Before a year, when I bought this Radislavs Gandapass book, it didn’t even come in my mind, that this year I’ll have the happiness to be in his training classes in Moscow, which were organized by HeadHunter Company. At that time I was spoken by this book’s subtitle “Ten chapters about that, how to get and give maximal joy and pleasure, performing in public”, now fascinated authors ability to keep auditory attention for all day in maximal interest as with useful advices, as with stories from performing praxes, as with short view in orators art history, as with practical tasks, in which he involved everybody.
In this „Власть убеждения” training class was very many from “Kama Sutra for an orator” – about performing forms and appropriate talking stile choice, about preparing for presentation, planning, about keeping auditory attention, about confusing questions and getting on with them etc. Although, how it all was offered and told, it’s not so simple to describe. And that’s because one of Radislavs rules are that never give handouts for auditory in presentation time, because they, like everything else – microphones, pedestal, other person on stage etc., sidetracks attention from talker, lector.
As in the book, as in this class Radislavs accentuated attention on 1st level contact, which gives much more gain than the rest. If you have come to lecture, try not to sit down as far as possible, but, if there’s a chance, then choose the first row, that there was closer contact with talker. Here we need to talk about information and energy exchange. In this life everything gets not that, who from his seat raises his hand, but that, who steps a step to get in front.
In his turn, lector needs to understand that – in performing time it isn’t so important how much information you have gave to auditory, but how much information auditory has heard. For long time known is that, that auditory receives 60% visual, how lector looks, 30% - how talks, form, how tells what, voice, and just 10% the information itself.
Preparing for presentation, you need think about good introduction and ending, in the middle you can surrender for improvisation. Something like that, once told me my teacher of music, when in orchestra class he always told, that the most important, in the performing time, is to start all in one time and in the end perfectly end together, to keep the last accord, what’s going to be in the middle, it is in Gods and every person’s event. In this meaning, in Radislavs training class was interesting game, in which everybody needed to separate in groups by three people and three minutes just talk without break, to tell something, besides in free improvisation to continue with that theme, with which ended last talker, and so on without a break, till the signal of game ending will sound.
We trained to stand in right orators pose, to free our vocal cords before performing and to get on with worry before getting on stage. Standing ahead of auditory is like jumping in ice cold water, but when it’s done, then there’s so good feeling, no cold, no fear, completesense ofpleasure.
“There’s a saying that in our lives there happen just two things: that, what we really want, and that from which we really are afraid of.”
“ .. Orator with auditory gets in like some kind of intimate relations, in which orator is in men’s role (without a reference of his real sex), but auditory – in women’s role.”
As information got from the book, as experience in training class of Radislavs Gandapass is perfectly useful for my presentation ability developing and for work with auditory. But these abilities need to be polished for every day, so you could be a good talker, or nothing from all it won’t become. For those, who the theme of performing is close or it’s needed in every day work, I advise to read Radislavs works and to get closer with this orators experience.
The homepage of author – http://www.radislavgandapas.com/
» Comments