Español

Ulises ha llegado. Deja Isla de Calipso, la cama de la diosa, y ahora está náufragos en una noche de tormenta, nada por su vida, se arrastra en tierra en una orilla del río agotado. Se trata de una apertura clásica: el forastero llega. Luego viene el contraste: soleado temprano en la mañana, la bella princesa Nausicaa parte hacia la costa para hacer el lavado en la desembocadura del río - ropa repartidas a secar. A continuación, los juegos de playa comienzan.

"Así que el galán Odiseo se deslizó de debajo de los arbustos, después de romper con su gran mano una rama frondosa de la espesura para ocultar su virilidad desnudo. Luego avanzó hacia ellos como un león de montaña que salidas a cabo, desafiando el viento y la lluvia en el orgullo de su poder, con fuego en sus ojos, para cazar los bueyes o las ovejas ... begrimed con sal hizo un espectáculo horripilante y una mirada a lo envió a echar a pique en todas direcciones. Hija Alcínoo 'fue el único que se mantenga firme ". 

Odiseo es llevado al palacio de Alcínoo, rey de los feacios, y dado hospitalidad. Pero, por supuesto, todo el mundo está ansioso de conocer la identidad del desconocido. En respuesta a sus preguntas Ulises simplemente habla de su más reciente viaje a la isla de Calipso y el naufragio. Así que las costumbres de la hospitalidad continúan con el misterio sin resolver. Hay Cuentacuentos acompañado de la lira, la disposición de Aquiles, a continuación, juegos en los que Odiseo participa - y luego el bardo real Demodoco acompaña a los bailarines mientras cantaba una balada sobre el amor de Aries dios de la guerra y Afrodita dios del amor, un mitológica tradicional cuento conocido por todos. Entonces, como revela Homero, llegado regalos y festejos.

Spanish

Arts speak Spanish (2nd edition): Storytelling with the Moth community program

This is one of the newest programs at The Moth and one they are very excited about! They are doing this educational programconducted by The Moth and organized by Spain Culture NY and ICNY Instituto Cervantes New York.All sessions will take place at Instituto Cervantes New York (East 49th Street).

This project consists of 6 sessions where the participants will be preparing to tell their story in Spanish: it takes place from September 29th to November 10th, every Monday except October 13^th 2014.

You don’t need to be an artist to apply, but the theme is arts based. They understand that anyone can tell an experience related to the arts, based on past experiences, even if they have no dedicated their life to arts. And they get to tell their story in SPANISH! This is one of The Moth´s community and education programs. The conditions are that you will attend all workshop sessions and that you will be willing to share your story with others.The project will create a new space and opportunity to empower the concept of community among Spanish speaking artist-immigrants, facilitate the integration of these artists in the US arts sector by learning to create a narrative and expose it in public and open a platform to the Spanish community (more than 3.000.000 people in NY) to express their own experiences by participating in storytelling workshops and performances.

Español

" Bienvenidos a la histórica Jonesborough, la ciudad más antigua de Tennessee. Somos la pequeña ciudad con la gran historia. Hemos estado entretener a los invitados durante casi 225 años, y hemos disfrutado de cada minuto de ella. Hemos tenido algunos visitantes y residentes muy especiales. Andy Jackson abrió su práctica legal en Jonesborough, y se convirtió en un juez. Como presidente, él pasó tiempo en nuestro Chester Inn en su camino de regreso a la Ermita en Nashville, y el presidente James K. Polk pasó tiempo aquí también. Por supuesto, el presidente Andrew Johnson fue nuestro vecino en Greeneville y pasó mucho tiempo en la politiquería Jonesborough también. La verdad es, sin embargo, todo el mundo es especial para nosotros! "Esta es la forma principal Kelly Wolfe da la bienvenida a todos a esta pequeña ciudad, ni siquiera 6.000 habitantes, en el corazón o pies él meridionales Montes Apalaches.

" Jonesborough es la capital narración del mundo ", nos dicen. Y el diario Los Angeles Times dice "¿Qué Nueva Orleans es al jazz ... Jonesborough es contar historias." En Jonesborough se encuentra el Centro Internacional de Cuentacuentos .  El  Festival Nacional de Cuentacuentos , comenzó hace más de 40 años, fue la primera celebración dedicada exclusivamente a la arte de la narración. Un renacimiento nacional narración siguió, y ahora hay cientos de eventos de narración de todo el país. Con la finalización del nuevo Centro Internacional de Cuentacuentos en el año 2002, las re se Cuentacuentos eventos y actividades que ocurren todo el tiempo. 

Pero, ¿cómo empezó todo?

