I would keep knowledge of the storyform to yourself, and try to communicate the substance of the storyform to your actors in terms and words that they would understand on an intuitive level.
I directed several episodes of the Puss n' Boots animated television show for Dreamworks TV. While I tried my hardest to work in a complete storyform within some of those episodes, I often found the process frustrating in that some people just don't get what it take to tell a complete story.
The storyform is the Author's take on the narrative. If they've done their job correctly, then the artists who follow them interpret that storyform and make it an entertaining and engaging subjective experience should likely not know anything about the storyform.
I would think it would be akin to what actors refer to as staying "within their head" - overthinking and second-guessing what should come out naturally.
When working with storyboard artists, who were essentially actors working their way through script pages, I would talk about motivations and the important key "storybeats" of individual scenes and sequences, but I never brought up Throughline Perspectives or Requirements, etc.
I communicated the part of the story that they instinctively understood, and then they took it and made it their own - which is what is great about film, or any other collaborative art - is the combined process of everyone's natural talents.
When this really works is when the original Author has taken the time to ensure that the narrative is strong and purposeful - getting the narrative first (pun intended) before handing it off to the next wave of artists.