Twenty Twelve and ‘how not to’….

The monster that will be the Olympics drives towards 2012 like a tsunami of achievement but one area it does lack is humour. In fact, ill-tempered competition is threatening the true competition to come. Lord Coe vs Lord Moynihan over money, Tottenham vs West Ham over the stadium, David Bedford vs LOCOG over the marathon and Corporate Sponsors vs the rest of us over ticket availability.

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By contrast, the BBC 4 comedy ‘Twenty Twelve brings nicely observed and well acted light relief. Tonight’s episode features Dave Wellbeck, an Olympian chosen as an ambassador to tour schools as a spokesman for the ‘Raise the Bar’ programme. Unfortunately Dave is the world’s worst presenter.

If you missed it, then as light relief from the serious business of pitching check out Dave’s amusing ‘how not to’ on BBCiplayer!

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Attack!

Any pitch calls for some level of performance. While this does not demand skills in ‘the art of acting’, familiarity with the ‘craft’ of acting can be valuable. An interesting book by Mary Hasbury, “Acting for the Better-An AmDram A to Z”, which looks at both art and craft has some thought-provoking observations.

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Here is what she has to say about Attack:

“Attack. An executant’s approach to a piece, with crispness, verve and precision.’ Dictionary definition.

A frequent criticism of stage performers is that they are lacking in ‘attack’, and it is sometimes difficult for the performer to know just what is meant by this, and what they can do about it.

Generally speaking, it involves energy, whether mental, emotional, vocal or bodily, or any combination of the four. It is about energy and focus, and needs to be the complete opposite of feebleness, dullness and laziness.

Enthusiasm goes a long way towards one’s goal but it must be tempered with control at all times. If the performance seems slow or boring, or wishy-washy, then it is certainly lacking in this somewhat mystifying quality of attack.”

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Stand up? Sit down?

A question that often comes up in rehearsal, assuming there is one, is do we sit or stand when presenting? It might seem a trival point but being uncertain during the pitch will undermine performance.

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Often the decision is obvious. Large audience, large room, formal presentation means standing. Small audience, small room and an intimate conversational approach, sit. The in-between ones call for thought and it is interesting that the trend for news readers is to stand, despite the intimate nature of their sitting room audience.

Why is this? Perhaps because each newscast is pitching against rival channels and they find that the standing news reader has greater authority and communicates with more dynamism and more energy. They have all worked out how to stand, something that can worry the inexperienced. The problem of ‘what to do with your hands’ is neatly solved by holding notes, not actually used.

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Where sitting is appropriate, it is worth breaking things up and creating movement and variety, sitting to start, standing as your argument develops, to explain a key chart or for an emotional finish. The seated news reader is normally joined by a correspondent, standing, from the front line/disaster zone, plus the latest in electronic visual imagery. Dynamic energetic communication is the norm.

Even when the news is depressing, it is worth watching for ideas on presenting!

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A sense of theatre.

At the Cadogan Hall in Chelsea, on Saturday, the Ealing Choral Society gave a performance of Bach’s St John’s Passion. Musically the orchestra, the soloists and the choir were all admirable, especially in the second act. What was lacking, and for me this coloured full enjoyment of the evening, was any sense of theatre.

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This may have been a deliberate acknowledgement of the ‘intellectual depths’ of the composer. Or it may have been in part a function of the space which is impressive but undoubtedly a hall rather than a theatre or concert venue. The audience and the performers share equally bright, flat, overhead lighting and the separation between the two groups is minimal, with the stage little more than a step-up.

There was none of the usual ‘buzz of anticipation’ as soloists and conductor sauntered on and the performance started almost apologetically. Nor was there much buzz at the close. Theatre was lacking.

It is sacrilege perhaps to draw comparison between a pitch and and a performance of Bach’s sacred music except that both in their different ways seek some emotional response from an audience. A pitch that fails to do this, fails.

The Moulin Rouge may be a step too far but you do not have to be a Baz Lurhmann to stage your pitch in a way that sets it apart and makes it memorable. Some thoughts on how to do this are in the Best practice guide: Content and Staging

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The start!

This weekend saw the European Athletics Championship on BBC, one of the few sports they still cover. In the shortest of the events, the 60 meter sprint, lasting all of 6.53 seconds, Dwain Chambers came second, one hundredth of a second behind the winner. Given the trials and tribulations of his career, this was a considerable performance.

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How did he manage it? He had a great start.

In any sprint event, more than any other sport, if you don’t start well chances of a win are remote. It’s a physical and an emotional thing. The mental preparation is intense, focus must be 110%, heightened but controlled anticipation, and an inner confidence that this is your moment, however good the competition. Then you have to react to the gun!

While a pitch does not call for split second reactions, it does call for a great start. We know that people will make instinctive judgement calls within seconds so your team is being judged as they sit down. Your first words, and actions, will set the mood and tone for all that follows.

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By starting with energy, surprise and infectious enthusiasm you will create a sense of eager expectation among your audience. As importantly, you will give yourself an emotional lift and a boost of confidence that will help carry you through to win, perhaps with the grace and style of legendary sprinter Wilmer Rudolph. She practised her starts.

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