Speech skills of oral rhetoric

For example, there are 50 ways to say "yes" and 500 ways to say "yes", but there is only one way to write it. Written rhetoric can do nothing to express intonation

For example, there are 50 ways to say "yes" and 500 ways to say "yes", but there is only one way to write it. Written rhetoric can do nothing to express intonation, so it can only improve its own speech with the help of "oral rhetoric". The following is what I collected for you. Welcome to learn from it.

First, clarity: "language" and "ideographic" should be clear.

The basic feature of speech is "expressing meaning by sound", that is to say, the main means of expressing meaning in speech is pronunciation, which is different from written language, which mainly uses words including punctuation marks to express meaning. When a speaker begins to speak, the first thing to consider is whether "words" and "meaning" are clear, and the degree of clarity is the clarity of what he says.

The identity of the speaker is twofold: it is both the transmitter of information and the living information. If he wants to "persuade" and "persuade" subjectively in "confrontation with the living" until it affects the words and deeds of the audience, clear and accurate pronunciation should be his primary goal in paying attention to oral rhetoric. Because pronunciation is the material shell of language, words and sentences should be expressed by pronunciation, and the communicative function of language is realized by pronunciation. If the pronunciation is inaccurate, the language is unclear, and a word is wrong, it will be a thousand miles away. This will inevitably lead to ambiguity and even mistakes in "ideographic". Therefore, the speaker should correctly use the pronunciation organs, take pronunciation, characters, monosyllables, disyllables, polysyllables, sentences, paragraphs and tongue twisters as important contents, and train from simple to complex, from easy to difficult, targeted and step by step.

Second, loudness: "avoid flat" and "avoid too" to convey the truth.

The speaker should not only have a true feeling for himself, but also have a true feeling for the audience. With the true feelings, the speaker should be good at expressing them properly in audio language, which has two ways: semantics and pronunciation. When choosing words and making sentences, outstanding speakers always take pains to choose those languages that accurately express their thoughts and contain fiery emotions, and use these strong emotional languages to impress the hearts of the audience, causing * * *. This is written rhetoric. Speakers pay attention to oral rhetoric, so they must convey their feelings through cadence. Sound is far richer, more vivid and more profound than written language.

But some speakers can't control their feelings with reason and exaggerate the use of audio language. For example, when they are "out of anger" or "at the peak of happiness", some speakers like to speak loudly and passionately blindly. There is a sense of aggression, but there is no touching effect; There is a clear voice, but there is no intention to reveal the truth. Because the voice is too high, the audience can not only hear the pronunciation clearly, but also get tired easily. Speak clearly and loudly, but not too loudly. Talking loudly will make the speech sound thin, lacking in connotation and emotion.

The speaker should understand that what he said in his speech is about words and ears. Say it here and listen there. Attention should be paid to the use of phonetic morphological changes in the free range, and feelings should be poured into the voice, so that if you say it, you will have a sense of music, touching people's hearts, and get better results. If you don't pay attention to pronunciation skills, there are too many voices and there is no cadence in your speech, then the sound change of "language potential, tone and intonation" will not be obvious, and the feelings contained in it will be greatly diluted, so that nothing can lead to sublimity like proper sound change, and the true feelings will not flow out through "elegant madness" and "sacred inspiration". Writing an article must be a bit turbulent.

Similarly, the loudness of the speech should be a little thicker, and it is forbidden to be "flat". Changing loudness is an important means of oral rhetoric in speech. Loudness, a rhetorical device, can be used to express the layering of the content, the melodious aesthetic feeling, the effective adjustment of the scene context, the stimulation of the audience's feelings and the enhancement of the final effect of the speech.

Third, the rhythm: driven by "high and low" and "slow"

Just as music needs a clear sense of rhythm, so should writing articles and making speeches. Rhythm is a form of vocal language movement, which is formed by the regular alternation of the length and weight of words. In a speech, rhythm should be a cycle of cadence and slow-moving sound forms produced by the whole speech and caused by the ups and downs of the speaker's thoughts and feelings. The rhythm of speech language is not arranged at will.

Generally speaking, rapid movements, tense scenes, intense emotions and rapid development procedures will have a faster rhythm, which is conducive to creating a fierce atmosphere; On the contrary, the situation will be slower, which can create a quiet and soft atmosphere. Therefore, when the speaker is talking about different contents and facing different audiences, only by skillfully changing the rhythm of the speech can he grasp the emotions of the audience, let the audience jump with their own feelings and write the same beat together, thus producing a strong * * * sound.

