"No, it'll
not do just to read the old tale out of a book. You've got to tell'em to make'em go
right." (Richard Chase, Grandfather Tales)
INLS 558-001:
Principles and Techniques of Storytelling (3 credits)
School of Information and Library Science
Manning Hall,
Room 307
Thursdays,
6:00-8:45pm
INSTRUCTOR
INFORMATION
Dr. Brian Sturm
Office: 215-A Manning Hall
Phone: 919-962-2460; Email: sturm AT ils.unc.edu; Web: http://ils.unc.edu/~sturm
Office Hours: By email or by appointment
Online Communication: We
will use Sakai for any online
communication we need for this course.
TARGET AUDIENCE
This course is for graduate students or upper level undergraduates with an interest in learning to perform oral narratives, particularly Information and Library Science students interested in youth services or school librarianship. The purpose is to help students gain performance and communication skills through active engagement in combining storytelling theory and skills. It is an emotionally challenging class (to create evocative performances requires a deep emotional vulnerability and a willingness to risk) as well as an intellectually stimulating one.
COURSE
PRE-REQUISITES
None
COURSE GOALS AND
KEY LEARNING OBJECTIVES
Theoretical:
Practical:
CLASS SCHEDULE
August
22nd
Theory: Introduction to storytelling and the class. Expectations, assignments, grading, online area. Definitions, kinds, and values of storytelling. Historical overview. Research resources.
Readings: Have a look at The Storyteller’s Sourcebook – SILS Ref: GR74.6 .M3 2001
Practice (focus): Small group reading aloud and group story creation (imagination)
August
29th
Theory: Storytelling: trance, paradox, and the psychodynamics of enchantment.
Readings: first read Stallings The Web of Silence; then read Sturm The Enchanted Imagination; and then read Sturm Power of “I” article and Caring for Stories article (on Sakai)
Practice: Storytelling games
September 5th
Theory: Finding and selecting an age-appropriate story. We’ll also discuss storytelling language, beginnings and endings, and child development.
Readings: Shedlock – The
Art of the Story-Teller, pages 43-98, also available at Project Guttenberg; read Folktale Openings, Folktale Closings, and Child Development and YA
Development.
Practice (focus): Storytelling card games.
September
12th
Theory: Preparing
and presenting a story
Readings: Sturm Process of
Sharing Stories with Young People article (on Sakai); Shedlock – The
Art of the Story-Teller, pages 31-42, also available at Project Guttenberg; Sturm Eye Contact and the Veil of Story
article (on Sakai)
Practice (focus): "Theater of the Face" (eye contact, facial expression, and storytelling games)
September
19th
Storytelling Session #1 (Preschool): stories
not to exceed 7 minutes
Cue Card #1
September
26th
Theory: Media in storytelling, props, flannel boards, etc.
Readings: Using Drums in Children’s Stories, Storytelling and Puppets
Practice (focus): "Theater of the Body" (body language, gesture, posture, mime, and storytelling games)
October
3rd
Theory: Storytelling for Special Audiences (physically and emotionally challenged, YA, elderly)
Readings: Blankenship article; Chinen article; Setterington article (on Sakai).
Practice (focus):
“The Art of Emotion” (analysis and portrayal of emotions)
October 4th-6th –
National Storytelling Festival in Jonesborough, Tennessee
October
10th
Theory: Administering storytelling programs (design and evaluation) – guest storyteller, Michael Nager
Readings: Look at the entire Storytelling Magazine issue for September/October 2004 (Volume 16, issue 5) which is dedicated to Producing Storytelling Events; The Purpose of Character Voices
Practice (focus): "The Art of Imitation" (character voices, dialect, and sound effects)
October 17th
FALL BREAK
– no class
October
24th
Storytelling Session #2 (Elementary/YA) stories not to exceed
10 minutes
Cue Card #2
October
31st
HALLOWEEN – no class
November
1st – 2nd – North Carolina Storytelling Guild and
Transylvania Public Library Brevard Storytelling Festival (Brevard, NC)
November 7th
Theory: Creating stories from Personal Experiences
Readings: Tips for Telling Effective Personal Stories, and the entire issue of Storytelling Magazine from May/June 2004 (Volume 16, issue 3) which is dedicated to crafting personal and history stories. Also, have a listen to some of the stories told at The Moth in New York City and watch the Call of Stories from BYU.
