TALK SHOW SCRIPT

(Insert background music and PowerPoint slides are displayed.)

Princess: Good afternoon, gentleladies and men! Welcome to Page and Perspective,
where we uncover the beauty and flaws of literature. I’m your host, Princess Brazas,
and for this afternoon, we have prepared an insightful and engaging show just for you.

Today, we’ll be chatting with our distinguished guests, experts in their fields, who will
share their knowledge on our topic. Expect an enriching discussion—along with some
fun moments along the way! So, buckle up, and let’s welcome our guests.

Our first guest is a renowned literary critic, scholar, and businesswoman. She holds a
Doctor of Arts (DA) degree from UP Diliman and is an expert in literary analysis. She
explores literature through various critical lenses, offering valuable insights that
contribute to the field. Let’s give a warm round of applause to Dr. Gellianne Bermejo!

Our next guest is Dr. Juliet Ceralde, a distinguished professor and literary theorist
known for her contributions to reader-response criticism. With a background in both
literary studies and education, she has conducted extensive research on the role of
the reader in textual interpretation. Her expertise in literary pedagogy has helped
shape modern approaches to literature. Let’s welcome Dr. Juliet Ceralde!

And finally, our third guest is an esteemed linguist and literary critic from Ellinoir
University. He is the leader of the Critic and Linguistic Circle of Literature, an
international lawyer, and an expert in reader-response criticism. His works have
significantly contributed to the field of literary analysis. Let’s all give a warm welcome
to Atty. Moises Calades!

(Pause as the guests enter.)

Princess: Hello and good afternoon, Dr. Bermejo, Dr. Ceralde, and Atty. Calades!
We’re truly honored to have you here.

Dr. Bermejo: Good afternoon, everyone! Thank you so much for inviting us. We’re
excited to be part of this discussion.

Princess: We’re thrilled to hear that, Dr. Bermejo! How are our guests feeling today?

Atty. Calades: Hello, everyone! Speaking for myself, I’m delighted to be here and
share insights about today’s topic. I don’t know about these two, but I feel honored to
be welcomed on this show.
Dr. Ceralde: Oh, I feel the same way! Being here is truly a unique and ineffable
experience. I’m looking forward to sharing our insights with all of you.

Princess: (smiling) Ineffable! That’s an interesting word. What does it mean, Dr.
Ceralde?

Dr. Ceralde: Ah… any fable. Ineffable.

(Everyone laughs.)

Princess: All right! Now that we’ve welcomed our guests, let’s dive into our discussion.
Today’s topic is Reader-Response Criticism.

Let’s take a trip back in time—think of all the books we’ve read throughout our lives.
Dr. Ceralde, could you tell us about the historical background of Reader-Response
Criticism?

Dr. Ceralde: Certainly! Reader-Response Theory officially began in the late 1960s,
when a group of critics, including Stanley Fish, Wolfgang Iser, and Norman N. Holland,
started exploring how a reader's interaction with a literary text shapes its meaning.

However, some researchers trace its origins even further back to 1938, when Louise
Rosenblatt published her book Literature as Exploration. In it, she emphasized that a
reader's response to a text is essential in understanding a literary work.

Rosenblatt also introduced the Transactional Theory, which states that meaning does
not reside solely in the text or the reader. Instead, meaning emerges from the
transaction between the two—the reader brings their own emotions, experiences, and
perspectives to the text, shaping its interpretation.

Princess: Oh! So, the Transactional Theory is closely related to Reader-Response

Criticism?

Dr. Ceralde: Exactly! Reader-response theory highlights the dynamic relationship

between the text and the reader. Without this interaction, a literary work remains
incomplete, as its meaning is not fixed but shaped by the reader’s engagement.

Princess: That makes sense! But these ideas didn’t gain widespread acceptance until
the 1960s, right? How did Reader-Response Criticism become the theory we know
today?

Dr. Ceralde: During the late 1960s and 1970s, a group of literary critics further
developed the theory. One of the most influential figures was Stanley Fish, who
analyzed reader responses to works like John Milton’s Paradise Lost. Fish argued that
we cannot fully understand a literary work without considering the reader’s
interpretation.

Another key theorist was Wolfgang Iser, a German scholar who argued that meaning
is not inherent in the text itself but is instead created through the reader’s interaction
with it.

Princess: Wow! So many theorists contributed to this approach! It seems that

Wolfgang Iser’s ideas align with Louise Rosenblatt’s Transactional Theory.

Dr. Ceralde: Yes, and there are also psychoanalytic influences on Reader-Response
Criticism, particularly from Norman N. Holland and David Bleich, who were inspired by
Sigmund Freud’s psychoanalytic theories. They argued that understanding literature
requires understanding the psychology of the reader.

