Acting for beginners: what exercises to do at home. Pantomime exercises (health-saving technologies) Mimic pantomime games and exercises
Useful transformations.
We learn to imagine, depict, remember.
PREFACE
This manual includes pantomime images, introduces the technology of using game moments, as well as technology in which the implementation of health mudras is combined with the performance of psychological tasks. They will help any teacher in explaining the material (especially in art and natural history classes), in relaxing the muscles of the body and face during school hours, in helping a child adapt to a new team, in restoring friendly, friendly relationships. By performing various exercises with the fingers, figures - mudras (folding the fingers in a certain order according to the Chinese method), the child reaches a good level of development fine motor skills fingers, finger flexibility. This has a beneficial effect on preparing the child for drawing and writing, as well as on the development of speech (excitation occurs in the speech centers of the brain when exposed to the fingertips), as well as the healing, restorative effect of organs, immune system and energy potential. Both the exercises for the fingers and the mudras performed have no contraindications and provide significant healing effect, because mudras are performed by children with pleasure, in a playful way and of their own free will.
I came to this...
Working with children of preschool, primary school and secondary school school age, I had to adapt several times to the different ages children, find ways to explain, communicate, and most importantly, set up children in a group (class) or a child to work with individual lesson and be sure to get results. Knowledge and skills acquired in the process of any activity and not included in the context of the child’s life interests have no personal meaning for him and are therefore poorly absorbed and do not provide a developmental effect and practical skills. The child cannot understand why it is necessary to draw, sculpt this way and not another, even after explanations, detailed analysis and consideration. And if he doesn’t understand, it means he doesn’t fulfill it, doesn’t work. Therefore, before drawing any object or image (sun, bird, cloud, falling snow, etc.), you can invite the child to depict it with pantomime (play of hands and body). That is, to “transform” into this object or image - to enter a fairy tale. For example, if you need to teach how to draw the sun, invite the child to turn into the sun, imagine how he will wake up from sleep, rise and how he will see the sky, clouds, trees, earth, people, birds, and so on from above. How the sun greets with its rays everyone it sees, distributing rays of joy and warmth to everyone from itself. At the same time, children remember that the rays come from the sun in different directions, like their hands diverging to the sides, up, down, and not towards the sun, and then they draw the sun as it was depicted. Children also learn that they need to say hello to everyone; they develop respect and a friendly attitude towards everyone and everything around the child. The child’s mood also improves, pleasant sensations and feelings arise, since the “Pure Radiance” mudra harmonizes the entire body. Children are freed from negative emotions and receive positive ones.
Most children draw trees from top to bottom. They often do not understand why they are asked or suggested to draw trees differently. When children “grow up”, how to draw trees becomes clearer and easier. A tree and a bush grow from the ground, from a planted seed, and they pull branches (and children’s hands) towards the sun and, growing, they stretch out small branches - fingers. Leaves fall from trees, scattering in different directions (leaf fall), and do not fall like rain from a tree, in orderly rows. At the moment of depicting an object with pantomime, the child “turns” into an object, into a natural phenomenon, and better understands how to draw it, get an image, and not just depict the object. He gains logical thinking skills, explanations of why he is drawn this way and not another. Also, a tense, shy child loosens up, opens up, and after several lessons becomes free from a number of complexes (embarrassment, uncertainty). He understands that it is possible to depict an object as he understands, he perceives it himself, without looking at others. And this leads to independence, faith in oneself, in one’s strengths, in the correctness of actions, in thinking about one’s activities. At the same time, receiving harmonization of the body by performing the “Pure Radiance” mudra.
It is important for the teacher to be consistent in his actions; the actions must be accessible and exciting for the child. They must be carried out independently by the child (it is necessary to achieve the child’s desire for independence), it is necessary to wait and achieve the implementation of these actions from beginning to end, which will lead in the future to an understanding of their actions.
“Transformation” into a plant, animal or inanimate object, as well as any visual activity, is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. Any creative activity of a child contributes to the development of each of these functions and connects them with each other. And pantomime helps the child organize knowledge, formulate and record an idea of the world, understand why it is done this way and the object is depicted. As a product of a child’s creation, a mini-pantomime performance and visual activity make it possible to identify the main problems associated with the formation of character that a child faces in the process of activity and communication, and on the other hand, to find ways to solve them and select the right methods of correctional work.
I “turn” with children into objects, phenomena, and this helps me find contact with any child, liberate him, win him over and get him involved in the activity. This “transformation” helps in classes with children with disorders of early emotional development and with children with abnormal brain development. In creative activity, children consolidate the emotionally experienced state, feel it more deeply, and clearly reflect the stages of development of visual-spatial-motor experience. For children, “transformations” are not just fun, but joy, emancipation, relaxation from mental or practical stress, and also creativity, a theatrical mini-performance.
Everyone knows that the decisive and unique period of child development is preschool age, as well as the age of primary schoolchildren. At this age, the foundations of personality are laid, will and voluntary behavior are developed, imagination, thinking, creativity, and initiative actively develop. All these important qualities are formed better and more qualitatively in learning through games, fairy tales, and “magic.” At this time, the child voluntarily obeys the rules and requirements; their fulfillment gives him maximum pleasure and therefore makes the child’s behavior meaningful and conscious.
In his work “Worttaubheit, Melodientaubheit und Gebardenagnosie” Korepep, based on clinical material, distinguishes four stages of expressive movements: 1) pantomimic, 2) automatic, 3) facial expressions, 4) laughter, crying, etc. (*). He proves on neuropathological facts that it is possible to distinguish between these stages, both more ancient and more recent. Pantomime expresses the action completely and with the whole body. Automatic movements (symbolic) express the action only partially and mainly with the hand. Facial movements become predominantly facial. And the sound ones are mainly voice-based. Not yet knowing about the work and conclusions of Korepepa, I began working with children using the same stages of expressive movements (pantomime, facial expressions, automatism of movements and speech). The correctness of my actions was confirmed by the results. Children begin to think, create, believe in themselves and their capabilities, non-speakers begin to make attempts to speak and then speak, because with “magic words”, “transformations”, pantomime images, the words of an adult are clearer to the child, and it is easier and simpler for him to work. A desire to become a wizard appears, and along with this desire, confidence in oneself and one’s capabilities appears. Children calm down, get rid of symptoms of neurosis, negative habits, or the symptoms of disturbances in emotional development are smoothed out. They relax during the exercise, are distracted from the previous lesson (task) and their emotional state, concentrate their attention on their actions with their hands and body, distracted, driving away extraneous thoughts, anxieties, and worries.
Children are able to retain in their memory images perceived earlier, and this ability is inherent in all or almost all children of preschool and primary school age.
*Kogerer. "Worttaubheit, Melodientaubheit und Gebardenagnosie." Berlin, 1924, V.92
What helps improve the emotional, physical, mental functions of a child
The hands and facial muscles are connected to a huge number of neurons in the motor zone of the cerebral cortex. The hands perform subtle and differentiated functions, and the facial muscles reflect various emotional states. The motor zone of the cortex is occupied by the head and arms, where the hands dominate in terms of area occupied.(*)
We have points and reflexogenic zones on our hands that are connected to the brain. Therefore, when tired, it is sometimes advised to press with medium force on the front, back and side surfaces of each finger. And with regular massage (rubbing, pressing) even just one thumb the functional activity of the brain increases. Therefore, due to extensive connections with the cerebral cortex, local fatigue of the arm muscles (during writing, drawing or any other painstaking work) causes inhibition of the central nervous system, and as a result of this, a decrease in the child’s overall performance develops. Since our hands and fingers are the most sensitive device for biocorrection. In particular, the fingers redistribute energy, and the bends of the fingers in one place or another and at a certain angle affect the strength and direction of the energy flow in the body.