Spanish

Two things you need to know about me: I do not tell stories only to entertain or share my Latin American culture; I tell stories to renegotiate grounds with the audience, to exchange ideas about the world. Second, I believe that when a storyteller likes a story the story should like them back. In other words, if both do not fall in love the story will only serve to entertain (hopefully).The tale will be another story told by another storyteller. When the storyteller believes and understands the story it can become a meaningful version of the past that is sharing its light in the present.Although, it may appear that telling stories is quite simple, the tricky part is performing a story that has nothing to do with you. In other words, if the storyteller fails at delivering the originally meaning of the story and takes liberty in shaping it according to their personal beliefs, they might be contributing to distort the originally message or even worse reinforcing a cultural stereotype.

I recall a story slam where we had to bring a myth or legend from an assigned part of the world. One of the contestants brought a South American myth and this storyteller could not be more different from the average Latin person. The version of a Peruvian Myth delivered was quite entertaining. We laughed a lot, but the storyteller stereotyped the main character by portraying her as a woman of dubious reputation. To do that with the Greek gods is one thing, but with a tale of a culture that still exists and is still discriminated against is another. For instance, many Native North Americans do not like at all when the white man tells their stories, and I can understand why. Usually their stories are performed out of their original context and instead of bringing understanding on a culture it obscures it. Now I honestly do not have a problem with telling stories from other cultures, as long as the storyteller takes the time to research about it, drop their own cultural perspective, and make a sincere effort to empathize with the culture through the story.

Spanish

Antonio Sacre interviewed by Sonia Carmona

Antonio Sacre, born in Boston to a Cuban father and Irish- American mother, is an internationally touring bilingual storyteller, author, and solo performance artist, based in Los Angeles. He earned a BA in English from Boston College and an MA in Theater Arts from Northwestern University. He has performed at the National Book Festival at the Library of Congress, the Kennedy Center, the National Storytelling Festival, and museums, schools, libraries, and festivals internationally. Called “a charismatic, empathetic presence” by Chicago Tribune, his stories have appeared in numerous magazines, journals, and on National Public Radio.

His storytelling recordings have won numerous awards, including the American Library Association’s Notable Recipient Award, the Parent's Choice Gold and Silver Awards, and the National Association of Parenting Publications Gold Award. He was awarded an Ethnic and Folk Arts Fellowship from the Illinois Arts Council.

As a solo performer, Sacre has performed in festivals and theaters in New York City, Los Angeles, Minneapolis, San Francisco, and Chicago, where he performed under the tutelage and mentorship of Jenny Magnus. At The New York City International Fringe Theater Festival, Sacre was awarded a Best in Fringe Festival award for Excellence in acting, and a Best in Fringe Festival Award for Excellence in Solo Performance. At the United Solo Theater Festival off-Broadway, he twice won the United Solo Award for Best Storyteller, in 2011 and 2012.

Spanish / Catalan / Galician / Basque

Oral narration can become a significant vector for the re-establishment of democracy for three main reasons:

1.- DUE TO ITS CONTENT, as stories speak about the human condition: 

Traditional stories cover all issues connected with the individual as a member of society. They also deal with huge questions regarding existence in matters relating to the key to the mystery of life, but without the blunt, realist explanations. Through symbolism they connect dreams and poetry through a truly emancipated link, from both the point of view of freedom of imagination, and in an understanding of a person's psychological development mechanisms. Optimism is obligatory: Children can change their destinies by learning what is good for them and what they should avoid. 

Whether we are storytellers or listeners, we can and should develop a vision of the world based on solidarity, courage, and a view to the future. In this way an approach to the story can come about for the individual based on their own reading in an enjoyable, emotional way.  As the grioti from Mali, Hampâté Bâ said: Stories entertain the children; adults can relax after a day's work and the grey-haired ones can philosophize. In other words, stories can unite the three parts which live together within us,   the affective, the playful, and the cognitive.

Spanish / Basque

When we tell a story a relationship is established between the narrator and the others, and I am saying "the others" deliberately because what I find interesting is to develop the idea of the role of the narrator within society, and not solely with respect to those members of the public who actually go to storytelling shows. 

What is the relationship between the narrator and the others? 

This question follows me around in my work and comes up in essays, on the stage and on courses. To travel the roads of the art of telling stories accompanied by a good question keeps us on our toes, with open eyes and a generous spirit. The answers are at times dangerous; above all those purchased in the supermarket of easy ideas which do nothing but settle the matter and close the door on possible debate. 

I prefer to imagine an open response, like a never-ending puzzle in which little by little pieces are added and spaces are defined. So if I chance my hand with a lucky answer it is (and should be taken as such) with the intention of enriching and provoking debate, but not closing it.