A set of exercises for classes in a theater group. Acting for beginners: what exercises to do at home First acting lesson

Asel Mursalimova
Open acting class

Municipal State Enterprise "House of Children's Creativity"

Open lesson

acting studio

"Mirror"

“Attention, perception - as an actor’s auxiliary means for the development of creative abilities”

Additional teacher

Mursalimova's education

Asel Sarsenbaevna.

February 2012

Topic: “Attention, perception - as an actor’s auxiliary means for the development of creative abilities”

1. developing and I: mastering the ability to concentrate attention on one or several objects; do not let the situation get out of control; perceive information with all senses.

2. educational and I: acquaintance with additional expressive means of the actor.

3. educational and I: developing the ability to work in a group and treat each other with respect.

Lesson plan

1. Greeting.

2. Plastic warm-up.

3. Emotional relief.

5. Warm-up “Snowflakes”.

7. Auditory attention:

- “Bird, squeak!”;

- “It flies - it doesn’t fly.”

8. Exercise on attention and reaction “Crows-Sparrows”.

10. Breathing warm-up.

15. Reflection.

16. Farewell.

Progress of the lesson

1. Greeting.

Lunge with the right leg, air kiss, arms open in a hug, wide smile.

2. Plastic warm-up.

Passes to rhythmic music and counting:

Tilts your head to the sides;

Rolling your head to the sides, imagining that it is a ball;

Shrugs;

- “Harlequin” - we bend our arms like a puppet and twist them to the sides;

- “Snake” - arms shoulder-width apart, bend to the shoulder with an eversion to the starting position;

- “Wave” - hands shoulder-width apart, make a wave-like movement from the right hand to the left, then from the right leg to the left;

Body tilts to the sides;

- “Motorcycle” - we sit behind the wheel of an imaginary motorcycle and pretend to ride, first we ride alone, then in twos, three, etc. until the whole group is on one motorcycle;

- “Race” - we start running quickly, gradually slow down the run, stamp our feet loudly, then quietly, see the finish line ahead, speed up the pace and “win”.

3. Emotional relief.

*Children stand in a circle.

First, we remove the physical clamp by sequentially tensing a group of muscles, and then sharply relaxing them. We strain:

Calves;

Whole leg;

Buttocks;

Reaching up.

On the count of three! exhale sharply and relax the muscles.

*Moving on to emotional relief.

Children turn away from the teacher, close their eyes and imagine that they are lions - predatory, aggressive, masters of their territory, and the teacher is a stranger who has entered their territory. The task of the “lions” is to turn around at the teacher’s command and scare them with a growl and a cry of the “stranger”.

Then the children turn away again, close their eyes and imagine that they are small, just born kittens; the teacher is their master. The task of the “kittens” is to turn around on command and meow so that the “owner” takes pity on them and gives them milk.

In the first case, children are freed from the negative emotions that have accumulated in them. In the second case, we replace aggression with kindness, so as not to leave children overexcited and aggressive. In the third case, we free ourselves from emotional stress by screaming for no reason.

Now we have difficult work ahead of us to develop memory and such mental processes as attention, perception and imagination, i.e. everything that makes it possible to reveal the creative abilities of the individual.

There is no need to dwell on the fact that it is necessary not only for actors to develop their abilities, but for all of us, especially you, children. Therefore, the topic of today’s lesson is: “Attention, perception - as an actor’s auxiliary means for the development of creative abilities.” We begin training with attention.

4. Visual attention exercise.

Children stand in a circle. One person turns away, another makes one or more changes on someone. The rest clap their hands so that the child who turns away does not hear who they are approaching and what they are doing. Then the child who turned away should find changes in a short time.

We repeat the exercise until all the children have taken part.

5. Change of activity. Warm-up “Snowflakes”.

Children turn into snowflakes and fly around the hall in a chaotic manner. If the teacher calls the number “3”, then the children stand in groups of three; “5” - five people each. As a result, in conclusion, the teacher must name a number corresponding to the number of children, and thus a large lump of snowflakes is obtained.

6. Exercise on tactile attention.

Children sit in a semicircle. One child is blindfolded, the rest stretch one arm forward and roll up the sleeve of their clothing. The teacher brings the “driver” to someone, the “driver” can touch the hand to the wrist. The driver’s task is to recognize the owner of the hand by touch. If the child finds it difficult, then he is allowed to touch his arm above, his hair, his face, etc.

7. Auditory attention.

*Exercise “Bird, squeak!”

The teacher chooses a “driver”, blindfolds him, and places him on the lap of one of the participants. The “driver” must ask “Bird, squeak” and the participant must squeak so that the “driver” does not recognize who is sitting on his lap.

*Exercise “Flies - does not fly”

The teacher names a whole series of nouns. In response to words denoting objects that fly, participants clap their hands, and to those that do not fly, they lower their hands at their sides. The teacher constantly claps his hands, confusing the child so that he does not lose attention. You should prepare a varied list of everything that can and cannot fly:

crocodile, airplane, cow, telephone, dragonfly, fly, dog, elephant, wardrobe, mosquito, TV, eagle, pen, dolphin, airplane, woodpecker, bullfinch, giraffe, cat, sheep, helicopter, butterfly, ladybug, mouse, cockroach , sausage, rocket, tape recorder, sparrow, pencils, pig, ant, spider, grasshopper, lion, panda, midge, hummingbird, bear, parrot.

Other options for this task are also offered, such as: “Grows - does not grow”, “Living - not living.”

Next, in order to complicate the exercise, combine several tasks at once, such as: “Flies - grows - alive.” As a result, there may be several correct answers. For example: a rook that flies and grows, and is a living creature. Accordingly, the participants will make different movements: clapping, waving or wrapping their arms around themselves, while for the word “log” all movements are absent.

8. Exercise on attention and reaction “Crows - sparrows”.

Children are divided into two teams, lining up in two lines facing each other. One team is called “Sparrows”, the other is called “Ravens”. The team, which the teacher calls, catches; and the team that is not mentioned runs away. The presenter says slowly: “Vo-o-ro-o.” And at this moment both teams are ready to catch and run away. It is this moment of readiness that is important in the exercise game.

9. Exercise on attention and memory “Alphabet”.

Semicircle. The teacher asks the children to pronounce the letters of the alphabet one at a time and in order. Whoever pronounces which letter becomes the owner of that letter. Then the teacher names a word, for example, theater. Owners of the letters t, e, a, p must stand in line and clap their hands without breaking spelling.

To complicate the exercise, the teacher suggests clapping first a sentence, then a poem, etc.

10. Breathing warm-up.

Children sit in a creative semicircle. Keep your backs straight, sit on the edge of the chair:

Inhale air through one nostril, exhale through the other;

Inhale through the mouth, exhale through the nose, tapping the nostrils;

Inhale through the nose, exhale through the mouth, tapping the cheeks;

Take a deep breath (don’t lift your shoulders, exhale with the sound “m”, tapping your chest.

There are three types of breathing:

The first type is calm, smooth-sounding speech. Children do:

The wind whistles - s-s-s-s-s-s-s-s.

The trees are rustling - sh-sh-sh-sh-sh-sh-sh-sh.

The bee flies - w-w-w-w-w-w-w-w.

The mosquito squeaks -z-z-z-z-z-

The second type is strong-willed, but restrained speech:

The pump is working - s-s-s-s! ssssssssssssssssss

A blizzard is blowing - sh-sh-sh-sh! shhhhhh! shhhhhh!

The drill is drilling - s-z-z-z! s-z-z-z! s-z-z-z!

The third type is emotional speech at a fast pace:

The cat is angry - F! F! F! F! F!

Saw saw -S! WITH! WITH! WITH! WITH!

The engine starts - R! R! R! R! R!

We complete the breathing warm-up: we draw air into the lungs and gradually exhale with the sound “s” and tilt.

11. Articulation gymnastics.

Semicircle. Backs straight, sitting on the edge of the chair:

The mouth is closed, we lick the teeth outside and inside with our tongue;

We stretch the sponges into the proboscis, move them clockwise and vice versa;

Lips into the proboscis, then a smile;

The mouth is closed, we move the tongue up, down, to the sides;

The jaw is motionless, the tongue is pushed to the sides so that the movement of the tongue is visible;

Pull the tongue to the chin, then to the tip of the nose;

We tease each other “fuck”, “fuck”;

Teeth closed, lower the lower lip, exposing the teeth;

The teeth are closed, we lift the upper lip up, exposing the teeth;

We move the jaw to the sides, then lift the lower jaw up, the lower jaw down;

First we pronounce the sounds mi, me, ma, mo, mu, we quietly - loudly - quietly;

Chu-do-le-sen-koy sha-ga-yu,

You-so-that I'm on-bi-ra-yu:

Step to the mountains, step to the mountains...

And we’re going higher and higher...

I don’t bother, I want to sing,

I'm flying straight to the sun!

Children pronounce each subsequent phrase, raising the tone of their voice. The training is repeated in a circle.

13. Pronouncing tongue twisters.

Let's say a tongue twister:

The ship was carrying caramel. The first participant stands up.

The ship ran aground. The second participant stands up.

Sailors for three weeks The third participant stands up.

Caramel ate broke. The fourth participant stands up.

They say the tongue twister until everyone stands up, then say it in chorus.

14. Warm-up “Burning palms.”

Children stand in a circle and, at a signal, begin to clap their hands with all their might. At the signal they stop clapping. They show their palms to the teacher, who checks how hot they are. The owners of hot palms take their seats. The owners of cool or cold palms remain on stage and perform any action that the teacher calls. Naturally, improvisations of situations are offered to develop acting skills.

15. Reflection.

Today we played and learned something new. What did you remember most from today's lesson? What helps an actor develop his creative abilities? That's right, attention and perception. Today we have discussed several types of attention, but the topic does not end there. We still have a lot to learn about attention, perception and imagination.

Our lesson is over for today.

16. Farewell.

Children stand in one line or in a checkerboard pattern and, when given a signal, perform one movement with sound:

Lunge with the right leg, blow a kiss, arms open in a hug, wide smile.

The teacher assigns the next lesson.

Sections: Extracurricular activities

Lesson topic:"Interaction on stage in various proposed circumstances."

Purpose of the lesson: Through physical and mental liberation, develop and reveal the spiritual potential of students, improving their creative abilities.

Lesson objectives:

• Educational
  • consolidate knowledge about the interaction of actors, types and methods of stage communication;
  • form the concept of “Proposed circumstances”;
  • develop stage interaction skills;
  • create conditions for independent creative work in small groups to prepare sketches on this topic.
• Educational
  • activation of students' cognitive interests;
  • formation of partnerships in the group;
  • instilling self-discipline in students;
  • formation and support of adequate self-esteem.

PROGRESS OF THE CLASS

1. Organizational moment(4 min.)

The phonogram of the musical greeting “Play – the city presents!” sounds! Guys with a teacher in a circle. Performed warm-up “It’s good to live in the world!” After charging is complete, teacher :

- Hello my dear! Hope your school day was wonderful!? And after our exercise, you again have the strength to be creative. Please sit down. (Sit down in a creative circle).

2. Theoretical part - repetition of material(5 minutes.)

Teacher: We continue to improve our acting skills within the framework of the topic...? (Students' answers)
Teacher: Right. Interaction and communication of actors on stage. In the last lesson, we found out that when performing a chain of stage tasks and acting in some way in relation to a partner, the actor himself is inevitably exposed to influence from the partner.
Question: What happens as a result?
Answer: Interaction and struggle arise.
Question: What are the features of acting communication?
Answers:

• We must perceive the actions of our partner,
• Make yourself dependent on your partner
• Be sensitive, pliable and responsive to everything that comes from your partner,
• Enjoy the surprises that come with real communication.

Question: How does communication manifest itself?
Answer: In the interdependence of acting devices: in changes in intonation, in the musical connection of lines, in the relationship of facial expressions, gestures, plasticity and movements.
Question: What “kills actor communication?”
Answer: Pretense, artificiality and “appearance” of assessments; if the organic behavior is violated by at least one of the partners.
Question: What creates real interaction?
Answer: Genuine attention and organic action on the part of both.

3. Theoretical part - new material(6 min.)

Teacher: The topic of today's lesson is “Interaction in various proposed circumstances.” We have figured out the interaction, but what are the proposed circumstances?
Answer: Place and time of action, mise-en-scène, scenery, costumes, etc.
Teacher: You're right! Listen to how the great Russian theater figure K.S. defines “proposed circumstances”. Stanislavsky:
"proposed circumstances - the circumstances of the character’s life, proposed by the author, found by the director and created by the actor’s imagination. “These are events, era, time and place of action, living conditions, actor’s and director’s understanding of the play, mise-en-scène, scenery and costumes of the artist, props, lighting, noises and sounds, everything that the actors are asked to take into account in their work”...
Difficult?! I suggest you start studying the topic in practice!

