how to tell children stories(如何给孩子讲故事)-第14章
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One would think so obvious a preliminary might be taken for granted。
But alas； even slight acquaintance with the average story…teller proves the
dire necessity of the admonition。 The halting tongue； the slip in name or
incident； the turning back to forge an omitted link in the chain； the
repetition； the general weakness of statement consequent on imperfect
grasp： these are common features of the stories one hears told。 And they
are features which will deface the best story ever told。
One must know the story absolutely； it must have been so assimilated
that it partakes of the nature of personal experience； its essence must be so
clearly in mind that the teller does not have to think of it at all in the act of
telling； but rather lets it flow from his lips with the unconscious freedom
of a vivid reminiscence。
Such knowledge does not mean memorising。 Memorising utterly
destroys the freedom of reminiscence； takes away the spontaneity； and
substitutes a mastery of form for a mastery of essence。 It means； rather； a
perfect grasp of the gist of the story； with sufficient familiarity with its
form to determine the manner of its telling。 The easiest way to obtain this
mastery is； I think； to analyse the story into its simplest elements of plot。
Strip it bare of style； description； interpolation； and find out simply WHAT
HAPPENED。 Personally； I find that I get first an especially vivid
conception of the climax； this then has to be rounded out by a clear
perception of the successive steps which lead up to the climax。 One has； so；
the framework of the story。 The next process is the filling in。
There must be many ways of going about this filling in。 Doubtless
many of my readers； in the days when it was their pet ambition to make a
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
good recitation in school； evolved personally effective ways of doing it；
for it is； after all； the same thing as preparing a bit of history or a recitation
in literature。 But for the consideration of those who find it hard to gain
mastery of fact without mastery of its stated form； I give my own way。 I
have always used the childlike plan of talking it out。 Sometimes inaudibly；
sometimes in loud and penetrating tones which arouse the sympathetic
curiosity of my family； I tell it over and over； to an imaginary hearer。 That
hearer is as present to me； always has been； as Stevenson's 〃friend of the
children〃 who takes the part of the enemy in their solitary games of war。
His criticism （though he is a most composite double… sexed creature who
should not have a designating personal pronoun） is all…revealing。 For
talking it out instantly brings to light the weak spots in one's recollection。
〃What was it the little crocodile said？〃 〃Just how did the little pig get into
his house？〃 〃What was that link in the chain of circumstances which
brought the wily fox to confusion？〃 The slightest cloud of uncertainty
becomes obvious in a moment。 And as obvious becomes one's paucity of
expression； one's week…kneed imagination； one's imperfect assimilation of
the spirit of the story。 It is not a flattering process。
But when these faults have been corrected by several attempts； the
method gives a confidence； a sense of sureness； which makes the real
telling to a real audience ready and spontaneously smooth。 Scarcely an
epithet or a sentence comes out as it was in the preliminary telling； but
epithets and sentences in sufficiency do come； the beauty of this method is
that it brings freedom instead of bondage。
A valuable exception to the rule against memorising must be noted
here。 Especially beautiful and indicative phrases of the original should be
retained； and even whole passages； where they are identified with the
beauty of the tale。 And in stories like The Three Bears or Red Riding Hood
the exact phraseology of the conversation as given in familiar versions
should be preserved； it is in a way sacred； a classic； and not to be altered。
But beyond this the language should be the teller's own； and probably
never twice the same。 Sureness； ease； freedom； and the effect of personal
reminiscence come only from complete mastery。 I repeat； with emphasis：
Know your story。
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The next suggestion is a purely practical one concerning the
preparation of physical conditions。 See that the children are seated in close
and direct range of your eye； the familiar half…circle is the best
arrangement for small groups of children； but the teacher should be at a
point OPPOSITE the centre of the arc； NOT in its centre： it is important
also not to have the ends too far at the side； and to have no child directly
behind another； or in such a position that he has not an easy view of the
teacher's full face。 Little children have to be physically close in order to be
mentally close。 It is； of course； desirable to obtain a hushed quiet before
beginning； but it is not so important as to preserve your own mood of
holiday； and theirs。 If the fates and the atmosphere of the day are against
you； it is wiser to trust to the drawing power of the tale itself； and abate the
irritation of didactic methods。 And never break into that magic tale； once
begun； with an admonition to Ethel or Tommy to stop squirming； or a
rebuke to 〃that little girl over there who is not listening。〃 Make her listen！
It is probably your fault if she is not。 If you are telling a good story； and
telling it well； she can't help listening；unless she is an abnormal child；
and if she is abnormal you ought not to spoil the mood of the others to
attend to her。
I say 〃never〃 interrupt your story； perhaps it is only fair to amend that；
after the fashion of dear little Marjorie Fleming； and say 〃neverif you
can help it。〃 For； of course； there are exceptional occasions； and
exceptional children； some latitude must be left for the decisions of good
common sense acting on the issue of the moment。
The children ready； your own mood must be ready。 It is desirable that
the spirit of the story should be imposed upon the room from the
beginning； and this result hangs on the clearness and intensity of the
teller's initiatory mood。 An act of memory and of will is the requisite。 The
story…teller must call upit comes with the swiftness of thoughtthe
essential emotion of the story as he felt it first。 A single volition puts him
in touch with the characters and the movement of the tale。 This is scarcely
more than a brief and condensed reminiscence； it is the stepping back into
a mood once experienced。
Let us say； for example； that the story to be told is the immortal fable
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of The Ugly Duckling。 Before you open your lips the whole pathetic series
of the little swan's mishaps should flash across your mind；not accurately
and in detail； but blended to a composite of undeserved ignominy； of
baffled innocent wonderment； and of delicious underlying satire on
average views。 With this is mingled the feeling of Andersen's delicate
whimsicality of style。 The dear little Ugly Duckling waddles； bodily； into
your consciousness； and you pity his sorrows and anticipate his triumph；
before you begin。
This preliminary recognition of mood is what brings the delicious
quizzical twitch to the mouth of a good raconteur who begins an anecdote
the hearers know will be side…splitting。 It is what makes grandmother sigh
gently and look far over your heads； when her soft voice commences the
story of 〃the little girl who lived long； long ago。〃 It is a natural and
instinctive thing with the born story…teller； a necessary thing for anyone
who will become a story…teller。
From the very start； the mood of the tale should be definite and
authoritative； beginning with the mood of the teller and emanating
therefrom in proportion as the physique of the teller is a responsive
medium。
Now we are off。 Knowing your story； having your hearers well
arranged； and being as thoroughly as you are able in the right mood； you
begin to tell it。 Tell it； then； simply； directly； dramatically； with zest。
SIMPLY applies both to manner and matter。 As to manner； I mean
without affectation； without any form of pretence； in short； without posing。
It is a pity to 〃talk down〃 to the children； to assume a honeyed voice； to
think of the edifying or educational value of the work one is doing。
Naturalness； being oneself； is the desideratum。 I wonder why we so often
use a preposterous voice；a super…sweetened whine； in talking to children？
Is it that the effort to realise an ideal of gentleness and affectionateness
overreaches itself in this form of the grotesque？ Some good intention must
be the root of it But the thing is none the less pernicious。 A 〃cant〃 voice is
as abominable as a cant phraseology。 Both are of the very substance of
evil。
〃But it is easier to SAY； ‘Be natural' than to BE it；〃 said one teacher to
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me desperately。
Beyond dispute。 To those of us who are cursed with an over…abundant
measure of self… consciousness； nothing is harder than simple naturalness。
The remedy is to lose oneself in one's art。 Think of the story so
absorbingly and vividly that you have no room to think of yourself。 Live it。
Sink yours
