Stanislavsky's method of physical actions and the first exercises for the memory of physical actions. Exercises on the "memory of physical actions

DEVELOPING A SENSE OF TRUTH AND FAITH

These exercises consist in not having any objects in your hands, feeling them only with the help of your imagination, to perform physical actions in the same way as if these objects were in your hands.

For example, without having a faucet, soap to towels, wash your hands and dry them with a towel; to sew without having a needle or fabric in hand; smoking without cigarettes and matches; clean shoes without having shoes, brushes, waxes, etc. in hand.

When looking at well done pointless actions, then you absolutely believe that this is how the people who perform them sew,

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light up, etc., you see how exactly they feel objects that do not exist in their hands. K. S. Stanislavsky considers physical actions with a “dummy” to be the same daily exercises necessary for a dramatic actor as vocalises for a singer, scales for a violinist, etc.

“You can get the right state of health in the simplest, non-objective action (K.S. sets the exercise to write a letter without paper, ink and pen) ...

Let's take this study: you have to write something on paper. Here you are looking for a pen, paper. All this must be done logically, without haste. Found paper. It’s not so easy to take paper, you have to feel how they take paper (points with fingers). You have to think about how you put it on your hand. She can slip on you. The first time you do it slowly. You must know what it means to dip a pen. Got the logic? So you shook off the pen, on which there was a drop of ink. You start writing. The simplest action. Finished. They put down the pen, blotted the paper, or shook it in the air. Here the imagination should tell you what to do in such cases, but only to the last degree of truth. You need to be able to own these small truths, because you will never find the big truth without them. For this little moment right-

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you feel the real truth. Your truth is in the logic of your most insignificant actions... It is necessary that you yourself feel that this is logical. It's simple small action brings you closer to the truth."

In life, we do not remember the details of various small actions, because we do them habitually, mechanically. If we begin to act pointlessly from memory, and then perform the same action with a real object, then we will see what a large number of they missed the details, as they did not feel the object in their hands, its weight, shape, details. Therefore, at first, students are invited to take some very simple non-objective action. For example: light a match by taking it out of the box; tie a tie; thread a needle; pour water from the decanter into a glass, etc.

You need to work on these exercises at home: first do the exercise with real objects, then without objects, then repeat again with objects. This must be repeated several times, checking the sensations in order to remember with your muscles what it means to take an object, put it down, hang it up, take it off, etc.

1 K. S. Stanislavsky, Articles, speeches, conversations, letters, M., Art, 1953, p. 657.

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Students show results in class homework. We make comments and corrections. For example, while sewing, a student feels the needle and thread well, but she sews in one place and the fabric does not move. In another case, the trainee tried to do a non-objective action as quickly as in life, skipping the details: puts on a glove - good, takes off - bad, his hand is dead; removes a galosh - does not pull a leg out of it; pours water - does not close the tap; smokes - does not feel the taste of cigarettes; eats - does not feel the taste of food, etc. We point out to him the need to do everything more slowly than in life, we instill a taste for the smallest details physical action. The hardest thing is lifting weights. These exercises need to be especially carefully worked out.

The emergence of a sense of truth is greatly helped by chance, which often occurs in the preparation of an exercise. For example, while sewing, a spool of thread has fallen and unwound. The participant of the exercise picked it up, wound the thread again. If this randomness is fixed, it will decorate the exercise.

Exercises with different justifications can be done in different rhythms. For example: I sew when I have a lot of time; I sew when I'm in a hurry.

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(List of exercises for the memory of physical actions performed in different time, attached, pp. 96, 97.)

In addition to single actions, paired actions are also interesting: sawing firewood; rowing a boat; unwind the fire hose; pump the pump; forge, etc.

Knowing that we encourage creative initiative in every possible way, students in theater school in one course, on their own initiative, they themselves prepared the entire test for the memory of physical actions. Non-objective actions were combined into one general study "Preparing for the New Year's Eve in a student dormitory." It began with sawing firewood. Two students sawed non-existent firewood with a non-existent saw, but the real sounds of a saw and falling logs accompanied the action. The sounding corresponded exactly to all the smallest details of the saw, from the first scratching of the log surface to the crack of a log breaking off. Next, the splitting of a torch, tearing paper, lighting matches, etc. was sounded. Preparing for the New Year, students changed into non-existent dresses, decorated a non-existent Christmas tree, set the table, opened non-existent canned food, wine, put fruits, sweets, etc. Exercises for the memory of physical actions were combined with exercises for the speed of permutations. For a minute

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the curtain closed, then opened - and the stove was heated on the stage, a real decorated Christmas tree shone with lights, there was a set table with those very real objects that were absent in pointless actions. The whole course sat at the table and met the twelfth strike of the clock with raised glasses.

In well-practiced non-objective actions, we check how much the performer of the exercise has mastered his attention and keeps it on the object, felt what freedom of muscles is (i.e., makes exactly as much effort as necessary for this action), how his imagination works, how he justifies the proposed circumstances, how much he believes in the truth of his action and feels its logic.

On stage, actors have to drink from glasses that do not contain wine, read unwritten texts of letters, smell paper flowers, carry weights that are not heavy, operate with hot irons that are not hot - in a word, deal with a number of fake objects. It happens that on stage letters are written too quickly, glasses are waved so that wine should pour out of them, money is paid without an account, wine is poured into a glass in one fell swoop, etc. fake items.

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MEMORY EXERCISES FOR PHYSICAL ACTIONS PERFORMED AT DIFFERENT TIMES

Preparation of minced meat for dumplings

Combing

Repair of electrical plugs (burnt out)

Wallpapering a room

Sealing windows for the winter

Wall newspaper design

Ironing

Laundry

Inflating a bicycle wheel

Drawing drawing

Refilling a kerosene lamp

Dough preparation

Undressing and bathing in the river

painting a picture oil paints

Translation of an embroidery pattern

Watch repair

Kindling the stove

Preparing for breakfast

Joinery

Radiotelegraph operator

hanging curtains

Refueling the sewing machine

Double barrel cleaning

Fishing

cabbage shredder

Hanging laundry

Samovar (pours water, puts)

Bandaging the hand

Bed making

Typewriter typing

Machine sewing

harnessing horses

shower wash

Parcel preparation

Shoe lacing

Violin tuning

Herring cleaning

Unwinding wool

Transplanting flowers

Opening canned food

Chicken feeding

stringing beads

washing dishes

Curling a wig

Removing a car wheel

Photo printing

Room cleaning

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Bicycle dismantling, Fees for the evening, Dress cutting, Fountain pen disassembly,

Wall Clock Repair, Fabric Dyeing, Hair Cutting, Stick Cutting

Whip weaving

soup cooking

Cooking barbecue on a fire

Stucco Wall Harvest Knitting Crossing the Brook

Putting on the dress

floor washing

table setting

Clay crafting

Untying the box

with sweets

jam cooking

drinking tea

Getting water from a well

book binding

Vacuuming

potato peeling

Unpacking the parcel

There is another exercise that is close to non-objective actions - stage wrestling. The real struggle on the stage is uninteresting, goes beyond art because of its naturalism. Stage struggle consists in the fact that the actor guesses the strength and direction of the physical action of his partner, who only gives a hint of the action, but does not apply real strength, and wins back this strength and direction of the physical action. For example, I am squatting and my partner grabs me by the collar and lifts me up. Without applying any real force, he gives me the direction of movement, and I rise myself, truthfully continuing the line of his movement and guessing

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the force to be applied. Suppose I push him in response. It flies off, continuing the line of my movement and, as it were, guessing the expected strength of my push.

