Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories

TLDR: In this article, the pervasiveness of storytelling in theme parks and the theme park as a distinct narrative medium is examined. And the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique.

Abstract: This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. This was accomplished using a mixed methods approach drawing data from interviews with creative professionals, archival research, fieldwork, and an analysis of more than eight hundred narrative attractions. The survey of narrative attractions revealed the most common narrative expressions to be dark rides and stage shows. Source material tends to be cultural tales (legends, fairy tales) or intellectual properties (generally films). Throughout major periods and world regions, setting, scenes, and visual storytelling are the most ubiquitous narrative devices. Three dozen techniques and technologies are detailed in this project. Significant impetuses for narrative change over time are the advent of technologies, formalization of the industry, explicit discourse on storytelling, formation of design philosophies, and general convergence of media. There are at least a half dozen key distinctions in theme park narratives compared with other mediums: dimensionality, scale, communality, brevity, a combinatory aspect, and a reiterative nature. Also significant is that creative professionals view themselves as storytellers, purposefully design with narrative systems, embed them in spaces, and participate in public dialogue surrounding narrative and design principles. This study was initiated to expand the literature on emerging media and narratives within the Texts and Technology approach and to fill a gap in the scholarship, as designer standpoint is rarely considered in analysis. This is the first large-scale study of storytelling in the global theme park industry. It uses underrepresented creative voices as participants and recognizes their contributions as storytellers. Finally, the project lays the groundwork for future inquiries into theme parks as storytellers and spatial narrative mediums.