Discover Storytelling Secrets
Welcome to creative live this is heroic public speaking with michael port and amy need my name is chris jennings I'm going to be your host for the remainder of this course if you missed our first session you are in for a treat today we have session number two on the way we are about to get started before we jump into the content I'm gonna give a quick introduction of our instructors now michael port is a new york times best selling business author of five books he's been featured on all of the major television networks and he's one of the highest rated professional speakers working today you can learn more about michael on his website michael court dot com but what you might not know about him is that before he became an entrepreneur michael was a professional actor in fact he has been on sex in the city law and order and a whole bunch of other shows and movies as well he's also done hundreds of tv voice overs and commercials he's also taught a course here at creative live called book ...
yourself solid if you have not seen that you can check it out in our course catalog right now if you search for michael port but not only are you going to be getting michael in this course, you're also going to be getting his co founder and the director of training a heroic public speaking amy mead be sure to check out heroic public speaking dot com to learn more about that and amy has spent years acting professionally and she's assisted the speech faculty at yale drama she's taught acting at northwestern university and she spent the last fifteen years mentoring teachers and speakers ladies and gentlemen without further ado please welcome michael poor and amy need this is my man so happy so I have this little get up on because yesterday we mentioned how problematic hair could be when you're giving a speech and if you have a lot of hair you might you're mike mike you might create a get a little you know little have it'll take care of doing this all the time which could end up being little distracting so anyhow if you have here like this if the theeighties haven't left you and uh you want teo you want to make sure that intothe you don't do that all right let's take my tattoos off on and we'll get started anybody ever worn a wig and fake tattoos I don't create alive or had an introduction like that we're trying to we're under a lot of first yeah a lot of work to create contrast remember in our second one of our segment on session when we talked about contrast so now we get down to business you ready? I'm ready give me high five all right let's do it all right, all right. Amy go for it taking away how you guys feel today feel good yes ugo bigger yeah proud yeah okay how you doing? Pound oh blow it out in session one in segment one you discover the principles of performance what were they? What was one? What was too what with three what was for yes rose five take risks well, with six for those at home who just heard that it was choose early and often and number seven in your audience eyes when you get scared looking your audience eyes all the time not just when you're scared so if you're not really scared you know you don't just look over here, okay? So the principle the principles of performance it's what an actor knows about performance that speaker needs to know so we're learning we're discovering how all of the principals of performance apply to our workers presenters performers so we no longer call it speaking we think of it as a performance and then we worked on our voices amy took you through breath were had opened up the musculature I had my bigger, richer sound howto find range in your voice tone ality variants and also speech work so that you are clear and articulate, and so that your understood most importantly so that your words the sounds of your words have emotional meaning for the people in the audience so that they feel what you're saying not just hear what you're saying how and then we worked on your big idea and the big promise that the audience gets from you when you are performing for them and we looked at the frameworks that you need to use to construct a presentation and let's see if you remember what they are what's one of the frameworks numerical what's another one of the frameworks problem's solution what's another one of the frameworks sequential what's another one of the frameworks chronological what's another one of the frameworks module what's another one of the frameworks compare and contrast rest and then of course the three act structure the oldest one in the book it was originally aristotle's concept and most not all but most theatrical experiences are in fact based on the three act structure we also worked on crafting captivating anybody remember that's what we were doing this morning but craftsy this is I'm leading out of you you have to think I'll give you to you give me two craft we were crafting captivating speeches I give you guys the easy one hard ones no problem the easy ones that's what stops here it was pretty pretty brilliant, wasn't it? You're supposed to say yes very much so we worked on the idea of contrast you discovered how important contrast is in any type of theatrical experience, so what was one type of contrast um uh yes so here's what you do when you get when you go blank like that remember on stage we don't force it we just relax take a deep breath we stay with the person and then it comes to his emotional there you go so one type of contract was emotional now here's notice what else I did I gave him time to think about it and re directed away from his discomfort of not remembering and then when I came back he had because it gave him the time to do it so you're supporting and helping everybody in your audience at all times what was another type of contrast? Yes so vocal contrast absolutely vocal contrast fell under the larger category of delivery contrast so emotional contrast delivery contrast and what else? Structural contrast and now under emotional contrast what kind of contrast might we see anger, happiness, sadness happiness fear fear having fear confidence, security, humor, intensity and under delivery contrast what type of contrast might we see? We might use visual teaching tools will use auditory teaching tools we will be low will be I will be in the audience will be on stage can you think of some other types of delivery contract projection of the voice so level of volume that is used you remember another type of contrast? Sure gestural of course physical contrast pacing, pacing contrast and we also discovered that slowing down is not necessarily the answer to speaking fast, pausing mohr. Often when you are delivering a very important point is often what's most effective because you I can talk very quickly and you can understand what I'm saying because right now what I'm saying is not deep, the complicated it's not deeply profound