Lesson summary
Theme: The art of pantomime
Target: Introduce students to the art of pantomime through exercises and games.
Tasks:
To generalize and systematize the presentation of the concepts "pantomime", "facial expressions", "gesture", "emotion";
To develop in children the expressiveness of gestures, facial expressions;
To teach by means of facial expressions and gestures to betray the most characteristic features of a character;
To foster a stage culture;
Formation of the ability to work in a team.
Methodical equipment:
-teaching methods: verbal method (conversation, story); practical (exercises, studies); game (game)
-inventory, props: chairs, task cards, blackboard, crayons.
1. Organization of the workspace
Students sit on chairs in a semicircle.
2. Greetings.
Hello guys. I am very glad to see you today!
3.Emotional attitude to the lesson
Today we will start our lesson not quite usually. I suggest you play with the magic pen! At your request, it can turn into any object, but not a simple object. By transferring it, you transfer a piece of your warmth. So we will be charged with a positive mood for the whole day! And I give the first participant not a pen, but a magic funny pipe. Play this pipe for us! (the first participant takes a pen and pretends to play the pipe). Thanks a lot! And what will you give to your neighbor along with a piece of good energy? (Further, in a circle, the children pass on the "magic object" naming its new purpose)
4. Communication of the purpose and objectives of the lesson.
Tell me guys, when a person is happy or, on the contrary, upset when he sees something amazing or scary and incomprehensible, what helps him to express emotions?
Students: facial expressions, gestures.
Of course, these are facial expressions and gestures. After all, our face and body are as flexible and changeable as our mood. Tell me guys, are there actors who don't use words at all, but only gestures and facial expressions?
And who is it?
Right. And, therefore, today we will talk about pantomime: about how and when this art appeared, what significance pantomime has now and, of course, we will also try to be mimes and learn to show our mood through facial expressions.
1. Studying the history of the development of pantomime.
Once in ancient times, Rome was visited by the Armenian king Tiridates. He was received solemnly and pompously, wishing to make him his faithful friend. When Tiridates was going on his way back, the ruler of Rome Nero suggested that his new ally choose any gift. And then King Tiridates asked for a gift from the actor, whom he saw in the theater. Without words, only with gestures and facial expressions, he was able to express absolutely everything! King Tiridates explained his choice by the fact that in his country people speak many languages and dialects and often have to use the services of an interpreter. And this actor would become a "universal" means of communication. This is how pantomime appeared as an independent art.
So what is pantomime? (Students answer)
In scientific terms, Pantomime Is a miniature without text that is performed by a group of artists or one artist.
But at the moment, mime actors are extremely rare. Basically, as an independent number, pantomime exists on the stage, and not in the theater. In the theatrical art, pantomime now exists as an auxiliary tool, helping to create only a few scenes.
2. Mastering the concept of "Emotion". The relationship between the emotional state and facial expressions.
Guys, what is emotion? (Answer) Emotion- a manifestation of an affective life, usually accompanied by a pleasant or painful state of consciousness. Emotion is anxiety of varying depth, imbalance. This anxiety can be strong, leading to increased vivacity (eg, anger, enthusiasm), or, conversely, a decline in revitalization (eg: fear, love "at first sight"). Emotion, therefore, acts either as a stimulant, or, conversely, causes numbness.
And now we will show you these emotions.
Exercise "Show emotion"
Each of you now needs to demonstrate this or that emotion, which will be depicted on the card that you draw. And the task of the audience is to guess what kind of emotion it was, and, of course, at the end of the performance, applaud the speaker.
Well done, did a great job!
Facial expressions- (from the Greek μιμιχοζ - imitator) - "expressive movements of the muscles of the face, which are one of the forms of manifestation of certain human feelings"
Thus, facial expressions are a direct expression of our feelings and emotions. It can be carried out naturally, or it can be artificially created, by the effort of the actor, for a more reliable state on the stage, as one of the means of expression.
Gesture- hand movements accompanying the speech of the actor or replacing it
And now a little task. You need to use facial expressions and gestures to show the proposed expressions, and the audience will guess.
