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| directory of teaching artists: TERESA B. CLARK |
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Teresa B. Clark was born in Idaho, raised in Ontario, Manitoba, and Maryland then went on to seek her college education in Utah and Hawaii. As a result, Teresa sprinkles her life experiences over everything she tells.
Teresa is a national award-winning storyteller and published author best known for her original works and recollections of life's experiences blended with history. Of her it has been said, “Charming, witty, soulful and wise, her performances are filled with a compelling sense of wonder and an irresistible zest for life.” Teresa has performed at events across America. She received a standing ovation for her performance at the prestigious 'Exchange Place' of the National Storytelling Festival. Her story work involves performance, education, and production. From the festival platform to peer workshops, to school classrooms and consultation in living rooms across America, she delights in the sharing and harvest of story. Describe a transformative process that has occurred in your own practice as an artist or in a past residency as a teaching artist. A fifth grader, Brody, showed up to school everyday in snow pants and boots, sometimes with no shirt. The teachers told me he wouldn’t follow through with any home assignments. They told me to let him coast. The process of the residency I was presenting involved oral history interviews, transcribing the interviews then selecting one story to tell and write. The process required conversation and interaction with others. The culmination of the residency would be an evening program featuring the student storytellers telling their tales to the stars of their stories. The people they’d interviewed were to be the guests of honor. Brody decided to interview his mother. He wouldn’t let anyone listen to the tape, he transcribed secretively in a corner of the computer lab, but he was doing it. When it came time to craft and tell the story he’d selected he’d speak barely above a whisper to his small story group. No one thought he’d want to tell his story at the evening program, but he was the first to ask to be put on the list. He eyes glistened when he told me his mother was coming. He wasn’t sure how long she could stay so he wanted to be able to go first. Brody had told me his story, so I was not surprised when his mother was pushed in on her wheel chair, but there were stunned looks on the faces of the teachers and administration. Brody’s mother had MS, and somehow, no one had known it. I will never forget watching Brody step up to the microphone, standing directly in front of his mother, speaking clear and bold as he told his mother’s story. He told of her dreams for her son and he promised he would accomplish them – even though he knew she may not be there to witness it. There wasn’t a dry eye in the room. When Brody was finished he threw himself into his mother’s arms as the crowd exploded in applause. It has been said it’s hard to hate someone once you know their story that was certainly the case with Brody. The moment transformed us all. Myself, because it gave me a solid tangible reference to reflect back on when I question the importance of my art. The school staff, because they finally understood the story behind Brody’s situation. The student body, because they witnessed first hand not only the trial Brody and his mother faced but the strength of the love between them. And finally, Brody himself was transformed. His confidence dramatically increased. He was no longer a little boy with a secret. He had found his voice. He was a boy with a story that had touched everyone. Once he learned people would listen to what he had to say, he found the words to share far more frequently. How do you identify when learning is taking place? Storytelling is more than a performance art, it’s a life skill. Performance is the end product of a storytelling residency, but it is only one way to identify learning is taking place. In essence, if the students are talking to each other, learning is taking place. I know the students are learning when they are sharing their stories with each other, when they are sequencing their stories in storyboard form, when they are discussing strengths of the story, when they stand and deliver anything orally. I know the students are learning when they encourage one another, listen attentively to their peers, and when they practice good audience manners. I know learning is taking place when I witness camaraderie develop within the story groups. I know learning is taking place when the students successfully transition their oral stories into well-crafted written stories. What excites your imagination and in turn how does your work excite imagination for your audience? Fourth grader once said to me, “When you were telling a story I felt like I was watching a movie!” Storytelling is the voice of imagination. I love to weave words and watch as my audience slips away one by one into the imagery within their own heads. What characteristics mark a successful collaboration for you?
How do you foster creativity, both in your own work and as a teaching artist? Creativity in storytelling requires twisting perspectives. The more you immerse yourself in a story the more creative your telling will become. One of my favorite exercises (for myself and my students) is to retell the story from the perspective of every character and even some of the scenery! The more varied the perspectives, the more creative the story. This is, of course, only one of the tools I employ to facilitate creativity. To foster creativity I encourage play. There is room for silliness and playfulness in my residencies. Chatter, brainstorming, group storyboarding all lend themselves to the fun-filled interactions that are first required. The next step is to inspire individual creative space. I do this with instrumental music, softened lights, space, and the freedom to write and draw in whatever position is comfortable to the students. They must be free to wander in their imaginations. The final step involves building trust and respect in the story groups. We identify what is acceptable and what is not. Once the parameters are set up the students self-govern as they practice their tales. I implement much of these same tools to foster creativity in my own work. What is Storytelling? A life skill with incredible communicative powers, storytelling weaves the magic of theater with the intimacy of personal conversation. From festival platform to front porch - everyone needs stories! Three key understandings in this discipline are:
List three Idaho Humanities Content Standards that
correlate with the each of the core concepts you have identified above.:
Minds eye, Visual imagery, Tone, Inflection, Eye Contact, Dialogue, Improvise, Vocal Pitch, Tempo, Character, Environment, Communication, Story Chain, Criteria, Performance, Universal Theme, Facial Expression, Body Language, Story Board, Cause and Affect, Concept, Dramatization, Movement, Polite Listening List subject areas outside of the fine arts that relate to potential residency work – i.e. possible connections to the curriculum might include: Art, history, geography/social studies, literature, math, music, science References:
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 Discipline: Theater - Storytelling Phone: (208)529-3276 Email:teresaclarktells@hotmail.com Blog: www.teresaclark.blogspot.com Website: http://www.storyteller.net/tellers/tclark ICA Artists by Disciplines Music Ken Harris Dance Wendy de la Harpe Joy Esplin LiAnne Hunt Norma Pintar Rachel Swenson Theater/Storytelling Joy Steiner Teresa Clark Language Arts Malia Collins Judy Sobeloff Visual Arts Deana Attebery Tom Bennick Judith Brand Sue Rooke Lizette Fife Helen Grainger Wilson Terrie Kralik Jeanne Leffingwell Benjamin Love Linda Wolfe Video/Media Arts Peppershock Media |
 Phone: 208/334-2119 or 800/278-3863 Fax: 208/334-2488 Mailing address: P.O. Box 83720, Boise, ID 83720-0008 Street address: 2410 North Old Penitentiary Rd., Boise, ID 83712 |