Forensics Handbook
Forensics
Handbook
Keys
to
Success
in
Competitive
Speech
Created
by
Glendale
Community
College
Adapted
by
City
College
of
San
Francisco
Table
of
Contents
What
is
Forensics?............................................................................................................................2
COLLEGE
INDIVIDUAL
EVENTS
RULES
&
DESCRIPTIONS.....................................................................2
ORAL
INTERPRETATION
EVENTS ..................................................................................................................................................3
Overview ......................................................................................................................................................................................................3
Dramatic
Interpretation ......................................................................................................................................................................4
Poetry
Interpretation.............................................................................................................................................................................4
Prose
Interpretation...............................................................................................................................................................................4
Dramatic
Duo
Interpretation.............................................................................................................................................................4
Interpreters’
Theater
or
Readers’
Theater ...................................................................................................................................5
LIMITED
PREPARATION
EVENTS ...................................................................................................................................................5
Impromptu..................................................................................................................................................................................................5
Extemporaneous ......................................................................................................................................................................................6
PREPARED
(PLATFORM)
EVENTS..................................................................................................................................................6
Informative.................................................................................................................................................................................................6
Persuasive ...................................................................................................................................................................................................6
After
Dinner
Speech
or
Speech
To
Entertain ...............................................................................................................................6
ORAL
INTERPRETATION:
Process
and
Method ..................................................................................7
Check
List ...................................................................................................................................................................................................7
Oral
Interpretation
Introductions ...................................................................................................................................................8
Introductions
and
Arguments ............................................................................................................................................................8
Focus
and
Locus ......................................................................................................................................................................................9
Cutting
&
Scripting .............................................................................................................................................................................. 10
Interpretation
Analysis ..................................................................................................................................................................... 11
PUBLIC
SPEAKING...........................................................................................................................13
CHECK
LIST ............................................................................................................................................................................................ 13
OUTLINES
AND
EXAMPLES............................................................................................................................................................. 14
Basic
Informative
&
ADS
Outline ................................................................................................................................................... 14
Basic
Persuasion
&
ADS
Outline..................................................................................................................................................... 15
Basic
Communication
Analysis
Outline....................................................................................................................................... 15
Model
Informative
Speech ................................................................................................................................................................ 16
Model
Persuasion
Speech .................................................................................................................................................................. 17
Model
Communication
Analysis
Speech...................................................................................................................................... 19
Model
After
Dinner
Speech
or
Speech
To
Entertain .............................................................................................................. 20
TOURNAMENT
ACTIVITIES
&
ETTIQUITE .........................................................................................22
VOCAL
WARM‐UPS ............................................................................................................................................................................. 22
TOURNAMENT
POSTINGS ............................................................................................................................................................... 22
FINAL
ROUNDS..................................................................................................................................................................................... 22
SIGNING‐IN............................................................................................................................................................................................. 22
TOURNAMENT
BEHAVIOR.............................................................................................................................................................. 23
KEEP
A
NOTEBOOK ............................................................................................................................................................................ 23
BALLOTS.................................................................................................................................................................................................. 23
BALLOT
REVIEW ................................................................................................................................................................................. 24
Forms.............................................................................................................................................25
TIME
AND
TASK
LOG ......................................................................................................................................................................... 25
CCSF
PERSONAL
INVENTORY........................................................................................................................................................ 26
FORENSIC
STUDENT
SPEECH
PLAN ........................................................................................................................................... 26
CCSF
SPEECH
TEAM
RULES
&
CONTRACT............................................................................................................................... 27
1
FORENSICS COMPETITION
GENERAL INFORMATION
What
is
Forensics?
With the increased use of the word “forensics” in the media, especially with television
shows such as CSI, many students are confused by the term. "Forensics" is a word rooted in
the Western world's classical experience. The Greeks organized contests for speakers that
developed and recognized the abilities their society felt central to democracy. These
exercises acquired the title "forensics," derived from the Latin term for ensis and closely
related to forum. Because the training in this skill of public advocacy, including the
development of evidence, found one of its important venues in the law courts, the term
"forensic" has also become associated with the art and science of legal evidence and
argument. Our association researches and trains in the earlier and more global skills of
argument and public advocacy.
In many cases students hear about forensics through on-campus activities, their public
speaking professor or a friend on the speech team. Each contact highlights different
advantages that come with being involved in this activity. The most obvious reasons to join a
forensics team are the academic advantages. Students learn research, analysis, critical
thinking, evaluation, clarification, exposition, and composition. That may sound broad, but
forensics teaches so much in such a quick time, students see a direct improvement in all of
their other courses. A former student, Jennifer, went from a good writer in her first year of
being on the speech team, to being an excellent writer and researcher, with clear
organization skills.
The academic advantages lead directly into the job market and employment potential.
When employers see that a student competed on a forensics team, the applicant’s resume
rises to the top of the pile. Employers want employees who can communicate well through
written and oral channels. Forensics teaches both. Recent research shows that companies
want to hire people who can learn and get along with many people. Each round, each
tournament, introduces students to new ideas, new concepts, and challenges their points of
view.
The third advantages are the social. A student joins a team with other talented and
driven students; those students then go to tournaments where other college teams mingle
and mix. A student learns to travel with groups, room with other people, and these people
become life long friends. Additionally, the connection between different college teams across
the nation creates friends in every state. All three of these benefits are at minimal cost to the
student. The college pays for travel, hotels, and entries.
COLLEGE
INDIVIDUAL
EVENTS
RULES
&
DESCRIPTIONS
There are three basic kinds of events at most tournaments. Some tournaments will offer other
events; check with coaches for the events at any given tournament. Also, many literary selections and
speech topics have already been used extensively by students from other schools. Be sure to check
with coaches before you get too involved in your selections/topics. Remember your speech topic must
be approved.
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Remember that there are written and unwritten rules. Each contestant shall have available a
bibliography, footnotes, outline, or manuscript for examination by tournament officials. The intent of
this rule is to prevent both plagiarism and alteration of a published text. No portion of the programs in
these events shall be identical material used in competition prior to the preceding September.
Contestants may not rewrite a prose, a poem, or a dramatic text so that the work differs from the
original text. Contestants may not add or reassign scenes or lines to the performed cutting. Although
an occasional line might be added, especially if a character has been deleted, this practice should be
discouraged. Contestants may not rewrite the ending of a work. Contestants may not change the point
of view or gender of a character. Contestants may not perform a text in a genre for which it has not
been written. If material has appeared in more than one form, i.e. novel, play, essay, etc., the
classification of literature shall be determined by the source from which the cutting was taken. In
cases of confusion as to which genre best encompasses a selection, the Library of Congress system
shall be the basis for final arbitration. If challenged we are responsible for providing the original source
or a photocopy, along with a copy of the copyright page (if the source is published).
ORAL
INTERPRETATION
EVENTS
Overview
Use of manuscript is required. Material selection should include humorous and serious
content. Multiple characters may be portrayed to animate the interpretation; these characters
should be distinct from one another, embodying definite gender, age, height, and other
distinguishing characteristics that enliven authentic characterizations. Reliance on caricature
or stereotype should be resisted unless justified by the literature.
Credit should be given to unique and interesting delivery choices that enhance the literature.
Delivery should be either natural and believable or appropriate to the literature. The use of
focal points and/or direct eye contact with the audience should be determined by the
requirements of the literature being interpreted.
Credit should be given for finding fresh literature, realizing that it is difficult to provide an
individual interpretation of literature that is frequently performed. Selection of material for
which a definitive interpretation has been widely seen, as in elimination rounds of recent
national tournaments, is discouraged.
Whether you cut a chapter, a section, or a whole novel, it must have some kind of beginning,
middle and end. The cutting should be solid as a separate work from the original, but endure
the cutting with author’s design or “writer’s” meaning intact.
Allowing for the demonstration of excellence in public speaking as well as in organizational
and interpretive skills, the performance should include an original memorized introduction
composed by the student and delivered with manuscript closed in accordance with the
standards of good public speaking. Any transitions should be smooth and add clarity and
coherence. The introduction should enhance the interpretation by relating the literature to the
audience, providing necessary information about the genesis or theme. The use of multiple
authors and their thematic linkage should be clarified. Performances ranging from eight to ten
minutes are recommended; deviations from the time limit should be penalized appropriately
according to the severity of the violation.
3
The material chosen should be of literary merit, and should possess a clear point in that it
poses a question, presents an issue, or explicates or clarifies a conflict.
Dramatic
Interpretation
Material must be drawn from a published or unpublished play. The play Selections can
incorporate monologues, dialogues, narrative or a mix of the three. Realism and character
depth tend to be valued.
Poetry
Interpretation
Plays and prose works are strictly prohibited. Material can be a poem or a poetry program
(variety of poetry). Poetry programs are more common since 8-minute poems are rare. The
material should fit themes and work to support the argument posed in the introduction.
Additionally, the chosen poetry may be focused on exploration of the realms of sight, sound,
or image. The poetry selected should include some recognized poetic techniques including
but not limited to metaphor, alliteration, repetition, and condensed levels of meaning. If
multiple selections are used, they should be interwoven into a cohesive and carefully
designed and organized whole by the linking of author(s) or of theme(s) inherent to the
literature; an intellectually unified program is the desired result.
Prose
Interpretation
Basically the same rules as Drama, but with the emphasis on first person narrative (greater
attention to the story in prose, as opposed to the character in drama). Selections may be from
a short story, essay, or novel, either published or unpublished. Selections can incorporate
monologues, dialogues, narrative or a mix of the three. Emphasis is placed on the prose
aspect of the performance and not the dramatic qualities of the performance. While most
performers choose a single text, most tournaments allow you to compile a script, as long as
all material is prose. This is the largest event at nationals.
Dramatic
Duo
Interpretation
Two people perform two characters from a play (stage, screen, radio, television, etc.). As with
prose and poetry, scripts are required. (Phi Rho Pi Rule: A cutting from a single source of
literature involving the portrayal of two or more characters presented by two individuals.) In
Duo
Interpretation each of the two performers may play one or more characters so long as
performance responsibility in the cutting remains as balanced as possible. If the selection is
prose or poetry and contains narration, either or both of the performers may present the
narration. Focus may be direct during the introduction [the performers may look at each
other] but must be indirect [offstage] during the performance itself if the text requires. This is
not an acting event; thus, no costumes, props, lighting, etc., are to be used. Students may not
touch during the performance except during the introduction.
4
Program Oral Interpretation
This event is to consist of a unified presentation made up of at least two selections from
different genres (i.e. prose, poetry, dramatic literature, plays). A contestant may use the
works of one or more authors. The selections should develop a theme. Same as Prose,
Poetry, and Drama; but a Program requires you to use at least two genres of literature
spliced together in a theme, argument or style. Weaving material together (as opposed to
delivering the pieces separately) tends to make for a more cohesive performance.