1. I bought this watermelon.
2. A tiny little bubble.
3. Fi, what a nasty one!
4. Well, I don't know!
5. It's all right!
Exercise "Pass the Mask".
Now let's imagine that we are going on a long trip to the land of masks. You will walk along the roads of this country, and I will tell you the emotion and the part of the body with which you will convey the emotion to me.
Exercise:
Now please tell me:
Sadness through the hands;
Pride across the back;
Joy through the face;
Fear through the hands;
Joy through the hands;
Joy through the legs;
Surprise through the hands;
Thoughtfulness through the face.
So, guys, we have learned what emotions, facial expressions, gestures and pantomime are. We now turn to a practical lesson.
You all know Russian folk tale"Kolobok". And now your task is to play a sketch based on this fairy tale, but you have to do it without words, but only using just the same facial expressions, gestures and emotions. That is to play a pantomime.
Preparation time 15 minutes.
Demonstration of the etude.
Well done boys! That's all for today. Now let's assess how you learned the material you learned today. A three-storey apartment building is drawn on the blackboard. Draw yourself in the window, depending on how you understood and remembered everything. If you understand and remember everything well, then draw yourself on the highest floor, if you don't remember and understand the studied material very well - on the second floor, and if you don't understand and remember anything at all, then on the lowest floor.
Thanks guys! Goodbye!
Useful transformations.
We learn to imagine, portray, remember.
FOREWORD
This manual includes pantomime images, introduces the technology of using game moments, as well as the technology in which the implementation of health mudras is combined with the implementation of psychological tasks. They will help any teacher in explaining the material (especially in art classes, natural history), in relaxing the muscles of the body and face during school hours, in helping a child in a situation of adaptation in a new team, in restoring friendly, friendly relations. Performing with your fingers various exercises, figures - mudras (folding the fingers in a certain order along Chinese method), - the child reaches a good level of development fine motor skills fingers, flexibility of the fingers. This has a beneficial effect on the preparation of the child for drawing and writing, as well as on the development of speech (excitation occurs in the centers of speech of the brain when exposed to the fingertips), as well as the healing, restorative effect of organs, immune system and energy potential. Both finger exercises and mudras performed have no contraindications and provide significant healing effect, because mudras are performed by children with pleasure, in a playful way and of their own free will.
I came to this ...
Working with preschool, primary and secondary children school age, I had to adjust several times in one day to different age children, find ways to explain, communicate, and most importantly, set up children to work in a group (class) or a child with individual lesson and be sure to get the result. The knowledge and skills acquired in the process of any activity and not included in the context of the child's vital interests do not have personal meaning for him and therefore are poorly assimilated and do not give a developmental effect and practical skills. The child cannot understand why it is necessary to draw, sculpt in this way and not in another way, even after explanations, detailed analysis and consideration. And if he doesn’t understand, then it doesn’t work, it doesn’t work. Therefore, before drawing any object or image (sun, bird, cloud, falling snow, etc.), you can invite the child to depict him with a pantomime (play of hands and body). That is, to "turn" into this object or image - to enter a fairy tale. For example, if you need to teach how to draw the sun, invite the child to turn into the sun, imagine how it will wake up from sleep, rise and see the sky, clouds, trees, earth, people, birds, and so on from a height. How the sun greets everyone it sees with rays, distributing rays of joy and warmth to everyone from itself. At the same time, children remember that the rays go from the sun in different directions, like their hands, diverging to the sides, up, down, and not towards the sun, and in the future they draw the sun, as it was depicted. And also children learn that they need to greet everyone, they develop respect and a benevolent attitude towards everyone and everything around the child. The child's mood also rises, pleasant sensations and feelings arise, since the Pure Radiance mudra harmonizes the entire body. Children are freed from negative emotions and receive positive ones.
