n. The saying “they meet you by their clothes, they see you off by their mind” is true only in relation to long-term communication, but meeting with an audience is not such.

First impression 1. Strong, bright, well remembered. 2. May be far from the truth, erroneous. 3. Stable (stored for a long time). 4. The individual qualities of the speaker are assessed and remembered. 5. The basis of the first impression is the visual image. 6. There will be no chance to make a first impression a second time.

n First of all, they remember the speaker, secondly, what he said. n Information is tied to the personality of the speaker: n liked the speaker - like what he preaches.

Individuality of the speaker n The audience wants to see a personality in the speaker. n D. Carnegie: “The most precious thing for a speaker is his individuality, cherish it and take care of it.” n The individuality of the oratorical manner is the most important factor that encourages listening to the speaker. The personality is remembered, and along with the personality, its ideas.

Rhetorical positions of the speaker during the speech n 1. Informant n presentation of the material, accompanied by a warning about n n n n possible errors in understanding. Instructional or directive information is usually presented from this position. 2. The audience knows the basics, but is waiting for additional information and assessments. 3. The interlocutor, the speaker, shares the interests and concerns of the audience, speaks “as equals,” addresses the audience with a request to express an opinion, and makes extensive use of questions. 4. Adviser - listeners are well prepared in the basic area, the speaker only “places emphasis”. 5. The emotional leader in the audience is in high spirits, the speaker is well known and is awaited with interest and impatience. In this position, the speaker feels free; impromptu deviations from the topic are acceptable.

Rhetorical positions of communicative suicide which are recommended to be avoided in every possible way: n mentor (the speaker is moralizing, categorical); n tribune (exaggerated pathos), n petitioner (“bear with me, I’ll finish soon”). Only speeches lasting no more than one minute can be performed from one position; The vast majority of performances are performed alternately in different positions, but before the performance you need to think about which of them, where and when you will occupy.

Appearance of the speaker n Attractive, Appearance - within normal limits. Excessive attractiveness distracts from the content and reduces confidence in the material. n It is better for a man to perform in a suit that should be moderately fashionable. A woman should also be dressed moderately; Very fashionably dressed women are rated negatively. n The suit (dress) should not fit tightly to the figure. n It is better without decorations, remove everything from your pockets (notes, protruding pencils and pens, newspapers). Clothing should be appropriate for the age of the speaker; inconsistencies in either direction are annoying.

Reduce confidence in the speaker: n clothes of bright, saturated colors; n clothes that are too fashionable (frivolous); n excess decoration; n flirty details of women's clothing (lace, flounces, etc.). Glasses with dark frames increase confidence.

The manner of speaking P. Soper: the manner of speaking is more important than the appearance of the speaker - the manner makes you forget about appearance. What a speaker should not do: : n look: tired; in a hurry; dissatisfied (with the premises, the delay in the start of work, the number of people present, those who are late, etc.); overly excited; n demonstrate helplessness, indecision; n In no case should you apologize for your mission (“Sorry for keeping you,” “Be patient, I’ll finish soon,” etc.).

Energy of presentation. Physical vigor, mobility. The performance should be energetic from start to finish. This is conveyed to listeners, keeps them on their toes and increases confidence in the information. D. Carnegie advised: “Be energetic. Energy has magnetic properties. People flock around the energetic speaker like wild geese around a field of winter wheat. Don’t temper your energy with anything.” The audience should see that the speaker is cheerful and in good physical shape.

Confident appearance n Confidence is transmitted to the audience, they begin to perceive what the speaker says, less and less critically, with more and more confidence. n “Have a confident appearance - it has a positive effect on listeners” (P. Soper). n Keep your chin up; stand straight without bending; look the listeners in the eyes. n “Look your audience straight in the eyes and start speaking with confidence, as if they all owe you money. . . Imagine that they have gathered here to ask you to postpone the payment deadline” (D. Carnegie).

Position in the audience n It is better for the speaker to stand, he should be clearly visible. You need to stand in front of the audience, not in the middle of it. n Tribunes, dais, and stage should be used as little as possible. n By artificially rising above the audience, the speaker demonstrates to them his formality, his superiority, which contradicts the rule of “intimacy of communication,” which is effective in public speech. n If there are less than 75 listeners, you should talk to them below, and not from the dais, says P. Soper.

Movement n You can’t stand in one position, you need to move. The audience does not trust stationary n n speakers and considers them conservative-minded. The speaker's movement around the audience increases confidence in him and increases sympathy. You should not walk in front of the audience, but into the depths of the hall, and you should not go very deep and reach the last rows of listeners - in this case, those sitting in front are uncomfortable, they are forced to turn around after the speaker. It is best to go deeper no more than a third of the length of the hall and, at the same time, when returning back, you should not turn your back to the hall, you must move back “in reverse”. The speaker's gait should be smooth, measured, without acceleration, somewhat slower than a person's usual gait - only in this case the gait will diversify the perception of the speech, and not distract from it. When walking, you should never sway as this is very distracting to the listeners. While walking around the audience, the speaker should not fix his gaze on one thing, as this forces the audience to shift their attention to what the speaker is looking at.

Get closer to the listeners n Get down into the hall, walk around the audience (slowly, and not too much), lean towards the listeners. n If you are speaking from a platform, approach the very edge. From time to time, come out from behind the podium and stand next to it, or even stand next to the podium, and not behind it.

The speaker's gaze n Listeners believe that if the speaker is looking at them, then their opinion and assessment is important to him, and this makes them listen more actively and attentively. n In addition, if the interlocutor looks at us a little, we believe that he treats us poorly (“he didn’t even look!”) and neglects us.

Look n n n Look at all listeners alternately, without singling out any of them personally. In a large audience, divide the listeners into sectors and move their gaze from one to another, without leaving any of the sectors unattended. Do not perform while looking into “space”, this causes distrust and irritation among listeners. During the performance, do not look at the floor, at your feet, out the window, at the ceiling, or look at foreign objects. This leads to a loss of contact with the audience. Looking around the audience, do it slowly. Look at your listeners in a friendly way, the look with which you greet friends. Pretend that you are happy to look at everyone, it will please you.

Postures n If the speaker is standing, the legs should be slightly apart and the toes should be n n n pointed apart. The emphasis on both legs should not be the same. In the most expressive places, the emphasis should be placed more on the toe than on the heel. The chin should be slightly raised. The chest should be slightly “exposed”, the stomach should be tucked. Keep your elbows no closer than three centimeters from the body; if you press your elbows to your body, this will indicate your insecurity; It's better to stand than sit. The higher a person is above the audience, the stronger his communicative position (the rule of “vertical dominance”), the more convincing he is. You should not lean your hands on a low table, bending slightly over it; this is a dominance pose that is negatively assessed by the audience. This is a demonstration of aggressiveness; This pose is sometimes called the “male gorilla pose.”

Gestures n Speech without gestures alarms listeners, “leaves a residue of prejudice and mistrust” (P. Soper). n Open postures and gestures, that is, demonstrating a desire for contact, goodwill, and a desire to persuade. n Hands are slightly apart, they should not be motionless. Hand movements are towards the listeners: palms are open towards the listeners (palms should be visible to them). n Rhetorical gestures: hands should slightly converge and diverge, rise and fall in time with persuasion.

Gesticulation n Gesticulation should be natural, following a person’s natural impulses to gesture. n Gesticulation should be moderate, gestures should not be continuous. n Gestures need to be varied; you cannot repeat the same ones (or the same ones) - this irritates the audience. n Gesture with both hands.

n You cannot fiddle with clothes, jewelry, touch n n watches, etc. This is considered by the audience as a manifestation of your insecurity, and such gestures are called intrusive: they greatly distract listeners, and make the speaker’s speech monotonous and inexpressive. Do not make sudden, jerky movements with your elbows. Do not interrupt the gestures you have started, bring them to completion. Do not openly move your fingers. Make gestures only above the waist; Gestures below the waist are perceived by listeners as an expression of uncertainty and confusion.

Volume, tempo and intonation n The speaker's voice should be energetic and reflect the energy of the speaker. There should be pressure in the voice, an effort should be felt in it, some call to follow the thought. n What is the optimal volume for public speaking? It must be borne in mind that if the speaker speaks too quietly, the audience concludes that he is insecure; if he speaks too loudly, he is aggressive. One must try to avoid both. P. Soper gave the following advice: “speak louder than you think is necessary.” You can also say this: speak at such a volume that you feel that you are speaking louder than usual; in the vast majority of cases this volume will be sufficient.

Intonation The following requirements apply to the intonation of a speech. n Firstly, it should not be monotonous, it should be changed throughout the performance. n Secondly, the intonation must correspond to the content of what you are talking about. Do not hold back your intonation, strive to speak energetically - and your intonation will be natural. Intonation that does not correspond to the content of the speech irritates listeners and causes distrust of his words. n Use a medium speaking rate, which is usually the optimal rate. n Long pauses should be avoided - they irritate the audience, especially well-prepared ones. n Before an important place, you should lower your voice somewhat in thought. Small pauses should be taken before and after important thoughts. A pause “before” prepares listeners for something important, a pause “after” encourages them to tense up and think, and stimulates mental activity.

Techniques for dealing with anxiety during a speech n A speaker may have three reasons for anxiety: n 1. Fear of an unfamiliar audience. n In this case, it is recommended to say n n n out loud several times in private the phrase: “I know the material well, they will listen to me well,” and then go to the podium. Speak louder than usual, or louder than you intended - this is also a good way to cope with anxiety. Find familiar or simply nice faces and contact only them at the beginning of the speech, they will support you. 2. Feeling of poor, insufficient preparation. In this case, you yourself are to blame. But something can be done: have backup material, omit what you know less and focus on what you know quite firmly, what is written in your notes. 3. Creative excitement (will I be able to perform well? will they understand? how to perform in the best possible way?). Such excitement gives the performance sincerity and naturalness; there is no need to fight it.

Techniques for dealing with anxiety n n n n n increase the emotionality of speech; increase the volume of your speech; increase your energy and speech rate; breathe through your mouth and nose at the same time; wiggle your fingers behind your back or your toes; grab a chair, podium, edge of a table; hold a coin in your fist; take chalk, pointer; write something on the board, even if it is not really necessary (topic, sections of the plan, individual terms, quotes);

Focus on content n Focus your efforts on the content, on the meaning of the speech. The form, as it were, recedes into the background, follows the content, this makes his task easier for the speaker. “Don’t worry about how you look, forget about personal feelings: focus on one thing - conveying your thoughts to the listener” (P. Soper). n Don’t apologize for minor slips; listeners won’t notice them or attach importance to them unless you point them out yourself; In general, apologize less - apologizing increases anxiety.

