FACIAL EXPRESSION

       As with many storytelling techniques, the use of facial expression will be a personal choice. Some storytellers use very definite, almost choreographed expression. Others have a natural tendency to use facial expression. I think the most important thing to remember is that your face should match the mood of the moment in the story. Here is an example I use with children. 

        Smile. Now say "My dog died." Try it with a pout and lower your head slightly. It makes a big difference, doesn't it? Now do the pout and say "I just won a million dollars." Harder to say while keeping the pout? 

        Most people can naturally match their expression with the mood of what they want to say. Try another example. This activity comes from "Children Tell Stories" by Martha Hamilton and Mitch Weiss. Say the words "No I won't" as if you are tired. Try happy, sad, angry, stubborn. Do you see how it is possible to say one thing in many ways? Each has its own meaning, not always what the words tell us. This is an effective tool.

       I don't worry too much about what my face looks like when telling a story, but I have practiced making different kinds of faces in front of the mirror. Personally, I think I make one of the best scary faces around. Hmmm, maybe I shouldn't admit that    ;)

       * should look natural

       * should fit the words or idea

       * should not take away from the   story.

Use the following links for more storytelling tips.

Facial expression, eye contact, body movement

Microphone use

Finding stories to tell

How to recall stories    

Learning a new story

EYE CONTACT

       Eye contact is an interesting topic. When learning to be a teacher, we were told eye contact is a powerful tool for getting and keeping a student's attention. This is so true. We were also taught that in some cultures it is rude to look someone in the eyes. Also true. 

      There have been many times when I have been able to regain control of an unruly audience member, simply by looking at them. Proximity is also a handy tool. Sometimes looking someone in the eye while moving closer to them works best.

      In the business world, people who won't look you in the eye, should not be trusted. But here is where it gets interesting. I know a blind storyteller and have told stories when there have been blind audience members. This brings up the question, is eye contact necessary? I'd answer in two ways. If you have sight, use it. The power of eye contact to maintain a connection with audience cannot be disputed. On the other hand, those I know who are blind, manage to create the effect that they are looking at you. It is possible to look at someone, without looking at them. Create the illusion that every member of the audience is in your sight and each one has your undivided attention, whenever possible.

         How to Recall Stories

Q. Do you have any tips on how you remember which stories you have?

A. As far as collecting, recording or recalling stories I use a couple of methods. I have a printout I call my repertoire list. Since I perform for many audiences, I have separated the list into audience and program types. All I have in the list are titles. I can look at the titles and build a program. I also list some sources for the stories or a brief synopsis if needed. I have tape recorded some stories, especially ones that I might not us often. The only trouble with that is I have a hundred tapes but don't know what is on many of them. I didn't keep track in the beginning. Now I write the story title on the cassette insert. If you could do a recording on CD it would be better because tracking the story is easier. I have not figured out how to do that yet (have not taken the time.) Recollection of story, for me, involves recalling an opening line. "Once upon a time," is used in story for a reason. When I teach kids they have trouble starting a story. I tell them to use "Once upon a time." When they do that, the story flows. This works as well with an opening line. When you hear me tell stories, you may notice that the stories are not always the same but the openings and closings usually are the same.

BODY MOVEMENT

       As with facial expression and character voice, how much body movement you use can also be a personal choice. In some traditions you will see the storyteller sit without any movement while in others the storyteller dances or uses very choreographed movements.    Again, the best ways to make this decision may be by watching others tell stories, seeing what comes naturally for a given story and remembering not to let the movement be more important than the story itself. In fact, this last "rule" is one of the things that sets storytelling apart from theater. Each time a story is told several changes may occur. The environment, the audience, the emotional state of the teller, the needs of the teller and the audience may be different. These all affect story. However, in a theatrical performance, the delivery and movements are intended to remain constant. For more on the differences and similarities between storytelling and theater, see The Fourth Wall.

         Learning a New Story    

     As with anything that I am working on, it is not always evident at first where it wants to go. I see stories and ideas as living things with lives of their own, and while I do need to craft them, I prefer to let them work through me. In my workshop "Unlocking the Power of Story," we examine the place in stories that speaks to us or even repels us. Those places are key to helping stories live full lives. It involves tearing the story apart piece by piece and examining it for meaning. Of course, I may not use this method on every story that I want to learn. But, I do always wait before opening my mouth to speak. I live with the story and try the story or idea on my husband who has become something of an editor for my work. New stories, ideas and thoughts are spoken out loud in private to make sure they sound right and I then run them by friends. Sometimes, I use test audiences. I like to put a new, even raw story between some time tested ones and I will tell the audience this is a new story I am testing on them. I wouldn't do that for a large venue or big stage performance. I do it with kids and adults who want to know that even a polished performer starts with the basics.                                              

      When telling big stories, I have learned to think of them as more than one story put together. You can often find definitive beginnings and ends throughout a story. Learn those smaller pieces and it is easier to put them together. I have also found that the very first time a story is spoken out loud it sounds strange and foreign. Get past that, play with the story, live with it, practice and watch for audience reaction. Like a new pair of shoes, a story has to be walked in and worn to become comfortable.