4. Practical part – warm-up training(5 minutes.)

Suggested circumstances:
1. Each of you is a coachman who fell asleep at work! (Relaxation exercise)
2. Each of you is a participant in a bodybuilding competition! (Muscle warming exercise)
3. You are singers preparing for a solo performance! (Articulation exercises: brush, needle, smiley snout, clunker, swing; and breathing support exercises)

5. Practice on stage(25 min.)

Teacher: Great! But it's time for us to go on stage! The proposed circumstance is the following! You can only get to the stage through an imaginary door, which is located right here! ( shows) The door is closed. You will take turns entering the stage, opening the door in a different way from others.

Exercise “One Hundred Ways to Open a Door” trains imagination and sensory perception.

Teacher: We greet all new arrivals on stage with applause! (Exercise completed - children on stage).
Next, I conduct five exercises on interaction in various proposed circumstances:
Concentration exercise “Catch the cotton” I clap my hands and ask the guys to catch the clap on the fly, like a butterfly, like a ball, like a key. I achieve a solid cotton sound.
“Invisible thread” - a complicated version of the previous exercise I propose to imagine that between me and each of the guys, from chest to chest, there is a thread with which we are connected. It should neither tear nor sag during further movements. As I move, complicating and accelerating my movements, I don’t forget about the cotton.
Muscle release exercise “Explosion” Starting position “at the point”: on your knees, hands hugging your knees, head down. This is the embryo of a new star or universe. From the point you need to “explode” with a clap - throw out as much energy as possible. At the same time, the body takes the most unexpected poses. The more varied they are, the better.
Exercise “Vanity” We occupy the space of the stage, constantly moving at different speeds so that there are no voids anywhere. I “switch” speeds from 1 to 10 (musical backgrounds). Then the movement occurs with the transformation, for example, into the letter “zyu” or “kukaryambu”, and then with the formation of groups of 2, 3, 4, 5 people (the so-called molecules - 2, 3, 4, 5)
Exercise “At the Summer Cinema”. We sit on the stage in a checkerboard pattern. I suggest circumstances to which everyone reacts differently:

• watching a comedy, watching a horror film
• suddenly it started to rain or mosquitoes bite us
• the sun is very hot: it blinds and makes it difficult to see
• someone's (your) mobile phone rang
• someone (you) dropped an object that needs to be found in the dark.

Break 10 minutes.

6. Interaction training(10 min.)

Students on stage.

Teacher: We continue to interact in various proposed circumstances. I ask you to stand in pairs facing each other.
"Ball and Pump" forms the skills of interaction in pairs, and long and sharp exhalation. One student is a ball, the other is a pump. The pump inflates the ball until it bursts. Then the roles change.
"Simple paired tasks" I call the proposed circumstances simple interaction. The guys create “life pictures”. (Cutting wood, training a dog, listening to music through headphones, doing a friend’s hair, bandaging an arm/leg, etc.). Shows one by one.
Exercise "Organ". Goal: developing interaction skills and freeing your voice. Relaxing and closing their eyes, the children lie on the floor. Touching each one, I “open” the pipes of the organ, which begin to sound. All the children sound - the whole organ sounds. Then, one by one, I “close” the pipes by touching them, and eventually the instrument becomes silent.
Exercise "Machines". Developing teamwork skills. The goal: to find imaginary but logical ways to connect movement and sound together and create a “machine”/machine/fantastic unit together.” To rhythmic music, student 1 performs one movement that, in his opinion, is characteristic of the operation of some mechanism. Then the 2nd participant in the “project” connects to it and adds his own “mechanical movement”. Further, new mechanisms appear in the fantastic “unit” ( all class participants are connected).
Teacher: Our amazing machine works smoothly and rhythmically. All its mechanisms are connected to each other by invisible gears. This is the result!!! Great job! But things don't always go smoothly. Sometimes someone whose mood is not so joyful and upbeat is sure to ruin our day. Surprised? This is the name of a new game that trains actor communication and makes you clearly imagine the circumstances that determine the actions of actors.

7. Creative game “Ruin ​​my day”(10 min.)

Teacher: I ask everyone to take their chairs, there is only one on stage. This is... Vova. He sits at the stop and waits for the bus... Alina’s task is to come to this stop and do something that will make Vova get up and leave. If everything worked out, Alina remains to wait for the bus, and the next team member approaches her with the same task. Everyone will be at the stop! Let's begin! (Game being played)

Teacher: Great! That was great! And in order to consolidate knowledge and skills on the topic, we begin sketch work! Please join groups of 3-4 people and draw out cards that determine the content of the sketches.

8. Sketch work on interaction in the proposed circumstances using cards(20 minutes.)

Cards for staging sketch works:

• defining the scene: school class, disco, bus, seashore...
• defining the initial event: birthday, injury, call to the director, flood, deception...
• defining the subject of the struggle: love, money, friendship, cake, leadership, microphone...

Independent work in groups – 10 minutes, demonstration of sketches – 10 minutes.

Lesson summary(5 minutes.)

1) Generalization on the topic.
2) Evaluation of everyone’s work (activity, imagination, imaginative thinking, play).
3) Homework (we observe the interaction of our family members).

– Thank you for creative communication!

A collection of acting classes in the school theater.

Rhythmoplasty includes complex rhythmic, musical plastic games and exercises that ensure the development of children’s natural psychomotor abilities, freedom and expressiveness of body movement; gaining a sense of harmony of your body with the world around you.

Tasks. Develop the ability to voluntarily respond to a command or musical signal, readiness to act in concert, joining in the action simultaneously or sequentially; develop coordination of movements; learn to remember given poses and convey them figuratively; develop the ability to sincerely believe in any imaginary situation; learn to create images of animals using expressive plastic movements.

Culture and technique of speech. Games and exercises aimed at developing breathing and freedom of the speech apparatus.
Tasks. Develop speech breathing and correct articulation, clear diction, varied intonation, speech logic; coherent figurative speech, creative imagination; learn to write short stories and fairy tales, select simple rhymes; pronounce tongue twisters and poems; train clear pronunciation of consonants at the end of a word; use intonations that express basic feelings; replenish your vocabulary.

Fundamentals of theatrical culture. Children are introduced to elementary concepts, professional terminology of theatrical art (features of theatrical art; types of theatrical art, the basics of acting; spectator culture).

Tasks. Introduce children to theatrical terminology; with the main types of theatrical art; cultivate a culture of behavior in the theater.

Tasks. Learn to compose sketches based on fairy tales and fables; develop skills in working with imaginary objects; learn to find key words in individual phrases and sentences and highlight them with your voice; develop the ability to use intonations that express various emotional states (sad, happy, angry, surprising, admiring, pitiful, contemptuous, condemning, mysterious, etc.); replenish vocabulary, figurative speech.

The main requirements in the work are reliability, truthfulness of execution, expressed in purposeful actions in the proposed circumstances. For this purpose, children are given a number of exercises that develop these particular skills.:
- Speculation of the proposed circumstances;
- A story about the hero on his own behalf;
- On behalf of the character who came into conflict with him;
- Inventing events before and after the sketch;
- Characteristics of the hero according to his own speech, etc.
Thus, schoolchildren gradually develop an idea of ​​character as a special behavior. At this stage, the child should already be able to consider an act as an action through which the character of the hero is manifested.
At the final performance, performances of poetry, folklore festivals, and “village gatherings” are shown. Schoolchildren participate in the performance as a collective work, using the working terminology of acting.

Acting lesson notes No. 1

Task 2.
Facial expressions: Show the “Terrifying Fear” mask (characteristic features - the eyes and mouth are extremely wide open).
The most successful facial sketches receive an asterisk.
Stimulation method.
2. SHOWING slides with different options for GESTURES and PLASTICS of people.
Slide (9,10, 11, 12,13,14, 15)
Introduction to Definitions
GESTURES and PLASTICS are body language - symbolic elements of poses and movements of various parts of the body, with the help of which, as with words, thoughts and feelings are structurally formed and encoded, ideas and movements are transmitted:
Slide (16,17,18,19)
like facial gestures
head, hand and foot gestures
gait
different rotation of the body.
Practical work.
1 Task.
Gestures: Fingers are tense as much as possible, while shaking and constantly looking for support. The hands of an old man are clumsy and ugly.
Plasticity: The head is shaking, the back is hunched, the legs are bent at the knees, the body is constantly tilted forward, the arms are widely spaced to the sides.

Comparison method
Task 2.
Gesture: Hands in position - “Danger” (arms tense, but flexible, ready to attack).
Plasticity: The body is in the “Waiting” position (the neck is stretched forward, the shoulders are raised, the body is tense and leaned forward, the legs are spread wide, ready to jump).

The most successful plastic sketches receive stars. Stimulation method
4. Practical work (Individual studies). (10 minutes)
1) Questions for studio students:
“What is the difference between a plastic sketch and a sketch?”
“Having created a stage character, what should an actor do before going on stage?”
2) Showing of acting sketches “Snow Characters” using facial expressions, gestures and plasticity: “Snowflakes”, “Snowmen”, “Snow Animals”.
Modeling method. Working with groups.
5. Summing up. (5 minutes)
Questions for studio members:
“Did today’s lesson help you learn some acting tricks?”
“Which sketches didn’t work out today and why?”
“Which sketches do you think were successful and why?”
Comparison method
6.Reflection:
Satisfactory (hand at waist level)
Good (hand at head level)
Excellent (hand above head) reflection

7.Homework is to finalize plastic sketches on the theme “Snow Characters.”

Acting lesson notes No. 2.

Teacher: Petrushka is cunning, witty and cocky, and he also loves all kinds of pranks. For this, Petrushka was loved most of all by the common people. And Petrushka himself loved to perform at a noisy and cheerful fair, on the fairground. Listen to how lively the fair is buzzing and having fun!
(Music “Theater Noises”)
Teacher: What did you hear at the fair? What were the people doing on it?
(Students: had fun, walked, sold, barked, traded, bought...)
Teacher: We have exhibits that were used at the fair: a tray with goods, musical instruments (explains to the children)
Teacher: Let's try to act out a fair and a fair performance.
Teacher: Now let’s imagine that we are at a fairground. Some of you are inviting to the fair, some are trading, some are buying, some are playing the balalaika, and the little bear is dancing.
(Dance music plays, children pretend to be at a fair)
Teacher: That's how noisy our fair turned out to be. At the height of such a fair, a puppeteer always appeared (children sit on chairs). The puppeteer had a whole set of scenes with Petrushka. In some he met his bride, in others he bought a horse, was treated by a doctor, learned to be a soldier, fought with the devil... In total there were more than twenty such scenes. And now we will try to act out one of these scenes.
(The teacher selects from among the children the roles of Parsley and the Gypsy. An excerpt from the scene is acted out.)
Parsley: Here come the kids!
Girls and boys!
Bonjour, nice girls,
Quick-eyed freaks!
And bonjour for you, rouged old ladies,
Youthful old men.
I am your acquaintance, Monsieur Vonger-Petrushka.
I came to amuse you
And congratulations on the holiday!
(A gypsy with a horse appears on the screen. The scene is voiced and acted out by the students)
Scene
Gypsy: Hello, Monsieur Pyotr Ivanovich! How are you living - are you doing? Do you often get sick?
Parsley: What do you care? Aren't you a doctor?
Gypsy: Don’t be afraid, I’m not a doctor... I’m a gypsy, from the choir, I sing in a bass voice, I drink kvass.
Parsley: Don’t talk with your tongue, don’t speak with your teeth. Say what you need to, and drive by!
Gypsy: My French friend Foma says that you need a good horse.
Parsley: This, brother, is the case. It’s been a long time since I got a horse. But is the horse good?
Gypsy: Not a horse, but a miracle: it runs, trembles, stumbles, but if it falls, it doesn’t get up.
Horse: Yoke - yoke!
Parsley: Wow! That's how the horse is. What suit? Gypsy: Piebald with spots, golden, with a shaggy mane, crooked, hunchbacked - English breed with a family certificate.
Parsley: Wow! This is exactly what I need! Is it expensive?
Gypsy: I’ll take it inexpensively if I know you: 3,000,000.
Parsley: You're asking too much. The horse is very young! There is not a single tooth in the mouth yet. Oh, if I sit down, I’ll fall.
Gypsy: Are you going to fall soon?
Parsley: After 20 years, right at lunchtime. Yes, call the doctor quickly.
Gypsy: I’ll bring you now (they leave)
(Students take their places on chairs)
Teacher: Well done our puppeteers! The parsley plants amused the people. Let's clap for them.
Physical education minute
Assignment: And now we will hold a competition among you for the most noisy, cheerful and cocky Petrushka. Having put on the cap, you must pronounce the text as our hero would say it (a competition is being held)
Teacher: The next hall “Pedigree of Parsley” awaits us.
“Pedigree” is when you want to find out what kind of ancestors you had. Our Petrushka has a very rich past. This is Maccus, a popular character in ancient comedy. He became the prototype of our hero. You could say he's his grandfather. The Italians created their own theatrical puppet named Pulcinella. And Pulcinella got new names.
(Portraits of Petrushka and his relatives abroad)
In France - Polichinelle
in England - Punch,
in Germany – Kasper,
in the Czech Republic - Kasparek.
Here are portraits of different people's favorites, they have different names. But they are all relatives of our Parsley.
Teacher: Do you guys know that our Petrushka has surnames? But she is unusual. Try to guess it. Here are the possible answers:
(A list of surnames is posted. Children choose the correct answer from the proposed options and place it under the portrait of Petrushka)
Pyotr Petrovich Kisly
Pyotr Fedorovich Mustard
Pyotr Ivanovich Uksusov (correct answer)
Pyotr Nikolaevich Solyony
In some plays you will find such surnames as Parsley.
Samovarov,
Vanka Ro-to-tui
Vanka Ru-bye-bye
(Still from the presentation “Famous Theater Heroes.” The picture gallery consists of portraits of: Petrushka, Pulcinella, Polichinelle, Punch, Kasper, Kasparek, Maccus; paintings depicting a puppeteer at a fair with a screen-skirt).
Teacher: Our excursion is over. And now I invite you to take your places at the tables. We learned a lot about Petrushka, about his character. I think it won’t be difficult for you to draw his portrait. And you will place your finished drawings in our art gallery.
(The play “Petrushka” by A. Rowley is played, students draw)
III. Summarizing
Teacher: Guys, you received an unusual message from Petrushka. You can read it when you put all the details together and correctly. You can add your own detail when you name something interesting you learned today.
(Students complete the task. Having collected all the details together, read the text of the invitation to the New Year tree on the back)
Teacher: Our lesson has come to an end. But we will continue our acquaintance with Petrushka and his ideas in the next lesson. Thank you for your work. Petrushka and I say goodbye to you.

