Marketing Operations Specialists: The Backbone of Successful Campaigns

Before memorizing the material, take the time to beat out your script. This means reading the script aloud and making notes as you go. As you read aloud, use symbols to indicate shorter pauses  or longer pauses  Consider the emotions behind each line. Ask yourself what the motivation for the speaker’s words are. Use this to influence your own choices. Indicate transitional movement and gesturing in the margins of your script. Typically a declamation 

student will move during key transitions in the speech. For instance after the teaser of the speech and introduction, the speaker may move to one side of the room to deliver the first main point, then move back to the middle for the second main point, before going to the other side of the room for the final main point. The speaker will end up in the same point they started when delivering the conclusion. When considering gestures, the speaker needs to 

remember that this is a public speaking event. hey are delivering the message of someone else; however, it is not full-on interpretation with excessive blocking. Gestures should not be a focal point of the declamation. Choose gestures that reflect the emotional state of the speaker. Think in terms of symbolic gestures and psychological gestures. A symbolic gesture is a gesture that is not commonly used in day to day communication. Example: if you were to 

Show me what freedom looked like

you may outstretch your arms. It communicates without words the idea of freedom. A psychological gesture is one that is found in conversation. Examples include scratching your nose or shaking your head yes or no. These are typically more subtle and easier to incorporate into a declamation. Read your script aloud. Eliminate any excess language that sounds awkward or is unnecessarily redundant. Practicing Often, you’ll find that if you’ve spent the appropriate amount of time reading, cutting, and analyzing a script, memorization 

will be an easier process. Here are some things to keep in mind, to help simplify the process: First, our brains are a muscle. The more time you practice memorizing the better you become. Often, performers take more time in the beginning of a season to commit a script to memory than they do at the end of the competitive season. Next, memorization is a physical process. 

Sitting down staring at a script, re-reading the lines in your head will not be beneficial. Memorize the script with the intent to perform it. Type up a clean version with only your finalized text and movement/gesture notes. Then, tape it to the wall and actively memorize. Read the lines aloud moving with them as indicated by your cutting. Sometimes, it’s helpful to do this in front of a mirror, so you can evaluate the effectiveness of your movements. It is 

Helpful to memorize a paragraph at a time

building off of the paragraph that came before. This will significantly decrease the time it takes to memorize your performance. Once memorized, you and your coach can then build from the choices you’ve made for your performance. Adjustments to movement, gestures, and delivery can be made. Performance Tips It may sound cliche, but confidence is key! If you’ve put in the legwork, you should feel confident in the product you’ve created. Walk into that round 

your head held high, ready to show the world what you’ve got! Trust what you and your coach created. Do what you practiced, and if you feel compelled to “try something new,” review it with your coach beforehand. Consistency is key. It’s hard to evaluate what to change in practice if your performance in the round is completely different than what you’ve been working on. Pay attention to other performers. Smile, be a warm, inviting audience member. There is nothing worse than getting up to perform and having an audience that either stone 

faces you or won’t look you in the eye. Think of it this way: each round is about 60 minutes. Ten of those involve you performing, the other 50 are for you to listen, learn, and support your competitors. Keep a notebook for between rounds. Sometimes another person’s performance will inspire you and it’s a good idea to have a notebook handy to write down new ideas. It’sBasic Understandings Dramatic Interpretation, contrary to its name, is not all about drama. While dramatic elements are key aspects of the event, melodramatic, or overly-sad 

Selections are not ideal choices for performance

DI lacks props, costuming, sets, and other luxuries seen in various forms of performance art. There is a set time limit of ten minutes, with a 30-second grace period. Students who choose to compete in Dramatic Interpretation should focus on suspending the disbelief of the audience by portraying a realistic, emotional journey of a character(s). The performance should connect to the audience. Research When looking for a Dramatic Interpretation, it’s 

important to know your limitations, and your strengths. Technical skills, vocal flexibility, physicality, and gender can be factors in your choice. Additionally, it’s important to think of the performance itself when searching for a script. Does the literature lend itself to performance, or is the language too flowery Is the plot complicated or is it a simple story told in a simple way? Think about what you are capable of, and how you would like to be challenged 

throughout the season when making a selection. Remember to consult your state’s rules in regards what is acceptable literature. Ask yourself what kind of character am I comfortable playing? What kind of story am I comfortable telling What story do I want to tell? Narrow your search from there. Remember to keep an open mind. Sometimes, you can create an ideal of the piece you’d like to perform, and reject other suggestions that come along the way. 

Conclusion

Sometimes it’s better to try something different that will stretch you as a performer. When searching for a script, it’s important that the language sounds natural when read aloud. For instance, Shakespeare and Hemingway may be be less effective choices for DI because the language is archaic and less conversational. Find a script that when read aloud, feels natural, or comfortable to speak and hear. Tense is also an important factor of selecting a dramatic 

interpretation. Because the majority of DI’s take placeThere are a few key structural components of every DI: Cutting. Your cutting is the ten-minute portion of your selection you chose to perform. This is how you’ve arranged the literature, and what aspects of the story you’ve decided to tell. It will directly influence the other two aspects of your performance. Characterization is informed decisions you’ve made on how the character will think, act, 

move and sound. The choices you make about your character should be informed by the script itself. locking, or tech, is how the character moves in the space you’ve created for them. Sometimes blocking is expressive in nature, symbolizing how that character is feeling emotionally, while at other times, denotes events that are occurring in the imagined space i.e. opening up a soda or sweeping the floor. Introduction. An introduction explains the purpose 

the performance. Typically, after the teaser, a performer will give a brief explanation of the piece’s relevance, then give the title and author before returning to the performance. Organizing Before memorizing the material, take the time to “beat” out your script. This means reading the script aloud and making notes  you go. As you read aloud, use symbols to indicate shorter pauses  or longer pauses  Consider the emotionality behind each line

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