Interpreters’
Theater
or
Readers’
Theater
Interpreters' Theatre is defined as interpretation of literature by a group of oral readers who
act as a medium of expression for an audience. While Interpreters' Theatre is both oral and
visual, the emphasis is on the oral interpretation of the printed word and its resultant effects
on the minds, emotions and imaginations of the listeners/viewers. The audience should have
the feeling of a unified whole in which each performer at all times contributes to the total
effect desired. The audience must have a sense of production being interpreted from a
manuscript. Director, performer, and judges should be allowed freedom to exercise artistic,
interpretive judgment; however, manuscripts must be interpreted from during the
presentation. Suggestions in contemporary or ensemble dress may be used. The literature
should determine the nature of this suggestion, although costuming should not be a focus of
this presentation. Readers may stand, sit, or both and may move from one reading stand or
locale to another so long as the movement is consistent with the ideas or moods of the
literature and the director's concept. The time limitation for the performance is twenty-five (25)
minutes. An additional 2 minutes shall be allowed for set-up and take-down of material.
LIMITED
PREPARATION
EVENTS
Speeches must be well structured and guided by a clear thesis statement; speakers should
outline their organization in both the preview during the introduction and the review at the
conclusion. Speeches should be supported with relevant information and analysis should
connect that information to the thesis. Delivery should be natural and conversational.
Movement should add emphasis and emotionality to the message.
Impromptu
An impromptu speech should be serious in nature. Topic selections may be varied by round,
section by section. Topics will be of a proverb or quotation in nature. Speakers will have a
total of
7 minutes for both preparation and speaking. Timing commences with the acceptance of the
topic(s) sheet. Limited notes are permitted. (Phi Rho Pi: The topics for all rounds shall be
drawn from a variety of slogans, maxims, objects, lyrics or other creative topics exclusive of
areas covered by extemporaneous speaking. One note card, not to exceed 3 x 5", may be
used by the speaker for reference. Speakers will be given two-three topics as outlined above
from which to select one topic on which to speak. The seven minutes maximum time limit will
begin when the speaker receives the topics. The speaker may divide the seven minutes
between preparation and presentation as desired. The event will be held with all speakers in
the room.) For NFA there is one quotation for all the speakers in the room.
5
Extemporaneous
The extempore speech should is not a memory test of the material contained in any one
magazine article, but rather is an original synthesis by the speaker of the current facts and
opinions on the designated topic as presented by numerous sources. The contestant
therefore is held accountable for strict adherence to the precise statement of the topic drawn
and discounted severely for shifting to some other phase of the topic on which s/he might
prefer to speak. The information presented should be well chosen, pertinent, and sufficient to
support the central thought of the topic. The material should be organized according to some
logical plan to produce a complete speech within the time allowed. Delivery should be free
from all marked defects in the mechanics of speech - poise, quality and use of voice,
enunciation, fluency, bodily expressiveness and should be effective in enlisting and holding
the interest of the audience. The best extemporaneous speech combines clear thinking, good
speaking, and interesting presentation to establish a definite thought with respect to the
subject chosen. Contestants will be given 3 topics in the general area of current events, and
must choose one.
Thirty minutes before the contest is to begin, the first speaker shall draw three topics, choose
one, and return the other two. The other contestants shall draw in like manner, in the order of
speaking, at intervals of 5-7 minutes. As soon as a topic is chosen, the contestant shall
withdraw to the “extemp prep room” and prepare a speech. Students may consult published
books, magazines, newspapers and journals or articles. S/he has 30 minutes to prepare a
speech that is the original work of the student. Maximum time limit for the speech is 7
minutes. Limited notes are permitted for some judges. Students will speak in listed order.
PREPARED
(PLATFORM)
EVENTS
Informative
This speech is an original, factual speech by the student on a realistic subject to fulfill the
general aim to inform the audience. Audio-visual may or may not be used to supplement and
reinforce the message. Multiple sources should be used and cited in the development of the
speech. Must be memorized. 10 minutes Max
Persuasive
This speech is an original speech by the student designed to inspire, reinforce or change the
beliefs, attitudes, values or actions of the audience. Audio and visual aids may or may not be
used to supplement and reinforce the message. Multiple sources should be used and cited in
the development of the speech. Minimal notes are permitted at early tournaments. Must be
memorized by later tournaments. 10 minutes Max
After
Dinner
Speech
or
Speech
To
Entertain
This speech is an original humorous speech by the student, designed to exhibit sound
speech composition, thematic coherence, direct communicative public speaking skills, and
good taste. The speech should not resemble a nightclub act, an impersonation, or comic
dialogue, but might use the same techniques. It is designed to give information and
persuade, while depending heavily on humor. The humor of the approach does not mean that
the purpose of the speech is a light-hearted one. The speaker should have a specific serious
purpose or goal just as if s/he were going to give an informative or persuasive speech. This
6
speech is designed to give the audience pleasure and enjoyment without making heavy
demands on their serious nature, but this is definitely not a comedy monologue spot. Also, do
not improvise. You do it as written! The audiences will change, but not your speech. Audio
and visual aids may or may not be used to supplement and reinforce the message. Multiple
sources should be used and cited in the development of the speech. Minimal notes are
permitted at early tournaments. Must be memorized by later tournaments. 10 minutes Max
ORAL
INTERPRETATION:
Process
and
Method
Check
List
I. Type of literature specified in the tournament rules
A. Time Limitation:_______________
B. Event Selection: pro, poe, duo, di, poi
II. Selection of Literature
A. Tentative List of Selections:
__________________________________________________
__________________________________________________
___________________________________________________
B. Found the following Selections:
___________________________________________________
___________________________________________________
___________________________________________________
III. Preparation Check List (answer the following questions and keep the information in a special notebook.)
A. What is the author's intention(s) in this particular piece of literature?
B. How does the author achieve that purpose?
C. What makes the literature distinctive?
D. What elements of common interest does it contain?
E. Which parts of the piece cause you the greatest difficulty to perform?
F. Why do you like the selection?
G. What do you know about the author?
H. What do you plan to say in the introduction about the work?
IV. Essentials For The Intro
A. Author?_________________________________________________
B. Title (Act, anthology, version)_________________________________
C. Time (the historical setting of the piece if relevant)_________________
D. Place (location of the action and a description of the background against which the action takes
place)____________________________________
E. Characters: _______________________________________________
F. Action (what has transpired prior to the point at which the piece begins)__
___________________________________________________________
___________________________________________________________
G. Who is speaking? (think about it)
H. Why do you think the audience will enjoy this selection? (think about it)
V. Cutting
A. Start from the climax and edit backwards
1. Decide what is essential to the climax
2. Keep in only what is essential to the character & story
3. Have humor in the first 3 minutes if possible
4. Time it. Make sure it fits the time limit
B. Take the cutting and script it. Turn the narration and action into script form
C. Put the cutting in your black book.
1. Think of scene changes for page turns
2. Time it with a stopwatch!
8/2/06
7
Oral
Interpretation
Introductions
A. Most introductions to a cutting have ten elements. These elements combine into a
harmonious paragraph either before the cutting begins or directly after a short teaser from the
selection. The ten elements are:
1.
2.
3.
4.
5.
title
Background
Memorized
setting
author
6.
7.
8.
9.
10.
Argument/ message
a “hook” or a “catch”
character(s)
source
short
B. Identify the parts or ten elements needed in an introduction in the following sample. What
is still unclear in the intro? Is the piece for humor, drama, duo, or poetry? How can you tell?
(this is a teaser)
WES: (a long silence) Dear Philip- It’s me Wes. I’m in Washington, Brae-Scott dragged me down here. He
thinks I should get out more. Well, it’s been almost a year and I still can’t get used to... the emptiness. I’m still
kind of a mess. I’m glad I came. A half a million people are here. Unfortunately Ron and Nancy couldn’t make it.
Right now, I’m at this quilt. I thought it was going to be some kind of bedspread. It sounded dumb, right? But
Brae MADE me come and I’m glad he did. It’s amazing! This guy Clove Jones from San Francisco started it. He
was feeling what we all feel: the pain. The frustration. Nothing being done. No one speaking out. The silence.
The awful silence. Clove went out in his backyard with spray paint, stencils, a sheet, and twelve years of
memories. He created the first panel for his friend, Marvin Feldman. People saw it. Made their own. They started
The NAMES Project and it all just snowballed. Panels came in. From all over...I still miss you. Still love you. I
wish you could see this. This is important. At last the silence is broken.
INTRODUCTION: In October of 1987, The Quilt unfolded. Faced with an endless succession of names and
mementos of photographs, sheet music, letters, teddy bears, fabric ranging from satin to canvas, one viewer of
the quilt reported that it is “so much like being in a cemetery, but it’s different. It feels so alive.” These stories
and poems are not glib gravestones of survivors; they are the stunned words of the bloodied. There is collective
amazement that this is how death is entering our bodies-- as easily as a needle enters a piece of cloth. Even
though the age hasn’t dawned in which a poem or a story can kill a virus or save a life, I hope this program does
what all well-made quilts are meant to do: keep you warm and boost your attention. To paraphrase Aden, we
must pay attention to how our lives are interwoven or die. From the musical QUILT by Jim Morgan, Merle
Hubbard & John Scheck
Introductions
and
Arguments
I. This section highlights the sixth element of the introduction- the message. In other words,
the message is an argument that the performer claims or asserts is in the literature. The
argument gives reasons why the audience should listen, why the literature is significant
today, and sometimes even why the style of the presentation is necessary for us to
understand the literature. An argument must have four parts: the claim, the data and backing,
and a warrant. The claim is what you believe the author is trying to say, or what you believe is
important to this audience in the literature. When the audience is finished listening to the
program what should they conclude or learn from the message? It is the performer’s job to
guide or direct the audience to the same conclusion. The data or backing is why the
performer believes the claim is true. This is where support is brought into the formula. If a
person believes that Death of a Salesman is about “every person struggles to face the truth
and avoids revealing their guilty secrets to their family. When they finally do face the truth,
their image of the self is destroyed.” The next step is to prove this is true today with a fact, an
expert opinion, or link to a present situation. The warrant states when the argument is true.
8
These four parts of an argument are not always voiced. Sometimes these parts are overt and
other times these parts are implied. Whether voiced or not, together these parts compose a
substantial argument, which is critical for the audience.
II. Try to find the argument in the following examples and then build your own introduction
with an argument. Locate the parts of the argument.
