COLLEGE OF TEACHER EDUCATION

BACHELOR OF SECONDARY EDUCATION MAJOR IN ENGLISH

Second Semester, AY 2023-2024
EL 109: SPEECH AND THEATER ARTS

TERM FINALS
MODULE NO. 5
MODULE TITLE CREATIVE SPEECH PRODUCTIONS

INTRODUCTION
This module will discuss the various creative speech productions specifically speeches on
special occasions, oral interpretation, storytelling, interpretative reading, and reader’s theater.

I. OBJECTIVES
At the end of the end of this module, students should be able to:
a. discuss the procedure and application of these different creative speech productions for
English language study;
b. explain the connection of these speeches to other macro skills and their contextual
situations; and
c. perform creative speech productions with proper verbal and non-verbal communication
strategies in relation to English language teaching activities.

II. DATE AND TIME ALLOTMENT

April 12, 2024 (1.5 hours)

III. LECTURES

SPEECHES ON SPECIAL OCCASIONS

Several occasions call for a speaker to give a speech that creates goodwill that inspires
or entertains. Each of these messages requires the same preparation, organization, and
audience analysis as the other speeches. Each also requires the effective use of the basic
speech principles of good thought, language, gestures, voice and delivery.

There are THREE (3) BROAD CLASSIFICATIONS OF SPEECHES delivered on special

occasions:
1. SPEECHES OF COURTESY
2. 2. SPEECHES OF COMMEMORATION
3. 3. THE AFTER-DINNER SPEECH

I. SPEECH OF COURTESY – these are speeches given to perform appropriate acts of courtesy
and goodwill on public occasions such as introducing a speaker, welcoming a guest, responding
to the welcome, presenting a gift or an award, accepting a gift or an award, or saying farewell at
a ceremony. All these have common element of goodwill and friendliness that becomes a focal
point of the purpose.

A speech of courtesy must be BRIEF. It must present interesting facts and new materials. It must
reveal a pleasant relationship – pleasant relationship – personal or of the organization you
represent. Presenting positive and favorable information about the group and the speaker, a
speech of courtesy is marked by a gracious and pleasant mood and may have a large dose of
wit and humor.

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1. SPEECH OF INTRODUCTION – introducing a speaker, get the goodwwill of the speaker
and the listeners, get the audience ready to listen and put the speaker in a favorable
position. The following will help bring about these objectives:
• Tell something about the speaker and his particular relationship to the subject of
the talk.
• Touch on the significance of the occasion.
• Tell an anecdote about the speaker or the topic to awaken the listeners’ interest.
• Avoid long elaborate details about the speaker’s life.
• Avoid placing the speaker in an unfavorable light or giving too much of a build up.

2. SPEECH OF WELCOME – the formal reception of an important person or group calls for
an appropriate speech. The object of course, is to say with tact and taste “we are glad
you are here.” The main lines of thought are the following:
• Talk about the organization you represent.
• Explain the achievements of the person or group you are welcoming
• Give the purpose and spirit of the organization that extends the welcome Choose
those that will be interesting to the guests, things they might profit from knowing,
or things that would increase the cordiality of the welcome.
• Tell why it is fitting and proper for hosts and guests to meet together on this
particular day, place and circumstances
• If the guests have come on a special purpose, as for a convention, with them
success in their deliberations and progress in the future years.

3. RESPONSE TO THE SPEECH OF WELCOME – the response cannot be independent

either in thought or tone from the address of welcome, at least at the beginning. Whether
the responding speaker likes it or not, he must pick up the line of thought, the dignity level,
the tone of humor and graciousness of the welcome address. The main lines of the
response consist of the following:
• Give appreciation for the welcome and tribute to the group intending it.
• Point out the purpose and method of doing things for which you are welcomed.
• Mention the contribution of the other members, if you belong to a group.
• Speak about the significance of the occasion to you or your association.

