“Storytelling is a form ofanimation - the teller brings a tale to life, which after its telling, has new life in the hearts and imaginationsof itslisteners.”
About the Artwork: David Novak draws his stories from classic myths, fables, legends and well-known nursery rhymes. A sample repertoire in the classic style includes an Aesop Fable, Theseus and the Minotaur, Atalanta and The Heroic
David Novak Climb of Itsy-Bitsy Spider. All of David’s stories are original or original adaptations. He incorporates clowning, juggling, mime, puppetry, the transformation of simple props, and audience participation to make his stories come to life. His work is characterized by a strong expressive physicality and a voice that is agile and clear, creating characters whose fears, joys, frustrations and dreams are universal.
Creator: Storyteller: David Novak b. 1955 Background Information: David Novak is a trained theatre professional with a BFA in Directing from the Southern Methodist University and an MFA in Acting from the University of California, San Diego. Using San Diego as his home base, he pursued a successful career as an actor, working in New York City and in major repertory theatres nationwide. Two things, an event and a self-realization, transformed David's life and directed him to explore the path of stor ytelling. The birth of his son, Jack, made it more difficult for him to feel joy in packing his bags for a play’s out-of-town run. Coupled with that, the realization that acting did not allow him to use all of his skills as an artist, led him to do some storytelling workshops in local schools. With storytelling, David discovered that he could integrate all of his areas of interest and expertise: mime, circus skills, movement, character, voice, classical text, acting, directing and teaching. He was challenged by the creativity of the art and felt pleasure in its pursuit. As a storyteller, David has engaged and inspired audiences of all ages. His appearances include the Lincoln Center Institute in New York City and the Los Angeles Open Festival, and he continues to perform throughout the U.S.
Title of Work: CLASSIC JOURNEYS or Tableaux of Contents
California THEATREMUSIC TRANSFORMATION THE POWER OF NATURE FREEDOM OPPRESSION&ENDURINGVALUES THEFAMILYHUMAN ARTISTIC PROCESSES 1. CREATING (Cr) 2. PERFORMING, PRESENTING, PRODUCING (Pr) 3. RESPONDING (Re) 4. CONNECTING (Cn) rtsource ® The Music Center’s Study Guide to the Performing Arts A MULTI-MEDIAEXPERIMENTALCONTEMPORARYCLASSICALTRADITIONALPhotoCourtesyof David Novak
Creative Process of the Artist or Culture: David Novak’s creative process begins with time spent daydreaming or envisioning a picture of a story. He plays with the story’s form, looking at it from the inside-out or the outside-in. The Heroic Climb of ItsyBitsy Spider takes the stor y inside the simple rhyme and expands it out into a burlesque of a mythical journey. Theseus and the Minotaur takes the classic text and goes inside, exploring and discovering the stor y within. Metaphorical images and allegories are identified and heightened as David finds messages radiating from the symbols and images in the stories. Serving as his own director, David experiments with his actor’s instrument to find a character’s vocal and physical life. He improviseswith props and costume pieces to find the precise and often minimalisticway to use simple objects. Finally, he begins telling the stor y using the feedback and energy from his audiences to arrive at a polished version.
Discussion Questions: After the audio has been heard:
Additional References:
• Select a nursery rhyme and use The Heroic Climb of Itsy-Bitsy Spider as a model to enlarge a familiar rhyme into a story. Give the characters personalities and voices, freely improvising and embellishing your version from the rhyme’s simple plot.
• Use The Heroic Climb of Itsy-Bitsy Spider to study spiders and discover the differences between arachnids and insects. Diagram the parts of a spider pointing out such body parts as the pedipalps (used for eating and mating) and the spinnarets (used for spinning the webs). Learn about different types of spiders, their habitats and habits. Discover how the myths about spiders relate to the realities you’ve researched.
• Sawyer, Ruth. The Way of the Storyteller. Rev. ed. Penguin Books, NY: 1977.
• Create ‘A Story String’ with a piece of yarn, tying objects onto it that serve as mementos from which to tell a story. 2
•story?What is the definition of a ‘classic’? (Famous through being long established; having high quality that is recognized and unquestioned.)
• How did the story you heard exemplify a classic style?
• Choose a simple object such as a scarf or a yardstick to use in an original story. Create a tale, and in the telling, transform the object into two different things or uses.
• Create tableaux or ‘living photographs’ of scenes which represent universal themes. Mirror the style of theclassic poses found in Greek and Roman antiquities.
