Yesterday's combination of stories was really lovely. Thanks to all. I was delighted to see how Val and Priscilla incorporated the sonnets. As you encounter prose and poetry, let them into your "body of tex.t" Sometimes the cutting of a poem, a line from a song, or a section of literature can help you finish out the story. Storytelling in that sense can be a form of collage, piecing together the events and the texts to create the whole picture. Priscilla's moving portrayal of her childhood trouble with mother and her adult appreciation of her mother was a beautiful example of pieces of memory put together to form a full story. You can do that too, Mi Ryoung!
It was interesting to see how the discourse evolved from Lorri's begining story. The ghost tale of the lost child and the father put a number of lines in motion: parent & child; death; fear for our children; fathers; mothers; love.... Lethan's whimsy was a nice counterpoint to Lorri's somber and whistful mood, yet he too was speaking of love, loss, and letting go. Ilene developed the theme of love and deserving, working with lines of sacrifice Lethan had begun. Beth amplified the question of service and sacrifice. Priscilla brought those all together as well as the more somber themes of death and loss that Lorri had introduced. But she brought us to a place of common ground with the recognition of the mother's gifts that brought her here. Val likewise picked up the loss of a parent as well as the crossing of many thgresholds ("firsts"0 weaving in the pieces of text to complete her story. Finally Kenny brought us all back to the present moment of parting, picking up the thread of air travel from Val and giving us a glimpse of the "human comedy" in which we are players, elevating the mood to one of celebration.
I am reminded of Rumi's parable of The Blind Men and The Elephant. A group of blind men encounter a beast called "elephant." Using their hands, they each attempt to understand what an elephant is. The elephant, being so large, presents different aspects to each man. They fall to arguing over whether an elephant is a snake (the trunk), a fan (the ears), a tree (the leg), a boulder (the body), or a rope (the tail). Alas, had they been storytellers, they would have known to sit and listen and combine their diverse experiences to gain a greater understanding.
As we participate in the ongoing combinatoria of stories, we help bring the great, ineffable elephant of human experience into view.
Parting is sweet sorrow.
Thank you all. Travel well and stay in touch!
Friday, July 31, 2009
Thursday, July 30, 2009
Marian's Finest Hour
Dear all,
I am glad to let you know that I have scheduled my performance for "My Finest Hour" to take place at the Southside Elementary School in Johnson City (1011 Southwest Ave.) on Wedenesday, August 5, from 10:00 to 11 am. If you can make it, you are welcome!! I hope to see all there! Thanks.
Marian.
I am glad to let you know that I have scheduled my performance for "My Finest Hour" to take place at the Southside Elementary School in Johnson City (1011 Southwest Ave.) on Wedenesday, August 5, from 10:00 to 11 am. If you can make it, you are welcome!! I hope to see all there! Thanks.
Marian.
Korean Culture
I can't belive today is the last class!! I really enjoyed taking this class with you all. I wish I am able to craft my childhood well and share some of Korean cluture with you. My memories in my childhood is kind of fragment. It is hard to craft them as a story. I am kind of desperate. Huhhh....
Many of you may hear about 'Asian Culture'. The term "Asian Culture' is not quite right, I think. Because there are too many different aspects among cultures in Aisan countries. For extance, there are three unique properties in Korean culture, Hangeul (Korean Alphabet created by King Sejong), Kimchi (spicy vegetable for every meal), and Hanbok (traditional clothes). With this unique characteristics, I hope I can make up a story to make you experience a different world.
Remember how you say 'Hello" in Korean. An-Nyung-Ha-Se-Yo (안녕하세요). Please let me know if you want to know anything in more detail in my culture. I will be very happy to share with you.
Many of you may hear about 'Asian Culture'. The term "Asian Culture' is not quite right, I think. Because there are too many different aspects among cultures in Aisan countries. For extance, there are three unique properties in Korean culture, Hangeul (Korean Alphabet created by King Sejong), Kimchi (spicy vegetable for every meal), and Hanbok (traditional clothes). With this unique characteristics, I hope I can make up a story to make you experience a different world.
Remember how you say 'Hello" in Korean. An-Nyung-Ha-Se-Yo (안녕하세요). Please let me know if you want to know anything in more detail in my culture. I will be very happy to share with you.
Tuesday, July 28, 2009
Thank you all
Thank you all for sharing your precious thought and time with me. Reading the text is always difficult for me to plug in the right place. It's hard for me to have all these connection at first but I have learned a lot. I started to see the connections in and between the stories. Oh! Dear!! The storytellers' mind is very complicated. It's been a good brain excercise and a great experience for me.
Thank you all for sharing the wonderful stories and experiences with me.
I wish the class would last longer. I wish the program will open a class for using objects in stories in fall.
Look forward to seeing you on Wednesday. Come to Main street cafe in Jonesborough at 12:00 if you have time.
Will miss you all after the class.
Thank you all for sharing the wonderful stories and experiences with me.
I wish the class would last longer. I wish the program will open a class for using objects in stories in fall.
Look forward to seeing you on Wednesday. Come to Main street cafe in Jonesborough at 12:00 if you have time.
Will miss you all after the class.
Something just for fun!
Reece Museum Program by Ilene Evans
7/25/09
I did a family storytelling program at Barnes and Nobles over the weekend.
Mbira - the thumb piano that I played is an African American adaptation of the African mbira from Zimbabwe. To read some more about their significance in the culture in Zimbabwe here are to sites to visit:
7/25/09
I did a family storytelling program at Barnes and Nobles over the weekend.
Mbira - the thumb piano that I played is an African American adaptation of the African mbira from Zimbabwe. To read some more about their significance in the culture in Zimbabwe here are to sites to visit:
http://www.mbira.org/instrument.html and http://www.mbira.org/shonaculture.html
Baba Jamal Koram has had an American artist make an African American version of the traditional instrument that is very nice to play.
Baba Jamal Koram has had an American artist make an African American version of the traditional instrument that is very nice to play.
Monday, July 27th Class
Today's class was fascinating. Here's what happened:
1) Because of some late people (who shall remain nameless), class began with a discussion about appropriate or inappropriate venues for storytelling. The discussion was prompted by Ilene's experience telling at Barnes and Nobles. We discussed how libraries and bookstores may not the best venues because they are not gathering places for people particularly interested in hearing stories. David likened the storyteller to a nudist who found freedom in a nudist colony, but then tried to take that concept out into the public. Somehow it just doesn't work. The discussion then went to what types of venues do work - whether or not venues might be created. We talked about "Applied" and "Platform" telling - the difference being that "Applied" was when storytelling is used as a tool for business or healing, etc. "Platform" storytelling is performance based. The question was posed: Does "platform" telling have a purpose as well? Should there be a distinction between the two?
2) David then told us the story of "The Raven." He introduced the story by telling us about his experience staying up with his young, teething son and how he found beauty in the dawn after a night of cutting teeth. "The Raven" is a trickster tale about a bird whose goal was to convince a Chief to share his treasures. The raven was also a shape-shifter and was able to change itself into a baby, appealing to the Chief's parental nature. The plan worked as the raven used a variety of common baby tactics to get its own way. The treasure became the stars, the moon and the sun. David's use of the balloon to represent the baby was great and he shared some suggestions about using objects in story. Note to self: Dry erase markers work best on balloons.
3) We discussed how stories connect us to our experiences and help us to have a fresh perspective or understanding of those experiences. We talked about how children have limited prior experience - how they relate concepts to objects. For example, if a ball is put into a box, from the child's perspective, that ball no longer exists. That perspective may be transferred even to people - if the child's mother leaves the room, the child may feel as though the mother no longer exists.
4) The discussion then moved to how stories have a life of their own and once heard, become part of the listener's life experience. The story affects the listener's memory and experience in some way. From this point, we went on to talk about whether it was appropriate to tell stories that are native to particular cultures. The distinction was made between telling stories in the educational setting - for cultural enlightenment, as opposed to telling those stories for professional goals. A sensitivity must be developed when dealing with stories that originated in cultures that have been imperialistically influenced. That being said, how does a storyteller that does not have strong ties to any one native culture find a place? We must consider that stories move in and out of cultures. The roots of those stories may be difficult to trace - but the messages may still be relevant and meaningful to our own experiences. The question was posed: Can stories jump boundaries?
5) David mentioned that, when choosing stories to tell, he asks himself the questions: What is it that I want to promote? Food for thought...
6) We talked a little about using costume while storytelling - or even creating a storytelling "look." David shared how he felt it important to dress in an ordinary way so that he could become extraordinary through each story he told. His goal was to be more than he appeared - to be unwrapped and full of surprises.
7) We were encouraged to develop "reading behavior." Listen to what goes on in our lives and our environment - read life. Learn to interpret behavior.
8) We played various association games to practice making connections. Using lines from our stories, we tried to make associations with various people in the class. We played a free-association word game to understand the concept. Taking this one step further, we put a rhythm to the association by clapping and then contributing a line or phrase from a story we were crafting.
