COMM 170/171 Oral Interpretation
Kate Motoyama, Ph.D.
OFFICE 15-107
TEL
574-6676
EMAIL motoyama@smccd.edu
WEBSITE collegeofsanmateo.edu/communicationstudies
Materials:
A Sound of Thunder & Other Stories.
3 ring stiff-backed black binder
Oral interpretation, or the study of literature through performance, has long been taught and studied by lovers of
language. An early reference to oral interpretation can be found in a Platonic dialogue featuring the wily Socrates and
the young rhapsode Ion. Since Ion's day, oral interpretation has developed continually over a span of 2,500 years.
Oral interpretation is a method of discursive study that can interrogate, subvert, and reconceive received traditions.
We will have many unique opportunities this semester. First, we will be working towards staging our performance for
a public outside of this classroom. Second, we will be using our practice and performance in order to learn something
about the importance of sustainability in our community and world. You’ll have an opportunity to be a teacher and
facilitator, speaking from your own experience as well as reflecting critically on the act of giving. In addition, you’ll
note that, along with performance, there is a significant amount of writing in this class. At many universities, the
performance of literature is designated as a “W” or a class with a significant writing component.
The theme for this semester’s readings and performances is Environment, Ecology, Biodiversity, Sustainability, and
Stewardship.
SLOs SPCH 111
identify and analyze literary devices particular to the genres of poetry, short story, and drama
write textual analyses that demonstrate the ability to incorporate sound reasoning and textual evidence
that support claims advanced in the analysis
develop a workable script for performance that includes an effective introduction and transitions
deliver a performance that successfully utilizes voice, face, body, and movement to communicate their
understanding of the text to an audience
apply understanding of the text, critical thinking skills, and sensitivity to audience in critiquing their own,
and their classmates’ performances
SLOs SPCH 112 includes the above and:
coach and rehearse other classmates in solo and small ensemble performance
The Most Important Housekeeping Rules
1. Lab assignments--usually rehearsals PRIOR to class performance--are closely tied to class material. Note the due
dates that attach to the modules.
2. Speeches or presentations cannot be made up; if you are not there, you will not be able to participate in the
assignment. If, somehow, there is one documented emergency, you may work on 3 additional modules in the Lab;
the additional optional work applies only to one missed oral presentation assignment. The exam may be made up;
however, you will need to contact me immediately about your circumstances.
3. Four absences are permissible for this class, following what is specified in the CA State Education Code. After this,
your grade will be affected. Please come to class when it begins and stay until it ends. The final class meeting is
mandatory; be sure you include it among your responsibilities.
4. If you have a documented disability and need accommodations for this class, please see me as soon as possible or
contact the Disability Resource Center (DRC) for assistance. The DRC is located in Bldg. 10, First Floor. (650) 5746438; TTY (650) 574-6230
5. Original work is expected on assignments, as specified in the Student Handbook.
Guidelines for Time Outside of Class & TBA
As with college and university classes based on the Carnegie Unit, for every hour you spend in class, be prepared to
put in two hours outside of class, whether it be reading, doing home work, thinking, or talking about ideas discussed
in class.
One hour of lab time per week is expected to supplement your learning and complete the course [TBA]; this is
separate from, and in addition to, any other preparation for the course, such as homework [a 3-unit class is based on
6 hours of homework; TBA is an additional hour per week to be completed at the Communication Studies Resource
Center]. Please note this and adjust your schedule accordingly. These activities consist of video recording your
rehearsals of your speeches, viewing in-class recordings of your speeches, consulting with lab faculty, and analyzing
speeches or elements of rhetoric using the resources of the Speech Lab.
Assignments
30 Second Video Collage Speech
45 pts
Poetry Performance
50 pts
Prose Fiction Performance
60 pts
Final Performance
60 pts
[Group Grade, pending effort, attendance, mastery]
Analysis of poetry
Analysis of prose fiction
50 pts
50 pts
Exam 65 pts
Critiques in Lab 3 x 5 = 15
Grading Scale
355.5 - 395 = A
316 - 355 = B
276.5 - 315 = C
237 - 276 = D
Below 237 = F
WEEK 1
1/15
1/17
WEEK 2
1/22
Introduction to performance of literature (oral interp); what makes great poetry?
“Drunk Driving Poem” and “Lemonade;” finding a poem for poetry reading
ANIMOTO video collage + Lookbook + making a script
1/24
Using a script; open and closed situations; stance & blocking
“We Real Cool,” “Incident,” Black Interpreters Theater
Introductions and transitions
WEEK 3
1/29
1/31
30 Second Video Collage Speech
30 Second Video Collage Speech; Complete Lookbook by 2/4
WEEK 4
2/5
2/7
30 Second Video Collage Speech; bring copy of poem(s) to class
30 Second Video Collage Speech; assign groups to prose fiction
WEEK 5
2/12
Poetry touchstones; critique for poetry performance due.
