| |
| |
| Acknowledgments | |
| |
| |
| Introduction: Storytelling Basics and Beyond | |
| |
| |
| Thinking in the Present | |
| |
| |
| Helping You Make Your Own Decisions | |
| |
| |
| The Case of the (Possibly) Bad Second Performance | |
| |
| |
| Not Advice but Understanding | |
| |
| |
| No Right Way to Tell Stories | |
| |
| |
| Locally Preferred Styles | |
| |
| |
| Style versus Effectiveness | |
| |
| |
| The Storytelling Triangle | |
| |
| |
| Loving the Mystery | |
| |
| |
| Exploring Each Component | |
| |
| |
| The Transfer of Imagery | |
| |
| |
| Oral Language | |
| |
| |
| The Variety of Expression | |
| |
| |
| Tone of Voice | |
| |
| |
| Facial Expression, Gestures, and Posture | |
| |
| |
| Eye Behavior | |
| |
| |
| Orientation in Space | |
| |
| |
| Multidimensionality | |
| |
| |
| Characterization through Clusters | |
| |
| |
| Humor through Contrasts | |
| |
| |
| Transitions | |
| |
| |
| Time-Based Language | |
| |
| |
| Nonreversible Time | |
| |
| |
| Pauses | |
| |
| |
| Rhythm and Tempo | |
| |
| |
| Repetition | |
| |
| |
| The Uncrowded Stage | |
| |
| |
| Forms of Imagery | |
| |
| |
| The Nature of Images | |
| |
| |
| The Ways Experiences Are Stored | |
| |
| |
| Preferred Modes of Imagery | |
| |
| |
| Learning to Transform Images | |
| |
| |
| Imagining Fully | |
| |
| |
| See the Sights | |
| |
| |
| What If I Can't See the Colors? | |
| |
| |
| Hear the Sounds | |
| |
| |
| Developing Your Aural Sensitivity | |
| |
| |
| Feel the Muscle-Tension and Movement | |
| |
| |
| Tuning In to Kinesthetic Images | |
| |
| |
| Using Sensory Details When Telling a Story | |
| |
| |
| Kinesthetic Imagery and Characterization | |
| |
| |
| Open Versus Closed Postures | |
| |
| |
| Using Open/Closed Postures in a Story | |
| |
| |
| Habitual Muscular Tensions | |
| |
| |
| 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 | |
| |
| |
| Using Body Center in a Story | |
| |
| |
| In Support of the Key Concepts | |
| |
| |
| Using Multiple Body Centers | |
| |
| |
| Using Multiple Muscular Tensions | |
| |
| |
| Other Forms of Kinesthetic Imagery | |
| |
| |
| Your Relationship to the Story | |
| |
| |
| Learning to Learn Stories | |
| |
| |
| What Is a Story? | |
| |
| |
| The Esthetic Expectations Behind the Fairy Tale | |
| |
| |
| Expectations About Story Attributes | |
| |
| |
| Responding to Divergent Expectations | |
| |
| |
| Learning the Story | |
| |
| |
| Beginning a Natural Process | |
| |
| |
| How We Learned to Tell It | |
| |
| |
| How We Changed It | |
| |
| |
| Tell It Informally, Many Times | |
| |
| |
| The Dangers of Practicing | |
| |
| |
| What if the Story Didn't Happen to Me? | |
| |
| |
| Discovering the Meaning | |
| |
| |
| MIT: the Most Important Thing | |
| |
| |
| What Does This Story Mean to Me? | |
| |
| |
| The Most Important Thing is Boss | |
| |
| |
| The Next Most Important Things | |
| |
| |
| To State or Not to State | |
| |
| |
| Conscious or Unconscious Connections | |
| |
| |
| A Continuum of Ways to State Meaning | |
| |
| |
| Discovering the Structure | |
| |
| |
| Outlining | |
| |
| |
| Time-Lines | |
| |
| |
| Other Tools for Understanding Structure | |
| |
| |
| Memorizing | |
| |
| |
| Why Not to Begin by Memorizing | |
| |
| |
| Using My MIT To Create a Structure | |
| |
| |
