Storytelling as Writing 2

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The subject provides Department of Authorial Creativity and Pedagogy

Contents

The aim of this seminar is to nurture a creative and safe environment where students are allowed to explore various dramaturgical principles of creative writing for the purpose of storytelling.

A fundamental ethos of the class is that there is no absolute right or wrong in writing. Instead, it is more constructive to adopt a curious attitude to one’s own writing (and that of others’) and explore for oneself what works and what doesn’t. However, certain principles are organic - arguably second nature to storytelling - and can be found in contemporary literature, playwriting, and cinema (sometimes originally deriving from myths across cultures). This seminar aims to explore some of these narrative tools, whilst also promoting a space where these can be tested out practically for one-self, and conclusions left open for each author themselves.

Classes consist of theoretical introductions along with dedicated writing time during class. Towards the end of the classes, texts will occasionally be read out-loud, along with group feedback and discussion. Throughout the semester, short stories will be analysed and used as references for selected narrative tools examined in class.

The seminar will also be visited by a guest pedagogue, Kierstan DeVoe, a graduate of KATAP, and co-founder of OAK Theatre Company. Having led ‘Playwrights in Prague’ meetings and facilitated improv writing for years at theatre events, Kierstan will bring her writing prompts to the seminar as well.

At the end of the seminar, students will choose a text of their own - something with a suitable form for stage. This text will then be used for a public stage-reading event. The author will assign actors from within the seminar group and briefly rehearse the texts together for the event during which actors will read out loud each piece in front of an audience.

Learning outcomes

Creative awareness and practical experience in writing prose.

Familiarisation with dramaturgical principles, including story arcs, escalation, character, motifs and patterns, causality, styles of writing, among others.

Curiosity about one’s authorial themes and openness to explore, experiment, and revise.

Understanding innate reader / audience expectations and considering how to structure storytelling with this in mind (this may also lead to playing with expectations by being more conscious of them).

Prerequisites and other requirements

B2 level of English in writing and speaking.

Ability to work within a group with safety, respect and consideration.

Students are expected to bring their own materials for writing: pen, paper, etc. (no electronic devices).

Literature

Keith Johnstone, ‘Improv: Improvisation and Theatre’ (Chapter: Narratives)

George Saunders, ‘A Swim in the Pond in the Rain’

Aristotle, ‘Poetics’

Anton Chekhov, ‘In the Cart’

Anton Chekhov, ‘The Darling’

Leo Tolstoy, ‘Master and Man’

Evaluation methods and criteria

80% attendance is mandatory

No grades - only a pass or a fail.

Students are admitted a pass based on attendance and the ability to collaborate, engage in writing, and willingly try out selected dramaturgical principles.

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans

• Authorial Acting in English (B.A.) (Elective subjects)
• Authorial Acting (M.A.) (Elective subjects)