Acting lesson notes No. 3

Plan - summary of the training session.
- Good afternoon! Today I invite you to take a journey into a fairy tale and try yourself in the role of fairy-tale characters, because this is exactly what K.S. Stanislavsky said: “When you reach truth and faith in children’s games in art, then you can become a great artist!” .
And before we start the lesson, I suggest greeting each other in an unusual way, namely, try to find a rhyme to the lines and finish the word.
Preparing children for work in the classroom. Creating a mood.
Exercise - greeting “Say a word.”
- The lights are on on this stage!
You tell me: (children answer) Hello!
- We, friends, are not lazy to study!
You say: (children answer) Good afternoon!
- There are many surprises ahead!
You say: (children answer) Hello!
Activation of attention
Exercise “Fairy-tale hero”
So, are you ready to go on a journey? (children answer) The path ahead is not an easy one, so I suggest how to tune in and activate auditory, visual attention and memory. Concentrate your memory and try to cope with the next task, which is called “Fairytale Hero”. Remember as many fairy-tale characters as possible that begin with the letters “K”, “L”, “S”.
You coped with the task “Fairy Tale Hero” brilliantly, but now try to activate your auditory attention and the next task that you have to cope with is called “Sounds”.
Exercise “Sounds”
I suggest you listen to sounds in your office, on the street, in the Creativity Center. Ready? As soon as I clap my hands, you activate your auditory attention and complete the task. So, what sounds did you hear when I clapped my hands the first, second, third time? Tell us about the nature of the sounds?
Well done! Well, now your favorite exercise is “Catch the Cotton.”
Exercise “Catch the Cotton”
Your task is to catch the clap, namely, to respond to my clap with your friends. Are you ready? Then let's begin... Well, now, applause!
Now, you are truly ready. For two months, we have been studying the topic: “Perception,” which is visual, auditory and tactile. Today, we are summing up this topic. And we will find out what they will be at the end of our lesson.
Subject message.
- Topic of our lesson:
“Improving a set of techniques and acting skills through stage perception.”
Purpose of the lesson.
- And today we set ourselves the following goal:
“Creating a complete image of a fairy-tale hero through stage perception.”
- Surely, you have already guessed what fairy tale we will go to? (children answer) That's right, to the fairy tale “The Adventures of Pinocchio or the Golden Key.” And I suggest checking how well you remember it. Name the author of this wonderful fairy tale.
Here is an associative chain for a fairy tale, look at it carefully and answer my question: “Which heroes, actions and objects will be superfluous?”
Exercise “Associative chain”
1. Pinocchio, Karabas, Harry Potter, Baba Yaga, Malvina, Snow Queen, Pierrot.
2. Coins, a drawn hearth, a magic wand, a pipe, a beard, a jug, a key.
3. Sun, snowfall, birdsong, thunder, dogs barking, frogs croaking.
- You completed the task well, and now try to compose an event sequence using those cards that turned out to be superfluous.
Exercise “Event sequence”
Children take turns drawing 2-3 cards and coming up with an event series.
- Well done! You coped with the task wonderfully, and now answer one more of my questions: “Without what components will you not be able to see clear action in the play?” That's right, if there are heroes, but there are no costumes, props, or voice acting, will the image be complete? Of course not. Today we have to create a complete visual and sound image of one of the paintings from the fairy tale “The Golden Key”. You are ready? Then let’s start creating a visual image, namely setting the table for the “Tavern of the Three Minnows”.
Application of training exercises to the section “visual perception”
Exercise “Table Setting”
- During the short intermission between scenes, you need to set the table for the painting from the fairy tale “The Golden Key” “The Tavern of the Three Minnows”. Unfortunately, we don’t have personal props, so we’ll have to set the table ourselves. I think that this task will not be difficult for you, especially since all the props are in front of you. Remember what the tavern looked like when Basilio the Cat and Alice the Fox came to it, what they ordered for dinner, and how their table was set. All together, you can easily complete this seemingly simple task: with discipline and proper preparation. Remember that you are working during intermission and there are people in the auditorium who can hear you. There is a table in front of you, each of you receives one of the items that should subsequently be used in serving and interior design. Visualize the picture, create a visual image and get to work, the table should be set when I count exactly to ten.
Well done! The stage is set, and very soon fairy-tale characters will appear on it. And who it will be, we will try to hear.
Application of training exercises to the section “auditory perception” Exercise “Sonoscope of events”;
Try to create your own sonoscope of events for some scenes from the play “The Golden Key”.
Now we will divide into two groups and sit so that one group does not see the other - back to back. Each group will receive the name of their painting (“In the Swamp at the Tortilla Turtle” and “In the Karabas Theater”) and several objects that will help you create a sonoscope of events, and the other group will have a better auditory perception of the painting.
The first group sets the sounds, the second explains them. The group is given 2-3 minutes to agree on the nature of the sounds, then the children voice the pictures and make adjustments to the sound of the other group.
- Well done, you coped with the task very well.
Exercise “Soundtrack”
Now you have to listen to three audio tracks, which consist of different sounds. Your task is to come up with a storyline for each audio track. Use a few sounds to create a picture. Check how your auditory perception works. Close your eyes. Listen! Be careful, you might hear something familiar ahead!
- Open your eyes. What's happened?
- Tell us in more detail everything you saw in your imagination. From start to finish, consistently, without missing anything.
(The last audio track is the dubbing of the scene “The Tavern of the Three Minnows” from the fairy tale “The Golden Key”)
- That’s right, the last soundtrack is a good soundtrack for the scene “The Tavern of the Three Minnows.” Your auditory perception did not fail you.
- So, the stage is set. We created the visual perception of the picture. There is a sound track. But it seems like someone is missing? (children answer)

That's right, the most important thing is missing - the heroes of the picture: Basilio the Cat and Alice the Fox.
Application of training exercises to the tactile perception section
Exercise “Your Exit”
But I have the costumes of these wonderful heroes, try to put on the costume of a fairy-tale hero correctly with your eyes closed, using all the knowledge that you have received.
(the musical intro “Song of the Cat and the Fox” from the fairy tale “The Golden Key” plays, children complete the task to the music)
After the task is completed, the group makes adjustments.
Formation of a holistic view of the topic
Exercise “Bring the picture to life”
So, the heroes are ready, the stage is set, there is a sound track, and I suggest you finally revive the picture “The Tavern of the Three Minnows,” but first, let’s listen to the sound track again, imagine the character and images of our heroes.
- I give you 2-3 minutes to prepare, and we’ll see what you got?!
(impromptu screening of the painting “The Tavern of the Three Minnows”).
Analysis and evaluation of success in achieving the goal. Self-esteem.
I want you to applaud each other now, because today in class you completed all the tasks, thereby summing up the topic “Perception”. I would like to know what you liked about the lesson and what you didn’t?
- Our fairy tale has not come to an end, tell me, what did Basilio the Cat and Alice the Fox hunt for in the fairy tale for so long? (children answer) Of course, for gold coins!
Who do you think did the best job in today's lesson?
- Then, allow me to award several gold coins to the most active participants, those who, in your opinion, coped with creative tasks best of all.
(Awarding coins for creating a stage image: the funniest, the brightest, the most charming, etc.)
- Our lesson has come to an end, and I want to end it with the words of K.S. Stanislavsky: “When you reach truth and faith in children’s games in art, then you can become a great artist!” Don’t forget the fairy tales that surround you, and stay in childhood as long as possible!

Acting lesson notes No. 4

Acting lesson notes No. 5

Educational:
check and evaluate the level of knowledge, skills and abilities of acting; plastics.
to develop knowledge about ways to relieve muscle and psychological tension.

Methods
1. Verbal methods: story, conversation.
2. Visual methods: display method, demonstration.
3. Practical methods: exercises, games, training exercises.
Technologies: partially search.
Expected results:
Subject: - knowledge of the types of acting clips (voice, plastic, psychological);
-self-diagnosis of acting pressures;
Metasubject:
- knowledge of ways to remove bodily tensions, liberation and uncertainty before a theatrical performance and in public activities.
Personal: - presence of a positive emotional atmosphere in the group.
- development of empathy.
- development of self-confidence
Material and equipment:
Chairs, fabrics, tape recorder
Lesson plan.
1. Organizational moment.
-preparation for class, relaxation exercise (5 min.)
-announcement of the topic and setting the purpose of the lesson. Introduction of new educational material. The concept of “emancipation” (2 min.)
2. Main part.
-Repetition of the material covered, exercise “Circle” (the exercise is aimed at collective work. (10 min.)
Exercise “Concert of fairy-tale characters” (the exercise is aimed at developing fantasy and imagination, overcoming the fear of publicity (25 min.)
3. Final part.
- Summarizing. (1 min).
Progress of the lesson
1. Good afternoon, dear guys. Sit in a semicircle. We inhale through our nose, exhale through our mouth, with each inhalation we inhale a good mood, and with the exhalation, all the bad things you had today go away. Let's all inhale, exhale, and so on eight times. Now close your eyes, each of you remember your route from home to school. How many stairs do you have on the site, count how many roads you need to cross, is there a traffic light. Go all the way, in detail, in your imagination, silently. Whoever gets to school, open your eyes. Have you all arrived? If everyone has arrived, then you are ready to go.
The topic of today's lesson is “Ways of free well-being in theatrical activities.” You have probably heard the phrase “a liberated person”, “behaves in a relaxed manner”. Today you and I will learn and liberate ourselves. What words synonyms for “liberated” do you know? Children's answer. Dictionary of synonyms: uncomplicated, liberated, free, spontaneous, relaxed, liberated, uninhibited. Synonyms are more suitable for us: spontaneous, relaxed, relaxed and probably uninhibited. Before we start something new, let's remember what we did in the last lesson? Moreover, the past lesson is intertwined with today’s and is aimed at overcoming uncertainty and fears before performing.
2. What did we talk about? Well done, about the “acting pressure” and how to deal with it. We stand in a wide circle. Who remembers what we did in the circle? It’s very good that you remember almost everything. Let me remind you again, one of you goes to the center of the circle, makes a movement that is unusual and unlike anyone else, which they can repeat, and says your name. When the presenter returns to his place, we repeat everything after him. Let's go clockwise from me, let's start. Great, today is better than last time. Now let's complicate the task. Let us remember the tongue twister: “The clatter of hooves causes dust to fly across the field.” Now, instead of our names, we pronounce a tongue twister with different intonations. And intonation depends on your movements and gestures. Options: you can call your partners, scold, brag, teach, etc. Now, counterclockwise from me, let's start. Well done. Now we can move on to a new exercise, a new topic.
3. Today we will have a concert, but not an ordinary one, but a “Concert of fairy-tale characters.” What is this, you will now find out. To do this, we will share with you, the audience, the entertainer and the actors. Of course, you will all try yourself in different roles, so now, sitting still, remember poems, tongue twisters, songs. We remembered which of you is brave, I need two people. One of you will be the compere, or otherwise the presenter, who announces the speaker loudly, clearly and brightly, as if a very famous actor is performing. Actors read poetry, sing or tell tongue twisters, but not on their own behalf, but on behalf of any fairy-tale character. In other words, you guys briefly transform into your favorite characters and act on their behalf. After the performance, you change, the actor becomes the entertainer, and the entertainer becomes an actor. A big request to you, please, no characters from computer games. The main condition: “I am not afraid of anything, because I am Ilya Muromets, Zmey Gorynych, fairy, Cinderella, Baba Yaga, Cheburashka, etc., and when I announce, I am a very famous entertainer.
The audience watches and appreciates it through applause.

