§ 77. Before you start speech, the speaker must make a small pause (5-10 seconds) to enable the listeners to see themselves and focus on the upcoming speech. The speaker is needed in order to calm down, remove excessive excitement. This is how the need for this action by the Hero of Roman A. Krona "insomnia" Professor Yudin, who came out to say on the international symposium: "I soe a small pause. She was needed not only to me, but also to listeners. They are also spectators, and before What to start listening, love to look at a new person and even exchange with a neighbor with critical comments about his appearance and costume. "

Then we supply the audience a calm, benevolent look, as if inviting to the conversation, smile friendly and ... start talking? Not! The second and undoubtedly the most important thing of the speaker during direct communication is to compare the audience sitting in the hall (concrete), with the one that was assumed during the preparation of the speech (real). And what if we realized that we were not at all the "not that" the audience for which the speech was calculated, and even with impeccable preparation of thoughts confused and the throat was dry? You can, of course, apologize, leave the stand. But at all times, people admired courage. And the courage of the speaker is to stay and complete his business. Therefore, he can honestly explain with the listeners, find out their expectations from communicating and lead him already in the new direction. But for these actions, you need to overcome much in yourself. Of course, you should not give up your position and design, but you can transform method their presentation and implementation. Thus, take into account the audience at the stage of pronouncing means in case of its discrepancy with the intended, retaining the concept and plan, change the tactical means of realizing the goal (the system of arguments, composition, language means, tonality) and achieve a planned impact already in new circumstances.

Most an important element The interaction of the speaker and the audience is visual contact. For a speaker, a look into the audience is primarily important because it is the only way to establish feedback with listeners. "Under the feedback," writes L.A. Petrovskaya, "you can understand the information emanating from the impact object, perceived by the impact carrier and carrying the characteristic of the results of this impact." If the speaker looks out the window, on the ceiling or simply into space, then deprives himself the possibility of having feedback. After all, the eyes of the listeners are the device that allows the speaker to determine how interesting its material is interesting, as far as the idea is successfully implemented, as well as the composition is selected. Therefore, those who recommend choosing a good face in the fifteenth row and tell everything to him. Let's see how the Hero of A. Krone's already mentioned by the Hero of A. Krona, I looked around the hall. According to the lecturer experience, I knew that I had to find several attentive and pretty people in the first rows and from time to time to them. I immediately found my eyes Eastern European colleagues, cute blazhevich looked at me friendly and encouraging. But I immediately realized that this time I should search for a more accurate checkup. In front of me there was a typical Paris audience, responsive and capricious, from time immemorial time spoiled by the eloquence of all shades. This The audience will not forgive me or boredom, neither awkwardness, it must be immediately taken for the horns. Therefore, it is not necessary to look at Blazhevich, but on a colleague Denis, watching me with fun curiosity. His nostrils are slightly bloated, the half-open mouth is ready and laughing, and delicately yawn . Or on the oxygen lemon-haired lady in golden glasses with square glasses and a thin conductor stretching from the ear, according to the type of Englishcuck Y or Scandinava. She is deafovat I. french For her, there is enough - enough to stop listening if the beginning does not interest it. "In real practice, the option is most successful when the speaker evenly translates from one person to another, trying to establish visual contact with each of them, covers all the audience .

Interaction and mutual understanding of listeners with speakers are important criteria for this type of people's relationships: without them, the effectiveness of the speech is practically absent, because there is no unity of the speaker and its audience.

For the speaker, it is important to know how to support the interest of the audience, how to make her imbued with the question of which he says, how to influence the understanding and mastering the material by people from the audience. Therefore, a number of requirements are presented to the lector, the observance of which is necessary for effective interaction with the hall. It is necessary to understand the psychology of the group of listeners.

Oratoric art - the ability to say it so that it provides the desired effect of the public. Orator should own high degree Mastery when conversation with people, as well as be able to professionally handle the word.

It is required because a person who is in the center of attention of the audience is rated by his listeners. Consider people in the hall everything: ranging from the appearance of a person, his style and to personal qualities. Success has that speaker who takes into account this when building a speech.

Orator so that it can be called professional, should be:

• erudite;
• highly intelligent;
• updated attracting attention.

The protruding person must competently speak, to understand well in the topic, because his competence is checked through the issues of the public.

Speaker

"Orator" - multivalued word. The word can be defined as:

1. a person who speaks with a public speech;
2. man having a gift of eloquery.

For speaking before the auditorium, there are a number important criteriawithout which the speech may be ineffective.

Requirements for speaker

So that the speaker was successful at the listeners, firstly, it should be tidy and well dressed. It is desirable that the clothes do not contain bright details and was not the distrect colors or unusual styles. You must always follow the cleanliness of things.

Secondly, the personal and behavioral qualities of the speaker are important. The lecturer should not make unnecessary mechanical movements, as it distracts the audience. It has the value of the position of the speaker: the lecturer should stand confident. Insecurity or extra squeezing may adversely affect the public relations.

Thirdly, you need to maintain visual contact with the audience: during the report not to be distracted by outsiders, do not look back, do not look out the window. The main thing - it is necessary to look at the audience, as the lecturers looking at the listeners a missing view are usually perceived more difficult. It is not necessary to cover the day at once, it's not necessary to transfer a look from one part of the hall to another.

It is desirable that the saying does not read the material from the leaf, but reproduced it by memory, since then the perception of the material by the public is significantly improved.

Establishing the contact of the speaker with listeners

The most important factor of any public speech is to establish contact with listeners. If it is not, the effectiveness of the speech is practically absent.

The feedback of the protruding with the listeners is the community of the emotional state of the public with the lecturer. It is also important understanding and intellectual empathy - the unity of the thoughts of the speaking person with the move of thinking of the public.

The thought process should develop at the same time at the speaker and the audience: only then the hearings will be able to fully realize what the speaker says.

It is also necessary that the speech aroused similar feelings from the speaker and listening. This is a consequence of the relationship of the speaker itself to the subject of speech. The emotional answer to the audience will be present if the talking:

• sincerely interested in the subject of narration;
• presents material available;
• i am convinced of the credibility, the importance of outlined information;
• respets listeners, recognizes partners in them.

You can easily establish the degree of contact - as far as the speaker and its audience interact. Usually while performing in the hall is quiet. However, this silence is a polite or working.

In one audience, people respond to the words of the speaker, express their attitude to the words of the speaker, are afraid to skip each word. This is spoken by their emotional answers to jokes, appeals, as well as the posture (usually it is concentrated).

In another hall, people may not listen to the speaker, even if externally there is also quiet. In such a community, listeners do not want to interfere with the speaker, thinking about their concerns and matters.

Therefore, silence is not a criterion for assessing the degree of contact of serving the hall.

How to achieve mutual understanding with listeners

The main factors of mutual understanding include:

• the response of the speaker's speech on speech (laughter, exclamations, applause);
• self-confidence in his own speech (able to build contact with listeners a person speak clearly, confidently);
• the relevance of the presented information (its novelty, understandableness, importance, interest);
• the identity of the speaker (has the importance of the speaker's reputation, the degree of its erudition and attractiveness, is also important, whether it is fundamental).

Often the speaker manages to establish contact only with the lounge. This attention of people becomes constant or variables, sustainable or unstable. It all depends on the specifics of the question discussed, the degree of its relevance and the level of training of the public.

To install mutual understanding with the hall (when the speaker and the audience is one), the speaker must take into account the social status and the level of development of the audience.

The audience

Listeners occupy a key position in building oratory and speech.

At the same time, the protruding person must take into account that at the very beginning of his speech the listeners do not become an audience. So that it happens, he must create a special atmosphere that will support people in one emotional state. The coerger of the speaker and his audience, the easier it will be to keep her attention.

It is important that the speaker listened to most people with respect to the total number of those present.

Signs of audience

The current audit community has a number of special features, which include:

• homogeneity;
• quantitative composition of those present;
• sense of community;
• motive action.

Uniformity includes social listeners factors - their gender, age, status, education and professional skills. It often matters the number of people in the hall.

If the speaker reproduces material in a small community, there may often be the absence of uniformity of opinions. Against the background of this, discussions arise, which are usually absent when conversation with a numerous public. At the same time, in a small audience, to maintain the discussion and the speaker's dialogue should be well focused on the subject of the subject that he says.

The sense of community is an important sign of the audience. It appears when a certain emotional mood appears in the hall (for example, the hall can start applauding the speaker or, on the contrary, swing heads in disapproval). In such an audience, everyone has its own opinion, a personal perception with a relation to public opinion - a person takes into account the general background of the hall in the emotional plan.

Motive action of listeners

This characteristic is important when assessing the public as a special community. Coming to a certain performance, people pursue any important goal for them.

Three of these prerequisites distinguish:

• the moment of the intellectual and cognitive plan (a person comes, because it is clear to the subject of the story);
• moment of moral plan (a person is obliged to attend this speech in an ordinary order);
• the moment of an emotionally aesthetic plan (no matter what is not important, he is talking about, he is pleased to listen to the speaker speaker).

Of these features, the motive and mood of each individual listener are folded. Orator should take it into account.

How to influence the audience

There are several techniques that can help manage the public more efficiently. These include:

• respect for the values \u200b\u200bof the listeners (the speaker should take into account the opinion of the public when performing, to show interest in their issues, then the highlights of the speeches will be perceived better);
• unity when the speaker and the audience are similar (you can achieve conformity even in terms of style: it contributes to the best perception of text);
• the feeling of mood of people in the hall of the speaker (to feel the listeners, the speaker must ask them questions, respond to correct exclamations from the hall);
• results, solutions and conclusions are briefly presented to listeners at the time when they are interested in the issue discussed: Then the performance of the speech will be much higher;
• breaks (a person can not hold attention for longer than 30 minutes. So that the listeners are not tired, at an equal period of time, the speaker should make short breaks, during which a dialogue with the hall, an exchange of views or bringing personal experience in the question).

It is important to visualize the text through presentations from audio. This will help students better perceive the material.

The presentation before the public always requires careful preparation not only in terms of familiarization with the material. The speaker also needs to be well aware of the psychology of the public, its preferences, the social status of those present to build their behavior correctly. Only then can be perceived by listeners as fully as possible.

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It is a complete speaker trying to hide my completeness, or an elderly woman who follows the fashion for his age. As the saying says, "after 30 years everyone is responsible for his face": At this age, what depends only on us, already outweighs what nature gave us. Speaker's efforts look good will be positively appreciated by the audience.

The speaker's manner is perceived and is assessed by the audience positively, if it is energetic, sufficiently tense and demonstrates the confidence of the speaker.

Poses are rated positively if they are open, that is, if the speaker does not cover the chest with crossed hands, does not cross the legs, etc.

Gestures and Mimica then have a favorable impression on the audience when they are considered as natural and diverse.

We will tell you in more detail about the manner, poses and gestures in the head of the speaker's behavior in the audience.
Lecture 5.

Auditor's behavior in the audience
Of course, it is difficult to provide for all the problems that the speaker may face, appearing in front of their listeners, but from experience it is known that it is usually the most difficulty behavior for the speaker - how to keep yourself how to move, how to react to replicas, answer questions React to different problems that may occur during the performance. On these issues, the following recommendations can be given.

Organizing time In the audience

The issue of preparing the audience, strictly speaking, not the case of the speaker itself is a matter of who organizes his speech. But the actor himself is interested in the situation in the audience the most favorable for him, so some things are not bad in advance to disturb them - discuss them with the organizer or even provide themselves.

First, in the audience, there must be fresh air. If it is stuffy - do not start until you ventilate,

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If you have to take off time from your speech.

Take care of a pleasant background. The most favorable background for public speech - Dark blue curtain, if possible from heavy material, severe tissue. In general, on a dark background to perform better, it contributes to the concentration of listeners' attention on the speaker.

Behind you should have a minimum of furniture, any other items. If they are still in the room, try to move away from them as far as possible. There should be no furniture and sides; Better move forward towards listeners. You must be in front of them in full of loneliness - Then all their attention will be directed at you.

In no case cannot have anything moving - the presidium, any foreign people or listeners, and even the window moving in the beat of the wind. In no case will not stand in the listeners - stand in front of all the listeners.

It is desirable that the listeners sat in front of you so that they could not see the entrance door - fenced, peering and so on.

Before starting the performance, it is better not to be shown to the public. If you are offered to sit in the presidium - to tactfully refuse. Do not in sight of everyone: how witiously noted D. Carnegie, "Better to appear in the form of a new exhibit, than the old one."

Do not take into your hands the organization and management until everything is ready and will not be announced - let the organizer take care of everything. The speaker before the announcement of his speech should behave as a stranger; Everything should be prepared for him: "And only when everything is ready - you are entering, and it is necessary. You do not have a relationship to the hints, and E. F. Tarasov).

Taking the microphone, do not release it from the hands. If someone from the administration is trying to take a microphone - do not give a delicately, let him state the essence of the case, and you decide to give him a microphone or not. At the same time, never declare anything for the administration or the organizer, even if they ask you about it - in this case, finish our idea, and then pass the microphone. If you are

35
Throw lunch and there will be inconsistencies or questions, then all claims will be to you. We will have to explain that you are here and your reputation will suffer, you will call irritation of listeners.

Starting a performance, in no case demonstrate any discontent - the number of gathered, preparing the premises, late listeners, etc. Never make comments to the audience as a whole!

