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The Treatment of the Concept of Impersonation Within the Art of Oral Interpretation : a Contemporary Perspective

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The Treatment of the Concept of Impersonation Within the Art of Oral Interpretation : a Contemporary Perspective Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1986 The treatment of the concept of impersonation within the art of oral interpretation : a contemporary perspective Joann R. Johnson Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the Graphic Communications Commons, and the History Commons Let us know how access to this document benefits ou.y Recommended Citation Johnson, Joann R., "The treatment of the concept of impersonation within the art of oral interpretation : a contemporary perspective" (1986). Dissertations and Theses. Paper 3635. https://doi.org/10.15760/etd.5503 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Joann R. Johnson for the Master of Arts in Speech Communication presented May 5, 1986. Title: The Treatment of the Concept of Impersonation Within the Art of Oral Interpretation: A Contemporary Perspective. APPROVED BY MEMBERS OF THE THESIS COMMITTEE: Theodore G. Grove LaRay M. Ba a 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 Interpreta- tion, 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, 2 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 study begins with the Maud May Babcock-Rollo Anson Tallcott 1916 debate over the proper definition of the concept in relation to the social background. The term is traced through the course of seventy years and in the interim focuses on changes of attitude and teaching method toward the concept of impersonation with regard to the importance of the social eras. Three time periods are researched: Between the Wars (1916-1941), Encompassing World War II (1941-1960), and Contemporary Period (1960- 1985). The contemporary period is enhanced with the inclu­ sion of questions and the responses from twelve contempo­ rary oral interpretation authors for mid-1980's comment. The significance of the study rests in the discovery that the term "impersonation'' has had a consistent lack of consensus as to a workable definition in the Art of Oral Interpretation for the last seventy years. The study 3 further reveals the trend toward a gradual evolutionary decline in the use of the concept. The findings positively show that (1) present lack of enthusiasm for the concept of impersonation is firmly embed­ ded in tediousness with the subject, and (2) there are problems with confusion and stress when trying to incorpo­ rate the concept in classroom instruction. The resultant trend is toward avoidance of the concept for discussion. The conclusion is drawn and the recommendation forwarded that a concerted effort be undertaken to retire the seventy-year-old term "impersonation" to the annals of Oral Interpretation history as it now stands in Performance of Literature in Historical Perspectives (David W. Thompson, ed., New York: University Press of America, 1983). A course of action is suggested with this recommendation. THE TREATMENT OF THE CONCEPT OF IMPERSONATION WITHIN THE ART OF ORAL INTERPRETATION: A CONTEMPORARY PERSPECTIVE by JOANN R. JOHNSON A thesis submitted in partial fulfillment of the requirements for the degree of 1'1ASTER OF ARTS in SPEECH C01'11'1UNICATION Portland State University 1986 TO THE OFFICE OF GRADUATE STUDIES AND RESEARCH: The members of the Committee approve the thesis of Joann R. Johnson presented May 5, 1986. _, u Theodore G. Grove LaRay M. ~ (/ APPROVED: Theodore G. Grove, Head, Department of Speech Communication Bernard Ross, Dean of Graduate Studies and Research To D. J., and My Mentor To achieve--keep your heart on your work, your mind on your task, your eyes on your goal, and go! Harry C. Mabry ACKNOWLEDGMENTS I am indebted to my committee for their patience and guidance. Professor Robert W. Vogelsang, Chairman of the committee and instructor for several of my classes, has always extended words of encouragement to guide me. Pro­ fessor Theodore G. Grove, Chairman of the Speech Department and my instructor for Graduate Studies, has always given me support and continued steadfast on my committee. Professor LaRay M. Barna, has given me endless support through the years as instructor and as adviser, and continues to be the guiding light of my life. Professor Asher B. Wilson opened vistas for me to experience the enchantment of theatre history and I am especially grateful for his guidance. My indebtedness extends to Professor Francis P. Gibson, Emeritus, whose guidance through the years never ceased to instill a desire for additional knowledge. I am especially indebted and extend gratitude and thanks to the following