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0. Introduction When we tell a story to others about our experiences, we all become actors and actresses. We not only present the story line as a narrator but also we act out what people said or did to invoke the scenes of the past and vividly reconstruct them in front of our audience. In other words, we have to shift our roles as narrator and characters as we tell the story. In this paper, I will analyze shifts in participation roles in a storytelling segment of a casual conversation among Japanese friends, focusing on direct quotations, or more precisely “demonstrations” (Clark and Gerrig 1990), in terms of prosody, gaze, and body movements, as well as syntactic structure. In his analysis of participation framework, Goffman (1981) proposed the notion of “footing,” by which a speaker changes his/her roles of utterance production as “animator,” “author,” or “principal.” Participation framework has also been analyzed from more interactive perspectives. Goodwin (1984) pointed out that in the course of storytelling the participants interactively organized their talk, as well as visibly displayed actions such as gaze and body movements. Goodwin (1997) found that not only a narrator but also her recipients displayed evaluation vocally as well as non-vocally and coordinated the evolving storytelling through “byplay.” Building on these studies of participation framework, I will examine how the storyteller strategically assumes several different roles using prosody, gaze, and body movements and how she shifts not only her roles but also roles of other participants in the conversation in order to involve them in the story of her own experience.

An analysis of shifts in participation roles in japanese storytelling in terms of prosody, gaze, and body movements