Throughout history, thousands of women have been locked away because they didn’t fit the feminine
stereotype. The list includes notables such as writer Zelda Fitzgerald, Saint Joan, actress Francis Farmer, and
poet Sylvia Plath. Scholar, Dr. Phyllis Chesler suggests in her book Women and Madness, “To call a woman
‘crazy’ is to say that it's okay to dominate her. After that, her attempts to resist being dominated are ignored.”
We can no longer ignore this treatment of women. In the following, Susan recounts her false incarceration into
an insane asylum, in 1992, by her husband merely to get her out of his way. Crazy by Susan Hamilton
Note: the author and titles are usually at the end of the intro with beginners. With more advanced intros
it may differ slightly.
a. Claim:_________________________________________________________
b. Data and Backing: _______________________________________________
c. Warrant: _______________________________________________________
2. Where is the Argument? Locate the parts of the argument AND all of the parts of the
introduction.
Leslie: (A man with an Atlanta Braves baseball cap on. He is very southern.) Does this hat look okay? It doesn’t
smoosh my hair out too much on the side does it? Ok. I’ll take your word for it. Hi. My name is Leslie. How are
you? I deliver food to PWA’s. That’s People With AIDS. But you knew that. That’s not
what I do. Well.... it is what I do, but what I do DO, see,... like half of Hollywood, I came out here to be a
television star. I’ve given that up for the time being. I’ve given it up period. For now. Anyway. I’m a Chattanooga
Boy. I bet you hadn’t guessed I was southern, I hide it so well. Probably already remind you of two of your fa’rit
aunts, don’t I? That’s all right. It’s not the first time. But I don’t want to talk about that. I want to talk about JB,
because he’s worth talkin’ about. Not that I’m not worth talking about, but I just want to, so there. You sure my
hat looks all right? I’m just a slave of fashion.
Introduction: One of the roles that care givers have traditionally played is as the the “stand between people.”
They stand between living and the dead. According to Dr. Scott Dillard in Text and Performance Quarterly,
January 2000, “these stand between people are now the midwives for dying much as women are the midwives
for birthing.” And as we grow older we must all play this role. Leslie is one of these such people. He
demonstrates to us the universal and remarkable strength needed for supporting a loved one to the other side.
The Only Thing Worse You Could Have Told Me by Dan Butler.
a. Claim: _________________________________________________________
b. Data and Backing: _______________________________________________
c. Warrant: _______________________________________________________
Focus
and
Locus
To make the literature come alive for yourself and your audience, you need to have a clear
and distinct focus that is appropriate to the literature. By its simplest definition, focus means
where you look or place your eyes. Not to be confused with locus, which is where you place
your body. A more in-depth definition would say, focus involves careful analysis of the
literature to motivate the reader to look/visualize in a particular point, direction, or manner.
One aspects of focus is that it helps create the reality of multiple characters by enabling the
audience to see the different characters through your eyes as you “become” the other
character. Through focus and visualization of the space, objects, and people in the scene,
performers paint the scenery for the audience. A glass of liquor in your hand becomes real.
9
The bee that just landed on your best friend will sting her if you cause her too panic but my
God it is a Monster bee. This nonverbal communication is critical in transforming the
audience’s understanding of where and who you are.
Types of Focus
A. ON STAGE DIRECT FOCUS: This focus is not often used in competition. It is used
primarily in the theater, when one character directly looks at another character while
performing a play. This is used in duet acting.
B. INWARD-REFLECTIVE FOCUS: this type of focus is used anytime the speaker is thinking
reflectively (talking to him/herself). It does not mean staring in a direction, but more nearly
gazing. The direction of the gaze is a tool that is individualized by the interpreter. Consider
where you, personally, look when you are contemplating or thinking. You probably use a
variety of focuses- so you should with inward focus when interpretation asks you to “think”.
C. DIRECT AUDIENCE FOCUS: The literature is often written so that the speaker (narrator
or character) is talking to the audience. In these instances, the interpreter should choose to
look directly at them. You should allow this gaze to more naturally through the audience to
make it seem as realistic as possible. Holding a person’s gaze for a few seconds before
moving to another person’s gaze. Intros always use this focus.
D. OFF-STAGE FOCUS- CHARACTER PLACEMENT: This focus is used when more than
one character is involved in the chosen selection (even if that means the narrator and one
other character). You must analyze the literature carefully to determine where each speaker
should be placed; which ‘speakers’ will be placed slightly to the right or left. Try not to place
your character too far apart because your audience would then only see the sides of your
face as you shift from character to character, and they begin to feel as if they are at a tennis
match, craning their necks from side-to-side. Remember who you are talking to, how tall they
are in relation to this character, etc. As your skill in character development increases, your
focus for each character should creep closer and closer to the center until only a slight
inclination of angle is left. However, that tiny bit is vitally important. Remember, that when you
look at people, you don’t just look in their eyes.
E. OFF-STAGE FOCUS- ON ACTION OR OBJECT: descriptive literature often requires an
interpreter to either visualize a “scene” as if it were being reenactor or to visualize an object
as if it were real. This is similar to INWARD FOCUS, but different, because instead of
focusing on nothingness while thinking, you actually project images with your brain that the
audience can see.
F. ON SCRIPT FOCUS: Every interpreter should refer to his/her script occasionally. After all,
the script is the symbol for interpretation itself. However, a wise interpreter will find
appropriate places to look down in his/her script and will not have too much head bobbing or
too much reliance on the script.
LOCUS:
Locus refers to the location of the character. Think of the feet being positioned in one spot
and each character has a position on the floor like a clock.
Cutting
&
Scripting
Push By: Sapphire
Original Selection
My name is Claireece Precious Jones. I don’t know why I’m tellin’ you that. Guess ‘cause I don’t know how far
I’m gonna go with this story, or whether it’s even a story, or why I’m even talking. Some people tell a story and it
don’t make no sense or be true. But I’m gonna try to make sense and tell the truth, else what’s the fuckin’ use?
Ain’ there enough lies and shit out there already? So, O.K, it’s Thursday, September twenty-four and I’m walking
10
down the hall from homeroom to first period math. I actually don’t mind math as much as I thought I would. I jus’
fall in Mr. Wicher’s class sit down. I sit in the same seat everyday, in the back, last row, next to the door. I don’t
say nuffin’ to him and he don’t say nuffin’ to me, now. First day he say, “Class turn your book pages to page 122
please.” I don’t move. […]
Cutting:
Push By: Sapphire
Claireece : My name is Claireece Precious Jones. I don’t know why I’m tellin’ you that. Guess ‘cause I don’t
know how far I’m gonna go with this story, or whether it’s even a story, or why I’m even talking. Some people tell
a story and it don’t make no sense or be true. But I’m gonna try to make sense and tell the truth, else what’s the
fuckin’ use? Ain’ there enough lies and shit out there already?
INTRODUCTION: Gracie Allen once said “I was so surprised when I was born, that
I didn’t speak for a year and a half. This is because the birthing process is so traumatic. Giving birth to a baby
and giving birth to one’s self requires tremendous strength. Precious finds the strength to be reborn and speak
in an educated voice. Push By: Sapphire [page break]
Claireece : So, O.K, it’s Thursday, September twenty-four and I’m walking down the hall from homeroom to first
period math. •I actually don’t mind math as much as I thought I would. I jus’ fall in Mr. Wicher’s class sit down. I
sit in the same seat everyday, in the back, last row, next to the door. I don’t say nuffin to him and he don’t say
nuffin’ to me. Now. First day he say,
Mr. Wicher: “Class turn your book pages to page 122 please.”
Claireece : I don’t move. He say,
Mr. Wicher: “Miss Jones, I said turn your page to 122.”
Claireece: I say,
Younger Claireece: “I ain’t deaf!”
Mr. Wicher: Miss Jones I would appreciate it, if you would leave the room right now.”
Younger Claireece: “I ain’ goin nowhere motherfucker till the bell ring. I came here to learn maff and you gon’
teach me.”
Claireece : I didn’t want to hurt him or embarrass him like that you know. But I couldn’t let him, anybody, know,
page 122 look like 152, 22, 3, 6, 5-all the pages look alike to me. ‘N I really do want to learn. Everyday I tell
myself something gonna happen, som shit like on T.V. I’m gonna break through or somebody gonna break
through to me- I’m gonna learn, catch up, be normal, change my seat to the front of the class. But again it has
not been that day. Butthas the first day I’m tellin you about. Today is not the first day and like I said I was on my
way to maff class when Mrs. Lichenstein snatch me out the hall to her office. I ‘m really mad ‘cause actually like
maff even though I don’t do nuffin’, don’t open my book even. [page break]
Title and author on each Script
Name of narrator or character that is speaking
The script should be indented to 4.5 on the right so it’s easier to put in the black book
Turn he said and “—“ into character’s voice
When ever the character speaks in “—“ then use off stage focal
What to do about bad words?
Page breaks should be written in.
Use them for change of location, change of time, and major shifts in story
Interpretation
Analysis
1. IMAGERY: involves the reader “seeing” images or ideas as you perform. In order to do that
you need to isolate and identify those images. Take your script and look at it (from the first
word). On a piece of paper write what you see and when. While you may not have to write all
the detail, you should be able to visualize in absolute reality detail. This skill will develop more
clearly as you continue to work with the selection. If you see it, so will the audience.
2. Work on motivation. For each character in your selection find out line-by-line what the
motivation is. Why do they do what they do? Don’t take them for granted- find out.
11
A. First, go through the entire cutting and transcribe all of the verbs. Find the verbs and
underline them. Then on the side of the text rewrite the verb into an action you might do, or
“see”. Then note where the shift in the verbs occur. Most of the verbs will be similar in their
main foundation until they shift. Mark the shift.
B. Second, apply all of the verbs to an action choice. Alter the actions to fit the psychology of
the character. List these actions and verbs on this sheet of paper. Find the character’s
motivations by what s/he states, and s/he actually does.
C. Take these action lines and script an inner dialogue. Be concerned with the rhythm and
tone of the inner dialogue. Draw out the rising action and changes of the action in a graph.
Put the line at the points in the graph where there is a shift.
Example: From Playland by Athol Fugard
Verb Action Choice
Gideon:[a black man in South Africa speaking¨ speaking *to discuss to Marty, a white man] What did you do, Marty? What
to pester What’s the charge the Big Baas is going to read charge, read to inflame out of the Big Book when the Big Day
comes? Come on, man, you can tell me. I know how to Come on, tell to challenge keep a secret. You killed somebody,
hey. Spill keep, killed, Spill to incite the beans. What happened? Armed robbery? What to question No. You don’t look like
that sort. I’ve got it! look, got to label Your woman. Right? You caught your woman caught to induce with another man?