until I get to the moment that needs the land. And of course then in structural contrast, what were different types of structural contrast, front row blocking, kind of how large you are on the state like your intern? I don't know exactly the word we're using, yes, a really big stage, the big audience, you're going to be bigger physically and everything, and if you make more intimate space, yes, you maybe if I put that certainly in contrast, because that audience is just in that space, so if you are more theatrical on larger that's for that particular audience as opposed to yeah, but we do know that sometimes we might deliver the end of the story first and then how we got there. Sometimes we start the story with details that were in the past, and then we build to what actually happened at the end anybody remember any other types of structural contrast time messing with time and of course, the audience content participate and actually create content so we showed you a clip of the think the revolution key note that I do where the audience was taking pictures of each other they're creating content if you go to youtube and you look out think big revolution with michael port thinking revolution you'll see a sixteen minute extended trailer of that keynote and you'll see maur of that contrast, you'll see the audience standing up raising their hands and saying what they stand for their creating content so that's contrasting me on this age telling them something showing verse telling is another way to demonstrate contrast or create contrast so I had the conversation on the phone which came out of speakers and then I'm talking to them about an idea there's contrast there so we killed yesterday way. Amy so in this session, amy, what are you going to do? So first we're moving into how to tell your stories how to give them shape, how to give them some structure so that when you tell a story you know howto land it every single time and then after that we're moving into how to rehearse because we talked about that so much yesterday, right? The importance of rehearsal, the importance of rehearsing extensively and not just doing it for three times in your hotel room before you go out and give the speech so we're gonna teach you how to rehearse from the table where you're just working with how you market text so that you can be completely understood all the way up to staging and blocking and all of that and then we moved to master class master class which we love two segments of you on the stage getting coached by us in rial time he doesn't know it's incredible for the people who are up here but I have to say it's also a very, very powerful experience for the people who are watching whether it's here in the studio or the people who are watching from home there's so much that you will learn and that's the beauty of master class it's different from just receiving coaching one on one master class takes what one person needs in the places they can go and makes it applicable for the people who are watching teo. So stay tuned in those of you at home stay tuned in for that and in order to rule rehearse you need people to rehearse in front so part of rehearsal has done on your own and part is done in front of others because you don't know what works until you have people in the room, so when we do master classes for the public, we will often do that coaching all day long for days in a row we goto organizations will do that kind of coaching all day long for days in a row and sometimes people say that they get as much were more out of just watching the master class than even being up doing the work. Okay, so let's, play a little game, shall we say that's been the gift giving game kind of people with microphones up on stage, please? And the people who don't have a microphone on you will be in the audience on your feet playing the game with us performance is not a spectator sport, right? You got to be in the game to win. So what we're doing, you try to do at home as well. This might be a little weird to do at home if you're by yourself, but if you have someone else, bring him in the room so you could do it with them and you can play the game along with us. So here we go, gift giving game you guys, when the game starts will not be in a circle like this, you'll actually talk to each other. You move around here, you're going to give a gift to another person in the room, and then they're going to take that gift and they're going to exclaim, oh my god, thank you so much for this gift, whatever it is. Oh, thank you so much for the bird cage with the lovely burden then you're going to give them a gift and they're going to exclaim, oh my god, thank you so much for the pasta! I always wanted pasta in the shape of a car who knows what they're going to give you and then you'll go quickly to the next person to give them a gift you can't re gift by the way, there is no read if ting allowed and you'll do it quickly and you'll have fun with it so for example, I might give a gift. Teo, amy and I come over here and I'll lift it up oh, this kind of heavy and bring it over here. Oh, now she gets it. Thank you so much for your mother's, huh? Oh it's very, very heavy. Follow its oh, I'm sorry wait, I have something for you. Yes oh my god! Sand from the red sea way both gave each other biblical hit course that was made up in the spot that's, not some skin orbit that we do over and over way have bits that we do again and again. What better way but the truth is, is that this kind of thing works better when it's not a bit? Yes, when it's real and it's in the moment so you're gonna have just a couple minutes do it try to get to as many people as you can and we're going to start in three two one go for it you know you're supposed to talk and be heard it should sound like a you wait yes no I totally enjoy just filling with philo fuel when you're done you got all right thanks wait have a seat, please. What did you discover doing that if you have a microphone tell mai fun what was fun about it plain and they also do we play has grown up I was like yes, what they call a player play because it's playful so if you could turn you our presentations into a playful experience not just in the moment on the stage in front of people but when you're rehearsing when you're creating good, what else? It was surprisingly simple to figure out what you were receiving isn't that amazing? And why is that? Because you actually have quite an expensive imagination did anybody? Is anybody surprised by what their imagination came up with? Say yes if you were yeah yeah so you have such a big, broad expanse of capacity for brilliance but unless you're doing these kind of things on a regular basis, you may not realize it you may get intellectual about your ideas and serious about them and you feel like you need to be profound when in fact, it's the play. That brings out the great idea's. Good.