PERF200 Lecture Notes - Lecture 4: Intertextuality

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PERF200 Lecture Notes Friday 25th August 2017
Readers Theatre Scripting and Staging
- You dot hae to ritiall aalse a tet for a readers theatre perforae. It is a
aesthetic experience
Eleets of readers theatre
- A sharing of text using modified theatrical conventions to draw attention to the
words and ideas being shared.
o The words are important
- An oral reading where a group of readers share the text with others. Your script is in
your hand
- The aim is to help listeners visualise the action of a story in their minds
Adapting text to script
- The outstadig features of readers theatre is ho ou rig the tet to life
- Important to select text children will respond to
- Memorable characters
- An active storyline
- Vivid language
Guided by a number of important tenets
- Text remains how it was written
- No hages eept for ueeded speeh suh as he said
- Generally both narration and dialogue
- Switching of roles
- Layering of poem and text is common intertextuality
- The nature of the script will determine how the divisions are made
- Sound effects can be made by the readers, or by technology
Staging the script
- Whe stagig readers theatre, othig should detrat fro the isual field of the
audience
- Vocal expression and movement must be dynamic
- Realism is not the goal. Its melodramatic
- Readers can be positioned in the theatre space to show relationships and status
- Children can use their bodies to represent props. E.g. a child can become a table.
Characterisation through voice and movement
- I readers theatre, the oie is the essetial tool used to aiate the ords for the
audience
- Qualit oie, toe, pith ad olue are paraout for reatig ords iages ad
pitures for the audiee
- Voices may blend, be out of sync, rise and fall, strident or confronting and signal
changes in mood, character, place or time.
Costumes and props
- The goal for the audience is to listen
- Simple props that signify characters
- Costumes should all be one colour
- Chairs ake readers theatre orig. Standing is more interesting. Allows better use
of voice work.
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You do(cid:374)(cid:859)t ha(cid:448)e to (cid:272)riti(cid:272)all(cid:455) a(cid:374)al(cid:455)se a te(cid:454)t for a reader(cid:859)s theatre perfor(cid:373)a(cid:374)(cid:272)e. it is a(cid:374) aesthetic experience. A sharing of text using modified theatrical conventions to draw attention to the words and ideas being shared: the words are important. An oral reading where a group of readers share the text with others. The aim is to help listeners visualise the action of a story in their minds. Important to select text children will respond to. The outsta(cid:374)di(cid:374)g features of reader(cid:859)s theatre is ho(cid:449) (cid:455)ou (cid:271)ri(cid:374)g the te(cid:454)t to life. No (cid:272)ha(cid:374)ges e(cid:454)(cid:272)ept for u(cid:374)(cid:374)eeded spee(cid:272)h su(cid:272)h as (cid:858)he said(cid:859) The nature of the script will determine how the divisions are made. Sound effects can be made by the readers, or by technology. Layering of poem and text is common intertextuality. Whe(cid:374) stagi(cid:374)g reader(cid:859)s theatre, (cid:374)othi(cid:374)g should detra(cid:272)t fro(cid:373) the (cid:448)isual field of the audience. Vocal expression and movement must be dynamic.

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