Impromptu

There are diverse, and at times, contradictory explanations of the effects of time scarcity on infonnatinn processing. One context that requires careftd processing under intense time constraints is limited preparation events in forensic competition. This essay offers Brock's commodity theory and an alternative theoreticai construct to explain why some competitors seem to be increasingly focused by the time limits, while other competitors' reasoning abilities fail in the same situation. This study adopts an information processing approach to examine the effects of time constraints on the processing and presetjtation of limited preparation forensic events. Implications of the analysis are provided, noting ways in which limited preparation performance can be framed in specific ways by coaches, particularly when working with novice competitors, to he more supportive of careful processing and success in the limited preparation events.

This article investigates whether CEOs actually demonstrate the communication
strengths and weaknesses they think they have. Videotaped interviews with CEOs
in the initial stage of executive coaching were analyzed to identify categories of
communication strength and weakness: delivery, content, audience, and character.
Next, the interviews and transcriptions were coded to track use of rhetorical
formats, delivery stress, disfluencies, and timing. Speakers who identified themselves
as having both delivery and content strengths or weaknesses differed significantly
from the other CEOs. This has important implications for the study of impromptu
communication, executive coaching, and business communication.

This chapter draws on an agonistic background of Apollonian contest, judgment, and punishment to articulate a concept of improvisationimpromptu. This concept is distinguished from the more familiar concept of improvisationextempore.The two concepts are drawn apart as a contribution to a critical theory that regards our lives, practices, and concepts as constantly contested. The argument interweaves ancient and contemporary philosophical discussions of improvisation (from Quintilian and Castiliogne to Schlegel, Nietzsche, Freud, Ryle, and Derrida) with discussions of the cutting contests of jazz and rap, with the cutting edge, Werktreue or perfectly compliant performances of classical musicians, and the deathly cutting down of Karaoke singers in the Philippines. Special attention is given to the 1940 film of the Harlem RenaissanceBroken Strings.

Great impromptu speaking, reciting and singing are never just an isolated impromptu act. It is the result of endless practice to perfect performance that can then be given impromptu. One of the main objectives of learning English as a Second Language (ESL) is to be able to speak English impromptu, not just on the stage or in front of an audience but also in a casual meeting, on the street or during a formal meeting in a board-room. In fact to be able to speak “impromptu” should be the Holy Grail of teaching and learning ESL, more important than reading, writing and listening. So how come it is not given the priority it deserves – and how come it seems such a difficult goal? We believe it is because teachers and learners neglect to emphasize and practice the key to learning impromptu speaking. That key we believe is practice, practice and more practice. We can remember songs from our kindergarten years and we can still sing them because we practiced, practiced and practiced them. We ...

Let me guess. Your teacher asked you to make a creative speech, right? I know it is another demand of curriculum that you do not have choice but to compel with. I hope this speech would help you to at least give an idea on how a creative informal speech should be.

Great impromptu speaking, reciting and singing are never just an isolated impromptu act. It is the result of endless practice to perfect performance that can then be given impromptu. One of the main objectives of learning English as a Second Language (ESL) is to be able to speak English impromptu, not just on the stage or in front of an audience but also in a casual meeting, on the street or during a formal meeting in a board-room. In fact to be able to speak “impromptu” should be the Holy Grail of teaching and learning ESL, more important than reading, writing and listening. So how come it is not given the priority it deserves – and how come it seems such a difficult goal? We believe it is because teachers and learners neglect to emphasize and practice the key to learning impromptu speaking. That key we believe is practice, practice and more practice. We can remember songs from our kindergarten years and we can still sing them because we practiced, practiced and practiced them. We believe that the teaching of ESL often overlooks the critical importance of lots of practice to create depth of learning and that creative methods of practicing need to be taught and practiced in ESL courses until such methods become deeply habitual, in fact they become a new personal paradigm. If our students aim to become great at ESL, they, too, must take continuous never-ending practice to heart.

L'"Impromptu": Una reflexión teórico-práctica sobre el teatro (Moliere, Giradoux, Ionescu, Cocteau) (pp. 138-182) de Claude DUÉE, Bárbara FERNÁNDEZ Monserrat MORALES, Cécile VILVANDRE (Universidad de Castilla-La Mancha), en Les chemins du texte Les Chemins du texte : VI Coloquio da APFUE (Santiago, 19, 20 e 21 de febreiro de 1997), María Dolores Olivares Vaquero (coord.), Teresa García-Sabell Tormo (coord.), Universidade de Santiago de Compostela, Servicio de Publicaciones, 1998 En la historia del teatro francés, algunos dramaturgos han utilizado la idea especular del teatro dentro del teatro o sobre el teatro. Partiendo del con-cepto del "Impromptu" pretendemos acercamos al trabajo reflexivo y práctico de Moliére, Giraudoux, Ionesco y Cocteau en el quehacer teatral. El análisis de estas obras nos permitirá captar la evolución de una idea que siempre ha obsesionado al artista: el límite entre la ficción y la realidad, la débil frontera entre el "yo" cre-ador y el "yo" proyectado, la independencia del autor respecto de las exigencias del público y de sus intermediarios. Cuando nos reunimos por primera vez para tratar del "Impromptu", poco o nada sabíamos del tema excepto que había coincidencia del vocablo en algunos títulos de obras dramáticas francesas. La lectura individual de Moliére o de Ionesco había ya suscitado la curiosidad de aquellas de nosotras que nos dedi-cábamos al estudio del género teatral en general, o del autor en particular. Pero fue la idea de elaborar un trabajo en común en tomo a este tema lo que nos pare-ció sumamente atractiva por cuanto significaba trabajar en equipo, lo que no suele ser siempre fácil habida cuenta que estamos obligados a dedicar nuestros esfuerzos aislados a estudios parciales de autores y/o temas. El trabajo consta de dos partes. La primera pretende aclarar una serie de conceptos teóricos que permitirán perfilar los límites de la modalidad teatral que es el "Impromptu" y que hemos repartido de modo siguiente: La teatralidad (C. Vilvandre) El teatro en el teatro (B. Fernández) La puesta en abismo (M. Morales) El concepto de "Impromptu'' (Cl. Duée)