The final stage. Summarizing.
Now let's summarize our lesson. You did a good job today, well done everyone. What was difficult for you to accomplish today? What did you find most difficult? What was easy for you? What qualities of your characters would you apply in life, and why? (children's answers)
Let's return to the topic of our lesson today: psychological and bodily liberation. Through exercises and mini-performances you learned to be spontaneous, relaxed, relaxed, in the good sense of the word. By putting on the mask of your fictional characters, you fought against your clamps and rigidity.
We will return to these exercises in future lessons. Read Russian folk tales at home, choose your favorite characters. In the next lesson we will discuss the nature of your characters.
See you!!! Thank you for the lesson.
List of references used in preparation for the lesson.
1. L.V. Grachev “Acting training: theory and practice.”
2. Elvira Sarabyan “Acting training according to the Stanislavsky system.”
3. N.A. Oparin “Pedagogy of theatrical leisure”.
4. Russian folk tales.

Acting lesson notes No. 6

Equipment: stage, chairs, tape recorder

Progress of the lesson:
The whole world is a theater, we are all reluctant actors,
Omnipotent Fate distributes roles,
And the heavens are watching our game.
Acting training removes emotional barriers in communication, creates an emotionally comfortable atmosphere in the classroom, creates a situation of success, allowing you to express yourself. All this contributes to more successful self-realization. Participants perform independent actions and are responsible for them to other participants. The publicity effect that occurs during the training contributes to the development of tolerance and empathy, the ability to understand and accept another person. Understanding the emotional state of another is expressed in the form of empathy and sympathy.
Thesis: Everyone is talented!

I block. Warm up.
1. Immersion. I invite everyone to stand in a circle.
This is a close interaction between the actors - we see each other. I'm preparing you for the role. In order to get into the role, all extraneous thoughts must be left behind the scenes.
2. Study with an imaginary subject.
A convenient and time-efficient method of overcoming the fears and anxieties of a large group is to create a “Deposit Box”:
Participants need to remember what worries them, which may interfere with active participation in our lesson, for example, these may be distractions
Did I feed the cat?
When will uncle leave the hospital?
I have nothing to say
Concerns about participating in class
Will I be able to cope with anxiety?
Will I be asked to speak?
What if I don’t answer as expected?
Try to put all your worries in this basket, imagining your unnecessary item. While the concerns are in the basket, they can be forgotten.

II block. Speech techniques.
3. Practicing diction.
Relaxation exercise “Worship of the sun”
Everyone is standing in a circle. Legs are shoulder-width apart, feet are parallel, arms are freely lowered along the body.
inhale – raise your arms and head up;
exhale - tilt.
Exercise "Buttons"
“Twisting” with your hand and the sound of the button, clearly pronounce the “bundles” of consonants: TCHKa, TCHKu, TCHKe, TCHKi, TCHKo.

Since speech and reading occur during inhalation, its organization is crucial in the management of breathing and voice.
First of all, it is necessary to ensure that while reading there is always a supply of air in the lungs; a weak stream of air is involuntarily compensated for by their excessive tension, which is dangerous for the ligaments.
Before you say a tongue twister out loud, you need to do it silently several times, actively articulating with your lips, as if you want to be heard through soundproof glass! Then say it in a whisper, but so that you can be heard at the end of the hall. Only after this say it out loud, but not quickly. But after that - three times in a row quickly.
- From the clatter of hooves, dust flies across the field
- The bull is stupid, the bull is stupid, the white lip was stupid
- Sasha walked along the highway and sucked on a dryer
4. Theater rules:
- silence behind the scenes
- you cannot turn your back to the audience
- remain in role until the end of the performance
- be able to listen to your partners
- all actions are performed by clapping
(Warm-up. We control the body. To the music we go on stage from both sides. Assistants show the movements).

III block. “Acceleration”, “inhibition” of mental activity.
5. Determine the “grain” of character!
An important element of acting is the interaction between partners.
- Go to your partner who is sitting opposite you. Look at each other. Tell us something about your partner, maybe he reminds you of some bird, animal, tree...
We work in pairs (development of communication skills). It is proposed to combine two sentences into a coherent story.
1) “Far away on the island there was a volcanic eruption...”; “...that’s why our cat remained hungry today.”
2) “A truck drove down the street...”; “...that’s why Santa Claus had a green beard.”
3) “Mom bought fish at the store...”; “... so in the evening I had to light candles.”
4) “Spring will come soon...”; “...that’s why I bought interesting books at the store.”
6. Acting technique - proposed circumstances.
Suddenly a crying girl appears on the stage. What will each participant do? Analyze.
Now let's try to do it all over again. Can we? Will it be easy?
It is very important to remember how you felt…..Remember this state!

7. Extras.
Making extras in a theater is much more difficult than acting out a separate episode. There are a number of exercises.
J.P. Sartre: “Man is not what he is; man is what he is not"
A person constantly strives to go beyond the boundaries of his “I”.
Exercise “In one bundle.”
All participants are tied with one rope. Everyone is given a sheet of paper where it is written who needs to do what. One is late for the train, another has to urgently meet a friend, the third just wants to sleep, etc.
The participants must somehow resolve the situation.

IV block. Embodiment.
8. Sketch around the play. “A Hut in the Forest” Since the actors play animals in this play, the sketch will be with animals - Fox, Wolf, Crow, Flea - their character, habits, gait, voice, etc.
Exercise "Explosion"
One by one, the presenter shows the numbers 4,3,5. The participants, without saying a word, stand up in exactly this number. Some will get up several times, others will continue to sit. Leadership qualities are determined (the leader will always stand up). Bow. (Draw a “wave”)

9. State of “silence”. Stopping the internal monologue.

10. Reflection.
Each participant draws their emotions on the theater mask and puts it on. Everyone stands in a circle and shares their impressions.
At the end of the lesson, you can ask whether the idea of ​​​​a deposit worked, whether the anxiety of the participants increased or, on the contrary, decreased when they literally put it aside. The teacher sums it up. Today you tried yourself as an actor, I think you succeeded. At the next lesson you will be able to play the role of decorators, costume designers, directors, screenwriters, and make-up artists. And then decide for yourself what you will do in our theater studio.
All the best!

Acting lesson notes No. 7.

Our website is aimed primarily at the practical side of developing stage skills. This explains the use of special games and exercises in teaching to consolidate knowledge and train acting skills. The exercises presented below are aimed at developing not only a specific professional quality, but also at improving a whole set of skills useful for transforming into a role. Many of these techniques and exercises were used by the world's leading actors to develop their acting talent.

Expressiveness exercises: pantomimes and dramatizations

A sense of truth and expressiveness are essential to any actor's skill. It is these qualities that help actors hear the cherished word “I believe” from the director. Actors need to develop expressiveness and believability in order to become understandable to their audience, to properly convey to them the idea of ​​a theatrical work. There are special techniques and exercises for this.

Pantomime. Pantomime is a type of stage art in which the main means of creating an artistic image is the plasticity of the human body without the use of words. Well-known games are great for performing exercises with pantomime: Crocodile, Activity, Alias. The goal of such games is to use pantomime and without words to try to explain the hidden object, phenomenon or phrase to other players so that they guess. Not only is this a great way to practice expressiveness, it's also a lot of fun, so give it a try!

Dramatization of the proverb. To cope with this task, you can use not only the capabilities of your body, but also your words. The purpose of the exercise is to play a short scene illustrating a well-known proverb in such a way as to convey its meaning to the playing partners or spectators as clearly as possible. Possible examples of proverbs: “Mark seven times - cut once”, “A woman with a cart makes it easier for a mare”, etc.

Exercise "Words starting with..."

Within a minute, try to name as many things as possible that are now in the room with you and begin with the letter: “K.” The letter “P”... And the letter “B”?

Count how much you got. If you try, you can name more than 50 things, or even more than 100. To help you make the most of this exercise, we suggest paying attention to certain groups of surrounding objects that you may have forgotten to include.

You may also find a creative thinking training lesson on developing your imagination useful. In this lesson you will find various tips and exercises that will be relevant for developing your acting abilities.

Exercise “Repeat”

Any aspiring actor needs his own reference point, an example to follow. Unlike the times of Stanislavsky, we now have at our disposal a huge variety of examples of domestic and foreign acting art, easily accessible on the Internet. We just need to open YouTube, download a movie with the character we need and try to repeat his emotions and speech.

To perform the exercise, turn on the video and start copying the pose, facial expressions, gestures, and movements of your model. If possible, copy your voice, intonation, and speech. It will be difficult at first, but the more you rehearse, the better you will get. Of course, it is impossible to do everything exactly as your character does, try to be as similar as possible: pay attention to all the details, the typical manner of performance, the emotions experienced.

The video below illustrates how famous comedian Jim Carrey performs this exercise on stage.

Acting fantasy exercise “Think it through”

When traveling on public transport, try to come up with a name, biography or other details for strangers who are traveling with you based solely on their appearance. Pay attention to even the most insignificant details and try to come up with a rationale for every detail of the appearance of the person you are observing.

These exercises are aimed at developing the creative thinking and imagination of the actor, for whom a rich imagination is one of the most important components of success. In order for the viewer to believe in your game, you yourself must convince yourself for some time that you are your character and living his life. Stanislavsky called an actor’s ability to create his character and get used to his role as the art of experience, which you can read about in this lesson of our training.

From proposed circumstances to role

In this exercise, based on the well-known life circumstances of the hero, you need to figure out his character and imagine his emotional state. We can say that this exercise is the opposite of the previous one. To complete it, try to imagine how certain life circumstances influenced the hero, his behavior, emotions, words. Try to describe or even show a person who:

1. I haven’t slept for a long time and I’m very tired from doing difficult work.
2. Yesterday I received a promotion and a new salary that was 2 times more than the previous one.
3. He received the superpowers of a real superhero; now he can fly, climb walls, and shoot webs with his wrist.
4. I just lost my entire fortune at roulette.
5. He watches a boring acting performance while his favorite football team is playing a football match on TV.

Concentration exercises

Concentration is very important for an actor. There are many factors around us that influence our behavior, thoughts and emotions. If you want to play your role well, you need to learn not to be distracted by external stimuli. In addition, it is important to be able to quickly get ready and tune in to the subject of your transformation. There are a number of techniques and exercises to develop acting attention.

Countdown. Close your eyes and count from 100 to 1 silently. Try to count at the same pace and not too fast. Breathe evenly and concentrate on the numbers, try to visualize them.

Concentration on the subject. Sit comfortably and concentrate your gaze on one object, for example, the hand of a clock hanging on the wall. Try to throw extraneous thoughts out of your head and think only about the arrow.

There are also special techniques for improving concentration, a video of one of which you can watch below, starting at the 4th minute:

Do these exercises to train your ability to concentrate quickly, but remember that for mindfulness, sometimes it is useful to simply get enough sleep and clearly identify the object of concentration. You can read other useful tips on how to be attentive in a special lesson.

Exercise “Changing Roles”

In life, we often play different roles, finding ourselves in different circumstances. If we want to develop our acting talent, it is important for us to learn to manage our emotions while playing a wide variety of roles. After all, all these skills are the professional craft of an actor, which he must have at the highest level.

To practice emotional control and the ability to quickly change roles, try the following exercise. Say the same phrase several times (for example, “Dear friends, it was not in vain that I gathered you here”), from the perspective of different characters: a little girl, her mother, an elderly person, a businessman, a famous artist, a president. Try to find the features of each of them; for this, the phrase can be slightly modified by adding typical speech techniques for each character. In addition, you can try saying a phrase on behalf of the same character, but in different emotional states.

For this exercise, it is useful to use the techniques we have already described, which you can find in lessons on public speaking and the craft of acting.

Improvisation Exercises

Improvisation - this is the work of the actor to create a stage image, action and his own text during the performance, not according to a pre-created script. With the help of improvisation it is easy to test how skillfully you possess the qualities of a real actor. As a rule, in life we ​​have to play spontaneous, unrehearsed roles, so training improvisational skills is relevant not only for professional actors. There are various modifications of improvisation and exercises to improve the ability to perform without preparation:

"Endless". The objective of this exercise is that you need to continuously deliver a monologue on a specific topic for 3-5 minutes without preparation. Pauses should be minimal, and your presentation should sound so convincing that listeners think that you are delivering a prepared speech. Topics can be different: start with subjects that are familiar to you, and then move on to unfamiliar or completely unknown topics. The highest aerobatics is a monologue without a topic at all.

