Great Communication – A Skill and not a Gift
with Susan Ford

‘People hear how you feel before they hear what you say.’

From these opening words her audience was enthralled. This was Susan Ford, Professor and Fellow of Speech & Drama (Guildhall) and a leading authority on presentation and communication skills, at her most eloquent. This was not just a session on the techniques of Public Speaking, it was a master class.

Together with her colleagues, Dominic (who puts the power into power point) and Barbara, Susan gave us clear and often amusing examples of both good and poor practice. Not only were we informed but we were entertained as well. What better way is there to learn?

Facts and figures, so often less than memorable, served to illustrate and actually heighten the impact of Susan’s words. How fascinating was it to learn that research carried out in the USA revealed that Public Speaking topped the list of ‘fear factor’ subjects followed by Rats, then Death! With regard to preparation, an uninformed public speaker will focus 90% on the word content and 8% on physical preparation. In contrast the audience will focus 55% on the physicality of the speaker, 37% on the vocal delivery….and the words? Well you can do the maths. These statistics were fascinating but also relevant and memorable.

In addition to the many strategies we learnt, including the structuring of speeches, the handling of note cards, physical and vocal preparation, we were also given a practical exercise. This was to prepare a two minute introduction which should engage or ’grab’ an audience in readiness for a speech. We were given carte blanche as to the subject and the results were to be filmed by Dominic. Alarmingly, we realised that the US ‘fear factor’ poll was right as we took our places in readiness to address our audience. Never had two minutes seemed so long ……….. and, in reality, every one of the ‘volunteers’ did speak for longer than they realised. A real object lesson in time management when interacting with an audience.

All too soon it seemed the session came to an end. It had been both a privilege and a pleasure to attend Susan Ford’s Public Speaking workshop. As we left the lecture theatre, brimming with ideas to inform our teaching, her closing words summed up our collective mood.

‘The great speakers make it look easy.' Well you certainly did that Susan. Thank you.
Cally Foster, Chalfont St. Giles, Bucks.

MUSICAL THEATRE
with Dee Forrest and Phillip Sutton

MORNING GROUP ‘A’. We began Friday morning in the Showroom which was perfect for movement, with Musical Theatre which was taken by Dee Forrest and Phillip Sutton as the original leader was not available.  Dee and Philip spent over half-an-hour explaining their biographical backgrounds.  Dee was born into a theatre and opera tradition training her voice as a professional artist with experience in London’s West End and regional venues. She was a voice coach with Central School of Speech and Drama and worked at the Mountview Academy of Theatre Arts.  She also performs jazz singing and is a member of the Voice Care Network and the British Voice Association.  Philip was born in Wales and trained at the Guildford School of Acting. He has performed in many West End shows and was Musical Director for Chichester Youth Theatre. He also teaches for Arts Educational, Central School of Speech & Drama, Guildford School of Acting, London Studio Centre, Sylvia Young and Mountview Academy.

Then they began our morning workshop by pointing out that musical training for students must be meaningful. They must know the basic principals of learning what they are singing about. Acting must link with singing, bringing out feelings and characterisation. A good script and story are essential ingredients. Background must be studied in the same way as an actor would tackle a major dramatic role. Students should be encouraged to be themselves, as individuals and not copy others, using acting technique and training through workshops and understanding scripts. Students should be encouraged to train their voices without strain or taking on too much too soon, using basic technical voice training, keeping fit and finding pieces that are suitable for the voice, building up gradually.  Old English folksongs give a good basis with modern songs in a comfortable range - endeavouring to avoid straining the voice by not singing above a top C and adapting to key and voice range.

Finally we had an Introduction Name Game. We stood in a large circle in the acting space, in turn calling out our names with a specific movement to identify ourselves – [see photo page 5 – Ed.]. This trained our memory and relationship with each other.

After coffee we continued with vocal and movement warm-ups accompanied on the piano by Philip.  We explored breathing exercises and relaxation of head and shoulders. A figure of 8 was used followed by jaw exercises, massaging with fingers and moving the jaw, thus opening up the throat with vowel sounds – later adding consonants.

We worked in twos engaging pressure and breathing exercises, taking air in and moving the arms up letting the air out slowly with breath and without voice. Then voice was added using days of the week and months of the year.  After this we went on to do singing exercises led by Philip on piano with scales, rolling Rs, Bs and ING-Ahs.  “Naughty Nora never knew when to say No!” These exercises took us up to and well over the allotted schedule before the lunch-break. Regretfully, there was no time left to sing or have any song re-directed.  However, there was a great deal to stimulate us and the morning confirmed material some of us already use for teaching and leading young students toward Musical Theatre.
Janet M. Eyet, Banstead, Surrey

THEATRE VISIT to The Minerva Theatre, Chichester

A  visit to the theatre is always one of the highlights of Conference and this year was no exception. We went to the Chichester Festival Theatre and in particular the Minerva Theatre which is the smaller house and the home to new writing, inventive staging and experimentation.

The visit began with a short walk across the fields, for some of us, the air of adventure and expectancy adding to the evening’s enjoyment. We also considered the walk back in the dark, hoping that our leaders had torches and a good sense of direction.

This was the first visit to the Minerva Theatre for a few of our Members and as we entered the auditorium the intimacy and shape of the acting area was intriguing and added to the sense of anticipation.

‘The House of Special Purpose’ by young playwright Heidi Thomas was the play to be presented, the subject of which was the last days of the Russian Royal Family. How the revolution had affected this once aristocratic and noble family of the Romanov’s leading finally to their execution at Ekaterinburg on July 17th 1918.

 The historical facts seemed rather dark and tragic but the playwright’s treatment of the subject presented us with an insight into the lives of a special Russian family living in confined circumstances and coping with a way of life of which the parents, Nicholas and Alix, their four daughters and only son had little knowledge. Their gradual introduction to ordinary living, coping with washing and ironing clothes and indeed living without servants, was revealed in detail.

The writing was taut and natural and there were many short scenes, reflecting Thomas’s understanding of writing for television (she was the adaptor of ‘Cranford’). The staging used the space imaginatively and the final moments, suggesting the execution, were very dramatic and the lighting most effective and evocative.

After the performance we were privileged to meet the writer Heidi Thomas and to hear how she was inspired to write the play. Questions from our group prompted an understanding into her way of working. A visit to Russia and her interest into the history was the springboard and resulted in the play. She explained that revisions to the text were still taking place and therefore it would be some time before a published text was available. Many of us were quite disappointed about this, as there seemed to be several good solo speeches and duologues for young people and I know we all are pleased to find suitable new material.

I am sure that everyone would like to thank the organising committee for arranging the visit to the Minerva Theatre and especially for the chance to meet such an interesting writer. I am also sure we would like to thank the management of the theatre for the generous interval refreshment! It was, without doubt, a memorable evening.
Carol Schroder, Harrogate, Yorkshire

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