Corso Di Laurea Magistrale in Antropologia Culturale, Etnologia Ed Etnolinguistica

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Corso Di Laurea Magistrale in Antropologia Culturale, Etnologia Ed Etnolinguistica Corso di Laurea magistrale in Antropologia Culturale, Etnologia ed Etnolinguistica Tesi di Laurea “Avevamo in mente interi universi” proposta di analisi socio-culturale ed etnografica del gioco di ruolo analogico contemporaneo Relatrice / Relatore Ch.ma Prof.ssa Franca Tamisari Correlatrice/Correlatore Ch.ma Prof.ssa Valentina Bonifacio Ch.ma Prof.ssa Donatella Schmidt Laureando Marco Turci Matricola 826746 Anno Accademico 2018 / 2019 1 Indice Indice.................................................................................................................................2 1 Introduzione...................................................................................................................5 Incipit: come ho smesso di avere paura e ho iniziato ad amare il “ruolo”......6 Una breve panoramica...................................................................................11 Questioni di metodo e posizionamento..........................................................13 2 Contestualizzazione.....................................................................................................21 “What is a Role-playing Game, anyway?”......................................................21 Il Gioco di Ruolo come fenomeno culturale complesso................................26 Precursori e origine del gioco di ruolo analogico..........................................27 Il contesto culturale delle origini....................................................................34 Una “subcultura” in ascesa.............................................................................37 “Dungeons&Dragons, or: What's Next?”........................................................39 Diversificazione e diffusione transnazionale: anni '80 e '90...........................46 Giochi di ruolo e società: problemi di comunicazione...................................54 Anni '90 e 2000: contrazione, rinascita ed esplosione....................................58 Saturazione e produzioni indipendenti: dal XXIº secolo in poi.......................63 3 Stato dell'arte................................................................................................................70 Prospettive principali di studio sul gioco di ruolo analogico...........................70 2 Studi socio-culturali sul gioco di ruolo in Italia...............................................71 Studi accademici sul gioco di ruolo di provenienza anglosassone...................75 Specialisti adatti a un panorama variegato.......................................................78 Racconti semi-biografici, raccolte storiche e fanzines.....................................82 4 Questioni teoriche: una cornice interpretativa..........................................................86 Concetti per un'analisi contestuale: l'ambito del “tempo libero”.....................86 Pratiche e materialità in prospettiva interazionista.........................................94 La nozione di "campo" di Bourdieu.................................................................99 . Fenomenologia del gruppo di gioco di ruolo analogico..................................100 5 Etnografia......................................................................................................................104 Considerazioni programmatiche......................................................................104 Prima scena: 09/03/2017 D&D: en plen air.....................................................105 Seconda scena:D&D OPEN: “Gangs of Waterdeep”......................................112 Un tavolo, una mappa, sette dadi, un foglio e una matita...............................118 Creazioni: Narratori e Giocatori......................................................................126 Serata a tema col signor Lovecraft.................................................................163 5 Analisi e conclusione....................................................................................................168 Le cornici discorsive e la fenomenologia del “setting”................................168 3 Il ruolo delle “informazioni” nella costruzione discorsiva sul e nel gioco..170 Appendici e strumenti.....................................................................................................172 Breve glossario ludico.....................................................................................................172 Gruppi di gioco................................................................................................................175 Trascrizione delle interviste............................................................................................182 Intervista a Dario del 10-07-16 …..............................................182 Intervista del 27-9-16 . Casa di Dario..........................................198 Intervista 15/7/16 ore 16.30 ca. Casa di Andrea..........................204 Intervista ad Andrea M. del 29-9-16............................................220 Intervista ad Eric del 08/02/17.....................................................225 Intervista ad Alvise del 17/03/2017.............................................237 Intervista a Giorgio 10/5/2017.....................................................246 Intervista a Walter del 23,24,25/5/2017......................................255 Intervista a Marco del 07-06-17...................................................277 Intervista a Davide del 13 ,14 e 15 ago 2017 …...........................280 Intervista ad Eric su Messenger del 08/05/2017...........................283 Illustrazioni..................................................................................287 Bibliografia..................................................................................293 4 1 Introduzione La mia intenzione sarebbe quella di proporre una tesi, di taglio antropologico, su un fenomeno abbastanza singolare della contemporaneità: il gioco di ruolo nella sua forma analogica, ossia priva di supporti digitali e basata interamente sulla relazione dialettica fra più giocatori che vestono i panni di un personaggio inventato e un giocatore (genericamente sempre presente) che si occupa di condurre le scelte degli altri e portarne a compimento gli esiti meccanicamente tramite lancio di dadi o altri elementi randomici o dialetticamente; il tutto in un setting stabilito: in genere una stanza con tavolo e sedie. Il fenomeno, apparentemente semplice, nasconde, a mio parere interessanti collegamenti con la configurazione culturale odierna dell'ambito del tempo libero e una capacità generativa di universi simbolici densi, che, per mezzo dei canali informativi scritti e digitali della contemporaneità, ha tutte le facoltà per divenire un medium creativo fondamentale. La sua intrinseca ricchezza culturale ha prodotto, naturalmente, una sempre maggior rilevanza, grazie a contaminazioni accademiche che coinvolgono, nel bene e nel male, quasi tutte le scienze sociali, ma soprattutto quelle impegnate in un'analisi fenomenologica ed essenzialmente qualitativa, come l'antropologia culturale, la micro-sociologia e la sociologia della cultura, tutte discipline interessate ad approfondire, appunto, fenomeni complessi e in diffusione. Non sorprende, pertanto, come la ricerca sociale sul gioco e sul gioco di ruolo, si sia focalizzata soprattutto sulla produzione creativa e dell'industria e, dunque dei prodotti della cultura contemporanea del consumo, e degli usi che i consumatori ne operano: vorrei, pertanto, arricchire tale prospettiva, mostrando come, in piccoli gruppi correlati da relazioni amicali più o meno strette, che svolgono nel “tempo libero” la stessa attività di gioco, si generino, attraverso complessi riferimenti a universi simbolici e culturali e pratiche strutturate, nuove configurazioni creative ed espressive, sicuramente positivamente coinvolgenti. Per farlo, mi servirò di una serie di accorgimenti teorici e metodologici, che ho maturato nel corso della mia esperienza di studio del corso di laurea magistrale in antropologia e che ho potuto costruire anche grazie all'inserimento nel curriculum di esami abbastanza eterogenei che mi legavano a doppio filo con i miei studi di triennale in lingue e culture contemporanee dell'Asia orientale: studi culturali e storia del cinema e dei media del Giappone, corso che mi ha senz'altro permesso di entrare in contatto con il mondo della teoria critica, della semiotica, ma soprattutto degli studi culturali e delle prime teorie sociali della cultura. In essi e nei loro sviluppi contemporanei, ho trovato la giusta ispirazione per poter coniugare il mio interesse per gli aspetti tremendamente “banali” della vita sociale e lo sguardo totalizzante dell'antropologia, che indaga il proprio ambiente culturale di appartenenza da prospettive cariche di “incantamento” e che pertanto si proporrebero di illustrare le interazioni in gruppi di quasi coetanei, in 5 fasi affatto interessanti di aggregazione e divertimento. Mi è parso fin da subito, infatti, che si prestasse sempre troppo poca attenzione, nell'ambito degli studi antropologici, all'ambito del “tempo libero” e che lo si facesse, quasi sempre, in un'ottica esotizzante: come ci si diverte, rilassa o come si ozia all'interno di pratiche culturali Altre rispetto a quelle, genericamente intese, dell'Occidente euro-americano? Ora, a parte l'infelice riproposizione di lontananze, mai del tutto problematizzate, come l'esotizzazione e le pratiche di costruzione cognitiva dell'”Altro”, genericamente inteso come inconciliabile e proiezione di desideri repressi
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