performing “realities”
TRANSCRIPT
Performing “Realities”Thank you for trying to articulate the terms
of
your affection, but you are using confused gender, your
participle is dangling and your superlative is “like,
totally” infantile.
© FAM
What We Saw Last Week • What we tell stories for:
• the role(s) of stories in conversation • the role(s) of the story-teller • the role of the audience • and how they affect the telling
• Labov and Waletzky’s elements of conversational stories and their sequence
• conversational stories as relational performances
• claims to the “floor” reportability vs credibility
• Co-constructions of stories with audiences
© FAM
• relational performances • representational performances
• Telling formal stories • folk tales • tales in songs • telling tales to an in-group audience
• The resilience of stories
© FAM
impromptu performance
relational performances
representational performances
‘Keying-in’ awareness
conversational vs. formal story-telling
audience
performer(s)
relational performance
audience
performer(s)
representational performance
open frame(s) (key in)
closing frame(s) (key out)
The teller of tales
• one daughter good, the other daughter ornery
© FAM
milks the cow but doesn’t take the milk
cow calls doesn’t milk the cow but kicks it in the belly
picks the apples but doesn’t take an apple
apple tree calls doesn’t pick the apples but walks on
takes it out of the oven but doesn’t “eat a crust”
cornbread calls “pays no mind” but walks on
• old man • comes along just then
covers good girl in gold covers ornery girl in tar
Rehearsing narratives
© FAM
Story-Teller
Story
and narrative modules
© FAM
Openings of folk tales Well, there was once a very rich gentleman, and he’d three darters. In byegone days, in an old farmhouse which stood by a river, there lived a beautiful girl called Maisie. Well, my Grandmother she told me that in them auld days a ewe might be your mother. It is a very lucky thing to have a black ewe. A man married again, and his daughter, Ashey Pelt, was unhappy. Once upon a time there was a man and a woman lived in a wee cottage.
© FAM
Motifs A rich man has three daughters. He asks each one how much they loved him. Two daughters answer hypocritically. The third says “I love you as fresh meat loves salt”, which sounds honest. The youngest daughter is sent away. She dresses in rushes over her good clothes. In a “great” house she asks for menial work and scrubs dishes. There is a great ball, which Cap-o'-Rushes secretly attends in fine clothes. The Master’s son falls in love with her She gives him the slip, twice. The third night he gives her a ring and says without her he would die.
The son falls ill (with longing for the beautiful dancing partner). Cook is to make him some gruel; Cap-o'-Rushes pleads and makes it to slide the ring into the gruel. After Cook admits who made the gruel, Master's son asks to see Cap-o'-Rushes; she takes off her rushes. They are married. The wedding feast is to be prepared without salt. Her father, who is invited, realises how much “fresh meat loves salt”, but thinks his daughter is dead.
© FAM
Ending: “And she goes up to him and puts her arms round him. And so they was happy ever after.”
1
2
3
4
5
6?
© FAM
milkwhite steed
lily-white hand yellow hair black (as coal) = bad
the little footpage bravest knight valiant man merry men
the fairest of them all lady gay
wee penknifeothers
© FAM
Little Musgravethree
Little Musgravetwo
He plucked out three silver keys And he open’d the dores each one.
‘Rise up, rise up, my seven bold sons,…’
‘I have two swords in one scabberd,…’
twelve The Unquiet Grave [mourn] for twelve-month and a day
four and twenty
A Sailor’s Life There were 4 and 20 all in a row
Formula in Folk Song c)
© FAM
a little tynë pageStock characters
as it fell out one holy-dayStock phrases (an eye) as bright as the summer sun
And ever where the bridges were broake He laid him downe to swimme.
Stock episode
‘I would gladly give three hundred pounds That I were on yonder plaine.’
Stock lines
© FAM
Lady Margaret was buried in the old churchyard, William lay anigh her, And out of her grave grew a red, red rose And out of his a briar.
Lord William was buried in St. Mary’s kirk, Lady Margret in Mary’s quire; Out o the lady’s grave grew a bonny red rose, And out o the knight’s a brier.
Lady Margret died like it might be today, Sweet William he died on tomorrow, Lady Margret she died for pure true love, Sweet William he died for sorrow.
Lord William was dead lang ere midnight, Lady Margret lang ere day, And all true lovers that go thegither, May they have mair luck than they!
Structuring the form
© FAM
‘Some meat, some meat, you King Henry, ‘some meat you give to me,
‘What heat is there in the house, lady, ‘that you’re not welcome to?’
