Roles in Interpretation,9780697327314

Roles in Interpretation

by
Edition: 4th
ISBN13: 9780697327314
ISBN10: 0697327310
Format: Paperback
Pub. Date: 1998-06-16
Publisher(s): McGraw-Hill Higher Education
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List Price: $92.70

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Summary

Tailored for novice students, yet challenging enough for advanced students, the text stresses the importance of studying literature through performance. This revision covers new multicultural and nontraditional literature. Chapter 9, "Assorted Roles", features an expanded discussion of the various selections.

Table of Contents

PART ONE: INITIAL ROLES 1(159)
1 Your Role in Interpretation
1(39)
Introducing Solo Interpretation Performance
3(5)
The Roles We Play
3(1)
Literature and Solo Interpretation Performance
4(1)
Acting and Solo Interpretation Performance
5(2)
Public Speaking and Solo Interpretation Performance
7(1)
What Are the Values of Solo Interpretation Performance?
8(1)
What Is the Difference between Solo Interpretation Performance and Oral Reading?
9(1)
What Is Intertextuality?
10(3)
Class Exercises
12(1)
Is Interpretation Different from Other Literature Courses?
13(1)
What Is Interpretation?
14(7)
Interpretation Is an Art
14(1)
Interpretation Is a Process
15(3)
Interpretation Is the Study of Literature
18(1)
Literary Speakers
18(2)
Literary Audiences
20(1)
Interpretation Is Sharing Literature with an Audience
20(1)
What Literary Selection Should I Choose?
21(5)
Universality
23(1)
Individuality
23(1)
Suggestion
24(1)
Class Exercise
25(1)
How Do I Prepare a Selection for Performance?
26(2)
A Sample Analysis and Performance
28(1)
Suggestions for "The Use of Force"
28(10)
A Sample Analysis of "The Use of Force"
32(1)
Performance Suggestions for "The Use of Force"
33(4)
Composing and Presenting the Introduction
37(1)
Summary
38(2)
2 Your Role with Literature: Appreciation
40(34)
What Is Literature?
41(6)
What Types of Literature Are Available?
47(1)
Generic Classification
47(1)
How Do I Find the Right Selection?
48(4)
Appreciating Literature
52(1)
An Anthology of Texts for Your Appreciation
52(13)
Summary
65(1)
Sources to Check for Selections to Perform
66(8)
3 Your Role with Literature: Analysis
74(34)
Types of Literary Analyses
75(5)
The Dramatistic Analysis
80(8)
A Sample Dramatistic Analysis of "Ringing the Bells"
80(3)
Performance Suggestions for "Ringing the Bells"
83(1)
Class Exercise
84(4)
The Modal Approach
88(15)
Speaker Modal Analysis
88(5)
Audience Modal Analysis
93(2)
Generic and Modal Classifications Combined
95(3)
Summary of Lyric, Dramatic, and Epic Mode Characteristics
98(4)
Class Exercise
102(1)
A Sample Modal Analysis of "Dover Beach"
103(3)
Summary
106(2)
4 Your Role in Rehearsal and Performance
108(38)
The Introduction
110(4)
Styles of Delivery
111(1)
Content
112(2)
Using the Script/Memorization Techniques
114(7)
Memorization Techniques
118(3)
Class Exercise
121(1)
Using the Lectern
121(1)
Cutting
122(1)
Imagery and Sensory Showing
123(3)
Imagery
123(1)
Sensory Imagery
124(1)
Sensory Showing
125(1)
Aesthetic Distance
126(1)
Empathy and Sympathy
127(2)
Focus
129(12)
Projection
129(1)
Shifts in Audience Mode
130(3)
Class Exercise
133(4)
Character Placement
137(2)
Dissolve Technique
139(1)
Class Exercise
140(1)
Time and Place Changes
140(1)
Tensiveness
141(2)
Meeting the Audience
143(2)
Summary
145(1)
5 Your Role as Audience and Evaluator
146(14)
Your Responsibilities as an Audience Member
147(4)
Your Role as Audience: To Listen
147(2)
Your Role as Audience: To Constitute
149(1)
Your Role as Audience: To Accept
150(1)
Your Role as Audience: To Respond
151(1)
Your Responsibilities as an Evaluator
151(6)
