SPEECH AND STAGE ARTS

1. Stage and Speech Arts

2. Level / Context of Speech Communication
0. Intrapersonal – involves only oneself.

• Internal discourse like thinking, analysis, contemplation, meditation

• Solo vocal communication like thinking aloud, soliloquies
• Solo written communication not intended for others like diaries, or
personal journals

1. Interpersonal – involves an exchange between sender and receiver

of a message. It may be direct (face-to-face) or indirect (via
telephone, e-mail, teleconference)

• Dyadic communication ; two people talking

• Group communication ; study group, committee meetings
• Public communication ; scholarly lectures, political campaigns

1. B. The Speech Arts

0. Different types of public speech according to purpose

• Informative – to present facts, knowledge, information

• Persuasive – to reinforce or modify the audience’s beliefs
• Occasional or entertaining – to amuse the audience

1. How the speech is delivered

• Impromptu speech – delivered with little or no preparation

• Extemporaneous speech – delivered with some prepared structure
such as notes or outlines
• Memorized speech – reciting speech from memory
• Manuscript speaking – reading the speech word-for-word from its
written form or the manuscript

1. Types of oral interpretation

a. Solo interpretation

• Story telling – oral sharing of a personal or traditional story; it may be

illustrative (using drawings) or creative / dramatic (using gestures
and creative movements) for entertaining or educating
• Interpretative / interpretive reading – also called dramatic reading,
oral reading, or reading aloud by using the elements of voice and
diction to convey meaning and mood
• Declamation – recitation of a poem from memory and is marked by
strong feelings
• Monologue – interpretative oral performance of prose or poetry in
which the interpreter plays a role

b. Group interpretation
• Reading concert – also known as Readers Theatre- oral reading
activity with speakers presenting literature in a dramatic form
• Chamber Theater – theatrical approach to performing narrative
literature
• Speech Choir – also choral reading, choric interpretation, vocal
orchestration – ensemble reading technique where a group of
readers recite as one in coordinated voices and related
interpretation : (1) reading in unison – several voices sound like one
instrument, (2) solo and chorus – soloists recite lines and chorus
recites refrains, (3) responsive reading – lines are recited alternately
by solo or chorus

PRINCIPLES OF SPEECH DELIVERY

1ST Principle: ARTICULATION - This refers to the speaker’s skill in

pronouncing the words of the speech since clear diction effectively
transmits the message. This also mean the act of vocal expression;
utterance or enunciation. The first act of speech is breathing, in
which you get air into a storage chamber; second is phonation, the
process by which you force air into vibration by the action of the
vocal folds; third, resonation, in which your mouth, nose and throat
cavities amplify the sound so you can hear it; and finally there is
articulation, in which you modify the sound by movement of the
teeth, tongue, and lips into recognizable patterns.

2nd Principle: MODULATION - This refers to the speaker’s ability to

adjust or manipulate the resonance and timbre of one’s voice. This
also means the fine-tuning of the pitch or tone of voice that helps
the audience clearly hear and understand the lecture, presentation,
and speech delivered by a speaker. Proper modulation gives life to
a talk, stirs emotions, and motivates to action. Lack of modulation
may give the impression that you have no real interest in your
subject.
• Always convey your message with the variation in the pitch and
tempo. Never deliver your speech in a monotone as it will not only
bore but also send your audience to sleep.
• Speak at a rate so that your audience can understand you
because fast delivery betrays a lack of confidence.
• Speak normally at about 125 to 150 words per minute. Check your
speed and try to bring it within this range.
• Pronounce words properly, putting stresses at the right syllables.
• Speak loud enough so that everyone in the audience can hear
you clearly.
• Pause for a moment in between sentences to control your speed
and approach better.
• Refrain from vocalized pauses and nasalization such as 'er', 'ah',
'unh', 'umm', etc.
 • Take care that you do not repeatedly use such phrases as 'you
see', 'I mean', 'What I meant,' 'Understand?, 'Have you understood,'
'Clear?', 'Is it clear?', 'Was it clear?', etc.

• 3rd Principle: STAGE PRESENCE - This refers to the speaker’s ability to

“own” the stage, filling it with one’s personality and projecting it to
the audience or group of listeners. This also means the sum total of
all the qualities that keep the audience engaged while delivering a
speech.
• Appearance and comfort is our first sphere. You must be dressed
to the occasion.
• Body posture and attitude is the second sphere. Right from the
moment you step on that stage your body language matters. The
way you stand, your speaking posture, use of hand gestures etc.
everything counts and hence must be well noted and taken care
of.
• The third sphere is the tone of the speech. You can play with
different styles, as is suitable to the topic of your speech. Voice
modulation, use of examples, a peck of humor, etc. all this is
important in engaging the audience.
• The fourth sphere is the use of stage space. It is a smart move on
the part of a speaker to choreograph his speech, that is, he must
plan a speech to be delivered using different parts of the stage at
different levels.

