3.  One of the oldest forms of speech is
the oral interpretation of literature.
 This performance is variously called
oral reading, reading aloud or
interpretative reading.
 In the 18th and 19th centuries, the oral
performance of literature was
known as “elocution”; today, it is
referred to as “expression.”

4.  Ancient literature, before the
invention of printing was originally
read aloud. Historians read their
works, poets recited their poems
during festivals, even going from
town to town as bards.
However, with the advent of
printing, reading became “silent”.

5.  Today, however, many believe
that literature is meant to be
heard and, given the right
interpreter and the right
audience, most literature will be
appreciated when read aloud.

6.  Interpretation is generally known as
the reading aloud of written
materials such as radio or television
commercials, expository
papers, news items, and
announcements, but traditionally it
is associated with the oral reading of
literature.

7.  to learn the techniques of delivery
 to communicate to an audience
 to know more about the writer
 to experience the beauty of the
literary work

8. In oral interpretation, the
interpreter must be concerned
not only in using his voice, but
also in delivering the message
of the literary selection to an
appreciative audience.

10.  Interpretation is the study of
literature through the oral
performance of a speaker who
creates and recreates the meaning
and mood of the selection.
INTERPRETATION
PERFORMING
ART
INTERPRETER
REALIZES AND
ACTUALIZES
THE LITERARY
WORK HE IS
RECITING.

11.  The interpreter makes real the
scenes, makes lifelike the
characters, and renders natural
and convincing the moods of the
selection.
 This enables his listeners to see
the scenes for themselves and
actually feel the emotions in the
literary piece.

13. O
R
I
G
I
N
A
L
A
U
T
H
O
R
PRINTED
POEM
PROSE
PLAY
D
E
C
O
D
E
O
R
A
L
I
N
T
E
R
P
R
E
T
E
R
ENCODE
P
E
R
F
O
R
M
A
N
C
E
LISTENNG
AUDIENCE
SENDER MESSAGE
IN
CHANNEL
(VISUAL)
RECEIVER/
SENDER
MESSAGE
IN
CHANNEL
(AUDITORY
-VISUAL)
RECEIVER

15.  It is the process of
reading orally for
an audience, using
the elements of
voice and diction in
order to convey the
meaning and mood
of the selection
accurately.
REMEMBER!
Reading aloud is
NOT expressing the
printed selection in a
booming voice, a
sudden outburst or in
an overly distinct
voice.

16.  It is not merely repeating words and reciting
lines. It is internalizing the piece –
thinking, understanding and feeling the
author’s meaning and mood , using the proper
quality, pitch, intensity, rate, including
pausing, phrasing and bodily actions to
actualize the mood intended by the writer.

17. READER
INTERPRETER
HE TRANSFORMS THE
PRINTED SELECTION
INTO “LIVING SPEECH,”
RECREATING FOR HIS
AUDIENCE THE
THOUGHTS AND
FEELINGS OF THE
WRITER AS
ACCURATELY AS HE
CAN.

19.  Good oral reading and
interpretation entails good
preparation – the thorough
understanding of the selection and
the proper expression of the literary
piece.

20. A. Understand the selection. You must not
only know the general content of the
selection; you must have actually liked
and enjoyed the piece.
1. Read the selection silently knowing
and understanding the meaning of
each word and each sentence.
Knowing the background of the
story and consulting reliable sources
for meaning will help.

21. 2. Consider the attitude, feelings, emotion
or temperament of the person who
wrote the selection because these give
meaning to his words and point to the
style of reading aloud you will use in
your interpretation. Knowing the life of
the author and the circumstances that
led to the writing of the poem or story
provides a clue to the emotional
background of the selection.

22. 3. Identify words and ideas you need
to emphasize.
4. Recall your own experiences to help
you in understanding the author’s
mood and guide you in recreating
the author’s feelings.

23. B. Express the selection. Now, translate
these meanings and moods into action.
Put your vocal skills into good use for
you cannot interpret silently.
1. Emphasize the meaning. Read the
selection accurately without
adding, subtracting or changing any
word or phrase.

24. 2. Emphasize the mood. Your
interpretation of the lines should be
“alive” and the selection should be
“born again.” Aim for the desire to
create something of beauty or
greatness, whether poetry or prose.

25. 3. Watch for the time limit. Sustain the
appreciative listener’s enthusiasm
and attention by speaking well
within a definite time limit. End
your performance while you still
hold the interest of the audience.

26.  Closely related to rhythm and meaning
is body movement. Interpretation must
not be only vocal but also physical. The
body must coordinate with the voice so
that rhythm and bodily action act as
one.
 All your actions must be
sincere, spontaneous, fresh, forceful and
convincing.

27.  Make your reading alive not only
through your voice but also with
your body. However, suit your
actions to the words and the
intended meaning and mood
without overdoing them for they
might detract rather than enhance
your oral interpretation.

28. To get your body started, pantomime
each of the following situations with or
without speech.
1. Pantomime a long distance
telephone conversation.
2. Be a repentant sinner pleading for
forgiveness.

29. 3. You are the triumphant winner of a
recent beauty contest; acknowledge
the applause from your fans.
4. Be a student who comes very late
to class carrying several books, two
of which fall on the floor; make
motions to pick them up.
5. Whisper a secret to an imaginary
companion.

30. 6. Be a professional singer performing for
a nightclub audience.
7. Be a dancer slightly swaying to the
music.
8. Be a cheerleader of a basketball team;
cheer for your favorite player.
9. Pantomime an oral interpretation of a
poem. Grip the floor with your
feet, straighten up and feel ten feet tall.

31. 10. Say the following lines from
“Invictus.” Hold your head up high
and feel proud as you say:
“I am the master of my fate;
I am the captain of my soul.”
- Henley -

32. Flores, Carmelita S. and Evelyn B.
Lopez. Effective Speech
Communication. 5th ed.
Mandaluyong City: National
Bookstore, 2008.