Never start with the go - Give the audience at least tween seconds so that it considers you, I got used to impress. Remember that the first impression is formed for 1-2 minutes, give the audience this time. Correct the chair, the stand, spread the records, close or open the window, correct or check the microphone, wait until the noise subsides, nimble someone from the audience (even if you do not know anyone).

Go towards the interests of the listeners - if they ask, express readiness to work without a break, finish early, let go of someone who is in a hurry, before, etc. It always configures the audience in favor of the speaker.

And one more important question - How to be if there are few people in the room, but everyone got into the rear rows, and the front part of the hall is empty? With such a problem, speakers face very often, especially in unfamiliar and unfamiliar audiences, with the heterogeneous composition of the listeners. D. Carnegie recommends that before the start of your performance, collect all the students together, transplant all ahead: "Empty chairs negatively act on the listeners, do not stir the audience, if it is scattered around the hall." Fully agreeing with his assessment of the audience scattered around the hall, we must recognize that its requirement is not fulfilled and, moreover, from our point of view, it is inappropriate. First, it is violence against the audience, and from the very beginning it will configure the audience against the speaker. Secondly, students, especially if they belong to one team, may have their favorite places in the hall, and will perceive attempt to deprive them with great displeasure, if not with hostility. Thirdly, it will take time. But how to be? After all, empty chairs really act on the audience negatively! There is an exit. It is better to approach the speaker to those who sat down away from him. It is necessary to approach the bulk of the listeners and start speaking before them. If it turns out that several people remain
36
Sem aside, it is them that they can suggest to change their place; At the same time they will have to go back, not ahead. Such an approach demonstrates respect of the speaker to the listeners: he goes on concessions to them, and does not require concessions from them. Such an act will strengthen the communicative position of the speaker in this audience, will place the audience in his favor.

Follow the illumination: the light should be sent to you in the face; The speaker must be in the lighted place 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 tribune - the students, as a rule, love when the speaker is shown in full growth. F. Snell pointed: "For a short time, while you are standing in front of them, people will want to learn about you as much as possible." D. Carnegie emphasized: "Do not sit down at the table. People want to see us in full height. They will even pull the neck to see you completely"; you need to give them this opportunity.

The style of performances

The overall manner of your performance has great importance - It is well remembered and can significantly increase or reduce the trust of the audience to you.

P. The opponent wrote that the manner of performances is more important than the appearance of the speaker - the manner makes you forget about the appearance, and in this he is undoubtedly right. P. The rings allocated five main, from its point of view, which make up the manners of performances that allow you to position the listeners: 1) self-confidence, 2) businesslikeness, 3) friendly attitude to listeners, 4) modesty, 5) lifting.

First of all, we point out that it is impossible to allow in a manner of performances:

- the speaker should not look tired; hurrying; dissatisfied (premises, retardation of the start of work, the number of those who gathered, falzing, etc.); excessively excited, affected (listeners feel awkwardness for an excessive excited speaker);

• 
  Hello should not demonstrate helplessness; indecision;
• 
  orator in no way shall apologize to

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Audience for his mission ("Sorry, I'm holding you," "suffer, I will finish soon", etc.).

What is the optimal style of performances? It must meet the following requirements.

1. The energy of the presentation.

Your entire speech must be energetic from start to the end. The speech energy is transmitted to the listeners, it keeps them in voltage and increases confidence in the information contained in the speech.

"Be energetic," D. Carnegie advised. - Energy has magnetic properties. People accumulate around the energetic speaker as wild geese Around the field of winter wheat. " "Do not die with your energy," he advised. O. ERAST noted that throughout the speech, the speaker should feel "reinforced target voltage", which creates a dynamic attitude necessary to the speaker.

2. Physical vigor, mobility.

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

3. Confident appearance.

The confidence of the speaker very quickly passes the audience, and the audience begins to perceive what speaker says, everything is less and less critically, everything with great confidence. "Have a confident appearance - it acts on the listeners positively," the speakers called P. Pivor. A confident look at the performance is not so difficult - first of all, you need to hold the chin above and say a little up (the optimal height of the chin can be chosen, guided by such a rule: "Look at the intersection of the back of the audience with a ceiling", it will be quite enough for demonstration confidence); Stand directly without leaving; Look in the eyes of listeners.

D. Carnegie advises: "Look straight into your eyes to your listeners and start talking so confident as if they all need money to you ... Imagine that they gathered here to ask you to postpone the payment period."

4. Friendly, intimate tone.

The audience is waiting for a friendly, intimate conversation from Orator. You need to meet her towards. Talk to audience
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She needs with one person, in the same relaxed manner.

It is necessary to emphasize the audience in every possible way that you are "yours": it has been established that the more "his" he feels an audience, the more she trusts what he says. Need to emphasize the generality yoursinterests, problems, difficulties and interests, problems, difficulties your audience.

You should not run away from the audience immediately after the speech, it is necessary to give the opportunity to approach you, throw off the replicas, ask a question, to express your attitude to the above you - this also leaves the audience a positive "aftertaste."

5. Concentration on the content.

In your speech, it should be felt that your home goal is to transfer your understanding of the problems to the listeners, inform them some important information for them. The speaker must focus all his efforts on the content, in the sense of his speech. The form at the same time as if retreats to the background, it should go for the content, and the listeners must feel it.

"Do not worry about how you look, forget about the personal feelings: focus on one thing - to convey your thoughts to the listener" (P. rings).

F. Snell: "The audience can only be compared with hungry guests staring at you."

Concentration on the content allows the speaker to increase the persuasiveness of its presentation.

The location and movement of the speaker in the audience

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

It must be remembered that worth the speaker:

• 
  demonstrates respect for the audience;
• 
  Creates a constant voltage for itself;
• 
  It feels better;
• 
  Energetically speaks.

All this speaks in favor of the performance standing.

Tribunes, elevations, estrad should use as little as possible. Towing artificially over the audience, he demonstrates her official superiority, which contradicts the rule of "intimacy of communication", which is very effective in public speech. "Stand

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Those next to your listeners, "recommended by D. Carnegie. If the listeners are less than 75 people, then you should talk at the bottom, and not from the stage, P. Pot. Should approach the listeners. Go down to the hall, go to the audience (slowly, and not very abusing this technique), lean to the listeners. If you come up with elevation - come to its very edge. Because of the department, from time to time, go out and become next to it, or in general, stand next to the department, and not for it.

In the process of performances, it is necessary to move. Stilling speakers do not trust the audience, considers them conservatively thinking. The speaker movement in the audience increases confidence in it, strengthens the sympathy of the audience. It is necessary to walk in front of the audience, but drove the hall, and it should not be very deepened and reach the last rows of students - in this case, those who are sitting, ahead, are uncomfortable, they are forced to turn around behind the speaker. It is best to deepen on a quarter - a third of the length of the hall, no more; At the same time, returning back, you should not turn your back to the hall, you need to move back "reverse".

The gait of the speaker should be flat, measured, without acceleration, is somewhat slower than the usual man's walk - only in this case, the gait diversifies the perception of the performance, and does not distract from it. Hands when walking should not be static, they should move. Chin when walking should be kept up, it creates the impression of the confidence of the speaker. You should not keep your hand or hands in your pockets when walking - it is perceived by the audience as a certificate of secrecy, the speaker, and in some cases - the uncertainty of it.

When walking, in no case cannot be swinging - it is very distracting listeners. Having taught the audience, the speaker should not fix the look at any one, it causes the audience to transfer his attention to what he looks at the speaker.

You can not spin in the process of performances in the hands of small items, knobs, keys, etc. - Better to take a pointer or chalk.

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Sight

The view of the speaker has very important for the audience. The listeners believe that if the speaker looks at them, then their opinion and evaluation is important for him. And it makes them listen more actively and carefully.

In addition, if the interlocutor looks at us a little, we believe that he does not apply to us ("I didn't even look!"), Neglects us.

If we look at a lot, then this is considered by us either as a certain challenge (it happens when we feel in opposition to the interlocutor), or as a demonstration of a good relationship to us or at least interest. The audience usually takes place the second option, which must take into account the speaker.

1. 
   The speaker should look at all listeners alternately, not highlighting any of them personally. Otherwise, it may turn out like one lecturer, to which the listeners came after a lecture, thanked and said: "But why did you lecture only for our Kati?"
2. 
   You can get a look from the audience for a while - when formulating some thought, then you need to re-install visual contact with the listeners.
3. 
   Do not speak, looking at the "space", it causes distrust and irritation of listeners.

4. Do not look in the process of performances on the floor, on your feet, window, in the ceiling, not consider foreign objects.

This leads to the loss of contact with the audience.

1. 
   Translating the audience look, do it slowly.
2. 
   Exercise visual contact with the audience throughout the speech.
3. 
   Look at the listeners Friendly, the look you meet friends. Pretend that we are glad to look at everyone, it's nice.
4. 
   Looking at the listener, look into his eyes.

The eye view is always considered as an expression of interest, sympathy, but under one condition: it should be short-term, short. A long, intense look directed in the eyes of the listener will cause him a feeling of anxiety, the feeling of pressure of the pressure.

9. In a large audience, you should smash everyone listen

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Lei on sectors and translate a look in the process of performing from one sector to another, without leaving any of the sectors.

Pose

If the speaker is worth, the legs should be slightly placed, socks are spread.

The focus on both legs should not be the same. In the most expressive places, the focus must be transferred more on the sock than on the heel.

The chest should be a bit "exhibited", the stomach is tightened.

The chin in no case should be omitted.

Hands should be slightly divorced, they should not be fixed. We should not take closed poses (hands close the chest, crossed on the chest, legs are crossed), such a posture is perceived by listeners as an expression of the distrust of the audience, a certain superiority over it.

It is better to stand than sitting. The higher the person over the audience, the stronger his communicative position (the rule of "vertical domination"), the more convincing.

You should not leap your hands about a low table, slightly leaning over it is the posture of dominance, which is negative as evaluated by the audience. This is a demonstration of aggressiveness; This pose is called sometimes "Pose of Male Gorilla".

If you are standing, putting forward one leg, please note what foot you put. If a person put forward his left foot, he demonstrates aggressiveness (as it would be preparing to strike the interlocutor's right hand), if he put forward right, "favorable" leg, he is open to dialogue, cooperation, looking for contact. Listeners subconsciously perceive this information, which should take into account the speaker.

Gestures speaker

The gesture is any human television, not only the movement of hands and brushes. Gestures can be made of legs, head, shoulders, all body, etc. Gestures are divided into index, descriptive, expressive and imitative, only the last type of gestures should not be used, speaking in front of the audience.

Speech without gestures is alarming listeners, "leaves precipitate prejudice and distrust" (P. rings).

The gesture of the speaker must meet the following requirements:

1. 
   Gesticulation should be natural, follow the natural impulses to gestures.
2. 
   Do not do intend gestures, they are always easily recognized as such by listeners and cause irritation.
3. 
   Gestures should not be continuous.
4. 
   Gestles need to be diversified, the same (or the same) gestures annoy the audience.
5. 
   You can not fly with your fingers, jewelry, touch the clock, etc. This is considered by the audience as a manifestation of your insecurity.
6. 
   Do not move open with your fingers.
7. 
   Hands should be slightly converged and disperse in the tact of conviction. But tips on the use of gestures that Frank Snell offers:

• 
  90% gestures make the above belt; Gestures below the belt are considered as an expression of failure, confusion;
• 
  elbows Keep no closer to three centimeters from the case; If you press the elbows to the body, it will indicate the weakness of your authority;
• 
  Hold the fingers of both hands as if you keep grapefruit in them; If your palms take an indefinite position, it is perceived by the audience as a lack of force and the ability to conduct an audience for themselves;

- Gesticulate always with both hands.

"Reading" speaker audience

He constantly receives information about the status of the audience, its mood and the attitude to him and reported by him. The speaker must constantly "read" this information and make adjustments to its speech if its received information encourages it. However, in order to "read" the audience and correctly understand the incoming signals, observation is necessary and some practical skill. Here you can give the novice speaker the following tips.

About attention to the speaker say:

- the views of the listeners aimed at the speaker;

- body position - body is tilted toward

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Torah; The listener moved to the edge of the chair, as if he wants to be closer to the orator;

- The tilt of the head (if the head is tilted by the Block, it speaks of the interest of the listener).

On the inattention to the speaker, the following facts speak of dissatisfaction:

- The view of the listener is aimed aside;

- the body is intense, landing straight, legs are reduced and stand on the floor (such a pose often means imitation of attention);

• 
  The head is not tilted, the listener holds his head straight, the spine is straightened;
• 
  The listener performs the following movement: The head is straightened, the shoulders rise, then they go down, the look begins to wander around - the loss of thought, loss of attention;
• 
  The body takes the position directed towards the exit (the listener is "served" to exit);

- Legs stretched forward and crossed, the body is thrown back, the head is lowered forward (most often means disagreement);

• 
  The head is supported by the whole palm;

• 
  Slugging the knob cap, tapping with the leg, tapping with your fingers on something;

• 
  drawing on paper, foreign items;

- lack of movement of the eyes, a non-moving look (imitation of attention);

- Easy stroking of the nose; - Hands firmly;

- stroking the neck (in men);

• 
  correction hairstyles, swinging the leg, searching for something in a handbag (in women);
• 
  The hand is touching ear and lowers down; The hand is touching the lips and lowers down (hidden desire to argue, kill);
• 
  Buttage jacket (man) and others.