4th Principle: FACIAL EXPRESSIONS, GESTURES and MOVEMENT

A. FACIAL EXPRESSIONS are meaningful visible symbols of speech. This
reflects the speaker’s thinking and emotional attitudes
• Two Principles
a. manifest facial expression naturally by freeing yourself of inhibition
b. avoid planning or rehearsing facial expressions in advance for
they should be directed by the meaning of the words being
conveyed
• Common Sins in the Use of Facial Expressions
a. Poker face is a product of nervous tension which inhibits facial
expression.
b. Mugger is an exaggerated facial grimace which distracts the
attention of the audience for it calls to itself not to the message of
the speech
c. Facial contortionist is a way whereby the speaker release pent-up
tension through random activity of the facial muscles
B. MOVEMENTS / BODILY ACTIONS are supplements to good speech with
its being transformed into actual replacement for the audible code. Its
uses include: (a) adjusting to the speaking situation; (b) securing and
maintaining interest and attention; (c) clarifying meaning and (d)
attaining emphasis in speech.
• Common Sins in the Use of Movements
a. Statue / stone - The speaker appears incapable of movement.
 b. Pacer - The speaker paces and walks from one side of the
platform to the other and back.
c. Swayer - The speaker rhythmically moves his body from side to
side or forward and backward followed by the shifting of weight
C. GESTURES are purposive movements of some parts of the body, but not
the entire body. These include movements of heads, shoulders, arms and
occasionally feet. These are all physical movements that represent
concretely the ideas and emotions of the speaker. These are also the
products of the inner impulses and forces of thoughts of a speaker.
• Classifications of Gestures
a. Descriptive gestures indicate the meaning literally or by
suggestion
b. Symbolic gestures are representative or figurative rather than
literal.
c. Locative gestures refer to pointing a place, position or direction.
d. Emphatic gestures are used when words or ideas need to be
stressed or reinforced.
e. Transitional gestures are used to move your audience from one
idea to the next or to enumerate things
f. Dramatic / imitative gestures convey impersonation of another
person’s action

• Uses of Gestures
a. to point the location of objects usually in the sight of the audience but
they may be in the imagination
b. to give emphasis to statements or to ask questions
c. to entreat/plead for something
d. to picture an object
e. to stimulate the imagination
Parts of a Gesture
a. Preparation consists of taking the hand to the point where the stroke or
emphasis occurs.
b. Stroke is a definite action to emphasize, supplement, describe or
suggest the thought being expressed.
c. Return brings the arm and the hand easily back to the resting position
Common Sins in the Use of Gesture
a. Random action includes fidgeting with pencils, button, bracelets,
beads, pockets, coat lapels, wiggling; doing dance strokes with heels or
soles; rubbing chin and nose; running fingers through the hair; taking
eyeglasses off and putting them on
b. Perpetual motion is a constant and continued use of hands will hinder
reinforcement of meaning.
c. Abortive gesture is an incomplete or not adequately executed
movement.
5th Principle: AUDIENCE RAPPORT - "Building rapport" is the name given to
the process of creating an understanding and harmonious bond between
yourself and someone else. Good rapport ensures that the message will
be actively listened to.
Rapport builders include:
dressing and grooming appropriately for the occasion
being organized, ready with suitable content
demonstrating in your opening statements that you know who you're
talking to because you've done your homework
using inclusive language - "we" rather than "I"
identifying and emphasizing your common ground respectfully and
sincerely
avoiding jargon unless everyone knows what you're talking about
showing that you're human too by sharing personal experience in the
stories you tell
being mindful of body language and making eye contact
appearing confident, positive, in control and open
understanding the impact of your vocal delivery

STAGE FRIGHT is a fear of speaking in front of a group of people. This is

often called “performance anxiety”. Actors call it “flop sweat”.
Psychologists call it “topophobia”.
Symptoms
- dry mouth - tight throat - sweaty hands
- shaky hands - nausea - fast pulse
- trembling lips - shaky knees - cold hands
- any out-of-the-ordinary outward or inward feeling occurring before or
during a presentation

How to Manage Stage Fright

learn and practice diaphragmatic breathing
learn to be grounded in your physical body
give yourself permission to feel the nervous tension
use the right joke at the right time
involve your listeners
concentrate on what you’re saying, not on how you’re saying it
prepare, prepare, prepare