Speech and Theater Arts Review 2022

Republic of the Philippines
CAGAYAN STATE UNIVERSITY

Andrews Campus, Caritan Sur, Tuguegarao City
COLLEGE OF TEACHER EDUCATION
SPEECH AND THEATER ARTS REVIEWER 2022
SPEECH ARTS
I. CONCEPTS OF SPEECH AND COMMUNICATION
Speech arts is a discipline which includes speech writing and public speaking,
storytelling, and prose, poetry, and drama performance. Speech arts includes the study of vocal
variety, body language and physicality, eye focus, characterization, and emotional awareness, in
addition to speech structure and the organization of ideas.
Speech is the means by which we communicate messages orally; however, we can still
communicate in by writing and by using sign languages
Speech refers to the perception, planning and production of speech sounds and has two
elements: phonetics and phonology. Phonetics is the study of sounds and is concerned with the
production, audition, and perception of speech sounds (called phones. It deals with the
configurations of the vocal tract used to produce speech sounds (articulatory phonetics), the
acoustic properties of speech sounds (acoustic phonetics), and the manner of combining sounds
to make syllables, words, and sentences (linguistic phonetics). Phonetics comprises the
knowledge and skills required for the perception and production of speech sounds.
Phonology, on the other hand, is a branch of linguistics concerned with the systematic
organization of sounds in spoken languages and signs in sign languages. It comprises the
knowledge and skills required to understand and use linguistically appropriate speech sound
rules. Phonology describes the way sounds function within a given language and operates at the
level of sound systems and abstract sound units. Knowing the sounds of a language is only a
small part of phonology. This importance is testified by the fact that you can change one word
into another by simply changing one sound. Look at the differences between the words like and
dike. The words are identical except for the first sound. [l] and [d] can therefore distinguish
words, and are called contrasting sounds.
“Communication” came from the Latin word “communico” meaning “I share”. It is

defined as a complex process often involving reading, writing, listening and speaking.
Information is conveyed from the source to the receiver.
Communication is the exchange of facts, opinions, and, information, ideas between two
parties. Communication is two-way for it needs the feedback of the receiver to complete the
process, in this sense, the sender could assess if the receiver understands the message or not. To
cut it short, communication is the process of information from the sender to receiver with the
message being understood by the receiver.
Elements of Communication Process
1. Message - the body of information that creates the communication process

2. Sender - the source of information that has the full authority to explain or encode the
information or message created.
3. Channel - the way by which the message may be conveyed, communicated or
carried.
4. Receiver - the party who accepts the message from the sender. It also makes
feedback out of the information taken from the source.
5. Feedback – the response sent back by the receiver to the sender
THE COMMUNICATION PROCESS
CHANNEL
There are two main types of communication-the verbal and non-verbal. Verbal
communication uses language to convey information through speaking or writing, while
nonverbal communication uses body language such as gestures and facial expressions in
conveying information.
There’s a myth that says that when you speak, only 35 percent of your communication is
verbal and 65 percent of it is nonverbal. That’s not entirely true. But it’s true that nonverbal
communication can make or break your message. Here are some types of nonverbal
communication:
Facial expressions: Facial expressions—happy, sad, angry—help you convey your

message. Your facial expression when talking and when listening are not that easy to
forget.
Gestures: A gesture can make your message stronger when speaking. Making a fist to
show frustration or anger, such gestures help further engage your audience when you
speak. While when you cross arms while somebody is speaking means you’re not
interested with the topic or the speaker himself.
Proximity: How close you are to your audience when you speak sends a nonverbal
message. If your size is imposing and you leave a very small distance between you and
your listener, it’s likely your nonverbal communication will be a bit threatening. People
might think of you talking some confidential topics or gossiping. On the other hand,
giving someone too much space is an awkward nonverbal communication that might
confuse your listener.
Touch: Shaking an audience member’s hand, putting your hand on his shoulder: these are
nonverbal cues that can affect the success of your message. Touch communicates
affection, but it also communicates power. In fact, when women touch a listener, it’s
often assumed that they’re being affectionate or conveying empathy, but when a man
touches a listener, it can be taken as a sign of communicating power or even dominance.
Eye contact: Making and maintaining eye contact with an audience when you’re verbally
communicating or listening communicates to the other party that you’re interested and
engaged in the conversation. Good eye contact often conveys the trait of honesty to the
other party.

Appearance: Your clothing, hair, and jewelry are also a part of nonverbal
communication. Similarly, the quality and condition of your clothing, how it fits, if it’s
appropriate for the season—all these things speak nonverbally about you as a
communicator.
II. LEVELS OF CONTEXT OF COMMUNICATION
Context refers to the setting in which communication takes place. The context helps
establish meaning and can influence what is said and how it is said. It is as a result of this fact
that effective communication depends on the mass of common shared knowledge between
various people.
For a one to understand a unit of communication on a technical level, they need to

understand the process regarding the outcome of the transmission with consideration upon
whether it was understood by the receiver. There are however five different forms of existing
context today (Louw and Cilliers 2014).
Historical Context
The historical context involves the expectation of the speaker and the audience in
situations that happen regularly or have happened in the past. For example, a sales agent does
some sales talking of a certain product to a client, he/she already has expectations on what could
happen and how things will go basing from his experiences(historical). But it does not mean that
those expectations must happen everytime, but the speaker should be aware of both their own
historical expectations and that of the audience.
Psychological Context
The psychological context refers to the mood and emotions of the audience, as well as the
speaker to a lesser extent. How the audience is feeling will have an impact on how the speaker's
messages will be received, and how they should be delivered. For example, the mood of a class
at 8:00 in the morning is different from their mood before lunch break. Their mood to listen to
the teacher early in the morning is still good until it reaches 10:00 o’clock, by that time, their
mood slowly changes as lunch break nears.
Cultural Context
Cultural context is one of the most obvious factors of communication, but it is also one of
the most important. Culture relates to the beliefs and values of a group. Not all your ideas as
speaker are taken by the individual audience as light as you expect them to be, sometimes, these
depend on their beliefs and practices considering their culture.
Social Context
Social context is a personal matter. It involves the relationship of the speaker and the
audience and the expectations involved in that relationship. Language registers are involved here
since the relationship of the speaker and the audience is considered. The way a mother speaks to
her children is different from the way she speaks as a teacher inside the classroom. The company
manager talks to his subordinates in a very different way he talks with his drinking buddies.
Physical Context
There is a time and place for everything, and that is where physical context comes in. The
physical context involves the actual location, the time of day, the lighting, noise level and related
factors. Each atmosphere has its own set of rules for how to communicate. A speaker at a
political rally might shout, pound the podium and use inflammatory language to get an audience
excited. At many political rallies, this type of behavior is expected. Doing the same thing with a

