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Ensemble Interpretation

Ensemble Interpretation

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Ensemble Interpretation

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  1. Ensemble Interpretation Duo Interpretation Choral Ensemble Chamber Theatre Readers’ Theatre

  2. Ensemble Interpretation • Ensemble interpretation – Two or more performers set out to bring a literary selection alive • Interdependence – Reliance on each other for performance outcome • Independence – Reliance on self for performance outcome

  3. Ensemble Interpretation • Presentational staging – Suggestion, not reality; the art form is being portrayed, not life • Action, Movement, and Physical Arrangement • This to be kept to a minimum but still necessary

  4. Ensemble Interpretation • Focus – where attention is directed • Offstage focus (Out-front) – reader addresses or speaks to other reader/characters as if they were out front or in the audience • Onstage focus – reader/characters relate to each other on the stage • Narrator – focuses eye contact on audience

  5. Ensemble Interpretation • Body positions: • Entrance – face audience • Exit – back to audience or lowering of head • Freeze position – temporarily have withdrawn from the developments on stage • Varying head levels or heights of readers – a means to provide emphasis and contrast in performance

  6. Ensemble Interpretation • Multimedia devices – to help share meaning but not to be used as gimmicks. • Overhead projections • PowerPoint presentations • Slides • Videotape • DVDs • These provide visualization to performance

  7. Ensemble Interpretation • Audio tapes • CDs • Live music/sounds • These help to set mood for a performance

  8. Duo Interpretation • Two person interpretation of any type of material • Humorous/Serious • Poetry/Prose/Drama • Performers may not have eye contact except in the introduction and during transitions • Performers may not touch

  9. Choral Ensemble • Group interpretation of poetry • Individuals understand and express the ideas, emotions, and moods inherent in their poetic selection • Poem should allow for the possibility of organized mass effects • Poem should be enhanced by the addition of an ensemble • May divide the group into solo(s) and chorus (works well with refrains)

  10. Chamber Theatre • A group interpretation of narrative prose • Narrator usually delivers his/her lines with an out-front focus. (Characters use out-front focus when they express their own unspoken thoughts or engage in indirect discourse.) • Narrator has the opportunity to physicalize his/her relationship to the character.

  11. Readers’ Theatre Ensemble • Group interpretation of drama or dramatic poetry • May use props

  12. Assignment 1: Duo Interpretation • Chose any type of material • Humorous/Serious • Poetry/Prose/Drama • Use all Your Oral Interpretation Skills • Plan Stage Arrangement • Use Offstage (out-front) focus during body of piece • Introduction may use offstage or onstage focus • Plan transitional movement

  13. Assignment 2: Choral Ensemble • Group interpretation of poetry • Individuals understand and express the ideas, emotions, and moods inherent in their poetic selection • Poem should allow for the possibility of organized mass effects • Poem should be enhanced by the addition of an ensemble • May divide the group into solo(s) and chorus (works well with refrains) • Must have at least three in group/no more than six. All parts should be equal. • Use all your oral interpretation skills • Plan stage arrangement • Plan stage movement pp. 341-355

  14. Choral Ensemble Pieces • “There Was a Frog” pp. 341-343 • “Trio” pp. 345-348 (3 or 6 performers) • “The Walrus and the Carpenter” pp. 353-354 • “Love Your Enemy” pp. 352-353 • “What’s That Smell in the Kitchen?” pp. 351-353 • “Macavity, the Mystery Cat” pp. 255-256

  15. Assignment 3: Chamber Theatre • A group interpretation of narrative prose • Narrator usually delivers his/her lines with an out-front focus. (Characters use out-front focus when they express their own unspoken thoughts or engage in indirect discourse.) • Narrator has the opportunity to physicalize his/her relationship to the character. • Use all your oral interpretation skills • Plan stage arrangement • Plan stage movement pp. 356-361

  16. Chamber Theatre Pieces • “The Cat and the Mouse Together” pp. 357-360 (3) • “Zapp” pp. 360-361 (5) • “The Little Prince” pp. 236-238 (3) • “Alice’s Adventures in Wonderland” pp. 240-243 (5)

  17. Assignment 4: Readers’ Theatre • Group interpretation of drama or dramatic poetry • Use all your oral interpretation skills • Plan stage arrangement • Plan stage movement pp. 361-369