By THLaird Colyne Stewart, March AS 49 (2015)
This article is to
examine the art of storytelling within the SCA. It will strongly be coloured by
my own experiences and exposure within (and outside) the Society, but I have
tried to make it as broad as possible. The author is also thankful for the
input of Kitta Mjoksiglandi in the
writing of this article.
There are many aspects of storytelling this article could
explore: how to write a story, how stories were told in period, how to tell a
story, and so on. I think that is too much to try and cover in one article, so I
will instead focus on one of those topics—namely, the act of reciting a story
to an audience.
STORIES
Want to know how to find stories and where to tell them?
Then read on!
Finding stories to
tell (and giving proper credit)
As a storyteller, one of the first things you’re going to
need to do is—of course—build a repertoire of stories. Where, you may ask,
would one find such stories to tell? There are various places to go to find
material to recite.
Firstly, there are period sources. Since we are a medieval
re-enactment group, it only makes sense to learn to recite the same tales that
may have been told in period. You can find these stories in various medieval
books that are quite often freely available online. Duke Cariadoc of the Bow
has compiled a great list of period sources in his article “In-persona
Storytelling” (which is included in the Links below). As well as telling these
invented tales, you could teach your audience bits of history by telling them
about the Battle of Stirling Bridge, or the sack of Constantinople .
You could also learn stories that have been written by
modern day bards within the SCA (or other re-enactment groups). Many bards have
shared their stories online. However, when telling a tale written by someone
else, it is only courteous to give that author credit. Though I doubt in period
if a minstrel would bother giving credit for the song he just sung, in our
modern world it is only polite to do. Also, when telling a story by an extant
contemporary, you should try to stick to the original words as closely as
possible.
Another option is to write your own material. You could
write a story based on the exploits of someone you know, or write a fable, or
mythologize your home group…the possibilities are quite endless. When writing
your own story to tell you also have the option of making it as modern or as
period in form as you desire.
What to tell when
Not all stories are appropriate at all times. A bawdy tale
is great for around a rowdy campfire, but not necessarily apt for a dignified
feast. Likewise, you may be at an in-persona circle that would not be so
welcoming to a “no sh@t, there I was” type story. It is always important to
gauge the crowd, see how they are reacting to the other performers, and use
that information to help you choose what tale to tell. If the circle is
fast-paced and lively, you may not want to tell a long, slow story (you may
want to save that for a more sedate circle).
Where to tell your
tales
When people think of bards performing in the SCA, often the
first image that comes to mind is of the bardic circle around a campfire. And
while this is indeed an excellent place to tell a story, it is far from the
only available venue. The feast hall offers different options for the telling
of a tale. You could tell a story to the entire hall, or to an individual
table, or you could entertain the servers in-between removes.
You could also tell a tale during court (though this should
only be done at the invitation of the Royalty or Nobility holding said court).
At a camping event you could wander the site telling short stories to
passersby.
TECHNIQUES
There are several techniques you can use when telling
stories to make the act more enjoyable for both you and your audience. These
techniques may not necessarily all be period, but they are useful tools for the
modern or re-enactment storyteller regardless.
Repetition
One of the techniques I have come across in a lot of stories
from many different cultures is that of repetition. That repetition can be used
a few different ways. One way is to have a refrain that is used every so often.
For instance, Dame TSivia bas Tamara v’Amberview has been telling “the camel
story” since the 1970s, which relies on the refrain
And the winds blow a ' back and
forth. And a ' baaaack...and forth.
Another is to construct the story in such a way that
incidents repeat (usually in threes). For instance, I once read a Native story
where the hero encounters three animals who need his help. He aids each one,
and in turn receives a gift. He then faces three trials which he overcomes
using the three gifts (using each one in the order in which he received them).
Repetition aids in recall, so working repetitive elements
into your story will help your audience remember what is going on, and will
help them remember the tale after you are done the telling.
For more on repetition in story telling, see Martin Shaw’s
article on the subject in the links section.
Keep it brief (at
least at first)
Something that storytellers struggle with constantly is
trying to figure out how long their stories should be. The answer is highly
variable. If you are just starting out, I always suggest that shorter is better.