small group of friends around a fireplace late at night would produce a very different reaction.
Different mood, words, and emotions are applied when speaking in someone’s funeral or
someone’s wedding.
III. MODES OF COMMUNICATION
Mode is a term used to describe the way something is done or experienced. Mode of
communication describes the way communication is expressed. There are three modes of
communication: Interpersonal communication, interpretive communication, presentational
communication.
Three Modes of Communication
Interpersonal Interpretive Presentational

 Two-way  One-way  One-way
communication with communication with communication
active negotiation of no recourse to the intended for an
meaning among active negotiation of audience of readers,
individuals meaning with the listeners, or viewers
writer, speaker, or
producer
 Spontaneous  Reader, listener or  Presentation of
viewer interprets what information; not
 Usually involves the author, speaker, or exchange
exchange of producer wants the
information receiver of the message  No direct
to understand opportunity for the
 Meaningful active negotiation of
meaning exists
 Participants observe and  Interpretation differs  To ensure the
monitor one another to from comprehension intended audience is
see how their meanings and translation in that it successful in its
and intentions are being implies the ability to interpretation, the
communicated and read, listen or view “presenter”
make adjustments and “between the lines,” needs
clarifications including knowledge of
accordingly understanding from the
within the cultural audience’s
mindset or perspective language and
culture
 Speaking and listening  Reading of authentic  Writing (messages,

(face-to-face texts (websites, stories articles,
conversation, phone call, and other literature, advertisements, flyers,
videocall) articles, signs) brochures, short
stories, reports,
 Reading and writing  Listening to authentic scripts, Power Point
(text messages, texts (speeches, presentations);
messages on social messages, songs, radio
media, letters, email) news, ads)  Speaking (telling a
story, giving a speech,

 Viewing of authentic TV or radio news,
materials (videos, drama presentations
movies, presentations, including skits,
TV shows, presentation to jury)
commercials, news,
plays)
IV. REVIEW OF SPEECH SOUND
The Speech Sounds of English
In (Standard British) English there are 44 such speech sounds, divided into different
categories, the most basic categories being vowels and consonants.
These speech sounds are called phonemes. A phoneme may be defined as the smallest
language unit that is able to distinguish meaning. A minimal pair (a pair of words that differ in
one sound only), for example mat and man, illustrates this quite clearly. By replacing a single
sound with another, the meaning of the word is completely changed, even though the two sounds
in this case are very similar.
The phonemes are abstract units that may come out in different forms. If you experiment
by pronouncing the words key and car, you will hear that the two sounds are quite different
from each other. Key starts with the letter k which sounds /k/, car starts with c but the sound is
still /k/. If variants of a phoneme are decided by the sound context as in the example above, we
refer to these variants as allophones of a phoneme; therefore, c and k are allophones of the
phoneme /k/.
Place of Articulation
Articulatory Phonetics
The traditional method of describing speech sounds is in terms of the movements

of the vocal organs that produce them. The main structures that are important in the
production of speech are the lungs and the respiratory system, together with the vocal
organs shown in the figure above.
The airstream from the lungs passes between the vocal cords, which are two small
muscular folds located in the larynx at the top of the windpipe. The space between the
vocal cords is known as the glottis. If the vocal cords are apart, as they are normally

when breathing out, the air from the lungs will have a relatively free passage into the
pharynx (see Figure 1) and the mouth. But if the vocal cords are adjusted so that there is a
narrow passage between them, the airstream will cause them to be sucked together. As
soon as they are together there will be no flow of air, and the pressure below them will be
built up until they are blown apart again. The flow of air between them will then cause
them to be sucked together again, and the vibratory cycle will continue.
Sounds produced when the vocal cords are vibrating are said to be voiced, as
opposed to those in which the vocal cords are apart, which are said to be voiceless.
Place and Manner of Articulation for Consonant Sounds
Place of articulation
Consonants are sounds produced with some restriction or closure in the vocal
tract. Consonants are classified based in part on where in the vocal tract the airflow is
being restricted (the place of articulation)
The International Phonetic Alphabet recognizes the following places of

articulation (among others):
Bilabial - The point of maximum constriction is made by the coming together of

the two lips. [p] [b] [m]
Labiodental - The lower lip articulates with the upper teeth. [f] [v]
Dental/interdental - The tip of the tongue articulates with the back or bottom of
the top teeth. [θ] [ð]
Alveolar - The tip or the blade of the tongue articulates with the forward part of
the alveolar ridge. A sound made with the tip of the tongue here is an
apicoalveolar sound; one made with the blade, a lamino-alveolar. [t] [d]
Post-alveolar/uvular - The tip or the blade of the tongue articulates with the back
area of the alveolar ridge. [r]
Palato-alveolar or Alveo-palatal – the blade of the tongue is arched near the

alveolar area with a simultaneous approximation of the front of the tongue
towards the hard palate [tʃ] [dƺ]
Palatal - The front of the tongue articulates with the domed part of the hard
palate. [k] [g] [j]
Velar - The back of the tongue articulates with the soft palate. [ŋ]
Glottal The vocal folds are brought together; in some cases, the function of the
vocal folds can be part of articulation as well as phonation [? ] [h]
Manners of Articulation
The manner of articulation is the way the airstream is affected as it flows from
the lungs and out of the mouth and nose.
Stop
Like nasal consonants, stop consonants occur when the vocal tract is closed
completely. But for stops the airflow is NOT redirected through the nose. Instead, the air
quickly builds up pressure behind the articulators and then releases in a burst.
English contains the following stop consonants.