And he has slain his berry brown steed Though it made his heart full sore
For she’s eaten it up both skin and bones Left nothing but hide and hair
rhyme scheme xaya
© FAM Lady has had her will of the king
awakening to “fairest lady that ever was seen” who lies “between him and the wall”
Henry is uneasy about bedding the ghost demand for a bed demand for drink
“grisly ghost” appears, hunters flee hunt and return to the hall description of King Henry
demand for meat: horse “leaping and lingering”
C (Complications)
Text and Context
© FAM
© FAM
… who had heard it from a friend in Leeds about a couple whom he knew, who went for a camping holiday in Spain with their car. They had taken his stepmother with them. She slept in a different tent to the others. On the morning that they struck, they were very busy, and they didn't hear anything of her for a while, and then, when they went to her tent, they found she had died, and rigor had already set in. They were in a great state, and they didn't know what to do, but they decided to roll her up in the tent, and put her on top of the car, and go to the nearest town, and go to the consul and the police. So they did this, and went to the town, and then they felt very cold and miserable, and they hadn't had a proper breakfast. So they thought they'd get a cup of coffee to revive them before they went in search of the consul. So they parked the car, and went to a small café, and had their cup of coffee, and then came back to look for the car. But it wasn't there; it had gone. So they went home to England without the car or the stepmother. But the difficulty was, they couldn't prove her will.
‘Dead Granny on the Roof Rack’
© FAM
stepmother
grandmother
roofrack
couple family
© FAM
This story was told me by my cousin, who had heard it from a friend in Leeds about a couple whom he knew, who went for a camping holiday in Spain with their car. They had taken his stepmother with them. She slept in a different tent to the others. On the morning that they struck, they were very busy, and they didn't hear anything of her for a while, and then, when they went to her tent, they found she had died, and rigor had already set in. They were in a great state, and they didn't know what to do, but they decided to roll her up in the tent, and put her on top of the car, and go to the nearest town, and go to the consul and the police. So they did this, and went to the town, and then they felt very cold and miserable, and they hadn't had a proper breakfast. So they thought they'd get a cup of coffee to revive them before they went in search of the consul. So they parked the car, and went to a small café, and had their cup of coffee, and then came back to look for the car. But it wasn't there; it had gone. So they went home to England without the car or the stepmother. But the difficulty was, they couldn't prove her will.
© FAM
the slides on transmission of stories
and the conclusion from today will be supplied in the next session
© FAM
That’s it for today… See you next week when we will have a look at
Soufrière-Scots Head Service
Franz Andres Morrissey
The Plan for Today
Types of Formal(-ish) Stories
Revisiting types of performance
Conversational story-telling
Telling stories
Formal story-telling
Rehearsing narratives
The “Register”
Structuring the form
‘Dead Granny on the Roof Rack’
‘Transmediation’ of orality
Slide Number 30
Slide Number 31
your affection, but you are using confused gender, your
participle is dangling and your superlative is “like,
totally” infantile.
© FAM
What We Saw Last Week • What we tell stories for:
• the role(s) of stories in conversation • the role(s) of the story-teller • the role of the audience • and how they affect the telling
• Labov and Waletzky’s elements of conversational stories and their sequence
• conversational stories as relational performances
• claims to the “floor” reportability vs credibility
• Co-constructions of stories with audiences
© FAM
• relational performances • representational performances
• Telling formal stories • folk tales • tales in songs • telling tales to an in-group audience
• The resilience of stories
© FAM
impromptu performance
relational performances
representational performances
‘Keying-in’ awareness
conversational vs. formal story-telling
audience
performer(s)
relational performance
audience
performer(s)
representational performance
open frame(s) (key in)
closing frame(s) (key out)
The teller of tales
• one daughter good, the other daughter ornery
© FAM
milks the cow but doesn’t take the milk
cow calls doesn’t milk the cow but kicks it in the belly
picks the apples but doesn’t take an apple
apple tree calls doesn’t pick the apples but walks on
takes it out of the oven but doesn’t “eat a crust”
cornbread calls “pays no mind” but walks on
• old man • comes along just then
covers good girl in gold covers ornery girl in tar
Rehearsing narratives
© FAM
Story-Teller
Story
and narrative modules
© FAM
Openings of folk tales Well, there was once a very rich gentleman, and he’d three darters. In byegone days, in an old farmhouse which stood by a river, there lived a beautiful girl called Maisie. Well, my Grandmother she told me that in them auld days a ewe might be your mother. It is a very lucky thing to have a black ewe. A man married again, and his daughter, Ashey Pelt, was unhappy. Once upon a time there was a man and a woman lived in a wee cottage.
© FAM
Motifs A rich man has three daughters. He asks each one how much they loved him. Two daughters answer hypocritically. The third says “I love you as fresh meat loves salt”, which sounds honest. The youngest daughter is sent away. She dresses in rushes over her good clothes. In a “great” house she asks for menial work and scrubs dishes. There is a great ball, which Cap-o'-Rushes secretly attends in fine clothes. The Master’s son falls in love with her She gives him the slip, twice. The third night he gives her a ring and says without her he would die.