The speaker's reaction to organizational and technical problems and interference 1. Noise from a neighboring room or from the street, other people's voices - ignore, speak louder, come closer, send a listener with a request to eliminate the interference. If the noise continues and the audience pays attention to it, comment, better in a humorous way.

2. Strangers look at the door. n Ask the listener to put up a note “Lecture” or go out and tell them not to come. n If people looking in ask you to call someone or let them go, it is better to pause and say: “Please do not disturb us, we are working” and then continue your speech.

3. Listeners are late, new listeners enter the audience all the time. n. It is better not to notice single latecomers; group - wait until they sit down, invite them to pass. n. Make a joke: “Please forgive us for starting without you.” But don’t show dissatisfaction.

4. It’s stuffy - take a break for 10 minutes, ventilate or shorten the performance. 5. The microphone is out of order - call a break, find a technician, call the organizer. To fix it, it is impossible to go down to the hall, approach the audience and finish the speech in 2 - 3 minutes. 6. The lights go out - proceed as when the microphone is turned off: announce a break to fix the problem or end the speech in 2 minutes.

Problems in the performance of the speaker n Small slips do not need to be corrected - they will understand anyway, there is no need to draw attention to them. If this distorts the meaning - “Sorry, I misspoke. Of course I meant it. . . ". Do not exaggerate the damage that disclaimers can cause, focus on the expression of the thought, on its understandability for the audience. n If you notice that you missed something, move on, don’t go back, finish the thought. And then, if it’s absolutely impossible without the omitted one, “0 what I also forgot to mention is about. . . " or "I want to go back now to... . ". n But before you return, you need to think - is it necessary to do this? If the fact wasn't needed, maybe it wasn't needed?

Interference in the behavior of listeners n From the side of listeners, the speaker can expect a number of typical interferences that can complicate his work. What kind of interference is this?

1. Active response to distracting external factors n The audience, no matter how interesting the lecture or performance, cannot help but pay attention to some unexpected events in the room. n “The audience cannot resist the temptation to look at any moving object, animal or person” (D. Carnegie).

1. A sparrow flew into the audience n First of all, don’t notice it for as long as possible. n Secondly, wait out the “active actions”, take a break - the audience will get bored, and the listeners themselves will take some measures. n Thirdly, use the “connection” method to pay attention to yourself, comment, briefly discuss with listeners, and then say: “Okay, that’s enough, let’s get back to our work.” Listeners usually perceive this technique well. n Fourthly, moving closer to the listeners will prevent them from being distracted.

2. Listeners talk over each other Do not take it personally - most likely, this has nothing to do with the lecture and the speaker. It's better not to notice as long as possible. Come closer, look closely, speak for a while, addressing them and after a pause (unexpected), ask the question - “Do you agree? Don't you agree? ".

3. Someone yawns in the speaker's face Don't attribute this to yourself - maybe the listener is just tired. You shouldn’t react until you understand that others have noticed it and are reacting to it. In this case, it is better to say: “Yes, it has become stuffy, there is not enough air. I see that some people are finding it difficult to breathe - maybe we should take a short break and ventilate the room? ".

4. Listeners get up and leave Don't show that it hurts you. People may have different reasons for leaving. Don't react, don't reprimand them. On the contrary, you can say: “Comrades, if someone urgently needs to leave, please, just go out slowly.”

5. Replies of disagreement from the spot n Replies are trivial - pretend that you did not hear or did not understand. n They insist on their point of view - to enter into a discussion, but formally: “I understand our point of view. But I have a different one, I will now (or a little later) give additional arguments.” n The objection is important and not related to personal ambitions - to say: “I will return to your comment, but if you allow, a little later” and be sure to keep your promise. n Disagreement is expressed in a sharp, categorical form - it is better not to enter into a discussion: “I understand your point of view. Well, the future will show which of us is right."

6. Rude, provocative shouts, remarks n People with low culture who want to show that the speaker is not so good, smart and competent. They want to show off, stand out, and attract attention (“Moska complex”). How to behave with such people? n It’s better not to notice a one-time remark. n If you can’t, don’t show that it hurt or offended you, show your superiority and control over the situation. Say: “Yes!. . Well, there’s nothing to add here! (pause). Well, we’ll still move on. . . » n You can say ironically: “Yes, I understand your problems. . . But, sorry, we need to move on. . . ".

The third technique is not to answer n “I understand your question. . . (although this was not a question at all, it will confuse the offender), but now, unfortunately, we cannot dwell on this problem in detail. . . » n There is no need to put the provocateur in his place - this is already a hassle, that’s all he needs. But respond to any remarks from other people in an emphatically polite and correct manner - this will show that you condemn him.

4. n Praise, find a rational grain in the remark and use it to tell something additional interesting. n A “delayed response” is effective: “I understood your thought (question, idea) and will answer you, but if you allow, at the end, otherwise now it will lead us astray.” And at the end, when the time for your speech has run out, address the audience: “Here was another question, should I answer it? “People will shout: “Don’t, everything is clear!” - “Well, it’s not necessary, it’s not necessary. Thank you for attention" .

5. Postpone the answer n Ask the provocateur to wait a minute. “Just a minute, I’ll just finish my thought. . . “After 2-3 minutes, no less, turn to the provocateur: “So what did you want to say? Nothing? Well, then we’ll move on!” n You can admit: “Yes, there is a problem with what you are saying. Unfortunately, we won’t solve it now; we need to talk about this separately.”

6. If the remark is very rude n “Sorry, I didn’t understand what you said. Please repeat again louder and slower!” As a rule, he will not be able to say rudeness a second time in an atmosphere of general attention. “Well then, let's move on.”

Strongly expressed disagreement can be taken to a personal level. n At a lecture on communication in the family, a female listener shouted indignantly, “So, in your opinion, your husband shouldn’t make any comments at all? » n “I understand your problems,” the lecturer replied. “I’m sure that your husband definitely needs to make comments.” n The answer was drowned in the general laughter of the audience; the listener who asked the question also laughed.

Plan

1. The effectiveness of public speaking.

2. Oratory.

3. Personal qualities of the speaker.

4. Basic skills and abilities of a speaker.

5. Five main stages of preparing a public speech.

6. Structure of oral public speaking.

7. Writing and mastering the text of the speech.

1. The highest manifestation of the skill of public speaking, the most important condition for the effectiveness of oratory speech, is contact with listeners.According to psychologists, contact- this is the common mental state of the speaker and the audience, this is the mutual understanding between the speaker and the listener. What is the result of this community? First of all, on the basis of joint mental activity, i.e. the speaker and listeners must solve the same problems, discuss the same issues - the speaker, presenting the topic of his speech, and the listeners, following the development of his thoughts. If the speaker is talking about one thing and the audience is thinking about something else, there is no contact. Scientists call the joint mental activity of the speaker and the audience intellectual empathy. It is no coincidence that people say: “The word belongs half to the one who speaks, and half to the one who listens.” For contact to occur, emotional empathy is also important, i.e. The speaker and listeners should experience similar feelings during the speech. The speaker’s attitude to the subject of speech, his interest, and conviction are transmitted to the listeners and cause a response from them.

Psychologists emphasize that a necessary condition for the establishment of contact between the speaker and the audience is sincere, real respect for the listeners, recognition of them as partners, comrades in communication. The question arises: how to determine whether contact was established or not? Externally, contact is manifested in the behavior of the audience, as well as in the behavior of the speaker himself. Often there is silence in the hall during a speaker's speech. But how different this silence can be! Some speakers are listened to with bated breath, afraid to miss a single word. This silence is regulated by the speaker himself. The speaker's jokes, his humorous remarks cause movement in the hall, a smile, and laughter from the listeners, but this laughter stops as soon as the speaker begins to express his thoughts again. During the speech, other speakers also sit silently, but not because they hang on his every word, but because they do not want to disturb the speaker. This is the so-called "polite" silence. They sit, without disturbing the order, without talking, but do not listen, do not work together with the speaker, but think about their own things, mentally doing other things. Therefore, silence itself does not indicate the speaker’s contact with the audience.

The main indicators of mutual understanding between speakers and listeners are a positive reaction to the speaker’s words, external expression of attention from listeners (posture, concentrated gaze, exclamations of approval, consonant nods of the head, smiles, laughter, applause), “working” silence in the hall.

The presence or absence of contact is also indicated by the behavior of the speaker. If the speaker speaks confidently, behaves naturally, often addresses the audience, and keeps the entire audience in his field of vision, then he has found the right approach to the audience. A speaker who does not know how to establish contact with an audience, as a rule, speaks confusedly, inexpressively, he does not see his listeners, and does not react in any way to their behavior. The speaker sometimes manages to establish contact only with part of the audience, and not with the entire audience. We can say that contact is a variable quantity. He can be complete and incomplete, stable and unstable, change during the speaker’s speech. Of course, every speaker should strive to establish complete contact with his listeners, stable from the beginning to the end of the speech. And for this it is necessary to take into account a number of factors. Establishing contact between the speaker and the audience is influenced, first of all, by the relevance of the issue being discussed, the novelty of the coverage of this problem, and the interesting content of the speech. It is interesting content that largely determines the success of an oratorical speech and is the key to establishing contact between the speaker and the audience.

Establishing contact with the audience is greatly influenced by the personality of the speaker, his reputation, and the prevailing public opinion about him. If the speaker is known as an erudite, principled person, as a person whose words do not differ from his deeds, a person who does not throw words to the wind, who speaks “not for the sake of a nice word,” then the audience will have confidence in such a speaker.

To establish contact with listeners, it is important to take into account the characteristics of the audience in which you will speak. Let's consider main features of the audience. First of all, it is important to know homogeneous or heterogeneous audience. By what criteria can one judge the homogeneity of the audience? These include such characteristics of listeners as age, gender, nationality, level of education, professional interests, mood, etc. It is clear that the more homogeneous the audience, the more unanimous the listeners’ reaction to the performance, the easier it is to perform. Conversely, a diverse audience tends to react differently to a speaker's words, and he has to make extra efforts to manage his audience. The speaker needs to learn to control the mood of the audience, to be able to change it, if necessary.

Establishing contact between the speaker and the audience is also influenced by some features of the psychology of listeners. Listeners make special demands on the speaker: they have given him the main role in the communication process and want him to live up to it. Therefore, it is important that listeners feel confident in the speaker’s behavior, see calm and dignity on his face, and hear firmness and determination in his voice. The very appearance of the speaker has a psychological impact on the audience - it should set the listeners up for the success of the oratorical speech, no one should have even a shadow of doubt about success. But the speaker is the same person as everyone else. Before the performance, he may have troubles, unforeseen complications, and finally, he may suddenly feel unwell. However, the audience does not care about the speaker’s personal experiences. This means that he needs to be able to hide his mood, to temporarily disconnect from everything that is not related to the performance in the audience. A.S. Makarenko taught educators: “Your mood can be whatever you want, but your voice must be a real, good, firm voice. Your mood has nothing to do with your voice... You need to make sure that your face, your eyes, your voice are, in some cases, autonomous.” Recommendations by A.S. Makarenko are undoubtedly useful for speakers.