9) Finally, Beth yielded to the process of exploring a personal story by looking at it from a wide variety of perspectives. By beginning the story at different points in time, or from different locations, the story naturally took different turns, produced different images, recalled different memories. It was a fascinating exercise to watch. At one point, David asked her to begin the story with a different word - "Imagine" - and see what effect that word had on her recollection. More details about this exploration in David's post.
10) Finally, David warned us to be careful about getting so involved with our own stories that we lose contact with our lives by ignoring the communal aspect of storytelling. Personal stories do not necessarily need to become public - they can lead us to other stories that may have more to offer the public. It is important to examine the culture at large and determine what is being forgotten and how can we, as storytellers, bring those things back?
Good day.
1) Because of some late people (who shall remain nameless), class began with a discussion about appropriate or inappropriate venues for storytelling. The discussion was prompted by Ilene's experience telling at Barnes and Nobles. We discussed how libraries and bookstores may not the best venues because they are not gathering places for people particularly interested in hearing stories. David likened the storyteller to a nudist who found freedom in a nudist colony, but then tried to take that concept out into the public. Somehow it just doesn't work. The discussion then went to what types of venues do work - whether or not venues might be created. We talked about "Applied" and "Platform" telling - the difference being that "Applied" was when storytelling is used as a tool for business or healing, etc. "Platform" storytelling is performance based. The question was posed: Does "platform" telling have a purpose as well? Should there be a distinction between the two?
2) David then told us the story of "The Raven." He introduced the story by telling us about his experience staying up with his young, teething son and how he found beauty in the dawn after a night of cutting teeth. "The Raven" is a trickster tale about a bird whose goal was to convince a Chief to share his treasures. The raven was also a shape-shifter and was able to change itself into a baby, appealing to the Chief's parental nature. The plan worked as the raven used a variety of common baby tactics to get its own way. The treasure became the stars, the moon and the sun. David's use of the balloon to represent the baby was great and he shared some suggestions about using objects in story. Note to self: Dry erase markers work best on balloons.
3) We discussed how stories connect us to our experiences and help us to have a fresh perspective or understanding of those experiences. We talked about how children have limited prior experience - how they relate concepts to objects. For example, if a ball is put into a box, from the child's perspective, that ball no longer exists. That perspective may be transferred even to people - if the child's mother leaves the room, the child may feel as though the mother no longer exists.
4) The discussion then moved to how stories have a life of their own and once heard, become part of the listener's life experience. The story affects the listener's memory and experience in some way. From this point, we went on to talk about whether it was appropriate to tell stories that are native to particular cultures. The distinction was made between telling stories in the educational setting - for cultural enlightenment, as opposed to telling those stories for professional goals. A sensitivity must be developed when dealing with stories that originated in cultures that have been imperialistically influenced. That being said, how does a storyteller that does not have strong ties to any one native culture find a place? We must consider that stories move in and out of cultures. The roots of those stories may be difficult to trace - but the messages may still be relevant and meaningful to our own experiences. The question was posed: Can stories jump boundaries?
5) David mentioned that, when choosing stories to tell, he asks himself the questions: What is it that I want to promote? Food for thought...
6) We talked a little about using costume while storytelling - or even creating a storytelling "look." David shared how he felt it important to dress in an ordinary way so that he could become extraordinary through each story he told. His goal was to be more than he appeared - to be unwrapped and full of surprises.
7) We were encouraged to develop "reading behavior." Listen to what goes on in our lives and our environment - read life. Learn to interpret behavior.
8) We played various association games to practice making connections. Using lines from our stories, we tried to make associations with various people in the class. We played a free-association word game to understand the concept. Taking this one step further, we put a rhythm to the association by clapping and then contributing a line or phrase from a story we were crafting.
9) Finally, Beth yielded to the process of exploring a personal story by looking at it from a wide variety of perspectives. By beginning the story at different points in time, or from different locations, the story naturally took different turns, produced different images, recalled different memories. It was a fascinating exercise to watch. At one point, David asked her to begin the story with a different word - "Imagine" - and see what effect that word had on her recollection. More details about this exploration in David's post.
10) Finally, David warned us to be careful about getting so involved with our own stories that we lose contact with our lives by ignoring the communal aspect of storytelling. Personal stories do not necessarily need to become public - they can lead us to other stories that may have more to offer the public. It is important to examine the culture at large and determine what is being forgotten and how can we, as storytellers, bring those things back?
Good day.
Monday, July 27, 2009
Beth's stories
Every story is made up of smaller stories. Today we listened to Beth explore her story and heard many little stories in the process. Here is a list-in-progress of the story fragments as I heard them (in no particular order):
The Bat & Rabies Shots
Neverland
Pirate Ship Cave
Wood Pile
Snakes
Corn Fields
Mountain v. City
Superman Dad
Big Mama Thumps
Brother Hook
Peter Pan
My Room Hideaway
...?
The Bat & Rabies Shots
Neverland
Pirate Ship Cave
Wood Pile
Snakes
Corn Fields
Mountain v. City
Superman Dad
Big Mama Thumps
Brother Hook
Peter Pan
My Room Hideaway
...?
Valerie's take on Schank Chapter 4
Schank is getting down to it - how do we find stories we wish to tell? By analyzing stories according to themes, we are able to file them away and then recall them as needed. Schank uses the language of Scripts, Plans, Goals and Understanding, Schank shows how themes are revealed according to the relationship of those four elements. Using the combination of a theme plus the application of the four elements, we can begin to relate and recall stories. Schank explains how to identify themes by associating them with things people talk about. He calls these things "personal preoccupations." Of course these themes may vary from individual to individual, but the important thing is that we recognize our own themes and be able to classify our stories accordingly for recall purposes. Schank suggests the best way to do this is to consider the lesson of the story as the over-arching catalyst to memory. If a story doesn't have an identifiable lesson, observable behavior might be a means of identifying a theme. Lessons and observable behavior are easily seen through the simplicity of Proverbs. Analyzing Proverbs would be a good way to understand Schank's Indexing theory more fully. This is good stuff for me - it defines a workable frame on which to hang stories. I'm not sure I don't do this already, at least to some extent, but my language is a little different. Stories stick in my mind in a different way, I think. My connections to stories are through sensory stimulants. I remember the way the grass felt in Fort Lauderdale, the weather, the colors, daily rainstorms. I seem to connect stories about my problems or people in my life to those things. It isn't difficult to come up with a lesson once I have remembered a story, but I don't think I categorize stories according to those lessons. I'll have to give that some more thought...
Sunday, July 26, 2009
Reflection-Indexing stories?
Following Chapter 4, I am trying to indexing my stories but it is not easy. Examples of indexing in the book is like some kind of propositions. I wonder whether you find an easy way to do indexing your stories. To me, indexing stories is much harder to roughly jot down past experiecnes. Schank (84pp) says, "To tell a story, you must have labeled it properly, stored it away with a name that will aloow it to be found, possibly many years later, when some process calls its name." My problem is that "it is hard to find out a story to tell through my past experiences and it is much hard to craft details of experience to bring you up to imagination." I think we need to find out our own approriate and convenient way to tell a story somehow. How do you think? Of course, theoretical knowledge like Schank's idea will be helpful to make it up all by myself in the future.
Thursday, July 23, 2009
Class Notes _ July 21, 2009 by Marian Kim
1. Announcement about storytelling rehearsal
Tues. July 21st: 4:40-5:20 pm “Rumpelstiltskin” combo w/3 personal tales. Beginng stages. By Racheal-one of ETSU Grad student.
Thurs. July 23rd. 4:40-5:20 pm. Group discussion “Mythical Storytelling Conference” Time and Money no object.
2. Spirit and Body rehearsal on the stage
I would call this rehearsal “mental and physical experience on the stage”. When we are on the stage, we certainly feel nervous. The purpose of this rehearsal may reduce this mental nervousness.
-Rearrange room by changing each other’s place
-stand and switch place with somebody
-Tray places: David calls one person to the other to ask to sit in front and takes turns.
David’s Comment
What do you feel when you sit in front? Become woodened, nervous, How is that affect your body? How does your body feel when you sit in front? Think of what body does you do when you sit in front. Cross-leg refers to being guarded? What’s going on in your body? Defensive? We are a little pressure. How do I guard myself? Nervous smile? Move Eyebrows?
-Go straight up and sit up.
-Rising and falling. Developing the center of your strength and do not lose your strength.
-Stand up and sit up with strength.
-exchanging thoughts about sitting in front.
-rotate sitting in front: everyone has a chance to sit in front. Everyone has a different pose and gesture in front.
- Maintain your balance when you sit. Turn around and come into a relationship. Look at the audience one by the other to determine whether everybody is ready. Check to see everybody else: walk to the stage, sit, and look at people.
3. Sonnet memorization
Identify your sonnet. The sonnet is not for you but for us (i.e.,the audience). It’s because you brought us something. Not because your assignment.
**Mi Ryoung_sonnet 18 “summer’s day”
XVIII
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
- Greet in Korean “An-Nyung-Ha-Se-Yo” “Hello” and a brief introduction about a sonnet
- memorize a sonnet in English and in Korean one line by another
- the sonnet is about the lover’s everlasting beauty
David’s Comment
-Be careful to break line by line with two different lanauges. Sometimes it can be interrupted because of continuing thoughts.