“Transformation” into a plant, animal or inanimate object, as well as any visual activity, is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. Therefore, “magical transformations”, pantomime images, performing mudras for the development and massage of hands and fingers, i.e. any visual activity with the body and hands is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. And the teacher’s use of the proposed pantomime exercises and mudras will reveal not only the storehouse of talents and capabilities of any child, but will also give a positive health result.
Pantomime improves all mental functions: visual perception, representation, imagination, memory, mental operations (analysis, synthesis, comparison, communication, abstraction) (*).
In my work, pantomime is the depiction of animals and plants through body movements, the depiction of plant growth, the depiction of natural phenomena and some objects that surround us.
Mudra is an ancient method with which you can regulate energy flows for the purpose of healing and healing from all kinds of ailments. In Sanskrit, “mudra” is the name given to the ritual position of the hands in the Hindu Buddhist religion. Among the many mudras, I have chosen those whose implementation does not require a special environment or room, which can be performed during an explanation or during physical exercises. minutes, physical pauses. These mudras do not treat certain diseases, but regulate the functioning of organs, harmonize energy flows, improve overall well-being, increase immunity and mood, relieve depression, relieve fatigue, and increase performance.
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*Extract from the Soviet encyclopedic dictionary pantomime(from the Greek pantomimes literally - everything that reproduces by imitation), a type of stage art in which the main means of creating an artistic image are plasticity, facial expressions, and gestures.
Pantomime- a performance reminiscent of ballet became widespread in the 4th - 1st centuries. BC. (Children's encyclopedia "Art").
Words and thoughts come into close contact, like sound and gesture. “The sacrament of the word is reinforced by a gesture that creates a general spatial energy structure that has a certain shape…. Through words and mudra you can find peace, relieve stress, concentrate, and achieve merging with the One.”(**)
The main thing is to always do any task with love, believe in the child’s capabilities and never lose Hope and instill it in every child. To fantasize yourself and teach children to fantasize, to be an artist yourself and to develop artistry, to involve children in theatrical play.
And in order for a person’s desire to create and the feeling of happiness of creativity not to dry up, it is necessary from childhood to develop the ability to play (role), fantasize, discover and explore the world around him; these qualities will be useful to him in any activity.
In addition to all this, visual activity (not only painting and drawing) becomes the basis for enriching the interaction of children when performing work collectively; children gain experience in joint creativity and develop social skills, which is very important in preschool age. At the same time, creative imagination, the ability to make one’s own choices, self-confidence, etc. develop, ensuring the formation of the child’s skills in visual arts, as well as universal personality qualities.
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*E. Kastrubin. Secrets of healing programs. M. “KSP +”, 2002, p.23
**E.I. Gonikman. Laotian healing mudras. M. SME Publishing House, 2002, p. 83
Pantomime exercises, health mudras for children of preschool and primary school age
1. Exercise “The sun says hello”
This favorite exercise all children, especially good effect performs this exercise on withdrawn children who do not adapt well to a new team. Children learn ethical standards of behavior, respect for elders, peers and goodwill towards everything that surrounds the child in this world. Children also remember that the rays come from the sun in different directions, like their hands, and not towards the sun. The exercise uses the “Pure Radiance” mudra - palms folded towards each other - which harmonizes the entire body.
To perform this, children (children) are asked to squat down, fold their palms near their cheeks and close their eyes. At the same time, the teacher says the words: “The sun slept soundly at night. In the morning I opened my eyes (the children open their eyes), rose up (the children, together with the teacher, rise from their haunches) and saw the blue sky.” The palms are placed in front of you with fingers folded towards each other - the “Pure Radiance” mudra. When greeting the sun, the hands rise up, spread to the sides, fall down, each time returning to the position of the “Pure Radiance” mudra. “Hello, sky” - hands raised up. “Hello, birds (clouds, clouds, if the weather outside is bad, wind, etc.)” - arms to the sides. “Hello trees” - hands slightly down and to the sides. “Hello, Earth” - hands down. “Hello, people of the whole earth” - arms to the sides from the chest. You need to finish the exercise by greeting the teacher (teacher, teacher) and all the children in the class or group. You can continue to say hello, especially to children preschool age, with mom, dad, grandma, grandpa and each of them. Drawing children's attention to the fact that the sun “distributes” its rays from itself, from its “heart” to everyone it sees, meets and loves.
2. Exercise for fingers
You can do it at the beginning of classes before writing, drawing, labor activities in labor lessons, the surrounding world, etc. and in the middle (physical minute). "Ant behavior" - a clenched fist when the thumb is bent and hidden under the rest. This mudra regulates the functions of the kidneys, rectum, spine, and eliminates fear. Touching the pads of the fingers while “greeting” the index finger of the thumb is a mudra that increases the energy potential of the body, strengthens metabolic processes, improves blood circulation. The connection of the middle with the large helps to harmonize the liver, stomach, gall bladder; nameless - harmonization between the liver and gallbladder system with the lungs and large intestine, with the little finger - stabilizes the psyche, strengthens the Spirit, physical and spiritual immunity.
Children perform the exercise while sitting at tables (desks) immediately before work.
“One, two, three, four, five, the children came to draw; They all raised their hands and clenched their fists.”
Hands bent at the elbows stand on the table, fingers clenched into a fist.
Each finger rises in turn to its own words:
“The finger went out for a walk” - the little finger rises;
“And then the second one” - the ring finger rises;
“The middle finger went for a walk too” - the middle finger is raised;
“The index finger is behind it” - the index finger rises.
The thumb remained pressed to the center of the palm alone.
“But the thumb is still asleep.
His friend fingers began to wake him up: “Wake up, couch potato, wake up quickly, go out for a walk, sleepyhead, and hear your friends.” Each finger taps – “wakes up” 1 - 2 phalanges of the thumb 3-5 times.
The thumb straightens, the friend fingers “greet” it
touching each fingertips with the thumb.
You can “hello” with the fingers of both hands.
Or
“One, two, three, four, five, they will draw their fingers” - the children clench and unclench their fists, the fist remains clenched on the last word.
“I draw” - the little finger rises;
“Mom is with me” - the ring finger rises;
“Dad will draw” - the middle finger is raised; “grandmother” - the index finger is raised;
“Where is grandfather? Grandfather is still sleeping." The thumb remained pressed to the center of the palm alone.
1 - 2 phalanges of the thumb for the phrase: “Wake up, grandfather,” - each finger taps 3-5 times.
“Grandfather woke up and stretched” - the fingers move apart in different directions, stretching movements are performed, spreading the arms to the sides. “And hugged everyone” - at the same time they wrap their arms around themselves. You can repeat the hug 2-3 times.
This gives the child a feeling of love and tenderness that he lacks in his life. He is loved by himself, and therefore by all the people around him.
3. Exercise “The balloon is inflated”
To relax, distract from complex or painstaking work and to further focus on completing the task, to increase self-confidence, it is good to use the “Ball is inflated” exercise. While performing this exercise, the child strengthens his energy shell and protects himself from negative influences.
Invite the children to stand near the table, put their hands and heads down, and relax. Hands hang freely.