If the speaker does not pay attention to arranging the rhythm reasonably according to the expressed content, thoughts and feelings, he will try his best to "ease the lyricism" at the beginning, "go with the wind" in the middle and "go with the wind" at the end. This has become a speech without rhythm, which is a "drunken step" and "confused". If the tone is based on sentences, then the rhythm is based on the whole article. The rhythm of speech can be roughly divided into six kinds, namely: high-pitched, nervous, brisk, low-pitched, soothing and dignified. These six types have different combinations in different speeches, but they are not juxtaposed. Some types are dominant, and some types permeate them, which not only shows the concreteness of rhythm, but also shows the richness of rhythm. However, they are not artificially processed, but are highly "connotative" language flow types driven by the speaker's thoughts and feelings. As a rhetorical device, the rhythm of speech language has the characteristics of unity of opposites, which is embodied in the following methods: first promoting, first restraining and first promoting; Slow down first, slow down first; Want to be light first, want to be light first; High first, low first, low first. The use of speech language rhythm is manifested in the different types of cycles, the different contrast of pitch, sound intensity, sound length and timbre, and the control and freedom of sound form with the movement of thoughts and feelings.

Fourth, pronunciation: "lively" and "jumping" surprised the audience.

Pronunciation and intonation play an important role in a speech. A successful speech should not only master the methods and skills of speech, but also pay attention to the control and application of pronunciation and intonation in the process of speech, so as to better attract the audience and mobilize their enthusiasm.

1. "Rich" intonation

The use of intonation and expression is the advantage and specialty of speech. In speech, people use intonation, which can not only distinguish meanings, but also express feelings and strengthen tone. A word or sentence in a speech may have dozens or hundreds of expressions. There was once a dramatist abroad who asked the students who applied for drama major to say "Yes" several times, and asked them to say it in different tones each time to see how many special intonations they could use. Thus, rich intonation has a strong expressive function. "The intonation in spoken language is light, and the ending is restrained, which can indicate general response or perfunctory; Pronunciation emphasizes the end and can express excitement or admiration; Pronunciation is elongated and the ending is raised, which can indicate thinking or doubt; Pronunciation has ups and downs, which can express anger or threats ... "The colorful intonation changes in spoken language are the concrete manifestation of the powerful functions of spoken rhetoric, which undoubtedly provides an infinite world for spoken rhetoric activities.

2. "Smart" pressure

In the speech, the stress we say is in sentences. Stress plays a unique role in conveying the subtle feelings and attitudes of the speaker. Sentence stress refers to those words or phrases that best reflect the intention of a sentence and need to be emphasized in speech. It solves the problem of the primary and secondary relationship between words or phrases in a speech. Stress plays a great role, which can make the purpose of sentences more prominent, the logical relationship more rigorous and the sense of * * * more distinct.

Stress is elastic, but it doesn't mean that the speaker can "do whatever he wants". The speaker should use logical stress appropriately according to the specific context and content and the needs of emotional expression. Never use random stress and habitual stress indiscriminately. Some speakers do not pay attention to the use of stress, and their speeches can only be a vague "flow of words", so it is not surprising that the audience is "sleepy".

3. The pause of "activation"

In speech, in the flow of spoken language, the interruption and pause of those sounds needed for expression and expression are pauses. Oral pause is an inseparable and important part of speech "language chain". As stanislavski said, "Without words, intonation and pause still have the power to affect the mood of the audience." A proper pause can produce extraordinary results, which is difficult for language itself to achieve. In the speech, the speaker can make a purposeful pause according to his own understanding of the expression content, taking into account grammar, semantics and speech situation, so as to achieve a special expression effect: or highlight the expression content, or make the expression more vivid, or create an artistic conception, which is memorable and imaginative. So, this is the beauty of "land of silence".

Verb (abbreviation of verb) syllables: "He" and "Pingwa" enhance aesthetic feeling.

In the speech, the speaker pays full attention to the neat symmetry and flat tone of syllables, which can enhance the rhythm of language and the beauty of sound. Words are spoken, so they should be catchy and pleasant to hear. This requires attention to the number of syllables. A balanced sentence with a strong sense of rhythm sounds good and sounds good to say. The coordinate components in a sentence should avoid the phenomenon of irregular syllables and staggered structures. Otherwise, both the speaker and the audience will feel uncomfortable, and the audience will even feel confused.

At the same time, the speaker should pay a little attention to the level and level. The speech is not so strict with the words that are flat and steady. It needs neither rhyme nor antithesis. As long as a little attention is paid, the language will be harmonious and pleasing to the ear, producing touching charm. For example, developing social education, advocating a better lifestyle, making overall plans and adopting a multi-pronged approach can prevent healthy people from getting infected, make infected people less sick, make the sick die later, and ensure the families of the deceased. ..... In this speech with the theme of AIDS prevention and treatment, "overall planning" and "* * *" are balanced and neat, one after another, harmonious and pleasant; The sentence "Infected people get sick less, the sick die later, and the families of the deceased are guaranteed" has similar structure, roughly equal words, neat and symmetrical syllables and inherent rhythmic beauty.