Layne Gneiting

Approval Type

Education Based

Artistic Discipline

Storytelling

Program Type

Performances, Workshops, Residencies, Lecture/Demonstation

Populations/Areas of Interest

Grades K-6, Grades 7-12, In School, After-School / Out-of-School, Young Adults, Adults, Older Adults, Intergenerational, At-Risk, Underserved

Artistic Approach

"To be able to create a story, to make it live during the moment of the telling, to arouse emotions--wonder, laughter, joy, amazement--this is the only goal a storyteller may have" (Sawyer, p. 148).

This deceivingly simple goal is my aim, yet invites myriad questions. How do you get there? How, in our hyper-mediated world, do you reel the audience into an oral tale? By what magic do you summon the imagination and give it sovereignty over the mind? These questions trouble my sleep and feed my waking hours. Though I've not yet cast an answer in stone, my studies and experience have unearthed a few gems.

Reaching a story entails entering the portal of imagination--really entering. Entering so completely, so vividly, that the body responds involuntarily, physically reacting to imagined events as though real. Before I can guide my audience to that hallowed space, I must first travel there myself and return again . . . and again . . . and again. Sometimes the tale lives in a jungle. If so, there I go. Other times a desert. If so, I must feel the waves of heat washing over me, taste the sweat dripping down my lips. The scene--the sense of place--MUST appear in 3-D vision to my mind.

This process of crafting a tale entails several interrelated steps that do not necessarily walk a straight line.
1. Uncover a tale that "speaks" to me
2. Ferret out several versions of this tale
3. Add my own creative flair to the tale
4. Envision the tale slowly and thoroughly from end to end
5. Learn which type(s) of imagery speak loudest within the tale
6. Develop lively characters
7. Pinpoint the exact crisis, elements of build, climax, and denouement (falling action)
8. Map the tale onto the pyramid of dramatic action (with the aforementioned elements)
9. Rehearse, rehearse, rehearse
10. Physicalize, physicalize, physicalize
11. Vocalize, vocalize, vocalize
12. Try the tale on live audiences
13. Revise & rehearse
14. Permit the story to "slip into my skin"

Teaching Artist Approach

To paraphrase Herrigel's astute commentary in "Zen in the Art of Archery," my task is to "study [story] for 10 years, become [the story], then forget everything and -- [tell the story]."

My teaching approach follows the same path. Together my students and I study story for 10 years . . . (now THERE'S my kind of residency!). Actually, in a much shorter time period, together we learn principles of storytelling, write stories, revise and rehearse stories, then rip away the script and just--tell. It's scary! It pushes their limits. Sometimes I leave disappointed. More often I fly home on the wings of inspiration. And you know what? So do the students.

En route we engage in a memorable experience that writes itself on the pages of their life. I discovered as a university professor that students get more excited about, and retain better, knowledge that wraps its loving arms around their own interests. So I teach principles of storytelling and apply them to soccer, dance, music, science.

Program Management Strategies

My management style is simple and straightforward. We are on a mutual journey of discovery, with my role as guide. Together we establish a learning community that emphasizes learning through a variety of means: the body, writing, speaking, and observing. In this active learning environment I maintain high standards of behavior, and expect teachers to remove and work with disruptive students. Such students are given two warnings. On the third, they lose the privilege (for that day) of participating with us, and are allowed to return the next meeting provided they adhere to high standards upon return.

My role is to teach and encourage. Rather than interfering with the teacher and her assessment, I strive to promote learning for its own sake, encouraging active involvement for its own innate benefits, not for an external grade. However, I do not attempt to interfere with teacher assessment, and encourage teachers to include our writing and performing as a segment on their grade. This leaves me unfettered to work with the learner honestly and openly without the imposition of a "grade." By experience I have learned that this approach--of excitement for learning without artist-imposed grades--creates common ground and enthusiasm for the art form.