The teacher depicts the “work” of the pump, saying “shih-shih-shih.” Children, to the sound of a running pump, slowly raise their heads and arms up, pretending to inflate a balloon with their hands. Raising your hands up, you “tie a ball” - clasping your fingers above your head. The teacher imitates the blow of a light breeze and suggests that the ball sway in the wind, and the children depict the movement of the ball in the light breeze by swaying the body to the sides. The teacher tells the children that he decided to joke with the balloon and pulls the string, which unties and the balloon quickly deflates. Children depict how the balloon deflates, twists and turns as it falls. Inflating the balloon is repeated, the balloon is tied tightly and sways again in a light breeze. Then the teacher offers gently “strong, okay inflated balloons»Sit down and continue working. While “inflating” the balloons, children can be asked to remember what shape they come in and draw a ball of their favorite shape.
4. Exercise “A tree grows”
This exercise helps children draw an idea of how a tree grows, and remember after the transformation that a tree grows from the ground and stretches its branches to the sky and the sun. Children remember that trees come in different thicknesses and heights; some trees are fragile and slender, others are strong and powerful. From the tree depicted, you can understand the child’s state of mind at the time of the lesson.
Palms folded together at chest level - the “Pure Radiance” mudra is performed to harmonize the entire body.
To perform this, children are asked to squat down (preferably in a circle), cup their hands in front of their chests. Every child is a seed. A tree sprouts from a seed after rain. The teacher plays the role of a rain cloud, which “flies” between the children and “waters” each seed - touches the head of each child.
The teacher comments on the children’s actions: “A seed sprouts after the rain.” Children slowly raise their clasped hands up, imitating the passage of a sprout through the ground. Then they rise from their haunches without opening their palms. “The tree has grown, and large branches grow from the trunk - “hands” that reach out to the sun” - the children separate their palms and use their hands to depict branches going in different directions. “Small twigs appear on the branches - fingers, which children spread in different directions.
5. Image of a bush
Growing a bush with your hands helps children remember that bushes are smaller than trees; large branches of a bush grow from one seed - a dot. Palms folded together at chest level - “Pure Radiance” mudra - which helps to harmonize the entire body.
Children sit on their haunches or at tables. The palms are folded into a boat. When the seed germinates, the palms move in different directions, and the arms close at the elbows. The fingers spread in different directions, like small branches of a bush.
6. Image of grass
And again, palms folded together at chest level - the “Pure Radiance” mudra - helps to harmonize the entire body. Open hands are a mudra used for emotional instability, depression, heart problems, and poor circulation.
The palms are folded into a boat. Children can pretend to be herbs while standing or sitting at the table. When the seed germinates, the palms move in different directions, remaining closed at the base of the palms. The fingers can be pressed together or spread in different directions, like a grass bush.
7. "Light Bulb"
Exercise helps relax the muscles of the back and arms, and most importantly, helps cope with bad mood or psychological stress.
Children stand in a circle or between rows. Hands down, forming an oval. Eyes closed. The teacher reports turning on the light bulb and snapping his fingers. The arms fly up, and the child jumps easily. The fingers touch the pads above the head, the eyes open, and a smile appears on the children’s face. At the second click, the light turns off - the hands drop down, depicting an oval, the eyes close, the smile disappears from the face. The third click “turns on the light bulb”, and in the image of a “light bulb on”, children are invited to take their seats.
8. "Turtle"
Performing the “turtle” mudra helps relieve tension and replenish energy. I use it when children are hyperexcited and when it is necessary to concentrate the attention of children.
The fingers of the right hand are intertwined with the fingers of the left hand. Thumbs connected by terminal phalanges, as if forming the head of a turtle. The palms of the intertwined hands are kept parallel to the table (floor), the “head” is directed towards the child’s chest.
You can check the strength of the “shell” of the “turtle”, if time allows: move each child’s arms to the sides - all the children really like to measure their strength with the teacher.
9. “Building a house”
We perform this “construction” before drawing or appliquéing a house, especially with children, who understand “construction.” And it can also be used as a physical. a minute at school.
Children, together with the teacher, pronounce words and perform the work of building a house in pantomime.
“We will build a house, a house, we will live in it, in it” - the guys squat down at the tables or in the center of the office, placing their hands horizontally in front of the chest, one above the other.
"One brick, two bricks, three, four, five and six"- hands alternately change places, imitating brick laying, while simultaneously rising from squatting.
"We will build walls"- hands rise up and outline the contour of the erected wall
Houses.
“Let’s make a window and look out of it a little”- fingers are connected to form a window;
"We'll build a roof"- make a triangle with your hands;
"Let's make a pipe"- palms are placed opposite each other;
“We built our own house, it will be fun to live in it” - children return to their places .
10."Ice cream"
Depict ice cream from the freezer - strong, hard and “joyful” - children stand straight, raising their arms up and slightly to the sides. The head is raised, there is a smile on the face.
But the sun has warmed up, and the ice cream begins to melt, sadness - the children slowly lower their hands and heads down, feigning sadness on their faces. At the same time, smooth movements of the body are performed, you can sit down halfway.
Then the ice cream is “beaten” - the children move vigorously from side to side - “frozen”, gradually taking its original position (pose).
Or so
11. "Sparrow"
Performed in classes when drawing small birds.
Children stand at their seats or in the center of the room, arms are placed along the body, hands slightly back. The head is pulled into the shoulders, the torso is slightly tilted forward, and the legs are slightly bent at the knees. Invite children in this position to jump on the spot (or in a circle), then “spread” their wings, rise on their tiptoes - “fly up”.
Other birds are depicted similarly, taking into account their characteristics, as well as animals.
12.Favorite and least favorite colors
To bring children closer to each other, to help a child understand himself painlessly and unnoticeably, to release negative emotions towards the offender, I conduct an exciting activity for children and a necessary and useful one for the teacher.
Children (children) are asked to choose three colors from a set of paints that everyone likes, and apply them to a sheet of paper of any shape (spot, stripe, in the form of a flower, a three-color man, etc.). Then apply three colors that they don’t like. Also any shape. While the paint is drying, call one child to the center, turn his back to the children and invite him to think or speak mentally only bad things about everyone present. After that, ask the guys what color it is this moment this child. Then ask the same child to think or say mentally the best words about everyone, and ask the children to name the colors of the paints that they will give him now.
You can do this to the teacher himself, then explain to the children that our mood and that of those around us depends on each person. Then do the same with the children.
These “drawings” will help the teacher in individual communication with a child who is “always offended” by someone in the class (group). It will also help the teacher to know which of the children perceives him positively and which negatively, so make comments this child you need to be careful and try to find contact with him through another (positive) person.
13.The magic of the line
On a prepared sheet of paper, invite the children to quickly apply with a simple pencil or with a pen, a continuous, curved line that intersects itself several times (Fig. 1a; 2a). Then, turning the sheet in a circle, examine the resulting drawing, and try to see (examine) the image, the object (1b). Highlight it by shading, drawing straight lines, wavy lines or dots onto the resulting elements (details) of the image or object (Figure 2 a, b).
Details can be painted over with colored pencils (Figure 1c).
1(a B C)
You can complete the task with paints, applying a continuous line with a brush and without thinking about applying any colors to the resulting elements (Figure 3a). Let the sheet dry. And then, turning the sheet, determine what happened (3b). You can look at the work and determine what happened at the end of the lesson with the whole class. You can hear several options and “discover” a lot of interesting things in his “magic line” to the author of the work.
2(a, b)
3(a, b)
14. “Mood Ball”
Exercise improves mood; with his own thoughts, wishes for himself all the best, kindness, and pleasure, the child concentrates his own energy. Receives a charge of positive emotions and gets rid of stress, fear, resentment, etc. I recommend doing it this exercise before a difficult task or test.
