The Story Performance Handbook

By R. Craig Roney | Go to book overview
Save to active project

5—
Sharing Stories through the Use of Props

One benefit to the performer when reading aloud is that the text of the story is visible so that forgetting the story sequence is next to impossible. With storytelling, of course, no text is available, and remembering the story sequence is one of the major challenges faced by the performer. When making the transition from reading aloud to storytelling, it might be wise for you as a beginning performer to develop a repertoire of stories that employ some sort of prop that reminds you of the story sequence. In this way, you will begin to sense what it is like to share stories with an audience much as a storyteller does yet have the textual support available to someone who reads stories aloud.

Mastering the art of presenting wordless picture books, felt board stories, or stories that involve manipulating objects on an overhead projector may be a good transition for you away from reading aloud toward the pure art of storytelling. Of course, for some of you, learning to manipulate props in addition to learning a story may be an additional distraction that makes the transition more than less complicated. In this case, you will be best off skipping prop-related story performance and starting immediately to learn to tell stories.

Because of their reliance on visuals and simple construction, most prop-related stories, especially felt board and overhead projector stories, are primarily intended for young children. Then, too, most wordless picture books are geared toward younger audiences, although some like Goodall's (1987) The Story of a Main Street, Rohmann's (1994) Time Flies, or Ward's

-79-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
The Story Performance Handbook
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 193

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?