What We Learned from Proper-Distanced Events – Part 5 of 5

This is the fifth of five parts on setting up proper-distanced events. While focusing on storytelling, the information applies to any performing arts or proper-distanced event. Our blog as well as our proper-distanced house concerts with rental of recordings are wonderful sources of information and entertainment.

5-Parts:

  • Part 1 – Distancing & Spacing – REVEALED
  • Part 2 – Sanitation & Other Safety Measures – REVEALED
  • Part 3 – Test Runs & Early Set-Ups – REVEALED
  • Part 4 – Relief to Potential Audience – REVEALED
  • Part 5 – Audience Isolation Behaviors – TODAY

You have an event…and the audience arrives. Nervous for how the audience will react after being in isolation or limited social contact?

Every audience is different. That has stayed the same during this Historic Time.

You must be ready to “warm up” the audience.

You need an energetic emcee. The emcee needs to prove that safety measure were made for this proper-distanced and masked event while giving permission for people to express themselves through laughter, sighs, cries, and applause.

Some people will say, “No! The audience cannot laugh! At least not as much.”

True, when people laugh, more water droplets are expelled. Thus the need of masks. You already worked out proper-distancing and had 15 or more feet from the microphone to the front row. If you are worried that the audience responses will be a danger, then increase the distance of the microphone to the front row.

Before Halloween, I was invited to a live event to perform. I already explained what I expected so to feel safe as a performer. When I arrived, they doubled the distance between me and the front row. It was 30 feet–at least. I did not move that front row. I was plenty happy.

Now, I knew that distance could make a difference in the audience response. This is where the performer can help warm up the audience even before the emcee. I welcomed people–while wearing my mask and being at least 15 feet away–and did a type of informal survey of where people were from or how many times they had attended this type of event. Being talkative psychologically told the audience that people did not have to be “hush, hush” when it came time for me to perform.

I have seen the extremes in audience behavior at the Story Crossroads proper-distanced events.

Our Story Camp held at the International Peace Gardens in Salt Lake City, Utah had a quite bunch of youth. We spanned a wide area despite limiting our group to no more than 20 people (we ended up having 15 youth and 3 adults). When our two professionals led them in songs or story activities the youth held back. They looked around to see how loud the other kids reacted. The camp was in August while the quarantine had occurred from March until that moment. Five months. Five months of limited or no social interactions besides their families.

We still had wonderful interactions and growth and learning…but the energy level was much lower than any other youth gatherings I have seen with storytelling–or any arts or topic.

Why is that? Hmmm.

Then I saw the starved audience member. When we resumed our house concert series in August 2020, I asked for much applause and whooping to celebrate live art while doing so in a safe manner. For many, it was the first live performing arts event for them since March 2020. They were ready to celebrate!

These are some comments shared with permission from our audience members–

“Be honest, I did not know what to expect so I came totally open. I just had a wonderful time. It was wonderful to get out and be around like-minded people, lovers of stories….My husband commented that it really lifted his mood to participate in that evening.” – Elizabeth, Utah

“We do appreciate your dedication to proper distancing. Thank You!!!” – Lenore, Utah

“I believe it would be well to implement the same safety measures as does Hale Center Theatre. If a a “group” of two or three people come together–or wish to sit together–they seat them together. It is up to the people involved to determine what they feel safe with in that regard. Much the same as in CDC restaurant guidelines: ‘Change restaurant and bar layouts to ensure that all customer parties remain at least 6 feet apart (e.g., marking tables/stools that are not for use).’ Emphasis on the word ‘parties.’ Other than that, the safety measures were lovely–plenty of space–markers to remind people to be distanced and to wear masks.” – Karla, Utah

The trickiest time was when two different households of the same family attended an event.

These groups were hard to remind and enforce to keep the distancing. I had to be more firm and diligent in those situations. I learned it was best to remind of the “different household” rule as people checked in…all while saying it with a smile.

I searched around for articles connected to audiences – for live or digital events:

You can make this live event happen. Think with logic and love. Enjoy the energy from a proper-distanced event. Thank you for joining in this particular blog series.

Besides our usual “Cap’s Off to You!” series, we will be doing a 9-part blog series soon called “What We Learned from Timpanogos Storytelling Festival & Virtual Offerings.”

Become a member with Story Crossroads with exclusive content and connections.

Find our E-Newsletter and Email List Sign-Ups.

See our already-streamed/recorded The Big Why Panel: Historical Storytelling meets Humanities. See our 5-video playlist from the Story Crossroads Spectacular by clicking here.

