Difference between revisions of "Vrøvl"
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| − | Vrøvl was one of the first contributions to [[Blackbox CPH]] and made full use of the theatre setting of the festival, actively using the stage space, the lighting and sound systems as well as direct inspiration from theatre. | + | '''Vrøvl''' was one of the first contributions to [[Blackbox CPH]] and made full use of the theatre setting of the festival, actively using the stage space, the lighting and sound systems as well as direct inspiration from theatre. |
The game itself was an attempt to use larp techniques to simulate Samuel Beckett's theatre of the absurd and thus broke with many conventions of larp. The players were told to play badly, break the drama and avoid creating a narrative. Characters were improvised during a warm-up workshop before play, all players were part of a codependent master-servant coupling and based on various archetypes. They also received techniques for creating absurd dialogue. | The game itself was an attempt to use larp techniques to simulate Samuel Beckett's theatre of the absurd and thus broke with many conventions of larp. The players were told to play badly, break the drama and avoid creating a narrative. Characters were improvised during a warm-up workshop before play, all players were part of a codependent master-servant coupling and based on various archetypes. They also received techniques for creating absurd dialogue. | ||
Revision as of 00:01, 30 May 2014
Vrøvl was one of the first contributions to Blackbox CPH and made full use of the theatre setting of the festival, actively using the stage space, the lighting and sound systems as well as direct inspiration from theatre.
The game itself was an attempt to use larp techniques to simulate Samuel Beckett's theatre of the absurd and thus broke with many conventions of larp. The players were told to play badly, break the drama and avoid creating a narrative. Characters were improvised during a warm-up workshop before play, all players were part of a codependent master-servant coupling and based on various archetypes. They also received techniques for creating absurd dialogue.
The game itself was played in three 45 minute acts laid out by a soundtrack and during each a lighting tech interacted with the play through the use of spotlighting and darkness. In the three acts each couple played on a particular theme drawn from a hat.
