There Bus Station Pala

childhood, stories, tales ... The school!

Forse non ci sono giorni della nostra adolescenza vissuti con altrettanta pienezza di quelli che abbiamo creduto di trascorrere senza averli vissuti, quelli passati in compagnia del libro prediletto (Marcel Proust)

Antefatto. L'infanzia, le letture, i racconti
Laureato in filosofia presso l'università di Bologna, fin da bambino ho amato leggere: allora non avevo strumenti né consapevolezza per capire cosa, nella lettura, mi affascinasse; mi limitavo a trarre dai libri un piacere immediato e, per così dire, fisico (piacere “ferocemente selettivo”: ho sempre letto solo ciò che mi incuriosiva, rifiutando suggerimenti dall'esterno). Crescendo, ho continuato a leggere: imparando a essere più paziente e a terminare un romanzo anche se non mi entusiasmava. Ho così cominciato a individuare la ragione del mio amore per la lettura: favorito da studi che mi hanno consentito di osservare da vicino il rapporto tra filosofia e letteratura, dunque tra pensiero and speech.
The basis of reading is the story: read means coming to tell a story. On the other hand, listen to (read: read) the story of another means going back to childhood size: it is then, in fact, that we do tell stories from which we get a full and genuine pleasure. However, the sensitivity of his childhood and early adolescence does not remain for ever: Even if you manage to keep some trace, for the most part is lost.
Yet the stories remain. As well as continuing to live the art of storytelling. I really can not go back to childhood readings, and emotion which alone knew us? I think it's possible. It is put in place As a courageous intelligent. And 'necessary, taking into account the objective limits that are opposed to this, recreate the peculiar dimension in which we learned to listen to stories, fables, fairy tales.

Back to the present. The school, stories, readings
This operation, in schools, should be broken in three places:
. crop, during the school year, a space more or less consistent;
. devote this space to the presentation in class novels belonging to the literary production of any country and historical period;
. drawn from this experience thinking the story as critical operation par excellence to play in relation to a novel.
The proposal that appeal to colleges, high schools and primary schools is as follows:
. reach an agreement with teachers on the number of time devoted to the initiative;
. agree to submit the titles of the novels and the dates on which meetings can take place;
. during any given meeting telling, summarizing the plot of a novel. To provide a stimulus to reading complete works, I intend to accompany the narration with readings of selected songs that I consider important to grasp the style, and particularly suited to suggest the possibility of an im-mediate contact with it. I attended a course diction, and this allows me to create what is called "expressive reading" (I'm not an actor, but the narrator. If the actor ends up stealing the show in which she plays the role of character, a good storyteller knows how to hide behind their stories). I have verified that some passages of reading - or, conversely, narrative / summary - produce more effect if highlighted by songs selected according to the novel and the occasion.

Objectives The objectives of this are many:
. the special procedures of the meetings is to recreate, in a satisfactory manner, the size of wonder, curiosity and rapture in which we were accustomed to hearing the first story;
. However, since the activity takes place at school and the size that you are trying to recreate is necessarily artificial (not a genuine return to childhood), I think it is right to also seek concrete justifications. It 'a great opportunity to learn crucial works of our time and of times past: in addition, the fact of not having to limit the choice to works of Italian literature allows me to suggest that novels, even after the conclusion of the course, the Perhaps more students would be placed in a position to approach;
. my stories should demonstrate to students and teachers, before surgery and even more critical and philological on the novel, it makes sense and is a must an intervention that provides reading, synthesis, and finally the narrative. Listening, students should be able to understand the work that I myself have been forced to make the novel, read it, preferring to summarize the plots, characters and major events, and then tell it, using appropriate language and all Useful tricks to grab attention and make the story enjoyable. Far from being simple as it appears, the story of a novel needs to practice reading, logical (to align the events to expose), ability to synthesize, fluency and narrative talent;
. once that I am out of the picture, the experience should be repeated in the classroom to become the usual mode of approach to texts. A student would then be entitled, during a search of Italian or to an examination, just to tell (but much work behind that "merely") a classic like The Betrothed : if the story works, then the student know the work, which - thanks to the use of appropriate tools - will be able to synthesize understand the links between the main and, finally, that he had the opportunity to exhibit properties of language and familiarity with words. In this respect, the story ends essere un tramite ideale tra pensiero e parola.

Ulteriori dettagli organizzativi
Mi preme far presente che:
. i titoli delle opere da raccontare devono necessariamente essere concordati con me;
. è indispensabile che ciascun incontro abbia la durata di due ore di lezione consecutive;
. per favorire il miglior contatto possibile tra chi racconta e chi ascolta, è opportuno che a ciascun incontro partecipino non più di due classi riunite.