A special feature of audience psychology is that listeners are also spectators. The speaker just appears on the podium, and the listeners are already evaluating him and exchanging critical remarks with each other. What is it about a speaker that attracts the visual attention of listeners? Of course, first of all, its appearance.

Cloth the speaker must be consistent with the nature of the environment in which the speech is made, and be neat and orderly. A.F. Koni advised lecturers: “You should dress simply and decently. There should be nothing pretentious or flashy in the suit (sharp color, unusual style); a dirty, sloppy suit makes an unpleasant impression. This is important to remember, since the psychological effect on those gathered begins before the speech, from the moment the lecturer appears in front of the public.”

The audience also watches closely behavior speaker during a speech. Unnecessary, mechanical movements of the speaker distract the attention of the listeners and become the subject of discussion among the audience. Listeners also pay attention to the lecturer’s posture. Some speakers, having reached the podium, lie down on it, sway now to the right, now to the left, shift from foot to foot, and mark time. All this has a negative effect on listeners and does not contribute to establishing contact with the speaker.

Listeners are far from indifferent to where looks speaker. You can often observe the following picture: the boss gives a report, speaks at a meeting and from time to time looks out the window, glances at the walls, lowers his eyes to the floor, raises them to the ceiling, examines his hands, i.e. looks anywhere but at the listeners. The form in which the material is presented significantly influences the relationship between the speaker and the audience.

2. Term oratory Latin origin ( oratora from lat. speak), its synonym is the word rhetoric(gr. rhetorike) and Russian eloquence. Oratory is mastered primarily by public professionals: politicians, lawyers, prosecutors, lecturers. They are called speakers(from lat. speaker ‒ orare- speak).

Word " speaker"is used in two meanings: 1) giving a public speech; 2) a person who knows how to speak publicly and has the gift of eloquence. It follows from this that the art of oratory should not be only the property of professionals. This art must be mastered by everyone who, by the nature of their activity, is in one way or another connected with oral public speech: a statesman and public figure, a team leader, a school or university teacher, etc.

Oratory is needed where there is a need for public discussion and resolution of issues of social significance, where it is necessary to convince, to configure the audience in a certain way, to form political, moral, commercial attitudes, etc. Oratory‒ this is the ability to substantiate one point of view or another, defend a position, prove the correctness of the ideas and positions put forward, etc. Mastery of this art‒ this is an important factor of professional competence, the key to career growth in highly professional and public spheres of life. The famous politician and orator Marcus Tullius Cicero wrote: “There are two types of art that can elevate a person to the highest level of honor: one is the art of a good commander, the other is the art of a good orator.” Nowadays, there are other types of art that can provide honor and respect in society. But the art of a good speaker still helps a person achieve high goals and take a high place in the social hierarchy.

As noted above, the concept of “speaker” has two meanings. First, a speaker is any person who gives a public speech. The second is a person who has the gift of eloquence, i.e. someone who can speak beautifully, figuratively, expressively, in other words, a person who has the art of oratory. These two meanings of the term “speaker” are closely interrelated. The second meaning of the term “speaker” presupposes its qualitative characteristics. Based on this meaning, it can be assumed that there are bad speakers who do not master the art of oratory, and there are good and even outstanding speakers who are excellent or perfect in this art.

What is the art of oratory made of? What qualities should a speaker have to effectively influence an audience?

The first, undoubted quality is high culture of speech. Oratory is, first of all, the art of speaking. The speaker influences listeners with his eloquence, high speech culture, and verbal skill. A good speaker in his public speech uses all the requirements of speech culture: correctness, accuracy, purity, intelligibility, logic, richness, variety, expressiveness, appropriateness.

3. Along with this basic quality, the speaker must also have a whole set of personal qualities for effective speech influence. Rhetoric experts call the following personal qualities of the speaker: charm, naturalness, artistry, self-confidence, objectivity, genuine interest in the topic of the speech.

Charm- this is the ability to win over oneself, to evoke a feeling of sympathy and trust in one’s personality. Charm is achieved by many personal characteristics of the speaker. The high intellectual and moral qualities of the speaker play a significant role here. If the speaker is known as a reasonable person, capable of objectively assessing reality, if he is distinguished by his principles, if his words do not diverge from his deeds, if he is sincere and friendly towards the audience, then the audience will experience feelings of sympathy and trust in him.

Of no small importance for winning the audience’s favor is also ability to behave in front of an audience. The speaker should always strive to be himself, to be natural, to harmonize with his speech. A person’s speech must correspond to his age, gender, nationality, and temperament.

Inextricably linked with these two qualities is artistry. Remaining himself, maintaining a sense of proportion, the speaker, at the same time, must have the ability to “present himself”, skillfully present to the audience his personality and the ideas that he would like to convey to the listeners. A certain gaming attitude is a necessary component of good public speaking.

The speaker must also be able to lead the audience. He must develop a psychological volitional attitude towards influence. If you speak, then speak in such a way that people believe you and follow you in your search for the right solutions. This cannot be achieved without feelings of self-confidence: It is difficult to trust a person who doubts himself. In addition to strong-willed attitude, the speaker’s confidence is also given by good knowledge of the subject of speech, conviction in the correctness of his position, and thorough preparatory work on the text before the speech begins.

Confidence in the speaker’s speech, its effectiveness, largely depends on how confident the audience is in objectivity of the speaker's position. Objectivity is manifested in an unbiased, comprehensive consideration of the issue, a reasoned presentation of not only one’s point of view on it, but also the opinions of one’s opponents.

An essential condition for the success of a performance is also the speaker's indifference, his genuine interest in ensuring that the chosen topic is correctly understood and convincingly disclosed to the audience.

For the success of public speaking, the personal qualities of the speaker must be supplemented with special knowledge, skills and abilities.

Knowledge forms the foundation of public speech. The speaker must know the subject of his speech well, understand all the intricacies of the problem under consideration, deeply understand the theoretical foundations and have the necessary factual base. In other words, be a professional in this field of knowledge.

However, in order to be a good speaker, professional knowledge alone is not enough. Oratory is inseparable from the general culture of man. The speaker must to be a highly erudite person, i.e. well-read, knowledgeable in the field of literature and art, science and technology, understand politics and economics, be able to analyze events occurring in their country and abroad, etc.

4. Successful public speaking is impossible without special skills and abilities. From a psychological point of view, skill- this is a well-mastered method of action, a method of action brought to automatism, allowing it to be performed in the best possible way, with the greatest efficiency. According to experts, the main skills of a speaker include the following:

Literature selection skill;

Skill in studying literature;

Skill in drawing up a speech plan;

Speech writing skills;

Self-control in front of an audience;

Time orientation skill.

Literature selection skill has traditionally been associated with the ability to use catalogs (alphabetical, systematic, subject), bibliographic publications, and reference books. Systematic browsing of library catalogs, bibliographic publications, bibliographic indexes in the latest issues of journals, reference books, systematic replenishment of a personal library allowed the speaker to develop the skill of selecting literature, which, ultimately, made it possible to speed up the process of preparing for a speech and make this speech effective.

Traditional forms of literature selection are still used today. However, due to the widespread use of computers, there are great opportunities to use the global information system - the Internet - for selecting literature. Proper use of this rich source of information significantly expanded the speaker’s information resources.

Literature Study Skills consist of the ability to identify from the selected literature those sources that are subject to the most careful study, make the necessary extracts (synopses), comprehend and systematize the studied material.

The skill of making a speech plan presupposes the ability of its structuring, compositional division. The plan is the relative arrangement of the parts, a brief program of the speech. Developing plan-making skills involves various levels of plan preparation: preliminary plan, working plan, basic plan. The main plan clearly contains the main compositional elements of the text.

Speech writing skills is formed as a result of systematic, painstaking work on compiling the written text of his speeches. Creating a written text of a speech is a necessary condition for the development of a novice speaker. Working on a written text activates the speaker’s mental activity, allowing him to delve deeper into the essence of the problem and more accurately express his thoughts. While working on a written text, the speaker has the opportunity to process it literary, select the most successful words and expressions, and eliminate stylistic errors. You can return to the finished written text after some time to improve its content and form. You can show the written text to your colleagues, specialists, relatives, friends, discuss it and make adjustments in accordance with the comments and opinions expressed.

The full text can then be processed into a detailed speech outline, a detailed speech outline, or simply a speech outline.

Self-control skill in front of an audience comes down to the ability to overcome initial nervousness, “pull yourself together” at the beginning of a speech, not succumb to provocations and not lose control over oneself if someone in the audience, by asking provocative questions, remarks or other actions, tries to get the speaker out of emotional balance in order to reduce the effect or completely disrupt the performance. The acquisition of this skill is facilitated by regular practice of public speaking, as well as a series of psychological trainings, which can be found in specialized literature.

Time orientation skill involves the speaker's control over the timing of the speech, as well as the mood of the audience. The speaker must be able to fit into the time allotted for the speech, express the main points of the speech during this period, give the audience the opportunity to ask questions that interest them and answer these questions. If the time of the speech is not set in advance, then the speaker should be able to determine by the reaction of the audience whether the audience is ready to listen to the speech further or whether it is tired, does not perceive the points being made and it is time to “wind up”.

The acquired knowledge and skills form the skills of a speaker. The speaker must be able to:

Prepare your own speech;

Present the material clearly and convincingly;

Answer questions from listeners;

Establish and maintain contact with the audience.

Independent preparation of a speech the key to success as a speaker. A text prepared by other people, even better than the speaker, specialists in this field of knowledge or sphere of public life, remains alien. For a text to sound good and have an effective impact on the audience, it must be “your own,” personally suffered through, passed through your mind and feelings. It is best to prepare the text of your speech yourself. If, due to the nature of your activity, you do not have the necessary time for this, then you should still carry out some preparatory work to internalize the text of the speech, translating it into a personal plane, personal thoughts, provisions, conclusions.

Ability to present material clearly and convincingly is based on good knowledge of the subject of speech, mastery of such requirements of speech culture as clarity and logic, and the ability to use various types of argumentation.

Ability to answer audience questions- one of the characteristics of a good speaker. The speaker should not avoid answering questions that are uncomfortable for him. Answers to questions must be accurate in accordance with the content that the author of the question puts into them. They should also be brief, but sufficiently reasoned. You should also take care to answer the questions correctly. The answer should not offend the feelings of the author of the question.

