I’M GOING TO CLOSE OUT THIS SECTION ON rehearsal with some comments on the technical aspects of voice production and body movement. This section is for those who like to have everything spelled out, and who can follow specific bits of advice in the heat of battle. A little self-knowledge is important here. One of my longterm clients is a very accomplished speaker who has grappled for years with his fundamentally adversarial relationship to the audience. He calls me the “touchy-feely” coach, an appellation I’m proud to accept, because I’m always telling him that if he can align himself with his audience—make friends with them, in effect—he’ll achieve better results in the end. But he persists in seeing a speech as a contest. ...
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