mythteller: (yoda_teeth)
This coming Saturday, I will be competing in the Once Upon a Slam storytelling competition in Ottawa. I only found out that I was a competitor last month when Marie Bilodeau and I did a show in Ottawa and Ruthanne Edward stopped by to tell her tales as well. It's going to be quite an honor to share the stage with so many talented storytellers.

So I'm preparing my stories for that night, but I'm faced with a dilemma. There are two rounds, so the storytellers are expected to prepare two 5-minute stories. I have a new story that I'm confident will win over the crowd and the judges, but I'm not sure when to use it. Should I use it in the first round so that I make it through to the second round, or should I keep it for the second round to boost my chances in the final round?

I'm also torn on what my second story should be. I'm tempted to use the story that won me the competition in November, but what if the judges heard that story the last time? Should I go with two new stories? The story I told in November is always well-received, but what if the judges feel that I'm not being original or creative enough?

Argh.
mythteller: (shepherd_book)

I was chatting with a couple of friends the other day when one friend said that Science held all the truth that people could ever need, while religion served only to mislead people by lying to them. I suggested that religion was actually performance art and it used myth to explore truths that could not be fully understood or explored by Science or Logic. My friend strongly disagreed with me, saying that religion was dangerous because the gullible put more faith in it than the truth of Science. This fact terrified her and she even went so far to say that my own spiritual beliefs scared her. Remembering an old adage that said you should never debate religion or politics in a bar, I let the matter drop.

Since that discussion the following story has been coming up quite often. Whether it be coincidence or not, I've decided to post it here to keep track of it, but also to remind me of the wolf I should be feeding rather than giving into despair or wallowing in the horribleness of people and world events (which usually gets posted on Facebook).

Yes, there are terrible people and terrible things in this world, but I prefer to celebrate beauty, kindness, and generosity rather than gorge myself on the pornography of terror, violence, and the horrible depths of human depravity.

The Two Wolves

A Cherokee elder was teaching his grandchildren about life.

He said to them, “A fight is going on inside me… it is a terrible fight between two wolves.

One wolf represents fear, anger, envy, sorrow, regret, greed, arrogance, hatefulness, and lies.

The other stands for joy, peace, love, hope, humbleness, kindness, friendship, generosity, faith, and truth.

This same fight is going on inside of you, and inside every other person, too.”

The children thought about it for a minute. Then one child asked his grandfather,

“Which wolf will win?”

The Cherokee elder replied…

“The one you feed.”

mythteller: (greenman)
I've posted a new story for July on my blogcast "Shortening the Road". You can listen to the tale of the Samurai and the Teamaster at:

http://shorteningtheroad.blogspot.com/2010/07/july-story-samurai-and-teamaster.html

I don't think I've posted it here yet about my latest CD called "The Bard's New Hat", but now I am. This CD contains eight tales that I've recorded over the past two years, featuring the guitar-pickings of [livejournal.com profile] shaynealexis and one tale told by [livejournal.com profile] sarahcarotte .

I'll be hosting an official CD Launch at Hurley's Irish pub on July 25th at 19h30 and selling the CD ($10 each). This will also be the last night I'll be replacing Mike Burns whlie he's away on vacation. Mike will be back telling tales at Hurley's on the last day of August.

You can read more about the CD on my website
You can read more about the CD Launch on my blogcast

I hope we'll see you on the 25th of July!
mythteller: (question)
I'm about to release a new CD of stories that I've recorded called "The Bard's New Hat" and I'm trying to figure out how I should market it.

Off the top, I would say that the stories are family-friendly, but there's one story that has an element that may put some people off. In the story "Brahma and the Brahman", there is a character that lives her life as a prostitute. I don't go into graphic detail about her business, but I'm wondering if just mentioning this occupation in this story puts the whole CD out of the Family-Friendly category.

I'd rather not remove the story from the CD, but I worry that it might be irresponsible or unethical to sell the CD when I know children will be listening to that story. How big a deal do you think this is?

