The Green Market

Told by Rick Huddle

Click to listen.

RichHuddle

I really appreciate that, when I’m working on a story, I usually learn something about myself. For this one, it was how much self esteem that I got from being a “good kid.” Funny how, no matter how much I grow and learn, that’s still true for me.

Rick will be presenting the workshop, “Always Say Yes: Improv for Storytellers,”  at the 2012 National Storytelling Conference.

About Rick

Rick just released his latest CD. “Arrrr! Pirates Have Feelings Too” is a collection of fun songs that also explore tough situations that everyone faces, pirates or not.

rickhuddle-aargh

Set off on a pirate ship with comedian-musician Rick Huddle and get marooned on a desert island. We’ll sing shanties, swab the deck, and come up with new answers to the age-old question, “What Would You Do with a Grumpy Sailor?” Weʼll have to band together to avoid the blues, or maybe we’ll just sing our way out of them.

Contact Rick

Website: www.rickhuddle.com
Email: rickhuddle@gmail.com

Share

Literary Storytelling

by Carol Birch

One fall I requested permission to perform Truman Capote’s “A Thanksgiving Visitor.” The representative agreed with the proviso that not a word be changed – an impossible request. The text required editing. In this case the editing was particularly important because of the age of the audience and the time available to tell it. That same week, a local newspaper advertised a theater company’s production of – you guessed it! – Truman Capote’s “A Thanksgiving Visitor.” I’d bet the production was neither word for word, nor any more “faithful” to the short story than my adaptation. Adaptations that strive to interpret stories faithfully for film and theater do not reproduce material word for word because they employ additional “languages” to communicate – so does storytelling.

Recitation and reading are not story-telling. Storytelling is a performance medium and a departure from the grammar of print. Live storytelling is primarily an aural event with physical components that serves a story most effectively by using all the verbal and nonverbal cues available to performers.

When I tell a story penned by an author, my goal is to communicate the appeal of the author’s unique storytelling, language and style. Yet adaptations occur, when I:

  • differentiate characters more easily by placing taglines like “He said” at the beginning of a quote, instead of halfway through or at the end of it;
  • indicate characters vocally, which allows me to communicate “she said” and/or “he said sadly” effectively without actually saying those words;
  • replace words like “she pointed” with a simple gesture;
  • utilize a range of facial and physical cues to communicate more complex emotions like “disappointment overwhelmed him”;
  • repeat a word or line for emphasis, as people naturally do in conversation;
  • avoid words that are problematic today;
  • edit because of time or age constraints; and finally,
  • interact with listeners during a performance.

Lengthy descriptions, which can be delectable to read, can also become numbing in performance. But not always. Audiences let storytellers know when the narrative thread is lost to them. Responding to audiences recalibrates stories. Middle school students might respond to Ray Bradbury’s story of a boy losing his best friend as Douglas does in “Dandelion Wine,” but middle schoolers are not a nostalgic audience. Details that send adults into dim recollections can be an impediment to younger audiences. Forty some years of interacting with audiences might have led me to more informed decisions about editing material, as well as when to – and when not to – respond to cues from an audience, but it is a learning curve that never ends.

Balancing the literary tradition’s value of exact replication with the oral tradition’s more fluid definition of faithfulness to a text is like standing in the middle of a seesaw – balance is maintained by risking imbalance. There are those who would argue that great authors like Ray Bradbury and John Steinbeck do not need storytellers. Fair enough, but students do. Children, teens and adults need to hear their lyricism, power, and art out loud. The words of fine writers are not what most folks plug into iPods, yet most of us know a deep hunger for stories and the feast fine writers offer is without compare. So I will continue to try to establish connections with authors, and those who represent them, that allows penned literature to flourish out loud.

About Carol

Recipient of National Storytelling Network’s Circle of Excellence Award, Carol Birch’s style revels in metaphors that rock, making literature conversational and compelling again. Adults want her to stay and kids want to know when she’ll be back. At the Baseball Hall of Fame, one man yelled, “That lady knows her s…!” – echoing the kid who said long ago: “She knows that story ’cause she was there.”

Join Carol Birch at the National Storytelling Conference Conference in June, where she’ll delve further into how storytellers can effectively prepare aurally satisfying stories from written texts. The workshop will offer information on clearing copyright through an examination of editing and ethical issues.

Contact Carol

Website: www.carolbirchstoryteller.com
Email: carolbirch@earthlink.net

Share
Tagged

Sir George and the Dragon

Told by Randel McGee & Groark

Click to listen

RandelMcGee

About the Story

In Western Culture, the story of “Sir George and the Dragon” is THE quintessential dragon tale of a daring knight, a lovely maiden in distress, and a monstrous dragon. Since Groark, my “friend”, is a young dragon, we are naturally drawn to dragon tales as he seeks to find his heritage. This tale is loosely based on the versions of the story told by Edmund Spenser from the time of Shakespeare and Margaret Hodges’ abridged version (1985 Caldecott Award Winner). I enjoy sharing this story, with Groark interjecting his feelings and insights into it, for many reasons:

  1. It is a classic tale that everyone should know as part of our cultural heritage.
  2. It fits so well into my “act” with Groark, a lively little dragon.
  3. It has what I call “the magic 3” situation, there are 3 different days that Sir George and the Dragon fight, with 3 different results. A pattern of  3 seems to be a magic formula in stories and comedy to establish a pattern for events (and punch-lines) to build on.
  4. Its theme is bravery in the face of formidable foes or problems. “You shouldn’t give up when you’re doing what’s right.”

