We turn speakers into speakers # 2: analysis of the speech of Artem Danilov, Avito
We are starting a professional debriefing with HighLoad ++, which will help many future and current speakers to learn from other people's examples. In the last publication I talked about what exactly I will do and why all this is needed. Each material will end with a short story about the importance of a particular parameter in a speech.
Artem Danilov from Avito and his report on the data warehouse were the first to be targeted. At the end, you will find an excursion about diction.
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Briefly about the principles. There are two of them. First: there is no right / wrong, there is effective / inefficient. And the second: we start with the good. This is important, because if we focus on the good, we can take it for ourselves. After all, we are all excellent critics, right? And if we can notice the good? That is why from this and begin.
What can be done to make the speaker (we omit the content of the report here) become more interesting for the audience? Let's return to the points already marked and add new ones.
In order to turn this item from “good” into “very good”, you can add an answer to another important question: what, actually, to do with questions? In the course of the report, students have questions. And if you do not immediately identify what they should do with them, then sooner or later wait for a raised hand. And if the situation is more intimate, then the questions asked aloud from the audience. And this means that you can get distracted, lose time, get lost in thoughts, and so on. Therefore, it is important to take control of this process.
And there are two options:
For those with a small speech experience, I recommend starting with the second option. Viewers will have questions anyway. But the trick is that 80% of them will receive their answers during your report. It is possible, even in the next phrase, they just do not know it yet. And most of these spontaneous questions will automatically disappear. But this will allow you to clearly keep your line and not be distracted. And at the end you will hear the most delicious, selective, thoughtful and deep questions, seasoned as a good cognac, have passed the test of time.
I recommend to take as a rule: 100% of the time we look at the audience. The exception is a one-on-one conversation where it can strain your interlocutor. Otherwise, look for an answer in the eyes of the audience.
Every time you look around, at the ceiling (there, what, creeping line with a hint?) Or even more so on the floor (it’s like “dropping” what you say, reducing significance), you lose your audience. Looking at the ceiling is nothing more than a habit. But it can be replaced by another habit - to look at the audience. At first it is difficult. Then you get used to it. Stumbled, made a reservation, forgot, remember - look to the audience. Look for answers in the eyes of the audience. And yes - more often look at the edges and the gallery. They always lack attention.
Well, that they are. But ... but ... but ... note that Artem is kind of trapped on the stage between the pulpit and the monitor. But you can use the entire width of the scene. The main movements occur in the center and to the right (as viewed from the hall). And there are listeners on the left too. And they need to come to them periodically.
In fact, the movements are almost uncontrollable, unconscious. This is indicated by a glance at the floor and the absence of fixation (pauses). Such a move is a consequence of the thinking process. When we walk, it is easier to think. Did you notice that when you talk on the phone, you sometimes go? This is the same.
But movements can be used as a tool that involves listeners. One has only to add a fixation and increase the area of ​​displacement over the entire width of the scene. The effect will be completely different. Watch artists as they use this tool.
After the question there should always be a pause. Mostly. What for?.. …. .......... To give the audience time to respond. Or at least search for him. I liked one statement: “I asked a question - shut up and listen.” Even if the question does not imply a direct answer from the audience, give it time for reflection, “listen” to its answers.
With which the words and sounds are parasites. Not to say that they are very annoying. But to reduce their number, replacing with pauses, is quite realistic. And this will make the speaker stronger in the eyes of the audience.
Better speak louder. Not "loud". And louder than you say in everyday life. We noticed that as soon as the speaker has a microphone in his hands, he immediately begins to speak more quietly. I call this the “microphone effect”: “Why speak loudly if there is a microphone,” the speaker thinks. This is automatism. Speak louder. How loud is it? I will tell you more about this in the following publications, when the volume falls into the “Hero of the Day” column.
"Almost" will leave immediately, as soon as Artem becomes more likely to look into the hall. Then it will be exemplary. Once again the summary: asks one question, we answer all.
Add more energy to speech. Now it is quite smooth, not yet a “boring lecturer”, but the potential to become one. But you can make accents. In particular, changing the volume, working with intonations and pauses. It is worth getting away from monotony. This will make it more lively.
