MKU DO "House of Children's Creativity" Novopavlovsk

Methodological development "MASTER CLASS IN ACTING AND STAGE SPEECH"

(for directors of theater clubs and studios)

Additional education teacher

MKU DO "House of Children's Creativity"

Novopavlovsk

Basic rules of acting

Before you start studying and working on etudes and scenes to the fullest, you need to understand yourself a little. A real actor needs certain character traits that must be actively developed in himself. Other qualities should be hidden in a far corner and remembered extremely rarely.

Let's consider such a quality as self-love. It would seem that this is a normal state for every person. But this quality has 2 sides:

Self-love makes you develop and learn every day, and not give up. Without this quality, even a very talented person will not be able to become a famous actor.

Self-love and narcissism are a dead end for an acting career. Such a person will never be able to work for the viewer; all attention will be focused on himself.

A good actor cannot be absent-minded. He should not be distracted by extraneous noise while playing on stage. For acting inherently implies constant control of oneself and one’s partner. IN otherwise the role will simply become a mechanical performance. And attention allows you not to miss important details while studying, watching theatrical performances, master classes and trainings. In order to learn to concentrate, use exercises to develop attention from stagecraft.

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

The development of attention begins not with special exercises, but with everyday life.An aspiring actor should spend a lot of time in crowded places, observe people, their behavior, facial expressions, characteristics. All this can later be used to create images.

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

After filling out the creative diary, you can move on to practicing sketches and sketches. A novice actor is obliged to convey as accurately as possible the image and facial expressions of the person he was observing. It is necessary to place prototypes in non-standard situations - it is precisely such productions that show how much the actor was able to understand and get used to the image of an unknown person.

Exercise “Let's get to know each other”

The task of the participants is to stand in a circle holding hands, and passing the ball, say their name, the next participant says the name of the previous one, etc. A similar exercise “Let's say hello”, here the participants, standing in a circle, should say hello with various parts of the body suggested by the teacher (hand , nose, heel, ears, elbows, etc.)

"Listening to Silence"

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

When the teacher claps, all participants close their eyes and listen carefully, remembering all the sounds they hear.

1st circle of communication - SMALL (you need to listen to what is happening in the room)

2nd circle of communication – MEDIUM (you need to listen to the sounds in the entire building)

3 circle of communication – LARGE or FAR (you need to recognize sounds on the street)

Exercise "Mirror"

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

Pantomimes and dramatizations

A good actor knows how to convey emotions expressively through words and body. These skills will help to involve the viewer in the game and convey to him the full depth of the theatrical production.

Pantomime is a special type of stage art based on the creation of an artistic image through plasticity, without the use of words.

What's good about a pantomime game?

The game helps to get rid of complexes, teaches us not to be afraid of the audience, we become more alive and free with emotions, facial expressions and imagination develop. At the moment of guessing, it is necessary to show quick reactions, be able to think in images, and understand people more subtly. After all, we perceive most of the information from words, but here we will have to switch to understanding non-verbal images.

The best exercise to learn pantomime iscrocodile game In order to successfully complete the task, you need to have very good control of your own body and facial expressions. The game is very useful - after all, in reality, few adults, with the exception of Jim Carrey, can boast of the ability to express emotions and feelings with the help of gestures.The goal of the game is to show an object, phrase, feeling, event without words. A simple but fun game perfectly trains expressiveness, develops thinking, and teaches you to make quick decisions.

Rules of the game "Crocodile".

1. When showing words, the player must use only movements, gestures and facial expressions.

2. The person showing the words is prohibited from speaking or making any sounds.

3. You can answer questions, but only through pantomime.

4. It is not allowed to show words by letter.

5. You cannot pronounce words with your lips.

6. The hidden phrase can be shown in separate words.

Dramatization of proverbs . The purpose of the exercise is to use a small scene to show a well-known proverb or aphorism. The viewer must understand the meaning of what is happening on stage.

Gesture game – with the help of non-verbal symbols, an actor can say a lot on stage. To play you need at least 7 people. Everyone comes up with a gesture for themselves, shows it to others, then shows some other person’s gesture. The one whose gesture was shown must quickly repeat it himself and show the next someone else's gesture. Whoever gets lost is out of the game. This game is complex, develops attention, teaches teamwork, improves plasticity and hand coordination.

Exercises for the development of plasticity

If things are not going well with plastic surgery, this deficiency can be easily corrected. By regularly performing the following movements at home, you can learn to feel your own body better and control it skillfully.

"Painting the fence"

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

What exercises make your hands obedient:

smooth waves from one shoulder to the other;

invisible wall - you need to touch the invisible surface with your hands, feel it;

rowing with invisible oars;

twisting clothes;

tug of war with an invisible rope.

"Pick it up piece by piece"

A more difficult task is “assemble the parts.” You need to assemble some complex mechanism piece by piece - a bicycle, a helicopter, an airplane, or create a boat from boards. Take an invisible part, feel it with your hands, show the size, weight and shape. The viewer must imagine what spare part is in the actor’s hands. Install the part - the better the plastic, the faster the viewer will understand what the actor is assembling.

"Stroke the animal"

Exercise “petting the animal.” The actor’s task is to pet the animal, pick it up, feed it, open and close the cage. The viewer must understand whether this is a fluffy hare or a slippery, wriggling snake, a small mouse or a large elephant.

Development of coordination

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

Exercises to develop coordination:

Swimming. Extend your arms straight parallel to the floor. Perform with one hand circular movements back, the other forward. Move your hands simultaneously, periodically changing the direction of movement of each hand.

Knock - stroke. Place one hand on your head and start stroking. Place your other hand on your stomach, tapping lightly. Do the movements at the same time, not forgetting to change hands.

Conductor. Stretch your arms. One hand moves up and down for 2 beats. The other one makes voluntary movements for 3 beats. Or draws a geometric figure. Use both hands at the same time, changing hands periodically.

Confusion. Extend one arm, make circular movements clockwise with your straight hand, while simultaneously rotating your hand in the other direction.

Ear- nose. We take hold of the ear with one hand, and the nose with the other, while our hands should be crossed. On command we change the position of our hands.

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

Scenes and sketches for beginning actors

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

The task seems simple, but at first it may be difficult. Only regular practice will help hone the skill of imitation. In this exercise you cannot do without attention and the ability to concentrate on little things. Jim Carrey has a good gift for imitation - there is a lot to learn from him.

