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Curtain Up! — Adding Drama to Your Speeches and Presentations

When is the last time you sat through a truly memorable presentation? I’m talking about a speech with bold ideas and powerful emotions. One that was movingly delivered, and with a clear (and exciting) sense that the topic really mattered.

Perhaps you’ve seldomed experienced a presentation like that. If you have, the odds are excellent that you'd remember it easiliy now.

"Where Does the Drama Exist?"

If you want to be an exciting speaker, ask yourself this question as you conceive your speeches and presentations: "Where does the drama   exist?" Drama, like storytelling, moves audiences swiftly and compellingly. Speeches with drama deal with human beings at their best, facing challenges and conflicts—and finding ways to overcome them. 

One way to understand how an everyday speech can be transformed into the extraordinary is to look back on your own life. What were the dramatic events (and their consequences) in your life? By reliving the narrative that held meaning for your own hopes and dreams, you can understand the sheer power that a good dramatic story can pack for audiences generally. 

Simply transfer such peaks of emotion to the product, service, mission, or topic you're speaking on. Some of the things to focus on include the following:

• Who was facing defeat, but won?
• Who took the bravest chance and in the end prevailed?
• Think power, conflict, heroes, quests, adventures, underdogs, dark deeds, white steeds, and against-all-odds triumphs. Th ese are the building blocks and ingredients of high drama.

And don’t imagine these things exist only in fairy tales and action films. The story you want to tell is filled with them. They’re the stuff of struggles and successes on behalf of people in need—including customers, clients, and constituents. You know all about that, don’t you? 

Now, start digging for that gold.

Tags: storytelling , dramatic speeches , dramatic presentations , theatrical techniques for business training , speaking dramatically

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15 Essential Presentation Techniques for Winning Over Any Audience

• The Speaker Lab
• April 13, 2024

Table of Contents

Ever found yourself standing before an audience, your heart racing? That’s the moment when knowing effective presentation techniques can prove to be your unwavering ally. But what are presentation techniques? And what makes them so powerful? In this article, we’re going to answer those questions.

Before we can talk about presentation techniques, though, we first have to talk about good communication. The power of effective communication isn’t just in what you say. It’s how you say it; it’s in those deep breaths that steady nerves, and in maintaining eye contact. It’s about turning a room full of strangers into an engaged audience hanging onto your every word. When it comes to public speaking, real success comes from mastering non-verbal cues to punctuate our words and using visual aids not as crutches but as tools for engagement.

As you hone your communication skills, you will begin to form effective presentation techniques. Expect rough patches as you get the hang of things, but view them as mere footholds propelling you towards your ultimate triumph. Keep pushing forward.

Mastering Presentation Techniques for Impactful Delivery

Presentation techniques are more than just standing in front of a crowd and talking. They’re about making connections, telling stories that resonate, and leaving your audience with something to remember you by.

Elements of an Effective Presentation

For your presentation to resonate, ensure the visuals are straightforward and supportive, rather than distracting. Your message should be concise yet powerful enough to stick. And let’s not forget engagement; keeping your audience on their toes is key.

• Visuals: Keep them simple but impactful.
• Message: Make every word count.
• Engagement: Interact with your audience, ask questions, make them think.

We’ve all seen those slides crammed with text or charts. When you make your slides, don’t cram information, because nobody wants to squint at tiny fonts or decipher complex graphs while trying to listen to you speak. This resource suggests focusing on clarity and simplicity when designing slides—advice worth taking.

Strategies for Delivering a Successful Presentation

To deliver a knockout presentation, start strong. Grab attention from the get-go with an intriguing fact or story related directly back into the topic at hand. Maintain eye contact across the room so everyone feels included in the conversation. Finally, end on a memorable note, either with a call to action or insight gained during the time together. Leave them wanting more information and eager to learn about the subject matter discussed today.

• The opener: Hook your audience with a relevant fact or anecdote.
• Maintain connection: Eyes up, engage everyone around.
• Closing remarks: Last chance for impact–what’s your mic drop?

As author Lilly Walters once said, “The success of your presentation will be judged not by the knowledge you send but by what the listener receives.” This quote reminds us that the true goal of any speech is the understanding achieved between the speaker and the listeners.

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Engaging Your Audience with Nonverbal Communication

As the name implies, nonverbal communication denotes all of the ways you communicate without using words. This includes eye contact, body language, and facial expressions. Although nonverbal communication might not be the first presentation technique that comes to mind, it’s nevertheless a very powerful tool to have in your arsenal. Let’s take a look.

The Power of Eye Contact, Body Language, and Facial Expressions

Making eye contact isn’t just about looking someone in the eye; it’s about forging a connection. Aim for brief moments of eye contact across different sections of your audience throughout your presentation. Establishing fleeting eye connections across diverse audience segments fosters a sense of trust and keeps them hooked, all while ensuring no one feels on edge.

Body language is similarly important. Stand tall with good posture; it exudes confidence even when you feel nervous. As you grow more confident, mix up standing still with moving around subtly. This dynamic shift holds attention better than being rooted to one spot or nervous pacing. Use your hands to gesture naturally as you speak—it adds emphasis and keeps things lively.

If there’s one thing people can spot from miles away, it’s insincerity. So let those facial expressions match your words. Smile when you share something amusing, and furrow your brow when diving into serious stuff. After all, it’s not just what you say but how visually engaged and passionate you appear while saying it that counts.

Tying these elements together helps you deliver impactful, memorable talks. When done right, folks will leave feeling more connected, understood, and fired up by your presentation, all thanks to your techniques.

Designing Compelling Presentation Materials

Knowing how to design engaging presentation materials is one technique you can’t do without. Far from mere embellishments, these implements are crafted to hammer your message home. Hence, it’s vital to select these aids with great care and discernment.

Tips for Creating Effective Slides

When it comes to crafting slides, think of each as a billboard advertisement for your idea. You want it clear, impactful, and memorable.

• Keep it simple : One idea per slide keeps confusion at bay and attention locked in.
• Use bullet points : Break down your points so your audience can track.
• Pick a font size : Generally speaking, bigger is better.
• Use color : Harness colors that pop without blinding anyone; contrast is key.
• Use images with purpose : A good picture or chart can help illustrate your point, but keep it relevant and don’t overdo it.

With a few helpful visuals, your presentation can go from good to great. For more on creating slides, check out this link here .

Handling Questions and Interactions Professionally

For some speakers, it’s not the presentation itself that makes them nervous—it’s the Q&A session that follows. This is the moment where you get to shine or stumble based on how well you handle those curveballs from your audience. If you want to round off your presentation well, you’re going to want to learn a few techniques for fielding these questions. Let’s look at a few ways of doing this.

Preparing for Audience Questions and How to Address Them Effectively

Below are six techniques that will help you address audience questions effectively.

• Listen Up : The first rule of thumb is to listen like it’s a superpower. When someone throws a question at you, don’t just hear them out—really listen. Demonstrating this level of attentiveness not only conveys your respect but also affords you a brief moment to collect your ideas.
• Stay Calm : You’ve got this. Even if a question catches you off guard, take a deep breath before diving into your answer. No one expects perfection, but showing confidence matters.
• Practice Beforehand : Before presentation day arrives, think about potential questions folks might ask and prep some responses in advance. Practice makes perfect, after all.
• Vary Your Techniques : Not every question needs an essay as an answer; sometimes short and sweet does the trick. Mix up how detailed or brief your answers are depending on what’s asked.
• Show You Care : If you ever get a question that leaves you stumped, say so honestly—but add that magical line: “Let me find out more and I’ll get back to you.” Then actually do it.
• Appreciate Audience Curiosity : Remember that the reason you audience is asking questions is because they’re interested. So no matter what questions you get, keep engaging with enthusiasm.

Go forth with confidence, knowing not only can these moments boost credibility—they make connections too. So next time when facing down those queries remember to listen hard, stay calm & always engage warmly. With these techniques under your belt, answering audience questions after your presentation will feel much less daunting.

Techniques for a Memorable and Effective Presentation

No matter what topic you cover in your presentation, you can easily add in a story, and more likely than not you can add a little humor too. Together, these two presentation techniques are perfect for making your speech memorable.

Incorporating Storytelling into Your Presentation

One great technique for making your presentation stick is telling stories. Stories have the power to touch people profoundly, especially when they depict relatable experiences. So, when you’re up there presenting, kick things off with a story that ties into your main message. It could be personal, something from history, or even an anecdote that gets your point across. Stories are not just fluff; they’re the glue of your presentation. They make complex ideas digestible and memorable.

Using Humor to Connect with the Audience

Another great way of engaging your audience is by using humor. But here’s the deal—use humor wisely. Keep it tasteful and tied closely to the content at hand so it enhances rather than detracts from your message.

• Pick universal themes everyone can relate to.
• Avoid anything potentially offensive.
• Tie jokes back to your key points to make them relevant.

If humor isn’t your thing, or you’re worried about your comedic timing, it’s perfectly okay to skip the jokes. Especially if you’re new to public speaking, humor can be hard to nail immediately. But as you grow and hone your presentation techniques, consider stretching yourself a bit. By starting small, you can practice using humor to connect with your audience. That is your goal, after all—to leave a positive, memorable impression on your audience.

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Overcoming Public Speaking Anxiety

For some speakers, stepping in front of a crowd to speak causes immediate anxiety. But fear not! Conquering public speaking anxiety is entirely within your grasp.

Techniques to Manage Stage Fright and Boost Confidence

First off, feeling nervous before taking the stage is completely normal. Even Mark Twain admitted, “There are two types of speakers. Those who get nervous and those who are liars.” So take that flutter in your stomach as a sign you care deeply about delivering value to your audience. In addition, consider the following tips as you prepare to hit the stage.