-It is good to memorize a sonnet in terms of syntactic and intonation structure. The first line is a question with a rising intonation and the second line makes an answer with a falling intonation. A comma means continuation with a rising tone, a colon means ending with a falling tone. The last two lines (before and this gives life to thee) needs to be one thought.
-Memorize a sonnet in English and then in Korean separately.
-the first two words is trocaic (strong-weak) instead of iambic (weak-strong) (e.g., Shall I compare thee to a summer’s day?)
-David explains the meaning for each line of the sonnet.
-what does this mean in the last line and this gives life to thee? There were different thoughts among students. This refers to “eternal lines” which means poem. Writing poem about you will be eternal!!
**Katie_sonnet 130 “My mistress”
CXXX
My mistress' eyes are nothing like the sun;
Coral is far more red, than her lips red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound:
I grant I never saw a goddess go,
My mistress, when she walks, treads on the ground:
And yet by heaven, I think my love as rare,
As any she belied with false compare.
-Begin with your sonnet without any introduction. You have to something to say.
David’s comment
-memorize two sonnets together, sonnet 18 by Marian and sonnet 130 by Katie.
-they are well related about the theme “admiring lover”
-still comparison.
-hidden messages in the sonnet and should be decoded.
-explicit vs. implicit meaning from sonnet to sonnet
**Ilene_sonnet 148
CXLVIII
O me! what eyes hath Love put in my head,
Which have no correspondence with true sight;
Or, if they have, where is my judgment fled,
That censures falsely what they see aright?
If that be fair whereon my false eyes dote,
What means the world to say it is not so?
If it be not, then love doth well denote
Love's eye is not so true as all men's:
no,How can it? O! how can Love's eye be true,
That is so vexed with watching and with tears?
No marvel then, though I mistake my view;
The sun itself sees not, till heaven clears.
O cunning Love! with tears thou keep'st me blind,
Lest eyes well-seeing thy foul faults should find.
David’s comments
-Try to find out connection among sonnets. There are many O’s as emphasis in the sonnet
-a lot of thinking going on in this sonnet.
-Trochaic beginning instead of iambic. (e.g. Shall I or Oh, me).
- Ilene repeats sonnet 148 twice, one with complaining tone(?) and the other with arguing tone. See how thoughts are developed with different intonation.
-Involvement strategy while telling it aloud.
**Cited from one analysis from online since some meanings in the sonnet was not clear in class.
In Sonnet 148, a companion to the previous sonnet, the poet admits that his judgment is blind when it comes to love. Again his eyes are false and misperceive reality, and reason has fled him: "O me, what eyes hath Love put in my head, / Which have no correspondence with true sight." Acknowledging the possibility that love metaphorically blinds his judgment, he then attempts to rationalize his predicament. How does the world know that what he sees is false and that what the world considers false is not really true? Although the poet admits his failings, nonetheless he cannot surmount his unhealthy dependency on the woman and his driving passion to rekindle their sexual relationship.
4. a story told by David (after Katie’s sonnet)
While talking about the theme of ‘love” in the sonnets, David reminded a personal story of his childhood. He told his personal story and he also told a story in the story.
David began with his personal story when he was 9th grade. Begin with telling us an assignment about the comparison of two love stories, Romeo and Juliet vs. West side story. While he was telling a personal story, he told a story about two neighbors between the walls. They are like enemies. The story was about the two lovers in the neighborhood but it was not a happy ending like Romeo and Juliet. He told his love story about an unsuccessful dating with Sandy.
His personal story and the story in the story have a close relationship about the theme of love.
5. Wrap Up
-Announcement about Kim Weitkamp, Wednesday performance (July 22, 2009)
-Do not have to prepare for a personal story this Thursday and generate your story naturally in class.
-try to find out connection among sonnets
-David’s person preference in telling a story: interested in relationship between stories.
-reflection Shank’s book and discussion: stories and experiences are shared with each other. Behavior describes intelligence. Whatever we bring stories to class, they may be connected and related with each other. We need to store our experiences bring to mind to tell the story. Schank’s style may be too academic and too analytical. Think of the gist while telling a story (e.g. compiling and compressing the files in the computer-linguistic compression). The gist is like memories of zip file. All of us contain best body of the context more than we know. Discuss Schank’s term ‘Indexing’. Think of Ways of relating stories or experiences with each other instead of just indexing. Think of lines of relationship rather than indexing (e.g, high school, Latin poetry, teenage experience, Jewish etc). Each of these lines animates stories. Think of ways of thinking about fresh thoughts. Think of what skills are storytellers’ minds involved. What can you make of it? Reveal the problem. How do we as storytellers access to bring to mind? Choose a right story, right time to tell to your audience. Think of storytellers’ mind, one which you can do prompt yourself, and you don’t have to wait next stimulus. Looking for ways we can do that. The more stories we have, the more possible relationship we may have. The more stories we have, the broader mind we may have. Think of how we can choose our story to relate with other’s stories in the program.
-Think of Schank’s analysis and Kim Weitkamp about how she connects one story with another and what lines relationship she offers us.
THE END
1. Announcement about storytelling rehearsal
Tues. July 21st: 4:40-5:20 pm “Rumpelstiltskin” combo w/3 personal tales. Beginng stages. By Racheal-one of ETSU Grad student.
Thurs. July 23rd. 4:40-5:20 pm. Group discussion “Mythical Storytelling Conference” Time and Money no object.
2. Spirit and Body rehearsal on the stage
I would call this rehearsal “mental and physical experience on the stage”. When we are on the stage, we certainly feel nervous. The purpose of this rehearsal may reduce this mental nervousness.
-Rearrange room by changing each other’s place
-stand and switch place with somebody
-Tray places: David calls one person to the other to ask to sit in front and takes turns.
David’s Comment
What do you feel when you sit in front? Become woodened, nervous, How is that affect your body? How does your body feel when you sit in front? Think of what body does you do when you sit in front. Cross-leg refers to being guarded? What’s going on in your body? Defensive? We are a little pressure. How do I guard myself? Nervous smile? Move Eyebrows?
-Go straight up and sit up.
-Rising and falling. Developing the center of your strength and do not lose your strength.
-Stand up and sit up with strength.
-exchanging thoughts about sitting in front.
-rotate sitting in front: everyone has a chance to sit in front. Everyone has a different pose and gesture in front.
- Maintain your balance when you sit. Turn around and come into a relationship. Look at the audience one by the other to determine whether everybody is ready. Check to see everybody else: walk to the stage, sit, and look at people.
3. Sonnet memorization
Identify your sonnet. The sonnet is not for you but for us (i.e.,the audience). It’s because you brought us something. Not because your assignment.
**Mi Ryoung_sonnet 18 “summer’s day”
XVIII
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
- Greet in Korean “An-Nyung-Ha-Se-Yo” “Hello” and a brief introduction about a sonnet
- memorize a sonnet in English and in Korean one line by another
- the sonnet is about the lover’s everlasting beauty
David’s Comment
-Be careful to break line by line with two different lanauges. Sometimes it can be interrupted because of continuing thoughts.
-It is good to memorize a sonnet in terms of syntactic and intonation structure. The first line is a question with a rising intonation and the second line makes an answer with a falling intonation. A comma means continuation with a rising tone, a colon means ending with a falling tone. The last two lines (before and this gives life to thee) needs to be one thought.
-Memorize a sonnet in English and then in Korean separately.
-the first two words is trocaic (strong-weak) instead of iambic (weak-strong) (e.g., Shall I compare thee to a summer’s day?)
-David explains the meaning for each line of the sonnet.
-what does this mean in the last line and this gives life to thee? There were different thoughts among students. This refers to “eternal lines” which means poem. Writing poem about you will be eternal!!
**Katie_sonnet 130 “My mistress”
CXXX
My mistress' eyes are nothing like the sun;
Coral is far more red, than her lips red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound:
I grant I never saw a goddess go,
My mistress, when she walks, treads on the ground:
And yet by heaven, I think my love as rare,
As any she belied with false compare.
-Begin with your sonnet without any introduction. You have to something to say.
David’s comment
-memorize two sonnets together, sonnet 18 by Marian and sonnet 130 by Katie.
-they are well related about the theme “admiring lover”
-still comparison.
-hidden messages in the sonnet and should be decoded.
-explicit vs. implicit meaning from sonnet to sonnet
**Ilene_sonnet 148
CXLVIII
O me! what eyes hath Love put in my head,
Which have no correspondence with true sight;
Or, if they have, where is my judgment fled,
That censures falsely what they see aright?
If that be fair whereon my false eyes dote,
What means the world to say it is not so?
If it be not, then love doth well denote
Love's eye is not so true as all men's:
no,How can it? O! how can Love's eye be true,
That is so vexed with watching and with tears?
No marvel then, though I mistake my view;
The sun itself sees not, till heaven clears.
O cunning Love! with tears thou keep'st me blind,
Lest eyes well-seeing thy foul faults should find.
David’s comments
-Try to find out connection among sonnets. There are many O’s as emphasis in the sonnet
-a lot of thinking going on in this sonnet.
