Working On Your Speech
Michael Port, Amy Port
Working On Your Speech
Michael Port, Amy Port
6. Working On Your Speech
Steal the Show26:51 2
The Principles of Performance32:17 3
Communicating Without Words23:30 4
Find Your Voice: Breathing29:49 5
Find Your Voice: Build your Voice26:02 6
Working On Your Speech15:42 7
Finding Your Big Idea!29:16
Sorting Your Big Idea33:39 9
Big Idea & Promise: Framework28:12 10
Developing Different Contrasts25:33 11
Crafting Captivating Speeches27:37 12
Becoming an Aware Performer30:17 13
Discover Storytelling Secrets20:05 14
Building a Story: Three Act Structure32:12 15
Outlining Your Story35:48 16
Rehearsing: Content Mapping32:16 17
Rehearsing: Beats & Operative Words39:58 18
Masterclass: Coaching Breana25:13 19
Masterclass: Coaching Omar25:03 20
Masterclass: Coaching Linda34:02 21
Masterclass: Coaching Sierra & Lacey31:14 22
Masterclass: Coaching Jim17:24 23
Masterclass: Coaching Martez31:05
Working On Your Speech
So there are different sounds that we make there are close itv's never heard that word before plo sieve implosive is a p sound what are other plo since he sound has you here? Plus it sounds like explosion it's it's a sound a kind of continent where the air is trapped and prevented from coming out and then it opens so the air's stopped and then released so for example on stage you might need to overemphasize emphasize a plo siv so that they can hear that pee or that tea but if you're doing a webinar or a voiceover or an audiobook recording if you're tes are splashy so that they sound like this then it it doesn't sound good to the person who's listening or if your peas pop too much it can be jarring to the ear so then you start to learn how to soften up so instead of saying tongue you might say tongue can you hear the difference between tongue and tongue? Neither one is good or bad it's just which is more useful for your medium on stage you may need those bigger sounds and as michael sai...
d, if you're doing a recording you're going to need a settler and we have frickin ibs fricking lives tickets what do you think might be appreciative what other freak it is? Might there be a ph the thieves were the big ones to remember the f and the v of course, we don't have as many disease in our language, but the f and the v are very important to consider, because the f some vey often don't get enough attention. If you don't give enough attention to avi, it doesn't get the feeling because the sounds have feelings. So the word tried to think of a non curse word for this. The word fun has a very different sound, then love, love has a very different sound, then cut, and you can make people feel very specific things with the words you say not just what they mean, so if I say cut, you're going to feel that very differently than if I say love and so you start to learn how to use those sounds more. And so you started to on your words, mohr and when you have thousands of people in an audience, you need to chew on those sounds. So if you and when you say the word love love and it may seem a normal conversation too much, and if you are doing tv it's too much, so we come out of graduate school. Usually the casting directors and directors say you need about a year or so to get rid of your training to work in tv. We're all really primed for things like shakespeare because that's a place that you have to use the sounds of the words because otherwise the audience will not understand because the language is so different so someone can understand how someone could know what you mean by when you use a word that they don't actually know if it sounds like the way that it feels and most words do and shakespeare of course was the note addis yeah was the best at this now the way that you you sounds often is dictated or determined by where you're from so there are dialect and accents those are two different things and accent is say if you're from another country living in the u s you might have an accent the way you speak english is with a french accent or with an indian accent or with a dialect is a regionalism if you show me newark, you might talk like this right? Like, oh, shut up, get out of here right? You have a totally different way of talking, you know, it's not my t start to splash a little bit and it's a little more civil into, but you know, if you're from the south, you're gonna have an entirely different way you're talking, you know, I mean, when I met my friend dave blakey first day of college is from letter texas, he said are you fixing to go to dinner on? I didn't know what fixing that I had no idea it was from the bronx, so words you use might not be understood by some audiences because they're not familiar with them. So we have to start to adjust not only the way we speak, but the words we use so I wouldn't go into the south and pretend that I have a southern accent in order to connect with them, they'll be in authentic, but I would start to recognize that there may be some expressions or phrases that wouldn't connect with them, but I also went to undergrad at tulane, and I know that, you know, in the south or at least in new orleans, you know, you might say instead of how you doing, you say we're yet well, yeah, and they say, you know, yeah, you're right, which is not actually the answer to that question, but that's what they say and you go, hmm, yeah, that's what I'm talking about, but if you actually have that experience and it's really well, then you could use that language. So you start to adjust. And if you can put aside your dialect act because it helps you connect more with that audience that conserve you and the audience so one of the reasons you work on speech you try to develop the ability to use a standard american speech is because then you have the ability to connect with mohr people that's one of that's primarily why we train in speech two reasons one so we can connect with mohr people and too so we can make people feel specific things with the words that we use and I guess if I was gonna have a third so that they could actually understand all of the things that were saying before you came here if you had watched anything that I've done or listen to me before would you say that I too on my words would you say he I really can understand him when he speaks he's very clear I don't miss a lot that's in large part because of the speech training now of course we also know how to use rhetorical devices to repeat that's something else so let's do this let's stand up and let's do a few exercises to start to warm up our our articulate er's okay so starting very simply just making sure you're hitting all the sounds release your arms if you got the jewels covered and let the arms go everybody just say red leather yellow leather red leather yellow leather red leather yellow leather red leather yellow leather keep going you want to grieve when you need to breathe okay, let it go okay what are we finding one at a time with microphones together starts to slur together so you want to say red uh so you see how they are starts to elongate instead of red leather because you might you might thought I said dead letter you don't you don't hear that first sound you don't know what the word is so red leather I found myself trying to fast tongue twisters I immediately went into like live in the past it doesn't have to be fast point is not fast the point is articulate so let's try the next one okay bad a good blood bad blood good blood, bad blood good blood, bad blood good blood, bad blood good blood, bad blood good booth next one that you do send forward so your speech wants to