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set of challenges that are not so prominent in other domains. This section discusses the most critical of these challenges. 4. Establishing a Common Vision The ? st step towards bringing an interactive storytelling experience into a cultural institution is establishing a common vision between the domain experts and the creative industries involved in the production of the envisioned experience. Museums are often perceived as guardians of our historical memories and as such may be reluctant to experiment with the presentation of the factual evidence in order to facilitate more engaging storytelling experiences. Even the inclusion of ? tional characters, especially in main roles in a story, can become a major challenge, and authors can be asked to make compromises so that the characters they design can be approved by the domain experts. This constant controversy between “facts” and “? tion” is one of the main challenges for the full introduction of interactive storytelling in cultural heritage digital experiences. At the moment there are very few, if any, experts in storytelling for heritage who can claim expertise in this art form, applied in real world contexts, beyond particular specialty Applying Interactive Storytelling in Cultural Heritage 607 research themes. All authors should be made aware through an appropriately presented conceptual framework of the characteristics, challenges and limitations of the mobile interactive storytelling approach and establish early on their objective, taking into account the institutional needs and budget. A relevant, overlooked issue in the domain of heritage is that of genres and their relation to offering personalized content to the users. The entire movie, book and videogame industries are built around genres and services like Netflix have minute data on people’s speci? genre interests that allow them to develop niche shows perfectly tailored to their audiences (Madrigal 2014). All involved experts need to be trained not only in the use of possible authoring tools, but also in the overall authoring methodology—even in the simple notion of the need for interaction in the plot level and branching narratives. This may be especially true for cultural heritage professionals who are less familiar with the affordances of digital tools (interaction, non-linearity), and hence might require some initial guidance to assimilate them in their interpretative practices. Concrete guidelines, in different forms for different uses, should be available to support ideation, design and development. They consider them very convenient not only as design tools, but also to convey easily the idea that a particular image, narrative style, subject, character, or story part may be interesting for one visitor category but irrelevant to another. Thus, personas feature among the design tools available to the author when compiling a story.

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“Music in the Symphony of Basque Identity Maintenance: Jim Mallea Jausoro. Euskonews 216. Accessed online on January 10, 2016. Totoricaguena, Gloria. 2000. “Celebrating Basque Diasporic Identity in Ethnic Festivals: Anatomy of a Basque Community: Boise (Idaho). Revista Internacional Estudios Vascos 45 (2): 569-598. The participants of this roundtable focused on four different testimonies by two Britons, Katharine Atholl and Florence Farmborough, one Canadian, Ted Allan, and one Irishman, Peadar O’Donnell. They offered different views of the Spanish Civil War, from the Republican and the National sides, and employed different rhetorical strategies to convey ideas, emotions and experiences about the Spanish conflict. Keywords: Spanish Civil War, Katharine Atholl, Florence Farmborough, Ted Allan, Peadar O’Donnell ——— 1. Although the literature on the history of this conflict is abundant, many documents, chronicles, newspaper articles and written accounts have yet to be studied. These either lie neglected in archives or document collections of difficult access or came to light during the war years, enjoyed immediate success, but were never published again and consequently never came into the hands of the Spanish readers. The content of this contribution is the result of a round table which discussed the interim results of a research project currently under way at the University of Alcala to recover that kind of testimonial material written by English-speaking intellectuals about the Spanish Civil War, with a view to providing specialists and general public alike with a range of critical editions of first-hand accounts of the war. This series of critical editions is the result of the combined efforts of various members of a research group working at the University of Salamanca under the leadership of Professor Antonio Celada. A third and enlarged edition, with revisions, additions, new maps and an index was issued in September 1938. Its author, Katharine Marjory Ramsay, Duchess of Atholl, was at the time MP for the Conservative Party (then known as the “Unionist Party” in Scotland) for Kinross and West Perthshire, Scotland. She was extremely conservative in her views about feminism (she opposed the female vote and the suffragettes’ movement) and was also firmly anticommunist. Her knowledge and travels in central and eastern Europe made her aware of the rise of Nazism, so that she became an anti-fascist who strongly disapproved of the official British policy of appeasement towards Hitler and Mussolini. She also visited the Madrid front, prisons, shelters, orphanages and hospitals. Arturo Barea depicts her and the other MPs in the third part of his novel, The Forging of a Rebel.

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Robot Chicken. Kentucky Fried Movie. In Living Color. MADTV. The Muppet Show. The joke is the basis of all comedy, be it one-liner, pun, wordplay, quip, pointed comment or witty riposte. The joke is elegant and simple, a combination of the set-up, which contains only the information required for the joke, and the punchline, which ought to be as brief as possible and must contain the element of surprise and thwarted expectation. From an early age we get used to the rhythm of jokes. Goldilocks samples three beds and three bowls of porridge. This creates the progression of set-up, confirmation and twist and introduces the element of surprise, a comedic mainspring. He knows the result is coming but the fun lies in delicious anticipation. If a joke is poorly written or timed (or is a pun), it conjures a groan. If it is smart, it gets a smile and a peal of laughter. A comedian never watches but listens to his audience, timing his delivery by their response. Stand-up is like waves that ebb and flow: as the joke reaches back to the rear of the room, the next one is already coming. If they don’t, you have to re-write, re structure and edit or simply drop it. Sketches, when performed live, can be honed in this way, as was the work of the Second City Comedy Troupe (1959 onwards) or in the UK, The League of Gentlemen as well as the numerous sketch groups who attend the Edinburgh Fringe festival each year. In the UK, short form or sketch is known as broken comedy. There is no narrative, only one set and scene and the comedy is self-contained. It is a single comic idea, with no more than two speaking parts.