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As they completed their scene, they each wandered off into different rooms, leaving the audience, myself included, to choose whom to follow.As I decided which characters to follow, I experienced a very different set of stories than someone following another sequence of characters.
The happy stories organization members tell about themselves are as artfully constructed and as carefully edited as their legendary characters.
But just as the question of the Wicked Witch in the film Sleeping Beauty ("Mirror, mirror on the wall who is the fairest of them all?
Tamara cannot be understood in one visit, even if an audience member and a group of friends go in six different directions and share their story data.
Two people can even be in the same room and -- if they came there by way of different rooms and character-sequences -- each can walk away from the same conversation with entirely different stories.
In Hollywood, a play called Tamara puts the audience in a special relationship with an experimental fiction.(2) In Tamara, Los Angeles' longest-running play, a dozen characters unfold their stories before a walking, sometimes running, audience.
Tamara enacts a true story taken from the diary of Aelis Mazoyer.
Previous research has not explored the multiplicity and contentiousness of collective storytelling processes.
This question also speaks to important and timely concerns that organizational theorists are raising regarding the need to craft organization theories on the basis of linguistic (e.g., text, novel, discourse, conversation), rather than mechanistic and organic metaphors (Hatch, 1993; Hazen, 1993; Kilduff, 2993; Thatchenkery, 1992).