Invite the children to stand near their place, place their hands in front of them, palms facing each other. The distance between the palms is 15-20cm. The hands are not tense, the fingers are slightly bent, as if holding a small ball. You need to listen to yourself, to your hands, and then warmth, slight tingling, pulsation, etc. will appear between your palms. Everyone may have an individual feeling, but it will definitely be there. With light, pulsating movements of the hands towards each other, an imitation of holding an inflated rubber ball is created - this is the concentration of one’s energy. Then invite all the children to imagine something most pleasant and desirable for them (sweets, a vacation at the seaside, a river, receiving a gift, and so on). Mentally put pleasant sensations into your energy ball, feel how it has slightly enlarged, become more elastic, and then “swallow” the ball, i.e. place it within yourself with all the pleasant ideas and sensations.
It is necessary at the moment of “swallowing the ball” to help the children with the words: “A pleasant warmth began to flow through the body, penetrating into every cell of our body. There was a feeling of lightness and purity. My mood has improved. Everyone has a bright head, pure thoughts, a great mood, and a kind heart. Everyone is ready to do the job.”
Each teacher can come up with his own words.
In the future, “Mood Balls” can be shared mentally with parents, friends, classmates, and people who have Bad mood or no good relationship.
Epilogue
All these exercises help me work with children, communicate with them, and help the children to relax, relax emotionally and physically, and get ready for work. And also communicate with me, with each other and with parents. All these exercises help me and the children improve their performance, improve their energy balance, and harmonize the body. I really hope, I am sure that these exciting exercises will appeal to and help both children and adults.
Success, good luck, health and good mood.
No matter how much you put your teeth on the shelf, creative people need self-expression. And in order to reveal acting talent and improve stagecraft, you need perseverance and patience. Exercises will help you acquire and hone all the skills necessary for a professional actor. acting. After all, an actor on stage is not just a mechanical doll that mindlessly carries out the director’s instructions, but a doll that can think logically and calculate actions several steps ahead. A professional actor is flexible, has good coordination, expressive facial expressions and intelligible speech.
Before you start studying and working on etudes and scenes to the fullest, you need to understand yourself a little. A real actor needs certain character traits that must be actively developed in himself. Other qualities should be hidden in a far corner and remembered extremely rarely.
Let's consider such a quality as self-love. It would seem that this is a normal state for every person. But this quality has 2 sides:
- Self-love makes you develop and learn every day, and not give up. Without this quality, even a very talented person will not be able to become a famous actor.
- Self-love and narcissism are a dead end for an acting career. Such a person will never be able to work for the viewer; all attention will be focused on himself.
A good actor cannot be absent-minded. He should not be distracted by extraneous noise while playing on stage. Because acting inherently implies constant control of oneself and one’s partner. Otherwise the role will simply become a mechanical performance. And attention allows you not to miss important details during training, watching theatrical productions, master classes and trainings. In order to learn to concentrate, use exercises to develop attention from stagecraft.
Attention is the basis for a good start to a theatrical career
The development of attention does not begin with special exercises, and with Everyday life. An aspiring actor should spend a lot of time in crowded places, observing people, their behavior, facial expressions, and characteristics. All this can later be used to create images.
Keep a creative diary - this is an ordinary diary of a creative person. In it, express your thoughts, feelings, write down all the changes that have occurred with surrounding objects.
After filling out the creative diary, you can move on to practicing sketches and sketches. A novice actor is obliged to convey as accurately as possible the image and facial expressions of the person he was observing. It is necessary to place prototypes in non-standard situations - it is precisely such productions that show how much the actor was able to understand and get used to the image of an unknown person.
"Listening to Silence"
Next exercise– the ability to listen to silence, you need to learn to direct attention to a certain part of the external space, gradually expanding the boundaries:
- listen to yourself;
- listen to what is happening in the room;
- listen to sounds throughout the building;
- recognize sounds on the street.
Exercise "Shadow"
It not only develops attention, but also teaches you to move consciously. One person slowly does some pointless actions. The second’s task is to repeat all movements as accurately as possible, try to predict them, and determine the purpose of the actions.
Pantomimes and dramatizations
A good actor knows how to convey emotions expressively through words and body. These skills will help to involve the viewer in the game and convey to him the full depth of the theatrical production.
Pantomime is a special type of stage art based on the creation of an artistic image through plasticity, without the use of words.
- Best exercise to learn pantomime - crocodile game. The goal of the game is to show an object, phrase, feeling, event without words. Simple, but fun game It perfectly trains expressiveness, develops thinking, and teaches you to make quick decisions.
- Dramatization of proverbs. The purpose of the exercise is to use a small scene to show a well-known proverb or aphorism. The viewer must understand the meaning of what is happening on stage.
- Gesture game– with the help of non-verbal symbols, an actor can say a lot on stage. To play you need at least 7 people. Everyone comes up with a gesture for themselves, shows it to others, then shows some other person’s gesture. The one whose gesture was shown must quickly repeat it himself and show the next someone else's gesture. Whoever gets lost is out of the game. This game is complex, develops attention, teaches teamwork, improves plasticity and hand coordination.
Exercises for the development of plasticity
If things are not going well with plastic surgery, this deficiency can be easily corrected. By regularly performing the following movements at home, you can learn to feel your own body better and control it skillfully.
"Painting the fence"
The exercise “painting the fence” develops the plasticity of the hands and arms well. It is necessary to paint the fence using your hands instead of a brush.
What exercises make your hands obedient:
- smooth waves from one shoulder to the other;
- invisible wall - you need to touch the invisible surface with your hands, feel it;
- rowing with invisible oars;
- twisting clothes;
- tug of war with an invisible rope.
"Pick it up piece by piece"
A more difficult task is “assemble the parts.” You need to assemble some complex mechanism piece by piece - a bicycle, a helicopter, an airplane, or create a boat from boards. Take an invisible part, feel it with your hands, show the size, weight and shape. The viewer must imagine what spare part is in the actor’s hands. Install the part - the better the plastic, the faster the viewer will understand what the actor is assembling.
"Stroke the animal"
Exercise “petting the animal.” The actor’s task is to pet the animal, pick it up, feed it, open and close the cage. The viewer must understand whether this is a fluffy hare or a slippery, wriggling snake, a small mouse or a large elephant.
Development of coordination
The actor must have good coordination. This skill allows you to perform difficult exercises on stage, perform several movements at the same time.
Exercises to develop coordination:
- Swimming. Extend your arms straight parallel to the floor. Perform with one hand circular movements back, the other forward. Move your hands simultaneously, periodically changing the direction of movement of each hand.
- Knock - stroke. Place one hand on your head and start stroking. Place your other hand on your stomach, tapping lightly. Do the movements at the same time, not forgetting to change hands.
- Conductor. Stretch your arms. One hand moves up and down for 2 beats. The other one makes voluntary movements for 3 beats. Or draws a geometric figure. Use both hands at the same time, changing hands periodically.
- Confusion. Extend one arm, make circular movements clockwise with your straight hand, while simultaneously rotating your hand in the other direction.
These exercises are not easy to do at first. But constant practice gives results. Each exercise should be repeated at least 10 times every day.
Scenes and sketches for beginning actors
A novice actor does not have to come up with everything from scratch. The ability to copy and imitate well is an integral part of stagecraft. You just need to find a film with your favorite character, try to copy his facial expressions, movements, gestures and speech as accurately as possible, convey emotions and mood.
The task seems simple, but at first it may be difficult. Only regular classes will help you hone your imitation skills. In this exercise you cannot do without attention and the ability to concentrate on little things. Jim Carrey has a good gift for imitation - there is a lot to learn from him.
Exercise “Think it through”
The acting profession requires a well-developed fantasy and imagination. You can develop these skills using the “think it through” exercise. You need to go to places with large crowds of people, choose a person, observe, pay attention to their appearance and behavior. Then come up with a biography, a name, and determine his occupation.