Almost complete absence. And if there is - then uncontrollable, unconscious and, therefore, ineffective. It would be nice to add illustrative gestures, do not give up. Below the belt gestures do not work. Another good thing to add to the gestures of fixation, they are now "abandoned." That is, showed and then removed. And better: showed, fixed and left a gesture for some time.
And even better not to clasp your hands at all. Not because it is bad, but because they are then disengaged is very difficult. The body is hiding "in the house." Notice how fine motor skills instantly turn on at 8.20. First, it distracts the attention of listeners. Secondly, it creates unnecessary interpretations, namely, excitement. Artyom is really worried or not, we do not know, only Artyom himself knows this. But we instantly assume that he is worried because his fingers are twitching. The same with the fist, which periodically appears in Artem.
"The consonants rule the world." This phrase of Vsevolod Kuznetsov (“Russian voice” by Keanu Reeves) I adopted for myself in one of his interviews. And fully share it.
Why is it important to speak clearly?
Because, clearly pronouncing each consonant sound, you help the audience to recognize the words that you speak. For clarity, intelligibility and recognition are responsible precisely consonant sounds. Try to mumble something in the navigator. Will he understand you from the first take? Here we are the same. The Hebrew alphabet, in which there are no vowels, tells us about the importance of consonants. Compare the two options. Take the word "infinity" and throw out the vowels and consonants in turn: 1. bcncnst 2. eeeo. For which of the options do you clearly identify the word? You, too, saved space in sms, discarding vowels, right?
“And what about vowels?” - you ask. And vowels are about beauty, melodiousness, melody. But that's another story.
For now - here's a mimic warm up from the announcer Chumak . This is a simple and working tool, your professional hygiene. Same as brushing your teeth. She at times increases speech intelligibility. I do it every morning. And the short version (exercise number 15) - several times a day. In patters, the main thing is not speed, but intelligibility. Do not seek to speak them quickly. Speak clearly, the speed will come by itself.
A pleasant consequence: you do not think "so, I need to speak clearly." You just do a warm-up and forget about "you need to speak clearly." Then your muscles will do everything for you.
Replicas from Artem's report:
My name is…
I would like to tell you ...
For those who do not know, briefly talk about what it is ...
Why do you think I draw your attention to this? And what to do with them next? I will wait for your answers in the comments.
I was also interested to know your opinion on the depth and volume of this presentation (many / few). Is it clear? What else would you like to know? Share your thoughts below.
Friends, the reception of the reports of our May conference RIT ++ is currently open. 12 streams are expected at the festival, and we invite pros to share their experience and tell colleagues interesting case studies from practice. Applications for performances can be left here .
Artem Danilov from Avito and his report on the data warehouse were the first to be targeted. At the end, you will find an excursion about diction.
')
Briefly about the principles. There are two of them. First: there is no right / wrong, there is effective / inefficient. And the second: we start with the good. This is important, because if we focus on the good, we can take it for ourselves. After all, we are all excellent critics, right? And if we can notice the good? That is why from this and begin.
Part 1. What good I immediately noted in the speech
- Representation. Artem introduced himself. I note this, since far from all did so. Yes, if the host announced you, it is not necessary to introduce yourself. However, it will not be superfluous to tell you again briefly about yourself. Then the audience will be able to better imagine who exactly is talking to her, and find out the level and competence of the speaker, and not just his name.
- Regulations. Artem immediately outlined the rules: “ Today I would like to tell you about how ... First, I will tell about ... then about ... after that ... ". It's good. Below, I'll show you how to turn this into "very good."
- Eye contact. Artem looks into the hall. At least sometimes. Offhand 30/70. And this is good. Visual contact with the audience is the most important criterion for the success of the speaker.
- Move. Artem moves around the stage, does not stick in one place. So, it pays attention to a larger number of listeners. And this is important. After all, the task of the speaker is to give himself to the audience, to let her feel what he is saying to her.
- Questions to the audience. This is a good tool for engaging her, and Artyom uses it well, although not to his full potential. The magic of the question is that the audience always gives an answer to it. Provided that it is understandable. At the same time, he “answers” ​​- he doesn’t necessarily speak out loud. You can answer about yourself, in your mind.
For example, at 5.10 - “ What is a general event? “This is a question that does not require an answer from the audience. But instantly raising her attention. Then we see at 5.30: “ What did it look like ... a year ago? " - also good. Asked a question - gave the answer. He asked, he answered. There is a nuance - about him in the second part. - Tempo Artyom performs on average at a good pace, not in a hurry. Makes a pause. This is good, as the audience must be given time for it to understand what has been said.
