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Acknowledgments | 9 | |
Introduction: Storytelling Basics and Beyond | 11 | |
Thinking in the Present | 12 | |
Helping You Make Your Own Decisions | ||
The Case of the (Possibly) Bad Second Performance | ||
Not Advice but Understanding | ||
No Right Way to Tell Stories | 15 | |
Locally Preferred Styles | ||
Style versus Effectiveness | ||
The Storytelling Triangle | 17 | |
Loving the Mystery | ||
Exploring Each Component | ||
Section 1 | The Transfer of Imagery | 19 |
Chapter 1 | Oral Language | 21 |
The Variety of Expression | 22 | |
Tone of Voice | ||
Facial Expression, Gestures, and Posture | ||
Eye Behavior | ||
Orientation in Space | ||
Multidimensionality | 29 | |
Characterization through Clusters | ||
Humor through Contrasts | ||
Transitions | ||
Time-Based Language | 32 | |
Nonreversible Time | ||
Pauses | ||
Rhythm and Tempo | ||
Repetition | ||
The Uncrowded Stage | ||
Chapter 2 | Forms of Imagery | 41 |
The Nature of Images | 41 | |
The Ways Experiences Are Stored | ||
Preferred Modes of Imagery | 43 | |
Learning to Transform Images | ||
Chapter 3 | Imagining Fully | 47 |
See the Sights | 47 | |
What If I Can't See the Colors? | ||
Hear the Sounds | 50 | |
Developing Your Aural Sensitivity | ||
Feel the Muscle-Tension and Movement | 52 | |
Tuning In to Kinesthetic Images | ||
Using Sensory Details When Telling a Story | ||
Chapter 4 | Kinesthetic Imagery and Characterization | 57 |
Open Versus Closed Postures | 57 | |
Using Open/Closed Postures in a Story | ||
Habitual Muscular Tensions | 59 | |
Why We Develop Habitual Tensions | ||
Tensions Begin Creatively, and Can Be Slow to Release | ||
Male and Female Abdominal Tensions | ||
Using Habitual Muscular Tensions in a Story | ||
Transformation Is Fascinating to Watch | ||
Body Centers | 66 | |
Using Body Center in a Story | ||
In Support of the Key Concepts | 68 | |
Using Multiple Body Centers | ||
Using Multiple Muscular Tensions | ||
Other Forms of Kinesthetic Imagery | 71 | |
Section 2 | Your Relationship to the Story | 73 |
Learning to Learn Stories | ||
Chapter 5 | What Is a Story? | 75 |
The Esthetic Expectations Behind the Fairy Tale | 76 | |
Expectations About Story Attributes | 76 | |
Responding to Divergent Expectations | 78 | |
Chapter 6 | Learning the Story | 81 |
Beginning a Natural Process | 81 | |
How We Learned to Tell It | ||
How We Changed It | ||
Tell It Informally, Many Times | ||
The Dangers of Practicing | 84 | |
What if the Story Didn't Happen to Me? | 86 | |
Chapter 7 | Discovering the Meaning | 87 |
MIT: the Most Important Thing | 87 | |
What Does This Story Mean to Me? | ||
The Most Important Thing is Boss | ||
The Next Most Important Things | ||
To State or Not to State | 92 | |
Conscious or Unconscious Connections | ||
A Continuum of Ways to State Meaning | ||
Chapter 8 | Discovering the Structure | 95 |
Outlining | 95 | |
Time-Lines | 98 | |
Other Tools for Understanding Structure | 99 | |
Chapter 9 | Memorizing | 101 |
Why Not to Begin by Memorizing | 102 | |
Using My MIT To Create a Structure | 103 | |
Working toward the Details | ||
At Last, the Words | ||
The Central Role of Deciding the MIT | ||
Memorizing Someone Else's Words | 109 | |
Section 3 | Your Relationship to Your Listeners | 111 |
Chapter 10 | Helper and Beneficiary | 113 |
The Beneficiary's Needs Come First | ||
Being Clear and Agreeing | 114 | |
Fuzzy Situations | ||
After the Performance | ||
Stating the Expectations | ||
Moving from Beneficiary to Helper | 120 | |