The ability to "read" interlocutors is the most important quality of the lecturer coming with experience. It is necessary to develop it, to train in communicating with acquaintances, developing observation and ability to interpret the non-verbal behavior of the interlocutors.

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It should feel the effort, some call to follow the thought.

In 1956, the National Shepherd Competition was held in America to title pigs from distant distances. The winner explained his success so much: "In your voice there should be not only power, but also a call. You are convincing pigs that you have something seized for them. "

What is the optimal volume for a public speech? Of course, it is associated with the size of the audience. But it is important to choose exactly the volume that in these conditions will be optimal. It must be borne in mind that if the speaker says too quietly, the audience concludes, about his uncertainty, if it is too loud - about its aggressiveness. And that, and others need to try to avoid. P. The rings gave such advice: "Speak louder than it, in your opinion, you need." You can say so: Speak with such a volume so you feel that you are talking louder than usual; In the overwhelming majority of cases of this volume will be enough.

The following requirements are imposed on the intonation of a public speech.

First, it should not be monotonous, it must be changed throughout the speech. "Change the voting force, leave the rest, as is," recommends F. Snell.

Secondly, intonation should be natural, it must correspond to the content of what you say. Do not restrain your intonation, strive to express vigorously - and your intonation will be natural. The intonation that does not correspond to the content of speech is annoying listeners and causes distrust of words, sometimes even creates a comic effect. Once, they tell, Mark Twain in the morning strongly cut off while shaving and broke out, strong curses and curses. The wife, by chance he heard them, decided to repeat said to show her husband how roughly it sounds. Mark Twain listened to her and noticed: "Dear, the words of those music is not that."

The pace must be average, and the larger pauses should be avoided - they annoy the audience, especially well prepared.

Before an important place, the thought should be somewhat lowered the voice. Small pauses should be made before and after important thoughts. Pause "before" is preparing listeners to

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Boy important, "after" pause calls to strain and think about, stimulates mental activity.

Receptions of the fight against excitement during the performance

The speaker can have three reasons for excitement:

1. Fear of an unfamiliar audience.

Speak louder than usual, or louder than you were going - it also helps to cope with excitement.

The football player struggles with an excitement of an energetic warm-up - you can also use this technique: with increased energy, pronounce the phrases harvested in advance.

And also: find familiar or just cute faces and contact us at the beginning of the speech only to them, they will support you.

2. The feeling of bad, insufficient training.

In this case, you yourself are to blame. But something can be done: have a backup material, lower what you know and focus on what you know firm enough.

3. Creative emotion (will it be good to speak well? Will you understand how to play well?).

Such an emotion gives the speech sincerity and naturalness, it is not necessary to fight her.

And several techniques of combating excitement:

• 
  Increase the emotionality of speech;
• 
  Increase the speech volume;
• 
  Increase the energy of speech;
• 
  breathe mouth and nose at the same time;
• 
  Move your fingers behind your back or fingers;
• 
  Grasp the chair, the tribune, the edge of the table;
• 
  Clamp in a coin fist;
• 
  Take chalk, pointer;
• 
  Write something on the board, even if it is not very necessary (topic, sections of the plan, separate terms, quotes);
• 
  Do not apologize for the minor reservations - their listeners will not fix it, they will not give them values \u200b\u200bif you do not specify themselves; In general, apologize less - it enhances the excitement.

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Speaker reaction for problems and interference and course
Problems during the speech can very easily knock off the speaker with thought and even threaten all his performance. Therefore, it is necessary to firmly assimilate some receptions of responding to typical problems and interference that can meet in the process of public speaking.

Organizational and technical problems

1. The room comes to the room from the neighboring room or from the street, they are heard of other people's conversations, etc.

In this case, it should be possible to ignore this interference. Start talking louder, go closer to the listeners. You can send a listener to eliminate the interference. If the interference continues and it can be seen that the audience draws attention to it, reacts, it is best to react to it too - somehow comment, better in humorous plan.

2. At the door all the time surveillance.

You can ask the listener to hang a lecture note or ask the listener to come out and say not to come. If the peers appeal to you

Someone call or let go, it is better to pause and say: "Please do not interfere with us, we work" and

Then continue your speech.

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

Single desecting best not to notice; If the group entered - it is better to wait until they are sitting, inviting them to pass, demonstrating the maximum goodwill. You can admit an ironic joke type: "You and excuse us, please, that we started without you." No discontent should not be discussed.

4. Indoor has become stuffy.

In this case, it is better to take a break, ventilate the room. A break makes sense to do at least 10 minutes, the minimum breaks of the effect are not allowed. You can also reduce your performance.

5. Failed a microphone.

Declare a break and find appliances, call the organizer of the speech by making it through the listeners. If you can fix it, go into the hall and finish the performance in 2-3 minutes.

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6. Forecast light.

To do the same as when the microphone is disconnected: declare a break to eliminate the problem or in 2 minutes to finish the performance.

Oracle problems

Suppose you made a reservation and noticed it.

Small reservations do not correct - you will still understand you, do not attract attention to them.

If the reservation can distort the meaning - tell me: "Sorry, I made a reservation. I certainly meant ... "

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

If you have noticed that some point in your speech you lowered - continue, do not return immediately back, finish the thought or section. And then, if without lowered it is impossible, tell me: "What else I forgot to mention, so it's about ..." or "I want to go back now to ...". But before returning, think again - is it necessary to do this? Once in the course of the speech, this fact did not need, maybe he was superfluous?
Interference in the behavior of listeners

In the behavior of students you can allocate whole line Typical interference, which often make it difficult to work the speaker. What is this interference?

1. Active response to distracting external factors.

Audience, whatever interesting lecture or performance, can not pay attention to someone's intense cough, foreign movements, cotton doors, rustle paper, etc. "The audience cannot resist the temptation to take a look at any moving subject, an animal or a man ", rightly noted by D. Carnegie. To overcome this temptation, the audience has not yet been able to any speaker or artist. What to do if, for example, a sparrow flew into the audience? How to distract the listeners from him?

First, not to notice, as much as it is possible.

Secondly, wait for it "active actions", make

Pause - an audience for a long time will not be focused on it, and the listeners themselves will take some measures.
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Thirdly, use the "Connection" method - to pay attention to yourself, comment on, briefly discuss with the listeners, and then say: "Well, we will return to our work." Listeners usually perceive this technique well.

Fourthly, you can go closer to the listeners - it will interfere with them to be distracted.

2. Listeners are talking between themselves.

Do not take it immediately to your account, their conversations are most likely not connected with the lecture and, especially since you personally. It is also better not to notice the interference as long as possible. You can also go closer (this is very effective), look a longer, talking for some time, turning to them, take a pause (you can unexpected), ask them the question - "Do you agree? You do not agree? ".

3. Someone yawns in your face.

You should not immediately attract it to yourself - maybe the listener is just tired. It is not worth reacting until you realize that it has already noticed listeners and react. In this case, it is better to say: "Yes, something has become stuffy here, there is not enough air. I see some difficult to breathe - maybe we will take a little break, do the room? "

4. The listeners get up and go.

Do not relate to yourself - they may have a variety of reasons. Do not react in any way, do not make them comments. On the contrary, it can be said: "Comrades, if someone needs to urgently leave, please, only slowly go out." Do not show that it hurts you.

5. Replica disagree is distributed from the spot.

If these replicas are trivial - pretend that they did not hear or did not understand. If the listener becomes insist on his point of view, then you need to enter into a discussion, but quite formal: "I understood your point of view. But I have another, I now (or a little later) I will give more additional arguments. "

If the objection is not connected with personal ambitions, but really important, then it is better to say: "I will return to your remark, but if you allow me to be a little later," and be sure to hold the promise.

If disagreement is expressed in a sharp, categorical form, then it is better not to enter into a discussion, saying: "I understood
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Shu point of view. Well, the future will show who of us is the right. "

6. From the spot there are rude, provocative shouts, replicas.

In the audience there may be people with low culture who want to show that this speaker is not so good and smart; Not so competent. They want their replicas to show themselves, stand out, draw attention to themselves ("Complex Moski"). How to behave with such people?

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

If it is impossible, do not show that she hurt you or offended, just show your superiority, control over the situation. Tell me: yes ...! Well, not to add anything! (pause). Well, we still go further ... you can say and ironically: "Yes, I understand your problems ... But sorry, we need to go on ..." Third reception: "I understood your question ... (Although it was not a question at all; it immediately puts the intruder in a dead end), but we are now, unfortunately, we cannot stop in detail on this issue ... "

No need to put the provocateur in place - this is already a pass, and he only needs it. It is emphasized politely and correctly respond to any replicas of other people - that you will show that you condemn it.

If you are confident in your abilities - step immediately, using irony, joke, sarcasm. To do this, it is necessary to keep sharp spinners, fables, jokes, sayings, stories ("You know, this replica reminded me of a case ..." - the common laughter will put the Hama to the place for a long time, even if what you told, and has a very indirect Attitude towards his replica.

Another way - Try it to praise, find some kind of rational grain in his replica and use it to tell you additionally anything interesting.

The deferred answer is also effective. Tell me: "I understood your idea (the question, the idea), I will answer you, but if you let it - at the end, and now it will lead to us aside." And at the end, when the time of your performance is dried, refer to the audience: "Here was another question, you need to answer it?" Necessarily several people shout: "Not

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Before, everything is clear! " - "Well, no need, it is not necessary. Thank you for attention".

You can ask the provocateor to wait a minute: - by a minute, I will only finish the thought ... Speaking for many more minutes 2-3, no less, contact the provocator: "So what did you want to say? Nothing? Well, then we will go further! "

You can admit: "Yes, in what you say is a problem. Unfortunately, we will not decide it now, it is necessary to talk about it separately. "

And one more way - if the replica is very rude, I should say: "Sorry, I did not understand what you said. Be kind, repeat once again the pogromic and preferred! " As a rule, he will not be able to say the second time. "Well, then go further."

A sharply pronounced disagreement can be translated into a personal plane. So, at the lecture on communicating in the family, one listener indignantly cried out: "So, you can not do my husband, and in general, you can not do any comments?" "I understand your problems," the lecturer answered. - I sure that yoursmy husband must do comments. " The answer was posted in the general laughter of the audience, and the listener was laughed, who asked the question.

Somehow, they are told, in the British parliament, a debate was going, and W. Churchill stiffly told Laborists. Jumped up the elderly and ugly laburist and screamed on the whole hall: "Mr. Churchill, you are blame! If I were your wife, it would push you into the coffe. " There was a mixture. But the imperturbable descendant of the Dukes of Malboro, withsting the dismissed lady with a condolenty gaze, said: "If you were my wife, then I would pour this poison with pleasure ..."

We note in conclusion that we can restore the audience, to restore the discipline, accompanying a soft speech by stable gestures towards those who violate the discipline - pointing to the hand in their direction, or simply stretching the hand towards the intruders. An indicable gesture, as noticed, soothes even animals. The gesticulation of the elongated hand, especially if you approach the troubles of calm, has a very effective impact on them.

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Lecture 6.

Form and Composition of Public Speech
A public speech may acquire different forms - speech, replica, public lecture, radio simulation, lecture - conversation, dialogue lecture, conversation, meeting around the round table, etc.

Which of these forms are most effective? Of course, the effectiveness of one form or another is associated with the content of the speech, with the size and nature of the audience. However, there are studies that show that, with other things being equal, the listeners prefer completely certain forms of communication with the speaker. The study conducted in 1989 by the authors of the magazine "Word Lector" (No. 6, p. 40) showed that for a number of parameters the most effective forms of public speech should be considered a conversation in a small audience and a dialogue lecture. Here are some data:

	mastering material	Activity, interest listeners
Lecture-dialogue	83%	97%
Conversation in a small audience	89%	95%
For comparison: Public lecture	55%	81%
Radio simulation	66%	39%
« round table»	67%	89%

From the comparison of the data obtained by the authors, the data of data obviously implies that the most effective are the most effective forms of public speeches; The dialogue lecture suggests the moments of conversation, controversy with listeners, listening to objections and their discussion; conversation in a small audience (a small audience is not exceeding 20-25 people) in general
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Close to the usual conversation. It is the partition of manners by virtue of what was said actors the most important condition for an effective public speech.

You can also make a conclusion about the size of the audience: the less the audience, the public performance is more effective. However, especially small audiences (less than 15 people) create additional difficulties for the speaker; Therefore, it should be optimal to consider the composition of the audience from 15 to 25 people; In such an audience, usually high activity of listeners and easily establish contact with them. Once again we emphasize that it is necessary to maximize the dialogue of the speeches, bring it to the usual interpersonal communication interlocutors - this form Public speaking has high efficiency.

Any public speech has a certain structure, is built according to certain rules, even if the speaker does not realize this. By the way, the awareness of the structure of his speech, as established, significantly increases the efficiency of public speaking. The speaker should not only be aware, but also prepare his performance in terms of its structure, composition.

General principles for building a public speech

There are some general principlesThat must be observed, keep in mind when developing the structure of a public speech. These principles are:

1. The principle of brevity.

The audience does not like long performances. A brief speech is always assessed above than the long (with similar content), the audience determines the brief performances as the performance of "in the case".

2. The principle of sequence.

Do not jump from one topic to another, consistently develop the same topic. "Do not compete with a mountain goat," he warned the speakers D. Carnegie. All microtheles that can be found in your speech must be subject to topic. It is believed that their number should not be more than three.

