Oral interpretation of poetry(teaching os speaking)

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Oral interpretation of poetry(teaching os speaking)

  1. 1. Republic of the Philippines St. Louise de Marillac College of Sorsogon Sorsogon CityCourse: The Teaching of SpeakingTopic: Oral InterpretationDiscussant: ALYSSA CARRANZAOral Interpretation is the study of literature through the oral performance of a speaker who createsand recreates the meaning and mood of the selection. STRATEGIES IN TEACHING ORAL READING(1) Definition and theory. The student recognizes oral interpretation as acommunication art. The student is expected to:(A) explain contemporary definitions and theories of oral interpretation asa communication art;(B) analyze the role of the interpreter and the ethical responsibilities tothe author, the literary text, and the audience; and(C) develop and use a workable theory of interpretation as a basis forperformance choices.(2) Selection. The student selects literature for performance. The student isexpected to:(A) select literature appropriate for the reader, the audience, and theoccasion;(B) apply standards of literary merit when selecting literature forindividual or group performance;(C) choose literature that can be appropriately adapted; and(D) select performance materials from a variety of literary genre.(3) Research. The student uses relevant research to promote understanding ofliterary works. The student is expected to:(A) read the text to grasp the authors meaning, theme, tone, and purpose;and(B) research the author, authors works, literary criticism, allusions in thetext, definition and pronunciations of words to enhance understanding andappreciation of the chosen text.(4) Analysis. The student analyzes the chosen text to assess its implications foradaptation, interpretation, and performance. The student is expected to:(A) identify and analyze the literary form or genre;(B) identify and analyze structural elements in the chosen text;(C) identify and analyze the narrative voice and/or other speakers(personae) in the literature;(D) identify and analyze the time, place, and atmosphere (locus); (E) analyze the shifts or transitionsin speaker, time, and place todetermine who is speaking, to whom, where, when and for what reason;
  2. 2. (F) analyze individual units such as paragraphs, verses, sentences, andlines for meaning and specificity;(G) identify descriptive phrases, figures of speech, stylistic devices, andword choices to analyze the imagery in the text;(H) trace the emotional progression of the text; and(I) recognize literal and symbolic meanings, universal themes, or uniqueaspects of the text.(5) Adaptation. The student adapts written text for individual or groupperformance based on appropriate research and analysis. The student is expectedto:(A) maintain ethical responsibility to author, text, and audience whenadapting literature;(B) apply appropriate criteria for lifting scenes and cutting literaryselections;(C) use effective strategies for planning and organizing programs focusedon a specific theme, author, or central comment; and(D) write appropriate introductions, transitions, and/or conclusions tosupplement the text.(6) Interpretation. The student applies research and analysis to make appropriateperformance choices. The student is expected to:(A) justify the use or nonuse of manuscript or other aids;(B) justify strategies for the use of focus, gesture, and movement;(C) justify the use of vocal strategies such as rate, pitch, inflection,volume, and pause;(D) justify the use of dialect, pronunciation, enunciation, or articulation;and(E) use research, analysis, personal experiences, and responses to theliterature to justify performance choices.(7) Rehearsal and performance. The student uses insights gained from researchand analysis to rehearse and perform literature for a variety of audiences andoccasions. The student is expected to: (A) use effective rehearsal strategies to promoteinternalization andvisualization of the text;(B) use appropriate rehearsal strategies to develop confidence andenhance effective communication of the text to an audience in individualand group performance;(C) participate in effective group decision-making processes to prepareand present group performances; and(D) present individual and group performances.(8) Evaluation. The student uses critical and appreciative listening to evaluateindividual and group performances. The student is expected to:(A) listen critically and appreciatively and respond appropriately toperformance of others;(B) analyze and evaluate various performance styles;(C) use a variety of techniques to evaluate and critique own and othersperformances; and(D) set goals for future performances based on evaluation.
  3. 3. OTHER TIPS FOR SUCCESSFUL ORAL READING1. Sample the content.When you or your students find a selection that promises tobe good for oral reading, try it out. Read samples aloud tosee if it keeps its promise. Notice that some stories,biographies, and information materials have cadence. Theycome alive and seem quite musical when read orally.Encourage students to go on a hunt to find those selections. 2. Talk about the authors purpose. It isnt enough just to say that an authors purpose is to inform or entertain. Oral readers must dive into the authors secrets:Engaging oral They must think how the purpose isreading is accomplished. In Brian Jacques Redwall forabout both instance, the author – and you, the reader –reading must make an abbey full of cloned micepowerfully seem absolutely believable. Shiloh, byand listening Phyllis Reynolds Naylor, must make usattentively suffer for the sake of a mistreated dog. Think about and talk about the authors purpose. That will clarify your oral reading purpose and create a direct link between reader and listeners.3. Mind the language.Find the places where the language sounds like what it means. InRedwall, Brian Jacques writes,"The new day dawned in a haze of soft sunlight." Read that simple sentence aloud. Then coachyourself by figuring out how the word sounds (e.g. soft and sunlight) help create the image. Goodoral readers – teachers and students alike – will reflect the sound-meaning relationships. In theirminds, readers and listeners see the image as they hear the words.4. Experiment with your technique.Professionals use two techniques to make their reading crackle: topping and pause. With topping,each sentence of phrase is spoken with more intensity than the preceding one, so that theres abuild-up. Use topping when you want to build suspense or when youre approaching a punch line.And dont forget the pause, which gives listeners a chance to absorb. I teach topping and pauseto students. I have them mark topping places with a small upward arrow. They mark pauses withtwo diagonal lines (/ /).5. Practice, practice, practice.Practice can really help some readers with their presentation, but lets be realistic. Busy teachersmay not have time to practice their oral reading skills outside of class. Many get their practice onthe job. If thats you, dont despair. Youre working in a living laboratory, where you get instantfeedback. Just keep your focus on the cadence and the authors purpose youre trying to convey.Students, on the other hand, need practice away from the tension of an audience. I keep a stuffeddog in the classroom for this purpose. I often tell students, "Go read this selection aloud to thedog." And they do. The dog gives them focus, and a semblance of listener. (I know some realcanines who are good at doing that, too.) Sometimes I have students practice in pairs. I teach the"listening half" of the pair to give positive feedback.6. Prepare the audience.The best audience is one that listens! It does not have copies of what is being read. It does nothave distracting items such as pencils or popcorn. Simply stated, the best audience is prepared toinvest itself in the reading. It is part of the oral reading performance.

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