The document discusses the process of teaching storytelling to students. It involves 9 steps: 1) choosing and memorizing a story, 2) practicing mime, 3) adding sound effects, 4) incorporating words, 5) getting feedback, 6) using character voices and placement, 7) making eye contact, 8) describing scenes with 5 senses, and 9) surfing the story with expression and pacing. The goal is to help students visualize stories and practice performance skills through physicalization, voices, and engaging an audience.

2.  the art of using language, vocalization,
and/or physical movement and gesture to
reveal the elements and images of a story to
a specific, live audience.
 its reliance on the audience to develop
specific visual imagery and detail to complete
and co-create the story.

3.  a narrative account of a real or imagined
event or events.
 a specific structure of narrative with a specific
style and set of characters and which includes
a sense of completeness

4.  Through this sharing of experience we use
stories to pass on accumulated wisdom,
beliefs, and values.
 Through stories we explain how things are,
why they are, and our role and purpose.
 Stories are the building blocks of knowledge,
the foundation of memory and learning.
 Stories connect us with our humanness and
link past, present, and future by teaching us
to anticipate the possible consequences of
our actions.

5.  It is the live, person-to-person oral and
physical presentation of a story to an
audience.
 "Telling" involves direct contact between teller
and listener. It mandates the direct
presentation of the story by the teller.

6.  The teller's role is to prepare and present the
necessary language, vocalization, and
physicality to effectively and efficiently
communicate the images of a story.
 The listener's role is to actively create the
vivid, multi-sensory images, actions,
characters, and events---the reality---of the
story in their mind based on the performance
by the teller, and on their past experiences,
beliefs, and understandings.

7.  an interactive performance art form.
 , by design, a co-creative process
 by its nature, personal, interpretive, and
uniquely human.
 a process, a medium for sharing,
interpreting, offering the content and
meaning of a story to an audience

8.  We are born as storytellers
 Storytelling is one of the most basic ways of
sharing knowledge, of making sense of
experiences, and of seeing oneself in relation to
others. In the classroom, storytelling is an
important activity with strong links to literacy.
 Stories fill every comer of our lives
 People are natural storytellers and stories are a
natural way to initiate children into the world of
literacy
 They tell the special events of human’s life

11.  Storytelling had its origin in play activities,
with gifted but ordinary folk entertaining
their particular social group informally.
 Gradually these activities were included in
religious rituals, historical recitations and
educational functions.

12. The origins of storytelling, including:
 (1.)That it grew out of the playful, self-entertainment
needs of humans;
 (2.)That it satisfied the need to explain the surrounding
physical world.
 (3.)That it came about because of an intrinsic religious
need in humans to honor or propitiate the supernatural
force(s) believed to be present in the world.
 (4.) That it evolved from the human need to communicate
experience to other humans.
 (5.) That it fulfilled an aesthetic need for beauty,
regularity, and form through expressive language and
music.
 (6.) That it stemmed from the desire to record the actions
or qualities of one's ancestors, in the hope that this would
give them a kind of immortality.

13.  Records of storytelling have been found in many
languages, including Sanskrit, Old German, Latin,
Chinese, Greek, Latin, Icelandic and Old Slavonic.
 The origins of storytelling, however, are ancient.
One of the earliest surviving records is found in
the Westcar Papyrus of the Egyptians in which the
sons of Cheops (the pyramid builder) entertained
their father with stories. The epic tale,
Gilgamesh, which relates the story of a Sumerian
king, is frequently cited in history texts as our
oldest, surviving epic tale. As Shakespeare wrote
in King Richard II, "For God's sake, let us sit upon
the ground and tell sad stories of the death of
Kings.“

14. 1. Sequential, stories tell of events occurring over
time
2. Narrative "particularity," meaning that stories
focus on particular events and individuals
3. Characters' "intentionality." That is, they not
only describe characters' actions, they also
show us the intentions that motivate those
actions or that arise in response to events
4. "canonicity and breach" --exploring and
making comprehensible events that deviate
(breach) from standard or "canonical"
occurrences

15.  Here are some basic assumptions about storytelling.
 • We all tell stories all the time. When someone asks you how your
 day went, that’s an invitation for a story. We allow the listener to
 participate in our lives by sharing interesting highlights of events
 we experience.
 • The first is the worst. Storytelling is a skill that improves with practice.
 The scariest part is starting. How did you learn to swim? By
 drowning for a while. How did you learn to ride a bike? By falling
 many times. To tell a story well, you need to practice. The more
 you practice the better you get.
 • The audience looking at you wants one thing: Take us away! The
 members of the audience are there to go on a story journey, and the
 storyteller is there to lead them. Don’t be afraid, the audience wants
 to get lost in the tale!