4. SPEECH OF PRESENTATION – this speech acknowledges the recipient’s attainment in

order that he may be praised and congratulated. It creates goodwill between the donor
and recipient and stimulates others to appreciate the achievement at the same time that
it impels them to greater effort or conduct. Therefore, as a speaker, present the award in
such manner that will generate good emotional response on the part of the audience, a
feeling of fair play, respect for the judges, and personal satisfaction. The following are the
main lines of thought:
• Give the accomplishments, skills, abilities, or qualities of character of the recipient
that made him deserve the award.
• Mention the significance of the achievement to the others present.
• Give the origin of the gift – what it is, who shared in sponsoring or producing it, and
what its symbolic significance is.
• If the prize or award is won in a competition, reserve a brief praise for the losers.
• Give gratitude to all present and express congratulations to the recipient of the
award.

5. SPEECH OF ACCEPTANCE – an acceptance speech follows the presentation speech.

It should be natural, sincere and spontaneous. The main lines of thought consist of the
following:
• Follow the pattern and tone set by the speech of presentation.
• Recognize the time, effort, and expense of the donors and show your gratitude
• Discuss the merit of the gift or the uses to which it will be given.
• Share the honor, if possible, with others.

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 6. SPEECH OF FAREWELL – a ceremony may be given in honor of a person who has
rendered long services with an institution, who has had many accomplishments and who
is retiring, or leaving the institutions. Although he is glad to go, there are regrets for what
will be left behind. The person leaving therefore should give expression and pay tribute
to these. The following are the main lines of thought:
• Explain the reasons for leaving, if they are not known.
• Mention your relationship with the institution or group you are leaving. Pay tribute
to those who have rendered you service and who have given you friendship. Your
purpose is to express the regret of parting, and to create regret in those who are
left behind.
• Look at the future – yours, and of those you are leaving.

II. SPEECHES OF COMMEMORATION – these consist of memorial speeches of persons,

events, and institutions. The purpose of this speech is to pay tribute therefore, the speaker is
advised not to change his vies or behavior, but to testify to the achievement and honor to whom
the memorial is given. In this way he stirs and creates emotions. There are SIX (6) TYPES OF
COMMEMORATIVE SPEECHES:

1. EULOGY – in this commemorative speech, tribute is given to the service and character
of a deceased person. The following are the main lines of thought:
• Give the person’s attainments – the handicaps under which he started, the
obstacles he faced, and his final achievements.
• Gives his purposes in life – why he was led to make effort.
• Mention his qualities of character.
• Gives his influence during his lifetime and on later times.
• If the errors, follies, and vices of the deceased are too major to be ignored, the
speaker can counterbalance them by transcendent virtues.

2. ANNIVERSARY SPEECH – this speech commemorates an event or action of the past,

such as Independence Day, Thanksgiving Day, National Heroes Day, centennials and
Founder’s Day. The following are the main lines of thought:
• Review the event, action or beginning of the institution being commemorated. Give
the character of the men and women who took part.
• Explain the influence of the event, action, or beginnings on the past and present.
• Give lessons to be drawn from it for present and future conduct.
• Avoid a mere recital of history but integrate all these lines of though into a speech
that elevates, dignifies and stimulates.

3. DEDICATION – Occasions for ceremony and speeches of dedication are the opening of
a new building and public center, laying cornerstones, and unveiling of monuments and
memorials. The theme stresses the importance of the day or event and the purpose is to
PAY TRIBUTE to the achievements and the person responsible for such achievement.
This speech also arouses loyalty, pride, and patriotism. The following are the main line of
thoughts:
• Give the purpose for which the edifice was constructed – the material need, the
symbolic importance.
• Mention the people who produced it, at what cost, and against what obstacles.
• Give its tangible or intangible value.
• Stir the listeners towards the tasks ahead in relation to the purpose of the
dedication.

4. INAUGURATION – this is given at a public ceremony of something entering the office.

This may be formal or informal. It may be a stately ceremony like the inauguration of a
president, or an informal occasion such as the installation of new club officers or a new
corporate president. The theme of the speech flows from the occasion: a change of

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 administration, the old one departs with dignity and usually with honor, the new one takes
up its task with buoyancy and hope. The following are the main lines of thought:
• Express appreciation to those who put him/her in office – whether elected or
appointed.
• Unite the group and make it clear that the new administration represents not only
a faction, but the whole group.
• Affirm the officer’s determination to discharge his duties and to abide by the letter
and spirit of organization.

