Experiments with the theatrical Greek chorus as a model for interactions with computational narrative systems - Narrative Intelligence - page 176

An important assumption is that the psychoanalytic tradition has helped to
articulate processes of human thinking that need not, and often should not, be
considered pathological. Many of the cases reported in the literature describe
reasonable responses to unusual situations. Furthermore, Winnicott (1971a, b)
and Fairbairn (1963) are careful to note that they believe the particular behav-
iors and thinking patterns cited here (i.e., the use of transitional objects and the
phenomenon of object-splitting) to be among normal human developmental
processes.
A similar qualification has to be made for the reference to Piagetian re-
search. We move beyond Piaget's early notion of stage theory to approaches
of post-Piagetians who focus on individual differences and the importance of
social context in learning (Turkle & Papert 1992; Harel & Papert 1991).
Another assumption concerns the use of physical objects as devices facil-
itating interactions with computational systems. It would be problematic to
assert that a physical object can be designed so particularly as to be obviously
suited to a specific purpose: Norman (1988)'s thesis is countered by discus-
sions of the bricoleur who collects objects and adapts them to various purposes
as the need arises; the purpose may very well differ from that for which the
object was originally designed (Levi-Strauss 1966; Pirsig 1974/1984; Turkle &
Papert 1992). This human capability to reinvent mandates allowance of a range
of creative, unpredictable uses for any given object, but does not deny that an
object may indeed also be useful for whatever purpose its designer may have
intended or desired. The rudimentary design principles considered here rely
on variability of taste and concept as different people choose and use objects
for interactions with narrative systems. Nevertheless the range may also in-
clude commonalities of interpretation among interactors. Both results would
be useful and potentially interesting.
The theatrical chorus
Forms of dramatic chorus appear in contemporary works of various cultures.
In performances by Ladysmith Black Mambazo, for example, the chorus ad-
dress audience and actors, providing both narrative continuity and musi-
cal entertainment. In the film Little Shop of Horrors (Oz 1986), a chorus of
singer/dancers appears from time to time, amplifying story events and char-
acters' emotional states. Another film, Annie Hall (Allen 1977), embodies a
chorus-like function in textual commentary rather than personifications. In
the balcony scene, Annie and Alvy chat about wine and tennis while a lit-