by Members of the Producers & Organizers SIG Here’s a question that appeared on the PRO SIG listserv. Our Tellabration Problem We have our tellers audition their stories, and plan the timing of our program accordingly. But last year, two of the stories really grew between the audition and Tellabration. Plus an emcee took lots […]
How to Gracefully Keep a Program Running On Time Details »
By Mary Grace Ketner ( ) I tend to separate the two: emceeing, introductions. The emceeing has to do with the overall program and the audience, welcoming, making the program flow, cleansing the palate between each teller, building anticipation for the next story, bringing closure. The introductory “speech” for each teller is a separate project
Emceeing and Giving Introductions Details »
by Nan Kammann-Judd Member, Producers & Organizers SIG The storytelling community is one of the warmest, most talented, compassionate, and usually very professional groups of people. What separates the “professional” storyteller from other storytellers who are invited to participate in festivals, workshops, performances, and conferences? From the producer’s perspective, here are some suggestions for the
What Producers Need From Storytellers Details »
by Kate Dudding () At the National Storytelling Network’s 2003 Conference in Chicago, I moderated a panel discussion on this topic. Other panel members were Gerald Fierst, Ellen Munds and Robert Revere. Based on the panelists’ presentations and information shared by attendees, there seems to be three things in common with all successful storytelling events
Success Stories in Building Adult Audiences Details »
by Andrew Mungo This article was originally published in The Museletter, newsletter of the League for the Advancement of New England Storytelling (LANES), Vol. 16, No. 1, August 2003At my theater, I’ve been featuring storytellers as “short subjects” before the movie on occasion for about a year now. It’s a mostly popular program and my
Producer: Gregory Leifel () I run a tri-monthly program for my local Arts Council, in Barrington Illinois. We feature poets, storytellers, musicians, comedians, and other types of performance artists in an evening performance held in an art gallery in a bistro setting (the Pints in the title stand for the drinks — beer and wine
Poems, Pints, and More! Details »
Producer: Priscilla Howe () I have been producing house concerts for adults for approximately 3 years. I was frustrated with trying to produce concerts of my own work for adults, so I decided to offer house concerts to friends and family. The host invites the guests, provides refreshments and passes the hat. I don’t have
House Concerts in Kansas Details »
Producer: Scheherazade’s Legacy, the partnership of Cynthia Changaris () and Mary Hamilton () Purpose: To provide an opportunity for storytellers of all experience levels to gather as peers and work on their storytelling art. While most participants choose to work on the development of specific stories, participants have also worked on workshop revisions, promotional pieces,
WOW Weekend (Working on Our Work Storytelling Weekend) Details »
Producer: Bev Twillmann (, www.interpretivevoices.com) (This is once the site has been selected and permission gotten from presenting agency) Decide immediately if this is a free and open to the public event (preferred). State the goal of the event. Just why do you want to have it and who is it going to benefit? If
Things to Note in Discussing a First Time Storytelling Event within a Park System Details »
Producer: Bev Twillmann (, www.interpretivevoices.com) Finding the Correct Site Convincing the Park (Whether National, State or Local) WHO to contact Examine your desire closely as to why you want to begin an event. Try and connect with a reason for the Park (you are thinking about as a site) to have this event. Example: Haunting
I Want To Have a Storytelling Event Within a Park System – Now What? Details »