-Trochaic beginning instead of iambic. (e.g. Shall I or Oh, me).
- Ilene repeats sonnet 148 twice, one with complaining tone(?) and the other with arguing tone. See how thoughts are developed with different intonation.
-Involvement strategy while telling it aloud.
**Cited from one analysis from online since some meanings in the sonnet was not clear in class.
In Sonnet 148, a companion to the previous sonnet, the poet admits that his judgment is blind when it comes to love. Again his eyes are false and misperceive reality, and reason has fled him: "O me, what eyes hath Love put in my head, / Which have no correspondence with true sight." Acknowledging the possibility that love metaphorically blinds his judgment, he then attempts to rationalize his predicament. How does the world know that what he sees is false and that what the world considers false is not really true? Although the poet admits his failings, nonetheless he cannot surmount his unhealthy dependency on the woman and his driving passion to rekindle their sexual relationship.
4. a story told by David (after Katie’s sonnet)
While talking about the theme of ‘love” in the sonnets, David reminded a personal story of his childhood. He told his personal story and he also told a story in the story.
David began with his personal story when he was 9th grade. Begin with telling us an assignment about the comparison of two love stories, Romeo and Juliet vs. West side story. While he was telling a personal story, he told a story about two neighbors between the walls. They are like enemies. The story was about the two lovers in the neighborhood but it was not a happy ending like Romeo and Juliet. He told his love story about an unsuccessful dating with Sandy.
His personal story and the story in the story have a close relationship about the theme of love.
5. Wrap Up
-Announcement about Kim Weitkamp, Wednesday performance (July 22, 2009)
-Do not have to prepare for a personal story this Thursday and generate your story naturally in class.
-try to find out connection among sonnets
-David’s person preference in telling a story: interested in relationship between stories.
-reflection Shank’s book and discussion: stories and experiences are shared with each other. Behavior describes intelligence. Whatever we bring stories to class, they may be connected and related with each other. We need to store our experiences bring to mind to tell the story. Schank’s style may be too academic and too analytical. Think of the gist while telling a story (e.g. compiling and compressing the files in the computer-linguistic compression). The gist is like memories of zip file. All of us contain best body of the context more than we know. Discuss Schank’s term ‘Indexing’. Think of Ways of relating stories or experiences with each other instead of just indexing. Think of lines of relationship rather than indexing (e.g, high school, Latin poetry, teenage experience, Jewish etc). Each of these lines animates stories. Think of ways of thinking about fresh thoughts. Think of what skills are storytellers’ minds involved. What can you make of it? Reveal the problem. How do we as storytellers access to bring to mind? Choose a right story, right time to tell to your audience. Think of storytellers’ mind, one which you can do prompt yourself, and you don’t have to wait next stimulus. Looking for ways we can do that. The more stories we have, the more possible relationship we may have. The more stories we have, the broader mind we may have. Think of how we can choose our story to relate with other’s stories in the program.
-Think of Schank’s analysis and Kim Weitkamp about how she connects one story with another and what lines relationship she offers us.
THE END
Wednesday, July 22, 2009
My Finest Hour Date, Time, and Place
Hi Class,
I have scheduled my performance for "My Finest Hour" in our class to take place at the Cranberry Thistle on Mainstreet in Jonesborough, two doors down from the International Storytelling Center on Wednesday, August 12, from 5:00 to 6:00 p.m. that evening. Marian or Pricilla in our class will be videotaping me. Hope to see y'all there!
Thanks, Lorri
I have scheduled my performance for "My Finest Hour" in our class to take place at the Cranberry Thistle on Mainstreet in Jonesborough, two doors down from the International Storytelling Center on Wednesday, August 12, from 5:00 to 6:00 p.m. that evening. Marian or Pricilla in our class will be videotaping me. Hope to see y'all there!
Thanks, Lorri
Tuesday, July 21, 2009
Katie's Ch. 2 Reflection
In looking at the different types of stories (official, invented, firsthand experience, secondhand, culturally common), I thought about what types of stories that I tell. But also why I tell them. Do my stories have more me-goals? You-goals? Conversational goals? However, I think that in storytelling we tend to use a combination of all three. They tend to overlap. There are times, like sitting on the plane flying here, that I was strictly telling stories solely in a conversational framework. But I think that stories can be seeking attention to impress the listener and get them involved (me-goal), illustrating a point (you-goal), and having a relationship between you and the audience (conversational-goal) all at the same time. Although it is good to recognize different categories to strengthen why we are telling them, I think that this is something worth remembering: “We tell stories to describe ourselves not only so others can understand who we are but also so we can understand ourselves…the collection of stories we have compiled is to some extent who we are, what we have to say about the world, and tells the world the state of our mental health” (p.44). I think that is a good focal point.
The first class-7/13
This is what I wrote for the first class-sorry a little slow but...
We discussed : The mind of a storyteller, point of view, way of thinking, the way of making connections and related to narrative and conversation and community and help us to understand the particular emotional life of the storyteller. This is going to be an opportunity for us to catch the more academically rigorous issues of storytelling in Advanced Storytelling. It is not a comprehensive task but it’s good for us to discuss and explore philosophical implications of being a storyteller in the present day. Focus on the practical work due to the time constrains.
Then we talked about the environment? How the environment of storytelling makes a difference. Open space. Val doesn’t like to keep turning. The definition of fourth wall is from 19th century in theater. It is to look at the world objectively. It was the rise of the age of science. It was thought Wouldn’t it be great if we can just observe performance and behavior objectively as if we were looking through a microscope or telescope, as we were looking at it from a distance what we called aesthetic distance. Allow the audience the aesthetic distance. The fourth wall is an invisible wall. The original idea is to separate the viewers but Kenny wanted to include them.
Storytelling:
Kenny: I lost my manhood in the cemetery on Halloween
Lethen: (don’t know the name)
Jui-tseng: Teeny Tiny
Katie: Bear and Brown Squirrel
Beth: Truth and False
Valerie: The first photographer
: Cow who lost the identity
Mi-Ryoung: The Dragon King
Lory: Family Ghost story
Elline: Blind man
David Novak: Story Land
Then we discuss the relations between the stories and the qualities of the stories. Good acting should still have elements of discovering. Like Yoga, even though you are doing the same actions but you are making new discoveries.
What are the stories saying to each other?
We discussed : The mind of a storyteller, point of view, way of thinking, the way of making connections and related to narrative and conversation and community and help us to understand the particular emotional life of the storyteller. This is going to be an opportunity for us to catch the more academically rigorous issues of storytelling in Advanced Storytelling. It is not a comprehensive task but it’s good for us to discuss and explore philosophical implications of being a storyteller in the present day. Focus on the practical work due to the time constrains.
Then we talked about the environment? How the environment of storytelling makes a difference. Open space. Val doesn’t like to keep turning. The definition of fourth wall is from 19th century in theater. It is to look at the world objectively. It was the rise of the age of science. It was thought Wouldn’t it be great if we can just observe performance and behavior objectively as if we were looking through a microscope or telescope, as we were looking at it from a distance what we called aesthetic distance. Allow the audience the aesthetic distance. The fourth wall is an invisible wall. The original idea is to separate the viewers but Kenny wanted to include them.
Storytelling:
Kenny: I lost my manhood in the cemetery on Halloween
Lethen: (don’t know the name)
Jui-tseng: Teeny Tiny
Katie: Bear and Brown Squirrel
Beth: Truth and False
Valerie: The first photographer
: Cow who lost the identity
Mi-Ryoung: The Dragon King
Lory: Family Ghost story
Elline: Blind man
David Novak: Story Land
Then we discuss the relations between the stories and the qualities of the stories. Good acting should still have elements of discovering. Like Yoga, even though you are doing the same actions but you are making new discoveries.
What are the stories saying to each other?
David Novak Class Notes 7/20/09
- Ilene Evans - Advanced Storytelling -
Review the syllabus
Goal of My Finest Hour: To come out of the class with the ability to create in the present moment a program of stories you know - seeing who is there and having the confidence that you know stories and are able to choose from within yourself what is appropriate and what will weave a good experience.
The finest hour program requirements: developing and presenting an Eclectic Program –
Ø It should be a combination of stories showing your range as a storyteller.
Ø The program should show different sides of yourself.
Ø The program should have elements of surprise and move from the ordinary to the extraordinary.
Ø Put together a number of different stories and makes for a fresh new way of seeing things.
Ø Using poetics, changes from 0-60 - Simplicity - conversational tones all the way to your most animated self
Ø Details about when and where the programs are to be done are TBD.
David’s blackout dates (unavailable) August 4-10, 13, 28 David will not be able to go to any events.
Out in the open floor space:
Body Warm-ups included breathing pressing chin up
Bend forward, side and shake arms release over head.
Pantomime exercises to increase spacial awareness and relationships
Ø Approach - Take - - Release points in space review
§ Concept: Empty Space/ Full Space –
Ø Find a point in space, find another. See it approach it. Take it, release it.
Ø Following points in space –
§ Follow the line indicated by the points
§ Fixed point – how far away from the hand can you move from the fixed space?