Ability to establish and maintain contact with an audience is one of the main qualities of a speaker. Experts believe that constant contact with the audience is the key problem of public speaking. If there is no contact with the audience, then either the speech itself loses its meaning as a whole, or its effectiveness sharply decreases. Establishing contact with the audience depends on a number of factors; the speaker must take these factors into account and purposefully work in this direction. Everyday preparation of a speaker creates the foundation of public speaking. However, each speech is based on the topic, purpose, nature of the audience, etc. has its own characteristics and requires special training.

5. Rhetoric has developed general methodological guidelines that should guide the speaker when preparing a public speech. Classical rhetoric highlights in this process five main stages:

1) finding, inventing a thought (invention) - forming the theme and purpose of the speech;

2) the arrangement of the invention (disposition) - dividing the speech into introduction, presentation, development (evidence of one’s view and refutation of the contrary) and conclusion;

3) verbal expression (elocution) - selection of linguistic means;

4) memorization;

Of course, it is difficult to foresee all the problems that a speaker may encounter when appearing in front of his audience, but from experience it is known that the greatest difficulty for a speaker is usually behavior in front of listeners - how to behave, how to move, how to respond to remarks, answer questions , respond to various problems that may arise during the performance. The following recommendations can be made on these issues.

Organizational moment in the classroom

The issue of preparing the audience, strictly speaking, is not the business of the speaker himself - it is the business of the one who organizes his speech. But the speaker himself is interested in ensuring that the environment in the audience is the most favorable for him, so it’s a good idea to worry about some things in advance - discuss them with the organizer or even provide them yourself.

Firstly, there must be fresh air in the classroom. If it’s stuffy, don’t start until you’ve ventilated it, yes-

if you have to take time away from your speech for this.

Make sure you have a nice background. The most favorable background for a public speech is a dark blue curtain, if possible made of heavy material, heavy fabric. In general, it is better to speak against a dark background; it helps the listeners concentrate their attention on the speaker.

There should be a minimum of furniture and any other objects behind you. If you still have them in the room, try to move away from them as far as possible. There should be no furniture on the sides; It’s better to move forward towards the audience. You must stand in front of them completely alone - then all their attention will be directed to you.

Under no circumstances should you have anything moving behind your back - the presidium, any strangers or listeners, or even a window moving in time with the wind. Under no circumstances stand among the listeners - stand in front of all the listeners.

It is advisable for the listeners to sit in front of you so that they cannot see the front door - latecomers, peeking in, etc.

Before the start of the performance, it is better not to show yourself to the public. If you are offered to sit on the presidium, tactfully refuse. Don’t sit in front of everyone: as D. Carnegie wittily noted, “it’s better to appear as a new exhibit than as an old one.”

Do not take charge of the organization and management until everything is ready and you have been announced - let the organizer take care of everything. The speaker must act like a stranger before his speech is announced; everything must be prepared for him: “and only when everything is ready do you enter, and the matter begins. You have nothing to do with hesitations and tedious waiting” (E.F. Tarasov).

Once you take the microphone, do not let go of it. If anyone from the administration tries to take the microphone, do not give it delicately; let him tell you the essence of the matter, and you decide whether to give him the microphone or not. At the same time, never announce anything for the administration or organizer, even if they ask you to do so - in this case, finish your thought, and then pass the microphone to them. If you talk

show up for lunch and there are inconsistencies or questions, then all complaints will be directed at you. You will have to explain that you have nothing to do with it and your reputation will suffer, you will irritate your listeners.

When starting your speech, do not under any circumstances demonstrate any dissatisfaction with the number of people gathered, the preparation of the room, late listeners, etc. Never make comments to the audience as a whole!

Never start straight away - give the audience at least thirty seconds to look at you, get used to it, and form an impression. Remember that the first impression is formed within 1-2 minutes, give your audience this time. Adjust your chair, podium, place notes, close or open a window, adjust or check your microphone, wait until the noise subsides, nod to someone in the audience (even if you don’t know anyone).

Meet the interests of the audience - if asked, express your willingness to work without interruption, finish early, let someone who is in a hurry go early, etc. This always sets the audience in favor of the speaker.

And one more important question - what to do if there are not many people in the room, but everyone sat in the back rows, and the front part of the hall is empty? Speakers face this problem very often, especially in unfamiliar and unfamiliar audiences, with a heterogeneous composition of listeners. D. Carnegie recommends that before the start of your speech, gather all the listeners together and move everyone forward: “empty chairs have a negative effect on listeners; you cannot move the audience if it is scattered around the hall.” Fully agreeing with his assessment of the audience scattered throughout the hall, we must admit that his demand is hardly feasible and, moreover, from our point of view, impractical. Firstly, this is violence against the audience, and from the very beginning this will turn the audience against the speaker. Secondly, listeners, especially if they belong to the same group, may have their favorite seats in the hall, and will perceive an attempt to deprive them of their seats with great displeasure, if not with hostility. Thirdly, it will take time. But what can we do? After all, empty chairs really have a negative effect on the audience! There is an exit. It is better for the speaker to approach those who sat away from him. It is necessary to approach the bulk of the audience and start speaking in front of them. If it turns out that several people remain completely

This aside, it is they who can be invited to change their place; in this case they will have to go backwards, not forwards. This approach demonstrates the speaker’s respect for the audience: he makes concessions to them, rather than demanding concessions from them. Such an act will strengthen the communicative position of the speaker in a given audience and will position the audience in his favor.

Watch the lighting: the light should be directed at your face; the speaker should be in the most illuminated part of the hall, as the audience wants to see the smallest details. It is best to stand in front of the audience, without hiding behind the podium - listeners, as a rule, love it when the speaker shows himself in full height. F. Snell pointed out: “In the short time that you stand in front of them, people will want to know as much as possible about you.” D. Carnegie emphasized: “When speaking, do not sit at the table. People want to see us in full height. They will even crane their necks to see you fully”; we must give them this opportunity.

Presentation style

The overall manner of your speech is of great importance - it is well remembered and can significantly increase or decrease the audience's trust in you.

P. Soper wrote that the manner of speaking is more important than the appearance of the speaker - the manner makes you forget about appearance, and in this he is undoubtedly right. P. Soper identified five main, from his point of view, components of the manner of speaking, which allow you to win over listeners: 1) self-confidence, 2) efficiency, 3) friendly attitude towards listeners, 4) modesty, 5) enthusiasm.

First of all, let's point out what should not be allowed in the manner of speaking:

– the speaker should not look tired; in a hurry; dissatisfied (with the premises, the delay in the start of work, the number of people present, those who are late, etc.); overly excited, affected (listeners feel awkward for the overly excited speaker);

the speaker should not demonstrate helplessness; indecision;

the speaker should under no circumstances apologize to

audience for its mission (“Sorry for keeping you,” “Be patient, I’ll finish soon,” etc.).

What is the optimal manner of speaking? It must meet the following requirements.

1. Vigorous presentation.

Your entire performance should be energetic from start to finish. The energy of the speech is transmitted to the listeners, it keeps them in suspense and increases confidence in the information contained in the speech.

“Be energetic,” advised D. Carnegie. – Energy has magnetic properties. People flock around the energetic speaker like wild geese around a field of winter wheat.” “Don’t temper your energy with anything,” he advised. O. Erast noted that throughout the entire speech the speaker should feel “increased target tension,” which creates the dynamic mood necessary for the speaker.

2. Physical vigor, mobility.

The audience should see that the speaker is cheerful and in good physical shape, and this feeling is transmitted to the audience itself.

3. Confident appearance.

The speaker's confidence is very quickly transferred to the audience, and the audience begins to perceive what the speaker says less and less critically, with more and more confidence. “Have a confident appearance - it has a positive effect on listeners,” P. Soper urged the speakers. It is not so difficult to assume a confident appearance when speaking - first of all, you need to hold your chin higher and speak as if slightly upward (the optimal height of the chin can be chosen, guided by the following rule: “look at the intersection of the back wall of the audience with the ceiling”, this will be quite enough for demonstration of confidence); stand straight without bending over; look your listeners in the eyes.

D. Carnegie advises: “Look your audience straight in the eyes and begin to speak as confidently as if they all owe you money... Imagine that they are gathered here to ask you to postpone the payment deadline.”

4. Friendly, intimate tone.

The audience expects a friendly, intimate conversation from the speaker. We need to meet her halfway. Talk to the audience

she needs it as with one person, in the same relaxed manner.

It is necessary to emphasize to the audience in every possible way that you are “one of our own”: it has been established that the more “one of us” the audience feels about the speaker, the more it trusts what he says. It is necessary to emphasize the commonality in every possible way yours interests, problems, difficulties and interests, problems, difficulties your audience.

You should not run away from the audience immediately after the speech; you must be given the opportunity to come up to you, exchange remarks, ask a question, express your attitude to what you have stated - this also leaves a positive “aftertaste” with the audience.

5. Focus on content.

In your speech it should be felt that your main goal is to convey to the audience your understanding of the problem, to tell them some information that is important to them. The speaker must concentrate all his efforts precisely on the content, on the meaning of his speech. In this case, the form seems to recede into the background; it must follow the content, and the listeners must feel this.

“Don’t worry about how you look, forget about personal feelings: focus on one thing - conveying your thoughts to the listener” (P. Soper).

F. Snell: “The audience can only be compared to hungry guests staring at you.”

Focusing on content allows the speaker to increase the persuasiveness of his presentation.

Position and movement of the speaker in the audience

We have already noted that it is better for the speaker to stand in the audience. It should be clearly visible. You need to stand in front of the audience, not among it.

It must be remembered that a standing speaker:

demonstrates respect for the audience;

creates constant stress for oneself;

senses time better;

speaks more energetically.

All this speaks in favor of standing.

Tribunes, dais, and stage should be used as little as possible. By artificially rising above the audience, the speaker demonstrates to them his official superiority, which contradicts the rule of “intimacy of communication,” which is very effective in public speech influence. “Wait-

those close to their listeners,” recommends D. Carnegie. If there are less than 75 listeners, then you should talk to them downstairs, and not from the stage, says P. Soper. You should get closer to the listeners. Go down to the hall, walk around the audience (slowly, and not overusing this technique), lean towards the audience. If you are speaking from a platform, approach the very edge. From time to time, come out from behind the pulpit and stand next to it, or generally stand next to the pulpit, and not behind it.

During the performance it is necessary to move. The audience does not trust immobile speakers and considers them conservative-minded. The speaker's movement around the audience increases his credibility and strengthens the audience's sympathy. It is necessary to walk not in front of the audience, but deep into the hall, and you should not go very deep and reach the last rows of listeners - in this case, those who sit in front feel uncomfortable, they are forced to turn around after the speaker. It is best to go deeper by a quarter - a third of the length of the hall, no more; at the same time, when returning back, you should not turn your back to the hall, you must move back “in reverse”.

