Explains how oral interpretation is uniquely communicative and how the double bind theory of communication can include creativity. Discusses (1) double bind and oral interpretation, (2) creating aesthetic text, and (3) the performance of double bind. (PD)

Reaffirms the position of directors (Peter Brook, Tyrone Guthrie, Peter Hall, and others) concerning the "balance of power" between director and playwright in transforming a playscript into a theatrical performance. (PD)

Examines approaches to interpretation study contained in basic interpretation textbooks. Describes the performance criticism each approach generates. (PD)

Discusses metafiction (contemporary fiction) and the new relationship between subject and reader that challenges traditional practice of point of view in fiction. Suggests ways for the interpreter to deal with the performance of metafiction. (JMF)

This bibliography includes the more important books and articles on the oral interpretation of literature published (unless otherwise indicated) in the calendar year of 1972. Publications from ancillary fields of study, such as drama, literary criticism, aesthetics, linguistics, psychology, and education, are included if there are significant…

Communication models suggest that oral interpretation is a communicative process, that this process may be represented by specification of implicit and explicit content and structure, and that the models themselves are useful. This paper examines these assumptions through a comparative analysis of communication models employed by oral…

For those analyzing oral interpretation performance, the theory of Symbolic Interactionism can be used to explain two interrelated phenomena that occur during the performance: expanded understanding of the text (emergent meaning) and expanded understanding of oneself (development of the self-concept). George Herbert Mead, a founder of Symbolic…

Proposes a model for teaching oral interpretation as a literacy-based course for helping students to become more effective consumers, critics, and producers of "texts." Discusses two different sections of oral interpretation the author recently taught--the first focused on a traditional structure, and the second focused on the literacy-based model…

One of the rhetorical dimensions on which theatre exists is the rhetoric of production. This implies that the production, through examples, takes and urges an attitude toward the text. This argument provides a foundation for both the nature and the implications of interpreters theatre productions that advocate social issues. Theatrical…

This study presents a theory of oral interpretation as a communicative art. Oral interpretation is defined as a process of preparation, performance, and feedback. A descriptive model of feedback as an intrapersonal and then interpersonal communication process is developed. This process is described as containing the three subprocesses of…

Offers a system that can make up one element of a program to teach students delivery of broadcast news. Presents a principled approach, based on linguistic research, to teaching students how to decide what words to emphasize, so that they can mark their scripts before reading them aloud. Examines 18 textbooks and their treatment of delivery. (SG)

Describes a reading hour series that focused on Appalachian folk literature, American Indian literature, Oriental and Eskimo literature. The series was planned and executed by an interpretation group to enrich studies of intercultural communication. (MH)

Mark Twain was a strong proponent of the superiority of the spoken word. Realizing the importance of conversational style, Twain derived from and acted in accordance with the principles of communication effectiveness which subsequently formed theoretical bases for communication instruction by such scholars as James Winans and Charles Woolbert. An…

The interpretation semiotic system that governs interpretation performance pertains to a distinct code of stylized conventions and includes all of the visual and auditory aspects that are generally salient to the characteristics of a performance. The selection of a particular convention for the interpretation of a specific text involves an act of…

If dramatic characters are to be rendered "three dimensional" in performance, both the dramatist and the actor/interpreter must create them with proper attention to the physical, sociological, and psychological aspects of character. If oral interpreters understand these dimensions of a particular character, they can analyze such elements as…