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

    We continue to analyze reports from the Highload ++ conference regarding the effectiveness of presentations. About what we analyze and why it is needed, I spoke in detail in the first publication.

    Last time we examined the performance of Artem Danilov. Today we look at the report of Eugene Rossinsky (ivi).

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

    Do as Eugene

    The department, table and any other auxiliary furniture has both pluses and side effects. When we stand up for it, we not only become “further”, but also stop giving, turning into a talking nightstand. We are "in the house."

    It would seem that this is good, because in the house we stop worrying. And yes, behind the bedside table we really feel more secure. But at the same time, the volume instantly decreases, diction worsens, gestures almost completely disappear, since the speaker immediately clings to the subject in order to feel support. The price of this “security” is too high - an abandoned audience. Do not be afraid, nobody will bite you from the audience, everyone is kind there. A tomato is harder to get into if you move. Do as Eugene - get out of the pulpit. Read more about furniture below under the heading “Hero of the day”


    Good: It was the movements I noted right away. The chair is an obstacle between you and the audience. And if you can eliminate it - do it immediately! You can rearrange the furniture - rearrange. You can’t do it yourself. Eugene began to move - well done. Immediately got closer. And not only in the sense of distance - but also in the sense of perception by listeners. Good move. It would be so for everyone. Sometimes he returns to her, but this is normal. He returned, then walked again.

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

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

    What about the eyes?

    Good: Overall good. Eugene is looking into the hall. This is not 100% of the attention in the hall (and, I believe, it is unlikely that this will be at least in some report), but somewhere offhand 60/40. And another good thing is eye contact on a heart-to-heart basis. Not just turn your head towards the gaze, but also use the body. It is not always necessary to fully deploy, a slight turn of the body is quite enough. So you give the audience even more attention, and such eye contact is perceived by the audience as “warmer, more welcoming, positive, peppy, pleasant.” This is not scientific research. These are quotes from participants in my trainings that provide such feedback when we do an exercise to work out eye contact.

    Do not take a word - check
    You are asking a colleague who is sitting a meter and a half away from you. It gives you a detailed answer, suppose seconds for 20.
    In the form of one of three options:

    • answers without turning to you at all
    • only turns his head
    • unfolds to you half a turn or completely

    The answer is comprehensive, one and the same. But in what form will it be more pleasant for you? You do not care, right?

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

    Raise our heads. We look at everyone. On the edges and gallery - a little more often.

    Gestures do not scatter. Gestures are expressed

    Good: Gestures are the same language. Sometimes in general you can do only them, without any words. Is it much easier to call a waiter with an outstretched hand than a scream, right?

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

    We use both logic and creative, associative thinking. And a movie is born in our head right away. But just one of the speaker’s tasks is to show us a movie. Which we, at least, will see together. And as a maximum, each of us will recognize himself in him and become his hero. At the logic level, this is done by the content of the report. To submit information, there is a “tell a story” technique. But to the eyes - give gestures. Without gestures, “there will be no kin”

    Here are the triples , and the story is vividly illustrated in this piece . Try to watch it without sound at all until 34:30 - it's pretty pretty. By gestures, posture, facial expressions, we understand the emotions and experiences of the author at the time of the story. It brings a lot of color.
    Fixing gestures instantly increases the attention of the audience, turns it on. Why? Because the movie
    Add: The first and main thing is fixation. There are parasite words, there are parasite gestures. Eugene has a lot of both. Both that, and another is treated with pauses.

    For example, instead of shaking hands, you can fix them. In the end, just omitting is okay too. Pointless shaking takes energy from the speaker, distracts the attention of the audience.

    I note a lot of missed opportunities to create that very movie. These are the gestures of enumeration, which have already been mentioned . And other things that lend themselves perfectly to hand-drawing.
    Pauses in words give birth to pauses in gestures, and vice versa, as soon as you record gestures, you will have pauses in words. Speech will become stronger. You as a speaker will become more attractive to the audience. So you can give her more. A pleasant consequence - speech will be cleaner, parasitic words will also become less.
    And yes. Try to do without hands in your pockets. Hands are much nicer to see on the movie screen that you create with their help.

    Vocabulary. I want to hear it

    Eugene’s choice and right to say just that - I respect. From the speaker’s side, it’s honest: to be who you are. But it was very difficult for me to listen to the report, in which there are a lot of dirty and ugly words and expressions. If you remove them, the report will not suffer at all, but even, on the contrary, will win. And that's why. Those to whom such words “enter” will certainly not be offended by you. But those who "do not go" will be grateful.

