STA Reviewer - Public Speaking PDF

**EN 207: Speech, Theater and Arts** **(Reviewer)** **Module 1** **Public Speaking :** - A formal face-to-face communication method where a person(s) uses the medium of speech to inform and/or influence a group of listeners (audience). **10 Ways to Improve Public Speaking Skills** **...

**EN 207: Speech, Theater and Arts** **(Reviewer)** **Module 1** **Public Speaking :** - A formal face-to-face communication method where a person(s) uses the medium of speech to inform and/or influence a group of listeners (audience). **10 Ways to Improve Public Speaking Skills** **1. Watch the experts -** Watch clips from great public speakers and find out what they do right. **2.** **Dress to Impress --** Dress accordingly depending on the theme of the event. **3. Visit the space before presenting -** Test out any audio and visual aids that you will be using. **4. Know your material -** Be sure to have a strong knowledge base for the material that you are covering. **5. Content** **There are 6 C's to consider:** - **Clear** - **Concise** - **Concrete** - **Coherent** - **Complete** - **Correct** **6. Body Language and Personality --** Be aware of your body language. **7. Practice, Practice, Practice --** Run through your presentation and be aware of your voice, filler words, and areas of difficulty in your presentation. **8. Get Feedback -** Share your presentation with a friend, classmate, professor, or anyone who is willing to give you feedback. **9. Prepare for the unexpected --** Make sure to be prepared for every inconvenience that you might encounter during your presentation. **Adapting the Audience** **Types of Audiences** - **Voluntary Audience** - **Captive Audience** - **Friendly** - **Neutral** - **Hostile** **10. Do's and Don'ts** **Do:** - Always repeat audience questions. - Give audiences something to take away with. - Respect your audience's time. **Don't:** - Make excuses - Read your slides or verbatim your notes - Defer from answering questions - Overload your slides **Speech and Communication Process:** **Speech** - The expression of or the ability to express thoughts and feelings by articulating sounds. (Oxford language) - A formal address or discourse delivered to an audience. (Oxford language) - The power of expressing or communicating thoughts by speaking. (Merriam-Webster) **7 Major Elements of Communication** **1.** The sender **2.** The idea or message (encoding to) **3.** The communication channel (decoding to) **4.** The receiver **5.** The feedback (encoding to) 6\. The communication channel (decoding to) **7.** The sender **Theories in Communication Process** **Aristotle's Model Of Communication** **Speaker -- Speech -- Audience -- Effect** The Aristotle model of communication is the widely accepted and the most common model of communication where the sender sends the information or a message to the receivers to influence them and make them respond and act accordingly. **Ethos --** The speaker's character or authority; establishment of moral character. **Pathos --** Emotional appeal of a speech. **Logos --** Logic to support a claim. **Shannon Weaver's Model of Communication** A diagram of a communication system Description automatically generated Shannon and weaver model simply proposes that a message originates from the person who gets the thought or has the information. The message while reaching the destination might get distorted sometimes as different people interpret messages in a different way. **Helical Model of Communication** **Proponent: Frank Dance**  Frank Dance proposed a communication model inspired by a helix in 1967, known as Helical Model of Communication. A helix is a three dimensional spring like curve in the shape of a cylinder or a cone. Helix is compared with evolution of communication of a human since birth to existence or existing moment.  **The helical model views communication as:** **1.** Cyclical **5.** Accumulative **2.** Contextual **3.** Continuous **4.** Non-Repetitive **Berlo's Model of Communication** A diagram of a message Description automatically generated with medium confidence While the Aristotle model of communication puts the speaker in the central position and suggests that the speaker is the one who drives the entire communication, the Berlo's model of communication considers the emotional aspect of the message. Berlo's model of communication operates on the SMCR model. **Source -** He is the one who transfers the information to the receiver after carefully putting his thoughts into words. **Communication Skills -** An individual must possess excellent communication skills to make his communication effective and create an impact among the listeners. **Attitude -** The sender must have the right attitude to create a long-lasting impression on the listeners. **Knowledge -** Knowledge is the clarity of the information which the speaker wants to convey to the second party. One must be thorough in what he is speaking with complete in-depth knowledge of the subject. **Social System -** the speaker must not ignore the social set up of the place where he was communicating. He must not forget the sentiments, cultural beliefs, religious feelings of the second party. **Culture -** Culture refers to the cultural background of the community or the listeners where the speaker is communicating or delivering his speech. **Message -** When an individual converts his thoughts into words, a message is created. The process