Stories And Storytelling

Studies suggest that narrative/story is held to be a critical communication mode that makes sense to our experiences and lives Georgakopoulou (2016 p.10). Stories have a variety of standpoints such as sociology, narrative psychology, narratology as well as sociolinguistics. As per Georgakopoulou (2016 p.10), a story has a context and narrating a 'good' narrative has paramount implications for the narrator’s relation and role. This, therefore, indicates that there is more than classifying a story as, 'good', rather, there is more consideration that is not even linked to the presence of dramatic and creative factors in its narration. To answer what makes a good narration, Georgakopoulou (2016 p.11) suggests that, the different approaches to narrative, including psychology dissertation help, must be considered. For example, the narrative’s study in psychology should be concerned with a life story, which is normally elicited the research interview context. Moreover, the narrator should be a research participant, there should be a sympathetic audience who provides the proper guidance for the story narrator. Looking at another example, literary stories are classified under narratology. This category is only interested in creativity relating to themes, narrative structure as well as conventions. Moreover, looking at sociolinguistics and discourse category of narrative, the narratives are classified under a different variety of daily conversational contexts, like family dinner talking, talking to friends in a café and a teacher speaking to a students’ talk in classrooms (Georgakopoulou, 2016 p.11). All these stories bring to limelight the essence of the idea which suggests that a narrative is narrated for a certain purpose, in a specific context as well as a particular audience. This paper therefore critically discusses the idea that, ‘… a story is always told in a particular context, for a particular purpose and a particular audience’.

A story requires to be remarkable and unique, should be owned by individuals who have experienced certain occurrences. Moreover, there is a need for a narrative to be familiar and be recognizable to create empathy and interest among its listeners. In my opinion, this tries to elaborate on the importance of audience who are specifically familiar with the matter of the narrative as well as a narrator who has knowledge of the story. For instance, a psychology narrative being narrated to a sociolinguistic audience, may not make much sense. This, therefore, highlights the fact that a story is told for a specific purpose, particular context and for a particular audience. As Georgakopoulou (2016 p.12) suggests, there are three narrative particularities that shape creativity in the narrative. However, his arguments on the fact that narrative performance is closely associated with storytellers' ability to present their narratives as unique, manage the stage and as well stage the interplay between the telling and the narrative contradict the specification of audience, purpose, and context of a story. Based on my understanding, a teller who can nurture any narrative to be unique, with excellent ability to manage the stage and shape the narrative to suit any context/purpose of the story; has the ability to tell the same story to the various audiences without boring the audience and maintaining context. However, this argument still maintains some aspect of maintaining context which is among the idea of the discussion.

There is a specific aspect that is widely held to produce ‘discourse’ out of a narrative. One of these elements is creating a complication in the story. A complication- which in one way or the other brings out the purpose of a story, has been acknowledged in various significant studies of narrative such as in trouble' (Burke, 1969), 'peripeteia' (in Aristotle), ‘complicating action’ (Labov, 1972) as well as in ‘turning point’ (Bruner, 1991a) (p19). Additionally, complications in narratives are connected with turning points, which represent the way individuals free themselves from history in their self-consciousness. Moreover, a storyteller requires to convey the point of the story. Unlike other communication modes, narratives give its narrator telling rights and the reader or audience requires to listen’, tune into the narrative and participate in its narration. Unlike in normal conversation, storytelling requires an audience to accept that the narrator will take much longer compared to the usual turn-taking norm in conversation. Therefore, granted permission by the reader or audience, the narrator should ensure that the point of the story is well understood. Therefore, these arguments create the importance of the purpose of the story and its context. However, studies suggest that an event can speak for itself, though it is important for the teller to disrupt the action of the story, make comments while trying to bring their role as the story writer lights (Georgakopoulou, 2016 p.33).