Practice (focus): “My Life in Story” (personal narrative story exercises; "Space" (staging, acoustics, microphones); “Putting It All Together” (the face, the body, the voice, and the emotions)
November 14th
Storytelling Session #3 (Adult) stories not to exceed 15
minutes (those not telling bring potluck)
Cue Card #3
November
24th – Fourth annual
Storytelling Under the Stars from 5:00-6:00pm in the
Morehead Planetarium
November 21st
Storytelling
Session #3 (Adult) stories not to exceed 15 minutes (those not telling bring potluck)
Cue Card #3
November
29th
THANKSGIVING BREAK – no class
December 5th – Twenty-first annual Winter Stories at 5:00pm in the Wilson Library
ASSIGNMENTS
1. |
Storytelling
session 1 for Preschool |
10% |
2. |
Cue Card 1 - Preschool |
5% |
3. |
Storytelling
session 2 for Elementary/YA |
15% |
4. |
Cue Card 2 – Elementary/YA |
5% |
5. |
Storytelling
session 3 for Adult |
25% |
6. |
Cue Card 3 - Adult |
5% |
7. |
Live
Performance and Evaluation |
15% |
8. |
Class
Participation (see attendance policy below) |
20% |
|
Total |
100% |
In-class Storytelling Performances (3)
Performance evaluation is a tricky process, as each performer has a unique style. In order to tailor my evaluation to each of you, your storytelling performances will be video recorded, and we will meet one-on-one in my office to evaluate each performance. You will need to schedule a time to meet after each of your storytelling sessions (allow one hour). Our evaluation will cover story selection, vocal qualities, presentation style, timing, whether you achieved your “emotions” and “risks” for the story, and the various performance techniques we discuss in class. We will use this rubric to help us assess your stories.
Cue Cards (3)
Please see the cue card template, accessible from the “Cue Card” links above. The cue card is your evidence of background research into your story. Spend considerable effort on this endeavor, as the more you study your story, the more you’ll know its power, and the better performance you will give. Use this template to guide your thinking, and fill in the blank areas with your thoughts on your chosen story. My evaluation will include depth and extent of research, and thoughtfulness of your insights into the various aspects of your story.
Live Performance and Evaluation (1)
You are expected to perform at least one of your chosen stories to an audience outside the classroom that would be appropriate for that story (i.e., a school classroom, a church group, etc.). The purpose is to expose you to the true performance setting, in which the classroom vanishes and you encounter an audience for whom the story is targeted. I want you to work in small groups for this (I’d prefer you not telling solo). You will need to figure out your action plan (where to tell, with whom, how to sequence your stories, how to advertise if necessary), conduct your performance, and then evaluate it thoughtfully. Use what you learn about story selection, preparation, and presentation along with how to administer a storytelling event in designing and presenting this public session.
Class Participation and Involvement
I will come to class prepared, and I expect you to do likewise: 1) you have read and considered the assigned readings; 2) you have prepared for the practice session (if necessary); and 3) you are willing to put your best efforts into practicing in class, and you are willing to leave your ego at the door of the classroom. This class functions on trust. We must build an environment of trust amongst ourselves so that we feel comfortable showing emotions, being vulnerable, and taking risks, for it is only through these three things that storytelling comes alive for the listeners.
GRADING POLICY
Grading for your assignments will follow the H, P, L, F scale for graduate students, A, B, C, D, F for undergraduates. Performances are notoriously difficult to grade, as they are works of self-expression (i.e, art); however, I feel comfortable with the following interpretation for assigning grades to your endeavors.
1. I assume that you are all motivated students (you would not be at Carolina if you weren’t); therefore, my expectations are high from the outset. I know that some of you will have past performance experience, some will have natural talent, and some will have neither, so part of my job as professor is to judge you individually (in addition to comparing you to your peers in class). Therefore, I DO grade on effort, on risks you push yourself to take, on your willingness to try new things, etc. While you may never give an Oscar-winning performance, I expect you to push yourself to improve throughout the semester in whatever ways we discuss in class and individually, and if you do so, you will do well in this course.
2. If your work is thoughtful and competent, and shows effort and care, it will receive a P.
If your work synthesizes ideas, draws in work from outside of class as well as ideas we’ve covered in class, or shows risk-taking that markedly improves your performance ability, it will receive an H.
If your work shows a lack of effort, care, or thought (whether writing or performing) it will receive either an L or an F.
3. There are three ways of grading performances: 1) how you do in relation to your present ability, 2) how you do in comparison to a theoretical “best” performance, and 3) how you do in comparison with your peer students. I will use primarily the first two of these in discussing/evaluating your work with you. I will also ask each of you to comment upon your classmates’ first two performances so that if my view is biased unfairly, the class helps mitigate that bias.
COURSE POLICIES
ATTENDANCE
Class
participation is vital to your learning in this course, so I expect you to
attend class each week. While I
understand that life can get in the way of your education, this class needs
your participation and input each week, so that you can build on prior
knowledge, help you classmates learn and grow, and contribute to a sense of
trust and inter-personal reliance that is essential to the success of the
class. If you miss two classes, you
should consider dropping the course, and if you miss three classes, you will
fail the course.