No matter how interesting and educational the speech is, it will not be perceived by the audience if the speaker delivers it inarticulately, in a hoarse, weak, inexpressive voice. The voice when speaking is important to the same extent as the content of the speech, as well as the appearance and manners of the speaker. This is the tool with which the speaker conveys his message to the audience. The human voice is a powerful means of influencing the public. Thanks to a beautiful, sonorous voice, a speaker can attract the attention of listeners from the first minutes, win their sympathy and trust.

A beautiful, well-trained voice is required by representatives of many professions - politicians, diplomats, journalists, teachers, doctors, managers, tour guides, social workers, that is, everyone who works with people and often speaks to a wide audience.

A good voice is necessary not only to achieve professional success in business, but also in everyday communication. People with a pleasant, soulful voice are usually listened to more willingly and for a longer time than those who have a harsh, shrill or rough hoarse voice.

Speech technique is “a set of skills and abilities used for the optimal sound of speech; mastery of techniques to effectively use the speech apparatus.”

When speaking, the speaker must not forget about the means of expression. To improve the expressiveness of business speech, you can use the following tools.

1. Varying the tone of the speech. Any report, even a fairly official one, should not be monotonous, devoid of peculiarities in the presentation of its various structural parts. In practice, there are several types of speech tonality. It can be: major, minor, solemn, reproachful, warning, pleading, playful, strict.

Varying the tone of a speech depends on the general theme and focus of the speech, the semantic emphasis falling on its various structural parts.

The tone of the speech is also determined by the composition of the audience (for example, age or position), and its general mood towards the perception of speech. The choice of one or another key during the speech serves to more clearly reveal the main idea embedded by the speaker in various parts or in the speech as a whole.

2. Highlighting the main ideas. As a rule, any message delivered from the podium has a different meaning, changing during the course of the speech. Some parts of the report can be considered as its main theses, others should be classified as comments and explanations.

The perception of the report will be more conscious, its semantic impact on the listeners will become deeper if, during the course of the speech, the speaker separates the main ideas from auxiliary statements and explanations. To do this, you should use speech elements such as short pauses (without, however, disturbing the overall flow of the speech), change the tempo of speech, pitch of the voice, etc. Listeners more naturally perceive main thoughts pronounced at a relatively slow pace, and auxiliary judgments (comments, explanations) at a somewhat accelerated pace. Similarly, it is advisable to present the most important points of the speech in a louder, firmer voice.

The means of expressiveness of business speech also include some stylistic forms. Among them, seven can be distinguished.

1. Posing rhetorical questions during a speech. Traditionally, rhetorical questions include questions that presuppose a definite answer (usually yes or no). It cannot be said that rhetorical questions carry a deep semantic load. Their use in written work, with rare exceptions, is hardly justified.

But during an oral presentation, the use of rhetorical questions allows you to establish the necessary contact with the audience, encourages listeners to more actively perceive the speech, and evokes a feeling of belonging with the speaker. Of course, in this case, the speaker should not change his sense of proportion, otherwise the speech will turn into an empty utterance of general phrases.

2. Use of dialogue forms. To a certain extent, posing rhetorical questions can be considered a form of dialogue. Other variants of this stylistic form of speech, as in the previous case, help establish contact between the speaker and the audience, force listeners (sometimes even unconsciously) to become involved in the thought process that accompanies the words spoken by the speaker.

A similar effect is achieved as a result of the speaker’s addresses to the audience. These appeals, as a rule, take the form of neutral phrases, which nevertheless make it possible to increase the role of listeners in ensuring the overall favorable outline of the speech and to increase their interest in its perception.

The speaker’s addresses to the audience can be either general, i.e. directed to all listeners at the same time, or personal, i.e. addressed to a specific part of the audience.

The use of forms of dialogue should not turn the speech into a discussion (if such a goal was not initially set). Therefore, appeals to the audience should involve only a mental or brief verbal reaction on its part.

3. Call to action. The involvement of listeners with the speaker, their interest in perceiving the words spoken from the podium, is greatly facilitated by the call addressed to the audience for interaction and cooperation in solving the problems posed in the speaker’s speech.

Even if such appeals are directed only to a certain part of the listeners (for example, to representatives of a particular organization or any of its divisions), they arouse interest in the essence of statements and proposals.

• 4. Inclusion of figurative comparisons, sayings and other forms. If the time allotted for the presentation allows, the inclusion of figurative comparisons, proverbs, sayings, metaphors and other expressive forms in the outline of the report is completely justified. It allows you to somewhat defuse the tense business atmosphere (which is quite acceptable), and subconsciously concentrate the attention of listeners around certain elements of the speech.
• 5. Using examples. The role of examples as a stylistic form of speech expressiveness is similar to the effect of figurative comparisons and sayings. Examples can be presented in the form of specific situations confirming certain provisions of the report.

Sometimes speakers resort to the so-called form of indirect examples. Such indirect examples can be fragments of literary and artistic works, films, performances (preferably well-known).

Indirect examples include anecdotes, incidents from the lives of famous people, etc. However, excessive or inept use of indirect examples (partly direct descriptions of production situations) leads to a violation of the overall structure of the speech, takes listeners away from a clear perception of its essence, and may contribute to the fact that the speaker simply does not have time to reveal and convey the main points and thoughts in the allotted time.

• 6. Use of repetitions. To focus the attention of listeners on some important idea or specific information (expressed, for example, in digital form), the speaker can use a fairly common technique in rhetoric, such as repetition. As a way to increase the expressiveness of speech, repetitions should also not be abused, and the number of repetitions of one phrase (or other element of speech) should not be brought to the point of absurdity.
• 7. Demonstrate interest and conviction. Surely each of us can confirm that the general mood of the speaker, his attitude towards what he says, is transmitted to the audience.

If the speaker or lecturer is not interested in the subject of the conversation, this immediately affects the listeners; as a rule, they also become uninterested. The audience's attention is scattered, the listener stops following the course of the speaker's reasoning.

If the speaker does not show his conviction in the relevance of the topic of the speech, in the need to solve the problems he named, which he raises during the report, the audience begins to feel the indifference of the speaker and its contact with the speaker is broken, it ceases to effectively perceive the information offered to it.

So, the speaker should not forget that oral speech is different from written text. This creates additional problems in relationships with the audience if the speaker simply reads out the text.

At the same time, oral speech has a number of advantages that distinguish it favorably from written work. These advantages must be used so that others perceive your speech as the speech of a good specialist and an interesting speaker.

Peculiarities:

Speech behavior manifests itself in the process of communication and has the following characteristics: timbre of voice, manner of speech; speech speed, voice volume; pronunciation of words, articulation; voice coloration, speech modulation, rhythmic speaking.

The voice and manner of speech greatly influence the overall impression that the interlocutor makes during the communication process. In mass studies, from 60 to 90% of correct judgments regarding body size, fullness, mobility, internal state and age of a person were obtained, based only on the voice and manner of speaking.

