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Previous issue date: 2014-08-28 === This thesis proposes to observate the contradctions and effects of the idea of interactive narratives, focusing on audiovisual and electronic forms. We understand that this is an heterogenous and difuse object, that moves along films, cybertexts and electronic games, among others. But the opposition between narratives and interactivity in the form of an oxymoron should not stop us from going beyond the dicotomic paralysis and observating this junction on theory and practice. In in, we will see a board of tensions that may help thinking about interactive narratives as a paradigmatic experience: a metaspace that defines meaning and is surrounded by a magic circle of games, narrative structure and interactive systems. In this space, the interactive narrative experience is influenced by the forces of contraction and expansion that result in effects of choice, control, illusion, simulation, action and identity. As a method of study, our theoretic framework relates to the practical objects, which in turn relate back to the theory, as an abductive method. First, we oppose the themes of narrative as found in Genette (1976), Chatman, (1993), Culler (1997) and Gerbase (2004), as well as the processes of identity in the cinema as in Aumont (1995), opposing them to the concepts of interactivity in Primo (1998; 2007), Rockwell, Bradley e Monger (1999), and Lemos (1997). The critical defense and attack of the idea of interactive narratives are brought to the table with Crawford (2004), Aarseth (1997) and Cameron (2010). We then choose a direction among the oppositions by taking on game theory in Caillois (1990), Huizinga (1955), Juul (2005; 2013), Salen e Zimmerman (2003), Bogost (2006), Koster (2010) and Sicart (2012). The idea of a paradigmatic experience becomes complete, then, with the help of Jakobson (2003). At last, our tension board that came from theory moves along to the interactive narratives as found in the real, practical world, so that we can visualize the moving concepts in different cenarios, not only applying the theory but expanding it. Our main objects in this phase are A Gruta (Filipe Gontijo, 2008), HBO Imagine (Biscuit Filmworks, 2009), The Sims 3 (Maxis, 2009), The Lost Experience (ABC, 2006), and Alan Wake (Remedy Entertainment/Microsoft Game Studios, 2010). The conclusions of our thesis indicate that it it possible to go beyond the radical opposition between narratives and interactivity in order to understand a movement of contraction and expansion between the text and the interactor, within a system that creates an experience of controled freedom in which narrative is a performance of and with a structure. === Este estudo prop?e observar as contradi??es e os efeitos da ideia de narrativa interativa no recorte do audiovisual e formas eletr?nicas, compreendendo que este ? um objeto heterog?neo e difuso, que passa por filmes, cibertextos e jogos eletr?nicos, entre outros. Mas a oposi??o entre a narrativa e a interatividade na forma de um ox?moro n?o impede que superemos a paralisia dicot?mica e observemos este encontro na teoria e na pr?tica. Nele vislumbremos um quadro de tens?es que pode ajudar a pensar as narrativas interativas como uma experi?ncia paradigm?tica: um metaespa?o de significa??o cercado por um c?rculo m?gico de jogo, estrutura narrativa e sistema de intera??o. Nesse espa?o, a experi?ncia da narrativa interativa ? marcada por for?as de contra??o e de expans?o que resultam em efeitos de escolha e controle, ilus?o e simula??o, a??o e identidade. Na proposta metodol?gica do estudo, o quadro te?rico se relaciona com o recorte pr?tico que retorna ?s teorias, na forma de abdu??o. Primeiramente s?o opostos os temas da narrativa em Genette (1976), Chatman, (1993), Culler (1997) e Gerbase (2004), al?m dos processos de identifica??o no cinema em Aumont (1995), opostos aos conceitos da interatividade em Primo (1998; 2007), Rockwell, Bradley e Monger (1999), e Lemos (1997). A defesa e a cr?tica das narrativas interativas perpassam Crawford (2004), Aarseth (1997) e Cameron (2010). Buscamos uma dire??o para as oposi??es na teoria dos jogos em Caillois (1990), Huizinga (1955), Juul (2005; 2013), Salen e Zimmerman (2003), Bogost (2006), Koster (2010) e Sicart (2012). A ideia da experi?ncia paradigm?tica se completa ent?o com Jakobson (2003). Por fim, o quadro de tens?es que ? elaborado a partir da explora??o te?rica move-se para a narrativa interativa no ?mbito da produ??o pr?tica, a fim de perceber a movimenta??o dos conceitos em casos diversos, aplicando e expandindo o modelo te?rico. Os principais produtos observados s?o: A Gruta (Filipe Gontijo, 2008), HBO Imagine (Biscuit Filmworks, 2009), The Sims 3 (Maxis, 2009), The Lost Experience (ABC, 2006), e Alan Wake (Remedy Entertainment/Microsoft Game Studios, 2010). As conclus?es do estudo indicam que ? poss?vel superar a oposi??o radical entre narrativa e interatividade para compreender um movimento de contra??o e expans?o entre o texto e o interator, em um sistema que cria uma experi?ncia de liberdade controlada em que a narrativa ? a performance de e com uma estrutura.
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