Telling a New Story As Beneficiary | ||
Deciding to Tell As Helper | ||
Special Problems with Personal Stories | ||
When the Feelings Surprise Me | ||
Chapter II | The Four Tasks | 125 |
Uniting | 125 | |
Ways to Unite | ||
Inviting | 128 | |
Relaxed Confidence | ||
Rejected Invitations | ||
Offering | 132 | |
Too Much Invitation | ||
Acknowledging | 134 | |
Chapter 12 | Your Effect on Your Listeners | 137 |
Leaning Forward | 137 | |
Leaning Back | 138 | |
Special Problems with "Leaning Back" Stories | ||
Some Genre-Related Effects on Your Audience | 141 | |
A Response to Personal Experience Stories | 142 | |
Chapter 13 | Program Planning | 143 |
The MIT for a Program | 144 | |
Planning by the Slots | 145 | |
Unbidden Images | 146 | |
Chapter 14 | Developing Audiences for Your Needs | 149 |
The Rehearsal Buddy | 149 | |
The Home Audience | 150 | |
Other Practice Audiences | 151 | |
A Balanced Diet of Audiences | ||
Section 4 | Your Relationship to Your Self | 155 |
Chapter 15 | Your Voice | 157 |
Reducing Tension | 157 | |
The Healing Yawn | ||
The Sources of Tension | ||
What Are You Trying to Do? | ||
Changing the Decision | ||
Special Problems in Teaching Voice | 162 | |
Vocal Warm-Up | 164 | |
Chapter 16 | Performance Anxiety | 167 |
Excitement and Fear | ||
Readiness | 168 | |
Readiness Skills Increase over Time | ||
One Uncertainty at a Time | ||
Fear | 171 | |
What Is Fear? | ||
How to Process Fear | ||
Noticing the Actual Situation | ||
Speaking Back to Common Worries | ||
When Fear Can Be Useful | ||
Chapter 17 | Your Support Team | 181 |
Planning Buddies | 181 | |
Many Helpings | 182 | |
Three Kinds of Helpers | 183 | |
The Care and Feeding of Helpers | 184 | |
Intangible Help | 184 | |
Section 5 | Putting it All Together | 187 |
Chapter 18 | The Flexible Shifting of Attention | 189 |
Four Layers of Attention | 189 | |
Warming Up a Preschool Audience | ||
Act Two with Attentive Adults | ||
Keeping My Attention Flexible | 192 | |
Obstructions That Misdirect My Attention | ||
Meeting My Own Needs--for the Good of Others | ||
Chapter 19 | Balancing the Details with the Goals | 197 |
What Matters Most in this Event? | 198 | |
Learning the Most Important Component | ||
Intermediate Concepts | ||
Connecting to the Moment | 201 | |
Which Answer Do I Keep Closest? | ||
Creating the Strands of Connection | ||
Conclusion: Transformation | 207 | |
Appendix | How to Find Storytelling Organizations and Publications | 211 |
Notes | 213 | |
Bibliography | 217 |
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Add Improving Your Storytelling: Beyond the Basics for all who Tell Stories in Work or Play, The first steps in storytelling are often easy, because we tell stories informally every day. Once you take storytelling into the more formal contexts of performance or occupational uses, however, you may be faced with challenges you hadn't anticipated. Y, Improving Your Storytelling: Beyond the Basics for all who Tell Stories in Work or Play to the inventory that you are selling on WonderClubX
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Add Improving Your Storytelling: Beyond the Basics for all who Tell Stories in Work or Play, The first steps in storytelling are often easy, because we tell stories informally every day. Once you take storytelling into the more formal contexts of performance or occupational uses, however, you may be faced with challenges you hadn't anticipated. Y, Improving Your Storytelling: Beyond the Basics for all who Tell Stories in Work or Play to your collection on WonderClub |