The speaker’s gait should be smooth, measured, without acceleration, somewhat slower than a person’s usual gait - only in this case the gait will diversify the perception of the speech, and not distract from it. Hands should not be static when walking, they should move. When walking, you should keep your chin up; this creates the impression of confidence in the speaker. You should not keep your hand or hands in your pockets while walking - this is perceived by the audience as evidence of the speaker’s secrecy, and in some cases, his insecurity.

When walking, you should never sway as this is very distracting to the listeners. Walking around the audience, the speaker should not fix his gaze on one thing; this forces the audience to shift their attention to what the speaker is looking at.

You should not twirl small objects, pens, keys, etc. in your hands during a performance - it is better to pick up a pointer or chalk.

Sight

The speaker's perspective is very important to the audience. Listeners believe that if the speaker is looking at them, then their opinion and assessment are important to him. And this makes them listen more actively and attentively.

In addition, if the interlocutor looks at us a little, we believe that he treats us poorly (“he didn’t even look!”) and neglects us.

If they look at us a lot, then this is considered by us either as some kind of challenge (this happens when we feel in opposition to the interlocutor), or as a demonstration of a good attitude towards us or at least interest. In the audience, the second option usually occurs, which the speaker must take into account.

The speaker should look at all listeners alternately, without singling out any of them personally. Otherwise, it may turn out like one lecturer, who was approached by listeners after the lecture, thanked and said: “But why did you give a lecture only for our Katya?”

You can look away from the audience for a short time - when formulating some thought, then you need to re-establish eye contact with the audience.

Not speaking while looking into “space” causes distrust and irritation among listeners.

4. During the performance, do not look at the floor, feet, window, ceiling, or examine foreign objects.

This leads to a loss of contact with the audience.

Looking around the audience, do it slowly.

Maintain eye contact with the audience throughout the speech.

Look at your listeners in a friendly way, the same way you greet friends. Pretend that you are happy to look at everyone, it will please you.

When looking at the listener, look him in the eyes.

Looking into the eyes is always considered as an expression of interest, sympathy, but under one condition: it must be short-term, short-lived. A long, intense gaze directed into the listener's eyes will cause him to feel uneasy and feel pressured.

9. In a large audience, everyone should be separated

Lay on the sectors and move your gaze during the speech from one sector to another, without leaving any of the sectors without attention.

Pose

If the speaker is standing, his feet should be slightly apart and his toes pointed.

The emphasis on both legs should not be the same. In the most expressive places, the emphasis should be placed more on the toe than on the heel.

The chest should be slightly “exposed”, the stomach should be tucked.

The chin should never be lowered.

Hands should be slightly apart, they should not be motionless. You should not take closed poses (arms covering the chest, crossed on the chest, legs crossed); such a pose is perceived by listeners as an expression of distrust of the audience, a certain superiority over it.

It's better to stand than sit. The higher a person is above the audience, the stronger his communicative position (the rule of “vertical dominance”), the more convincing he is.

You should not lean your hands on a low table, bending slightly over it - this is a dominance pose that is negatively assessed by the audience. This is a demonstration of aggressiveness; This pose is sometimes called the “male gorilla pose.”

If you stand with one leg forward, pay attention to which leg you put out. If a person puts his left leg forward, he demonstrates aggressiveness (as if he is preparing to strike his interlocutor with his right hand), but if he puts his right, “favorable” leg forward, then he is open to dialogue, cooperation, and is looking for contact. Listeners subconsciously perceive this information, which the speaker must take into account.

Speaker Gestures

A gesture is any human body movement, not just the movement of the arms and hands. Gestures can be made with the feet, head, shoulders, whole body, etc. Gestures are divided into indicative, descriptive, expressive and imitative. Only the last type of gestures should not be used when speaking in front of the audience.

Speech without gestures alarms listeners, “leaves a residue of prejudice and mistrust” (P. Soper).

The speaker's gestures must satisfy the following requirements:

Gesticulation should be natural, follow natural impulses to gestures.

Deliberate gestures should not be made; they are always easily recognized as such by listeners and cause irritation.

Gestures do not have to be continuous.

Gestures need to be varied; the same (or the same) gestures irritate the audience.

You cannot fiddle with your clothes, jewelry, touch your watch, etc. This is considered by the audience as a manifestation of your insecurity.

Do not move your fingers openly.

The hands should slightly converge and diverge in time with conviction. Here are tips for using gestures that Frank Snell offers:

Make 90% of gestures above the waist; gestures below the waist are considered an expression of failure, confusion;

keep your elbows no closer than three centimeters from the body; if you press your elbows to your body, this will indicate the weakness of your authority;

hold the fingers of both hands as if you were holding a grapefruit in them; if your palms take an uncertain position, this is perceived by the audience as a lack of strength and ability to lead the audience;

– Always gesture with both hands.

"Reading" by the speaker to the audience

A speaker speaking to an audience constantly receives information about the state of the audience, its mood and attitude towards him and the information he communicates. The speaker must constantly “read” this information and make adjustments to his speech if the information he receives prompts him to do so. However, in order to "read" the audience and correctly understand the incoming signals, observation and some practical skill are required. Here you can give the following tips to a novice speaker.

They say about attention to the speaker:

– listeners’ views directed at the speaker;

– body position – the body is tilted towards the ora-

Torah; the listener moved to the edge of the chair, as if he wanted to be closer to the speaker;

– head tilt (if the head is tilted to the side, this indicates the listener is interested).

The following facts indicate inattention to the speaker and dissatisfaction:

– the listener’s gaze is directed to the side;

– the body is tense, the seat is straight, the legs are brought together and stand on the floor (this pose often means imitation of attention);

the head is not tilted, the listener keeps his head straight, the spine is straight;

the listener makes the following movement: the head straightens, the shoulders rise, then fall, the gaze begins to wander around - loss of thought, loss of attention;

the body takes a pose directed towards the exit (the listener “moves” towards the exit);

– legs extended forward and crossed, body thrown back, head lowered forward (most often means disagreement);

the head is supported by the entire palm;

clicking the pen cap, tapping the foot, tapping the fingers on something;

drawing on paper, foreign objects;

– lack of eye movement, unblinking gaze (imitation of attention);

– light stroking of the nose; – tightly clasped hands;

– stroking the neck (for men);

straightening your hair, shaking your leg, looking for something in your purse (for women);

the hand touches the ear and moves down; the hand touches the lips and moves down (hidden desire to object, interrupt);

buttoning a jacket (by a man), etc.

The ability to “read” interlocutors is the most important quality of a lecturer, which comes with experience. It is necessary to develop it, train it in communicating with friends, developing observation and the ability to interpret the non-verbal behavior of interlocutors.

there should be an effort felt in it, some call to follow the thought.

In 1956, America held a national competition for shepherds to call pigs from long distances. The winner explained his success this way: “Your voice should contain not only strength, but also a call. You convince the pigs that you have something in store for them.”

What is the optimal volume for public speaking? Of course, it is related to the size of the audience. But it is important to choose exactly the volume that is optimal under the given conditions. It must be borne in mind that if the speaker speaks too quietly, the audience concludes that he is insecure; if he speaks too loudly, he is aggressive. One must try to avoid both. P. Soper gave the following advice: “speak louder than you think is necessary.” You can also say this: speak at such a volume that you feel that you are speaking louder than usual; in the vast majority of cases this volume will be sufficient.

The following requirements apply to the intonation of a public speech.

Firstly, it should not be monotonous, it should be changed throughout the performance. “Change the strength of your voice, leave the rest as is,” recommends F. Snell.

Secondly, the intonation should be natural, it should correspond to the content of what you are saying. Do not hold back your intonation, strive to speak energetically - and your intonation will be natural. Intonation that does not correspond to the content of the speech irritates listeners and causes distrust of words, sometimes even creating a comic effect. One day, they say, Mark Twain cut himself badly in the morning while shaving and burst into a hail of strong curses and curses. The wife, who accidentally heard them, decided to repeat what was said to show her husband how rude it sounded. Mark Twain listened to her and remarked: “Darling, the words are the same, the music is not the same.”

The pace should be average, and long pauses should be avoided - they irritate the audience, especially well-prepared ones.

Before an important place, you should lower your voice a little in thought. Small pauses should be taken before and after important thoughts. The “before” pause prepares listeners for something.

More importantly, the “after” pause encourages you to tense up and think, stimulates mental activity.

Techniques for dealing with anxiety during a speech

A speaker may have three reasons to be nervous:

1. Fear of an unfamiliar audience.

Talking louder than usual, or louder than you intended, is also a good way to cope with anxiety.

A football player fights anxiety with an energetic warm-up - you can also use this technique: pronounce phrases prepared in advance with increased energy.

And one more thing: find familiar or simply nice faces and contact only them at the beginning of the speech, they will support you.

2. Feeling of poor, insufficient preparation.

In this case, you yourself are to blame. But something can be done: have backup material, leave out what you know less and focus on what you know quite firmly.

3. Creative excitement (will I be able to perform well? will they understand? how to perform in the best possible way?).

Such excitement gives the performance sincerity and naturalness; there is no need to fight it.

And a few techniques for dealing with anxiety:

increase the emotionality of speech;

increase the volume of your speech;

increase the energy of speech;

breathe through your mouth and nose at the same time;

wiggle your fingers behind your back or your toes;

grab a chair, podium, edge of a table;

hold a coin in your fist;

take chalk, pointer;

write something on the board, even if it is not really necessary (topic, sections of the plan, individual terms, quotes);

do not apologize for minor slips - listeners will not notice them and will not attach importance to them unless you point them out yourself; In general, apologize less – it increases anxiety.

The speaker's reaction to problems and interruptions during the speech

Problems during a speech can very easily throw a speaker off course and even jeopardize his entire presentation. Therefore, you need to firmly grasp some techniques for responding to typical problems and interference that may occur during public speaking.

Organizational and technical problems

1. Noise comes into the room from a neighboring room or from the street, other people’s conversations are heard, etc.

In this case, you should ignore this interference as long as possible. Start speaking louder, move closer to the audience. You can send a listener with a request to eliminate the interference. If the interference continues and it is clear that the audience is paying attention to it and reacting, it is best to react to it too - to comment somehow, preferably in a humorous way.

2. Strangers peek at the door all the time.

You can ask the listener to post a note “Lecture” or ask the listener to leave and tell them not to come. If visitors come to you with a request

to call someone or let them go, it is better to pause and say: “Please do not disturb us, we are working” and

then continue your speech.

3. Listeners are late and enter the audience all the time.

It is best not to notice single latecomers; if a group enters, it is better to wait until they sit down and invite them to pass, demonstrating maximum goodwill. You can also make an ironic joke like: “Please excuse us for starting without you.” Dissatisfaction should not be revealed.

