Contents Note: Each chapter concludes with a Bibliography. I. Basic Principles 1. A Beginning an and End A Rationale for Performance Sources of Material Intertextuality Choosing the Selection: Three Touchstones The Sense of Death, Helen Hoyt I Felt a Funeral, Emily Dickinson Dulce, Deborah Sherman 2. Analyzing the Selection Preparing the First Performance Major Structural Components New Words, Maury Yeston Major Aesthetic Components Using the Tools The Story of an Hour, Kate Chopin I Felt a Funeral, Emily Dickinson Synthesis Analyzing the Rehearsal and the Performance Selections for Analysis and Oral Interpretation When I Heard the Learn'd Astronomer, Walt Whitman Sonnet, John Keats The… Starlight Night, Gerard Manley Hopkins From A Christmas Memory, Truman Capote Ringing the Bells, Anne Sexton Dreaming, Amanda McBroom Homework, Peter Cameron Upon Learning That a Junior High School Acquaintance Has Been Nominated for an Academy Award, Joanne Gilbert How to Watch Your Brother Die, Michael Lassell Heartbeats, Melvin Dixon 3. Voice Development for Oral Interpretation Breath Control Volume and Projection Pitch and Quality The Wild Honeysuckle, Philip Freneau From I Hear America Singing, Walt Witman Rate and Pause Intelligibility of Speech Selections for Analysis and Oral Interpreation A Night at the Opera, William Matthews Confess, Early and Often, Jane Smiley Jabberwocky, Lewis Carroll From The Little Girls, Elizabeth Bowen Dover Beach, Matthew Arnold Back at the Ranch, Jay Allison Her Story, Naomi Long Madgett The Lesson, Toni Cade Bambara From The Night Chant, Navajo Ceremonial Chant, Translated by Washington Matthews From Blue Highways, William Least Heat Moon The Voice You Hear When You Read Silently, Thomas Lux 4. Use of the Body in Oral Interpretation Posture Kinesics Sense Imagery Empathy Using Your Body in Rehearsal Eye Contact Analyzing the Rehearsal and the Performance Selections for Analysis and Oral Interpretation The Second Coming, William Butler Yeats Flying Finish, Bill Hayes Ulysses, Alfred, Lord Tennyson Autumn Begins in Martins Ferry, Ohio, James Wright From Friday Night Lights, H.G. Bissinger The .38, Ted Joans Still Life, Diane Ackerman Girl, Jamaica Kincaid Affirmative Action, Lucille Clifton The Race, Sharon Olds The Negro Speaks of Rivers, Langston Hughes Old Lady's Winter Words, Theodore Roethke From As You Like It, William Shakespeare Admission of Failure, Phyllis Koestenbaum II. Interpretation of Prose 5. Prose: Style and Types in Fiction and Nonfiction Style Types of Prose Selections for Analysis and Oral Interpretation From June Recital, Eudora Welty From The Joy Luck Club, Amy Tan From The Revolution Remembered, John C. Dann, Editor From Everything We Had, Al Santoli, Editor From The Seacoast of Despair, Joan Didion From I Know Why the Caged Bird Sings, Maya Angelou From Women's Diaries of the Westward Journey, Lillian Schlissel, Editor The Makeup Artist, Dana Tierney From Working, Studs Terkel KEEP OUT! (A Boy's Bedroom), Lynda Barry 6. Narration Who's Telling the Story? Point of View What Is Going on Here? Action and Plot What Sort of People Live in This Story? Character What Are They Saying to Each Other? Dialogue Where Is all This Taking Place? Setting Cutting and Excerpting Analyzing the Rehearsal and the Performance Selections for Analysis and Oral Interpretation The Prison, Bernard Malamud A&P, John Updike Snow, Ann Beattie From Sula, Toni Morrison From The Lost Language of Cranes, David Leavitt Murder, Mystery, Bruce Holland Rogers Popular Mechanics, Raymond Carver Jacob's Chicken, Milos Macourek III. Interpretation of Drama 7. Solo Performance of Drama Why Perform Drama? What's the Difference Between Acting and Interpretation? Structural Elements of a Play Analyzing a Scene Working a Scene Rhythm Style Scenography Putting It Together Selections for Analysis and Oral Interpretation From Fifth of July, Lanford Wilson Fires in the Mirror, Anna Deavere Smith From Othello, William Shakespeare From She Stoops to Conquer, Oliver Goldsmith From Flyin' West, Pearl Cleage 8. Technique in Drama Technique in Interpretation Properties Embodying Characters Coordinating Bodies and Voices of Characters Physical Contact Interplay of Characters Physical Focus The Reading Stand Cutting and Excerpting Analyzing the Rehearsal and the Performance Selections for Analysis and Oral Interpretation From Sunday in the Park with George, Stephen Sondheim From Curse of the Starving Class, Sam Shepard From Romeo and Juliet, William Shakespeare From Betrayal, Scene Five, Harold Pinter From Death and the King's Horseman, Wole Soyinka IV. Interpretation of Poetry 9. Language of Poetry Poetic Content Classification of Poetry Figurative Language To Autumn, John Keats Poetic Syntax Tone Color Titles Selections for Analysis and Oral Interpretation The Windhover, Gerard Manley Hopkins The House Was Quiet and the World Was Calm, Wallace Stevens Spring is like a perhaps hand, e.e. cummings Wild Grapes, Robert Frost Power, Corrine Hales Saving Memory, Mary Stewart Hammond Nikki-Rosa, Nikki Giovanni Mid-Term Break, Seamus Heaney On Sleeping Together, Barbara Howes Talking in Bed, Philip Larkin The Hospital Window, James Dickey Most Like an Arch This Marriage, John Ciardi First Grade, William Stafford Preface to a Twenty Volume Suicide Note, Imamu Amiri Baraka 10. Structure of Poetry Why Study Prosody? Kinds of Verse The Stanza The Line Cadences Rhyme Analyzing the Rehearsal and the Performance Selections for Analysis and Oral Interpretation One Art, Elizabeth Bishop The Waking, Theodore Roethke Do Not Go Gentle into That Good Night, Dylan Thomas Journey of the Magi, T.S. Eliot The Magi, Louise Gluuml;ck A Blessing, James Wright Who Among You Knows the Essence of Garlic? Garrett Kaoru Hongo My Last Duchess, Robert Browning The Kilgore Rangerett Whose Life Was Ruined, Cynthia MacDonald From Fatal Interview, Edna St. Vincent Millay Cinderella, Anne Sexton Cinderella's Story, Mona Van Duyn Today Is a Day of Great Joy, Victor Hernandez Cruz From Horses Make a Landscape Look More Beautiful, Alice Walker V. Group Performance 11. Group Performance of Literature Readers Theater Chamber Theater Group Performance of Compiled Scripts Other Kinds of Literature Directing the Group Performance of Literature Some Concluding Cautions Analyzing the Rehearsal and the Performance Selections for Analysis and Interpretation From The Metamorphoses, Ovid From The Caucasian Chalk Circle, Section III, Bertolt Brecht 40-Love, Roger McGough