How to Overcome Your Fear of Public Speaking | Big Think

How to Overcome Your Fear of Public Speaking

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There are a number of myths surrounding public performance that spoken-word poet and co-founder of Project Voice Sarah Kay helps to dispel. Perhaps the chief myth is that you can't both be nervous and enjoy the experience of public speaking. In reality, being nervous is an inevitable part of the experience, but understanding why the audience came to see you — they just want to have fun — can help conquer your fear. Kay has plenty of tips and tricks that will make you feel more comfortable on stage and in the process of preparing your performance or speech. Some artists try to zone out while they’re performing. Perhaps because it is strange to be the spectacle, to know that everyone in the room has their eyes on them, ears on them, hoping they’ll be great but squinting hard to catch mistakes. It’s easier to go through a speech imagining all the audience in their underwear, just as embarrassed and ashamed. But it's not better. Button Poetry alumni Jesse Parent and Neil Hilborn stay similarly attuned to their audience. They can tell when the audience is getting sucked in. Jesse Parent listens to the laughter in the audience, and holds off on continuing his poetry until it dies down, reacting to the whoops and cheers of the people listening. It’s such moments that capture something deeply mesmerizing: honesty. Kay thinks those unplanned moments are when the truth comes out. When an accident happens on stage, it’s the most authentic and real thing about the whole show. That’s the moment of connection between the watcher and the speaker. It’s the speaker’s job to create an experience for every member in the audience, and while this can be incredibly hard, especially as Kay recalls performing for 3000 people, it isn’t impossible. But to do it, you can’t imagine your audience isn’t there, and can’t pretend they’re too busy being humiliated in their underwear to be paying attention. They are looking at you. Face it. Smile back. Kay refines her performances by listening and paying attention to every person in the audience. As Jesse Parent holds up his hand to acknowledge the people in the audience, Kay remarks on the person in the red sweater and jokes on their surroundings or the news of the day to show everyone that this is a moment, not just a speech.

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SARAH KAY:

Sarah Kay is a poet from New York City who has been performing her spoken word poetry since she was fourteen years old. She was a featured poet on HBO’s “Russell Simmons presents Def Poetry Jam” in 2006, and that year she was also the youngest poet to compete in the National Poetry Slam. Since then, Sarah has shared her poetry in venues and classrooms around the world. She is perhaps best known for her talk at the 2011 TED conference, which garnered two standing ovations and has been seen over seven million times online. Sarah holds a Masters Degree in The Art of Teaching from Brown University, and an Honorary Doctorate in Humane Letters from Grinnell College. Her first book, “B” was ranked #1 Poetry Book on Amazon. Her newest book, “No Matter the Wreckage,” is also an Amazon Bestseller in American Poetry. Other poems and articles have been published in CURA Magazine, The Writer Magazine, Thrush, Treehouse Magazine, Union Station Magazine, the Huffington Post, CNN.com, and many more. Sarah is a passionate educator who has lead professional development workshops and been a featured presenter at education conferences such as the IBO, NAIS, ECIS, and AISA.

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TRANSCRIPT:

Sarah Kay: Certainly when I think about performance in the classroom we focus on performance as process and not performance as product. I think a lot of times people think about performance only as the last step and it’s the final presentation and they get one shot and they can’t mess it up. And that just raises the stakes so unnecessarily around something that is already kind of scary. But instead if we think about what is the process of performance. Process of performance involves risk taking. It involves vulnerability. Involves experimenting. Involves joy. Involves wanting to be here. Involves the audience. Involves who are you talking to, what are you saying, how can you best communicate all of those things. What are the strategies and performance you can use so that your audience receives exactly what you want them to. .......

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