Update: Listen to the story here.
mythteller: (sploosh)
Seeing as it is Easter Sunday for many people, I've decided to post my version of Oscar Wilde's classic tale The Selfish Giant. As I recall, I would often watch the animated version of this story around Easter, so I always associate it with Spring. You can read more about the animated film on Wikipedia or watch it on YouTube.

The same production house (Potterton Productions) also produced The Littlest Mermaid and The Happy Prince. I really need to learn the Happy Prince someday.

I told this story to a small audience at Cafe 92 Degrees in Montreal during a show called 92 Degrees of Foolishness. It was a great night of tales and music and I thank everyone who was able to share that evening with us. The magical, mystical Shayne Gryn can be heard providing the music ambiance.

The Giant's Garden
mythteller: (greenman)
Finally, the new story for March has been posted on my podcast. It is the story of Indra and what happens when a woman turns down the sexual advances of a God.

http://shorteningtheroad.blogspot.com/2010/03/march-story-indra-and-blind-shaman.html
mythteller: (tiger roar)
I hope everyone has had an enjoyable Valentine's Day, however you have chosen to mark this day. This year, Sarah and I, along with a few good friends, told tales at Cafe 92 Degrees in NDG (see previous post). The two evenings of storytelling were enchanting and well-received, so we hope everyone had a great time. We're already planning our next evening of stories for the spring (maybe an evening of Wise Fools stories for April Fools Day).

I'm very excited to have had the chance to record this story which I have told fairly often over the years. I first heard told by a British storyteller who visited Montreal a few years ago during the Festival Internationale du Conte du Quebec. Since then, I have made a few tweaks here and there and come up with my own version of Love and Madness.

Enjoy!
mythteller: (barack Blackberry)
I was listening to President Obama's speeches on the situation in Haiti and reading about the various countries (including Canada) rushing to help the victims of this devastating quake.

While listening to this speech, I was reminded of a broadcast given by the late, great Gordon Sinclair entitled The Americans. It's amazing how timeless and still pertinent this broadcast still is today, especially in light of current events.

I've pasted the text of his broadcast here, but if you can click the link and listen to the raw power of Sinclair's voice, I doubt you will be disappointed (except for the cheesy organ music playing in the background). You can clearly hear Sinclair's rage and indignation in the speech, especially when he makes a point ("And I was there... I saw that!"), then stumbles slightly in the next sentence, try to regain his composure. As a storyteller, it gives me great pleasure to hear the talented rantings of such a great orator.


"LET'S BE PERSONAL"
   Broadcast June 5, 1973     CFRB, Toronto, Ontario

Topic: "The Americans"
Click Here to Listen

The United States dollar took another pounding on German, French and British exchanges this morning, hitting the lowest point ever known in West Germany. It has declined there by 41% since 1971 and this Canadian thinks it is time to speak up for the Americans as the most generous and possibly the least-appreciated people in all the world.

As long as sixty years ago, when I first started to read newspapers, I read of floods on the Yellow River and the Yangtze. Well, Who rushed in with men and money to help? The Americans did, that's who.

They have helped control floods on the Nile, the Amazon, the Ganges and the Niger. Today, the rich bottom land of the Mississippi is under water and no foreign land has sent a dollar to help. Germany, Japan and, to a lesser extent, Britain and Italy, were lifted out of the debris of war by the Americans who poured in billions of dollars and forgave other billions in debts. None of those countries is today paying even the interest on its remaining debts to the United States.

When the franc was in danger of collapsing in 1956, it was the Americans who propped it up and their reward was to be insulted and swindled on the streets of Paris. And I was there. I saw that.

When distant cities are hit by earthquake, it is the United States that hurries into help... Managua Nicaragua is one of the most recent examples. So far this spring, 59 American communities have been flattened by tornadoes. Nobody has helped.

The Marshall Plan... the Truman Policy... all pumped billions upon billions of dollars into discouraged countries. And now, newspapers in those countries are writing about the decadent war-mongering Americans.

Now, I'd like to see just one of those countries that is gloating over the erosion of the United States dollar build its own airplanes.

