Game exercises to develop facial expressions and emotions for middle-aged children. Exercises on pantomime and psychoplasticity Exercises on the development of pantomime

Practical lesson “Pantomimetics”

Target– promote the development of pantomime and gestures.

Tasks:

Learn concepts pantomimes and gestures .

Develop attention and empathy for the interlocutor and the group as a whole.

Exercise 1. “Greeting”

In this activity, children must come up with a new way to say hello to each other.

Exercise 2. “Memories”

In this game task, the presenter must ask leading questions related to "magical" means of understanding.

Questions:

“What means of “magical” understanding do you remember?”

“How can we know about a person’s mood if we don’t see his face or hear his voice?” (pantomime )

After this, children should greet each other only with gestures.

Exercise 3. “Guess who?”

This game develops sensory and tactile images.

All children will take turns participating. First, one person from the group is selected, he steps aside and closes his eyes. Then one of the guys comes up to him and extends his hand. The driver with his eyes closed tries to remember the hand, after which speaks: "All". After this, all the participants in the game extend their hands to him, and he must find "that", which just "remembered".

Exercise 4. “Magic Forest”

This task helps to remove bodily barriers.

First, they choose a driver (in principle, everyone can drive in this game in turn, and all other participants stand in a close circle "Magical forest" and they do not allow the driver to go into the middle. But "forest" can hear and speak, he does not let ignoramuses and rude people through. Therefore, to go to the center, you need to ask very nicely and kindly.

After the game, children should definitely discuss when "forest" lets in and when not.

Exercise 5. “Theater”

This exercise helps develop creativity in communication using pantomimes.

Children are invited to show how to walk (gait):

Young children who are learning to walk;

Old grandfather;

Little cheerful girl;

Grown-up girl (Mother);

An important man.

Children discuss the gait features of each of the characters.

Exercise 6. “Who are you?”

Aimed at expressing and understanding your feelings through touch.

Each of the game participants will take turns driving. He steps aside and closes his eyes. After that, one of the guys approaches him and tries to express his feelings with touches. After this he returns to his place. The driver’s task is to guess who touched him and what feeling he was trying to show.

Exercise 7. “Fun Zoo”

This exercise is aimed at developing pantomime and understanding of others .

Children are given pictures of animals. They choose and make their own wishes. After this, without words, only with the help of facial expressions and pantomimes, they must find their own kind. For example: children depicting monkeys must find each other using the images of these animals.

Exercise 8. “Roles and situations”

To complete this task, children are divided into pairs and, with the help of "magical" words of understanding, facial expressions and pantomimes play out specific situations.

For example:

“You and your friend competed, you won and he lost. What will your actions be?

“What will you do if your toy is broken?”

"Grandma brought three apple: to you and your friend. How will you divide them? Why?"

“If you are late for an outing with friends, and the team for the game has already been assembled, and there is no place for you, what will you do?”

Exercise 9. “Conclusion”

After all the tasks are completed, the group must sum up the results. It should be remembered "good rules" And "magical" means of understanding.

To say goodbye, the children come up with a new way to say: "Goodbye".

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.

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. Acting exercises will help you acquire and hone all the skills needed by a professional actor. 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 better own body, manage 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.

Exercises for acting you can study 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 on the development of 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 for expressing 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..."

Game exercises for the development of facial expressions and pantomimes!!!

Game exercises to develop facial expressions

“We ate a sour lemon” (children wince).

“They got angry at the fighter” (they move their eyebrows).

“We met a girl we know” (smile).

“They were scared of the bully” (raise their eyebrows, open their eyes wide, open their mouth slightly).

“They were surprised” (raise their eyebrows, open their eyes wide).

“Offended” (dropping corners of lips).

“We know how to be cunning” (they blink now with their right eye, now with their left).

Thanks to these systematically conducted game exercises, facial expressions become more mobile and expressive, movements acquire greater confidence and controllability.

Game exercises to develop pantomime

Exercise “Happy – Sad Kitten”

The teacher asks all the children to turn into kittens, and then show the happy kittens when they are playing, then the sad kittens when they miss their mother. And finally, happy kittens again when they bought a new toy.

Exercise “Pantomime of a proverb”

The children are asked to pantomime the proverb:

“Don’t open your mouth to someone else’s loaf”

“If you chase two hares, you won’t catch either one,”

"Don't look at the teeth of a gift horse"

“A kind word also pleases the cat.”

Mimic cube; Mirror

The child, using facial expressions, depicts the emotional state, schematically represented on the dropped edge.

What vegetable/fruit do children eat?

Children depict their emotional state with facial expressions as instructed by an adult. For example: “You bit into a sour lemon (sweet apple).” One child shows and the rest guess. For example: “Vova is eating an apple, which one?”

Who said that?

Based on the intoned phrase, children find the corresponding facial expression among the proposed pictures.

Choose a child

An adult reads A. Barto’s poems “Bunny”, “Bull”, “Bear”, “Horse” and asks the children questions. They choose the desired picture among images of a cheerful, sad, frightened, angry child.

Which of the guys abandoned the bunny?

Which of the guys was scared for the bull?

Which of the guys felt sorry for the bear?

Which guy loves his horse?

Gnome

Children select pictogram cards with facial expressions corresponding to different emotional states.

The gnome was walking on the lawn and saw a bunny.

-What long ears you have! - exclaimed the gnome.

The gnome left the house and met the boy.

- Hello, boy! What a wonderful morning this is!

“Well, I’ll talk to everyone,” the boy muttered and moved on.

Scene
You can invite children to act out small scenes where it is necessary to emphasize the features of the situation with facial expressions. For example, depict how a child found a huge mushroom and was surprised, or was scared of a lion in the zoo, and his mother calmed him down.

By forming a long, smooth, voiced exhalation in children, you need to begin working on developing intonation expressiveness.

Game exercises for forming statements

As children's speech capabilities increase, the content of games also changes. Now they include children's statements, colored intonation and facial expressions.

Mimic cube or Porepeat the phrase

Children repeat a phrase suggested or independently composed with the intonation that appears on the die or the intonation specified by the teacher.

Overheard Conversation

The pictures show leaves (snowflakes, etc.) with schematic drawings of various emotional states. Children look at them, recognize them and tell them what they think or feel.

For example, a sad car in the garage: “After a long journey, I’m standing dusty, dirty, and the owner left and forgot to wash me.” Fun car: “Now my master will come, and we will go on an amazing, joyful journey!”

Conversation in a basket

Children put on a “bracelet” with a picture of a vegetable or fruit with some kind of facial expression and, with the help of facial expressions and intonation, convey a conversation that corresponds to a given emotional state.

Forest commotion

(The children stand around the teacher.

The teacher reads poetry.

Interjections are pronounced by children. The teacher shows what the facial expression should be, what

there must be intonation.)

On a clear, warm spring day

A shadow fell on the bare forest.

Fear gripped the little bunny

- Ah, ah, ah:

– Scary kite in the sky

- Ah, ah, ah!

Run away faster and faster -

- Hey Hey hey!

Beware of evil claws

- Hey Hey hey!

Where there is a kite, there is trouble

- Yes Yes Yes!

A sharp beak is not nonsense

- Yes Yes Yes!

The hare hits a block of wood with its paw

- Ban, ban, ban!

(Children pretend to play on

Like a huge drum

- Ban, ban, ban!

An alarm signal flew over the ground

(The children scatter around the group and

hiding)

Get off your feet quickly