- Volume. Average. I'm not talking about the one that the speaker system gives in the hall, but about the volume of Artem's speech. Not bad. You can do better.
- Involving the audience. Intrigue. At the 29th minute a very good compositional turn. “ This could be finished by saying how good we are. But not everything is so simple, and now about errors . ” And then Artem talks about the difficulties and facs. Everybody is mistaken, but not everyone talks about it. Do not be afraid to be a fool - it's cool, and the audience always appreciates it. Just as in ordinary life, we value honesty. This is credible.
- Answers on questions. Artem answers almost well. What I mean? One of the most common mistakes made by the speaker is to look only at the author of the question. This is a jam, we'll see in other reports.
Principle: asks one question, answer - all. This is exactly what Artyom does. The author of the question is like a messenger to the audience, voicing the question on behalf of all. After all, anyone in the hall had the exact same question, but he did not ask it. Or did not have time to articulate. Artem answers almost everyone, while occasionally returning to the author of the question. This is almost an exemplary form of response.
- Good diction. I can not say that Artem “mumbles”. Not. But it can and should be even better. And to make it simple enough. We turn to the second part.
Part 2. How else can you take care of your audience
What can be done to make the speaker (we omit the content of the report here) become more interesting for the audience? Let's return to the points already marked and add new ones.
2. Regulations
In order to turn this item from “good” into “very good”, you can add an answer to another important question: what, actually, to do with questions? In the course of the report, students have questions. And if you do not immediately identify what they should do with them, then sooner or later wait for a raised hand. And if the situation is more intimate, then the questions asked aloud from the audience. And this means that you can get distracted, lose time, get lost in thoughts, and so on. Therefore, it is important to take control of this process.
And there are two options:
- to say that questions can be asked along the way, if the format of your speech suggests this and you want more interactive. For example, “colleagues, if you have questions, ask right away, on the move, right off the spot” - they will ask you right away, wedging your speech. Or “if you raise your hand, I will understand that you have a question” - here a person means that he has a question. But whether to give him a word, whether to do it now or later - you decide.
- designate a clear place for questions. For example, “after each block we will have time for questions”. Or "... and then, at the end of the speech, there will be 10 minutes for questions."
For those with a small speech experience, I recommend starting with the second option. Viewers will have questions anyway. But the trick is that 80% of them will receive their answers during your report. It is possible, even in the next phrase, they just do not know it yet. And most of these spontaneous questions will automatically disappear. But this will allow you to clearly keep your line and not be distracted. And at the end you will hear the most delicious, selective, thoughtful and deep questions, seasoned as a good cognac, have passed the test of time.
3. Eye contact
I recommend to take as a rule: 100% of the time we look at the audience. The exception is a one-on-one conversation where it can strain your interlocutor. Otherwise, look for an answer in the eyes of the audience.
Every time you look around, at the ceiling (there, what, creeping line with a hint?) Or even more so on the floor (it’s like “dropping” what you say, reducing significance), you lose your audience. Looking at the ceiling is nothing more than a habit. But it can be replaced by another habit - to look at the audience. At first it is difficult. Then you get used to it. Stumbled, made a reservation, forgot, remember - look to the audience. Look for answers in the eyes of the audience. And yes - more often look at the edges and the gallery. They always lack attention.
4. Movements
Well, that they are. But ... but ... but ... note that Artem is kind of trapped on the stage between the pulpit and the monitor. But you can use the entire width of the scene. The main movements occur in the center and to the right (as viewed from the hall). And there are listeners on the left too. And they need to come to them periodically.
In fact, the movements are almost uncontrollable, unconscious. This is indicated by a glance at the floor and the absence of fixation (pauses). Such a move is a consequence of the thinking process. When we walk, it is easier to think. Did you notice that when you talk on the phone, you sometimes go? This is the same.
But movements can be used as a tool that involves listeners. One has only to add a fixation and increase the area of ​​displacement over the entire width of the scene. The effect will be completely different. Watch artists as they use this tool.