| Working toward the Details | |
| |
| |
| At Last, the Words | |
| |
| |
| The Central Role of Deciding the MIT | |
| |
| |
| Memorizing Someone Else's Words | |
| |
| |
| Your Relationship to Your Listeners | |
| |
| |
| Helper and Beneficiary | |
| |
| |
| The Beneficiary's Needs Come First | |
| |
| |
| Being Clear and Agreeing | |
| |
| |
| Fuzzy Situations | |
| |
| |
| After the Performance | |
| |
| |
| Stating the Expectations | |
| |
| |
| Moving from Beneficiary to Helper | |
| |
| |
| Telling a New Story As Beneficiary | |
| |
| |
| Deciding to Tell As Helper | |
| |
| |
| Special Problems with Personal Stories | |
| |
| |
| When the Feelings Surprise Me | |
| |
| |
| The Four Tasks | |
| |
| |
| Uniting | |
| |
| |
| Ways to Unite | |
| |
| |
| Inviting | |
| |
| |
| Relaxed Confidence | |
| |
| |
| Rejected Invitations | |
| |
| |
| Offering | |
| |
| |
| Too Much Invitation | |
| |
| |
| Acknowledging | |
| |
| |
| Your Effect on Your Listeners | |
| |
| |
| Leaning Forward | |
| |
| |
| Leaning Back | |
| |
| |
| Special Problems with "Leaning Back" Stories | |
| |
| |
| Some Genre-Related Effects on Your Audience | |
| |
| |
| A Response to Personal Experience Stories | |
| |
| |
| Program Planning | |
| |
| |
| The MIT for a Program | |
| |
| |
| Planning by the Slots | |
| |
| |
| Unbidden Images | |
| |
| |
| Developing Audiences for Your Needs | |
| |
| |
| The Rehearsal Buddy | |
| |
| |
| The Home Audience | |
| |
| |
| Other Practice Audiences | |
| |
| |
| A Balanced Diet of Audiences | |
| |
| |
| Your Relationship to Your Self | |
| |
| |
| Your Voice | |
| |
| |
| Reducing Tension | |
| |
| |
| The Healing Yawn | |
| |
| |
| The Sources of Tension | |
| |
| |
| What Are You Trying to Do? | |
| |
| |
| Changing the Decision | |
| |
| |
| Special Problems in Teaching Voice | |
| |
| |
| Vocal Warm-Up | |
| |
| |
| Performance Anxiety | |
| |
| |
| Excitement and Fear | |
| |
| |
| Readiness | |
| |
| |
| Readiness Skills Increase over Time | |
| |
| |
| One Uncertainty at a Time | |
| |
| |
| Fear | |
| |
| |
| What Is Fear? | |
| |
| |
| How to Process Fear | |
| |
| |
| Noticing the Actual Situation | |
| |
| |
| Speaking Back to Common Worries | |
| |
| |
| When Fear Can Be Useful | |
| |
| |
| Your Support Team | |
| |
| |
| Planning Buddies | |
| |
| |
| Many Helpings | |
| |
| |
| Three Kinds of Helpers | |
| |
| |
| The Care and Feeding of Helpers | |
| |
| |
| Intangible Help | |
| |
| |
| Putting it All Together | |
| |
| |
| The Flexible Shifting of Attention | |
| |
| |
| Four Layers of Attention | |
| |
| |
| Warming Up a Preschool Audience | |
| |
| |
| Act Two with Attentive Adults | |
| |
| |
| Keeping My Attention Flexible | |
| |
| |
| Obstructions That Misdirect My Attention | |
| |
| |
| Meeting My Own Needs--for the Good of Others | |
| |
| |
| Balancing the Details with the Goals | |
| |
| |
| What Matters Most in this Event? | |
| |
| |
| Learning the Most Important Component | |
| |
| |
| Intermediate Concepts | |
| |
| |
| Connecting to the Moment | |
| |
| |
| Which Answer Do I Keep Closest? | |
| |
| |
| Creating the Strands of Connection | |
| |
| |
| Conclusion: Transformation | |
| |
| |
| How to Find Storytelling Organizations and Publications | |
| |
| |
| Notes | |
| |
| |
| Bibliography | |