Charles Dickens was not only a master novelist but was also a master in the art of performance. His distinctive reading style was in marked contrast to the standard practices of mid-nineteenth century elocution, but his unique readings and performance philosophy closely resemble the text-centered approach of modern oral interpretation. Considered…

Points out that issues in performance studies (oral interpretation) such as natural and literary language, performing ideology, and marginalized voices are not only not revolutionary but an extension or a return to traditional concerns of a 300-year tradition. (SR)

James E. Murdoch's contributions to the arts were widely diversified. Aside from acting, the man was interested in both the practical and theoretical aspects of elocution. The thread of continuity which existed between elocution and interpretation became apparent to Murdoch through his analysis of the works of Sheridan, Walker, and Rush, the…

Offers the author's narrative of the recent history of performance studies, focusing on the current place of literature, its instability as a recognizable genre of discourse, and its uncertain value in the academic market. Discusses the problem of literature's loss of "academic capital." (SR)

This book presents a concise history of the first 100 years of development of the school of speech at Northwestern University (Illinois). Following an introduction that provides an overview of the school, the first chapter focuses on both the efforts of Robert McLean Cumnock to found a school of oratory on the principles of elocution and the…

The 33 essays that make up this volume examine the history of literature in performance from five perspectives: (1) language, (2) popular culture, (3) teaching, (4) theory, and (5) entertainment. The essays in the first section explore the basic perspective of oral performance as a factor in the development of languages themselves and their…