Communicating Literature: An Introduction to Oral Interpretation
Edition: 7
Copyright: 2019
Edition: 7
Copyright: 2019
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The performance of literature discipline seems as vibrant and innovative as ever.
The new seventh edition of Communicating Literature: An Introduction to Oral Interpretation reflects changes in the performance of literature since the first edition was published in 1991. The publication offers a communication-oriented definition of oral interpretation, a basic rudimentary statement of oral interpretation essentials and a link between oral interpretation and acting.
Featuring a personal and direct writing style, Communicating Literature: An Introduction to Oral Interpretation:
- Emphasizes the focus of performance studies needs to retain the communicative intent in literature. Each performance text should have an argument, a thesis, a premise, a theme, a communicative center.
- Is suitable for lower division courses in oral interpretation, storytelling, and performance studies.
- Is student friendly! Each chapter includes assignment suggestions and exercises to assist the reader in comprehending issues and concepts.
- Is contemporary! The text includes a companion website that houses examples of prose, poetry, program oral interpretation, and duo interpretation.
- Features NEW content! The text includes an expanded discussion and outlets / suggestions for dealing with stage fright; examples of the changing notion of what comprises a “text”; a new section on multicultural interpretation and expanded notions about competing in forensics tournament; more samples of multi-ethnic literature to demonstrate applications; career opportunities and community service outlets; and more.
Chapter 1 Introduction to Oral Interpretation
Oral Interpretation as “Synergism”
Definition
Experiences in Literature
Classification by Genres
Confronting Your Fear of Performance
Interpretation and Acting
Presenting Your First Reading
Introductions/Teasers/Transitions
Assignments
References
Notes
Chapter 2 A History of Oral Interpretation
Greece
Ancient Israel
Rome
Early Christian Era
Middle Ages
The Renaissance and Elocutionary Periods
The Storyteller
Lecture Circuits
The Twentieth Century and Beyond
References
Notes
Chapter 3 Communicating Literature: Theory and Perceptions
Communicative Intent in the Performance of Literature
What Constitutes a “Text”?
Interdependency of: Literature/Interpreter/Observer
Literature as Message
Interpreter as Translator
Introductions as Justification for Performance Choices
Observers as Receptors/Responders/Critics
A Communication Model for Oral Interpretation
Explanation of the Model
Conclusion
References
Notes
Chapter 4 Nonverbal Communication and Oral Interpretation
Overview
Kinesics
Emblems
Illustrators
Regulators
Affect Displays
Adaptors
Oculesics
Body Alterations and Coverings
Proxemics and Haptics
Chronemics
Conclusion
Assignments
References
Notes 61
Chapter 5 Vocal Factors and Oral Interpretation
Overview
Voice Qualities
Pitch
Volume
Tempo and Rhythm Control
Articulation and Pronunciation
Resonance
Vocal Set
Vocalizations
Connotation and Denotation
Conclusion
Assignments
References
Notes
Chapter 6 Preparation for Oral Interpretation: Analysis
Primary Ideas in a Text
Sequence Elements and Message
Time Aspects
Setting
Persona Point-of-View
Audience Perceptions
Textual Language Choices
Conclusion
References
Notes
Chapter 7 Preparation for Oral Interpretation: Rehearsals and Performance
Cutting and Editing
Writing the Introduction
Performing with Script
Choosing Focus
Sensory Sensitivity
Audience Feedback
Making a Strong Initial Impression
Assignments
References
Chapter 8 Oral Interpretation of Prose
Categories of Prose
Component Features of Prose
Tag Lines and Dialogue
Rhythm
Types of Prose
Prose Performance Decisions
Choices for Performance of Prose
Short Stories
Novels
Problems
Histories, Biographies, Autobiographies
Essays, Letters, Prayers, Diaries
Assignments
References
Notes
Chapter 9 Oral Interpretation of Drama: Solo and Duo
Features of Drama
Projecting Dramatic Elements
Drama Performance Decisions: The Solo Artist
