Provides six classroom exercises to stimulate student awareness of the principles of Readers Theater. Emphasizes the use of scripts and space, flexibility of voice and body, staging, pantomime, and characterization. (PD)

This anthology of literature contains selections that can be performed in classrooms, workshops, and speech and theater conventions as reader's theater, defined as a dramatic approach to literature. Divided into six categories--comedy, mystery/suspense, Christmas specials, folklore, children's classics, and the human spirit--the anthology features…

The availability of both oral and written historical narratives provides the Readers Theater adapter with a rich opportunity to experiment with mixing oral and written narrative styles in documentary form. Those who plan to use such mixing must consider the differences between oral and written narratives. Writers and readers have almost unlimited…

Sample critique sheets are included. (RD)

Describes the use of Bertolt Brecht's theories regarding literature and performance. Details the selected use of Reader's Theatre techniques in analyzing and staging literature in the secondary classroom environment. (JMF)

The (CBS Radio) Columbia Workshop, formed in 1936, encouraged the writing and production of creative, non-traditional radio drama such as Archibald MacLeish's verse play "The Fall of the City," which aired on April 11, 1937. MacLeish considered radio the ideal medium for poetry because it offers only aural stimuli without competition…

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…

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)

This journal issue deals with the ways in which elements of a literary text specify the manner in which an oral interpreter will present the text to an audience. After an introductory statement, four poems by a contemporary poet are presented as sample texts. Four commentators discuss the ways these poems might be interpreted to an audience, and…

The Fall 1972 issue of this publication focuses on oral interpretation, readers theatre, and creative dramatics. The lead article is on the subject of readers theatre for teaching interpretation to elementary school children. Two articles discuss the roles of creative dramatics and readers theatre in the high school curriculum. Relationships…

This book explores the art of oral interpretation of literature and presents exercises designed to encourage awareness of various aspects of the interpretation process. Chapter one, "Harnessing Resources," examines the awakening of the body and voice and discusses basic sensory training. Chapter two, "Responding to Literary Worlds," details the…

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)

One of the primary principles of Readers Theater is to "dramatize" literature in classroom performance and to provide a visual and oral stimulus to students who are unaccustomed to using imagination to appreciate literary texts. Readers Theater may be used to enhance the critical study of language; to explore author meaning or point of view; to…

Maynard Mack, Emeritus Sterling Professor of English at Yale, discusses his pioneering work with the oral interpretation of literature in the graduate and undergraduate English classroom, making the point that such oral techniques need not be limited to the drama or speech departments. (Author/SJL)