• Breathe Deep: Before stepping up, take some deep breaths. In through the nose, out through the mouth. Feel every muscle relax with each exhale.
• Mind Over Matter: Visualization is key. Picture yourself nailing that presentation, because if you can see it, you can achieve it.
• Keep It Simple: Stick to what you know best; this isn’t the time for surprises or untested waters.
• Pace Yourself: Speak slowly but surely—there’s no rush here.

Believe it or not, acting relaxed often leads to actually being relaxed. Remember when we said mind over matter? Well, it applies here big time. The power pose backstage might just be what turns those nerves into excitement.

So next time you feel stage fright coming on, fight back with these techniques. With these tricks up your sleeve, you’re more than ready. So go ahead, breathe deep, and step onto that stage. You’ve got this.

Using Different Presentation Methods to Engage Your Audience

While learning styles is “ little more than urban myth ,” presenting your material in a variety of ways is a great technique for engaging your audience. By switching it up, you increase your chances of explaining something in a way that clicks with individual audience members. This is especially helpful for more complex topics that might be hard to grasp.

There are three main ways of presenting your material to your audience: through visuals, audio, and hands-on activities.

• Visuals: Use slides packed with images, graphs, and bullet points.
• Audio: Tell stories, play audio clips or engage in discussions.
• Hands-on Activities: Include activities or demonstrations that allow audience members to participate physically.

Making sure everyone gets something from your presentation means considering these techniques when planning content. Not only can incorporating various methods increase audience engagement, but it can also elevate your presentation from decent to memorable.

Essential Tips for First-Time Presenters

Stepping onto the stage or logging into that webinar platform as a first-time presenter can feel nerve-wracking. But fear not! With these tips on how to dress appropriately, arrive early, and make your presentation shine, you’ll be ready to confidently nail that presentation.

Dress Appropriately

Your outfit is your armor. Choose something professional yet comfortable. Whether it’s in-person or online, dressing one notch above what you expect your audience to wear usually hits the sweet spot. Aim for solid colors that won’t distract your audience.

Arriving Early

If possible, arrive at the venue before your audience does. This gives you time to settle in, test any tech gear like microphones or projectors, and take those deep breaths. This extra time also lets you chat with early birds. By connecting with people before taking center stage, you can ease nerves significantly.

Making Presentation Time Count

You only have the audience’s attention for so long. Keep an eye on the clock as you present, but avoid rushing through content. It especially helps to pause after key points, letting information sink in. Your end goal? Leave you’re audience wanting more. You’ll know if you succeeded based on the number of questions you get during the Q&A.

So there you have it—the techniques you need to deliver an engaging presentation. By honing nonverbal communication, like eye contact and posture, you can captivate your audience with your energy. And visual aids? They’re not just ornamental; they help bolster your point and drive it home.

We also learned that tackling audience questions is not an art reserved for the eloquent few but a skill sharpened by preparation and presence. While it takes a little work to nail good storytelling and well-timed humor, the ultimate outcome is worth it.

So while standing before an audience may set your heart racing, know that arming yourself with knowledge and technique can transform not just your presentation, but you yourself. So don’t be afraid to try your hand at these skills; in doing so, you build your own confidence and become a better speaker in the process.

• Last Updated: April 11, 2024

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Module 13: Public Speaking on the Job

Making a presentation for a meeting, learning objectives.

Create a presentation intended for a business meeting.

What’s considered an effective (that is, persuasive) presentation structure hasn’t changed fundamentally over the centuries. In his analysis of dramatic structure in the  Poetics , Aristotle identified a play as having three parts: a beginning, a middle, and an end. The story begins with a “complication” (problem), ends with an “unraveling” (resolution), and follows a logical sequence of events from beginning to end. Hollywood screenwriters use the same structure and dynamics. Screenwriter, producer, and author Syd Field, whom CNN called “the guru of all screen writers,” translated this simple, three-step structure into numerous books and workbooks, including the bestsellers  Screenplay: The Foundations of Screenwriting  and  The Screenwriter’s Workbook .

In a business context, a good presentation is an effective presentation. That is, a good presentation achieves its intended outcome. Clearly, in order to achieve a specific outcome or objective, you need to know what it is. So, prior to crafting the drama (in word or slide), you need to hone in on three things:

• The purpose of your presentation
• Your audience
• Your (one) message

For a review of these elements, refer to  What’s My Presentation About . Once you’re clear on those points, let’s proceed.

To build our presentation, we’ll use presentation expert Nancy Duarte’s interpretation of the classic three-part story structure illustrated in Figure 1. For additional perspective on this structure, watch her TED Talk, “ The Secret Structure of Great Talks ,” or read her Harvard Business Review article, “ Structure Your Presentation Like a Story .”

Persuasive story structure (Duarte, “Structure Your Presentation Like a Story,” 2012).

To Watch: Nancy Duarte, “How to tell a story”

In this short video, presentation expert Nancy Duarte talks about the importance of storytelling in a business context.

You can view the transcript for “Nancy Duarte: How to Tell a Story” here (opens in new window) .

The Beginning

The story starts with “What is”—the current state. Describe this baseline state in a way that is recognizable to the audience, allowing you and the audience to get in sync. With this base level of agreement, your audience will be more receptive to your proposed change.

The second step is to introduce “What could be.” The gap between what is and what could be adds tension and drama to your story and largely determines the significance of your presentation. If there’s no conflict, no proposed change, what’s the point of the presentation?

Let’s say you’re an analyst on the new product development team of a retailer known for exclusive, trend-forward “house” branded products. Your company’s reputation and revenue depend on consistent introduction of new consumer-product goods. Marketing and distribution are key strengths, but new-product performance is off, revenue is below expectations, and the company’s stock price recently fell 30 percent. Within your company, R&D (research & development) is strictly an insider’s game; any ideas or innovations that weren’t developed in-house are blocked. The problem is, you can’t innovate fast enough—or with enough market demand accuracy—to meet financial and stock market expectations. You and the other analysts on your team have been tracking innovation trends and successes and you think the answer is opening the R&D works to outside ideas and innovations. Here’s how you might lay out your presentation:

• What Is:  We missed our quarterly earnings numbers, largely due to a failure to meet our innovation success targets over the last six months.
• What Could Be:  Initial data suggests we could get back on track by modifying our R&D model to incorporate external innovations.

The bulk of your the presentation is developing the contrast between what is and what could be in order to set up your proposed resolution of the conflict or challenge. The objective is also to establish the validity of your arguments so your proposed call to action is perceived as a logical, ideally inevitable, conclusion of the conflict.

• What Is:  We currently bear the full cost and risk of developing new products and our innovation success rate—the percentage of new products that meet financial objectives—is running 25 percent below target.
• What Could Be:  Sourcing promising innovations from outside the company could reduce R&D costs and risk while also increasing our innovation success rate.
• What Is:  Our R&D process is taking so long that we’re missing trends and losing our market-leading brand reputation.
• What Could Be:  We could license or buy promising innovations for a fraction of the cost it would take to develop them from scratch and leverage our marketing and distribution strengths to claim shelf and market share.
• What Is:  Our below-plan performance and new-product pipeline is costing us political capital with executive management, and we’re at risk of losing budget and/or layoffs.
• What Could Be:  Adopting an open innovation culture would allow us to create partnerships that leverage our strengths and drive revenue, regaining a position of value within the company.

To craft a powerful close, heed Duarte’s advice and avoid a list of bullet point to-dos. Your objective here is to achieve resolution of the conflict introduced at the beginning, to issue a call to action that inspires your audience to support your vision of what could be a state Duarte refers to as the “new bliss.”

Call to Action

To recover our position of a source of revenue and brand value, we need to start working to build a culture and networks that support open innovation and accelerate the development of new products, regardless of the source of the idea.

Our ability to drive value secures our position and reputations in the company and in the marketplace and pays off in employee stock value and profit sharing.

The new bliss articulates the proposed and desired future state—incorporating the WIIFM, what’s in it for me—that motivates your audience to buy into and work to support the required change.

Practice Question

• Nancy Duarte: How to Tell a Story. Authored by : Stanford Graduate School of Business. Located at : https://youtu.be/9JrRQ1oQWQk . License : Other . License Terms : Standard YouTube License

8 Classic storytelling techniques for engaging presentations

Emily Bartlett Feb 1, 2022 1:57:05 PM

A good public speaker takes their audience on a journey, leaving them feeling inspired and motivated. But structuring your speech to get your ideas across and keep your audience engaged all the way through is tricky. Try these eight storytelling techniques for a presentation that wows. 

You’re doing a presentation, so you start with the facts you want to get across. Wrong! Humans are hardwired for stories. They love heroes, journeys, surprises, layers and happy endings.

Deliver a presentation that captures the hearts and heads of your audience by stealing one of these classic storytelling techniques. Start with the story – the rest will be history.

1. Monomyth

The monomyth (also called the hero's journey), is a story structure that's found in many folk tales, myths and religious writings from around the world.

In a monomyth, the hero is called to leave their home and sets out on a difficult journey. They move from somewhere they know into a threatening unknown place.

After overcoming a great trial, they return home with a reward or newfound wisdom – something which will help their community. Lots of modern stories still follow this structure, from the Lion King to Star Wars. 

Using the monomyth to shape your presentation can help you explain what has brought you to the wisdom you want to share. It can bring your message alive for your audience.