If you are going to be telling stories for the first time you are better off
aiming for something under five minutes in length. Though stories can be much
longer, I have seen storytellers kill a bardic circle by telling a lengthy tale
that no one was interested in hearing. As mentioned earlier, you need to read
your crowd, and if you are still learning how to do that, brevity is your ally.
Shorter stories are also useful for telling in situations where you do not have
a lot of time (such as the kind of stories Duke Cariadoc of the Bow tells to
servers while they pause between removes).
Here’s an example of a short tale I told at a circle in
honour of a Calontiri guest:
At our first Pennsic War, my wife
and I were at a merchant’s when a column of Calontiri warriors trudged by. They
were dragging their weapons and singing what sounded like a dirge. I remarked
to the merchant that our side must have lost, as my kingdom was allied with
Calontir. “No,” said the merchant, “you won. Those are happy Calontiri.”
Gestures and pacing
Many storytellers make use of hand gestures and moving
around their space while telling a tale, but storytellers are by no means
unanimous on whether this should be done, or, if it is, just how much it should
be done.
While pacing around and moving your hands can draw emphasis
to what you are saying, it can also distract from the story. Master Fridrikr
Tomasson is quite capable of keeping a hall enthralled with just the power of
his words, but other storytellers may find it difficult to obtain that same
level of rapt attention without using their body. As always, you should do what
feels natural to you.
Just remember, if you do use hand and body movement during
your tellings, do not let them detract from the tale itself. If you spend too
long orchestrating and practicing your movements, it will end up detracting
from your story. Your telling will not seem organic but rehearsed.
Don’t get fixated on
details
Unless you are telling a fellow bards work, do not try to
memorize the story you are telling. If you try to remember every little detail
you may find yourself forgetting them and become flustered during the telling.
I is better to learn the story in a kind of point form in your mind, which you
can elaborate on as you wish during the telling. For instance remembering that
the hero was wearing a purple shirt when the colour has no bearing on anything
is a detail that you don’t need to learn. For instance, let’s look at this
short story I once wrote:
It was on an unusually warm winter
day that members of Ardchreag’s populace traveled to the canton of Skeldergate,
to the inn owned by Berus Jarl and his Lady, Countess Marion. Upon arriving we
found tables laid and awaiting us, while the appetizing smells of meat on a
stick wafted from the kitchens where Streonwald and Etian could be heard
bellowing. We claimed a table in front of the Thrones of Ealdormere, spreading
out our crafts and gear. Berend worked on his tablet woven belt, while Eirik
and Colyne poured over notes. Thorfinna disappeared into the vault of children
where she was later found happily colouring.
As I returned from the merchants,
my arms laden with goods, I heard the sounds of commotion. A fight had broken
out! I ran to my table to find some of my companions under attack! Eirik and
Wulfgang were in the centre of a swarm of ruffians, brandishing axes and
swords. I made a move to join them, then saw that there was no need. Eirik is
quite handy with a blade, and was cutting down his foes with impunity.
Wulfgang, finding himself pressed by a huge man bearing a bar stool in has
hands, proceeded to chase his assailant about the hall, before finally chopping
him to the floor.
When it was over, when the tables
had been righted, the blood cleaned, and the ale pored, an exhausted but
beaming Wulfgang sat at our table.
“Did you see me?” he asked. “Did
you see me chase that guy?”
We responded yes. Then we added
that his attacker had been no mere ‘guy’.
“Who was it?” he asked.
“Berus,” we said.
His jaw dropped.
“The Kingdom Earl Marshal,” we went
on.
The jaw dropped lower.
“Sir Berus,” we added.
All present then laughed long and
hard at the expression on the face of a man who is usually jokingly referred to
as a man who has none.
I just wonder, once Wulfgang has
all his armour together, and first walks onto the lists, will Berus remember
him?
The only relevant facts that you need to remember to tell
this tale are:
- The protagonist went to an event with someone named Wulfgang
- Wulfgang took part in a boffer battle
- Wulfgang chased around someone on the field and was quite pleased with himself
- Wulfgang was completely shocked to find out it had been the kingdom’s earl marshal (and a knight to boot)
Don’t worry if your
story is different every time you tell it
As mentioned above, you don’t need to memorize every little
detail, which means your story will end up different every time you tell it.
