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Poetry • In selecting a pieces of literature for poetry interpretation, one should ensure that it is high quality and conforms to the regulations governing this event. Poetry interpretation is interpretation of a selection or selections of poetry material of literary merit, which may be drawn from more than one source. Prose and play cuttings, however, are prohibited in this event.
Poetry • Contemporary pieces which use humor or action to address important social or political issues usually do best. Ensure when selecting your poetry that it can be cut and woven together to form a unified theme. • You may choose to begin your poetry with your introduction, but preferably, you will begin with a teaser (a short section of the poetry piece - less than one minute). Book is open and manuscript is used to deliver teaser.
Poetry • You will follow your teaser with a brief memorized introduction. Book is closed to deliver the introduction. This introduction should explain the more important message of the poetry - why it's important to your audience, how the story relates to the theme of your message, and you must state the author(s) and title(s) of the poetry within your piece. • You will then open your book and continue with the interpretation of the poetry. • When you have finished, you will carefully close your book and return it to the appropriate position to indicate that you have concluded.
Poetry • Poetry Category Restrictions • Material chosen for either category of poetry interpretation shall meet the following restrictions: (A) all selections shall be published, printed material; Internet material must be published concurrently in hard copy; (B) selections from plays or screenplays shall not be used: (C) song lyrics published only as music shall not be used in either category; (D) no contestant shall use an individual poet in more than one category in the contest; (E) no contestant shall use selections from the same literary work more than one year at UIL State Meet; (F) selections shall be read in the English translation; however, incidental use of foreign language words and phrases in any selection may be used as in the original.
Poetry – Category A • The contestant shall perform a published poem, multiple poems, or excerpts of poems, written by an award-winning poet. All poems or excerpts of poems read shall be written by a single poet. Works by anonymous poets are not acceptable. Woven programs are prohibited in Category A. See the UIL Prose and Poetry Handbook for clarification. The poet used in this category shall not be used in Category B of poetry.
Poetry – Category A • The poet selected for this category shall have won on one of the approved awards listed below: • Pulitzer Prize for Poetry • National Book Award for Poetry • PEN Voelcker Award for Poetry • PEN Joyce Osterweil Award for Poetry • PEN Beyond Margins Award • Pushcart Prize for Poetry • Los Angeles Times Book Prize for Poetry • Bobbitt National Prize for Poetry • First Book Awards for Poetry from the Native Writers Circle of the Americas • Cave Canem Poet Winners • Academy Fellowship • Frost Medal for Distinguished Achievement • Kingsley Tufts Poetry Award • Kate Tufts Discovery Award • National Book Critics Circle Awards • Lenore Marshall Prize • Witter Bynner Poetry Prize
Poetry – Category B • Exploring poetry • The contestant shall perform published poetry. In this category, the contestant shall select one of the following options for performance: 1) perform a single poem or excerpt of a poem by one poet; 2) perform a thematic collection of up to six poems by one or more poets. The thematic collection may be woven or it may incorporate transitions without weaving. The introduction and/or transitional material should be used to help the audience identify the theme and connection of the poetry. If the program is woven, it must be stated in the introduction.. The poet(s) used in this category shall not be used in Category A of poetry. Works by anonymous poets are permissible in this category only.
Poetry – Category B • The goal of this category is to explore poetic forms that may include, but are not limited to the following: classical, slam, beat, narrative, blank verse, lyrical, and free verse. The contestant and/or coach should refer to the current UIL Prose and Poetry Handbook in regards to weaving of poetry.
Poetry Documentation • In order to meet category restrictions, the contestant shall provide proof their selection is published in hard copy. Examples of acceptable proof include the original published source or a photocopy of the Library of Congress cataloguing information. • If the selection is drawn from a literary collection, the contestant must supply the original source or a photocopy of the table of contents that designates the title of the book and proof the specific selection is included in that book, or an online printout proving the selection is included in the published collection.
Poetry Documentation • If an online data service is used for documentation, contestants should print the home page/main index page of the site from which the documentation was retrieved. Printouts of the documentation and the home page should include the URL of the websites.
Poetry Documentation • Contest directors will be instructed to ask for proof that the selection is published prior to the beginning of the round. Students shall not be allowed to compete without sufficient documentation. Documentation check may be done in advance of the meet, in a general assembly for the contestants in the poetry contest, or in the room(s) where contestants will be judged.
Prose Interpretation • (also known as prose reading) is a non-memorized event in which competitors choose a published piece of work that is not poetry or drama. The piece should be cut to no more than 10 minutes (with an additional 30 second grace period, the use of which incurs no penalty). Going over the time limit of 10 and a half minutes will deny a competitor from gaining first place. In each round of competition the competitors will read their pieces (along with a brief introduction that should be memorized and is also counted for time).
Prose Interpretation • They read their pieces in the order specified by the schematic, or they will draw for order. After each person is finished reading, the Judge puts notes on the ballots. After all competitors are finished reading, the Judge ranks the speakers and takes the ballots to the Tab Room. The competitor should be familiar enough with the piece so as to be able to read it without stumbling or misspeaking. However, the competitor must at the least give the impression of looking at the book (usually a small binder with a hard copy of the piece); if the competitor fails to do so, then they will usually not be ranked well.