• Taking the audience on a journey
• Showing the benefit of taking risks
• Demonstrating how you learned some new found wisdom

See also: The Hero's Journey by Joseph Campbell

Japanese yo-yo-er BLACK tells the inspiring story of finding his life's passion, and the difficult path he took to become world champion. He closes by sharing his new found skills with the audience, bringing his journey full circle.

2. The mountain

The mountain structure is a way of mapping the tension and drama in a story. It's similar to the monomyth because it helps us to plot when certain events occur in a story.

It's different because it doesn't necessarily have a happy ending. The first part of the story is given to setting the scene, and is followed by just a series of small challenges and rising action before a climactic conclusion.

It's a bit like a TV series – each episode has its ups and downs, all building up to a big finale at the end of the season.

• Showing how you overcame a series of challenges
• Slowly building tension
• Delivering a satisfying conclusion

Aimee Mullins uses a mountain-structure speech to tell a personal story – from being born without fibula bones in her lower legs to becoming a famous athlete, actress and model.

3. Nested loops

Nested loops is a storytelling technique where you layer three or more narratives within each other.

You place your most important story – the core of your message – in the centre, and use the stories around it to elaborate or explain that central principle. The first story you begin is the last story you finish, the second story you start is second to last, etc.

Nested loops works a bit like a friend telling you about a wise person in their life, someone who taught them an important lesson. The first loops are your friend's story, the second loops are the wise person's story. At the centre is the important lesson.

• Explaining the process of how you were inspired/ came to a conclusion
• Using analogies to explain a central concept
• Showing how a piece of wisdom was passed along to you

See also:  Simon Sinek's TED talk shows how successful organizations place the 'why?' of what they do at the centre, surrounded by the 'what?' and 'how?' of their business. Nested loops are an ideal way of framing this message, giving your audience a real insight into your identity. 

Chimamanda Ngozi Adichie uses the framework of her experiences in university and the way that Africa is perceived in the Western world to drive home her argument about stories.

4. Sparklines

Sparklines are a way of mapping presentation structures. Graphic designer Nancy Duarte uses sparklines to analyse famous speeches graphically in her book Resonate .

She argues that the very best speeches succeed because they contrast our ordinary world with an ideal, improved world. They compare  what is  with  what could be . 

By doing this the presenter draws attention to the problems we have in our society, our personal lives, our businesses. The presenter creates and fuels a desire for change in the audience.

It's a highly emotional technique that is sure to motivate your audience to support you.

• Inspiring the audience to action
• Creating hope and excitement
• Creating a following

See also: Resonate by Nancy Duarte

Martin Luther King's speech is famous the world over because it contrasts the racist, intolerant society of the day with an ideal future society where all races are treated equally.

5. In media res

In medias res storytelling is when you begin your narrative in the heat of the action, before starting over at the beginning to explain how you got there.

By dropping your audience right into the most exciting part of your story they'll be gripped from the beginning and will stay engaged to find out what happens.

But be careful – you don't want to give away too much of the action straight away. Try hinting at something bizarre or unexpected – something that needs more explanation. Give your audience just enough information to keep them hooked, as you go back and set the scene of your story.

This only works for shorter presentations though – if you string it out too long your audience will get frustrated and lose interest.

• Grabbing attention from the start
• Keep an audience craving resolution
• Focusing attention on a pivotal moment in your story

Zak Ebrahim begins his talk with the revelation that his father helped plan the 1993 World Trade Centre bombing. His audience is gripped from the beginning, as he begins to recount the events of his childhood and the path he took after his father's conviction. 

6. Converging ideas

Converging ideas is a speech structure that shows the audience how different strands of thinking came together to form one product or idea.

It can be used to show the birth of a movement. Or explain how a single idea was the culmination of several great minds working towards one goal.

Converging ideas is similar to the nested loops structure, but rather than framing one story with complementary stories, it can show how several equally important stories came to a single strong conclusion.

This technique could be used to tell the stories of some of the world's greatest partnerships – for example, web developers Larry Page and Sergey Brin. 

Larry and Sergey met at Stanford's PhD program in 1995, but they didn't like each other at first. They both had great ideas, but found working together hard. Eventually they found themselves working on a research project together. A research project that became Google.

• Showing how great minds came together
• Demonstrating how a development occurred at a certain point in history
• Showing how symbiotic relationships have formed

See also: Steven Johnson's TED talk , where he explains how collaboration has fuelled some of history's best ideas.

John Bohannon and the Black Label Movement explain (verbally and through dance) how scientists and dancers came together to form an exciting, dynamic alternative to boring presentations.

7. False start

A 'false start' story is when you begin to tell a seemingly predictable story, before unexpectedly disrupting it and beginning it over again. You lure your audience into a false sense of security, and then shock them by turning the tables.

This format is great for talking about a time that you failed in something and were forced to 'go back to the start' and reassess. It's ideal for talking about the things that you learnt from that experience. Or the innovative way that you solved your problem.

But best of all, it's a quick attention hack which will disrupt your audience's expectations and surprise them into paying closer attention to your message. 

• Disrupting audience expectations
• Showing the benefits of a flexible approach
• Keeping the audience engaged

J K Rowling begins her speech at Harvard in a typical fashion. She talks about her time at university and the expectations of her parents. The audience expects her to talk about the growing success of her writing career – instead she focuses on a time in her twenties where she felt she had 'failed' in life. What comes next is inspirational.

8. Petal structure

The petal structure is a way of organising multiple speakers or stories around one central concept. It's useful if you have several unconnected stories you want to tell or things you want to reveal – that all relate back to a single message.

You tell your stories one by one before returning back to the centre. The petals can overlap as one story introduces the next but each should be a complete narrative in itself.

In doing so, you can weave a rich tapestry of evidence around your central theory. Or strong emotional impressions around your idea. 

By showing your audience how all these key stories are related to one another, you leave them feeling the true importance and weight of your message.

• Demonstrating how strands of a story or process are interconnected
• Showing how several scenarios relate back to one idea
• Letting multiple speakers talk around a central theme

See also:  Carnegie Mellon University's guide to story nodes

Simon Sinek again! His theory might lend itself perfectly to nested loops, but he himself chose to deliver his talk in a petal structure. He tells his audience a series a stories to help illustrate his ideas, each one strengthening his message further.  

Start with a story

So there you have it – 8 classic storytelling shapes to brighten up your talk and really engage your audience.  

Of course there are many other storytelling techniques out there that you can use. What I hope this post has done is show you that stories are powerful. They are the language of your audience.

Your talk – however dry the subject – can be brought alive if you find the story at the heart of it all. If you'd like any help developing your story and turning it into a winning animated video, contact our friendly Sparkol Creative Services team here.  

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• Presenting Data
• Managing the Event
• Coping with Presentation Nerves
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• Elsewhere on Skills You Need:
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• Facilitation Skills
• Teams, Groups and Meetings
• Effective Speaking
• Question Types

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There is much to consider in deciding on an appropriate presentation method.

This page assumes that you have already prepared your presentation , or at least decided on the key messages that you wish to get across to your audience, and given at least some thought to how to organise your material .

On this page, then, we focus on the mechanics of your presentation method: how you will present.

This includes using sound systems, how to manage visual aids, how you stand, and how much interaction you want with your audience.

What Helps you to Decide your Presentation Method?

In making a decision about your presentation method, you have to take into account several key aspects. These include:

The facilities available to you by way of visual aids, sound systems, and lights. Obviously you cannot use facilities that are not available. If you are told that you will need to present without a projector, you’re going to need to decide on a method that works without slides.

The occasion. A formal conference of 200 people will require a very different approach from a presentation to your six-person team. And a speech at a wedding is totally different again. Consider the norms of the occasion. For example, at a wedding, you are not expected to use slides or other visual aids.

The audience, in terms of both size and familiarity with you, and the topic. If it’s a small, informal event, you will be able to use a less formal method. You might, for example, choose to give your audience a one-page handout, perhaps an infographic that summarises your key points, and talk them through it. A more formal event is likely to need slides.

Your experience in giving presentations. More experienced presenters will be more familiar with their own weak points, and able to tailor their preparation and style to suit. However, few people are able to give a presentation without notes. Even the most experienced speakers will usually have at least some form of notes to jog their memory and aid their presentation.

Your familiarity with the topic. As a general rule, the more you know about it, the less you will need to prepare in detail, and the more you can simply have an outline of what you want to say, with some brief reminders.

Your personal preferences. Some people prefer to ‘busk it’ (or ‘wing it’) and make up their presentation on the day, while others prefer detailed notes and outlines. You will need to know your own abilities and decide how best to make the presentation.  When you first start giving presentations you may feel more confident with more detailed notes. As you become more experienced you may find that you can deliver effectively with less.

Some Different Methods of Presentation

Presentation methods vary from the very formal to the very informal.

What method you choose is largely dictated by the occasion and its formality: very formal tends to go with a larger audience, whose members you do not know well. Your role is likely to be much more providing information, and much less about having a discussion about the information.

Form Follows Function

It’s not going to be possible, for instance, to present to 200 people from a chair as part of the group, because most of your audience will not see or hear you. You need to apply common sense to your choice of presentation method.

Audience Participation

While much of your presentation method will be dictated by the event, there is one area where you have pretty much free rein: audience interaction with you and with each other.

It is perfectly feasible, even in a large conference, to get your audience talking to each other, and then feeding back to you.

In fact, this can work very well, especially in a low-energy session such as the one immediately after lunch, because it gets everyone chatting and wakes them up. It works particularly well in a room set out ‘café-style’, with round tables, but it can also work in a conference hall.

The key is to decide on one or two key questions on which you’d welcome audience views, or on which audience views could improve your session. These questions will depend on your session, but it’s always more helpful to invite views on:

• Something that you haven’t yet decided; or
• Something that the audience is going to do themselves.