General Guidelines for Evaluation
152(3)
Specific Guidelines for Evaluation
155(2)
Summary
157(3)
PART TWO: LITERARY ROLES 160(233)
6 Your Role with Prose Fiction
160(42)
A Sample Analysis of "The Open Window"
161(3)
Who Is Speaking?
164(15)
Point of View
165(1)
Point of View and "The Open Window"
166(1)
First-Person Point of View
167(2)
Third-Person Point of View
169(2)
Second-Person Point of View
171(1)
Performance and Point of View
171(3)
Class Exercise
174(5)
Whom Is the Narrator Speaking To?
179(2)
What Does the Narrator Speak About?
181(2)
Where Does the Narrator Tell the Story From?
183(1)
When Does the Narrator Tell the Story?
184(6)
Rhythm of Action
185(4)
Actual Time and Virtual Time
189(1)
How Is the Story Told?
190(4)
Tone and Style
190(1)
Mood
191(1)
Direct and Indirect Discourse
192(1)
Tag Lines
193(1)
Why Is the Story Told?
194(1)
Modal Analysis of Prose Fiction
195(2)
Putting It All Together
197(2)
Selected Prose Fiction Texts Appropriate for Performance
199(2)
Summary
201(1)
7 Your Role with Drama
202(56)
Drama and Prose Fiction
203(1)
What Are the Basic Characteristics of Drama?
204(1)
Who Is Speaking?
204(21)
Character
204(6)
Body Fact and Body Act
210(7)
Structural and Transactional Analysis
217(7)
Class Exercise
224(1)
Who Is Being Addressed: Audience Mode
225(5)
What Do the Characters Speak About?
230(2)
Plot
230(2)
Where and When Does the Play Take Place?
232(1)
How Do the Characters Speak?
233(4)
Diction and Music
233(4)
Why Are the Characters Speaking?
237(2)
Character Motivations and Intentions
237(1)
Thought
238(1)
Spectacle: The Visual and Auditory Dimensions
239(1)
Spectacle Fact and Spectacle Act
239(1)
A Sample Analysis of "Constantinople Smith"
240(13)
Analysis of Constantinople Smith
248(1)
Analysis of Christina
248(1)
Analysis of Reality
249(1)
Performance Suggestions for "Constantinople Smith"
250(3)
Speaker and Audience Mode and Drama
253(1)
Putting It All Together
254(1)
Selected Plays Appropriate for Performance
255(2)
Summary
257(1)
8 Your Role with Poetry
258(56)
Begin Analysis with the Poem's Title
260(1)
Who Is Speaking? and Who Is Being Addressed?
261(12)
Mode
261(1)
Genres of Poetry
261(2)
Class Exercise
263(3)
Class Exercise
266(3)
Class Exercise
269(3)
Class Exercise
272(1)
What Is the Speaker Speaking About?
273(4)
When and Where Does the Speaker Speak?
277(2)
How Does the Speaker Speak?
279(28)
Sensory Imagery
280(1)
Class Exercise
281(1)
Literary Imagery
281(4)
Class Exercise
285(1)
Tone Color
286(5)
Meter
291(4)
The Most Common Types of Metrical Feet
295(1)
Rhythmic Variety
296(4)
Class Exercise
300(1)
Conventional Verse and Free Verse
301(1)
Metrical Prosody Types
301(2)
Fulcrum
303(4)
Climaxes
307(1)
Why Does the Speaker Speak?
307(1)
Putting It All Together
308(1)
Selected Poems Appropriate for Performance
309(2)
Summary
311(3)
9 Assorted Roles
314(54)
Your Role with Additional Literary Forms and Performance Styles
315(1)
Literary Forms
315(34)
Letters
317(4)
Diaries
321(4)
Essays
325
Biographies, Autobiographies, Histories
331
Children's Literature
326(18)
Postmodern Literature
344(5)
Performance Styles
349(19)
The Program Performance
349(5)
The Media Performance
354(5)
Personal Narratives
359(3)
Class Exercise
362(1)
Performance Art
362(3)
Class Exercise
365(1)
Summary
365(3)
10 Your Role as Group Performer: Readers Theatre and Chamber Theatre
368(25)
Experimental Group Performance Possibilities
370(20)
Readers Theatre
371(11)
Chamber Theatre
382(8)
Summary
390(1)
Selected Texts on (or Including Information on) Group Interpretation
390(3)
Appendix: Career Opportunities in Interpretation 393(14)
Glossary 407(10)
Bibliography 417(8)
Author-Title Index 425(8)
Subject Index 433

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