"Stories in any form are elevated from the mediocre and mundane by virtue of the drama they contain. The same can be said of lives, of individuals, of sports teams, social groups, companies, countries. And film crews. Drama is intrinsoc to the human condition and forever part of the life force of human affairs. Growth, experience and achievement of any kind are rarely attained without it. A lack of drama is what makes audiences lose interest and switch off. Hence, the pivotal question in the creation and critical evaluation of any artistic or strategic endeavour of merit is always: "WHERE'S THE DRAMA?"

Join screenwriter, script doctor & mentor, Billy Marshall Stoneking, in an inspiring learner- centred workshop that will show you how to become a better filmmaker.  

Stoneking’s celebrated and revolutionary methods as evidenced in each of his workshops, involve a dramatic, character-based process of self-discovery and the transformation of the screenwriter into a MEDIUM for character and story. 

Because each workshop is an imaginative journey with its roots in the personal origins and life stories of the participants, it operates as both an intensely personal and thoroughly communal exploration of what it means to be human – and dramatically so.

Moving from the known to the unknown, every workshop becomes a vision quest in which every participant is guided into a series of genuine and unique discoveries concerning one’s origins and the tribal connections from which all original stories are conceived and born.

The "language" of the interactions that occur is thoroughly DRAMATIC. As one fearlessly follows the needs and desires and actions of one’s characters, one discovers and reveals to oneself and one’s audience DRAMATIC stories that are connected to and concerned with one’s own nature. Such stories involve characters both inside and outside of the script – and are created out of a dialogic generated from the dynamic inter-play of the storyteller with his/her characters, audience and tribe.  

For information or to organise a workshop or seminar for your group, contact

BRODIE LANE
PRODUCER
STONEKING SEMINARS
0414 380251  or write to Stoneking Seminars

                                       PITCH SPORTZ

STORY / SCRIPT SHRINK WORKSHOP

When asked for his definition of jazz, Duke Ellington replied: “It’s what you leave out.” Unfortunately, what too many screenwriters leave out of their scripts is the DRAMA, and without DRAMA, no one is going to be interested.

SCRIPT SHRINK is a one-day intensive story de-construction workshop for writers, writer/directors and producers.

SCRIPT SHRINK guides storytellers into the emotional life of their stories

It assists storytellers in gaining useful insights into the nature of their characters and the stories that their choices and actions produce.

It enables storytellers to develop fresh and mediumistic strategies for accessing and exploiting the dramatic possibilities that lie buried in the lives of their characters.

SCRIPT SHRINK is a character-based workshop.

It is founded on the premise that everything in a screenplay starts with character. Structure, conflict and believability all suffer when your characters aren’t properly developed.

Take your screenplay to “the shrink” – you don’t need analysis, but your script might!

Since 2001, screenwriters, directors, producers, editors, designers and actors, have been influenced and inspired by the unforgettable experience of dramatic storytelling that Stoneking's now legendary workshop offers its participants. This is neither McKee warmed up nor Sid Field in parapharse, but a totally unique take on screen story-finding that will change the way  you connect with your characters.  

Powerful and believable characters are essential to the life of any screenplay, and the screenwriter's relationship with character is the primary relationship in the dramatic enterprise of "finding the story". What binds the writer to character is a DRAMATIC PROBLEM - a character must have a problem that is both urgent and of such magnitude that it carries risk or threat enough to demand that the character do something about it NOW. Later, other relationships enter into the process, particularly the writer's relationship with audience, and tribe; but the fundamental relationship between the writer and the characters remains; and if it is strong and clear, the characters' relationship with the audience will be forged with a profound sense of emotional involvement and identification.

ENTER THE CHARACTERS and their DRAMA!

Over FOUR DAYS, a small group of participants will come face-to-face with the living emotional energy that is the basis of effective, cinematic  CHARACTER-BASED DRAMATIC storytelling. To experience this energy and to be able to apply it, participants will be initiated into the secret/sacred art of MEDIUMSHIP. The energy for the storyteller - as well as for the characters - is transformative.

WATCH THIS SPACE FOR DETAILS OF NEXT WORKSHOP!!!

To be is, literally, to be part of a tribe.  It is any human grouping of an ethnic, racial, caste, class, clan or community nature with which the member identifies and which identifies with him/her. 

It is not a fashion, fad or whim. You may want to identify yourself with a tribe but unless it accepts you and initiates you, you can never really be a member of it.

The Tribal Workshop (TRIBES) is a process – conducted by way of a life-changing 4-day workshop culminating in the making of a five-minute tribal film that dramatises the essential tribal identity of each participant. 

