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| Basic Principles | |
| A Beginning and an End | |
| Interpretation Requires Communicating | |
| Interpretation Engages an Audience | |
| Interpretation Involves a Literary Work in Its Intellectual and Emotional Entirety | |
| Interpretation Celebrates a Literary Work in Its Aesthetic Entirety | |
| Important Early Questions: Why Perform? Is this Acting? | |
| Sources of Material | |
| Intertextuality | |
| Choosing Your Selection: Three Touchstones. The Sense of Death, Helen Hoyt. I Felt a Funeral, Emily Dickinson. Dulce, Deborah Sherman | |
| Preliminary Analysis: Hoyt's Poem | |
| Preliminary Analysis: Dickinson's Poem | |
| Preliminary Analysis: Sherman's Story | |
| Analyzing the Selection | |
| Preparing the First Performance | |
| Major Structural Components: New Words, Maury Yeston | |
| Major Aesthetic Components | |
| Using the Tools: The Story of an Hour, Kate Chopin. I Felt a Funeral, Emily Dickinson | |
| Synthesis | |
| Analyzing the Rehearsal and the Performance | |
| Selections for Analysis and Oral Interpretation: When I Heard the Learn'd Astronomer, Walt Whitman. Sonnet, John Keats. The Starlight Night, Gerard Manley Hopkins. Desert Places, Robert Frost. From A Christmas Memory, Truman Capote. Ringing the Bells, Anne Sexton. Dreaming, Amanda McBroom. Homework, Peter Cameron. Upon Learning That a Junior High School Acquaintance Has Been Nominated for an Academy Award, Joanne Gilbert. How to Watch Your Brother Die, Michael Lassell. From Harry Potter and the Sorcerer's Stone, J. K. Rowling | |
| Voice Development for Oral Interpretation | |
| Relaxation Technique | |
| Breath Control | |
| Volume and Projection | |
| Pitch and Quality: The Wild Honeysuckle, Philip Freneau. From I Hear America Singing, Walt Whitman | |
| Rate and Pause | |
| Intelligibility of Speech | |
| Dialect | |
| Selections for Analysis and Oral Interpretation: A Night at the Opera | |
| From A Very Rigid Search | |
| Confess, Early and Often | |
| Jabberwocky | |
| From The Little Girls | |
| Dover Beach | |
| Back at the Ranch | |
| Her Story | |
| The Lesson | |
| From The Night Chant, Navajo Ceremonial Chant, Translated | |
| From Blue Highways | |
| The Voice You Hear When You Read Silently | |
| Use of the Body in Oral Interpretation | |
| Technique | |
| Posture | |
| Kinesics | |
| Sense Imagery | |
| Empathy | |
| Using Your Body in Rehearsal | |
| Eye Contact | |
| Analyzing the Rehearsal and the Performance | |
| Selections for Analysis and Oral Interpretation: The Second Coming, William Butler Yeats. Flying Finish, Bill Hayes. Ulysses, Alfred, Lord Tennyson. Autumn Begins in Martins Ferry, Ohio, James Wright. From Friday Night Lights, H. G. Bissinger. The .38, Ted Joans. Still Life, Diane Ackerman. Girl, Jamaica Kincaid. Affirmative Action, Lucille Clifton. The Race, Sharon Olds. The Negro Speaks of Rivers, Langston Hughes. Old Lady's Winter Words, Theodore Roethke. From Jarheads, Anthony Swofford. From As You Like It, William Shakespeare. Admission of Failure, Phyllis Koestenbaum | |
| Interpretation of Prose | |
| Style and Types in Fiction and Nonfiction | |
| Style | |
| Types of Prose | |
| Selections for Analysis and Oral Interpretation: From June Recital, Eudora Welty. From The Joy Luck Club, Amy Tan. From The Revolution Remembered, John C. Dann, Editor. From Everything We Had, Al Santoli, Editor. From The Seacoast of Despair, Joan Didion. From I Know Why the Caged Bird Sings, Maya Angelou. From Women's Diaries of the Westward Journey, Lillian Schlissel, Editor. The Makeup Artist, Dana Tierney. To Austin Dickinson, Emily Dickinson. From Working, Studs Terkel. KEEP OUT! (A Boy's Bedroom), Lynda Barry | |
| Narration | |
| Who Is Telling the Story? Point of View | |
| What Is Going on Here? Action and Plot | |
| What Sort of People Live in This Story? Character | |
| What Are They Saying to Each Other? Dialogue | |
| Creating Character | |
| Where Is All This Taking Place? Setting | |
| Cutting and Excerpting | |
| Analyzing the Rehearsal and the Performance | |
