The extensive use of improvisational techniques in rehearsals for chamber theatre productions develops for the performer a strong engagement with the text. The director can channel the movement and gestures that emerge from these techniques into the production itself, with results that more effectively convey the literature than traditional…

This document presents a rationale for using reader's theatre in the classroom. It briefly discusses some of the conventions that distinguish reader's theatre from traditional theatrical productions, including direction of voice and action to the audience, and the use of scripts. The major portion of the paper offers seven exercises on the…

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…

In a survey of commercial braodcasters, 80% of the respondents felt that university communications majors seeking on-the-air, nonnews jobs were unqualified for their chosen profession. Because teachers of oral interpretation possess the performance expertise that broadcasters need, they must be more actively involved in teaching broadcast…

Composing oral poems and storytelling are two exercises that speech teachers can use in oral interpretation courses. Conducting the oral poetry exercise early in an introductory interpretation course allows students to become acquainted with each other and to encourage each other while sharing something of themselves with the entire class. This…

States that an oral interpretation course can deepen students' understanding of literature, extend their familiarity with important works, and help them appreciate the intricacies of rhythm and tone in poetry. Outlines student assignments for an oral interpretation course in the English program. (MM)

Suggestions for increasing teacher contact. (CH)

Notes that interaction between writers and interpreters can improve a sometimes tenuous relationship. Provides classroom assignments, performance activities, and workshops to promote interaction and understanding. (PD)

Examines performance as a literary critical method. Describes group performances of James Dickey's "The String" in an advanced college interpretation course, and considers two central issues: (1) what is learned through the performance of a specific literary work; and (2) what features of a concrete text require performance attention,…

For 3 years, Texas A and M University Kingsville (formerly Texas A and I University) has provided a basic oral interpretation course for teachers specializing in reading on the elementary level. After teaching the course once, the instructor decided to adapt the course to the needs of the students by using children's literature instead of adult…

This collection of abstracts is part of a continuing series providing information on recent doctoral dissertations. The seven titles deal with the following topics: (1) the effect of relaxation training on anxiety for the poetry recitation tasks among elementary school children; (2) musical theatre in higher education; (3) developing faith…

Since the American Forensic Association has sanctioned recording individual events competition, it might be in the interest of competition to combine oral interpretation and radio/television broadcast competition into simultaneous competition. Voice development is a goal shared by oral interpretation and broadcasting, so oral interpretation…

Within the realm of forensic oral interpretation, concern over the use of profanity in presentations has aroused repressive criticism from some judges, who then express their offense by ranking the performance negatively. This judicial opposition is deleterious not only to the precepts of oral interpretation, but also--in a larger sense--to the…

Describes a method of re-directing the components of external rhetorical analysis to the intrinsic boundaries of a play and discusses the benefits of such a method as a critical tool in the oral interpretation of dramatic literature. (MH)

Views oral interpretation festivals as educational exercises superior to competitive events and suggests methods for improving the organization, criticism and listening elements of these festivals. (MH)