The Tribal Workshop, as conceived and developed by Billy Marshall Stoneking encourages collaboration through a sense of creative belonging, responsibility and an appreciation of each individual’s unique integrity. It also presents participants with opportunities to invest their talent, courage, ingenuity and energy into something bigger than themselves, namely the storyworlds within which they can live and work.

A tribe is NOT a family; that is too broad a definition to be useful. 

A clan is closer to the mark. 

Gangs, to the extent that they are class or ethnically or racially based or organised, qualify as tribal sub-groupings.

A sporting team – and its supporters – is an excellent example of a tribe.

So are the various branches of the armed services, and other professions.

Tribe exists strongly through a sense of place/location: where you were born, where you were raised; what school you went to, etc. 

If you are the child of a single mother, you will have a tribal affiliation with all those in that situation.

A boy raised in a family of women, a girl raised in a family of men, equally allows for a certain tribal identification among those individuals, as would sexual orientation.

You can belong to more than one tribe or sub-tribe though one will most probably be primal and more important.

         The Healing Power of Tribal Storytelling

Tribal stories are some times referred to as “myths” – however, the word “myth” should not be understood as implying falsehood or fancy.

A myth is a way a tribe communicates its understanding about the problems it faces in the world.

Many of the problems a tribe confronts are shrouded in mystery, in the unknown, in fear. Myth is what allows a tribe to deal with that mystery or fear. It enables them to gain some degree of power over the unknown, or seemingly uncontrollable.

Whatever wisdom a tribe finds or discovers is embodied in its stories.

The stories also – particularly in Aboriginal culture – provide the most profound expression of tribal law. Aboriginal tjukurrpa  (stories) dramatise the morals and personal obligations that each member of the tribe has for one another. The kinship system, the regard for land, one’s own, personal identity – all of these and more are embodied in story or myth.

TRIBES – the workshop - is grounded in STORYTELLING and the healing properties of stories – the most effective, powerful and least threatening form of sharing experiences and entering into respectful, mutual interactions that promote a strong sense of togetherness and harmony.

TRIBES situates each participant within something that is authentic to them, providing a unique and inspiring vantage point from which to view the world, and a means for expressing both their individually as well as their anxieties, hopes and questions, concerning life and its challenges.

TRIBES provides an opportunity for all the participants to work together to create their own authentic stories, and, in doing so, to make constructive and meaningful contributions through their understanding of and interactions with the larger community.

                          TRIBES - the Tribal Workshop

AN OVERVIEW - Dramatic stories are by definition tribal stories. The characters in the script beling to tribes, and these tribes are at odds with one another and in conflict. So, too, is the storyteller a member of a tribe or tribes. He or she is, indeed, the carrier of the wisdom of the tribe, as conveyed in the stories that he has in him to tell.

Tribal stories are some times referred to as “myths” – however, the word “myth” should not be understood as implying falsehood or fancy.

 THE LORE OF OBJECTS  (Part 1) - over 2 days

Participants to select two items (objects, images or music) from the following categories, and bring them to the first day’s session:

Something old

Something New

Something borrowed

Something Sacred

Something Profane

NOTE: Participants will tell the stories that reveal the emotional significance of each item to the storyteller.

THE TRIBAL CONNECTION  - SEEING OURSELVES IN OTHERS – (Part 2) - 2 days

Each individual must select TWO scenes. 

Each scene must come from a feature film (VHS or DVD)

Scenes must be no longer than five minutes in length and no shorter than 1 minute

Selection Criteria

Scene A : a scene that presents/dramatise/elucidates or in some way illustrates what you imagine or perceive to be your partner's TRIBAL IDENTITY....  A scene that conveys something significant concerning the essence of your partner's being.

Scene B : a scene presents/dramatise/elucidates or in some way illustrates the way you SEE or UNDERSTAND your own TRIBAL IDENTITY....  A scene that conveys something significant concerning the essence of your own being.

Participants should arrive at the workshop with scenes cued and ready to show. Participants must be prepared to talk about the choices they have made and why.

Preparation

See if you can think of any films or scenes from films that REMIND you of some significant aspect of your partner's character.

Consider their values, attitudes, hopes, fears, history, etc etc

DO NOT disclose your choices to one another - or any one else - prior to the workshop.

Research is permissible so long as you DON'T MAKE FILM BASED ENQUIRIES (e.g.: "what is your favourite film?")

Feel free to enquire personally but make your enquiries about biographical details. "What was the most memorable summer of your life and what made it memorable?" "How did you feel about your siblings?"

IMPORTANT::: Don't be afraid to make decisions based on your intuitive understanding of your partner.

THE MYTH OF SELF   (Part 3) - 1 day

Each participant to make a short (no more than 5 minutes) that dramatises his/her tribal identity.

Film may be in any genre, including documentary and dramatic monologue.  May be edited in camera or Final Cut Pro (or similar)

Films will be screened and discussed in large group.