What is important here is harmony, attention to the partner and the application of force, which is used to lift weights in exercises for non-objective actions, when the weights weigh nothing.

But the main thing in this exercise is to truthfully perform an action: to fly as I would fly if I were strongly pushed in a certain direction, or as I would rise if I were lifted by the collar.

The same applies to other stage wrestling or fighting techniques that do not allow the use of real force.

PHYSICAL WELLNESS

“We are now in the classroom at the lesson. This is true reality. Let the room, its furnishings, the lesson, all the students and their teacher remain in the form and condition in which we are now. With the help of “if” I transfer myself to the plane of a non-existent, imaginary life, and for this, for the time being, I only change time and say to myself:; “Now it’s not three in the afternoon, but three in the morning.”

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Justify with your imagination such a protracted lesson. It is not hard. Let's assume that tomorrow you have an exam, and much has not been done yet, so we lingered in the theater. Hence new circumstances and worries: your family members are worried, because due to the lack of a telephone it was impossible to notify them of the delay in work. One of the students missed the party he was invited to, the other one lives very far from the theater and does not know how to get home without a tram, and so on. Many more thoughts, feelings and moods give rise to the introduced fiction. All this affects the general state, which will give the tone to everything that will happen next. This is one of the preparatory steps for experiencing...

Let's try to make one more experiment: let's introduce into reality, that is, into this room, into the lesson taking place now, a new "if". Let the time of day remain the same - three o'clock in the afternoon, but let the season change, and it will not be winter, not frost at fifteen degrees, but spring with wonderful air and warmth. You see, your mood has already changed, you are already smiling at the mere thought that you will have a walk out of town after the lesson.

1. K. S. Stanislavsky, SOBR. Works, v.2, pp. 75-76

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Thus, with the help of creative imagination, the actor’s physical well-being arises in response to the question: how would you feel and what would you do if now, for example, it was very hot? Cold? You're tired? Sick? Just bought out? Did you have lunch? Do you want to sleep? Went out to Fresh air from a smoky room? Has the first snow gone? etc.

In addition, physical well-being is greatly influenced by the mood that prevails in the place where you came.

If you enter the hospital where your dangerously ill friend is lying, you involuntarily submit to the atmosphere that surrounds the patient, and try to behave in such a way as not to disturb this atmosphere.

Entering reading room libraries, you will try not to interfere with those who study there. This will determine how you feel.

If you are late and come to the youth ball in the midst of fun, your well-being will be determined by the desire or unwillingness to join in the atmosphere of fun reigning at this ball.

You will walk down the street in different ways in spring or autumn, summer or winter, in clear weather or in rain and storm; to and from work, to and from the institute.

The simplest physical well-being, -

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determined by muscular effort, often found in plays.

Take, for example, "Our people - we will settle!" Ostrovsky.

Agrafena Kondratievna runs after her daughter Lipochka, who is spinning in a waltz.

Agrafena Kondratievna. How long should I run after you in my old age! Wow, tortured, barbarian!

As you can see, Agrafena Kondratievna is tired and exhausted so much that she can hardly speak. In the same act, the matchmaker enters the room. The fact that the matchmaker was out of breath is given directly in the text.

Ustinya Naumovna (entering). Phew, fa! What is it with you, silver ones, what a steep staircase: you climb, you climb, you crawl by force.

Somewhat more complex physical well-being in Balzaminov in the play by A. N. Ostrovsky "Festive dream before dinner."

Balzaminov (runs in, holding his head). Ear, ear! Father, ear!

Matryona (at the door, with tongs). I'm not a polik-machter, what to take from me!

Balzaminov. Why, I asked you to curl your hair, not your ears.

Matryona. And why did he grow big! Ying would go to the policeman, but what to take from me! (Exits.)

Balzaminov. Father, what should I do (goes to the mirror). Ah, ah, ah! Everything turned black! .. It hurts,

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there would be no need, if only to cover it with hair so that it was not visible.

Balzaminov a. For business!

Balzaminov. What hurt! So with hot tongs she grabbed the whole ear ... Oh, oh, oh! Mommy! Even to the fever... Oh, fathers!

We have taken several examples depicting simple physical well-being, but we must keep in mind that any actor any play, like every person at every moment of his life, is certainly in some kind of physical well-being.

We begin this section with simple exercises in which students look for physical well-being that corresponds to given proposed circumstances.

For example, I'm walking along the road:

a) hot. (One of the students played this exercise like this. A hot day in the south in May; he had just arrived, went to the seashore, and the feeling of spaciousness, sea wind, bright sun captured him; he wanted to take a bath. Using exercises for the memory of physical actions, he began to "undress", took off his T-shirt, trousers, slippers; sat “naked” for some time, basking in the rays of the hot sun, and then began to enter the water; she was very cold; a feeling of cold first covered the steps

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no, then, as he sank into the water, it became cold on his calves, knees, he began to pour himself cold water, thought whether he should swim, resolutely went deeper and, when the water covered his shoulders, "swam". In this exercise, he managed to convey both the seashore and the feeling of spaciousness, both heat and cold.)

b) in the rain c) through the mud; d) in a snowstorm; e) when slippery; e) in the fog; g) at dawn; h) along the hot sand of the beach, etc.

Students should know where, from where and why they are going, and these reasons become the source of physical well-being.

For example. If I walk along the road in the rain to the pharmacy for medicine for a seriously ill person, this is one thing; if I walk along the road in the rain on a date, this is different, although the road and the rain are the same. If the rain is small - this is one thing, if the downpour is another. An asphalt highway is one thing, a country road is another, a path in the forest is a third.

The exercise can be short if I walk quickly along the road, and long if I stand under a tree while waiting out the rain. I can justify it in such a way that the tree does not let raindrops through, but I can justify it in such a way that at first it protects me from rain, and then the rain still breaks through the leaves, and I have to move from place to place in search of dry

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islets. If I am in a raincoat or under an umbrella - this is one thing, if the rain took me by surprise - this is another.

Or, let's say I'm waiting on the platform for the arrival of the train. The circumstances here may be different. For example: a) ran, afraid to be late, and now I'm waiting, trying to catch my breath; b) the timetable has changed, the morning train has been canceled, but I did not know this and now I have been waiting all day for the evening train; c) I have lost my ticket and I am going to board the train without a ticket; d) the business on which I came was successful, and I am leaving successfully; d) going on vacation e) meet the authorities; g) meet the bride; h) I am on duty at the station, etc.

All these reasons determine the different physical well-being and the corresponding line of behavior.

When doing exercises, it is important to believe in the plausibility of fictitious conditions and remember how you felt and what you did in similar circumstances.

In search of the physical well-being of the heat, students sometimes immediately start fanning themselves with handkerchiefs and wiping sweat. It is not true if these actions are only external, without a feeling of heat, when the rhythm of breathing changes, it dries in the mouth, you want to wash yourself, change your underwear, etc.

