1. Movement in the Courtroom
• As trial lawyers, this tends to be the last thing
on our minds.
• We plan our movements and gestures when
we are in front of a jury just like we plan our
opening statements and closing arguments.
2. Movement in the Courtroom
• Herein lies the problem. Strategies or plans to
move around the courtroom can lack the fluid
motion of natural movement.
• As a result, it comes off artificial.
3. Movement in the Courtroom
• Let’s take a short digression.
• Michael Chekhov analogized the body to that
of an instrument.
• Our instrument is the same body that carries
on a life: it eats; it sleeps; it laughs and cries; it
experiences pain and anguish; it dies.
4. Movement in the Courtroom
• Experience comes to us through our bodies as
sensations.
• Our bodies record this as knowledge.
• We speak a language of experience that we
are comfortable with, using word pictures that
are absolutely connected to movement.
5. Movement in the Courtroom
• In fact, we seem to have lost a connection to
the original statements.
• What do we mean when we say, “she fell into
despair,” or “fell into confusion,” or “fell in
love” or “fell asleep?”
• How can these things be connected? Do we
really “fall” into them?
6. Movement in the Courtroom
• Behold our common language of movement.
• We say we are either “moved” or “not moved”
by things.
• Our hearts go out to others, or they break, our
chins drop, we rise to the occasion, and swell
with pride, we shrink in fear, or firmly stand
our ground.
7. Movement in the Courtroom
• We feel others out, put our heads together
and touch upon the problem, sidestepping the
real issue until we are able to draw
conclusions and then are finally rest assured.
8. Movement in the Courtroom
• Movement is at the center of these
statements so it is essential to pay attention to
movement: the movements we make, the
ones made around us, and the ones
happening within us.
9. Movement in the Courtroom
• Actors never “wander” around the stage.
Every move is done with purposeful intention
to emphasize, draw attention to, or offer
“subtext” to the script or content.
• When an actor moves from place to place on
stage, it’s called a cross. Crosses are precise,
clear movements from one place to another.
Each movement should be done with purpose,
at a specific point in your presentation.
10. Movement in the Courtroom
• Wandering, pacing or even unconscious
weight shifting is distracting and takes your
attention away from where it should be: the
jury. It weakens the impact of your speech.
• By moving to a specific point in the
courtroom, you can punctuate a point.
• Tip: If you want to make a strong point, taking
three steps forward will alert the jury you are
about to say something important.
11. Movement in the Courtroom
Think Like a Director
• Just as a director looks at the stage to see the
areas of strongest impact for the audience and
sets the stage for the scene, so should you.
• As a public speaker, you should always think
about the courtroom from the juror’s point of
view, keeping it balanced and visually
interesting.
12. Movement in the Courtroom
• Look at general areas of the courtroom as
points to reach your jury (all of your jury) on
as many levels as you can. For example, you
may move closer to the jury box to get closer
to one or two of them, or keep your distance
in order to take in all of them.
13. Movement in the Courtroom
• Look carefully at the placement of furniture
(lecterns, tables, projection screens) in
relation to YOU and where you are in the
jury’s view.
• Make sure you are not “upstaged” by an
unnecessary piece of large furniture, which
unconsciously draws the jury’s attention away
from you.
14. Movement in the Courtroom
• The following theatrical techniques will help
you stage your opening and closing in a way
that uses movement to enhance content.
15. Movement in the Courtroom
Upstage and Downstage
• Directors block the movements of actors to
emphasize dramatic meaning and to maintain
clear sightlines.
16. Movement in the Courtroom
• The downstage area, closest to the audience, is a
strong position and is the best place to present
the most important content of your speech.
However, you don’t want to live there.
• Upstage, away from the audience, is less
powerful but can be used effectively for reflective
pauses.
• Moving from upstage to downstage in order to
make an important point is highly effective.
18. Movement in the Courtroom
Stage Right and Stage Left
• In American and British theater, Stage Right
and Stage Left refer to the actor’s – or
speaker’s – point of view.
19. Movement in the Courtroom
• The position Downstage Right is perceived by
western audiences as having intimacy and
importance (probably because we read from
left to right).
20. Movement in the Courtroom
• In theater, love scenes, monologues and
narration are usually performed Down Right.
• Good public speakers use this position for
their most important content, or for stories
that have a strong emotional effect.
21. Movement in the Courtroom
• Downstage Left traditionally has a
conspiratorial feel to it, a place for plots and
discussions in the theater.
• Humor in a speech is often very effective
when delivered from this position.
22. Movement in the Courtroom
Tips
• Follow your instincts. Be led by those
jurors who seem to beckon for your
attention. You’ll see it; you’ll feel it.
• But NEVER leave anyone out.
