I understand you may be interested in taking Oral Interpretation next semester. Please thoughtfully consider the information that follows, as well as the COURSE DESCRIPTION that follows. Pay particular attention to the attendance policy as described in the section on Aims below.
 
The class has been almost entirely comprised of fourth-year students in recent years.** I will look for a mix of students, that is, a variety of majors or intellectual interests, and different attitudes toward performance, from joy to fear and loathing, and those somewhere in the middle. It's not practical for me to respond to phone calls. If you have questions not answered by a careful reading of the course materials you may send me an e-mail.
 
Aims of the Course

This class helps build skill, confidence and enjoyment in public speaking or presentation. Students will give 6 to 8 readings chosen from a variety of types of literature, receiving feedback from classmates and from the course instructor. The course has proven useful both for those who enjoy performance and for those who are fearful of it. Memorization is not required. The pieces are to be read, rather than memorized and recited. 

We'll consciously aim to develop two different skill sets:
 
1) your own ability as an interpreter and presenter of literature -- that is, how to discover and make clear in oral delivery the variety of meanings (logical and emotional) contained in each selection.
 
and
 
2) your ability to coach others to better performances -- you'll hone your critical eye (and ear) and develop a vocabulary and set of practices or suggestions to offer others.
 
Because of those dual aims, the attendance policy for the class is very important. You must be there and ready to work at each and every class meeting and rehearsal session. It won't be difficult to decide what elements of your speaking persona you want to alter (for example, rate of speech or use of gesture or control of volume). Once you’ve made those decisions, the difficulty comes in changing a lifetime habit. This is not a course in which you can put off work, or think about it later, or cram, and do well. Many students have made remarkable progress over the semester, by working consistently at each small task.
 

 

There is also an outside-of-class requirement. Students will work in pairs to rehearse and develop a reading before presenting it in class. Each pair meets for a minimum of an hour prior to each in-class reading. Again, I call attention to the attendance policy. If you miss a rehearsal you impair your own and your partner's work.
 
Of course real life intervenes in the best laid plans. I understand that sickness or some unanticipated incident may cause a need to reschedule a rehearsal or in-class reading. I ask students to take initiative in communicating with me and with their coaching partner if that becomes necessary.

**This site contains materials helpful to anyone interested in oral skills development. http://speakyourmind.virginia.edu/

Judith Reagan
Senior Associate Director, Teaching Resource Center
Associate Professor, Drama
UVa PO Box 400136  Hotel D  24 East Range
Charlottesville, VA 22904  434-982-2867  fax: 434-982-3085
jude@virginia.edu

 

COURSE DESCRIPTION

 

Drama 1020, Oral Interpretation                  Spring 2015                Judith Reagan

 

T-Th, 9:30-10:45         Room 115B, Drama Building       982-2867                   jude@virginia.edu

 

Office hours by appointment at the Teaching Resource Center, Hotel D, East Range.

 

LEARNING OBJECTIVES:

In this course students build skill, confidence and enjoyment in public speaking or presentation. The course has proven useful both for those who enjoy performance and for those who are fearful of it. Students give 6-8 readings chosen from a variety of types of literature and receive feedback from classmates and the instructor. Working with the instructor and peer coaches, students build a sense of ensemble and hone interpersonal skills. Consistent use of basic voice and speech production techniques move students from tentative to confident speakers.

 

 Two distinct but related skill sets are developed:

• your own ability as an interpreter and presenter of  literature – that is, how to discover and make clear in oral delivery the variety of meanings (logical and emotional) contained in each selection

 

• your ability to coach others to better performances – that is, you’ll hone your critical eye (and ear) and develop a vocabulary and set of practices or suggestions to offer others

 

INSTRUCTIONAL METHODS:

As active and consistent participation is essential to oral skills development, students present approximately seven prepared staged readings of prose, poetry, comedy and drama, and are critiqued by peers and the instructor.  The final project/exam consists of an eight-minute presentation of readings on a single theme prefaced by a thoughtful introduction. For course readings and for the exam, memorization is not required. The pieces are to be read, rather than memorized and recited.