"Interview". Another type of improvisation is an interview. Ask your friend or colleague to prepare a series of questions for you. Questions should be unexpected and open-ended, that is, requiring a detailed answer, and not just “yes” or “no.” Try to answer the questions posed quickly, confidently and in as much detail as possible, convincingly defend your opinion and express your emotions as clearly as possible.

With reference to words. Choose 20-30 words that are distantly related to each other. Write each word on a separate piece of paper or card. After this, you can begin an improvised speech, pulling out words in random order and linking them into a coherent story, being sure to use each of the written words in your speech.

A set of diction exercises

The ability to speak clearly and distinctly is the most important quality of any actor. To train diction, you can use special exercises aimed at developing the speech apparatus and respiratory organs. You can find some of these exercises in a special lesson on rhetoric, as well as in the video we posted below.

Association chains

This game is aimed at developing associative thinking.

First, you will be asked to complete ten chains of 3 words with your association. Try to come up with an association that is very well connected with the proposed words, but with no others.

After completing the chains, you need to find the extra elements in the previously constructed chains. Click "Start" to start the game.

Practice

There are a lot of acting exercises, but the most important thing is the practical use of these techniques on stage and in life. It allows you not only to hone the necessary skills, but also to learn how to work in real conditions with real spectators. If you suddenly have a unique opportunity to play a role in a school play or at a New Year's corporate party, do not refuse it under any circumstances, but boldly get down to business. In addition, our ordinary life often offers us new roles:

• Yesterday's graduate student becomes a teacher.
• An ordinary manager turns into a great speaker during a presentation.
• Meeting new people helps you discover new qualities in yourself and show your best side.
• And many others.

in acting

(collection of exercises)

Methodological manual for managers

amateur theater groups

Introduction. 3

Exercises for psychophysical training. 4

Frontal muscle training. 38

Eye muscle training. 39

Upper lip muscle training... 39

Training the transverse muscles of the nose. 39

Orbicularis oris muscle training. 40

Quad training

muscles of the lower lip.. 40

Exercises on "modeling a phrase"

(verbal action) 41

Introduction

The recipe for acting training is simple:

1) Let's take imagination and observation

2) Let’s add “emotional generosity” to them

3) Mix with boldness and brightness

4) Let’s add some spontaneous improvisation and...

Dinner is served! Enjoy!

The importance of training in preparing amateur theater actors is invaluable. Acting training exercises are advisable during work, as a means of gathering attention and mobilizing the team before the start of any rehearsal.

It is also fundamentally important that almost from the very beginning of acting classes in an amateur theater, it is necessary to pay close attention to developing a “sense of community” among the team members.

Theater is a collective form of creativity, but collective creativity is especially important in relation to acting.

This collection is addressed to directors and managers of amateur theaters. Work on developing the participants' acting skills and sense of collective creativity should take an important place in the activities of amateur theater.

In addition to the exercises given below, these goals are achieved with the help of any (preferably related to movement in space) games that are of a collective nature. A set of core games and game elements can be “woven” into any exercise, which will decorate it and make it multifunctional.

Exercises for psychophysical training

Running in an elastic band. “Participants are divided into pairs. Each pair receives an elastic band (a wide underwear elastic sewn into a ring is given).

In each pair, determine who is the Leader and who is the Follower. As the game progresses, they will change roles. The Leader and the Slave put on an elastic band and move away from each other to the distance that the tension of the elastic will allow. At the leader’s signal, movement on the stage begins. This can be walking at different speeds and at different tempos, running, overcoming all sorts of obstacles in the form of tables and chairs, unexpected turns, stops, etc. The main thing is to keep the elastic band on the body (and you cannot hold it with your hands while moving). It should be elastically stretched between the participants so that it does not fall off their bodies, but also does not tear due to excess tension.

The biological clock. Close your eyes and sit comfortably. When you hear a clap, try, using only your internal sensations, to determine the duration of the minute. The one who decides that 60 seconds have already passed since the clap gets up.

At the end of the exercise, it turns out who managed to correctly determine the duration of the minute. (Usually, when an exercise is carried out for the first time, there are very few such participants. Basically, everyone is mistaken in one direction or another by almost 20 seconds).

Bull and cowboy . Two participants stand at a distance from each other (at least 5 meters), one turns his back - this is a bull, the second takes an imaginary rope in his hands - this is a cowboy. At the signal, the cowboy must throw an imaginary rope over the bull and pull him towards him (the bull, of course, resists). The exercise will be successful if the participants manage to synchronize their actions so that the audience “sees” an imaginary rope stretched between them.

Turn on imagination. Participants voice over a videotape on which fragments from the program “Your Own Director” are recorded.

Enter the role – 1. Participants are invited, abstracting from the content, to read the proposed text of their choice as:

1) television report about the most important international event;

2) an evening story from a mother to her child;

3) a letter that a person reads in a half-whisper;

4) the will of the deceased grandfather.

Text: “So you are left to your own devices, and this is really the state in which a person who takes all this very seriously should be; and therefore you no longer rely, in the sense of help, on anyone or anything. You are already free to make discoveries. When there is freedom, there is energy; when there is freedom, nothing wrong can happen. Freedom is essentially different from rebellion. When there is freedom, there is no such thing as doing right or wrong. You are also free from the center that acts, so there is no fear. And a mind in which there is no fear is capable of great love.”

The Russian people have endured enough

He took out this railway too -

He will endure whatever God sends!

Will bear everything - and a wide, clear

He will pave the way for himself with his chest.

Magic wand. Participants pass each other a pen (or other object) in a certain order (or at the request of the owner of the wand), offering to continue the sentence (phrase) they started. The person receiving the wand must come up with a continuation on the count of five and becomes the master himself, giving the task to the next one. The owner can guess a person’s profession with a pose, an action with a gesture, etc.

Question answer. Everyone stands in a circle. The director holds 4-6 different objects in his hands. “Everyone is familiar with these objects. A pen, a box of matches, keys, a coin, etc. Let's imagine that we are seeing these objects for the first time. But we will do this in a circle in a special way. I will start, and I will “introduce” my objects to the neighbors on the right and left. I start with the key. I pass it to the neighbor on the right with the words: “This is the key!” He should ask me: “What?” I repeat: “The key.” My partner continues to feign surprise: “What?” "Key!" – I don’t give up. Then my partner agrees: “Oh, the key.” He takes the key for himself and gives it to his neighbor, saying exactly the same text. And so, in a circle. At the same time, I give my neighbor on the left another object - a coin. The same dialogue plays out here.” Up to this point the exercise looks very simple. Problems arise when the leader begins to introduce additional objects into the circle, throwing them in from the left, then from the right, or by including players from the middle of the chain into the game. A situation arises when players must simultaneously (without pausing) both accept an object from one side and give another object to the opposite side. In order to successfully overcome all difficulties, participants will have to show maximum concentration and learn to switch attention from one subject to another.”

Stand on your fingers. The presenter turns his back to the group, shows a sign with any number from 1 to 10 (you can just have a certain number of fingers). Then he begins to count down (to three or to five), after which he sharply turns to the group. At the moment of turning, the number of people standing (or sitting, lying, etc.: as agreed) should be equal to the number written on the sign. The condition for the exercise is complete noiselessness.

Meeting. We begin to move freely around the stage. We don't look at our partners. We move as if immersed in our own thoughts. We avoid not only collisions, but even touching. Movements are light and free. Without slowing down, we try to fill all parts of the room evenly. We don’t even leave the corners empty.

Now we meet the eyes of everyone who passes next to us. A second delay - stopping for eye contact - and again moving to the next meeting. Paused - look - movement.

If until now our eye contact with partners has been a purely mechanical fixation, now let's fill the meeting with emotions. What does your look express at each new meeting: joy, surprise, greeting, indifference, etc.

We continue moving and shake hands with everyone who meets us on the way. The pace doesn't slow down, so you'll have to be quick enough to greet both those passing on your right and those running on your left. Try not to miss a single person, not to leave anyone without a greeting. There is no need to walk in circles at all: the whole room is at our disposal. We improvise in choosing a route.

Now, instead of shaking hands, we touch everyone we meet with that part of the body that the teacher calls. "Elbow!" - this means we put our elbow on the person oncoming and stop running until the teacher checks whether everyone has found a partner. "Shoulder!" - that means we stand shoulder to shoulder.

We pet the animal. All participants receive assignments on pieces of paper. You need to pretend that they are petting the animal or picking it up. Here the hands and palms should work mainly. It is suggested to “pet” the following animals:

· a hamster (image how it slips out of your hands, runs along your shoulder, etc.);

· a snake (it gets entangled around your neck);

giraffe

The task of the whole group is to guess the animal.

Group sculpture. Each participant is both a sculptor and a clay artist. It finds its place in accordance with the general atmosphere and content of the composition. All work takes place in complete silence. The first participant comes out to the center of the room (this can be anyone willing or a person appointed as the leader) and takes some kind of pose. Then a second one is added to it, the third is added to the one common to the first two participants in the composition. When performing this exercise, you need to: 1) act at a fairly fast pace, 2) make sure that the resulting compositions are not a meaningless mosaic of figures isolated from each other. Option: a “frozen” sculpture can “come to life”.

Don't say “yes” or “no”. The “driver” (first the leader) asks questions, the answers to which should not include the words “yes”, “no”, “black”, “white”; then these questions are continued by the one who used one of these words. Questions are asked to different group members out of any sequence, so that taboo words, which are subsequently joined by “well”, “in short”, “so to speak”, “like that”, “specifically”, “this is the same”, become signals “no ! already on a superconscious level. This ensures the purity of speech.

Ten masks. Be sure to discuss each mask with the group. Discuss in detail: how should an actor look? Should he blink his eyes? Should he lower his eyes? Should I open my mouth? Should I raise my eyebrows? Etc.

2. Anger.

3. Love (falling in love).

4. Joy.

5. Humility.

6. Repentance, remorse.

8. Shyness, embarrassment.

9. Meditation, reflection.

10. Contempt.

11. Indifference.

13. Drowsiness.

14. Petition (you ask someone for something).

To better portray, for example, contempt, say the appropriate words to yourself (look at who you look like? Yes, I can’t stand you, look at what you’re wearing? Etc.). It may not be entirely ethical, but it helps.

Ten seconds. “Now you will begin to move quickly and spontaneously around the stage. Be careful, because from time to time you will have to react to my various tasks and complete them in the shortest possible time - within ten seconds."

For example, the following exercises will help develop composure and concentration skills:

a) line up by height, in alphabetical order (by last name, first name), by hair color (from lightest to darkest);

b) name the farthest and closest objects in your field of vision;

c) list all the objects of a certain color and shade in the room; objects whose names begin with one letter of the alphabet;

d) accurately reproduce a series of movements made by a friend;

e) look at the eyes of your comrades, tell what shape, color they are, what their expression is, from memory. Then check your observations, look for subtleties that were not noticed the first time.

Circular clamps. Participants walk in a circle. At the leader’s command, tense the left arm, left leg, right arm, right leg, both legs, lower back, and the whole body. The tension in each individual case should first be weak, then gradually increase to the limit. In this state of extreme tension, students walk for several seconds (15-20), then, at the command of the leader, they release the tension - completely relax the tense part of the body.

After finishing this part of the exercise, the leader gives the participants the task to listen to the sensations of their body, continuing to walk calmly in a circle, to remember their “usual” tension (their usual tension). Gradually straining your body in this place, bring the clamp to the limit, and release it after 15-20 seconds. Tighten any other part of the body to the limit, paying attention to what happens with the “regular” clamp. Repeat the exercise with your own clamps 3-5 times. After completing the exercise, participants are advised to individually repeat it at least 1-2 times a day.

Mirror. Participants are divided into pairs and face each other. One of the players makes slow movements. The other must exactly copy all the movements of his partner, be his “mirror image”. At the first stages of working through the task, the presenter imposes some restrictions on the actions of the “original”: 1) do not make complex movements, that is, do not make several movements at the same time, 2) do not make facial movements; 3) perform movements at a very slow pace. After some time, the participants change roles.

During the exercise, participants working on “reflection” quickly learn to feel the partner’s body and grasp the logic of his movements. Each time it becomes easier to follow the “original” and more and more often a situation of anticipation and even ahead of its actions arises. Exercise is a very good tool for establishing psychological contact.

Improvisation with words. Say a sentence that uses the word: fool; sugar; folder; camera; recording; money; sink; journey; liquid; key; net; program; tiger; reality.

Dramatization of proverbs . Groups (3-5 people each) are given the task in advance to dramatize the proverb. Possible proverbs: “Teach a child while he lies across the bench, it will be difficult when he runs”, “Measure seven times, cut once”, “Seven nannies have a child without an eye”, “Know a lot, but buy a little!” It is not appropriate to fight a lot”, “Like the builder, such is the monastery”, etc.

Who should I choose? The participant is given the task to imagine that he is the main director of an upcoming play, for example, about the life of a city at the end of the 20th century. He must select actors for the roles of the “new Russian”, the bohemian lady, the first lady of the country, the “sultry woman - the poet’s dream”, the pragmatic business lady.