§ Return to the point of origin - a fixed point in space and follow out the many lines that could emanate from the one point
Ø Wall - flat wall - various objects require a different approach to show their presence and define their shape Examples - point, a plane, a cup, a glass, a wall, The same movement toward a different object does not apply, the approach needs to be different.
Ø Eyes - Approach - Take - - Release is a concept extends beyond the hand - with the eyes only . Your eyes are now going to do the reaching and the taking.
Ø Making sandwich using various ingredients: Everything you need in order to make the sandwich are in front of you. Identify where each component is then with your hands you are going to use See - approach – take it – place it
Ø Door Knob pull open door, look thru, take knob back, close, returning to the same point of space see the threshold – door know/door way
Ø Closet full of winter coats – step inside the closet door - pull open door, take knob back, close, returning to the same point in space see the threshold
§ What were you imagining around your body when you stepped inside?
§ Did you notice a change in the body when you crossed the threshold?
Ø Group divides in half – half the group Watch each other work
Storytelling/Pantomime Relationship (concept)
The whole body is involved in touching the world and responds to the effect of a Charismatic idea - Literally embodying the whole thing. Body responds accordingly to the memory. We reach out and manipulate things with our hands the whole body, but when you stepped into the closet, your whole body was “taking on” the closet.
The part of pantomime that is the most important to storytellers –
When we are in the imaginary world of our stories, we are literally embodying the whole thing.
Example: a little girl lost in the woods – let your body feel how you are in the woods – even though subtle, it will be expressive, even all the skin – the eyes have a role in it too.
Clear – Opaque wall with partner
Come back to the wall. It is clear – You can see me and I can see you. Now it is opaque. Can you see the subtle difference? As I am moving my hands on the wall, tell me if the wall seems clear or opaque from how my eyes are working. Try this exercise with a partner. They partner will watch and broadcast when you are doing which.
Discussion of anecdotal behaviors - they are small additions to telling a story or in pantomime
How to be there in the setting without anecdotal behavior – not to show it so much as to feel it.
Reflective effect: The storyteller is like a human periscope. The mirror sees, the reflection of what you see. The performer is reflecting the reality they want you to see. If you see it then the audience is likely to feel like they see it. They may even turn around to see what you are talking about.
Linguistic exercise: Lethan looks out the door and tells us what he sees.
#1 the first time his instruction keeps him facing the door as he tells us
#2 the second time he includes us as he is telling us about what is out there in the hall
Use of the permeable fourth wall – sometimes you are in the story – sometimes you are in the room Weave a tale – going back and forth from the listener to the things going in to the story, the listeners, and doing a kind of stitching.
Stitching the Audience into the story. I am stitching the listener into the world of story.
Instructions: Come from the doorway, in your own words…
Greet us and tell us what we are going to hear. Stitch the listeners and the story together.
Comments: She is aware of us and invites them in …
Marjoung - Dr. Seuss Book ---Green Eggs and Ham
Ø Use the many opportunities to play with the language
Ø Empathetic Secondary reaction empathic response –
Ø pour emotional life, experiential life into our stories
Ø We want for listeners not just to know the story, but to feel it.
Ø Be careful of losing voice as emotion increases –
Ø Play with different ways to increase tension and increase gradually
Ilene - Dr. Seuss Book --- The Sneeches on the Beaches
Ø Moment of Silence around the names enjoy the language more
Ø Showing the Pictures in the book can upstage the story – play hide and seek
Ø Tease audience with the pictures
Ø Holding the book froze part of the body - changing the way you hold the book can free up the body
Why Sonnets:
Ø It takes a lot to put together the long thoughts that are complex and layered, much like any story that we might tell.
Ø The point is to be able to lead your listener thru the story so that they understand it.
Ø How are you juxtaposing the ideas so that the listener does not get lost?
Lethan’s Shakespeare SONNET 71 No longer mourn for me when I am dead
Ø Review sonnet structure as guide thru the punctuation
Ø Syntactical riddle – puzzle
Ø Allow for the intimate voice with such a close audience
Ø Think of the Intent of the “comma” by its shape to pause and look back
Ø Breath in and speak out the sonnet
Ø The feeling of just sitting and talking to us is helpful to get them meaning across
Lori’s Shakespeare Sonnet 40 Take all my loves, my love, yea take them all
Ø Looking at the seeming contradictions and punctuation for the meaning
Ø Who’s got the upper hand in this relationship?
Ø Connect the thoughts with the breath
Ø Arguing with oneself, working thru the deception and seduction of the relationship
Monday, July 20, 2009
Katie's Ch. 1 Reflection
As I read chapter one, I was struck by this comment: “Intelligence is bound in our ability to tell the right story at the right time, understanding a story means being able to correlate the story we are hearing with one that we already know (pg.21).” We hardly ever say something randomly, even in everyday conversations. In my personal conversations, the stories I share are ones that are similar in nature to what we are discussing. Usually what a person says will springboard what stories are shared next. In storytelling we can apply this the same way. We should tell the right story at the right time. Sometimes this refers to the audience, sometimes to the location, and sometimes to the theme of the program. For example, one of the stories in my repertoire is a historical account of a pioneer woman sacrificing all that she has for a better life. It is very religious, emotional, and touching. However, if I told it directly after a ghost story, I wouldn’t be telling it at the right time. It just wouldn’t work. How and when we share a story is an important thing to remember.
My final thought comes from page 10. “Stories give life to past experience. Stories make the events in memory memorable to others and to ourselves. This is one of the reasons why people like to tell stories.” I like this statement because this is why we tell stories. We tell stories that mean something to us. And as we do that, it becomes a memorable moment not only for the listener but also for us.
My final thought comes from page 10. “Stories give life to past experience. Stories make the events in memory memorable to others and to ourselves. This is one of the reasons why people like to tell stories.” I like this statement because this is why we tell stories. We tell stories that mean something to us. And as we do that, it becomes a memorable moment not only for the listener but also for us.
Lorri's Sonnet
Sonnet 40 Take all my loves, my love, yea take them all
Take all my loves, my love, yeah take them all;
What has thou then more than thou hadst before?
No love, my love, that thou mayest true love call;
All mine was thine before thou hadst this more.
Then if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blamed, if thou thyself deceivest
By willful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty;
And yet, love knows, it is a greater grief
To bear love's wrong than hate's known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes.
Take all my loves, my love, yeah take them all;
What has thou then more than thou hadst before?
No love, my love, that thou mayest true love call;
All mine was thine before thou hadst this more.
Then if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blamed, if thou thyself deceivest
By willful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty;
And yet, love knows, it is a greater grief
To bear love's wrong than hate's known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes.
Sunday, July 19, 2009
Comments on Chapter Three
"Understanding Other People's Stories" was a bit disconcerting, but as I think about what Schank is proposing, it makes perfect sense. Essentially it seems people really can't understand other people's stories - at least not with any reliability. For many reasons, people cannot listen objectively. Either they are only hearing part of what is being said because their brain is engaged in trying to come up with a matching story, or they hear only what interests them, or they have no way to match the story to their own experience so they can't relate to it, or their perspective is different because of the stories they match to it - and on and on. In my opinion, there is even more that makes understanding improbable. External circumstances were not addressed in this Chapter. A person's state of mind, time of day, physical comfort level, outside distractions, etc. all play a part in how much is understood. The good news from this chapter seems to be that if a person is to understand anything, it is understood best when communicated in story form. We seem to be able to catalog and recall stories better than pure information. Last night I had dinner with a friend. We started a conversation about the possible future of Jonesborough. Somehow the visions we both had of Jonesborough's potential were formed around stories we remembered from our past. Those stories did not jibe - one with the other - and I remember being frustrated that I could not adequately communicate my vision the way I saw it and as a result, that vision was being misinterpreted. After reading this chapter, I began to wonder what my friend's vision was - quite frankly, I did not pay as much attention to hers because I was trying desperately to clarify my own. Schank was right! Again - I look forward to answers or techniques to apply for future reference.
Beth's Sonnet
Here goes. I hope this works. I may make it into this century yet!
Sonnet XXX
When to the sessions of sweet silent thought
I summon up remembrance of things past
I sigh the lack of many a thing I sought
And with old woes new wail my dear time's past.
Then can I drown an eye, unused to flow
For precious friends hid in death's dateless night
And weep afresh love's long since cancelled woe
And moan the expense of many a vanished sight.
And then can I grieve at grievanves forgone
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored, and sorrows end.
Sonnet XXX
When to the sessions of sweet silent thought
I summon up remembrance of things past
I sigh the lack of many a thing I sought
And with old woes new wail my dear time's past.
Then can I drown an eye, unused to flow
For precious friends hid in death's dateless night
And weep afresh love's long since cancelled woe
And moan the expense of many a vanished sight.
And then can I grieve at grievanves forgone
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored, and sorrows end.
Saturday, July 18, 2009
Change my mind-sonnet 57
Thanks Mi-Ryoung for helping me finding a better one.
Being your slave what should I do but tend,
Upon the hours, and times of your desire?
I have no precious time at all to spend;
Nor services to do till you require.
Nor dare I chide the world-without-end hour,
Whilst I (my sovereign) watch the clock for you,
Nor think the bitterness of absence sour,
When you have bid your servant once adieu.