Scenic speech
Good stage speech involves more than just clear pronunciation and good articulation. A good actor must be able to scream quietly and whisper loudly, and convey the emotions, age and mental state of the hero with just his voice.
To learn how to convey emotions in words, you need to pronounce a simple phrase from the point of view of different characters - a little girl, a mature woman, an older man, a famous actor or politician. You need to find special intonations for each character, use typical speech patterns.
Exercises for developing stage speech:
- Blowing out the candles. Take in more air and blow out 3 candles one by one. The number of candles must be constantly increased, and the diaphragm muscles must be used when inhaling.
- Practicing exhalation technique. The poem "The House That Jack Built" is appropriate for this exercise. Each part of the piece must be pronounced in one breath.
- Improving diction. Slurred speech is unacceptable for a good actor. You need to honestly identify problematic sounds in your speech and pronounce tongue twisters every day that are aimed at eliminating the problem. You need to exercise for at least half an hour 3-5 times a day. Tongue twisters teach you to speak clearly in fast pace, which is extremely important in acting.
- Intonation plays a prominent role in creating the right image. To practice, you need to read literary dramatic texts aloud every day.
You can study acting exercises on your own; various trainings will come to your aid. But it’s better to study in the company of like-minded people - you can take courses or organize theater evenings at home. The main thing is to never give up, always believe in your own talent, and move towards your goal.
Anzhelika Babenko
Game exercises to develop facial expressions and emotions for middle-aged children.
Sketches for the expressiveness of movements, basic emotions, pantomime sketches.
Pantomime sketches
1. "Naughty Puppy"- the performer jumps up, nods his head, waves his tail, etc.
2. "The puppy is looking"- looks under the table, chair, looks around, listens, etc.
3. "Proud Cockerel"- walks, raising his legs high, flapping his wings on his sides, screaming “Ku-ka-re-ku!” etc.
4. "Shy little mouse"- shrinks into a ball with a frightened expression on his face, etc.
5. "Evil Dog"- with eyes wide open, barks and growls angrily.
6. "Bee"- eyes wide open, buzzing.
7. "Frog"- with legs spread out, leisurely jumps and croaks.
8. "Naughty cat"- eyes dart, back is curved, hisses, snorts.
Pantomime game"Guess who I'll show you"
Some children, if desired, pantomimic, sometimes helping with their voices, they portray the heroes of a fairy tale, and others guess them. During the game, each time the teacher asks those children who guess by what signs they guessed the heroes of the fairy tale.
Studies on the expressiveness of movements and the expression of basic emotions.
1. "Make a gesture" Children, standing in a circle, use gestures to depict the words that are spoken to them. teacher: "high", "small", "there", "I", "Goodbye", "Hello", "it is forbidden", "come here", "get out of here", "quiet" and etc.
2. "Deaf Grandma" A child talks to a deaf grandmother (the role of grandmother is played by a teacher, who, it turns out, is looking for him. He has already realized that he must talk to his grandmother using his hands, since she cannot hear anything. Grandmother asks: “Where is Vitya?”(says the name of any child, “Whose books are these?”, “Whose toys?”, “Where is mom?” etc. The child responds with gestures.
3. "Quiet" Two mice must cross the road where a kitten is sleeping. Children are asked to cross the road in such a way as not to wake the kitten, indicating each other with signs friend: "Quiet!"
4. "Weasel". Children are encouraged to show how much they love their toy, kitten, dog, etc.
5. "Delicious candy". The teacher is holding an imaginary bag of candy. He hands it to the children one by one. They take one candy at a time, thank them with a gesture, then unfold piece of paper and put the candy in your mouth. It is suggested to show facial expressions and gestures what kind of candy tastes like?
Sketches for expression emotions of sadness and joy.
1. "Ill-mannered mouse"- walks through the forest; Hares and squirrels greet him, but he turns away.
2. "The mouse wants to play with friends"- he runs up, and his friends turn away from him.
3. "The little mouse makes peace with his friends"- runs up to hares, squirrels, and other animals that children can choose at will, and says polite words to them.
Expressiveness game facial expressions.
The teacher shows the children a beautiful apple (dummy). Gives you the opportunity to look at it, touch it, and pass it on to each other. After this the game is played “Imagine the taste of an apple”. Children, imitating how they bite an apple, depict facial expressions what they think it tastes like. Moreover, the adult starts first, and the children guess (sour, sweet, bitter, tasty, etc.). The teacher aims at children, that everyone may find an apple to taste different, and this will determine facial expressions.
Game exercises to develop facial expressions and emotions using illustrations, diagrams - models, toys.
Cheerful, joyful mood
cheerful cloud
Here's a cheerful cloud laughing me:
“Why are you squinting your eyes like that?
How funny you are!”
I laughed with him too:
“I have fun with you!”
And for a long, long time I waved my hand after the cloud.
I'm happy to go to the garden
I'm very happy today
After all, I'm going to kindergarten.
I will swim and draw
And play with the kids.
Cheerful laughter
A bear walked - shaggy fur,
He carried a cheerful laugh in the bag.
Hooked a bag on a branch -
Laughter rained down all around.
M. Vainilaitis
Frogs are looking for a mosquito
Here are the frogs along the path
They jump with their legs stretched out.
We saw a mosquito
They screamed: “Kwa-kwa-kwa!”
The sun laughs tenderly,
Shines brighter, hotter.
And it pours loudly from the hillock
Talkative stream.
Glad, glad, glad
Light birch trees.
And on them with joy
Roses are growing.
K. Chukovsky
Fear, fright
We got scared in the forest
Small children are not allowed
Go to the forest alone, friends!
You can stumble in the forest,
Get scared, get lost!
The hare is rushing away from the fox.
The tail trembles, the whiskers tremble.
The pine trees got in the way,
You can't escape the chase!
There is no salvation in the forest!
Jumped into the hedgehog's hole...
E. Alexandrova
Raised thunder to the clamor,
Rode through the fields
Through the forests, over the hills
Yes, over the blue clouds.
Ringing with warm rain,
Got to me.
Rain, rain!
We need to run home!
Angry cats
Got into a fight with each other
Red cats.
They rose like a pipe
Red tails.
Friendliness
Let's be friends
Let's be friends together
Let's live together in peace.
Let's all play together,
Jump, run and gallop!
You, me, you and me
Friends holding hands
And they said: “You and I are us!
I am Katyushka, I am Vityushka,
I am Polinka, I am Irinka..."
(Each child says his name.)
Pride
Important cockerels
Here are the roosters walking,
There are scallops on the heads,
red beards,
An important gait.
The poor bear got sick.
The bear ate a lot of honey.
The bear cries and screams:
My stomach hurts!
F. Bobylev
Little bull
Red bull
He steps with his feet,
shakes his head:
“Where is the herd? Mu-u-u!
Sku - y - learned to one - y - y!”
V. Berestov
Pleasure
Let's treat ourselves to pies
Stove, stove, help,
Bake us some pies!
Be kind enough to give us
Delicious, fluffy loaf!
Resentment, whims
The cockerels have fluttered,
But they didn’t dare to fight.
If you get too cocky,
You might lose your feathers.
If you lose feathers -
There will be nothing to fuss about.
The hedgehog puffs and winces:
What am I to you - a cleaning lady?
I can’t sweep the forest...
Keep clean!
Cautious fox
She went to the stream to drink.
Bent over, and the water
Still and solid.
G. Ladonshchikov
The squirrel dropped a cone
The cone hit the bunny.