For example, you might ask people to talk to their neighbour and identify one thing that they could do to put your speech into action when they return to work and/or home. You can then ask four or five people to tell you about their action points.

Handling your Notes

You also have a choice over how you manage your text, in terms of notes. For more about this, see our page on Managing Your Notes in a Presentation .

The Importance of Iteration

You will probably find that deciding on the presentation method means that you need to change or amend your presentation.

For example, if you want to include some audience participation, you will need to include that in your slides, otherwise, you might well forget in the heat of the moment.

Fortunately, revisiting your presentation in light of decisions about how you will present is probably a good idea anyway. It will enable you to be confident that it will work in practice.

Continue to: Managing your Presentation Notes Working with Visual Aids

See also: Preparing for a Presentation Organising the Presentation Material Dealing with Questions

Drama-Based Pedagogy

Drama-based pedagogy (DBP) uses active and dramatic approaches to engage students in academic , affective and aesthetic learning through dialogic meaning-making in all areas of the curriculum (Dawson & Lee, 2016).

DBP is a collection of teaching tools (including activating dialogue, theatre games as metaphor, image work, and role work) designed to be used in conjunction with classroom curriculum. The beauty of these techniques is that they easily engage students and immediately help create an environment for focused inquiry and cross-curricular learning opportunities. In addition, these techniques support a variety of learning styles and will keep your students actively involved in the learning process. The use of drama as a teaching tool across the curriculum first gained popularity in the United States in the 1920s as “creative dramatics.” Over the years, teachers in countries around the world have continued to experiment with and further develop these invaluable teaching tools.

The American Alliance for Theatre and Education (AATE) defines drama-based learning strategies (which includes creative drama and drama-in-education) as “an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact, and reflect upon human experiences.” Other terms for drama-based pedagogy include: creative drama, informal drama, creative play acting, improvisational drama, educational drama, role drama, and process drama.

Applications for your classroom

Drama-based pedagogy can be integrated into numerous curricular areas. It can be used to introduce a new concept or theme, check for knowledge, or extend your student’s learning. It can be used to explore a character’s motivations, infer a story’s outcome, or illuminate facts and concepts. The instructional techniques emphasize the broader goals of problem-solving and creative thinking through the creation of a kinesthetic, interactive experience. Using Drama-based pedagogy you can:

• re-create Galileo, Newton, or Einstein’s presentations of new scientific ideas
• examine tensions in literature such as Roll of Thunder, Hear My Cry; Bridge to Terabithia; Journey To Jo’berg; etc.
• explore events leading up to major historical moments such as the Boston Tea Party, the battle over the Alamo, or the Civil War, etc.
• solve math story problems literally—as the characters in the story!
• enact struggles over policies such as slavery or apartheid, as well as governmental representation, the right to vote, etc.
• debate controversies over taking care of rain forests, endangered species, habitat, drinking water, etc.
• learn language and practice techniques to resolve conflicts, improve self-esteem, combat racial or gender stereotypes, manage anger, etc.

The curriculum is FULL of dramatic moments and tensions. Drama can help you extract those tensions from the pages of your textbooks and worksheets and “enact” them with your students. Ideally this will lead to a classroom of engaged learners who have new and different perspectives on the topic at hand.

Understanding the philosophy behind the work is important as a facilitator of DBP. Through constructivist practices we aim to invite students to actively enter the teaching and learning process. The resulting “creative chaos” can, at times, be disconcerting for some teachers, but the learning that results will be worth it! (See the Classroom Management  video for more information.)

Drama mirrors the ways in which children learn through their early experiences of dramatic play. As a more structured kind of improvisational role-playing, Drama-based pedagogy generates and cultivates many cognitive skills. Of these skills, the following are important for ensuring a student’s success in school:

• language and communication abilities
• problem-solving / critical thinking skills
• decision making capabilities
• creativity and imagination
• collaboration skills

Drama-based pedagogy, when used with structured moments of oral or written reflection, provides an excellent link between various classroom curricula and the specific knowledge and skills required for success with the STAAR tests.

As an initiative of the Department of Theatre and Dance at the University of Texas in Austin, Drama For Schools is part of a long and distinguished history of the University’s commitment to public schools. In addition to preparing many of the state’s theatre artist teachers, the Department regularly partners with public schools throughout the state of Texas to examine how the arts can help motivate the process of learning. Through on-going dialogues with our K-12 collaborators, we are striving to create exciting professional development workshops for educators. We also strive to work with communities to shape our training curriculum to meet their specific needs, in an effort to support the educational missions of both the University and our school partners.

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In short,  Dramatic devices are techniques used in dramatic works by playwrights to make stories more interesting to audiences. They are a form of literary device.

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In short, Dramatic devices are techniques used in dramatic works by playwrights to make stories more interesting to audiences. They are a form of literary device.

Dramatic devices are elements used by writers in plays or scripts to create drama , tension, and emotion. These can include the use of dialogue , stage directions, monologues, soliloquies, asides, flashbacks, foreshadowing , and more. They are crucial in conveying character emotions, advancing the plot , creating suspense, and enhancing the overall theatrical experience. We will explore the many different dramatic devices and we will look at some examples.

Dramatic devices and techniques

There is a multitude of devices and techniques used in dramatic writing. These terms can be used interchangeably, but for this article, we will call them dramatic devices .

Dramatic devices are conventions that are used in drama to enhance the action on stage. This can be used for many effects, including realism , emphasis or contrast.

Dramatic devices are essential tools in theatre. They serve as stand-ins for reality, enabling the audience to perceive the performance as authentic within its staged context.

Dramatic techniques, or dramatic methods, are specific strategies or methods used by playwrights and directors to tell stories on stage and create an emotional response. These techniques can involve elements of the script, like dialogue and characterisation, as well as theatrical components like lighting, sound, costuming, and set design. Effective use of these techniques can help to deepen audience engagement, create suspense, and bring a play 's themes and characters to life. These techniques transmit information about characters or the plot that could not be conveyed by action alone.

Dramatic methods can also include how the themes and messages of a play are communicated through dialogue, action, symbolism , and metaphor.

Types of dramatic device

There is a multitude of conventions that can be used for different effects or purposes. Some types of dramatic devices include dramatic irony , soliloquy , aside, and paradox.

Dramatic irony

The first device we can look at is dramatic irony .

Dramatic irony describes a situation in which the audience knows some information that some or all of the characters do not.

This results in heightened dramatic tension, especially in scenes that might allude to this information. Certain characters might be perceived differently by the audience than they are by other characters in the play due to unrevealed details or circumstances. Words and actions, therefore, can carry multiple meanings, making the action more interesting and exciting to watch.

Dramatic irony can be used either for comedic or dramatic effects. Audiences may laugh at the obliviousness of the characters on stage, or foresee potential tragedy.

One of the ways in which dramatic irony can be achieved is through a soliloquy .

A soliloquy is a kind of monologue (a long speech spoken by a single character) that is addressed to the speaker themselves as they appear alone onstage.

Usually, the purpose of a soliloquy is to reveal the inner monologue of a character, allowing the audience to understand their thoughts, perspectives and intentions.

The information divulged during a soliloquy may not be privy to other characters in the play, therefore adding a layer of dramatic irony to enhance later action.

Similarly, this can also be achieved using an aside .

An aside is any speech delivered directly to the audience as a representation of a character's thoughts. Asides can be as short as a brief comment or as long as a whole speech.

Asides, like soliloquies, serve to reveal character information through personal thoughts that could not be shared through straightforward action.

The audience, therefore, may begin to feel involved and invested in the play, enhancing the dramatic experience.

Another device is paradox .

A paradox is a statement that only seems like it contradicts itself but actually doesn't.

Paradoxes are used in drama to attract the audience's attention. They might seem to be ridiculous statements that offer humour in obvious self-contradiction; however, they usually still retain validity.

Dramatic devices examples

Now that we have established the major dramatic devices, we can consider some examples of how they can be used to great effect.

Dramatic devices in literature

It is important to look at how great dramatists have inventively used these same conventions as part of their craft to elevate and enhance their writing.

'To be or not to be'

Perhaps the most famous playwright in history, William Shakespeare (1564-1616), expertly deployed dramatic devices in his plays, cleverly using each to create unforgettable characters, stories and action.

The most widely known soliloquy in all literature is largely agreed as Hamlet 's 'To be or not to be' from Act 3, Scene 1 of the play Hamlet (1599-1601). Hamlet's speech explores his deepest thoughts, contemplating suicide and the nature of death.

What makes this soliloquy so culturally impactful is the vulnerability exhibited by the titular character, Hamlet, who shares his innermost thoughts with the audience. There is an honesty conveyed through the soliloquy that can resonate with anyone, creating a feeling of intimacy on stage, especially poignant when considering the critical position that Hamlet finds himself in.

Another dramatic device used by Shakespeare in this scene is dramatic irony. Unbeknownst to Hamlet, his treacherous uncle, King Claudius, and his advisor, Polonius, are eavesdropping in secret. The audience is aware of this and understands the critical repercussions that might occur as a result, creating a sense of foreboding and anticipation.

Asides in Othello

Shakespeare's 1603 play Othello is a play largely concerned with deception and manipulation, particularly by its antagonist, Iago.

Throughout the play, Iago speaks to the audience through various asides, underscoring his treachery and deceit.

Even from his first aside, he cements his position:

With as little a web as this will I ensnare as great a fly as Cassio.

(Act II Scene I)

The dramatic device is quickly associated with Iago's villainy, creating in the audience a sense of dramatic irony of his true nature that is not understood by the rest of the characters.

