Abstract
It is impossible for a play that is performed in-theatre and with a sedentary audience to have multiple scenes transpiring simultaneously. In contrast, in the Tamara-Land plays, scenes are played on multiple stages with the audience moving freely between rooms, selecting acts that are of interest to them, and chatting with passers-by in corridors to catch up on missed expository. Most organizational cultures typify Tamara-Land scenarios. In other words, discourses occur in multiple settings and with multiple audiences making it impossible to witness and/or participate in polyphonic conversations. The crux of this paper contends that organizational behaviour can be understood through storytelling venues in order to discover and uncover simultaneity. However, to date, a framework for understanding the infinite permutations that lead to these parallel discourses has been underdeveloped. This paper utilizes a model comprised of four ‘love systems’, seven differing antenarratives, and four forms of consciousness. It updates prior works describing Tamara-Land and antenarrative processes. Because of the model’s complexity, two case studies will be provided to aid in its understanding.