Why were these particular actors chosen? Argumentation.

Conflict. Show several plastic mise-en-scenes (static) depicting a conflict situation. Find an internal justification for every mise-en-scène of the body. Give names to conflict situations.

Puppets. Participants should imagine that they are puppets that hang on nails in the closet after the performance. “Imagine that you are suspended by the hand, by the finger, by the neck, by the ear, by the shoulder, etc. Your body is fixed at one point, everything else is relaxed, dangling.” The exercise is performed at an arbitrary pace, with your eyes closed. The presenter monitors the degree of relaxation of the students’ bodies.

Car. The first participant enters the platform and begins his action. The second, after a moment's hesitation, enters the platform and adapts to the movement of the first. It is desirable that some kind of relationship arise between actions: a cause-and-effect or emotionally effective assessment of what happened. The third participant, having assessed during a short pause what is happening with the existing parts of the mechanism, adds a new movement to the existing one. Just like the first two participants, he continues to return to his chosen action again and again, like a wind-up doll. So, from participant to participant, the work of the “machine” becomes more and more multi-level. Logical connections arise, and the entire chain continues to work until the last participant joins the exercise. At the same time, participants can pronounce some sounds.

If the “machine” worked rhythmically, harmoniously, uninterruptedly, if logical consistency was achieved between the actions of each of the partners and the work of the entire mechanism, then we can see a whole unfolding scene,” etc.

Metaphors. The leader says a word, for example: “They go out...” All participants describe what they saw on their inner screen (stars, windows, powers, eyes...). This exercise improves associative thinking and imagination.

Musical pause. Perform the song “There was a birch tree in the field” as if you were: African aborigines, Indian yogis, Caucasian mountaineers, Chukotka reindeer herders.

Tension-relaxation. Participants are asked to stand up straight and focus on their right arm, straining it to the limit. After a few seconds, release the tension and relax your hand. Perform a similar procedure alternately with the left arm, right and left legs, lower back, and neck.

Pump and inflatable doll. Participants are divided into pairs. One - an inflatable doll, from which the air has been released, lies completely relaxed on the floor. The other one “pumps” the doll with air using a pump: rhythmically leaning forward, pronouncing the sound “s” while exhaling. The doll is gradually filled with air, its parts are straightened and leveled. Finally the doll is inflated. Further pumping it with air is dangerous - the doll tenses up, becomes stiff, and may burst. The pumping must be completed on time. The participant with the “pump” determines this end time of inflation based on the state of tension in the doll’s body. After this, the doll is “deflated” by removing the pump from it. The air gradually leaves the doll, it “falls”. This is an excellent exercise for relaxation-tension, as well as pair interaction.

Not a very real thing. You need to try to imagine objects that are not in front of you, and which have strange names: abracadabra, a cup with a handle inside, an ivory broom, a hole board (occasionalism of A. Neverov), ya (V. Mayakovsky), a bungler, a mind-trap (A. Herzen ).

Images of ideas. Several abstract concepts, the internal image of which is proposed to be created and described: beauty, order, energy, peace, harmony, communication.

Fire-ice. The exercise involves alternately tensing and relaxing the entire body. Participants perform the exercise standing in a circle. At the command of the “Fire” leader, participants begin intense movements with their entire bodies. The smoothness and intensity of movements are chosen arbitrarily by each participant. On the command “Ice”, the participants freeze in the position in which the team caught them, straining their entire body to the limit. The presenter alternates both commands several times, randomly changing the execution time of both.

Justification for the pose. Participants walk in a circle. When the leader claps, everyone must throw their body into an unexpected position. An explanation must be selected for each pose. “Imagine that you performed some meaningful action... On the command “Remove”, continue this action. We need to understand what you are doing. Try not to come up with trivial excuses that can be used to explain any pose. Look for actions that correspond exactly to the position of your body in which you are frozen, only to it and no other.”

Orchestra. The presenter distributes parts of various instruments among the participants, consisting of clapping, stomping and all possible sound effects. The participants' task is to rhythmically perform a well-known piece of music (or a rhythmic score composed on the spot) under the direction of a conductor who controls the volume of the overall sound and introduces and removes individual parts.

Machine gun fire. Participants sit in a circle and the leader sets the pace of the machine-gun fire (slow at first) with three claps. Participants take turns, keeping exactly the tempo, clapping, gradually (very slowly) accelerating to the speed of a machine-gun burst (the clapping almost merges), and, having reached the maximum speed, they also begin to slowly reduce it.

Donkey. “Please stand in a wide circle! I'll be the host. I clap my hands and point to the person standing in the circle, saying his name at the same time. Without wasting a second, he claps his hands, points at me or any other player in the circle and says his name. The point is (at a very high pace of play) not to forget the order of actions: clap - pointing to the player - saying his name. It is important not to forget or confuse the names of the players. Any loss of tempo, frozen “inclusion” in the game, or a mistake in the name lead to defeat. The exercise continues until the last participant.”

Guess where I am. The exercise consists of one participant trying to convey to others with his psychophysical state where he is (hockey match, zoo, watching an exciting movie, etc.), but no sounds can be played.

Feel. Sit on a chair as a king sits on a throne; bee on a flower; beaten dog; punished child; a butterfly that is about to fly; horse rider; astronaut in a spacesuit.

– Walk like a baby who has just started walking walks; an old man; proud; ballet dancer.

– Smile as a very polite Japanese, Jean Paul Belmondo, smiles, a dog to its owner, a cat in the sun, a mother to a baby, a mother’s child.

- Frown, like a child frowns when his toy has been taken away; like a person who wants to hide his laughter.

Reincarnation in amoebas, in insects, in fish, in animals, ...

If a participant shows something simple, for example, a cat, he is asked questions: How old is the cat? Is he wild or domestic? What are his habits?

Pose transfer. Participants stand in a line. The first one comes up with some complex pose (the others don’t see which one) and, at the presenter’s signal, “transmits” it to the second one (he must remember it as accurately as possible in 10-15 seconds). At the next signal from the leader, the first “takes off” and the second “takes” this pose. Next, the pose is transferred from the second to the third participant, etc. The task is to transfer the pose as accurately as possible from the first to the last performer. If there are enough participants, it is better to split into two teams and “pass” one pose given by the leader - who is more accurate.

Voltage rollover. Tighten your right arm to the limit. Gradually relaxing it, completely transfer the tension to your left hand. Then, gradually relaxing it, completely transfer the tension to the left leg, right leg, lower back, etc.

Switching attention-1. The “simultaneity” of attention to several objects is only apparent, but in fact, in human mental activity there is a very rapid switching of attention from one object to another. This is what creates the illusion of “simultaneity” and continuity of attention to several objects. A person performs many actions mechanically. Attention can also become mechanical, automatic.

a) the participant is given a box of matches. While counting matches, he must simultaneously tell a fairy tale or the plot of a movie;

b) the leader distributes serial numbers to those present and invites everyone to mentally read a poem. 2-3 seconds after the start of the exercise, the leader calls a number. The participant with this number must stand up and continue reading aloud until the next number is called. The previous one continues to read the poems mentally.

Switching attention-2. The exercise for switching attention proceeds in the following sequence:

1. Visual attention: an object is far away (for example, a door).

2. Auditory attention: the object is close (room).

3. Visual attention: a new object located far away (street in the window).

4. Tactile attention (object – the fabric of your own suit).

5. Auditory attention: the object is far away (street sounds).

6. Visual attention: the object is close (pencil).

7. Olfactory attention (smell on stage).

8. Internal attention (topic – diary).

9. Visual attention: the object is close (a button on your suit).

10. Tactile attention (object – surface of a chair).

Typewriter. Participants distribute the alphabet among themselves (each gets several letters) and use the typewriter keys to determine which letters they get. Hitting the right key is a clap from the right person (who got it). Someone suggests typing some phrase, and the participants “type” by clapping at the right moment with equal intervals between the “letters.” A space is indicated by a common clap for the entire group, a dot is indicated by two common clap.

Plasticine dolls. “During the sketch you will turn into a plasticine doll. The exercise has three stages. With my first clap, you become a plasticine doll that was kept in a cold place. It is clear that the material has lost its plasticity, it is hard and cruel. The teacher's second clap marks the beginning of work with dolls. I will change their poses, but do not forget that the frozen form will complicate my task and I will have to feel a certain resistance of the material. The third clap is the beginning of the last stage of the exercise. Imagine that in the room where our plasticine dolls are located, all the heating devices were turned on at the same time. The dolls begin to soften. This is a process, not an immediate reaction. First of all, those parts of the doll’s body where there is less plasticine (fingers, arms, neck) float from the heat, then the legs soften. And as a result, the doll “drains” onto the floor and turns into a slide, a shapeless mass.”

Softening the dolls to the point of complete loss of shape is an absolute muscular release.

Repeat after me. The leader beats out rhythmic phrases with his hands, and all participants repeat after him. Using examples, the difference between a constant rhythm and a variable one is explained, and coherence is achieved in the actions of the group. Each clap should sound like one blow, and not spread out into clapping hands of individual participants.

Pose. The presenter invites participants to choose a phrase and say it. The presenter changes the position of the participant’s body, his posture, and asks him to pronounce this phrase in each of the poses. Intonation should be suggested by posture or movement and be in harmony with them.

Parrot in a cage. So, you need to do the following:

· approach the cage (all objects are imaginary, including the parrot);

· feel it with your hands;

· pick up and move to another place;

· tease the parrot;

· find the door and open it;

· pour grains into the palm of your hand and feed the bird;

· pet the parrot (after that it should bite you);

· pull back your hand;

· close the cage quickly;

· wave a finger threateningly;

· move the cell to another location.

Consequences. Participants are asked to answer a series of paradoxical questions.

For example:

What will happen if a person can become invisible if he wishes?

· if people can live under water?

· if earthlings find out about the real existence of aliens?

· if all rivers, lakes, seas dry up?

They stretched and broke. Starting position - standing, arms and whole body directed upward, heels not lifted from the floor. Presenter: “We stretch, we stretch up, higher, higher... We mentally lift our heels off the floor in order to become even higher (in reality, our heels are on the floor)... And now our hands seem to have broken, hanging limply. Now our arms have broken at the elbows, at the shoulders, our shoulders have fallen, our heads droop, we have broken at the waist, our knees have buckled, we have fallen to the floor... We lie relaxed, limp, comfortable... Listen to yourself. Is there any tension left? They threw him off!”

During the exercise, the leader should draw the participants’ attention to the following two points: show the difference between the command “lower your hands” and “break your hands” (relaxation of the hands is achieved only in the second case); 2) when the participants are lying on the floor, the leader must go around each of them and check whether his body is completely relaxed and indicate the places of the clamps.

The truth is not true. The leader unexpectedly asks questions to which the participants must, without hesitation, give immediate answers or react in some way.

– How is Andrei Petrovich’s health? How do you know?

- When will you return the book to me?

– Are you aware of how this could end?

-Are you feeling bad?

– Can I like what you say and do in class?

– How do you like the weather today?

-Where did you put your wedding ring?

– What happened to your dog?

– Where is your wonderful smile?

Object in a circle. The group sits down or stands in a semicircle. The presenter shows the participants an object (a stick, a ruler, a jar, a book, a ball, any object that comes into view). Participants must pass this object around to each other, filling it with new content and playing with this content. For example, someone decides to play a ruler like a fiddle. He passes it to the next person exactly like a violin, without uttering a word. And he takes her to the violin. The study with the violin is finished. Now the second participant plays with the same ruler, for example, as a gun or a brush, etc. It is important that the participants do not just make some gestures or formal manipulations with the object, but convey their attitude towards it. This exercise develops the imagination well. To play a ruler like a violin, you must first of all see the violin. And the less similar the new, “seen” object is to the proposed one, the better the participant coped with the task. In addition, this exercise is about interaction, because a person must not only see a new object himself, but also force others to see and accept it in a new quality.

Eyeing-1. The group is in a semicircle. The presenter invites participants to take a closer look at some object of a single color and break down this color into the colors of the spectrum (red, orange, yellow, green, blue, indigo, violet). For example: “What colors are “collected” in the parquet?” The discussion takes place directly during the observation.

Looking-2. The group is in a semicircle. The presenter invites the participants to carefully look at any person sitting in a semicircle, but so that no one notices who is looking at whom. Then the participants take turns describing their partners so that the others understand who they are describing. It is prohibited to describe bright colored spots of clothing, mention the presence of a mustache, glasses, beard, etc. Option: describe the features of the movements of the selected person.

Listening. The group sits in a semicircle. The presenter invites the participants to relax, listen to what sensations arise in everyone’s body (listen to themselves), to what is happening in the semicircle, in the room, in the next room, in the corridor, on the street. Each listening session takes 2-3 minutes. After this, it is useful to discuss what you heard. This is an exercise to pay attention to yourself, to your feelings, to what surrounds a person from the outside. Listening to your feelings plays an important role in all training.

