" And all of those who have written down their stories, the greatest are those whose writings differs the least from the speech of the many anonymous storytellers"
Walter Benjamin in The Storyteller
For whom and what is the aim of the course?:
For a small group, from 5 to 10 storytellers, puppeteers, visual theater performers, writers of literature, theater or film, teachers and lecturers are welcome.
Switching from one character's body, voice, emotion, intent, desire and actions to those of another in the story, in quick montage like transitions, demands a different way training than a theater actor that embodies only one role throughout the evening.
Exercises in class will help you mine your own experiences and the knowledge you have in your body to expand your range of expressivity and be able to embody multiple characters. Playing the needs, desires, speak for, act and react like others than yourself will help you become a better storyteller, puppeteer and writer.
Each class includes:
Movement and voice training.
Presentation of your homework for evaluation and group discussion.
Theoretical lectures on different topics of the storytelling profession.
The neuroscience, history and world traditions of storytelling.
Videos of known storytellers around the world, both traditional and contemporary.
Requirements: Simple, comfortable, plain colored clothes, no accessories. Space to do exercises during class. A camera of wide angle that connects to the computer is indispensable, it allows the whole body of the performer to be seen, from head to toes at a close distance from the screen. Details of what to purchase will be given.
from Andrew Comstock's book on gesture,1846
Some of the questions we want to answer
What makes the audience care and listen?
The triangle of relationships: story, storyteller and public. What can wrong and why?
How do I analyze a written story to tell it orally?
What is the relationship between the structural and performative aspects of storytelling.
Narrative, story and plot, what is the difference?
On the basis of what do I choose the parts of the story to tell the audience and which ones to show/act out?
How does suspense work?
What is the role of rhythm and silence? When does silence occur and what is its power?
How do I find the posture, gesture, gravity, balance and voice for each character?
Who’s story is it? Point of view of the narrator.
How much do I know? Levels of insight.
How do I choose a story? For whom? By whom? About whom?
The problem of stereotypes, racism, invisibility in stories. What can we do about it?
How can I tell my own story?
Can I change an existing story?
Is there more than one meaning to the story? Symbolic and literal meanings.
and many more.
14 meetings of 3 hours, by zoom, in Hebrew or English depending on the group.
Between 6 and 10 people
Price: 1650 shekels plus mam
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