3. The principle of focus.

Speech must be structural attitude build-

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So that the speaker himself, and after him, the listeners were aware of the focus on the following chain:

The problem is the topic - the thesis is the purpose of the speech.

The problem is a deserving of the discussion of the thought, an idea that has public importance or meaning for a group of people.

The topic is an aspect of the problem elected for discussion.

Thesis is the expression of the main thought of the speaker in verbal form.

Thesis is formulated as a statement, it predetermines the purpose of speech, should be unambiguously understood and maintain a reference concept, that is usually the concept of the subject.

Arguments are evidence given in support of the thesis.

For example, the problem: "How to improve the well-being of our people." The topic of performances: "Can private entrepreneurship improve the well-being of the people?". Thesis: "Private entrepreneurship can improve the well-being of the people if it becomes a massive, publicly available." The purpose of the speech: the call to engage in entrepreneurship or the call is not to interfere with entrepreneurs, etc.

The presentation consists in proof of the thesis with the help of arguments.

4. Principle of strengthening.

Speech impact on listeners should increase from the beginning of the speech to its end.

This can be achieved by the location of the material in importance, the enhancement of the emotional flow of the presentation, the location of the arguments by persuasiveness, an increase in the intensity of the presentation, intonational means, etc.

5. Principle of performance.

The speech must necessarily contain some suggested listeners with a call for action, a recommendation for further behavior. "The Word is always aimed at bringing out one or another initiative in people, encourage them to act," said O. Ernst.

The output or appeal must be necessarily formulated by words. The stated principles of building a public speech must be implemented in the structure, compositions of the speech.

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Structure of public speech

The information that the speaker offers listeners must necessarily be structured, is a form, convenient for presentation of l convenient for perception.

Speeches are usually built on the traditional three-part composition: entry, the main part, conclusion. This composition is traditional, the audience is waiting for such a composition and should not be deceived. It is such a construction of a speech facilitates the audience perception of oral presentation.

In joining, there is a zinch (the goal is to prepare an audience for perception, make it listen to, draw attention) and the urgent (goal is to explain the thesis, intrigue formulation, show the relevance of the discussion of the issue).

The main part contains a statement of a performance plan and the argument of the thesis.

The conclusion may include a reminder (set to remind the main thesis, return to the original problem), a generalization (the goal is to formulate the generalizing conclusion in words) and the call (the goal is to mobilize the listeners to some reaction).

The most important condition to which any public speech should satisfy is the following: the structure (logic) of the speech should be detected in the speech and be understandable for listeners.

In order to achieve this, the structural parts of the speech must be denoted by special words either technically (pauses, decrease in tone).

Examples of such means of highlighting the logical parts of the performance are: I will start with ..., now ..., and finally, oh .., in conclusion, I will note that ... and others can be used similarly: firstly ... Secondly ..., thirdly ...

Studies have shown that numeratives as indicators logical structure The presentation is perceived by the audience very well, and they are recommended to use them. We note, however, that more than four points, evidence or examples for listeners are already "a lot": since four, a person's consciousness perceives listed as "a lot" that is no longer so efficient. It is best to have three parts, consider three questions, bring three arguments, etc. The same applies to microthemam - the optimal number of three.

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Of great importance is the submission of the most important, essential information. In what place to give it to give? IN late XIX. A century Herman Ebbigauz established the law of the region: the information is better remembered at the beginning and end. With this in mind, it is possible to apply the framework construction of the performance of the performance: the goal of our lecture ... So we have established that ... This method of filing important information works especially well in the prepared audience. Important information can be given in the listing: first, secondly, thirdly ..., it works better in a heterogeneous and unprepared audience.

Speaking in the audience of like-minded people, it is imperative to effectively give at the end of the speech, in a neutral, disinterested or critical audience - at the beginning of the speech.

We give several model plans of performances that suggested in your book D. Carnegie - they can come in handy in the preparation of small messages. So:

1. Statement of facts. 2. Considerations arising from them. 3. Call for action.

1. Demonstrate something bad. 2. Show how to remedy. 3. Request for cooperation.

1. Here is the position that needs to be corrected. 2. We need to do something and that. 3. You must help for such reasons.

1. To achieve interest and attention. 2. Consider confidence. 3. Share the facts and explain the advantages of your offer. 4. Create convincing motives that encourage people to act.
Lecture 7.

Start of public speech
Introduction is necessary element Any public speech. Introduction varies depending on the preparedness of the audience: in a well-prepared audience, it may be minimal, consisting only from the risk, without a zeal; In a less prepared audience, the introductory part must be more detailed and include stained.

Installation is needed in order to take possession of the audio

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Thoria, capture her attention. F. Snell wrote: "The first sentence can be compared with the chamber of the commercial agent in your door."

P. Pivor, who paid a lot of attention to the problem of capturing the attention of the audience, noted: "To affect the indifferent audience, it is much more difficult to affect your opinion about your opinion ... It is more difficult to bring the subject in motion than maintaining the movement itself. The listener also is in a state of inertia peace and movement. Therefore, the introduction is the most important part of the information speech. "

Tell such a case. One farmer sold Moula. The buyer submitted several teams, but Moul did not fulfill them.

"Your mule is deaf," said the buyer.

The farmer did not say a word, took the baton and hit the mule her eyes. Then he whispered something in his ear. Moul rived and rushed at all speed.

The buyer was amazed.

• 
  Why did you fuck his baton? Farmer replied:
• 
  At first it is necessary to attract his attention ... attention really must first attract. Attention is the focus of mental activity and its concentration on the facility ... ATTENTION There is an involuntary - such attention occurs inadvertently (for example, to a siren of a fire truck, lightning outside the subject moving the subject in the lecture audience, etc.), arbitrary - consciously adjustable concentration on The object and afterplay - supported by interest (for example, began to read the book and carried away). In the audience, it is necessary to call, first of all, arbitrary attention. Studies show that for this you need to create installations for attention on the listeners.

Attracts to capture attention

The practice was developed a number of effective techniques for capturing the attention of the audience in the introductory part of the public speech. Almost all of these techniques can easily apply even a novice speaker.

- appeal to event, time, place.

"Start from the place where you are," P. Pivor advises. Tell me: we gathered today in the audience, in

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Which ... Here is the portrait of Lenin ... Today anniversary ... Two months ago, I performed in the same audience, and then ... I think everyone watched the news on TV and know ... This morning in the last news reported, etc. etc.

This reception is simple and very effective to attract attention.

- Appeal to life interests Listeners, to what concerns them daily. Tuping questions that remove or can remove personal tension from listeners, help them solve any of their everyday problems. This is what D. Carnegie wrote on this topic: "We are not interested in the conversation on the topic" How the wills are drawn up in Peru ", but we would be interested in the conversation" how to make our own wills "(p. 65).

P. The opponent gave a curious classification of people's interests, taming that, we will ensure our attention to the audience.

He allocated "the main interests" of people:

Questions of life and death;

Health;

Profession;

Social prestige;

Danger;

Urgent events.

In addition to them, he incorporated such problems as: patriotism, debt, honor, sense of justice, desire to correct evil, compassion for wordless sufferers.

"Group interests", according to P. Splat, is a bribery in local self-government, taxes, air, the problem of crime in the place of residence.

"Topical Interests" - epidemics, election campaign, new law, position in the world.

"Specific interests" - a car, a house, food, ego things, that is, what we are in contact with each day.

It is easy to see that the interests allocated by P. rival are mainly American, but it is important to understand the principles of allocating such interests.

- Excitement of curiosity.

Tuping an unusual fact that shows a hearing
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In the televisions that they still do not know everything. For example: "Do you know that slavery exists in 17 countries of the world?" - "How? In what?"

Promise to tell "about other people's lands and peoples, mysterious incidents, wonders of the past and present" (P. rings).

Give a paradox that will initiate the mental activities of the listeners. Putting the audience before the paradox, we achieve the fact that the audience will show interest in the problem: But what about the speaker will allow this paradox? Wed: "Einstein said that education is what remains when everything learned is forgotten." Is it correct?" Or: "As Heine said, the sages think of their thoughts, fools announce them. Do you agree with this?" Or one more option: "The more poverty, the more hope. So told Sholom Aleichem. Indeed, why so? ".

Curiosity can be called by putting listeners in front of the dilemma: the mechanism will be the same as when it is proposing some paradoxical approval - the audience does not want to solve the problem, but she wants the speaker for it, and attention will be ensured.

L. P. Grossman in the book "On the art of a lecturers" (M., 1970, p. 17) gives an example of a dilemma at the beginning of a public speech by A. V. Lunacharsky, who performed on the topic "Pushkin and Nekrasov". A. V. Lunacharsky began his speech like this:

"Plekhanov recalled that at the funeral of Nekrasov Dostoevsky said over the grave:" He was not lower than Pushkin. " But a whole choir of young votes from the crowd shouted: "Above, above!". Dostoevsky made an effort, frowned and said: "Not higher, but not lower than Pushkin." And again the choir of young votes: "Above, above!" And behind this choir of votes stood many conscious elements of the then Russia.

So who is higher? "

- Appeal to the fight, conflict.

Dalya Carnegie belongs to this, a wonderful statement, which any speaker must remember: "The world loves to listen to the fight. When the heroes in the movies begin to hug, everyone is looking for a coat and hats. "

P. Pivor suggests the speaker to find in the topic what

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hurts the adventure veil; "Look for a conflict: the collision in the struggle causes an invalid interest." Remember: People willingly watch the household conflicts on the street, stop laying on a fight, fire, accident, etc. Announce at the very beginning of a speech about the conflict or dramatic situation, which you intend to tell you, you will win the attention of the audience. It is worth the speaker to say: "In the winter of 1930, in a rapid night, when the cargo ship approached the coast ... - And the audience will immediately grow" (P. rolling, p. 137). Or another option began: "Quarrels between husband and wife are common in families. Why is this happening?" Or: "The other day I witnessed a stormy conflict in line. What did it all start? .. "

- Demonstration of any object.

You can start like this: "Here I have a book in my hands. Beautiful binding, magnificent paper, well published. She is very attracted to those who take her in hand ... At the same time, there is not a word of truth in it ... "

Or: "So I brought to show you a small icon. He miraculously remained with me, I do not even know how. And this icon is "Voroshilovsky arrows." Who knows what they were given in our country? "

- a story about myself, my personal experience, case from your life, about your read.

You can tell about your experiences, feelings: "I am very worried today, speaking before you, because ...". Other possible options for ourselves: "Once I had to witness an interesting dispute ... I recently had read that ... Once there was such a case with me ... Somehow I was driving the train from Moscow and With my coupe, a very interesting fellow traveler turned out to be ... and so on.

- Citation of a friend.

Give the statement of your good friend, friend, friend. This statement may be filed in the best form, processed so as to cause interest among the listeners.

- Citation of celebrities. For example: "Bernard show somehow said ..."; "They say Peter I spoke to his associates ..."; "Einstein owns a very curious phrase ..." and so on. The convenience of this start is that aphorism or winged phrase easily
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Prepare in advance, and its quality will ensure attention.

- Historical episode.

You can start like this: "In the XVIII century, under the French court there was a custom ..."; "I will tell you about one interesting case described by our historians in early XIX. century ... "; "We are all pretty well known to the past, and therefore the lessons of the past we are taught little. At the same time, we can a lot of useful to learn even from the life of the ancient gerades. "Do you know that already among the ancient Romans was accepted ...", etc.

For example: "Yesterday in Izvestia, there was a small note about ...", "This morning in the program" Business time

People "I heard a curious message ..."; "Yesterday, late in the evening," Lighthouse "gave that ..." etc. This technique is very reliable as a means of capturing attention, because among the students there will be people who listened or looked, read what you are about to tell, And it immediately puts them in position "at the same time with the speaker"; Such people usually speak sitting nearby: "Yes, I saw (read, listened) too ..." and mobilize these other listeners to listen carefully. It is still quite well to give some details: "Hours at eleven in the" lighthouse "...", "In the morning, I was just going to leave, stood in the corridor and heard ...", etc. Additional details - when, where, In what conditions you received the information that share with the listeners, has an additional attractive "action.

- setting the problematic question and answer to it. This method of capturing attention is recommended by D. Carnegie; Its limited is that the different audience reacts differently to such a beginning - a low-prepared, the heterogeneous audience reacts to such a beginning more passively than the prepared.

- A rhetorical question.

If the rhetorical question is asked emotionally, a pause is withstanding after it, then the speaker in most cases is able to attack the attention of the audience. It should be borne in mind that the topic set at the beginning of the speech by a rhetorical issue should further be immediately developed, specified - others,

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more specific rhetorical issues or arguments; A single rhetorical question looks often too declarative, "beautifully."

- The presentation of the purpose and tasks of the speech.

This technique is effective only in a very competent audience, when the listeners are initially well understood in the problem and their attention is already actually ensured by the interest on the topic.

There are some purely "technical" ways to capture charging:

• 
  Printing intentionally loud phrase;
• 
  Printing the phrase "foreign voice";

• 
  Completing an unusual action (for example, the listeners do not calm down for a long time, and the speaker begins to look for a long time in his portfolio: everything will be sick, wrapped with curiosity - what is it looking for there?

You can specify and some incorrect techniques in the initial part of the speech:

Do not say that you are not a speaker.

Do not start a performance with an apology.

Do not start speaking with a joke.