V. Shulzhik
Caution
Mostochek
Be careful on your toes
You can cross the bridge.
Hush, hush, don't rush,
Don't roll out the logs.
Politeness, kindness
A trickle of kind words
The teacher takes the child by the hand, saying a polite word (for example, "Hello"). Encourages the child to take the hand of another, calling politely, kind word (« Good morning!» , "Please!", "Please."). Brook "flows", increasing in length.
Pass the flower
Children stand in a circle. The teacher, calling the child by name affectionately, offers him a flower ( "Vanyusha"). The child calls his neighbor affectionately by name and hands him a flower.
Games for development of the emotional sphere of children
A game "The Fourth Wheel"
Target: development of attention, perception, memory, recognition of various emotions.
The teacher presents four pictograms to the children emotional states. The child must highlight one condition that does not fit the rest:
Joy, good nature, responsiveness, greed;
Sadness, resentment, guilt, joy;
Hard work, laziness, greed, envy;
Greed, anger, envy, responsiveness.
In another version of the game, the teacher reads out the tasks without relying on picture material.
Sad, upset, happy, sad;
Rejoices, has fun, delights, gets angry;
Joy, fun, happiness, anger.
A game "Who - where"
Target: develop emotions.
The teacher exhibits portraits children with different expressions emotional feelings, states. The child needs to choose those children, which:
Can be seated at the festive table;
It is necessary to calm, to select;
The teacher was offended;
The child must explain his choice, naming the signs by which he understood what mood each child shown in the picture had.
A game "What would happen if."
Target: develop ability to recognize and express different emotions.
An adult shows the children a plot picture, the hero (s) which is missing (yut) face (A). Children are asked to name which emotion they think is appropriate for the occasion and why. After this, the adult invites the children to change emotion on the hero's face. What would happen if he became cheerful (sad, angry, etc.?
Can be divided children into groups by number emotions and invite each group to role-play the situation. For example, one group invents and acts out a situation in which the characters are angry, another group invents a situation in which the characters laugh.
A game "Expression emotions»
Target: Develop the ability to express surprise with facial expressions, delight, fear, joy, sadness. Strengthen your knowledge of Russian folk tales. Call children positive emotions.
The teacher reads an excerpt from a Russian fairy tale "Baba Yaga":
“Baba Yaga rushed into the hut, saw that the girl had left, and let’s beat the cat and scold him why he didn’t scratch out the girl’s eyes.”
Children express pity
Excerpt from a fairy tale "Sister Alyonushka and brother Ivanushka":
“Alyonushka tied him with a silk belt and took him with her, but she herself was crying, crying bitterly...”
Children express sadness (sadness).
The teacher reads an excerpt from a fairy tale "Swan geese":
“And they ran home, and then the father and mother came and brought gifts.”
Children express facial expressions - joy.
Excerpt from a fairy tale "Snake Princess":
“The Cossack looked around and saw that a haystack was burning, and in the fire a red maiden was standing and speaking loudly. voice: - Cossack, good man! Deliver me from death."
Children express surprise.
The teacher reads an excerpt from a fairy tale "Turnip":
“They pulled and pulled, they pulled out the turnip”.
The children express delight.
Excerpt from a fairy tale "The wolf and the seven Young goats":
“The kids opened the door, the wolf rushed into the hut...”
Children express fear.
"Tereshechka":
“The old man came out, saw Tereshechka, brought him to the old woman - a hug ensued!”
Children express joy.
Excerpt from Russian folk tale "Chicken Ryaba":
“The mouse ran, waved its tail, the egg fell and broke. Grandfather and grandmother are crying."
Children express sadness facial expressions.
At the end of the game, mark those children who were more emotional.
Games and game exercises to express anger.
Exercise “Feisty”.
Target: develop ability to recognize different emotions through facial expressions and pantomimes.
Children are asked to imagine that anger and anger have “possessed” one of the children and turned him into an Angry Man. Children stand in a circle, in the center of which stands Zlyuka. Everyone reads a short story together poem:
Lived (A)-was (A) small (and I) boy (girl).
Small (and I) boy (girl) angry (A) was (A).
The child playing the role of Zlyuka must convey with the help of facial expressions and pantomimes corresponding emotional state(pushes his eyebrows, pouts his lips, waves his arms). When repeated exercises all children are asked to repeat the movements and facial expressions of an angry child.
Exercise"Finish the sentence"
"Anger is when..."
"I get angry when..."
“Mom gets angry when...”
“The teacher gets angry when...”
“Now let’s close our eyes and find the place on the body where anger lives in you. What is this feeling? What color is it? There are glasses of water and paints in front of you, color the water the color of anger. Next, on the person’s outline, find a place where anger lives, and paint this place with the color of anger.”
Card index of games and game exercises(Emotion Fear) .
Exercise"Dress up the scary girl".
Target: Give children the opportunity to work with an object of fear.
The teacher prepares in advance black and white drawings scary character: Baba Yaga. He must "dress him" using plasticine. The child selects plasticine of the color he needs, tears off a small piece and smears it inside the horror story. When children "dressed" horror story, they tell the group about it, what this character likes and doesn’t like, who is he afraid of, who is afraid of him?
Games and game exercises(Emotion Joy)
Exercise to act out stories.
Target: development expressive movements, ability to understand emotional the state of another person and adequately express your own.
“Now I’ll tell you a few stories, and we’ll try to act them out like real actors.”
Story 1 "Good mood"
“Mom sent her son to shop: “Please buy cookies and sweets,” she said, “we will drink tea and go to the zoo.” The boy took the money from his mother and skipped to the store. He was in a very good mood."
Expressive movements: gait - quick step, sometimes skipping, smiling.
Story 2 "Umka".
“Once upon a time there was a friendly bear family: daddy bear, mommy bear and their little son, Umka bear. Every evening mom and dad put Umka to bed. The bear hugged him tenderly and sang a lullaby with a smile, swaying to the beat of the melody. Dad stood nearby and smiled, and then began to sing along with mom’s melody.”
Expressive movements: smile, smooth swaying.
Exercise"Draw..."
Target: fastening children acquired knowledge about the feeling of joy. “Let's play a game, I'll call one of you by name, throw him a ball and ask, for example, “... pretend to be a happy bunny”.
The one I will name must catch the ball, pretending to be a bunny, says the following: words: “I am a bunny. I rejoice when..."
Warm-up or joint exercises
Lie down on the floor and completely relax. Feel how the body spreads over the surface, occupying space on the floor plane. Feel the temperature difference between the floor and body in the area of their contact. Feel your breath, your heartbeat.
Gradual relaxation: feet, calves, knees, thighs, stomach, chest, shoulders, elbows, wrists, fingers and toes, neck, face and even hair all feel completely relaxed.
You feel your body, hear sounds around you. Find the impulse in your chest - the center of the will - and begin to stand up. Required condition- You can only move forward, leaning on the floor. It’s as if you are building your body, thinking through every movement, adding parts of the body in a logical upward sequence, maintaining expressiveness and purity - the logic of movement.
Each time you make a mistake, you completely relax again and start all over again until your body takes a vertical position.
Preliminary exercises are possible: rolling waves. The body should become like a surf wave dying on the shore.
Exercise 1
Using circular movements of your hands, collect air and energy around you and slowly exhale carbon dioxide through your mouth, concentrating on the abdominal point (two fingers below the navel). Repeat 3 times.
Exercise 2
Circular rotational or translational movements of the joints are performed. Rotate your wrists, shoulders, elbows, knees, hips, torso, neck - all joints possible for movement are worked out. The smaller and more consistently you perform rotations or translational movements of the joints, the more they can subsequently participate in the work of body language.