Exercise “Think it through”

The acting profession requires a well-developed fantasy and imagination. You can develop these skills using the “think it through” exercise. You need to go to places with large crowds of people, choose a person, observe, pay attention to their appearance and behavior. Then come up with a biography, a name, and determine his occupation.

Scenic speech

Good stage speech involves more than just clear pronunciation and good articulation. A good actor must be able to scream quietly and whisper loudly, and convey the emotions, age and mental state of the hero with just his voice.The actor must also have the ability to speak beautifully. He must have trained breathing, because... the actors have to deliver long lines in one breath.

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

Exercises for developing stage speech:

Blowing out the candles . Take in more air and blow out 3 candles one by one. The number of candles must be constantly increased, and the diaphragm muscles must be used when inhaling. You can also increase the distance to the candles.

Practicing exhalation technique . The poem "The House That Jack Built" is appropriate for this exercise. Each part of the piece must be pronounced in one breath.

Improving diction . Slurred speech is unacceptable for a good actor. You need to honestly identify problematic sounds in your speech and pronounce tongue twisters every day that are aimed at eliminating the problem. You need to exercise for at least half an hour 3-5 times a day. Tongue twisters teach you to speak clearly at a fast pace, which is extremely important in acting.

Intonation plays important role in creating the right image . To practice, you need to read literary dramatic texts aloud every day.

Another great exercise for developing your lungs.
Now I suggest you play one such game called"Egorka". In one breath you should count Yegor. I'll say the first two lines,

Like on a hill, on a hill

Thirty-three Yegorkas lived.

One Yegorka, two Yegorkas, etc.

Everyone got up and started on command. You remember who ran out of breath on which Egorka.

With the help of tongue twisters, you can effectively train diction (clear pronunciation of words and sounds). Reading tongue twisters develops correct articulation (the work of the speech organs in the formation of speech sounds) and eliminates slips of the tongue.

Read the tongue twisters out loud, pronouncing each sound clearly, then gradually increase the pace. In this case, first of all, you should ensure clear pronunciation and only secondly, speed up the tempo. If you cannot read a tongue twister at your usual pace without making mistakes, then first understand its meaning so that a clear visual sequence appears in your head and read slowly, syllable by syllable. Repeat the tongue twister until you read it without hesitation. Then gradually increase the pace.

Record exercises with tongue twisters on a voice recorder. This will allow you to hear yourself from the outside and effectively eliminate speech deficiencies.

You can study acting exercises on your own; various trainings will come to your aid. But it’s better to study in the company of like-minded people - you can take courses or organize theater evenings at home. The main thing is to never give up, always believe in your own talent, and move towards your goal.

Reflection.

Each master class participant draws his own emotions on the theater mask and puts it on. Everyone stands in a circle and shares their impressions.

Today you tried yourself as an actor, I think you succeeded. “The theater is a hive. Some bees build honeycombs, others collect flowers, others raise the young generation, said K.S. Stanislavsky, - and together everyone produces a wonderful, aromatic product of their work - honey... But for this you need to constantly, day after day, work hard, persistently, and most importantly, work together..." All the best to you!

Application.

Crocodile.

A few simple words to warm up.

Snow, stick, cloud, chair, dog, candle, Santa Claus, globe, laptop, palm tree, star, rainbow, teacher.

Average level

Egg cutter, jellied horseradish, vampire, colorblind, ciliate-slipper, rubber, attraction,muskrat, evil dwarf, pink elephant.

Show the proverb:

For one beaten, they give two unbeaten.

One head it's good, but two better.

If you love to ride, you also love to carry sleds.

The word is not a sparrow - it will fly out and you won’t catch it.

The eyes are afraid, but the hands are doing.

A well-fed man is no friend to a hungry man.

Tears of sorrow will not help.

Teach your grandmother to suck eggs.

Whatever you call the boat, that’s how it will float.

The house that Jack built.

Here's the house
Which Jack built.

And this is wheat

In the house,
Which Jack built.

And this is a cheerful tit bird,
Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

Here's a cat

Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

Here's a dog without a tail

Which scares and catches the tit,
Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

And this is a hornless cow,
Kicked an old dog without a tail,
Who pulls the cat by the collar,
Which scares and catches the tit,
Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

And this is an old woman, gray-haired and stern,
Who milks a hornless cow,

Who pulls the cat by the collar,
Which scares and catches the tit,
Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

And this is a lazy and fat shepherd,

Who milks a hornless cow,
Kicked an old dog without a tail,
Who pulls the cat by the collar,
Which scares and catches the tit,
Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

Here are two roosters
Which wake up that shepherd,
Who scolds the strict cowshed,
Who milks a hornless cow,
Kicked an old dog without a tail,
Who pulls the cat by the collar,
Which scares and catches the tit,
Who often steals wheat,
Which is stored in a dark closet
In the house,
Which Jack built.

Our Studio has developed a training program for the art of acting. Currently, there are three courses under the general title “Theater - the mirror of life”:

“Theater is a mirror of life” (We are currently recruiting for the group (Tuesday, Thursday). The course starts on March 29 at 19.00. Register (495) null)

Basic course for beginners. Duration – 2 months. Classes are held 2 times a week for 3 hours.

The course on Tuesdays and Thursdays from 19.00 to 22.00 is taught by a professional actor Maxim Spragovsky.

The course is on Wednesdays from 19.00 to 22.00 and Saturdays from 18.00 to 21.00 led by professional actress Maya Zobova.

“Theater is a mirror of life-INTENSIVE”

Acting course for beginners. Duration – 1 month. Classes are held 2 times a week for 4 hours. The course teacher is a professional actor - Damir Bakhtiev.

“Theater is a mirror of life - CONTINUING”

An acting course for those who have already attended acting training and are looking to strengthen or “remember” their skills. This course is a continuation for our students who want to continue their studies and participate in productions, and we also invite everyone! For theatrical productions, acting troupes from this course are formed. Currently, this acting course runs on Sundays, 3 hours (from 18.00 to 21.00). The cost of a monthly subscription is 3200 rubles. Join us! Course teacher: Maya Zobova

The acting course “Theater is the Mirror of Life” is designed for people who have the following goals:

Liberate yourself and gain internal and external freedom in communication.
Become a charismatic, interesting person (allow your inner self to reveal itself).
Develop yourself in a still unknown quality, in the unknown, mysterious world of theatrical art.
Find and discover something new in yourself (unexplored traits of your character).
Meet new people who are attracted to the same goals.
To have the opportunity to relax “wisely” and be distracted from the “gray everyday life”.

