The problem of participation in dramatic performance and role-playing game

Abstract

The article discusses the structure of a role-playing game in comparison with  the structure of a dramatic performance. Both the performance and the role[1]playing game let the spectator or participant “immerse” into the game reality due to a certain system of conventions. However, a spectator’s “immersion” is  based on empathizing with the character from the position of an uninvolved  observer, while a participant’s one results from occupying a role in the  imaginary reality. The spectator’s involvement into a theatrical performance  can be gradually enhanced with the help of certain elements of a role-playing  game through the use of role-playing game’s elements of structure, such as  role of the so-called “master” who controls the action; rules and instructions;  encouraging the participant’s activity within given circumstances; interaction  with other participants in state of immersion; simultaneous action. Ariane  Mnouchkine’s “1789” (1970) is cited as an example of transition between  theatrical performance and role-playing game. In this work a part of the audience  was involved in the action as a crowd of Parisians.