is also called as Encoding. Any message further comprises of the following elements: **Content** - A thought must be put into words and content must be prepared. Content is the matter or the script of the conversation. It is in simpler words, the backbone of any communication. **Element** - The speech must be coupled with lots of hand movements, gestures, postures, facial expressions, body movements to capture the attention of the listeners and make the speech impressive. **Treatment -** is the way one treats his message and is conveys to the listeners. One must understand the importance of the message and must know how to handle it. This is referred to as the treatment of the message. One must understand how to present his message so that the message is conveyed in the most accurate form. **Structure -** It must be properly structured to convey the message in the most desired form. **Code -** Your body movements, your language, your expressions, your gestures are the codes of the message and must be accurate otherwise the message gets distorted, and the recipient will never be able to decode the correct information. **Channel** refers to the medium how the information flows from the sender to the receiver. **Receiver** When the message reaches the receiver, he tries to understand what the listener wants to convey and then responds accordingly. This is also called as decoding. The receiver should be on the same platform as the speaker for smooth flow of information and better understanding of the message. **Schramm's Model of Communication**  - According to the Schramm's model, coding and decoding are the two essential processes of an effective communication. - He also emphasizes that the communication is incomplete unless and until the sender receives feedback from the recipient. **Module 2** **Listening and Speech Criticism:** **What is Listening?** **Hearing vs Listening** **Hearing** - Accidental - Involuntary - Effortless **Listening** - Focused - Voluntary - Intentional **Stages of Listening** - Receiving -- Intentional focus on hearing a speaker's message. - Understanding -- We attempt to learn the meaning of the message. - Remembering -- Improve your memory of a message by processing it meaningfully. - Evaluating -- Judging the value of the message. - Responding -- Sometimes referred to as feedback. **5 Reasons for Listening (Katheleen Galvin, 1989)** - To engage in social rituals - To exchange information - To exert control - To share feelings - To enjoy yourself **Types of Listening ( Wolvin and Coakley, 1992)** 1. **Informative listening --** your aim is to concentrate on the message being given; directions, instructions 2. **Discriminative Listening -** Where the listener can identify and distinguish inferences or emotions. 3. **Comprehensive Listening -** where the focus is on \'understanding the message\'. 4. **Empathetic Listening --** the listener rather listens than to talk. 5. **Therapeutic Listening -** the listener\'s role is to be a sympathetic listener without much verbal response. 6. **Critical Listening -** Where the listener may be trying to weigh up whether the speaker is credible. 7. **Appreciative Listening -** Where the listener gains pleasure/satisfaction from listening. **Phases of Listening** - **Pre-Listening:** students need assistance to activate what they already know about the ideas they are going to hear. - **While Listening:** Skimming/Scanning understanding the very general idea(s) or gist of the listening text after the first or second listen. - **Post-Listening:** a follow up to the listening activity and aims to utilize the knowledge gained from listening for the development of other skills such as speaking or writing. **Micro Skills of Listening** - **Predicting** - **Listening for gist, general idea.** - **Listening for specific information.** - **Key words** - **Context Clues** - **Using the context** - **Detailed listening** **Three most frequents sub-skills** - Listening for gist - Listening for specific information - Listening in detail **Module 3** **Barriers For Effective Communication:** **Barrier** - Lack of Commonness is a barrier. - A barrier to interpersonal communications is anything that prevents, restricts or impedes the conveyance of meaning by words or gestures between two or more persons in a social setting. - The term 'Barriers', 'Obstacles', 'Hindrances' and 'noise' are all used to describe the distracting stimuli. **Barriers to Effective Communication** - Social - Psychological - Cultural - Physiological - System Design - Physical - Receivers **Social Barriers** - Gender - Age - Race - National or Cultural Origin - Socioeconomic Class - Education Level - Urban or Rural Residence **Psychological Barriers** - Attitude towards self - Fear - Attitude towards audience - Attitude towards the message - You yourself is not convinced with the subject - Knowledge of subject - Personality/Status of the communicator. - People's state of mind - Emotions - Personal/Problem worries - Pre-Conceived notions of communicator or receiver. - Mental limitations of human beings. **Psychological Barriers** - **Selective Perception** - **Motivation** - **Tunnel Vision** - **Ego Defensiveness** - **Negative Emotions** **Cultural Barriers** - **Semantic Problems:** use of jargon words - **Language** - **Norms and Values** - **Belief** - **Social Practices and Traditions** **Physiological Barriers** - **Individuals personal discomfort:** health issues - **Speech and Voice defect, feeling of inferiority, diseases, physical appearance, lack of skill.