Princess: Since we have already learned about its history, let us move on to its
definition. Dear guests, what is reader-response criticism, and why is it so important
in literary studies?

Dr. Bermejo: Reader-response criticism is a literary theory that emphasizes the

reader's role in interpreting a text, asserting that meaning is formed through the
interaction between the reader and the work within a given context. Unlike other
approaches that focus primarily on the author or the form of the work, this theory
argues that meaning is actively created by the reader’s engagement with the text.
Every reader's reaction to a book is shaped by their individual perspective, which
means that readers will always have different interpretations of literary works.

For example, two readers may interpret the story Snow White differently based on
their life experiences. One may see it as a love story, while another may view it as a
tale of manipulation. This is because every reader may have a different interpretation.

Princess: That’s really interesting! So, instead of literature having just one meaning,
it depends on who is reading it?

Dr. Bermejo: Yes! Our beliefs, feelings, and life experiences influence how we
perceive a story. That’s why Smith, O’Hare, and Hines stated: "The role of the reader
is essential to the meaning of a text, for only in the reading experience does the literary
work come alive."

Princess: I also came across something called Reception Theory. What is it all about?

Dr. Bermejo: Reception Theory emerged in the 1960s and was developed by Hans-
Robert Jauss of the Constance School. It is a version of reader-response literary
theory that focuses on how audiences interpret and make meaning of media
messages rather than concentrating solely on the text.

Another important point is that reader-response criticism emerged as a reaction

against formalism. While formalism treats literature as objective, reader-response
criticism is subjective because it acknowledges that meaning is co-created by readers.

Princess: Does meaning solely reside in the text?

Dr. Bermejo: According to this theory, meaning does not solely reside in the text.
Literary works do not have a fixed meaning because their interpretation depends on
how the audience perceives them.

Wolfgang Iser explains that texts contain gaps or blanks, which is why, in constructing
meaning, the reader is just as important as the text. Readers fill these gaps with their
experiences, personalities, and beliefs, leading to diverse interpretations of the text.

Princess: Thank you, Dr. Bermejo. After learning about reader-response criticism and
how it contradicts the formalist approach, we are sure that there will always be issues
and debates surrounding its emergence, and many will critique the reader-response
approach. So, my third question is: Are there any debates or issues regarding reader-
response criticism?

Atty. Calades: To answer your question, yes, there are debates about reader-
response criticism. Since reader-response theorists reject the New Critics’ perspective
on literary analysis, they have defended their approach. For the New Critics, the
meaning of a literary work could be found within the work itself. According to them,
there is no need to consider the social or cultural context of the work or the author's
biography. The reader was not important because, in their view, the reader had
nothing to do with the actual meaning of the text.

However, reader-response critics argued that meaning is not something that simply
exists within a literary text, waiting to be discovered. Instead, they believe meaning is
created through the interaction between the reader's mind and the text. They also
argued that the reader is just as important as the author. There are perspectives that
defend the reader-response approach, all of which state that the interpretation of a
text depends on how the reader assigns meaning to it. They also argue that there is
no significant issue with different interpretations of a text, as there is nothing definitive
to agree upon.

Princess: So, those perspectives that defend the reader-response approach—are

they all held by reader-response critics?

Atty. Calades: Yes, they are.

Princess: Well, of course, those who oppose their approach are formalist critics.

Thank you, Dr. Bermejo, Dr. Ceralde, and Atty. Calades, for sharing your insights with
us. We’ll take a short break, but stay tuned because we have more exciting
discussions ahead!

(Insert movie promotion and background music.)

Princess: Welcome back to Page and Perspective! In this segment, we’ll explore the
steps in writing a Reader-Response Criticism and how to apply them when analyzing
a literary work.

For this discussion, we have two distinguished guests. First, we have a literature
professor from UP Diliman, a Ph.D. holder in Literature, and the author of The Weight
of Goodbyes—please welcome Dr. Mark Andrei Borcena!
Joining him is Dr. Kathlene Dacaynos, a professor at the University of Santo Tomas,
an expert in literary criticism, and the author of Texts and Interpretations: A Reader’s
Perspective.

(Pause as guests enter and settle.)

Princess: Welcome, Dr. Borcena and Dr. Dacaynos! How are you both feeling today?

Dr. Borcena: Hello, everyone! I’m feeling great and excited for this discussion.

Dr. Dacaynos: Good afternoon! I’m happy to be here and looking forward to sharing
insights.

Princess: Wonderful! Now, let’s get into it. Dr. Borcena, what are some key steps or
guidelines for analyzing literature using Reader-Response Criticism? Let’s start with
the very first step—what should students do before they even begin reading?

Dr. Borcena: Thank you for having me! Before diving into a text, it’s important to take
a moment and prepare yourself as a reader. This is what we call the "Getting Started"
phase.

First, ask yourself:

What do I already know about the book, author, or genre?