Join us for our proper-distanced house concerts such as with Katherine and David Hurley featuring Karl Behling in Murray, UT on December 28, 2020…or get the recording afterwards.

What We Learned from Proper-Distanced Events – Part 4 of 5

This is the fourth of five parts on setting up proper-distanced events. While focusing on storytelling, the information applies to any performing arts or proper-distanced event. Our blog as well as our proper-distanced house concerts with rental of recordings are wonderful sources of information and entertainment.

5-Parts:

  • Part 1 – Distancing & Spacing – REVEALED
  • Part 2 – Sanitation & Other Safety Measures – REVEALED
  • Part 3 – Test Runs & Early Set-Ups – REVEALED
  • Part 4 – Relief to Potential Audience – TODAY
  • Part 5 – Audience Isolation Behaviors

Everything is new now. Routines, safety measures, everything. So our job is to give relief to our potential audience members.

Fear comes from the unknown. Thus, you need to make anything you can think of to be “known.”

Now in Part 3, we focused on Test Runs so that things are “known” to you before the performance. It is only fair for this knowledge to extend to the general public. You will want to take pictures and video galore and see what can be done with some video editing.

You could hire a videographer. Though, we like to get a videographer for the day of the event and use our own filming from our cell phones and compile it into an “what to expect” piece. Ours tend to be 2-3 minutes long, which feels not too short and not too long. We like to combine it with a invite/reflection from our featured teller(s).

See below an example from the past-

Having a visual of the place before arriving helps in this time of proper-distancing and masks.

You need to be clear on any and all advertising–video, fliers, emails, etc.–on what you expect about masks.

Some organizations or individuals are more relaxed with masks when it is outdoors. For Story Crossroads, we prefer to be strict and actually enforce the rules we put in place. We require masks. Period. People will have differing opinions. Though once they step onto our “land” – such as a host for a house concert or a park for a festival – then our rules are in place.

Your audience needs to know how strict you will be. Never assume.

You will notice that our video reveals some details though we save some of those details for the bullet-point listing on our webpage. We also include those details in the registration and reminder emails to registrants. There is no such thing as over-communicating when it comes to safety.

Details that Audience will want to know before arriving:

  • Set-up of the Location
  • Rules you have about Masks
  • Any other sanitization measures such as having hand sanitizer around
  • What to do about the facilities and expectations
  • Your feelings about “sitting by household” – especially if from same family but not the same household
  • Any recording option in case cannot attend OR if more comfortable staying home yet supporting the event

Free Video Editing or Design (or what we use):

We will share more in Part 5 on audience isolation behaviors and how to still have wonderful reactions for the performers. We will share some interesting moments during and after the proper-distanced events.

You can make this live event happen. Think with logic and love. Enjoy the energy from a proper-distanced event.

Find our E-Newsletter and Email List Sign-Ups.

See our already-streamed/recorded The Big Why Panel: Historical Storytelling meets Humanities. See our 5-video playlist from the Story Crossroads Spectacular by clicking here.

Join us for our proper-distanced house concerts such as with Katherine and David Hurley featuring Karl Behling in Murray, UT on December 28, 2020…or get the recording afterwards.

Short & Sweet Marketing for Story Artists – Tip #4 of 5 – Ideal Client

This is the fourth of five parts on how best to manage marketing during this particular time period…or beyond. While Story Crossroads sees “story artists” to typically mean spoken word storytellers, these tips apply to all performing artists or professionals across industries.

5-Tips for 5 Days:

  • Tip 1 – Website – REVEALED
  • Tip 2 – Social Media – REVEALED
  • Tip 3 – E-Newsletter & Email Lists – REVEALED
  • Tip 4 – Ideal Client – TODAY
  • Tip 5 – Art of Consistency & Branding

Who is the one that NEEDS to find you and participate and sign-up for your paid courses or performances? That ideal client

Do you see how everything is building on each other? You need the website, social media, and the E-Newsletters and Email Lists to get to the Ideal Client. This is more than a favorite audience member.

This is the person who learns that you are doing something–a grand idea, a premiere performance, you-name-it–and automatically wants to sign-up and pay anything to make it happen.

Ah, we love the Ideal Client.

Most of the time, people are marketing to “everyone.”

But “everyone” cannot come. Or participate. Or listen.

Yes, you will have advertising that seems like it is for everyone. Get past that feeling. You have an audience as a performing artist. You have a target audience as a marketer of your small business of storytelling.

For Story Crossroads, our idea client would be a 9th grade high school/junior high teacher (depends on the geography) who has always used storytelling in the classroom. This person believes in enhancing the experience with virtual or live field trips and then wants their students to do a short yet fun assignment in connection to it. This teacher resides in Salt Lake County, Utah. And loves libraries, museums, is an avid attender of performing arts…and loves mango juice.