| Selections for Analysis and Oral Interpretation: The Prison, Bernard Malamud. A&P, John Updike. Snow, Ann Beattie. From Sula, Toni Morrison. From The Lost Language of Cranes, David Leavitt. Popular Mechanics, Raymond Carver. Jacob's Chicken, Milos Macourek. The Key to My Father, Harlan Coben. From The Conversion of the Jews, Philip Roth | |
| Interpretation of Drama | |
| Solo Performance of Drama | |
| The Nature of Drama | |
| Why Perform Drama? | |
| What Is the Difference Between Acting and Interpretation? | |
| Structural Elements of a Play | |
| Analyzing a Scene | |
| Working a Scene | |
| Rhythm | |
| Style | |
| Scenography | |
| Putting It Together | |
| Selections for Analysis and Oral Interpretation: From Fifth of July, Lanford Wilson. From Fires in the Mirror, Anna Deavere Smith. From Othello, William Shakespeare. From She Stoops to Conquer, Oliver Goldsmith. From Flyin' West, Pearl Cleage | |
| Technique in Drama | |
| Technique in Interpretation | |
| Properties | |
| Embodying Characters | |
| Coordinating Bodies and Voices of Characters | |
| Physical Contact | |
| Interplay of Characters | |
| Physical Focus | |
| The Reading Stand | |
| Cutting and Excerpting | |
| Analyzing the Rehearsal and the Performance | |
| Selections for Analysis and Oral Interpretation: From Sunday in the Park with George, Stephen Sondheim. From Curse of the Starving Class, Sam Shepard. From Romeo and Juliet, William Shakespeare. From Betrayal, Scene Five, Harold Pinter. From Death and the King's Horseman, Wole Soyinka | |
| Interpretation of Poetry | |
| Language of Poetry | |
| Poetic Content | |
| Classification of Poetry | |
| Figurative Language: To Autumn, John Keats | |
| Poetic Syntax | |
| Tone Color | |
| Titles | |
| Analysis and Poems | |
| Selections for Analysis and Oral Interpretation: Power, Corrine Hales. The Windhover, Gerard Manley Hopkins. The Toast, Susan Minot. Wild Grapes, Robert Frost. Spring is like a perhaps hand, e. e. cummings. The House Was Quiet and the World Was Calm, Wallace Stevens. Nikki-Rosa, Nikki Giovanni. Saving Memory, Mary Stewart Hammond. Mid-Term Break, Seamus Heaney. On Sleeping Together, Barbara Howes. Talking in Bed, Philip Larkin. The Hospital Window, James Dickey. Most Like an Arch This Marriage, John Ciardi. First Grade, William Stafford. Preface to a Twenty Volume Suicide Note, Imamu Amiri Baraka | |
| Structure of Poetry | |
| Why Study Prosody? | |
| Kinds of Verse | |
| The Stanza | |
| The Line | |
| Cadences | |
| Rhyme | |
| Intention and Performance | |
| Analyzing the Rehearsal and the Performance | |
| Selections for Analysis and Oral Interpretation: One Art, Elizabeth Bishop. The Walking, Theodore Roethke. Do Not Go Gentle into That Good Night, Dylan Thomas. Journey of the Magi, T. S. Eliot. The Magi, Louise Glück. A Blessing, James Wright. Heartbeats, Melvin Dixon. Who Among You Knows the Essence of Garlic? Garrett Kaoru Hongo. My Last Duchess, Robert Browning. The Kilgore Rangerette Whose Life Was Ruined, Cynthia MacDonald. From Fatal Interview, Edna St. Vincent Millay. Cinderella, Anne Sexton. Cinderella's Story, Mona Van Duyn. Today Is a Day of Great Joy, Victor Hernandez Cruz. From Horses Make a Landscape Look More Beautiful, Alice Walker | |
| Group Performance | |
| Group Performance of Literature | |
| Readers Theater | |
| Chamber Theater | |
| Group Performance of Compiled Scripts | |
| Other Kinds of Literature | |
| Directing the Group Performance of Literature | |
| Some Concluding Cautions | |
| Analyzing the Rehearsal and the Performance | |
| Selections for Analysis and Oral Interpretation: From The Metamorphoses, Ovid. From The Caucasian Chalk Circle, Section III, Bertolt Brecht. 40-Love, Roger McGough. Forsythia, Mary Ellen Solt. Apfel, Reinhard Döhl. From Oedipus the King, Sophocles. Unforgiven, David Ray. After the Overdose, Robin Robertson. From Sunday Bloody Sunday, Penelope Gilliatt | |
| Appendix A. Building and Presenting a Program | |
| Selecting Material | |
| Unifying the Program: A Traditional Method | |
| Using Multiple Readers, Different Types of Literature, and Multimedia | |
| Staging the New York Times | |
| Other Options | |
| Adapting to the Audience | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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