Come on... let's hear it! Does any other country in the world have a plane to equal the Boeing Jumbo Jet, the Lockheed Tristar or the Douglas 10? If so, why don't they fly them? Why do all international lines except Russia fly American planes? Why does no other land on earth even consider putting a man or a woman on the moon?

You talk about Japanese technocracy and you get radios. You talk about German technocracy and you get automobiles. You talk about American technocracy and you find men on the moon, not once, but several times ... and safely home again. You talk about scandals and the Americans put theirs right in the store window for everybody to look at. Even the draft dodgers are not pursued and hounded. They are right here on our streets in Toronto, most of them... unless they are breaking Canadian laws... are getting American dollars from Ma and Pa at home to spend here.

When the Americans get out of this bind... as they will... who could blame them if they said 'the hell with the rest of the world'. Let someone else buy the bonds, let someone else build or repair foreign dams or design foreign buildings that won't shake apart in earthquakes.

When the railways of France, Germany and India were breaking down through age, it was the Americans who rebuilt them. When the Pennsylvania Railroad and the New York Central went broke, nobody loaned them an old caboose. Both of them are still broke. I can name to you 5,000 times when the Americans raced to the help of other people in trouble.

Can you name to me even one time when someone else raced to the Americans in trouble? I don't think there was outside help even during the San Francisco earthquake.

Our neighbours have faced it alone and I am one Canadian who is damned tired of hearing them kicked around. They will come out of this thing with their flag high. And when they do, they are entitled to thumb their noses at the lands that are gloating over their present troubles.

I hope Canada is not one of these. But there are many smug, self-righteous Canadians. And finally, the American Red Cross was told at its 48th Annual meeting in New Orleans this morning that it was broke.

This year's disasters... with the year less than half-over... has taken it all and nobody... but nobody... has helped.

ORIGINAL SCRIPT AND AUDIO
COURTESY STANDARD BROADCASTING CORPORATION LTD.

(c) 1973 BY GORDON SINCLAIR

PUBLISHED BY STAR QUALITY MUSIC (SOCAN)
A DIVISION OF UNIDISC MUSIC INC.
578 HYMUS BOULEVARD
POINTE-CLAIRE, QUEBEC,
CANADA, H9R 4T2

mythteller: (rudolph)
I make a point of reading this story to myself every year. I wish I had written it, but the credit goes completely to Ms. Margaret Morrison.

Enjoy this holiday tale under the LJ cut:

A Vision of Sugarplums )
mythteller: (grumble)
This is an imagined conversation that started with an actual, true-to-life statement.

"So you're a storyteller? That doesn't sound very difficult. You just get up there and tell stories, right?"

ME: "There's more to storytelling than just telling stories. A good storyteller makes it look easy, but there are many techniques being used to ensure a solid performance. You don't realize how difficult it can be until you get locked in a room with a bad storyteller."

THEM: "Doesn't sound that tough to me. I'm sure I could do it. How hard could it be to tell a couple of stories?"

== Freaky Dream Sequence Music ==

ME: "I guess you're right. It's like being a musician, right? All you need is to strum a guitar and anyone can be a musician, right? Money for nuthin' and the chicks are free, as the song goes."

THEM: "Well no... that's not true. It takes years of training, dedication, and practice to learn how to play guitar. And it's not enough to play guitar, you also need to learn specific guitar playing styles like jazz, folk, rock, etc. The guitar is a powerful instrument and not just anyone can just play it well. That's ridiculous."

ME: "Oh... sorry. Right. Learning an instrument is different. Okay... so it's like being a writer, right? Anyone can sit a write a novel and get it published. It doesn't take any special skill to write a book. Anyone can write an interesting story and get published, right?"

THEM: "That's crazy talk! To be a successful writer, you need to understand the components of literature, grammar, and style! And it takes an enormous amount of dedication and discipline to just finish a story that you start, and even more courage to actually committ yourself to developing an idea into a creative work of art! Just being able to write a grocery list, an email, or a post-it-note to buy more milk is a world away from being a true writer. Are you insane?"