Drama Performance Decisions: Duo Sharing
Performing Shakespeare
Choices for Drama Performance: The Solo Interpreter
Monologues
Comedies
Serious Period Drama
Classics
Choices for Drama Performance: Duo Performers
Assignments
References
Notes
Chapter 10 Oral Interpretation of Poetry
Characteristics of Poetry
Genres of Poetry
Component Features of Poetry
Figures of Speech
Repetition and Parallelism
Rhyme Scheme
Meter
Prior Preparation for Poetry Interpretation
Suggestions for Poetry Performance
Classical Poetry (Conventional and Free Verse)
Modern Poetry
Song Lyrics
Assignments
References
Notes
Chapter 11 Readers Theatre and Other Group Forms of Interpretation
Definitive Features of Readers Theatre
Adapting Texts for Readers Theatre
Script Preparation
Casting and Rehearsing
Staging and Blocking
Conclusion
Assignments
References
Notes
Chapter 12 Evaluating Oral Interpretation Performances
Listening to a Performance
Evaluating a Performance
Comments on Introductions and Transitions:
Comments on Literary Choice:
Comments on Portrayal of Personae:
Comments on Delivery Techniques
Comments on Nonverbal Communication
Concluding Comments
Listening Reports
Journal Articles
Sample Suggested Recordings and Publishers
Assignments
References
Notes
Chapter 13 Specialized Forms and Outlets for Oral Interpretation
Program Oral Interpretation
Original Material Interpretation
Performing Children’s Literature
Multicultural Interpretation
Religious Scripture Interpretation
Performance Outlets
Festivals and Forensic Contests
Oral Interpretation and Community Service
Outlets for Your Future
Assignments
References
Notes
Appendix Evaluation Critique Sheets
Prose (1)
Prose (2)
Duo Drama
Solo Drama
Shakespeare
Poetry
Program Interpretation
Children’s Literature
Generic Form
Readers Theatre
Listening Report #1
Listening Report #2
Listening Report #3
Journal Report #1
Journal Report #2
Festival/Forensics Report #1
Festival/Forensics Report #2
Index
Todd V. Lewis is an emeritus professor and former chair of the Department of Communication Studies at Biola University, La Mirada, CA. He has a B.A. in Speech Communication from Biola University, an M.A. degree in Communication, specializing in the history of Oral Interpretation from Ohio State University, and a Ph.D. in Speech Communication from Louisiana State University in Rhetoric and Public Address, with support areas in performance studies. He has served as an adjunct or consulting professor at such schools as San Francisco Theological Seminary, Regent University, and Arizona Christian University.
He was a fulltime faculty member at Biola University for forty-one years, beginning in 1974. He has been the chair of the American Forensic Association National Individual Events Tournament Committee, a past president of the Religious Communication Association and the Pacific Southwest Collegiate Forensic Association. He has been an associate editor with such journals as Southern Communication Journal, National Forensic Journal, The Journal of Religion and Communication, The Journal of Media and Religion, and has contributed and published numerous professional articles in these and other journals. He is the author of three religious script texts for Readers Theatre performance in churches: RT: A Readers Theatre Ministry; RT Two: Two Scripts for Readers Theatre; and RT for Christmas. He has written Communicating Readers Theatre: Messages in Group Performance for Kendall Hunt Publishing Company.
He was the 1990 winner of the American Forensic Association National Individual Events Tournament Distinguished Service Award. In 2015 Biola University awarded him the Career Achievement in Leadership Award.
In addition to his interests in Oral Interpretation, he has chapter authored materials in debate, media analysis, and rhetorical criticism texts. In recent years his research interests have included studies in the rhetoric of memorials for September 11th as a means of finding hope, the religious messages in promotional videos for SEC football games, as well as the impact of popular culture icons such as The Simpsons and The Big Bang Theory television shows and the Harry Potter books and films with religious audiences.