What forms, therefore, is an inevitable fate that makes the ultimate tragedy of the play even more distressing: the audience is Iago's witness (and perhaps even corroborator) throughout, watching his plan unfold, also helpless to his evil nature.

Importance of dramatic devices

Dramatic devices are of incredible importance: with the inclusion of these conventions and techniques, playwrights can incorporate additional complexities, depth and detail into their work, making it a more enjoyable experience for audiences.

The major effect of all dramatic devices is to involve the audience, which makes the plot more immersive.

Straightforward action by itself may not be enough to emotionally involve audiences because they appear to operate from a distance. When an audience feels like they are part of the action on stage, however, the play becomes more believable and meaningful, thereby enhancing the dramatic experience.

Dramatic Devices - Key takeaways

• Dramatic devices are conventions or techniques used to make stage action more interesting to audiences.
• Key dramatic devices are dramatic irony, soliloquy, aside and paradox.
• Many examples of dramatic devices can be found in the works of Shakespeare.
• The most famous soliloquy is Hamlet's 'To be or not to be'.
• Dramatic devices serve to immerse the audience more effectively in the action of the play.

Frequently Asked Questions about Dramatic Devices

--> what is the meaning of dramatic devices.

Dramatic devices are conventions that are used in drama to enhance the action on stage.

--> What is an example of a dramatic device?

Dramatic irony is a dramatic device.

--> What are the types of dramatic devices?

The main types of dramatic device include dramatic irony, soliloquy, aside and paradox.

--> What is the function of dramatic devices?

Dramatic devices serve to enhance the action on stage for the audience.

--> What do dramatic devices allow the writer to do?

Dramatic devices allow writers to immerse audiences in the plot action more effectively. These techniques create ways for writers to divulge further information about characters or the plot.

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Which of these is NOT one of Aristotle's six main elements of tragedy?

According to Aristotle, the purpose of tragedy is...

Which of these plays is an adaptation of a Classical Greek tragedy?

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True or false: a tragic play is usually about a hero or heroine who goes through trials and tribulations that don't lead to a happy resolution. 

Which of these is  NOT  one of Aristotle's six main elements of tragedy?

Médée (1635) by Pierre Corneille's

True or false: in 18th and 19th century Europe, the tragedies that were written started to explore the lives of ordinary people.

True or false: Hamletmachine (1977) by Heiner Müller is a tragedy.

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Presenting is a craft that requires a thoughtful approach. There’s a lot of stuff to include in the good presentation. From quality visuals to a compelling speech, everything matters. Doing a presentation on your own may be quite a challenge especially if it’s your first time experience with the presentations. What can really help though, are the effective presentation techniques. In essence, they are the blueprint for your presentation, that helps you to hit all the right spots. Let’s look into some of those techniques.

Presentation Methods

Before you start thinking of a technique, let’s first understand the presentation methods and how they relate to the audience and the content of your presentation. Among the different presentation methods, the main ones are formal and formal. Their difference is mainly in the style of your delivery and the data presentation methods. The formal presentation is best suited for the business meetings or college level, scientific presentations. The informal methods of presentation can best be used during the smaller meetings with your team to discuss business subjects or, for example, at a Ted-like speech event.

Method 1: Keeping Everything Simple

This is a rather basic technique. Just strip your presentation of all the unnecessary information, leaving only the core statements that you want to address. Simplicity not only helps your audience to understand your points better but even more, this data presentation method lowers the risk of making a mistake, forgetting — and saves you and your audience quite a lot of time! There are different definitions of simplicity — sometimes just a few words are enough, while in other cases several bullet points on the slide may be sufficient. Choose what suits your topic best.

Method 2: Good Start 

This method of presentation is all about attention-grabbing. Starting your presentation with a powerful statement, unusual fact or an interesting question will make the audience engage in your presentation instantly. Another great way to start is a joke, though humor can be quite a landmine, especially when you’re presenting in front of strangers, and you are not sure whether your joke would be fun or actually offensive.  So, try to think of something neutral, yet funny.

Method 3: Use  Visuals in your Presentation

Visuals are a must for any presentation and are able not only to support your speech but also to tell and contribute to the stuff you’re telling about. The pictures, graphs, infographics, and even short videos especially when done by presentation design services are what truly make the presentation, and help you to connect with your audience. A carefully selected visual connects both with your speech and the slide content, making your presentation methods work in complete harmony. What is more, visuals can serve as a great way to help you recall your speech in case you suddenly forgot some of it during the presentation.

Method 4:   Rehearse

Don’t rush to tell your presentation just once you’ve made it. Instead, try to first rehearse your presentation in front of a mirror. This presentation technique allows you to spot the mistakes and downfalls in your speech and visual part and improve powerpoint presentation . What is more, it can also make you more confident, as with each time you rehearse you’ll memorize your stuff better and better. Bonus points for starting rehearsing from the random spots in your presentation — using this presentation technique will allow you to become completely familiar with your information.

Method 5:   10/20/30 Presentation Rule

While it may not be applied to all of the presentations, the ones that you are usually dealing with can really benefit from it. 10 20 30 rule is about the time and size of your presentation: 

• Your presentation should have no more than 10 slides
• The time needed for the presentation should be no more than 20 minutes
• The font you are using for presentation text (if there is any on slides) is no less than 30 point

Method 6:  Storytelling

Telling a story is a powerful presentation technique for keeping the audience interested. In general, people get bored from being fed just straight-up facts and numbers for a long time. However, an interesting story, connected to the subject of your presentation gives that personal touch to it, engaging the audience into what you are talking about. What is more, a good story in the context of the presentation will actually resonate with the audience, causing more approval to you as an expert.

• Tell a personal  story .
• Create suspense.
• Bring characters to life.
• Build up to S.T.A.R moment.

Method 7:   Presentate with your Voice

Speech is the most common method of presentation . When you are presenting, it’s important not only WHAT you say, but also HOW do you say it. Creating a proper voice for presentations is actually one of the things you need rehearsal for. Your goal is to sound confident and interested in the subject you are telling about. What is more, it is important to not make unnecessary pauses and avoid the “ummm”, “oh” and other similar stuff that slows down your presentation and may put off the audience.

Method 8:   Know your Audience

Make sure that the data presentation methods you are using make your data  relevant to your audience. The research of your audience is needed to craft a relatable story, as well as to understand what approach in presenting you may want to take. After you’ve done the research, you can just tell the audience what it wants and expects to hear. Such an approach would result in the satisfied and interested audience enjoying your presentation. And in this case your presentation would surely and up being a huge success!

Method 9:   Back up plan

Even though you may plan everything in advance, something can always go wrong. The strange ability of the hardware to malfunction right in the middle of your presentation is probably one of the most known presentation-related memes. So, plan at least some of the bad scenarios. For example, have a printed set of slides with you during your presentation. Check everything right before you’ll start presenting. A good idea also is to have your script written out so that in case you have completely forgotten some of its parts, you can easily and quickly look into it and goon with the presentation.

Method 10:   Relax

This one is not only a presentation technique , but a great life technique as well. Actually, the most common reason for the mistakes during presentations are the nerves and fear a lot of people feel while presenting. It’s absolutely normal to be a little worried about the presentation, but you have to instill confidence in your knowledge and expertise with the subject among the audience, and it’s hard to do if you feel fear. Try to reason with yourself — you have rehearsed, prepared great visuals, learned about the audience and even have a plan B in case the situation gets worse. There’s nothing to worry about — you have all the right presentation techniques !

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Dramaturgy 101

• June 3, 2020
• Theatre Education
• dramaturgy , screenwriting

Illuminating the world of the play

By Amy Steele

I vividly remember when I first learned about dramaturgy. A friend of mine who is primarily a lighting designer was dramaturging a production of Dancing at Lughnasa. As she described her process, I was completely absorbed. She studied the play from a literary and performance standpoint, but she also went beyond that and investigated the social, political, cultural, and historical contexts of the play’s world. Through her multidimensional understanding of the dramatic material, she was able to help me appreciate how truly rich the play was.

Inspired by this experience, I began my own investigation of dramaturgy, quickly recognizing it was an ideal match for my personality. In addition to reading and writing, I revel in the scavenger-hunt quality of research and applying newfound connections to a project. Above all, I love to share what I learn with others (I was a high school theatre and English teacher at the time), which is one of the dramaturg’s main duties. I soon decided to return to graduate school to study dramaturgy in more depth and am now a professional dramaturg. I’ve since worked with many high school and college student-dramaturgs and have been delighted by their enthusiasm. Once young theatre artists are exposed to this work, they soon realize just how appealing and indispensable it can be.

What exactly is a dramaturg?

Summarizing what a dramaturg does in one tidy sentence is challenging. Some dramaturgs say they are literary and historical consultants who work with directors, designers, and actors to make an artistic vision a reality. Others reply that they are scholars who apply their research to make the world of a play come alive. Then there are dramaturgs who collaborate with playwrights to help shape new scripts and stories as well as advocate for playwrights’ intentions during the rehearsal process. Dramaturg and professor Geoffrey Proehl uses the phrases “historical, critical, literary, and philosophical consciousness,” “watchdog,” “audience’s surrogate,” “designated readers,” “keeper of the text,” “word person,” and “diplomat or mediator” to describe dramaturgs.

Despite the multiplicity of the dramaturg’s duties, many tasks—particularly of production research—are relatively consistent. Each time I prepare materials for a production, I follow a specific procedure, or research and play analysis guide, that my mentor passed down to me. Since then, I’ve made my own additions to the outline, and I’m sure some students with whom I’ve worked have made their own adjustments. Having a specific series of steps is a useful and flexible framework for beginning dramaturgs, particularly for high school students, because it helps to make production dramaturgy a tangible, definable set of actions. In this article, I’m going to focus on production dramaturgy, or dramaturgy that is specific to a production of a play that has already been produced and is usually published. In new play dramaturgy, a dramaturg helps a playwright develop a new work, which often follows a different process.

