Oral InterpretationHoughton Mifflin, 1952 - 596 pages |
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Page 62
... tion to the special effects which have been achieved . The projec- tion of these special effects will require some attention to the use of your body and voice in order that the most effective muscle tone and movement may complement the ...
... tion to the special effects which have been achieved . The projec- tion of these special effects will require some attention to the use of your body and voice in order that the most effective muscle tone and movement may complement the ...
Page 145
... tion refers directly to the shaping of the sounds by the speaker's lips , teeth , tongue , and hard and soft palates . Sometimes it is hard to decide whether a fault is a matter of pronunciation or of articula- tion . When someone says ...
... tion refers directly to the shaping of the sounds by the speaker's lips , teeth , tongue , and hard and soft palates . Sometimes it is hard to decide whether a fault is a matter of pronunciation or of articula- tion . When someone says ...
Page 220
... tion and the positive side of human living . Modern civiliza- tion would be destroyed if the things that make for civiliza- tion , the things we take for granted - freedom of belief , the rights and liberties of the individual ...
... tion and the positive side of human living . Modern civiliza- tion would be destroyed if the things that make for civiliza- tion , the things we take for granted - freedom of belief , the rights and liberties of the individual ...
Contents
What Is Oral Interpretation? | 3 |
Selection and Evaluation of Material 133 | 13 |
Analysis Preparation and Presentation | 51 |
Copyright | |
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Common terms and phrases
achieve action analysis appeal aspects attention attitude audience aware BRACK breath BRINK Carl Sandburg character climax complete Copyright CREON Culverin drama emotional example excerpt eyes factors feeling free verse give GRAMPS hand HEDDA imagery important inter interpreter's James Thurber Lin Yutang line-length listeners literary logical looked lyric MARY CLEOPHAS material meaning mental mind MISS TESMAN muscles narration narrative night oral interpretation paragraph pattern pause permission person physical pitch play plot poem poet poetry preter problem prose reader relaxation remember response rhyme rhythm Richard Cory Robert Frost scene selection sense sentence sound speech phrases stage directions stanza Stephen Vincent Benét stress structure suggestion syllable T. S. Eliot technique tension thee thing thou thought Tibault tion Tommy Tommy Brooks tone Toombs County verse VINNIE vocal voice vowel Walter Mitty words writing