How to be a good event host. How to be a good event host Acting skills for leading concert programs

It’s no secret that without constant training in sports, music, and, in general, in any field, you cannot achieve much success. And the profession of a presenter is no exception. I suggest sharing your experience of how he trains himself before going out to the audience, what exercises he uses to improve his professional skills. Here)

Comments

Petrushevsky Konstantin Professional

Murashov Vladimir User

Personally, I am interested in the language apparatus) clarity of speech, well-produced voice, etc. It is clear that teachers do this and that many people study this for years, but there is not enough time for additional training. So I would like to know who can tell you what) thanks in advance!

Kozhevnikov Alexey Expert

I go to the gym to keep in shape and train my legs. You have to run a lot around the site during the festival, and the next day your legs hurt. In addition, I read the classics in search of interesting sayings, aphorisms, poems, thoughts. That is, I train my head.

Petrushevsky Konstantin Professional

At any stage of development and professionalism, you definitely need to use the simplest and most well-known exercises: tongue twisters, rhymes, complex sentences, chants, etc. In any case, they are necessary! Having worked on radio for more than five years and on stage for more than fifteen years, I use these techniques!

Petrushevsky Konstantin Professional

Observing your colleagues also helps a lot! Any levels! I always watch with interest the work of other presenters at various events! Insanely interesting and entertaining! Especially when you like the work!

Confectionery Oleg Professional

There is a textbook, for GITIS students... It has everything you need...

Didenko Mikhail Expert

Let's look at the word "leading". The presenter is the person who leads people either according to the holiday scenario or to a bright future. Those. the leader must be such a person. who people would trust, a respected and authoritative person, interesting and competent, knowledgeable, a good psychologist and an excellent improviser who knows how to play out different situations, etc. So what skills and knowledge are needed? It seems to me like a whole complex. And if we also turn to the etymology of the word: “Leading” is the root of the “Vedas”. There is a very interesting book of the Veda - what knowledge means. Hence the words - knowledgeable - knowledgeable, sorcerer - an expert, leading - a knowledgeable person, taste - to know the taste or something, taste, tell - tell, righteous - living according to the Vedas, and the like. So - the presenter is not just a conversational artist. I would bring this profession into a separate caste - actors-psychologists - whose name is the hosts of events. So what should you learn? Let's begin. I will list them out of order. 1. Speech scene, 2. Acting skills, 3. Psychology of communication, 4. NLP techniques 5. Musical education, desirable mastery of a musical instrument (including voice) 6. Philological education - knowledge of the rules of the Russian language and impeccable command of it, reading books to develop vocabulary and correct construction of phrases 7. Rhetoric This is the minimum that is necessary. All this literature is there. You can read a book by the good GITIS teacher Kokorin about the Stanislavsky system, you can read Khabard and Carnegie, the textbook Logic of the Speech Scene and a textbook on rhetoric, etc. Good luck.

The announcer's profession is such that he can learn the skill from a dramatic actor, musician, or entertainer. The nature of communication between an actor on stage and his partner is different than, say, between an announcer and his interlocutor. The announcer is the person who unites the audience with television into a single whole. In general, we can conclude that the work of the presenter crowns what is done by screenwriters, editors, cameramen, sound engineers, artists, directors, and engineers. This is not the main character of the news, but one of the central elements of the issue.

In addition to physical data - good appearance, a pleasant voice and correct pronunciation - a newscaster-journalist needs broad education, knowledge of life and people; intelligence and resourcefulness; sense of humor; patience; imagination; enthusiasm; modesty based on self-confidence; ability to work in a team. The authors of the manuals are unanimous that most of these qualities are the essence of the personality itself: either they are there or they are not. However, what is given by nature must be developed throughout the entire professional journalistic life.

There are seven roles of a television journalist: reporter, interviewer, commentator, columnist, moderator, showman, and finally news anchor. In news releases, along with the news, we receive some kind of psychological reinforcement or feel its absence. A news anchor is a face that you want to look at again. The human face is said to be the most interesting surface in the world. But this saying does not apply to all people.

