Difference between revisions of "Tape Larp"
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* [[Familjen Andersson]] (2008) | * [[Familjen Andersson]] (2008) | ||
* [[Megazonlajvet]] (2009, 2010) | * [[Megazonlajvet]] (2009, 2010) | ||
| − | * [[ | + | * [[When Our Destinies Meet|When Our Destinies Meet / När Våra Öden Möts]] (2009, 2010) |
* [[Beyond the Mountains of Madness]] (2009, 2010) | * [[Beyond the Mountains of Madness]] (2009, 2010) | ||
* [[Vi kommer snart att passera genom en tunnel]] (2010) | * [[Vi kommer snart att passera genom en tunnel]] (2010) | ||
Revision as of 16:27, 16 July 2012
In a tape larp, adhesive tape is used to define spaces in the gaming area by marking them out on the floor. It is a cheap and easy way to build scenery, and lends transparency to the game.
Influences
The concept of using tape for imaginary walls and set pieces was borrowed from the movies Mandelay and Dogville, by Danish director Lars von Trier. Similar aesthetics were utilised by the German drama scholar, director and playwrite Bertolt Brecht, and has seen continuous use in stage theatre throughout the late 20th century.
Tape larps
- Persona (2005)
- There is nothing behind the mask - the mask is the truth (2007)
- Familjen Andersson (2008)
- Megazonlajvet (2009, 2010)
- When Our Destinies Meet / När Våra Öden Möts (2009, 2010)
- Beyond the Mountains of Madness (2009, 2010)
- Vi kommer snart att passera genom en tunnel (2010)
- Saker som händer (2010)
- Kollektivet Lyckan (2010)
- B.M.X.: The Baader-Meinhof Experiment Riksteatern version (2010)
- The Kick Inside (2010)
- The Families of Olsson, Karlsson, Nilsson (2010)