I endeavor to run a self-contained unit that does not require additional handouts or materials. Instead, I use the strategy that students learn by active involvement. Rather than give handouts, I illustrate concepts (such as imagery types) on the board and have students write (or draw) their own examples. Or we engage in a variety of physical activities to develop muscle memory. Ultimately, each student maintains her own writing journal to chronicle our ongoing journey and reflect on the learning experience.

Program Description

Principals, teachers, and students laud the value of my residency, attesting that the residency improves both oral and written communication.

Why? My content is rich, deep, and probing, yet guised as fun. For instance, right off the bat I teach the value of concentration and then play "bear in the forest" where the "experts" (those who keep their focus) give advice to the rest. After 2-3 tries, most students understand how to channel their powers of concentration. Immediately we fly into imagery. By delving into a "guided fantasy" that reaches most types of imagery (sight, sound, taste, smell, touch, balance, thermal, organic feelings, and muscular movement) we plant imagery firmly in the body and introduce muscle memory. Alongside, each day I tell stories that showcase imagery--giving us specific reference points. And I don't just teach the power of muscle memory; we interweave it to the students' own interests (soccer, dance, music) showing how muscular memory can produce a better pianist (dancer, athlete, artist).

I create a lively relationship by constantly building the students up. I refer to them as "my friends" and joke alongside them. My zany nature and enthusiasm sets free their own inhibitions, empowering them to "take performance risks" and permit their own inner storyteller--and style--to shine through.

Technical Requirements

I'll try to answer for both definitions of "program": the performance program, and the residency program.

Performance program requires a wooden stool (2.5+ feet tall), microphones (2) (Shure SM58 or equivalent), boom mic stand (2), 50+ foot mic cable, quality sound system, feedback monitors (1-2), and lighting to accommodate movement on stage and in audience.

Residency program requires large space (classroom is fine, provided we have space to move around), whiteboard and markers (or chalkboard and chalk), stool or tall chair, paper and writing utensils for all participants.

Space Requirements

Performance Space: I am adaptable to virtually any spatial arrangement, but prefer an inside, intimate setting where I can sit 2-3 feet above audience.

Residency Space: I am adaptable to virtually any spatial arrangement. The only absolute requirement is ample space for the class to move around. We engage in a variety of active learning and collaborative learning activities that require participants to have their own space (arms length away from others).

Supply Requirements

Since my program is intimately intertwined with writing and discovery, each participant should have a "writing journal" and the means to write (paper and pen/pencil). Please also provide a collection of folktales and fairytales, preferably 10+ anthologies and individual sources from the library, from which the participants can read and select tales for their projects.

Special Considerations

For maximum student engagement, limit class size to 25-30 (fewer is appreciated). Core groups should be 4th grade or above. Please provide digital video camera, mini DV cassettes, and writable DVD discs so participants can be videotaped performing their stories. Please also arrange for videographer (usually students themselves) and knowledgeable computer technician (usually teacher or media specialist) to burn DVDs for participants.

References

Mike Oliver, (Principal) Zaharis Elementary 480-308-7200
Kris Peterson, (Teacher) Horizon School 623-842-8200
Doug Price, (Principal) Cottonwood Elementary 520-836-5601

Fees

Please contact artist.

Educator/Staff Training

So far very few schools have requested professional development or orientation training. However, I can offer a range of development and orientation activities.

Professional development activities include:

1. Technique for freeing the voice
2. Integrating my residency plan with the 6 traits of writing
3. Writing as a tool for discovery
4. Creating a story circle

Orientation activities include:

1. Mapping out the residency plan
2. Beyond the residency

How Arizona State Academic Standards are Addressed

Several years ago, when honing my residency program, I sat down for several days and analyzed the Arizona standards for both Arts and Writing. Last year I revisited the standards and discovered that, rather than teach to the test (or teach to the standards), my residency addressed--inherently--many (even most) of the standards.

To see the intimate fit between my residency and the standards, please see the document under Sample Residency Plan.