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Everything is a story we tell ourselves about who and what we are, and who and what everyone else is, and what we want and why we want it, and what we must do, and what we ought to do, and why we ought to do it, and who or what is interfering with our plans or needs and why. Each of us has a story, or many stories, and each of us is part of the stories of others to a greater or lesser degree.
In our story, we are invariably the leading character, the hero or anti-hero or heroine in the life-and-death narrative we play out emotionally and intellectually through our behaviours and languages. If there are problems, they aren't necessarily because we have erected ourselves as the central character in our story, as it is because we are unwilling to embrace the possibility that, at its source, our story is an inspired collaboration that has no meaning apart from our relationships.
To work as a medium, channeling characters and stories, is to immerse oneself in a "show" that appears as if it is being performed by some thing other than yourself. To assent to this metaphor of showing is to acknowledge that there's no better way of entering a story other than surrendering to it, and allowing it to enter you - a condition and quality of creative openness. When this happens, the usual demarcations that separate the dreamer from the dream are erased. In jettisoning the ego-centric "SELF that creates" - the grand puppeteer - we surrender our need to manipulate and judge, and allow ourselves to be audience and witnesses to the story told or enacted by the characters that are becoming present in us and through us.
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An 8-minute MASTER CLASS in the grammar of dramatic storytelling, courtesy of Chuck Jones
"If you have a leap of faith that is underpowered where you're questioning it as you leap, you don't get to the other side. You can't leap without complete and absolute willingness to die for your want."
~ Bruce Joel Rubin
The most relevant and enduring questions in the evolution and evaluation of screen-stories-that-matter are WHERE'S THE DRAMA? and WHY DO I CARE? Simple questions you say, and yet the creation of fresh, surprising and compelling screen narratives is uncommon. Why is this? And what can be done about it?
Industry and non-industry film and program makers, film audiences, students, reviewers and critics are invited to join Billy Marshall Stoneking and Stoneking Seminars in this unique, online investigation into the nature and character of dramatic, screen storytelling.
Discover and explore the world of the character-driven story, as channeled by the storyteller working as a medium. Share your opinions and ideas, your insights and 'imaginary solutions'. Spread the word!
Enter the Drama by selecting a topic from the MENU at the top of this page - or by using the search function provided BELOW to find exactly what you're looking for.
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