Urban quest
Questing involves active search and exploration, and in the context of leisure activities discussed here, it can also be defined as tourism with riddles [Wilczyński, 2011, p. 55]. The definition, adopted in Poland, for this type of tourist activity describes questing as a method of exploring the heritage of a location in which unmarked itineraries are designed to be visited following clues contained in (rhyming) prompts [ Questing, www 2013 ]. The main purpose of organizing adventure quests for visitors to and residents of a given area is to provide them with an opportunity to explore (or rediscover) the region through unique features and stories related to the local heritage, both natural and cultural. It is assumed that those participating in a Quest perform activities on their own therefore the role of a guide possibly involved in this form of touring is very limited. Yet, he or she can be engaged at the stage of organizing the Quest. The six preparatory stages distinguished by Wilczyński [2011, p. 56] include three to which a guide could make a significant contribution based on his/her knowledge, namely: selection of locations and leitmotiv (3), design of the quest, preparing the narration (5) and research (6) related to potential locations (and sites) of the Quest (in the latter he/she could be used as a source of various information). Then, in the course of such activity, if specific parts of the Quest are designed to include meetings of participants, and interviews with or acquisition of information from people, an adequately prepared guide could successfully take on a role of an authentic (e.g. ingenious) informant and play the part with possible additional elements. The latter could involve for instance bits of storytelling. This is a technique which in modern interpretation of heritage, utilizes narration based on personal involvement, representing ancient and basic structure of human experience, communication, and more broadly thinking. It brings the storytellers point of view (clearly defined by the first person narration of a witness or authentic intermediary) into the teaching or learning process [Rositer 2002].
Questing corresponds with the increasingly popular practice called gamification, i.e. designing an educational process by drawing on or even utilizing games, which is supposed to positively affect students attitude to the subject and to learning, their involvement in and effectiveness of the learning process. Mechanisms known from games, e.g. incentives such as competition, scores and prizes, are employed to motivate those participating in educational process for long-lasting and repeatable effort [Kapp 2012, pp. 4-11]. By using this approach for the needs of urban tourism it may be possible to additionally boost its further growth and enhance its appeal for young people who grew up not only playing games but also in a school environment increasingly often applying games in the teaching process.
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Application: There are numerous examples of urban quests in Polish cities and towns, and their references can be found on the aforementioned website [ Questing, www 2013 ]. Potentially, this option can be introduced in all locations, yet it seems particularly suitable for smaller towns where, because of only few typical cultural landmarks, conventional sightseeing is less attractive and a shortage of permanent facilities and staff providing services for tourists makes it difficult to organize a regularly offered urban game (as it requires supervision and evaluation). Designed once, a Quest can be repeated even by only one participant, it can also be on offer in special moments (such as: urban festival, convention designed for those interested in a given subject matter, anniversary of an important event, etc.). Similarly in larger towns, where organization of urban games or dramatized tours would not be considered economically viable, the option could also be offered on such special occasions, particularly during one-time events.
Dramatized tours
As a result of the growing popularity and a simultaneous lack of in-depth knowledge concerning this form of sightseeing, a number of options, which have emerged, use this trendy term even though they do not have much in common with the essential features of the service. Due to this, first of all a description of dramatized tours should make a precise distinction between this and a number of other similar options using its specific elements. Afterwards, the features typical for proper dramatized tours will be listed, and that will be performed in the form of definitions.
What is dramatized tour?
The terms used for describing the service1 in various languages show its primary feature. The expression used in this context in English is adventure performance or adventure city tour , in German it is: Erlebnisführung (experience-oriented guiding). The previously analyzed tour options described by this term confirm that the necessary components include: 1. storyline following a pre-designed scenario, 2. historical stylization of characters (their clothing and most frequently language) and often the setting, as well as 3. sightseeing, i.e. active site exploration engaging the participants to a varying degree. Hence, this can be a form of sightseeing, which at some point involves watching a scenario incorporated into the itinerary.
Therefore, taking into account previously published reviews [Mikos v. Rohrscheidt 2011, p. 145-147; Urbanowicz 2011] including case studies and options listed there, as well as the aforementioned programs of the proper dramatized tours it is possible to define this form of sightseeing as theme-oriented guided-tour of a town/village or landmark, incorporating elements of historic or thematic stylization, following a carefully designed scenario which comprises e.g. staged presentations of events and one or more forms of activity to be performed by the visitors, and linked with their attendance at consecutive locations of the tour.
The typical methods for interpreting the heritage and related sources applied in this form of sightseeing include: first-person narration delivered by one person, acting out scenes in accordance with a defined scenario, spontaneous modification (elaboration of the scenario) jointly with participants but under the supervision of performers. Other tools used here include: period clothes and language, historical layout of places (most frequently interiors designed for acting out the scenes), multi-sensory components (pieces of music, recorded texts, historical meals, etc.), use of copies of documents and other exhibits, use of multimedia for presentations (e.g. focused lighting, characteristic sound). Less frequently, visitors are also assigned with tasks to be performed during the tour (introducing competition).
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