Exercise 3
The beginning of the movement, the process and the end of the movement. A point is selected (two fingers up from the navel), which is used as an impulse to begin and end the movement. On the clap, open completely (arms up, head raised, body extended), then close on the clap, “die” and “be born” again. The feeling that the space around is unfolding and again curling into a point. You train not only physical sensations, but also emotions, where feelings fade away
and come to life again until complete discovery (happiness, delight, enlightenment).
Exercise 4
Select a point in the space in front of you, fixing the three folded fingers of one hand. Then, from the impulse in the stomach, start moving your hand in space
from point A, as if drawing an arbitrary line to a conditional point B. Clearly control the process. The impulse of the end of the movement must be reflected
in the stomach (two fingers above the navel).The impulse in the abdomen gives the movement of any part of the body additional sensitivity and expressiveness.
Having fixed a point in space, we move the body or part of the body (head, leg, thigh) relative to this point. In this case, it is important that the point in the hand
didn't move even a millimeter. It is important to understand that the expressiveness of movement is always achieved due to the static state of one part of the body relative to the movement of another, or the object relative to which the movement is made.
Part of the body is fixed in space,
and moves again relative to the fixation point. Then the hand is fixed, the body moves again relative to this point, the body is fixed,
and the hand moves again relative to the stationary body. Movements are made in the system of circle, square, triangle, etc.
At the same time, the expressiveness of the line of hand movement is similar to calligraphic handwriting,
and the expressiveness of the body - the sculpture of the classics.
Exercise 5
Development of expressiveness of movements. When clapping, a movement is performed by a separate part of the body, for example: arm, head, leg, shoulder, thigh, arm again, etc. By command or arbitrarily, you move
first with one, then with another part of the body, the impulse and fixation of the body part is preserved. The finer the movement of the joints in the body, the more useful this skill will be in the future for performing more complex exercises.
Exercise 6
Pricking movement. Like glass, the body becomes fragile, and by moving each part of the body with a stabbing motion, we fix it through relaxation. We maintain the rhythm and expressiveness of movements.
Exercise 7
Transmission of movements in the body (“body language”). Having placed two arms in front of you, slightly bent at the elbow, you begin, on impulse, to move your right hand towards your left, clearly controlling the speed. The left hand is motionless, reaching a close point to the motionless hand, right hand stops. Immediately left hand, as if picking up the impulse, begins to move according to the same rules, and the right one is fixed
in space. By complicating the exercise, you can move any part of the body, transferring the movement to another part of the body. Movements can be translational, rotational, circular and repetitive.
It is important that you maintain the momentum of the beginning and end of the movement, control the process and speed of the movement, and fix the body part when finishing the movement. →
Through impulse, movement is transferred to another part of the body. At the same time, the expressiveness of the entire body pattern is preserved; it is advisable to maintain a single style of movement.
Exercise 8
Speed and rhythm. We set the speed of movement when transferring from one part of the body to another (from 1 to 10)
from slow to fast. Setting the body shape
from initial simple to complex (from 1 to 10).
From the initial shape (0) you begin to move, complicating the shape of the body. Slowly at first
at speed 1, then 2–3 movements at speed 10, 2, 5, gradually complicating the shape and proportion.
Exercise 9
By keeping graphics as the initial movement style, you move freely, conveying movement
from one part of the body to another, while creating its own rhythm and proportion in action. Movements can be translational, rotational and reciprocating.
Exercise 10
Individual sign. This is your painting in motion, your hieroglyph, your analysis of psychopathic possibilities in bodily expressiveness. The ability to express your own Self through form. What principles must be preserved in your individual sign in order to preserve this school:
Clear execution and conscious start;
Clean line in motion;
Dynamics, proportion, development of thought
and completeness in every movement, where one part of the body transmits movement to another.
The transmission of movement is like a clear monologue, where feeling, character and thought are expressed. You need to feel your body, the space around the body, the interaction of body and space.
(!) The emotional experience of a gesture, posture, movement is important. An internal sense of truth and adequacy is culture, the ethics of the movement. Without these qualities, improvisation is pathological.
Pair exercises
Divided into pairs, students push each other and take turns, following the direction of the applied force.
Having stood with their backs to each other, the partners alternately expose their backs to support each other, relaxing and at the same time maintaining stability, finding more and more expressive poses with the smallest point of support. In the future, various exercises for developing sensitivity are included (sensitive hands, etc.)
"Mirror". The partners stand in front of each other, the leader begins to perform some actions, as if standing in front of a mirror, and the other clearly repeats his actions, like a reflection in the mirror. You should repeat not only the form, but also the emotional state.
"Sensitive body" One partner touches any part of the other partner’s body with his finger, and he moves
from this point, continuing to move. Then the partners change places. You can use rotational movements, twisting each other, any tightening, rotational and translational movements.
"Rhombus". One leader, the others, stand in a diamond-shaped space, repeating his movements, gestures, state, emotions, etc. The leader is responsible for the quality of his movements (purity, fullness, completeness, meaningfulness, graphics, etc.), he leads rather than expresses himself. Followers must be extremely attentive and clearly follow all the movements of the leader, feel his psychodynamics, changes in state, etc. The leader is considered to be the one who stands in front and, moving in the schedule, occupies his own plane. Movements must be visible to those behind it. When the leader changes the plane, turning to the right, left or 180°, he becomes a follower, and his movement, state, thought is continued by another leader, whose task is to catch the continuation of the movement and its development. The ability of an actor to be flexible in consciousness, to easily switch from the leader to the follower and vice versa, it greatly trains psychophysics, expands the range of perception and attention, and most importantly, enriches it with new motor capabilities, emotions, thinking, etc. Having completed the “Rhombus” movement, you may notice that the stock of your movements has increased, but above the purity and fullness of movements still needs to be worked on.
"Addition in space." 3–4 people participate. Everyone finds their place in the proposed space. We choose a style or formula of movement: square, circle, triangle, diagonal, etc. One of the students begins to move in space, clearly drawing the chosen line of movement. The rest begin to move, complementing this movement in rhythm, form and content. At the same time (to begin with), only two partners can move relative to the statics of the others, which is necessary for the audience to read the meaning of their actions. By moving, complementing movements, the actors try to understand each other - this task is constant in all exercises. And, following the laws of any composition, a movement must have a beginning, development, culmination and end. In the initial exercises, it is advisable not to use a gesture; movement and addition are sufficient. simple shapes. In the future, when the meaning of gestures is mastered, you can include them to give greater informative meaning to the actions. You can include non-objective pantomime, dance, voice, text into the fabric of improvisations - provided you master these means professionally.
"Dialogue of hands". Performed in pairs. One partner asks a question through a movement of the hand, the other responds with a gesture. At the same time, the beginning, process and transmission of the movement of each gesture are monitored. When one finishes, the other starts moving at the same moment. Movements - gestures should be conditionally abstract, but filled with internal meaning. If understanding is achieved, gestures can conflict, synchronize and, through a culmination, come to a point of mutual understanding.
"Addition to graphics." The principle of addition in graphics - partners stand one after another in pairs
at the back of the head, the one standing in front is the leader, and the one standing behind him is the complementary one. Following the already learned rules of movement - the beginning, experiencing the process of movement, fullness and purity of lines, the end of the movement - the leader acts, and the complementer accepts the completed movement as a question and answers just as clearly and expressively, maintaining the style of the leader. At the beginning, there should be few movements and the gesture should be broad, the question and answer should be clearly monitored. Subsequently, the gesture, like an interesting argument between two friends, mixes the movements of both partners, as if anticipating the question and answer. The goal is one - to understand each other. You can move in space, in one plane, etc. Cleanliness of lines during transitions
in space depends on the level of professionalism. Temperament, rhythm, feelings, character, facial expressions - everything is included. And the most important thing is what happens between you.