Are we open to other high school teachers of the 10th, 11th, or 12th grades? Yes. Do the people need to be teachers to work with us? No. Are we adamant about only Salt Lake County people? No. We have done virtual and that breaks borders already. And must they love mango juice. OK. That’s a deal-breaker.

All right, that was a tease. BUT, you want to be as detailed as possible. Then, you think what groups, associations, or other places this person can be found. Can your marketing messages connect there somehow?

Quick 10-Question for Ideal Client Audit:

  1. What generation of people do you always wish to work with? What is your historical record of who you have been hired by? Now break it down by the decade this group/generation comes from. Year? Age? Were you able to figure this out within 10 seconds…or do you need to ponder this longer? If needing more time, consider the group you would jump at the chance to have commissioned work/performances, etc.
  2. What are favorite hobbies and interests of this person/group? What organizations and associations can you research that these people would love to join?
  3. What is the routine like for this person/group? Favorite foods? Favorite music? (think radio stations as well as styles)
  4. What are common-held beliefs of this person/group? Feelings on the current events? Feelings of the past? Feelings of the future? Remember that beliefs does not have to connect to religions. Think core standards.
  5. What cultures and sub-cultures is this person/group part of? This past blog post of ours delves into Cultural Studies/Humanities if you need ideas of what to consider.
  6. What methods of communication does this person/group prefer? Texting? Emails? Phone Calls? Actual Letters/Mail? In-person (properly distanced, of course)? Zoom one-on-one meetings? Other ways?
  7. What would you guess are favorite words of this person/group? Do they love “bonus” or “add-on” or “experience” or any number of words?
  8. What geographic zone(s) will you find this person/group? Do NOT say everywhere. Really think. Urban? Suburban? Rural? Lives near an active arts community? University-city? Specific cities? Specific states? Countries? Continent? Again, you cannot say every continent. You can be open to all BUT market to the specific Ideal Client.
  9. What benefits is your Ideal Client seeking from you? What draws them the most to what you have to offer?
  10. How can you apply all these answers into your website, social media, E-Newsletters, Email Lists, etc.?

Story Artists who know their Ideal Client

  • Charlotte Blake Alstonwww.charlotteblakealston.com – see how she focuses on commissioned works, her skills as a storyteller or West African tradition as well as being a librettist – imagery/pictures chosen reflect what works best for Ideal Client

  • Sean Buvalahttps://seantells.com/morethanspeaking/ – yes, you can go to seantells.com though this particular web address proves that he knows his Ideal Client…and able to teach people that skill – business/marketing/storytelling is his forte – clear that he works with Chambers of Commerce, businesses of all kinds/mainly small businesses

  • Antonio Sacrehttps://www.antoniosacre.com/ – he is a split-personality storyteller…and he knows it – he has family-friendly material and promotes his authorship and bilingual abilities while also having space for the older audiences and things that are edgy – this can be hard to represent in a website (almost needs a two-face approach on homepage without scrolling) BUT he knows his Ideal Client(s)

If you want me to give initial thoughts on your Ideal Client (or at least impressions looking at your marketing materials) and do not mind well-intended bluntness, I am open to letting you know if you email info@storycrossroads.org. Yes, this is complimentary.

Find our E-Newsletter and Email List Sign-Ups on our website home page at the bottom, the archive page, etc.

See our already-streamed/recorded The Big Why Panel: Historical Storytelling meets Humanities with three options to watch it featuring our panelists: Dr. Caroliese Frink Reed, Sheila Arnold, Darci Tucker, and Brian “Fox” Ellis. We are grateful to funding from Utah Humanities.

See our 5-video playlist from the Story Crossroads Spectacular by clicking here

If you really want to experiment with us, we have the Story Crossroads Server on Discord with text/vocal/video chat options plus resources and ideas. Click here for the direct invite/link.

Zero to Zillions – A to Z Blog Challenge

Vienna--many people--Steve EvansVersión en Español se puede encontrar a continuación o haga clic aquí para ir allí. Haga clic en mí para saltar a la parte española.  Support the free Story Crossroads Festival by giving today.

This post is part of the A to Z Blog Challenge.  See more at http://www.a-to-zchallenge.com/.

A storyteller could have zero to zillions of listeners.  You may wonder about that range. No matter what kind of storytelling you choose to do, consider how you would approach these different sizes of audiences.  Or where would you find these size of audiences?

Delve into some real to speculative examples below.