Nor dare I question with my jealous thought,
Where you may be, or your affairs suppose,
But like a sad slave stay and think of nought
Save where you are, how happy you make those.
So true a fool is love, that in your will,
(Though you do any thing) he thinks no ill.
Being your slave what should I do but tend,
Upon the hours, and times of your desire?
I have no precious time at all to spend;
Nor services to do till you require.
Nor dare I chide the world-without-end hour,
Whilst I (my sovereign) watch the clock for you,
Nor think the bitterness of absence sour,
When you have bid your servant once adieu.
Nor dare I question with my jealous thought,
Where you may be, or your affairs suppose,
But like a sad slave stay and think of nought
Save where you are, how happy you make those.
So true a fool is love, that in your will,
(Though you do any thing) he thinks no ill.
Friday, July 17, 2009
Advanced Storytelling Recap 7/16
What a wonderful way to end the week. Today was very interactive. It was our Dr. Seuss Day!
1. We started off with breathing exercises and stretches. We also did various Brain Gym exercises, specifically dealing with cross lateral movements: crossing feet, alternating twisting hands, 80’s aerobic moves, making figure 8 with eyes, and my personal favorite the 12 counts of squares mixed with the 12 counts of triangles.
2. Point and space exercise: We passed a point around really making sure we articulated it with our approach, grabbing, and releasing it. (partner activity) A charismatic idea and articulate gesture will create a ripple.
3. Line segment exercise (partner activity)
4. Favorite place walk about: Describing a favorite place and exploring it with questions involving all 5 senses. (partner activity)
5. Persona Mask activity: First we mirrored the image by reflecting back the mask with our face and body. We let the mask lead us. Then we again explored the different masks with facial and body expressions. But this time we added words of greeting from that character. Some of the different masks included: angry, young, sly, happy, sad, intelligent, etc.
6. Played with our Dr. Seuss books. We massaged the text and explored range. We read our books from the character masks. We got in groups of 3. One read facing the masks. The other 2 couldn’t see the masks. David changed the mask throughout the reading creating a very lively and dynamic reading of the text. Question to ponder: What did this show you about these stories?
7. I liked David’s comment: “Language is a container you can pour into any emotional content.”
8. Read Dr. Seuss as a Bedtime story, National Story of your country, at a hospital bedside. Question to ponder: How can you use the story for different intentions?
9. We ended with Lethan and Valerie’s readings of Dr. Seuss: The Butter Battle and The Lorax. We massaged their stories.
Conclusion: Seuss gives us an opportunity to tease the listeners and have fun with them. His stories tend to move in waves. We can explore a dynamic range. Seuss has a bright other worldly realm. It will be contrasted on Monday when we turn to Shakespeare sonnets that will be more real and intimate. The sonnets are written in iambic pentameter. The stresses carry the most meaning. The couplet (last 2 lines) is the anchor of the sonnet, or the main point. We should start with memorizing the couplet and work backwards, quatrain by quatrain. Then we will be able to be moving toward strength.
1. We started off with breathing exercises and stretches. We also did various Brain Gym exercises, specifically dealing with cross lateral movements: crossing feet, alternating twisting hands, 80’s aerobic moves, making figure 8 with eyes, and my personal favorite the 12 counts of squares mixed with the 12 counts of triangles.
2. Point and space exercise: We passed a point around really making sure we articulated it with our approach, grabbing, and releasing it. (partner activity) A charismatic idea and articulate gesture will create a ripple.
3. Line segment exercise (partner activity)
4. Favorite place walk about: Describing a favorite place and exploring it with questions involving all 5 senses. (partner activity)
5. Persona Mask activity: First we mirrored the image by reflecting back the mask with our face and body. We let the mask lead us. Then we again explored the different masks with facial and body expressions. But this time we added words of greeting from that character. Some of the different masks included: angry, young, sly, happy, sad, intelligent, etc.
6. Played with our Dr. Seuss books. We massaged the text and explored range. We read our books from the character masks. We got in groups of 3. One read facing the masks. The other 2 couldn’t see the masks. David changed the mask throughout the reading creating a very lively and dynamic reading of the text. Question to ponder: What did this show you about these stories?
7. I liked David’s comment: “Language is a container you can pour into any emotional content.”
8. Read Dr. Seuss as a Bedtime story, National Story of your country, at a hospital bedside. Question to ponder: How can you use the story for different intentions?
9. We ended with Lethan and Valerie’s readings of Dr. Seuss: The Butter Battle and The Lorax. We massaged their stories.
Conclusion: Seuss gives us an opportunity to tease the listeners and have fun with them. His stories tend to move in waves. We can explore a dynamic range. Seuss has a bright other worldly realm. It will be contrasted on Monday when we turn to Shakespeare sonnets that will be more real and intimate. The sonnets are written in iambic pentameter. The stresses carry the most meaning. The couplet (last 2 lines) is the anchor of the sonnet, or the main point. We should start with memorizing the couplet and work backwards, quatrain by quatrain. Then we will be able to be moving toward strength.
Katie's Sonnet
SONNET 130
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.
IleneEvans
Sonnet 148
O me! what eyes hath Love put in my head,
Which have no correspondence with true sight;
Or, if they have, where is my judgement fled,
That censures falsely what they see aright?
It that be fair whereon my false eyes dote,
What means the world to say it is not so?
If it be not, then love doth well denote
Love's eye is not so true as men's : no.
How can it? O, how can Love 's eye be true,
That is so vexed with watching and with tears?
No marvel then, though I mistake my view;
The sun itself sees not till heaven clears.
O cunning Love! with tears thou keep'st me blind,
Lest eyes well-seeing thy foul faults should fine.
Sonnet 148
O me! what eyes hath Love put in my head,
Which have no correspondence with true sight;
Or, if they have, where is my judgement fled,
That censures falsely what they see aright?
It that be fair whereon my false eyes dote,
What means the world to say it is not so?
If it be not, then love doth well denote
Love's eye is not so true as men's : no.
How can it? O, how can Love 's eye be true,
That is so vexed with watching and with tears?
No marvel then, though I mistake my view;
The sun itself sees not till heaven clears.
O cunning Love! with tears thou keep'st me blind,
Lest eyes well-seeing thy foul faults should fine.
Thursday, July 16, 2009
Tuesday, July 14, Summary of Class Work & Discussion
On Tuesday, July 14, we started class by discussing meeting at the Cranberry Thistle on Wednesdays to listen to and critique the storytellers there during the second term in Advanced Storytelling.
We talked about being blog literate and everyone posting daily class meetings on the blog by taking turns by days.
We began class work doing floor work exercises--a type of yoga.We did an activity pretending we were imagined molecues in the room moving around each other to increase our space awareness.
We did balance walking, breath exercise, breathing and stretching, and walking exercises to ground and balance us on our feet.
We did laying down mind exercises imagining which parts of our stories that we had previously done could fit into the images of different colors, like creative thought problems to help us move into our stories more intensely.
We did overture excercises with connections of phases from story to story.
We also did various activities and mind exercises to massage or shape our stories better, such as playing with a stick and using phrases from each story, coming up with a different object or scene using the stick and a guessing game, finding moments of story impromptu, and again using colors to imagine something in our stories that matched that color called out by David.
It was a good day, and my mind was stretched and stimulated. I learned things I had never known or thought of pertaining to story, the mind, and the body before.
Lorri Greene
We talked about being blog literate and everyone posting daily class meetings on the blog by taking turns by days.
We began class work doing floor work exercises--a type of yoga.We did an activity pretending we were imagined molecues in the room moving around each other to increase our space awareness.
We did balance walking, breath exercise, breathing and stretching, and walking exercises to ground and balance us on our feet.
We did laying down mind exercises imagining which parts of our stories that we had previously done could fit into the images of different colors, like creative thought problems to help us move into our stories more intensely.
We did overture excercises with connections of phases from story to story.
We also did various activities and mind exercises to massage or shape our stories better, such as playing with a stick and using phrases from each story, coming up with a different object or scene using the stick and a guessing game, finding moments of story impromptu, and again using colors to imagine something in our stories that matched that color called out by David.
It was a good day, and my mind was stretched and stimulated. I learned things I had never known or thought of pertaining to story, the mind, and the body before.
Lorri Greene
Lethan's Sonnet
SONNET 71
No longer mourn for me when I am dead
Then you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world, with vilest worms to dwell:
Nay, if you read this line, remember not
The hand that writ it; for I love you so
That I in your sweet thoughts would be forgot
If thinking on me then should make you woe.
O, if, I say, you look upon this verse
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse.
But let your love even with my life decay,
Lest the wise world should look into your moan
And mock you with me after I am gone.
No longer mourn for me when I am dead
Then you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world, with vilest worms to dwell:
Nay, if you read this line, remember not
The hand that writ it; for I love you so
That I in your sweet thoughts would be forgot
If thinking on me then should make you woe.
O, if, I say, you look upon this verse
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse.
But let your love even with my life decay,
Lest the wise world should look into your moan
And mock you with me after I am gone.