Todd is married with two grown married sons and three grandchildren.
The performance of literature discipline seems as vibrant and innovative as ever.
The new seventh edition of Communicating Literature: An Introduction to Oral Interpretation reflects changes in the performance of literature since the first edition was published in 1991. The publication offers a communication-oriented definition of oral interpretation, a basic rudimentary statement of oral interpretation essentials and a link between oral interpretation and acting.
Featuring a personal and direct writing style, Communicating Literature: An Introduction to Oral Interpretation:
- Emphasizes the focus of performance studies needs to retain the communicative intent in literature. Each performance text should have an argument, a thesis, a premise, a theme, a communicative center.
- Is suitable for lower division courses in oral interpretation, storytelling, and performance studies.
- Is student friendly! Each chapter includes assignment suggestions and exercises to assist the reader in comprehending issues and concepts.
- Is contemporary! The text includes a companion website that houses examples of prose, poetry, program oral interpretation, and duo interpretation.
- Features NEW content! The text includes an expanded discussion and outlets / suggestions for dealing with stage fright; examples of the changing notion of what comprises a “text”; a new section on multicultural interpretation and expanded notions about competing in forensics tournament; more samples of multi-ethnic literature to demonstrate applications; career opportunities and community service outlets; and more.
Chapter 1 Introduction to Oral Interpretation
Oral Interpretation as “Synergism”
Definition
Experiences in Literature
Classification by Genres
Confronting Your Fear of Performance
Interpretation and Acting
Presenting Your First Reading
Introductions/Teasers/Transitions
Assignments
References
Notes
Chapter 2 A History of Oral Interpretation
Greece
Ancient Israel
Rome
Early Christian Era
Middle Ages
The Renaissance and Elocutionary Periods
The Storyteller
Lecture Circuits
The Twentieth Century and Beyond
References
Notes
Chapter 3 Communicating Literature: Theory and Perceptions
Communicative Intent in the Performance of Literature
What Constitutes a “Text”?
Interdependency of: Literature/Interpreter/Observer
Literature as Message
Interpreter as Translator
Introductions as Justification for Performance Choices
Observers as Receptors/Responders/Critics
A Communication Model for Oral Interpretation
Explanation of the Model
Conclusion
References
Notes
Chapter 4 Nonverbal Communication and Oral Interpretation
Overview
Kinesics
Emblems
Illustrators
Regulators
Affect Displays
Adaptors
Oculesics
Body Alterations and Coverings
Proxemics and Haptics
Chronemics
Conclusion
Assignments
References
Notes 61
Chapter 5 Vocal Factors and Oral Interpretation
Overview
Voice Qualities
Pitch
Volume
Tempo and Rhythm Control
Articulation and Pronunciation
Resonance
Vocal Set
Vocalizations
Connotation and Denotation
Conclusion
Assignments
References
Notes
Chapter 6 Preparation for Oral Interpretation: Analysis
Primary Ideas in a Text
Sequence Elements and Message
Time Aspects
Setting
Persona Point-of-View
Audience Perceptions
Textual Language Choices
Conclusion
References
Notes
Chapter 7 Preparation for Oral Interpretation: Rehearsals and Performance
Cutting and Editing
Writing the Introduction
Performing with Script
Choosing Focus
Sensory Sensitivity
Audience Feedback
Making a Strong Initial Impression
Assignments
References
Chapter 8 Oral Interpretation of Prose
Categories of Prose
Component Features of Prose
Tag Lines and Dialogue
Rhythm
Types of Prose
Prose Performance Decisions
Choices for Performance of Prose
Short Stories
Novels
Problems
Histories, Biographies, Autobiographies
Essays, Letters, Prayers, Diaries
Assignments
References
Notes
Chapter 9 Oral Interpretation of Drama: Solo and Duo
Features of Drama
Projecting Dramatic Elements
Drama Performance Decisions: The Solo Artist
Drama Performance Decisions: Duo Sharing
Performing Shakespeare
Choices for Drama Performance: The Solo Interpreter
