A Quote by Eduardo Galeano
I remember that - you know, I didnt receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
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I remember that - you know, I didn't receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
My very first lessons in the art of telling stories took place in the kitchen . . . my mother and three or four of her friends. . . told stories. . .with effortless art and technique. They were natural-born storytellers in the oral tradition.
When I was playing for Nacional in Montevideo, the players who lived outside the city would be given money by the club to get there and back on the bus.
I think the only positive thing that came from Uruguay's dictatorship was the spread of Montevideo natives around the world, and I continued writing about them from my various places of exile.
I think the only positive thing that came from Uruguays dictatorship was the spread of Montevideo natives around the world, and I continued writing about them from my various places of exile.
Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.
My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.
Storytelling, a primitive art, is as old as the beginning of mankind. People want to receive what's out there in the form of stories, not just facts, opinion, analysis.
I see all art as a complement to telling people's stories. I'm in the storytelling business. I believe that the humanity that all of us share is the stories of our lives, and everybody has a story. Your story is as important as the next person's story.
The idea of going to school to be an art critic is a very crazy idea. I educated myself in public, which is a very painful way to learn - by writing and then discovering that I don't know what the f**k I'm talking about. But you remember the lessons vividly.
I began observing, making paintings of my surroundings, taking a vow of silence, listening, composing music, writing, and making time for formal education. Then I started telling stories.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
The formal education that I received made little sense to me.
I didnt finish the stories until we went to the Philippines and I got malaria. I couldnt work and I didnt have any money, but I had seven stories. So I wrote three or four more.
There's a social and human necessity for some kind of continuity, but it's not axiomatic and not something you're born into; it's something you have to work at. And one of the ways to work at it - perhaps the best - is storytelling: telling stories about yourself to others, telling stories about yourself to yourself, telling stories about others to others.
I was always storytelling, since I was a child. I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
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