The traditional basic method of folkloristic work is the examination of genres, i.e. tracing and recording complex classifiable verbal genres used for transmitting the folklore depictions and their particular bearers. However, these communication events have been most frequently extracted from the specific communication context represented by a spontanneous and natural interaction of two or more people. It is possible that there are some kinds of direct evidence and tapescript recordings of how a real communication process is being developed, however, what we miss of are reliable professional analyses or accounts. Communication as closed (private) or open (public) interaction among interested people (with potential non-interested viewers - disseminators of information) contains, from the folkloristictic point of view, specific mechanisms of shaping non-folkoristic and folkloristic texts, images, contextual cues and networks within the so-called 'talked about' world. Examination of these elements may facilitate comprehension of the processes of creation and dissemination of contemporary forms of folklore. The listener in a closed (private) interaction is usually a known, direct receiver openly admitting his/her interest and direct involvement in the event. An open public interaction is different: here, next to the direct participants, 'another receiver' - a possible, potential, and anonymous observer who, uninterested and unobserved, may listen to the interaction of known or unknown people. However, this position may also be occupied by the researcher-folklorist. Although public communication does not usually focus on observers, it remains open to them. A dialogue as an ancient form of everyday communication is rarely taken into account by folklorists because it does not comply with certain criteria on folklore study. Despite this fact, it has created relatively stable conventions and strategies typical of oral communication - in a dialogue even more noticeable. Among them are elements of intellectual games, a variety of lay explanations, completions of the story, various themes, telegraphic style, and gnomes. The evaluation of recorded data may be used for the analysis of a particular theme or separate communication elements. An analysis of a higher number of communication situations may throw light on local or regional particulars of the cultural environment, and the importance of general topics discussed, or provide information about public interests and moods, the scope of personal views, interests in various aspects of public life and culture, or detect the influence of the media, or how family histories come to life, etc.