Abstract
The essential purpose of drama, whether it is theatre, film or television, is to evoke subjective experience in its audience. The advent of interactive digital television opens up many new possibilities for the structure and presentation of drama and the way in which people may engage with it. However, the design of interactive, computer-based environments requires theoretical and practical bases that are largely new to the dramatic arts. This paper describes research which is exploring the convergence of ideas and design models from a range of traditional sources including HCl, psychology, the performing arts and media production for this new media form. It starts by reevaluating two traditional dramatic paradigms, Stanislavski's Realism and Brecht's objectivity, and contrasts them with Boal's spect-actor paradigm in which audiences become direct participants in the drama. Although existing technology cannot enable a faithful computer based implementation of the spect-actor paradigm, the model may be approachable in various ways and thus provides a useful goal for designers of interactive drama. The realities of designing and producing interactive drama are illustrated with a practical example. The paper concludes with a discussion of the implications of the work for the design of interactive drama.
Similar content being viewed by others
References
Csikszentmilhalyi M, Csilszentmilhalyi IS. Optimal experience: psychological studies of flow in consciousness. Cambridge University Press, Cambridge, 1988
Meizrow J. Perspective transformation. Adult Education, 1978; 28(2); 100–110
Stanislayski KS. An actor prepares. Bles, London, 1937
Laurel B. Computers as theatre. Addison-Wesley, Reading, MA, 1993
Willet J. The theatre of Bertolt Brecht. Methuen, London, 1993
Boal A. Games for actors and non-actors. Jackson A (trans.). Routledge, London, 1992
Harre R, Clarke D, De Carlo N. Motives and mechanisms: an introduction to the psychology of action. Methuen, London, 1985
Johnson-Laird PN. Mental models. Cambridge University Press, Cambridge, 1983
Salmon P. Personal stances in learning. In: Weil W, McGill I (eds), Making sense of experiential learning: diversity in theory and practice. Open University Press, Buckingham, 1989
Weil W, McGill I. Making sense of experiential learning: diversity in theory and practice. Open University Press, Buckingham, 1989
Johnstone K. Impro—improvisation and the theatre. Methuen, London, 1981
Laurillard D. Rethinking university teaching: a framework for the effective use of education technology. London: Routledge, 1993
Nariman HN. Soap operas for social change: towards a methodology for entertainment—education television. Praeger, Westpoint, 1993
Larson MS. Sex roles and soap operas: what adolescents learn about single motherhood. Sex Roles 1996; 35: 97–110
Rogers T. Design models for multimedia learning environments based on interactive drama. PhD Thesis, University of Plymouth, 1991
Harris M, Jagodzinski AP, Greene KR. Roles for knowledgebased computer systems in team work: case studies in maternity care. Design for collaboration: Communities Constructing Technology Workshop, University of York, 12 March 1999
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
About this article
Cite this article
Jagodzinski, P., Turley, S. & Rogers, T. Paradigms for the design of interactive drama. Personal Technologies 3, 141–152 (1999). https://doi.org/10.1007/BF01305340
Issue Date:
DOI: https://doi.org/10.1007/BF01305340