The news anchor is not handsome, he is “one of us”, but, so to speak, in an improved edition. He carries himself freely, but not loosely. Confident, but not overconfident. Voice and eyes are the instruments he masterfully plays. Television news performs, in addition to informational function, another one - integrative. The presenter unites the audience, be it national or regional, global or local. As is the community, so is the news anchor. “Anchor Man” does not repel anyone, he attracts everyone.

The specificity of TV is its screen presence, that is, in the transmission of information through a moving image accompanied by sound. It is the screen presence that ensures the direct sensory perception of television images, and therefore their accessibility to the widest audience. Unlike, for example, radio, television information is conveyed to the viewer in two planes: verbal (verbal) and non-verbal, visual.

Speech on television can also evoke the desired response from TV viewers. The softness and strength of the voice, the richness of intonation characteristics, pauses, the use of the effect of surprise - all these are signs of speech dynamics designed to give persuasiveness to the message. Dynamics includes speed or tempo of speech. In people of increased intelligence it is higher, however, we must not forget that television viewers must assimilate what they hear. The color of the voice or the timbre of speech also means a lot: behind the scenes, the male voice is more advantageous - a baritone, low, “velvety”, while the tenor causes surprise.

Facial expressions and gestures, if they are adequate to the situation, are perceived as emotional involvement, interest, which contributes to the formation of trust and a positive attitude: a character’s thumb raised upward is a sign of approval, etc. Finally, image and color play a very important role. Psychophysiologists have found that movement on the screen from left to right is perceived easier and more favorable than from right to left. Diagonal movement - from the lower left corner to the upper right corner is associated with overcoming, achieving something significant. The reverse movement is perceived as a loss of certain positions. Moving diagonally from the lower right to the upper left and vice versa can cause vague negative sensations. Frequent changes in personnel (from middle management to senior management) can arouse negative emotions. Vertical or horizontal lines are associated with calm, clarity and even solidity, while curved lines are associated with grace and ease. A zigzag line conveys the impression of a sharp change, a rapid release of energy, a concentration of force (this is how lightning is always depicted).

The TV presenter is perceived as a kind of teacher of humanity. The reporter is fed by his feet, the analyst by his head, and news anchors read texts expressively, differing from old announcers in that they understand their meaning. Understanding is an important component. For it, news presenters receive an order of magnitude more than reporters, although they “only” read the text and take part in its preparation, in the layout of the release.

The first presenters appeared in purely serious, philharmonic concerts. Their only responsibility was to correctly pronounce the name of the performer and the title of the work. In the 30s of the 20th century, concert activity began to develop rapidly. And concert organizers, as well as philharmonic societies, take on not only entertainment, but also educational (cognitive) functions through the concert.

All this made the presenters “talk” more to the listeners and, it would seem, brought them closer to the compere. However, no one obliged the presenter to entertain the audience. If the presenter allows himself a joke and makes the listeners laugh, then, as they say, of his own free will, but laughter and jokes are not a companion to his communication with the audience. The entertainer, without entertaining the audience, did not live up to expectations and did not do his job. The difference between entertaining and informing by announcing numbers has separated these two professions.

With the development of concert activities, the scope of activities of presenters began to expand. Presenters today, as a rule, perform in symphonic, chamber, thematic, and mixed concerts. Many of them require not only information, but also extended communication with listeners.

The art of the entertainer has also undergone changes today, which performs two functions: the performance of one’s own act (humorous story, feuilleton, anecdote, funny everyday scene) and the unrelated announcement of the next artist. The announcement of the number is like an incidental function of the entertainer. As a rule, he conducts pop and entertainment concerts.

We often confuse these two titles - presenter and entertainer. But on stage they are completely different from each other. Their manner of carrying themselves on stage, pronouncing the names of performers, titles of works, and living in a concert are different. Fun and information are the main great characteristics of an entertainer. When an entertainer hosts a concert, he does the same thing as the host; when he performs in a concert with numbers, he enters into competition with other performers. What do they have in common? They introduce the public to the performing artists, to the performers of the works, link the performances into a single whole, and are the core that holds the concert action together.

