I was following my twitter tweets the other day when I read a storyteller mention he practiced, practiced, practiced. Without putting much thought into my response, I responded, “I like to wing it and see what sticks.” His response firmly stated that even great musicians who improvise spend much time rehearsing.
Ready to twist your mind a little bit? Ready to jump into the great abyss of the unknown, crazy world of improvisation? Try this little trick to develop spontaneous story ideas to keep your mind fresh and alert.
The most challenging story I tell is Emma Edmonds, a Civil War Spy, an epic tale performed first person. Since moving to Indiana, I have found Emma to be one of my cash cows. Audiences respond well to the story commenting that they are captivated and feel as if they are in the moment with Emma. They are genuinely touched by Emma’s story and comment they felt as if they met her. I am pleased with the story’s popularity, yet an epic tale is draining to perform in the best of environments. Would I be able to perform Emma repetitiv
Following a performance of Irish Cinderlad I was asked how I was able to retain the believability of the pantomimed sword. That comment surprised me, having come from an experienced teller. I have never taken an official course in pantomime however I have taken years of theatre classes and workshops. Is my ability to create believability with gesture and pantomime instinct, skill, or common sense?
I think it was 2002 when I walked into The Storyteller Café, Mesa, AZ, and asked if they needed a resident storyteller. A group of tellers from South Mountain Community College Storytelling Institute, Phoenix, AZ, had preceded me and were no longer providing consistent storytelling performances. I’d never been a resident teller nor had I ever delivered a full concert, but it seemed a good idea to practice what I believed I could do.