/p/ – purse and rap – oral passage is blocked by closing the lips (bilabial).
/b/ – “back” and “cab” – oral passage is blocked by closing the lips (bilabial).
/t/ – “tab” and “rat” – oral passage is blocked by pressing the tongue tip against
the alveolar ridge (alveolar)
/d/ – “dip” and “bad” – oral passage is blocked by pressing the tongue tip against
the alveolar ridge (alveolar)
/g/ – “good” and “bug” – block airflow with the back of the tongue against the
soft palate (velar).
Fricative
While nasal and stop consonants involve a complete blockage of the vocal tract,
fricative sounds involve only a partial blockage of the vocal tract so that air has to be
forced through a narrow channel.
For example, you create a /t/ stop consonant when you block airflow completely
with your tongue against the alveolar ridge. But if you let up with the tongue a bit and let
the air seep through, you make an /s/ fricative consonant.
The English fricative sounds are as follows:
/f/ – “fro” and “calf“- air is forced through the upper teeth and lower lip
(labiodental)
/v/ – “vine” and “have” – air is forced through the upper teeth and lower lip
(labiodental)
/θ/ – “thick” and “bath” – air is forced through upper teeth and tongue (dental)
/ð/ – “the” and “rather” – air is forced through upper teeth and tongue (dental)
/s/ – “suit” and “bus” – air is forced through tongue and alveolar ridge (alveolar)
/z/ – “zit” and “jazz” – air is forced through tongue and alveolar ridge (alveolar)
/ʃ/ – “shot” and “brash” – air is forced through the tongue and point just beyond
alveolar ridge (post-alveolar)
/ʒ/ – “vision” and “measure” – air is forced through the tongue and point just
beyond alveolar ridge (post-alveolar)
/h/ – “happy” and “hope” – actually /h/ isn’t a fricative. It’s technically not even a
real consonant sound since there’s no constriction/obstruction of airflow.
Affricate
When stop consonants mix with fricative consonants, the result is an affricate
consonant. Affricate consonants start as stop sounds with air building up behind an
articulator which then releases through a narrow channel as a fricative (instead of a clean
burst as stops do).
The English affricate sounds are:
/tʃ/ – “chick” and “match” – air is blocked with tongue just beyond the alveolar
ridge (post-alveolar), then released as a fricative.
/dʒ/ – “jam” and “badge” – air is blocked with tongue just beyond the alveolar
ridge (post-alveolar), then released as a fricative.
Nasal
Nasal consonants are created when you completely block air flow through your
mouth and let the air pass through your nose.
There are three nasal consonants in English.
/m/ – “mad” and “clam” – oral passage is blocked by closing the lips (bilabial).
/n/ – “no” and “man‘ – oral passage is blocked by pressing tongue tip against the
alveolar ridge (alveolar).
/ŋ/ – “going” and “funk” – Oral passage is blocked by pressing the back of your
tongue against the soft palate (velar).

Lateral
Lateral consonants are when the tongue blocks the middle of your mouth so that
air has to pass around the sides.
There is one lateral consonant in English
/l/ – “luck”- place the tip of the tongue at the alveolar ridge (alveolar)
Approximant
Approximants are when two articulators come close together but not quite close
enough to create air turbulence.
The resulting sound is more like a fast vowel than anything else. For example, the
/w/ approximant is like a fast /u/ sound (say /u/ + /aɪ/ fast and you get the word “why”).
Notice how your tongue never actually comes in contact with the top of your mouth.
There are three English approximants:
/w/ – “wet” and “howard” – back of tongue raises to velum (but not too close!)
and lips are rounded (velar)
/j/ – “yes” and “bayou” – tongue raises to hard palate (but not too close!) (palatal)
/ɹ/ – “right” and “roar” – tongue raises to hard palate (but not too close)
(alveolar/post-alveolar)
In 1888 the International Phonetic Alphabet (IPA) was invented in order to have a
system in which there was a one-to-one correspondence between each sound in language
and each phonetic symbol. Someone who knows the IPA knows how to pronounce any
word in any language.
Consonant sounds
There are 24 consonant sounds in most English accents, conveyed by 21 letters of

the regular English alphabet (sometimes in combination, e.g., ch and th).
Sound Examples
/p/ pair, cup
/b/ bad, crab
/t/ tall, hit
/d/ dark, head
/k/ cab, lack
/g/ good, tag
/f/ ﬁne, wife
/v/ very, above
/θ/ thing, both
/ð/ this, father

/s/ saw, house
/z/ zap, goes
/ʃ/ shape, push
/ƺ/ pleasure, beige
/h/ her, ahead
/tʃ/ cherry, match
/dƺ / judge, raj
/m/ man, team
/n/ nail, tan
/ŋ/ ring, singer
/l/ let, tall
/r/ right, scary
/w/ wet, away
/j/ you, soya
Vowel sounds
There are 12 vowels (or monophthong) phonemes. Vowels are long or short. Long
vowels are marked with a length mark. However, vowels are considerably shorter in front
of fortis consonants than in other positions.
Vowels are therefore primarily distinguished from each other by their quality, not
length. The tongue position is important in the production of vowels.
Vowels are classified by how high or low the tongue is, if the tongue is in the
front or back of the mouth, and whether the lips are rounded or not
 High vowels: [i] [ɪ] [u] [ʊ]

 Mid vowels: [e] [ɛ] [o] [ə] [ʌ] [ɔ]
 Low vowels: [æ] [a]
 Front vowels: [i] [ɪ] [e] [ɛ] [æ]
 Central vowels: [ə] [ʌ]
 Back vowels: [u] [ɔ] [o] [æ] [a]
Sound Example
ʌ cup, luck
ɑ: arm, father
æ cat, black
ɜ met, bed
ə away, cinema
ɜ:ʳ turn, learn
ɪ hit, sit
i heat seat,
ɒ hot, rock
ɔ call, four
ʊ put, could
u: blue, food
aɪ five, like
aʊ now, out

eɪ say, eight
o go, home
ɔɪ boy, join
Using IPA symbols, we can now represent the pronunciation of words

