It doesn't take much to see that the problems of three little people don't amount to a hill of beans this crazy world. Someday you'll understand that. Now, here's looking at UK, he was said that eyes with a window to the soul was onto something. Because when you are prepared to really see who you are talking to, it tells you what you need to do to connect to them. You don't need to download a presentation skills course to know that you should look at people when you talk to them. Looking at people is at the very least polite but it's so much more than that.
It's intimate, which is why sometimes we avoid it. Avoid once said that we leak the truth from every pore and one of the leakiest places and these bad boys. We leak how we feel about an audience we leak how we feel about a message. But in communication skills, we can't avoid an opportunity to connect with people. children get it baby Know that if they haven't got your eyes, they haven't got your attention. And so they'll keep going on at you until they get both.
But that's what we need to do make real eye contact. There's no way you can actually look at 300 people at a time. I mean, you can light house from side to side, which makes nobody feel seen and you a little bit dizzy after a while. When you look at one person, you talk to one person, which is far more intimate, far more conversational, and is much easier than staring out at it and best of faces. So often, it's our eyes that lead our listeners to an encumbrance in the voice. It's absurd to imagine that your speaking voice can be separate from the rest of you, but it can be at times it's just not in sync with your message.
In communication skills, the minimum expectation is that your voice is audible and intelligible but we're not interested in minimum expectation. Let's raise the bar a little higher than qualification criteria. Your voice is as important as your eyes. Don't believe me? Close them. Go on.
There's always wondering if it does it. I'm going to close them for you then. Okay, listen. It's impossible to be categorical about what makes a good voice or a bad one. But what's important is that you take the time to get to know your own voice, deciding what you like about it, and what you can do to make it more effective. Just like our own physical proxemics are made up of a combination of gestures and movements.
Our voice has its own unique and distinctive signature to color, speed, pitch and emphasis. Part of our job is to get inside it and let people hear what makes it unique. And me Sue Appleby, and I'm an actress, singer and vocal coach, and I've been working in the performing industries and coaching to trees for over 15 years, pitch varieties all about knowing again how to release the larynx ultimately. And it's about having a sense of freedom and flexibility in this area, in particular, the air pressure that comes underneath that, that area where the sound is made, where the folds come together and the air passes through. That comes from, obviously from the lungs. And the control of that comes from lower down from the diaphragm and the muscles that support it.
You imagine this whole area, like a lovely column, and that that column mustn't be broken. So quite often we find that people with hunched posture that's a problem darting from lower down and allowing that whole the breath and the sound flow to move through that column freely. So its breath sound is made. And then we have resonance resonators, in the mouth, in the head in the throat. So again, it's about not having all of that close down. You want to open all of that sound up.
Want to have a sense of using the space in the, in the front of the face. And if you put all of those things together, you'll find pitch variety. And you'll find an ability to sustain and to speak for a very long time without getting tired. Why do you think advertisers pay a fortune for an actor's particular voice is because an actor works hard to make their voice something worth listening to. Now, you don't have to work that hard. But you do have to figure out what you've got.
What sort of accent do you have? What sort of energy and vocal pace do you use? work through some of the exercises in the booklet I contact is intimate silence is powerful, but a strong voice is persuasive. So don't forget to warm it up. And as a great Maya Angelou once said, words mean more than what is set down on paper. It takes the human voice to infuse them with deeper meaning.
Could you see that again? But just with a bit more feeling? Words me more than what is sat down on paper. It takes the human voice to infuse it with deeper meaning. Yeah. Me, me, me, me, me, me me.
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