5. NOMINATION SPEECH – it is given at political conventions announcing the nominee and

the reasons for his nomination. The following are the main lines of thought:
• Give the analysis of qualifications for office, its duties and responsibilities, the
character of the person required to fulfill them, such as courage, wisdom, sense of
justice, special skills, leadership, and experiences.
• State the nominee’s qualifications: his special virtues his experience and
accomplishments.
• Avoid saying outright that your nominee is better than any other particular ones.

6. COMMENCEMENT ADDRESS – graduation ceremonies are held annually and a

commencement address has been a part of this significant occasion. This speech
includes:
• Congratulate the graduates on their achievement and pay fitting tribute to its
importance.
• Discuss the state of affairs that face the graduates – problems such as intellectual
and emotional adjustments, opportunities for the new graduates, carrying on with
education out of school, making use of education, and the duty of educated people
in public life.
• The speech should cultivate thought, influence attitude, modify opinion or promote
action.

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ORAL INTERPRETATION

Oral Interpretation involves the performing of literature aloud to communicate meaning to

an audience. An interpreter analyzes the literature and uses his or her voice to
communicate the results of the analysis. The interpreter is the connection between the
literature and the audience.
There are major differences between oral interpretation and public speaking or acting:
1. You are not the author. You are performing literature written by another person.
You are not sharing your own personal thoughts and feelings as you would in public
speaking.
2. You perform the author’s words by direct reading. As an interpreter, you bring
to life the exact words of another person.
3. You interpret a piece of literature. You are not trying to create a message to
persuade or inform your listeners. Instead, you are trying to help the listeners “see” the
images you are creating orally. Your goal is to share the meaning of the literature as you
interpret it.
4. You remain yourself during the performance. When you are acting, you take on
the role of a character in a play. When you interpret, you use your voice and body to
suggest the mood or the characters, but you do not become a character.

Appropriate Literature for Oral Interpretation

Here are some of the many kinds of literature you could use for oral interpretation:
• Favorite Authors—you are already emotionally invested in the authors you like
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 • Literature Collections—for example your English textbook
• Biographies or Autobiographies
• Plays or Screenplays

As you select your performance material, think about these standards: the quality of the
literature, its audience appeal, the oral possibilities of the literature and your feelings for
the piece.

Quality of the Material. Good literature has certain characteristics. It has a theme that connects
the reader or listener to common human experiences such as love, anger, joy and pain. It also
has conflict, the struggle between two opposing forces. All people have experienced conflict
within themselves, with other people or with nature. The literature should help the reader see
ordinary ideas in a new way. The material should excite the reader’s imagination. (Teachersread
a poem that illustrates this. eg: Foul Shot by Edwin Hoey—trying to accomplish a goal under
pressure).

Audience Appeal. Ask yourself how you listeners will respond to the material you selected. Is it
appropriate for the age, concerns and feelings of your audience? Does the piece fit the
occasion?

Oral Possibilities. Can your listeners grasp the meaning of your piece in just one reading? You
don’t get a second chance. If the language is too difficult or sentence structure too complex, that
literature is not appropriate for reading aloud. Look for words and ideas that can be clearly
communicated as poet Ted Hughes says in his book Poetry Is, look for words that “live.” Words
that live are those which we hear like “click” or “chuckle.” Or which we see, like “freckled” or
“veined” or which we taste, like “vinegar” or “sugar” or touch like “prickle” or “oily” or smell like
“tar” or “onion”. Or words that act and use their muscles, like “flick” or “balance.”

Your Feelings. You must feel a connection to the material. You cannot expect an audience to
get excited over a piece that has no meaning for you. If you don’t feel connected to the literature
you will have a hard time communicating its meaning to your audience.

Checklist for selecting material for oral interpretation:

1. Does is connect with common human experiences?

2. Is it appropriate to the audience and to the occasion?
3. Will listeners be able to grasp the meaning in one reading?
4. Do you feel personally connected to the material?