A significant part of people think more during a conversation about the content of their words than about the way they are pronounced. Speech behavior is a source of unfalsified information and in practice is of great importance for a correct understanding of the thoughts and intentions of the interlocutor.

Speech intonation combines melody (modality), timbre, voice volume, tempo of conversation, pauses, intonation and semantic stress. Virtually all elements of intonation that characterize speech behavior can be objectively measured.

The speed of speech corresponds to the prevailing state of temperament. It is difficult to change it arbitrarily, and at best it can only be done for a short time. With true internal involvement in the conversation, the specific tempo of speech will be restored again.

A lively, lively (even hasty) manner of speaking, a fast pace of speech indicate that your interlocutor is a temperamental, impulsive, lively, self-confident person, freely expressing himself (with an undisturbed flow of speech).

At the same time, a restless, hasty, erratic manner of speaking, almost always accompanied by excessive gesticulation, and a broken voice indicate timidity (perhaps only in a given situation), uncertainty or excitement, haste, inconstancy, and uncontrollability.

A calm, slow manner of speaking indicates calm, equanimity, thoughtfulness, and prudence of the interlocutor. At the same time, slow speech may indicate inactivity, lethargy, dullness, and timidity.

An accelerating pace of speech (and gestures) indicates that the speaker is completely immersed in the subject of the conversation, inspired by what he is talking about. Slowing speech (and gestures) indicates thoughtfulness, “turning on” internal brakes regarding what was said, loss of confidence, submission due to fatigue or exhaustion. Noticeable fluctuations in speech rate may be a sign of a person’s lack of balance and excitability.

A large or small volume of voice is a manifestation, in fact, of a large or small original vital force. At the same time, by increasing or decreasing the volume, the interlocutor wants to hide his true state (for example, an obviously loud voice is often intended to hide weakness and uncertainty).

A high volume of voice speaks either of the true strength of motives, or of arrogance, or lack of self-control (as in a fit of anger). A low volume of voice with a calm flow of speech indicates the desire to “not lose one’s temper,” restraint, modesty, tact, unobtrusiveness and at the same time a lack of vitality, human weakness; when the flow of speech fluctuates, we can talk about timidity, fear of “going beyond oneself,” timidity, and reticence.

Small changes in volume indicate an ability to manage emotions (especially at high volumes) or a lack of vividness of feelings.

Emphasis (emphasis) indicates weak internal involvement in the matter under discussion, lack of interest and even lack of mental alertness.

Features of the pronunciation of words and articulation often create the impression of a firm, definite, clear, confident voice or an unclear, vague, uncertain voice.

Clear and distinct pronunciation of words, distinct pronunciation of sounds, as well as endings and particles (i.e., clear articulation) indicate internal discipline, a conscious life position, but at the same time may be a reflection of a lack of dynamics.

Vague and indistinct pronunciation of the contours of words (the lower jaw does not move at all or moves little) indicates a lack of a critical attitude towards oneself, compliance, uncertainty, softness, lethargy of will, love of peace, lack of focus on the interlocutor in communication.

The tendency to increase the ambiguity of pronunciation may be a manifestation of the desire for self-defense, secrecy, strengthening one’s position, and uncertainty of position.

Clear and easily understandable, but not overly clear, articulation is characteristic of a person who is naturally and sincerely involved in communication, balanced by nature.

Important information is conveyed by the color of the voice. High and low tones and sounding vowels are especially important. A “metallic” sounding voice speaks of energy and hardness. An unctuous, fatty-soft voice testifies to the depicted friendliness, with a strong slipping of the voice towards false pathos.

Vocal speech (strong emphasis on the sound of vowels) indicates dominance of temperament and feelings, good nature.

Consonant speech (vowels recede into the background before sharply accented consonants) indicates the dominance of reason and will, an analytical mindset.

Weak modulation of speech (rises and falls in pitch) has a monotonous, soporific effect. A monotonous voice always implies something hidden, suppressed. Weak modulation while maintaining the pitch indicates discipline, efficiency, sobriety, but at the same time it can be an indicator of a lack of interest and liveliness, lack of true internal participation, timidity, constraint, and fear of public speaking.

Strong modulation (change in the pitch of the voice over a wide range) indicates openness, greater emotional sensitivity, variety of interests, inner liveliness, rich and varied emotional experiences, a wealth of moods with inner freedom. Much less often, strong modulation may reflect a lack of internal discipline and inner experiences.

A drop in pitch towards the end of a sentence with the same volume of voice may indicate a weak will, softness, and a tendency to depression.

Rhythmic vibrations of the melody are characteristic of outwardly animated, but internally balanced people with significant abilities for creativity and development.

Irrhythmic oscillations, i.e. uneven, unmotivated rises and falls in tone indicate internal imbalance and lack of stability in character.

Rhythmic speaking (even flow of words with slight periodic fluctuations) reflects a wealth of feelings, balance, and a predominantly joyful mood.

Some unevenness in the rhythm reflects a lively, mobile character, as well as dependence on emotions, insufficient self-control, indiscretion, and a predominantly negative or unstable mood. Strictly cyclical, correct speaking indicates rigidity, love of order, pedantry, firmness, coldness of feelings.

rhetoric oratorical speech

1. Speech technique

2. Is it possible to judge its “civil value” based on a lawyer’s attitude toward language?

3. Test task

List of used literature

1. Speech technique

No matter how interesting and educational the speech is, it will not be perceived by the audience if the speaker delivers it inarticulately, in a hoarse, weak, inexpressive voice. The voice when speaking is important to the same extent as the content of the speech, as well as the appearance and manners of the speaker. This is the tool with which the speaker conveys his message to the audience. The human voice is a powerful means of influencing the public. Thanks to a beautiful, sonorous voice, a speaker can attract the attention of listeners from the first minutes, win their sympathy and trust.

In addition, the voice can contribute to a person’s professional career, but it can also hinder it. For example, a journalist with a squeaky, thin voice or a prominent politician with a harsh, nasal pronunciation. Such people could achieve more if they improved their voice.

Why do we listen with absolute confidence to such TV presenters as Evgeny Kiselev, Vladimir Molchanov, Vladimir Pozner, Alexander Maslyakov? This is partly due to the melodic, calm voice, devoid of annoying and distracting notes, and the pronunciation culture of these people.

A beautiful, well-trained voice is required by representatives of many professions - politicians, diplomats, journalists, teachers, doctors, managers, tour guides, social workers, that is, everyone who works with people and often speaks to a wide audience.

A good voice is necessary not only to achieve professional success in business, but also in everyday communication. People with a pleasant, soulful voice are usually listened to more willingly and for a longer time than those who have a harsh, shrill or rough hoarse voice.