ME: "Of course. How naive of me. It's not a good comparison. I guess it would be like being an actor, right? You just memorize a few lines, put on some fancy clothes, and enjoy the limelight of public adoration. How hard can it be to be an actor?"

THEM: "What?!? Being an actor is more than just memorizing lines! You have to understand body language, voice projection, and portray realistic emotion on cue! It takes years of study, training, and more than a little competitive drive to succeed as an actor. To truly appreciate the theatrical artform, you need to understand props, lighting, pacing, projection, movement, and emotive inflection! Acting is a very complicated artform!"

ME: "Okay... I've got it now. It's like being a public speaker, like a politician. To deliver a good speech, you just need to review your speech a few times and everyone will hang off your every word, right?"

THEM: "Where have you been living... Under a rock? It doesn't matter how well-written a speech is: a bad delivery of that speech will destroy it. A talented public speaker needs to connect to his audience by his presence, his use of eye-contact, the clarity of his voice, and his innate knowledge of the speech. Just reading a speech will bore an audience to sleep, but the speaker who knows his speech intimately can move his listeners to tears or to battle. Speeches have been made or broken by the person who delivered them."

ME: "Well geez... I don't know. I guess storytelling relies of aspects of all those disciplines. Being a storyteller takes dedication, training, an understanding of voice, stance, body language, pacing, and really understanding your story. There are different storytelling styles, depending on the audience, and the storyteller needs to study them completely to be able to craft and deliver his story in a way that is compelling and entertaining to his audience. Storytelling is an artform as complex and rich as acting, music, dance, writing, and public speaking."

THEM: "What? No... You just get up and tell a story. What's so hard about that? It's easy and any idiot can do it."
mythteller: (dr. horrible)
The second story post for October 2009 is by fellow Montreal teller Roman Pylat. I have always adored Roman's stories and the raw power of his voice. This story was recorded during a fundraiser I helped organize for the Montreal Children's Hospital back in 2005 called "Through a Child's Eyes".

The story "The Boy Who Drew Cats" is a great story for the season that involves cats, boys, and demons! Enjoy!

Shortening the Road: The Boy Who Drew Cats

If you like the story, please pass the website on to all your friends and family. Happy Halloween!

mythteller: (mellow)
I had the enormous pleasure of enjoying an evening of stories from Allan Shain and Kim Kilpatrick called "Kissing That Frog: Disabling the Disability Myth". Such wonderful stories from two talented tellers from Ottawa. Loved it! But, if you don't mind the ego booster, when I went up to thank both tellers, Kim recognized my voice and remembered my "You Don't Know Jack" performance in the Ottawa festival from four years ago. I was floored and pleased to peaches.

There are English and French tellers performing all this week for the 10e Festival Interculturel du conte du Quebec, which the final English show being at Hurley's pub on the Sunday night. I'll be telling tales there, as will many others. I'll running all over the city, trying to take in as much of the English and French shows as I can.

If you can make it out to any of these shows, don't squander your opportunity! You will not regret it, mark my words.

mythteller: (dave_smirk)
I've gotten such a strong response to my Summer Nostalgia piece that I decided to try recording it as a story. Since I've spent the last year or so working with a musician, I also tried experimenting with this piece by adding music to it.

So I invite you to have a listen to it! Head over to Shortening The Road and take a listen to my recording of Summer Nostalgia, now with musical enhancement!

In other storytelling news, I've put together the story lists for two new CDs I'd like to put together before Yule. The only problem is that I don't have recordings for all the stories I want to put on these CDs, and as I have realized there is no substitute for a live audience, I may need to manufacture an audience of my own.

If I were to put on a house concert of stories in my own house (with tea and scones as a snack!), would any of you be interested in attending? Would anyone here be willing to offer their living room to host a house concert of tales?

mythteller: (Dad)
I was just listening to CBC's Definitely Not the Opera where the host, Sook-Yin Lee, asked "If you could take back something from your youth, what would it be?" (the show was about nostalgia).

So I dusted off those rusty memory boxes, cracked them open with much squeaking and clouds of dust, and padded through pictures, trading cards, and Star Wars action figures until I found a set of keys. House keys, to be exact. One key for a deadbolt, the other for the door. They are discolored green and brown, worn with age, but they slid easily in the the locks of Little House where I spent many happy, youthful days in the summers past.