My sonnet #1
Don't know much about sonnet. I guess I will try the first one.
1
From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou contracted to thine own bright eyes,
Feed'st thy light's flame with self-substantial fuel,
Making a famine where abundance lies,
Thy self thy foe, to thy sweet self too cruel:
Thou that art now the world's fresh ornament,
And only herald to the gaudy spring,
Within thine own bud buriest thy content,
And tender churl mak'st waste in niggarding:
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
1
From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou contracted to thine own bright eyes,
Feed'st thy light's flame with self-substantial fuel,
Making a famine where abundance lies,
Thy self thy foe, to thy sweet self too cruel:
Thou that art now the world's fresh ornament,
And only herald to the gaudy spring,
Within thine own bud buriest thy content,
And tender churl mak'st waste in niggarding:
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
Wednesday, July 15, 2009
My Sonnet - #128
How oft, when thou, my music, music playest,
Upon that blessed wood, whose motion sounds
With they sweet fingers, when thou gently swayest
The wiry concord that mine ear confounds,
Do I envy those jacks, that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood's boldness by thee blushing stand,
To be a-tickled, they would change their state
And situation with those dancing chips,
O'er whom thy fingers walk with gentle gait,
Making dead wood more bless'd than living lips,
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss. Sonnet CXXVIII
Upon that blessed wood, whose motion sounds
With they sweet fingers, when thou gently swayest
The wiry concord that mine ear confounds,
Do I envy those jacks, that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood's boldness by thee blushing stand,
To be a-tickled, they would change their state
And situation with those dancing chips,
O'er whom thy fingers walk with gentle gait,
Making dead wood more bless'd than living lips,
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss. Sonnet CXXVIII
Interesting. After reading Chapter two in Schank, the following passages jumped out at me:
"That is, the art of storytelling involves finding good ways to express one's experiences in a way appropriate to the listener." (36) "Telling our stories allows us to compile our personal mythology, and the collection of stories we have compiled is to some extent who we are, what we have to say about the world, and tells the world the state of our mental health." (44) "When you tell a story that implies something is wrong with yourself, you may hope for a story that disputes your point." (44) And finally, "...mutual storytelling, even in the form of an argument, can make the storytellers feel closer to each other." (44)
After the storytelling performance today, Kenny, Jui-Tseng and I went to the Cranberry Thistle to talk. It was a wonderful time of sharing experiences, goals and challenges relating to becoming storytellers. As I thought back on some of the stories we told each other, these three passages applied beautifully. Some of the stories told I had heard before - 'personal mythologies,' perhaps. I remember telling at least one story that implied something was wrong with me - secretly hoping for a story that would dispute that point. And finally, the telling of our stories to each other definitely made me feel closer to both Kenny and Jui-Tseng. It made me wonder if Schank had eavesdropped on a conversation similar to ours!!
"That is, the art of storytelling involves finding good ways to express one's experiences in a way appropriate to the listener." (36) "Telling our stories allows us to compile our personal mythology, and the collection of stories we have compiled is to some extent who we are, what we have to say about the world, and tells the world the state of our mental health." (44) "When you tell a story that implies something is wrong with yourself, you may hope for a story that disputes your point." (44) And finally, "...mutual storytelling, even in the form of an argument, can make the storytellers feel closer to each other." (44)
After the storytelling performance today, Kenny, Jui-Tseng and I went to the Cranberry Thistle to talk. It was a wonderful time of sharing experiences, goals and challenges relating to becoming storytellers. As I thought back on some of the stories we told each other, these three passages applied beautifully. Some of the stories told I had heard before - 'personal mythologies,' perhaps. I remember telling at least one story that implied something was wrong with me - secretly hoping for a story that would dispute that point. And finally, the telling of our stories to each other definitely made me feel closer to both Kenny and Jui-Tseng. It made me wonder if Schank had eavesdropped on a conversation similar to ours!!
Shakespeare sonnet #18-Marian's selection
Dear David,
I chose a lovely sonnet #18 everlasting summer as follows;
XVIII
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
I chose a lovely sonnet #18 everlasting summer as follows;
XVIII
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
story reborn by a teller
I would like to share the following with you. I wrote the phrase in the first class thinking of the power of the story:
"A story in the written text is very flat, boring, passive, and static. It provides us with a dead language. However, once a story told by a teller, it is reborn to be vivid, active, fun, and dynamic. It provides us with a live language."
Some of you including me told children stories. If you read those stories, they may be bored and are not appropriate for adults. However, even for adults, your stories fit very well with your creative crafting and gesturs. I was thrilled by the power of storytelling that day!!!! I would like to experience the power of storytelling in the advanced storytelling class with you...
"A story in the written text is very flat, boring, passive, and static. It provides us with a dead language. However, once a story told by a teller, it is reborn to be vivid, active, fun, and dynamic. It provides us with a live language."
Some of you including me told children stories. If you read those stories, they may be bored and are not appropriate for adults. However, even for adults, your stories fit very well with your creative crafting and gesturs. I was thrilled by the power of storytelling that day!!!! I would like to experience the power of storytelling in the advanced storytelling class with you...
Ticket Reimbursement
Just wanted to let everyone know that tickets to the International Storytelling Center performances (Teller-in-Residence) have been reserved and paid for by the ETSU Storytelling Department. You should reimburse the Department in the amount of $24.00 and make checks payable to: ETSU Storytelling Department. Jui-Tseng will be collecting the money.
See you this afternoon!
See you this afternoon!
Tuesday, July 14, 2009
Interesting Day!
Enjoyed the class so much today. Not only were the exercises interesting and applicable, but it also gave me some great insight on ways to play with stories. Following those same exercises even deeper would be fun as well. The two exercises that particularly made me think about things in a new way were the color exercise and the one where we had to relate phrases from someone else's story to ours. The color exercise gave me a frame on which to hang concepts for me. The relating phrases one gave me cause to think more broadly about the concepts in my story.
The text has been quite intriguing. I've only read through the first chapter, but so far it has been a little intimidating. If intelligence can be recognized by one's ability to apply stories to someone else's stories as a way of communicating, it makes me question my own intelligence. Don't misunderstand - I know I do that on occasion - but usually I'm so busy listening to the other story and contemplating it that by the time I think of a relating story the conversation has completely changed to another topic!! However, I do see the value in making those "connections" and am looking forward to seeing whether or not the author can suggest ways to bring those stories to mind a little quicker! Connections - interesting... As a matter of fact, perhaps that is why I was so interested in the exercise we did in class about relating our own story to others. Ah ha!
The text has been quite intriguing. I've only read through the first chapter, but so far it has been a little intimidating. If intelligence can be recognized by one's ability to apply stories to someone else's stories as a way of communicating, it makes me question my own intelligence. Don't misunderstand - I know I do that on occasion - but usually I'm so busy listening to the other story and contemplating it that by the time I think of a relating story the conversation has completely changed to another topic!! However, I do see the value in making those "connections" and am looking forward to seeing whether or not the author can suggest ways to bring those stories to mind a little quicker! Connections - interesting... As a matter of fact, perhaps that is why I was so interested in the exercise we did in class about relating our own story to others. Ah ha!
Monday, July 6, 2009
Syllabus - Summer, 09
Syllabus STOR 5230-050: Advanced Storytelling
July 13 - 30, MTWTh, 1:00pm-4:30pm
Instructor: David Novak
Office: GA Cubicles
Phone: (828) 280-2718
E-Mail: novateller@aol.com
Office Hours: by appointment
Catalog Description: An in-depth study of specific, advanced techniques of storytelling in both delivery and use.
Overall Objective: To develop and improve the public performance skills and the critical thinking and compositional skills necessary for the student to pursue a storytelling career.
Course Narrative: We will work with a variety of performance exercises, group and individual projects and direct coaching to address specific opportunities for growth with each student. Each student will be required to participate in all class discussions and web log journaling. We will do voice and movement warm-ups and exercises. Please dress accordingly. If necessary, bring a change of clothes for movement and exercise during class.
Required Text:
Tell Me A Story: Narrative and Intelligence
by Roger Schank
Paperback: 253 pages
Publisher: Northwestern University Press; Reprint edition (December 20, 1995)
Language: English
ISBN: 0810113139
Assignments:
1. Day 1: Share a story from your standing repertory.
2. Day 3: Select and read aloud a Dr. Seuss book.
3. Day 5: Present a memorized sonnet.
4. Day 8: Present a personal story.
5. Day 9: Present a "ghost" story.
6. Day 12: Ensemble Performance
7. TBD: My Finest Hour
Re: Required Text. Although we will discuss the text briefly during class, our main forum for review and discussion will be on our class blog:
Discussion of Assignments:
▪ Day 1, you will share a story that you have already developed and are comfortable with. This is an opportunity for us to get acquainted.
▪ Day 3, read aloud a selected book by Dr. Seuss. This is an exercise with text. The book you select need not be long, but should be one you enjoy!
▪ Day 5, you will present a sonnet by William Shakespeare. Have your selection to me by Day 4, Thursday, July 16. Again, this is an exercise with text. Select a sonnet that interests you. The sonnet must be memorized. We will work in class on skills for memorization.
