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In the 18th and 19th centuries, the oralperformance of literature wasknown as elocution;
today, it isreferred to as expression. This performance is variously calledoral reading,
reading aloud orinterpretative reading.One of the oldest forms of speech isthe oral
interpretation of literature.
2. Ancient literature, before theinvention of printing was originallyread aloud. Historians read
theirworks, poets recited their poemsduring festivals, even going fromtown to town as
bards.However, with the advent ofprinting, reading became silent.
3. Today, however, many believethat literature is meant to beheard and, given the
rightinterpreter and the rightaudience, most literature will beappreciated when read aloud.
4. Interpretation is generally known asthe reading aloud of writtenmaterials such as radio or
televisioncommercials, expositorypapers, news items, andannouncements, but traditionally
itis associated with the oral reading ofliterature.
5. to experience the beauty of theliterary work to know more about the writer to
communicate to an audience to learn the techniques of delivery
6. In oral interpretation, theinterpreter must be concernednot only in using his voice, butalso
in delivering the messageof the literary selection to anappreciative audience.
7. Interpretation is the study ofliterature through the oralperformance of a speaker
whocreates and recreates the meaningand mood of the
selection.INTERPRETATIONPERFORMINGARTINTERPRETERREALIZES
ANDACTUALIZESTHE LITERARYWORK HE ISRECITING.
8. This enables his listeners to seethe scenes for themselves andactually feel the emotions
in theliterary piece. The interpreter makes real thescenes, makes lifelike thecharacters, and
renders naturaland convincing the moods of theselection.
9.ORIGINALAUTHORPRINTEDPOEMPROSEPLAYDECODEORALINTERPRETERENCOD
EPERFORMANCELISTENNGAUDIENCESENDER
MESSAGEINCHANNEL(VISUAL)RECEIVER/SENDERMESSAGEINCHANNEL(AUDITORYVISUAL)RECEIVER
10. It is the process ofreading orally foran audience, usingthe elements ofvoice and diction
inorder to convey themeaning and moodof the selectionaccurately.REMEMBER!Reading
aloud isNOT expressing theprinted selection in abooming voice, asudden outburst or inan
overly distinctvoice.
11. It is not merely repeating words and recitinglines. It is internalizing the piece thinking,
understanding and feeling theauthors meaning and mood , using the properquality, pitch,
intensity, rate, includingpausing, phrasing and bodily actions toactualize the mood intended
by the writer.
12. READERINTERPRETERHE TRANSFORMS THEPRINTED SELECTIONINTO LIVING
SPEECH,RECREATING FOR HISAUDIENCE THETHOUGHTS ANDFEELINGS OF
THEWRITER ASACCURATELY AS HECAN.
13. Good oral reading andinterpretation entails goodpreparation the
thoroughunderstanding of the selection andthe proper expression of the literarypiece.
14. A. Understand the selection. You must notonly know the general content of theselection;
you must have actually likedand enjoyed the piece.1. Read the selection silently knowingand

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understanding the meaning ofeach word and each sentence.Knowing the background of
thestory and consulting reliable sourcesfor meaning will help.
15. 2. Consider the attitude, feelings, emotionor temperament of the person whowrote the
selection because these givemeaning to his words and point to thestyle of reading aloud you
will use inyour interpretation. Knowing the life ofthe author and the circumstances thatled to
the writing of the poem or storyprovides a clue to the emotionalbackground of the selection.
16. 3. Identify words and ideas you needto emphasize.4. Recall your own experiences to
helpyou in understanding the authorsmood and guide you in recreatingthe authors feelings.
17. B. Express the selection. Now, translatethese meanings and moods into action.Put your
vocal skills into good use foryou cannot interpret silently.1. Emphasize the meaning. Read
theselection accurately withoutadding, subtracting or changing anyword or phrase.
18. 2. Emphasize the mood. Yourinterpretation of the lines should bealive and the selection
should beborn again. Aim for the desire tocreate something of beauty orgreatness, whether
poetry or prose.
19. 3. Watch for the time limit. Sustain theappreciative listeners enthusiasmand attention by
speaking wellwithin a definite time limit. Endyour performance while you stillhold the interest
of the audience.
20. All your actions must besincere, spontaneous, fresh, forceful andconvincing. Closely
related to rhythm and meaningis body movement. Interpretation mustnot be only vocal but
also physical. Thebody must coordinate with the voice sothat rhythm and bodily action act
asone.
21. Make your reading alive not onlythrough your voice but also withyour body. However, suit
youractions to the words and theintended meaning and moodwithout overdoing them for
theymight detract rather than enhanceyour oral interpretation.
22. To get your body started, pantomimeeach of the following situations with orwithout
speech.1. Pantomime a long distancetelephone conversation.2. Be a repentant sinner
pleading forforgiveness.
23. 3. You are the triumphant winner of arecent beauty contest; acknowledgethe applause
from your fans.4. Be a student who comes very lateto class carrying several books, twoof
which fall on the floor; makemotions to pick them up.5. Whisper a secret to an
imaginarycompanion.
24. 6. Be a professional singer performing fora nightclub audience.7. Be a dancer slightly
swaying to themusic.8. Be a cheerleader of a basketball team;cheer for your favorite player.9.
Pantomime an oral interpretation of apoem. Grip the floor with yourfeet, straighten up and
feel ten feet tall.
25. 10. Say the following lines fromInvictus. Hold your head up highand feel proud as you
say:I am the master of my fate;I am the captain of my soul.- Henley 26. Flores, Carmelita S. and Evelyn B.Lopez. Effective SpeechCommunication. 5th
ed.Mandaluyong City: NationalBookstore, 2008.