Every couple of weekends, my family would drive out to the town of St. Malachie, near Frampton. This was a wee pocket of Irish and Scottish families where four generations of my father's side of the family lived after arriving from Ireland via Grosse Isle. Living alongside the Tremblays and the Langlois' were the proud Irish family names like Hickey, Murphy, O'Rourke, O'Farrell, O'Grady, and Beatty.

The Little House was owned by The Aunties, who were my grandfather's sisters. At any one time, Madeleine, Bertha, and Dot could be found bustling in the kitchen, serving tea, and catching up on the news and gossip about the far-flung members of my hoary-old Irish family. It was a tiny, two-storey house with a rickety porch and fake brown-brick panels covering the exterior walls, some half-cracked and hanging on by rusty nails and love.

As the wooden screen door SMACK-Smack-smecked shut, it announced to the room of people that new company had arrived with the promise of news and more good conversation. Bertha would be up in a flash for a hug and a kiss, with Dot dashing down the creaky stairs, and Madeleine wiping her hands on her apron as she pulled another fresh strawberry pie from the oven. I was a shy, awkward boy in those days, but I knew to shake hands with everyone in the room and grin on cue when they ruffled my hair or commented on how tall I was. I would run my hands along the textured, dark flowers that rambled across the upholstered couches like muted wildfire. I would pick at the flaking paint on the walls until I became aware of people watching, then laughing as I tried to be non-chalant about my low-grade destruction habits.

I tried to enjoy the adult conversation, but it centred about the local news, politics, the damn Tories, and whose gall-bladder needed removing. I would eventually wander away from the living room to take to Madeleine and maybe get a slice of her mystical strawberry pie (it frustrated my mother to no end that she could never quite duplicate that pie perfectly). She would shoo me away, promising me a slice after lunch, or send me into the basement for something she needed.

I both dreaded and loved the basement of that house. It was dark, old, and musty. I could still hear the endless conversations above, but they were muffled and distant, disconnected voices that were strange, yet familiar. I always feared basements: although I was always curious to discover the treasures that were lost in storage, I feared the creatures that might be guarding them, their eyes tracing my every move and dreaming of how delicious my muffled screams would be. I would start out bravely searching for what Madeleine needed, but tear up the stairs in a mad panic once I found it. She would then shoo me out of the house again, laughing off the sinister possibilities of toothed potentialities in her basement.

The property was tiny: just enough space for a few cars to park in the matted grass, a small wooden shed, and a couple of picnic tables. The tall grass and weeds behind the house was so thick, I wondered if I would ever find my way back to the house if I wandered into it. I spent many summers rummaging in the wooden shed, searching for a way that I could explore the jungles behind the Little House and discover their secrets.

The second floor of the Little House was filled with beds. Ornate metal bedframes, squeaky bed springs supporting squishy mattresses and soft linens that invited lazy afternoon naps. The doubled-paned wood-framed windows welcomed warm sunbeams that inched across the pages of a favourite book as I spent afternoons lost in worlds of dragons, bold knights, and the odd papercut. Even the air seemed filled with dusty denizens that were only revealed with warm sunlight as they drifted from room to room, ghosts that could only be temporarily exorcised by an expertly-wielded feather duster.

When I wasn't exploring the Little House, sipping tea, and stealing extra slices of strawberry pie, I was visiting with my cousin Andrew, who lived only a few houses away. He seemed to regard every inch of the country-side with a lackadaisical attitude that bewildered my city-based sensibilities. Whenever I visited, we read comic books and we swung in the hammock, ducking away from the occasional crab apple that would be shook loose from the constant swaying. We went fishing, explored the back woods, and debated the mystery of girls, their wildish ways, and how cool it would be if we had the nerve to prove how cool we were. We put too much ketchup on our hotdogs while we watched scrap metal wrench and fly at the local demolition derby. We dodged the angry francophone kids who despised our English-speaking ways and warned us that we should go home or else. Mostly, we assured our parents that we were keeping out of trouble and rarely got into as much destruction as they always feared we would.