Seeking physical well-being in the cold

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students often immediately start twitching their shoulders, shivering, rubbing their hands and ears, kicking one foot against the other. They forget that first of all, you need to remember the true feeling of frost, which at first can be pleasant, invigorates, and then gradually freezes the legs, arms, ears, nose.

In addition, the feeling of frost is individual. One feels cold and suffers, the other enjoys the cold.

Here are some more initial exercises.

I enter the room: a) with wet hands after washing or washing; b) with dirty hands after firing the stove; c) with a soapy face, because in the midst of washing, the water in the washbasin ran out; d) after smearing a cut on the finger with iodine, etc.

Look for physical well-being under such circumstances: a) a nail in a shoe; b) shaking shoes; c) I'm tired, I want to sleep, but I can't sleep (on duty); d) came to someone else's house in wet clothes, inherited; e) in anticipation of a delicious dinner, when you really want to eat; after a delicious dinner he fell asleep in an armchair; woke up by a phone call; I can’t get out of a sleepy state in any way; e) I want to smoke, but there is no cigarette; g) going to the train, late.

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Look for the patient's well-being if: a) the head hurts; b) a toothache c) pulled out a tooth; d) caught a cold, coughs, sneezes; e) high temperature; f) sprained a tendon on his leg, limps; g) a speck has got into the eye; h) was bitten by a wasp.

In these exercises, students usually begin to play the state of health. We, removing the tune, explain that one should not try to immediately show the result, that is, the final form of a given well-being, but one should look for the way in which this well-being accumulates.

For example. Tight boots. At first, when you put them on, it may seem that they fit. Then it turns out that they are tight, but you can endure, and in the end they cause such pain that you can’t walk in them.

However, in each case a justification must be found, and each student must do this exercise in his own way.

Exercises are performed in such a way that the action is the main one, and physical well-being accompanies it.

For example. I'm going to a very important evening for me. I put on new shoes, and it turns out that they are too tight. Events (suggested circumstances) that occurred before the student entered the stage will affect the physical state with which he enters the stage.

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In the emergence of true well-being, the main role is played by creative imagination. most big mistake it will happen if everyone starts to behave in the same way in conditions of heat, cold, rain, illness, etc. This will happen if they try to feel heat, cold or rain "in general." Different proposed circumstances will give everyone the opportunity to do the exercise in their own way, and it will become individual, multifaceted and unique.

For example, the exercise "In a new dress." A new dress can: a) like and dislike; b) reap; c) be worn for the one who gave it; d) break; e) be too free; f) to be too smart among the dresses of others, etc.

The exercise "Tired, sleepy" can be performed under a variety of proposed circumstances and does not at all resemble the same exercise performed by another student. Fatigue can be both pleasant and severe. You can’t sleep because it’s dangerous or very unpleasant if someone sees how I fell asleep on duty. Finally, it happens that a person sleeps with one eye and is awake with the other. It happens that a person takes measures not to fall asleep: he drinks strong tea, smokes, reads a newspaper, etc.

In life, fatigue certainly has

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individual expression. If we imagine a group of tourists tired after a long journey, we will see that one sleeps, sitting in the place where he sat down; another picked up an armful of straw and sat down on the straw; the third collects brushwood for the fire; the fourth eats something without waiting for the general supper; the fifth writes down the impressions of the day in a little book; the sixth is trying to wash himself, etc. - and all these various actions will be permeated with an atmosphere of fatigue.

Thus, physical well-being is made up of many circumstances and resembles a musical chord, the character of which is determined by the main note (say, fatigue), and the rest, shading the main one, give the chord an individual coloring.

In addition, physical well-being is constantly changing, sometimes even for a short period of time. For example, a chilled person comes into a warm room. At first he is still cold, he rubs his ears and hands, tries to get closer to the hot stove, then, after drinking hot tea, he begins to suffer from heat and seek coolness.

In Chekhov's sketch "The Guest", an annoying guest stayed up late at night at the owner's house. The owner wants to sleep, but he can’t make the guest understand that it’s time for him to leave. Finally

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after a long search, he found a way: he asked the guest for a loan. The guest immediately left.

In this scene, Chekhov miraculously showed the changes in the physical well-being of the owner. He wants to sleep, and in his irritation he goes berserk. But what a triumph he experiences when he nevertheless forces the guest to leave. This is how difficult the state of health can be for a person who wants to sleep.

With even greater brilliance and humor, the physical well-being of a person is described in Chekhov's story "Carelessness".

After some hesitation, overcoming his fear, Strizhin went to the closet. Carefully opening the door, he felt in the right corner for a bottle and a glass, poured it out, put the bottle back in its place, then crossed himself and drank. And immediately something like a miracle happened. With terrible force, like a bomb, Strizhin was suddenly thrown from the closet To the chest. His eyes sparkled, his breath stopped, a feeling ran through his whole body, as if he had fallen into a swamp full of leeches. It seemed to him that instead of vodka, he swallowed a piece of dynamite, which blew up his body, the house, the whole lane ... His head, arms, legs - everything came off and flew somewhere to hell, into space ...

For about three minutes he lay motionless on the chest, not breathing, then he got up and asked himself:

The first thing he clearly felt when he came to his senses was the sharp smell of kerosene.

My fathers, I drank kerosene instead of vodka! - he was horrified. - Hierarchs, saints!

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From the thought that he was poisoned, he was thrown both into the cold and into the heat. That the poison had indeed been taken was evidenced, in addition to the smell in the room, by the burning sensation in the mouth, the sparks in the eyes, the ringing of bells in the head, and the prickling in the stomach.

“The physical well-being of joy can have many shades and feelings, and temperament, and even psychological springs ... There are no limits to the fantasy that works in human psychophysics to choose physical well-being”1.

These words of V. I. Nemirovich-Danchenko emphasize that the sphere of physical well-being is unlimited and sometimes manifests itself in an unexpected form.

Let us recall the finale of Leo Tolstoy's The Living Corpse.

FEDIA (after he shot himself in the heart). How good... how good... (ends).

It would seem that in his state of health, the pain from the wound should be the main one, but he does not feel it - on the contrary, liberation from moral suffering obscures physical torment.

Thus, physical well-being, from the simplest exercises to the most complex creative tasks, accompanies the actor during the action and sets the tone for everything that happens on the stage.

1 V. I. Nemirovich Ch-Danchenko, Articles, speeches, conversations, letters, M., Art, 1952, pp. 167-168.

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“The stage art arises when an actor accepts as truth what he himself created with his imagination,” writes E. B. Vakhtangov.

When a life created by creative imagination arises in Siena, then the actor must

CHANGE OF ATTITUDE

the attitude to the subject, place of action, events, partners will change.

By a change of attitude we mean that internal “rearrangement” which allows the actor to relate to conventional objects, a conventional place of action, and fictional events as genuine, and to partners as actors. For example, to treat a fake pistol as if it were real, to scenery and fake furniture as to the walls and furniture of your room, to an imaginary insult as if it were real, to a course comrade as to your father or enemy.

