This article is by one of my mentors. I have been a fan of Tom's for several years now and have purchased several of his CDs and books.
Stage Fright Strategies by Tom Antion
----------------------------------------------------
Direct comments or questions about this article to:
Tom Antion, Box 2630, Landover Hills, MD
20784. (301) 459-0738 Outside Maryland (800) 448-6280, Fax (301) 552-0225, Email tomantion@AOL.com, tom@antion.com
Stage fright Is Good and Makes You Better Looking Too!
Before you learn how to deliver your lines, it is important to be ready to deliver your lines. Stage fright is a phenomenon that you must learn to control. Actually, stage fright isn't the most accurate term for the nervousness that occurs when considering a speaking engagement. In fact, most of the fear occurs before you step on-stage. Once you're up there, it usually goes away. Try to think of stage fright in a positive way. Fear is your friend. It makes your reflexes sharper. It heightens your energy, adds a sparkle to your eye, and color to your cheeks. When you are nervous about speaking you are more conscious of your posture and breathing. With all those good side effects you will actually look healthier and more physically attractive.
Many of the top performers in the world get stage fright so you are in good company. Stage fright may come and go or diminish, but it usually does not vanish permanently. You must concentrate on getting the feeling out in the open, into perspective and under control.
Remember Nobody ever died from stage fright. But, according to surveys, many people would rather die than give a speech. If that applies to you, try out some of the strategies in this section to help get yourself under control. Realize that you may never overcome stage fright, but you can learn to control it, and use it to your advantage.
Symptoms of Stage fright
Dry mouth.
Tight throat.
Sweaty hands.
Cold hands.
Shaky hands.
Give me a hand (Oops, I couldn't resist).
Nausea.
Fast pulse.
Shaky knees.
Trembling lips.
Any out-of-the-ordinary outward or inward feeling or manifestation of a feeling occurring before, or during, the beginning of a presentation
(Wow! What a dry mouthful!).
Here are some easy to implement strategies for reducing your stage fright. Not everyone reacts the same and there is no universal fix. Don't try to use all these fixes at once. Pick out items from this list and try them out until you find the right combination for you.
Visualization strategies that can be used anytime
Concentrate on how good you are.
Pretend you are just chatting with a group of friends.
Close your eyes and imagine the audience listening, laughing, and applauding.
Remember happy moments from your past.
Think about your love for and desire to help the audience.
Picture the audience in their underwear.
Strategies in advance of program
Be extremely well prepared.
Join or start a Toastmasters club for extra practice
Get individual or group presentation skills coaching.
Listen to music.
Read a poem.
Anticipate hard and easy questions.
Organize.
Absolutely memorize your opening statement so you can recite it on autopilot if you have to.
Practice, practice, practice. Especially practice bits so you can spit out a few minutes of your program no matter how nervous you are.
Get in shape. I don't know why it helps stage fright, but it does.
Strategies just before the program
Remember Stage fright usually goes away after you start. The tricky time is before you start.
Be in the room at least an hour early if possible to triple check everything. You can also schmooze with participants arriving early.
Notice and think about things around you.
Concentrate on searching for current and immediate things that are happening at the event that you can mention during your talk (especially in the opening).
Get into conversation with people near you. Be very intent on what they are saying.
Yawn to relax your throat.
Doodle.
Draw sketches of a new car you would like to have.
Look at your notes.
Put pictures of your kids/grandkids, dog, etc., in your notes.
Build a cushion of time in the day so you are not rushed but not too much time. You don't want to have extra time to worry.
If your legs are trembling, lean on a table, sit down, or shift your legs.
Take a quick walk.
Take quick drinks of tepid water.
Double check your A/V equipment.
Don't drink alcohol or coffee or tea with caffeine.
Concentrate on your ideas.
Hide notes around the stage area so you know you have a backup if you happen to draw a blank.
Concentrate on your audience.
Listen to music.
Read a poem.
Do isometrics that tighten and release muscles.
Shake hands and smile with attendees before the program.
Say something to someone to make sure your voice is ready to go.
Go somewhere private and warm up your voice, muscles, etc.
Use eye contact.
Go to a mirror and check out how you look.
Breathe deeply, evenly, and slowly for several minutes.
Don't eat if you don't want to and never take tranquilizers or other such drugs. You may think you will do better, but you will probably do worse and not know it.
Strategies when the program begins
If legs are trembling, lean on lectern /table or shift legs or move.
Try not to hold the microphone by hand in the first minute.
Don't hold notes. The audience can see them shake. Use three-by-five cards instead.
Take quick drinks of tepid water.
Use eye contact. It will make you feel less isolated.
Look at the friendliest faces in the audience.
Joke about your nervousness. "What's the right wine to go with fingernails?"
Remember nervousness doesn't show one-tenth as much as it feels.
Before each presentation make a short list of the items you think will make you feel better. Don't be afraid to experiment with different combinations. You never know which ones will work best until you try. Rewrite them on a separate sheet and keep the sheet with you at all times so you can refer to it quickly when the need arises.
Use these steps to control stage fright so it doesn't control you.
****************************************************************
I hope these tips were of some help to you.
All the best
Fran
www.franwatson.ca
www.moremoney4u.org
Fran Watson
3119 Stone Road
Douglas
Ontario K0J 1S0
Canada
Showing posts with label s. Show all posts
Showing posts with label s. Show all posts
Monday, July 21, 2008
Saturday, February 2, 2008
Tempo - Efficienty Through Change of Pace
Hear how he clears the points o' Faith
Wi' rattlin' an' thumpin'!Now meekly calm, now wild in wrath,
He's stampin' an' he's jumpin'.
