School of speakers: analysis of the speech of Evgeny Rossinsky, ivi

We continue the analysis of reports from the Highload ++ conference on the effectiveness of speeches. About what we analyze and why it is needed, I described in detail in the first publication.

Last time we discussed the speech of Artem Danilov. Today we look at the report of Evgeny Rossinsky (ivi).


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But let's start not with the report itself - but with the furniture.

Do as Eugene

The chair, table and any other auxiliary furniture have both advantages and side effects. When we stand up for it, we not only become “next”, but also cease to give, turning into a talking nightstand. We are "in the house."

It would seem that this is good, because in the house we stop worrying. And yes, behind the nightstand, we really feel more secure. But at the same time, the volume instantly drops, the diction deteriorates, gestures almost completely disappear, as the speaker immediately seizes the object to feel support. The price of this “security” is too high - abandoned public. Do not be afraid, no one will bite you from the hall, everything is good there. A tomato you get harder if you move. Do as Eugene - go out from behind the pulpit. More information about the furniture below in the heading "Hero of the Day."

Move

Good: I marked the movements right away. The chair is an obstacle between you and the audience. And if you can eliminate it - do it immediately! You can rearrange the furniture - rearrange. You can not - move yourself. Eugene began to move - well done. Immediately became closer. And not only in the sense of distance, but also in the sense of perception by the audience. Good move. Everyone would like that. Sometimes he comes back to her, but this is normal. He came back, then he walked again.

Add: And here there is a nuance. Now Evgeny is moving around the stage on the verge of a “boring lecturer”. They are rather a consequence of the thought process, coupled with excitement. He walks because he thinks. And yet, any physical activity, in our case, walking is a good way to reduce the degree of excitement. Eugene does not use them as a tool.

To turn the movement into an effective tool, you need to add one thing - fixation. And then it will be “came here, talked to this part of the hall, left here a piece of his attention. Then he came to another part, left there. ” Displacement is a very cool tool. Remember the teacher who begins to move between the rows in the direction of the school desk, where schoolchildren are busy with something of their own. However, he does not even look in their direction, but they all understand. In our case, just the opposite. Moving, Eugene looks into the hall - and this is good. It just saves and does not allow to slide to the “boring lecturer” in the eyes of the audience.

And what about the eyes?

Good: In general, good. Eugene looks into the hall. This is not 100% attention to the hall (and, I think, it is unlikely to be in at least some kind of report), but already somewhere 60/40. And another good thing - eye contact on the principle of "from heart to heart." Not just turn your head in the direction of the look, but also use the body. It is not always necessary to fully unfold, quite a slight turn of the body. So you give the audience even more attention, and such visual contact is perceived by the audience as “warmer, more welcoming, positive, cheerful, pleasant.” This is not scientific research. These are quotes from participants in my trainings that give such feedback when we do an exercise to work out eye contact.


Add: There are eye contact rules. We consider them in detail in one of the “Hero of the Day” rubrics. Now I’ll just say that Eugene’s attention is not enough for everyone. Least of all went to the edges and part of the hall above the middle. From the general camera located above, this is clearly visible. The head practically does not rise, the gallery is forgotten. “Eugene, hello! We are here, and we are also interested! ”- I just want to say to the author.

Raise your head. We look at all. On the edges and the gallery - a little more.

Gestures are not spread. Gestures are expressed

Good: Gestures are the same language. Sometimes it is generally possible to do only by them, without any words. A waiter is much easier to call with an outstretched hand than with a scream, isn't it?

Eugene almost does not give up. Does not lower them down, constantly works with them, and at a naturally perceived height. That is the same as in person. And often uses them to unwrap a thought, to help convey the meaning of his words - such gestures are called illustrating. Look at how great the words “first, on the one hand” are shown - a very clear, tenacious and stable gesture. But do not throw it. If you continue it, move your hands to the other side of the case, saying “and on the other side” - then the words will be clearly drawn.