And then it would be Sunday, with the sun setting in the distance. My Dad would drive up to my cousin's house to pick me up and we'd be off to the city again. I would watch the old houses disappear in a cloud of dust, wonder if the old Targ video game in Hotel Paradis had changed as we drove past, and wait to see the familiar white and green bridges that connected the North shore of Charny to the South shore of Quebec city.

Those days are precious to me. Now that I've written this, I need to go back and visit, even though the Little House has been empty for many years and lists dangerously in the wind. Maybe I can get Bertha or Dot to lend me a key and I can unlock my past one more time.
mythteller: (mellow)
The other time I was in quarters such as these was when I visited the Verdun Mental Hospital in Montreal. I was visiting a friend. He was on a top floor and I asked him, while he was still lucid, where I could get a coffee. He said downstairs, which was one of those famous last words.

I commenced the decent of several similar stone corridors and I found myself in a kind of arena, which was surrounded by closed doors. It had been a hot afternoon and I removed my jacket as I have been moved to do. I left it with my friend who, though mentally ill, was no thief. I suspect he wasn't even mentally ill: he was doing this instead of college.

I stood watching the four or five doors, wondering about all the possibilities except for the one that occurred.

A door opened and two large men in white uniforms walked out. And they said "Where are you supposed to be now?"

I said, "In the cafeteria."

They nodded to each other. "WHERE are you supposed to be now?"

"IN THE CAFETERIA!"

Well, as their questions continued, my answers continued. And although they started out innocently enough, now began to sound as though I were protesting too much. In fact, after being interrogated three or four more times, I was shouting and pushing them aside, causing them to run after me down the corridor.

It was only after a guard identified me that I was able to go back to the room of my friend, who had eaten my jacket.

-- Leonard Cohen
Ladies and Gentlemen... Mr. Leonard Cohen
National Film Board
http://www.nfb.ca/film/ladies_and_gentlemen_mr_leonard_cohen/
mythteller: (dave_smirk)
I spent the past weekend at a wee pagan festival in Ontario known as Midgard. There were about 40 folks in attendance, which meant I could reconnect with some old friends and still make a few new ones. It was a relaxing, low-stress introduction to the 2009 fest season, although the nights were frickin' cold!

On Saturday night, we had an impromptu bardic evening where people walked around the fire pit and shared stories, sang songs, told jokes, etc.  It was on this night that I witnessed an incredible, albeit violent, bardic revelation.

British storyteller Leo Sofer often tells stories within tales within stories. When he's about to do this, he uses a particular image to signal the listener that a story within a story is about to begin. In his story There You Are (you can listen to this story for free on iTunes), a little girl is venting to an older lady about how she can't find what she's looking for. But the old lady says she has found what the girl has been searcing for, but she can only share it through a story.

As Sofer recounts:
And with that, the old woman stopped picking up bits from the ground, she just stared at the little girl, and she started to speak. I don't know how it happened, but as she spoke, a story started forming, not in the old woman or even in the girl, but in the space that was in-between them. And this is the story that she told.
-- Leo Sofer: There You Are (17:35)

That image of a story-bubble being created between a teller and the listener struck me, making me realize that there truly was something real being created between the teller and the listener. It was a thought-form that everyone seemed to be plugging into subconsciously, creating a space where the listeners not only heard what was being said, but they experienced and felt it as well. This space was being woven by the teller, but it would also be fed by the listeners.

On YouTube, there is a university lecturer who mentions this co-created reality between teller and listener. It's a 45-minute lecture on storytelling (which includes a few tales as well), but he speaks of this very phenomenon (specifically from 8:32 to 16:49).

Back at the festival, on the Saturday night, a gentleman stood up and began telling his story to the assembled crowd. As I listened to his story, I also noticed how the listeners were really being caught up in the tale he was telling, creating a powerful thought-form between the teller and the listeners.

