ABSTRACT
A common method is to begin with the rehearsal and workshop process and make notes of the raw materials and discoveries that emerge during games, exercises, improvisations, and so forth. This means paying close attention to images, movements, feelings, stories, and moments of insight from embodied work and in discussions. Tami Spry offers two sets of questions that she have borrowed and re-envisioned for oral history performance: critical self-reflection and the questioning body. Every life history is uniquely different from another. It is also important to remember the significance of endowment and that one will "endow the space, people, and objects around the personal life and meaning derived from the given circumstance" of this particular history. Whether people are working from a completed oral history monologue or adapting the performance from composite interviews, it is vital to set goals that measure and organize their time. These timeline goals should be measured into step-by-step deadlines of drafts.
