+ All Categories
Home > Documents > Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed...

Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed...

Date post: 27-Mar-2015
Category:
Upload: emma-forbes
View: 216 times
Download: 0 times
Share this document with a friend
Popular Tags:
63
Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation Handbook
Transcript
Page 1: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prepared by Melissa Freeman

Oral Interpretation Guidelines

The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation Handbook

Page 2: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Introduction

“The function of oral interpretation is not only to discover, but then to share, and what joy comes from sharing literature with an audience! Those moments create a special bond between the literature, the reader and the listener.”

Jana Riggins, UIL Speech Director

Page 3: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

General Guidelines

Getting StartedPreparing for the ContestUIL CategoriesResources

Page 4: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Getting Started

Finding LiteratureWhere to LookSelecting LiteratureUnderstanding the

Text

IntroductionsTransitionsCuttingRehearsalPerformance

Page 5: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Where to Look…

LibrariesTechnologyCollege LibrariesCollege BookstoresUsed Books

Audio ResourcesNewspapers InternetTestimonyCan you think of

others?

www.wetmoredeclamation.com

Page 6: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Selecting Literature

Consider YourselfConsider Your CapabilitiesConsider Your AudienceConsider Literary ValueConsider Appropriateness

Page 7: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Understanding the Text

SpeakerSceneAudienceActAgencyPurpose

Page 8: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Introductions should…

…prepare the audience…allow the audience to meet you…provide essential information…establish a mood

Page 9: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Introductions should focus on…

…how you relate to the selection…the category’s requirements…social issues…the writer’s purpose…an element of the selection

Page 10: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Introductions should avoid…

…running out of time…spoiling the experience by giving away

too much…asking trite rhetorical questions…copying someone else’s introductions…either reading or performing your

introduction

Page 11: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Cutting Literature for Performance

Read the ENTIRE selectionThoroughly analyze the work as a wholeContinuity is critical!Beginning, Middle, EndStay true to author’s intentAvoid cutting vivid passagesCut repetition (in prose)Cut tag linesCut subplotsCut references to something you’ve already cut

Page 12: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Rehearsal Techniques

Establish regular schedule110%Seek audiencesMark your manuscriptVideotapeAudiotapeWork with other interpreters

Page 13: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Rehearsal Techniques (cont.)

Focus!Practice in noisy surroundingsUse a variety of volumesIsolate portions of script for practiceAsk people to listen ONLY to intro…Prepare more than one intro.

Page 14: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Preparing for the Contest

Plan in AdvanceWhat to ExpectTournament GuidelinesEthics and Sportsmanship

Page 15: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Plan in Advance for Competition

School work comes firstKnow the rulesMake sure you have met paperwork

requirementsProvide parents with schedule infoDress appropriately. . .

Page 16: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Dressing Appropriately

Sneakers are not appropriateDress conservativelyDress neat, clean, unwrinkledAvoid clothing that draws attention to

itselfMen: slacks, ties, jacketsWomen: dress or suit

Page 17: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Tournament Guidelines: Contest Site

Page 18: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Tournament Guidelines: Contest Room

Page 19: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Tournament Guidelines: Awards Assembly

Page 20: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Ethics and Sportsmanship

Page 21: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

UIL Categories

Prose: Category A & BPoetry: Category A & BDocumentation

Page 22: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prose

In the 60s and 70s, the UIL prose categories featured geographical distinctions, and selections were restricted to those written by authors included on an official UIL list. In the 80s, the categories featured genre distinctions:  novels, essays, short stories, nonfiction, and folklore.

Page 23: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prose (cont.)

Because these distinctions are often so very difficult to draw, the prose and poetry committee sought to create prose categories that did not rely on questionable parameters for what fit and did not fit a category. The current prose categories require documentation only in Category A.

Page 24: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prose Categories

Category A ~ Celebrate Non-Fiction: First Person Narratives

Category B ~ Celebrate Fiction

Page 25: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prose: Category A

The contestant shall perform a selection from a published work of non-fiction written in prose, from the first-person point of view. The goal of this category is to encourage students to explore narratives of human experience as reported by the author.

Page 26: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prose: Category A (cont.)

Material for this category should be drawn from one of the following published forms: memoirs, autobiographies, letters, diaries, journals, or essays. In this type of literary work, the author tells a story as he or she experienced it. The point of view will be personal, making use of the pronouns “I,” “me,” “my,” “mine,” and “we.” The selection shall not be drawn from published or unpublished speeches, “one-person” theatre, or theatrical monologues. Works by anonymous authors are not permissible.