—ROBERT BURNS, Holy Fair.
The Latins have bequeathed to us a word that has no precise equivalent in our tongue, therefore we have accepted it, body unchanged—it is the word tempo, and means rate of movement, as measured by the time consumed in executing that movement.
Thus far its use has been largely limited to the vocal and musical arts, but it would not be surprising to hear tempo applied to more concrete matters, for it perfectly illustrates the real meaning of the word to say that an ox-cart moves in slow tempo, an express train in a fast tempo. Our guns that fire six hundred times a minute, shoot at a fast tempo; the old muzzle loader that required three minutes to load, shot at a slow tempo. Every musician understands this principle: it requires longer to sing a half note than it does an eighth note.
Now tempo is a tremendously important element in good platform work, for when a speaker delivers a whole address at very nearly the same rate of speed he is depriving himself of one of his chief means of emphasis and power. The baseball pitcher, the bowler in cricket, the tennis server, all know the value of change of pace—change of tempo—in delivering their ball, and so must the public speaker observe its power.
Change of Tempo Lends Naturalness to the Delivery
Naturalness, or at least seeming naturalness, as was explained in the chapter on "Monotony," is greatly to be desired, and a continual change of tempo will go a long way towards establishing it. Mr. Howard Lindsay, Stage Manager for Miss Margaret Anglin, recently said to the present writer that change of pace was one of the most effective tools of the actor. While it must be admitted that the stilted mouthings of many actors indicate cloudy mirrors, still the public speaker would do well to study the actor's use of tempo.
There is, however, a more fundamental and effective source at which to study naturalness—a trait which, once lost, is shy of recapture: that source is the common conversation of any well-bred circle. This is the standard we strive to reach on both stage and platform—with certain differences, of course, which will appear as we go on. If speaker and actor were to reproduce with absolute fidelity every variation of utterance—every whisper, grunt, pause, silence, and explosion—of conversation as we find it typically in everyday life, much of the interest would leave the public utterance. Naturalness in public address is something more than faithful reproduction of nature—it is the reproduction of those typical parts of nature's work which are truly representative of the whole.
The realistic story-writer understands this in writing dialogue, and we must take it into account in seeking for naturalness through change of tempo.
Suppose you speak the first of the following sentences in a slow tempo, the second quickly, observing how natural is the effect. Then speak both with the same rapidity and note the difference.
I can't recall what I did with my knife. Oh, now I remember I gave it to Mary.
We see here that a change of tempo often occurs in the same sentence—for tempo applies not only to single words, groups of words, and groups of sentences, but to the major parts of a public speech as well.
To changing the pace of your world!
Fran Watson
Wi' rattlin' an' thumpin'!Now meekly calm, now wild in wrath,
He's stampin' an' he's jumpin'.
—ROBERT BURNS, Holy Fair.
The Latins have bequeathed to us a word that has no precise equivalent in our tongue, therefore we have accepted it, body unchanged—it is the word tempo, and means rate of movement, as measured by the time consumed in executing that movement.
Thus far its use has been largely limited to the vocal and musical arts, but it would not be surprising to hear tempo applied to more concrete matters, for it perfectly illustrates the real meaning of the word to say that an ox-cart moves in slow tempo, an express train in a fast tempo. Our guns that fire six hundred times a minute, shoot at a fast tempo; the old muzzle loader that required three minutes to load, shot at a slow tempo. Every musician understands this principle: it requires longer to sing a half note than it does an eighth note.
Now tempo is a tremendously important element in good platform work, for when a speaker delivers a whole address at very nearly the same rate of speed he is depriving himself of one of his chief means of emphasis and power. The baseball pitcher, the bowler in cricket, the tennis server, all know the value of change of pace—change of tempo—in delivering their ball, and so must the public speaker observe its power.
Change of Tempo Lends Naturalness to the Delivery
Naturalness, or at least seeming naturalness, as was explained in the chapter on "Monotony," is greatly to be desired, and a continual change of tempo will go a long way towards establishing it. Mr. Howard Lindsay, Stage Manager for Miss Margaret Anglin, recently said to the present writer that change of pace was one of the most effective tools of the actor. While it must be admitted that the stilted mouthings of many actors indicate cloudy mirrors, still the public speaker would do well to study the actor's use of tempo.
There is, however, a more fundamental and effective source at which to study naturalness—a trait which, once lost, is shy of recapture: that source is the common conversation of any well-bred circle. This is the standard we strive to reach on both stage and platform—with certain differences, of course, which will appear as we go on. If speaker and actor were to reproduce with absolute fidelity every variation of utterance—every whisper, grunt, pause, silence, and explosion—of conversation as we find it typically in everyday life, much of the interest would leave the public utterance. Naturalness in public address is something more than faithful reproduction of nature—it is the reproduction of those typical parts of nature's work which are truly representative of the whole.
The realistic story-writer understands this in writing dialogue, and we must take it into account in seeking for naturalness through change of tempo.
Suppose you speak the first of the following sentences in a slow tempo, the second quickly, observing how natural is the effect. Then speak both with the same rapidity and note the difference.
I can't recall what I did with my knife. Oh, now I remember I gave it to Mary.
We see here that a change of tempo often occurs in the same sentence—for tempo applies not only to single words, groups of words, and groups of sentences, but to the major parts of a public speech as well.
To changing the pace of your world!
Fran Watson
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