Go to your local library, visit the biographies section of a bookstore, or visit Play Scripts, Dramatists, or Samuel French online. Also, consider how the tense will influence blocking, or movement in the performance space, before deciding on a selection. Throughout the story, she may move to other realities that exist in a different space and time, but she will return to tell her story from her anchor reality. For instance, a house-wife’s anchor reality may be her kitchen. An anchor reality is the imagined-space from which the character is speaking. Because the majority of DI’s take place within one scene, or have an anchor reality, the tense should reflect the reality the character is telling the story from. Tense is also an important factor of selecting a dramatic interpretation. Find a script that when read aloud, feels natural, or comfortable to speak and hear. For instance, Shakespeare and Hemingway may be be less effective choices for DI because the language is archaic and less conversational. When searching for a script, it’s important that the language sounds natural when read aloud. Sometimes it’s better to try something different that will stretch you as a performer. Sometimes, you can create an ideal of the piece you’d like to perform, and reject other suggestions that come along the way. Remember to consult your state’s rules in regards what is acceptable literature.Īsk yourself, what kind of character am I comfortable playing? What kind of story am I comfortable telling? What story do I want to tell? Narrow your search from there. Does the literature lend itself to performance, or is the language too flowery? Is the plot complicated or is it a simple story told in a simple way? Think about what you are capable of, and how you would like to be challenged throughout the season when making a selection. Additionally, it’s important to think of the performance itself when searching for a script. Technical skills, vocal flexibility, physicality, and gender can be factors in your choice. When looking for a Dramatic Interpretation, it’s important to know your limitations, and your strengths. The performance should connect to the audience. Students who choose to compete in Dramatic Interpretation should focus on suspending the disbelief of the audience by portraying a realistic, emotional journey of a character(s). There is a set time limit of ten minutes, with a thirty second grace period. DI lacks props, costuming, sets, and other luxuries seen in various forms of performance art. While dramatic elements are key aspects of the event, melodramatic, or overly-sad selections are not ideal choices for performance. When considering what event you should choose, or in which direction to point a student when selecting an event, below are some general traits of successful DIers to keep in mind:ĭramatic Interpretation, contrary to its name, is not all about drama. Considerations for selecting a DI topic should include the student’s age, maturity, and school standards. Students should select pieces that are appropriate for them. Students who do Dramatic Interpretation may perform selections on topics of serious social subject matter such as coping with terminal illness significant historical situations, events, and figures as well as racial and gender discrimination, suppression, and oppression. Performances may also include an introduction written by the student to contextualize the performance and state the title and author.Ĭonsiderations for Selecting DI Literature: Competitors may portray one or multiple characters. With a spotlight on character development and depth, Dramatic Interpretation focuses on a student’s ability to convey emotion through the use of a dramatic text. Using a play, short story, or other published work, students perform a selection of one or more portions of a piece up to ten minutes in length.
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