You can learn to speak clearly, clearly, beautifully. This will be helped by speech technique - a special section of rhetoric and an important aspect of oratory. Speech technique is “a set of skills and abilities used for the optimal sound of speech; mastery of techniques to effectively use the speech apparatus.”

The components of speech technique are:

1) establishing correct speech breathing;

3) work on diction;

4) work on intonation;

Speech technique is a specific section of rhetoric. Here, more than anywhere else, exercises and persistent, long-term practical work on pronunciation skills are important.

Work on speech technique should begin at school. First, several separate lessons should be devoted to this topic at the beginning of the rhetoric course in both primary and secondary schools. The topics of the lessons may be as follows.

1. The structure of the speech apparatus. The mechanism of formation of speech sounds. Exercises to warm up the speech apparatus (massage, gymnastics).

2. Speech breathing, its difference from physiological breathing. What does it mean to breathe correctly while speaking? Breathing problems. Exercises to develop controlled breathing.

3. Diction and articulation. Formation of stereotypes for the distinct pronunciation of individual sounds and sound combinations. Identification and correction of individual shortcomings. Pronouncing and learning tongue twisters.

5. Qualities of a good voice: wide range in height and volume, purity and clarity of timbre, euphony, ability to change tones, flight, endurance, suggestiveness. Exercises to develop the qualities of a good voice.

6. Intonation of oral speech. Components of intonation: a) logical (phrase) stress; b) pause; c) tempo; d) basic tone of speech; e) melody (raising and lowering the voice); e) rhythm.

Exercises on correct intonation of a phrase depending on the author’s communicative attitude, the communication situation and the content of the statement.

7. Types of intonation. Intonation of the end of a sentence, question, exclamation, address, enumeration. Exercises on correct intonation of a phrase depending on the nature of the syntactic unit.

8. Expressiveness of oral speech. Expressive reading.

Lessons on speech technique in elementary school are best given dispersed, according to the years of study. For example, in 1st grade you can offer the following topics.

1. Where and how are speech sounds born? (Structure of the speech apparatus. Mechanisms of formation of speech sounds). Exercises to warm up the speech apparatus.

2. Speech breathing. What does it mean to breathe correctly while speaking? Exercises to develop controlled breathing.

3. Diction. Active articulation of sounds is the key to good diction. Exercises to form stereotypes for the distinct pronunciation of individual sounds and sound combinations. Identification and correction of individual shortcomings. Pronouncing and learning tongue twisters.

4. Features of oral speech:

Exercises to change the volume, pitch and tempo of speech depending on the communication situation and the content of the statement. Using volume, tempo, and pitch of the voice for the purposes of speech expressiveness.

In grade 2, the following topics are introduced in the “Speech Techniques” block:

1. Intonation. Logical stress and pauses as intonation means of formalizing oral speech. Using them for the purposes of verbal expressiveness.

2. Intonation. The basic tone of speech as a component of intonation. Using it for the purposes of verbal expressiveness.

3. Rhythm as a component of the intonation pattern of speech.

4. Rhythm of poetic speech.

5. Collective marking of text for expressive reading: placement of pauses and logical stresses, determination of tempo, volume, fundamental tone of reading. Expressive reading of the text after preliminary collective preparation.

In grade 3, after repeating previously studied speech technical information, the following topics are introduced.

1. Melody of speech.

2. Types of intonation. Intonation of the end of a sentence, address, enumeration, question, exclamation.

3. Correctness of oral speech. Orthoepic norms. Spelling dictionaries.

4. Independent text marking for expressive reading: determining the most important task, choosing intonation means that contribute to the effective implementation of this task. Expressive reading of text.

The place of lessons on speech technique in the general system of rhetorical training for students in elementary school, their planning is given in the manual by I.R. Kalmykova “School course programs in rhetoric for grades 1-4 and 5-6. Planning Rhetoric Lessons in Elementary School".

After providing theoretical information on speech technique, it is necessary to organize systematic work on the development of speech technical skills. For this purpose, at each lesson or every other lesson, you need to spend a special five-minute session on speech technique. In the methodological literature it is called differently:

Orthoepic (similar to spelling),

Phonetic exercises (in the methodology of teaching Russian to foreigners),

Breathing exercises (K.S. Stanislavsky),

Breathing and intonation training.

Each of these names does not cover all components of speech technique, so we will focus on the wording “work on speech technique.” What is included in the content of this five-minute session? It may include the following components:

1) exercises to warm up the speech apparatus;

2) breathing exercises;

3) diction exercises, pronouncing tongue twisters;

4) intonation training;

5) exercises for the development of speech hearing;

6) expressive reading of short texts.

Naturally, all these components cannot be included in one five-minute lesson due to limited teaching time. The teacher himself must determine the content of the five-minute lesson based on the characteristics of the class, the purpose and content of the lesson.

Work on speech technique, in addition to special lessons and daily five-minute lessons, should also be carried out in the lessons of the Russian language, literature, mathematics and others in the form of monitoring the students’ oral speech. The teacher should pay attention to whether the student strains his voice when answering at the board, whether he has enough breath to pronounce a long phrase, whether he regulates the strength of his voice depending on the situation and the content of the statement, whether he is fluent in the means of expressiveness of his voice.

2 Is it possible to judge its “civil value” based on a lawyer’s attitude to language?

Based on a lawyer’s attitude to language, one can accurately judge not only its cultural level, but also its civic value. True love for one's country is inconceivable without love for one's language. A person who is indifferent to his language is a savage. His indifference to the language is explained by his complete indifference to the past and future of his people.

The legal profession requires not only high moral qualities and professional skills, but also broad general education.

According to A.F. Kony, a lawyer should be a person whose general education comes before special education, because a lawyer deals every day with a wide variety of life phenomena, and he must correctly evaluate these phenomena, make the right decision on them and convince those who turn to him of the correctness of his point of view of people. A lawyer plays in various communicative roles: he drafts bills, conducts business correspondence, he has to write protocols of interrogation and inspection of the crime scene, various resolutions, indictments, statements of claim, sentences and rulings, contracts and agreements, statements and complaints.

In addition, when conducting criminal cases and resolving disputes between citizens and institutions, a lawyer is also a confidential interlocutor. He has to deal with people of a wide variety of professions and different levels of culture. And in each case it is necessary to find the right tone, words that argue and correctly express thoughts. The content of their explanations and testimony sometimes depends on how accurately these individuals understand the lawyer’s speech. Violation of language norms by a lawyer may cause a negative reaction from interlocutors. There are cases when, due to an inaccurately asked question, the interrogated person asks to clarify or correct the incorrectly asked question. In addition, every lawyer also acts as a speaker, as a propagandist of legal knowledge, giving lectures; The prosecutor and lawyer make public speeches every day in trials, so a lawyer needs to have public speaking skills. The ability to speak publicly and mastery of language has long been considered a necessary professional quality of a lawyer.

