Queer youth enactments of agency, resistance, and worldmaking have been under researched in rhetorical studies. Investigating how queer world making for youth takes place at a space entitled Camp Half-Blood, a live action role playing (LARP) fantasy camp for ages 8-18, this study contends that queer youth at Camp Half-Blood utilize Burke's equipment for living, disidentifications, queer relationality, and queer hope as embodiments that create queer lifeworlds and mobilize queer campers toward queer livable futures. By interviewing campers on their perspectives of being queer at camp and the impact LARPing had on the creation of queer youth identity, as well as the ways LARPing and camp affected queer youth camper envisioning of the future, this research maintains that queer youth have the potential to utilize LARPing in radical ways to revise (cis)heteronormative and hegemonic understandings of their social standings in the world. Camp Half-Blood also offers an opportunity to bring research on queer youth in fandoms from online spaces to offline spaces and extends research on youth agency and youth queer world making.

History can be experiences in many ways, it can be taught in schools, it can be studied by archaeologists in the field. It can also be done by reading historical fiction, and it can be experienced through walking a mile in an historical person’s shoes. Literally walking. This thesis focuses on the experiences of wearing a Legionnaire uniform during the historically inspired larp Legion, made by the company Rolling, in the czech republic. The thesis explores the physical experience of wearing a uniform in harsh winter terrain during this larp as well the emotional process a person goes through while in uniform during the larp The main questions of issue were:  * How does modern humans experience this kind of historical uniform in winter terrain? * What does the uniform do with the person wearing it?  The first question focused on the physical part of wearing the uniform, and the second question focused more on the emotional part of wearing it.  The data was collected by asking larpers who had attended the larp to fill out a survey containing questions about their experiences.  The analysis was done using Actor Network Theory, a theory which made it possible to see connections between the larpers, the terrain, the temperature, and the uniform itself. Maslow’s hierarchy of needs was also used to further analyse the data.  The results of this study show that there are many clusters of actors that play an important part of the experiences of wearing the uniform. The temperature was an important actor, as well as how the uniform erased differences between individuals making comradery a major part of the experience. Emotions of inner strength, confidence and calm were also important parts of what the larpers experiences when wearing the uniform.

In the postmodern, contemporary Western world of late capitalism, we dream of the Middle Ages. Medieval Fantasy, as an entertainment genre, supplements historical images of the Middle Ages with elements of myth in adventure stories featuring magicians, knights and ladies, castles, dragons, swords, and sorcery that are routinely consumed and absorbed. In some activities they are also played out physically. People dress up, utilise props, and affect their speech and mannerisms like actors in a theatre, conducting pseudo-ritualistic games of mimicry to make these images speak and move in the real world: live role-play. This thesis examines several organised examples of live role-play: Southron Gaard, a branch of the Society for Creative Anachronism based in Christchurch, New Zealand; larping, as represented by two documentary films, Darkon and Monster Camp, that document the activities of larping organisations in the USA; and 'Lord of the Rings Tour', a tourism trip from Christchurch to 'Edoras', a fictional location from Middle-earth, the fantasy world of J.R.R. Tolkien's The Lord of the Rings Novels and Peter Jackson's filmic adaptations thereof. These organised leisure activities provide platforms for the pursuit of active, physical involvement with the images and ideas of medieval fantasy. In them, participants find ways to bring these fantastic images and ideas onto their bodies in reality and, perhaps as a result, closer to their everyday lives in ways that have more significant social implications than may at first be apparent.

This thesis examines how trans people explore gender in live action role-playing games (hereafter: larps). It asks how larps function as spaces for gender exploration, in what ways trans people explore and express gender in larps, as well as how they make sense of, and articulate, this exploration and expression. In addition, the thesis has the secondary aim of exploring the use of larp design as an embodied data collection method. The research design consisted of the larp (Lost and) FOUND which was designed for the participants to play as part of the study, followed by a focus group interview as well as individual semi-structured interviews. The materials used in the thesis are the transcribed interviews as well as the larp. Four trans larpers from Europe participated in the study. They were all part of a specific larping tradition called Nordic larp. Through the design of the larp (Lost and) FOUND, as well as the theoretical and methodological work that underpins it, this thesis develops the method Research with Design, and situates it in relation to other research methods that include design practice. It argues for the method’s applicability beyond this study for research projects where participants’ recollection of and reflections on the research subject is of interest.  The analysis of the interview data suggests that the framing produced by the magic circle of a larp under the right circumstances can support trans larpers in exploring gender in larps. In addition, the thesis argues that validation from other larpers is important for positive experiences of gender exploration, and that such validation is intricately tied to matters of intelligibility. Finally, it illustrates the implications of larping being an embodied activity, by discussing how this simultaneously provides certain opportunities for gender exploration, while complicating others.