Young people have an innate inventiveness, creativity, curiosity and unrestrained imagination.
“Caminante, no bay camino, se bace camino al andar.” (“Traveller, there is no path, the path must be forged as you walk.”) Antonio Machcado
I have never been a very confident writer of stories, I prefer the medium of drama as I find its collaborative and collegial creative process more conducive to the way my mind works. In thinking about the process of telling stories in drama I’d like to start by sharing this picture with you. It is a collection of all the note books I have filled over the past decade. These notebooks contain stories about dramatic encounters of the ISTA kind. They are the note books I have carried with me on planes to ISTA festivals. They are the note books I’ve left in loos and restaurants as I’ve been too busy chatting to realise and then had to rush back, retrace my steps to find my precious workshop notes and plans for the next session. In the act of unearthing them and flicking through their pages, the stories begin to emerge again but now they are different stories. They are stories set in the past, memories and histories of people, places and events. They are stories about drama as opposed to dramas about stories.
Unearthing forgotten encounters.
The importance of social encounters
My aim in this article is to talk about how and why we tell stories in drama, what techniques we might use, how we collaborate and how, through this process of creative collaboration, we can cross cultural boundaries and pull people together.