• Storyboard one of David Novak’s stories. Have children draw pictures of the various scenes and put them in sequence. Retell the stories using the artwork.
LEVEL I
Audio-Visual Materials:
Multidisciplinary Options:
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• Learn some ‘string stories,’ such as Cats Cradle or Witch’s broom. Give each child a 66" piece of yarn and have them make up stories as they create the string figures.
• Could you identify with any of the challenges or obstacles he encountered?
• What was new and fun about his version?
• Did you learn any lessons about life from the
* Indicates sample lessons * *
• National Storytelling Network (NSN), P. 0. Box 795, Jonesborough, TN 37659. www.storynet.org.
• Read an Aesop’s Fable and discuss other stories or experiences which illuminate its moral. Refer to the fables included in this Unit on pages 9 & 10.
• Hold a storytelling session where each child shares a story, such as: “My Funniest Mistake,” “The Scariest Moment in My Life,” or “The Biggest Surprise I Ever Had.”
• How did David Novak’s story about Itsy-Bitsy Spider compare to the famous nursery rhyme?
• What character was featured in the story?
Sample Experiences:
LEVEL II • Read some classic Greek myths and compile a list of the Greek gods and goddesses featured. Identify each by name and note the power or quality each embodies.
Collect drawings or pictures of statuary or vases which depict them for a classroom display.
• Artsource® audio excerpt: The Heroic Climb of ItsyBitsy Spider, told by, and courtesy of David Novak.
LEVEL III
• Discuss the concept of heroes/heroines and heroic journeys. Write a journey story where you, as the hero or heroine, overcome a great obstacle or meet a big challenge.
• Do you share any common traits or qualities with the spider? • Describe the journey he took.
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
OBJECTIVES: (Student Outcomes) Students will be able to:
This exercise practices sequencing skills and the concept of visualization by using visual arts and storytelling together in a storyboarding activity. It also becomes a lesson in oral tradition as one story is passed on and retold by new storytellers.
INTRODUCTION:
• Artsource® audio recording of The Heroic Climb of Itsy-Bitsy Spider, told by David Novak.
STORYBOARDING TRANSFORMATION
MATERIALS:
LEVELI Sample Lesson
• Step 3. Look at the assemblage. Determine what scenes might be missing to successfully tell the story. Collaborate to assign group members to draw the necessary pictures. Post the new drawings on the board. Arrive at a final order.
3
• Draw pictures of the scenes in a story, then arrange them in sequence and use them to retell the story. (Creating & Presenting)
• Introduce David Novak by giving some background information from the Unit page. Sing the song, “Itsy-Bitsy Spider,” then listen to the story.
• Step 2. Clear two large areas on your classroom blackboard or bulletin board, one area for each group. Have the students post their pictures in the designated area. Select three students to arrange the pictures in sequence following the events of the story. The other members of the group can help coach the process along, directing the rearrangement.
THEATRE
• Drawing paper, crayons, markers, masking tape or push-pins.
• Step 1. Think of the pictures created in your mind’s eye as you listened to David Novak’s story. Divide the class into group #l and group #2. Ask each student to draw a moment from the story which was memorable or had great impact on the group. Give them 15 minutes to draw their pictures using their imaginative recollection of the tales. When they have finished, have each student title his/her drawing.
PROGRESSION:
• Perform the stories using pantomime and selected dialogue. Have one student serve as a narrator while the rest of the group performs the tale as story theatre actors.
Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
• Step 4. Choose a team of three storytellers to “retell” the story for their group. Have them divide the pictures into three groups, the beginning, middle, and end. Let each storyteller stand by the artwork and use it to narrate a section of the story. When each finishes, have them pass the story on to the next teller until the complete story has been told.
• Select several characters from the story and improvise new stories using them as main characters. Discuss possible conflicts or plots and develop them through improvisation. Record these stories in a class book and draw original pictures to ser ve as the illustrations.
ASSESSMENT: (Responding & Connecting)
Spectators RunnersGiving a Prize 4
VOCABULARY: storyboarding, visualization, story theatre, oral tradition
• What was added or expanded upon?
• Did the story differ from the version David Novak told?
• Did the artwork inspire new moments of humor or poignancy?
EXTENSIONS:
ANALYZE: These questions are embedded in Step 4 of the progression.
DISCUSS: Refer to the questions in Step 4 (above) to discuss your understanding of how the story changed in the retelling.
• Did the characters use a different language, vocabulary or expressions?
• What did you learn about the concept of oral tradition from this exercise?