Zero Audience

Practice Time–This Zero Audience is usually when the storyteller is practicing.  These practices are more effective when having other people to listen and to mentor.  Sometimes, have other people listen is not an option and an artist has to make due.  Though how does it count when the storyteller performs in front of a mirror?

Performance Time–Technically, there would never be zero for if a storyteller tells to oneself, then the storyteller happens to play the role of performer and of listener.

One-Audience Member

Practice Time–This One-Audience Member occurs when one person is listening to a storyteller.  This kind of practice is preferred in-person though telephone and the computer provide ways for people to connect and to critique each other.  Choose someone who is a great listener.  Then show the same respect and skills and be a great listener back.

Performance Time–Way back during my Brigham Young University days, I was trained on how to work with the people at the Battered Women and Children Shelter as a performer.  The whole BYU Storytelling Club joined in with that training.  When it came time to actually perform, we each had our own sessions.  We were told the audience could be one to about six people.  We could have children, adults, or a mix of the two kinds.  One time, I arrived and one girl was in the room sadly playing with toys.  I sat down on the floor and asked if she would like to hear a story.  She perked up, set the toys aside, and absorbed the story.  The One-Audience Member can make the best memories.

Baker’s Dozen Audience

Practice Time–A local storytelling guild or club can have about a dozen or more people who root for your development as a storyteller.  Some of these groups request that you contact a head of time so enough time can be reserved for you.  At times, the whole meeting time could be dedicated to a person with a long or epic piece.  I have enjoyed the support from the Voices of the Valley Storytelling Guild when I lived in Fresno, California.  Now I am a proud member of the Utah Storytelling Guild that has monthly chapter meetings throughout the state.

Performance Time–One of my favorite storytelling moments was when I told stories at the Detention Center in Vernal, Utah.  I never would have thought it would be my favorite.  I felt flutterings when the Director of the Vernal Storytelling Festival told me to expect this venue.  I had told for over a decade and yet never told stories for youth who had some intense struggles in life and had obligations to fulfill with the Law of the Land.  I entered one part of the Detention Center at a time, always going through thick doors that clicked locked behind me.  Finally, I entered a room with a circle of couches.  This intimate circle made it possible for me to be about arm’s length from all the youth.  I said that I started storytelling as a sophomore in high school and now had so many stories that I did not know what to share with them.  I asked what kind of mood of stories they wanted to hear.  My first group voted for humorous.  My second group voted for dramatic.  Both groups soaked in the stories as they leaned forward and kept their eyes focused on me.  If you have not done so already, please go to your nearest Detention Center and connect with those youth.  We all need stories, though these youth seem to need them more than anybody.

Classroom-Sized Audience

Practice Time–I made a deal with my son’s Kindergarten class that I would love to tell stories for free rather than being paid so that I could practice stories with a live and active audience.  Knowing what I normally would charge, the teacher agreed.  It was not monthly but often enough that I felt my skills improving and was pleased of the growing repertoire.  A classroom-sized audience may not be connected with a school classroom.  About 20-40 people are common for a House Concert.  This audience usually consists of adults who are friends, family members, or strangers.  As long as the expectation is of a practice, then all will be smooth for you.

Performance Time–A House Concert could also be the real deal performance.  Again, as long as the expectation is clear that this is a more formal occasion, then all will be smooth for you.  You could also be performing for an actual classroom in a school.  You could be that special guest after the teacher shared a certain unit and you happen to have stories that link to the curriculum.  Teachers love it when the common core is met by your arrival.

Hundred-High Audience

Practice Time–It is rare to practice in front of a hundred people.  Though, every time a storyteller performs, that performance could also count as a practice.  The storyteller reflects on the feedback and outcomes and then thinks how to do better the next time that same story or set is shared somewhere else.

Performance Time–Most performances for a storyteller will be in the 100-900 range of people.  School assemblies are classics.  An elementary school tends to have 500-700 people.  Instead of splitting the school, often the principal crams them all in gym.  I recommend pleasing the 3rd graders.  The younger ones will still enjoy the action while the older ones feel like you still were there for them.

Thousand-Sized Audience

Practice Time–To have a thousand or more people to practice a story, you must have a lot of friends.  Or those friends have lots of friends.  You would not have to be at one place.  There are things such as YouTube that could be shared and then people could comment on them.  Careful though.  There could be some trolls!  Though, if you add the different-sized audiences you have practiced the same story, then you could then get to a thousand.  Bill Harley said you need to tell a story at least 40 times before recording it.  I am assuming that would not be by yourself.  Those 40 times means 40 different audiences.  Well, if you had 40 groups that had 25 people each, then you would reach 1,000 people.