Studies reveal that a narrative is always narrated in a specific context, particular audience and for a specific purpose. However, in narratives’ literary studies the ‘audience’ is assumed and well, the reader has imagined readers. Therefore, the audience is shaped by choices as well as how the choices discourage or encourage certain readers. This observation is also similar in narrative fiction as rhetoric (Georgakopoulou, 2016 p.40). Besides, linguistic studies highlight how stories are co-constructed between an audience and a teller- context. This interaction takes various forms which include an active audience who contributes to a story among other forms. In the aspect of context, Georgakopoulou (2016 p.27), suggest that, by putting integrating words into characters' mouths, the narrator gives the authenticity of a story and allows the listeners to be involved in the narration by feeling that they are taking part in the story. In a story by Abdunnur & Hartley (2016 p.115), “the invasion has now been going for two days. It was getting worse by the second, but we grew up to the sound of bombs ….”, clearly brings the context of the war in the story, which supports the claim that a narrative is told in a specific purpose, to a certain audience, and in a particular context.

Modes of Storytelling

Storytelling refers to the cultural and social activity of sharing. Each culture has its own narratives. These stories are shared as a way of education, entertainment as well as cultural preservation. Some of the factors of storytelling include character, the plot as well as narrative point of view. Stories/storytelling play a critical role in the development of young people as per Flewitt & Maybin (2016 p.108). The study also suggests that other studies have pointed out that, the developmental importance of storytelling, especially during early childhood. Some of the importance has been listed as; memory support as well as puzzle-solving and stimulation of young people’s exploration of the social and physical environment. Moreover, early storytelling competence provides a stepping stone for literacy emergence. Additionally, Flewitt & Maybin (2016 p.108) suggest that children’s responses to narratives experienced in various media generate imaginative identification methods as well as aesthetic appreciation which are critical in literacy and thought development. Basically, narratives, especially to children, contributes to their intellectual development. However, it is important to appreciate that, narratives can have both adult and children audiences.

Oral Storytelling

Oral storytelling refers to an incident and intimate tradition between the audience and the narrator. In this case, the narrator and his audience are physically close and, in most cases, seated together close proximity. This closeness creates the development of a connection between the audience and the narrator via a communal experience. This connection is increased by the flexibility of oral storytelling which allows modelling of a narrative based on the needs of the audience. The audience may also experience the urge to take part in the narration which results in the creation of a personal bond with the audience and the teller.

Georgakopoulou (2016 p.40), reveals that other studies have shown that, oral storytelling is done in a certain context, purpose, and audience. In literature studies, the ‘listeners’ are assumed though the focus is on how the audience shapes the choice made by the narrator as well as how the choices made discourage or encourage certainty. There are many forms of how storytelling is co-construction between the audience and the narrator. These forms include an active audience who contributes to a narration- conversations that are shaped by audience contributions, and the various members of the audience. However, studies indicate that, regardless of the oral storytelling session, in most cases, narratives are designed in various ways to address different parts of listeners which makes the purpose of the narrative much more malleable, in context and subject to debate between the audience and the narrator (p.41). Moreover, the study indicates that, in narration, what some members of the audience accept to be the "point of a story”, can be contested by other individuals in the same narration occurrence. However, some aspects of debate have also come into limelight especially on who is supposed to narrate a story like in a family dinner time.

An oral storyteller should be unique in how they present a story to the audience. The teller should have a unique possibility to manipulate words in the narration. This is eased by the ability to adopt various voices and putting words in characters’ mouths. However, it is revealed that teller of a story -the physical mouthpiece, may fail to be the story’s original creator (p.36). however, the teller of the story might at times narrate event which presents themselves as individuals with certain personality, valued identities, etc. in most oral narratives, to create different context and sometimes hide identity, a teller might present themselves relationally which shows that they present themselves in different or similar way as characters a story. The varying character might also represent different value systems and opinions which is achieved by assigning specific language to the character such as in reported speech.

Virtual reality storytelling

Virtual reality storytelling refers to a narration session that is undertaken in a three-dimensional, computer-generated environment that can be explored and interacted with by a person. Guarin (2017), suggests that storytelling dates back many years ago before the introduction of written records, cinemas and theatres. By 2012, developers came up with the first virtual reality headset to explore the possibility of what 360-degree field of view can offer to storytelling. Until some years ago, virtual reality has been utilized for simulation, games as well as military training. By 2015, virtual reality began to gain experimental fascination with content creators requiring to tell narratives in this medium. A project carried out by the end of 2015 and the start of 2016 took into consideration storytelling (Guarin, 2017).