About Randel

Around the world audiences are stunned when Randel appears
on stage holding a lively, talking dragon on his right hip!
Adults and children alike claim, “That dragon is real!”
And they wonder, “How is this possible!”

Randel McGee & Groark, the incredibly funny and endearing comedy storytelling duo, have performed at storytelling festivals and concerts all around the USA and Asia. Visit their website to see more examples of their outrageously humorous stories, songs and video productions! Also see Randel’s amazing portrayals of Hans Christian Andersen and Santa Claus in storytelling performances that will leave audiences craving more.

Contact Randel

McGee Productions / Randel McGee
P.O. Box 1723 Hanford, CA 93232
Telephone: (559) 582-5307
Email: randel@mcgeeproductions.com
Website: www.mcgeeproductions.com

Share

A Story About the Power of Story

by Sherry Norfolk

I spend most of my professional life in the classroom. Storytelling allows me to work with kids of all ages and skill levels, in a huge variety of settings, for a multitude of purposes. Each classroom offers its own set of challenges and potential rewards. Among the most challenging – and the most rewarding! – is the special needs classroom.

This week, in addition to working in Kindergarten, first grade, and fifth grade, I had three sessions with the kids with severe learning disabilities.  There were nine children in the group, ranging in age from seven to ten; their comprehension and linguistic skills ranged from ages two to six.  My assignment was to help them learn to predict, infer, and create stories with a beginning, middle and end.

I used  a variation of Cathy Ward’s wonderful lesson plan (“What Do You See? Visual Literacy and Story Structure”in Literacy Development in the Storytelling Classroom, Libraries Unlimited, 2009). We began by looking closely at a print of a Norman Rockwell painting — young boy sprawled in an overstuffed chair, blasting on a trumpet while his dog cringes below.  I explained that I find stories in books, and by listening to other people tell stories, and sometimes by looking at pictures, then I told the story I “saw” in the picture. Lots of laughs. Total engagement. Everybody in anticipatory mode, eager for whatever was going to happen next.

I explained that I created the story by thinking about what might have happened before the event in the picture, and then about what might happen next. This is inference and prediction, the essential comprehension skills with which these kids were struggling.

But they were ready to try.

The first session ended with all of the kids able to describe a picture (that’s the middle of the story), and predict a possible outcome (that’s the end). But nary a soul could infer what might have happened before the pictured event; they could not create a beginning for the story. To minimize frustration and to model the process, I told them the story I “saw” in the picture. Lots of laughs.

I went away to think.

The next day, they came in with eager anticipation. We began with the “picture” of me sitting in a chair in their classroom, then worked backwards step by step to the alarm clock awakening me that morning. We had inferred!  So… we did it again, moving backwards from a Norman Rockwell painting. Then again, creating beginning, middle, and end – an entire story – about still another painting.

Success! But would they retain the new-found skill?

On the third day – YES!! – they were each able to tell, then write, their own story with a beginning, middle, and end based on a Lee Stroncek print. The joy in that room was palpable – and only half of it was radiating from me! The other half was radiating from those triumphant kids, proudly reading their stories to their teachers and each other.

I spend most of my professional life in the classroom. It’s a wonderful life!

About Sherry

Sherry Norfolk is an award-winning internationally acclaimed storyteller and teaching artist, performing and leading residencies and professional development workshops nationally and internationally. Co-author of Literacy Development in the Storytelling Classroom (Libraries Unlimited, 2009), The Storytelling Classroom: Applications Across the Curriculum (Libraries Unlimited, 2006), and Social Studies in the Storytelling Classroom (Parkhurst Brothers Publishing, forthcoming 2012), she is a leading authority on integrating learning through storytelling. Sherry received the NSN Oracle Award for Distinguished National Service as well as Tennessee Arts Commission’s Outstanding Teaching Artist award. She is an Adjunct Professor in the Integrated Arts in Learning program at Lesley University.

Contact Sherry

Website: www.sherrynorfolk.com
E-mail: shnorfolk@aol.com
Phone: 404-627-2737

Share

Big White Pushka

Told by Karen Golden

Click to listen

KarenGolden

Was published in Nice Jewish Girls: Growing Up In America in 1996 and is one of my favorite personal stories to tell. All the characters have passed away with the exception of my dear friend Diana. We still laugh about this day so long ago and reminisce about our teachers, the Rabbi, my mother and our introduction to our Jewish heritage. Even Temple Beth El has a new building and the long hallways of the old building only exist in stories. The tale really shines a light on my mom’s wonderful sense of humor. I always feel her smiling down on me when I tell this story. This telling of the story at the 2010 conference was a highlight for me as the audience was amazing. I felt as though this was my come back after a 14 year absence from the conference. I have been deep in the adventure of motherhood, coming up with my own explanations of the workings of the world for my daughters much like my mother explained things to me in Big White Pushka.

About Karen

USA today said, “Karen Golden’s  mesmerizing stories marry age-old values with rollicking saxophone and amazing sound effects. You’ll find the tunes, tastes and traditions of Jewish people from Eastern Europe to the Santa Monica Pier”. Karen is a performer, published author, teacher and award winning recording artist. Funny, inspiring, outrageous and real! Karen’s CD’s can be ordered at karengolden.com. She is currently a teaching artist with the Los Angeles County Arts Commission and a favorite at adult gatherings and conferences. Karen is also the founder/director of Creative Learning Place (creativelearningplace.com) an innovative hands on learning center catering to homes schooled students.

Contact Karen

Website: www.karengolden.com
Email: kargolden@aol.com
Phone: 323-933-4614

Share