Surely you want to be listened to with an enthusiastic look and an open mouth? Or maybe your field of activity is unthinkable without public speaking, in which voice training and precise pronunciation are so important? But due to the lack of certain skills and knowledge, you don’t even try to improve yourself? Next, we will tell you how, with the help of simple voice training exercises, you can hone your speaking technique, which will help you achieve success both in the professional sphere and in your personal life.

Speech technique is a science in the field of speech production, articulation, diction, intonation, facial expressions and other elements. People of certain professions need to study this science throughout their lives. Their task is to make their speech technique correct, beautiful and understandable.

A significant indicator that characterizes the quality of a person’s speech technique is diction (this is how clearly he pronounces sounds). This element of speech is comparable to handwriting. A message written in crooked, illegible handwriting will be incomprehensible and uninteresting to the addressee, just as a crumpled, inarticulate speech is unlikely to interest the listener or will raise a lot of counter questions. Next, we will tell you how to strengthen your voice and improve your pronunciation with the help of regularly performed exercises.

One of the methods was used by the main character from the film “Carnival”; she honed her speech by repeating the tongue twister about the cuckoo, while stuffing her mouth with walnuts. In addition, there are a number of breathing exercises, which we will talk about a little later.

Voice

A pleasant voice is one of the main indicators of correct speech. The voice can also be trained and can be mastered. Each person is capable of learning to control the power of his voice, raising or lowering it depending on the situation, sufficiently restraining emotions, being calm and speaking measuredly. An important factor is a healthy throat and you need to quit smoking.

Timbre

The next indicator is voice timbre. In this case, the main thing is not to overdo it, since an excessively low or high voice is perceived as false. To practice voice timbre, the most important point is breathing and you need to work with the diaphragm.

Intonation

Watch the intonation and correct pronunciation; it is important to correctly place stress in words and make logical pauses. This gives you the opportunity to take a breath, properly structure your further speech, and also attract the attention of your listeners.

So, before you start doing the exercises, you need to create a working environment. Sit comfortably in front of a mirror in a spare room, remove unnecessary objects and ensure the necessary acoustics. Complete all tasks for about 5–10 minutes, proceed to the next one after you have mastered the previous task. Record a video in order to correct errors in the future.

Lessons to improve speech

Breath

To complete this task, you need to remember to breathe through your nose, this is important!

Practicing breathing:

• Place your feet shoulder width apart;
• Place your palms on your waist and slowly exhale so that you feel the air counteracting your lips (at the same time you need to repeat the quatrain).
• Do the exercise while walking, accelerating into an easy run, imitating cutting grass, chopping trees and sweeping the floor. When performed accurately, the exhalation should be smooth and not stray.
• Keep your back straight, lean forward and take a deep breath.
• When straightening to the original position, exhale and slowly say “gi-mm-mm-mm.” synchronously combining with light running.
• Return to the straight stance position. Taking a deep breath, bend straight and clasp your hands behind your head. In the same position, exhale and straighten up, saying “Gn-n-n...”, combining with light running; Next, you need to complete a task to improve nasal breathing.
• With your mouth covered, take a small nasal inhalation, widening your nostrils, and while exhaling, lightly hit them with your fingertips. Based on the previous example, as we exhale, we slowly pronounce the letters “M” and “N” and lightly hit the nostrils in turn with the edges of our fingers.

Preparing the muscles of the palate

• Say the consonants “K” and “G” three times without stopping. Next, say the vowels “A”, “O”, “E” also three times, but when yawning.
• Inhale the air through your mouth, as if rinsing it. Open your mouth and say: “AMMMMM...AMMMMM”, “A” should be barely audible, “M” should be sonorous and then do it three times.

Exercise for lips and tongue

• To practice the upper lip, say: “GL”, “VL”, “VN”, “TN”, for the lower lip - “KS”, “GZ”, “VZ”, “BZ”.
• Relax your tongue and repeat the shovel shape, placing it on your lower lip, pronounce: “I”, “E”, five times.
• With your tongue, take the shape of a curved hook and run the tip of your tongue across the sky, synchronously pronouncing “O”, “U”.
• Extend the letter "M" with your mouth covered and your tongue moving towards your lips, cheeks and roof of the mouth.

Exercises to help open and strengthen the voice of the main speech

• Speak a random tongue twister using exclusively consonant letters; the vowels will therefore be dull and long.
• After this, say the same tongue twister, only in a perfect voice. By diligently listening to yourself, you will feel the epicenter of your own speech voice, establish in what state the articulatory apparatus sounds free and genuine. Repeat the exercise with head tilts, alternately back/forward, right/left.
• Read the tongue twister using the indicated technique, but putting your tongue on your lips, lowering it and thereby replacing the pronunciation of vowels.
• Take a deep breath and slow down your breathing (you can squeeze your nose with your palms) and read some text out loud. Exhale and inhale through your nose again in those passages of text where this is required by grammar and semantic pauses.

After completing all the work, read the text again, in a relaxed voice, and listening to the sound, understanding the difference in pronunciation before and after completing the tasks.

Exercises to improve diction

These exercises for developing diction are performed only after practicing the tasks described above, which are aimed at eliminating common errors in pronunciation caused by the underdevelopment of the speech apparatus. If you have any questions about completing the tasks, you can find a video on YouTube and watch it clearly.

Exercises for a weakened lower jaw

• Say “PIE”, “BAY”, “MAY” while holding your chin in a constant state with your palm, your head should lean back. With the sound “Y” it takes on its initial state. Next, do this step in your usual position, comparing whether the feeling of muscle independence has arisen.
• Repeat the exercise, but with your head turned left/right, try to reach your chin to your shoulders. When you hear the sound “Y”, return your head to its original position.

Pliable sky

• Bow your head back and rinse your larynx with air, pronouncing the sound “M” at length, but do not stick out your lower jaw. Try to yawn with your mouth closed.
• Inhale air through your nose and draw in your cheeks, in addition, keep your jaw down and your lips compressed; as you exhale, extend the letter “M”.

Exercises to strengthen your tongue and mouth

Be sure to repeat each of the listed activities three times in a row.

• pronounce “BYA”, placing your tongue on your lower lip;
• pronounce “AS”, actively working your tongue forward/backward;
• pronounce “TKR”, “KTR”, “DRT”, “RKT” in a row, repeat three times;
• in order to correct the activity of the lips, say “MB”, “TV”, “BM”;
• Curl your lips and make the sound “M-M-M-M”, then smile.

Exercises to correct the lack of sound in the speaking oral cavity

• with a straight and direct state of the body, on a leisurely exhalation, say: “SSSSSSSS...”, “SHSHSHHHHHHH...”, “ZHZHZHZH...”, “RRRRRRRR”, “RRRRRRR...”;
• in the same position, with a tense, constant exhalation, say: “F!” F! F! F! F! F! F! ", which is transmitted into the unchanged sound "FFFFFFFF...";
• Cover your nose and mouth with your palm, in this position try to pronounce the sound “M”, then remove your palm and read some text with the maximum number of “M”, “N”.