Meet with the director

Before I begin the actual dramaturgy process, which is outlined below, I always meet with the play’s director to discuss my ideas, thoughts, and questions about the play and a research game plan. As with other members of the production team, the dramaturg answers to the director and works the closest with her. Because the director may have a particular take on the play and its world, it is important for the dramaturg to support and illuminate this vision through his research and other participation in the rehearsal process. Meeting with the director prior to the research process helps guide the dramaturg’s pre-production preparation.

What follows are the tasks I complete for pre-rehearsal work. Please note that these steps are in no specific order. Also, keep in mind that a dramaturg does not have to complete every task each time he works on a play. The play will dictate which areas he needs to study and which he does not. In regard to your students, encourage them to find their own hook into the play—something that really interests or speaks to them—and begin research with that subject.

Do initial readings

Script analysis is an ongoing process for a dramaturg, and finding a method that best suits an individual’s style and the play’s needs is key. I’ve found it helpful to break down my initial analysis into three phases: after the first reading, I jot down my gut reaction to the play; following the second and subsequent close readings, I note the play’s structure and style, its prevailing mood and tone, and the story’s ambiguities and complexities. Finally, I make a list of topics to research (these usually deal with setting details and other world-of-the-play issues). If a student dramaturg needs an introduction to formal script analysis, Backwards and Forwards: A Technical Manual for Reading Plays by David Ball is a popular resource that provides a succinct and effective text analysis method.

Create a text glossary

I compile the following into a glossary: words or foreign phrases that require definition and/or pronunciation clarification; references and allusions that need to be explained (such as mythological, literary, historical, biblical, music, and pop culture references); unique social customs that require elaboration; and titles and character names that need to be analyzed. This is frequently one of the first tasks I complete because it’s often a springboard into other areas of research.

Research the playwright’s background

Although a playwright’s life does not necessarily inform her work, it’s important to know pertinent autobiographical information that does shape or influence the play. For instance, I’m in the process of conducting research for The Crucible and After the Fall by Arthur Miller, which were both influenced by Miller’s reaction to and experience with the House Un-American Activities Committee’s (HUAC) search for communists in America. Knowing how HUAC personally affected Miller is integral to understanding both plays. Playwright biographies, autobiographies, journals, letters, documentaries, and interviews are useful sources for such material and often provide dramaturgs with interesting tidbits and anecdotes about a play’s inspiration, formation, and production history.

Being familiar with the playwright’s body of work can come in handy as well. Sometimes a play may have been inspired or influenced by another of the playwright’s works. Understanding the connections, or possibly lack of connections, among a playwright’s writing reveals much about her work.

Research the background of the play

A dramaturg should determine three basic things about a script: its source material; what adaptations have been done of the original play; and as much as possible about the play’s setting and historical period.

If a play evolved from a particular source, it’s usually enlightening to read that material. For example, A Funny Thing Happened on the Way to the Forum was inspired by three comedies by the ancient Roman playwright Plautus. Reading these plays reveals just how much Larry Gelbart and Burt Shevelove, the book’s authors, are paying homage to Plautus in their musical comedy. And it’s interesting to learn that the roots of low comedy date back to ancient Rome.

Often more than one version of a play exists. If that’s the case, the dramaturg should become familiar with the various adaptations, learn why the differences came to be, and decide which edition is the most effective. Particularly if a play is in the public domain, studying script versions allows the dramaturg to suggest which text a production team should use or what revisions should be made. This comparison process also applies to translations and adaptations since the quality among these may vary.

Describing the historical period in which a play is set and communicating the pertinent societal concerns of people living in that era and location are also among the dramaturg’s responsibilities. This information provides the actors and others on the production team with a context for the world of the play. (More on this later.)

Study the play’s production history

Knowing when and where a play was first produced and the critical and popular reception it received is informative. Then repeat the process for other major productions or revivals. Critics’ reviews may also include interesting play analyses and point to some possible difficulties in the script. During this time, it is enlightening to read noteworthy academic essays, books, and articles that have been written about the play or playwright as well, keeping an eye out for what sheds light on the text and world of the play and provides interpretation possibilities. I’ve found that collecting production photos and design sketches from previous productions is also helpful to see how other artists have interpreted the play.

Review other materials that reflect the world of the play

Other resources that can help to convey information about the play’s context include:

• Art, music, and popular culture of the play’s time period. For example, while working on Black Coffee by Agatha Christie, it was useful to investigate the popular music and dances the younger generation of the 1930s enjoyed because the character Barbara, a young independent woman, continually surprises her old-school Aunt Caroline with her bright lipstick and “vulgar songs.” Knowing what dances and music were popular during that period helped the actor playing Barbara develop her character.
• Timelines. These are a compact way to share historical information. The work of a playwright’s contemporaries. Who else was writing when the playwright wrote the play, and what were they writing, creating, and composing?
• Other artists that influenced the playwright. When I was preparing dramaturgy for an Alley Theatre production of Edward Albee’s Who’s Afraid of Virginia Woolf?, I learned that Albee was inspired by the James Thurber short story “The Breaking Up of the Winships” and Thurber’s cartoons. I included the short story and some cartoons that reminded me of George and Martha’s relationship in my research materials.
• Music and visual images that evoke the play’s mood, tone, or theme (see the “world-of-the-play presentations” section for an example).
• Video references. Documentaries, cinematic adaptations of the play, and other films that suggest the play’s world are beneficial.
• Maps and photographs of the play’s geographic setting. While working on the Alley’s Stones in His Pockets by Marie Jones, I gathered numerous photos of County Kerry, Ireland, the setting for the play. Although County Kerry’s lush landscape was important to the story, the play was set on bare stage, encouraging the actors to conjure up their green surroundings. The photographs aided the actors’ imaginations, and they were in turn able to communicate the beauty to the audience.
• Magazines and newspapers from the time period in which the play is set. Frame 312 by Keith Reddin is set in the present day and the time of President Kennedy’s death. The protagonist is personally affected by the tragedy and the Zapruder film that recorded the assassination, so I brought the issue of Life that published stills of the Zapruder film to rehearsal. I also shared other primary magazine and newspaper sources to illustrate the country’s reaction to the event. A DVD recording of the Zapruder film was useful, too. And while working on a production of Hart and Kaufman’s You Can’t Take It With You, a play focusing on one family during the Depression, I shared New York Times and other news and magazine photos and stories from that period with the director and cast to show the contrast of the joy in the Sycamores’ home to the general mood in the country. That the Sycamores were able to enjoy their lives during such economic hardship reveals a great deal about their family relationship and individual spirits.
• Children’s books. These often convey background information in a well-researched, concise, and attractive manner. While investigating resources for The General from America by Richard Nelson, a play in which Benedict Arnold is the main character, I found many well-written books that succinctly summarized the events of the American Revolution and described daily life in colonial America. I’ve also found children’s books about Shakespeare’s world and plays to be constructive while dramaturging the bard’s work.

Organize your research for presentation

So what does a dramaturg do with all of this information? First, it must be organized in an easy-to-access manner. I like to compile my materials into a production notebook that divides up the steps of the research that’s been done. I store information that can’t fit into the notebook into a box or crate that is clearly labeled with the production’s title. Once that’s done, the dramaturg chooses the most significant and useful material to share with the director, cast, and others who might find it informative, such as designers and, in the professional theatre, education and community outreach staff to help them develop study guides.

It’s important to remember that although a dramaturg may find all of the material interesting, the rest of the production team may not be able to use it all. Don’t overwhelm them with too much stuff; instead, distill the research into a concise, readable format and then compile it into packets to distribute either prior to or during the first rehearsal. Before assembling the packets or giving any materials to the actors, however, it’s a good idea to ask the director if he approves of the information it will contain. Sometimes directors are selective about the research presented to actors and therefore prefer things to be filtered through them first.

While distilling materials, remember that directors will most likely want research that details the play’s text and context, provides information about its production history, and communicates the playwright’s intentions; actors look for material to aid them in better understanding their characters and the world in which they live; and designers may request additional references to supplement their own research. I also find it helpful to post visual images in the rehearsal hall (see the “bulletin board” activity below) and to build some sort of reference library for the cast.

Attend rehearsals

A question I’m frequently asked is how often the dramaturg has to be in rehearsal. Although the time commitment should be negotiated with the director, it’s wise to attend all table work sessions and to be present while the director and actors are investigating textual issues. In professional productions, often the dramaturg will present her research packet at the first rehearsal and then participate in script discussion for the next few days. I take copious notes during this period to not only remind me what ideas, thoughts, and questions the cast and director have, but also to archive the process in case any of the information is needed for future projects or productions.

Once the director begins to block the play, it’s usually not necessary for the dramaturg to be at each rehearsal. Coming in two to three times a week at that point to observe the production’s progress and to see if any questions or issues have arisen is appropriate. During this time, I ask questions. For example: Is the production keeping in line with the vision that the director and I discussed during our first meeting? If not, why and how has it changed? Is the production staying true to the playwright’s intentions? Is the story clear? If I have notes to give about any of these issues, I discreetly take them during rehearsal and then share them with the director once rehearsal is over. Again, it’s important to discuss with the director prior to the rehearsal period if she would like such notes and how she would like the dramaturg to share them with her. I’ve worked with directors who like to have one-on-one discussions with me after rehearsal, whereas others have preferred me to e-mail my notes.

