August Barrington's Journal

5th May 2064

Barrington expresses growing frustration at Wayfinder’s refusal to follow conventions. He claims that literature and performance should not be puzzles, and that audiences should not be forced to "decode" meaning. He attempts to impose order, but finds inconsistencies and contradictions in the text.

Yes.

The Wind /
The Daughter

This Way Up

An EP of music reflecting on a life lived in joy, in anger, in regret. These are the memories made along the way.

Dance

Footnotes & References

  • Core Theoretical Foundations:

    1. Joseph Campbell – The Hero’s Journey (Narrative arcs should be universally recognisable).

    2. David Mamet – Three Uses of the Knife (Conflict, progression, and resolution are necessary).

    3. Sam Smiley – Playwriting: The Structure of Action (Theatre must have a logical structure for audience comprehension).
    4.  

  • Critical Debates and Counterarguments:

    1. Deleuze & Guattari’s Rhizome Theory – Narratives do not need a singular, linear progression.

    2. Schechner’s Performance Theory – Live performance is fluid, adaptable, and anti-structural.

    3. Hypertext & Digital Literature – Interactive storytelling redefines linearity.

  • Empirical Studies & Case Studies:

    1. Stanislavski’s Method – Actor’s objectives must follow a clear arc.

    2. Freytag’s Pyramid in Classical & Modern Drama – A universally accepted storytelling tool.

    3. Audience Comprehension Studies – Disrupted narratives lead to confusion, not engagement.