Unfortunately I missed last week’s regular update due to our two-day research retreat in the peak district. The windswept moors, however, and the rocky crags did give me some pause for thought on the geography of LARP. There are some areas which look fabulous as settings on the big screen which simply do not work as event venues, either for reasons of comfort or of safety. However, the geography of a place also has significant implications for staging events which is not always necessarily helpful.
Queen Elizabeth a LARPer, eh?
Well not really, in Lizzie Stark’s book, Elizabeth I was immensely entertained by theatrical pageants which required her participation as monarch. She was hardly playing a character, she was ‘playing’ Queen, which, incidentally, she was…
However, the point that links LARP with pageantry, improvised theatre, war simulation games and the like is an important one. LARP has a lengthy history that differs in the UK from the US, and sources differ as to whether it emerged in Europe simultaneously, or subsequently to the US. Certainly most persistent LARP games in the UK trace their emergence to “Treasure Trap” of the 1980s, which was a predominantly freeform game that made use of a local heritage site, sadly not the class of venue often available to LARP groups. In contemporary LARP, numerous country houses, nature parks and scout camps still play host to games up and down the country, as do many university campuses.
If the theatrical characters envisioned by a community ideology (in the case of pageants) or a playwright are too constrained to be comparable to LARP, and the intellectual rigour of war games is too regulated, a comparison can at least be drawn by reference to the use of space and venues to create the immersive experience so particular to the hobby. The Tudor and Elizabethan antics often emphasise the ludic reinterpretation of space to create chaotic revelry in the order of the Royal Court, and events of heroic and fantastical stature in the countryside (assisted as often as not by a crew of theatrical performers, puppeteers and staged effects). This element is shared by contemporary LARP and art installations alike, although one attracts more social status than the other.
As LARPers arrive in period homes or scout camps across the country, they often disrupt the everyday goings on and expectations of the inhabitants. They do not fit the genteel middle class tourist stereotype, their costumes provoke attention and their aims at reinterpreting lawns as rolling grasslands, dining rooms as construction areas for outlandish beasts and tranquil parks as fields of battle resemble the disruption Queen Elizabeth’s touring court may have caused as it descended upon a rural idyll. Scout groups and those who maintain period houses are sometimes thrown out of their depth by individuals who instead of demanding TV and phone facilities, ask if they can build a fire in the portico or drape lights from the hedges. Public liability insurance is only offerred by a small number of firms, for while injury in service of entertainment to Queen Elizabeth may have brought honour on a family, a dog-walker slipping in treacle placed to represent eldritch gloop is more likely to make claims for any subsequent accident.
In summary, while it is valuable and interesting to identify the links between LARP and similar historical activities, it is important to recognise that one of the features of LARP lies in a very inward-facing community, carefully trying to limit the accidental incursion of their world into that of passers-by. Compare this to the inclusive agenda of the historical pageantry and even of modern day contemporary art, which aims to affect others, LARP is focussing on affecting ourselves.
All examples drawn from personal experience. The usual disclaimers regarding my personal point of view apply.