(pause) (Laughter) I’m hot! Laughter *to excite Who got it Marty? Your woman? The man? Both Who got to inquire Of
them? (laughter) How did you do it? Knife? how-do, Knife to incite Did you get away with it? Come to this booth. get
away,Come to provoke Two random shoots at a wooden ducks with shoots to invite a pellet gun. We weren’t shooting
wooden ducks shooting to explain with pellet guns up there on the Border. Were Were to question we? That was Hell. Hell
is right here and now in is to state this amusement park. It’s everlasting! And if you want to see the devil I can show you
him as well. see, show to inflame He wears a khaki uniform, he’s got an AK-47 in wears, got to describe his hands.
SWAPO. Kill or be killed... and Kill (Marty) *to attack don’t think about it. This is still a free country.
You people haven’t take over yet.
Psychology of character: Gideon is pestering Marty to tell us why he killed black men in a small war, but G. won’t forgive
the white man.
Twelve
Essentials
of
Interpretation
Performance
I. RELATIONSHIP:
Start with a question-What is my relationship with the characters in this
scene? Facts are never enough. First determine if you are the son, the mother, the
lover...then determine the Feel. Go further into the relationship than the mere facts. Ask
feeling questions about your emotion attitude of the characters. Do you love him? Do you
hate her? Do you want to help him? Do you resent her? These are the most important
questions. The facts tell you only that- the facts. The emotions tell you about the character.
II. CONFLICT: What are you fighting for? All life is a fight. We all want to get something.
“What is your goal in this scene?” “I want to get away from this person. I want to run out of
this room.” “Then why don’t you run? What is keeping you there?” Plays are not written about
everyday life or about peace and tranquility, but rather about the extraordinary, the unusual,
and the climaxes. Performers must realize that what they must use in their performance is the
opposite of what they have been trained to seek in their own lives. Peacefulness and the
avoidance of trouble will not help them.
III. THE MOMENT BEFORE: Every scene you will ever act begins in the middle. Something
always precedes what you are doing - what was it?
12
IV. HUMOR: Humor is not jokes. Humor is the attitude toward being alive without which you
would long ago have killed yourself. Humor is not being funny. It is the coin of exchange
between human beings that makes
it possible for us to get through the day. Humor exists even in the humorless.
V. OPPOSITES: Whatever you decide is your motivation in the scene, the opposite of that is
also true and should be in it. Consistency is the heart of dull acting. What fascinates us about
other human beings is their inconsistency, their use of opposites. Opposites exist strongly in
every human being.
VI. DISCOVERIES: Every scene is filled with discoveries, things that happen for the first time.
No matter how many times it has happened in the past, there is something new about this
experience, something different about this moment.
VII. COMMUNICATION: When a scene fails an actor will frequently say, “But I felt it!” If that
feeling is not being communicated to the other characters in the scene, nothing has
happened. You need to have it felt by the other characters. Communication is a circle
(transactional)...not a one-way street (linear).
VIII. IMPORTANCE: Plays are written about the most importance moments in people’s lives.
Never are plays about the humdrum happenings.
IX. FIND THE EVENTS: One of the chief roles of the performer is to create the events of the
piece. An event can be a change, a confrontation, a consequence, a climax. Events can be
overt or hidden, clear or obscure.
X. PLACE: Everything takes place in a bare place. It is up to the performer to create the
stage. If the performer does not create the stage, how is the audience to see it? The
performer must not only create the place but communication how it feels to live in the place
as well.
XI. ROLES: Each character plays a different role in each scene. They might play the role of
the teacher in one scene, the role of the parent in another, and a peer in yet another. Every
scene is a new role.
XII. MYSTERY: Create a sense of mystery with your character. Add in what you do not know.
There is always something intriguing about the person. No matter how well you know
someone there is always something you don’t know. Your life is a work of art. You are artists,
and your life is your work. Every moment is a moment of creation,and each moment of
creation contains infinite possibilities.
2 Shurtleff, Michael, Audition. 1978
PUBLIC
SPEAKING
CHECK
LIST
I. Type of topics in the tournament rules
A. Time Limitation:_______________
B. Event: inf, per, ads, ca
13
II. Selection of Topic
A. Tentative List of topic:
__________________________________________________
__________________________________________________
___________________________________________________
B. Found three sources on this topic:
___________________________________________________
___________________________________________________
___________________________________________________
III. Preparation Check List (answer the following questions and keep the information in a special notebook.)
A. What makes the topic distinctive for the audience?
B. What is the purpose?
C. What elements of common interest does it contain?
D. Why do you like the topic?
E. What do you know about the topic?
F. Is the topic recent?
G. Is the topic relevant?
H. Is there enough information?
IV. Essentials For The Research
A. Find 5 Sources in Lexis-Nexus (attach or bring to meeting)
B. Identify Main Points
1. Define
2. What it is
3. How it works
4. Problems
5. Advantages
C. Transfer information to outline
D. Check outline with coach
E. Polish outline
V. Write out in full essay form
A. Make sure sources are written correctly
B. Find and create visual aids
VI. Put on note cards & Memorize
A. Polish Delivery
B. Time it.
OUTLINES
AND
EXAMPLES
Basic
Informative
&
ADS
Outline
Introduction
Attention Grabber:
Listener Link:
Ethos Builder:
Recent Confirmation:
Thesis:
Preview:
Main Point #1: Definition – What is it?
Define
Show what it is
How it works
Transition: internal review-internal previewMain Point #2: Applications: Advantages and Disadvantages
Transition: internal review-internal previewMain #3: Implications of the object/idea
Conclusion:
Review:
Summary:
Exit Line:
14
Basic
Persuasion
&
ADS
Outline
Introduction
Attention Grabber:
Establish a Problem:
Listener Link:
Ethos Builder:
Recent Confirmation:
Thesis:
Preview:
Main Point #1: Need- Establish that the problem exists.
Transition: internal review-internal previewMain Point #2: What is causing the problem. Or What is the barrier- what is in the way of the problem solving
itself.
Transition: internal review-internal previewMain #3: (not really a main point) Visualization Step- show what’s going to happen if we don’t do anything;
how it will get worse. or how things will get better if we solve the problem.
Main #4: SolutionsBusiness SolutionsState/Governmental SolutionPersonal Solution- What can I do right now.
Transition: internal review-internal previewConclusion:
Review:
Summary:
•Personal Solution- remind audience of what they can do.
Exit Line:
Basic
Communication
Analysis
Outline
Introduction:
Attention getter:
Introduction of the artifact:
Significance of the artifact:
Audience Link to artifact:
Rhetorical proposition/ Argument:
Link to Methodology:
Why Methodology is the best for this analysis:
Thesis combined w/ Preview:
Transition:
Main Points:
I. Explanation of Methodology:
A. Part/element one1. Rhetorical definition:
2. Simple clarification:
B. Part/element two1. Rhetorical definition:
2. Simple example:
C. Part/element three- Rhetorical explanation:
1. Rhetorical definition:
2. Simple illustration:
Transition: internal reviewinternal previewII. Application of Methodology to Artifact:
A. Part/element one of method applied to artifact
B. Part/element two of method applied to artifact
C. Part/element three of method applied to artifact
Transition: internal reviewinternal previewIII. Conclusions- What do we learn from this study:
A. Socially/ What effects do we see from artifact in our society?:
B. Rhetorically/ How does this add to the field of communication?:
Conclusion:
Summary:
15
Review:
Return to Attention Catcher
Model
Informative
Speech
Placebos By Manuel Goni
With these sugar cubes, tainted with a healing elixir; I will cure your fatigue and increase your concentration. It will only
work if you are a virgin. If you are it will remedy your tiredness in minutes. If you are not, then it could cause fever, chills,
or even a coma. Go ahead and chew it up. With this one dose you will feel better in minutes. Trust me. You don’t believe
me? Well, this is not a repeat of Robert Louis Stevenson’s classic tale, Jekyll and Hyde, with his magical formula, but it
does sound similar. This style of medical treatment is used all the time all over the globe. According to Newsweek,
August 14, 2000, virtually anything that sends a patient one of these four messages can bring measurable progress in a
person’s health: 1) someone is listening to me, 2) other people care about me, 3) my symptoms are explainable, or 4) my
symptoms are controllable. If a prescription sends any of these messages a patient can be healed. This cure is called a
placebo. Although it is inactive, there is a certain power of the placebo. The head of the Food and Drug Administration’s
Offices of Drug Evaluation explained in Consumers’ Research Magazine, February 2000, that the more a patient
believes they are going to benefit from a treatment, the more likely it is that they will experience a cure. Take Mrs. Brown
who was so stiff from advanced Parkinson’s disease, that she could barely take a step. They decided to use her in a fetalcell transplant study. Doctors placed her under anesthesia and drilled holes in her skull, but they did not place any new
fetal-cells in her brain. A month later, a TV news magazine filmed Mrs. Brown’s cure in mind, now you want to take the
sugar cube. It will cure your boredom. Not that this speech is going to be dull. In order to understand the placebo effect we
will first diagnose what placebos are, then, second, find some remedy to how placebos work, so that we can finally,
consider the ethical questions surrounding the use of placebos in medical treatments. In the 1960’s, breakthrough studies
showed the potential physiological effects of dummy pills. The placebo effect tends to speed up pulse rate, increase blood
pressure, and improve reaction speeds. There are two types of placebos. Usually they are harmless, unmediated creations
given as a medicine to a patient to ease their pain. Usually they are made from sugar. Or secondly, a placebo can be used in
testing the success of another medicine. In most trials a portion of the patients take the experimental drug, while the others
take look-alike pills with no active ingredient, with neither researchers nor patients knowing which patients were getting
which. And they seem to work. According to The New York Times Magazine, January 24, 2000, a growing number of
studies have shown that placebos work in 50% to 60% of subjects suffering from certain conditions, pain, depression, some
heart ailments, gastric ulcers, stomach complaints, and even fatigue. According to FDA Consumer, February 2000, 10
years ago a woman in her 30’s suffered from chronic fatigue syndrome. She had no energy, couldn’t work, and spent most
of her time at home. But her strength returned during a study to test the effectiveness of an experimental chronic fatigue
drug. More recent research confirms that even placebo surgical procedures can yield significant health benefits. Even
situations where patients can talk about their conditions in a positive light can yield success. The best strategy is to join a
support group, where you can share your story and learn from those people who are in the same predicament. Newsweek
August 14, 2000, explained a now classic study, which was conducted at Stanford during the 1980’s. Psychiatrist David
Spiegel showed that breast cancer patients assigned to a support group lived an average of 18 months longer than those
receiving standard care. Basically proving the self-fulfilling prophecy of power, if you say it will be true. Let’s try it: I am a
Ballet star? Do you believe it? So placebos can be pills, surgical or verbal.
