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INTERPRETATIVE

READING

TRADITIONAL ROOTS
OF ORAL READING

One of the oldest forms of


speech
is
the
oral
interpretation of literature.
This performance is variously
called oral reading, reading
aloud
or
interpretative
reading.
In the 18th and 19th centuries,
the oral performance of
literature was known as

Ancient literature, before


the invention of printing was
originally
read
aloud.
Historians read their works,
poets recited their poems
during festivals, even going
from town to town as bards.
However, with the advent of
printing, reading became

Today,
however,
many
believe that literature is
meant to be heard and,
given the right interpreter
and the right audience,
most literature will be
appreciated
when
read
aloud.

INTERPRETATION

Interpretation
is
generally
known as the reading aloud of
written materials such as radio
or
television
commercials,
expository papers, news items,
and
announcements,
but
traditionally it is associated with
the oral reading of literature.

A number of students train for oral


interpretation for the following
reasons:

to learn the techniques of delivery


to communicate to an audience
to know more about the writer
to experience the beauty of the
literary work

In oral interpretation, the


interpreter must be
concerned not only in
using his voice, but also
in delivering the message
of the literary selection to
an appreciative audience.

THE CONCEPT OF
ORAL INTERPRETATION

Interpretation

is the study of
literature through the oral
performance of a speaker who
creates and recreates the
meaning and mood of the
selection.

INTERPRETAT
ION

PERFORMI
NG ART

INTERPRETER
REALIZES
AND
ACTUALIZES
THE
LITERARY
WORK HE IS
RECITING.

The

interpreter makes real


the scenes, makes lifelike
the characters, and renders
natural and convincing the
moods of the selection.

This

enables his listeners to


see
the
scenes
for
themselves and actually
feel the emotions in the

THE PROCESS OF ORAL


INTERPRETATION

SENDE
R

MESSAG
E IN
CHANNE
L
(VISUAL
)

DECODE

ORAL
INTERPRET
ER

RECEIVER/
SENDER

ENCOD
E

PERFORMA
NCE

MESSAGE
IN
CHANNEL
(AUDITOR
Y-VISUAL)

LISTENN
G
AUDIENC
E

RECEIVER

ORIGIN
AL
AUTHO
R

PRINT
ED
POEM
PROSE
PLAY

READING ALOUD

READING ALOUD
REMEMBER!

Reading aloud is
NOT expressing
the
printed
selection
in
a
booming voice, a
sudden outburst
or in an overly
distinct voice.

It is the process of
reading orally for
an audience, using
the elements of
voice and diction
in order to convey
the meaning and
mood
of
the
selection
accurately.

READING ALOUD
It is not merely repeating words and
reciting lines. It is internalizing the
piece thinking, understanding and
feeling the authors meaning and
mood , using the proper quality, pitch,
intensity, rate, including pausing,
phrasing and bodily actions to
actualize the mood intended by the
writer.

READING ALOUD

INTERPRETER

READER

HE TRANSFORMS THE
PRINTED SELECTION
INTO
LIVING
SPEECH,
RECREATING FOR HIS
AUDIENCE
THE
THOUGHTS
AND
FEELINGS OF THE
WRITER
AS
ACCURATELY AS HE
CAN.

READING POETRY

MECHANICS OF
INTERPRETING
POETRY
Good

oral
reading
and
interpretation entails good
preparation the thorough
understanding
of
the
selection and the proper
expression of the literary
piece.

POINTERS
A.

Understand the selection. You must


not only know the general content of
the selection; you must have
actually liked and enjoyed the piece.
1.

Read the selection silently knowing


and understanding the meaning of
each word and each sentence.
Knowing the background of the
story
and
consulting
reliable
sources for meaning will help.

POINTERS
2.

Consider
the
attitude,
feelings,
emotion or temperament of the
person who wrote the selection
because these give meaning to his
words and point to the style of
reading aloud you will use in your
interpretation. Knowing the life of the
author and the circumstances that led
to the writing of the poem or story
provides a clue to the emotional
background of the selection.

POINTERS
3.

Identify words and ideas you


need to emphasize.

4.

Recall your own experiences


to help you in understanding
the authors mood and guide
you in recreating the authors
feelings.

POINTERS
B.

Express
the
selection.
Now,
translate these meanings and
moods into action. Put your vocal
skills into good use for you cannot
interpret silently.
1. Emphasize the meaning. Read

the selection accurately without


adding, subtracting or changing
any word or phrase.

POINTERS
2.

Emphasize the mood. Your


interpretation of the lines
should be alive and the
selection should be born
again. Aim for the desire to
create something of beauty
or greatness, whether poetry
or prose.

POINTERS
3.

Watch for the time limit.


Sustain
the
appreciative
listeners enthusiasm and
attention by speaking well
within a definite time limit.
End your performance while
you still hold the interest of
the audience.

BODILY ACTION FOR


EXPRESSION

Closely related to rhythm and


meaning is body movement.
Interpretation must not be only
vocal but also physical. The body
must coordinate with the voice so
that rhythm and bodily action act
as one.

All your actions must be sincere,


spontaneous, fresh, forceful and
convincing.

BODILY ACTION FOR


EXPRESSION

Make your reading alive not only


through your voice but also with
your body. However, suit your
actions to the words and the
intended meaning and mood
without overdoing them for they
might
detract
rather
than
enhance your oral interpretation.

EXERCISE
To get your body started,
pantomime each of the following
situations with or without speech.
1.
2.

Pantomime a long distance


telephone conversation.
Be a repentant sinner pleading
for forgiveness.

EXERCISE
3.

4.

5.

You are the triumphant winner of


a
recent
beauty
contest;
acknowledge the applause from
your fans.
Be a student who comes very late
to class carrying several books,
two of which fall on the floor;
make motions to pick them up.
Whisper a secret to an imaginary
companion.

EXERCISE
6.
7.
8.
9.

Be a professional singer performing


for a nightclub audience.
Be a dancer slightly swaying to the
music.
Be a cheerleader of a basketball
team; cheer for your favorite player.
Pantomime an oral interpretation of
a poem. Grip the floor with your feet,
straighten up and feel ten feet tall.

EXERCISE
10.Say

the following lines from


Invictus. Hold your head up
high and feel proud as you
say:
I am the master of my fate;
I am the captain of my soul.
- Henley -

REFERENCE
Flores, Carmelita S. and Evelyn B.
Lopez.
Effective
Speech
Communication.
5th
ed.
Mandaluyong City: National
Bookstore, 2008.

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