Exercises to develop undeveloped sound in the chest

• Take a comfortable body position, place your palm on your chest to feel the pulsation, and close your mouth with the other to examine your own breathing. Try to make different vowels: a gentle exhalation - a sound ("UUUUUU") - a gentle inhalation. If you do everything correctly, you will feel a desire to yawn and lightness in the throat area.
• The next step is similar, the only thing at the moment of groaning is to try to stretch it out and pronounce the emphasis with a light blow of the diaphragm deep into it, then gently exhale.

Any subsequent task increases the number of stresses by one and, in the same way, you need to bring up to five stresses one after another.

Fighting heavy breathing during a fast-paced conversation

• It is necessary to assume an inclined state and begin to look for an imaginary object, while at the same time reciting a random poem loudly, but watch your breathing evenly.
• Jumping rope with synchronized pronunciation of quatrains so that the jumps correspond to the syllables of the words. If the task, at first glance, seems difficult, speech and breathing will be confused, it is recommended to reduce the speed and step by step increase them, bringing them to the maximum.

Developing range and raising your voice

• Choose some poetic text consisting of eight or more lines, and begin to pronounce it in such a way that the weakest level of your range falls at the beginning of the line and with each line it gradually increases, reaching the limit at the final one.
• After you have practiced this exercise, start with the highest and end with the low range of your own voice.
• Based on the results of successful performance, increase the number of lines of the poetic story.

This also quite effective technique is called “voice chanting.” Choose and sing any verse you like, first using exclusively vowels, and then only consonants.

Another way (we already talked about it at the very beginning) is to repeat tongue twisters by filling your mouth with walnuts, reciting the text and singing songs using a wine cork, holding it between your teeth. The first time you should pronounce it slowly, gradually speeding up, watch carefully so as not to swallow endings and sounds.

Speech must sound correct and loud, you need to work on it. For this purpose, select your favorite quatrains and read them alternately, one line loudly, the next quietly, then vice versa.

Don’t forget about the intonation of your voice, read the texts with changing feelings, sad, happy, angry, passionate, reproachful, surprised. The more often you do this exercise and the more emotions you work out, the richer your speaking technique will become.

Increasingly, in professional activities, much attention is paid to speech technique; it becomes a kind of tool of labor. Therefore, it is imperative to develop and improve diction, voice production and business and daily communication skills. This way you can create a positive image, because people around you instinctively fall under the influence of a person who knows how to express his speech beautifully and clearly.

The sound side of oral speech plays no less important role than its content. A speech that is brilliant in content loses in many respects if it is delivered sluggishly and inexpressively, with hesitations and speech errors. Conversely, a speech with little content, delivered phonetically flawlessly, can make a favorable impression. In order to master the technique of oral speech, you must have a general an idea of ​​the human pronunciation apparatus and the process of speech formation, about diction, voice, intonation. Know the orthoepic norms of the language and methods of performing speech in front of an audience, including standards of bodily movements.

From the point of view of participation in the formation of sounds, the pronunciation apparatus can be divided into two parts. One part is not directly involved in sound formation, but only supplies the “air material” necessary for this purpose. The other part is “pronunciation” in the truest sense of the word. In accordance with this, in Speech production is divided into the following functional areas:

1. Respiration (organization of breathing). It is provided breathing apparatus, which consists of the lungs, bronchi and trachea. The speech function of the DA is to produce the subglottic pressure necessary for the vocal cords to function. It is necessary to distinguish between breathing at rest (physiological) and breathing during speech (speech). With PD, inhalation is equal to exhalation; with speech, exhalation is longer than inhalation. Interrupted, choking speech does not make a favorable impression and even irritates listeners. Improper speech breathing tires the speaker and has a detrimental effect on the condition of the pronunciation organs.

2. Phonation. Actually pronunciation apparatus consists of 4 interconnected cavities - larynx, pharynx, oral and nasal cavities. On one's own.

3. Articulation. The organs directly involved in the formation of speech sounds are called articulatory organs: lips, tongue, soft palate, small tongue, posterior wall of the pharynx, teeth, alveoli, hard palate. On one's own.

Diction – This is a broad concept that includes three main indicators:

1.Correct articulation

2. The degree of its clarity;

3.Manner of pronouncing words.

Good diction creates favorable conditions for effective oral communication between people. Diction has aesthetic value, being one of the most striking indicators of the external culture of spoken speech.

Correct articulation- these are movements of the organs of articulation that correspond to the desired place and method of sound formation.

Degree of clarity of articulation is an indicator that affects the intelligibility of oral speech. Although most people do not have a speech impediment, their SOA may vary. Tell. Clear articulation creates the impression that a person is confident and knows what he is talking about, which is one of the tasks of oral communication.

Manner of pronouncing words includes the rate of speech characteristic of each individual, prolongation and reduction of syllables, etc. Each person has a characteristic way of pronouncing words, which is quite difficult to formalize, but much easier to reproduce (parody). MWS is associated not only and not so much with the nature of articulation, but is determined mainly by the specific rhythmic structure of the word (the ratio of the duration and intensity of stressed and unstressed syllables in a word), as well as special modifications of intonation.

The manner of pronouncing words is closely related to the concept of pronunciation style. The normative, standard manner correlates with the full or neutral style, and all the individual features of pronunciation are inherent in the conversational style. “person”: (person) – (check). The manner of pronunciation is often characterized by dialectal features of rhythm and intonation.

Stand out the following speech defects that can be attributed to the manner of pronunciation. They are not linguistic and belong to paraphonetics.

3. Holding your breath while inhaling, which happens unconsciously when the speech sound should appear literally in the next moment or the phase of control and selection of sound units has not yet ended.

4. Noisy sighs before starting a phrase

5. Smacking - noisy “unsticking” of the middle part of the back of the tongue from the palate and the sides of the tongue from the cheeks. Smacking usually fills part of a pause, and in spontaneous speech it also serves as a choice. It is less controlled by the speaker than groans and noisy sighs. Weak smacking - wetting the oral cavity, swallowing - is physiologically characteristic of everyone and is performed mechanically.

6. Nasalization - pronouncing the final vowels in words through the nose. This occurs due to a careless, premature lowering of the soft palate (and uvula) before the end of the phrase. It is assessed as a vulgar trait in speech.

7. Emcaning - closing the lips at the end of words when the vowel still sounds (in the city (m), girls (m), etc.). it is also the result of speech carelessness.

Speech technique. Components of speech technique

For a speaker, speaking technique is of great importance, the components of which are: staging speech breathing, diction and orthoepy (i.e. correct literary pronunciation).

The essence of speech technique is to coordinate breathing, voice, articulation while observing pronunciation standards. This ensures such voice qualities as sonority, tempo, timbre, pitch, and clarity of diction.

