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actually reading the text; prevents "speed reading" helps identify hard to say words/phrases, increases familiarity with the language of the text |
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talk back to the text; raise questions; comment on the actions or language choices |
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to understand the text you must understand what it means; look up unfamiliar words or phrases |
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write the story in your own words to get used to the ideas expressed in the text; stick as close to the style of the language of the text as possible, including the same point of view |
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write a brief synopsis of the text by stating what is happening to whom |
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compare your response to the text with that of someone else--a friend, classmate, a critic; another's opinion will likely extend and enrich your own |
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Physical and Vocal Exercises |
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since performing requires the use of the body and voice, begin to prepare yourself physically and vocally; warm up for a performance as you would for an athletic or musical event. |
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psychologically, you must really see, feel and experience the text when your perform; learn not to fake emotions or merely recite words from memory; work on putting real thought and emotion into the words and movements; create an inner monologue while performing and rehearsing. |
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Imaginative Autobiography |
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write and autobiography for the speaker you are portraying; create a life before and after the events of the story |
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sometimes authors develop similar themes or use language in similar ways in their other works; this could give your clues to understanding your text |
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do a line by line analysis to discover the speaker's motivations for saying these words this way at this time |
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since your perform actions, you need to know what the speaker is doing with this utterance; especially useful during the rehearsal process; go line by line through the text to determine the action of the speaker--use present tense action verbs--try to avoid simplistic or inactive verbs like "says" |
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write a statement for yourself expressing what you understand the overall meaning, message, moral, theme, point of the text to be |
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7 differences between silent reading and oral performance
ORAL PERFORMANCE |
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Definition
1. usually multiple audience members
2. usually a public experience
3. rehearsed; can't be reread by same audience
4. spoken aloud; demands vocal flex
5. demands constant mental and physical responsiveness
6. requires embodiment
7. goal is instand intelligibility of the metaworld |
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7 differences between silent reading and oral performance
SILENT READING |
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Definition
1. single audience member--the reader
2. usually a private experience
3. not rehearsed; can be reread by same audience
4. not spoken aloud; doesn't demand vocal flexibility
5. demands constant mental responsiveness
6. doesn't require full embodiment to communicate; empathy is present but not shown
7. goal is ultimate intelligibility of the metaworld
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Values of Performing Literature
-revelatory to the performer- |
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Definition
-making self discoveries
-understanding motivations better, or more complex
-whats subtle in silent reading may become more dramatic |
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Values of Performing Literature
-revelatory to the listeners-
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-reveal insights to the audience they may have overlooked
-enhance insights ignored by silent reading
-instance of the text to those who have not heard it |
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Values of Performing Literature
-physically, vocally, and psychologically engaging-
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Definition
-performance is a full participation activity
-silent reading is more passive than performance; make more emotional and mental connections to text
-make all words specific, engaging whole being vs silent reading and being able to skim over parts that are less interesting to reader |
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Values of Performing Literature
-synthesizing process-
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Definition
-at given moment, performance envokes all of experience with a text--research into the text and performer's understanding of text reflects experience |
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Values of Performing Literature
-within the capacities of all of us-
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Definition
-everyone has cultivated the necessary skills and sensibilities to some extent..we all perform all the time |
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Strine, Long, and Hopkins |
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-the nature of performance creates multiple ways of thinking, can be different for different people |
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act of making, not faking |
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-a mode of behavior(human action) or quality that may characterize any activity, depending on how it's framed |
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-simply saying something is performance makes it performance; expand views, be crazy |
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-strips of twice behaved behavior; REHEARSALS MAKE A PERFORMANCE |
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-aesthetically marked and heightened mode of communication
-framed in specific ways, presented to an audience
-points out cultural, social, aesthetic dimensions of the communication process--more meaning than whats on the surface |
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R. Pelias and Van Oosting |
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Definition
-aesthetic communication-performer accepts responsibility for actions, evaluations by others
-integrally tied to specific events
-culturally specific and cross-culturally variable |
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-performances for performance sake
-artistic, entertaining performances
-formal characteristics
+painting
+ballet
+stage shows
+movies |
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-obviously performative activities
-all attention to special moments in the life of a community
-often calenderical/seasonal
-rituals, ceremonies(mardi gras, funerals)
-goes beyond the self |
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Everyday Life Performances |
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Definition
-ways people use performance to get things done in daily lives (persuade others, attain goals)
-roles we play
-seem like natural behaviors but are learned |
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