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| Preface | |
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| Permissions | |
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| Introduction to Oral Interpretation | |
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| Oral Interpretation as "Synergism" | |
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| Definition | |
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| Experiences in Literature | |
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| Classification by Genres | |
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| Confronting Your Fear of Performance | |
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| Interpretation and Acting | |
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| Presenting Your First Reading | |
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| Introductions/Teasers/Transitions | |
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| Assignments | |
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| A History of Oral Interpretation | |
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| Greece | |
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| Ancient Israel | |
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| Rome | |
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| Early Christian Era | |
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| Middle Ages | |
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| The Renaissance and Elocutionary Periods | |
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| The Storyteller | |
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| Lecture Circuits | |
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| The Twentieth Century and Beyond | |
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| Communicating Literature: Theory and Perceptions | |
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| Communicative Intent in the Performance of Literature | |
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| What Constitutes a "Text"? | |
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| Interdependency of: Literature/Interpreter/Observer | |
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| Literature as Message | |
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| Interpreter as Translater | |
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| Introductions as Justification for Performance Choices | |
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| Observers as Receptors/Responders/Critics | |
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| A Communication Model for Oral Interpretation | |
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| Explanation of the Model | |
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| Conclusion | |
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| Nonverbal Communication and Oral Interpretation | |
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| Overview | |
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| Kinesics | |
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| Emblems | |
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| Illustrators | |
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| Regulators | |
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| Affect Displays | |
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| Adaptors | |
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| Oculesics | |
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| Physical Appearance | |
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| Proxemics and Haptics | |
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| Chronemics | |
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| Conclusion | |
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| Assignments | |
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| Vocal Factors and Oral Interpretation | |
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| Overview | |
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| Voice Qualities | |
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| Pitch | |
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| Volume | |
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| Tempo and Rhythm Control | |
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| Articulation and Pronunciation | |
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| Resonance | |
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| Vocal Set | |
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| Vocalizations | |
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| Connotation and Denotation | |
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| Conclusion | |
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| Assignments | |
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| Preparation for Oral Interpretation: Analysis | |
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| Primary Ideas in a Text | |
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| Sequence Elements and Message | |
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| Time Aspects | |
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| Setting | |
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| Persona Point-of-View | |
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| Audience Perceptions | |
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| Textual Language Choices | |
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| Conclusion | |
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| Preparation for Oral Interpretation: Rehearsals and Performance | |
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| Cutting and Editing | |
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| Writing the Introduction | |
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| Performing with a Script | |
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| Choosing Focus | |
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| Sensory Sensitivity | |
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| Audience Feedback | |
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| Making a Strong Initial Impression | |
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| Assignments | |
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| Oral Interpretation of Prose | |
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| Categories of Prose | |
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| Component Features of Prose | |
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| Tag Lines and Dialogue | |
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| Rhythm | |
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| Types of Prose | |
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| Prose Performance Decisions | |
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| Choices for Performance of Prose | |
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| Short Stories | |
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| Novels | |
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| Histories, Biographies, Autobiographies | |
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| Essays, Letters, Prayers, Diaries | |
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| Assignments | |
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| Oral Interpretation of Drama: Solo and Duo | |
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| Features of Drama | |
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| Projecting Dramatic Elements | |
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| Drama Performance Decisions: The Solo Artist | |
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| Drama Performance Decisions: Duo Sharing | |
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| Performing Shakespeare | |
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| Choices for Drama Performance: The Solo Interpreter | |
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| Monologues | |
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| Comedies | |
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| Serious Period Drama | |
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| Classics | |
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| Choices for Drama Performance: Duo Performers | |
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| Assignments | |
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| Oral Interpretation of Poetry | |
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| Characteristics of Poetry | |
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| Genres of Poetry | |
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| Component Features of Poetry | |
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| Figures of Speech | |
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| Repetition and Parallelism | |
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| Rhyme Scheme | |
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| Meter | |
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| Prior Preparation for Poetry Interpretation | |
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| Suggestions for Poetry Performance | |
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| Classical Poetry (Conventional and Free Verse) | |
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| Modern Poetry | |
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| Song Lyrics | |
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| Assignments | |
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| Readers Theatre and Other Group Forms of Interpretation | |
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| Definitive Features of Readers Theatre | |
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| Script Preparation | |
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| Casting and Rehearsing | |
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| Staging and Blocking | |
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| Conclusion | |
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| Assignments | |
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| Evaluating Oral Interpretation Performances | |
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| Listening to a Performance | |
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| Evaluating a Performance | |
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| Comments on Introductions and Transitions | |
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| Comments on Literary Choice | |
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| Comments on Portrayal of Personae | |
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| Comments on Delivery Techniques | |
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| Comments on Nonverbal Communication | |
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| Concluding Comments | |
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| Listening Reports | |
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| Journal Articles | |
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| Sample Suggested Recordings and Publishers | |
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| Assignments | |
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| Specialized Forms and Outlets for Oral Interpretation | |
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| Program Oral Interpretation | |
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| Original Material Interpretation | |
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| Performing Children's Literature | |
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| Multicultural Interpretation | |
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| Religious Scripture Interpretation | |
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| Performance Outlets | |
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| Festivals and Forensic Contests | |
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| Oral Interpretation and Community Service | |
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| Outlets for Your Future | |
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| Assignments | |
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| Evaluation Critique Sheets | |
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| Prose | |
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| Prose (2) | |
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| Duo Drama | |
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| Solo Drama | |
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| Shakespeare | |
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| Poetry | |
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| Program Interpretation | |
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| Children's Literature | |
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| Generic Form | |
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| Readers Theatre | |
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| Listening Report | |
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| Listening Report #2 | |
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| Listening Report #3 | |
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| Journal Report #1 | |
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| Journal Report #2 | |
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| Festival/Forensics Report | |
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| Festival/Forensics Report #2 | |
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| Index | |