The power of a speaker's voice is very important to the audience. If he speaks excessively loudly, and also has a noisy voice, it will irritate the people listening to him, and the effect of the speech will be significantly reduced.

When gesturing, use the following rules.

1) Gestures must be involuntary. Use the gesture as you feel the need for it. Does not suppress the impulse by half. If you start to raise your arms, but do not allow them to move freely upward, you will get something like a gesture used to scare away chickens: quiche - quiche. This kind of gesture is quite familiar to beginners.

2) Gesticulation should not be continuous. DO NOT gesture with your hands throughout your speech. Not every phrase needs an underlining gesture.

3) Control with gestures. Don’t try to be like a windmill, save your strength; remember that gestures are an element of balance in the entire pose. A gesture should never lag behind the word it reinforces.

4) Add variety to your gestures. Do not indiscriminately use the same gesture in all cases where you need to give expressiveness to words.

5) Gestures must correspond to their purpose, their number and intensity must correspond to the character of the speaker.

Pronunciation style and body language

Pronunciation style. It is easy to recognize a person by the peculiarities of her pronunciation. At the same time, aesthetic and taste assessments of the quality of a person’s pronunciation and the corresponding reaction to this are obvious. It is known that the attitude towards a person at the ethological level is formed on the basis of the charm of her timbre, the richness and diversity of intonation, and the energy of pronunciation. This attracts and fascinates listeners. If not all of the listed pronunciation qualities have a negative connotation, it will negatively affect listeners. Obviously, from the point of view of speech perception, there is a euphonious pronunciation, such that it “caresses” the ear, and cacophonous pronunciation, which “offends” the ear.

In intonational-timbral sounds - the spiritual wealth of a person’s personality. Is it possible to explain some rules and laws of pronunciation and rhetorical influence on listeners? Let's try to name the categories of pronunciation from the point of view of the skill of its perception:

1. breathing control

2. dividing the language into bars

3. pause

4. tempo and rhythm

5. intonation

6. logical and psychological stress

8. diction and articulation

9. volume, sonority

1. Breathing is the basis of working on the voice. If breathing is the basis of life, then for a rhetorician, mastery of breathing simultaneously means both subordination of the entire psychophysiological apparatus to the rhetorical task, and the ability to control emotion and opinion. If the breathing is lost, then the thought, the word, and the mastery of the emotions of the audience will be lost. Excitement before a speech is appropriate only when the speaker is able to master his mood. The search for such a harmonious measure of creative excitement continues throughout the rhetorician’s entire creative life.

You can establish correct breathing with the help of breathing exercises, but, in essence, this technical issue should be resolved on the basis of practical experience. However, breathing technique is achieved both in practice and with the help of exercises.

Correct breathing begins with the correct body posture (tense legs, working diaphragm, straightened shoulders, relaxed neck, head, looking straight).

2. The rhetorician should have a feeling of a clear compositional fragmentation of the text: as soon as unnecessary haste begins, the delivery of thoughts turns out to be “blurred.” The meaningful insertion of ideas and words into the minds of listeners begins with the division of language into bars. Spontaneous, unregulated, such that it obeys some laws of modern energy, born of the current state of public spirit and mood, is the speech of the announcers of modern youth radio companies, where the laws of dividing the language into beats are not observed, there is only a desire to intensify emotions and energy to the maximum extent phrases where breathing is regulated and possible phrases that are as long as possible in volume, or suddenly short remarks, with stops, difficult stuttering and bleating...

It is no coincidence that this is precisely where Stanislavsky suggested starting work on the text: “Take a book and a pencil often and mark what you read according to language beats. Train your ears, eyes and hands on this... Marking speech beats and reading from them are necessary because they force analyze and delve into their essence. Without delving into it, you will not say the phrase correctly. The habit of speaking in beats will make your speech not only harmonious in form, understandable in delivery, but also deep in content, since it will force you to constantly think about what you speak... Work on language and words must begin by dividing into speech beats or, in other words, by arranging pauses."

3. Therefore, we have to recommend that every rhetorician remember the meaning of a pause in his speech. Pausing is a great display of skill. Without a pause there can be no meaningful perception of speech. Language in general is an alternation of sound and silence. Both the absence of pauses and their prolongation are inappropriate. The “machine gun” style of language is offered in modern morning news to show the tension of our new democratic everyday life; a trained announcer with a beautiful low baritone “scalds” all the blocks without stopping. The listener, who has not yet woken up, according to the authors of the text, should have a feeling of an energetic rhythm of life - it is a pity that as a result the speaker’s opinion is not conveyed, since the perception of thought occurs during a pause.

4. Tempo, otherwise the speed of speech, is also a necessary part of speech perception. The mistake of modern young rhetoricians in the media is that, knowing the basics of linguistic sciences and denying the previous culture of speech, trying to form a new style, they talk continuously and a lot, the pace of their speech indicates that they want to show the “art” of chatting on various topics, the ability to speak “ uninhibited" language. What will this “kulemetnost” language lead to? First of all, the inability to talk about serious topics.

However, if the speaker is conveying a meaningful meaning, he should not speak at a forced pace. A modern person, immersed in very fast rhythms of life, is usually advised to speak more slowly. Of course, the tempo is poor and very slow, which makes the listeners want to push the speaker to move (time is precious!). Thus, here too it is recommended to search for a golden mean. During study, the pace of speech is set through reading aloud, advice to pause, realizing the significance of your words, which are “thrown into the wind.”

Language has a rhythm as a harmonious alternation of certain parts - in pronunciation they are pronounced smoothly, harmoniously in combination with individual segments of the language. Violation of the rhythm of harmonic language can manifest itself in puffs, pauses, and inconsistency of parts - both large and small segments of speech.

5. The main quality of pronunciation, which can make it attractive or, conversely, unattractive, is the intonation of the speaker. Intonation, or the melody of speech, lies in the special expressiveness of the sounding word. Intonation expressiveness, together with the fixation of the logic and content of important sections of the text, testifies to the wealth of the individual, her intellectual preparation, the ability to relate in the spoken word to the audience, for whom the speaker’s speech becomes NOT torment, but pleasure.

However, manifestations of both insufficiency and excess are possible: insufficiency lies in intonation monotony (as a rule, it arises as a result of family and school inadequacy and rhetorical bad manners), while redundancy lies in the fact that melodic moves are exaggerated. As a rule, these shortcomings are eliminated through the work of rhetorical training, but if lack of knowledge is overcome by training, then excesses are almost invincible, because they are a consequence of established or corrupt taste, which is the conviction of a given person.

6. Logical stress is a consequence of correct semantic emphasis, which occurs almost automatically in the spontaneous flow of speech. However, it is rhetorical training that consciously correlates with the rules and possibilities of logical accentuation, which expands the intellectual capabilities of a rhetorician. Logical stress as the center of accentuation, forceful stress in the syntagm shows how competently the rhetorician conveys the content of his speech to the listener.