The latest recommendation is especially important for our audience. An American audience, for example, admits such a beginning and reacts to a joke at the very beginning, but the Russian audience does not consider this beginning to be acceptable, not used to him and evaluate such a beginning as an unsuccessful, as evidence of the sound of the speaker or decrypts the joke as the desire of the speaker from everyone Forces please audiences. If any communicative reception is decrypted, its action is zero and it even degrades the communicative position of the speaker.

Once a speaker who had to perform in front of the audience of teachers of universities on ecology topics (and a lecture on ecology was forced to listen to) to gain attention and location of the audience, began his lecture like this: "We all love to drink (?!) ... But that To drink, you need to have something to eat (?!). And to have something to eat, it is necessary that it has grown ... and to grow, you need a good ecological situation... So we will talk today about the significance of ecology in the life of human society! " Such a start caused bewilderment and a cross in the audience, and the speaker was perceived as a non-serious. "Buffoon",
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She said about him one of the listeners. Listening to his audience did not want. So with humor in the initial stage of the speech it is necessary to be very careful. Do not assume that you must be necessarily witty since its appearance in front of people. Humor better save for later, in the next stages of your performance.
Lecture 8.

argumentation
The concept of argument

Under the argument means the process of bringing evidence, explanations, sources to the system to substantiate any thought in front of the listeners or the interlocutor.

From the given definition it is clear that:

Argument is systemstatements, that is, they must be connected with each other;

Argument is process,consequently, it is necessary to arrange allegations, arguments in a certain thoughtful sequence.

The fact that the arguments you provide form the system and are located in a certain sequence, should be obvious not only to you, but also to your listeners, that is, the argument should be carried out in such a way that the listeners of the arguments perceived. Thus, the task of the speaker is not only to offer a certain argument system in defense of some idea, but also to ensure its understandability, accessibility of the audience.

Objectives of argument

The arguments that lead a speaker are divided into the arguments "for" and the arguments against ".

Your arguments "for" must convince the audience as follows:

• 
  that they are true, rely on authoritative sources;
• 
  that they are available, simple and understandable;

- that they are as close as possible established in the audience of opinions, ideas about justice, honor, social ideal;

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- that they reflect objective reality, correspond common sense.

Arguments "Against" should convince the audience that the positions criticized by you, the points of view do not possess the signs that are highlighted above for the "For" argument.

To achieve the objectives of the argument, it is necessary to use the most powerful arguments. The force of the argument is the concept of relative, as it depends on the situation, the emotional-mental state of listeners and many other factors - sex, age, professional training Audience, etc. However, a number of typical arguments can be distinguished, which are considered strong in most audiences. These arguments are usually the following: scientific axioms, the provisions of laws and official documents, the laws of nature, conclusions confirmed experimentally, the conclusions of experts, references to recognized authorities, quotes from authoritative authors, sources, eyewitness testimony, statistical data.

The optimal number of arguments in the proof of the thesis for the most part is the number "Three": one argument is still just a fact, two arguments - "First, secondly," one can argue - "first, secondly," and Three arguments do it harder. The third argument is the third blow; Starting from the fourth argument, the audience, as already noted, perceives the arguments no longer as a certain system ("first, second and finally, third"), but as a "many" arguments; At the same time, it does not rack the impression that he tries to put pressure on the audience, "persuades." There is an old saying: who proves a lot, he proves nothing. So, "a lot" begins with the fourth argument.

Methods of argument

There are various classifications of argumentation methods. Summarizing them, we can talk about the following ways.

1. Downward and upward.

These argument methods differ in order to increase or weakens the argument by the end of the speech.

Downward The argument is that at the beginning of the speaker leads the strongest arguments, then -
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Less strong, and completes the performance by an emotional request, motivation or output.

For such a principle, for example, a request will be built with a request to help in solving the apartment issue: "I ask you to pay attention to my plight with housing. I live ... I ... I ask you to help me. "

The advantages of downliving argument are that it is:

- it makes it easier to attract and keep the attention of the audience;

- makes the thought at the beginning and feelings at the end;

- The first arguments are better remembered. Observations show that descending argumentation is most effective in a weakly prepared, little interested or completely disinterested audience.

It is also necessary to keep in mind that weak arguments for descending argument look better than with other argument methods. According to E. A. Yunina and G. M. Sagach, "If" weak "arguments are used as a" strong "supplement (and not as relatively independent), the degree of their" weakness "decreases and vice versa" (p. 95) .

Ascendingthe argument suggests that the argument and heat of feelings are strengthened by the end of the speech.

According to this principle, for example, such a performance is: "Well, we will see who will be right in the end ... We already have experience ... We created organizational structures... We managed to attract leading specialists ... We now know exactly what you do not need to do ... in general, for one broken two non-bidded! "

The advantage of ascending argument is to bring the thinking and emotional circulary to the audience to the limit.

This method of argumentation is effective in a prepared, highly interested audience. It gives effect:

If the atmosphere in the audience is calm and speaker are ready to listen;

If the thought that needs to justify is complex;

If the problem for the audience is not fully solved;

If the audience can make an independent conclusion.

II. One-sided and bilateral argumentation.

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One-sidedargument by the speaker of his position. Assumes that:

Or only outlines the arguments "for" (pure positive);

Or outlines only the arguments against "(pure negative).

With bilateralarguments The listener makes it possible to compare the point of view, make it possible to choose from two alternatives, setting out opposite points of view.

A variation of the method of bilateral argumentation is the so-called method of contrarganization, when the speaker leads its arguments as denial of the arguments of the opponent, to pre-put them. For example: "They say that we do not know how to work, you are not able to manage ... Well, let's look at the facts ...".

An opponent with bilateral argumentation and counterproofing can be as real - for example, a person who is a carrier of certain views and "fictional", designed by the speaker itself. Such a reception is called "Chucks of Opponent": Some typical opinion is simulated on the issue, sets out; All the pros and cons and conclusions are made.

In the course of the speech, the intake of the opponent can also be used - when the speaker, having put forward a certain position, objects himself on behalf of some anonymous opponent: "They can say that ...", "you can foresee what ...", " It is often observed that ... etc.

What can be said about the effectiveness of one-sided and bilateral argumentation? A. V. Stshov, Yu. S. Krizanskaya, V.P. Tretyakov, etc. So these two ways of argumentation are so correlated:

One-sided	Bilateral counterproofing
Effective to strengthen the consciousness of people who already have views and installations on the proposed material	Effective when exposed to the consciousness of people, negatively belonging to the reported
Well acts on people in poor educated	Better acts on the prepared audience
Allows you to work out less persistent beliefs	Contributes to the development of immunity to the manipulation of consciousness in the future, increases counterpopagaganda resistance, produces more persistent beliefs
Teaches to perceive ready-made thoughts	Teaches to analyze, do independent conclusions

Perception of speaker audience

There is a famous saying - "They meet by clothes, in the mind they escort." If it were always so ... This saying is true only in relation to long-term communication, and the meeting with the audience is not. Hence the huge role of the first impression for the speaker.

What you need to know about the first impression?

First, the first impression is very strong, bright, it is well remembered, he wants to succumb.

Secondly, the first impression can be far from the truth, erroneously.

Thirdly, the first impression is very stable, it is long and securely stored.

Fourthly, the individual qualities of the speaker are also evaluated and remembered.

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

Sixth, you will not have a chance for the first time to make the first impression.

Oratory personality

Listeners are not separated in the process of speech the information that the speaker reports from the personality of the speaker itself.

Any audience remembers the first of all the speaker, and already in the second - what he said. The information is firmly tied to the personality of the speaker: she liked the speaker - I will like what he preaches.

In the speaker, the audience wants to see primarily personality, individuality, dissimilar to others.

D. Carnegie emphasized: "The most precious thing for the speaker is his individuality, we lose it and take care." It is the individuality of oratory manner that is the most important factor that encourages listening to the speaker. The person is remembered, and with the personality - the ideas of this person.

Rhetorical positions of the speaker during the performance

In the process of performances, every speaker occupies a certain rhetorical position - That is, chooses for itself the role in which he will perform. Such rhetorical positions can be distinguished quite a lot, we call only the most typical and frequently used.

1. Position of the informant

Such a position involves a pure presentation of some material, accompanied by a prevention of possible errors in understanding. From this position, instructive or directorial information is usually set out.

2. Position commentator

This position is usually occupied if the audience basically knows and is waiting for additional information and personal estimates.

3. Position of the interlocutor

This position assumes that the speaker shares the interests and concerns of the audience, acts on equal. This position assumes that the speaker appeals to the audience with a request to express his opinion, the issues widely use.

4. Position of the counsel

The position of the adviser is usually occupied if the listeners are well prepared in the basic region. The speaker in this case only as if "puts accents."

5. Position of the emotional leader

This position is occupied if there is a raised mood in the audience, if the speaker itself knows well and is waiting with interest and impatience. In the position of the emotional leader, the speaker feels quite freely, improvised deviations are allowed from the topic.

There are rhetorical positions communicative suicidethat are recommended to avoid in every way. To such, first of all, the position mentor. (Orator of moral, categorical); position tribune (exaggerated pathos), position smokera ("Be careful, I will finish soon").

It must be borne in mind that only performances lasting than one minute can be carried out from one position; The vast majority of performances should be carried out by occupying alternately different positions along the performance. It is important to consider before the performance, what position you will occupy, setting out the material.

Appearance Spear

The appearance of the speaker must be attractive, but within the normal range. Excessive attractiveness of the speaker distracts from the content of his performance and reduces the confidence in the material outlined by them.

The man is better to act in a suit that must be moderately fashionable. A woman should also be dressed moderately fashionable; Very fashionable dressed women are evaluated by the audience negatively. A suit or dress should not tightly facilitate the shape. Woman better to perform without jewelry, a man - remove all of the pockets (entries, sticking pencils and handles, newspapers). The speaker's clothing should correspond to its age, all sorts of inconsistencies in the one and the other side annoy the audience.

Reduce confidence in the speaker: Clothes of bright, saturated colors; too fashionable clothes; numerous decorations; Coquette elements of women's clothing (lace, volaniki, etc.). Enhance trust glasses in a dark frame.

The style of performances

P. The opponent wrote that the manner of performances is more important than the appearance of the speaker - the manner makes you forget about the appearance.

We indicate that in no case should not be felt in the style of speaking speaker:

· The speaker should not look: tired; hurrying; dissatisfied (premises, latency of the start of work, the number of assembled, late, etc.; excessively excited;

· Orator should not demonstrate: helplessness, indecision;

· Orator in no case should apologize to the audience for his mission ("Sorry, I'm holding you," "suffer, I will finish soon", etc.).

What is the optimal style of performances? It must meet the following requirements.

Energy of presentation

All speech must be energetic from beginning to end. The speech energy is transmitted to the listeners, it keeps them in voltage and increases confidence in the information contained in the speech. "Be energetic," D. Carnegie advised. - Energy has magnetic properties. People accumulate around the energetic speaker, like wild geese around the winter wheat field. " "Do not die with your energy," he advised.

Physical vigor, mobility

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

Confident appearance

The confidence of the speaker very quickly passes the audience, and she begins to perceive what spent says, everything is less and less critically, everything with great confidence. "Have a confident appearance - it acts on the listeners positively," the speakers called P. Pivor. It is necessary to keep the chin above; Stand directly without leaving; Look in the eyes of listeners. D. Carnegie advises: "Look straight into your eyes to your listeners and start talking so confident as if they all need money to you ... Imagine that they gathered here to ask you to postpone the payment period."

Friendly, intimate tone

The audience is waiting for a friendly, intimate conversation from Orator. You need to meet her towards. It is necessary to talk to the audience as with one person, in the same relaxed manner.

It has been established that the more "his" he feels an audience, the more she trusts what he says. It is necessary to emphasize the community of your personal problems, difficulties and interests, problems, the difficulties of your audience.

You should not run away from the audience immediately after the speech, it is necessary to give the opportunity to approach you, throw off the replicas, ask a question, to express your attitude to the above you - this also leaves the audience a positive "aftertaste."

Location in the audience

The speaker in the audience is better to stand, it should be clearly visible. It is necessary to stand in front of the audience, and not among it.

Tribunes, elevations, estrad is recommended whenever possible use as little as possible. Towing artificially over the audience, he demonstrates her official superiority, which contradicts the rule of "intimacy of communication", which is very effective in public speech. If the listeners are less than 75 people, then you should talk at the bottom, and not with the elevation, P. Pot.

Traffic

You can not stand in one pose, you need to move.

Stilling speakers did not really trust the audience, considers them conservatively thinking the movement of the speaker on the audience increases confidence in it, strengthens the sympathy of the audience.

It is necessary to walk mostly before the audience, but in the depth of the hall, and it should not be very deepened and reach the last rows of students - in this case, those who sit ahead feel uncomfortable, they are forced to turn around after the speaker. It is best to deepen no more than a third of the lines of the hall and at the same time, returning back, should not be turned back to the hall, you need to move back "reverse".

The gait of the speaker should be flat, measured, without acceleration, is somewhat slower than the usual man's walk - only in this case, the gait diversifies the perception of the performance, and does not distract from it. When walking, in no case cannot be swinging - it is very distracting listeners.

By looking at the audience, the speaker should not be recorded on any one, as it causes the audience to transfer his attention to what he looks at the speaker.

Close to the listeners.