"Graphics in space." The presenter begins by asking a question in motion. The presenter can be the one who stands in front, or the one who knows exactly what he wants to express. The space between partners must be connected by colligraphy of lines. Moving in space (graphically and expressively relative to the angle of view), moving from one point to another, the actor must determine for himself and express who is moving, with what state, how and why he does it, without losing the given rhythm and tempo ( preferably maintaining abstraction, encoding your everyday feelings into a symbol, sign, image).
"Three Partners" The first one sets the theme in several movements (graphics, expressiveness, fullness
and comprehension). The second develops it in space and rhythm. The third one finds the point. Then they change places. In all initial and subsequent exercises, emotional and psychoenergetic inclusion is important, otherwise the accumulation of these qualities and the awakening of new potentials - development, and most importantly - the feeling of truth and adequacy of the reaction will not be formed
in relationships with partners.
Subject "Riddles without words"
Development of pantomime skills
Target: learn to reproduce facial and pantomimic movements according to intonation; consistently perceive a facial scheme; correlate facial scheme and emotion.
Tasks:
Educational: learn to navigate the pictograms of human emotions and moods. Develop the ability to imitate movements corresponding to various emotional states of a person, as well as teach children to interact in the process of joint activities;
Educational: Develop the ability to understand and depict a person’s emotional state through facial expressions, pantomimes, and speech. Development of imagination, creative thinking, self-confidence and abilities;
Educators: to educate children in the simplest emotions: sadness, fear, surprise, joy; teach them to express;
Corrective: correction of facial and pantomimic movements,correctionspeechesAndvision.
Methodological support for the lesson: mirror, drawings, audio recording, tape recorder, pencils and markers.
Contents and course of the lesson
Organizational moment: Hello guys! We are starting a lesson on developing facial expressions and pantomime. The theme of our lesson is “Riddles without words” and today we will continue to develop facial and pantomime skills. Because, so what?, how well we will express our emotions, this is exactly how the people around us will perceive us. And our mood also affects the mood of the people around us. Therefore, I propose to perform exercises to train emotions and tone the facial muscles:( A calm melody sounds)
1 . Relax completely and think about something pleasant.
Tense yourself while thinking about something unpleasant.
2. Relax your facial muscles and yawn widely, while thinking, “How I want to sleep.”
3. Relax your facial muscles and smile widely, while thinking about something joyful.
4.Relax your facial muscles and bring your lips together into a tense “O”
5. Relax your facial muscles, open your eyes wide, while thinking with surprise. Close your eyes calmly.
6. Relax your facial muscles and close your eyes loosely (squint), while tense your nose and think: “How tired I am of all this!”
7.Relax your facial muscles, pull your lips into a tube, and then stretch them into a smile.
Smiling and laughter prolongs a person’s life, so smile more often and give people joy.
1. TASK
- Today we will talk about emotions. Word"emotions"comes from the Latin wordemoveo, and means“shock, excite”.
1. How do we express our emotions?
– Is it possible to look at a person and understand what he is feeling at the moment, what emotion he is experiencing?
– What helps determine this?
Facial expressions– man's facial expression. Your face expresses different emotions.
Look at this man's face
(The “Joy” icon is shown). What kind of face do you think this person has? (Children's answers). Yes, joyful. How did you guess?(Children's answers).
Yes, right. Well done. When we have a happy face, we smile widely,GOur holes become narrow, they squint. Let's try to portray joy on our face.
2. TASK Exercise “DIMICTURE AND CONVEY JOY.”
All participants sit in a circle. One player depicts “joy” and conveys this expression to the neighbor on the right, who must repeat the emotion he saw on the neighbor’s face as accurately as possible.
Teacher:(Shows the “Anger” pictogram) Look at the face on the card. How does the person in the picture feel?
(Children's answers).
- Look at the expression on his face...What happened to his mouth? Eyebrows? What is the expression of the eyes?
(Working with a mirror)
3. TASK
(DRAWING)
You have to draw the emotion that is indicated on the card (joy, sadness, surprise, anger), first think about how to depict a person’s eyes, mouth, eyebrows, and also choose the appropriate color for this emotion. The drawing should be schematic.
During execution, the melody “Fairy Tale” sounds 
4. TASK "Set the mood."
- Is it possible to find out about the mood of a person in a photograph? Here are photographs of children.Look at the child's mood.
5. TASK “IT’S GOOD WEATHER TODAY”
MIs it possible to find out about a person’s mood by the way he speaks, with what intonation he pronounces his words? Try saying the phrase “IT'S GOOD WEATHER TODAY” from the perspective of the child depicted in the photograph (offended, enthusiastic, jubilant, sad, despairing, anxious, scared, dissatisfied).
Gymnastics for the eyes
1. Look up - down, left - right.
2. Outline your eyes balloon, clockwise and counterclockwise 3 times.
6. EXERCISE
Sketch “What are we?”
We are goats - what kind of people are you? – horned
We are donkeys - what are you like? – long-eared
We are hedgehogs - what are you like? – prickly
And we are wolf cubs, oh! - toothy.
Etude “Playing Musical Instruments” ( imitation of movement according to text)
The cat plays the button accordion, the pussy plays the drum.
Well, the bunny is in a hurry to play the trumpet.
If you help, we will play together.
Sketch “Different Moods”
Oh, how the baby cries - like a bear growls.
And the baby laughs - the stream is babbling.
And the tears are flowing - as if it’s raining.
The baby smiles as if the sun is rising.
Well done boys. Tell me what emotions you showed with facial expressions and pantomime? (Surprise, resentment, sadness, joy).
Sketch “What did the bunny do?”
Bunny, bunny, where have you been?
This bunny went to the forest.
This bunny drank water, this bunny cooked soup.
This one was swimming in a fast river, this bunny was sleeping in the bed.
Sketch “Greedy Dog”
Greedy dog, he brought firewood.
I applied water and kneaded the dough.
He baked some pirogov and hid it in a corner.
And he ate it himself - gum-gum-gum.
- Oh, how bad it is to be greedy. Are you guys not greedy?? UCan you share toys and sweets?
7. TASK Game “Guess”
- PI suggest playing the “Guess” game. You must close your eyes and listen carefully and identify the sounds.
(Birds singing, the sound of a train, a car engine, a bear roaring, a dog barking, a cat meowing, a lamb bleating, a pig grunting, a blizzard,)
8. TASK Gymnastics
Well done boys! You have correctly identified all the sounds. And now I suggest you do physical exercises. Imagine that you have turned into frogs.
Two frogs, two green friends, woke up.
Smiled “Good morning!” We wish you well.
Go out for exercise, quickly kva-kva-kva.
They stomped their feet, patted their paws,
Lean to the right or left, smile at all your neighbors.
That's the secret of health, hello sun, HELLO everyone!
9. TASK "Rhythmic clapping"
I really liked the way you clapped your hands, and I want to suggest a game to develop your musical ear.
(Students repeat the given rhythm after the teacher)
10. RESULT OF THE LESSON
Did you like the lesson? Show with facial expressions.
- Hthat was the most interesting for you?
- Can you imagine a person who never laughs, never cries, is not surprised, is not angry, is not afraid?..
Do our feelings affect the people around us?
What can you show using pantomime? (Feelings and actions)
I am very glad that you liked the lesson and I am grateful to you for your active participation.
Show your feelings of gratitude to our dear guests and say goodbye with gestures.
