說故事專家常能在聽眾未知、狀況多元的現場即興展演。然而，過去說故事研究多聚焦在既有教案的演示與技巧傳授，未深探專家如何權變展演。本研究以實踐社群理論為鏡頭，揭露說故事社群中說故事專家的現場學習情境與即興湧現之專家實踐知識。採個案研究，以一位說故事專家投入的三十多場活動為研究場域，蒐集訪談、觀察和各場次之相關文件，並以相互投入、共同事業、共享資源為概念工具作分析。研究結果有三：一、說故事者在實踐社群中透過多重投入參與而成為專家。二、在共同追求說故事事業過程中，重新協商說故事者從既有的—完美準備教案、能言善道、獨佔舞台之刻板印象，轉為保持彈性、洗耳恭聽、與聽眾共舞之專家關切。三、指認出專家實踐知識即是在拋與接的即興之中，各種危機挑戰的轉化之中，與聽眾一起展演的共創之中蘊生，並成為社群之共享資源，從而刻劃著說故事事業的樣貌。研究貢獻有三：一者在於用參與典範看待說故事專家的學習軌跡，因而看到原本習得典範下不易看到的實踐知識；再者，將說故事活動的說者與聽者視為一個社群，聚焦於社群成員和說故事事業之間相互形塑的關係，提供另一種新的理解；三者是提拔出說故事專家知識的座落處，為說故事新手指引一條新航道。

Storytelling experts are good at giving impromptu performances to unknown audiences and under different situations. This study did not discuss the learning effects of storytelling in teaching, nor did it explore the techniques and rules of storytelling. Instead, through the lens of Communities of Practice, this study revealed the learning contexts of a master storyteller from a storytelling community and the expert knowledge emerged through practice from multiple contexts full of uncertainty.
The present study was a case study and the research questions focused on how, what and where did the master storyteller learn. Interviews, observation notes and related documents were collected from up to 30 storytelling and workshop sessions in which the master storyteller had engaged. Mutual engagement, joint enterprise, and shared repertoire were the conceptual tools used for further analysis.
The present study yielded three findings. First, through multiple engagement in the storytelling communities of practice, the storyteller had gradually become a master storyteller. Second, in pursuit of a storytelling enterprise, the storyteller had constantly negotiated with the members of the storytelling communities and had gradually exhibited features beyond the stereotypical types of voluble and solo raconteurs with well-prepared plans. Instead, being flexible to, being all ears to, and playing ensemble with the audiences were what the master storyteller had put into practice in the storytelling enterprise. Third, it was in the improvisation of throwing and catching, in various transformations of challenging crises, and in the co-creation of storytelling performance with the audiences that the expert knowledge had been identified. The expert knowledge later developed into a shared repertoire of the community, and shaped the landscape of storytelling enterprise.
From this study, there are three contributions. First, from the participation paradigm, the learning trajectory of a master storyteller and the expert knowledge in practice could be recognized, some of which could not be easily observed from the perspective of acquisition paradigm. Besides, a new understanding emerges if the storyteller and the audiences of a storytelling session are regarded as a community, focusing on the mutually-shaped relationships between the community members and the storytelling enterprise. Finally, the present study identified the locus of expert knowledge in storytelling and navigated a new course for the storytelling novices.

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