** **System Design** - **Organisational Structure:** unclear, to whom to communicate - **Insufficient or inappropriate systems** - **Information overloaded** - **Lack of clarity** - **Lack of supervision or training** - **Status and Power Differences** **Physical Barriers** - **Channel** - **Climate** - **Comfort** - **Distractions** - **Physical Setting of Classroom/Lecture Hall** **Receiver -- The Ultimate** - **Absenteeism** - **Strayers:** Out of track; out of context - **Gabbers:** They think that they are the only ones with anything worth saying. - **Silent** **Stage of the Speaking Process** - Speech does not start in the lungs. It starts in the brain and it is, then, studied by Psycholinguistics. - we need a phonetic plan of and a motor plan (Belinchón, Igoa y Rivière, 1994: 590) - Speech, then, is produced by an air stream from the lungs, which goes through the trachea and the oral and nasal cavities. **It involves Four Processes:** 1. Initiation - when the air is expelled from the lungs. In English, speech sounds are the result of "a pulmonic regressive air stream" 2. Phonation -- This process occurs at the larynx. The larynx has two horizontal folds of tissue in the passage of air; they are the vocal folds. The gap between these folds is called the glottis. 3. Oro-nasal Process - through the oro-nasal process we can differentiate between the nasal consonants (/m/, /n/,) and other sounds. 4. Articulation - it takes place in the mouth, and it is the process through which we can differentiate most speech sounds. In the mouth we can distinguish between the oral cavity, which acts as a resonator, and the articulators, which can be active or passive: upper and lower lips, upper and lower teeth, tongue (tip, blade, front, back) and roof of the mouth (alveolar ridge, palate and velum). **Module 4** **Overview of Historical Background of Theater and Drama:** **Theater** - A structure for dramatic performances or spectacles in ancient Greece and Rome. - It is executed according to its elements in dance, drama and mask, music and sounds, and costumes and props. - At present, (the epicenter) the Theater District is one of the most popular neighborhoods for entertainment in New York City. Located in central Manhattan, this district runs from Sixth to Eighth Avenues, between West 41st and West 54th Streets in Midtown West. **Drama** - It is a prose or poetical composition presenting a story or human life through the performance of actors and actresses. - Drama can be read as a literary work or performed. Play is a subset of drama. Drama encompasses various forms, including plays, films, and television dramas. Emphasizes the elements of plot, characters, dialogue, stage directions, and themes. **Why people do drama in Theater?** - For entertainment - Famous plays are tragedy and comedy; also used to inform important issues in the society. - In 2000 years ago, in ancient Athens, this is for festivals. - For Sophocles to explore Greek Mythology characters' flaws to inspire audience to think about their own behavior. **Greek Ancient Athens Theater (2000 years ago)** A large building with a crowd of people Description automatically generated **Orchestra --** a circular piece of ground at the bottom of the theatron where the chorus and actors performed; the word means \"dancing space\", as the chorus also danced in early periods. **Skene -** a building behind the playing area that was originally a hut for the changing of masks and costumes but eventually became the background before which the drama was enacted. **Theatron -** where the spectators sat. The theatron was usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra. **Dionysus Eleuthereus (6^th^ Century BC) -** The Theater of Dionysus Eleuthereus in Athens, located on the southern slope of the Acropolis. This theater was a major venue for the performance of dramatic plays, including those of Aeschylus, Sophocles, and Euripides, all of which were often performed during festivals in honor of Dionysus, particularly the Dionysia. **The Foundations of Drama and Theater:** **The Basic Elements of Theater** **Script/Text, Scenario, Plan** This is the starting point of the theatrical performance. The elements most of considered as the domain of the playwright in theatre. The playwright's script is the text by which theatre is created. It can be simplistic, as in the 16^th^ century, with the scenarios used by the acting. **The Process --** It is the pure process by which the playwright's work is brought to realization by the director, actors, designers, technicians, dancers, musicians, and any other collaborators that come together on the script, scenario, or plan. **The Product -** The final product that results from all the labors coming together to complete the finished work of script, scenario, and plan, in union with all the collaborators in the process to create final product. **The Audience --** The physical presence of an audience can changes a performance, inspire actors, and create expectations. **PLAYWRIGHT --** The initial creator of the script, scenario, or plan. A playwright works in that branch of literature dealing with the writing and producing of plays for the theatre. **Steps Of The Playwright's Work** [The basic steps involved in the development of drama include:] 1. Coming up with Thought/Theme/Ideas to be expressed through the work. 2. Determine the genre and style of the work. 3. Outlining basic action of the work and creating plot. 4. Establish the structure of the play and overall framework. 