What does the title suggest? Can I predict what the story might be about?
How do I feel about reading this? Am I excited, nervous, or unsure?
This step is important because it activates prior knowledge and helps you approach
the text with curiosity and purpose.

Princess: That’s a great way to ease into the reading process! Now, once students
start reading, how should they prepare for writing their response?

Dr. Borcena: This is where prewriting comes in. Instead of just reading for the plot,
students should actively engage with the text and take notes.

Here’s what they should focus on:

Mark key quotes—Did a line make you think, feel, or react strongly?
Note personal connections—Did a scene remind you of an experience or belief?
Write down any questions—Was there a part that confused or intrigued you?
Track changes in your perspective—Did your opinion about a character or theme
evolve?

By the time students finish reading, they should have a collection of notes that will
make writing their response much easier.

Princess: Now that they’ve got their notes, how do they turn them into a well-
structured response?

Dr. Borcena: A Reader’s Response Analysis follows three key sections:

Introduction
Start with a strong hook—a powerful quote or a personal anecdote.
Introduce the text and author.
State the main reaction—this becomes the thesis statement.

For example, if analyzing The Masque of the Red Death, a student might start with:
"The figure was tall and gaunt, and shrouded from head to foot in the habiliments of
the grave." Then, they can explain how this line immediately set the eerie tone for their
reading experience.

Body Paragraphs
Each paragraph should focus on a single reaction and use textual evidence to support
it. Possible approaches include:

Literary Techniques—How did imagery or symbolism affect emotions?

Personal Connections—Did the text relate to real-life experiences?
Shifts in Perspective—Did your understanding evolve as you read?
Instead of writing, "This poem about grief made me sad," a stronger response would
be: "The repetition of the word ‘empty’ in the final stanza emphasized the loneliness
of loss, making it resonate deeply with my own experiences of grief."

Conclusion
The conclusion should reflect on the overall impact of the text:
Did it challenge your perspective?
What emotions did it leave you with?
Was it effective in delivering its message?
A strong ending connects the reading experience to a broader theme or personal
insight.

Princess: Once the first draft is done, how can students refine their response?

Dr. Borcena: Revising is crucial! Here’s what they should check:

Clarity and Organization—Does each paragraph flow logically?

Textual Support—Are all opinions backed up by evidence?
Grammar and Style—Are there any awkward phrasings?

A simple trick is to read the response out loud—this makes it easier to catch errors
and improve clarity.

Princess: That’s certainly a lot to take in, Dr. Borcena. There are many steps to follow,
but with your guidance, we can now critique a literary piece more accurately. Thank
you for sharing your knowledge on applying the reader-response approach. But
something still feels missing. Dr. Dacaynos, what do you think it is?

Dr. Dacaynos: Why me? (Laughs.) Just kidding! Of course, after explaining the
process, it’s always better to provide an example or reference to see how the reader-
response approach is applied.

Princess: That is the missing piece, and Dr. Dacaynos got it! To fully grasp the
concept, an example makes it concrete, right, Dr. Dacaynos?

Dr. Dacaynos: True, Princess. And speaking of examples, one poem that truly
resonated with me using the reader-response approach is The Road Not Taken by
Robert Frost.

At first glance, it may seem like a simple poem about choosing between two roads.
But when I read it, I saw something deeper. The fork in the road represents life’s
choices, and Frost’s decision to take "the one less traveled by" made me reflect on
how every choice we make shapes our future.
I found myself questioning whether both roads were really the same. Frost initially
describes one as “grassy and wanted wear,” yet later admits they were “really about
the same.” It made me realize that sometimes, choices may appear different, but in
reality, each leads us down an unknown path. And just like Frost, we can never truly
go back—we can only move forward.

This poem left me with a powerful realization: the most important thing is to stand by
our choices. Society, friends, and family may have their own expectations, but in the
end, what matters is what we believe is right. This is why literature is so powerful—it
allows us to interpret and find meaning in ways that are deeply personal.

Princess: And there we have it—another way to understand how the reader-response
approach works! Thank you, Dr. Dacaynos, for such a thoughtful reflection.

Princess: All right, that wraps up our show for today! We hope you’ve learned a lot
about Reader-Response Criticism.

Before we conclude, we’ve heard that some of our guests have hidden talents. And
as we believe that talents should never be hidden, we’re going to request a sample!

Atty. Calades: (laughing) Well, it looks like I have no choice! All right, I’ll sing The Past
by Jed Madela.

(Music plays until the first chorus.)

Princess: Wow! That was amazing! Thank you, Atty. Calades.

And with that, we conclude today’s episode. Join us next time for another literary
discussion. Again, I’m Princess Ann Brazas, your host, and this is Page and
Perspective! Goodbye, everyone!

(End scene, applause.)