Prose – How it should look • 1. Smooth and well rehearsed impression. • 2. Facial expression of the competitors. • 3. Looking at the book. • 4. Eye Contact. • 5. Use of intonation, different voices for characters, and consistency of characters. • 6. Gestures that enhance the performance. • 7. Limited to no (depending on state regulations) lower body movements. • 8. How well the competitor makes the piece come alive. • 9. How well the piece suits the competitor. • 10. Overall effect of the piece.
Prose – What works best • Contemporary pieces which use humor or action to address important social or political issues from a first-person perspective usually do best. • You may choose to begin your prose with your introduction, but preferably, you will begin with a teaser (a short section of the prose piece - less than one minute). Book is open and manuscript is used to deliver teaser.
Prose - Introduction • You will follow your teaser with a brief memorized introduction. Book is closed to deliver the introduction. This introduction should explain the more important message of the prose - why it's important to your audience, how the story relates to the theme of your message, and you must state the author and title of your piece. • You will then open your book and continue with the interpretation of the prose. • When you have finished, you will carefully close your book and return it to the appropriate position to indicate that you have concluded.
Prose • Material chosen for either category of prose interpretation shall meet the following restrictions: (A) all selections shall be published, printed material; Internet material must be published concurrently in hard copy; (B) selections from plays or screenplays shall not be used: (C) speeches shall not be used; (D) no contestant shall use an individual writer in more than one category in the contest; (E) no contestant shall use selections from the same literary work more than one year at UIL State Meet; (F) selections shall be read in the English translation; however, incidental use of foreign language words and phrases in any selection may be used as in the original.
Prose – Category A – Exploring the Southern Experience • The contestant shall perform a single selection from a printed, published work written in prose by a single author. The selection should explore the experiences that depict the culture, heritage, struggle, triumph or mystique of life in the South. In addition to the literary work being about the South, the author shall be born in one of the following states: Alabama, Arkansas, Florida, Georgia, Louisiana, Kentucky, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, or West Virginia. Only a prose work by an author born in one of the twelve states listed is acceptable. The selection may be fiction or non-fiction, but may not include speeches, one-person theatre or theatrical monologues. Works by anonymous authors are not permissible. The author used in this category shall not be used in Category B of prose.
Prose – Category B – Exploring Fiction • The contestant shall perform a single selection from a printed, published piece of prose fiction. The literary work may be written by a single author or be a collaborative work by two or more authors. A literary work by an anonymous author is permissible in this category. The goal of this category is for the student to explore the many diverse realms of prose fiction. The selection for this category may include but is not limited to short stories, novels, science fiction, fantasy, or folklore. The selection may not include speeches, one-person theatre or theatrical monologues. The author used in this category shall not be used in Category A of prose.
Prose Documentation Requirements - A • For Category A, the contestant shall also provide documentation that the writer was born in one of the following states: Alabama, Arkansas, Florida, Georgia, Louisiana, Kentucky, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, or West Virginia. Examples of acceptable documentation include the original or photocopy of an encyclopedia or reference book, or other published biographical information that verifies the author's place of birth. Also acceptable is correspondence from the author or publisher, or a published newspaper, magazine article or book jacket that verifies the author's place of birth.
Prose Documentation Requirements - B • For Category B, the contestant also shall provide published documentation that the selection is classified as fiction. Verification may consist of one of the following: Library of Congress or Dewey Decimal classification systems that designate the selection as fiction; other published sources such as The New York Times fiction bestseller list; or a published source that designates the selection as one of the approved literary forms for this category.
Where to find information • Library of Congress site • http://www.loc.gov/homepage/lchp.html • UIL resource site • http://www.uil.utexas.edu/academics/speech/interpret_resources.html
Ballot ?’s – How they are judged • Selections • Was this an effective cutting? • Was this appropriate to the event and the performer? • Did the introduction heighten understanding and appreciation of the selection? • Did the script allow for vocal and non-vocal variety? • Was the piece adequately challenging?
Ballot • Non-Verbal Presentation • Did the performer make good eye contact? • Did the performer control their posture and body tension? • Were gestures varied, purposeful and appropriate? • Were the performer's facial expressions vivid in reacting to what they said and what others said to them?
Ballot • Vocal Qualities • Does the performer use meaningful vocal variety? (Vocal variety can include dialect, quality, rate, pitch, intonation, and volume). • Was there the use of meaningful pauses when appropriate? • Was articulation clear?
Ballot • Presentation • Was this believable -- was the performer committed to each character? • Did the performer utilize a variety of emotion types and intensities? • Did the performer have an understanding of the complexity of the characters?
Ballot • Overall Effect • Was the script handled well? • Did the performer look at each page at least once before a page turn? • Were the openings and closings smooth? • Were the page turns smooth? • Did the performer turn pages to show transitions? • Was the writer's purpose accomplished? • Was there a feeling of completeness? • Did the performance move you emotionally?
Things to consider • Blocking – what movements will be made • Facial Expressions – Emotions of the piece • Voices – specific for characters
