- Well, what are our aims as storytellers?
- To comfort the audience?
- To change the world for better?
I suggest that we exchange experiences of storytellers, who deal with conflicts in our modern world, and discuss the specific problems,
- what sort of involvement of myself in the subject do I need/admit,
- what distance do I need/ have to show?
- How do I avoid missionary work? How do I leave things open to be judged by the audience?
- how do I end the story, necessarily with hope?
- how do I deal with excitements of the audience?
- how do I run a talk with people heavily affected by my story?
- Do I have to avoid that the audience gets aware of my emotions? At what point do my emotions interfere wiht my aim to deliver art?
- What difficulties did I meet when developing the story? How did I overcome?
- How do I overcome the gap between my desire to reveal inhuman practices and to be loyal against my kin? (Example Schlink “Der Vorleser”)
- If I want to process my relationship to my kin (understand the history of my ancestors) and heal my wounds, what has to be added, to make it a story qualified for the public?
- Do I have to avoid passages describing moods of my heroes? Why? Replace them by actions?
- Telling in the first or third person?
- Historic truth / the truth of art / authenticity (1)
- Is my story art or the report of a contemporary witness? (What, when all contemporary witnesses have died out? Can they be replaced by storytellers or museum educators?) (1)
- Orality and
presence on the stage / textualisation or movie
(1) “Dieses Nebeneinander von history und story, Geschichte und Erzählung, beeinflusst die Weitergabe gesellschaftlich relevanten Wissens. Nachfolgende Generationen stehen nicht nur dem historiografisch rekonstruierten Geschehen gegenüber, sondern auch der Möglichkeitsform fiktionaler Erzählungen. Und nicht zuletzt angesichts des nahenden Endes der Zeitzeugenschaft schickt sich die mediale Auseinandersetzung mit der Vergangenheit in verschiedenen Genres an, die Weitergabe unmittelbarer Erfahrung abzulösen.“ http://www.bpb.de/apuz/141905/erinnerung-und-fiktion?p=0
KAI from Salzburg with his story about euthanasia in a children hospital in Vienna during the NAZI-occupation, Lebensgeschichten von Jugendlichen während der Zeit von Krieg und Diktatur
stories of Katharina Ritter, Munich, and Gabi Altenbach, Munich, with their stories about children from the poor valleys in the Alps sent to work in summer to the rich farmers of the northern side of lake Constance,
the initiative of Micaela Sauber, Hamburg, for "tellers without borders" and her programme “Die Bettelkönigin”, about a painter and beggar in Hamburg, who hardly survived a bomb attack in Leipzig and suffered from a mental disease. www.erzaehler-ohne-grenzen.de (including english translation)
my new story “Tanzen, bis die Funken stieben”about two sisters getting tangled and embroiled in the NAZI-system, finally finding the leave out of it - but not completly (based on the experiences of my mothers).
(picture shows my mother 1936 at the age of 22 in the uniform of the "Reichsarbeitsdienst", one of the NAZI-organizations)
Jörg Baesecke is working with „PapierKrieg“ about growing up in post wars-Germany: a personal history from 1907 up to 1990.
Eric Borrias does his Holocaust program "Inside the Gates 1943-1945" in 2014 on January 26 (holocaust memorial-day) in the north of Holland at Westerbork remembrance-centre. A former Nazi-transitioncamp.
Stella Kassimati: „My story is the story of my ancestors and my husband’s ancestors. It starts in 1821, the year Greece gained her independence from the Ottoman Empire, after being occupied for 400 years. My husband’s great, great, great grandfather was captured at the age of seven and taken to Turkey. There he was trained to become a Jenissaro. 15 years later he returned to Crete. My great, great, great aunt, at the age of 13, was captured at the same time and taken to Turkey where she was sold as a slave. 15 years later she also returned to Crete. They were eventually married. I call the story “Coming Home” as it is a story of love, freedom and homecoming. It takes about 35 minutes to tell and can be longer with music“
http://www.zeitzeugen-theater.de Bundesverband Information & Beratung für NS-Verfolgte, Erzähl- und Begegnungscafé. Pupils put the reports of surviving people from the KZ on stage, arranged by a theatre director, accompanied by a psychologist. One of the tasks is to find an aesthetic form for the reports on stage in contrast to the Israeli model. Premiere will be in Febr 2014
USA-storytellers: civil war as subject
Martin Ellrodt: guided tours in remains of the Reichsparteitag Nürnberg
Michl Zirk: The wall between the two Germanys
Theater mini art: Ännes letzte Reise Ein Theaterstück zum Thema Euthanasie im Nationalsozialismus Crischa Ohler Sjef van der Linden
Voices of the Holocaust (Holocaust theatre and education through drama) Shonaleigh Cumbers, Cate Hibbert
Jasna Held, Dubrovnik, war-stories from the balcan
Love Ersare performance about a famous swedish Archeologist, Gustaf Hallström, a dedicated Nazi working hard to bring Sweden into the war together with Germany
Kingdom of Fire and Clay combines classical Jewish and Iranian tales, as well as the personal stories of Sahand Sahebdivani and Raphael Rodan
We thought about a series of performances with talks after each = workshop talks among colleagues and specialists (maybe in addition contemporary witnesses and city guides?)
Stefan Kuntz, May 2013
Updated after a meeting with Jörg Baesecke on July 10th, with lots of his good ideas
Updated August, September , Dec 4th 2013, Jan 21st 2014, Oct 2016