▪ Day 8, you will share a story from personal experience. This story can be funny, dramatic, or intimate. We will do an activity in class to help you identify and develop a personal story for this assignment.
▪ Day 9, you will present a "ghost" story. By "ghost" story, I mean a story that creates a sense of awe, wonder, fear, strangeness about the nature of the world we live in. "Ghost" in this sense, refers to the realm of the spirit or the supernatural. One objective in this exercise is to explore the telling experience. We will discuss this in more detail in class.
▪ Day 12, we will present a final performance incorporating stories we have worked as well as new stories using an improvisational, conversational approach. This ensemble performance explores storytelling combinatorics.
▪ Finest Hour: the class schedule does not allow for the performance of "My Finest Hour." A final performance must be arranged by you to take place before the end of August, 2009. If at all possible, the performance should take place at a time and in a place that allows for the instructor and class to attend. In any event, a final video recording of the performance must be submitted to complete the assignment.
Teller-In-Residence. Each Wednesday we will attend the 2pm performance of the storyteller in residence at the International Storytelling Center in Jonesborough. Following each performance we will have opportunity for Q&A with the storyteller. Attendance is mandatory.
Class Schedule:
Day
1 Mon July 13 Story Swap
2 Tue July 14
3 Wed July 15 Teller in Residence: Tejumola Ologboni
4 Thur July 16 Dr. Seuss Read-Aloud (sonnet selection is due)
5 Mon July 20 Sonnets
6 Tue July 21
7 Wed July 22 Teller in Residence: Kim Weitkamp
8 Thur July 23 Personal Stories
9 Mon July 27 "Ghost" Stories
10 Tue July 28
11 Wed July 29 Teller in Residence: Tim Tingle
12 Thur July 30 Final Performances
Suggested Bibliography:
Art & Fear
by David Bayles and Ted Orland
Paperback: 122 pages
Publisher: Image Continuum Press; 1 edition (April 1, 2001)
Language: English
ISBN: 0961454733
The Call Of Stories: Teaching and The Moral Imagination
by Robert Coles
Paperback: 240 pages
Publisher: Mariner Books (January 5, 1990)
Language: English
ISBN: 039552815
Creative Storytelling; Building Community, Changing Lives
by Jack Zipes
Hardcover: 280 pages
Publisher: Routledge; 1 edition (September 19, 1995)
Language: English
ISBN: 0415912725
Metaphors We Live By
by George Lakoff and Mark Johnson
Paperback: 256 pages
Publisher: University Of Chicago Press; 2nd edition (April 15, 2003)
Language: English
ISBN: 0226468011
The Need For Words: Voice and Text
by Patsy Rodenburg
Paperback
Publisher: Theatre Arts Books (August 1, 1993)
Language: English
ISBN: 0878300511
The Right To Speak: Working With The Voice
by Patsy Rodenburg
Paperback: 320 pages
Publisher: Routledge; Reissue edition (June 14, 1993)
Language: English
ISBN: 0878300554
Suddenly They Heard Footsteps: Storytelling for the Twenty-First Century
by Dan Yashinsky
Paperback: 317 pages
Publisher: University Press of Mississippi (October 6, 2006)
Language: English
ISBN-10: 1578069270
The Story Factor: Inspiration, Influence and Persuasion Through The Art of Storytelling
By Annette Simmons
Paperback: 272 pages
Publisher: Perseus Books Group; 1st edition (June 1, 2002)
Language: English
ISBN: 0738206717
The Way of The Storyteller
by Ruth Sawyer
Paperback: 352 pages
Publisher: Penguin (Non-Classics); Reprint edition (January 27, 1977)
Language: English
ISBN: 0140044361
July 13 - 30, MTWTh, 1:00pm-4:30pm
Instructor: David Novak
Office: GA Cubicles
Phone: (828) 280-2718
E-Mail: novateller@aol.com
Office Hours: by appointment
Catalog Description: An in-depth study of specific, advanced techniques of storytelling in both delivery and use.
Overall Objective: To develop and improve the public performance skills and the critical thinking and compositional skills necessary for the student to pursue a storytelling career.
Course Narrative: We will work with a variety of performance exercises, group and individual projects and direct coaching to address specific opportunities for growth with each student. Each student will be required to participate in all class discussions and web log journaling. We will do voice and movement warm-ups and exercises. Please dress accordingly. If necessary, bring a change of clothes for movement and exercise during class.
Required Text:
Tell Me A Story: Narrative and Intelligence
by Roger Schank
Paperback: 253 pages
Publisher: Northwestern University Press; Reprint edition (December 20, 1995)
Language: English
ISBN: 0810113139
Assignments:
1. Day 1: Share a story from your standing repertory.
2. Day 3: Select and read aloud a Dr. Seuss book.
3. Day 5: Present a memorized sonnet.
4. Day 8: Present a personal story.
5. Day 9: Present a "ghost" story.
6. Day 12: Ensemble Performance
7. TBD: My Finest Hour
Re: Required Text. Although we will discuss the text briefly during class, our main forum for review and discussion will be on our class blog:
Discussion of Assignments:
▪ Day 1, you will share a story that you have already developed and are comfortable with. This is an opportunity for us to get acquainted.
▪ Day 3, read aloud a selected book by Dr. Seuss. This is an exercise with text. The book you select need not be long, but should be one you enjoy!
▪ Day 5, you will present a sonnet by William Shakespeare. Have your selection to me by Day 4, Thursday, July 16. Again, this is an exercise with text. Select a sonnet that interests you. The sonnet must be memorized. We will work in class on skills for memorization.
▪ Day 8, you will share a story from personal experience. This story can be funny, dramatic, or intimate. We will do an activity in class to help you identify and develop a personal story for this assignment.
▪ Day 9, you will present a "ghost" story. By "ghost" story, I mean a story that creates a sense of awe, wonder, fear, strangeness about the nature of the world we live in. "Ghost" in this sense, refers to the realm of the spirit or the supernatural. One objective in this exercise is to explore the telling experience. We will discuss this in more detail in class.
▪ Day 12, we will present a final performance incorporating stories we have worked as well as new stories using an improvisational, conversational approach. This ensemble performance explores storytelling combinatorics.
▪ Finest Hour: the class schedule does not allow for the performance of "My Finest Hour." A final performance must be arranged by you to take place before the end of August, 2009. If at all possible, the performance should take place at a time and in a place that allows for the instructor and class to attend. In any event, a final video recording of the performance must be submitted to complete the assignment.
Teller-In-Residence. Each Wednesday we will attend the 2pm performance of the storyteller in residence at the International Storytelling Center in Jonesborough. Following each performance we will have opportunity for Q&A with the storyteller. Attendance is mandatory.
Class Schedule:
Day
1 Mon July 13 Story Swap
2 Tue July 14
3 Wed July 15 Teller in Residence: Tejumola Ologboni
4 Thur July 16 Dr. Seuss Read-Aloud (sonnet selection is due)
5 Mon July 20 Sonnets
6 Tue July 21
7 Wed July 22 Teller in Residence: Kim Weitkamp
8 Thur July 23 Personal Stories
9 Mon July 27 "Ghost" Stories
10 Tue July 28
11 Wed July 29 Teller in Residence: Tim Tingle
12 Thur July 30 Final Performances
Suggested Bibliography:
Art & Fear
by David Bayles and Ted Orland
Paperback: 122 pages
Publisher: Image Continuum Press; 1 edition (April 1, 2001)
Language: English
ISBN: 0961454733
The Call Of Stories: Teaching and The Moral Imagination
by Robert Coles
Paperback: 240 pages
Publisher: Mariner Books (January 5, 1990)
Language: English
ISBN: 039552815
Creative Storytelling; Building Community, Changing Lives
by Jack Zipes
Hardcover: 280 pages
Publisher: Routledge; 1 edition (September 19, 1995)
Language: English
ISBN: 0415912725
Metaphors We Live By
by George Lakoff and Mark Johnson
Paperback: 256 pages
Publisher: University Of Chicago Press; 2nd edition (April 15, 2003)
Language: English
ISBN: 0226468011
The Need For Words: Voice and Text
by Patsy Rodenburg
Paperback
Publisher: Theatre Arts Books (August 1, 1993)
Language: English
ISBN: 0878300511
The Right To Speak: Working With The Voice
by Patsy Rodenburg
Paperback: 320 pages
Publisher: Routledge; Reissue edition (June 14, 1993)
Language: English
ISBN: 0878300554
Suddenly They Heard Footsteps: Storytelling for the Twenty-First Century
by Dan Yashinsky
Paperback: 317 pages
Publisher: University Press of Mississippi (October 6, 2006)
Language: English
ISBN-10: 1578069270
The Story Factor: Inspiration, Influence and Persuasion Through The Art of Storytelling
By Annette Simmons
Paperback: 272 pages
Publisher: Perseus Books Group; 1st edition (June 1, 2002)
Language: English
ISBN: 0738206717
The Way of The Storyteller
by Ruth Sawyer
Paperback: 352 pages
Publisher: Penguin (Non-Classics); Reprint edition (January 27, 1977)
Language: English
ISBN: 0140044361
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