Performance Time–This size of audience is sometimes found under one tent at a storytelling festival.  Evening Timpanogos Storytelling Festival concerts at the SCERA Shell Outdoor Theatre can be so huge that no one can see the grass.  That would be several thousands right there.  That particular theatre has a jumbo screen that is larger than an IMAX Theater behind the storyteller so that everyone can see the facial expressions and movements.  An audience of that size needs to be able to see and to hear the storyteller.  Tech, tech, tech.

Zillions and Zillions of Audience Members

We are now beyond practices and performances.

Intergalactic Satellite System–This is the high-tech part of reaching Zillions and Zillions of people.  Willy Claflin has talked about what the Intergalactic Storytelling Festival would be like so if you need more details, talk to him.  Hey, we have enough satellites.  Instead of wondering how in the world this could happen, think how out of this world it could happen.  If millions of people could watch the final season of Downton Abbey, then what more could we do to make it possible for zillions of people to hear a story performed live?  First ,we would need something larger than the United Nations.  Hey, do not expect me to give you all the steps.

Living Legacy–This is the low-tech part of reaching Zillions and Zillions of people.  You have heard that no one is actually dead until their stories are no longer told?  Some stories have been passed down and have been known and cherished by hundreds, thousands, millions, and perhaps close to zillions of people.  What of the Cinderella story?  Every culture and people have some sort of Cinderella story.  Now think of what you have to offer.  Do you have a story that has a universal connection?  Create that living legacy, share that story, and see it pass on and on and on.  You have to start with one person to get to that zillionth person.

All things and all sizes are possible.

We appreciate Steve Evans granting permission to use the picture he took in Vienna.  You can find all of his images here:  https://www.flickr.com/photos/babasteve/.

 

Aquí lo tiene.
Vienna--many people--Steve Evans

Cero a Millones y Millones y Millones y Millones de Miembros

Un narrador podría tener cero a millones y millones de oyentes. Usted puede preguntarse acerca de ese rango. No importa qué tipo de narración decide hacerlo, considere cómo se acercaría a estas diferentes tamaños de las audiencias. O ¿dónde encontrar estos tamaño de las audiencias?

Profundizar en algunos bienes a los ejemplos siguientes especulativas.

Cero de Audiencia

El tiempo de práctica – Esta audiencia es cero por lo general cuando el narrador está practicando. Estas prácticas son más eficaces cuando tienen otras personas para escuchar y ser mentores. A veces, tienen otras personas escuchan no es una opción y un artista tiene que arreglárselas. A pesar de cómo se cuentan cuando el narrador lleva a cabo frente a un espejo?

Tiempo de Rendimiento – Técnicamente, nunca habría cero para si un narrador dice a sí mismo, entonces el narrador pasa a desempeñar el papel de intérprete y del oyente.

Un Miembro de la Audiencia

El tiempo de práctica – Esta Uno-Miembro de la Audiencia se produce cuando una persona está escuchando a un narrador. Este tipo de práctica se prefiere en persona, aunque el teléfono y el ordenador proporcionan maneras para que la gente se conecte a la crítica y entre sí. Elija a alguien que es un gran oyente. A continuación, mostrar el mismo respeto y habilidades y ser un gran oyente hacia atrás.

Tiempo de Rendimiento – Tiempo atrás, durante mis días de la universidad de Brigham Young, fui entrenado sobre cómo trabajar con la gente de las mujeres golpeadas y Refugio de Niños como intérprete. El conjunto BYU Cuentacuentos club se unió a la formación. Cuando llegó el momento de realizar la realidad, cada uno tenía nuestras propias sesiones. Nos dijeron que la audiencia podría ser uno a aproximadamente seis personas. Podríamos tener hijos, adultos, o una mezcla de los dos tipos. Una vez, llegué y una chica estaba en la sala tristemente jugando con juguetes. Me senté en el suelo y le preguntó si le gustaría escuchar una historia. Ella se animó, establece los juguetes de lado, y se absorbe la historia. El Uno-Miembro de la Audiencia puede hacer que los mejores recuerdos.

Audiencia Docena de Panadero

El tiempo de práctica – Un gremio narración o club local puede tener una docena o más personas que Apoya a su desarrollo como un contador de historias. Algunos de estos grupos de solicitudes que se comunique con una cabeza de tiempo suficiente tiempo para que pueda ser reservado para usted. A veces, todo el tiempo de la reunión podría ser dedicado a una persona con un pedazo largo o épica. He contado con el apoyo de las Voces del Valle Cuentacuentos gremio cuando vivía en Fresno, California. Ahora soy un orgulloso miembro de la narración de Utah gremio que tiene reuniones de los capítulos mensuales de todo el estado.