So how does it build?what is our course?!

The teacher will work with you on:

By removing physical and metaphysical clamps, through plastic surgery, developing a “muscle controller” (nothing to do with fitness or dance, this is deeper and more “targeted” work);

Development of the necessary tools of an actor: imagination, fantasy, creative attention and memory;

The ability to improvise. Be spontaneous, surrendering to the first impulse of feelings and emotions, but at the same time be logical in achieving specific stage goals;

Sharpness of character, revealing your individuality. The ability to be ready to reincarnate - to become different while remaining yourself.

Attention both to partners on the court and to all surrounding circumstances - look and see, listen and hear.

And also, a very important stage - work on:

Sketches without words (internal and external action). Justified, organic gestures and actions.

Sketches for the birth of a word (both with and without a partner)

Sketches on a literary basis (basics of dramatic action).

All acting classes are held at the address: Moscow, st. Usacheva, 11, office 439.

The exercises proposed in this article help to maintain attention on an object for a longer time, i.e., get carried away by the object. Despite the fact that the proposed exercises are not difficult in themselves, they are almost never successful the first time, so it is necessary to ensure their precise implementation.

Group exercise"Typewriter".

1. Place the group in a semicircle. Distribute the letters of the alphabet (in a small group, everyone can get two or three letters). Then, after checking whether the students know well who has which letters, the teacher says some phrase, for example: “The lonely sail is white.” First, one word is pronounced: “turns white.” The teacher claps his hands. The letter “b” responds with a clap, and the teacher’s clap responds with a clap for the letter “e”. Those students whose letters are “l, e, e, t” clap in turn, responding to each clap of the teacher. At the end of the word the whole group claps. That's the whole phrase.

2. The same exercise without the teacher’s clapping. The participants themselves convey the phrase by clapping.

These exercises fail if even one participant is not paying attention. This is where the lagging behind come to light.

Exercise "Arithmometer" (1)

15 people participate (14 in a circle, one leader). Ten people are numbers from 0 to 9. Four people are signs: plus, minus, multiplication, division. The presenter calls: 5 + 9 =

When the leader claps, “5” takes a step forward, “plus” claps his hands, “9” takes a step forward. Everyone makes two claps - an equal sign, "1" and "4" take two steps forward, which means the result is "14". Everyone clap three times (end).

Exercise “Arithmometer” (2).

7 people participate (1st - units, 2nd - tens, 3rd - hundreds, 4th - thousands, 5th - tens of thousands, 6th - hundreds of thousands, 7th - leader) . The presenter calls a number, for example 125 102. Then he claps. “A hundred thousand” bows, a “ten thousand” turns around twice, a “thousand” raises its arms five times, a “hundred” does one squat, a “ten” is motionless, a “one” stamps its foot twice. Then everyone claps.

Exercise “Lagging movements”.

Place students in two rows facing each other. The first performs several clear gymnastic movements. The second, watching the first, repeats his movements with a lag of one. The third, watching the second, repeats the movement of the second with a lag of one, and so on for the whole group. The exercise can be accompanied by music, starting with a slow rhythm, accelerating towards the end.

Exercise "Mirror".

Two participants stand against each other. One seems to look in a mirror, the other is a “reflection” and repeats all the movements of the first. This exercise has the peculiarity that the “mirror” makes movements with its left hand in response to the movement of the viewer’s right hand (as in a real mirror). In this exercise, simultaneity is important, so the first one should start the movements slowly so that the “mirror” catches each movement in time. At the “mirror” the movements must exactly coincide with the movements of the person looking. You can do gymnastics in front of the mirror, comb your hair, put on powder, wipe glass, tie a tie, shave, etc. Then the participants change places. (You can put an empty frame and do the exercise through the frame.)

Exercise "Shadow". A student walks around the room, followed by another, repeating his movements and trying to catch their rhythm; stops when the leader stops, starts moving with him, etc. Then the “shadow” becomes the leader, and the leader “shadow”.

Exercise "Conductor".

Create obstacles in the room or on stage from chairs, tables, etc. “Nick Guide” leads the group through the obstacles. The rest follow the “guide” in single file and repeat his movements.

Exercise “Director and actor”. The “director” performs some action. For example, he carefully approaches the door and listens. The “actor” watches him from the audience, trying to remember exactly

The following attention exercises are aimed at training the ability to think in stage conditions.

To do this, the student is offered:

1) read a newspaper article on stage and tell its contents;

2) we tear the newspaper (letter, printed page) into shreds, mix them up and invite the student to fold them so that he can read the contents of the torn one;

4) under the same conditions, we propose to multiply and divide fairly large numbers;

5) compose a quatrain or epigram;

6) draw up a concert program upon request for the radio; remember 10 works by Pushkin, Lermontov, Tolstoy or any other famous writer.

We end this section with exercises for internal attention.

A person is himself only when he is alone at home or in nature. As soon as someone comes, the person falls under the power of conventions and behavior developed by life.

On stage, with concentrated attention and muscular freedom, when the student acts alone, a state called “public loneliness” may arise in the exercise. In this state, forgetting that a viewer is looking at him, the student can imagine that he is alone at home or in nature, and behave accordingly:

sitting on stage, remember in detail your day today in the morning; remember what still needs to be done today; remember any grievance; remember a pleasant event in life; think about summer holidays, etc.

Here is what K. S. Stanislavsky writes about home exercises for internal attention: “When you go to bed and turn off the light, train yourself every day to mentally review the entire life of each past day, while trying to detail your memories to the last limit, that is: If you are thinking about lunch or morning tea, then try to remember and see not only the dishes that you ate, but also the vessel on which the dishes were served, and its general arrangement on the table. Remember the thoughts and internal feelings caused by the dinner conversation, and the taste of what you ate. Other times, remember not the next day, but more distant moments of life. Look in even more detail mentally at apartments, rooms, places where you once lived and walked, and, remembering individual things, mentally use them. This will return you to the once well-known sequence of actions and to the line of the day of your former life. Check them too in detail with your inner attention. Try to remember your loved ones, living or dead, as vividly as possible. In all this work, a large role is assigned to attention, which receives new reasons for exercise.”

Material taken from the book “Stage Studies” by L. M. Shikhmatov

"Collection of exercises on acting"

Compiled by: Tsybulskaya E.Yu.,

teacher of additional education of a structural unit

"Children and Youth Center" Novokuybyshevsk.

Theater is a synthetic art. It is important that the little actor is able to develop all the qualities necessary for acting. This includes imagination, fantasy, speech, and much more.