Page 27: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

For Category A, the contestant shall provide published documentation verifying that the selection is classified as non-fiction. Verification shall consist of Library of Congress or Dewey Decimal Classification system, or other published source such as The New York Times bestseller list, that establishes the selection as a piece of non-fiction.

Page 28: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Contest Director must ask for and verify written documentation prior to the beginning of the round. Students shall not be allowed to compete without sufficient documentation. If an on-line data service is used for documentation, contestants should print the home page/main index page of the site from which the documentation was retrieved. Printouts of the documentation and the home page should include the URL of the web site. Bibliographic Information

Page 29: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Prose: Category B

The contestant shall perform a selection from a published work of fiction written in prose. The selection should be drawn from a novel, novella, novelette or short story. The goal of this category is to encourage contestants to explore the imagination of authors from any country throughout the world. The author of this category may not be used in the other prose category. Works by an anonymous author are not permissible.

Page 30: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

For Category B, the contestant shall provide published documentation verifying that the selection is classified as fiction. Verification shall consist of Library of Congress or Dewey Decimal Classification system, or other published source such as The New York Times bestseller list, that establishes the selection as a piece of fiction

Page 31: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Suggestion:

Students are urged to take to the contest site the original published source of the selection and/or to add bibliographic information for selections in the form of a footnote on their manuscript copy.

Page 32: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Poetry

Category Restrictions Material chosen for use in either category

of poetry interpretation shall meet the following restrictions:

Page 33: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Poetry (cont.)

A. all selections shall be published, printed material,

B. selections from plays or screenplays shall not be used,

C. song lyrics published only as music shall not be used,

D. no contestant shall use an individual poet in more than one category in the contest,

Page 34: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Cont.

A. no contestant shall use selections from the same literary work more than one year at UIL State Meet,

B. selections shall be read in the English translation; however, incidental use of foreign language words and phrases in any selection may be used as in the original.

Page 35: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Poetry Categories

Category A "Celebrate the Poem" Category B "Celebrate the Poet"

Page 36: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Poetry: Category A

The contestant shall perform either one published poem, or an excerpt from only one published poem. The goal of this category is to challenge the contestant to explore a single poetry selection and to communicate its literary style and quality through performance. The poet used in this category may not be used in the other poetry category. Works by an anonymous poet are not permissible.

Page 37: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

The contestant must provide biographic information showing that the birthplace, nationality, or naturalized citizenship of the poet is from outside the Americas. No poets from the countries of North America, Central America, and South America and their territories within the Western Hemisphere are allowed.

Page 38: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Poetry: Category B

The contestant shall select one poet and perform two or more published poems, or two or more portions of poems, by that author. The goal of this category is to encourage students to examine the body of an author's poetic works. In the choice of poems for performance, the student should feature some aspect of the poet's work, including but not limited to the following:

Page 39: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Poetry: Category B (cont.)

its development over time, thematic or technical elements, use of imagery, or reflection of the poet's life. The introduction and/or transitions should demonstrate the performer's understanding of the poet's work, as well as seek to enhance the audience's awareness of the poet's work. The poet used in this category may not be used in the other poetry category.

Page 40: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Although this category does not require documentation, the selections must be (a) published works, (b) written by an identified poet (anonymous authors are not permissible), (c) written by a poet other than the one who wrote the selection used for Category A.

Page 41: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Documentation Requirements

Although Category A and B do not require documentation, contest material must meet category restrictions.

Page 42: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Bibliographic Information

Students are urged to take to the contest site the original published source of the selection and/or to add bibliographic information for selections in the form of a footnote on their manuscript copy.

Page 43: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Documentation Types

Reference BookPublished NewspaperBiographical PassageMagazine ArticleBook Jacket

Page 44: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

If an on-line data service is used for documentation, the source of the published material should be included. Other acceptable sources of documentation include

Letterhead stationery from the publishing company or the author verifying the author's place of birth or

Email from the publisher or author verifying the author's place of birth.

Page 45: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Taken from The Leaguer

At the heart of this poetry category is the issue of cultural diversity. Looking at some of the key words in the description of the category found in the Constitution and Contest Rules will give focus to your program and probably add depth to your first impressions of the category. Culture can be defined as a body of customary beliefs, social forms and material traits of a racial, religious or social group.

Page 46: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Diversity deals with differences, and the differences included in the C&CR description paragraph draw the boundaries for this fairly open category: economic, social and political. Your program can explore financial issues, (i.e., the Great Depression), social issues (i.e., the AIDS crisis), or political issues (i.e., the Vietnam War) and be within the realm of its intent. In fact, a good brainstorming session with your teammates or coach can reveal many themes upon which you can build your program of material.