Tiempo de Rendimiento – Uno de mis momentos favoritos de narración fue cuando me dijeron que historias en el Centro de Detención en Vernal, Utah. Nunca habría pensado que sería mi favorito. Me sentí aleteos cuando me dijo el Director del Festival de Cuentacuentos Vernal a esperar este lugar. Yo le había dicho más de una década y sin embargo nunca contado historias para los jóvenes que tenían algunas luchas intensas en la vida y que tenían la obligación de cumplir con la Ley de la Tierra. Entré en una parte del centro de detención a la vez, siempre va a través de puertas gruesas que se ha hecho clic encerrados detrás de mí. Por último, entré en una habitación con un círculo de sofás. Este círculo íntimo hizo posible que yo sea sobre el brazo extendido de todos los jóvenes. Le dije que comenzó la narración en su segundo año en la escuela secundaria y ahora tenía tantas historias que yo no sabía qué compartir con ellos. Le pregunté qué tipo de estado de ánimo de historias que querían oír. Mi primer grupo votó a favor de humor. Mi segundo grupo votó a favor dramática. Ambos grupos sumergen en las historias a medida que se inclinó hacia delante y mantuvieron sus ojos se centraron en mí. Si no lo ha hecho ya, por favor vaya a su centro de detención más cercano y conectar con los jóvenes. Todos necesitamos historias, aunque estos jóvenes les parecen necesitar más que nadie.

Audiencia Aula-Encolado

Tiempo de la práctica – que hizo un trato con la clase de jardín de infancia de mi hijo que me gustaría contar historias de forma gratuita en lugar de ser pagado para que pudiera practicar historias con una audiencia en vivo y activo. Sabiendo lo que normalmente cobran, el maestro estuvo de acuerdo. No era mensual, pero con la suficiente frecuencia que sentí mis conocimientos de la mejora y el placer de la creciente repertorio. Una audiencia en el aula de tamaño no se puede conectar con un aula de la escuela. Acerca de 20-40 personas son comunes para un concierto House. Esta audiencia general consiste de los adultos que son amigos, familiares o extraños. Mientras la expectativa es de una práctica, entonces todo será suave para usted.

Tiempo de Rendimiento – Un concierto House también podría ser el rendimiento verdadero negocio. Una vez más, siempre y cuando la expectativa es claro que esta es una ocasión más formal, entonces todo será suave para usted. También podría estar realizando para un salón de clases en una escuela. Usted podría ser que el invitado especial después de que el maestro compartió una cierta unidad y le sucede que tiene historias que enlazan con el plan de estudios. Los maestros les encanta cuando el núcleo común se encuentra con su llegada.

Cientos de Alta Audiencia

El tiempo de práctica – Es raro para practicar frente a un centenar de personas. Sin embargo, cada vez que realiza un narrador, que el rendimiento podría también contar como una práctica. El narrador reflexiona sobre las votaciones y los resultados y luego piensa cómo hacerlo mejor la próxima vez que la misma historia o conjunto es compartida en otro lugar.

Tiempo de Rendimiento – La mayoría de actuaciones para un narrador estarán en el rango de 100-900 personas. asambleas escolares son clásicos. Una escuela primaria tiende a tener 500-700 personas. En lugar de la división de la escuela, a menudo al director a todos abarrota en el gimnasio. Recomiendo complacer a los estudiantes de 3er grado. Los más jóvenes todavía disfrutan de la acción, mientras que los mayores se sienten como si todavía estuviera allí para ellos.

Audiencia Mil Encolado

Tiempo Práctica – Para tener mil o más personas para practicar una historia, debe tener un montón de amigos. O esos amigos tienen un montón de amigos. Usted no tiene que estar en un solo lugar. Hay cosas como YouTube que podrían ser compartidos y entonces la gente podía hacer comentarios sobre ellos. Cuidado, sin embargo. Podría haber algunos trolls! Sin embargo, si se suman los diferentes tamaños de las audiencias que haya practicado la misma historia, entonces usted podría entonces llegar a un millar. Bill Harley dijo que necesita para contar una historia al menos 40 veces antes de grabarla. Estoy asumiendo que no sería por sí mismo. Esos 40 veces significa 40 públicos diferentes. Bueno, si usted tenía 40 grupos que tenían 25 personas cada uno, entonces usted podría llegar a 1.000 personas.

