Rules and regulations may change across events and leagues, but one continual is the introduction. Introductions be given to be the one adaptable across the Speech world. Though, however akin they may be across events, there are nuances for composing an introduction per event. Humorous Interpretation has a few introduction “rules” that any HIer should cognize
Time. Keep an introduction to under a minute. Actually, some leagues have a rule that a Humorous Interpretation can only have up to one minute of avant-garde material (introductions, transitional material) anyway. Most efficacious introductions are between 30-45 seconds. Besides, how much time do you really necessitate to give the author’s name and the piece’s title?
Necessities. What needs to be in any introduction is an attention getter, necessary background information, the author’s name, the title of the piece, and if needed a transition back into the performance (some introductions work best with the end sentence involving the author’s name and title). There is no set outline for how an introduction should flow, but these bits of information are necessitated.
Tone Any introduction should be told in a tone that reflects the piece. Thus, a Humorous Interpretation introduction should have a cheerful air (unless your HI is gloomy comedy of course!). Tell a joke. The comedy does not discontinue and turn into a grave, History Channel-esque 45 second preview of what is on next. Does that give you permission to be a goof? No. Just do not turn the Humorous Interpretation mood you have set up into Dramatic Interpretation.
Gimmicks Those involved in Humorous Interpretation, and Duo/Duet, feel that it is their right to be ridiculously hilarious in introductions. This may involve gimmicks much as raps or distant salesmanship (you finger enchanted into a Billy Mays or Vince Shlomi infomercial). Be discouraged, gimmicks that are just that–with nothing of tangible substance–may get a laugh but might ultimately go forth the audience feeling as if you are trying to overcompensate for your piece. Crazy introductions can work if they mesh and support the piece, and might actually heighten the work, but if you are executing a rap just for the sake of being antithetic, then your introduction will be hollow.
Be yourself The introduction is the only place in the piece where you can be yourself. In fact, it is better if you can display your confidence by not concealing behind a persona and being you in the introduction. This leaves an acceptable impression of you for the audience and shows them why you personal the room (aside from your improbable interpretation skills!).
PRACTICE AND WRITE IN ADVANCE!!! DO NOT be the person that writes their introduction on the bus ride to the tournament. The introduction might be climbable, but climbable is not acceptable enough. Passable eventually breaks down into fallible and substandard. The elements might be in the introduction, but most often it will lack heart
Introductions are an annoyance to all in Speech, but they are a required nuisance. And an enthusiastic Humorous Interpretation introduction can be that little something to set you above the competition. Take some time, be adroit, and compose an introduction that complements your HI
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