Now that we understand what placebos are, we can explain how it works. According to Newsweek August 14, 2000,
mental states can also modulate the immune system and trigger the release of internal painkillers known as endorphins. The
power lies not in the pills but in us. Mind can heal the body when bolstered by hope and expectation. Just as good
physicians send healing messages to their patients during every office visit, we can learn strategies to send them to
ourselves. One strategy is to examine the stories we tell ourselves about our illness. As communication scholars know
stories are powerful tools. For example, according to Newsweek August 14, 2000, Mr. Smith suffered from severe
migraines and found out that he was making his migraines worse by fearing that his headaches made him unemployable.
Dr. Robert DeLap of the FDA says, “The social hope is that careful scientific research can help us learn beyond a shadow
of a doubt what works and what doesn’t, so that these patients’ kids will have better treatments available to them.” Even
already improved drugs regularly fail to beat placebos in larger trials. According to Science April 21, 2000, officials say,
“If all FDA demanded was that a new drug perform as well as an old one, it would have no way of knowing how much of
that improvement was caused by the placebo effect.” Let me now ask you, how did my magical elixir make you fell? Do
you have that almost fresh felling? Or that not so fresh felling? Do you feel better? The pills that I gave you were placebos.
Many policy makers are in an uproar about the ethical considerations of placebos. Some are questioning their use depressed
patients, and aids patients According to Science News April 29, 2000, much debate currently concerns whether it’s
ethical for physicians to give placebo pills to depressed volunteers, instead of providing either the drug being tested or an
FDA approved antidepressant. The Northwest clinical research Center in Bellevue, Washington obtained FDA clinical data
for antidepressants from 1987 through 1997. They discovered that depression symptoms declined by 41 percent with new
16
antidepressants, and 31 percent with placebos. Although there wasn’t a vast improvement from patients taking placebos and
those taking the new antidepressant, the patients taking placebos, were not receiving any effective treatment. The question
lies on who benefits more the physicians, or the patient. According to the British Medical Journal September 30, 2000,
critics argued that placebo controlled trials of new regimens to prevent the vertical transmission of HIV were unethical
because they included a placebo arm rather than “the best proven treatment.” Such deceit can undermine the essential trust
between patient and doctor. If this was your son or your mother would you withdraw active treatment for placebos? A
physician who knowingly uses placebos thus unethically deprives patients of effective treatment.” According to
Consumers’ Research Magazine February 2000, Michael Kirsch M.D. has called doctors who prescribe placebos
outside medical research “con artists.” Michael Jospe disagrees with what he calls this “strict, grumpy approach that
concludes that any doctor who uses placebos is acting unethical.” Some circumstances, he says, justify this kind of
benevolent deception as when a patient insists on a medicine that is unnecessary and caries needless risks. According to
Fortune August 8, 2000, a firm recommends launching a global management consulting practice based on the principle
of placebos. So we have many ethical questions to be answered such as, how serious is the risk if a patient gets a placebo
rather than an active treatment? Today we examined what placebos are, and then we discussed how placebos work, and
finally stated ethical considerations behind placebo prescription. Whether or not placebos are an effective treatment lies in
the expectation of the patient. The mind is the most powerful thing, and someday that might be all that we need to heal
ourselves. Although Jekyll and Hyde had a magic formula, for the placebo the magic is in the mind.
Model
Persuasion
Speech
Drive Through Deliveries by Christian Barton
Kennedy Memorial Hospital in Washington Township, New Jersey, discharged Baby Michelle on May 17, 1995, less than
24 hours after her uneventful birth. Susan Baum, the first-time mother said, “She seemed fine, until later that night when
Baby Michelle began making a moaning sound and refused to drink her bottle.“ At 8:00 am Steve Baum, Baby Michelle’s
father, called the pediatrician to report that the baby’s eyes looked yellow and cloudy. “Not to worry,” said the pediatrician.
“The baby had a slight case of jaundice, which is not unusual for newborns.” According to the Washington Post June 27
1995, fifteen hours after being released from the hospital, Baby Michelle was pronounced dead back at Kennedy Memorial
Hospital where she was born. An autopsy showed that the cause of death was blood poisoning, caused by a streep B
infection. Such infections are treatable with antibiotics if detected at a hospital in time. If Baby Michelle stayed longer at
the hospital she would have lived. The vital time spent in hospitals for newborns and their mothers recently lessened and
many newborns are dying from this new practice. According to the U.S. Center for Disease Control, as reported in the
Cincinnati Post, May 22, 1995, hospital maternity stays dropped from an average of 3.9 days in 1970 to 2.1 days in 1992.
In 1995 the normal hospital stay is less than 24 hours for new mothers. One Kaiser Permanente affiliate in Southern
California has started encouraging new mothers and newborns to leave eight hours after childbirth! We are sending
uneducated and un-recuperated mothers home in less than 24 hours. American maternity wards might as well have loud
speakers announcing “Welcome to our maternity drive-through! You want fries with that baby?” I contend that hospitals
should provide a necessary forty-eight hour recovery period for first time mothers. In examining the problem of “drivethrough deliveries,” we’ll first uncover the hidden dangers to releasing a new mother and infant from the hospital within 24
hours of birth; second, we’ll discover the main reason mothers and infants are not staying in hospitals longer than 24 hours;
finally, I will offer fundamental solutions to end this pressing problem.
A Children’s Hospital Medical Center study, published in the Cincinnati Enquirer, June 10th , 1995, found that more
babies are returning to the hospital during their first week of life with jaundice and dehydration problems than ever before.
(visual aid) This visual aid demonstrates the harms of releasing a mother and an infant from the hospital within 24 hours.
The study’s results: a 40% increase in cases of jaundice and dehydration from 1992 to 1994, from 6.4 cases per 1,000 births
to 8.7 per 1,000. With four million babies born in the U.S. every year, those numbers take on drastic proportions. Before
1992, when women typically spent 48 to 72 hours in the hospital, pediatricians saw a newborn at least two times before the
baby went home. But in today’s hospital where a 24-hour time limit is the norm, it is often too early to accurately assess an
infant’s condition. According to Agusto Sola, the Chief of Neonatal Services at the University of California, San Francisco,
in The Washington Post, June 27, 1995, “there are too many things that go wrong after 24 hours of life and many
transitions occur in a newborn.” We need 48 hours to make sure babies live. Such diseases and complications like jaundice,
dehydration, serious heart defects and certain infections rarely occur until the second or third days of life. According to the
Philadelphia Enquirer July 27 1995 , Deborah Kirkwood was one of the lucky ones. Due to Kirkwood’s excessive
bleeding the doctors recommended that the new mother and the baby stay past the usual 24-hour limit. A few hours later the
baby stopped breathing. They resuscitated the baby and treated her for a disorder that causes milk to return through the
esophagus. If Deborah Kirkwood would have returned home within those critical 24 hours, her baby would be dead. The
limited time spent in the hospital affects the mother just as much as the newborn. The problem lies in teaching new mothers
how to care for the baby. With shorter hospital stays, there is little or no time to teach women how to breast-feed or to care
for a newborn. When mothers are discharged too early, they lack the nurturing education and knowledge of infant care.
17
According to Carol Miller, director of San Francisco General’s Well Baby Nursery, “Breast feeding is less likely to be
successful. It’s not instinctive. It takes support and education.” There is no assurance that new parents know how to care for
a baby. We must take the time to teach them, and that time is 48 hours.
We must not discount the new father, assuming there is a father, who is also mistreated. After the hospital swiftly
discharges his wife and newborn child the father too needs advisement. Fathers must understand the needs of the baby
along with the needs of the mother. He is an active member of the family. Drive through deliveries overwhelm and exhaust
the mother, often leaving the father without a qualified onsite pediatrician or nurse to consult. The father needs answers too.
So, now that you understand how early discharge affects the newborn, the mother and the father, you are probably
wondering why one-day hospital deliveries are standard.
Currently, as stated in a report in May, 1995 by the US Centers for Disease Control and Prevention, childbirth is the
number one cause for hospitalization in the United States and each day costs an insurance company approximately $1,000.
So, the apathetic, greedy insurance companies, in effort of cutting costs, force new mothers from the hospital and many
new borns into their graves. Doctors link the outbreak of complications to insurance companies urging the early discharge
of mothers and babies. In the past, insurance companies allowed new mothers 2 to 4 days at the hospital for recovery, and
to educate parents how to bathe, feed and care for their newborns. Now health maintenance organizations have intervened
and refused to pay for longer than 24 hours because the numbers don’t fit into a computer formula. Health insurers are
gambling with women’s health and babies’ lives by refusing to pay for more than one day of hospital care following
deliveries. According to the Boston Globe, July 11, 1995, this practice goes against the guidelines suggested by the
American Academy of Pediatrics, which indicates that a stay of 48 hours after the delivery is the minimum for both mother
and child. A 48-hour postnatal stay is sufficient to detect dangerous health complications such as jaundice, dehydration or
infections that can be easily treated at the hospital. Insurance companies are setting their own standards and they are
affecting our lives and our babies’ lives. A campaign to change this cost saving, but life threatening trend, would benefit the
whole family—the mother, father, and most of all, the baby. The first advantage to extending hospital stays would allow
first-time mothers more time to learn about breast feeding and baby care. According to Dr. Glenn Waterkotte, a Phoenix
based doctor, reports in the Arizona Republic, July, 1995, that 24 hours is often not enough time. He states that his
concern is “about the unwed teen mother whose lack of experience and support could jeopardize her infants health and
safety.” One extra day in the hospital—working closely with nurses, and being educated on caring for her baby, could be
the difference between life and death. A second advantage to extending postpartum hospital stays is that new moms and
dads will feel more at ease with their new infant. Even one extra day gives the new parents more time to interact with their
child and get the answers for some of those thousand questions. That new baby might not be such a mystery. New moms
(and dads) would have one extra day to rest before the regimen of midnight feedings and walking the floor become their
sole responsibility. But the basic, and most important advantage to stopping the trend of limiting hospital stays is it saves
babies’ lives. Instead of readmitting sick babies and trying to save their lives, an extra day provides the opportunity for
proactive medicine—to prevent those babies from becoming ill, and possibly dying. Dr. David Rubenstein, in the
Philadelphia Inquirer, August 3, 1995, director of neonatology at St. Christopher’s Hospital for Children puts it ,
“Anything is better than going home after 24 hours; anything is safer for the baby.” Additionally, experience tells us that in
a family where a child dies, there is a greater likelihood of divorce. The added security we give to a child’s life, the added
security we provide for the parent’s marriage. Everyone benefits.