    " Users who, such bastards, have not been updated... "These users, for a minute, bring you money. A service has been created for them. It's not someone abstract somewhere out there. These are people who are sitting in the hall. Your colleagues. Relatives. All of us. Thank you for a good example, how to kill the impression with one phrase. But the report itself is interesting. I would love to listen to it again - in a new, "clean" arrangement. And with the usual vividness and humor inherent in Eugene.

    And again about the slides

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

    Presentation letter. Or a presentation explanation. This is a presentation that can work without you. The recipient, in a convenient mode for himself, can see it and independently understand it. It can be a marketing kit, a beautifully designed offer or a more detailed presentation about a company or product that you leave to the client after the meeting. In our case, a more detailed presentation from your speech, which you can return to over time, quickly scroll through and learn important things, remember something, without revising the entire report. It is fast and convenient. In such a presentation, you are free to paint all the details, advantages, and so on. And in it the slide below is valid:

    Presentation accompaniment. These are the slides with which you enter the stage. And above all, they are your helpers. Perhaps, upon seeing him, the listener will not immediately understand what it is about. But then, having looked at him, immediately remember what you wanted to say. And gradually reveal the meaning of the slide, as if deciphering it.

    In this case, the slide in the photo above is a trash. Because it’s not clear where to look: either at the speaker (he, after all, must have said something important at that moment), or on the slide (there is so much text, it means there is something important there, the author tried, when I wrote it). That is, we either read or listen. If we read, the speaker is losing us. Moreover, we begin to get annoyed: “Wait a minute, let me read it. Why is it so small? ”And if we listen, then why is this slide at all? This is the speaker’s lost time and our lost thought-fuel. p0b0rchy Roman Poborchiy well disclosed this in his analysis .

    An ideal slide would be built in compliance with the following principles in order of priority:

    1. one slide - one word.
    2. one slide - three words
    3. one slide - one line
    4. one slide - three lines. Each of which has three words.

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

    Never repeating, not repeating, never repeating slide in speech

    “You do not need many words. Good enough brewed tea. ” Confucius.

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

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

    You can bring the listener to this thesis, say the same thing, but in other words. But do not read the same. Make an intrigue. Leave on the slide an understatement for the listener, and for yourself - an opportunity for the disclosure of thought. Slide tracking should not work without you, but you can safely do without it.
    “You don't need a lot of words. A fairly well-designed slide. ”

    Who comes earlier, that and the furniture

    Come to the audience first and much in advance.

    First , to get comfortable, look around, understand what where and how. “Feel” the space. Talk in it alone, listen to acoustics, reflections. If you are expected to speak with a microphone, be sure to talk into the microphone in advance so as not to receive an unexpected “surprise” during the performance. After all, further you will hear your voice from the speaker systems and even with reflections, and it will sound completely different. In the first seconds of the performance, this can lead you into a stupor. Talk without a microphone. And with a microphone. Walk around the audience and listen to yourself. I recently talked about this in the FB .

    SecondlyIf the configuration of seats for participants does not suit you, if possible, change it. I always arrange chairs and tables the way I need, and not the way they stood there. Because I need to solve my communication problems. Seating the participants in such a manner and position that it was convenient for me to conduct the training, and for them to listen and be in the process.

    Life hack
    Люди, если их не направить, в большинстве случаев начнут садиться где-то в середине и дальше. Вот что можно сделать, чтобы изменить ситуацию:

    • развернуть стулья последнего ряда. Они вроде есть, но стоят наоборот. И воспринимаются уже не как стулья, а как некие ограничители зоны. При необходимости, если мест не хватит, их всегда можно развернуть обратно.
    • «разрушить» последний ряд, поставив стулья хаотично или совсем далеко от основного каскада
    • положить на последний ряд какие-то вещи: верхнюю одежду, рюкзак, что угодно. Это покажет, что места заняты, уже кто-то сидит, либо что «это служебный ряд, садитесь поближе». При необходимости вещи можно всегда убрать.
    • положить на пару стульев в первом ряду тетрадку и ручку, показывая, что «садиться на первый ряд не страшно. Можно. Вот, смотрите, ваши коллеги уже сидят. Занимайте места». Вопрос «можно ли садиться на первый ряд» отпадает сам собой.
    • первых вошедших сразу же просить занимать места с первых рядов.

