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