Clarifies the principles behind preparing a piece of literature for a Readers Theatre production. Uses Sylvia Plath's autobiographical novel, "The Bell Jar," as an example. (PD)

Explains how information theory can be applied to the study of oral interpretation in ways that help performers understand and use the channels available to them in sharing literature with listeners. (PD)

Stressing the communicative aspects of oral reading, the author suggests ways to make oral interpretation more than a gauge of word perception. (MM)

Examines reasons why those who engage in performance and direct performances take up the burden. Considers performance an authentic, primary experience; a way of knowing; and also a way of knowing what is worth knowing. (PD)

Describes a program of oral interpretation of poetry for children as a springboard into the language arts program. Describes the poetic nature of children, acknowledges rhythm as an important component of spoken language and poetry, and suggests possibilities for bringing children and poetry together through rhythmical experiences. (JMF)

Presents a rhetorical perspective for examining Shakespearean dramatic texts and an instructional framework for translating that perspective into the teaching of solo performance of Shakespearean dramatic literature. Describes techniques for implementing classroom performance that will develop and demonstrate student understanding of the text.…

Study determines whether the preservation of poetry shape by an oral interpreter enhances the listener's mental perception and comprehension of selected poetry. Evidence supports the hypothesis that receivers could identify, comprehend, and appreciate the oral interpretation of poetry which stressed the preservation of its shape. (JMF)

Draws information from documents in the ERIC system to define oral interpretation, demonstrate its benefits for students, and describe classroom approaches to oral interpretation, including readers' theatre. (DD)

Explores the extent to which the scholarship of interpretation-in-performance parallels the knowledge of written literary criticism and contends that solo and group performance is a form of "published scholarship". (MH)

Describes an end-of-year assignment in which students, working in groups of three, prepare a program of literature for oral interpretation. (SR)

Examined the ability of 10 4-year olds to generate and identify themes by relating text to life experiences and identifying with the feelings of characters. The children could not generate theme statements after they heard the story, but could talk about thematic elements and identify an appropriate theme statement from choices offered. (SH)