Today, it is difficult to choose from the many acting exercises that will be useful in practice. Many exercises given in various collections are completely unsuitable for working with children and adolescents. In my first collection, I present exercises for the development of attention, memory and imagination, which I have tested in practice. My experience shows that a modern theater school needs updating, which is why I propose conducting a set of exercises in classes to develop imagination, fantasy, memory, and attention, so as not to violate the integrity of the development of all these important qualities.

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

Exercises to develop imagination and fantasy

Get into character. Read the proposed text in a whisper; loud; with machine gun speed; at a snail's pace; as if you were very cold; as if you have a hot potato in your mouth; like a three year old child; like an alien.

The Russian people have endured enough

He also took out this railway -

He will endure whatever God sends!

Will bear everything - and a wide, clear

He will pave the way for himself with his chest.

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.);

· cat;

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

· elephant;

giraffe

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

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”, “Like the builder, such is the monastery”, etc.

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

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 man, 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?

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 like a 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.

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.

Sculptor and clay. Participants are divided into pairs. One of them is a sculptor, the other is a clay artist. 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.

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.

Non-existent animal. If the existence of hammerhead fish or pipefish is scientifically proven, then the existence of thimblefish is not excluded. Let the child fantasize: “What does a panfish look like? What does a scissorfish eat and how can a magnet fish be used?”

Reviving objects. Imagine yourself as a new fur coat; lost mitten; a mitten that was returned to the owner; a shirt thrown on the floor; shirt, neatly folded.

Imagine: the belt is a snake, and the fur mitten is a mouse. What will the children do?

We write our own fairy tales. The players are divided into several teams. The facilitator distributes pieces of paper and pencils to the teams. The players’ task is to come up with a funny humorous tale in 5-6 minutes, beginning with the words: “Once upon a time…” and ending: “Well, wow!” After the set time has passed, everyone takes turns reading out their fairy tales, but in such a way that they are accompanied by sound design or some other addition, as well as the participation of the rest of the children in the performance. Players can also read and immediately not only play out this tale, but also translate it into sign language or come up with something else.

Associations. Players take turns saying words that come to mind in response to a word spoken by another player. You need to play quickly; if the association is not clear, it is advisable to explain it or seek an explanation.

Conversation of the deaf and dumb. All participants in the game are divided into pairs; partners will portray two deaf and dumb people. The presenter, in private, explains to one of the players in the pair what he should tell his interlocutor about. Then everyone sits in a semicircle, leaving the center free. The first couple, going to the middle, depicts an unexpected meeting of two deaf and mutes, then one of them (who received the task) begins to tell his partner his story. His friend must also use gestures to ask his companion questions, and he, therefore, must answer them. The players are given no more than 5 minutes to talk, and then the player who was listening must be told what he understood from what he saw? The presenter compares his answer with what the player was actually talking about and introduces him to others.

You can choose absolutely any topic of conversation: a story about how a dog’s paw was crushed and the player treated it, about a fishing trip, about visiting a museum, etc. The more versatile and extensive the chosen topic, the more interesting the exercise will be.

. Large family photo. It is suggested that the children imagine that they are all a big family and they all need to take a photo together for the family album. You must select a "photographer". He should arrange for the whole family to be photographed. The “grandfather” is chosen first from the family; he can also participate in the placement of “family” members. No more instructions are given for children; they must decide for themselves who to be and where to stand. And you stop and watch this entertaining picture. The roles of “photographer” and “grandfathers” are usually taken on by guys striving for leadership. But, however, elements of management and other “family members” cannot be excluded. It will be very interesting for you to observe the distribution of roles, activity and passivity in choosing a location.

After assigning roles and arranging the “family members,” the “photographer” counts to three. On the count of three! Everyone shouts “cheese” in unison and very loudly and clap their hands at the same time.

Different people. Children are given the task of moving around the room as if they were made of sand, glass, straw, snow, or on hinges.

The history of the thing. Come up with a story for the thing (object in hand). Take two objects. Participants simultaneously begin to imagine to themselves what happened to this thing from the beginning of its creation. With a clap, the history of one thing stops, while another thing continues. You can ask what the participant was thinking about.

Exercises to develop attention

Typewriter. Participants distribute the alphabet among themselves (each gets several letters) and use the typewriter keys to determine which letters they get. Hitting the desired key is a clap. 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 period is indicated by two common clap.

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.

Mirror. You can play this game in pairs or alone. Players sit or stand opposite each other. One of them makes different movements: raises his hands, moves them in different directions, scratches his nose. The other is a “mirror” of the first.

To begin with, you can limit yourself to hand movements, but gradually complicate the game: make faces, turn, etc. Game time is limited to 1-2 minutes.

Four forces. The players sit in a circle and perform movements in accordance with the words: “earth” - arms down, “water” - stretch your arms forward, “air” - raise your arms up, “fire” - rotate your arms at the wrist and elbow joints.

Be careful. The players sit around the room and wait for a while. They do not know what specific task will be offered to them and when the question will be asked. The presenter comes up with questions. Therefore, he must be especially careful.

After a certain time, the presenter asks to describe all the events that happened in the room from the moment everyone took their seats. It could be someone coughing, a door creaking, etc.

Important little things. For a few seconds, the presenter shows the item to the players. It must be shown in such a way that everyone has the opportunity to have a good look at the proposed item from all sides.

Then the host hides the item and asks the players about some subtle feature of this item.

Players must try to remember the named detail and give the correct answer.

Interference. One of the participants in the exercise is given some complex text.

The participant must read this text for a minute and then retell it or answer the questions. While he is reading, the other participants should actively disturb him: make noise, laugh, ask questions, etc.

Sensitive ear. One player closes his eyes and tries to guess which of the other players just snored, grumbled or meowed.

Drop, river, ocean. It is advisable to accompany the action with a dynamic musical background.

All participants get up from their seats and are distributed around the playing area. Each player is a droplet. It's easy to imagine a window after the rain. Large drops on transparent glass.

The leader gives the command: “Unite in twos.” All players must instantly find a partner and hold hands. Without allowing the players to come to their senses, the leader commands: “Unite in threes.” And now the three players are moving to the music, holding hands and not forgetting to dance. The leader’s commands follow one after another: “Four people, five, six.” “Everyone in a common circle,” the leader commands, and all players form a large round dance.

The last word. The teacher names different nouns. Suddenly he interrupts, approaches one of the participants and asks to repeat the last word.