Examples:
English IPA
 /pluck/ /plʌk/
 /went/ /wɜnt/
 /how/ /haʊ/
 /should/ / ʃʊd/
 /mood/ /mud/
 /though/ / ðo/
 /thought/ / θɔt/
V. FOCUS ON THE SUPRASEGMENTALS AS TOOLS FOR SPEECH AND THEATER-
STRESS, PITCH, VOLUME, ENUNCIATION,ETC
Suprasegmentals, also called prosodic feature, in phonetics, a speech feature such as

stress, tone, or word juncture that accompanies or is added over consonants and vowels; these
features are not limited to single sounds but often extend over syllables, words, or phrases.
Suprasegmentals are so called in contrast to consonants and vowels, which are treated as serially
ordered segments of the spoken utterance.
Stress, in phonetics, intensity given to a syllable of speech by special effort in

utterance, resulting in relative loudness. This emphasis in pronunciation may be merely
phonetic (i.e., noticeable to the listener, but not meaningful), as it is in French, where it
occurs regularly at the end of a word or phrase; or it may serve to distinguish meanings,
as in English, in which, for example, stress differentiates the noun from the verb in the
words “object” and “present”.
Stress provides emphasis, but often, it is used to provide meaning to words in

general and can be either associated word stress on the word, phrase or sentence levels.
For example, “She will present the company’s Christmas present

tonight”. The two similar words are stressed differently so that the first present is
stressed on the second syllable (vowel reduction in the first syllable also assists in
helping us to assign stress to the second syllable), whereas the second present is
stressed on the first syllable (with vowel reduction in the second syllable). All
words of more than one syllable have a prominent or stressed syllable. If we
pronounce a word with appropriate stress, people will understand us; if we use the
wrong stress placement, we run the risk of being misunderstood.
Pitch, in speech, the relative highness or lowness of a tone as perceived by the

ear, which depends on the number of vibrations per second produced by the vocal cords.
Pitch is the main acoustic correlate of tone and intonation. Pitch is used in order to
express our emotions and attitude through a change in our intonation, or the tone of our
voice. We also use pitch in order to express stress, or when we make certain syllables
longer, louder, and higher in pitch.
In addition to the pitch, every individual voice has a pitch range which can be
achieved by adjustments of the vocal cords. By tightening the vocal cords, a person can
raise the pitch of the voice by loosening them, one can lower vocal pitch. When the vocal

cords are stretched, the pitch of voice increases. These adjustments allow speakers to use
pitch changes to achieve certain meaningful effects in speech.
The most important of all factors for the pitch of the voice is the vibration of
vocal cords. When frequency of vibration increases, so does the pitch. Normally, a low
pitch is not less than 70 Hz while a high pitch is not more than 200 Hz. (Çelik,
2003:101).
Pitch range can be divided into three parts as high, mid and low.
Most importantly, the pitch range of utterance shows the speaker’s attitude
towards the information that s/he is conveying. As Brazil, Coulthard and Johns
(1980:163) indicates, the neutral, unmarked, mid pitch range – which is the speaker’s
modal pitch – is used to make a statement in a neutral manner.
Pitch is directly related to word and syllable stress. Content words--the words that
give us the picture of what is happening--are stressed more during speech than function
words--the grammatical words of the sentence. With pitch, one or more of the stressed
content words of our speech will have a more dramatic rise of pitch than the other content
words, and that pitch change falls mostly on the stressed syllable of that content word.
English speakers mark words with a higher pitch for many reasons, including:
 to make a simple statement (neutral statement)

 to contrast or clarify information
 to give new information
 to show emphasis
 to ask questions
High pitch range indicates an informational contrast as shown in example:
(a). Because high pitch range implies a contrast even when one is not
explicitly present in the discourse, it can be used to single out individual
words for special attention as in the example (b).
a) I’m going to Canada, not Australia!
b) I’d never do that.
Low pitch range is used when the speaker wants to assert that two items in
successive tone units are in some sense equivalent, as in the example (c):
c) I told you already, dummy.
Here the low pitch range on "dummy" signals that it is to be interpreted as

connected with "you."
While pitch is the highness and lowness of the voice, volume is the loudness
nad softness of the voice. Loudness is what the audience perceives and it
correlates with the physical strength (amplitude). When speaking naturally
without any amplification, you need to consider the distance to be covered by
your voice and adjust sound production accordingly.

If speaking in a face-to-face group without a microphone ask yourself if you
are loud enough to be heard by audience members in the last row. Speaking to
a large group will require more energy to breathe and control your sound
production.
To become a better speaker with your "naked" speaking voice, try the
following techniques:
Practice speaking in a large room with a friend who moves farther and farther
away from you until the friend reaches the rear of the room and can still hear
you.
Make sure that you are standing straight and not cramped so you have the
maximum capacity for breathing and forcing air out of the lungs for sound
production.
Practice speaking by thinking of people at different distances to you such as at
your elbow, across the room, or in the back of a large hall.
VI. PUBLIC SPEAKING
Public speaking is a way of making your ideas public – of sharing them with other
people and of influencing other people. It is usually done in front of a crowd or a certain
audience.
Public speeches can cover a wide variety of different topics. The goal of the speech may
be to educate, entertain, or influence the listeners. Often, visual aids in the form of an electronic
slideshow are used to supplement the speech and make it more interesting to the listeners.
A public speaking presentation is different from an online presentation because the online
presentation may be viewed and/or listened to at the viewer's convenience, while a public speech
is typically limited to a specific time or place. Online presentations are often comprised of
slideshows or pre-recorded videos of a speaker (including recordings of a live public speaking
presentation).
There are seven elements that a speaker must understand to be able to prepare and
transmit an effective speech or presentation in public. A professional and effective speaker
knows that he must apply these seven elements at the same time.
However, not paying attention to any of these aspects may result in an unprofessional or
disastrous speech or presentation.
7 Basic Elements of Public Speaking
These basic elements of public speaking include the following;
 The speaker
 The message
 The audience or receiver
 The channel
 Feedback
 Noise
 The place or situation
The speaker
The speaker is the source of the message. Many speakers forget that they are the
presentation itself, and not the visual aids they use. Many presenters or speakers today
put a lot of effort into visual aids and forget that those elements are just that visual aids
that help the speaker make a better presentation. Relying on visual aids in one hundred
percent is not recommended.
There are three factors that we need to consider about any speaker.
-Your motivation when making the presentation or your passion

-Your credibility as a speaker
-His style and personality to communicate his knowledge and ideas
The message
The message refers to everything the speaker says, both verbally and bodily. The
verbal component can be analyzed in three basic elements.
-Content
-Style
-Structure
Content
This is what the speaker says about the subject or topic.
Style
This explains the way the content of the Speech is presented. The style may vary;
in some cases, it must be very formal or very informal. Most presentations can fall
between these two extremes, and in each case, the style should be determined by which
one should be the most appropriate for the speaker, the audience, as well as the occasion
and place.
Structure
The structure of a message is your organization. There are many ways to organize
your message; The structure could include an introduction, a body or argument, and the
conclusion.
When your presentations are poorly organized, it reduces the impact of the
message. For a speech or presentation to achieve the desired objective, it must captivate
and impact the audience from the first 60 seconds until the end of the intervention.
The audience
A professional speaker should analyze his listeners before the Speech and decide
how to present his ideas. This analysis could include some important considerations:
Needs, Age, sex, marital status, race, geographic location, type of group
(homogeneous or heterogeneous), education, trade, activity, and profession.