At the end of the rehearsal process, dramaturgs attend run-throughs, dress rehearsals, and previews to see how the whole production is coming together—technical cues and costumes will have been added at this point—and to ensure that everything will make sense to the audience. In this regard, the dramaturg is acting as an “in-house critic,” getting a feel for how the public will respond to the production. If anything might be unclear to the audience, dramaturgs should notify the director of these concerns and offer possible solutions.

Dramaturgy activities for the classroom

Most of what I’ve discussed are steps that occur in a professional theatre setting, but they’re as just applicable in an educational theatre environment. In a moment I’ll touch on some things you and your students can do during the production process. First, let’s consider some things you can do in the classroom.

Dramaturgy teams

Assign the entire class a play to read, and then break them into dramaturgy teams. Each team is responsible for completing one assignment in the dramturgy process. Once the team has completed its work, the members should compile their information into a packet that can be shared with the entire class. Encourage students to summarize and paraphrase written material in their own words rather than simply copying information from books or printing it off the internet. It’s important for dramaturgs to have solid writing skills and to present their research in an attractive and professional manner. Teams should then share their packets with the entire class in an oral presentation. They can get as creative with this as they’d like, but the goal of this part of the activity is to work on verbally communicating what they’ve learned. Dramaturgs spend a lot of time talking about their knowledge and ideas; therefore, good communication skills are a must.

After each group has presented its materials, organize them into one final production notebook that may be used for other class projects or as a resource for the play if it is ever produced at the school. Indeed, doing this project for a play that is going to be presented during the school year would be especially meaningful.

An advanced version of this activity would be to assign each team to read separate plays that vary in style and period and then require individual team members to complete one step of the research needed. Each team, therefore, would create an entire packet of the research needed for its assigned play. Once the teams finish their project, the class would have multiple completed play packets to review, allowing students to see how each team interpreted the tasks and how their processes differed depending on what type of play was researched.

Dramaturgy bulletin boards

This activity can be done as an extension of the dramaturgy teams activity, on its own, or as part of a play rehearsal. Assign individuals or teams a play to read and research according to the dramaturgy procedure I’ve outlined. Instead of gathering information into a production notebook, however, students will present their research in a visual manner, either through decorating a bulletin board in the classroom or rehearsal hall, developing a power-point presentation, creating a website, or utilizing some other visual medium. To finish the project, students have to present their bulletin boards to the class, explaining how the elements reflect the world of the play. This activity encourages students to see their plays and research visually, helping them understand how painting, photography, sculpture, maps, book illustrations, cartoons, advertisements, magazine and newspaper spreads, production photos, design sketches, film and dance clips, etc. can convey the play’s world.

Miscellaneous classroom dramaturgy activities

Dramaturgical skills are applicable to all areas of theatre, and can also be used in script analysis, playwriting, scene work, and design assignments. Because dramaturgy is so multifaceted, I would advise doing a dramaturgy unit early in the school year to help students learn how to effectively read, respond to, and investigate plays.

Rehearsal dramaturgy

Although the above classroom activities are certainly applicable to the rehearsal process, here are some dramaturgy activities specific to preparing a play for production.

World-of-the-play presentation

A dramaturgy project I’ve found particularly effective for an educational theatre production is a world-of-the-play presentation during the first rehearsal. The presentation provides the dramaturg with the opportunity to immerse the cast in the play’s context. An element of the presentation may include bringing in food from the play’s time period and/or setting that somehow symbolically represents characters or issues in the play. Playing music and displaying artwork and other pictorial materials that evoke the play’s mood and style is also fun. Once the actors have a had a chance to soak up the aural and visual imagery and snack on the food, the dramaturg should explain why she chose each component, and then review the research packet she’s compiled. This presentation is an instructive and creative way to prepare for the first play reading, and it generates enlightened discussion.

I did this type of presentation when I dramaturged Goodnight Desdemona (Good Morning Juliet) by Ann-Marie MacDonald in graduate school. The play is a postmodern romp through the subconscious of Constance, a nerdy, lovesick doctoral student who is writing her dissertation about how Othello and Romeo and Juliet are actually comedies but that the fools in each story, which would turn these popular tragedies into comedies, have somehow gotten lost. Constance ends up getting sucked into the worlds of Othello and Romeo and Juliet to search for the fools. Her journey through these worlds not only helps her dissertation, but it also encourages her to discover her own inner strength, attractiveness, and confidence.

As the cast entered the rehearsal hall for the first Desdemona rehearsal, I had a Moby CD playing that included songs that melded music from different genres and time periods together to create a new, unique sound. Since the play’s style used the same blending technique, I thought Moby’s music was an apt connection. I had also set out photos of Louise Nevelson sculptures, artwork that was an inspiration not only for me, but for the set designer and director as well. Nevelson’s work is a mix of organization and chaos that reminded me of Constance’s personality and life. Finally, I provided the cast with food that would have been eaten in the worlds of Romeo and Juliet and Othello (fruits, cheeses, and breads), the candy Smarties and Nerds since Constance is a tightly wound academic at the beginning of her journey, and Wheaties “Breakfast of Champions” to show that Constance is strengthened by the end of her experience. As the cast and director snacked on the food, I explained the elements of my presentation and then shared the research packet I compiled. It was a wonderful way to begin the rehearsal process.

Audience study guides

Program notes, pre-performance discussions, and lobby displays Educating the playgoing community beyond providing study guides is another valuable dramaturgical duty. Student dramaturgs can write notes for the program to give audiences pertinent background knowledge about the play and/or organize pre-performance discussions with audience members to verbally present them with information that will help them better understand the play they are about to see (we call these “Informances” at the Alley). If they’re adventurous, student dramaturgs may even organize and moderate a post-show talkback during which audience members may ask the cast, director, and dramaturg questions about the production. Lobby displays that include attractive and educational materials for the audience to peruse before the show and during intermission may also be created by the dramaturg (materials from the bulletin board project could be used for this).

Although not an exhaustive list of dramaturgical duties, the process and activities I’ve outlined are a good introduction to the work involved prior to mounting a production. Once they’ve been exposed to these assorted skills and recognize just how integral dramaturgy is in making the world of a play come to life, students will be ready to flex their knowledge and imagination for the next project.

Dramaturgy resources

Here’s a list of websites, books, and organizations that are useful to dramaturgs.

• Arts Journal. This online digest offers a comprehensive reference for current events in all art areas; updates can be sent via a daily e-mail. (www.artsjournal.com)
• Arts Lynx International Theatre Resources. An online resource that includes an array of timelines, dictionaries, miscellaneous theatre links, and other research tools. (www.artslynx.org/theatre/drama.htm)
• Dramaturgy Bibliography. Compiled for a university theatre course, this site has a comprehensive annotated bibliography with sources useful to the dramaturg.
• Dramaturgy in American Theater: A Source Book, edited by Susan Jonas, Geoffrey S. Proehl, and Michael Lupu (first edition), Wadworth Publishing, 1996. A thorough collection of essays about the art of dramaturgy, this book is a must-read for serious dramaturgs.
• History of the Theatre by Oscar G. Brockett with Franklin J. Hildy (ninth edition), Allyn and Bacon, 2003. A significant overview of theatre history.
• Lexis/Nexis Academic. This database found in research libraries contains an extensive newspaper and legal archive.
• Literary Managers and Dramaturgs of the Americas. This dedicated group provides a supportive network for dramaturgs. An LMDA student membership is also very affordable. The website includes many resources and links to other reliable dramaturgy websites.
• MLA Bibliography. A thorough bibliographic database found in most libraries. Theatre Communications Group. TCG is an advocacy group for the professional not-for-profit American theatre that publishes American Theatre magazine, among other useful resources.

Amy Steele is the resident dramaturg at the Alley Theatre in Houston, and a member of the Literary Managers and Dramaturgs of the Americas.

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9 Dramatic Conventions: A Beginner’s Guide

Dramatic conventions are the building blocks of theatrical storytelling, imbuing performances with depth, meaning, and a unique sense of style. These conventions, rooted in specific dramatic forms and styles, are essential tools for actors, playwrights, and directors to craft compelling narratives and engage audiences. In this beginner’s guide, we will explore nine significant dramatic conventions in the world of theatre, shedding light on their roles and contributions to the art of performance.

1. Soliloquy

Soliloquy is a powerful dramatic convention where a character speaks their innermost thoughts and emotions aloud, often while alone on stage. This convention provides insights into a character’s psyche and allows the audience to intimately understand their motivations and dilemmas.

An aside is a brief remark made by a character directly to the audience or to another character, usually while other characters on stage are unaware of it. It serves to provide additional information, reveal hidden intentions, or offer comedic relief.

3. Narration

Narration is a convention where a character or narrator explicitly recounts events or provides background information to the audience. It can be a vital tool for setting the stage and clarifying complex plot points.

4. Direct Address to Audience

Breaking the fourth wall, direct address to the audience occurs when a character acknowledges the audience’s presence, bridging the gap between the fictional world and reality. This convention creates a unique connection between the actors and the audience, often used for humorous or reflective purposes.

5. Multiple Roles

Multiple roles involve actors portraying more than one character within the same production. This convention challenges actors to showcase their versatility, bringing distinct personalities to life within a single performance.

Incorporating a mask into a performance allows actors to transform into different characters, often in stylized or symbolic productions. Masks can convey emotions and identities in a visually striking manner.

7. Lyrical Voice

Lyrical voice is a convention that emphasizes poetic and musical elements in dialogue or monologues. It infuses language with rhythm, creating a vivid and emotional connection between the character and the audience.

