I NTERPRETATION E VENTS Dramatic Interpretation (DI) Humorous Interpretation (HI) Duo Interpretation (Duo) Prose/Poetry Recreating characters in a story presented and making them seem real.

T HE R ULES FOR I NTERPRETATION E VENTS DI, HI, Duo has a time limit of 10 mins., must be fully memorized, and performed without the use of physical props or costumes. Prose/Poetry – Scripts must be used! Cuttings or scripts must come from published materials. You must mention author of book and title where you got the published material. When performing, you decide your focal point –audience or otherwise. In duo, you may only look at each other in the intro. – no other time! You may not use a script you’ve previously used.

T HE C UTTING R ULES T HIS MUST ACCOMPANY YOU TO ALL TOURNAMENTS … A complete script of a cutting would include… A photocopy of every page used Pages must be put in the order of the cutting All words used must be highlighted Any changes must be made in ink

F INDING L ITERATURE F OR I NTERPRETATION E VENTS Read! Read! Read! And find the best 10 mins. that novel or play or whatever has to offer! Good selections have… Intelligence – make the audience want more, make their mental appetites want more Imagery – a good selection has great word pictures that come alive Intensity – make sure it’s something they’ll remember! Imagination – creativity that doesn’t destroy the author’s intent

F INDING L ITERATURE CONTINUED SOURCES NFL Cuttings Lists from Nationals Brooklyn Publishers Interp Resource Repository php?catid=9 php?catid=9 Scriptcity.com Google publishing companies! Or scripts!

H OW TO C UT L ITERATURE FOR A 10 MIN P ERFORMANCE E LIMINATING THE PARTS OF A SCRIPT THAT YOU DON ’ T WISH TO PERFORM SO THAT YOU CAN CLEARLY VIEW THE PORTIONS OF THE SCRIPT THAT YOU DO WISH TO PERFORM.

H OW TO C UT L ITERATURE T HE 5 P ART C HA C HA C HA M ETHOD 1. Chunking – Find the sections of the literature you want to perform! Copy these pages!! 2. Chucking – Throw away all the sections you do not wish to perform! 3. Choosing – Highlight the actual lines you want to perform! Make sure a coherent plot can be seen from what you highlight! 4. Checking – Check what you have by reading it aloud. 5. Chipping – Chip away lines that do not enhance the cutting.

W RITING I NTRODUCTIONS W HY ARE THEY IMPORTANT ? Introductions are the only time when you the interper can be yourself. Introductions provide arguments that justify the merit of your selection. How to write an introduction… Identify what scenes your selection is made up of… Determine the theme (love, coping with death) of your cutting! Evaluate what the character’s experience is in relationship with the theme. How is your piece unique?! Arguments presented in your piece? A maxim? “Slow and steady wins the race…” Don’t forget to include title and author at the end

C REATING C HARACTERS Body Stances – each character must look different Normal, chest out, or the slouch. Gestures specific to character? Voice – use pitch, tone, fluctuation, placement, and tempo to vary your characters. Facial Expressions How to transition from character to character! Popping – sharp, quick movements Melting – slow and flowing movements

B LOCKING Y OUR P IECE Environmental Blocking - where you consider your environment – If it takes place in a kitchen, someone should be fixing a meal? Technical Blocking – dancing or nonsensical movements Be sure your movement connects to your piece and helps us understand what is going on in the piece!

H OW TO P OLISH YOUR P IECE Y OUR A RT ! Purpose – Find meaning in that printed page, and communicate meaning Exaggeration – Is it appropriate? Does the script motivate that exaggeration? Remember, less is more at times. Be committed to the selection! Always! Silence is a valuable tool! Polish those voices so they accurately convey meaning. Implement suggestion – Let the listener use their imagination!