The speaker should always adapt to the audience, both in their language and attire
(as much as possible).
The channel
When a speaker communicates with his audience, they use many communication
channels. These include the nonverbal channel, the visual channel, and the auditory
channel.
The nonverbal channel includes:

-Gestures
-Facial expressions
-Body’s movement
-Physical posture
The visual channel includes:

-Diagrams
-Drawings
-Graphics
-Photographs
-Videos
-Objects
The auditory channel include:

-Tone of voice
-Variations in voice volume
-Tapes, CDS or audio materials
The Feedback
Although for some people it might be strange to see feedback as one of the basic
elements of public speaking, rest assured that it is definitely one of the key elements to
watch out for.
Feedback is the process through which the speaker receives a response or

information from the audience that has heard the message.
The feedback process is not completed until the speaker has responded to the
concerns of his audience.
When you speak in public, you must be attentive to the nonverbal reactions of the
audience and be prepared to respond to the reactions of the public during the
presentation. The responsibility of a professional speaker is to provide your audience
with all the information you need to hear.
The noise
There are two types of noise that a speaker should know:
External noise and internal noise.
External noise consists of sounds from laughter, poor acoustics of the

auditorium, temperature (too hot or too cold), poor ventilation, visual

interference such as low light, or obstacles between the speaker and the
audience.
Internal noise occurs when the speaker is confused or conveys an unclear

message about what he wants to express.
The best way to combat any type of noise;
Use more than one communication channel at the same time (verbal and
nonverbal). Ensure that the auditorium is conditioned to appear in public. Use
the repetition of ideas throughout the exhibition. Transmit a clear and concise
message for the audience to understand.
The place or situation
The place where a speech is delivered may be one of the most critical elements
for the success of a presentation. It stands to reason why we added it as one of the 7 basic
elements of public speaking.
It is recommended that you review the place or auditorium where you are going to
make your presentation. You also need to know in advance the exact spot where you are
going to speak in public and to coordinate all the details to take all precautions in
advance.
For example: the conditions of the place, the seats, the air conditioner, the
lighting, the arrangement of the platform, the seats, the tables, etc. All details
must be under control.
Having looked at the basic elements of public speaking, the next thing you need
to know is that there are several types of speeches a person can deliver and that there are
key principles you can follow to ensure a successful speech delivery.
There are several ways of delivering a speech, here are some:
A read speech or reading from a manuscript is the word-for-word

iteration of a written message. It is used when details are complicated and
essential that every detail must be given completely. It is also used when one
is asked to deliver someone’s speech.
The memorized speech is the recitation of a written message that the

speaker has memorized. It is also used for pieces such as oratorical,
declamation, and other the contests. The worst that could happen is when the
speaker forgets the lines and fail to shift smoothly.
An impromptu speech is not rehearsed. This type of speech is given on-

the-spot without any preparation. This is also called ambush speech.
An extemporaneous speech is the presentation of a planned and

rehearsed speech using minimal notes.
VII. CREATIVE SPEECH PRODUCTION
Storytelling is considered as a process of using information and narrative to

communicate something your audience. Some stories are factual but some are spontaneous or

elaborated to further explain the core message.
The Story Telling Process
In telling a story, you should know these considerations:
1. Know your Audience

Who wants to hear your story? Who will benefit and respond the strongest? In
order to create a compelling story, you need to understand your readers and who will
respond and take action.
2. Decide what kind of story you’re telling
Not all stories are created equal. To determine what kind of story you’re telling,
figure out how you want your audience to feel or react as they read.
3. Choose your story medium

Stories can take many shapes and forms. Some stories are read, some are watched,
and others are listened to. Your chosen story medium depends on your type of story as
well as resources, like time and money.
Declamation is a way of re-giving an important or famous speech. It could be a political,

graduation or commencement speech, a eulogy, a sermon: any type of speech at all as long as it's
one that had significant impact on those who heard it.
The speaker task is to re-interpret the original, reproducing its power afresh. Often this
exercise will be set as part of studying public speaking skills. The purpose is to have the student
directly experience the power of masterfully crafted language. Through their interpretation the
techniques and skills of the original orator are learned.
Declamation Advanced Guide

1. Piece Selection
When you are choosing a piece for Declamation there are particular items to look
for. Because you are doing a piece that has been performed in public before, it is a great
idea to avoid speeches that everyone knows.
2. Analysis
Look for the message of the piece; why does this exist? Is there any subtext in the
speech? How do the smaller components (the paragraphs) help make the whole? What
are some tactics you can use to get your point across (example: does the speech require
flattery at times to rope the audience in?)? Basically, fully understand your piece and
know every nook and cranny of the words.
3. Introduction
An introduction to the piece is mandatory. To give a professional air, it is usually
best to have a teaser (a short selection of the piece performed prior to the introduction).
The teaser should get the audience hooked and stop with a button—a profound statement,
a question, something that leaves the audience thinking.
4. Eye Contact
This is a fairly simple concept but eye contact is fundamental. Yes, you are
supposed to make the words live, but eye contact adds the edge to the performance. It
draws the audience in and makes the performance more personal; like you are really