The main way for the emergence of a change of attitude is the magical "if", the creation of the proposed circumstances and the correct physical well-being.

“But in order for the imaginary world that the actor builds on the basis created by the work of the playwright to capture him

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emotionally and attracted to stage action it is necessary for the actor to believe in this world as in something as real as the reality around him. This does not mean that the actor should give himself up on stage to some kind of hallucination, that, while acting, he should lose consciousness of the reality surrounding him, take the scenery canvases for genuine trees, etc. On the contrary, some part of his consciousness should remain free from being captured by the play, to controlling everything he experiences and does as a performer of his role. He does not forget that the scenery surrounding him on the stage, props, is nothing but scenery, props, etc., but this does not matter to him. He seems to say to himself: “I know that everything around me on the stage is a rough fake for reality, there is a lie. But if all this were true, this is how I would react to such and such a phenomenon, this is how I would act ... And from the moment this creative “if” arises in his soul, surrounding him real life ceases to interest him, and he is transferred to the plane of another imaginary life created by him.

1. K. S. Stanislavsky, Articles, speeches, conversations, letters, M., Art, 1953, pp. 451-452.

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Due to the change in attitude to the subject, scene, event, partner, the well-being of the student, the logic of his actions and deeds, the flow of thoughts and feelings in accordance with the conditions that are set, also change.

This process takes place at every performance. On the stage are a number of real things and a number of sham things. ^However, very often real things are defective. The costumes are not made of wool, but of paper, instead of silk - satin, dishes made of papier-mâché and you can’t really drink from it, etc. The stoves are made of plywood and painted, but the actor, with his attitude and actions, makes the viewer believe that that in front of him is a real, warmly heated oven, and although both he and the viewer know that the oven is not real, in this moment it doesn't matter to them.

The actor, by his attitude, makes the viewer believe that the character receives not painted papers, but real money, and that a fake pistol can shoot and kill a person.

For example, Katerina in The Thunderstorm holds in her hand, however, a real key, but it is not from the gate in the Kabanovs' garden, and the gate itself does not really exist, and the viewer knows this very well, but the actress draws him into her own, created her imagination the world and he together

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with her, she begins to believe that this key will give her the opportunity to see Boris.

Lesson summary

in acting
"CREATIVE STUDY"

Topic: Theatrical sketches as a source creative imagination

Target: to introduce pupils to the types of theatrical sketches.

Tasks:

Educational:

to give basic theoretical knowledge on the topic "Theatrical Etude";

introduce new types of theatrical sketches;

Developing:

develop the ability to reincarnate through the creation of sketches;

To form the ability to improvise;

develop acting skills through work on sketches;

develop the ability to analyze and synthesize your feelings;

to develop the speech apparatus of students with the help of articulatory gymnastics and diction exercises based on learned tongue twisters without being shown by the teacher;

develop the physical capabilities of the body through training muscle relaxation;

Develop skills to interact with a partner;

Educational:

to form the skills of KTD;

to instill the skills of interaction with a partner;

learn to bring life observations closer to your own individual experience, analyze and build a sequence and logic of actions in stage conditions.

Expected Result:to develop the individual abilities of pupils for reincarnation through work on sketches for further use while working on the role.

Teaching methods:Elements of an adaptive system of behavior (A.S. Granitskaya), health-saving technologies based on a personality-oriented approach (N.K. Smirnova, I.S. Yakimanskaya), collective technologies creative activity(I.P. Ivanov).

Form of organization of the lesson:individual, pair, group.

Equipment: music Center

The duration of the lesson is 45-60 minutes, depending on the complexity of the exercises and sketches

Lesson progress

I. Greeting . Organizing time

Target: set up pupils for productive work on the topic, find out the emotional state of the pupils before the start of the lesson

1) Exercise-game "Hello".

The teacher greets the pupils, showing any state: joy, sadness, surprise, resentment, anger, suspicion, malevolence, benevolence ...

Pupils greet the teacher according to the mood with which they came to the lesson, trying to convey the emotional state as accurately as possible.

Teacher's question:What are emotions?

The manifestation of feelings, experiences.

II. Part. Warm up
1) Articulation gymnastics(traditionally, we start the lesson with articulatory gymnastics).
Target: prepare speech, respiratory apparatus and other expressive instruments bodies of pupils for further work

Statistical exercises

Exercise "Shovel".Stick out a wide tongue, relax and put on it lower lip. Make sure that the tongue does not tremble. Hold the tongue in this position for 10 seconds, perform 6-8 times

Exercise "Tube".Stick out a wide tongue. Bend the sides of the tongue up. Blow into the resulting tube. Perform the exercise 6-8 times.

Dynamic exercises

Exercise "Delicious jam."

Stick out a wide tongue, lick the upper lip and remove the tongue deep into the mouth. Perform the exercise 6-8 times.

Exercise "Swing".

Stick out a narrow tongue. Stretch your tongue alternately to the nose, then to the chin. Do not close your mouth while doing this. Perform the exercise 6-8 times.

Exercise for the speech apparatus "Sound"

Description of the exercise:

Say vowel sounds in turn, trying to lengthen each sound as much as possible on one exhalation: i-e-a-o-u-s-i. Try to make sounds in one breath, gradually complicating the exercise with the number of sounds pronounced in one breath.

Dictionary exercise, an exercise on the strength of the voice based on the tongue twister: "Bull is stupid."

Description of the exercise:

The tongue twister should first be pronounced slowly, articulating each sound, and then gradually move on to the tongue twister.

bull stupid

dumb bull,

The bull's lip was blunt.

2) Warm-up for the whole body (atexercises to relieve mental and physical clamps):

Exercise "Frozen"

Description of the exercise:

Participants froze in a spontaneous pose allegedly millions of years ago. Participants must try to get out of the frozen state using their energy. But first you need to imagine yourself frozen into a block ..

Exercise "Mercury ball".

Description of the exercise:

It is necessary to concentrate attention on the tip of the little finger of the left hand, in order to then imagine in the little finger of the left hand a tiny mercury ball of mobile metal, which is ready to crumble into many smaller balls throughout the body.

* In such exercises, the subconscious dictates to the body such postures and movements that cannot be invented and repeated on purpose. After such exercises, although they give great physical activity, muscles do not hurt, as it happens after normal exercise. Why? Because such exercises are performed taking into account individual characteristics.

III. Theoretical part.

Target: motivating students to learn new material

So, we are ready to receive new information.
The theme of our lesson is "Theatrical sketches as a source of creative imagination." It's very difficult but amazing interesting topic.

Question: What do you already know about theatrical sketches?

That's right, an etude is a little story played out on stage.
Question: What is the difference between an etude and an exercise?

Expected student responses.

An etude is an exercise that has content. It can last thirty seconds and half an hour, it's not important, it's more important whether it has vital content.
All actions in life are natural and justified. We do not think about how I, for example, pick up a fallen pencil or put a toy back in its place. Doing the same thing on stage when the audience is watching is not so easy.
To be natural, it is necessary to find answers to the questions why, for what, why am I doing this? In sketches, we use facial expressions, gestures, figurative speech, plastic body. Theatrical sketches have their own rules and composition.