5. The development of Characters presented in the work. 6. The creation of dialogue and the language of the characters. 7. Creating Music: This can involve the rhythm of the language of actual music composition and the lyrics of the songs. 8. Establishing spectacle: The visual and environmental elements of the work. 9. Research of subject matter and relevant issues presented in the play. **Elements of Drama** - **Thought/Theme/Ideas:** What the play means as opposed to what happens (the plot). Sometimes the theme can be seen in the title. The abstract issues and feelings that grow out of the dramatic action. - **Action/Plot:** The events of the play; the story as opposed to the theme; what happens rather than what it means. - **Characters:** These are the people that are presented in the play that are involved in the perusing plot. - **Language:** The word choices of the playwright and the enunciation of the actors of the language. - **Music:** It can encompass the rhythm of dialogue and speeches in a play or can also mean the aspects of the melody and music composition as with musical theatre. - **Spectacle:** It can involve all the aspects of scenery, costumes, and special effects in a production. The visual elements of the play created for theatrical event. **Genre/Form** **Tragedy --** an imitation of an action that is serious, complete, and of a certain magnitude. It allows for an arousal of this pity and fear and created an effect of purgation or catharsis of these strong emotions by the audience. **Comedy --** should have the view of a 'comic spirit' and is physical and energetic. In comedy, there is absence of pain and emotional reactions, as with tragedy, and a replaced use of man's intellect. **Melodrama --** It is a drama of disaster and differs from tragedy significantly, in that; forces outside of the protagonist cause all of the significant events of the plot. **Tragicomedy --** It is the most like of all of the genres. It is non-judgmental and ends with no absolutes. It focuses on character relationships and shows society in a state of continuous flux. **Dramatic Structure** It involves the overall framework or method by which playwright uses to organize the dramatic material and or action. [The Basic Characteristics of the Cause to Effect Arrangement are:] - Clear exposition of situation - Careful preparation for future events - Unexpected but logical reversals - Continuous mounting suspense - An obligatory scene - Logical resolution **Fundamentals of Play:** **Production Staff** **Stage Managers (Rehearsal SM, Production SM, Assistant SM) --** He/she communicates remotely with technical crew and calls all cues for lighting and sound effects, as well as coordinating the run crew for any scene changes that may be called for. **Technical Director -** responsible for making sure that all technical aspects of a show are carried out in a timely fashion. This includes coordinating the set design, lighting and set construction, and handling any technical details needed during performances. **Set Designer (Scenic Artist, Set Painter, Assistant Set Designer) --** takes a concept drawing or description from the stage director and produces a detailed design. He/she must work in collaboration with the lighting designer and master carpenter, so that a feasible design is produced. **Master Carpenter (and Set Crew) --** he turns a completed design into the actual set pieces needed for a show. **Lighting Designer --** is responsible for coordinating the deployment of lighting instruments at put-in as well, along with the master electrician. **Master Electrician (and lighting crew) --** he organizes the light hang crew to get the lights hung from the lighting grid, focused, gelled, and connected to the dimmer board. **Light Board Operator --** is responsible for controlling the lights during the show. **Costume Designer (and master stitcher/tailor/seamstress, costume crew) --** he/she makes the costumes for the cast. He/she reports to the technical director, but should also communicate well with the director to ensure that the consumes are consistent with the theme of the show. **Make-up Artist --** is responsible for ensuring that we have the proper makeup for the cast. **Choreographer --** is responsible for designing dances that may be needed and teaching them to the cast. **Props Manager --** is responsible for locating anything that will need to be carried by actors on the stage. **Run Crew --** performs set changes and other miscellaneous tasks as necessary during the how. **PRE-REHEARSAL ACTIVITY** - **Pre-Blocking:** means to plan all onstage action and character movements in advance of the rehearsal. - **In-Rehearsal** blocking occurs when the director and actors come together to develop blocking in a rehearsal space. **CASTING A PLAY** - **Traditional Auditions:** Students come in one by one with prepared material (monologue or a song) and the director casts based on the merits of their preparation and abilities. - **Group Readings from the Script:** Everyone interested in the play gets together and reads from the script. - **Self-Casting:** directors gave the script to the students and let them cast the play on their own. - **Don't have auditions at all:** They choose the casts based on students they know from their classes. **Module 