Interpretation is one of the most misunderstood and underestimated events in Speech and Debate. It is often written off as simply making a performance as dramatic or funny as possible for ten minutes to get the win. This misunderstanding creates a real problem in the activity: competitors prioritize surface-level reactions over intentional storytelling, and judges and audiences alike miss the depth Interpretation is capable of. When Interpretation is treated as exaggeration rather than interpretation, performances lose clarity, impact, and respect for the literature they represent.

However, Interpretation, in my opinion, is one of the most intricate events within Speech and Debate due to the subtle nuances that exist within it. Can you get on the floor and fake cry for ten minutes in Dramatic Interpretation? Absolutely. Will you break with that strategy? That’s a different story. The problem is not that emotion exists in Interpretation, but that it is often used without purpose. So let’s look into how you can separate your performances from everyone else’s with one simple strategy: Interpret, and don’t overdo.

To give a little background on me, I’ve been competing in Interpretation, specifically Dramatic Interpretation, since eighth grade, and now as a senior in high school, I’ve also had the chance to judge various Interpretation events. Combined with the many NSDA finals videos I’ve watched, I think it’s fair to say that I’ve developed a pretty well-rounded view on Interpretation as a whole. I’ve seen Interpretation at all levels, shapes, and sizes. One thing I’ve noticed in every good interpretation is that the performer has a deep understanding of their story, what they’re trying to communicate, and how to use different performance elements to do the most justice to their narrative.

Interpretation is more than simply performing something for people to laugh or cry at. It can be advocacy, it can be therapeutic, and it can leave an impact on every single person in your round if you play your cards right. The solution to the current misunderstanding of Interpretation lies in intentional choices. But how do you do that?

1. Cutting your piece in a way that suits you

Everyone in Interpretation has asked the age-old question: “Where’s a place I can find scripts?” It’s a valid question, but it might not be the right one. One of the biggest issues in Interpretation is competitors relying too heavily on premade scripts without questioning whether those scripts truly serve their message or abilities. Cutting is the process of refining the material you’re using to fit within the ten-minute and thirty-second timeframe you have to perform. What a lot of competitors don’t realize is that you can do more than just make sure you’re within time.

You can rearrange segments, and you can add a limited number of filler words, meaning you have the opportunity to craft a script that tells a full story while still being understandable for your audience. Premade scripts are great, but not every premade script is made the same. What you have in seven pages isn’t always much to work with in terms of cutting; there’s not much you can change without losing clarity. So if the premade scripts available to you aren’t up to par, you’re simply out of luck.

That’s why for the best pieces, cutting from a book or a movie is usually the better option. You have a lot of content to work with that you can use to your liking, as long as you’re not egregiously changing the intent of the original creator. This approach helps solve the issue of shallow storytelling by allowing competitors to build toward a clear emotional and thematic payoff. During cutting, you should think about how you’re going to perform each scene, but most importantly, what you’re building up to.

With your interpretation, you want to bring your audience on an emotional journey while also representing your message in the best way possible, so your cutting should reflect that. Cutting a piece correctly is one of the most important aspects of any good interpretation. While cutting, you should think about what you want your audience to feel in each scene. You should also keep in mind, “How am I going to act out this scene?” Which is what the next segment is about.

2. Blocking

Blocking is either one of the easiest things in the world for someone competing in Interpretation, or one of the hardest. But what I can tell you is that it’s the hardest thing to get completely right. Blocking is your physical movement during your piece, and it’s vital to portraying your story in the best way possible. A major problem in Interpretation is confusing constant movement with meaningful movement. With blocking, you have to be purposeful, as different pieces require different things.

One piece might spell out everything you need to do, while another might not be as clear, meaning you have to add things in. Some Interpretation competitors use this as a reason to add unnecessary movement just for the sake of having blocking, and it takes away from their piece. More action doesn’t equal more substance. So while it might be impressive to do a backflip mid-piece, if it’s not backed up by your story, it’s not going to get you the one in your round.

At the same time, make sure there’s some level of blocking in your piece, because a judge can get bored if you’re just standing still for the entire duration. Blocking can also mean simply using the entirety of your space. Blocking in Interpretation is a long and sometimes arduous process that I couldn’t possibly fully explain in one article, but the solution is constantly evaluating whether your movement adds clarity or distracts from the narrative. When you block your pieces, ask yourself if what you’re doing adds to the piece in a substantial way.

Play around with different blocking ideas, record yourself acting them out, and watch them back to see if they look good. Even if nothing else changes about your piece throughout the year, your blocking should, because there are always small things you can improve.

3. Knowing what to put in a piece and what not to put in a piece

This is the most important part of constructing a performance within Speech and Debate. One of the biggest problems in Interpretation is unclear or irresponsible messaging, especially when dealing with sensitive topics. You can have the best acting ability, the most purposeful blocking choices, and the most stellar introduction ever, but if you don’t represent your message clearly and respectfully, it doesn’t matter.

First, I’ll acknowledge that there are technically “lay” and “tech” judges in Speech because there will always be differing levels of experience. But as a competitor, you shouldn’t have to adjust your performance for a certain type of judge. There will be judges who connect to your performance and judges who don’t. Your focus should be having enough quality in your performance that no matter the judge, your ranks reflect your skill.

However, we also need to accept that certain subject matters affect judges in different ways, which is why it’s important to approach sensitive topics carefully. The use of slurs connected to marginalized groups should be very limited unless you are a part of that group and your piece revolves around that subject matter. Using terminology that can be seen as derogatory toward a group you don’t represent can make others within the space uncomfortable. And even if you use certain terms in the most appropriate way possible, you still may be ranked down for it.

But Interpretation is an art form and a way of expression for a lot of people. The solution is not to avoid difficult topics, but to approach them with intention, respect, and clarity. If your piece and advocacy include something that won’t click with everyone but is still true to you and doesn’t put anyone down, it may be worth losing a rank or two to express your art.

The same goes for cursing. Cursing in pieces is hit or miss. When it works, it works well, but if it doesn’t, it can work against you. Profane language should be used sparingly and purposefully. If you overuse it, it can seem like you’re relying on it rather than using your performing ability.

Making the right choices for your piece might not be the easiest thing in the world. There are so many micro-decisions you need to make when portraying hard topics like assault or underrepresentation. However, as a performer, you need to stay mindful of your topic and how it might affect people, while making choices that keep your message clear.

So as you can see, Interpretation isn’t as simple as acting and getting a reaction. It’s a precise art that most don’t reach the top level of. By addressing the misconceptions surrounding interpretation and making intentional choices, competitors can elevate both their performances and the event itself. But when you get to the point where you do reach that level, nothing is more gratifying than hearing how much your performance has moved someone else.

I hope this has helped you on your Interpretation journey no matter where you are, and remember to tell your story in the most authentic way possible.