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| Tony Gee |
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  Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | a great talk on on-line gaming http://www.ted.com/talks/jane_mcgonigal_gaming_can_make_a_better_world.html [ Edited Thu 18 Mar 2010, 07:45PM ] | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | Interpretation plays a huge role in work that involves guiding play. The ability to see into the spontaneous new worlds that arise and fall - when to interact, when to let go , when to say 'not now' or 'not like that' and also how to say these things; all this seems to me to be very fine judgement that requires deep attenton and yet lightness and frivolity. All of which , to me, means , that is difficult to prescribe how it should be done because these moments are just that - moments. Entirely local and independent in themselves and multi-relational (person to person , environment to person, person to object and so on). Good interpretation as a story/paly guide requires: 1. responsiveness to each situation 2. lack of dogma (shoulds and shouldn'ts as much about your own patterns as anybody elses) 3. applied intuition - it is often impossible to know what is exactly right or wrong when one is part of something going on so the best one can do is to feel the right and hiomnest approach 4. enjoyment | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | the seven quests at in the mythical realm of Sharpoom for the Land of Lost Play showed that: 1. Story and Play are inextricable partners. The richer the story , the deeper the play. 2. Simple theatricality is another essential element. This can be formal (i.e. character /script) or informal and spontaneous - for example, The Forum on our quest which was a walled area with seats that suggessted a theatre to us. On each journey this transformed into something different but lent itself beautifully to the participants expressing their discovered stories, trails and trains of thoughts.. 3. Place - the place dictates the play or at least informs it. Seeing the play in a place is a natural ability that can be developed into a skill. 4. People - are always different, unpredictable and so often amazing when that is what they are invited to be. 5. Preparation - setting up these quests took loads of preparation and quality workshop does take a lot of preparation. The groundwork uis necessary to underpin the groundswell/transformations and inherent potentials that are available. | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | Being Human: just finished work on a global congress of young people from areas of conflict. One of the groups came from Palestine and wrote a thankyou note that said 'thankyou for giving us the opportunity to be human again'. Apart from the obvious injustice and deopravity of all regimes, dogmas and ideologies that reduce humans to less than...this testimony reminded me of the fact that play and creativity are an essential ingredient of being human. | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | This years Creative Play Journeys with Torbay Play Forum are getting towards the end and there have been some great quests run in the six of the eight play settings we worked with. They have been diverse adventures that have employed story frames to engage the childrens' imaginations and charcaterisation to bring the story into the realm of play and challenge related to the story frame to energise the childrens creativity. here is an interesting website with lots of stuff on play [link] | ||
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| rich lea |
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 Registered Member #4 Joined: Thu 09 Dec 2004, 09:00PMPosts: 18 | keith johnson (impro) speculates that as a species e should define ourselves as "homo ludens". the power play has for us was evidenced in so many ways at Sharpoom that it warrants a book of its own. my evidence of this magical power is based in the participants relationship with the characters use to develop and facilitate the narrative of the journeys. despite having seen each of us in our roles as artists within the event and on one level knowing we were "just playing" at being these wierd and wonderful people i found that as long as i maintained a vaguely plausable explanation (no matter how thin) they were extremely reluctant to break the magic and their immersion in the whole play gave them an enormous frisson of uncertainty as they oscillated from being sure it was me playing the old man and wanting to believe he was indeed truly my brother. its no wonder con men can sell people the eiffel tower - we appear to welcome the opportunity to suspend belief at a very deep level. the journeys have been amazing and so varied bt what i will take away from them is the delight of watching even the cynical slowly and inexorably being drawn into their imaginations and leaving the "here" for the "other" for a few hours. these ritual experiences have a propound effect upon us which influence our behaviour long after they have slipped out of mind. | ||
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