Chapter Eight (You)

Life's a Pitch: The Movie Chapter Eight - Your Brilliant Body
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Transcript

We've talked about your language, your stories, and will shortly talk about your voice. But the first thing that arrives in any room you walk into is your body. The last thing you want is for you to say one thing, but your body to say something entirely different. So to learn how to use it, we have to first learn about it. There are three types of body language, self conscious, conscious, and unconscious. With self conscious body language, you're physically very self aware.

It often manifests itself as small repetitive movements and an uncomfortable shifting from side to side. With conscious body language, you're connected to what you're saying, and your body behaves accordingly. You use it to demonstrate point Express and it becomes a conscious part of the action. unconscious body language however, and normally the movements we have no recognition of whatsoever. It's part and parcel of your own unique way of moving, and is the place we go to when we're connected to what we're saying, rather than worrying about what we're doing. Remember, Jenny, well, here's where proxemics the study of space can really help her.

In presentations, we are often faced with public space, a great deal of space between you and your audience. So suddenly aware of that space and feeling like center of attention, it feels difficult to fill. So we fill it with those small self conscious gestures we talked about. And rather like filling our language, we do it because our general levels of comfort are reduced. When we start to move towards social space, and area closer and more familiar, our gestures start to naturally fill space more confidently, because our audience becomes closer so we don't notice it so much. So it's making the first type of Face public space for more personal, that's the key to looking more physically comfortable.

So how do we make that mental shift? Well, let's concentrate on what gets in the way. The dreaded nerves. Physical nerves are just that physical leg shake fingers wobble. Don't get me started on the voice which will come to, but they're all visceral, obvious, and quite frankly, rather annoying manifestations of your brain articulating the space between you them and sometimes it will give you the handouts after you've seen the Have you seen that? But the good news is, most of us don't see nerves the way that we do.

We're inside our bodies, so of course they feel huge to us. But a rosy cheek or a shaky hand often doesn't translate to an audience, unless you tell us about it, of course. But the bad news is, if you've always had a gimpy leg before something important, you probably always Will, because that's how your body processes stress. But what we can do is change how we think about it. The relationship between anxiety and the body is exactly the same as that between excitement and the body, blushing or flushing, raised heart rate voice wavering, sweaty or trembling hands. When a potentially stressful or demanding situation occurs, your body secretes the hormone adrenaline.

And the exact same thing happens in excitement. But one is thought of is good and one bad. So if you always think of nerves as an embarrassment, guaranteed, you'll be spending all your time squishing them down and they'll only get worse. You could be focusing on how much fun you're going to have. Nerves only become overwhelming when we're focusing on ourselves. So instead of thinking that your center of attention, make the audience the center of yours, Meg gorgeous.

And if that doesn't work brief, before, during, after, it's physically impossible to build the same kind of adrenaline surge if you take more oxygen into the body, and now you've got rid of all those fillers, you've got space to do it. Stay focused, stay present. presentation. So now you know how to think about your nerves differently. You'll be eliminating self conscious body language and a free to focus on your conscious to help you out. So always make sure you find a good solid starting position.

Something wide and open so breath can move freely around the body. And then find a park position, a place that your hands can come back to when you're not gesturing. You don't need to worry about them. Just make sure that when you do gesture, you surround your gestures with space just like you would with language so nothing gets too clogged up and small, the rest will be unconscious. When we move confidently, we feel it and vice versa. So use both these techniques, thinking about your nerves differently and finding some moments for some conscious body language to help you own your proxemics then he'll be body brilliant

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