1. Ensemble Interpretation Duo Interpretation Choral Ensemble Chamber Theatre Readers’ Theatre

2. Ensemble Interpretation Ensemble interpretation – Two or more performers set out to bring a literary selection alive Ensemble interpretation – Two or more performers set out to bring a literary selection alive Interdependence – Reliance on each other for performance outcome Interdependence – Reliance on each other for performance outcome Independence – Reliance on self for performance outcome Independence – Reliance on self for performance outcome

3. Ensemble Interpretation Presentational staging – Suggestion, not reality; the art form is being portrayed, not life Presentational staging – Suggestion, not reality; the art form is being portrayed, not life Action, Movement, and Physical Arrangement Action, Movement, and Physical Arrangement This to be kept to a minimum but still necessary This to be kept to a minimum but still necessary

4. Ensemble Interpretation Focus – where attention is directed Focus – where attention is directed Offstage focus (Out-front) – reader addresses or speaks to other reader/characters as if they were out front or in the audience Offstage focus (Out-front) – reader addresses or speaks to other reader/characters as if they were out front or in the audience Onstage focus – reader/characters relate to each other on the stage Onstage focus – reader/characters relate to each other on the stage Narrator – focuses eye contact on audience Narrator – focuses eye contact on audience

5. Ensemble Interpretation Body positions: Body positions: Entrance – face audience Entrance – face audience Exit – back to audience or lowering of head Exit – back to audience or lowering of head Freeze position – temporarily have withdrawn from the developments on stage Freeze position – temporarily have withdrawn from the developments on stage Varying head levels or heights of readers – a means to provide emphasis and contrast in performance Varying head levels or heights of readers – a means to provide emphasis and contrast in performance

6. Ensemble Interpretation Multimedia devices – to help share meaning but not to be used as gimmicks. Multimedia devices – to help share meaning but not to be used as gimmicks. Overhead projections Overhead projections PowerPoint presentations PowerPoint presentations Slides Slides Videotape Videotape DVDs DVDs These provide visualization to performance These provide visualization to performance

7. Ensemble Interpretation Audio tapes Audio tapes CDs CDs Live music/sounds Live music/sounds These help to set mood for a performance These help to set mood for a performance

8. Duo Interpretation Two person interpretation of any type of material Two person interpretation of any type of material Humorous/Serious Humorous/Serious Poetry/Prose/Drama Poetry/Prose/Drama Performers may not have eye contact except in the introduction and during transitions Performers may not have eye contact except in the introduction and during transitions Performers may not touch Performers may not touch

9. Choral Ensemble Group interpretation of poetry Group interpretation of poetry Individuals understand and express the ideas, emotions, and moods inherent in their poetic selection Individuals understand and express the ideas, emotions, and moods inherent in their poetic selection Poem should allow for the possibility of organized mass effects Poem should allow for the possibility of organized mass effects Poem should be enhanced by the addition of an ensemble Poem should be enhanced by the addition of an ensemble May divide the group into solo(s) and chorus (works well with refrains) May divide the group into solo(s) and chorus (works well with refrains)

10. Chamber Theatre A group interpretation of narrative prose A group interpretation of narrative prose Narrator usually delivers his/her lines with an out-front focus. (Characters use out-front focus when they express their own unspoken thoughts or engage in indirect discourse.) Narrator usually delivers his/her lines with an out-front focus. (Characters use out-front focus when they express their own unspoken thoughts or engage in indirect discourse.) Narrator has the opportunity to physicalize his/her relationship to the character. Narrator has the opportunity to physicalize his/her relationship to the character.

11. Readers’ Theatre Ensemble Group interpretation of drama or dramatic poetry Group interpretation of drama or dramatic poetry May use props May use props

12. Assignment 1: Duo Interpretation Chose any type of material Chose any type of material Humorous/Serious Humorous/Serious Poetry/Prose/Drama Poetry/Prose/Drama Use all Your Oral Interpretation Skills Use all Your Oral Interpretation Skills Plan Stage Arrangement Plan Stage Arrangement Use Offstage (out-front) focus during body of piece Use Offstage (out-front) focus during body of piece Introduction may use offstage or onstage focus Introduction may use offstage or onstage focus Plan transitional movement Plan transitional movement

13. Assignment 2: Choral Ensemble Group interpretation of poetry Group interpretation of poetry Individuals understand and express the ideas, emotions, and moods inherent in their poetic selection Individuals understand and express the ideas, emotions, and moods inherent in their poetic selection Poem should allow for the possibility of organized mass effects Poem should allow for the possibility of organized mass effects Poem should be enhanced by the addition of an ensemble Poem should be enhanced by the addition of an ensemble May divide the group into solo(s) and chorus (works well with refrains) May divide the group into solo(s) and chorus (works well with refrains) Must have at least three in group/no more than six. All parts should be equal. Must have at least three in group/no more than six. All parts should be equal. Use all your oral interpretation skills Use all your oral interpretation skills Plan stage arrangement Plan stage arrangement Plan stage movement Plan stage movement pp. 341-355

14. Choral Ensemble Pieces “There Was a Frog” pp. 341-343 “There Was a Frog” pp. 341-343 “Trio” pp. 345-348 (3 or 6 performers) “Trio” pp. 345-348 (3 or 6 performers) “The Walrus and the Carpenter” pp. 353- 354 “The Walrus and the Carpenter” pp. 353- 354 “Love Your Enemy” pp. 352-353 “Love Your Enemy” pp. 352-353 “What’s That Smell in the Kitchen?” pp. 351-353 “What’s That Smell in the Kitchen?” pp. 351-353 “Macavity, the Mystery Cat” pp. 255-256 “Macavity, the Mystery Cat” pp. 255-256

15. Assignment 3: Chamber Theatre A group interpretation of narrative prose A group interpretation of narrative prose Narrator usually delivers his/her lines with an out- front focus. (Characters use out-front focus when they express their own unspoken thoughts or engage in indirect discourse.) Narrator usually delivers his/her lines with an out- front focus. (Characters use out-front focus when they express their own unspoken thoughts or engage in indirect discourse.) Narrator has the opportunity to physicalize his/her relationship to the character. Narrator has the opportunity to physicalize his/her relationship to the character. Use all your oral interpretation skills Use all your oral interpretation skills Plan stage arrangement Plan stage arrangement Plan stage movement Plan stage movement pp. 356-361

16. Chamber Theatre Pieces “The Cat and the Mouse Together” pp. 357-360 (3) “The Cat and the Mouse Together” pp. 357-360 (3) “Zapp” pp. 360-361 (5) “Zapp” pp. 360-361 (5) “The Little Prince” pp. 236-238 (3) “The Little Prince” pp. 236-238 (3) “Alice’s Adventures in Wonderland” pp. 240-243 (5) “Alice’s Adventures in Wonderland” pp. 240-243 (5)

17. Assignment 4: Readers’ Theatre Group interpretation of drama or dramatic poetry Group interpretation of drama or dramatic poetry Use all your oral interpretation skills Use all your oral interpretation skills Plan stage arrangement Plan stage arrangement Plan stage movement Plan stage movement pp. 361-369