Posted by Glenn Jackson at Thursday, October 27, 2011 7:11:56 AM EDT
I have a new fear, and it is that I don’t know anything—I was terribly surprised to hear that people hold a fear of public speaking over any other fear; I was just as surprised that people fear death more than anything else. If that is not even rational—it is a testimony, I think, to ease of living in this country. What do people fear for nightmares, for instance, if this is how they feel about performance and death?
I’m interested that PSA has been called speech anxiety and it’s been called audience anxiety.
Bodie asserts that Public Speaking Axiety is in some instances “self-focused” and makes that just one characteristic of the condition. How would PSA _not_ be self-focused? The most interesting moments in this article this division of categories which includes the last speaking minute. Especially when it is referring to anticipation. I don’t understand if one fears the last speaking minute, or if it is the fear that occurs in the last met before speaking (which is not what it sounds like). I learned from childhood tell it shows some recitals and playing piano on demand, that it is best to do well practiced, if that is much better to be nervous that cocky. I wonder if it is worse to be extremely nervous or extremely cocky, however. I seldom had either problem. I do know which one will elicit more audience sympathy.
Arousability is Bodie’s next interesting concept. I wonder how much this has to do with performers’ and musicians’ addiction to public performance—or with the mild high associated with successful teaching. This is a well-thought-out (though cruel) test where the balloon is popped. I’m interested in the parallels between sitting quietly in this test and the typical pre-performance meditation in the green room or dressing room for performers and actors. I know that vocalists use that time to stretch, and I have heard that public speakers do also. How does a subordinate status relate to what Bodie calls confidence.
While I do not understand all of these measurement variables, I think that a good deal of this information would require one to read the original studies—for instance, /how/ would a researcher measure “affect”—or induce it for that matter? I do believe that the “intensity” of affect could be measured, once the variable is isolated. I imagine that Linda Flower, for example, might believe that most of this affect is dependent on the type of audience. Very few of the dependent and independent variables in Bodie deal with the type of audience or the size of the audience; type is the more significant, relative to the power position of the speaker. The study on what is called “high and low impact speech,” which relies in part on the weight of a speech for a grade, seems the most important of those listed. To what physiological extent can “physical arousal” extend? It seems possible that public speaking anxiety and its associated high could be a borderline psychosis.
These studies surrounding Porter indicate that men and women have the same patterns of PSA, but it’s a surprise to me that women experience /more/ performance anxiety. One of the reasons that surprises me is that the pressures on men for public rhetorical performance have been much greater. For the making of public appearances in general, though, I think the pressures on women have been higher. For instance, Bodie categorizes by “anticipation and/of confrontation,” which I would think should run much higher and with a greater volatility in men: a shorter temper and with more catharsis for men.
Systematic desensitization must factor heavily in what students are doing in WRD classes, whether the students know the theory or not. When I taught music, we spent a good deal of time teaching students to play together, including during private lessons, in small groups. They used varied instruments. We’re a range students for a different little bands in each lesson. It seems that public speaking could also benefit from the addition of a consistent audience. The classroom environment is perfect for training, in a way that it would never work for music. Music has a higher degree of participation; it relates to a move from performance orientation to communication orientation, but our idea for music lessons was closer to the “target,” that is, communication orientation, than most public speaking classes, which are “performance orientation.” Musicians are making the art together if they play together, while speakers are making the art individually when making speeches. Experienced public speakers will disagree, knowing that they must feed from the audience with its fairly constant chain of feedback. The audience has a hand in creating the speech, but the audience does not take that role on an individual basis.
I have noticed that motivational speakers tend not to vary their speeches of from day to day. It is worth Youtubing “No arms, no legs, no problems” for a great example. I have noticed that public speakers can exacerbate their own PSA if they are shown a “great speaker” immediately before speaking, and I wonder what the effect would be of showing a terrible public speaker right before a performance. I do know that TEFL Corp and TEFL International show a terrible L2 lesson as the /very/ first component of their course.
Especially since we tried this, I’m curious what the class thinks about the effect of videotaping anything, especially speeches. How does this relate to memorized speeches, notes for speeches, and off-the-cuff speeches. It’s a surprise that positive criticism is not received as as measurably helpful as negative criticism.