16. ◦ Initial Incident
◦ Complications
◦ Crisis
◦ Climax
◦ Denouement

18.  Storytelling is not like math. A storyteller
must be loose, expressive, and even goofy at
times.
 Some students love storytelling, and some
hate it. But because the ability to speak with
comfort and conviction in front of people is
important to success in this world, students
must be encouraged to practice these skills.

19.  Step 1– Getting Started
 • Select a story, read it, and memorize the
sequence of events.
 • Visualize the scenes: Who are the people in
each scene? What do they look like? How do
they talk, move, and stand?
 • Imagine the action in the story.
 • Use your imagination to add to the story if
necessary. As stories come together, students
can begin to share them in pairs or small
groups.

20.  Step 2 – Mime
 •Mime is awkward and difficult for most people,
but it’s important. Bad storytelling is often static
and word- based. Children respond to physical
movement and it enlivens the tales. Mime forces
the story-teller to start learning scenes and to
visualize the story.
 • Have students find a private spot. Students
should close their eyes and begin to mime the
story. Students should become the characters
and wordlessly explore the different scenes.

21.  Step 3 – Sound Effects
 • Add sound effects to the mime. Make
noises, but not words. Explore. Some effects
are loud, some are silent.
 • Encourage students to experiment with
different sounds.

22.  Step 4 – Words
 • Without giving up the physical movements
and sound effects, add words to the story.
 • Have students pair up. Students should tell
their stories with mime, sound effects, and
words.

23.  Step 5 – Listener Feedback
 • The listener needs to ask questions about
or retell the parts that are difficult to
visualize. If the listener isn’t able to see who
is speaking or what’s going on, the story is
not succeeding.
 • Have students tell the story again with a
different partner.
 • Teacher feedback helps when students are
having difficulties with this step.

24.  Step 6 – Character Voices, Faces, and Placement
 This is a dramatic device to keep the audience
informed, and it eliminates the need to say
things like “then the bear said . . .” The audience
can see that it’s the bear speaking.
 model voice inflections and facial and body
gestures.
 • Example: A bear is big and slow, and his face
sags. The bear speaks slowly with a deep voice
looking down on a boy to his right. The boy is
small, has big eyes, and is afraid but gutsy. He
has a high voice and speaks looking up at the
bear to his left.

25.  Step 7 – Eye Contact
 • Practice using the eyes to hook the
audience into the story. Storytellers talk
directly to the audience. When they use eye
contact, the audience feels their energy.

26.  Step 8 – Five Senses
 • Good storytellers paint a picture with words
– keep it short and colorful, as there is
generally only enough time to give essential,
provocative details.
 • Challenge students to include not just what
is done and said, but how things look and
feel, including colors, scents, textures, and
tastes. They should try to use three to five
sensory descriptions in their stories.

27.  Step 9 – Surfing the Story
 • The feel of the story must be appropriate to the
energy of the tale and the teller. Consider a song.
It has different speeds and feelings and an
overall mood. A well told story is told like a song.
Pacing, flow, the musical dynamics of fast and
slow, loud and soft, big and small.
 • Encourage students to not just tell the story,
but to surf it! Play it! Sing it! Have fun telling it.
Give the story life through you, the storyteller,
and let it live in you.

33.  Reading is unavoidable
 Experiences
 Travelling
 Etc.

34.  Cinderella
 Native American Storytelling
 Jamilah Aini
 PM Toh
 Teaching Storytelling
 Lazy Jack Audio
 Lazy Jack Storytelling (Ethan)

35.  Choose a story
 Mime
 Produce sound
 Words
 Character’s voices, faces and placement
 Eye contact
 Five senses
 Surf the story