IMPROMPTU SPEECH Tips on Impromptu Speech IMPROPTU SPEECH

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IMPROMPTU SPEECH Tips on Impromptu Speech

IMPROMPTU SPEECH Tips on Impromptu Speech

IMPROPTU SPEECH • Impromptu speaking can be enough to frighten even the bravest of

IMPROPTU SPEECH • Impromptu speaking can be enough to frighten even the bravest of souls. If that's you, take heart. • Being asked to speak in public is a HUGE challenge for many. • But being asked to speak spontaneously as well as publicly can put the task firmly in the very-difficult, to -be-avoided-at-all-times-I'd-rather-die category. • Having acknowledged your fear let's KISS it better! • The KISS principle

IMPROMPTU SPEECH • The KISS principle (Keep It Succinct & Simple) will give you

IMPROMPTU SPEECH • The KISS principle (Keep It Succinct & Simple) will give you a formula applicable to all impromptu speaking occasions. • Asked to give a few words to conclude a business meeting? No problem. • Have to make a presentation on the spur of the moment? Easy. • You're asked for a quick summary of your company's latest developments. Simple. • Whatever the purpose of your impromptu speaking, KISS will serve you well. • The art of KISS in action

IMPROMPTU SPEECH • Select ONE message from your notes to focus on. Write that

IMPROMPTU SPEECH • Select ONE message from your notes to focus on. Write that down and your opening/closing ideas. • Just like any other form of speech you require structure. • You will need an opening, a body and a conclusion. • Sort the body of your speech first using which ever of the impromptu speaking templates below best suits your topic.

COMPETITIVE SPEECH BELL STARTER Funding for arts and sports programs have been cut from

COMPETITIVE SPEECH BELL STARTER Funding for arts and sports programs have been cut from school budgets. Is this a good idea or not? Be ready to fully defend your position. Write in full sentences and use cursive.

Dramatic Interpretation • Using a play, short story, or other published work, students perform

Dramatic Interpretation • Using a play, short story, or other published work, students perform a selection of one or more portions of a piece up to ten minutes in length. With a spotlight on character development and depth, this event focuses on the student’s ability to convey emotion through the use of a dramatic text. Competitors may portray one or multiple characters. No props or costumes may be used. Performances can also include an introduction written by the student to contextualize the performance, and state the title and the author.

Duo Interpretation • Two competitors team up to deliver a tenminute performance of a

Duo Interpretation • Two competitors team up to deliver a tenminute performance of a published play or story. Using off-stage focus, competitors convey emotion and environment through a variety of performance techniques focusing on the relationships and interactions between the characters. No props or costumes are used. Performances can also include an introduction written by the students to contextualize the performance and state the title and the author.

Humorous Interpretation • Using a play, short story, or other published work, students perform

Humorous Interpretation • Using a play, short story, or other published work, students perform a selection of one or more portions of a piece up to ten minutes in length. Humorous Interpretation is designed to test a student’s comedic skills through script analysis, delivery, timing, and character development. Competitors may portray one or multiple characters. No props or costumes may be used. Performances can also include an introduction written by the student to contextualize the performance and state the title and the author.

Original Oratory • Students deliver a self-written, ten-minute speech on a topic of their

Original Oratory • Students deliver a self-written, ten-minute speech on a topic of their choosing. Limited in their ability to quote words directly, competitors craft an argument using evidence, logic, and emotional appeals. Topics range widely, and can be informative or persuasive in nature. The speech is delivered from memory.

Competitive Speech • Look through the stacks of monologues and scripts and categorize them

Competitive Speech • Look through the stacks of monologues and scripts and categorize them into stacks of: • Dramatic Interpretation • Duo Interpretation • Humorous Interpretation

AVAILABLE SCRIPTS • • • The following websites are approved: http: //www. 2 river.

AVAILABLE SCRIPTS • • • The following websites are approved: http: //www. 2 river. org http: //www. aaronshep. com/rt/RTE. html http: //www. theadirondackreview. com http: //www. americanpopularculture. com/revie w_americana. htm http: //www. applevalleyreview. com http: //ccat. sas. upenn. edu/xconnect http: //www. contemporaryworldliterature. com http: //www. freedrama. net

MUSICAL THEATRE BELL WORK • Should songs or scripts in high school musicals or

MUSICAL THEATRE BELL WORK • Should songs or scripts in high school musicals or plays ever be censored for questionable content? Be ready to defend your opinion. • Write full sentences and use cursive!

Lon Chaney in “Phantom of the Opera” 1925

Lon Chaney in “Phantom of the Opera” 1925

Margaret Hamilton in “Wizard of Oz” 1939

Margaret Hamilton in “Wizard of Oz” 1939

Kim Hunter in “Planet of the Apes” 1968

Kim Hunter in “Planet of the Apes” 1968

Dustin Hoffman in “Little Big Man”

Dustin Hoffman in “Little Big Man”

Heath Ledger in “The Dark Knight”

Heath Ledger in “The Dark Knight”

Jim Carrey in “The Grinch”

Jim Carrey in “The Grinch”

Emma Thompson in “Nanny Mc. Phee”

Emma Thompson in “Nanny Mc. Phee”

John Travolta in “Hairspray”

John Travolta in “Hairspray”

From “The Walking Dead”

From “The Walking Dead”

MUSICAL THEATRE • • Read the section on Makeup Make a “needs” list on

MUSICAL THEATRE • • Read the section on Makeup Make a “needs” list on paper Inventory current stock Determine what products you need and what products can be adapted