4. The room became stuffy.

In this case, it is better to take a break and ventilate the room. It makes sense to take a break for at least 10 minutes; minimal breaks have no effect. You can also shorten your speech.

5. The microphone has failed.

Announce a break and find a technician, call the organizer of the performance, doing this through the audience. If it is impossible to fix, go down to the hall and finish the performance in 2-3 minutes.

6. The lights went out.

Do the same as when the microphone is turned off: announce a break to fix the problem or end the speech 2 minutes before.

Problems in the speaker's activities

Let's say you made a mistake and noticed it.

Don’t correct minor slips - people will still understand you, there’s no need to draw attention to them.

If a slip may distort the meaning, say: “Sorry, I misspoke. I, of course, meant...”

You should not exaggerate the damage that your reservations can cause to you - focus on the expression of the thought, on its understandability for the audience, this is the main thing.

If you notice that you left out some point in your speech, continue further, do not immediately go back, finish the thought or section. And then, if it’s absolutely impossible to omit it, say: “What I also forgot to mention is ...” or “I want to return now to ...”. But before you return, think again - is it necessary to do this? Since you didn’t need this fact during your speech, maybe it was superfluous?

Interference in listener behavior

A number of typical interferences can be identified in the behavior of listeners, which often complicate the work of the speaker. What kind of interference is this?

1. Active response to distracting external factors.

The audience, no matter how interesting the lecture or performance, cannot help but pay attention to someone’s intense cough, extraneous movements, the slam of a door, the rustling of papers, etc. “The audience cannot resist the temptation to look at any moving object, animal or person,” D. Carnegie rightly noted. No speaker or artist has yet been able to overcome this temptation among the audience. What to do if, for example, a sparrow flew into the audience? How to distract listeners from him?

Firstly, do not notice as much as possible.

Secondly, wait out his “active actions”, do

pause - the audience will not be focused on it for a long time, and the listeners themselves will take some measures.

Thirdly, use the “connections” method - pay attention yourself, comment, briefly discuss with the Listeners, and then say: “Okay, that’s enough, let’s get back to our work.” Listeners usually perceive this technique well.

Fourthly, you can come closer to the listeners - this will prevent them from being distracted.

2. Listeners talk among themselves.

Don’t take it personally right away; their conversations most likely have nothing to do with the lecture and, especially, with you personally. Here, too, it is better not to notice the interference as long as possible. You can also come closer (this is very effective), look longer, speak for a while, addressing them, pause (perhaps unexpected), ask them a question - “Do you agree? Don't you agree?

3. Someone yawns in your face.

You shouldn’t immediately attribute this to yourself - maybe the listener is just tired. You should not react until you understand that the listeners have already noticed this and are reacting. In this case, it is better to say: “Yes, it has become stuffy here, there is not enough air. I see that some people are finding it difficult to breathe—maybe we should take a short break and ventilate the room?”

4. Listeners get up and leave.

Don't attribute this to yourself - they can have a variety of reasons. Don’t react in any way, don’t reprimand them. On the contrary, you can say: “Comrades, if someone needs to leave urgently, please just leave slowly.” Don't show that it bothers you.

5. Remarks of disagreement are heard from the place.

If these remarks are trivial, pretend that you did not hear or did not understand. If the listener insists on his point of view, then you need to enter into a discussion, but rather formally: “I understand your point of view. But I have a different one, I will now (or a little later) give additional arguments.”

If the objection is not related to personal ambitions, but is really important, then it is better to say: “I will return to your comment, but if you allow, a little later,” and be sure to keep your promise.

If disagreement is expressed in a sharp, categorical form, then it is better not to enter into a discussion, saying: “I understand you.”

shu point of view. Well, the future will show which of us is right.”

6. Rough, provocative shouts and remarks are heard from the place.

There may be people in the audience with low culture who want to show that this speaker is not so good and smart; not that competent. With their remarks they want to show off, stand out, and attract attention (“Moska complex”). How to behave with such people?

If such a remark was a one-time thing, then it is better not to notice it.

If this is impossible, do not show that she has hurt or offended you, show in every possible way your superiority and control over the situation. Say: Yes...! Well, there’s nothing to add here! (pause). Well, we’ll still move on... You can also say ironically: “Yes, I understand your problems... But, excuse me, we need to move on...” Third technique: “I understand your question... (although this was not a question at all; this immediately puts the offender into a dead end), but now, unfortunately, we cannot dwell on this problem in detail...”

There is no need to put the provocateur in his place - this is already a hassle, and that’s all he needs. Respond emphatically politely and correctly to any remarks from other people - this will show that you condemn him.

If you are confident in your abilities, attack immediately, using irony, jokes, and sarcasm. To do this, you need to keep ready sharp sayings, fables, anecdotes, sayings, stories (“You know, this remark reminded me of an incident...” - general laughter will put the boor in his place for a long time, even if what you told is very indirect attitude towards his response.

Another way is to try to praise him, find some rational grain in his remark and use it to tell him something additional interesting.

“Delayed response” is also effective. Say: “I understand your thought (question, idea), I will answer you, but if you allow, at the end, otherwise now it will lead us astray.” And at the end, when the time for your speech has run out, turn to the audience: “Here was another question, should I answer it?” Several people are sure to shout: “Don’t

before, everything is clear! - “Well, it’s not necessary, it’s not necessary. Thank you for attention".

You can ask the provocateur to wait a minute: - Just a minute, I’ll just finish my thought... After talking for another 2-3 minutes, no less, turn to the provocateur: “So what did you want to say? Nothing? Well, then we’ll move on!”

You can admit: “Yes, there is a problem with what you are saying. Unfortunately, we won’t solve it now; we need to talk about this separately.”

And another way is if the remark is very rude, you should say: “Sorry, I didn’t understand what you said. Please repeat again louder and slower!” As a rule, he won’t be able to say something rude a second time. “Well, then let's move on.”

Strongly expressed disagreement can be taken to a personal level. So, at a lecture on communication in the family, one listener shouted indignantly: “So, in your opinion, your husband should not make any comments at all?” “I understand your problems,” the lecturer answered. - I sure that yours My husband definitely needs to make comments.” The answer was drowned in the general laughter of the audience, and the listener herself who asked the question also laughed.

Once, they say, there was a debate in the British Parliament, and W. Churchill sarcastically pinched the Laborites. An elderly and ugly Labor woman jumped up and shouted to the whole hall: “Mr. Churchill, you are obnoxious! If I were your wife, I would put poison in your coffee.” There was a laugh. But the imperturbable descendant of the Dukes of Marlborough, after pausing and looking at the angry lady with a sympathetic gaze, said: “If you were my wife, then I would pour out this poison with pleasure...”

Let us note in conclusion that you can calm the audience and restore discipline by accompanying a quiet speech with pointing gestures in the direction of those who violate discipline - pointing your hand in their direction, or simply extending your hand towards the violators. The pointing gesture has been noted to calm even animals. Gesticulating with an outstretched arm, especially when approaching troublemakers, has a very effective effect on them.

Perception of the speaker by the audience

There is a well-known saying - “they meet you by their clothes, they see you off by their intelligence.” If only this were always the case... This saying is only true in relation to long-term communication, and meeting with an audience is not such. Hence the huge role of the first impression for a speaker.

What you need to know about first impressions?

Firstly, the first impression is very strong, vivid, it is well remembered, you want to give in to it.

Secondly, the first impression may be far from the truth and erroneous.

Thirdly, the first impression is very stable; it is stored for a long time and reliably.

Fourthly, the individual qualities of the speaker are assessed and remembered first of all.

Fifthly, the basis of the first impression is the visual image.

Sixth, you won't have a second chance to make a first impression.

Oratorical personality

During the speech, listeners do not separate the information that the speaker conveys from the personality of the speaker himself.

Any audience remembers the speaker first, and what he said second. Information is tightly tied to the personality of the speaker: if you liked the speaker, you will also like what he preaches.

In a speaker, the audience wants to see, first of all, personality, individuality, and difference from others.

D. Carnegie emphasized: “The most precious thing for a speaker is his individuality, cherish it and take care of it.” It is the individuality of the oratorical manner that is the most important factor that encourages you to listen to the speaker. The personality is remembered, and along with the personality, the ideas of this personality.

Rhetorical positions of the speaker during the speech

During the speech, each speaker takes a certain rhetorical position- that is, he chooses for himself the role in which he will perform. There are quite a lot of such rhetorical positions; we will name only the most typical and frequently used ones.

1. Position of the informant

This position presupposes a pure presentation of some material, accompanied by a warning about possible errors in understanding. Instructional or directive information is usually presented from this position.

2. Commentator's position

This position is usually taken if the audience knows the basics and is waiting for additional information and personal assessments.

3. Position of the interlocutor

This position assumes that the speaker shares the interests and concerns of the audience and speaks “on an equal footing.” This position assumes that the speaker addresses the audience with a request to express their opinion and makes extensive use of questions.

4. Adviser position

The position of advisor is usually taken if the students are well prepared in the basic area. In this case, the speaker only seems to “place accents.”

5. The position of an emotional leader

This position is taken if the mood in the audience is high, if the speaker himself is well known and is expected with interest and impatience. In the position of an emotional leader, the speaker feels quite free; impromptu deviations from the topic are acceptable.

There are also rhetorical positions communicative suicide which are recommended to be avoided at all costs. These include, first of all, the position mentor(the speaker is moralizing, categorical); position tribune(exaggerated pathos), position petitioner(“Be patient, I’ll finish soon”).

It must be borne in mind that only speeches lasting no more than one minute can be performed from one position; The vast majority of speeches should be done by alternately taking different positions throughout the speech. It is important to think before the speech what positions you will take when presenting the material.

Speaker's appearance

The speaker's appearance should be attractive, but within normal limits. Excessive attractiveness of the speaker distracts from the content of his speech and reduces the credibility of the material he presents.

It is better for a man to perform in a suit that should be moderately fashionable. The woman should also be dressed moderately fashionably; Very fashionably dressed women are rated negatively by the audience. The suit or dress should not fit tightly to the figure. It is better for a woman to perform without jewelry, for a man to remove everything from his pockets (notes, protruding pencils and pens, newspapers). The speaker's clothing should correspond to his age; any inconsistencies in either direction irritate the audience.

Reduce confidence in the speaker: clothes of bright, saturated colors; clothes that are too fashionable; numerous decorations; flirty elements of women's clothing (lace, frills, etc.). Glasses with dark frames increase confidence.

Presentation style

P. Soper wrote that the manner of speaking is more important than the appearance of the speaker - the manner makes you forget about appearance.