7. Timbre is a special vocal coloring present in every sufficiently developed voice. Let us pay attention to the fact that children's voices do not have any timbral originality (they can be characterized as children's timbres), but with age, the formation of individual timbre characteristics of the voice occurs. Determining the timbral characteristics of each unique voice is not easy. Evidence of this is the epithets and metaphors that describe the timbral sound. So, they say about the voice velvet, sonorous, soft, hard, murmuring, gentle - the characteristics of voices that T.V. Matveeva gives, discarding slander in advance, the timbre “is difficult to classify: velvet, sad, childish, hard, noisy, copper , gloomy, gentle, full, empty, light, silver, dull, important, cold, playful, clear, etc. “Many of the characteristics that are given in fiction and one of which T.V. Matveeva refers to are general voice characteristics. Is it possible to set and develop the timbre of your voice? The basic tone of the voice is undoubtedly preserved. Every rhetorician has the right to hope that his voice can develop. And this happens not as a result of training, but as a result of the accumulation of life experience, experiences, internal active work (internal dialogues, internal speech), which is displayed on the face of the rhetorician and, accordingly, in his voice.

8. diction refers to clear, precise pronunciation, which allows the content of speech to be conveyed to the listener. Diction is also subject to rhetorical evaluation. For example, they say: good / bad, delivered / delivered language (diction). Diction, as T.V. Matveeva rightly writes, “is ensured by correct and active articulation and depends on the tempo of speech.” Without a doubt, the requirements regarding clear diction apply primarily to professions related to oral public language: actor, announcer, radio journalist, television journalist. Today we are witnessing “lenient” demands on diction. There is a requirement for a natural sound (as they say, “closer to the people”) - a requirement that arose in the era of democratic perestroika as a reaction to the former “stagnant” correctness.

At the same time, such a weakening of the aristocracy of the language is similar, of course, to the former Bolshevik revolution (new democratic trends are traditional) - the creation of a new style always tends to reduce its quality. To a certain extent, modern radio and television have not developed new ideals, since any creation of a new style is possible on the basis of cultural traditions, and any oblivion of traditions leads to the emergence of ephemeral styles, and is characteristic of the language of the current media. Regarding diction, it should be noted that excessively correct articulation does not sympathize with the listeners. On the contrary, there are many influential rhetoricians with one or another pronunciation defect. In other words, pronunciation defects seem to encourage other speakers to internally mobilize and take revenge in the second, more important: a real clash of ideas, argumentation, verbal originality (one can get used to defects, they say) - moreover, this defect becomes a mark, an individual characteristic of a given person.

From the point of view of training, it should be said about the need to practice diction (practicing sounds, tongue twisters, while simultaneously working on inspiration, intonation, etc.). Only in such work one should be most concerned not about elegance and grace, but about understanding what is required from a student rhetorician, how he can correct his image of the language and, in particular, his pronunciation style. Any acting in classes with people of serious professions (politicians, lawyers, entrepreneurs, teachers) can eliminate a person from rhetoric, therefore, diction training should take place as psychophysical training of a person, partially close to sports activities, training of the speech apparatus, which allows you to achieve success not immediately, but by gradual labor and long-term efforts.

9. It seems that loudness in itself is a characteristic of the rhetorician’s activity. Indeed, speaking in a square or in a bough in the presence of many people certainly requires a bright, sonorous, flying voice. However, the modern picture of the types of literature and the development of technology significantly adjust the requirements for speech volume. Of course, the rhetorician must be heard.

Too loud speech is not only burdensome for perception, it is perceived by the listeners (I would like to say: “not loud, not so intrusive**). Since any language is a kind of violence against the audience, it is necessary to ensure the avoidance of ITS unpleasant moments. Therefore, a skilled rhetorician does not force his voice , but rather attracts people to listen to the language, the audience strains their ears - and then a blessed silence is established, which is the speaker’s external “noise" goal. Such listening in constant classroom silence is familiar to every professional speaker: he is either - “listened to” - and then sensitively , like “a fly flies by,” or permanent noise is established in the audience, which, by the way, is often a consequence of the speaker forcing his vocal cords: the audience considers it possible to whisper during a speech, since “it’s already audible.” Consequently, here too the speaker should take the following measures: on the one hand, strain your voice, on the other, do not increase the volume, so as not to damage the attention of the listeners by the unpleasantness of the increased action.

There are also concepts of fullness and sonority of the voice. Voice flight is defined as the property of voice sounds reaching any point in the auditorium space. To do this, the rhetorician seems to direct his voice over the heads of the listeners (not at the mean one and not at the ceiling).

Sonority is associated with the purity, clarity and vocal capabilities of the speaker - it is also regulated by a special sense of proportion, which the speaker is practically called upon to develop in himself. As P. Soper writes: “The sonority of the voice gives the speaker the opportunity to convey the language to the entire audience.”

The psychological basis of fullness of sound is “self-confidence and uplift, which are an essential condition for good language in all respects. The voice is a secondary mechanism, There will be no intelligible tone in it if you are not confident in yourself, and stand on your feet, neither alive nor dead ". If you have never had to take the floor, feel an excess of enthusiasm and are well armed with interesting fatamas, try it! You yourself will probably be surprised by the full and obedient sound of your voice." P. Soper considers breathing to be the physical basis of sonority.

Thus, we sort of formed a circle and returned to where we started. After a popular quote from a book by an American rhetorical theorist, I would like to note that rhetoricians have many similar peculiar shortcomings that modern science does not notice. As a result, foreign “bicycles” are revealed - this can be attributed to both pronunciation and body movement (the so-called bodi language, described in many books as “body language” or “bodily flourishes”).

The few examples that we will give should show the reality of the tradition on the basis of which it is necessary to describe practical rhetorical phonetics. Unfortunately, the new phonetics, although undoubtedly aimed at ultimately improving pronunciation in society, is more concerned with theoretical research than with applied developments.

M. M. Speransky wrote about the voice: “Happy is he to whom nature has given a flexible, clear, flowing and sonorous voice. The ancients so respected this gift, they invented a special science of making it pleasant. Frequent exercises, tension in the chest and taste in music can complement or hide nature's flaws." It is said about diction: “Speech is firm, such that it pours out every word, neither fast nor slow, giving each sound the proper emphasis.” Often we listen with pleasure to a person only because her speech is quick and her diction is firm. The listener seems to share all the difficulties of the speaker when he is unable to master the language and pays very dearly for his "cold" morality. Anyone who wants to deal with people needs to think well, but talk even better."

Let us pay attention to the fact that in the Ukrainian rhetorical classics the accents will be placed differently, but the basic requirements for modern pronunciation will be fundamentally the same: “tension in the chest” entails the breathing pattern and pronounced energy of the rhetorician, the “hardness” of the tongue “pours out” every word , - an expressive metaphor, quite clear for every speaker, is engaged in diction training today. The pace is “neither fast nor slow”; Finally, it is difficult to describe the term “dexterity of the tongue,” but it is clear that it means mobility, liveliness, and looseness of the organs of articulation.