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STORYTELLING
Story – specific structure of narrative with a specific style and set of characters in which
includes a sense of completeness.
Telling – person to person oral and physical presentation of a story to an audience.
Storytelling – the art of using language, vocalization, and/or physical movement and
gesture to reveal the element and images of a story to a specific, live audience.
• Establish a connection between your audiences.
• You are giving personal experiences to children.
• It also requires practice.

How to Tell a Story?

 Decide if you will tell or read the story
 Decide if you will modify the language
 Act out the story
 Find opportunities for students to join in

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 Considerations:
Prepare your environment
Enhance your speaking voice
Observe and learn your language
Integration of body movements and facial expressions
Manner of storytelling

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INTERPRETATIVE READING

• Interpretive reading is the effective communication of an author’s thoughts and/or feelings to

the listener.
• The reader should draw meaning from the selection to share with the audience.
• All the skills of reading aloud, including vocal flexibility, clear articulation and correct
pronunciation, as well as pauses and rate variation, can be used in interpretive reading.

Purpose
• The purpose is to develop skill in conveying the meaning and emotions of a prose or
poetry selection.
• Prose material includes short stories, novels, letters and essays. Poetry is a different
genre that includes more literary.

Select Literature to Read

• The selection can be from any published source, including poetry, fiction, children’s
literature, news articles, speeches, letters and journals.
• Always make sure you pick literature that you like and your audience will appreciate.

Analyze Your Material

• Understand what the author was intending for you to know or feel when the reading is
done.
• Understand the characters and decide what you will or will not include in your reading.
• You must prepare an introduction to put the audience in the proper frame of mind for
hearing your presentation.

Present Your Interpretive Reading with Confidence

To develop your confidence, you must practice using your voice and body to convey the author’s
message to your listeners. Here are a few suggestions for improving your vocal delivery:

Speak at an appropriate rate. Speak slowly, particularly if you have or use an accent.
Remember to speak at the right volume for the room in which you are reading. Showing
variety will help demonstrate your ability.
Use emphasis and variety when expressing yourself. Some words need more punch than
others. Be sure you know which words should have emphasis and mark them so you
don’t forget.
Crisp articulation and correct pronunciation are key ingredients to being understood.
Make your voice believable when you are trying to convey different characters.

Rules of Interpretive Reading

All presentations must include an introduction that includes: – General subject area of
your literature – Title and author of the selection – Reason for selecting this piece – Any
additional information the listeners need to make sense of your piece
The selection is to be read from the printed page by using a typed manuscript. Mount
your script on black construction paper or put your reading into a small black binder to
make yourself look more professional.
The selection is not to be presented as a memorized piece.
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 The participant should stand still during the presentation. Pacing can become distracting.
Taking one step for emphasis on character changes is acceptable throughout the
presentation.
Costumes, makeup or props may not be used.

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READER’S THEATER

This is a particular type of dramatic pedagogy, which uses scripts and performance to
enhance the comprehension of a text. Students work in groups to practice the
performance of a script, which has been given to the group or written by the group.
Multiple readings of the text, through rehearsal offers opportunities to address fluency,
phrasing, intonation and voice production.

Reader’s theater is minimal theater in support of literature and reading. There are many
styles of reader’s theater, but nearly all share these features:

Narration serves as the framework of dramatic presentation.

No full stage sets. If used at all, sets are simple and suggestive.
No full costumes. If used at all, costumes are partial and suggestive, or neutral and
uniform.
No full memorization. Scripts are used openly in performance.

Reader’s theater was developed as an efficient and effective way to present literature in
dramatic form. Today as well, most scripts are literary adaptations, though others are
original dramatic works.

Popular first in colleges and universities, reader’s theater has now moved to earlier
education, where it is seen as a key tool for creating interest and skill in reading. Reader’s
theater has been found effective not only for language arts but for social studies as well.
Performing stories based on another culture is one of the best ways for students to
become interested in and familiar with that culture.

-------------------------------------------------END OF MODULE NO. 5----------------------------------------------------

Prepared by:

JAN KARLO THOMAS V. RANCHEZ, LPT

Instructor, College of Teacher Education

Checked by:

RAYMOND N. CLARO, PhD

Dean, College of Teacher Education