Monologues
Comedies
Serious Period Drama
Classics
Choices for Drama Performance: Duo Performers
Assignments
References
Notes
Chapter 10 Oral Interpretation of Poetry
Characteristics of Poetry
Genres of Poetry
Component Features of Poetry
Figures of Speech
Repetition and Parallelism
Rhyme Scheme
Meter
Prior Preparation for Poetry Interpretation
Suggestions for Poetry Performance
Classical Poetry (Conventional and Free Verse)
Modern Poetry
Song Lyrics
Assignments
References
Notes
Chapter 11 Readers Theatre and Other Group Forms of Interpretation
Definitive Features of Readers Theatre
Adapting Texts for Readers Theatre
Script Preparation
Casting and Rehearsing
Staging and Blocking
Conclusion
Assignments
References
Notes
Chapter 12 Evaluating Oral Interpretation Performances
Listening to a Performance
Evaluating a Performance
Comments on Introductions and Transitions:
Comments on Literary Choice:
Comments on Portrayal of Personae:
Comments on Delivery Techniques
Comments on Nonverbal Communication
Concluding Comments
Listening Reports
Journal Articles
Sample Suggested Recordings and Publishers
Assignments
References
Notes
Chapter 13 Specialized Forms and Outlets for Oral Interpretation
Program Oral Interpretation
Original Material Interpretation
Performing Children’s Literature
Multicultural Interpretation
Religious Scripture Interpretation
Performance Outlets
Festivals and Forensic Contests
Oral Interpretation and Community Service
Outlets for Your Future
Assignments
References
Notes
Appendix Evaluation Critique Sheets
Prose (1)
Prose (2)
Duo Drama
Solo Drama
Shakespeare
Poetry
Program Interpretation
Children’s Literature
Generic Form
Readers Theatre
Listening Report #1
Listening Report #2
Listening Report #3
Journal Report #1
Journal Report #2
Festival/Forensics Report #1
Festival/Forensics Report #2
Index
Todd V. Lewis is an emeritus professor and former chair of the Department of Communication Studies at Biola University, La Mirada, CA. He has a B.A. in Speech Communication from Biola University, an M.A. degree in Communication, specializing in the history of Oral Interpretation from Ohio State University, and a Ph.D. in Speech Communication from Louisiana State University in Rhetoric and Public Address, with support areas in performance studies. He has served as an adjunct or consulting professor at such schools as San Francisco Theological Seminary, Regent University, and Arizona Christian University.
He was a fulltime faculty member at Biola University for forty-one years, beginning in 1974. He has been the chair of the American Forensic Association National Individual Events Tournament Committee, a past president of the Religious Communication Association and the Pacific Southwest Collegiate Forensic Association. He has been an associate editor with such journals as Southern Communication Journal, National Forensic Journal, The Journal of Religion and Communication, The Journal of Media and Religion, and has contributed and published numerous professional articles in these and other journals. He is the author of three religious script texts for Readers Theatre performance in churches: RT: A Readers Theatre Ministry; RT Two: Two Scripts for Readers Theatre; and RT for Christmas. He has written Communicating Readers Theatre: Messages in Group Performance for Kendall Hunt Publishing Company.
He was the 1990 winner of the American Forensic Association National Individual Events Tournament Distinguished Service Award. In 2015 Biola University awarded him the Career Achievement in Leadership Award.
In addition to his interests in Oral Interpretation, he has chapter authored materials in debate, media analysis, and rhetorical criticism texts. In recent years his research interests have included studies in the rhetoric of memorials for September 11th as a means of finding hope, the religious messages in promotional videos for SEC football games, as well as the impact of popular culture icons such as The Simpsons and The Big Bang Theory television shows and the Harry Potter books and films with religious audiences.
Todd is married with two grown married sons and three grandchildren.