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

    If it’s important for you to sit closer to you, the best way is to ask. Moreover ... And in this place I first wrote how to ask. And then erased. So how do you ask for it all the same? I will wait for your options in the comments, then I will write my own, if you are interested.

    Heading "Hero of the day". Volume

    The last time our hero was diction, this time the volume. And this is no coincidence, since these two parameters work in a tight connection. Let us return to diction for a moment to clarify this.

    Remember what we start to do when we hear: “I didn’t hear what you said?”

    Да, мы повторяем сказанное ранее. Но как? Громче.

    В итоге имеем:
    — Брблдлгрхкк, — тихо, бурча себе под нос.
    — Что-что, не расслышал?
    — Брблдлгрхкк, — повторяя, но уже чуть громче.
    — Ээээ… прости, что?
    — Я говорю, платежки брблдлгрхкк, — уже достаточно громко и, возможно, с некоторым напряжением.
    — Чего ты кричишь-то? — удивленно и с ответным негодованием, — я не понимаю тебя.
    — Ничего! Платежки, говорю, отправили! Три раза сказал, не ясно что ли?
    На самом деле неясно.
    Забавно, правда?

    When a person says “did not hear,” he actually asks us to speak more clearly, not louder. And with these words he tells us: “I want to hear your every sound so that it flies off your teeth, add diction.” But this is not clear to us.

    You can stay at the same volume level, but adding clarity, immediately increase speech intelligibility, that is, increase the likelihood of the interlocutor correctly recognizing lexical units. Speaking clearly is much easier than speaking louder. And less resources are spent on it.

    Another important mistake. Often, when we start to speak louder, we automatically increase the frequency (pitch) of the sound. The ligaments are already tense from the stress of the performance itself, but here they strain even more and get tired faster. Remember the professional illness of many teachers - “planted ligaments”, hoarseness. While ligaments are not about volume at all. Namely, about the tone, the pitch.

    Volume is the amount of air you exhale . I will give an example. I'm a trumpeter. The role of oscillators (in the voice of a person - ligaments) is performed by the lips. If I need to take a note above, then I work with the muscles of the lips. But if the same note, but louder - the diaphragm. It’s just that the output becomes more intense. And that’s all.

    Do not take a word - check

    Проведите эксперимент: попробуйте помычать. Оставайтесь на одной ноте. Начните тихо и постепенно увеличивайте, а затем уменьшайте громкость. Нота (то есть тон) должна оставаться неизменной. Что вы заметите? Как вы меняете громкость? Количеством выдыхаемого воздуха. Да, при увеличении громкости амплитуда колебания связок, естественно, увеличивается. Но это следствие, а не причина. Это как ветка, которая больше гнется, когда ветер дует сильнее. Важно оставлять связки расслабленными. Тогда будет легче говорить громче.

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

    Why is it important to speak louder? At least louder than you say in ordinary life? Briefly - whoever said louder is the leader. Loudness translates confidence. Yes, there are cases when people speak quietly, slowly and with long pauses, and we perceive them as confident. But this is rather an exception. At the same time, mind you, other instruments are also involved in it: tempo, pauses and, as a rule, timbre.

    How to determine how loud you need to talk?Simply. Stand at the point of speech. Look at the last row. Imagine that behind the last row of seats is another. And speak so loudly so that you can be heard on the last virtual row. Then on the last real they will definitely hear. Of course, you don’t need to switch to a scream - this will immediately cause tension in the ligaments, as a result, you will speak quieter, and even with tension in the larynx.

    And if there is a microphone? It’s great if your audience is more than a hundred people. Less, you, if there are no obvious problems with the voice unit, will sound without a microphone.
    When you can do without a microphone - speak without a microphone

    Firstly , you will free your hands (if this is not a loop / hanging system) - they will come in handy for gestures and for making movies.

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

    If the audience is more than 100-150 people, then a microphone to help. Important:at the same time you need to speak as if you do not have a microphone. Those. loud enough. For volume translates confidence. Your personal volume should be higher. The sound engineer will do the rest.
    With or without a microphone, be leaders - speak louder

    Friends, the reception of reports from our May festival of RIT ++ conferences is currently open. 12 streams are expected at the festival, and we invite the pros to share their experience and tell their colleagues interesting case studies. Applications for speeches can be left here .

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