INSIDE DOUGLAS COLLEGE / JANUARY 23, 1990 ERS 0 AO NE PE TS IO I PRIA IEE ERE RIAN ES PSDs eas ERE IRE ELE SR, but like more traditional stories, require more than mere memory. Careful preparation will ensure that the relating of experiences is more than an amusing digression. 2. Improvement of listening skills: Farnsworth states that “Listening, a normal and necessary human function, is nearly a forgotten art. No wonder that listening skills are now being taught in business, in universities, and in human relations. Storytelling encourages and develops concentration and good listening habits in a pleasurable and effective way.” 3. Language development: Listening to stories also introduces more varied language patterns and can work to extend vocabulary, even among college students whose experience with language has been limited in our “post-literate” age. 4. Creative expression: Listening to stories gives practice in visualization and leads to further devel- opment of the creative imagination. The time involved in the selection and preparation of stories for telling can be considerable, but the investment of time yields rewards and enjoyment in both the learning and presentation phases. 1. The story must have meaning for the storyteller, and the teller must be comfortable with and enjoy the story himself/herself. The selection and telling of a story ultimately reveals aspects of one’s self. The teller’s life experiences will influence the interpreta- tion of a tale, and the teller should look for stories with which he/she can identify in terms of content, character, emotion, and style. . The story must be appropriate for the audience. 3. These criteria are inherent in the story itself: a) well- developed plot; b) clearly defined theme; c) style, especially use of language; e.g., vivid vocabulary and rhythmic and pleasurable combination of sounds; d) characterization; e) dramatic appeal; f) faithfulness to source material or best translation. 4. Storytelling within the classroom requires that the tale go beyond entertainment. The stories selected must, therefore, meet the instructor's goals and objectives for a particular unit and be accompanied by follow-up activities where appropriate. Some- times the purpose of the telling may be to fill in gaps in the student’s background or to provide informa- tion in a manner that delights and instructs. In the visual approach, the teller learns the story as a sequence of pictures or as frames ina storyboard. In the auditory approach, the teller retains the sounds and rhythms of the story’s language. Both approaches share some basics: N 1. Read the story several times, both silently and then aloud, to acquire a feeling for it. As it is read aloud, listen to the sounds and rhythms. After reading, oh stop and recall the images which comprise the outline of the story. 2. Tell the story without the aid of the book. Be sure the proper sequence of events is learned. 3. Practice the story’s style. Learn and use the interest- ing and repetitive phrases or words that add to the flavor of the story. 4. Practice timing to ensure dramatic impact. Use effective pauses to heighten suspense. Emphasize important words. Remember that this is story- telling, not acting. The teller does not have to use different voices or be overly dramatic. 5. Be aware of tone of voice. Use breath control to add variety and strength to tonal patterns. 6. Practice gestures. Eliminate any distracting move- ments or mannerisms. Use gestures which feel comfortable and are suitable to the story. 7. Prepare an introduction to the story that places it within the context of the course and the audience’s experience. 8. Practice in front of a mirror or with a tape recorder or video recorder. This allows the teller to see and hear the process and may indicate areas which need refinement. The delivery of the story should be as natural as possible. The teller should strive to maintain an inviting, relaxed, and intimate environment. This can be aided by establishing eye contact with the audience. The teller should establish a sense of personal warmth with a smile and pleasant facial expression. Editing: The storyteller should feel free to edit the story while in the process of telling. Unnecessary material may be cut and certain scenes and characters may be elaborated upon or eliminated as the occasion demands. One of the characteristics of the oral tradition is the wealth of story variations produced by such editing over the centuries. Physical setting: The best environment for storytelling is free of distractions such as doors, bulletin boards, or windows. The teller should be the center of attention. Evaluation: Depending upon the purpose of the telling, follow-up activities such as discussion, art projects, dramatic interpretation, or writing experiences may be appropriate. But often the concentration needed to really listen to the story is a learning experience in itself. — Janice Antczak, Associate Professor, Library Science/ Literature a Suanne D. Roueche, Editor November 3, 1989, Vol. Xl, No. 26 ©The University of Texas at Austin, 1989 Further duplication is permitted by MEMBER institutions for their own personnel. 10 INNOVATION ABSTRACTS is a publication of the National Institute for Staff and Organizational Development (NISOD), EDB 348, The University of Texas at Austin, Austin, Texas 78712, (512) 471-7545. Subscnptions are available to nonconsor- tium members for $40 per year. Funding in part by the W. K. Kellogg Foundation and the Sid W. Richardson Foundation. Issued weekly when classes are in session during fall and spring terms and once during the summer. ISSN 0199-106X.