Page 47: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

The key issue is: What type of diversity does your theme express? Are you examining the socially different, such as the homeless or the handicapped? Are you exploring the effects of cultural ethnicity? Is the diversity of religions at the heart of your program? Are you reading poetry from the war-torn country of Bosnia or economically depraved Russia? Have you, perhaps, built a program of poems from the American working-class perspective?

Page 48: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Your concern might be: Will the judge perceive what diversity I am exploring? The answer can lie in your introduction and transitions that you build within the program. These will be critical to ensuring that judges and audiences understand the diversity issues you are examining within your program. Just as debaters must keep the "spirit of the resolution clear in their approach to the resolution, so interpreters must keep the "spirit" of this performance category clear.

Page 49: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Keep in the forefront the original intent of this category, which is to explore the differences in mankind, building an understanding of your differences, while exploring great literature. Remember that interpreters must not assume that their critics and audience will automatically comprehend the diversity. It will be  advantageous to the performer to use the introduction and transitions to forward the diversity being explored through the poetry selected for the program.

Page 50: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Resources

InternetPrintedRules and Ranking

Page 51: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Evaluation Criteria ~ Prose

Judges evaluate each performer individually based on the total presentation. At the end of the round, performers are ranked in order of the quality of the presentations: Best is first, second best is second, and so on. All contestants are ranked. There can be no ties.

Page 52: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Evaluation of Introduction

Did the performer prepare you to listen to the selection?

Did the content, form, and delivery style of the introduction add to the over-all effectiveness of the performance?

Page 53: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Evaluation of Selection/Performance

Did the performer recreate the narrator - the person talking in the prose - and the characters? (age, gender race,, educational level, social status, psychological and dispositional traits, etc.)

Did the performance reflect the scene - when and where the prose takes place and appropriately indicate any changes in location or time? (in a living room, supermarket, automobile, classroom, etc; morning, evening, winter, summer, etc.)

Page 54: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Did the performer reveal the narrator's purpose in the selection - why is the narrator talking? (to convince, to persuade, to understand, to remember, to console, to tease, to explain, etc.)

Did the performer demonstrate an awareness of the audience - to whom are the narrator and characters talking? (to him/herself? to another person? to a group of people?)

Page 55: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Did the performer make appropriate use of physical skills in the performance? (movement, gestures, expressions, stance, posture, eye contact, etc. were motivated by the text and purposeful to the performance?)

Did the performer make appropriate use of vocal skills in the performance? (dialect, dialogue, volume, rate, pitch, etc. were believable?)

Page 56: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Was the performer in control of the literature? (was the material appropriate for the performer?)

Was the performer in control of the performance situation? (use of manuscript, internal pacing and pauses, sense of closure were appropriate?)

Page 57: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Evaluation Criteria ~ Poetry

Judges evaluate each performer individually based on the total presentation. At the end of the round, performers are ranked in order of the quality of the presentations: Best is first, second best is second, and so on. All contestants are ranked. There can be no ties.

Page 58: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Evaluation of Introduction

Did the performer prepare you to listen to the selection?

Did the content, form, and delivery style of the introduction add to the over-all effectiveness of the performance?

Page 59: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Evaluation of Selection/Performance

Did the performer recreate the persona - the person talking in the poem? (age, gender, race, educational level, social status, psychological and dispositional traits, etc.)

Did the performance reflect the scene - when and where the poem takes place and appropriately indicate any changes in location or time? (in a living room, supermarket, automobile, classroom, etc; morning, evening, winter, summer, etc.)

Page 60: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Did the performer reveal the persona's purpose in saying the poem - why is the persona talking? (to convince, to persuade, to understand, to remember, to console, to tease, to explain, etc.)

Did the performer demonstrate an awareness of the audience - to whom is the person in the poem talking? (to him/herself? to another person? to a group of people?)

Page 61: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Did the performer make appropriate use of physical skills in the performance? (movement, gestures, expressions, stance, posture, eye contact, etc. were motivated by the text and purposeful to the performance?)

Did the performer make appropriate use of vocal skills in the performance? (dialect, dialogue, volume, rate, pitch, etc. were believable?)

Page 62: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

Was the performer in control of the literature? (was the material appropriate for the performer?)

Was the performer in control of the performance situation? (use of manuscript, internal pacing and pauses, sense of closure were appropriate?)

Page 63: Prepared by Melissa Freeman Oral Interpretation Guidelines The following information was borrowed from the 2001-2002 UIL Prose and Poetry Interpretation.

In conclusion…

For more information, visit the UIL website at: http://www.utexas.edu/admin/uil/index. html

Or ask me to see the UIL Prose and Poetry Handbook


Recommended