Concert technology

Requirements for a concert host

The host of the concert must have a keen sense of modernity in his way of thinking, speech, demeanor, costume, and entire internal and external appearance. He must have good command of words and improvisation. Must be able to adapt to a given concert, capture the composition and mood of a given audience, make the audience friendly, and inspire confidence in them. The main condition for his success is emancipation. The host should feel like a host at a concert, receiving distinguished guests, and should be able to create a festive mood. The presenter, in addition to the people sitting in the hall, has “one more object.” These are actors - participants in the concert.

During the concert, completely different contacts are established between them than in life (that is, than everyday ones). No matter how indifferent the presenter is to the person he is introducing to the public (and sometimes it happens that he is hostile and in conflict with him), all everyday relationships are excluded in a concert meeting. Respect for the artist’s art and his hard work should prevail in the concert.

The presenter arrives at the concert in advance and goes to look at the stage, prepare everything on it so that it goes off without a hitch, check the curtain, how it opens and closes; the tool, how it stands, who will move it if necessary; condition of the floor prices, especially if there are dance numbers coming up. He must check the lighting, the microphone he will be working with; are chairs, choir stands, etc. in place?

When opening the concert, the presenter goes on stage and pauses to gather the attention of the audience, but you can’t overdo it, you can count to yourself to three. During the concert, the presenter carefully monitors what is happening on stage so as not to miss his own entrance, prepares for what he has to say, prepares the next artists for their appearance, and checks whether the accompanist is in place.

During the concert, stage workers are present on stage - they move the piano, carry out and clean tables and chairs. You need to be very polite and tactful when dealing with these technical assistants. Usually in a club concert all the commands are bells, curtain calls, reshuffles, etc. - the worker has the right to receive only from the leader. This will ensure order and no overlaps.

The presenter can announce numbers both while going on stage and while remaining behind the scenes - into the microphone. Negative aspects of the first type: extra time is wasted on exits and exits, or the presenter walks ugly on stage, but speaks well. The advantages of this type of announcement are communication with the audience. The viewer is better attuned to the perception of the next number.

The second type of announcement is from behind the scenes. The positive thing is that time is saved, there is no unnecessary walking around the stage, but the negative thing is that he does not see the reaction of the audience; sometimes the audience is still applauding, and he announces the next number. Sometimes they combine both types of announcements in one concert. In theatrical concerts, numbers are not announced, and the presenter does not go on stage.

Organization of the concert

To hold such an event, a production group must be created 1.5 months in advance. It consists of a director and his assistant: choreographer, choirmaster, sound engineer, lighting designer, and set designer. For collective discussion of issues, meetings of the production group are held, which are provided for in the concert preparation plan. At the first meeting of the production group, the concept of the concert is discussed and responsibilities are assigned. At the second meeting, the concert program is approved, a task card is given to each service, and the concert preparation plan is approved. At the next meeting of the production team, the design sketch, sound and lighting scores are approved.

The organization and productivity of all rehearsals depends on a clear and well-thought-out rehearsal plan. It should be drawn up after the preparatory work plan has been drawn up: the performers, their repertoire, the deadlines for preparing the design, costumes, etc. have been determined. The rehearsal plan provides for two periods: first in the rehearsal halls, at alternate sites, and then in the room where the concert will take place. The director must first view the rehearsal premises himself. He must pay attention even to such trifles as the size of the premises, lighting, ventilation, the presence of musical instruments, and a tape recorder. During this period, all performers of all genres are viewed and auditioned, that is, their readiness for rehearsal work on stage is checked.

