.author	Bacon, S
dc.contributor.author	Dicieanu, M
dc.contributor.author	Edrei, S
dc.contributor.author	Forcier, E
dc.contributor.author	Ganzon, SC
dc.contributor.author	Krikowa, N https://orcid.org/0000-0002-3251-1361
dc.contributor.author	Ravy, T
dc.contributor.author	Riches, G
dc.contributor.author	Van Steenhuyse, V
dc.date.accessioned	2022-12-12T23:04:53Z
dc.date.available	2022-12-12T23:04:53Z
dc.date.issued	2019-01-01
dc.identifier.citation	Words, Worlds and Narratives: Transmedia and Immersion, 2019, pp. 219-242
dc.identifier.isbn	9789004373969
dc.identifier.uri	http://hdl.handle.net/10453/164322
dc.description.abstract	During the 1st Global Conference for Transmedia Narratives and Immersive Worlds in Salzburg, Austria, Judith E. Johnson performed her immersive story ‘Paula, Queen of the Gypsies.'1 The performance aimed to destabilize the normally passive experience of the audience by employing strategies suggested by Antonin Artaud’s Theatre of Cruelty and Berthold Brecht’s ‘alienation effect.' Inspired by the social anxieties underlying current events, stories in popular culture and folk tales from her own childhood, Judith’s performance often broke the so-called ‘fourth wall’ to ask her audience, ‘Am I telling the right story?' In this way, audience members were invited to identify with the characters, and occasionally forced to engage with the narrative on an uncomfortably personal level. The authors of this volume were later asked to recall their experience of Judith’s performance, and to reflect on what it suggested about interactivity, immersion, and narrative. This chapter collects those responses and allows Judith to respond to them in turn, examining more closely some of the theoretical implications of her performance piece and the nature of narrative in a transmedial world.
dc.language	en
dc.publisher	BRILL
dc.relation.ispartof	Words, Worlds and Narratives: Transmedia and Immersion
dc.relation.isbasedon	10.1163/9781848881945_012
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	What Everyone Knows About Stories
dc.type	Chapter
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/Digital and Social Media
utslib.copyright.status	closed_access	*
dc.date.updated	2022-12-12T23:04:52Z
pubs.publication-status	Published

Abstract:

During the 1st Global Conference for Transmedia Narratives and Immersive Worlds in Salzburg, Austria, Judith E. Johnson performed her immersive story ‘Paula, Queen of the Gypsies.'1 The performance aimed to destabilize the normally passive experience of the audience by employing strategies suggested by Antonin Artaud’s Theatre of Cruelty and Berthold Brecht’s ‘alienation effect.' Inspired by the social anxieties underlying current events, stories in popular culture and folk tales from her own childhood, Judith’s performance often broke the so-called ‘fourth wall’ to ask her audience, ‘Am I telling the right story?' In this way, audience members were invited to identify with the characters, and occasionally forced to engage with the narrative on an uncomfortably personal level. The authors of this volume were later asked to recall their experience of Judith’s performance, and to reflect on what it suggested about interactivity, immersion, and narrative. This chapter collects those responses and allows Judith to respond to them in turn, examining more closely some of the theoretical implications of her performance piece and the nature of narrative in a transmedial world.

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http://hdl.handle.net/10453/164322