Question for a neighbor. Everyone sits in a circle, the leader is in the center. He approaches any player and asks a question, for example: “What is your name?”, “Where do you live?” etc. But it is not the one who is asked who must answer, but his neighbor on the left.

Memory exercises

What's missing? Several objects or pictures are laid out on the table. The child looks at them, then turns away. An adult removes one item. The child looks at the remaining objects and names what has disappeared.

Repeats. The presenter sits down on a chair, looks at his watch, opens the book, yawns, picks up the phone, then, after a moment, puts it back and closes the book. The participant must repeat which in the same sequence.

Memory training. Six different small objects are placed on the tray, for example a toy car, candy, pencil, sharpener, comb, spoon...

Within a short time, the child remembers what he is lying on, then the tray is covered with something. What's under the cover?

Then switch roles.

Remember all. Players in pairs turn their backs to each other, tune in to their partner and try to imagine him as clearly as possible. Now you can start the game. The presenter announces that now you will have to remember the appearance of the person standing behind you. After these words, no glances at the partner are allowed.

First task:

remember your partner's name. (The task is performed by absolutely all participants in turn).

Second task:

remember what color your partner’s eyes are.

Third task:

answer how long the partner’s pants are (the question should sound exactly like this, even if the couple is a girl in a skirt).

Next task:

say what kind of shoes your partner is wearing.

Don't forget what to buy? Prepare items that we will use as purchases - different bags, bottles, toys, balls can be apples,

the big ball is a watermelon, small household items can be molded. Stores can be different: “Toys”, “Household Goods”, “Grocery”, etc.

We send the child to the “store” and ask him to buy the necessary purchases, starting with a few, gradually increasing. The child must come back and show and tell what he bought.

Deer. Remember and play out the poem:

Deer has a big house,

He sits looking out the window

A bunny runs past

And there's a knock on the window:

"Knock, knock, open the door,

There's an evil hunter in the forest."

Come on, bunny, run in,

Give me your paw!

Chain of actions. The child is offered a chain of actions that must be performed sequentially. For example: “Go to the closet, take a book to read, put it in the middle of the table.”

Puppeteer. The “puppeteer” blindfolds the player and “leads” him like a doll along a simple route, holding him by the shoulders, in complete silence: 4-5 steps forward, stop, turn right, 2 steps back, turn left, 5-6 steps forward etc.

Then the player is untied and asked to independently find the starting point of the route and walk it from start to finish, remembering his movements.

Magic bag with gifts. 10-15 objects of different shapes, functions, and colors are poured onto the floor. Within a minute, children look at and remember them. The adult puts them back in the bag and asks them to answer questions about the objects:

What color was the keychain?

How many hair ties were there on the floor?

Who where? The players stand or sit in a circle, the driver is in the center. He carefully examines the circle, trying to remember who is standing where. Then he closes his eyes and turns around his axis three times. During this time, two of the players standing next to one change places.

The driver’s task is to point out those who are out of place. If he is wrong, he remains the driver; if he guesses correctly, the specified player takes his place.

When compiling the collection, exercises were used that were developed and tested in practice by directors and acting teachers.

Instructions:

There are two types of facial expressions:

- Reflexive everyday facial expressions;

- Conscious facial expressions. It helps actors consciously achieve the facial expressions they want.

Since ancient times, humanity has been familiar with physiognomy. This is the art of reading faces, which was especially developed in China during the Middle Ages, as well as in Japan. In these countries, special schools were even created in which facial expressions were studied millimeter by millimeter. Based on their accumulated experience, physiognomists tried to determine the nature and fate of every bump on the face, every redness or blanching of the skin.

Exercises to develop facial expressions usually start with the simplest and end with complex training, the effectiveness of which will increase with each session.

First you need to develop the mobility of your facial muscles. To do this, you need to make voluntary movements with your facial muscles. Try to loosen your face while restoring optimal mobility. After a certain period of time after starting training, you will notice that your face has become freer and can take on a variety of expressions. At the same time, you will not feel absolutely any tension, because the initial exercises consist mainly of relaxing the facial muscles.

Along with starting exercises for developing facial expressions, it is very useful to do special exercises for developing correct speech. Thanks to this, in further development facial expressions will occur much faster, and the development process will become intuitive and simple.

Next, using the facial muscles, you need to depict various emotions in front of the mirror. Try pronouncing different words with shades of different emotions. For example, you can say the word “Hello!” with joy, with rudeness, with rage, with anger, and so on. It's all up to your imagination. Pretty soon you will see that your face takes on the shades of emotions you need, depending on the color of your condition. In addition, all these movements will not be voluntary. You will be in complete control and awareness of them.

The final stage in the development of your facial expressions will be next exercise. Have your partner stand in front of you and begin to depict various kinds of emotional states.

Exercises for facial expressions

1. FACIAL WARM-UP

Before playing on stage, the actor needs to do a facial warm-up. This is also a good way to start each theater group lesson. Take the mirror. Find the moving parts of the face: eyebrows and forehead, eyes, lips and cheeks, tongue, nose (nostrils). Take turns moving only your eyebrows, for example. Raise them as high as possible, then lower them as low as possible. Raise one eyebrow at a time, then the other. Then make several different movements with your eyes and lips. 3-5 minutes of warm-up will give you a feeling of mobility in your face. You will feel that it has become easier for you to even speak (provided that you have stretched your lips and tongue well before).

2. STUDY YOUR FACE

It is very important for an actor that his face is expressive. If a person expresses his emotions well on his face, then it is easier for the viewer to understand the scene.

Let's examine our face. I recommend this exercise as one of the first exercises on facial expressions. Why do you need to know your face? We do not always know how we look in a given situation (when we are surprised, for example, or when we are angry). Having studied his facial expressions and corrected them, the actor will be sure that when playing anger in a scene, he is portraying anger on his face, and not fussiness, for example. In my practice, I have met people who depicted some emotions on their faces in a non-standard way, not like everyone else. For example, let’s feign surprise. What do you do when you are surprised? The mouth is slightly open, the eyebrows creep up, the eyes open wide. This is a common facial expression. If an actor plays like this, the audience will understand that he is surprised. But I know a guy who, instead of surprise, could read something completely different on his face. He did this with his eyes, as if he was flirting. In this case, the viewer may not understand the scene correctly. Therefore, you need to study your face.