The sketch consists of:

1. Ties (acquaintance with the character, scene and conditions);
2. Events;
3. Climaxes (the highest emotional point of the etude);
4. Decoupling (outcome, resolution of the situation).
Question: What sketches have we already performed?

Expected student responses:

plastic,
- memory of physical actions.

In fact, there are many types of etudes:

sketches for artistic imagination;

etudes for logic and sequence of actions and feelings;

on interaction with stage objects;

sketches for a specific event;

sketches for reincarnation.

Teacher: Today we will get acquainted with studies on the logic and sequence of actions. The execution of such an etude (as well as any other) requires a series of logical and interconnected actions in the proposed circumstances. But first, guess what our sketch will be about:

There is a portrait in the room

Looks like you in every way

Laugh - and in response

He laughs too.

Expected student responses: mirror

And we will also call our sketch "Mirror"

IV. Practical part "Work on etudes"

Etude "Mirror" (pair study)

Target: develop skills of interaction and interdependence of partners

And so, our sketch is called “Mirror”. Guys, today we will work in pairs. One of you will be a "Mirror" and the other one will be just a "Human". In this study, we will, first of all, follow the relationship and interdependence of partners. Begin. Stand up against each other. Decide which of you will be the "Mirror" and which one will be the "Man". Let the “Man” do what he usually does in front of a mirror: comb his hair, try on new clothes, “put on makeup” and more. Show what the mood of the “Man” is, and the “Mirror” should accurately reflect all the actions of the “Man”: gestures, facial expressions.

In order for the study to turn out to be meaningful, “Man” needs a specific goal of his actions, for example,

man brings his appearance in order before a date with a loved one,

prepare for a business meeting.

Necessary conditions for execution: « Man lives in the circle of his fictitious circumstances and believes in them. "Mirrors" about should not mechanically repeat all the movements of a person, one must try to guess his goals (at least approximately), one must live his thoughts (suggested by you).

Etude "Different Relationships"

Target: develop the skills of a sequence of actions, interaction of partners based on the proposed circumstances.

Teacher: Our next study will be for a certain event, and this study we will work in a group of 4 people who will treat each other differently, just like in life. Guys, why do we treat each other differently in life?

Expected responses.

Condition for the etude:it is necessary to demonstrate a personal attitude to each in different ways, given the proposed circumstances. Imagine that yesterday, one of you forgot a very important thing in this room and certainly wants to find it. It should fit:

To a person who is very busy with an important and urgent matter;

To a person who has had a great grief;

To an enemy with whom he did not communicate for a long time

Issues for discussion:

What did you succeed in working on etudes, and what did not?

Have you guessed the purpose of the partner? If not, why and what is the reason?

What is the interaction with each other in this type of activity?

V. Final part.

So, we got acquainted in the lesson with two new types of theatrical sketches. What?

Expected Responses

Did you enjoy playing sketches? What turned out to be the most difficult? What didn't cause problems?

Reflection.

The game is an exercise in the manifestation of emotions "Goodbye."

Target: show how the emotional state has changed during the lesson through the farewell ritual.

Pupils say goodbye to each other, according to the mood (joy, disappointment, indignation, indifference ...) with which they leave the lesson, trying to convey the emotional state as accurately as possible.

Venus Zonova
Abstract of the acting class "Mastering the skills and abilities of acting with the help of theatrical sketches"

Municipal budgetary educational institution

additional education "House children's creativity "Friendly" Ufa urban district of the Republic of Bashkortostan

Topic: «

Metolist, additional education teacher

education Zonova V.F.

Summary of classes in acting

Topic: « Mastering the skills and abilities of acting through theatrical sketches »

Children's age: 9-10 years old

Year of study:1 year of study

Target: Mastering the skills and abilities of acting through theatrical sketches and muscle tension relief exercises

Tasks:

Educational:

« Theatrical sketch» ,

theatrical sketches.

Educational:

sketches;

develop imagination

Educational:

form teamwork skills.

form KTD skills;

instill skills interaction with a partner;

Expected results:

sketches for further

expressiveness

Feel

Teaching methods:

Verbal (teacher's word, explanation)

visual (presentation)

Task variations

Teamwork

Practical

Pedagogical technologies:

Person-oriented;

- game learning:

Collective creative work

Form of organization lessons

Equipment

Duration lessons sketches

Plan lessons

1. Organizational part

occupation

Emotional mood

2. The main part.

Theme announcement lessons, consisting of two sections

2) Theatrical sketches

3. Practical part

Practical work on theatrical sketches;

4. Final part

Outcome lessons

5. Reflection

What I especially liked about lesson?

Evaluation of children's activities

Lesson progress

1. Organizational part

Greetings. Organizing time

Target: set up pupils for productive work on the topic, find out the emotional state of the pupils before the start lessons

Exercise-game "Hello".

The teacher greets the pupils, showing any states: joy, sadness, surprise, resentment, anger, suspicion, malevolence, goodwill.

Pupils greet the teacher according to the mood with which they came to occupation trying to convey the emotional state as accurately as possible.

Teacher's question: What are emotions?

Expected student responses: expression of feelings, experiences.

2. The main part. Theme announcement lessons

First section "Exercises to remove mental and physical clamps"

Target: Empower the child. To teach the child to relieve tension from individual muscle groups and the whole body with help various rhythmoplastic theatrical exercises and games.

Exercise 1 "Palm"

Students should stand up straight and focus their attention on the left hand, straining it to the maximum possible. After a few seconds, you need to relieve tension, and relax your hand. Similar exercises should be done with the right hand, with both legs, neck, lower back.

Exercise 2 "Clamps in a circle"

Participants go in a circle and, at the command of the teacher, strain right hand, right leg, left hand, left leg, lower back, both legs, whole body. The tension in a given part of the body should be weak at first and gradually increase to the limit. In a state of extreme tension, participants should walk for 15-20 seconds, then, at the command of the teacher, they need to completely relieve tension, that is, relax the entire tense part of the body.

Exercise 3 (slides of animals, small children)

For the next exercise, try to determine where your center of gravity is. Move, jump, crawl, stand up, sit down. Then imagine that you have become a cat. Now you need to find the center of gravity of the cat's body, that is, move like a cat. Where is the cat's center of gravity felt? And where is the center of gravity of a bird jumping on the ground? Be a bird. Then draw any other animals. Then imagine yourself as a small child, copy his movements, but you should not constrain your movements. Small children and animals are the most best example lack of muscle contractions. Try to remember your feelings and feeling of lightness during the absence of clamps.

Exercise 4 (puppet slides)

For this exercise, imagine that you are a puppet hanging in a closet on a nail after a performance. At the beginning, imagine that you were hung up by the neck, then by the arm, by the ear, by the finger, by the shoulder, and so on. In this case, your body is fixed at one point, and everything else dangles relaxed. The exercise is performed at an arbitrary pace. You can even do it with your eyes closed.

Exercise 5

This exercise requires a partner, which is also in a good way to establish psychological contact. We have to face each other. Your partner should make slow movements, and you should become his mirror image, that is, copy all his movements with accuracy. At the first stages of the exercise, you can agree not to do several movements at once, to make simple movements without the participation of facial expressions, to perform movements very slowly. Then switch roles with your partner. This is an exercise in a short time helps learn to feel the partner's body, understand the logic of his movements. After some time, you will even be able to anticipate and get ahead of your partner's actions.

