Rehearsal and Delivery
Rehearsal is not repetition. It is deliberate practice: trying a specific choice, noticing what happens and adjusting. This page outlines a rehearsal process that moves from reading the script to delivering it in the room where it will be heard.
The rehearsal sequence
| Stage | What to do | What to notice |
|---|---|---|
| 1. Read-through | Read the speech aloud without stopping. | Where does it feel long, unclear or awkward? |
| 2. Chunk | Divide the speech into opening, points and close. | Does each section have one job? |
| 3. Mark | Add breath points, stresses, pauses and signposts. | Can you see the shape at a glance? |
| 4. Slow run | Speak more slowly than normal, exaggerating consonants. | Which words are hard to say or hear? |
| 5. Timed run | Speak at performance pace with a timer. | Are you over or under time? |
| 6. Recorded run | Record on a phone and watch it back. | What do you see and hear that you did not expect? |
| 7. Audience run | Perform for one person, then a small group. | Where does the audience react or lose focus? |
| 8. Dress rehearsal | Use the real space, microphone and visuals. | What technical problem needs a backup plan? |
Marking the script
| Mark | Meaning | Example |
|---|---|---|
| / | Short breath or pause. | “Today / I want to explain ...” |
| // | Longer pause or section break. | “That is the problem. // Here is what we can do.” |
| underline | Stress this word. | “This is our responsibility.” |
| ↑ | Rise in pitch. | “What would you do? ↑” |
| ↓ | Fall in pitch. | “That is the point. ↓” |
| (soft) | Lower volume. | “(soft) I almost didn't say anything.” |
| (loud) | Raise volume. | “(loud) We can change this.” |
| → | Slow down. | → “Three. Hundred. Students.” |
Mark your own copy in pencil so you can revise. Do not mark every word; mark the choices that matter.
Chunking
Chunking means learning the speech in sections rather than trying to memorise the whole thing at once. Learn the opening until it is automatic, then the first point, then the transition. Practise the joins between chunks, because that is where speakers often lose their place.
- Give each chunk a keyword or image.
- Practise the last sentence of one chunk and the first sentence of the next together.
- Use a cue card with the keywords in order.
- Test yourself by starting from the middle of a chunk.
Recording
A recording is a mirror, not a judgement. Watch it once for content, once for voice and once for body. Use a simple checklist:
| Watch for | Question | Possible change |
|---|---|---|
| Opening | Do you start before the audience is ready? | Pause, look up, then begin. |
| Pace | Are you rushing? | Slow the first sentence; mark pauses. |
| Clarity | Are the ends of sentences audible? | Finish final consonants; breathe. |
| Fillers | How often do you say “um” or “like”? | Replace with a pause. |
| Body | Are you rocking, hiding or over-gesturing? | Plant the feet; use one deliberate gesture. |
| Eye contact | Are you reading the whole time? | Look up at the end of each sentence. |
| Close | Does the ending land? | Slow down; hold still; stop talking. |
Timing
Time the speech at performance pace, not rehearsal pace. If you are over time, cut content rather than speeding up. If you are under time, add an example or a pause rather than padding with filler.
| Target | Words per minute | Approximate word count |
|---|---|---|
| 1 minute | 130–150 | 130–150 words |
| 2 minutes | 130–150 | 260–300 words |
| 3 minutes | 130–150 | 390–450 words |
| 5 minutes | 130–150 | 650–750 words |
These are rough guides. A speech with pauses, demonstrations or audience interaction will take longer than the word count suggests.
Rehearsing with an audience
Start with one trusted listener, then two or three, then a small group. Ask them to listen for one specific thing rather than giving general reactions. After the run, ask:
- What was the main point?
- Where did you lose focus?
- Which moment was clearest?
- What is one change you would suggest?
Technical checks
| Element | Check | Backup |
|---|---|---|
| Microphone | Battery, level, feedback, distance. | Speak louder or use a spare. |
| Slides | Font size, contrast, sequence, remote. | Print a handout or speak without slides. |
| Video | Sound, captions, aspect ratio. | Describe the clip or skip it. |
| Room | Lighting, temperature, seating, exits. | Adjust before the audience arrives. |
| Notes | Cue cards numbered and ordered. | Keep a spare set. |
Delivery checklist
- I have rehearsed the opening and closing most often.
- I know where to breathe and where to pause.
- I can see my cue cards at a glance.
- I have timed the speech at performance pace.
- I have practised in the real space or a similar one.
- I have a plan for a technical failure.
- I know how I will stand, move and use my hands.
- I have decided what to do if I lose my place.
Practise the transitions, not just the lines. Most stumbles happen between sections. Rehearse the last sentence of one point and the first sentence of the next until the join is smooth.
Common errors
- Only rehearsing silently. Speaking aloud is a different skill.
- Only rehearsing in your head. The body and voice need practice too.
- Memorising every word. A keyword outline is more flexible than a script.
- Practising only the beginning. The ending needs the most repetition.
- Ignoring the room. A speech that works in a bedroom may fail in a hall.
- Changing everything after one recording. Choose one or two changes at a time.
Next, read building a speech for an integrated workshop. The teacher notes offer pacing and differentiation advice.