With the development of the experimental age, virtual reality is becoming the next medium of storytelling. This means that the narrators of stories have to think of new practices to tell these stories. In this new medium, the audience is usually young people. It utilizes audio, visual and full immersion. In this medium, individuals work, play and live in a seamless technology-enabled environment. The audience in the virtual reality storytelling is part of surrounding with an incentive to respond and act respond to the occurrence they encounter. However, for the audience to have a virtual reality experience, an individual has to have a desktop computer, virtual reality goggles, and sensors (Guarin, 2017). In this kind of storytelling, unlike traditional storytelling, the spectator gets inside the narrative and has the ability to interact with the character in a real-time. This means that, unlike the normal television, the audience/viewers of virtual reality storytelling not only passively looking at a flat screen, but also are inside a "frame", where they are freely looking around and in some years to come, will able to move around too. This creates impactful connections between the narrator and the audience (Guarin, 2017). Like other storytelling in narratives, virtual reality filmmakers establish tone via integrating other elements of narratives such as structure, setting as well as voice. Moreover, this kind of narration also has context, purpose, and audience that are specific to a certain story.

A Critic of both Oral and virtual reality Storytelling

Both storytelling has a specific purpose, specific context, and specific audience. Often these types of storytelling have a similar audience who are mostly children. Additionally, both storytellers are visible by the audience which creates a sense of closeness. The purpose of both sessions is created and highlighted either by defining it or by critically analysing the session's environment. Also, context is always visible from both the storytelling context.

Regardless of both storytelling having an audience, it is notable that, in oral storytelling, the audience is psychically close which creates a connection between the narrator and audience. On the other hand, virtual reality connects the narrator and audience and gives the audience the chance to participate in the narration process. Moreover, there is sometimes a time range between when the storyteller narrates the story and when the audience views the narrative. This creates the impression that, regardless of the two sessions being similar, the audience varies in both methods. In oral storytelling, connection and intimacy are deepened by the flexibility of oral storytelling as the tale is moulded to fit the needs of the audience and the telling environment. On the other hand, unlike oral storytelling, in virtual reality, the audience gets inside the narrative and can interact with the character in real-time in the film. This creates a connection and intimacy between the narrator and the audience. Besides, listeners in oral storytelling usually experience the urgency of being empowered and being a part of that creative process. This is very different in virtual reality since, regardless of interaction between the character and audience, there is no personal bond between the narrator and audience though emotions may be developed. Moreover, the context in virtual reality may not be critical and making sense to everyone. On the other hand, storytelling session is specified to a certain group of audience, its purpose and context must rhyme and make sense to the audience.

Conclusion

Narrative/story is held to be a critical communication mode that makes sense to our experiences and lives. A 'good' narrative can have paramount implications relations and the role of the narrator. However, every narrative is narrated in a particular context, for a certain purpose and a specific audience. Narration includes oral storytelling which refers to an incident and intimate tradition between the audience and the narrator. In this case, the narrator and his audience are physically close and, in most cases, seated together close proximity. Another narration involves virtual reality storytelling which is the most recent type of storytelling which is used because of the advancement of technology. It is an audio and visual storytelling form. These two types of storytelling have similarities in that they have an audience, context, and purpose. However, they differ in the closeness of the audience and narrator, the kind of connection, etc.

References

• Georgakopoulou, A., 2016. 'Narrative, creativity and performance' in Maybin, J. (ed.) Narrative, language, and creativity: contemporary approaches, The Open University, Milton Keynes, p. 36.
• Guarin Davila, A., 2017. Virtual Reality Storytelling.
• Rosie Flewitt and Janet Maybin., 2016. From crib talk to YouTube. The Open University, Milton Keynes.
• Sharif Abdunnur and J. S. Hartley., 2016. Laughter under the bombs. The Open University, Milton Keynes.