The solution is simple, and health maintenance organizations have agreed in the past, that a 48-hour stay after an
uncomplicated delivery should be standard. Insurance companies argue that a 24-hour discharge is good medicine,
providing that nurse follow-up care is provided. This suggests that home care could substitute for longer hospital stays. The
problem with this alternative is that it has not been effective. For example, according to the article, Discharged Too Soon,
by Sandra Boodman, Washington Post, June 27, 1995, of four infants treated for an inherited enzyme deficiency that
increases the risk of severe jaundice, follow-up home care was ordered in one case. A nurse who failed to recognize the
severity of the infant’s jaundice saw that one infant at home. Two days later, he was readmitted to the hospital where
doctors discovered he had severe hearing loss. Clearly the idea of home-care is not a sufficient substitute for longer hospital
surveillance. So, after realizing that sending infants out into the world with a rushed examination could be deadly, and that
a short hospital stay does not give a new mom adequate preparation to be a qualified mom, it falls on us to make some
changes.
We can see that the solution is fundamental. Through legislation we must require that insurance companies cover at least a
two-day stay after uncomplicated, vaginal births. It is the only way. It’s time for Americans to ask themselves “Do we
continue to want our health and well-being based upon the sole judgment of the insurance company? The state of New
Jersey has made the decision to take a stand. Recently that state passed legislation requiring insurance companies to pay for
48-hour stays for new mothers and their babies. Maryland has also passed laws extending hospital stay and eleven other
states are considering similar legislation. The United States Senate Labor and Human Relations Committee held hearings in
September on the problem. Oh sure, there will still be some babies who will be readmitted after they have been sent home
18
even after 48 hours, and there are many capable parents out there who don’t need the extra time in the hospital. But the
question remains—are we going to continue to gamble in the name of cost saving? Or as Dr. David Rubenstein, director of
neonatology at St. Christopher’s Hospital for Children, in the Philadelphia Inquirer, August 3, 1995, put it, “Something has
to be done because what is going on right now is really an experiment.” As parents or future parents, I urge you to take your
concern and give birth to a new direction in post-natal care. Lobby for legislation that would give mothers the time they
need in the hospital. What if you were the parent of that child or you were actually having the baby? Would you want to be
rushed out of the hospital within a few hours of birth? We all must agree that an educated and recuperated mom will benefit
her child. Insurance companies will continue to want to keep costs down, but who is deciding the welfare of our families?
The doctor or the insurance company? It certainly is not the mother. American health care has to make a decision—save a
buck or save a baby. It’s time to put the mother and child first. Contact your local health maintenance organization and let
them know that you want mothers to have time to prepare before caring for our most precious resource—human life.
Contact your state congressmen and let them know you are concerned about mothers and their children. This will spark
interest and get bills passed that would require health insurers to pay for at least 48 hours of post delivery hospital care.
Your efforts will help Americans realize that the priority should not be money but the health of mothers and their children,
our children.
Model
Communication
Analysis
Speech
Baaad Asssss Cinema- A Blaxploitation Documentary
Take a look at this Afro, these pants. These fierce black women from Foxxy Brown from Austin Power’s 2002 big hit
“Goldmember” to Pam Greer in “Coffy” are back. According to the Detroit Free Press, July 24, 2002, she is part in a new
string of tributes to the film genre known as blaxploitation. Blaxploitation sold a black-power-by-any-means-necessary
attitude and starred the lowest of the low characters: pimps, hookers, drug dealers and vampires. Never heard of Blacula?
These black action films of the 1970’s including “Superfly”, “Shaft” and “Sweet Sweetback’s Baadassss Song”. The
Denver Post, August 14, 2002 points out that the blaxploitation films have been spoofed, derided and are now being
seriously reexamined in a probing new documentary, “BaadAsssss Cinema”. The documentary studies the films that were
once considered the forbidden fruit of black culture. As Mike Myers stated in the Hamilton Spectator, June 8, 2002, “they
are yummy and sweet again.” Whether the image is seen in films like “Undercover Brother” or current Burger King or the
retro clothing styles, the impact of blaxploitation is everywhere. Because blaxploitation images are currently so prevalent
and are currently being revived and reexamined in the documentary, a rhetorical study is warranted. The documentary
“Baaad Asssss Cinema” is an encompassing artifact that proves that popular arts don’t work on an orderly continuum the
way organized social protest does. I contend that the documentary focuses the entire blaxploitation genre so that it can be
read as a sign of resistance to black subservience to whites and as a reaction against black stereotypes. To examine this
argument the documentary must be analyzed contextually as a response to a dominant group. The best method of reading
documentary films politically is Douglas Kellner’s essay, “Media Culture and Ideology” as explained in his 2003 book,
Media Culture. This is the best method to explain the relationships between social ideologies and film culture. By first
clarifying Kellner’s three tenets, and then applying them to the documentary, “BaadAsssss Cinema”, we will be able to
uncover just how the brother was shafted socially and rhetorically.
Dr. Kellner proposed his ideological theory in his first book, Camera Politica. He contended that understanding why certain
artifacts are popular can illuminate the social environment in which they arise. Usually this takes time and a proper
distance to read the full range of an artifact’s effects. The three tenets of his methodology, as clarified in his book Media
Culture, are social horizon, discursive field and figural action. Together they describe how multiple voices communicate
one single ideological voice. First, social horizon refers to the actual context of the text. What is the backdrop for the film?
For example, Easy Rider emerged against the backdrop of the 60’s. The second tenet, the discursive field, is the way the
film articulates competing social messages. What are the e two opposing sides shown in the film? For example, Easy Rider
used hippies, rock music, and nature on one side. On the other side was the establishment, the police, and technology. The
final tenet, figural action, is how the figures of the film weave into the audience. The film puts forth a winning side. The
audience then integrates that into their fashion and language. Right after Easy Rider bikers were seen everywhere. Now let
us apply these strategies to “BaadAsssss Cinema”.
The social horizon as “B aadAsssss Cinema” explains is the early 1970’s. As Christine Acham, professor at the University
of Southern California, expressed, these films began independently by African American filmmakers to present themes that
the black urban culture was dealing with in the 1970’s. They were created to show what was not being shown. Before these
films blacks were rarely seen on film in a leading role. And during the 70’s black America was struggling between peaceful
civil rights or a Black Panther more militant force for equality. This was the backdrop for the discursive field, our second
tenet. There are six major contiguous motifs in “BaadAsssss Cinema”: race (black versus white), gender (masculine versus
feminine), sex (hetero versus homo), language (ghetto slang versus standard speech), Civil Rights (peace versus militant
movement), and business (Hollywood’s plantation system versus independent films). Since we cannot cover all six, let us
touch on the language and the gender motifs. Take the issue of language. The term “blaxploitation” was turned on its head.
19
As The London Guardian, February 8, 2002, suggests these were not black exploitation films. Those who were exploitated
were actually in control. The days of segregated Hollywood, in which blacks played subservient roles definitely ended with
these films. Another motif in “BaadAsssss Cinema” focuses on how black female images were constructed in blaxploitation
films. They were tough independent women who dressed like sexy divas. According to the journal Signs, Autumn 1999,
one character, Cleopatra Jones is anything but a conventional heroine. Her weapon was her body. She actually embodied
resourcefulness. Repeated images of Cleopatra show her with either her hands in a karate stance or a five-foot high machine
gun. As Donald Bogle pointed out in 1980 book Brown Sugar, Cleopatra was a perfect symbol of macho matriarch. The
display of women in these films opened up discussions of black feminism and its difference from white feminism. Jennifer
Brody, in the Fall, 1999, Journal of Women in Culture and Society, posits that these images created a radical paradigm shift
in gender politics requiring that the viewer see feminism as a dynamic verb. These images were so powerful that they
merge into culture through language usage, clothes, and music. This is what Kellner calls figural action. Salon.com, August
20, 2002 shows just how much of an impact these films made on our culture. The badass decade left an enduring legacy of
pop culture from Snoop Doggy Dogg to use of the word “nigger” in every day language. We even have blaxploitation
commercials like Nike and Skeetchers. Recently there were two remakes of Jackie Brown and Shaft. Even Hally Berry is
remaking Foxy Brown. These remakes pose a challenge that The California Aggie, February 15, 2003 proclaimed: can the
genre be carried over from era to era without losing its main purpose? The answer to that question leads us to our first
social lesson. If we look at the 2000 remake of Shaft we can see that we’ve become a more multiracial society, and
therefore the films fail to be politically relevant to modern views. In Shaft 2000, the nemesis was not the white culture or
the establishment, but a Latino. Originally the conflict was about oppression. The remake introduces a conflict among
minority groups. Multiracism was not an issue in the 70’s, and is not as universal as the original. Therefore these films are
specific to the era. Although the social horizon and discursive field are stuck in the past, the images and fashion and music
are here to stay. According to the web-site, www.blaxploitation.com, last updated 2001, “The recent revival of interest in
cinema and 1970s culture has lead to a corresponding desire to explore the music of the blaxploitation genre, and with it the
long-overdue acknowledgement of the huge influence of its artists.” Rappers were greatly influenced by these early black
movies. This analysis answered how someone like Pam Grier became a Hollywood icon. And why the genre came to an
end and why Hollywood closed the door on Black actors in the 70’s, which meant that Black films would not surface again
until the 90s. Rhetorically we learn two important lessons. As is often the case with exploitation cinema, according to
Scripps Howward News Service, February 18, 2003, these films deliver messages of empowerment that are contradicted by
their skeptical images. This analysis also showed that there needs to be a commitment on the part of communication
research to exploring how both sexual and racial politics and black and female identity are inextricable elements to AfricanAmerican art forms. As Barbara Smith argued in her 1977 essay “Toward a Black Feminist Criticism,” the role of criticism
is to make an artifact more recognizable. For art to be real and remembered they have to be talked about. At the present
time, as we can see with the re-emerging images of blaxploitation in fashion and music, the ideology has a direct
relationship to the state of African-Americans and the Black feminist movement. The black soul films of the ‘70’s are
neither completely ignored nor given honorable mention, until recently. We’ve seen this is because blaxploitation films
were misunderstood and summarily dismissed. Today, we’ve discovered the mojo behind the psychedelic films capsulated
in the documentary “Bad Ass Cinema”. We first explored Douglas Kellner’s ideological theory and his three tenets and
then we applied those tenets to the documentary to discover that ideological criticism must take place in the context of a
political movement that can put it to work. A revolution of change doesn’t occur with criticism on the screen, but on the
streets with real women like Foxxy Brown.
Model
After
Dinner
Speech
or
Speech
To
Entertain
Zeligitis by Victor Ratliff
On the plane here, I sat next to this woman who was a look-a-like for Golem in the Two Plus Hours. She was a dead
ringer; mostly because she looked dead. See, she was nervous because they announced we’d have a substitute pilot. She
wailed, “A substitute pilot, my precious! No, Smegile, no! And we spent four-hundred dollars on this seat!” And I was like,
“Well maybe you should have spent that four-hundred dollars on a muzzle and a tanning session!” Then the substitute pilot
boarded the plane. A substitute pilot is like fake parents, a faux ma and a faux pa! We were in trouble. Not only did the
pilot look like Leonardo out of “Catch Me If You Can” but the flight attendant also looked like Gwenth Paltrow in “View
From The Top”. I was surrounded by frauds. I guess that is why the Accountancy Age, February 27, 2003 called the lookalike curse the number one threat of the century. Posing as someone else is a growing problem. The American Bankers
Association reported on February 5, 2003, that look-alike frauds harm consumers, financial institutions, and severely
challenge law enforcement.” Not to mention the harms they can do to themselves. Psychology Today, April 2003 warned
that look-alike frauds suffer from a disease called Zeligitis. And they sure do suffer. Heck, as we took off, the woman
sitting next to me, the love child of Calista Flockhart and David Hyde Pierce, began clawing at her choker, screaming,
“Batten down the hatches! No, you batten down the hatches.” In order to understand why Zeligitis according to The
Nation, September 1, 2002, is a serious modern issue concerning our identity, I will to first define my precious and it’s
problems. Then, finally, I will lead you through the labyrinth of solutions to this modern plight. A Zelig is one who
20
impersonates someone to obtain power, prestige or money. The term according to the Boston Globe, February 3, 2002
comes from a Woody Allen film, Zelig, in which a man was a natural mimic who could look like anyone. The Record,
February 10, 2003 reveals that Zeligs “pretend they’ve got all the fame and all the fortune of other people in power, and
they can live the part and then go home and not be trampled.” People always like being or looking like other people. I’m
often confused for someone else. My ex-girl friend dated me because she thought I looked like Freddie Prinze, Jr. This was
fine until she saw the movie Scooby Doo. It was difficult to say, “I think it was old man Smithers dressed in a clown
costume who stole the diamond” without losing rhythm. With just some glasses I’m mistaken for Robert Downey, Jr. (As
Downey-) “I sure miss California. The weather is better there. Here we’ve had four seasons in one day: foggy, rainy, sunny,
and cloudy. Last time I went through this many changes I was in rehab. Here each day it’s cold, hot, cold, hot! My sperm
count is like my first film: Less Than Zero.” The media heightens Zeligitis. Take “The Learning Channel’s” new series,
“Faking It;” it puts individuals in another job and they fake it for a day. I could never do this show. I can’t fake it for a
minute, much less fake it for a day; but my girlfriend could. One recent episode on “Faking It,” a gay drag queen, was
turned into a professional baseball umpire. I thought at first, “This makes sense since baseball umpires’ calls are becoming
more dramatic.” They are like, “Strike One!” (Pose like a rapper.) “Ball One!” (Cheerleader jump!) So this gay drag queen
gets to be an umpire for the day. He gets up to the plate. (Umpire stance with a fierce drag queen look.) “You gonna pitch?”
(Ball comes in.) “Damn, wham, now that was a strike! I calls ‘em like I sees ‘em!” (Get back in place.) “Hey, Mr. Pitcher?
They call you Big Johnson, or just plain Randy?” (Ball comes in.) “Umummm. Strike a pose! We call that Strike Two. You
better not swing at this next one.” Of course it is fun to pretend to be someone else, but Zeligitis becomes an illness when
others are harmed. Zeligitis creates two problems: freeloading and deception. Freeloading occurs when imposters leech off
the original. For instance Marti Ornest made a living as a Sharon Stone look alike. She told The Los Angeles Times,
February 2, 2003, that she’s had trouble finding work because Stone’s career stalled. She’s now imitating Nicole Kidman,
as she looked in “The Hours”. To get her prosthetic nose affixed, Ornest suffers through a tedious uncomfortable two-hour
ordeal- but so did everyone who saw Nicole Kidman in the movie. Freeloading makes the original’s identity questionable.
It’s happened in Colorado. According to The Associated Press, February 13, 2003, there have been four different times a
man has impersonated a cop. Now people hesitate when a cop approaches. Where I come from we don’t just hesitate; we
pull out the video camera. The second problem is deception. The New York Times, October 2, 2002 reports that there’s
not just one evil Saddam Hussein. There are at least three evil look-alikes, plus the evil original. I think Saddam has these
look-alikes because he hates missing Days of Our Lives. As we’ve seen in the war, duplicate Saddams complicated Bush’s
plans. It makes me wonder, will we need four regime changes with matching assassination teams? If one Saddam gets
nailed, will the others quickly shave and retire? If I ran the CIA I’d just hire one of the Saddam look-alikes. I’d have him
tell Larry King that he’s joining Green peace and regrets almost everything, except the mistresses. Of course to get the
look-alike Saddam over here we need fake ID’s. No problem. To get what the original has Zeligs use fake ID’s. Of course
no one really looks closely at ID pictures anyway. In South Carolina, according to the Associated Press, September 27,
2002, an inmate impersonating a fellow inmate was mistakenly released from prison. Officers failed to recognize that his
fake ID said he was white. The imposter was black. Whether a look-alike is freeloading or stealing someone’s identity there
are some solutions we can all implement. Yes, I, along with a few other politicians are demanding change. Just like
homeless people. Up until now the government has done little to stop impostors. But recently, according to the Card
News, February 3, 2003, two Senators, Diane Fienstein and Ted Kennedy created a new bill with harsh penalties to inhibit
identity fraud. Show your support by contacting them at their offices. Oh no, now I’m posing as a persuasive speaker.
Senators Fienstein and Kennedy efforts can save your image. They might as well, since they’ve done nothing for theirs. I
don’t know why Ted Kennedy is worried about look-alikes. No one recognizes him on television; mostly because he looks
different with his pants on. On a side note, did you here that Sen. Kennedy is denying that his marriage is on the rocks.
Although he said, that sounded good. There is an easy personal solution. First, if you suffer from Zeligitis, realize you have
this problem and just be yourself. Don’t be someone else. As the University Wire, December 31, 2002, explains, it’s a nobrainer why frauds are against the law, yet college students consistently pose as someone else with fake ID’s. Oh, sure,
there is something thrilling about posing as someone else, but think of it this way. An illegal immigrant or even terrorist
may want to obtain a fake ID and look like one of you. Well, maybe not you. Although the seriousness of their actions
differ, it all starts with our acceptance with impostors. To make sure your identity remains your own, secure sensitive
documents in a safe place, like your underwear. Keep your driver’s license, passport, school ID, Safeway VIP card, Subway
stamp card and other important documents safe. (Pull them out with your sock) Okay, this sock, is not what it looks like;
it’s not to make you think I’m something I’m not. My mother always told me to keep an extra pair in case my hands got
cold. Okay? You’re not buying it? My mother always told me to keep an extra pair in case I wanted to make sock puppets.
Here hold this. What I’m saying is be careful when handing out personal details. Today we have explored Zeligitis, its
problems and offered a few solutions. Shania Twain’s lookalike, Shania Twin, summed it up pretty well in the Topeka
Journal, November 1, 2002, “Imitation is the sincerest form of flattery, until it sincerely flattens the form.” You see, it’s
okay to look like someone else, pose as someone else, until it tries to replace the original. You know, I hope that on my
flight back home I get a real pilot; with my luck he’ll probably be a Saddam imposter looking for a new job.
21
TOURNAMENT
ACTIVITIES
&
ETTIQUITE
VOCAL
WARM‐UPS
At every tournament we do vocal warm-ups as a team. As you progress you may want to do
them on your own, or even initiate a few in the group. Here are the ones that we traditionally
use each weekend. To lessen your fears here are a few that you could learn.
1. A-ah; E-ah; I-ah; O-ah; U-ah; sometimes-Y-ah; we have Helena!
2. Consonants around the circle: Ba-ba-ba-ba-ba; Ca-ca-ca-ca-ca, etc
3. Stretches of the face
4. Sail Boat. Sail Boat. Sail Boat. (repeat)
5. Red Bug. Black Bug. Blue Bug. (repeat)
6. From the top of the teeth to the tip of the tongue (repeat)
7. The world is round like an orange. (repeat)
8. Chester touches Ester’s chest (repeat)
9. I shot a hippopotamus with bullets made of platinum;
And if I’d used leaden ones, his hide would surely flatten them
10. The 16-count: 16, 8, 4, 2, 1
TOURNAMENT
POSTINGS
At most tournaments you will compete in 2-3 PRELIMINARY ROUNDS in each event. The
tournament will have a centralized location where students will gather to check “postings.”
When each round is posted in the designated space, you will want to write down all of the
important information: section, room, judge, each speaker, and your personal speaker order.
You will need to do this quickly so that you can get to your round(s) and sign-in (See signingIn Section). Keep all of this information in your tournament notebook, separate from your
black book with all of your interpretation selections and your speeches.
FINAL
ROUNDS
Based on rankings in the preliminary rounds tournament officials will calculate who advances
to the elimination rounds (also known as out rounds or break rounds). Expect to encounter
more than one judge in final rounds. Traditionally there are three or more. Know who they
are, where they are sitting and by all means do not perform until all of the judges are in the
room and ready.
SIGNING‐IN
After you check the posting, and you have written down all of your round information, you
may have two or more events in a grouping or pattern. You might have your poetry oral
interpretation performance during the same round as your duo interpretation. It is your
responsibility to get to both rooms and sign-in. Signing-in is the process of writing your name
and your school code, and perhaps even your individual (personal) code [given to you by
your coach at the registration of each tournament] and whether you a double or triple entered
during that round. The reasoning behind signing in is two-fold. First it allows the judge to
know who is multiple entered so that he or she will permit those competitors to perform first,
and those who are not entered in other events to wait. This makes the tournament run on
time. The second reason behind signing-in to the room is simple courtesy to the judge. By
signing in you are letting the judge know that you are will be right back, after you do your
22
other round, or that you are waiting in the room. In another way it is a way that the judge can
check and see if you (or sometime the judge) is even in the correct room.
When you sign-in there are two options most competitors follow: 1) Chalk or White Board and
2) Sheet. If there is no place to sign-in, create one on a chalkboard, or white board or with a
piece of paper. Just simply write a copy of the tournament posting on the board or sheet of
paper.
Make sure that you sign-in in the correct speaking position. Basically a sign-in will look like
this:
Rd 1 PROSE
1. 03- Rosie Mays
2. 12- Nate Steele (D.E.)
3. 20- Manny Goni (D.E.-extemp)
4. BYE
5. 24- Victor Ratliff
6. 39- Tenisha Bond (T.E.)