Where to start rehearsing on stage? It is advisable not to leave more complex and popular numbers (dances, songs) until the last hours. It's best to rehearse them first. When large groups sit waiting in the auditorium for several hours, there can be no talk of any creative atmosphere. You need to start rehearsing with mass numbers, and then move on to solo ones. This principle makes it possible to gradually release the released performers as the rehearsal progresses, and with each rehearsal minute, when the artists become increasingly tired and tense, there will be fewer participants, which means the working environment will improve. When all the numbers have been separately rehearsed on stage, they begin editing into a single program.

The leading place among all types of rehearsals is occupied by the general run-through of the concert without stopping. This rehearsal gives you the opportunity to see the concert in its entirety. A general run-through, as a rule, reveals dangerous places for the sound engineer, stagehands, and lighting people who did not provide clean transitions from one number to another. Such a rehearsal makes it possible to feel the rhythm of the concert, your place in it and calculate your strength. At this rehearsal, the light and sound scores are checked, and the overall length and timing of the concert is checked. After such a rehearsal, a detailed analysis is necessary. This is why we need rehearsal time to eliminate all miscalculations and shortcomings. This is why it is necessary in the rehearsal plan to always provide for one day of “rehearsal” as intended after the first run-through. At the same time, technical (assembly) rehearsals are carried out on stage (for light, sound and technical aspects).

The final plan of the rehearsal work is the dress rehearsal, before which it is advisable to hold a table rehearsal, at which all the organizers of the concert are present. The director can entrust the dress rehearsal to an assistant to conduct it so that he can watch the concert himself from the auditorium. After discussing the dress rehearsal, the concert is usually handed over to the artistic council of the cultural and leisure institution.

Before the concert, the director must check the readiness of all “services” and all participants for it. During a concert, he is usually behind the scenes, monitoring its progress, but should not create a nervous atmosphere. After the concert, he debriefs it, gathering all the members of the production team.

In this lesson we will talk about the skill of the presenter who will be in the frame of your film. To become a high-level presenter, like those we see on television, is, of course, quite difficult. It all depends only on you: there are no ready-made template recipes on how to make a successful career as a presenter for yourself. For some, it is enough to learn a little, perhaps even take our courses, while others will have to study a lot, study and study. To become a presenter, you need three main qualities: basic knowledge, which you can take from these courses; a lot of perseverance and work, work on oneself and, of course, luck. But even this is not enough; add additional requirements for the presenter. You must be able to make films or stories from different areas: historical, political, sports, etc. Therefore, you must be: a) erudite and, of course, it is very desirable, have an appropriate education; b) the presenter must have the skills of such professions as a journalist, psychologist, artist; c) the presenter must be relaxed, resourceful, decisive, curious, energetic, have a good memory, be able to improvise, be able to control his emotions, have a good artistic memory, with the help of which he must be able to hold the attention of the audience, and also have a good sense of humor. It’s not for nothing that most TV programs are hosted by former KVN team players. The presenter’s responsibilities also include the ability to interview some real hero. But more on this in the next lessons.

To all the above qualities of the presenter, one more thing must be added - this is a photo- and cinematic appearance. Therefore, if you don’t have one, don’t immediately fall into despair: go to the hairdresser, go to a clothing store, it wouldn’t hurt to go to some fitness club. If you speak the text behind the scenes, then you may not need photo- and film-genicity. But in this case, you will have increased demands on the pronunciation that we talked about, and you will also need a clearer and more attractive voice timbre.

The most important thing is that you must know (whether you are on- or off-screen) that the presenter is the face of any film in the eyes of the viewer. It is by the skill of the presenter that the viewer can evaluate your film even more than by the informational or directorial part of the film. The main thing that is required of a novice presenter is to learn to deal with their fears of a video camera and even a microphone. Don't be afraid to act, don't think that someone thinks badly of you. We always have plenty of incompetent critics who have achieved nothing in their own lives. But in order to stop being afraid of the camera, you must be able to clearly speak the text in advance, understand the topic of your film in advance, in general, be completely prepared in everything, even if you are filming in a studio or doing a report in some other place. Of course, in the future, with hard work you will gain experience, you will easily be adapted to both video shooting and sound recording.

This concludes the lesson, see you in the next one.