The son falls ill (with longing for the beautiful dancing partner). Cook is to make him some gruel; Cap-o'-Rushes pleads and makes it to slide the ring into the gruel. After Cook admits who made the gruel, Master's son asks to see Cap-o'-Rushes; she takes off her rushes. They are married. The wedding feast is to be prepared without salt. Her father, who is invited, realises how much “fresh meat loves salt”, but thinks his daughter is dead.
© FAM
Ending: “And she goes up to him and puts her arms round him. And so they was happy ever after.”
1
2
3
4
5
6?
© FAM
milkwhite steed
lily-white hand yellow hair black (as coal) = bad
the little footpage bravest knight valiant man merry men
the fairest of them all lady gay
wee penknifeothers
© FAM
Little Musgravethree
Little Musgravetwo
He plucked out three silver keys And he open’d the dores each one.
‘Rise up, rise up, my seven bold sons,…’
‘I have two swords in one scabberd,…’
twelve The Unquiet Grave [mourn] for twelve-month and a day
four and twenty
A Sailor’s Life There were 4 and 20 all in a row
Formula in Folk Song c)
© FAM
a little tynë pageStock characters
as it fell out one holy-dayStock phrases (an eye) as bright as the summer sun
And ever where the bridges were broake He laid him downe to swimme.
Stock episode
‘I would gladly give three hundred pounds That I were on yonder plaine.’
Stock lines
© FAM
Lady Margaret was buried in the old churchyard, William lay anigh her, And out of her grave grew a red, red rose And out of his a briar.
Lord William was buried in St. Mary’s kirk, Lady Margret in Mary’s quire; Out o the lady’s grave grew a bonny red rose, And out o the knight’s a brier.
Lady Margret died like it might be today, Sweet William he died on tomorrow, Lady Margret she died for pure true love, Sweet William he died for sorrow.
Lord William was dead lang ere midnight, Lady Margret lang ere day, And all true lovers that go thegither, May they have mair luck than they!
Structuring the form
© FAM
‘Some meat, some meat, you King Henry, ‘some meat you give to me,
‘What heat is there in the house, lady, ‘that you’re not welcome to?’
And he has slain his berry brown steed Though it made his heart full sore
For she’s eaten it up both skin and bones Left nothing but hide and hair
rhyme scheme xaya
© FAM Lady has had her will of the king
awakening to “fairest lady that ever was seen” who lies “between him and the wall”
Henry is uneasy about bedding the ghost demand for a bed demand for drink
“grisly ghost” appears, hunters flee hunt and return to the hall description of King Henry
demand for meat: horse “leaping and lingering”
C (Complications)
Text and Context
© FAM
© FAM
… who had heard it from a friend in Leeds about a couple whom he knew, who went for a camping holiday in Spain with their car. They had taken his stepmother with them. She slept in a different tent to the others. On the morning that they struck, they were very busy, and they didn't hear anything of her for a while, and then, when they went to her tent, they found she had died, and rigor had already set in. They were in a great state, and they didn't know what to do, but they decided to roll her up in the tent, and put her on top of the car, and go to the nearest town, and go to the consul and the police. So they did this, and went to the town, and then they felt very cold and miserable, and they hadn't had a proper breakfast. So they thought they'd get a cup of coffee to revive them before they went in search of the consul. So they parked the car, and went to a small café, and had their cup of coffee, and then came back to look for the car. But it wasn't there; it had gone. So they went home to England without the car or the stepmother. But the difficulty was, they couldn't prove her will.
‘Dead Granny on the Roof Rack’
© FAM
stepmother
grandmother
roofrack
couple family
© FAM
This story was told me by my cousin, who had heard it from a friend in Leeds about a couple whom he knew, who went for a camping holiday in Spain with their car. They had taken his stepmother with them. She slept in a different tent to the others. On the morning that they struck, they were very busy, and they didn't hear anything of her for a while, and then, when they went to her tent, they found she had died, and rigor had already set in. They were in a great state, and they didn't know what to do, but they decided to roll her up in the tent, and put her on top of the car, and go to the nearest town, and go to the consul and the police. So they did this, and went to the town, and then they felt very cold and miserable, and they hadn't had a proper breakfast. So they thought they'd get a cup of coffee to revive them before they went in search of the consul. So they parked the car, and went to a small café, and had their cup of coffee, and then came back to look for the car. But it wasn't there; it had gone. So they went home to England without the car or the stepmother. But the difficulty was, they couldn't prove her will.
© FAM
the slides on transmission of stories
and the conclusion from today will be supplied in the next session
© FAM
That’s it for today… See you next week when we will have a look at
Soufrière-Scots Head Service
Franz Andres Morrissey
The Plan for Today
Types of Formal(-ish) Stories
Revisiting types of performance
Conversational story-telling
Telling stories
Formal story-telling
Rehearsing narratives
The “Register”
Structuring the form
‘Dead Granny on the Roof Rack’
‘Transmediation’ of orality
Slide Number 30
Slide Number 31