CONNECT: Discuss the statement, “Storytelling is a form of animation...,” and what you think David might have meant when he said this.
• Create stage pictures or tableaux depicting universal themes. (Creating & Performing)
• Within each group, brainstorm a way to portray the assigned theme, value, or concept. Have students assume the positions in the stage picture and then freeze. To complete the exercise, have them choose a title for each group tableau.
CLASSIC TABLEAUX TRANSFORMATION
OBJECTIVES: (Student Outcomes) Students will be able to:
• Examine and discuss the classic poses found in Greek and Roman statuary and vases. Observe the balance, weight, and expression of the various figures. Notice arm, hand, and foot placement as well as stance or posture. Is there a commonality to the heroic poses and/or those showing scenes from daily life?
INTRODUCTION:
MATERIALS:
LEVELII Sample Lesson
• Divide the class into groups of six or seven. Assign each group a universal theme, value, or concept to depict in a tableau.
• Share the tableaux with the class. Have each group assemble and state its theme and title. During a count of 3 beats, have them get into position; then freeze for five beats; and then release to a neutral position.5
PROGRESSION:
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
A tableau is a still-life photograph, capturing a moment or scene and freezing it. It is a simple drama exercise which requires no dialogue.
THEATRE
• Find photos of Greek and Roman painting on vases and statues to provide examples for students.
Examples: Transformation, The Power of Nature, The Human Family, Freedom, Oppression, Love, Death, Birth, Justice, Beauty, Truth, etc.
EXTENSIONS:
• Choose a famous artwork or masterpiece painting and create it in a tableau. Make costumes or props to replicate those in the artwork.
DESCRIBE: Describe your interpretation of the scene that your group portrayed in the tableau.
Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking 6
• Improvise a scene preceding the 5 count freeze and end the dramatization in the tableau.
DISCUSS: Discuss the similarities and differences you observed between the different tableaux.
• At the end of the 5 count freeze, have the characters in the scene come to life and improvise a scene.
ANALYZE: Analyze the elements of design that were used in creating the tableaux. (line, shape, negative and positive space, form, etc.)
VOCABULARY: tableau, classic (as it pertains to art)
CONNECT: What scenes from today could you select to portray in a tableau? Why would you select these scenes to work with?
• Choose an historical event and depict it in tableau, such as the signing of the Declaration of Independence.
ASSESSMENT: (Responding &Connecting)
LEVELIII Sample Lesson
OBJECTIVES: (Student Outcomes)
David Novak, Storyteller
INTRODUCTION:
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
The “story string” is a book without pages which uses objects as the points of departure to create original stories.
PROGRESSION:
MATERIALS:
The student will be able to:
Photo: Craig Schwartz
• Pass out the lengths of yarn or string to each student. Have them use the yarn as a diary or journal by tying objects onto them that serve as ‘souvenirs’ from a given day’s experiences. Five objects are generally a good number to work with. Object #l can serve as the beginning of the string story; objects #2, #3 and #4, the middle; and object #5, the end or conclusion.
• Students should collect and build their string story looking for objects which remind them of particular moments or events. The objects need not be anything special. Ordinary things can be used, such as a blade of grass from the playground or a card or letter from the day's mail. Abstract things like colors, textures, or scents can creatively be used to express feelings or nature in a string story. The objects should be tied in the order of the events they represent, creating a string time-line.
• Two yards of yarn or string per student, selected objects provided by each stor yteller.
• Discuss the ways that objects can remind us of stories. Use a wedding ring or a favorite coffee mug as examples. Introduce the idea of a charm bracelet where charms are mementos of specific experiences.
7 THEATRE
• Finally, have students share their string stories, using the objects they have gathered and tied together.
• Tell personal stories based on selected objects tied in a sequence on a story string. (Creating & Performing & Connecting)
THE STORY STRING TRANSFORMATION
• Use the selected objects in a creative writing exercise and tell the story in the first person from the objects’ points of view.
• Exchange your string with someone else and make up a story with his/her objects.
DISCUSS: Discuss how the objects helped you in telling your story.
Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
• Make string stories about a nature walk, a travel experience, or tell the tale of a scar or injury.
DESCRIBE: Describe how you went about selecting your objects and sequencing them (do this in partners).
ANALYZE: Discuss how and why objects can trigger our memories.
CONNECT: Discuss other techniques or prompts that people use to remember things. What kind of things can we do to stimulate our creative thinking?
EXTENSIONS:
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VOCABULARY: string story, memento ASSESSMENT: (Responding & Connecting)