Go down to the hall, go to the audience (slowly, and not very abusing this technique), lean to the listeners. If you come up with elevation - come to its very edge. Because of the podium from time to time, go out and become next to it, or in general stand next to the tribune, and not for it.

Look at the audience.

The view of the speaker has very important for the audience. The listeners believe that if the speaker looks at them, their opinion and the assessment is important for him, and this makes them listen more actively and carefully. In addition, if the interlocutor looks at us a little, we believe that he does not apply to us ("I didn't even look!"), Neglects us.

1. The speaker should look at all listeners alternately, not highlighting any of them personally.

2. In a large audience, you should smash all listeners on the sectors and translate the view in the process of performing from one sector to another, without leaving any of the sectors.

3. Do not perform, looking at the "space", it causes distrust and irritation of listeners. Do not look in the process of performing on the floor, on your feet, in the window, in the ceiling, not consider foreign objects. This leads to the loss of contact with the audience.

4. Transferring a look by the audience, do it slowly.

5. Look at the listeners Friendly, the look you meet friends. Pretend that we are glad to look at everyone, it's nice.

Poses and gestures

If the speaker is worth, the legs should be slightly placed, socks are spread.

The focus on both legs should not be the same. In the most expressive places, the focus must be transferred more on the sock than on the heel.

The chin should be slightly raised. The chest should be a bit "exhibited", the stomach is tightened.

Elbows Keep no closer to three centimeters from the case; If you press the elbows to the body, it will indicate your insecurity;

It is better to stand than sitting. The higher the person over the audience, the stronger his communicative position (the rule of "vertical domination"), the more convincing.

Do not lean your hands about a low table, slightly leaning over it, this is the dominance posture that is negatively assessed by the audience. This is a demonstration of aggressiveness; This pose is called sometimes "Pose of Male Gorilla".

Use in the process of speech gestures. Speech without gestures is alarming listeners, "leaves precipitate prejudice and distrust" (P. rings). Demonstrate open poses and gestures, that is, gestures and poses showing the desire for contact, goodwill, desire to convince. Hands should be slightly divorced, they should not be fixed. Use the movements of the hands towards the listeners when the palms are disclosed to the listeners (the palm of the speaker should be visible).

Use rhetorical gestures: Hands should slightly converge and diverge, rise and fall into the tact of belief.

The gesture of the speaker must meet the following requirements:

· Gesticulation should be natural, follow the natural impetus to the gestures.

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

· Gestures need to diversify, you can not repeat the same (or the same) - it annoys the audience.

· Gesticulating with both hands.

· You can not to pull our clothes, decorations, touch the clock, etc. This is considered to be an audience as a manifestation of your insecurity, and such gestures are called intrusive: they are very distracting the listeners, and the speaker speech is made by monotonous and inexpressive.

· Do not make sharp, gusty movements with elbows.

· Do not interrupt the gestures started, bring them to the end

· Do not move open with your fingers.

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

What is the optimal volume for a public speech? It must be borne in mind that if the speaker says too quietly, the audience concludes about his uncertainty, if it is too loud - about its aggressiveness. And that, and others need to try to avoid. P. The rings gave such advice: "Speak louder than it, in your opinion, you need." You can say so: Talk to such a volume so that you feel that you speak louder than usual; In the overwhelming majority of cases of this volume will be enough.

The following requirements are imposed on the intonation of a public speech.

First, she should not be monotonous, it must be changed throughout the speech.

Secondly, intonation should corresponding content What are you talking about. Do not restrain your intonation, strive to express vigorously - and your intonation will be natural. The intonation that does not correspond to the content of speech, annoys the listeners and causes distrust of his words.

Use the average tempo of speech, is usually the optimal pace.

Large pauses should be avoided - they annoy the audience, especially well prepared.

Before an important place, the thought should be somewhat lowered the voice. Small pauses should be made before and after important thoughts. The pause "before" prepares the listeners to any important, the pause "after" calls to strain and think about, stimulates mental activities.

Receptions of the fight against excitement during the performance

The speaker can have three reasons for excitement:

1. Fear of an unfamiliar audience.

In this case, it is recommended several times alone to pronounce the phrase aloud: "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 were going - it also helps to cope with excitement.

Find familiar or just cute faces and contact us at the beginning of the speech only to them, they will support you.

2. The feeling of bad, insufficient training.

In this case, you yourself are to blame. But something can be done: have a backup material, lower what you know worse and focus on the fact that you know quite firmly that you have written in the abstract.

3. Creative excitedness (Does it be good to speak well? Will you understand how to play well?).

Such an emotion gives the speech sincerity and naturalness, it is not necessary to fight her.

Several practical methods of combating excitement:

· Increase the emotionality of speech;

· Increase the speech volume;

· Increase the energy and tempo of speech;

· Breathe mouth and nose at the same time;

· Stick your hands behind your backs or fingers;

· Grasp the chair, tribune, edge of the table;

· Hold in a coin fist;

· Take chalk, pointer;

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

Demonstrate concentration on the content.

The speaker must focus all his efforts on the content, in the sense of his speech. The form at the same time as if retreats to the second plan, goes for the content, and it facilitates the speaker to its task. "Do not worry about how you look, forget about the personal feelings: focus on one thing - to convey your thoughts to the listener" (P. rings).

And also: do not apologize for the minor reservations, their listeners will not record, will not give them values \u200b\u200bif you do not specify them; In general, apologize less - apologies enhances the excitement.

Reaction of the speaker for malfunctions and interference

during the speech

Organizational and technical problems

1. In the room there is noise from the neighboring room or from the street, they are heard of other people's conversations, etc. In this case, it should be possible to ignore this interference. Start talking louder, go closer to the listeners. You can send a listener to eliminate the interference. If the interference continues and it can be seen that the audience pays attention to it, it is best to react, too, somehow comment on, better in humorous plan.

2. At the door all the time surveillance.

You can ask the listener to hang a lecture note or ask the listener to come out and say not to come. If the peers turn to you with a request for someone to call or let go, it is better to pause and say: "Please do not interfere with us, we work" and then continue their speech.

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

Single desecting best not to notice; If the group entered - it is better to wait until they are sitting, inviting them to pass, demonstrating the maximum goodwill. You can allow an ironic joke like: "You excuse us, please, that we started to detect discontent without you.

4. Indoor has become stuffy.

In this case, it is better to take a break, ventilate the room. A break makes sense to do at least 10 minutes, smaller breaks of the effect do not give. You can also simply reduce your performance.

5. Failed a microphone.

Declare a break and find appliances, call the organizer of the speech by making it through the listeners. If it is impossible to fix it, go into the hall or go to the listeners and finish the speech for 2 to 3 minutes.

6.Pogas light.

To do the same as when the microphone is disconnected: declare a break to eliminate the problem or in 2 minutes to finish the performance.

Oracle problems

Suppose you made a reservation and noticed it. Small reservations do not correct - you will still understand you, do not attract attention to them. If the reservation can distort the meaning - tell me: "Sorry, I made a reservation. I certainly meant ... " You should not exaggerate the damage that your reservations can be applied to you, focus on the expression of thought, on its understandability for the audience is the main thing.

If you notice that some point in your speech you lowered, continue, do not return immediately back, finish the thought or section. And then, if without omitting it is impossible, tell me: "0 than I still forgot to mention, so it's about ..." Or "I want to go back now to ...". But before returning, think again - is it necessary to do this? Once in the course of the speech, this fact did not need, maybe he was superfluous?

Interference in the behavior of listeners

On the part of the speaker's listeners can expect a number of typical interference, which may make it difficult to work. What is this interference?

1. Active audience reaction to distracting external factors.

The audience, no matter how interesting a lecture or performance, can not pay attention to some unexpected events in the room. "The audience cannot oppose the temptation to take a look at any moving object, an animal or a person," D. Carnegie rightly noted.

What to do if, for example, a sparrow flew into the audience? First, not to notice, as much as it is possible. Secondly, to wait for "active actions", take a pause - the audience will not be concentrated on it for a long time, and the listeners themselves will take some measures. Thirdly, you can use the "Connection" method - to pay attention to yourself, comment on, briefly discuss with the listeners, and then say: "Well, enough, back to our work." Listeners usually perceive this technique well.

Fourthly, you can go closer to the listeners - it will interfere with them to be distracted.

2. Listeners are talking between themselves.

Do not take it immediately to your account - their conversations are most likely not connected with the lecture and, especially since you personally. It is also better not to notice the interference as long as possible. You can also go closer to the talking (this is very effective), to look longer on them, talking for some time, turning towards them, making a pause (you can unexpected), ask them the question - "Do you agree? You do not agree? ".

3. Someone yawns in your face.

You should not immediately attract it to yourself - maybe the listener is just tired. It is not worth response until you realize that it has already noticed other listeners and react to it. In this case, it is better to say: "Yes, something has become stuffy here, there is not enough air. I see some hard to breathe - maybe we will take a little break, perform a room? ".

4. Listeners get up and go

People can have a variety of reasons for getting from your performance. Do not react in any way, do not make them comments. On the contrary, you can say: "Comrades, if someone needs to urgently leave, please, only slowly, exit." Do not show that it hurts you.

5. Replica disagree is distributed from the spot.

If these replicas are trivial - pretend that they did not hear or did not understand. If the listener becomes insist on its point of view, then you need to enter into a discussion, but quite formal: "I understood our point of view. But I have another, I now (or a little later) I will give more additional arguments. " If the objection is not connected with personal ambitions, but really important, then better tell me: "I will return to your remark, but if you allow it a little later" and be sure to hold the promise.

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

6. From the spot there are rude, provocative shouts, replicas.

People with low culture may be in the audience who want to show that this speaker is not so good and the smart is not so competent. They want their replicas to show themselves, stand out, draw attention to themselves ("Complex Moski"). How to behave with such people?

If the replica was a single one, then it is better not to notice.

If this is impossible, do not show that this replica hurt or offended, in every way show your superiority, control over the situation. Tell me: "Yes! .. Well, there is nothing to add! (pause). Well, we still go on ... "

You can say and ironically: "Yes, I understand your problems ... But, sorry, we need to go further ...".

The third reception: "I understood your question ... (although it was not a question at all, but such a phrase immediately puts the intruder in a dead end), but now, unfortunately, we cannot stop in detail on this problem ..." Do not To put the provocateur into place - this is already a pass, and he only needs it. It is emphasized politely and correctly respond to any replicas of other people - that you will show that you condemn it.

Another way - Try it to praise, find some kind of rational grain in his replica and use it to tell you additionally anything interesting. The deferred answer is also effective. Tell me: "I understood your idea (the question, the idea), I will answer you, but if you let it - at the end, and now it will lead to us aside." And at the end, when the time of your performance is dried, refer to the audience: "Here was another question, you need to answer it?" Be sure to shift several people: "It is not necessary, everything is clear!" - "Well, no need, it is not necessary. Thank you for attention".

You can ask the provocateor to wait a minute. "Maid, I'll only finish the thought ..." Speaking for many more minutes 2 - 3, no less, contact the provocator: "So what did you want to say? Nothing? Well, then we will go further! "

You can admit: "Yes, in what you say is a problem. Unfortunately, we will not decide it now, it is necessary to talk about it separately. "

And one more way - if the replica is very rude, I should say: "Sorry, I did not understand what you said. Be kind, repeat once again the pogromic and preferred! " As a rule, he will not be able to say the second time in the event of universal attention. "Well then go further."

A sharply pronounced disagreement can be translated into a personal plane. So, at the lecture on communicating in the family, one listener indignantly cried out, "So, my husband, in your opinion, can not do any comments?" "I understand your problems," the lecturer answered. "I am sure that your husband must make comments." The answer was posted in the general laughter of the audience, and the listener was laughed, who asked the question.

Tasks

1. What approvals are correct?

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

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

3. The bright individuality of the speaker lowers the effectiveness of his speech impact on the audience.

4. The bright personality of the speaker increases the efficiency of his speech impact on the audience.

5. The position of the adviser is the best speaker position in any audience.

6. The position of the adviser is the best speaker position in the prepared audience.

7. The appearance of the speaker should be attractive within the normal range.

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

9. Glasses reduce confidence in the speaker.

10. Energetic should be speaking from beginning to end.

11. Energetic proper to be separate parts of the performance.

12. Move on the audience should be as small as possible.

13. Moving through the audience, you should not go into the audience.

14. Do not linger in the audience after completing the speech.

15. Orator should not sit, he must stand and move.

16. It is necessary to choose a pretty face and look at this man during the performance.

17. It is necessary to look at the individual sectors of the audience, without delaying the look on individuals.

18. Gestles must be a few and diverse.

19. Speaker gestures must be excited and highly emotional.

20. The speech volume and timbre of speech must be maintained throughout the performance.

21. The best pace of speech in a public speech is medium.

22. The speech volume should be such that the speaker feel that he speaks louder than in the usual speech.

2. What should be done in the following cases:

1. The sparrow flew into the audience, the cat ran.

2. In the audience all the time surveillance.

3. The listeners in the rear rows speak with each other and prevent the lectura.

4. Some listeners get up and go.

5. The listeners yawn.

6. On irritated persons of some listeners it is clear that they absolutely disagree with you.

7. There are loud replicas of disagreement from the spot.

8. From the scenes are rude, provocative shouts, replicas.

9. In the course of your speech you ask you a question, the answer to which will respond to you from the topic.

10. In the course of your speech, you ask you a question for which you cannot immediately answer.

11. It became stuffy.

12. Forecast light.

13. The microphone turned off.

14. A strong noise from the corridor comes to the audience.

3. Go out before the group and, meaningfully considering out loud to 30, go to the audience according to the rules of movement of the speaker in the audience. Option: Go, telling a poem, read. Listeners are evaluated whether you go correctly.