speaking to them and not just reciting from memory. Eye contact adds the dramatic.
5. Facial Expressions
A speech without facials is like food without flavor—bland and boring. Dec. is
not an acting event so treating a Dec. piece like a scene from A Streetcar Named Desire is
not quite the right method, but “reacting” and feeling what your words mean is a great
way to separate you from your competition.
6. Gestures
Number one rule to always have on your brain: do not use gestures as a means to
fill space. If you do the same hand extension every fifteen seconds you are being overly
repetitive and erasing all purpose and impact you might have had.
7. Vocals
As important as your body is to help convey meaning, it is your voice that is the
centerpiece. The words need to caressed and delivered in such a way that draws in your
audience and tells the message of the speech. Variation is your greatest weapon.
Monologue is a speech given by a single character in a story. In drama, it is the

vocalization of a character’s thoughts; in literature, the verbalization. It is traditionally a device
used in theater—a speech to be given on stage—but nowadays, its use extends to film and
television.
Types of Monologues
A. Soliloquy
A speech that a character gives to himself—as if no one else is listening—which
voices his inner thoughts aloud. Basically, a soliloquy captures a character talking to
himself at length out loud.
The soliloquy is one of the most fundamental dramatic devices used by
Shakespeare in his dramas.
B. Dramatic Monologue
A speech that is given directly to the audience or another character. It can be
formal or informal, funny or serious; but it is almost always significant in both length and
purpose.
C. Internal Monologue
The expression of a character’s thoughts so that the audience can witness (or read,
in literature) what is going on inside that character’s mind. It is sometimes (depending on
the style in) referred to as “stream-of-consciousness.” In a piece of writing, internal
monologues can often be easily identified by italicized blocks of text that express a
character’s inner thoughts.
Importance of Monologues
Monologues give the audience and other characters’ access to what a particular
character is thinking, either through a speech or the vocalization of their thoughts. While
the purpose of a speech is obvious, the latter is particularly useful for characterization: it
aids the audience in developing an idea about what the character is really thinking, which
in turn helps (or can later help) explain their previous (or future) actions and behavior.

Reader's theater is the performance of a script; like a play but with little physical
interpretation or actions. A group of readers get together to assign parts and rehearse their lines
by reading and re-reading before they do a performance for their fellow peers. Though reader's
theater has little to do with physical actions, readers are encouraged to interpret the story and the
characters by using their voice to change pitch, expression, annunciations, and inflections.
They also use gestures and facial expressions to communicate the complexities of the plot
and character. The students may stand or sit when delivering their lines.
The difference between reader's theater and a theatrical performance is that the
performers do not need to memorize their script. Though the students rehearse their lines many
times, they are not required to repeat them by memory, rather, they are merely practicing the text
so that when it is their time to perform they are comfortable and familiar with the text.
Scripts can be made from text that the students are already familiar with. For example, a
quick script can be made from a trade book or textbook that the class has already read or
covered. There are many scripts already made scripts available online. Students can also create
their own scripts with a group then perform for the class.
The following is a step by step guide to using reader's theater:
1. Select/Create a Script
As stated about, a script can be found or made by the teacher or student.
2. Students Rehearse
Students read and re-read their parts and decide how to express their character
through voice, facial expressions, and gestures.
3. Stage the production

Reader's sit or stand in the front of the classroom to deliver their lines to the class.
They may stay in the front of the classroom or enter and leave as their characters
make appearances in the production. There may be small props included in the
production, however, emphasis should not be put on these elements. Rather, the
quality of reading should be at the forefront of reader's theater.
Importance of Reader’s Theater
This reading strategy is a great way to have students practice reading and
strengthen their fluency with texts that they are familiar with. Reader's theater can be
used with students in Kindergarten to 2nd grade.
Students have plenty of time to rehearse and practice their sentences before
performing. Rehearsing is important because students do not feel they are being "put on
the spot" or become embarrassed because they have trouble reading. The students in the
audience also benefit from reader's theater because they are able to listen to the text.
Listening to the text in this way offers students another way to decode and comprehend
the main ideas and meanings found in the text.
THEATER ARTS
I. TYPES OF THEATERS/STAGE
Arena: A large open space with seating capacity for very large groups. Seating layouts are

typically similar to the theatre in the round, or proscenium (though the stage will not have a
proscenium arch. In almost all cases the playing space is made of temporary staging (risers) and
is elevated a few feet higher than the first rows of audience.
Black box theatre An unadorned space with no defined playing area. Often the seating is not
fixed allowing the room to be re-configured for the demands of a specific production. Typically,
the seating and performance space are on the same level.
Proscenium: The audience directly faces the playing area which is separated by a portal called
the proscenium arch. The stage is often raised a few feet higher than the first rows of the
audience.
Theatre in the round: The playing area is surrounded by audience seating on all sides.
Thrust: The playing area protrudes out into the house with the audience seating on 3 sides.
Traverse: The elongated playing area is surrounded by audience seating on two sides. Similar in
design to a fashion show runway.
II. STAGE POSITIONS
Upstage: The area of the stage furthest from the audience.
Downstage: The area of the stage closest to the audience.
Stage Left: The area of the stage to the performer's left, when facing downstage (i.e. towards the
audience).
Stage Right: The area of the stage to the performer's right, when facing downstage (i.e. towards
the audience).
Center Stage: The center of the playing (performance) area.
Center Line: An imaginary reference line on the playing area that indicates the exact center of
the stage, travelling from up to downstage. That is why it is called so
Onstage: The portion of the playing area visible to the audience.
Offstage: The area surrounding the playing space not visible to the audience. Typically this
refers to spaces accessible to the performers but not the audience.
Stage Components
Apron: The area of the stage in front of the proscenium arch, which may be small or, in
a thrust stage, large.
Backstage: Areas of the theatre adjacent to the stage accessible only to performers and
technicians, including the wings, crossover, and dressing rooms. Typically this refers to
areas directly accessible from the stage and does not include spaces such as the control
booth or Orchestra pit
Crossover: The area used by performers and technicians to travel between sides of the
stage out of sight of the audience; sometimes created onstage with flats, or masking and
drapery.
Plaster Line: An imaginary reference line on the playing area that indicates where the
proscenium arch is. Typically, the plaster line runs across the stage at the back face
(upstage face) of the proscenium wall.
Proscenium: The portal that divides the audience from the stage in traditional Western
theatres.
Prompt corner: Area just to one side of the proscenium where the stage manager stands
to cue the show and prompt performers.
Rake: A slope in the performance space (stage), rising away from the audience.
Safety curtain: A heavy fireproof curtain, in fiberglass, iron or similar material placed
immediately behind the proscenium.
Shell: A hard, often removable surface, designed to reflect sound out into the audience
for musical performances.
Smoke Pocket: Vertical channels against the proscenium designed to contain the safety
curtain.
Wings: Areas that are part of a stage deck but offstage (out of sight of the audience). The
wings are typically masked with legs. The wing space is used for performers preparing to
enter, storage of sets for scenery changes and as a stagehand work area. Wings also
contain technical equipment, such as the fly system.
House
The house can refer to any area which is not considered playing space or