TOURNAMENT
BEHAVIOR
In the round you should be a good audience member by paying attention to the speakers and
being polite to the judge. Remember that you represent the team when you travel. Do not let
the nastiness of competition prevent you from enjoying and applauding the speeches you sit
through. Be the audience member that you hope to have: friendly, supportive and engaged.
KEEP
A
NOTEBOOK
Try to write down each of the selections or topics after the round in your notebook, but not
during the speeches. This will help you later in the year when you need to adapt to different
judges, and keep track of various topics and selections. If you keep a detailed tournament
posting notebook, then you will be able to recreate the tournament after it’s all over. You be
able to tell your coach who was in the round and what they spoke on or performed. When you
go over your ballots you will be able to discern what the judge liked and disliked. Over the
year this notebook will enable you to discover what styles judges like and dislike so that when
you encounter a judge again, you can look in your notebook and see what they wanted you to
alter, and do so accordingly.
BALLOTS
Speeches are usually ranked by judges on a scale of 1 to 4 in the preliminary rounds. The
ballots you receive in elimination rounds most often rank speeches first through last. There
can be no ties in ranking except for speakers tied for last place (usually 4th or 5th). A ranking
of 1 is best and 5 is the worst.
Rate (also known as speaker points) is a secondary evaluation system that sometimes
appears on ballots. The most common rating system scores speakers from 1 to 25 with 25
being best. They may use 70-100 with 100 being the highest. Speakers may be tied on
ratings although rankings and ratings should match with the top speaker being rated as high
or higher than any other speaker in the round. Phi Rho Pi uses no rate system for scores.
Judges should not discuss or reveal their decisions in any way to anyone except a tab room
official until the results have been announced. Judges and/or coaches seeking or revealing a
decision may have their contestants disqualified. Hired judges seeking or revealing a decision
are subject to non-payment for their services. Hired judges must agree in advance to abide
23
by this rule. Usually the person judging must have judged previously in intercollegiate
forensics competition. This is not always the case. Find out with your coach who the judge(s)
is so that you may adapt to their style and expectations. Now because all judges are
expected to judge until the end of the tournament regardless of whether they have qualified
students for the elimination rounds you must be aware that they are exhausted. They
concentrate on six speeches, rank them and then do this all over a long day. Be kind to them,
but if there is a problem, don’t deal with the judge directly. That is your coach’s job.
Know where a judge is from, who they are, and that what they have to say is important. But
also take it all with a grain of salt. They are just one person. Look for patterns in the ballots.
What do they say as a group? What did you do well from round to round? What did you do
consistently wrong? Go back over your Tournament Posting Notebook and rebuild the round.
Try to figure out who was ranked higher and lower than you. Compare your Tournament
Posting Notebook with the final results or tabulation sheets (Tab Sheets).
Ballot Example:
Speaker’s Name: School Code:
Event: DRA POET PRO DUO POI INF PER ADS CA IMP EXT
DIVISION: JR SR
Round: I II Semis Finals Section: ___
Please assign each contestant a ranking and a rating. There can be no ties in ranking except for 5th in
preliminary rounds; ties speaker points (rates) are permitted. In elimination rounds, speakers should be ranked
first through last. The rating should be in percentage form between 60-100 with 100 being highest. Ranking and
rating should “match”; the speaker with first place in the round should be given a rating higher than any other
speaker in that round or at least equal to that of the second place speaker.
Comments & Reason For Decision: (use other side if necessary)
Rank in Round (1-5) Rating (100-70)
Judge’s Signature and Affiliation
BALLOT
REVIEW
Directions: After every tournament it is important to review your ballots. Ballots are an
excellent source of feedback. They help you identify areas that need work and areas that you
do well. It is also important to keep track of the judges who critic your performance, because
you will see them again. You may want to adjust only for that particular judge. If there are
contradictions write them opposite each other. Then decide with your coach how to best way
to solve the contradiction.
Example:
Tournament & Dates: SDSU, 10/17/98
Good Comments Improvement Comments
Judge:_R. Tuscany, Grossmont College
1. Great voice 1. Don’t move feet so much
2. Great thoughtful intro 2. More polished book work
Tournament & Dates:
Good Comments Improvement Comments
Judge:___________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
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Judge:___________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
Judge:___________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
Judge:___________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
_________________________________ ______________________________
Forms
TIME
AND
TASK
LOG
Name: _____________________
Week of: ___________________ DATE: __________
Describe the focus of component of the demonstration currently in
Progress:____________________
_____________________________________________________________________________
_____________________________________________________________________________
=========================================================================
=====
Date: Day: Time (from-to): Task Progress: Next to work on:
===================================================================
===========
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
=========================================================================
=====
My Work Plan for next week includes:
MEETING WITH KRISTINA/NATHAN ON ____________ COACH’S SIGNIATURE: ______________
_____________________________________________________________________________
25
CCSF
PERSONAL
INVENTORY
Name:_________________________________ Semester/Year:________
Address:_______________________________ Birth Date:____________
______________________________City, State, Zip SS#: ________________
Phone: (h)_______________ (other) _____________
Year(s) in College__________ Expected Graduation Date____________________
This semester's schedule:
_______________________________________________________________________
Course Title Days Time Room Instructor Grade you expect
_______________________________________________________________________
________________________________________________________________________
_______________________________________________________________________
_____________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
In what activities do you participate? (ie. hobbies or sports)
_______________________________________________________________________
What career have you chosen? ________________________________________________
What do you think you'll be doing 5 years from now?________________________________
_______________________________________________________________________
Are you presently employed? __________ Number of hours per week: _______________
For which company do you work?______________________________________________
What positions of leadership have you accepted?
In school________________________________________________________________
Outside of school _________________________________________________________
Have you had previous training or experience in Speech? ___________________________
If so, describe in detail:
FORENSIC
STUDENT
SPEECH
PLAN
NAME:___________________________ PHONE: ________________
WHAT ARE YOUR GOALS: CHECK THE ONES THAT APPLY___ NOT BE NERVOUS IN FRONT OF AN AUDIENCE ___ GET TO A FEW TOURNAMENTS
___ HAVE THREE EVENTS ___ RECEIVE AT LEAST ONE (1)
___ MAKE IT TO A FINAL ROUND ___ BE IN MULTIPLE FINAL ROUNDS
A TOURNAMENT
___ PLACE IN THE TOP 3 IN A FINAL ROUND ___ QUALIFY FOR NATIONALS
___ BREAK TO AN OUT ROUND AT NATIONALS ___ PLACE IN FINALS AT NATIONALS
___ PLACE IN THE TOP 20 IN INDIVIDUAL SWEEPSTAKES AT NATIONALS
ANY ADDITIONAL GOALS:
The GOALS I plan to work for this semester are:
The EVENT(S) I plan to compete in this semester is:
The SPEECH-RELATED ACTIVITY designed to benefit others that I plan to work on this semester is:
My projected TOURNAMENT participation for the semester will be: (minimum of 3 for a grade in the class; you
may count working our tournament) plan to attend:
Date & Tournament Events I plan to attend:
1.
2.
3.
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CCSF
SPEECH
TEAM
RULES
&
CONTRACT
GENERAL TEAM RULES: a speech team member must know and adhere to the following rules for
participation on the team:
1. Adequate preparation is necessary for tournament competition under the supervision of the coach. A student
must meet with the coach at least once before the tournament for eligibility to compete.
2. SQUAD COOPERATION: the best teams become successful because they have developed ideas,
arguments and strategies by cooperating with their team. No matter how good a student, the student can always
learn from others. Pettiness is unnecessary. SO DURING PRACTICE SESSIONS STUDENTS ARE
REQUIRED TO COOPERATE WITH COACHES, TEAMMATES, AND CRITICS.
3. Students are required to have their personal inventory and emergency forms on file with the Director of
Forensics. The emergency forms accompany the coach to each tournament.
TOURNAMENT RULES:
1. Signing up for a particular event at a tournament indicates a commitment to participate in that competition at
that tournament. Since “no shows” cost the team money in penalties, transportation and rooms, students are
asked to seriously consider their commitments. Illness with a physician’s statement and other verified
emergencies would be the only acceptable excuses for not attending a tournament.
2. If a competitor must withdraw from a competition they must do so three days prior to the meet or it is that
competitor’s responsibility to contact the coach. The competitor must pay for the entry fee. (see illness rule)
3. Dress at a tournament shall be consistent with professional attire.
4. Excessive noise and rowdy behavior are not allowed since students represent the school and should present
a positive image.
5. Each student will adhere to the on-site tournament rules. Cheating is not tolerated. The rules being either
NFA (National Forensic Association) or AFA (American Forensics Association) host tournament rules and event
rules and school rules.
6. Each student must use proper tournament etiquette. Tournament etiquette includes: attendance at every
round, on time to each round, politeness in rounds and outside rounds.
Fighting will result in immediate probation and discussion with the coach.
7. CCSF campus rules apply to all team members while at the tournament site, or away from CCSF. This means
no illicit drugs, no underage drinking, no firearms, and no weapons.
TRANSPORTATION: Transportation will be provided by the school, unless otherwise noted. Local tournaments
will require that you drive your self, or car pool. CCSF is not responsible until you are at the tournament.
RULES ON OVER NIGHT TRIPS: (these are additional rules to the above rules)
1. Students shall check the their rooms for damage when they check into the motel and report it immediately to
the coach and/or sponsor. The students of each room will accrue any other damages to their room. Furniture
must not be altered, moved out of the room, or otherwise vandalized. Towels and bedding will be left in the hotel
room.
2. Curfew for over night tournaments is eleven o’clock, unless otherwise announced due to a late tournament
schedule, or a late team dinner. Students must check with a coach about any curfew change. At curfew all
students must be in their assigned rooms. The coach will make periodical personal room checks after curfew
(this will probably not be a problem since all of you are adults).
3. Excessive noise and rowdy behavior are not allowed since students represent the school and should present
a positive image.
4. Students must stay in their assigned rooms. No one may switch rooms without permission from a coach or
sponsor. There will be same sex rooms.
5. Each student will pay for phone bills, pay-per-view movies, and/or any other additional bills assessed to their
room charges. The room captain will be responsible for enforcing this rule.
6. Students must obtain permission from the coach to leave the hotel. Students must notify the coach of their
whereabouts in the hotel if they are not in their room.
CONSEQUENCES: Disregard for any of the above regulations may result in one of the following:
1. A warning from the coach. If the behavior is not alleviated other discipline actions will ensue. Other discipline
procedures may include a verbal team apology, a written apology, or fine.
2. Disqualification from a tournament;
3. Probation from team activities, and/or competition;
4. Suspension from team activities, and/or competition.
5. If the infringement is a school rule, district rule, or when the coach feels necessary, administrative
intervention, such as the principal, will be contacted and proper
proceedings will occur.
Signature
/
Date
/
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