The purpose of this project was to prepare eight scripts derived from Biblical texts using various techniques of oral interpretation. All scripts employ two or more readers and are non-doctrinal in content, making them useful to any Bible-based church. Chapter I presents a statement of the problem, a review of the literature, justification for the project, the purpose, and procedures that were to be followed. Chapter II contains the scripts, general information for their use, and commentaries on each. The scripts are entitled "The Birth of Christ," "The Crucifixion," "The Resurrection," "The Second Coming of Christ," "The Last Supper," "Baptism," "Marriage," and "Christian Leadership." Chapter III includes a summary of the creative process, observations, and recommendations for future scripts.

Thesis (Ph.D.)--Texas Christian University, 2007. / Title from dissertation title page (viewed Apr. 25, 2007). Includes abstract. Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 1985.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references (leaves 186-198). Available also in a digital version from Dissertation Abstracts.

This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary world past and present and suggests how this framework shapes an audience's experience of his work. Part Three explains how Pindar's victory odes made lucid sense as linear unities to fifth-century Greeks imbued in the traditions of choral lyric. An annotated text shows how each sentence in the epinician corpus forms part of a coherent chain of rational discourse.

This historical survey of speech journals and sixty-one textbooks covers seventy years of the treatment of the concept of impersonation within the Art of Oral Interpretation, from 1916 to 1985. The purpose of the study is to investigate the concept of impersonation, synthesize the material for the benefit of contemporary thought, provide clarity for the student, surveying scrutiny for the curious, and finally, provide additional contemporary knowledge in the light of' "a gradual evolution of teaching methods." The essential questions are: 1. How has the concept of impersonation within the Art of Oral Interpretation been treated in the past? 2. How is the concept of impersonation within the Art of Oral Interpretation treated in the present? 3. How should the concept of impersonation within the Art of Oral Interpretation be treated?

The main purpose of this study is to present the origin and the development of the art of oral interpretation of verse in the United States. During the part 150 years there have been changes taking place in the philosophy behind the art of oral interpretation of verse; during that 150 years the type of poetry presented for oral interpretation has changed; the aims of oral interpretation has changed and the rules for oral interpretation have changed and the rules for oral reading of verse have been modified, altered, and changed. This study presents these changes and their development, so as to give a history of the art of oral interpretation of verse in the United States. In presenting such a historical analysis of the development of the art of oral interpretation of verse, three principle factors regarding oral interpretation will be the basic consideration of this study: (1) The subject matter and type of verse presented for oral interpretation.; (2) The rules for the oral interpretation of verse.; (3) The philosophy and aims of the art of oral interpretation of verse.

This study selects and arranges Navajo literature for an oral interpretation program. The presentation includes an introduction, a statement of purpose, an explanation of the limitations of the study, and the procedure used. There is a brief examination of the history of the Navajo Tribe. Also included is information for selection of material for the oral interpretation program and a discussion of the selection and arrangement of Navajo literature. A summary and conclusion are included, as well as an appendix which comprises the script of Navajo literature for the oral interpretation program. Through the oral interpretation program, this study conveys the beauty and poetry of the Navajo language.

This study analyzes the novels of Kurt Vonnegut, Jr. from the aspect of point of view. Point of view refers to the reflective mind through which a reader perceives the story. Traditionally, the narrator delivers his narrative in either first or third person point of view, but Vonnegut frequently mixes points of view. Mixed point of view presents a particular challenge to the oral interpreter and the adapter/director of readers theatre scripts. The narrator and the narrative structure are discussed, as well as numerous innovative narrative techniques. Suggestions are made for script adaptations and production direction featuring the narrative structure and point of view.