Tiempo de Rendimiento – Este tamaño de la audiencia se encuentra a veces bajo una tienda de campaña en un festival de narración. conciertos por la noche Timpanogos Festival de Cuentacuentos en el teatro al aire libre SCERA cáscara puede ser tan grande que nadie puede ver la hierba. Que habría varios miles allí mismo. Que el teatro en particular tiene una pantalla gigante que es mayor que un teatro IMAX detrás del narrador para que todos puedan ver las expresiones faciales y movimientos. Una audiencia de ese tamaño tiene que ser capaz de ver y escuchar el narrador. Tecnología, tecnología, tecnología.

Millones y Millones y Millones y Millones de Miembros de la Audiencia

Ahora estamos más allá de las prácticas y actuaciones.

Sistema Satelital Intergaláctico – Esta es la parte más alta tecnología de gran alcance Chorrocientos y millones y millones de personas. Willy Claflin ha hablado de lo que el Festival de Cuentacuentos Intergaláctica sería como lo que si necesita más detalles, hablar con él. Hey, tenemos suficientes satélites. En lugar de preguntarse cómo en el mundo que esto podría suceder, pensar en cómo salir de este mundo que podría suceder. Si millones de personas pudieron ver la última temporada de Downton Abbey, entonces, ¿qué más se puede hacer para hacer posible que millones y millones de personas para oír una historia interpretada en directo? En primer lugar, necesitaríamos algo más grande que el de las Naciones Unidas. Hey, no esperes que te dé todos los pasos.

Legado – Esta es la parte de baja tecnología de largo alcance Chorrocientos y millones y millones de personas. Ustedes han oído que nadie está realmente muerto hasta que sus historias ya no se dijeron? Algunas historias se han transmitido y se han conocido y apreciado por cientos, miles, millones, y tal vez cerca de millones y millones de personas. Lo de la historia de la Cenicienta? Todas las culturas y las personas tienen algún tipo de historia de Cenicienta. Ahora piensa en lo que tiene que ofrecer. ¿Tiene una historia que tiene una conexión universal? Crear ese legado vivo, compartir esa historia, y ver pasar una y otra vez y otra vez. Usted tiene que comenzar con una persona para llegar a esa persona enésima.

Todas las cosas son posibles y en todos los tamaños.

Apreciamos Steve Evans conceder permiso para utilizar la foto que tomó en Viena. Usted puede encontrar todos sus imágenes aquí: https://www.flickr.com/photos/babasteve/.

Unanimous Undertakings (or thereabouts) – A to Z Blog Challenge

Voting by TextingVersión en Español se puede encontrar a continuación o haga clic aquí para ir allí. Haga clic en mí para saltar a la parte española.  Support the free Story Crossroads Festival by giving today.

This post is part of the A to Z Blog Challenge.  See more at http://www.a-to-zchallenge.com/.

Let the audience choose.  Many times story artists have certain pieces in mind or at least a range of possibilities before performing.  What if you let the audience choose instead of sensing it all from the stage?

Here are two possibilities:

Real-Time Voting by Texting

I watched with awe as the big screen updated periodically to show the results of the votes by texts.  People were choosing the different story subjects on the screen while Former Utah Governor Michael Leavitt spoke at the RootsTech Conference, the largest family history conference in the world. This man had the flexibility and the confidence to offer a repertoire of stories and receive instantaneous feedback on what to share.

My grin kept growing as I thought, “Wouldn’t this be a fun way to do a storytelling festival?”  Perhaps this would not be for every session, though can you imagine taking part in an audience-choice undertaking such as this one?

Story artists could know if people want to hear a signature piece or something new.  The listings could be a few phrases as teasers.  Keynoter Leavitt at RootsTech listed the following stories to choose:  Governor’s Mansion Fire; The Oval Office; Winning the Romney Nomination; Olene Walker and the no-glass ceiling; Life as a Cabinet Member; Working at the White House; When George W. Bush decided to run for President; Winning and Waking up the Governor Elect; The Day Utah won the Olympic Bid; Air Force One.  The top one voted was “The Day Utah won the Olympic Bid.”

You can also see his presentation here:  https://www.rootstech.org/video2/4742569940001

Hints:

  •  Start about 12:35 into it though everything is great
  • Go to 14:50 into it as this is when he invites the audience to choose what to tell (then will show on screen)

Michael Leavitt developed the “thousand stories” project or “at least a thousand story lines” as he explains.  These story lines/phrases helped to create his listing for the real-time voting by texting even more doable.

Around the World Voting

When I was a younger storyteller (in my twenties), I had a goal to have a story from every country in the world.  Yeah.  Not close on that one yet as I am now 36 years old.  With the world in such flux, countries disappear or become other ones.  I have come up with a solution.

