") 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.
My purpose was to form a theory about this storytelling organization, use postmodern analyses to resituate the excluded stories and voices, and then analyze their relationship to the dominant legend of an official, happy, and profitable Disney studios.
In Hollywood, a play called Tamara puts the audience in a special relationship with an experimental fiction.(2) In Tamara, Los Angeles' longest-running play, a dozen characters unfold their stories before a walking, sometimes running, audience.
Tamara enacts a true story taken from the diary of Aelis Mazoyer.
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.
As they completed their scene, they each wandered off into different rooms, leaving the audience, myself included, to choose whom to follow.
As I decided which characters to follow, I experienced a very different set of stories than someone following another sequence of characters.
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.