8. Slapstick

Slapstick is a physical comedy convention characterized by exaggerated and humorous physical actions, such as pratfalls, pie throwing, and slapstick violence. It aims to entertain through slapstick humor and physicality.

9. Fourth Wall

The concept of the fourth wall is the imaginary boundary that separates the stage from the audience. Breaking this wall, as mentioned earlier with direct address, invites the audience into the world of the play and can create unique theatrical experiences.

Understanding these dramatic conventions is a crucial step in appreciating the complexity and artistry of theatre. As you explore the world of drama, whether as an actor, playwright, or theatregoer, keep these conventions in mind, for they are the tools that breathe life into the stories that captivate and inspire us on the stage.

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• Presentation

How to give a dynamic presentation

• June 11, 2022

In an era of information overload and ever-shortening attention spans, more than the traditional static Presentation design services may be needed to engage and captivate your audience. This is where dynamic presentations come into play. A dynamic slide presentation is a versatile and engaging approach to conveying information beyond static slides’ confines. This article will explore what is dynamic presentation, its pros and cons, how to make it, and tips to improve your dynamic slide presentation skills.

Table of Contents

What is a Dynamic Presentation?

It is a multimedia-rich approach to presenting information, leveraging various media formats such as videos, animations, interactive elements, and real-time data integration. Contrasting traditional presentations with their stagnant slides, prioritize captivating, interactive, and enduring content delivery. Combining different multimedia components, they have the ability to effectively communicate complex ideas and leave a memorable impression on their audience.

Pros and Cons of Dynamic Presentations

Pros of dynamic presentations.

• Enhanced Engagement: Dynamic presentations captivate the audience by offering a multisensory experience that includes visuals, audio, and interactivity. This engagement can lead to better information retention and understanding.
• Compelling Storytelling: Dynamic slide Presentation enables compelling stories to be told. Utilizing animations, transitions, and multimedia elements lets you captivate your audience by narrating a compelling story.
• Data Visualization: Data and statistical intricacies can be cleared through dynamic visualizations, making them easier to understand.
• Interactivity: Incorporating interactive elements like quizzes, surveys, and clickable prototypes can engage your audience and encourage participation.
• Real-Time Updates: Dynamic presentations can be updated in real-time to reflect the latest information, ensuring your content remains relevant.

Cons of Dynamic Presentations

• Technical Challenges: Dynamic presentation can be more technically demanding than traditional slides. You may need to learn new software tools and techniques.
• Time-Consuming: Designing and developing dynamic presentations can be time-consuming, particularly if you want to create custom animations and interactive elements.
• Potential for Distraction: While multimedia elements can enhance engagement, they can also be distracting if overused or poorly implemented.
• Compatibility Issues: Ensuring your dynamic presentation works seamlessly on various devices and platforms may require extra effort.

What are the Key Factors in A Dynamic Presentation?

A dynamic presentation is engaging, interactive, and informative. It is the perfect way to engage your audience and ensure your message is communicated clearly. In order to give a dynamic presentation, there are a few key things they need you to pay attention to:

Keep it interactive

Keep your audience engaged by asking questions and inviting them to participate in discussions. This will help to make your presentation more memorable and enjoyable for everyone involved.

Use multimedia effectively

Use multimedia elements such as videos, images, and PowerPoint slides to enhance your presentation and keep people interested. However, don’t overdo it – too much multimedia can be distracting and overwhelming.

Be aware of your body language

Your body language plays a big role in how effective your presentation is. Make sure to stand up straight, make eye contact, and use your hands to gesture effectively.

Speak with confidence

It’s important to project confidence when giving a presentation. If you appear nervous or uncertain, your audience will be less likely to listen to what you have to say. Take a deep breath and relax – you’ve got this!

Practice, practice, practice!

Practice beforehand is the best way to feel confident and prepared when giving a presentation. Run through your presentation several times so that you know exactly what you’re going to say and do. This will help to ensure that everything goes smoothly on the day of your presentation.

Tips and tricks to enhance dynamic presentation

Pop your content.

A dynamic presentation is engaging, interactive, and informative. When creating content for a presentation, you want to make sure it’s dynamic. That means your presentation should be engaging, interactive, and informative. You don’t want your audience bored or lost in your material.

By showing empathy first, you can gain the trust of your audience, which will make them more receptive to your message. Then, make sure your content is interesting and relevant to your audience. No one wants to sit through a dry, dull, or irrelevant presentation. Keep your audience in mind as you’re developing your material.

It’s better to have numerous slides with one idea each than ten presentation slides with ten ideas on each. That’s too crowded, and your audience will likely be confused, especially if you’re showing charts or tables.​​

Questions are a great way to do this. Ask your audience questions throughout the presentation to ensure they’re following along and to gauge their understanding. You can also use polls or surveys to get your audience’s feedback or gauge their understanding.

And finally, don’t forget to use visuals!

Visual aids can help communicate your message more effectively in an effective presentation. They can also help break up your presentation and keep your audience engaged.

frame your story, empathize with your audience, and make it dynamic!

If you follow these tips, you’ll be well on your way to giving a dynamic presentation that will engage and inform your audience. Good luck!

We all know that humans are wired to listen to stories.

And what’s a dynamic presentation if not a story?

Your presentation should have a beginning, middle, and end. You should also have a clear introduction setting your story’s stage Your presentation should also be empathetic. Empathy is the ability to understand and share the feelings of another.

Plan your delivery

After you’ve set up an empathetic and authoritative introduction, it’s time to make your presentation interactive. Once you’ve got the framing down, it’s time to focus on your delivery. There are some main ways to deliver a talk: speeches, panels, and dynamic presentations.

After you’ve set up an empathetic and authoritative introduction, it’s time to make your presentation interactive. Once the framing is down, it’s time to focus on your delivery. Some main ways to deliver a talk are speeches, panels, and dynamic presentations. You can read it directly off a script or a teleprompter.

You can develop a set of key point’s that map out what you’re going to say in each section rather than scripting the whole thing word for word. Or you can memorize your talk, which entails rehearsing it to the point where you internalize every word—verbatim. Our best and most popular TED or TEDx talks are delivered as dynamic presentations. This is because dynamic presentations are engaging, interactive, and informative.

One of our most memorable speakers was Barack Obama, who gave a dynamic presentation at our TEDx event. He was able to engage with the audience, tell stories, and dynamically make his key point. he talked about his work as a community organizer in Chicago and how that experience shaped his views on politics. He also told stories about his daughters and his wife, which humanized him and made him relatable to the audience.

Dynamic presentation, you want to focus on your delivery and ensure you’re engaging with your audience. You can do this by using facial expressions and hand gestures, making eye contact, and speaking with conviction. You also want to vary your tone and pitch to keep your audience engaged.

And finally, you want to make sure you’re prepared. This means knowing your material inside and out so you can answer any questions.

Show them the solution in your presentation.

Many great presentations have a narrative structure that loosely follows a detective story. The speaker starts by presenting a problem and then describes the search for a solution. There’s an “aha” moment, and the audience’s perspective shifts meaningfully.

If a talk fails, it’s almost always because the speaker didn’t frame it correctly, misjudged the audience’s level of interest, or neglected to tell a story. Random pontification without narrative is always deeply unsatisfying, even if the topic is important. There’s no progression, and you don’t feel you’re learning.

By following these tips, you’ll be well on your way to giving a dynamic presentation that will engage and inform your audience. Good luck!

How to Make a Dynamic Presentation?

Define Your Message: Start by clearly defining the critical message or information you want to convey in your presentation.

Choose the Right Tools: Select presentation software that supports dynamic features, such as PowerPoint, Google Slides, Prezi, or specialized tools like Adobe After Effects.

Plan Multimedia Elements: Identify which multimedia elements (videos, animations, interactive elements) will enhance your message and plan their placement in your presentation.

Design with Consistency: Maintain a consistent design theme throughout your presentation to create a polished and professional look.

Practice: Rehearse your dynamic presentation to ensure smooth transitions and flawless execution.

How to Improve Your Dynamic Slide Presentation

• Balance Multimedia: Use multimedia elements sparingly and strategically to avoid overwhelming your audience.
• Audience Interaction: Incorporate interactive elements like polls or Q&A sessions to engage your audience in your dynamic slide presentation.
• Visual Storytelling: Craft a compelling narrative with a clear beginning, middle, and end, using multimedia to support your storyline.
• Accessibility: Ensure your presentation is accessible by providing alternative formats and considering those with disabilities.
• Continuous Learning: Stay updated on the latest dynamic slide presentation software and design trends to keep your dynamic presentations fresh and engaging.

Dynamic presentations can transform your communication and captivate your audience in ways that traditional static slides cannot. While they come with their challenges, their engagement, storytelling, and data visualization benefits make them a valuable tool in the modern world of presentations. By mastering the art of dynamic presentations and following the tips provided, you can effectively convey your message and leave a lasting impact on your audience.

Why is dynamic presentation important?

Delivering Dynamic Presentations employs a method that makes learning both easy and enjoyable. It is a no-frills run-down on how to tolerate a speaking situation. It is a program of strategies that shows what to do, when, and how to do it.

What is the difference between static and dynamic presentation?

In the static presentation method, the incentives were placed before a trial began and not used by the experimenter during the trial. On the other hand, in the dynamic presentation procedure, the individual watched the experimenter manipulate the relevant dimension of the stimuli during a series of trials.

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dramatic presentation

Meanings of dramatic and presentation.

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(Definition of dramatic and presentation from the Cambridge English Dictionary © Cambridge University Press)

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A scripted speech or broadcast has been written before it is read or performed.

Varied and diverse (Talking about differences, Part 1)

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