Role of the guide in dramatized touring
In this option, the guide may contribute even at the preparatory stage by (co-)creating the scenario (as an author, historical consultant, advisor in matters related to sites). Then, during the actual tour the guide may (and usually does) play the main part (the protagonist of the story), or he/she may take over the part of one of the characters in the scenario, at some point “giving up” the part of the narrator, and join the plot as it is executed by the remaining members of the crew. This happens mainly if the storyline-based component constitutes only a part of the tour, which besides that is carried out as sightseeing with a guide wearing period clothes. In a situation when other actors play the participants of events, the guide may also continue as a narrator (and then he/she can be made up as a chronicler or witness of the events). In an advanced type of dramatized tour the guide may be a “neutral” observer, unobtrusively supervising the progress in the scenario and prompting the participants to play their parts (so in a way operating “from the crowd”). In the latter case, if the visiotrs in accordance with the tour scenario are expected to perform some tasks, the guide may also take on the role of an “expert” helping the group in dealing with such challenges.
Skills useful for the guide
In addition to acting skills (which do not necessarily have to surpass the ability to play a part at amateur level) as well as good memory for longer texts (e.g. original historical statements), which are included in the scenario and have to be quoted literally, obviously of major importance here is the guide’s ability to work in a team. Because of the interactive nature of most dramatized tours (permitting for or even designed to include dialogue with visitors and their questions) it is necessary to be able to spontaneously improvise and have a well-trained skill to use a stylized (archaic) language. It is necessary in order to “stay in character” during a conversation or a longer statement, outside the scenario, in response to visitors’ queries. On the other hand, during tours where the group is involved in ways other than just a verbal exchange (e.g. by participating in certain activities or assuming roles) the guide will need an ability to use techniques for prompting the groups’ involvement, for instance such as those employed by instructors conducting educational workshops for groups. The aforementioned list of skills, far exceeding the abilities usually expected from guides, shows it is necessary to either expand their training by introducing a specialized module, in all the places where dramatized tours are on offer as an urban tourism option, or to organize special workshops to provide training for those guides who are willing to conduct such tours.
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