Uffah, il link a "Succeed the Proscenium" non è più valido. Per fortuna l'avevo salvato, faccio prima a fare un copia-incolla:
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And more importantly, the game totally passed the test. So I've made four or five very minor clarifications to the text, word changes really. I've changed the specified number of Wine dice in the materials list from "eight times the number of players" to "five times the number of players, plus an additional five." And I've written 369 words of player advice:
Succeed the Proscenium
In Bacchanal, you are thrust by dice to the fore of the stage to fabricate and describe scenes of erotic transgression. If this doesn't induce anxiety, and the game isn't with your lover alone, then you aren't doing it right.
Know also that the other players are an initially interested audience to the scenes you'll describe, but that you'll need to work creatively and take risks to maintain that interest. In the heat of play it's easy to focus your efforts on the creative demands of the dice. But you'll lose your audience if you do. Playing Bacchanal well is a matter of preserving and developing the interest of your audience despite the dice.
And so, some tips:
· Don't begin your story with an elaborate, wine- and blood-drenched cannibalistic orgy. It's too difficult to repeatedly escalate the debauchery if that's what the dice demand. Give yourself circumstances on which you can build.
· Don't wholly craft your narrations as reactions to the demands of the dice, without a higher concern for story arc. As humans, our interest is more strongly held by the unfolding of a story than by a series of disparate and wildly reactive events. The trick here is in your handling of continuity and suspense. A mysterious erotic act, or vision, in a scene, can be explained, or surreally aped in a later scene. Hallucinatory events can have their shocking truths revealed in subsequent scenes.
· Mix action with internal monologue in your narrations.
· Consider, before narrating a scene, how you feel about what you're preparing to describe. If you're not feeling vulnerable, not nervous, consider what you might describe instead that would feel vulnerable. In a live game like Bacchanal, the interest of the audience is more powerfully captured by how you feel about what you narrate, than by the details.
· On a related note, recognize that over-reliance on pornography and graphic violence in your scenes is a way of defending against exposure and vulnerability.
· Control your anxiety by playing with people you trust not to hurt you, and with the knowledge that the emotion you bring to your play is what commands the interest of the audience.
Playing is a more powerful experience than the examples in the text might suggest. (And I couldn't be more thrilled.)
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Credo che questo risponda ai dubbi di Franco e Mauro.
Riguardo al mio esempio (che è preso dall'actual play di Edwards di cui ho messo il link più sopra, e si riferisce alla scena iniziale) le centinaia di spettatori non erano lì per indicare alcun dado, non c'è una corrispondenza 1:1 fra dadi e personaggi. Seguite le regole scritte e basta, non inventatevene di nuove che non ci sono :-)
(quindi, in alcune circostanze c'è una corrispondenza, ma solo quando è scritto nelle regole, non sempre)