That’s fine. In fact, many storytellers will reshape their story to better fit
the situation they are in or the audience they are telling it to. For instance,
while your story about a certain count getting wasted and running around naked
on the battlefield until he runs into the queen may be appropriate for an
adult’s only fire, its not so appropriate to tell in the marketplace with
children listening…unless you change the details. So, instead of being drunk,
the count is merely acting silly but still feels embarrassed for his behaviour
before his queen.
Plus, variation is the spice of life. Your audiences will
merge over time, but even if certain listeners have heard all your stories
before, they will still seem fresh and interesting if they know all the details
won’t be the same every time they hear them.
If you make a
mistake, keep going
Mistakes happen, and one of the worst things a performer can
do when they make one is to pause and admit it. If you make a mistake, just
keep going. Most of the time your audience will not even know you got anything
wrong. If you find you left out something intrinsic to the plot, you can work
it back in at a different point. If you forgot to mention that your hero was
supposed to find a sword back in the castle, have a squire appear and give the
sword to the hero later.
Involve your audience
One way to keep your audience’s attention is to get them
involved in the story. An easy method to do this is by taking advantage of
having a repeated refrain, and having the audience say it with you. They will
soon be waiting eagerly for your cues telling them they get to say it again.
Incorporating songs or poems
If you want, and if it fits in with your story, you can
incorporate songs or poems into your telling. These could be used as refrains
and a way to involve your audience. This would be especially appropriate if you
are telling a Norse story, as people in the sagas often recited short poems.
The only caveat I would suggest is to keep these bits short and to the point.
Telling a story while
in persona
Rather than telling a story as yourself, you can tell it
from the point of view of your persona. This adds a certain verisimilitude to
your performance and is a great technique to use at period-only circles. Things
to keep in mind are what stories would your persona know, and how would someone
from your time and place tell a story? As mentioned before, a link to Duke
Cariadoc’s article on this subject is included below.
Props (doll, puppets,
talking sticks)
While the use of props is almost certainly not a technique
used by period storytellers, it is a very useful modern tool (especially when
telling stories to children). Dolls or puppets can be used to act out the
story, or even tell the story with (or instead of) the storyteller. The talking
stick (or conch shell or other item) can be used to pass from person to person,
signifying whose turn it is to speak. These props can also be used as mnemonic
devices, helping your audience remember certain details by associating them
with specific props.
Signature beginning
and/or ending
One last technique I’ll touch on is using a specific opening
and or/closing to your stories, which are unique to you. When your audience
hears it they will come to recognize it and it will help place them in a receptive state of mind. Possible
openings are “I saw it with my own eyes” or “when the world was young” while a
possible ending could be “and for all I know they are
fighting/dancing/singing/eating/etc still.”
LINKS
Links: Storytelling
(general)
Effective Storytelling: A Guide for Beginners, http://www.eldrbarry.net/roos/eest.htm
On Repetition in Storytelling, http://web.stanford.edu/group/storytelling/cgi-bin/joomla/index.php/blog/2013blogs/347-on-repetition-in-storytelling.html
Tim Shepherd’s Storytelling Resources for Storytellers, http://www.timsheppard.co.uk/story/
Links: Period
Storytelling
Medieval Storytelling: Engaging the Next Generation, http://medievalstorytelling.co.uk/
Medieval Storytelling, http://www.torch.ox.ac.uk/medieval-storytelling
Medieval Storytelling: The Spoken Word, https://cardboardboxadventures.wordpress.com/2014/02/20/medieval-storytelling-the-spoken-word/
Period Sources for Story Telling, http://www.pbm.com/~lindahl/cariadoc/period_sources_for_story_telling.html
Storytelling in Medieval Wales, http://journal.oraltradition.org/files/articles/7ii/4_davies.pdf
Traditional Storytelling in Europe ,
http://www.timsheppard.co.uk/story/dir/traditions/europe.html
Links: SCA
In-persona Storytelling, http://athenaeumhectoris.blogspot.ca/2015/03/in-persona-storytelling.html
SCA Storytellers, https://www.facebook.com/groups/481933358568748/
THLaird Colyne
Stewart is a student of the written word. He is the Curator of the Atheneaum
Hectoris, the Precentor of the Scriptorium, the Royal Historian
of Ealdormere, the Baronial Historian of Septentria, a chronicler and
a member of the Bardic
College
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