4. Consider a loud to 30, referring to the group, and use a variety of rhetorical gestures, as if trying to convince our fellow students in something.

5. Count up to 30 monotonously, and then expressively, accompanying the account by rhetorical amplifier gestures. Explain why the speaker must avoid monotonous speech struggle.

6. Count up to 30 first with your usual voice, and then - straining the voice, as is customary with a public speech. Hold the voice volume at the required level until the end of the account.

Of course, it is difficult to provide for all the problems that the speaker may face, appearing in front of their listeners, but from experience it is known that it is usually the most difficulty behavior for the speaker - how to keep yourself how to move, how to react to replicas, answer questions React to different problems that may occur during the performance. On these issues, the following recommendations can be given.

Organizational moment in the audience

The issue of preparing the audience, strictly speaking, not the case of the speaker itself is a matter of who organizes his speech. But the actor himself is interested in the situation in the audience the most favorable for him, so some things are not bad in advance to disturb them - discuss them with the organizer or even provide themselves.

First, in the audience, there must be fresh air. If it is stuffy - do not start until you ventilate,

if you have to take off time from your speech.

Take care of a pleasant background. The most favorable background for public speech is a dark blue curtain, if possible from heavy material, heavy tissue. In general, on a dark background to perform better, it contributes to the concentration of listeners' attention on the speaker.

Behind you should have a minimum of furniture, any other items. If they are still in the room, try to move away from them as far as possible. There should be no furniture and sides; Better move forward towards listeners. You must be in front of them in full solitude - then all their attention will be directed at you.

In no case cannot have anything moving - the presidium, any foreign people or listeners, and even the window moving in the beat of the wind. In no case will not stand in the listeners - stand in front of all the listeners.

It is desirable that the listeners sat in front of you so that they could not see the entrance door - fenced, peering and so on.

Before starting the performance, it is better not to be shown to the public. If you are offered to sit in the presidium - to tactfully refuse. Do not in sight of everyone: how witiously noted D. Carnegie, "Better to appear in the form of a new exhibit, than the old one."

Do not take into your hands the organization and management until everything is ready and will not be announced - let the organizer take care of everything. The speaker before the announcement of his speech should behave as a stranger; Everything should be prepared for him: "And only when everything is ready - you are entering, and it is necessary. You do not have a relationship to the hints, and E. F. Tarasov).

Taking the microphone, do not release it from the hands. If someone from the administration is trying to take a microphone - do not give a delicately, let him state the essence of the case, and you decide to give him a microphone or not. At the same time, never declare anything for the administration or the organizer, even if they ask you about it - in this case, finish our idea, and then pass the microphone. If you are

throw lunch and there will be inconsistencies or questions, then all claims will be to you. We will have to explain that you are here and your reputation will suffer, you will call irritation of listeners.

Starting a performance, in no case demonstrate any discontent - the number of gathered, preparing the premises, late listeners, etc. Never make comments to the audience as a whole!

Never start with the go - Give the audience at least tween seconds so that it considers you, I got used to impress. Remember that the first impression is formed for 1-2 minutes, give the audience this time. Correct the chair, the stand, spread the records, close or open the window, correct or check the microphone, wait until the noise subsides, nimble someone from the audience (even if you do not know anyone).

Go towards the interests of the listeners - if they ask, express readiness to work without a break, finish early, let go of someone who is in a hurry, before, etc. It always configures the audience in favor of the speaker.

And one more important question is - as to be, if there are few people in the room, but everyone got into the rear rows, and the front part of the hall is empty? With such a problem, speakers face very often, especially in unfamiliar and unfamiliar audiences, with the heterogeneous composition of the listeners. D. Carnegie recommends that before the start of your performance, collect all the students together, transplant all ahead: "Empty chairs negatively act on the listeners, do not stir the audience, if it is scattered around the hall." Fully agreeing with his assessment of the audience scattered around the hall, we must recognize that its requirement is not fulfilled and, moreover, from our point of view, it is inappropriate. First, it is violence against the audience, and from the very beginning it will configure the audience against the speaker. Secondly, students, especially if they belong to one team, may have their favorite places in the hall, and will perceive attempt to deprive them with great displeasure, if not with hostility. Thirdly, it will take time. But how to be? After all, empty chairs really act on the audience negatively! There is an exit. It is better to approach the speaker to those who sat down away from him. It is necessary to approach the bulk of the listeners and start speaking before them. If it turns out that several people remain

sem aside, it is them that they can suggest to change their place; At the same time they will have to go back, not ahead. Such an approach demonstrates respect of the speaker to the listeners: he goes on concessions to them, and does not require concessions from them. Such an act will strengthen the communicative position of the speaker in this audience, will place the audience in his favor.

Follow the illumination: the light should be sent to you in the face; The speaker must be in the lighted place 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 tribune - the students, as a rule, love when the speaker is shown in full growth. F. Snell pointed: "For a short time, while you are standing in front of them, people will want to learn about you as much as possible." D. Carnegie emphasized: "Do not sit down at the table. People want to see us in full height. They will even pull the neck to see you completely"; you need to give them this opportunity.

The style of performances

The general manner of your performance is of great importance - it is well remembered and can significantly increase or reduce the trust of the audience to you.

P. The opponent wrote that the manner of performances is more important than the appearance of the speaker - the manner makes you forget about the appearance, and in this he is undoubtedly right. P. The rings allocated five main, from its point of view, which make up the manners of performances that allow you to position the listeners: 1) self-confidence, 2) businesslikeness, 3) friendly attitude to listeners, 4) modesty, 5) lifting.

First of all, we point out that it is impossible to allow in a manner of performances:

- the speaker should not look tired; hurrying; dissatisfied (premises, retardation of the start of work, the number of those who gathered, falzing, etc.); excessively excited, affected (listeners feel awkwardness for an excessive excited speaker);

hello should not demonstrate helplessness; indecision;

orator in no way shall apologize to

audience for his mission ("Sorry, I'm holding you," "suffer, I will finish soon", etc.).

What is the optimal style of performances? It must meet the following requirements.

1. The energy of the presentation.

Your entire speech must be energetic from start to the end. The speech energy is transmitted to the listeners, it keeps them in voltage and increases confidence in the information contained in the speech.

"Be energetic," D. Carnegie advised. - Energy has magnetic properties. People accumulate around the energetic speaker, like wild geese around the winter wheat field. " "Do not die with your energy," he advised. O. ERAST noted that throughout the speech, the speaker should feel "reinforced target voltage", which creates a dynamic attitude necessary to the speaker.

2. Physical vigor, mobility.

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

3. Confident appearance.

The confidence of the speaker very quickly passes the audience, and the audience begins to perceive what speaker says, everything is less and less critically, everything with great confidence. "Have a confident appearance - it acts on the listeners positively," the speakers called P. Pivor. A confident look at the performance is not so difficult - first of all, you need to hold the chin above and say a little up (the optimal height of the chin can be chosen, guided by such a rule: "Look at the intersection of the back of the audience with a ceiling", it will be quite enough for demonstration confidence); Stand directly without leaving; Look in the eyes of listeners.

D. Carnegie advises: "Look straight into your eyes to your listeners and start talking so confident as if they all need money to you ... Imagine that they gathered here to ask you to postpone the payment period."

4. Friendly, intimate tone.

The audience is waiting for a friendly, intimate conversation from Orator. You need to meet her towards. Talk to audience

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

It is necessary to emphasize the audience in every possible way that you are "yours": it has been established that the more "his" he feels an audience, the more she trusts what he says. Need to emphasize the generality yoursinterests, problems, difficulties and interests, problems, difficulties your audience.

You should not run away from the audience immediately after the speech, it is necessary to give the opportunity to approach you, throw off the replicas, ask a question, to express your attitude to the above you - this also leaves the audience a positive "aftertaste."

5. Concentration on the content.

In your speech, it should be felt that your home goal is to transfer your understanding of the problems to the listeners, inform them some important information for them. The speaker must focus all his efforts on the content, in the sense of his speech. The form at the same time as if retreats to the background, it should go for the content, and the listeners must feel it.

"Do not worry about how you look, forget about the personal feelings: focus on one thing - to convey your thoughts to the listener" (P. rings).

F. Snell: "The audience can only be compared with hungry guests staring at you."

Concentration on the content allows the speaker to increase the persuasiveness of its presentation.

The location and movement of the speaker in the audience

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

It must be remembered that worth the speaker:

demonstrates respect for the audience;

creates a constant voltage for itself;

it feels better;

energetically speaks.

All this speaks in favor of the performance standing.

Tribunes, elevations, estrad should use as little as possible. Towing artificially over the audience, he demonstrates her official superiority, which contradicts the rule of "intimacy of communication", which is very effective in public speech. "Stand

those next to your listeners, "recommended by D. Carnegie. If the listeners are less than 75 people, then you should talk at the bottom, and not from the stage, P. Pot. Should approach the listeners. Go down to the hall, go to the audience (slowly, and not very abusing this technique), lean to the listeners. If you come up with elevation - come to its very edge. Because of the department, from time to time, go out and become next to it, or in general, stand next to the department, and not for it.

In the process of performances, it is necessary to move. Stilling speakers do not trust the audience, considers them conservatively thinking. The speaker movement in the audience increases confidence in it, strengthens the sympathy of the audience. It is necessary to walk in front of the audience, but drove the hall, and it should not be very deepened and reach the last rows of students - in this case, those who are sitting, ahead, are uncomfortable, they are forced to turn around behind the speaker. It is best to deepen on a quarter - a third of the length of the hall, no more; At the same time, returning back, you should not turn your back to the hall, you need to move back "reverse".

The gait of the speaker should be flat, measured, without acceleration, is somewhat slower than the usual man's walk - only in this case, the gait diversifies the perception of the performance, and does not distract from it. Hands when walking should not be static, they should move. Chin when walking should be kept up, it creates the impression of the confidence of the speaker. You should not keep your hand or hands in your pockets when walking - it is perceived by the audience as a certificate of secrecy, the speaker, and in some cases - the uncertainty of it.

When walking, in no case cannot be swinging - it is very distracting listeners. Having taught the audience, the speaker should not fix the look at any one, it causes the audience to transfer his attention to what he looks at the speaker.

You can not spin in the process of performances in the hands of small items, knobs, keys, etc. - Better to take a pointer or chalk.

Sight

The view of the speaker has very important for the audience. The listeners believe that if the speaker looks at them, then their opinion and evaluation is important for him. And it makes them listen more actively and carefully.

In addition, if the interlocutor looks at us a little, we believe that he does not apply to us ("I didn't even look!"), Neglects us.

If we look at a lot, then this is considered by us either as a certain challenge (it happens when we feel in opposition to the interlocutor), or as a demonstration of a good relationship to us or at least interest. The audience usually takes place the second option, which must take into account the speaker.

The speaker should look at all listeners alternately, not highlighting any of them personally. Otherwise, it may turn out like one lecturer, to which the listeners came after a lecture, thanked and said: "But why did you lecture only for our Kati?"

You can get a look from the audience for a while - when formulating some thought, then you need to re-install visual contact with the listeners.

Do not speak, looking at the "space", it causes distrust and irritation of listeners.

4. Do not look in the process of performances on the floor, on your feet, window, in the ceiling, not consider foreign objects.

This leads to the loss of contact with the audience.

Translating the audience look, do it slowly.

Exercise visual contact with the audience throughout the speech.

Look at the listeners Friendly, the look you meet friends. Pretend that we are glad to look at everyone, it's nice.

Looking at the listener, look into his eyes.

The eye view is always considered as an expression of interest, sympathy, but under one condition: it should be short-term, short. A long, intense look directed in the eyes of the listener will cause him a feeling of anxiety, the feeling of pressure of the pressure.

9. In a large audience, you should smash everyone listen

lei on sectors and translate a look in the process of performing from one sector to another, without leaving any of the sectors.

Pose

If the speaker is worth, the legs should be slightly placed, socks are spread.

The focus on both legs should not be the same. In the most expressive places, the focus must be transferred more on the sock than on the heel.

The chest should be a bit "exhibited", the stomach is tightened.

The chin in no case should be omitted.

Hands should be slightly divorced, they should not be fixed. We should not take closed poses (hands close the chest, crossed on the chest, legs are crossed), such a posture is perceived by listeners as an expression of the distrust of the audience, a certain superiority over it.

It is better to stand than sitting. The higher the person over the audience, the stronger his communicative position (the rule of "vertical domination"), the more convincing.

You should not leap your hands about a low table, slightly leaning over it is the posture of dominance, which is negative as evaluated by the audience. This is a demonstration of aggressiveness; This pose is called sometimes "Pose of Male Gorilla".

If you are standing, putting forward one leg, please note what foot you put. If a person put forward his left foot, he demonstrates aggressiveness (as it would be preparing to strike the interlocutor's right hand), if he put forward right, "favorable" leg, he is open to dialogue, cooperation, looking for contact. Listeners subconsciously perceive this information, which should take into account the speaker.

Gestures speaker

The gesture is any human television, not only the movement of hands and brushes. Gestures can be made of legs, head, shoulders, all body, etc. Gestures are divided into index, descriptive, expressive and imitative, only the last type of gestures should not be used, speaking in front of the audience.

