Cheryl Blossom rounds out the set with Betty and Veronica.
For this lesson, you will need: Introduce or review the technique sometimes called oral interpretation and sometimes called readers' theater.
Both of these terms refer to reading nondramatic literature aloud—that is, literature not written in the genre of drama—as if it were drama. The person or persons performing the oral interpretation or readers' theater should read the narration of, say, a novel and the dialogue as well, complete with tag lines such as "he said" and "she exclaimed.
Divide students into groups, and assign each group to a scene. Parts of the novel that lend themselves especially well to oral interpretation are the following: Before each group sets to work on its scene, go over the following principles of oral interpretation or readers' theater: Every scene that you've selected for students to enact has a major climax and some smaller ones.
It's the group's first job to figure out which parts of the scene are the high points—and how to emphasize them in a reading. The students in each group have to come up with what some experts refer to as a performance concept.
That is, the students have to determine how many distinct, individual voices the scene requires—how these voices should blend and how these voices should contrast: Should there, for example, be a separate voice for each character in the scene, or will one person read the lines of more than one character?
Along the same lines, the students in each group must decide how to handle the narrator: Will just one student read Nick's narration, or will several? Should the narrator always be read by a chorus—that is, voices in unison? How will the group treat the characters' tag lines—let the person reading the character say them?
Once a basic performance concept has been agreed on, the students in each group must actually prepare a script based on the novel— who says which words, sentences, and paragraphs and how should the lines sound? Although an oral interpretation or readers' theater expects the performers to stand or sit rather than move around a stage, as students work out their script, they may want to indicate some slight gestures and even sound effects.
For example, in the dinner party scene, we do not hear Daisy and Nick laugh; we only hear Nick report that Daisy and he laugh. Yet the script can call for the sound of a woman's laughter and then a man's as the narrator says the words, "—then she laughed, an absurd, charming little laugh, and I laughed too and came forward into the room.
That is, they should always be aware of a character's major traits and figure out how to communicate those through tone, pacing of speech, pausing, and so on.
Connection with the audience is important also. Students will be reading from their scripts, but whenever possible, each reader should establish eye contact with some members of the audience.
After all, the students, first and foremost, are telling a story, so there should be some signs of intimacy between storytellers and audience.A true classic of twentieth-century literature, this edition has been updated by Fitzgerald scholar James L.W.
West III to include the author’s final revisions and features a note on the composition and text, a personal foreword by Fitzgerald’s granddaughter, Eleanor Lanahan—and a new. The Great Gatsby Questions and Answers - Discover the barnweddingvt.com community of teachers, mentors and students just like you that can answer any question you might have on The Great Gatsby.
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