But suddenly, seemingly out of nowhere, the teller stopping telling his story, laughed, and pointed excitedly at his friend "Oh! You need to tell them the pirate story!! Get up! Get up! Tell them the pirate story!" The effect on the crowd of listeners was tremendous: it was as if the teller-listener thought-form had exploded, slamming everyone back into reality. The former listeners looked stunned and confused, asking "Is the story over? What just happened?"

The only equivalent to this experience I can think of would be if the teller had led the group in a deep trance, and at the height of everyone's trance state, he pulled out an air-horn and fired it into the crowd without warning.

Witnessing this thought-form explosion has provided me with great insight in the bardic arts. Before this event, I figured that the creation of this story bubble thought-form only existed in my own mind. When I tell a story successfully, I knew I went into an altered state of consciousness that allowed me to not only keep track of the story, but also my pacing, volume, eye-contact, and a myriad of other aspects of the performance.

I suspected that the audience might also go into a form of this altered consciousness, but I didn't think I'd ever know for sure outside of theoreticaly proof. But this event has proven to me that the audience does indeed shift consciousness just like I do as the performer. Now the question is: what is the nature of this altered state of consciousness and how does the storyteller and the listener interact with it?

I'll be pondering the implications of this new insight for some time. Any input would be appreciated.
mythteller: (smile)
There's a new tale posted on my storyblog: a Quebecois folktale about Mardi-Gras and the Devil. How can you resist?

http://shorteningtheroad.blogspot.com/

mythteller: (guinness)
There's a new story up on the StoryBlog that features guest teller Sarah A. Comrie. Go have a listen to The Dark Princess, a Valentine's Day tale!

http://shorteningtheroad.blogspot.com/
mythteller: (kilt)
In case you catch me talking to myself, rest assured that I haven't lost yet another marble. There's a storytelling event tonight at the Empress that we're hosting! Zimmerman, Jack, [livejournal.com profile] sarahcarotte, and yours truly will be telling holiday tales at 7pm at the Empress Cultural Centre (5560 Sherbrooke, corner Old Orchard, across the street from Girouard Park). The admission is $10 per person with the proceeds going to the Empress.

Here's the poster for the event:



I'll be preparing my annual telling of the Italian tale of La Befana, but I'll also be dusting off a tale I haven't told in awhile called The Beggar King (although I'm also considering a tale by Oscar Wilde called "The Happy Prince"). [livejournal.com profile] sarahcarotte will be telling "The Christmas Fairy of Strasbourg".

See you tonight!
mythteller: (kilt)
I'm in the nation's capital and I'm feeling so federal. I arrived yesterday afternoon, despite the hour-long gridlock that was autoroute 20 between 32nd avenue and 55th avenue. Workers were putting up hydro towers on the median, so a 2 minute drive became 1 hour, adding an hour to my trip that I was already late in leaving. Argh.

But I still arrived at a decent hour. I met up with Shawna in Kanata and we had a good talk about a workshop I had given at KG in August. She has suggested I take this workshop to the Pagan Conference in Toronto in March 2007, which I'm seriously considering.

So today I'll be trying to get a hold of a storyteller in Ottawa to plug into her performance network. By collaborating with other tellers, she has created a circuit of performance spaces that tellers can use to get more gigs. Now that we've gotten a permanent spot to tell tales in Montreal, we can plug into this network and bring in tellers from away as well as giving us a place to go to tell tales. It's all mutually beneficial.

Then tonight is the Ottawa Pagan Pub Moot at the Highlander Pub in the Market. I hope to see a good chunk of my Ottawa friends there!

And then it's back to Montreal on Tuesday. I really need to make sure I get back to Montreal on time because I'm performing in a storytelling evening at the Empress at 7pm. The Empress is on the corner of Sherbrooke and Old Orchard (bus 105 from Vendome). If you can make it, I hope you can come out. [livejournal.com profile] sarahcarotte will be telling a new story too!

Profile

mythteller: (Default)
mythteller

January 2025

S M T W T F S
   1234
567891011
12131415161718
19 20 2122232425
262728293031 

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jun. 9th, 2025 01:37 am
Powered by Dreamwidth Studios