5** **STAGE SETTING** **Stage Terminologies** - **Acoustics:** The ability of a room to absorb or direct sound waves based on its size, shape, and material used. Orchestra shell towers and ceiling clouds can direct sound waves toward the audience improving their experience. - **Apron:** The part of the stage that stretches beyond the proscenium arch toward the auditorium. - **Arena Stage:** Also known as "in the round", the playing space is surrounded with seating on four sides. - **Batten:** Pipe that stretches across the stage when part of an automated or manual counterweight rigging system, moves in (down) and out (up), also may be "dead-hung" at a static height. - **Black Box:** Performance space in which the seating and playing space are reconfigurable. - **"Break a leg":** Replacement for the unlucky, "good luck", thought to refer to the "break" in an actor's leg at the knee when one foot is put behind the other curtsy or bow. - **Flat:** a vertical wall of a set. - **Ghost Light:** Typically with a bare light bulb, a lamp left center stage once the theatre "goes dark" every night for political reasons, to prevent someone from walking into a dark theatre and tripping. - **Line set:** Automated or manual counterweight rigging systems allows for pipe battens to be brought close to the stage for easy installation of light fixtures above the stage. - **Orchestra Pit:** A sunken area at the front of the stage where the orchestra performs during a show. - **Plaster Line:** An imaginary line that runs across the stage along the upstage side of the proscenium arch, often made of plaster. - **Platform:** A horizontal surface on a set or portable staging unit. - **Proscenium:** The arch, or "frame", around the stage, a portal between backstage and the apron. **Stage Directions:** Ancient Greek and Roman theatre stages were raked toward the audience, if an actor was walking toward the audience, they would be walking downhill. **Downstage:** toward the audience **Upstage:** away from the audience **Stage Left:** the actor's left facing the audience **Stage Right:** the actor's right facing the audience **House Left:** the audience\'s left facing the stage **House Right:** the audience\'s right facing the stage **Onstage:** toward the centerline of the stage **Offstage:** away from the centerline of the stage **Telescopic Seating:** Retractable, nesting, seating risers for flexible spaces **Thrust Stage:** Playing space surrounded by audience seating on three sides. **Traverse/Ally Stage:** Playing space surrounded by audience seating on two sides. **Vomitorium:** An ally used as an entrance or exit, behind or alongside seating in the auditorium. **Purpose of Stage Scenery** - Establish the limits of the playing space - Define or help define the "place and time" of the story of the play - Provide those physical objects that the performers need in order to execute the action. - Focus the observers attention in the "right place at the right time" - More esoteric "abstract" functions are; support the thematic ideas contained in the play or in the director's interpretation of the play. - Establish or reinforce the emotional, psychological, or spiritual "atmosphere" or mood of the play. - Create a "special" environment of the performer. **Types of Theater Stage Set** 1. **Proscenium Stages --** it has an architectural frame, known as the proscenium arch. Their stages are deep and sometimes raked. Theatres containing proscenium stages are known as proscenium arch theatres and often include an orchestra pit for live music and a fly tower for the movement of scenery and lighting. 2. **Thrust Stages --** audiences are sitting on three sides. Not always square but may be semi-circular or half a polygon with any number of sides. Such stages are often used to increase intimacy between actors and the audience. 3. **Theatres in the Round -** where the audience surrounds the performance space from all sides, typically in a circular or square arrangement. This type of staging creates an intimate environment, bringing the audience closer to the performers and action. 4. **Arena Theatres -** is a stage configuration where the audience surrounds the central performance area, offering an immersive and intimate viewing experience, with minimal sets and dynamic actor movement to engage all angles. 5. **Block-box or Studio Theatres -** are flexible, small, often square-shaped performance spaces with black walls and minimal fixed features, allowing for versatile stage and seating arrangements to suit different productions. 6. **Platform Stages -** is a raised, flat performance area typically set at one end of a room or venue, with the audience seated on one side, like a traditional proscenium stage but without a frame or curtain, offering a simple, straightforward setup for performances. 7. **Hippodromes -** a large, oval or circular performance space designed for grand, dynamic productions with the audience surrounding the action, like an arena. 8. **Open Air Theatres -** are outdoor performance venues without a roof, typically with a natural or architectural backdrop, where audiences watch performances in an open environment, often making use of natural light and scenery. 9. **Site-Specific Theatre -** a form of performance designed to take place in a unique, non-traditional location, with the setting itself playing an integral role in shaping the narrative and audience experience. **YOWN LANG GOOD LUCK MGA BOSSING!!!**