Exercise 6

Start walking around the room calmly. On a signal, you need to throw the body into an unexpected position for you and freeze in it for a while. Then drop back and continue the action from your posture. Look for those actions that correspond to exactly the position of your body in which you are frozen, only this position and no other. Try to understand what you are doing, why you chose this or that action.

Exercise 7 (slides with images of people in various poses with different facial expressions, gestures and facial expressions)

This exercise improves movement and helps develop visual memory. To complete it, you should select in advance several dozen photographs or postcards with reproductions of paintings, sculptures, frames from films, images of people in various poses. Then show on the slides for a minute to remember who is depicted on them, with what facial expression and in what position. Then remove the slide, and the students must consistently repeat before all these poses. You need to try to remember to the smallest detail the mood, facial expressions, gestures, with whom they talked, what the people depicted in the photo held in their hands.

Exercise 8

To perform this exercise, you need to imagine that you are in an awkward or ridiculous situation. For example, they fell out of the blue, spilled juice on themselves, broke someone else's vase, got scared of a tiny dog, etc. Now try to portray your natural reaction to what happened, without specifically thinking through your movements. And then show your thoughtful reaction. Think about how you would behave in this situation in order to adequately get out of the situation. What would you say, what would be your posture, facial expressions and gestures? It is possible that you have several solutions to get out of this situation. Play them all. This will be helpful for the future. Who knows what situation you can get into, and a worthy way out of predicament will always keep you on top.

Second section « Theatrical eteds»

So, we are smoothly preparing for the next section of our classes It is very difficult but surprisingly interesting topic: « Etude» .

Question: What do you already know about theatrical sketches? Children's answers.

Correctly, etude is a little story played out on the stage.

Question: What is the difference sketch from exercise? Children's answers.

Etude - exercise A that has content. It can last thirty seconds and half an hour, it doesn’t matter, it’s more important whether it contains vital content ...

All actions in life are natural and justified. We do not think about how I, for example, pick up a fallen pencil or put a toy back in its place. Doing the same thing on stage when the audience is watching is not so easy.

To be natural, it is necessary to find answers to the questions why, for what, why am I doing this?

AT sketches we use facial expressions, gestures, figurative speech, body plasticity.

Theatrical sketches have their own rules and composition.

The study consists of:

1. Ties (acquaintance with the character, place and conditions);

2. Events;

3. Climaxes (highest emotional point etude) ;

4. Interchanges (outcome, resolution of the situation).

Question: What kind sketches have we already done? Answers children:

plastic,

To the memory of physical actions.

In fact, there are many kinds sketches.

sketches for reincarnation

On interaction with stage objects;

sketches for a specific event

sketches on the logic and sequence of actions and feelings;

Today we meet new types:

sketches for the manifestation of emotions;

sketches based literary work;

sketches on artistic imagination;

Pay attention to the image of cats and mice on the screen. Each has its own character, their habits. Who has cats, mice, hamsters at home? So, you know firsthand how your pets behave. So much the better, because to meet new species sketches and understand all the wisdom for us today help cats and mice. So let's call our occupation"Cat and Mouse". So let's go...

3. Practical part "Work on etudes»

1) First etude for the manifestation of emotions; for this I invite you all to stand in a circle.

Early morning. The mice are sleeping. Show how they put their hands under their cheeks, closed their eyes and snore peacefully.

Time to wake up mice! They opened their eyes and it was raining outside. I will read a poem, and you show all the emotions and gestures of mice.

At first they were surprised, then deeply indignant.

Offended, but not at all. They turned away in disgust

Like a mouse on a rump, everyone pouted. And suddenly everyone was sad.

Sad shoulders drooped, sad evening in the eyes.

And the tears are about to run. But here a ray of sunshine stealthily

On the cheek glided gently-smooth. And everything around lit up.

Everyone smiled with joy. As if everyone woke up from a dream.

They jumped and screamed: Hooray! Hooray!

(E. Alyabeva.)

lose twice with different composition of children.

Guys, what emotions did you show with facial expressions and gestures? (surprise, resentment, sadness, joy).

As you can see, this expression "Like a mouse on a rump, everyone pouted"? (it means being offended for no reason). Imagine that the mouse is offended by the cereal that it eats. It's stupid, right? So you sometimes get offended, but you yourself don’t know why.

2) Next etude based on a literary work. I will read the text to you, and your task is to act out the proposed story as close as possible to the text. (we choose a cat and mice 6-7 people).

There lived a cat Vasily. The cat was lazy!

Sharp teeth and a fat belly.

He always walked very quietly.

Loudly, persistently asked to eat,

Yes, a little quieter on the stove snored -

That's all he could do for you.

The cat once sees a dream like this,

As if he started a fight with mice.

Screaming loudly, he scratched them all

With its teeth, clawed paw.

In fear, the mice are quiet here begged:

Oh, have mercy, have mercy, have mercy!

Here he exclaimed a little louder cat: "Shoot!"

And scattered they rushed.

(But in fact, at the time when our Vasily was sleeping, this is what happened)

The mice quietly came out of the mink,

Loudly crunching, ate bread crusts,

Then, a little quieter, laughing at the cat,

They tied his tail with a bow.

Vasily woke up, suddenly sneezed loudly,

He turned to the wall and fell asleep again.

And the lazy mice climbed on the back,

Until the evening they made fun of him loudly.

Discussion etude using visual material, what worked, what didn’t work, why.

3)Next etude for a specific event "Cat and Mice". Here the task of mice is to eat sour cream. To do this, mice take risks - they need to get past the cat.

I invite 5 children, one plays a cat, the rest mice.

Discussion of what has been played etude using visual material.

4. Final part. Summarizing

5. Reflection.

Expression of impressions by the teacher, encouragement of children.

1) So, we met on lesson with three new types theatrical sketches. What? (children's answers). Did you enjoy playing sketches? What turned out to be the most difficult? What did you achieve while working on etudes, and what is not? What didn't cause problems?

2) Very soon we will return to sketches, on subsequent classes during preparation theatrical holidays, and now I will ask you to stand in a circle, I want to thank you for your wonderful creative work I will give you each a little surprise

Today you tried yourself in the role of actors, I think you succeeded.

The game is an exercise in expressing emotions "Goodbye".

All the best!

Introspection lessons

On this topic: « Mastering the skills and abilities of acting through theatrical sketches and exercises to relieve tension in muscle clamps "

Children's age: 9-10 years old

Year of study:1 year of study

Target: Mastering the skills and abilities of acting through theatrical sketches and muscle tension relief exercises

Tasks:

Educational:

Provide basic theoretical knowledge on the topic "Removal of muscle clamps of the whole body";- teach exercises to remove muscle clamps;- give basic theoretical knowledge on the topic « Theatrical sketch» ,

Get to know new species theatrical sketches.

Educational:

Develop the ability to reincarnate through creation sketches;

develop imagination (ability for plastic improvisation)

Develop the physical capabilities of the body through muscle relaxation training; develop acting skills through work on sketches.

Educational:

form teamwork skills.