go forward, not drop back forward you're trying to reach people out there. Good what's the next one unique new york unique, really unique new york you need your way. You're okay so now notice because we can like anything in performing overdue. So are you doing unique? New york unique new york using exactly how much you need to get the sound out but not more. Yeah let's do it again. You need new york unique new york could do this new york unique new york unique new york good one morning you do one more of them do you have one of mine? Um peter piper picked a peck of pickled peppers with implosive would oppose it peter piper picked a peck of pickled peppers peter piper picked a peck of pickled fatih to peter one of the reasons you'll see actors often do this or this and singers when they're rehearsing is because they're trying to move the sound forward so if you don't use any of your body then the sound doesn't move forward in the same way when you're presenting your moving this tends to drop down you see often when I'm talking to you do you notice something I'm not always just standing like this I might be standing like this I might move over here and I'm moving forward all the time now this is a different environment where we're standing we're talking right and it's a little bit different than say keynoting something but you will rarely ever see me just stand here and talk like this unless it's to hit something really important but then I'll move to see so you can use your body when you're doing this unique new york unique new york good all right have a seat okay oh how you doing things bigger your voices are already all right so I'm gonna make sure that we get some discoveries from the folks at home they must tell us what they are taking away from these two segments okay said when one in segment two and I want to know from the people who have the mikes in the front first what you're taking away from the segments that we've done thus far stand up and tell me jump for it don't wait for anybody! Yes, well, I'm I've done a number of videos online and one of the things I realized is I haven't warmed up on that old acting training it was just a that was done uh, great great great, excellent, good, good! I realized that, uh in my environment, I've worked with very intimately with people, so this is a whole new thing for me to learn howto engage fill the whole little room good, excellent learning I need a play with my voice more play around with the range and definitely get under the nasal in the skull and some higher notes just give us a range you're say that again, I need to play need to play, but do you see how it starts to change as opposed to I don't play with my range, I need to play with my range and it changes how we see you good martes the exercise is a great the breathing exercise I've done some things with my stomach I don't know if you know that it went in and out, but I've never heard before too bring it through all of this and stretch your back and your rib cage, but it allows mohr mohr full and sound and more use of my vocal range. Excellent, good, good being more in my body when I'm speaking rather than staying so much in my head, I think this is going to help so much with so many things, just the physicality of it doing the exercise is to get the I think this is what you need to be working on the physical work. So when you go home starting to do some kind of physical work that allows you to play and move your body and make sound when you're moving your body, if you could find a suzuki class yeah, maybe, or felled in christ orin alexander class or some yoga or something because your natural tendency is to be very still, which is great and there's so many places for that, but moving your body and making sound when you're moving he's gonna open up a whole new world for you? Yes, you're still it makes them much bigger point. Yeah, stop and make that point and another on in some of our other segments were going to show you video that will end that will demonstrate that movement into stillness, stillness in the movement. Good and other folks who want to use the mike who's mike you have a michael but it's good for me what was really profound was when you talked about connecting to the eyes of the audience and I thought wow okay now I I mean I don't get to practice it but I thought I'm going to go practice this because I think it could be really naked so to speak yes and roots connect and something different will come out right thank you do you want to bring anything from the homeland? We've got a few coming in from ellis oh says I need to practice my vocal instrument so that it is well tuned instead of just winging it when I'm giving these presentations cirie challenge says that breath awareness is essential that was their big takeaway ah fume or coming here amy well says I just realized that now I can use my singing voice training for enunciation as well when I'm giving presentation it's good I think this training is really going to help me from coach gary we says but I need to know how to practice on my own so these exercises have really been helpful to do things on my own so everyone in the chat room really seems to be enjoying it okay and if they want to continue to work with us they don't have to do it on their own that's right? It was always that of course I just want to say, when I was watching you guys do. The voice work I was sitting over here was just so amazed with you. I just felt so much joy and love and appreciation because you were putting yourself up here and doing some things that you'd never done before. And I had that big bushy for feeling inside, and I didn't want to interrupt at that moment. But I just want to express to you how much gratitude I have for you. And, you know, I never take for granted the opportunity to be of service and the work that you guys are doing already. Just these two segments has been inspiring. So thank you for that great work.
Ratings and Reviews
What a great class! An incredible amount of content shared in a fun, engaging way. Michael Port is a gift. I attended his Book Yourself Solid Immersion via telecourse and was impressed. However, seeing him on video adds layers of instruction that will benefit me not only in public speaking, but in other aspects of my business and life as well. Amy Mead really lazers in on specific improvements that get big results. Thanks to all for an outstanding class.
Wow.. When I first stumbled across Michaels videos I thought “this guy is almost TOO good.” The free information was so helpful that I rationalized with myself that I didn't have to sign up for the course, at least not right away. Eventually after my procrastination period I bought the class and was pleasantly reassured of my purchase. The content inside was just as valuable and fun! Not only that, watching the transformations of the students as they practiced their speeches was simply amazing. Michael and Amy work great with each other and have put together a top notch experience with Heroic Public Speaking.
Awesome course. I follow Michael Port and his BYS system and I was pleased to see he is sharing also his professional acting experience/tips to help us creating and delivering public speeches. This course is different from what you find on the market: both Amy and Michael are professional trained actors and they share lots of insiders tips (contrast, blocking, the importance of storytelling, rehearsing, etc). A true gem and great course. I hope they will do more with creative live in the future. this course (like the BYS) is highly recommended.