This study with the placebo of “subliminal messages” is ridiculous. I love the panacaea and the trickery in these examples.
I’m interested that PSA has been called speech anxiety and it’s been called audience anxiety.
Bodie asserts that Public Speaking Axiety is in some instances “self-focused” and makes that just one characteristic of the condition. How would PSA _not_ be self-focused? The most interesting moments in this article this division of categories which includes the last speaking minute. Especially when it is referring to anticipation. I don’t understand if one fears the last speaking minute, or if it is the fear that occurs in the last met before speaking (which is not what it sounds like). I learned from childhood tell it shows some recitals and playing piano on demand, that it is best to do well practiced, if that is much better to be nervous that cocky. I wonder if it is worse to be extremely nervous or extremely cocky, however. I seldom had either problem. I do know which one will elicit more audience sympathy.
Arousability is Bodie’s next interesting concept. I wonder how much this has to do with performers’ and musicians’ addiction to public performance—or with the mild high associated with successful teaching. This is a well-thought-out (though cruel) test where the balloon is popped. I’m interested in the parallels between sitting quietly in this test and the typical pre-performance meditation in the green room or dressing room for performers and actors. I know that vocalists use that time to stretch, and I have heard that public speakers do also. How does a subordinate status relate to what Bodie calls confidence.
While I do not understand all of these measurement variables, I think that a good deal of this information would require one to read the original studies—for instance, /how/ would a researcher measure “affect”—or induce it for that matter? I do believe that the “intensity” of affect could be measured, once the variable is isolated. I imagine that Linda Flower, for example, might believe that most of this affect is dependent on the type of audience. Very few of the dependent and independent variables in Bodie deal with the type of audience or the size of the audience; type is the more significant, relative to the power position of the speaker. The study on what is called “high and low impact speech,” which relies in part on the weight of a speech for a grade, seems the most important of those listed. To what physiological extent can “physical arousal” extend? It seems possible that public speaking anxiety and its associated high could be a borderline psychosis.
These studies surrounding Porter indicate that men and women have the same patterns of PSA, but it’s a surprise to me that women experience /more/ performance anxiety. One of the reasons that surprises me is that the pressures on men for public rhetorical performance have been much greater. For the making of public appearances in general, though, I think the pressures on women have been higher. For instance, Bodie categorizes by “anticipation and/of confrontation,” which I would think should run much higher and with a greater volatility in men: a shorter temper and with more catharsis for men.
Systematic desensitization must factor heavily in what students are doing in WRD classes, whether the students know the theory or not. When I taught music, we spent a good deal of time teaching students to play together, including during private lessons, in small groups. They used varied instruments. We’re a range students for a different little bands in each lesson. It seems that public speaking could also benefit from the addition of a consistent audience. The classroom environment is perfect for training, in a way that it would never work for music. Music has a higher degree of participation; it relates to a move from performance orientation to communication orientation, but our idea for music lessons was closer to the “target,” that is, communication orientation, than most public speaking classes, which are “performance orientation.” Musicians are making the art together if they play together, while speakers are making the art individually when making speeches. Experienced public speakers will disagree, knowing that they must feed from the audience with its fairly constant chain of feedback. The audience has a hand in creating the speech, but the audience does not take that role on an individual basis.
I have noticed that motivational speakers tend not to vary their speeches of from day to day. It is worth Youtubing “No arms, no legs, no problems” for a great example. I have noticed that public speakers can exacerbate their own PSA if they are shown a “great speaker” immediately before speaking, and I wonder what the effect would be of showing a terrible public speaker right before a performance. I do know that TEFL Corp and TEFL International show a terrible L2 lesson as the /very/ first component of their course.
Especially since we tried this, I’m curious what the class thinks about the effect of videotaping anything, especially speeches. How does this relate to memorized speeches, notes for speeches, and off-the-cuff speeches. It’s a surprise that positive criticism is not received as as measurably helpful as negative criticism.
This study with the placebo of “subliminal messages” is ridiculous. I love the panacaea and the trickery in these examples.
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