Creating an atmosphere of goodwill and mutual trust.

form KTD skills;

instill skills interaction with a partner;

Expected results:

Creation of a creative atmosphere

Development of individual abilities of students to

reincarnation through work on sketches for further

use in the work on the role.

Students will learn to bring life observations closer to their own.

individual experience, analyze and build in scenic

conditions of sequence and logic of actions.

Students will learn to release tension alternately from the muscles of the arms, legs,

neck, body. Remove clamps, tension from body parts.

Students will learn to train faith, fantasy and plasticity.

expressiveness

Students can evaluate their own abilities, express their

Feel

Teaching methods:

Verbal (teacher's word, explanation)

visual (presentation)

Task variations

Teamwork

Partially exploratory creative

Practical (exercises performed by children)

Pedagogical technologies:

Person-oriented;

- game learning:

Collective creative work

Form of organization lessons: group, pair, individual

Equipment: music center, multimedia.

Duration lessons 45 minutes depending on the complexity of the exercises and sketches

Plan lessons

1. Organizational part

Greetings. Organizational moment Checking readiness for occupation

Emotional mood

2. The main part.

Theme announcement lessons, consisting of two sections

1) Exercises to remove muscle clamps

2) Theatrical sketches

3. Practical part

Practical work on exercises to remove muscle clamps;

Practical work on theatrical sketches;

Independent teamwork in groups;

Implementation of control over compliance with creative tasks.

4. Final part

Outcome lessons

5. Reflection

What were the difficulties in doing the work

What I especially liked about lesson?

Evaluation of children's activities

DEVELOPING A SENSE OF TRUTH AND FAITH

These exercises consist in not having any objects in your hands, feeling them only with the help of your imagination, to perform physical actions in the same way as if these objects were in your hands.

For example, without having a faucet, soap to towels, wash your hands and dry them with a towel; to sew without having a needle or fabric in hand; smoking without cigarettes and matches; clean shoes without having shoes, brushes, waxes, etc. in hand.

When you look at well-executed non-objective actions, you completely believe that this is how the people who perform them sew,

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light up, etc., you see how exactly they feel objects that do not exist in their hands. K. S. Stanislavsky considers physical actions with a “dummy” to be the same daily exercises necessary for a dramatic actor as vocalises for a singer, scales for a violinist, etc.

“You can get the right state of health in the simplest, non-objective action (K.S. sets the exercise to write a letter without paper, ink and pen) ...

Let's take this study: you have to write something on paper. Here you are looking for a pen, paper. All this must be done logically, without haste. Found paper. It’s not so easy to take paper, you have to feel how they take paper (points with fingers). You have to think about how you put it on your hand. She can slip on you. The first time you do it slowly. You must know what it means to dip a pen. Got the logic? So you shook off the pen, on which there was a drop of ink. You start writing. The simplest action. Finished. They put down the pen, blotted the paper, or shook it in the air. Here the imagination should tell you what to do in such cases, but only to the last degree of truth. You need to be able to own these small truths, because you will never find the big truth without them. For this little moment right-

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you feel the real truth. Your truth is in the logic of your most insignificant actions... It is necessary that you yourself feel that this is logical. This simple little action brings you closer to the truth.

In life, we do not remember the details of various small actions, because we do them habitually, mechanically. If we begin to act pointlessly from memory, and then perform the same action with a real object, we will see how many details we missed, how we did not feel in the hands of the object, its weight, shape, details. Therefore, at first, students are invited to take some very simple non-objective action. For example: light a match by taking it out of the box; tie a tie; thread a needle; pour water from the decanter into a glass, etc.

You need to work on these exercises at home: first do the exercise with real objects, then without objects, then repeat again with objects. This must be repeated several times, checking the sensations in order to remember with your muscles what it means to take an object, put it down, hang it up, take it off, etc.

1 K. S. Stanislavsky, Articles, speeches, conversations, letters, M., Art, 1953, p. 657.

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In the classroom, students show the results of homework. We make comments and corrections. For example, while sewing, a student feels the needle and thread well, but she sews in one place and the fabric does not move. In another case, the trainee tried to do a non-objective action as quickly as in life, skipping the details: puts on a glove - good, takes off - bad, his hand is dead; removes a galosh - does not pull a leg out of it; pours water - does not close the tap; smokes - does not feel the taste of cigarettes; eats - does not feel the taste of food, etc. We point out to him the need to do everything more slowly than in life, we instill a taste for the smallest details of physical action. The hardest thing is lifting weights. These exercises need to be especially carefully worked out.

The emergence of a sense of truth is greatly helped by chance, which often occurs in the preparation of an exercise. For example, while sewing, a spool of thread has fallen and unwound. The participant of the exercise picked it up, wound the thread again. If this randomness is fixed, it will decorate the exercise.

Exercises with different justifications can be done in different rhythms. For example: I sew when I have a lot of time; I sew when I'm in a hurry.

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(A list of exercises for the memory of physical actions performed at different times is attached, pp. 96, 97.)

In addition to single actions, paired actions are also interesting: sawing firewood; rowing a boat; unwind the fire hose; pump the pump; forge, etc.

Knowing that we encourage creative initiative in every possible way, students at the theater school in one course, on their own initiative, prepared the entire test for the memory of physical actions. Non-objective actions were combined into one general study "Preparing for the New Year's Eve in a student dormitory." It began with sawing firewood. Two students sawed non-existent firewood with a non-existent saw, but the real sounds of a saw and falling logs accompanied the action. The sounding corresponded exactly to all the smallest details of the saw, from the first scratching of the log surface to the crack of a log breaking off. Next, the splitting of a torch, tearing paper, lighting matches, etc. was sounded. Preparing for the New Year, students changed into non-existent dresses, decorated a non-existent Christmas tree, set the table, opened non-existent canned food, wine, put fruits, sweets, etc. Exercises for the memory of physical actions were combined with exercises for the speed of permutations. For a minute

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the curtain closed, then opened - and the stove was heated on the stage, a real decorated Christmas tree shone with lights, there was a set table with those very real objects that were absent in pointless actions. The whole course sat at the table and met the twelfth strike of the clock with raised glasses.

In well-practiced non-objective actions, we check how much the person performing the exercise has mastered his attention and keeps it on the object, felt what muscle freedom is (that is, he makes exactly as much effort as necessary for this action), how his imagination works, how he justifies the proposed circumstances, as far as he believes in the truth of his action and feels its logic.

On stage, actors have to drink from glasses that do not contain wine, read unwritten texts of letters, smell paper flowers, carry weights that are not heavy, operate with hot irons that are not hot - in a word, deal with a number of fake objects. It happens that on stage letters are written too quickly, glasses are waved so that wine should pour out of them, money is paid without an account, wine is poured into a glass in one fell swoop, etc. fake items.

How many do not put your teeth on the shelf, but creative people need to express themselves. And in order to reveal acting talent, improve stage skills, you need perseverance and patience. Acting exercises will help to acquire and hone all the skills necessary for a professional actor. After all, an actor on stage is not just a mechanical puppet that mindlessly follows the director's instructions, but a puppet that can think logically, calculate actions a few steps ahead. Professional actor plastic, has good coordination, expressive facial expressions and intelligible speech.

