A postmodern analysis of these multiple discourses reveals the marginalized voices and excluded stories of darker side of the Disney legend.Tamara, a play that is also a discursive metaphor, is used to demonstrate a plurivocal (multiple story interpretation) theory of competing organizational discourses.") has more than one answer, there are contrary stories about Walt Disney and the so-called Magic Kingdom that do not fit the universal tale of happiness.
No audience member gets to follow all the stories since the action is simultaneous, involving different characters in different rooms and on different floors.
At the play, each audience member receives a "passport" to return again and again to try to figure out more of the many intertwined networks of stories.
This research goes behind the artful and managed happy constructions of the Disney storytelling enterprise to reveal a darker side: a Walt who was a tyrant, the crafting of an official history out of multifaceted reality constructions, the excluded voices of former employees, and exercises in story surveillance.
In the past, management theorists have written stories without attention to plurality and economic context.(1) As writers, researchers are therefore complicit in marketing the happy kingdom stories to their readers.
It is Italy, January 10, 1927, in the era of Mussolini.
Gabriele d'Annunzio, a poet, patriot, womanizer, and revolutionary who is exceedingly popular with the people, is under virtual house arrest.
Walt Disney enterprises are theorized as a storytelling organization in which an active-reactive interplay of premodern, modern, and postmodern discourses occur.