backstage area. Outside the theatre itself this includes the lobby, coat check, ticketing
counters, and restrooms. More specifically, the house refers to any area in the theatre
where the audience is seated. This can also include aisles, the orchestra pit, control
booth, balconies and boxes.
Orchestra or Orchestra Pit: In productions where live music is required, such as ballet,
folk-dance groups, opera, and musicals, the orchestra is positioned in front and below of
the stage in a pit. The pit is usually a large opening ranging from 4–6 feet (1.2–1.8 m)
wide, 20–40 feet (6.1–12.2 m) long and 6–10 feet (1.8–3.0 m) deep. Some orchestra pits
have lifts or elevators that can raise the floor of the pit up to the same height as the stage.
This allows for easier movement of instruments among other things. Often an orchestra
pit will be equipped with a removable pit cover which provides safety by eliminating the
steep drop off and also increases the available acting area above. In most cases, some sort
of lattice or sound port is built into the front of the orchestra pit, to allow audience
members in the front rows to hear the music while still having a wall to keep them
separated from the orchestra. The orchestra pit is the closest to the audience.
Auditorium: The section of the theatre designated for the viewing of a performance.
Includes the patrons main seating area, balconies, boxes, and entrances from the lobby.
Typically the control booth is located in the back of the auditorium, although for some
types of performance an audio mixing positing in located closer to the stage within the
seating.
Vomitorium: A passage situated below or behind a tier of seats.

Control booth: The section of the theatre designated for the operation of technical
equipment, follow spots, lighting and sound boards, and is sometimes the location of the
stage manager's station. The control booth is located in the theatre in such a way that
there is a good, unobstructed view of the playing area without causing any (or minimal)
distraction to the audience (i.e. preventing distracting light leak or noise), and is generally
an enclosed space.
Catwalks: A catwalk is a section of the house hidden in the ceiling from which many of
the technical functions of a theatre, such as lighting and sound, may be manipulated.
Front of house
Lobby: The lobby is a room in a theatre which is used for public entry to the building
from the outside. Ticket counters, coat check, concessions and restrooms are all usually
located in, or just off the lobby.
Box office: A place where tickets are sold to the public for admission to a venue
Marquee: Signage stating either the name of the establishment or the play and the
artist(s) appearing at that venue.
Backstage or offstage
The areas of a theatre that are not part of the house or stage are considered part of
backstage. These areas include dressing rooms, green rooms, offstage areas (i.e. wings),
cross-overs, fly rails or linesets, dimmer rooms, shops and storage areas.
Dressing rooms: Rooms where cast members apply wigs, make-up and change

into costumes. Depending on the size of the theatre, there may be only a male and female
dressing room, or there might be many (i.e. one for each member of the cast). Often in
larger spaces, cast members in lead roles have their own dressing room, those in
supporting roles share with one or two others and those in the background or "chorus"
roles share with up to 10 or 15 other people. Dressing rooms generally feature a large
number of switchable outlets for accessories like hair dryers, straightening irons,
and curlers. They also feature mirrors, which are often lit. Sinks are present for the
removal of makeup and sometimes a dressing room will
have showers and restrooms attached. Lockers, or costume racks are generally used for
storage of costumes. In some performances, dressing rooms are used as a
secondary green room because of space limitation or noise, especially by performers with
long breaks between stage appearances.
Green room: The lounge backstage. This is the room where actors and other performers
wait in when they are not needed onstage or in their dressing rooms.
Crossover: A crossover is a hallway, room, or catwalk designed to allow actors in a

theater to move from wings on one side of a stage to wings on the other side without
being seen by the audience. Sometimes this is built as a part of the theater, sometimes
exiting the building is required, and still other times the set includes a false wall to create
a temporary crossover. A trap room, orchestra pit, or even the front of house can be used
as crossovers.
Fly system: A fly system is a system of ropes, counterweights, pulleys, and other such
tools designed to allow a technical crew to quickly move set pieces, lights, and

microphones on and off stage quickly by "flying" them in from a large opening above the
stage known as a fly tower/flyspace.
Catwalk: A catwalk is an elevated platform from which many of the technical functions
of a theatre, such as lighting and sound, may be manipulated.
Dimmer room: The room backstage which contains the dimmer racks which power the
lighting rig in the theatre. Often dimmer racks may not be housed in dedicated room,
instead they may be in a mechanical room, control booth, or catwalk, or even on the side
of the stage as is often the case on Broadway, touring shows, or at corporate events.
When the dimmers are stored onstage, this area of the stage is known as the "Dimmer
Beach". In the UK it is known as "Dimmer City".
Shops and storage areas: Depending on the space available a theatre may have its own
storage areas for old scenic and costume elements as well as lighting and sound
equipment. The theatre may also include its own lighting, scenic, costume and sound
shops. In these shops each element of the show is constructed and prepared for each
production.
Call board: Literally a backstage bulletin board which contains information about a

theatrical production including contact sheets, schedules, rehearsal time changes, etc.
Trap room: A large open space under the stage of many large theatres. The trap room
allows the stage floor to be leveled, extra electrical equipment to be attached, and most
importantly, the placement of trap doors onto the stage (hence the name). It is usually
unfinished and often doubles as a storage area. It is often also used as a substitute for a
crossover.
III. PRODUCTION ROLES
Producer- funds the production and designates a Director. For school purposes the Producer is
usually the school or drama club.
Publicity- responsible for advertising and promotion of the production.
Director/s- responsible for the main vision of the production. They must interpret the script and
the characters’ relationships. They lead rehearsals and determine stage blocking. They need to
communicate their needs to the various departments.
Assistant Director- provides support to the Director and the specifics of the role would be
determined between the two. Depending upon the nature of the production, this role might focus
more on actors or on supporting the technical departments.
Stage Manager- responsible for the running of the stage during production. They are required to
call for the cueing of lights, sounds, sets, props, and actors during the show. The stage manager
is in constant communication with the other departments.
Assistant Stage Manager- provides assistance to the Stage Manager. They assist in rehearsals,
contacting the cast, communicating with the designers and director. Typically backstage during a
show, with headset communication to the Stage Manager.