5. Questions from the audience
After the question there should always be a pause. Mostly. What for?.. …. .......... To give the audience time to respond. Or at least search for him. I liked one statement: “I asked a question - shut up and listen.” Even if the question does not imply a direct answer from the audience, give it time for reflection, “listen” to its answers.
6. Tempo
With which the words and sounds are parasites. Not to say that they are very annoying. But to reduce their number, replacing with pauses, is quite realistic. And this will make the speaker stronger in the eyes of the audience.
7. Volume
Better speak louder. Not "loud". And louder than you say in everyday life. We noticed that as soon as the speaker has a microphone in his hands, he immediately begins to speak more quietly. I call this the “microphone effect”: “Why speak loudly if there is a microphone,” the speaker thinks. This is automatism. Speak louder. How loud is it? I will tell you more about this in the following publications, when the volume falls into the “Hero of the Day” column.
9. Answer to the question
"Almost" will leave immediately, as soon as Artem becomes more likely to look into the hall. Then it will be exemplary. Once again the summary: asks one question, we answer all.
11. Energy
Add more energy to speech. Now it is quite smooth, not yet a “boring lecturer”, but the potential to become one. But you can make accents. In particular, changing the volume, working with intonations and pauses. It is worth getting away from monotony. This will make it more lively.
12. Gesture
Almost complete absence. And if there is - then uncontrollable, unconscious and, therefore, ineffective. It would be nice to add illustrative gestures, do not give up. Below the belt gestures do not work. Another good thing to add to the gestures of fixation, they are now "abandoned." That is, showed and then removed. And better: showed, fixed and left a gesture for some time.
And even better not to clasp your hands at all. Not because it is bad, but because they are then disengaged is very difficult. The body is hiding "in the house." Notice how fine motor skills instantly turn on at 8.20. First, it distracts the attention of listeners. Secondly, it creates unnecessary interpretations, namely, excitement. Artyom is really worried or not, we do not know, only Artyom himself knows this. But we instantly assume that he is worried because his fingers are twitching. The same with the fist, which periodically appears in Artem.
Life hacking.
Pay attention to the gestures of listing 5.16. From a distance, sitting in the hall, and even in the video we do not see how many fingers Artem bent.
The audience perceives unbent fingers. Therefore, when listing or numbering anything in your speech to an audience, bend your fingers. And keep your hand at a distance from himself, so that the audience could see it clearly.
Heading "Hero of the Day." Diction
"The consonants rule the world." This phrase of Vsevolod Kuznetsov (“Russian voice” by Keanu Reeves) I adopted for myself in one of his interviews. And fully share it.
Why is it important to speak clearly?
Because, clearly pronouncing each consonant sound, you help the audience to recognize the words that you speak. For clarity, intelligibility and recognition are responsible precisely consonant sounds. Try to mumble something in the navigator. Will he understand you from the first take? Here we are the same. The Hebrew alphabet, in which there are no vowels, tells us about the importance of consonants. Compare the two options. Take the word "infinity" and throw out the vowels and consonants in turn: 1. bcncnst 2. eeeo. For which of the options do you clearly identify the word? You, too, saved space in sms, discarding vowels, right?
“And what about vowels?” - you ask. And vowels are about beauty, melodiousness, melody. But that's another story.
For now - here's a mimic warm up from the announcer Chumak . This is a simple and working tool, your professional hygiene. Same as brushing your teeth. She at times increases speech intelligibility. I do it every morning. And the short version (exercise number 15) - several times a day. In patters, the main thing is not speed, but intelligibility. Do not seek to speak them quickly. Speak clearly, the speed will come by itself.
A pleasant consequence: you do not think "so, I need to speak clearly." You just do a warm-up and forget about "you need to speak clearly." Then your muscles will do everything for you.
A little about the words that we speak
Replicas from Artem's report:
My name is…
I would like to tell you ...
For those who do not know, briefly talk about what it is ...
Why do you think I draw your attention to this? And what to do with them next? I will wait for your answers in the comments.
I was also interested to know your opinion on the depth and volume of this presentation (many / few). Is it clear? What else would you like to know? Share your thoughts below.
Friends, the reception of the reports of our May conference RIT ++ is currently open. 12 streams are expected at the festival, and we invite pros to share their experience and tell colleagues interesting case studies from practice. Applications for performances can be left here .
Source: https://habr.com/ru/post/346292/
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