We use logic and creative, associative thinking. And in our head a movie is born immediately. But just one of the tasks of the speaker is to show us a movie. Which we, at least, will see together. And at most, each of us will recognize himself in him and become his hero. At the logic level, this is done by the content of the report. There is a “tell a story” technique for presenting information. But the eyes - give gestures. Without gestures “kin will not be”

Threes are well shown , and in this piece a vividly illustrated story . Try to watch it without any sound at all until 34:30 - it's pretty pretty. By gestures, posture, facial expressions, we understand the author’s emotions and experiences at the time of the story. It brings a lot of color.

Fixing gestures instantly increases the attention of the audience, turns it on. Why? Because the movie

Add: First and foremost - fixation. There are words, parasites, there are gestures, parasites. And those, and others in Eugene quite a lot. Both are treated with pauses.

For example, instead of shaking hands, you can fix them. In the end, just lowering is also normal. Senseless shaking takes energy from the speaker, distracts the attention of the audience.

I note a lot of missed opportunities to create the very movie. This is the enumeration gestures that have already been mentioned . And other things that are perfectly hand-drawn.

Pauses in words give rise to pauses in gestures, and vice versa, as soon as you record gestures, you will have pauses in words. Speech will be stronger. You as a speaker will become more attractive to the audience. So, you can give more to her. A pleasant consequence - the speech will become cleaner, the words-parasites will also become less.

And yes. Try to do without hands in your pockets. Hands are much nicer to see on the silver screen, which you create with their help.

Vocabulary. I want to hear it

The choice and the right of Yevgeny to say just that - respect. On the part of the speaker, this is honest: to be who you are. But it was very difficult for me to listen to the report, in which there are a lot of dirty and ugly words and expressions. If you remove them, the report will not suffer at all, and even, on the contrary, will win. And that's why. Those to whom such words “come in” will definitely not be offended at you. But those who "do not go" will be grateful.

" Users who, bastards such, were not updated ..." These users, for a minute, bring you money. For them, and created a service. This is not someone abstract somewhere there. These are people who sit in the hall. Your colleagues. Relatives. We all. Thank you for a good example of how to kill the impression in one phrase. But the report itself is interesting. I would love to listen to it again - in a new, “clean” arrangement. And with the inherent vitality of Eugene and humor.

And once again about the slides

To begin with, we will divide all presentations into two types: presentation-letter and presentation-accompaniment.

Presentation letter. Or presentation clarification. This is a presentation that can work without you. The recipient, in a convenient mode, can see it and independently understand it. This may be a marketing kit, a beautifully designed commercial offer, or a more detailed presentation of the company or product that you leave to the client after the meeting. In our case - a more detailed presentation of your presentation, to which you can go back through time, quickly browse through and learn important, remember something, without revising the entire report. It is fast and convenient. In this presentation, you are free to paint all the details, benefits, and so on. And in it the slide below is valid:



Presentation accompaniment. These are the slides with which you go on stage. And above all, they are your assistants. Perhaps, having seen him, the listener does not immediately understand what it is about. But then you, looking at him, immediately remember what you wanted to say. And gradually reveal the value of the slide, as if deciphering it.

In this case, the slide in the photo above is trash. Because it’s not clear where to look: whether it’s at the speaker (he’s, surely, something important is being said at this moment), or on the slide (there’s so much text, it means something important, the author tried, when he wrote it). That is, either we read or listen. If we read, the speaker loses us. Moreover, we start to get annoyed: “Yes, wait a minute to tell, let me read. Why so small? ”And if we listen, then why bother with this slide at all? This is the speaker’s lost time and our lost thinking time. p0b0rchy Roman Poborchy well revealed this in his analysis .

Here the ideal would be a slide, constructed with the following principles in order of priority:

1. one slide - one word.
2. one slide - three words
3. one slide - one line
4. one slide - three lines. In each of which three words.

If you need more words or lines - make a few slides instead of one. Output them in sequence. Save listeners resources. Moreover, it is good if within the framework of one slide these theses will also not appear immediately, but consistently.

Not repeating, not repeating, never repeating a slide in speech

“You don't need a lot of words. Enough well-brewed tea. ” Confucius.

Please do not pronounce what is written on the slide. At least word for word. It is annoying.

We read much faster than we say. And while the speaker says the first thesis, we are already on the third. And inside arises “hey, we have already read. All clear. Come on next slide.