Actor- delivers the script, work with the director to determine relationships with the other
characters, and strive to fulfill the pacing and tempo decisions of the director.
Set Designer- works in consultation with the Director to articulate the primary vision of the
production through the design and creation of sets. Sets can be realistic or implied; giving the
audience a sense of where the action of the play is taking place.
Construction Crew- works as a team to fabricate the set according to the design of the Set
Designer. Team members consult with the Set Designer to complete the working set.
Scenic Paint Crew- Once a set has been constructed and approved, they apply paint, wall paper
and texture to the set to give it a look and feel that meets the specifications of the Set Designer.
Decorating requires a unique set of artistic skills.
Sound Designer - Works with the Director to fabricate the sound track for the production,
collecting or creating the sounds necessary for the play.
Lighting Designer - Works with the director to establish the lighting “look” for each scene and
transitional lighting.
Lighting Crew - Responsible for the servicing, hanging, color-filtering and focusing lighting
instruments to meet the design specifications developed by the Technical Director.
Costume Designer - works in consultation with the Director to develop clothing, based on
character analysis, for the actors. The creation or collection of costumes requires extensive
research and knowledge of the measurements of each actor.
Costume Crew - works as team to take the measurements of each actor and to organize and care
for costumes. If costumes are to be sewn for the play, it is the duty of the costume crew under the
direction of the costume coordinator to create outfits matching the vision of the Director
Prop Designer - works in consultation with the Director to develop the necessary props for the
production.
Prop Run Crew - works as a team to design, create and build each of the props for a play based
on the script and the Director’s interpretation.
Makeup Coordinator- works in consultation with the Director to develop appropriate makeup
for the actors. Makeup must be inventoried and purchased within a set budget for any
production.
Makeup Crew - works with each actor on the night of a production, applying makeup according
to the needs of the play as outlined by the Makeup Coordinator.
Backstage Run Crew - responsible for the placement and removal of sets and props during
scene changes. They follow the direction of the Assistant Stage Manager.
Board Op’s: A Sound Technician from the Sound Crew and a Lighting Console Operator from
the Light Crew follow their cues as “called” by the Stage Manager during the show.

Box Office- responsible for the sale of tickets and in coordination with the House Manager the
organization of seating.
House Staff- responsible for the seating of the audience, program dispersal, and the general
order and cleanliness of the seating area.
House Manager- responsible for the audience side of the curtain. They are responsible for the
arrival, seating, and dispersal of audience.
Prepared by:
CHRISTOPHER LORD T. TULAUAN

Faculty, College of Teacher Education

Speech and Theater Arts Review 2022

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Republic of the Philippines

CAGAYAN STATE UNIVERSITY

SPEECH AND THEATER ARTS REVIEWER 2022

I. CONCEPTS OF SPEECH AND COMMUNICATION

“Communication” came from the Latin word “communico” meaning “I share”. It is

Elements of Communication Process

1. Message - the body of information that creates the communication process

SPEECH AND THEATER ARTS REVIEWER 2022

THE COMMUNICATION PROCESS

Facial expressions: Facial expressions—happy, sad, angry—help you convey your

SPEECH AND THEATER ARTS REVIEWER 2022

II. LEVELS OF CONTEXT OF COMMUNICATION

For a one to understand a unit of communication on a technical level, they need to

SPEECH AND THEATER ARTS REVIEWER 2022

III. MODES OF COMMUNICATION

Three Modes of Communication

Interpersonal Interpretive Presentational

 Speaking and listening  Reading of authentic  Writing (messages,

SPEECH AND THEATER ARTS REVIEWER 2022

IV. REVIEW OF SPEECH SOUND

The Speech Sounds of English

The traditional method of describing speech sounds is in terms of the movements

SPEECH AND THEATER ARTS REVIEWER 2022

Place and Manner of Articulation for Consonant Sounds

The International Phonetic Alphabet recognizes the following places of

Bilabial - The point of maximum constriction is made by the coming together of

SPEECH AND THEATER ARTS REVIEWER 2022

Palato-alveolar or Alveo-palatal – the blade of the tongue is arched near the

English contains the following stop consonants.

The English fricative sounds are as follows:

SPEECH AND THEATER ARTS REVIEWER 2022

The English affricate sounds are:

There are three nasal consonants in English.

SPEECH AND THEATER ARTS REVIEWER 2022

There is one lateral consonant in English

There are three English approximants:

There are 24 consonant sounds in most English accents, conveyed by 21 letters of

SPEECH AND THEATER ARTS REVIEWER 2022

 High vowels: [i] [ɪ] [u] [ʊ]

SPEECH AND THEATER ARTS REVIEWER 2022

Using IPA symbols, we can now represent the pronunciation of words

Suprasegmentals, also called prosodic feature, in phonetics, a speech feature such as

Stress, in phonetics, intensity given to a syllable of speech by special effort in

Stress provides emphasis, but often, it is used to provide meaning to words in

For example, “She will present the company’s Christmas present

Pitch, in speech, the relative highness or lowness of a tone as perceived by the

SPEECH AND THEATER ARTS REVIEWER 2022

 to make a simple statement (neutral statement)

High pitch range indicates an informational contrast as shown in example:

a) I’m going to Canada, not Australia!

b) I’d never do that.

c) I told you already, dummy.

Here the low pitch range on "dummy" signals that it is to be interpreted as

SPEECH AND THEATER ARTS REVIEWER 2022

VI. PUBLIC SPEAKING

7 Basic Elements of Public Speaking

These basic elements of public speaking include the following;

SPEECH AND THEATER ARTS REVIEWER 2022

-Your motivation when making the presentation or your passion

SPEECH AND THEATER ARTS REVIEWER 2022

The nonverbal channel includes:

The visual channel includes: