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Discussions Exercise presentations Public Speaking Uncategorized Voice Voice work

Nerves and Public Speaking

Your mouth goes dry. Your legs start to shake. The butterflies are fluttering in your stomach. It’s today. In ten minutes, you are going to stand up in a room full of 25 colleagues and give the report and findings of the last 6 months of work. Your boss is there. Her boss is there and his boss is there too. All the nights you’ve worked late, missing drinks with friends or skipping bedtime stories with your children. The extra work at weekends missing birthdays and barbecues, it all culminates in this 15 minute presentation. What if people don’t listen? What if I sound really boring? What if i go really high pitch or forget what I’m saying? What if my voice let’s me down?

These are common thoughts and feelings that nearly everyone has before they stand up to speak in public. Usually publicly speaking is a reserve or when the odds are quite high. Making a sale, feeding back to a board or making a speech at a Wedding. They are moments when we want to feel most connected to ourselves and our audiences. These are moments when we want to feel authentic and accessible. The pressure we put on ourselves to deliver a ground breaking speech worthy of an Oscar is incredibly high and often understandable.

Here are a few ideas to help you combat those nerves and feel ready to connect.

1. Breath. Breath. Breath and Breath again.

Those butterflies are more then just strange fluttering feelings. Those knots in your stomach are directly effecting your muscles that control your breath. Your diaphragm needs to be able to drop down into your torso like a parachute filling with air or a jellyfish moving through water. If you are finding that your stomach feels tight and uncomfortable or uneasy, the just take a few minutes to focus on your breath and think of it filling your body from the ground up.

2. Find your feet.

What are you feet doing? Are they providing a secure platform on which your body can rest upon? Are you rocking through your feet in an agitated manner? Or are you putting all your weight back into your heels?

Take a breath. Close your eyes if you can or it helps. Imagine you are stood on a sandy beach in barefoot. The sand is warm and golden and dry. It shifts to accommodate a footprint of each of your feet. Your toes, the balls of each foot , through the arches and back through the heel. Feel the sand supporting your weight and giving your foot as much contact with the ground as possible.

3. How am I stood?

Are you stood with your shoulders hunched forward. Are your legs as close far apart? Are your buttocks clenched? Are you tensing your jaw? Are you locking your knees?

Take a breath. Bring your feet to hip width apart, your knees soft. Imaging your have a light travelling all the way up your spine from your tailbone to your head. As the light passes through each vertebra, it creates warm pockets of light and space in between each one. From the tailbone, to the small of the back, up through the arch to the middle of the back. Up in between the shoulder blades, into the neck, head and beyond. Feel your shoulders and your buttocks gently letting go and dropping down the back of your body. Imagine the light travelling through your jaw creating space between your teeth.

4. Mind the the lips, the teeth, the tip of the tongue, the tip of the tongue, the teeth, the lips.

Some students  tell me they quite often trip over their words or under up feeling that they are rushing and enunciating badly. A good way to combat this is to look to give yourself time to warm up before a presentation. It could be your car on they way to work, or before you leave the house or in a quiet corner of your building. Tongue twisters are an excellent tool for getting you mouth and teeth moving. Tip is to not rush them and do lots of different ones. Take the time to really get your moth around the words. These exercises also help to move the sound forward to the front of the mouth. Try this one:

What a to-do to die today, at a minute or two to two;
A thing distinctly hard to say, but harder still to do.
For they’ll beat a tattoo, at twenty to two,
A rat-tat-tat- tat-tat-tat- tat-tat-tattoo.
And a dragon will come when he hears the drum,
At a minute or two to two today, at a minute or two to two.

5. Breath. Again. Seriously.

I believe the number one tool to combatting nerves is to observe the breath. You will breath in and out until your die. Its a reliable mechanism and if you cultivate a positive mental attitude towards your breath it will support you back. Your breath needs space and respect to flourish. If your suck and out the in breath, the muscles which should support your stomach will be neglected or overworked. if you push the air out to hard, you’ll find that you run out of steam quickly and will suffer fatigue and vocal clumsiness.

Take your time. Observe the flow of breath in and out of your body. Only speak when you feel comfortable and assured by the certainty of breath.

 

Follow the link below to hear comedienne Jo Brand talk through dealing with nerves.

http://www.bbc.co.uk/speaker/improve/fear/

Felicity Goodman is a Voice Teacher, Writer and Theatre maker based in Manchester. Please contact her if you interested in Vocal Training or collaborating. To learn more about the work she does, please visit www.felicitygoodman.co.uk

 

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Opinion Public Speaking Voice Voice work

Freeing the Voice

If you can engage with Voice work, you can find yourself being liberated in ways that you could not imagine. Looking at someone’s voice beyond the mechanics, we can find the entire story of the individual. Where they came from. How they were formally educated. What their relationship is to the world around them. These things on there own are subtle nuances that encourage or limit self expression. However if you put them together they give us out vocal identity. It easy to bracket vocal identity off as something different and to that as the rest of your character.

Robert Ebert, a film critic who lost his lower Jaw due to cancer, said:-

I felt, and I still feel, a lot of distance from the human mainstream.’

Ebert talks of his struggle to connect with the world around him. In his 2011 TED talk Remaking my Voice, Ebert tells us “All my life I was a motormouth. Now I have spoken my last words, and I don’t even remember for sure what they were.” Ebert lost his voice over time, not in one moment. He wouldn’t have realised that the last words he spoke would be just that. It’s a good example of how we take our voices for granted.

Freeing your voice is freeing you sense of self.

Any vocal exercises you try are not simply a trip to the mechanics in which your voice is tinkered with, but they are a way of deeply exploring your identity. Plenty of people will make off the cuff remarks about how people should sound. Men should speak low and strongly. Women should speak softly and in a higher register. These concepts are rigid and destructive. Think of the images we are shown by the advertising industry of how men and women should look. Most people understand that these images do not broadly represent the diversity amongst how we all look and this is incredibly destructive. This is applicable to our interpretation of how people speak. Most people can think of a time when someone passed comment of their voice, normally its wrapped up in someones accent being inaudible. So people are mocked because of where they are from? ! This is clearly and totally unacceptable.

What’s also interesting is that people will often speak of their voice in a negative light. When we listen to a recording of our own voice, its common to recoil at how we sound. Like when you look at a photograph and you see all the things that you don’t like about the way you look. You are hyper vigilant in your observation of your flaws. Most of the world is not. There is a wealth of information to be read of quietening your inner critic. A good place to start though is just notice your voice. When you notice your voice, notice if you have judged it. If you have judged it, notice how that makes you feel. Now try and think about when you need your voice for something really important. It might be a presentation at school or work, it might be a eulogy at a funeral or it might be telling someone that you love them. We all want our voices to feel and sound authentic in those moments. Every time you cast a judgement on your voice, you are distancing yourself from being able to speak in an authentic manner.

Starting from today, start thinking of your voice as part of your identity. Start treating yourself with dignity and compassion. Start respecting yourself and pave the way for others to hear you.

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Felicity Goodman is a Voice and Elocution Teacher based in Manchester. Please contact her if you interested in vocal training. To learn more about the work she does, please visit www.felicitygoodman.co.uk

Categories
Exercise Opinion Public Speaking Uncategorized Voice

Your Voice and Marginal Gains

Watching the Team GB race in the men’s team pursuit and win gold was magnificent. The atmosphere in the Velódromo Municipal do Rio was electrifying as the the cycling team whizzed round battling it out with Australia. Not only did Bradley Wiggins make history by coming the first British athlete to pick up 8 Olympic medals, but they also achieved a new world record time. Day seven at the Rio Olympics was an exciting one with Team GB picking up medals in rowing, dressage, trampolining and swimming.

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However the GB cycling team is the one to watch with the women also beating the world record in the qualifying stages of the women’s team persuit. What are this remarkable teams secrets to success?  Sir David Brailsford, Director of UK cycling introduced the simple concept of marginal gains. By making small changes (however small), one could improve their overall performance. This concept was introduced to me by Dr Chris Whitaker. What struck my was that this concept developed by Brailsford is actually entirely the process of voice work.

Brailsford explains the idea of marginal gains to the BBC in 2012:

“The whole principle came from the idea that if you broke down everything you could think of that goes into riding a bike, and then improved it by 1%, you will get a significant increase when you put them all together…They’re tiny things but if you clump them together it makes a big difference.”

As a voice teacher, my job is to help you attain the voice that you feel more comfortable and confident in. We do this through looking at everything that effects the way you speak. Your Breath, Posture, Muscularity, Resonance,  Accent and Pitch. We then explore any patterns that feature in any of these different areas. For example we might discover that you slightly pause before breathing in. After working through exercises that explore and lift your vocal stamina we then slowly build all this different work together and you discover a more authentic voice.

The Olympics are exceptionally inspiring to watch and it’s easy to think that winning Gold is down to the work of the individual, but they all have coaches helping them achieve the physical prime.

So maybe you are looking to improve your presentations skills, or you diction? Maybe your hoping to lift you general performance in the work place. Voice work will help you to unlock potential and find authenticity in the way you communicate. Looking for some starting points? This post on Public Speaking: Preparation-Warming Up is as good as any.

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Bradley Wiggins demonstrating a good vocal exercise in warming up the tongue and improving facial muscularity.

Felicity Goodman is a Voice and Elocution Teacher based in Manchester. Please contact her if you interested in vocal training. To learn more about the work she does, please visit www.felicitygoodman.co.uk