Let us point out that in no case should it be felt in the speaker’s manner of speaking:

· the speaker should not look: tired; in a hurry; dissatisfied (with the room, the delay in starting work, the number of people present, people who are late, etc.; overly excited;

· the speaker should not demonstrate: helplessness, indecisiveness;

· the speaker should under no circumstances apologize to the audience for his mission (“Sorry for keeping you,” “Be patient, I’ll finish soon,” etc.).

What is the optimal manner of speaking? It must meet the following requirements.

Vigor of presentation

The entire performance should be energetic from start to finish. The energy of the speech is transmitted to the listeners, it keeps them in suspense and increases confidence in the information contained in the speech. “Be energetic,” advised D. Carnegie. - Energy has magnetic properties. People flock around the energetic speaker like wild geese around a field of winter wheat.” “Don’t temper your energy with anything,” he advised.

Physical vigor, mobility

The audience should see that the speaker is cheerful and in good physical shape, and this feeling is transmitted to the audience itself.

Confident appearance

The speaker's confidence is very quickly conveyed to the audience, and they begin to perceive what the speaker says less and less critically, and with more and more confidence. “Have a confident appearance - it has a positive effect on listeners,” P. Soper urged the speakers. It is necessary to keep your chin higher; stand straight without bending over; look your listeners in the eyes. D. Carnegie advises: “Look your audience straight in the eyes and begin to speak as confidently as if they all owe you money... Imagine that they are gathered here to ask you to postpone the payment deadline.”

Friendly, intimate tone

The audience expects a friendly, intimate conversation from the speaker. We need to meet her halfway. You need to talk to the audience as if they were one person, in the same relaxed manner.

It has been established that the more “at home” the audience feels about the speaker, the more they trust what he says. It is necessary in every possible way to emphasize the commonality of your personal problems, difficulties and interests, problems, difficulties of your audience.

You should not run away from the audience immediately after the speech; you must be given the opportunity to come up to you, exchange remarks, ask a question, express your attitude to what you have stated - this also leaves a positive “aftertaste” with the audience.

Location in the auditorium

It is better for the speaker to stand in the audience; he should be clearly visible. You need to stand in front of the audience, not among it.

It is recommended to use stands, dais, and stage as little as possible. By artificially rising above the audience, the speaker demonstrates to them his official superiority, which contradicts the rule of “intimacy of communication,” which is very effective in public speech influence. If there are less than 75 listeners, then you should talk to them below, and not from the dais, says P. Soper.

Movement

You can't stand in one position, you need to move.

The audience does not really trust stationary speakers and considers them conservative-minded. The speaker's movement around the audience increases confidence in him and strengthens the sympathy of the audience.

It is necessary to walk primarily not in front of the audience, but into the depths of the hall, and you should not go very deep and reach the last rows of listeners - in this case, those sitting in front feel uncomfortable, they are forced to turn around after the speaker. It is best to go deeper no more than a third of the length of the hall, and at the same time, when returning back, you should not turn your back to the hall, you must move back “in reverse.”

The speaker's gait should be smooth, measured, without acceleration, somewhat slower than a person's usual gait - only in this case the gait will diversify the perception of the speech, and not distract from it. When walking, you should never sway as this is very distracting to the listeners.

While walking around the audience, the speaker should not fix his gaze on one thing, as this forces the audience to shift their attention to what the speaker is looking at.

Get closer to your listeners.

Go down to the hall, walk around the audience (slowly, and not overusing this technique), lean towards the audience. If you are speaking from a platform, approach the very edge. From time to time, come out from behind the podium and stand next to it, or even stand next to the podium, and not behind it.

Look at the audience.

The speaker's perspective is very important to the audience. Listeners believe that if the speaker is looking at them, then their opinion and assessment is important to him, and this makes them listen more actively and attentively. In addition, if the interlocutor looks at us a little, we believe that he treats us poorly (“he didn’t even look!”) and neglects us.

1. The speaker should look at all listeners alternately, without singling out any of them personally.

2. In a large audience, you should divide all listeners into sectors and move your gaze during the speech from one sector to another, without leaving any of the sectors unattended.

3. Do not speak while looking into “space”; this causes mistrust and irritation among listeners. During the performance, do not look at the floor, at your feet, out the window, at the ceiling, or look at foreign objects. This leads to a loss of contact with the audience.

4. When looking around the audience, do it slowly.

5. Look at the listeners in a friendly way, with the look with which you greet friends. Pretend that you are happy to look at everyone, it will please you.

Postures and gestures

If the speaker is standing, his feet should be slightly apart and his toes pointed.

The emphasis on both legs should not be the same. In the most expressive places, the emphasis should be placed more on the toe than on the heel.

The chin should be slightly raised. The chest should be slightly “exposed”, the stomach should be tucked.

Keep your elbows no closer than three centimeters from the body; if you press your elbows to your body, this will indicate your insecurity;

It's better to stand than sit. The higher a person is above the audience, the stronger his communicative position (the rule of “vertical dominance”), the more convincing he is.

You should not lean your hands on a low table, bending slightly over it; this is a dominance pose that is negatively assessed by the audience. This is a demonstration of aggressiveness; This pose is sometimes called the “male gorilla pose.”

Use gestures when speaking. Speech without gestures alarms listeners, “leaves a residue of prejudice and mistrust” (P. Soper). Demonstrate open postures and gestures, that is, gestures and postures that demonstrate a desire for contact, goodwill, and a desire to persuade. Hands should be slightly apart, they should not be motionless. Use hand movements towards the listeners when your palms are open to the listeners (the speaker's palms should be visible to them).

Use rhetorical gestures: your hands should slightly converge and diverge, rise and fall in time with persuasion.

The speaker's gestures must satisfy the following requirements:

· Gestures should be natural, following a person’s natural impulses to gesture.

· Gestures should be moderate, gestures should not be continuous.

· Gestures must be varied; you cannot repeat the same ones (or the same ones) - this irritates the audience.

· Gesture with both hands.

· You cannot fiddle with your clothes, jewelry, touch your watch, etc. This is considered by the audience as a manifestation of your insecurity, and such gestures are called intrusive: they greatly distract the listeners, and make the speaker’s speech monotonous and inexpressive.

· Do not make sudden, jerky movements with your elbows.

· Do not interrupt the gestures you have started, bring them to completion

· Do not move your fingers openly.

· Make gestures only above the waist; Gestures below the waist are perceived by listeners as an expression of uncertainty and confusion.

What is the optimal volume for public speaking? It must be borne in mind that if the speaker speaks too quietly, the audience concludes that he is insecure; if he speaks too loudly, he is aggressive. One must try to avoid both. P. Soper gave the following advice: “speak louder than you think is necessary.” You can also say this: speak at such a volume that you feel that you are speaking louder than usual; in the vast majority of cases this volume will be sufficient.

The following requirements apply to the intonation of a public speech.

First of all, she should not be monotonous, it must be changed throughout the performance.

Secondly, intonation should be consistent with the content what you are talking about. Do not hold back your intonation, strive to speak energetically - and your intonation will be natural. Intonation that does not correspond to the content of the speech irritates listeners and causes distrust of his words.

Use a medium speaking pace, this is usually the optimal pace.

Long pauses should be avoided - they irritate the audience, especially well-prepared ones.

Before an important place, you should lower your voice a little in thought. Small pauses should be taken before and after important thoughts. A pause “before” prepares listeners for something important, a pause “after” encourages them to tense up and think, and stimulates mental activity.

Techniques for dealing with anxiety during a speech

A speaker may have three reasons to be nervous:

1. Fear of an unfamiliar audience.

In this case, it is recommended to say out loud several times in private the phrase: “I know the material well, they will listen to me well,” and then go to the podium. Speak louder than usual, or louder than you intended - this is also a good way to cope with anxiety.

Find familiar or simply nice faces and contact only them at the beginning of the speech, they will support you.

2. Feeling of poor, insufficient preparation.

In this case, you yourself are to blame. But something can be done: have backup material, omit what you know less and focus on what you know quite firmly, what is written in your notes.

3. Creative excitement(Will I be able to perform well? Will they understand? How to perform in the best possible way?).

Such excitement gives the performance sincerity and naturalness; there is no need to fight it.

A few practical techniques for dealing with anxiety:

· increase the emotionality of speech;

· increase the volume of speech;

· increase the energy and rate of speech;

Breathe through your mouth and nose at the same time;

· wiggle your fingers behind your back or your toes;

· grab a chair, podium, edge of a table;

· hold a coin in your fist;

· take chalk and a pointer;

· write something on the board, even if it is not really necessary (topic, sections of the plan, individual terms, quotes);

Show focus on content.

The speaker must concentrate all his efforts precisely on the content, on the meaning of his speech. In this case, the form, as it were, recedes into the background, follows the content, and this makes his task easier for the speaker. “Don’t worry about how you look, forget about personal feelings: focus on one thing - conveying your thoughts to the listener” (P. Soper).

And one more thing: don’t apologize for minor slips; listeners won’t notice them or attach importance to them unless you point them out yourself; In general, apologize less - apologizing increases anxiety.

Speaker's reaction to problems and interference

during the speech

Organizational and technical problems

1. Noise comes into the room from a neighboring room or from the street, other people’s conversations can be heard, etc. In this case, you should ignore this interference as long as possible. Start speaking louder, move closer to the audience. You can send a listener with a request to eliminate the interference. If the interference continues and it is clear that the audience is paying attention to it, it is best to react too - to comment somehow, preferably in a humorous way.

2. Strangers peek at the door all the time.

You can ask the listener to post a note “Lecture” or ask the listener to leave and tell them not to come. If people looking in ask you to call someone or let them go, it is better to pause and say: “Please do not disturb us, we are working” and then continue your speech.

3. Listeners are late, new listeners enter the audience all the time.

It is best not to notice single latecomers; if a group enters, it is better to wait until they sit down and invite them to pass, demonstrating maximum goodwill. You can also make an ironic joke like: “Please forgive us for starting without you.” Dissatisfaction should not be revealed.

4. The room became stuffy.

In this case, it is better to take a break and ventilate the room. It makes sense to take a break for at least 10 minutes; shorter breaks have no effect. You can also simply shorten your speech.

5. The microphone has failed.

Announce a break and find a technician, call the organizer of the performance, doing this through the audience. If it is impossible to repair, go down to the hall or approach the audience and finish the speech in 2 - 3 minutes.

6. The lights went out.

Do the same as when the microphone is turned off: announce a break to fix the problem or end the speech 2 minutes before.

Problems in the speaker's activities

Let's say you made a mistake and noticed it. Don’t correct minor slips - people will still understand you, there’s no need to draw attention to them. If a slip may distort the meaning, say: “Sorry, I misspoke. I, of course, meant...” You should not exaggerate the damage that your reservations can cause you; focus on the expression of the thought, on its clarity for the audience - this is the main thing.

