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GNARRGreat North American RV (Recreational Vehicle) Rally
References in periodicals archive ?
By constructing these absurd discourses, Gnarr plays on the efficacy-entertainment braid, which Schechner constitutes between ritual and theatre.
During the heyday of the Mayor's activities on Facebook, Gnarr communicates in an intimate tone, giving his Facebook followers insight into the life of a newcomer to municipal politics: 'This work day is finished.
During these first months of the Mayor's Diary, Gnarr keeps blurring the boundaries between the cultural and the political, constituting networked post-bourgeois hybrids in which matters that are traditionally dealt with by decision-taking strong publics merge with opinion formations amongst weak publics.
As mentioned above, Gnarr is initially active and responsive in his communication on the Mayor's Diary.
In these cases, it is Gnarr who is in charge as a performer using similar communicative means as he did during the election campaign and playing deliberately upon Schechner's account of theatrical entertainment.
However, as with other activities on the Mayor's Diary, these diminish as time passes, and when they occur, as for instance during Gay Pride 2012, at which Gnarr performs in the guise of a Pussy Riot member, the response is neither as vast nor as affirmative as it had been earlier.
At first, the Best Party, and in particular the Mayor Jon Gnarr, managed to adapt its communicative tactics from the election campaign to the Mayor's Diary on Facebook.
Gnarr, however, initially managed to 'tame' its functionalities in order to frame his performances--a tactic that initially worked well while the communication concerned issues that traditionally belong to the cultural public spheres.
Much of the joy of the film is the relentless irritation Gnarr causes the "serious" politicians of Reykjavik, who really don't know how to deal with him: They can't possibly match him for silliness, but they can't take too high a road, either, for fear of being pegged as snobs.