Psychological portrait by last name. The person's last name is called, on the basis of which it is necessary to give his verbal portrait. The participant describes character traits, habits, age, profession, education, hobbies, fragments of the person’s biography (in short, everything that arises in his imagination in response to a given stimulus). For the task, surnames are selected that are ambiguous in meaning, unusual, interesting in sound, for example: Shilo, Chuchkin, Razmaznyaeva, Gromykhailo, Vertoprahov, Sunduchkova, Prilipin, Trikhleb, Torzhensmekh, Toporishchev, Semibabin, Zyablikov, Tyulkin, Svistodyrochkin, Borsch, Susalny, Mukha , Nedavaylo, Stradalina, Guba, etc.

Travel picture. The participant is shown a reproduction of a famous painting and is asked to talk about what is depicted there. After one or two phrases, he passes the reproduction to another, who will also add his own phrase. In this way, a complete sketch or story with its own plot is organized.

Five speeds. “We now have to turn into people who have only five speeds of movement. The first speed is the slowest. The whole body feels frozen. This speed requires a lot of tension from the actor and the ability to control his body, not make sudden movements, and perform everything smoothly. With the second, the pace speeds up a little. Any movement occurs faster than at the first speed, but not yet at the usual pace. The third speed is the normal, everyday pace of each of you. The fourth speed is an accelerated pace. This is how we exist when we are tense, anxious, excited, or experiencing discomfort. This is, at times, haste, fussiness, and nervousness. Fifth speed - almost running. Everything happens at an exaggeratedly fast pace. Now let's try to exist in each of the speeds. I name the speed, and you try to practically master it. Force your entire body to switch quickly and accurately from speed to speed. Let's command the muscles to remember the difference between tempos.

Task: only three participants remain on the site (first, second and third). The speed number that I will call is a task for the second participant. The first participant must “lower” the task by one, and the third must “increase” it also by one. Thus, if you hear the number “four” from me, then the second player moves at the fourth tempo, the first at the third (4 - 1), and the third at the fifth (4 + 1). The number “five” will sound, which means the second one is at the fifth tempo, the first one is at the fourth tempo, and the third? Also in the fifth. Because sixth speed doesn't exist. The same will happen if the number “one” is called: the second is at the first tempo, the first stops and stands (1 – 1 = 0), and the third moves at the second tempo. You will have to do all these calculations quickly and independently during the exercise.

Assignment: go out onto the site and try to find a justification for the movement, the existence of each of the participants at tempo number one. Let each participant move around the site and look for a physical and emotional state that would suit the given pace. After a three-minute rehearsal - demonstration and discussion. Has a correspondence been found between speed and psychophysical state? We give one or two more tempos for rehearsal and demonstration and work with them.

Assignment: come up with and act out a scene that would be suitable for a certain tempo (suggested by the presenter). Within ten minutes you come up with a plot and rehearse, paying attention to the fact that all the characters, without exception, exist within the scene only at a given pace. It is clear that your story must logically fit the given speed, or vice versa - the speed is justified by the story that each of the groups will present.”

Conversation through glass. Participants are divided into pairs. Host: “Imagine that you and your partner are separated by a window with thick, soundproof glass, and you need to convey some information to him. It is forbidden to speak - your partner will not hear you anyway. Without agreeing with your partner on the content of the conversation, try to convey everything you need through the glass and get an answer. Stand up to each other. Get started." All other participants watch carefully, without commenting on what is happening. After the end of the sketch, everyone discusses what they saw.

Relaxation by count . “The whole group is standing. Hands up, feet shoulder-width apart. The leader thinks. During this counting, participants gradually relax all parts of the body.

On the count of “one”, the hands relax;

on the count of “two,” the elbows relax;

“three” – shoulders, arms;

“four” – head;

“five” – the torso is completely relaxed, supporting only its legs;

“six” – complete relaxation, students sit at the “point”.

Then, with a clap, the participants stand up.

The leader can give the command to relax at different speeds, checking the quality of relaxation of body parts. For example, “one”, “two”, “three”, shook hands, checked the degree of relaxation. Then the leader continues: “four”, “five” - relaxation is checked, “six”.

We are growing. Participants in a circle. Starting position - squatting, bend your head towards your knees, clasping them with your hands. Presenter: “Imagine that you are a small sprout that has just emerged from the ground. You grow, gradually straightening, opening up and rushing upward. I will help you grow by counting to five. Try to distribute the growth stages evenly.” By complicating the exercise in the future, the leader can increase the duration of “growth” to 10-20 “stages”.

Drawing from dots. The exercise can take place in two stages:

1) each participant studies independently;

2) one participant “leads”, others watch him and try to guess the figure he has in mind. The figures of the “drivers” and the observers are compared.

The presenter invites participants to fix their gaze on some point on the ceiling. Then another one, sufficiently distant from the first, but so that, however, to fix them one by one, it would be possible to move your gaze without turning your head. Then the third, fourth, etc. Then these points must be mentally connected by straight line segments. Having traced the resulting figure several times, the participant must follow the projection of these figures on the floor. The second stage of the exercise is aimed at observing the driver’s body.

Rhythm - rhythm. The group forms a circle. The presenter explains the rules: “I make two claps and pause between them. You will have to keep the rhythm I set and repeat it in a circle. If, after clapping my hands, I turn to the left, then the player to my left continues the task. If I turn to the right, it means that you will transmit the rhythm received from me in a circle to the right. And only I do two claps. Each player following me must take the necessary pause for the given rhythm and add his only clap, the next player after the necessary pause - his clap, and so on until the circle is closed. If you did not speed up or slow down the rhythm, then the chain will turn out to be an exact continuation of the pattern I set. And it turns out that not a whole group of people clap their hands, but one person beats out a clear rhythm,” etc.

Having completed the work with rhythm, we move on to working on the concept of “tempo”. In everyday speech, we replace the word “tempo” with the word “speed” and talk about the speed of a supersonic aircraft or the speed of a turtle.

Rhythm in a circle. The group is in a semicircle. The leader taps a rhythm in his palm. Participants listen carefully and, at the command of the leader, repeat it (all together or separately). When the rhythm is mastered, the participants receive the command: “Let's tap out this rhythm as follows. Everyone takes turns hitting one clap. From left to right. When the rhythm ends, the next participant waits a short pause and starts over; and so on until the presenter’s command “Stop”. Possible ways to complicate the task: lengthening and complicating the rhythm; tapping the rhythm by each player with both hands in turn, etc.

Rhythms. The leader or one of the participants shows a rhythm consisting of clapping, stomping, etc. sound effects. The participants’ task is to, observing the given tempo and duration of pauses, perform in turn (in a given order) only one element of the rhythm (clap, stomp, etc.).

Rhythmic entry. At the beginning of the rehearsal, come up with some kind of rhythm common to all participants and take their places to this rhythm (each time the rhythm should change, becoming more complex and varied, include not only clapping and stomping, but also all possible sound effects). When the group can confidently perform this exercise, you can connect creative tasks to the rhythm (bravura, sad, etc.) or achieve development and diversity within a given rhythm, dividing it into parts.

Mercury. Participants stand in a circle. The presenter invites participants to imagine their body in the form of a mechanism that needs lubrication, or in the form of a vessel that should be completely filled with a liquid, such as mercury. “I inject mercury (or oil) into your index finger. You must fill all the joints of your body with fluid. Perform the exercise slowly and with concentration so that not a single area is left without lubrication.”

Hands-legs. According to one of the presenter’s signals (for example, a single clap), the participants must raise their hands (or lower them, if they are already raised at the time of the signal); according to another (for example, a double clap), they must stand up (or, accordingly, sit down). The performers' task is to hold out as long as possible without confusing signals and maintaining the overall rhythm and noiselessness of movements. If there are enough participants, it is better to split into two teams and check which team will last longer (using a stopwatch), improving the result of the previous one.

Roulette. Participants are divided into two groups, one representative each sits at the table, opposite each other, with their hands on it. A coin is placed between them. When the leader claps, the participants must cover the coin with their hand - whoever is faster. They should not react to all other signals from the leader (stomping, sounds) - they should not move (he who moved his hand at the wrong time lost). The place of the loser is taken by another representative of the group.

Next to the artist. Say monologues, for example, on behalf of the main character of the picture, his mother, older sister, younger brother (“Deuce again”).

The performer must get into character and play the character.

Siamese twins. Participants are divided into pairs. The presenter invites each couple to imagine themselves as Siamese twins, joined by any parts of the body. “You are forced to act as one. Walk around the room, try to sit down, get used to each other. Now show us some episode from your life: you have breakfast, get dressed, etc.” The exercise trains the skills of interconnection and interdependence in a single interaction.

Synthesis. This is an exercise to immerse yourself in a state of creativity. It consists of mixing different types of perception, the ability to taste sounds, hear colors, smell sensations.

· What does the word “ramp” smell like?

· What does the number 7 feel like?

· What does lilac taste like?

· What is Thursday's shape (what does it look like)?

· What music do you hear when you imagine the face of an elderly person or a laughing child?

How many people clapped? The group sits in a semicircle. A “leader” and a “conductor” are selected from the participants. The “driver” stands with his back to the semicircle at some distance from it. The “conductor” takes a place in front of the students and points with a gesture to one or the other. Called by the “conductor” gesture, the participant claps his palms once. The same participant can be called twice or three times. A total of 5 claps should sound. The “driver” must determine how many people clapped. After he has completed his task, the “driver” takes a place in the semicircle, the “conductor” goes to introduce, and a new participant comes out of the semicircle.

Sculptor and clay. Participants are divided into pairs. One of them is a sculptor, the other is clay. The sculptor must give the clay the shape (pose) he wants. “Clay” is pliable, relaxed, “accepts” the shape that the sculptor gives it. The finished sculpture freezes. The sculptor gives it a name. Then “sculptor” and “clay” switch places. Participants are not allowed to talk.

The word is a verb. An exercise for two participants who stand opposite each other at some distance. The first participant, throwing the ball to the second, names any word (noun) that comes to his mind. The second catches the ball and immediately throws it back, choosing the appropriate verb. The first one catches and throws a new noun, etc. This version of the “free association” technique is extremely interesting and informative for subsequent work with the problems of each individual participant.

Let's listen to the silence. “Listen and tell us what is happening now in the hall, in the corridor, on the second floor of the building, in the square in front of the building” (in order to help the participants focus their attention on the object, you can create an atmosphere of competition).

Concerted actions. Relationship and interaction skills are well trained by exercises for paired physical actions. Participants are invited to perform the following sketches: sawing wood; rowing; rewinding threads; tug of war, etc.

At first these exercises seem quite simple. However, when performing them, participants need to remember the coordination of actions and the appropriateness of tension distribution. You can invite other participants to join in the exercise (tug of war, jumping rope, playing with an imaginary ball, etc.).

Spaghetti. “We are going to turn into spaghetti. Relax your arms from your forearm to your fingertips. Swing your arms in different directions, controlling their absolute freedom. The next stage is to free your hands from the elbow to the fingertips and continue the chaotic rotation. We keep the elbow joint “closed”, but completely free the hands and fingers. We rotate them, feeling the springy vibration. Check that your fingers are really free and flowing like boiled spaghetti,” etc.

Sports impromptu. Participants are invited to come up with a new relay race for sports competitions, which would reflect the plot of the Russian folk tale “Ryaba the Hen”, “The Frog Princess”.

To offer a set of industrial gymnastics for traffic controllers, private security guards, conductors of a folk orchestra, and conductors of long-distance trains.

High chair. “They write three numbers on the blackboard with chalk: 3-2-7. A chair is placed in the middle of the platform. Participants take turns going out onto the platform, to this chair, and perform three simple physical actions: sit on the chair, sit on it, stand up. The first number written on the board is the number of seconds in which you need to lower yourself onto the chair from the “standing” position to the “sitting” position. The second number indicates the time that participants must spend sitting on the chair. And the third is the time period during which you need to rise from the chair (smoothly move from the “sitting” position to the “standing” position). That is: we lower ourselves onto a chair in 3 seconds, sit on a chair – 2 seconds, stand up – 7 seconds.

At this stage, all attention is paid to the correspondence of actions to the specified time. Does the actor sense time accurately? Does he know how to distribute it correctly? The “biological clocks” of the participants are checked. Actors practice concentration.

Now you have to not just technically fulfill this or that formula (written on the board), but act it out and justify it. That is, to answer the questions: why does a person sit down so slowly and get up so quickly, etc.”

In addition to the fact that these exercises develop a sense of rhythm and tempo, they also force the actor to use his imagination and act in the proposed circumstances.

Chairs. The presenter or leader gives the command to build some figure or letter from the chairs. The participants’ task is to build the required figure as quickly and silently as possible (negotiations are prohibited) (a circle facing outward, the letter “p” facing the window, etc.). An additional complication of the task is the requirement of simultaneity (get up from a chair at the same time, lift it up at the same time, etc.).

