Hammond Central League Tournament

2010 — NY/US

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Varsity Oral Interpretation

Event Description:

Criteria for judging: Introduction: The introduction must name the work and author, provide necessary background information and establish the mood. If using a teaser, or if lines from the selection are used in the introduction, the speakers must adhere to the rules of the event. Projection of Literature: The interpreter should demonstrate a clear understanding of the literature and project its meaning, message and tone. The speaker should capture and convey the plot and/or development. Imagery should be carefully colored so as to promote audience understanding and appreciation. In a presentation of a collection, there should be a unity to the program as a whole, made clear by the introduction and transitional material. Consideration should be given to the literary merit of the selection. Narrator/Character Creation: The narrator should be believable and conversational. The narrator should be able to lead the audience through the details of the literature, keeping a consistent and clear attitude toward people, objects and events within the literature. In collections, the interpreter should develop and maintain unique and distinct narrative voices for each selection within the program. If they are utilized, character voices should be distinctive, consistent and appropriate to the character. The interpreter should be able to demonstrate the characters’ feelings and thoughts through the use of vocal inflections, facial expressions including visualization, and appropriate intensity. Visualization: The interpreter should help the audience to see the particular world of the narrator. The interpreter should establish a strong sense of environment. The interpreter should be able to see and replay the events described or recalled in the literature. The interpreter should use facial expressions and gestures appropriately to bring the script to life. Vocal Variety: The interpreter should appropriately vary pitch, volume, rate, and intensity to convey the various moods and messages in the literature. Appropriate words should be stressed for clarity and understanding. The interpreter should appropriately play with sound devices such as alliteration, and attend to the sound and meaning of every word. For poetry, the interpreter should capture and effectively vary existing poetic rhythmn, making use of rhyme when necessary and avoiding it when not. Audience and Script Contact: The interpreter should invite the audience into the presentation, directing eye contact and expressing his or her feelings to individual audience members when appropriate and necessary and consulting the script when it is not. The interpreter should focus away from the audience and the script effectively during moments of internal and private thoughts. There should be a natural balance between the audience and script where one does not take precedence over the other. The interpreter should stay in the moment, with facial expression and emotional consistency, when making contact with the manuscript. Overall Effect: The overall performance should build to various moments and have a climax. The performance should be easy to follow and complete. The performance should display another world outside of the performance space. 1) The speaker shall prepare two programs of literature from manuscripts. Each program shall consist of a single piece, a cutting, or a series of short pieces united by author or theme. One program shall be published prose; the other, published poetry. The intent of the NCFL is that all materials presented in interpretation events must be available to all members of the league. At the NCFL tournament, coaches should bring an original script with an ISBN, ISSN, or IFFN. If the script does not have an ISBN, ISSN, or IFFN, the coach or supervising adult must be able to show that the script was purchased or obtained commercially; ie. from a literary agent or publisher or bill of sale or is publicly available by internet URL and retrieval date. Each program shall contain an introduction for purposes of explication, setting, or selection transitions. Lines attributed to one character in the published source may not be attributed to another character in the performance. The author's words as published in the literature may not be altered for the presentation with the exception that cutting is permitted. Material being performed at the NCFL tournament must match the student’s original script. 2) The literature chosen may include any form of prose or poetry, fiction or non-fiction, except drama and strictly oratorical composition written to be delivered in real- life, such as monologues from a play. 3) No props of any kind are permitted with the exception of the speaker’s manuscript. 4) Speakers should keep eye contact between audience and manuscript in reasonable balance. Speakers who fail to maintain the illusion of reading from the manuscript may not be ranked first. 5) Speakers should keep gesture and bodily movement to a minimum. The selection must be delivered from center stage. Movement and gestures, if used, should be appropriate to the selection. Walking is not permitted. They should emphasize vocal variety and facial expression to enhance the literary interpretation. Any singing must be limited to a maximum of thirty (30) seconds total within the presentation. 6) Speakers may use a persona, and they may use character voices; but they are not necessary. 7) Important consideration should be given to the quality of the selection. 8) Time limits: Maximum - 10 minutes. This includes at most 1 minute of introductory and transition material other than the author's words. If the speaker goes over a 30 second grace period, that contestant may not be awarded first place. No minimum time.