If you notice that you left out some point in your speech, continue further, do not immediately go back, finish the thought or section. And then, if it’s absolutely impossible to omit it, say: “What I also forgot to mention is about...” or “I want to return now to...”. But before you return, think again - is it necessary to do this? Since you didn’t need this fact during your speech, maybe it was superfluous?

Interference in listener behavior

From the audience, the speaker can expect a number of typical interferences that can make his work difficult. What kind of interference is this?

1. Active reaction of the audience to distracting external factors.

The audience, no matter how interesting the lecture or performance, cannot help but pay attention to some unexpected events in the room. “The audience cannot resist the temptation to look at any moving object, animal or person,” D. Carnegie rightly noted.

What to do if, for example, a sparrow flew into the audience? Firstly, do not notice as much as possible. Secondly, wait out his “active actions”, take a break - the audience will not be focused on him for a long time, and the listeners themselves will take some measures. Thirdly, you can use the “connection” method - pay attention yourself, comment, briefly discuss with the audience, and then say: “Okay, that’s enough, let’s get back to our work.” Listeners usually perceive this technique well.

Fourthly, you can come closer to the listeners - this will prevent them from being distracted.

2. Listeners talk among themselves.

Don’t take it personally right away - their conversations most likely have nothing to do with the lecture and, especially, with you personally. Here, too, it is better not to notice the interference as long as possible. You can also come closer to the people talking (this is very effective), look at them longer, speak for a while, addressing them, pause (perhaps unexpected), ask them the question - “Do you agree? Don't you agree?

3. Someone yawns in your face.

You shouldn’t immediately attribute this to yourself - maybe the listener is just tired. You should not react until you understand that other listeners have already noticed this and are reacting to it. In this case, it is better to say: “Yes, it has become stuffy here, there is not enough air. I see that some people are finding it difficult to breathe - maybe we should take a short break and ventilate the room?”

4. Listeners get up and leave

People may have a variety of reasons for leaving your show. Don’t react in any way, don’t reprimand them. On the contrary, you can say: “Comrades, if someone needs to leave urgently, please, just go out slowly.” Don't show that it bothers you.

5. Remarks of disagreement are heard from the place.

If these remarks are trivial, pretend that you did not hear or did not understand. If the listener insists on his point of view, then you need to enter into a discussion, but rather formally: “I understand our point of view. But I have a different one, I will now (or a little later) give additional arguments.” If the objection is not related to personal ambitions, but is really important, then it is better to say: “I will return to your comment, but if you allow, a little later” and be sure to keep your promise.

If disagreement is expressed in a sharp, categorical form, then it is better not to enter into a discussion, saying: “I understand your point of view. Well, the future will show which of us is right.”

6. Rough, provocative shouts and remarks are heard from the place.

There may be people in the audience with low culture who want to show that this speaker is not so good and smart, not so competent. With their remarks they want to show off, stand out, and attract attention (“Moska complex”). How to behave with such people?

If the remark was a one-time thing, then it is better not to notice it.

If this is impossible, do not show that this remark hurt or offended, in every possible way show your superiority and control over the situation. Say: “Yes!.. Well, there’s nothing to add! (pause). Well, we’ll still move on...”

You can also say ironically: “Yes, I understand your problems... But, sorry, we need to move on...”.

Third technique: “I understood your question... (although it was not a question at all, but such a phrase immediately confuses the offender), but now, unfortunately, we cannot dwell on this problem in detail...” No need putting a provocateur in his place is already a hassle, and that’s all he needs. Respond emphatically politely and correctly to any remarks from other people - this will show that you condemn him.

Another way is to try to praise him, find some rational grain in his remark and use it to tell him something additional interesting. “Delayed response” is also effective. Say: “I understand your thought (question, idea), I will answer you, but if you allow, at the end, otherwise now it will lead us astray.” And at the end, when the time for your speech has run out, turn to the audience: “Here was another question, should I answer it?” Several people will definitely shout: “No, everything is clear!” - “Well, it’s not necessary, it’s not necessary. Thank you for attention".

You can ask the provocateur to wait a minute. “Just a minute, I’ll just finish my thought...” After talking for another 2-3 minutes, no less, turn to the provocateur: “So what did you want to say? Nothing? Well, then we’ll move on!”

You can admit: “Yes, there is a problem with what you are saying. Unfortunately, we won’t solve it now; we need to talk about this separately.”

And another way - if the remark is very rude, you should say: “Sorry, I didn’t understand what you said. Please repeat again louder and slower!” As a rule, he will not be able to say rudeness the second time in stopping everyone's attention. “Well then, let's move on.”

Strongly expressed disagreement can be taken to a personal level. So, at a lecture on communication in the family, one listener shouted indignantly, “So, in your opinion, your husband shouldn’t make any comments at all?” “I understand your problems,” the lecturer replied. “I’m sure that your husband definitely needs to make comments.” The answer was drowned in the general laughter of the audience, and the listener herself who asked the question also laughed.

Tasks

1. Which statements are correct?

1. About 50% of information in public speech is transmitted through the visual channel.

2. About 25% of information in public speech is transmitted through the visual channel.

3. The speaker’s bright personality reduces the effectiveness of his speech impact on the audience.

4. The bright individuality of the speaker increases the effectiveness of his speech impact on the audience.

5. The advisor position is the best speaking position in any audience.

6. The position of an adviser is the best oratorical position in a prepared audience.

7. The speaker’s appearance should be attractive within normal limits.

8. Clothing in bright colors reduces the credibility of the speaker.

9. Glasses reduce the credibility of the speaker.

10. The performance should be energetic from beginning to end.

11. Certain parts of the speech should be energetic.

12. You need to move around the audience as little as possible.

13. When moving around the audience, you should not go deep into the audience.

14. You should not linger in the audience after finishing your speech.

15. The speaker should not sit, he should stand and move.

16. You need to choose a pretty face and look at this person during the speech.

17. You need to look at individual sectors of the audience, without lingering on individual people.

18. Gestures should be few and varied.

19. The speaker's gestures should be excited and highly emotional.

20. The volume and timbre of the speaker’s speech must be maintained throughout the entire speech.

21. The best speech rate in public speaking is average.

22. The volume of the speech should be such that the speaker feels that he is speaking louder than in normal speech.

2. What should be done in the following cases:

1. A sparrow flew into the audience and a cat ran in.

2. Strangers peek into the classroom all the time.

3. Listeners in the back rows talk to each other and disturb the lecturer.

4. Some listeners get up and leave.

5. Listeners yawn.

6. The irritated faces of some listeners show that they completely disagree with you.

7. Loud remarks of disagreement are heard from the place.

8. Rough, provocative shouts and remarks are heard from the place.

9. During your speech, you are asked a question, the answer to which will distract you from the topic.

10. During your speech, you are asked a question that you cannot answer immediately.

11. It became stuffy.

12. The lights went out.

13. The microphone turned off.

14. There is a lot of noise coming into the classroom from the corridor.

3. Go out in front of the group and, meaningfully counting out loud to 30, walk around the audience according to the rules of movement for the speaker in the audience. Option: walk around reciting a poem or counting rhyme. Listeners evaluate whether you are walking correctly.

4. Count loudly to 30 when addressing the group, and use a variety of rhetorical gestures, as if trying to convince your fellow students of something.

5. Count to 30 monotonously, and then expressively, accompanying the count with rhetorical intensifying gestures. Explain why a speaker should go out of his way to avoid monotonous speech.

6. Count to 30 first in your normal voice, and then by straining your voice, as is customary when speaking in public. Maintain your voice volume at the required level until the end of the count.

§ 77. Before starting a speech, the speaker should take a short pause (5-10 seconds) to allow the audience to see themselves and concentrate on the upcoming speech. The speaker needs a pause in order to calm down and relieve excessive anxiety. This is how the hero of A. Kron’s novel “Insomnia,” Professor Yudin, who came out to give a speech at an international symposium, explains the need for this action: “I took a short pause. It was necessary not only for me, but also for the listeners. They are also spectators, and before before listening, they like to look at a new person and even exchange critical remarks with their neighbor about his appearance and costume."

Then we look around the audience with a calm, friendly look, as if inviting them to a conversation, smile welcomingly and... Do we start talking? No! The second and undoubtedly most important task of the speaker during direct communication is to compare the audience sitting in the hall (specific) with the one expected during the preparation of the speech (real). But what should we do if we realized that in front of us is a completely different audience than the one the speech was intended for, and even with impeccable preparation, our thoughts are confused and our throats are dry? You can, of course, apologize and leave the podium. But at all times people have admired courage. And the courage of the speaker is to stay and complete his work with dignity. Therefore, he can honestly explain to the listeners, find out their expectations from communication and lead him in a new direction. But even for these actions you need to overcome a lot within yourself. Of course, you shouldn’t give up your position and plan, but you can transform way their presentation and implementation. Thus, taking into account the audience at the Pronunciation stage means, if it does not coincide with the intended one, while maintaining the concept and intent, change the tactical means of achieving the goal (system of arguments, composition, linguistic means, tonality) and achieve the planned impact in new circumstances.

The most important element of interaction between speaker and audience is eye contact. For a speaker, looking into the audience is important primarily because this is the only opportunity to establish feedback with listeners. “Feedback,” writes L.A. Petrovskaya, “can be understood as information emanating from the object of influence, perceived by the bearer of the influence and carrying within itself a characteristic of the results of this influence.” If the speaker looks out the window, at the ceiling, or simply into space, he deprives himself of the opportunity to have feedback. After all, the eyes and faces of listeners are the instrument that allows the speaker to determine how interesting and new his material is, how well the idea has been implemented, how well the composition has been chosen. Therefore, those who recommend choosing a kind person in the fifteenth row and telling everything to him are not entirely right. Let's see how the already mentioned hero of A. Kron, Professor Yudin, solves this problem: “I looked around the hall. From the experience of the lecturer, I knew that I needed to find several attentive and attractive faces in the front rows and glance at them from time to time. I immediately found them with my own eyes Eastern European colleagues, dear Blazhevich looked at me in a friendly and encouraging way. But I immediately realized that this time I should look for a more accurate control device. Before me was a typical Parisian audience, responsive and capricious, from time immemorial, spoiled by the eloquence of all shades. the audience will not forgive me either boredom or awkwardness, I must immediately take it by the horns. Therefore, I must look not at Blazhevich, but at my colleague Denis, watching me with cheerful curiosity. His nostrils are slightly flared, his half-open mouth is ready to laugh and delicately yawn. Or that sour-faced, lemon-haired lady in gold glasses with square lenses and a thin hearing aid wire extending from her ear, who looked English or Scandinavian. She is deaf and French is not her native language - enough to stop listening if the beginning does not interest her." In real practice, the most successful option is when the speaker evenly moves his gaze from one face to another, trying to establish eye contact with each of them, captures the attention of the entire audience.