Before you start to study and work out etudes and sketches to the fullest, you need to understand yourself a little. A real actor needs certain character traits that must be actively developed in himself. Other qualities should be hidden in the far corner and remembered very rarely.

Consider such a quality as self-love. It would seem - a normal state for every person. But this quality has 2 sides:

• Self-love - makes every day to develop and learn, not to give up. Without this quality, even a very famous actor cannot become a famous actor. talented person.
• Selfishness and narcissism is a dead end for acting career. Such a person will never be able to work for the viewer, all attention will be riveted to his own person.

A good actor cannot be distracted. He should not be distracted by extraneous noise while playing on stage. For acting, by its very nature, implies constant control of oneself and a partner. Otherwise, the role will simply become a mechanical representation. And attention allows you not to miss important details during training, watching theatrical performances, master classes and trainings. To learn how to concentrate, use the attention exercises from stagecraft.

Attention is the basis of a good start to a theatrical career

The development of attention does not begin with special exercises, and with Everyday life. A novice actor should spend a lot of time in crowded places, watching people, their behavior, facial expressions, and characteristic features. All this can later be used to create images.

Start a creative diary - this is a regular diary creative person. In it, express your thoughts, feelings, write down all the changes that have occurred with the surrounding objects.

After filling out the creative diary, you can proceed to working out scenes and sketches. A novice actor is obliged to convey as accurately as possible the image and facial expressions of the person he was watching. You need to put prototypes in non-standard situations- it is such productions that show how much the actor was able to understand and get used to the character unknown person.

"Listen to silence"

The next exercise is the ability to listen to silence, you need to learn how to direct attention to a certain part of the external space, gradually expanding the boundaries:

• listen to yourself;
• listen to what is happening in the room;
• listen for sounds throughout the building;
• recognize sounds in the street.

Exercise "Shadow"

It not only develops attention, but also teaches you to move consciously. One person slowly makes any pointless actions. The task of the second is to repeat all movements as accurately as possible, try to predict them, and determine the purpose of the actions.

Pantomimes and dramatizations

A good actor is able to convey emotions expressively with words and body. These skills will help to involve the viewer in the game, to convey to him the full depth theatrical production.

Pantomime - special kind performing arts, based on creation artistic image through plasticity, without the use of words.

• The best exercise to learn pantomime is crocodile game. The goal of the game is to show an object, a phrase, a feeling, an event without words. Simple but fun game perfectly trains expressiveness, develops thinking, teaches you to make decisions quickly.
• Dramatization of proverbs. The purpose of the exercise is to show with the help of a small scene famous proverb or an aphorism. The viewer must understand the meaning of what is happening on the stage.
• Gesture game- with the help of non-verbal symbols, an actor can say a lot on stage. You need at least 7 people to play. Everyone invents a gesture for himself, shows it to others, then shows some other person's gesture. The one whose gesture was shown must quickly repeat it himself, and show the next someone else's gesture. Who lost - is out of the game. This game is complex, develops attention, teaches to work in a team, improves plasticity and coordination of hands.

Exercises for the development of plasticity

If things are not going well with plastic surgery, this deficiency can be easily corrected. With regular performance of the following movements at home, you can learn to better feel your own body, skillfully manage it.

"Painting the Fence"

The exercise “painting the fence” develops the plasticity of the hands and arms well. It is necessary to paint the fence using the hands instead of a brush.

What exercises make hands obedient:

• smooth waves from one shoulder to another;
• invisible wall - you need to touch the invisible surface with your hands, feel it;
• rowing with invisible oars;
• twisting clothes;
• pulling an invisible rope.

"Pack it up"

A more difficult task is to “collect in parts”. It is necessary to assemble in parts some kind of complex mechanism - a bicycle, a helicopter, an airplane, to create a boat from the boards. Take an invisible part, feel it with your hands, show the size, weight and shape. The viewer must imagine what kind of spare part is in the hands of the actor. Install the part - than better than plastic, the faster the viewer will understand what the actor is collecting.

"stroking the animal"

Exercise "petting the animal." The task of the actor is to stroke the animal, pick it up, feed it, open and close the cage. The viewer must understand - this is a fluffy hare or a slippery, wriggling snake, a small mouse or a big elephant.

Development of coordination

The actor must have good coordination. This skill allows you to perform complex exercises on stage, perform several movements at the same time.

Coordination exercises:

• Swimming. Extend straight arms parallel to the floor. Perform with one hand circular motions back, the other forward. Move your hands at the same time, periodically change the direction of movement of each hand.
• Knock - stroke. Put one hand on your head and start stroking. Place the other hand on the stomach, lightly tap. Do movements at the same time, not forgetting to change hands.
• Conductor. Stretch out your hands. One hand moves up and down for 2 beats. The other one performs arbitrary movements for 3 cycles. Or draws geometric figure. Use both hands at the same time, periodically change hands.
• Confusion. Extend one arm, with a straight arm, make circular movements clockwise, while simultaneously rotating the brush in the other direction.

These exercises are not easy to do at first. But constant practice brings results. Each exercise should be repeated at least 10 times every day.

Scenes and sketches for beginner actors

A novice actor does not have to invent everything from scratch. The ability to qualitatively copy and imitate is an integral part of performing arts. You just need to find a movie with your favorite character, try to copy his facial expressions, movements, gestures and speech as accurately as possible, convey emotions and mood.

The task seems simple, but at first it can be difficult. Only regular classes help you hone your imitation skills. In this exercise, you can not do without attention and the ability to concentrate on the little things. Jim Carrey has a good gift for imitation - he has a lot to learn.

Exercise "Think"

The acting profession involves a well-developed fantasy and imagination. You can develop these skills with the help of the “Think Out” exercise. It is necessary to go to crowded places, choose a person, observe, pay attention to the appearance and demeanor. Then come up with a biography for him, a name, determine the occupation.

Scenic speech

Good stage speech involves more than just clear pronunciation and good articulation. A good actor should be able to scream softly and whisper loudly, conveying the emotions, age and state of mind of the hero with just his voice.

To learn how to betray emotions in a word, you need to pronounce a simple phrase from the point of view of different characters - a little girl, a mature woman, an aged man, famous actor or politician. You need to find special intonations for each character, use typical speech turns.

Exercises for the development of stage speech:

• Blow out the candles. Take in more air, blow out 3 candles in turn. The number of candles must be constantly increased, the muscles of the diaphragm must be used when inhaling.
• Practicing exhalation technique. The poem "The House That Jack Built" is suitable for this exercise. In one breath, it is necessary to pronounce each part of the work.
• Improving diction. Slurred speech is unacceptable for good actor. You need to honestly identify the problematic sounds in your speech, daily pronounce tongue twisters that are aimed at eliminating the problem. You need to do at least half an hour 3-5 times a day. Tongue twisters teach to speak clearly at a fast pace, which is extremely important in acting.
• Intonation plays a prominent role in creating the right image. For training, it is necessary to read aloud artistic dramatic texts daily.

Exercises for acting skills you can study on your own, various trainings will come to the rescue. But it is better to study in the company of like-minded people - you can go to courses or arrange theater evenings at home. The main thing is to never give up, always believe in your own talent, move towards the intended goal.