Shadow. Participants are divided into pairs. One of them will be a Man, the other will be his Shadow. A person makes any movements. Shadow repeats. Moreover, special attention is paid to ensuring that the Shadow acts in the same rhythm as the Man. She must guess about the well-being, thoughts and goals of a Person, and grasp all the shades of his mood.

Emphasis. “Please come to the wall, put your hands on it. Feet shoulder width apart. At my command, everyone is trying to expand the boundaries of our room. This can only be done by moving the walls apart. Even if we fail, we will not give up the attempt in advance. Don't forget about proper breathing. With a clap, we release muscle tension and instantly relax. Ready? Begin! We hit the wall and try to move it at least a millimeter. Let's help ourselves with our voices. One-two – more emphasis! Cotton! Relaxed! Took a breath. And now once again - emphasis! It is necessary to do 5 – 7 approaches,” etc.

Phrase in a circle. The group is in a semicircle. The presenter offers participants a phrase, the meaning of which may vary depending on the context. Everyone should turn to their neighbor with this phrase, filling it with a certain semantic load. The context of the phrase should be clear from the intonation with which it is spoken. The partner must “accept the phrase” and react to it in some way. This is an exercise in contact, speaking and listening skills. Exercise options: 1) The same situation. The only difference is that the participant who was addressed must respond. 2) A conversation of six phrases begins between the first and second participants (three phrases from each). Each dialogue begins with a phrase from the host (the so-called initial phrase). After finishing the conversation with the first participant, i.e. after pronouncing the sixth phrase, the second one addresses the third one with the initial phrase. 3) The situation is similar to option 2, however, each new dialogue begins not with the original phrase, but with the last (sixth) phrase of the previous one. 4) Each participant pronounces a phrase with a certain intonation, accompanying it with an appropriate gesture.

Center of gravity. The exercise is performed by all participants. The presenter gives instructions: “Try to determine where the person’s center of gravity is. Move around, sit down, stand up. Find the center of gravity of the cat's body (i.e. move like a cat). Where do you feel the center of gravity? Where is the center of gravity of the monkey's body? Rooster? Fish? A sparrow jumping on the ground? Performing movements and actions characteristic of these animals, try it all out for yourself.” Animals and small children are the best example of the absence of muscle tension.

Chain . “We close our eyes and begin to move around the room at an average pace. Please place your hands at waist level with your palms facing forward. This way you can determine whether the space in front of you is free. Met someone? Wonderful! Without opening your eyes, offer your hands to each other, shake them and continue moving in pairs, holding hands. New meeting? We attach another invisible partner to us (our eyes are still closed, remember?) and continue walking. The exercise ends when the leader claps when all pairs and groups have joined together in one chain. All participants stand without opening their eyes. Meeting after meeting, you have brought together many different people. You all now belong to one, unified group. Feel like part of a human chain. Feel the warmth and security of your hands. Now open your eyes. Thank your neighbors left and right for your cooperation.”

What happened next? A small, well-known literary work is selected, for example, the fairy tale “Turnip”. A group equal in size to the number of fairy-tale characters is invited to improvise and imagine (in appropriate images) what happened after the turnip was pulled out.

Feelings. Participants must:

– depict: a joyful smile (pleasant meeting); a comforting smile (everything will be fine); a happy smile (finally, what a success); a surprised smile (impossible); a sad smile (how can this be, here we go again);

– express with just eyes and eyebrows: grief, joy, condemnation, admiration, strict concentration, dissatisfaction, surprise;

– only with the help of gestures and facial expressions, perform the following tasks: drive away, invite, push away, attract, point, stop, warn;

– express with one gesture: disgust, horror, gratitude.

Chess. The driver turns his back to all other participants, who are located in a random order and at an arbitrary distance relative to each other. The driver turns and tries to remember the position of the chess within 30-40 seconds. The presenter explains: “You only need to remember the position of the figures, their poses do not matter.” The driver turns away, the chess is shuffled. The driver’s task is to restore the picture.

Emotional palette. Participants are asked to read the text so that each line, regardless of the content, expresses some feeling that the audience has to guess. These are: delight, boundless joy, unbridled fun, irony, sympathy, trust, fatigue, threat, disgust.

Relay race. A story or poem is composed out loud. Method - ringing. Having heard the first phrase, the listener picks it up and passes the baton to another. This is how extremely entertaining stories are written, but their real hero is the multiplying attention span.

Japanese car. The group sits in a semicircle. Participants are counted in order, starting from any edge. The leader is always assigned the number “zero”. The leader may take part in the exercise, but most often he just starts it and sets the pace. The tempo is beaten by all members of the group as follows: on the count of “one” - hit the knees with the palms of both hands, on the count of “two” - snap the fingers of the right hand, on the count of “three” - snap the fingers of the left hand, etc. Simultaneously with the click with the right hand, the presenter begins the game by saying his number: “Zero.” At the click of his left hand, he calls the number of the player who continues the game further. For example: “Zero – two.” This is followed by a strike with the palms on the knees (everyone is silent). At the same time, participants, inviting each other to play, must necessarily accompany their invitation with a glance.

A participant who makes a mistake in completing a task stops playing, but continues to sit in a semicircle and tap the rhythm. The presenter, without changing the pace, states, for example: “There is no third,” and continues the game. Errors are considered: 1) failure of tempo, 2) incorrect naming of your number; 3) incorrectly naming the partner’s number, 4) inviting a withdrawn participant or presenter to play (if he is not playing); 5) an invitation to play, not accompanied by a glance.

Constructions. Participants must line up as quickly and silently as possible (without communicating) according to any given parameter (alphabetically, according to the first letters of the middle name; ascending apartment number, etc.)

Earth – water – air – fire. The presenter points to one of the participants standing in the circle and tells him one of the key words. The one pointed to must (no later than five counts counted by the leader) name (without repetition) the animal - fish - bird or turn around himself accordingly. The one who makes a mistake is eliminated.

Pause for three. Several performers conceive a story in which, for some reason, pronouncing words is impossible (impractical) and show a sketch.

Collective silence. A group of performers comes up with and shows a sketch (you can use a plot taken from a literary or dramatic work) on the organic and expressive wordless behavior of a collective or group of people. Participants look for the most detailed descriptions of the characters’ wordless behavior in literature and implement them in the show.

Sculptures. A group of several performers is invited to “build” a sculpture, called “I command”, “I warn”, etc. It is recommended to pay attention to achieving maximum expressiveness of the sculpture through the direction and content of the view of the “sculpture material”, mobilization and demobilization of individual parts bodies.

Frontal muscle training

1. Start with active contraction of the frontal muscles. Raise your eyebrows energetically. “Release” the muscles - the eyebrows return to their normal position.

2. Exercise “pain muscles” (brow wrinkling muscles) and “threat muscles” (pyramidal muscles). Contraction - eyebrows down and towards the nose. Emancipation is the starting position. The exercise consists of repeatedly and vigorously, gradually accelerating, pulling the eyebrows down.

3. Connect the movements of the frontal muscles with the movement of the “pain muscles” and “threat muscles.” Alternately contracting the muscles, energetically raise your eyebrows up and energetically lower them (remember the autonomy of the muscles).

4. Tendon helmet training. Place your hands on the crown of your head and vigorously use the frontal, occipital and “threat muscles” to force the tendon helmet to move forward and backward.

5. We achieve separate movement of the left and right eyebrows.

When raising your left eyebrow, you need to make sure that the right one rests on the bridge of your nose. Same with the right eyebrow.

6. Quickly raise one eyebrow or the other at random intervals.

7. “Tragic kink of eyebrows” (eyebrows “house”). Having contracted the “pain muscles”, begin to bring your eyebrows towards the bridge of your nose. A moment later, the strong frontalis muscle is activated, which, together with the tendon helmet, as if intercepting the movement of the “pain muscle,” will pull the inner edges of the eyebrows upward. It is important that the movement of the inner edges of the eyebrows runs strictly along the central vertical line of the forehead. Achieve the ability to consolidate and maintain this facial expression.

Eye muscle training

1. Simple, ever-accelerating movement of the eyelids (blinking).

2. Alternately close the eyelids. Make sure that the eyebrows do not participate in this movement, so that one eye closes (and the eyelid of the second is at rest).

3. While one eye is closed, the eyelid of the other (autonomously) blinks. Then do the same with the other eyelid, and then alternately.

Upper lip muscle training

(Three parts of this muscle, contracting, raise the upper lip in its middle part.)

You should train the lifting of the upper lip without the participation of the corners of the mouth. The wings of the nose rise slightly, widening the nostrils. When actively lifting the upper lip, you need to strongly expose the fangs and make sure that the lower lip remains at rest.

Then you need to train the left and right half of the upper lip alternately, alternately contracting the muscles located on the left and right (while performing the exercise, you need to mentally divide the lip into two parts).

Transverse nasal muscle training

(They are located on both sides of the edges of the nose. These muscles are usually poorly mobile and are used to express contempt and disgust).

Train actively and for a long time: with your lips closed (not too tightly), vigorously pull the nasolabial folds upward, gradually achieving greater lift (the rest of the muscles remain at rest). The points of application of force are located at the wings of the nose. When the transverse muscles of the nose contract, a series of longitudinal folds are formed on its lateral surfaces.

Orbicularis oris muscle training

(This muscle surrounds the mouth. When it contracts, it changes the shape of the lips: it pulls them forward (pout) or tightens them (pursed lips)).

First, you should train the active stretching of the lips forward (with the proboscis). Then make pendulum movements in both directions, with outstretched lips, and then - circular movements in both directions alternately. The head is motionless.

The following exercises:

1. With your lips stretched forward as far as possible, vigorously open them like the blossoming petals of a flower.

2. Pursing your lips (not very tightly), vigorously direct their corners to the left and right sides. Pursed lips help convey different shades of arrogance.

Quad training

lower lip muscles

(This muscle, contracting, lowers and inverts the lower lip).

You should stick out your lower lip and vigorously turn it out, as if pulling it down. Next, do the same, but separately with the left and right edges of the lips (with the participation of the neck muscles). Turning your lip out, make pendulum movements from side to side.

Regularity of exercise is important.

Exercises on "modeling a phrase"

(verbal action)

1. Slow reading. For this exercise, it is better to choose a non-rhyming and fairly long sentence from fairy tales. The participants’ task is to read it in as long a time as possible, while maintaining semantic integrity (so that the phrase does not fall apart). Performers must discover all sorts of mechanisms for lengthening a phrase (loudness, logical pauses, use of voice pitch, interaction with partners)

2. Highlighting stressed words. Using the example of one phrase from dramatic and literary material, participants look for “different meanings” that arise when different stressed words are highlighted.

3. Word drawing. Having found a descriptive place in a dramatic or literary work in which a character paints a voluminous and complex picture for the audience, participants must draw it in as much detail as possible, and then tell it according to the text, checking the drawing made. (The works of Homer are especially suitable for this exercise, since they allow you to simultaneously develop skills in the epic form of storytelling, as well as fables.) One of the most important skills developed in this exercise is the ability to “hold the whole picture” rather than describe its individual, unrelated parts. As this skill is mastered, the task is added to make some parts of the picture more or less important (relative to the whole), which implies the use of certain forms of phrase modeling and other speech tools.

4. Observation. Observing natural speech in life, participants must learn to identify all possible forms of sculpting a phrase, such as: the basis and explanations, enumeration, comparison and contrast, as well as fragments of epic speech and all options for their expression in natural-sounding speech.

5. Numbers. When training individual forms of sculpting a phrase, you need to learn how to draw verbal structures, “tearing” them from the specific words of the phrase, and use different sculpting options on the same material. To do this, it is convenient to use numbers or gibberish. Performers must “catch” what “approach” (psychological basis) underlies the enumeration, opposition, etc., and, using numbers or meaningless sound combinations, demonstrate various modeling designs.

6. Hunters at rest . Participants tell the other partners a long and exciting story about what happened to them (not necessarily true). At the director's command, they use various sculpting structures in their story (for example, as many juxtapositions as possible).

7. Fables. Based on the material of one or several fables (common to the entire group), various options for sculpting individual phrases and the meaning that emerges from precisely this version of sculpting are searched. To work on fables, it is necessary to use the acquired acting skills in wordless and verbal influences. An important detail that determines the modeling is the position of the narrator, his attitude to the picture he is drawing, and, naturally, the listeners and the purpose of the story.

8. Big surprise. Participants come up with a story in which the character receives some important information that requires immediate action, making decisions not related to the partners present (if any) and perform the prepared sketch.

9. Solution to the problem. Participants come up with or look for situations in literature in which the proposed circumstances force the character to make some important decision, make a choice, and implement this moment of behavior in the sketch.

10. Sketches. The performers show small sketch scenes in which the same action is performed by different people, for example: an old man, a businessman, a child, a beggar, etc. “reproaches”.

When compiling the collection, exercises were used,

developed and tested in practice

leading directors and teachers

in acting.