- •Delivering a lecture
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Signposts.
- •1.3. Style forming factors.
- •1.5. Delimitation of Discourse
- •1.6. Samples for Study and Analysis. Sample a
- •Good morning!
- •Notions of Style
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •Score Mark
- •2.8. Reading Technique
- •III. Project work
- •Sample a Forms of Address in Great Britain
- •Sample b Apologizing and Making Excuses
- •Score level criteria
- •Module 2 making a political speech
- •I. Input materials.
- •Rhetoric strategy.
- •Style forming factors:
- •Tunes (melody contours)
- •Combined tunes
- •1.5. Samples for study and analysis
- •Part of a Political Speech
- •Part of a Political Speech
- •The Common Market Negotiations
- •II. Skills development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Making business presentations
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Style forming factors
- •1.4. Rhythm
- •1.5. Samples for Study and Analysis
- •The Director of the Milk Marketing Board giving a presentation about key trends
- •Public Ownership
- •II. Skills Development
- •2.7. Auditory Test
- •Analyse these combined tunes:
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Advertising
- •I. Input materials
- •1.1. Rhetoric strategy.
- •Ways of Advertising
- •1.2. Style forming factors
- •1.3. Questions for preliminary exercise
- •Informative? – persuasive? – amusing? – well-made? – artistic?
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Expressive means of English Intonation
- •Irregular pre-heads
- •Reading
- •1.6. Samples for Study and Analysis tv Commercials
- •Radio Commercials
- •Advertising Campaigns
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Hotel ‘Caliente’ Barcelona
- •Score level criteria
- •Peculiarities of the drama
- •I. Input materials.
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •Delivering a lecture Sample a s f s
- •Sample b s
- •Making a Political Speech Sample a
- •Sample b
- •Making Business Presentation Sample a
- •Sample b
- •Advertising Sample a
- •Sample b
- •1.5. Voice Volume
- •Delivering a Lecture
- •Making a Political Speech
- •Making Business Presentation
- •Advertising
- •Extract One
- •1.6. Samples for Study and Analysis
- •Dramatic Monologue One
- •Dramatic Monologue Two
- •The Metropolitan Playhouse Productions
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Score level criteria
- •Interviewing
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Using questions for control
- •1.3. Style forming factors
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Specifics of the Pre-nuclear Pitch Change (the Head)
- •1.6. Samples for Study and Analysis
- •Linguistic Gaps
- •II. Skills development
- •2.5. Auditory Test
- •Score level criteria
- •2.6. Reading Technique
- •III. Project Work
- •Interview with Carl Sagan
- •Interview with Nigel Dempster
- •Score level criteria
- •Everyday talks
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •1.4. Weakform Words
- •II. Samples for Study and Analysis
- •Extract from a Spy Story
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project Work
- •Finding Somewhere to Live
- •The Ladies’ Dress Department
- •Score level criteria
- •Fairy tale rhetoric and language teaching
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Invariant phonostylistic peculiarities
- •1.3. Pragmaphonetic modeling
- •1.4. Samples for study and analysis
- •Snow White and Rose Red
- •The Happy Prince
- •II. Skills Development
- •2.6. Auditory Test
- •Score level criteria
- •2.7. Reading Technique
- •III. Project work
- •3.1. Reading Technique
- •The Star-child
- •The Young King
- •3.2. Drama Technique
- •Goldilocks and the Three Bears
- •Little Red Riding Hood and the Wolf
- •Supplement Effective Presentation Technique
- •How we breathe
- •Types of Breathing
- •Diaphragmatic Breathing for Speech
- •Exercises for Diaphragmatic Breathing and Control
- •Exercises for Breath Control
- •Overcoming speech fright
- •Delivering the Speech
- •Using Your Body to Communicate
- •Dimensions of Nonverbal Communication
- •Adapting Nonverbal Behavior to Your Presentations
- •References
- •Contents
Exercises for Breath Control
When practising these exercises, make certain your vocalization begins immediately.
Important: During the speech exhalation, your abdominal region must relax gradually. You control its movement back into place. It must return to its relaxed position. Do not try to keep your abdomen out during the entire process, for this creates additional tension. The abdomen must return because it is the escaping breath that causes the sound.
Stand and place the palm of your hand on your abdomen. With your instructor leading the exercise, take a deep diaphragmatic inhalation, and with a well-projected voice say, “One by one they went away”. Exhale the remainder of the air through the mouth. Take another deep diaphragmatic inhalation and say, “One by one and two by two they went away”. Repeat the exercise, increasing to “ten by ten they went away”. If you begin to feel a little dizzy, sit down. You will gradually increase your lung capacity.
Stand and place the palm of your hand on your abdomen. Take a deep diaphragmatic inhalation. Pick a comfortable pitch, and while exhaling, produce the vowel sound “ah” quietly. Increase the volume so that at the end of the exhalation the volume is at its loudest.
Complete exercise 2 again, but begin the “ah” at your greatest volume and decrease the projection until you are still sustaining the vowel but at your lowest volume. Make certain that you are bringing muscular tension to the abdominal region and not to the neck and shoulder muscles!
Complete exercise 2 again, but begin the “ah” quietly, build to your greatest volume, and return to the volume at which you began. Keep the tension in the abdominal region.
Complete exercise 2 again, but begin the vowel sound “ah” on the exhalation at your greatest volume, go to your minimal volume, and return to the loudest you can produce.
Take a deep diaphragmatic inhalation. At a rhythm of one count per second and with a good support of breath and volume, begin counting and aim for sixty. When you begin to feel a strain, drop out. Keep a record of your progress.
Substitute the alphabet for the numbers in exercise 6.
Take a deep diaphragmatic inhalation through the mouth and read some passages with as few breaths as possible. For your purposes, it is unimportant at present to consider the meaning. Read the selection with good articulation and intensity, if you like. Keep a daily journal on your progress. How far into the selection can you get before you need to take a new breath? Be sure to keep the abdominal region tense as you speak. Do not force any part of the process. Go as quickly as you like, but make certain that you produce all of the sounds.
B Giving a Presentation
Overcoming speech fright
Take precautions to prevent problems ahead of time:
1. Rehearse aloud, and be sure to try several different wordings for maximum flexibility.
2. Be familiar with the setting – size of room, closeness of audience, amplification equipment – so you’re not surprised.
3. Even while practising, constantly focus on your ideals – what you’ll be saying first, second, third, etc. – rather than your fears of “how you’re doing”.
4. Visualize yourself doing well before the audience, psychologically “see” yourself impressing your listeners, getting a good response from them.
Prepare yourself physically to speak:
1. As your time to speak nears, take several deep breaths, hold them, and then slowly release them.
2. Just before you rise to speak, tense the muscles in your legs, arms, chest, stomach, buttocks, and face (if you can without others seeing you). Tensed muscles will relax for a while after forced tension.
3. Just before you utter your first word, take one last deep breath, and perhaps tense your hands and arms if you can do so unobtrusively.
4. And remember, the act of speaking will drain off excess energy within a minute or two, especially if you remember to move during the introduction of your speech.