I’ve revised the outline in some small but significant ways. In particular, the last few chapters now have better focus. The subsections aren’t entirely sorted out, but the overall structure now looks like this:
- Introduction: basic thesis, how the argument differs from previous discussions of online performance and online RP, how my approach to understanding theater differs from earlier ones, and the stakes for theater studies.
- Descriptive introduction to role-playing and virtual worlds: brief history of RP (tabletop, larp, shooter, VW), description of certain concrete aspects of online RP, overview of RP’s “best practices,” similarities and differences with theater as conventionally understood.
- Online role-playing and its two homologies with social ontology: social ontology, organizational ontology, theatrical homology.
- Embodied collective reflexivity: embodied collective reflexivity has a trichotomous nature.
- Reflexivity and theater: embodied collective reflexivity corresponds with theater’s social ontology, providing a definition of theater in socially functional terms.
- Breaking the rules: certain RP genres (e.g., erotic RP, Gor) break the usual rules of RP; this seems to challenge my definition of theater, but in fact underscored its connection to larger social structures.
- Online RP in sociohistorical context: sociological and socio-structural aspects (including the question of theater and social change), political-economic aspects, historical aspects (including RP’s relation to the communication practices).