SPEECH CHOIR ACTIVITY (Guidelines, Mechanics and Criteria)

Title of the contest piece: STILL I RISE by Maya Angelou

1. This activity will be a group activity. The class will stand as one group and will perform as one group.

2. The class will be given time to practice. Some class meetings will be scheduled as practices but the students
are encouraged to start their preparation as soon as possible. They can schedule practices during their free
times. Practices during weekend and at night are prohibited. Practices outside of the campus are also not
allowed.

3. Costumes and props are allowed. Words of caution though, the costume and props to be used should not be
very complex. The emphasis of the activity is the performance of the piece.

4. The grading considerations are as follows:

Interpretation (manner in which the piece is internalized & presented) 30 %

Delivery (quality of voice, fluency, pronunciation, blending & harmony) 30%

Stage Presence (stage poise, eye contact & audience impact) 20%

Costume & Sound Effects (attire is related to concept, sound production) 10%

Mastery of Piece 10%

100%

Sample Speech Choir Performances:

https://www.youtube.com/watch?v=VUbkhvr98n8
https://www.youtube.com/watch?v=4AvX65klKaQ

SPEECH CHOIR

Speech choirs are performance groups that recite speeches in unison, often with elements of
choreography and costume to help bring the speech to life. Much like musical choirs, dynamic -- volume --
range, expression and accurate coordination of syllables are all important for a successful performance.
Speech choirs date back to ancient Greece, where they were an integral part of most plays.

Members
A speech choir is typically the same size as a singing choir, having anywhere from 12 to 100 members or more.
However, most schools and competitions feature choirs of 25 to 40 members. The choirs typically are divided
into groups based on the members' natural speaking voices. Females with naturally high voices or young
females comprise the "light" group, females with deeper voices and young males or males with high voices
comprise the "medium" group and males with deep voices comprise the "dark" group.

Pieces
Selections are typically poems or poetic passages, such as from Greek dramas or Shakespeare's plays. The
conductor gives some thought to the passage, breaking it into parts that, for example, only the "light" voices
recite or strong passages that are voiced by all the members. Facial expressions and intonation are also
carefully planned, so all the members can practice in unison. Solo parts for specific members can add dramatic
effect.

Choreography
Choreography of movement is not a necessary component for a speech choir. Many successful competition
choirs recite their pieces while standing in place with their hands at their sides, attention directed solely at
the conductor. However, in the Greek tradition, speech choirs marched from side to side in alternating
patterns called "strophe" and "antistrophe." Thus, movement is part of the rich history of speech choir, and
some conductors choose to choreograph elaborate movement to accompany their pieces.

Costume
As with any other performance art, thought should be put into how the speech choir will dress. Costumes can
be as simple as matching outfits or robes, such as a vocal choir would wear, or elaborate theatrical garb. Plain
uniforms allow the audience to concentrate on facial expressions and allow the choir to recite several very

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different pieces in one performance. However, a themed costume for a single piece can highlight its meaning
or help to differentiate between voice groups.

They are:
VOICE QUALITY
• The ability to combine successfully the light, medium, and dark voices in
the choir (using these groups for their natural basic sounds and/or combining
them for special effects).
• The ability to communicate, through voice, reactions to thoughts or
emotions.

NUMBER OF VOICES
• The ability to add or subtract whole sections, banks, smaller groups, or
solo speakers to increase or diminish the power or richness of the sound to
better express the meaning.

BODILY MOVEMENT
• Ability to use gesture, choreography, or other movement to enhance
communication and better express meaning.

PITCH
• Pitch refers to the variations of the voice on the musical scale and is
generally referred to as inflection. Children generally have little problem with
pitch because they use it naturally and freely.

POWER
• Ability to use volume, force, or loudness as emphasis in appropriate places
to better express feeling and meaning. A power build should be related to the
elements of a sentence and/or growing emotion.

PHRASING AND RHYTHM

• Ability to use phrasing and rhythm as reinforcements for each other. Each
must blend together to better express the meaning of the verse.

TEMPO
• Tempo refers to the rate of speed at which a reading progresses. The
ability to balance the rhythm of a piece and the tempo of performance.
Tempo should relate to the central "beat" of the poem. (Too fast? Too slow?)

STAGING
• The ability to successfully organize and position the choir on stage or risers
for maximum performance effect. The ability to stage entrances and exits
which enhance the mood of the poem and performance. The ability to
"costume" speakers in a way which also enhances the performance as a
whole.

Found here:
http://scriptsforschools.com/files/chora…