authors of the textbooks for their thoughts for the mid 1980's to be included in this thesis: Professors Isabel M. Crouch, David A. Williams, Wallace A. Bacon, Elbert R. Bowen, Paul D. Brandes, Paul N. Campb~ll, Virginia Fredricks, Baxter M. Geeting, Charlotte I. Lee, Sara Lowrey, Beverly Whitaker Long, Judy E. Yordon. My gratitude and thank you also extends to the Library Staff at Portland State University for their competent and v cooperative methods in the Inter-Library Loan system to secure textbooks from Washington, Oregon, Idaho, Alaska, California, North Carolina, and Utah for this research pro­ ject. I also wish to thank Barbara Vogelsang for her kind­ ness in editing and extending her typing skills for this thesis. My indebtedness and thank you also extends to family for support and effort to locate out-of-print textbooks in Seattle, Washington and Portland, Oregon. One basic stimulus for inspiration toward this project was gained while reading Stanley A. Weintraub's dissertation (Columbia University, 1953), when he chose to exclude the concept of impersonation from the comparison of Oral Inter­ pretation textbooks. All reaffirm my conviction--but for you, there goes I. TABLE OF CONTENTS PAGE ACKNOWLEDGMENTS . iv LIST OF TABLES . viii LIST OF FIGURES . ix CH.APTER I INTRODUCTION . 1 Justification of the Study 1 Statement of Purpose 7 Research Methods 7 Definition 8 II BACKGROUND . 11 Elocution and Oral Reading 11 Elocution, Acting, Oral Reading, and the Concept of Impersonation • • • 14 Elocution, Acting, Oral Reading, and the Concept of Impersonation Within the Academic Setting • • • • 23 Between the Wars (1917-1941) 28 Encompassing World War II (1941-19EO) • 43 Contemporary Period (1960-1984) • . 88 III FINDINGS AND CONCLUSIONS . 142 Historical 142 Pedagogy 148 vii CHAPI'ER PAGE Authors: Questions and Responses 149 Evaluation 160 Conclusion 161 BIBLIOGRAPHY . 166 APPENDIX A Excerpts for Comparison of Mark Twain's Stories • • • • • • • • • • • • • • • • 175 B Parrish's Plan for Study and Criteria ••• 190 c Tallcott, and Crocker and Eich Diagrams 193 D Aggertt and Bowen Diagram 19E E Brooks, Bahn, and Okey Stimulus Lines ••• 198 F Form Letter Sent to Authors • • 200 LIST OF TABLES TABLE PAGE I Texts Published with New Copyright Dates ••• 146 LIST OF FIGURES FIGURE PAGE 1. Total Number of Textbooks Using Term "Impersonation," by Years • . 143 CHAPTER I INTRODUCTION This descriptive study of the concept of impersonation within the Art of Oral Interpretation is the culmination of the writer's personal involvement during a class assignment in a course in Advanced Oral Interpretation. As a student I learned all too quickly that a fine line exists between oral interpretation and acting. Where one begins and the other ends is a point of conjecture con­ tingent upon the degree of impersonation. I was cautioned during class instruction not to "go too far" with the inter­ pretation. In fact, it is this inhibiting portion of oral interpretation that tends to promote the effect of putting the student between a "rock and a hard place." Yet, the overall appraisal for the interpretative assignment was well received with the thought-provoking remark, "Just like Hal Holbrook." This evocative remark instigated and instilled an obsessive desire to trace the concept of impersonation within this art form in order to clarify an overwhelming feeling of confusion. Just where does impersonation fit into the Art of Oral Interpretation? The question had to have an answer. 2 Today there exists a tendency toward a liberal outlook within the area of oral interpretation and this may be an indication of a trend which could affect the concept of impersonation. Support for this liberal trend is advanced by Wallace A. Bacon, a leading educator in the field of oral interpretation. Bacon believes that the rigid rules are . 1 1 oosen1ng. Also advancing this trend, and indicating softened attitudes, are two recent textbooks, Roles in Interpretation and Oral Interpretation. 2 But, more importantly, the student who retains this liberal outlook but desires to seek information from earlier texts, will discover only confusion. When the student takes time to peruse the textbooks, including the early copyright dates, that student soon becomes aware of the awesome fact that over fifty years of confusion has existed among professional speech educators concerning the concept of impersonation within this art form.3 It is this "confusion" that motivates the writer with the impetus to pursue the subject. With persistent, periodic appearances, the concept of impersonation becomes a study of speech educators trying to decide their approach to this concept by either defending 4 their position or by simply avoiding the subject.
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