I start with a folktale from a particular country.  After telling it, I ask the audience to vote:  North; South, East; or West.  Then I tell a story from a different part of the world that is in that direction from it.  The audience feels empowered and yet I still have control over what that folktale will be.  Let us say we start in Argentina and the majority of the audience votes “North.”  Then I could choose a northern country of South America like Brazil or Colombia.  I could also choose some place in North America like Mexico, the United States or Canada.  After telling this “North” story, then the audience votes again.  It could be “North” again though will likely be one of the other three directions.

I still will like to have a story from each of the countries.  Though, depending on the audience’s grasp on geography, sometimes the four directions of North, South, East, and West are best for everyone.

What will you do to give more power to the audience to decide what will be performed?  People love feeling like they made a difference and this is how the performing arts world can do that for others.

Aquí lo tiene.
Voting by Texting
Empresas unánime (más o menos)

Deje que el público elija. Muchas veces historia artistas tienen en mente ciertas piezas o, al menos, un abanico de posibilidades antes de realizar. Lo que si que la audiencia elige en lugar de percibir todo desde el escenario?

Aquí hay dos posibilidades:

La votación por mensajes de texto en tiempo real

Observé con asombro como la gran pantalla actualizada periódicamente para mostrar los resultados de las votaciones por los textos. Las personas estaban eligiendo los temas diferentes de la historia en la pantalla mientras el ex Gobernador de Utah, Michael Leavitt, habló en la Conferencia RootsTech, la mayor conferencia de historia familiar en el mundo. Este hombre tuvo la flexibilidad y la confianza para ofrecer un repertorio de historias y recibir feedback instantáneo sobre qué compartir.

Mi sonrisa siguió creciendo como yo pensaba, “no podría ser esto una forma divertida de hacer un festival de narración?” Quizás esto no sería para cada sesión, aunque se puede imaginar tomando parte en una audiencia-choice empresa como ésta?

Historia artistas podrían saber si la gente quiere escuchar un pedazo de firma o algo nuevo. Los listados pueden ser unas pocas frases como teasers. Leavitt en RootsTech Keynoter enumeró las siguientes historias para elegir: la Mansión del Gobernador de fuego; la Oficina Oval; ganó la nominación de Romney; Olene Walker y el no-techo de cristal; la vida como un miembro del Gabinete; trabajar en la Casa Blanca; cuando George W. Bush decidió postularse para presidente; ganar y levantarse el gobernador electo; el día en Utah ganó la candidatura de los Juegos Olímpicos; Air Force One. El primero fue votado “el día Utah ganó la candidatura de los Juegos Olímpicos.”

También puede ver su presentación aquí: https://www.rootstech.org/video2/4742569940001

Sugerencias:

  • Comienzan alrededor de las 12:35 en ella sin embargo todo es genial
  • Ir a las 14:50 como este es cuando él invita al público a elegir qué decir (a continuación, se mostrará en pantalla)

Michael Leavitt, desarrolló el proyecto “mil historias” o “al menos un millar de cuentos”, explica. Estos cuentos/frases ayudó a crear su lista de la votación en tiempo real mediante mensajes de texto aún más factible.

Todo el mundo la votación

cuando yo era un joven narrador (en mis veinte años), tuve una meta de tener una historia de cada país en el mundo. Sí. No cerrarse en que uno todavía ya que ahora tengo 36 años de edad. Con el mundo en ese flujo, países desaparecen o se vuelven otras. He dado con una solución.

Empiezo con un cuento tradicional de un país en particular. Después diciéndole que, pido a los asistentes a votar: Norte, Sur, al este o al oeste. A continuación, quiero contar una historia de una parte diferente del mundo que está en esa dirección. El público se siente facultado y sin embargo todavía tengo control sobre lo que cuento tradicional será. Digamos que comenzamos en la Argentina y la mayoría de la audiencia votos “Norte”. Entonces yo podría elegir un país del norte de América del Sur como Brasil y Colombia. Yo también podría elegir algún lugar en América del Norte como México, Estados Unidos o Canadá. Después de contar esta historia “Norte”, la audiencia votos de nuevo. Podría ser el “Norte” de nuevo, aunque probablemente será uno de los otros tres direcciones.

Todavía me gustaría tener una historia de cada uno de los países. Aunque, dependiendo del alcance de la audiencia sobre la geografía, a veces las cuatro direcciones de Norte, Sur, Este y Oeste son mejores para todos.

¿Qué va a hacer para dar más poder a la audiencia para decidir lo que se va a realizar? A la gente le encanta sentir que hizo una diferencia y esta es la manera en que el mundo de las artes escénicas puede hacer que para otros.