Course programme
Introduction
1 lecture 08:57
Introduction and Welcome
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Introduction
1 lecture 08:57
Introduction and Welcome
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Introduction and Welcome
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Introduction and Welcome
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Introduction and Welcome
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Introduction and Welcome
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you.
Master Your Stance
2 lectures 28:50
Master Your Stance Part 1
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
Master Your Stance Part 2
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Master Your Stance
2 lectures 28:50
Master Your Stance Part 1
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
Master Your Stance Part 2
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Master Your Stance Part 1
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
Master Your Stance Part 1
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
Master Your Stance Part 1
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
Master Your Stance Part 1
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
When you come onto the stage, hold your head high and focus on a spot slightly above the heads of the audience rather than making eye contact. At this point, you don’t want to be distracted by anyone who might be wearing a hostile or irritated expression.
Walk to the sweet spot, the spot in which everyone in the room will feel as if you are addressing him or her directly. While the exact location of the sweet spot will be different depending on the dimensions of the room, you can use the same technique to find it whether you’re in a conference room with an audience of thirty or on a stage in front of a crowd of ten thousand.
Master Your Stance Part 2
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Master Your Stance Part 2
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Master Your Stance Part 2
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Master Your Stance Part 2
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Jason talks about a second kind of stance you can use that shows confidence and credibility. He then reviews the most common signs of a nervous stance, and what you need to do to avoid those nervous habits.
Master Your Movements
1 lecture 13:58
Master Your Movements
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
Master Your Movements
1 lecture 13:58
Master Your Movements
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
Master Your Movements
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
Master Your Movements
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
Master Your Movements
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
Master Your Movements
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
People sometimes think the way to be a dynamic speaker is to use a lot of motion, so they pace around and move their hands all the time. Random movement is just a meaningless crutch. It also distracts your audience.
Master Your Facial Expressions
1 lecture 20:53
Master Your Facial Expressions
In his book A Whole New Mind, Daniel H. Pink, who writes about issues related to emotional intelligence and empathy, says facial expressions are the most universal and powerful means of communication. When researchers gave a very diverse group of populations photos of people showing different expressions, the people tested unanimously understood what the people in the photographs were thinking and feeling solely through their facial expressions and even without clues based on tone, language, or body language.
Yet when those same people were asked to interpret what an extended hand meant, some thought it was a friendly invitation to shake hands while others were offended. When those same people were asked to interpret a shake of the head, some thought it meant “I disagree” while others thought it meant the person was listening intently. None of them, however, misinterpreted an emotion conveyed by eyes. For example, an expression of surprise (revealed by wide-open eyes) was interpreted as surprise across all cultures.
The fact that the expressions in a person’s eyes have the same meaning in all cultures has powerful ramifications for you as a presenter. You can’t fake a smile, and you can’t fake sincerity. There are several basic principles for communicating with your eyes.
Master Your Facial Expressions.
1 lecture 20:53
Master Your Facial Expressions
In his book A Whole New Mind, Daniel H. Pink, who writes about issues related to emotional intelligence and empathy, says facial expressions are the most universal and powerful means of communication. When researchers gave a very diverse group of populations photos of people showing different expressions, the people tested unanimously understood what the people in the photographs were thinking and feeling solely through their facial expressions and even without clues based on tone, language, or body language.
Yet when those same people were asked to interpret what an extended hand meant, some thought it was a friendly invitation to shake hands while others were offended. When those same people were asked to interpret a shake of the head, some thought it meant “I disagree” while others thought it meant the person was listening intently. None of them, however, misinterpreted an emotion conveyed by eyes. For example, an expression of surprise (revealed by wide-open eyes) was interpreted as surprise across all cultures.
The fact that the expressions in a person’s eyes have the same meaning in all cultures has powerful ramifications for you as a presenter. You can’t fake a smile, and you can’t fake sincerity. There are several basic principles for communicating with your eyes.
Master Your Facial Expressions
In his book A Whole New Mind, Daniel H. Pink, who writes about issues related to emotional intelligence and empathy, says facial expressions are the most universal and powerful means of communication. When researchers gave a very diverse group of populations photos of people showing different expressions, the people tested unanimously understood what the people in the photographs were thinking and feeling solely through their facial expressions and even without clues based on tone, language, or body language.
Yet when those same people were asked to interpret what an extended hand meant, some thought it was a friendly invitation to shake hands while others were offended. When those same people were asked to interpret a shake of the head, some thought it meant “I disagree” while others thought it meant the person was listening intently. None of them, however, misinterpreted an emotion conveyed by eyes. For example, an expression of surprise (revealed by wide-open eyes) was interpreted as surprise across all cultures.
The fact that the expressions in a person’s eyes have the same meaning in all cultures has powerful ramifications for you as a presenter. You can’t fake a smile, and you can’t fake sincerity. There are several basic principles for communicating with your eyes.
Master Your Facial Expressions
In his book A Whole New Mind, Daniel H. Pink, who writes about issues related to emotional intelligence and empathy, says facial expressions are the most universal and powerful means of communication. When researchers gave a very diverse group of populations photos of people showing different expressions, the people tested unanimously understood what the people in the photographs were thinking and feeling solely through their facial expressions and even without clues based on tone, language, or body language.
Yet when those same people were asked to interpret what an extended hand meant, some thought it was a friendly invitation to shake hands while others were offended. When those same people were asked to interpret a shake of the head, some thought it meant “I disagree” while others thought it meant the person was listening intently. None of them, however, misinterpreted an emotion conveyed by eyes