So, let each actor bring a small mirror with him from home. Sit back and start portraying emotions. Let the whole group do this at the same time at the command of the leader. The leader’s task is to watch who portrays what and correct facial expressions. For example, someone needs to raise their eyebrows higher, or squint their eyes, etc. The facial expression of each actor can be discussed by the whole group, and together they can easily come to the right conclusion. What emotions should actors be able to portray on their faces? I offer 10 of the most common masks.

3. TEN MASKS

These are the masks (facial expressions) that will surely come in handy when acting in Christian theater. 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.

So, I propose the following masks, from which you need to choose the 10 most commonly used, in your opinion.

1. Fear

2. Anger

3. Love (being in love)

4. Joy

5. Humility

6. Repentance, remorse

7. Crying

8. Shyness, embarrassment

9. Meditation, reflection

10. Contempt

11. Indifference

12. Pain

13. Drowsiness

14. Petition (you ask someone for something)

Remember what your face looks like in the mirror when you create these masks. When playing on stage, you must produce in your memory all the masks correctly and expressively. Remember the movements of your facial muscles. Draw them during the game as you did in front of the mirror. Then you will do it involuntarily.

4. SECRET: HOW TO BETTER PICTURE EMOTIONS

It is not always easy to portray certain emotions on your face. Well, how can you make your face angry if you are kind at heart? I'll tell you a little secret. To better portray, for example, contempt, say the appropriate words to yourself (look, who do you look like? Yes, I can’t stand you, look at what you’re wearing? And aren’t you ashamed of what you Does it stink that much? Etc.). It may not be entirely ethical, but it helps.

5. MINI-STORY FOR TWO ACTORS

Have two actors act out the following situations without words:

One reads the newspaper, laughs, the other peeks
Two people are traveling on public transport. One is sitting, the other is standing and wants the one sitting to give him a seat, and the one sitting pretends not to notice him
Two people sit at the table and eat. One treats, but the other does not want to eat some dish, he tries to spit it out while the other does not see, and put it on his plate, etc.

6. MINI-STORY FOR ONE ACTOR

Write a task for each person in your theater group on a piece of paper. The actors take turns depicting the mini-story described there using facial expressions. Let the rest of the participants guess what they saw. Mini stories can be the following:

You turned on the TV. They are showing some kind of horror movie. Are you scared. You close your eyes. Then switch to another program. They show something funny there. Switch again. They show football there. They scored a goal. Hooray! Portray your emotions. Switch again. There's some kind of obscene film on here, and you're ashamed to watch it. Another channel - there is something boring here, you fall asleep.
Reading a magazine
Writing a letter
Listening at the door
Eat something delicious, then it makes you sick
You look at the paintings at the exhibition, trying to peel off the paint without being noticed.

7. EMOTIONS IN FACES

amazement	surprise-indignation	suffering

joy	suspicion	cry

fright	thoughtfulness	anger

pain	hopelessness	shock

_______________________________________________________________________

ACTING LESSONS FROM HOLLYWOOD STARS

Friday, July 11, 2008 - 19:08 / 3786 views

The idea for this unique photo shoot came from photographer David Schatz. He gave famous actors tasks to depict this or that situation with facial expressions. The stars were at their best.

Hugh Laurie 1. You are an exemplary family man and a good father. You are having dinner with your wife when your 15-year-old daughter tells you that she is pregnant.2. You are a young designer. The morning before your first show, you realize that your collection is not ready to be shown and there is not a single “amazing” thing in it.

3. You are a narcissistic, arrogant member of the British Parliament. You are making a speech that live is broadcast by the BBC TV channel and you are terribly rushed by the sound of your own voice.

David Strathearn 1. You are a 9-year-old boy who hears for the first time from your 16-year-old brother where babies come from.2. You are an exalted evangelist who exclaims during the sermon: “Thank you, Jesus! Thank you Jesus! Thank you!"

3. You former athlete. You are incredibly angry at the referee who called a penalty for a foul on your 7-year-old son.

John Goodman 1. You're a nerd who flirts with a cheerleader and doesn't realize that you have no chance of success.2. You are leaving the nursing home where your wife is staying. For the first time, she didn't recognize you when you arrived.

3. You are the coach of a college basketball team yelling at the referee. You know that if you get sent off, your guys will play more aggressively.

John Malkovich 1. You are a young naive actress, you are new to Hollywood. Your agent just called you and told you that you were cast in a big movie, according to the script, George Clooney will be in love with you.2. You are a builder. You and your work buddies are sitting at a construction site about to have lunch. You shout to a sexy girl passing by, “Hey, hottie, want to see what's in my lunchbox?”

3. You mediocre drug dealer, you owe a shitload of money to the big mafia boss. Your courier just told you that “suddenly the wind came and blew away two bags of your cocaine.”

Whoopi Goldberg 1. You are the exemplary wife of a famous televangelist. You just found out that your husband was having an affair with a call man and the press knows about it.2. You're a rich lady on Fifth Avenue, wishing "Merry Christmas" to the doorman you never tip.

3. You are Barbara Walters, interviewing a recently divorced actress. You ask her about the last film, and then immediately ask the question: “Was it very painful for you that he left you for a young woman?”

Michael Douglas

Self-instruction manual of ACTING

Collectiveness of acting creativity

Theater, being a collective form of creativity, is created from the artistic contributions of various creative specialties: these are actors and directors and musicians and choreographers and many others. Collectivity is the fundamental difference between theater and individualistic forms of creativity, such as literature or painting.

The collective nature of creativity becomes especially important in relation to acting work. Therefore, it is fundamentally important that almost from the very beginning of learning acting skills, it is necessary to pay close attention to developing a “sense of community” in beginners. The authors of this tutorial express doubts that it makes sense to practice the exercises and studies proposed in it alone: in this case, some of their most important components will inevitably be lost. We recommend that you use the self-instruction materials individually if you have at least some experience in stage performances.

Exercises to develop a collective “sense of community” for beginners in acting training are therefore addressed to the master, manager or group leader and should occupy an important place at the beginning of the team’s work (based on work experience, they should be addressed during the first six months of training). These same exercises are also advisable for further work, as a means of gathering attention and mobilizing the group before the start of a lesson or rehearsal.
In addition to the exercises given below, these goals are achieved with the help of any games, preferably related to movement in space, that are of a collective nature. A set of core games and game elements that can be “woven” into the performance of any exercise, which will decorate it and make it multifunctional, can be found in the book “Pedagogical sacraments of didactic games” from the series Library of the practicing teacher V.M. Bukatov, Moscow, "Flinta", 1997.

Exercises, games and game elements of collectivity.

