Storytelling #1 // Andrew Stanton über Prinzipien für die Kreation

22. Februar 2013

Heute möchte ich den Auftakt für eine längere Serie zum Thema Story­tel­ling machen. Das Thema beschäf­tigt mich die letzten Monate immer inten­siver. Denn: Alle großen Geschichten berühren etwas in uns, lassen uns träumen, hoffen, Schmerz oder Freude erleben und Visionen entwi­ckeln — sprich: sie helfen uns, uns zu iden­ti­fi­zieren. Hinter diesen Geschichten gibt es aber auch ganz klare Struk­turen, die man gezielt einsetzen kann um Emotionen und Inhalte zu trans­por­tieren. Story­tel­ling bedeutet im Event­kon­text nichts anderes, als sich die Macht von Geschichten für die Kreation von starken Momenten zunutze zu machen.

 

Prinzipien des Storytelling für die Kreation von Momenten in der Live-Kommunikation

 

Als Einstieg habe ich den TED Talk des Oscar-prämierten Filme­ma­chers Andrew Stanton (“Toy Story,” “WALL‑E”) gewählt. In seinem Beitrag teilt er sein Wissen über die Prin­zi­pien von ‘Story­tel­ling’ mit und was es braucht, um Geschichten fesselnd genug aufzu­bauen, damit man sein Publikum in den Bann ziehen kann. Der Ausspruch ‘content is king’ war schon einer der Merk­sätze meines Studiums. Diese ‑leider nur auf Englisch- tran­skri­bierten Zitate bergen Spreng­kraft auch für die Event­kon­zep­tion in sich. Man kann mit den besten Talenten die größte Bühnen bespielen, aber wenn die Basis, die Geschichte, lang­weilig ist, wird niemand inter­es­siert dran bleiben. Hier die 23 Thesen [via The Digital Natu­ra­list]:

 

1. STORY­TEL­LING IS JOKE TELLING. It’s knowing your punch­line, your ending, knowing that ever­ything you’re saying, from the first sentence to the last, is leading to a singular goal, and ideally confir­ming some truth that deepens our under­stan­dings of who we are as human beings.

2. WE ALL LOVE STORIES. We’re born for them.

3. STORIES AFFIRM WHO WE ARE. We all want affir­ma­tions that our lives have meaning. And nothing does a greater affir­ma­tion than when we connect through stories.

4. STORIES CAN CROSS THE BARRIERS OF TIME, past, present and future, and allow us to expe­ri­ence the simu­la­ri­ties between ourselves and through others, real and imagined.

5. “FRANKLY, THERE ISN’T ANYONE YOU COULDN’T LEARN TO LOVE ONCE YOU’VE HEARD THEIR STORY.” ‑a quote Mr. Rogers always kept in his wallet

6. GREATEST STORY COMMAN­DMENT: MAKE ME CARE. Emotio­nally, intel­lec­tually, aesthe­ti­cally – just make me care.

7. AT THE BEGIN­NING, ALL GOOD STORIES SHOULD MAKE A PROMISE TO THE VIEWER THAT THIS STORY WLL LEAD SOME­WHERE THAT’S WORTH THEIR TIME. A well told promise is like a pebble being pulled back in a slingshot and propels you forward through the story to the end.

8. START A STORY LIKE YOU’RE TELLING IT TO SOMEONE AT A BAR: “Here, let me tell you a story. It didn’t happen to me, it happened to somebody else, but it’s going to be worth your time…”

9. STORY­TEL­LING WITHOUT DIALOGUE IS THE PUREST FORM OF CINE­MATIC STORY­TEL­LING. It’s the most inclu­sive approach you can take.

10. WE’RE BORN PROBLEM SOLVERS. We’re compelled to deduce and to deduct, because that’s what we do in real life. It’s this well-orga­­nized absence of infor­ma­tion that draws us in.

11. THE AUDIENCE ACTUALLY WANTS TO WORK FOR THEIR MEAL. They just don’t want to know that they’re doing that. Your job as a story­teller is to hide the fact that you’re making them work for their meal.

12. THERE’S A REASON THAT WE’RE ALL ATTRACTED TO AN INFANT OR A PUPPY. It’s not just that they’re damn cute; it’s because they can’t comple­tely express what they’re thinking and what their inten­tions are. And it’s like a magnet. We can’t stop ourselves from wanting to complete the sentence and fill it in.

13. THE UNIFYING THEORY OF TWO PLUS TWO. Make the audience put things together. Don’t give them four, give them two plus two. The elements you provide and the order you place them in is crucial to whether you succeed or fail at engaging the audience.

14. STORY­TEL­LING IS NOT AN EXACT SCIENCE. That’s what’s so special about stories, they’re not a widget, they aren’t exact.

15. STORIES ARE INEVI­TABLE, IF THEY’RE GOOD. But they’re not predictable.

16. ALL WELL-DRAWN CHARAC­TERS HAVE A SPINE. The character has an inner motor, a dominant, uncon­scious goal that they’re striving for, an itch that they can’t scratch.

17. CHANGE IS FUNDA­MENTAL IN STORY. If things go static, stories die, because life is never static.

18. “DRAMA IS ANTI­CI­PA­TION MINGLED WITH UNCER­TAINTY.” ‑William Archer, British playwright

19. WHEN YOU’RE TELLING A STORY, HAVE YOU CONSTRUCTED ANTI­CI­PA­TION? In the short-term, have you made me want to know what will happen next? More import­antly, have you made me want to know how it will all conclude in the long-term? Have you constructed honest conflicts with truth that creates doubt in what the outcome might be?

20. A STRONG THEME IS ALWAYS RUNNING THROUGH A WELL-TOLD STORY.

21. WHEN CREATING A NARRA­TIVE, USE WHAT YOU KNOW. Draw from your past. It doesn’t always mean plot or fact. It means captu­ring a truth from your expe­ri­ence, expres­sing values you perso­nally feel deep down in your core.

22. STORY­TEL­LING HAS GUIDE­LINES, not hard, fast rules.

23. INVOKING WONDER IS THE MAGIC INGRE­DIENT, THE SECRET SAUCE. Wonder is honest, it’s comple­tely innocent. It can’t be arti­fi­cially evoked. When it’s tapped, the affir­ma­tion of being alive, it reaches you almost to a cellular level. There’s no greater ability than the gift of another human being giving you that feeling– to hold them still just for a brief moment in their day and have them surrender to wonder.

 

Ebenso inter­es­sant sind 22 Regeln der Anima­ti­ons­schmiede Pixar:

 

Klicken Sie auf den unteren Button, um den Inhalt von www.slideshare.net zu laden.

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Welche Prin­zi­pien würdest du noch hinzu­fügen? Ich freue mich über Kommen­tare & Anmer­kungen unterhalb!

 

Weiter in der Story­­tel­­ling-Reihe geht es mit: #2 Helden­reise#3 Trans­for­ma­tion und #4 trans­me­dialen Story­tel­ling.

Quelle Story­tel­ling Video: TED talk // Story­tel­ling Slide: Pixar’s 22 Rules to Pheno­menal Story­tel­ling von power­ful­point

 

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