You can lead the listener to this thesis, say the same thing, but in other words. But never read the same thing. Make an intrigue. Leave on the slide an understatement for the listener, and for yourself - an opportunity for the disclosure of thought. Slide accompaniment should not work without you, but you can safely do without it.

“You don't need a lot of words. A pretty well-designed slide. ”

Who comes earlier, and that furniture

Come to the audience first and much in advance.

First , to get comfortable, look around, understand what is where and how. Feel the space. Talk it alone, listen to the acoustics, reflections. If you intend to speak with a microphone, be sure to talk into the microphone in advance so that you do not get an unexpected "surprise" during the performance. After all, then you will hear your voice from the speakers, even with reflections, and it will sound completely different. In the first few seconds of the performance, this can put you in a stupor. Talk without a microphone. And with a microphone. Walk around the audience and listen to yourself. I recently talked about this in the FB .

Secondly , if the configuration of the places for the participants does not suit you, change it if possible. I always arrange the chairs and tables as I need, and not as they stood there. Because I need to solve my communication tasks. Seating participants in such an order and position that it was convenient for me to conduct the training, and for them to listen and be in the process.

What to do if you come to the audience, and people are already sitting?

If it is important for you that they sit closer to you, the best way is to ask. And ... And in this place I first wrote how to ask. And then erased. So how does one ask for it? I will wait for your options in the comments, then I will write my own if you are interested.

Heading "Hero of the Day." Volume

Last time, our hero was diction, this time - loudness. And this is not by chance, since these two parameters work in a tight bundle. Let us briefly return to the diction to clarify this.


When a person says “not heard”, he actually asks us to speak more clearly, not louder. And with these words he tells us: “I want to hear your every sound, so that it flies away from the teeth, add diction.” But we are not clear.

You can remain at the same volume level, but by adding clarity, immediately increase the intelligibility of speech, that is, increase the likelihood of the subject being correctly recognized by the interlocutor of lexical items. Clearer speaking is much easier than louder. And resources are spent on it less.

Another important mistake. Often, when we start talking louder, we automatically increase the frequency (pitch) of the sound. Bundles are already strained from the stress of the performance itself, and then they tense up even more and get tired faster. Recall the professional illness of many teachers - “planted ligaments”, hoarseness. While the bundles are not about loudness at all. Namely, about the tone, pitch.

Volume is about the amount of air you exhale . I will give an example. I'm a trumpeter. The role of oscillators (in the human voice - ligaments) perform the lips. If I need to take a note higher, then I work the muscles of the lips. But if the same note, but louder - a diaphragm. Just getting out is getting more intense. And that's all.


If you are interested in exercises on how to turn up the volume, let me know about it in the comments.

Why is it important to speak louder? At least louder than you say in normal life? In short - who said louder, he is the leader. Volume transmits confidence. Yes, there are cases when people speak quietly, slowly and with long pauses, and we perceive them as confident. But it is rather an exception. At the same time, note that it also involves other instruments: tempo, pause and, as a rule, timbre.

How to determine how loud you need to talk? Simply. Stand at the point of performance. Look at the last row. Imagine that there is another one behind the last row of seats. And speak so loudly that you can be heard on the last virtual row. Then on the last real they will surely hear. Of course, there is no need to switch to a scream - this will immediately cause tension in the ligaments, as a result, you will be quieter, and even with tension in the larynx.

And if there is a microphone? It’s great if your audience is over one hundred people. Smaller, you, if there are no obvious problems with the voice apparatus, voice without a microphone.

When you can do without a microphone - speak without a microphone

First , you will free your hands (if this is not a buttonhole / harness) - they will be useful to you for gestures and for making movies.

Secondly , the “microphone effect” that I mentioned in the last article often arises: “Why speak louder if there is a microphone?”. And the speaker "turns sour." Yes, the volume in the hall is normal. But we hear and feel that a person is "sour," unsure. And the very certainty, which was already asked in the comments to the previous article, is broadcast to the audience, including via loudness.

If the audience is more than 100-150 people, then a microphone to help. Important: at the same time it is necessary to speak as if you do not have a microphone. Those. loud enough. For loudness transmits confidence. Your personal volume should be higher. The rest will be done by the sound engineer.

With or without a microphone, be loud - speak louder

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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 .