Educating by Story-Telling / Showing the Value of Story-Telling as an Educational Tool for the Use of All Workers with Children

by Mrs. Katherine Dunlap Cather

My love of story weaving.

Continuing, he tells of the tales he heard, and what they meant to him as he played them:

Sometimes I was a prince and sometimes a peasant. Now I was rewarded for being a bountiful and considerate king, then punished according to the deserts of a wicked and revengeful giant; and always as I played these parts I was learning the unchangeable laws of life.

What Goethe learned through acting tales his mother told him, the child of today is learning as he dramatizes stories, although not always in as great a measure as was learned by the author of Faust and Werther. But he is learning according to his ability and within his limitations. When he has played the part, the laws involved in it become fixed principles with him, and a big step is taken in the direction of his moral training. Because of a growing recognition of this truth the present strong interest in dramatization in schools is becoming general throughout the country. Teachers are beginning to realize that they can give no more eloquent sermon on truthtelling than to tell the story of “The Boy Who Cried Wolf,” and then let the children dramatize it. There is no more effective means of giving a lesson in contentment than presenting the tale of the pig who thought his life hard and leading the boys and girls to play it.

Therefore it follows that dramatization should be encouraged, and to be most far-reaching in its results, it should be done by means of story-telling, because by proceeding from the story to the action the child creates the play and makes it his own.

There are many books of plays for children, carefully written and adapted to their interests in word, style, and theme. But such plays do not mean as much to the child as those he makes for himself. They are not as much his own, and consequently they contribute less toward his growth and development.

The natural way is for the child to hear the story and then act it. Therefore every story-teller should have in his possession a number of tales with dramatic possibilities. He should tell one of these vividly and dramatically, using much dialogue, and then, while it is still fresh in the minds of the children, encourage them to play it. It is well to use the published plays also, because there are many excellent ones, but the narrator should read them over, get the plot, and tell the story, before putting them into the hands of the children.

Shall dialogue be dictated by the story-teller and the children drilled in their parts? No. Conversation used in telling the tale will suggest to the children what to say, and they will make up their own parts. They must be led and directed, but help from the teacher or leader should be given in such a way that the children feel they are making the play themselves. Help them by questions that will lead them to think and act instead of telling them what to do and say.

Suppose “The Pied Piper of Hamelin” is to be dramatized. After the story has been told, say to the children, “Do you want to play it?” Of course they will want to. Then, by questioning, lead them to constructive effort.

How many people shall we need? Immediately the answers will come, and as the different characters are named make a list, thus getting the cast. Who can be the mayor, members of the council, the piper, rats, mothers and fathers, lame boy, etc.?