 

There is an outside-of-class requirement. Students will work in pairs to rehearse and develop a reading before presenting it in class. Each pair meets for a minimum of an hour prior to each in-class reading. Hence the first requirement listed below, attendance at all classes and rehearsals. If you miss a rehearsal you impair your own and your partner’s work.

 

KEYS TO SUCCESS:

The attendance policy for the class is very important. You must be there and ready to work at each and every class meeting and rehearsal session. It won’t be difficult to decide what elements of your speaking persona you want to alter (for example, rate of speech or use of gesture or control of volume). However, once you’ve made those decisions, the difficulty comes in changing a lifetime habit. This is not a course in which you can put off work, or think about it later, or cram, and do well. Many students have made remarkable progress over the semester by working consistently at each small task. It is each student’s responsibility to communicate with her/his coaching partner and with the instructor if sickness, travel or an unexpected incident causes a need to reschedule a rehearsal or in-class reading.

 

REQUIREMENTS:

attendance at all classes and rehearsals   -   participation in group exercises and discussions

readings as assigned   -   thoughtful responses to others’ performances

written components may include: introductions to and transitions within readings; rehearsal logs;   critiques of your own and others’ performances; concise written analyses of outside speakers or performers; journal entries; quizzes

GRADE DISTRIBUTION: Grading criteria will be discussed during the first class.

Readings (#2,3)                                                                       25%

Readings (#4,5)                                                                       25%

Final Presentation (#7, performance exam)                25%

Class Participation: coaching pairs, rehearsal work,   25%

  responding to others’ performances, class exercises,

  writing assignments, team teaching segment, reviews,

  quizzes 

 

 

 

 

In-Class Readings/Performances

 

Reading #1, first Free For All reading, 2-3 minutes, anything goes!    Write a brief introduction (not to be handed in). Choose something that interests you - nursery rhymes, recipes, diary, letter, newspaper column, poem, story, political speech, essay, instructions … anything you like

 

Reading #2  2-3 minutes, prose   Intro to be handed in after performance. Serious or comic tone.

 

Reading #3  2-3 minutes, poetry (not a sonnet)  Intro to be handed in, transitions if necessary. Can be one long or several short poems.

 

Reading #4  2-6 minutes, story   Folk tale, myth, or personal story

 

Reading #5  sonnet  Paraphrase of sonnet and written intro to hand in.  Shakespeare, Donne, Milton, Ben Jonson (Choose from among the earlier writers - I want you to handle the challenge of archaic language).

 

Reading #6, second Free For All reading, 3-4 minutes, your choice of material. The grade for this can replace a lower grade earned in Readings 1, 2 or 3.

 

Reading #7, final (a performance exam)  8 minutes, at least 4 selections, organized around a theme

Mix poetry and prose, mix moods (comic and serious). More description on this project will be given at a later date.

 

Writing Assignments

 

a 1-2 page commentary on one actor’s vocal and physical choices in creating a character -

from a Drama Department show (Culbreth, Helms, or Caplin Theater) or from a performance seen elsewhere - can be handed in any time during the semester  -  final date for acceptance, April 21

 

a 1-2 page commentary on a speaker you hear outside of class (guest lecturer in a class or forum, minister, politician) - must be a live (not taped or televised) speaking situation - analysis of their strengths as a speaker, and aspects on which they might improve - can be handed in any time during the semester - final date for acceptance, April 21

 

other brief writing as assigned, which may include responses to classmates’ readings

 

Tips on writing:  Proofread before you hand in or send to the list! Don’t hand in or email poorly written, imprecisely expressed comments.  This class is on ORAL presentation, but WRITTEN responses should reflect care and clear thinking.  Hint: read your work aloud before handing it in or forwarding it. Is it easy to read/understand?  If not, re-write it!!!