Speech without gestures is alarming listeners, "leaves precipitate prejudice and distrust" (P. rings).

The gesture of the speaker must meet the following requirements:

Gesticulation should be natural, follow the natural impulses to gestures.

Do not do intend gestures, they are always easily recognized as such by listeners and cause irritation.

Gestures should not be continuous.

Gestles need to be diversified, the same (or the same) gestures annoy the audience.

You can not fly with your fingers, jewelry, touch the clock, etc. This is considered by the audience as a manifestation of your insecurity.

Do not move open with your fingers.

Hands should be slightly converged and disperse in the tact of conviction. But tips on the use of gestures that Frank Snell offers:

90% gestures make the above belt; Gestures below the belt are considered as an expression of failure, confusion;

elbows Keep no closer to three centimeters from the case; If you press the elbows to the body, it will indicate the weakness of your authority;

hold the fingers of both hands as if you keep grapefruit in them; If your palms take an indefinite position, it is perceived by the audience as a lack of force and the ability to conduct an audience for themselves;

- Gesticulate always with both hands.

"Reading" speaker audience

He constantly receives information about the status of the audience, its mood and the attitude to him and reported by him. The speaker must constantly "read" this information and make adjustments to its speech if its received information encourages it. However, in order to "read" the audience and correctly understand the incoming signals, observation is necessary and some practical skill. Here you can give the novice speaker the following tips.

About attention to the speaker say:

- the views of the listeners aimed at the speaker;

- body position - body is tilted toward

torah; The listener moved to the edge of the chair, as if he wants to be closer to the orator;

- The tilt of the head (if the head is tilted by the Block, it speaks of the interest of the listener).

On the inattention to the speaker, the following facts speak of dissatisfaction:

- The view of the listener is aimed aside;

- the body is intense, landing straight, legs are reduced and stand on the floor (such a pose often means imitation of attention);

the head is not tilted, the listener holds his head straight, the spine is straightened;

the listener performs the following movement: The head is straightened, the shoulders rise, then they go down, the look begins to wander around - the loss of thought, loss of attention;

the body takes the position directed towards the exit (the listener is "served" to exit);

- Legs stretched forward and crossed, the body is thrown back, the head is lowered forward (most often means disagreement);

the head is supported by the whole palm;

slugging the knob cap, tapping with the leg, tapping with your fingers on something;

drawing on paper, foreign items;

- lack of movement of the eyes, a non-moving look (imitation of attention);

- Easy stroking of the nose; - Hands firmly;

- stroking the neck (in men);

correction hairstyles, swinging the leg, searching for something in a handbag (in women);

the hand is touching ear and lowers down; The hand is touching the lips and lowers down (hidden desire to argue, kill);

buttage jacket (man) and others.

The ability to "read" interlocutors is the most important quality of the lecturer coming with experience. It is necessary to develop it, to train in communicating with acquaintances, developing observation and ability to interpret the non-verbal behavior of the interlocutors.

it should feel the effort, some call to follow the thought.

In 1956, the National Shepherd Competition was held in America to title pigs from distant distances. The winner explained his success so much: "In your voice there should be not only power, but also a call. You are convincing pigs that you have something seized for them. "

What is the optimal volume for a public speech? Of course, it is associated with the size of the audience. But it is important to choose exactly the volume that in these conditions will be optimal. It must be borne in mind that if the speaker says too quietly, the audience concludes, about his uncertainty, if it is too loud - about its aggressiveness. And that, and others need to try to avoid. P. The rings gave such advice: "Speak louder than it, in your opinion, you need." You can say so: Speak with such a volume so you feel that you are talking louder than usual; In the overwhelming majority of cases of this volume will be enough.

The following requirements are imposed on the intonation of a public speech.

First, it should not be monotonous, it must be changed throughout the speech. "Change the voting force, leave the rest, as is," recommends F. Snell.

Secondly, intonation should be natural, it must correspond to the content of what you say. Do not restrain your intonation, strive to express vigorously - and your intonation will be natural. The intonation that does not correspond to the content of speech is annoying listeners and causes distrust of words, sometimes even creates a comic effect. Once, they tell, Mark Twain in the morning strongly cut off while shaving and broke out, strong curses and curses. The wife, by chance he heard them, decided to repeat said to show her husband how roughly it sounds. Mark Twain listened to her and noticed: "Dear, the words of those music is not that."

The pace must be average, and the larger pauses should be avoided - they annoy the audience, especially well prepared.

Before an important place, the thought should be somewhat lowered the voice. Small pauses should be made before and after important thoughts. Pause "before" is preparing listeners to

boy important, "after" pause calls to strain and think about, stimulates mental activity.

Receptions of the fight against excitement during the performance

The speaker can have three reasons for excitement:

1. Fear of an unfamiliar audience.

Speak louder than usual, or louder than you were going - it also helps to cope with excitement.

The football player struggles with an excitement of an energetic warm-up - you can also use this technique: with increased energy, pronounce the phrases harvested in advance.

And also: find familiar or just cute faces and contact us at the beginning of the speech only to them, they will support you.

2. The feeling of bad, insufficient training.

In this case, you yourself are to blame. But something can be done: have a backup material, lower what you know and focus on what you know firm enough.

3. Creative emotion (will it be good to speak well? Will you understand how to play well?).

Such an emotion gives the speech sincerity and naturalness, it is not necessary to fight her.

And several techniques of combating excitement:

increase the emotionality of speech;

increase the speech volume;

increase the energy of speech;

breathe mouth and nose at the same time;

move your fingers behind your back or fingers;

grasp the chair, the tribune, the edge of the table;

clamp in a coin fist;

take chalk, pointer;

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

do not apologize for the minor reservations - their listeners will not fix it, they will not give them values \u200b\u200bif you do not specify themselves; In general, apologize less - it enhances the excitement.

Speaker reaction for problems and interference and course

Problems during the speech can very easily knock off the speaker with thought and even threaten all his performance. Therefore, it is necessary to firmly assimilate some receptions of responding to typical problems and interference that can meet in the process of public speaking.

Organizational and technical problems

1. The room comes to the room from the neighboring room or from the street, they are heard of other people's conversations, etc.

In this case, it should be possible to ignore this interference. Start talking louder, go closer to the listeners. You can send a listener to eliminate the interference. If the interference continues and it can be seen that the audience draws attention to it, reacts, it is best to react to it too - somehow comment, better in humorous plan.

2. At the door all the time surveillance.

You can ask the listener to hang a lecture note or ask the listener to come out and say not to come. If the peers appeal to you

someone call or let go, it is better to pause and say: "Please do not interfere with us, we work" and

then continue my speech.

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

Single desecting best not to notice; If the group entered - it is better to wait until they are sitting, inviting them to pass, demonstrating the maximum goodwill. You can admit an ironic joke type: "You and excuse us, please, that we started without you." No discontent should not be discussed.

4. Indoor has become stuffy.

In this case, it is better to take a break, ventilate the room. A break makes sense to do at least 10 minutes, the minimum breaks of the effect are not allowed. You can also reduce your performance.

5. Failed a microphone.

Declare a break and find appliances, call the organizer of the speech by making it through the listeners. If you can fix it, go into the hall and finish the performance in 2-3 minutes.

6. Forecast light.

To do the same as when the microphone is disconnected: declare a break to eliminate the problem or in 2 minutes to finish the performance.

Oracle problems

Suppose you made a reservation and noticed it.

Small reservations do not correct - you will still understand you, do not attract attention to them.

If the reservation can distort the meaning - tell me: "Sorry, I made a reservation. I certainly meant ... "

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

If you have noticed that some point in your speech you lowered - continue, do not return immediately back, finish the thought or section. And then, if without lowered it is impossible, tell me: "What else I forgot to mention, so it's about ..." or "I want to go back now to ...". But before returning, think again - is it necessary to do this? Once in the course of the speech, this fact did not need, maybe he was superfluous?

Interference in the behavior of listeners

In the behavior of the listeners, a number of typical interference can be distinguished, which often make it difficult to work the speaker. What is this interference?

1. Active response to distracting external factors.

Audience, whatever interesting lecture or performance, can not pay attention to someone's intense cough, foreign movements, cotton doors, rustle paper, etc. "The audience cannot resist the temptation to take a look at any moving subject, an animal or a man ", rightly noted by D. Carnegie. To overcome this temptation, the audience has not yet been able to any speaker or artist. What to do if, for example, a sparrow flew into the audience? How to distract the listeners from him?

First, not to notice, as much as it is possible.

Secondly, wait for it "active actions", make

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

Thirdly, use the "Connection" method - to pay attention to yourself, comment on, briefly discuss with the listeners, and then say: "Well, we will return to our work." Listeners usually perceive this technique well.

Fourthly, you can go closer to the listeners - it will interfere with them to be distracted.

2. Listeners are talking between themselves.

Do not take it immediately to your account, their conversations are most likely not connected with the lecture and, especially since you personally. It is also better not to notice the interference as long as possible. You can also go closer (this is very effective), look a longer, talking for some time, turning to them, take a pause (you can unexpected), ask them the question - "Do you agree? You do not agree? ".

3. Someone yawns in your face.

You should not immediately attract it to yourself - maybe the listener is just tired. It is not worth reacting until you realize that it has already noticed listeners and react. In this case, it is better to say: "Yes, something has become stuffy here, there is not enough air. I see some difficult to breathe - maybe we will take a little break, do the room? "

4. The listeners get up and go.

Do not relate to yourself - they may have a variety of reasons. Do not react in any way, do not make them comments. On the contrary, it can be said: "Comrades, if someone needs to urgently leave, please, only slowly go out." Do not show that it hurts you.

5. Replica disagree is distributed from the spot.

If these replicas are trivial - pretend that they did not hear or did not understand. If the listener becomes insist on his point of view, then you need to enter into a discussion, but quite formal: "I understood your point of view. But I have another, I now (or a little later) I will give more additional arguments. "

If the objection is not connected with personal ambitions, but really important, then it is better to say: "I will return to your remark, but if you allow me to be a little later," and be sure to hold the promise.

If disagreement is expressed in a sharp, categorical form, then it is better not to enter into a discussion, saying: "I understood

shu point of view. Well, the future will show who of us is the right. "

6. From the spot there are rude, provocative shouts, replicas.

In the audience there may be people with low culture who want to show that this speaker is not so good and smart; Not so competent. They want their replicas to show themselves, stand out, draw attention to themselves ("Complex Moski"). How to behave with such people?

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

If it is impossible, do not show that she hurt you or offended, just show your superiority, control over the situation. Tell me: yes ...! Well, not to add anything! (pause). Well, we still go further ... you can say and ironically: "Yes, I understand your problems ... But sorry, we need to go on ..." Third reception: "I understood your question ... (Although it was not a question at all; it immediately puts the intruder in a dead end), but we are now, unfortunately, we cannot stop in detail on this issue ... "

No need to put the provocateur in place - this is already a pass, and he only needs it. It is emphasized politely and correctly respond to any replicas of other people - that you will show that you condemn it.

If you are confident in your abilities - step immediately, using irony, joke, sarcasm. To do this, it is necessary to keep sharp spinners, fables, jokes, sayings, stories ("You know, this replica reminded me of a case ..." - the common laughter will put the Hama to the place for a long time, even if what you told, and has a very indirect Attitude towards his replica.

Another way - Try it to praise, find some kind of rational grain in his replica and use it to tell you additionally anything interesting.

The deferred answer is also effective. Tell me: "I understood your idea (the question, the idea), I will answer you, but if you let it - at the end, and now it will lead to us aside." And at the end, when the time of your performance is dried, refer to the audience: "Here was another question, you need to answer it?" Necessarily several people shout: "Not

before, everything is clear! " - "Well, no need, it is not necessary. Thank you for attention".

You can ask the provocateor to wait a minute: - by a minute, I will only finish the thought ... Speaking for many more minutes 2-3, no less, contact the provocator: "So what did you want to say? Nothing? Well, then we will go further! "

You can admit: "Yes, in what you say is a problem. Unfortunately, we will not decide it now, it is necessary to talk about it separately. "

And one more way - if the replica is very rude, I should say: "Sorry, I did not understand what you said. Be kind, repeat once again the pogromic and preferred! " As a rule, he will not be able to say the second time. "Well, then go further."

A sharply pronounced disagreement can be translated into a personal plane. So, at the lecture on communicating in the family, one listener indignantly cried out: "So, you can not do my husband, and in general, you can not do any comments?" "I understand your problems," the lecturer answered. - I sure that yoursmy husband must do comments. " The answer was posted in the general laughter of the audience, and the listener was laughed, who asked the question.

Somehow, they are told, in the British parliament, a debate was going, and W. Churchill stiffly told Laborists. Jumped up the elderly and ugly laburist and screamed on the whole hall: "Mr. Churchill, you are blame! If I were your wife, it would push you into the coffe. " There was a mixture. But the imperturbable descendant of the Dukes of Malboro, withsting the dismissed lady with a condolenty gaze, said: "If you were my wife, then I would pour this poison with pleasure ..."

We note in conclusion that we can restore the audience, to restore the discipline, accompanying a soft speech by stable gestures towards those who violate the discipline - pointing to the hand in their direction, or simply stretching the hand towards the intruders. An indicable gesture, as noticed, soothes even animals. The gesticulation of the elongated hand, especially if you approach the troubles of calm, has a very effective impact on them.