We will demonstrate the opportunity to turn to Ukrainian classics in the analysis of modern requirements for the behavior of a rhetorician on one of the most popular and currently discussed subjects - facial expressions and gestures, called body movement.

Body language. It’s interesting how M.V. Lomonosov’s follower Ambrosy Serebryanikov describes the face, gaze and hand movements (by the way, this sequence has been preserved in all modern textbooks: “The face should be straight, not drooping, but respond with spiritual feeling, like the voice. So, for example, a wrinkled forehead and knitted eyebrows depict anger, raised eyebrows depict majesty and contempt.

The circulation of the eyes should be moderate, since speed sometimes depicts inconstancy, slowness or severity - a rude nature; in fact, eyes should be messengers of the soul...

Hand movements should be careful: 1) there is no need to excessively drag them, lift them, hit them (this expresses impudence or passion indecently), nor, on the contrary, hide them in this way, you can cause laughter or at least show your timidity.

The most vivid description of pronunciation (and the closer to us in time, the more clear and distinct) we find in the author of “Rules of Higher Eloquence” M.M. Speransky. The “art of pronunciation,” as before, includes not only “the correct diction of sentences and periods, and a decent position of the face and decent movements of the head, hands, etc.” Summarizing the description of changes in the face and movements of the head, hands, etc., N.N. Speransky notes: “Skillful movement of the body allows you to feel all the beauty of the language and hides many of its shortcomings.” Gestures. Proxemics as a science studies:

1) the spatial arrangement of the interlocutors, their placement relative to each other.

Usually, communication zones, or “spatial zones”, are distinguished: intimate (from 15 to 46 cm), where only persons with whom we are in close emotional contact are allowed to enter; personal zone (up to 1.2 meters) - the distance that separates us in friendly communication, social zone (doses, 6 meters) - this distance is usually maintained in official communication with people whom they do not know very well; public zone (more than 3.6 meters) - addressing a large group of people.

2) The position of the hands, because the hands are, of course, an expressive part of the body.

3) Gestures of hands and palms.

4) Touching hands to different parts of the face.

5) Hands as barriers.

6) Manners (postures) of sitting, standing; head position.

8) Posture influences those around you through different body positions.

9) Types of tables and ways of placing participants at them. The shortcomings or difficulties in mastering new body movements are most evident in an oratorical monologue. Therefore, we will give some practical tips regarding body position and practice of body movement in public speaking:

1) Stand on straight, tense (but not “wooden”) legs. Legs are the basis of oratorical posture (“shaking in the knees” is precisely a consequence of the lack of strength and elasticity in the legs). The speaker takes the desired position with his feet, which he does not change throughout his speech. At the same time, the position of the legs is not “military” (five - together, toes apart) and not “wrestling” (feet shoulder-width apart), but classic, known since ancient practice: one leg is the supporting leg, the other is slightly pushed forward. It is possible to transfer the weight of the body from one leg to the other due to the different content of speech: forward - with an internal movement towards the audience (for example, greeting), back - with defense, defense, internal retreat.

2) Shoulders - straightened, back - straight. As K. S. Stanislavsky said, “a body planted on a peg.” Straight shoulders and a straight back create a psychological mood for the speaker and make it possible to acquire a confident appearance. At the same time, of course, the speaker should not be self-confident. “Posture,” according to Lomonosov, “look” helps the speaker to have a “long spirit and strong chest”, necessary to control the breath during speech: the well-known “breath stole from the goiter” happens not only “from joy”, but also, above all, from excitement , which is known to every beginner speaker.

3) Where to put your hands? A question that concerns everyone who embarks on the oratorical path. The position of the hands, first of all, should be natural, and gestures should be justified by the meaning of the words spoken. The listener and viewer do not seem to notice them, since the movement of the hands naturally accompanies the tongue. Gesture indeed accompanies language - it is “paralinguistic” in the sense that it exists alongside words. At the same time, it’s still negative, like waving your arms, which occurs either from excitement (lack of words prompts an inexperienced speaker to express thoughts with movements of the palms), or from excessive ardor and enthusiasm (the audience often internally laughs at such “hot” speakers, remaining cold until meaning of words), and stiffness, immobility in the movements of the arms and palms (the body seems to become stiff in other speakers when they make instinctive gestures to confirm their intonation, although speech does not necessarily require accompaniment by hand gestures).

4) Having assessed the speaker’s stride, posture and body movements, listeners usually pay attention to the speaker’s facial expressions, or rather, to his eyes and gaze, which ultimately ensure contact with the audience. The look reveals the true emotional state of the speaker and his attitude towards the audience. That is why in ancient rhetoric they advised to put on a “bold face” and “roll your eyes everywhere.” For the psychological mood, the speaker is recommended to be attentive to the audience, trying to have “eye contact”, which means sequentially moving his eyes from one listener to another with the necessary (not very long) stop of his gaze on different listeners, it is usually recommended to stop his gaze for one to two seconds on each listeners. However, the gaze in this case does not have the ability to “run” (transfer the gaze without stopping from one listener to another), and be “stubborn” in one of the listeners, even if the speaker is sympathetic.

5) Eyes are the mirror of the soul, therefore, without eye contact it is impossible to achieve the emotional perception of speech by the audience. A common mistake would also be an “absent” gaze (the speaker has his head buried in his papers and, while reading the text, does not try to look at the audience - the rear state of the speaker who came to the podium with a prepared speech) in this case it is recommended to learn to “break away from the text and from time to time look at the audience, as if sending them signals that you are attentive to them. If there is a type of speakers who lower their eyes down, then there must be a type of speakers who consciously raise their eyes upward. This upward gaze is characteristic of speakers - philosophers, or people who speak on complex subjects and are confident that the audience is listening. Thus, having the courage to look into the eyes of the audience and, persistently conveying the content of your speech, honestly identify those who are interested and bored, positive or aggressive. Try to feel the mood of the audience and change it in your favor. The latter is not always successful, but oratorical disposition, expressed in the gaze, usually finds reward in the approval of the audience. In addition, focusing on contact with the audience makes it possible to avoid unnecessary psychological introspection and worries by removing attention from oneself and transferring it to the listeners. At the same time, oratorical modesty is close to courage, when both excessive timidity and carefree audacity, which is instantly felt and negatively assessed by listeners, are equally overcome.

Thus, speech arises even before language itself, in the speaker’s sensations of his body, in the conscious control of his body with the help of mental and psychological efforts during speech. Body language or bodily-semiotic “non-verbal” signs of communication must correspond to some social-aesthetic norm (norm) of behavior and at the same time express the personal (individual) originality of a person, captured in the image of the speaker.