Chairs. The presenter or teacher gives the command to build a figure or letter from chairs. The students’ 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 at the same time, etc.).
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), starts counting (to three or to five, then 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 tablet.The condition of the exercise is complete noiselessness of execution.
Japanese car. Every student thinks a short word or a number (not repeated) and informs others. Next, the leader introduces a simple four-beat rhythm with some movement for each measure. After the group has mastered the simultaneous execution of the rhythm, for the last two measures the students begin to convey “leadership” using the intended words, calling their own word first, and then someone else’s. The one whose word is called becomes the leader for the next beat and also transfers leadership to the other. “The leader who misses his word or does not get his share is eliminated.
Third wheel. Famous game, which hardly needs any comment.
Constructions. Participants must line up as quickly as possible and silently (without communicating) according to any given parameter (alphabetically, according to the first letters of the middle name; ascending apartment number, etc.)
Roulette. Participants are divided into two groups, one representative each sits at the table, opposite each other and puts their hands on the table. A coin is placed between them. When the leader claps, they 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 (one who moves his hand at the wrong time loses). The place of the loser is taken by another representative of the group.
Typewriter. Students 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 period is indicated by two common clap.
Earth - water - air - fire. The presenter points to one of the participants standing in the circle, telling 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.
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 five counts and becomes the master himself, assigning the task to the next one. The owner can guess a person’s profession with a pose, an action with a gesture, etc.
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.
Rhythms. The teacher 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 lesson, 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, including 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.
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 clapping, accurately observing the tempo, 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.
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. Then 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 “transmit” one pose given by the leader - who is more accurate.
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 to start, 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.
Mirror. One of the participants becomes the leader, the second becomes his reflection in the mirror, i.e. copies all his actions and movements as accurately as possible.
Wordless elements of influence
“Each human action has a specific goal (even if not always conscious) and it can be decomposed into component actions of a smaller scope. The smallest components of action are assessment, adaptation and impact.”

Grade
“Evaluation is the first moment of any action conscious by the subject, when the goal of the action just arises in consciousness.”
““Assessment” is a moment during which it is necessary, figuratively speaking, to “get into your head” something seen, heard, perceived in one way or another, in order to determine what to do, taking into account a new circumstance.”
“From the mental side, this is the moment of establishing in consciousness a connection between interests (a common goal) and one or another external, objective phenomenon. At the moment of “evaluation,” the general subjective goal, becoming more specific, turns into a private objective goal, that is, into a goal that is both objective and subjective... From the external, muscular side, “evaluation” is always more or less long-term and more or less complete immobility.”
“The most difficult thing to “get into your head” is a fact of extreme importance and extremely unexpected... The more difficult the “assessment”, the correspondingly longer it is - the longer the immobility that enters into it and follows the first reflex movements.”
The “nature of “appreciation” is akin to the phenomenon called “surprise.” But with this word, as a rule, we call only strong degrees of “assessment,” that is, long, difficult assessments.”

Extension

“ADJUSTMENT begins immediately after the “evaluation” - at the very moment when a specific, objective goal has arisen in consciousness. “Additionalization” is, in essence, overcoming physical barriers, obstacles on the subject’s path to his goal, while his attention is not absorbed by them, but for the purpose of subsequent influence."
“First of all, “extensions” can be divided into two groups: “extensions” for influencing inanimate objects, and “extensions” for influencing a partner.”
“... when “adjusting” to the impact on a living person, we are forced to proceed from our subjective ideas about his properties and qualities... the nature of such an “addition” is determined primarily by what, in the actor’s opinion, the partner’s reaction to the subsequent impact will be... Moreover, the main role What plays here is the actor’s idea of the balance of power between himself and his partner.
For example, I have the right to demand, my partner is obliged to obey me; I am stronger than him; He needs me more than I need him."
“Thus, “extensions” for influencing a living person can be divided into groups: one we will call “extensions from below”, the other “extensions from below”... and the middle, intermediate group of “extensions” - “equally”.”
“The extensions “below” and “above” differ from each other not only in their mental content, but also from the external muscular side...”
“The muscular mobilization of the attachment “from above” is the opposite of the muscular mobilization of the attachment “from below.” The one who is attached “from below” reaches out to the partner, he is preparing to receive what he asks for in such a way as to complicate the partner as little as possible, he is forced to wait and be fully prepared to perceive any reaction from the partner... In every in a moment he is ready to answer"
“The “on top” extension, on the contrary, is characterized by a tendency to be taller than the partner... to straighten the spine. That is, to lean away from the partner.”
“The extension “on an equal footing” is characterized accordingly by muscular looseness, or even looseness, negligence.”
““Additions” are extremely expressive precisely because they are involuntary. They “automatically,” reflexively reflect what is happening in a person’s soul: his state of mind, his attitude towards his partner, his self-image, and the degree of his interest on target."

Weight

“Many features of “outbuildings” (and human behavior in general) are associated with the feeling (of course, subconscious) of the weight of one’s own body.”
"Body weight is not an absolute value, but a relative value - in relation to weight and human strength..."
"Passion for a task, prospects for success, hopes "inspire" a person, increase his strength or reduce the relative weight of his body... All this entails straightening the spine, raising the head and general muscular mobilization, "up", lightening the head, body, arms , legs, etc., right down to open eyes, raised eyebrows and a smile... A decrease in interest in the matter, the expectation of defeat, extinction reduces strength or increases the relative weight of the body."
“If something significant happens to a person, then his weight changes to the same extent.”
To master this parameter of human behavior, it is technologically convenient to distinguish three “weights”: heavy, light and with dignity.

Mobilization

From the mental side, “mobilization” is this or that concentration of a person’s attention on a goal. One of the key concepts in Ershov’s terminology, which allows one to structure the importance of specific goals for a subject, and, accordingly, the key to the logic of his behavior and character. Mobilization is preceded by “mobilization” - the degree of readiness of a person for activity until the goal is understood. After clarifying the goal, that is, “assessment,” “mobilization turns into one or another mobilization
"Mobilization is expressed in the general concentration of attention and, therefore, in the direction of gaze, in the eyes, in breathing. In the general tightness of the muscles of the body, in particular in the tightness of the back - spine. This is the working state of the body, its adaptability to the expenditure of effort and a relatively wide choice actions - to those and such that are required, as soon as the goal is specified, readiness to overcome obstacles that have not yet arisen, but are about to arise, which are possible, probable on the way to the goal."

