![]() The workshop contains exercises for working with autobiographical as well as traditional tales. We will look at different narrative structures and their function and consequences for timing. In this add-on course we will dive deeper into the world of orality and look at which techniques can support us in enriching the stories we tell. This course is open to anyone who has participated in the Introduction to Storytelling - Part 1 and/or has had some experience in oral storytelling. So one of the real differences between storytellers and writers is that the storyteller is front and centre, while the writer tries to fade into the background. Traditional, biographical, improvised stories and poetryĮxercises on teller perspective and personal positioning As a writer, you don’t want to be seen telling. Once we have grasped the principles of oral storytelling and the transmission of inner imagery to an audience – what is the next step? How can we effectively shape a story and feel comfortable with space, audience interaction and language improvisation? Which performance rules apply to the oral storyteller in comparison to the art of reciting or acting? Engaging children in oral storytelling (without the use of a printed book) is also an effective teaching practice for oral language development. We look in detail at which techniques support us in enriching the stories we tell. This post is a mini-crash-course in oral storytelling that brings together what I’ve learned from my experience and training in teaching literacy. What I want to explore is traditional, oral storytelling, which has been a part of human life since we first left Africa 200,000 or more years ago. Once we are familiar with oral storytelling and the transmission of inner imagery, it is time to dive deeper into the performative strength of the storyteller. There are so many diverse, wonderful, and sometimes overwhelming ways to do this.
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