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