Exercises

Mobilization

It is convenient to divide mobilization or the degree of concentration of attention on an object into simple and complex, as well as long and short

Observe the preparation of athletes for the start, the behavioral characteristics of a person’s body ready to catch, grab, run, etc. Determine how the mobilization (readiness) of a person for some physical action (“simple mobilization”) is reflected in the concentration of attention and the spinal muscles. Try to imitate various options mobilization and monitor the peculiarities of your own reactions in a state of high “simple mobilization” to things related to the object of your mobilization and not.

Observe and imitate the behavior of a person’s body during an important conversation, speech, or argument. Find differences in the physical expression of this “complex mobilization” from the “simple” one.
Find in the surrounding life moments of change in mobilization (concentration and weakening of attention), trace the sequence of changes in the concentration of gaze and muscles. Play mobilization and demobilization.
Having designated the degree 0 as the minimum (i.e., the complete absence of concentrated attention and the corresponding general relaxation of the body) and the degree 10 as the maximum possible mobilization of the body, find a stepwise increase, noticing in as much detail as possible the physical change in the body during the exercise.
Do exercise 4 as you go, find the most and least “purposeful” gaits and intermediate stages.
Do exercise 4 during any household activity, conversation, etc., watch how behavior changes with different “degrees” of mobilization.*
* - an increase in mobilization in the process of performing a task indicates an increase in the subject’s interest in the object of attention, that the “business” is developing in a favorable direction, that it is becoming more important (more dangerous) for the subject, demobilization in the process of performing a task indicates the opposite.
Observe in life the behavior of a person engaged in some activity (reading, cleaning, etc.), find “periods” of growth and decline in interest in the activity, note the physical manifestations of this process.
Observe the same thing with people in the process of communication.
Find the difference between the mobilization of a person attached to a short, important task for himself and the mobilization of a person who is ready for the fact that in the process of completing the task a sufficient number of obstacles and problems may be encountered that will require some time to resolve.*
* - “short” and “long” mobilization are close in external expression to “simple” and “complex” mobilization, but they have some specific differences, which we leave to you to discover.

Exercises

Grade

Observe people when they “saw”, “heard”, “recognized”, “understood” something unexpected; find a moment of physical immobility, “freezing” in them.*
* NOTE After a real assessment in life, a person usually changes somehow (according to Ershov’s classification, changes fit into following parameters: mobilization, extension, weight), use this rule to check your mastery of the assessment.

Observe in life and master the organic “freezing” in the process of doing something*: when reading a newspaper, while walking.
* NOTE It is necessary to clarify the concept of “business”, which appears hereinafter. By “business” we mean any process that has a beginning and an end and requires the subject to concentrate attention on the obstacles encountered during implementation. From this position, this or that activity may “be a business”, or it may “not be.” For example, driving a car is not a task under normal circumstances, but it can be a task when learning to drive, chasing, etc. When performing exercises, it is necessary (this is especially visible from the outside) to control whether the person is engaged in the task or not (if not, then neither what parameters of behavior are out of the question) Observe in life and master organic “freezing” in conversation.
Try to play a sketch according to the scheme: I was doing something - suddenly something unexpected happened (saw, heard, noticed, understood) - it became urgently necessary to take up a newly arisen, “new” matter.*
* NOTE To successfully master the “assessment” in all exercises, it is necessary to achieve focused attention on the matter preceding the “assessment”, i.e. “importance of the matter” for the character.
Play the sketch according to the scheme: you were doing something - suddenly something unexpected happened (saw, heard, noticed, understood) - it became necessary to make “amendments” to your activity, to somehow change it in order to successfully achieve the goal.
Play the sketch according to the scheme: you were doing something - suddenly something unexpected happened (saw, heard, noticed, understood) - you need to “hide” the fact that this circumstance seriously affects your entire life activity.*
* NOTE At first, it is easier to master “assessment” in matters that require “urgent”, simple physical actions (turn off the kettle, open, grab, run, hide, etc. Gradually “add” circumstances that make the “assessment” not so simple and unambiguous, requiring some time (usually a fraction of a second, sometimes, in rare cases, a second) to make a decision.
"Three things at once." List three things that require concentrated attention (For example: getting ready for a hike, keeping an eye on the food being prepared, talking on the phone), do them “at the same time.” If you manage to ensure that all three things are important enough for you (don’t brush it off) from none) “assessments” themselves will arise in places unexpected for you.
"Important conversation." After each partner's remark, make a more or less large assessment.
Machine gun burst of assessments. For any word from your partner, for any subject, make a series of assessments with the general subtext “it can’t be!”, “Really!”.
“Great score.” Come up with a circumstance that radically changes the fate of your character. (In any play, almost every character has such circumstances). Outline the activity that the character is engaged in before and after this circumstance occurs. Play a moment of long, organic stillness during which the character “understands” what happened and decides to do something new.

Modeling a phrase in the logic of verbal influence

The object of verbal influence is the human consciousness. Distinctive features actions performed by words are revealed with the greatest clarity and completeness in cases of verbal influence on the consciousness of a partner in order to remake, rebuild his consciousness, adapt it to the interests of the actor.
All people, speaking about something among themselves, “influence” more or less vividly and convincingly the consciousness of their partner with pictures that, for one reason or another, arose and exist in their consciousness. ...to act with words means to paint with them a picture “not for the ears, but for the eyes” of the partner, ... to introduce one’s visions into the consciousness of the partner. To act with words, you must, first of all, see, clearly imagine what you are talking about...

The external side of verbal action is sounding speech; in it the mental side of the process is physically and materially realized. If a person passionately achieves his goal - if he really needs to remake the consciousness of his interlocutor...; then his speech becomes rich in intonation colors, it begins to sound expressive. To paint a picture with these words as brightly as possible, a person paints it not only with a variety of colors, but also with contrasting colors, using the entire range of his voice.
The picture drawn in words, depending on its content, usually consists of parts, which in turn consist of even smaller parts. It is impossible to reproduce such a picture in speech except in parts and in the elements from which they are composed.
In order to be understandable, the picture being drawn must consist not only of elements familiar to the listener, but also of familiar connections between these elements... in the limitless set of possible connections between the individual elements of the pictures being drawn, general, repeating patterns can be identified: they can be called “general” logical or intonation constructions"
The internal mental side of “sculpting a phrase” lies in the ability to see not scattered or randomly interconnected elements of reality, but a whole or single picture consisting of interconnected parts.
The picture painted with words should be imprinted in the mind of the partner. What exactly comes first and how