2/14
Poetry: situational analysis
WEEK 6
2/19
2/21
Poetry: devices of style
Poetry Performance + Situational Analysis + Script
WEEK 7
2/26
2/28
Poetry performance + Situational Analysis + Script
Poetry performance + Situational Analysis + Script
WEEK 8
3/5
3/7
Poetry performance + Situational Analysis + Script
Prose fiction; narrators and tag lines; differentiating characters
WEEK 9
3/12
3/14
Class lecture/discussion: “The Fog Horn,” “Embroidery,” “The April Witch”
Class lecture/discussion: “The Golden Apples of the Sun,” “A Sound of Thunder”
WEEK
3/19
3/21
10
Prose performance + Prose Fiction Analysis + Script
Prose performance + Prose Fiction Analysis + Script
WEEK 11
3/26
3/28
Prose performance + Prose Fiction Analysis + Script
Prose performance + Prose Fiction Analysis + Script
WEEK 12
4/1-4/5
SPRING RECESS
WEEK 13
4/9
4/12
Exam
Discussion of final show; critique for prose performance due
WEEK 14
4/16
4/18
Work on scripting show
Silent Running: Popcorn Week
WEEK 15
4/23
4/25
Work on scripting show
Rehearsal
WEEK 16
4/30
5/2
Rehearsal; Finalize program
Rehearsal
WEEK 17
5/7
5/9
Tech rehearsal
Dress rehearsal
WEEK 18
5/14
5/16
Final performance
Critique performance.
FINAL
11:00 am Thursday, 5/23; critique for final show due in class
30 Second Video Collage Speech: 45 pts
Make a video collage, insert titles, and choose music represent how you see yourself presenting on “the outside.”
Or, you can put some things that you tend to keep to your self or to those close to you.
After you’ve put the video together, prepare a 3 minute speech. In this speech, you should choose about 2-3 things
to talk about. You may have lots of aspects of who you are represented in the video, but in any oral presentation, you
will need to BE SELECTIVE in what you are able to talk about. In fact, if you come up with some kind of theme or
mnemonic, it’s better for you and for the listeners.
After you choose the theme and the specific ideas you want to share, you will want to think of experiences (personal
anecdotes) to explain and illustrate your points. That way, the audience will be able to remember the specific point
about you. In preparing for this speech, you will want to anticipate how to begin, develop, and end the talk. Make
notes, but do not “write out” the speech and read or memorize it. You will want to get practice in connecting with
the audience as you speak. As you rehearse, you will want to time yourself as you stand up and practice. Ideally, you
can do a videotaped rehearsal in the CSRC so that you know what to expect. You’ll be playing the video AFTER you
give your talk, which will be timed.
Performances
Poetry performance, 4 minutes
Poetry Analysis, 3 pages, double spaced
Due on the day of your performance
Choose poem(s) about nature or the environment that, with introduction (or transitions, if needed), add up to a 4-5
minute solo performance. Poems must be published and intended for adult readers--not children or juvenile
literature. Avoid poems with heavy scansion or, for the same reason, songs from popular culture. Poems need not
rhyme in order to qualify as poetry; free verse is acceptable. The analysis of the text is to be a situational analysis
using supporting textual evidence. If you are performing more than one poem, select the work that might yield the
most fruitful analysis; do not analyze more than one work.
WHO is the speaking voice in the poem (characterize the voice, focusing on any demographic factors you are able to
ascertain);
TO WHOM is he or she speaking (describe the features of the listener being spoken to or are the words
addressed to a generalized audience);
WHERE and WHEN are the words being spoken (again, working from the speaker and listener that emerge
from the text, describe if possible the location, date in history, time of day, or time in the speaker and
listener’s lives that these words are being exchanged);
WHAT is being said (give a brief synopsis of the meaning of the lines);
HOW is it being said (with what emotions are the lines being said; make note of nuance or major shifts in
emotion, being sure to document your inferences with textual evidence);
WHY is it being said (discuss the reason that these words are being spoken)
Finally, how will these decisions affect your performance of the poem?
Prose fiction performance, 5 min solo; 8 min duet; 12 min trio
3 pages, double spaced
Due on the day of your performance
Read all short stories: “The Fog Horn,” “The April Witch,” “Embroidery,” “The Golden Apples of the Sun,”
“A Sound of Thunder”
Choose one of these stories and select an excerpt from one story (or excerpts from one story) that, with
introduction, movement, and/or transitions, add up to 5 minutes of solo performance, etc.. For the
performance, be sure you have the opportunity to show us how you can bring to life the narrator and the
dialogue of at least two characters, using open and closed performing situations and angles of address.
Identify the features of the narrator (first, second, third person; limited, selective omniscient, omniscient;
reliable, unreliable; objective, intrusive) and how the narrator interacts with the characters. Be sure you
use textual citation to document your inferences. In addition, discuss how the narrator is regarded by the
reader (you or, if your perceptions tend to be idiosyncratic, how the general readership might take to the
narrator).
What performance choices would you enact to make the narrator come to life? Discuss facial expressions
and physical characterization, including posture and gestures (describe the gestures); vocal mannerisms,
including volume, fluency, accent, cadence, pauses, silence, dysfluencies; use of space (expansive,
constricted) and movement (active, passive, quick, slow, measured, spontaneous). Be sure you justify
your choices using synopses and textual evidence.
If you like or dislike the narrator or characters, how do you plan to perform either without “commenting”
on their authenticity?
If working with partner(s), papers must still be your original work.
Lab Visits and Assignments.
Required lab assignments are based on viewing your in-class video to submit a typed critique—please note due dates.
You must drop off lab assignments in the Speech Lab or electronically mail them to the COMMLAB by the due date.
ALL lab assignments must have:
Your full name
Your professor’s name
Your class and time it meets
G#
Kaitlyn Chow
Professor Kate
T/TH 9:45 am
G0000101
If you email assignments, you MUST have this information on your subject line or you will not receive credit. All email
submissions will receive a return receipt from a lab instructor. If you have not received a reply in a timely fashion,
please FORWARD your original email to the lab so we can verify the date of submission and evaluate the assignment.