Most children draw trees from top to bottom. They often do not understand why they are asked or asked to draw trees differently. When children "grow up", how trees draw them becomes clearer and easier. The tree and the bush grow from the ground, from the planted seeds, and they pull the branches (and the children of the hands) to the sun, and, growing up, pull out small branches - the fingers. Leaves fall from trees, scattering in different directions (leaf fall), and do not fall like rain from a tree, in slender rows. At the moment of depicting an object with a pantomime, the child “turns” into an object, into a natural phenomenon, better understands how to draw it, get an image, and not just depict the object. He gains the skills of logical thinking, an explanation of why he is drawn in this way, and not in another way. Also, a squeezed, shy child frees up, opens up, becomes, after several sessions, free from a number of complexes (shyness, uncertainty). He understands that it is possible to depict an object, as he understands, he perceives it himself, without looking back at others. And this leads to independence, faith in oneself, in one's own strengths, in the correctness of actions, in thinking over one's activities. At the same time, receiving the harmonization of the body, performing the "Pure Radiance" mudra.
It is important for the teacher to be consistent in his actions, the actions should be accessible and exciting for the child. They must be performed independently by the child (it is necessary to strive for independence from the child), it is necessary to wait and achieve the fulfillment of these actions from beginning to end, which will lead in the future to an understanding of their actions.
"Transformation" into a plant, animal or inanimate object, as well as any visual activity is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. Any creative activity of the child contributes to the development of each of these functions, links them together. And pantomime helps the child to organize knowledge, form and fix the idea of the world, understand why this is done, the object is depicted. As a product of a child's creation, a pantomime mini-performance, visual activity allows one to identify the main problems associated with the formation of character that a child encounters in the process of activity, communication, and, on the other hand, to find ways to solve them, to choose the correct methods of correctional work.
I “turn” with children into objects, phenomena, and this helps me to find contact with any child, to liberate, to win over him and to carry him into the activity. This "transformation" helps in the classroom with children with early emotional development disorders and with children with brain abnormalities. In creative activity, children consolidate the emotionally experienced state, feel it deeper, clearly reflect the stages of development of the visual-spatial-motor experience. For children, “transformation” is not just fun, but joy, liberation, relaxation from mental or practical stress, and also creativity, a theatrical mini - performance.
Everyone knows that the decisive and unique period in the development of a child is preschool age, as well as age junior student... At this age, the foundations of the personality are laid, will, voluntary behavior are developed, imagination, thinking, creativity, and initiative are actively developing. All these most important qualities are formed better, better in learning through a game, a fairy tale, "magic". At this time, the child voluntarily obeys the rules and requirements, their implementation gives him maximum pleasure and therefore makes the child's behavior meaningful and conscious.
In the work "Worttaubheit, Melodientaubheit und Gebardenagnosie" Korepep distinguishes four stages of expressive movements on clinical material: 1) pantomimic, 2) automatic, 3) mimicry, 4) laughter, crying, etc. (*). He proves on the basis of neuropathological facts that it is possible to distinguish between these stages, both more ancient and later. Pantomimism expresses the action completely and with the whole body. Automatic movements (symbolic) express the action only partially and mainly with the hand. Facial movements become predominantly facial. And the sound ones are mainly vocal. Not knowing yet about Korepepa's work and conclusions, I started working with children using the same stages of expressiveness of movements (pantomime, facial expressions, automatism of movements and speech). The correctness of my actions was confirmed by the results. Children begin to think, create, believe in themselves and their capabilities, non-speakers begin to make attempts to speak and then speak, because with “magic words”, “transformations”, pantomime images, the words of an adult are clearer for a child, and it is easier, easier for him to work. There is a desire to become a wizard, and together with this desire there is confidence in oneself, in one's capabilities. Children calm down, get rid of the symptoms of neurosis, from negative habits, or there is a smoothing of the symptoms of impaired emotional development. They relax at the time of the exercise, are distracted from the previous lesson (task) and their emotional state, concentrate their attention on their actions with their hands, body, being distracted, driving away extraneous thoughts, anxieties, worries.
Children are able to retain in their memory the images perceived earlier, and this ability is inherent in all or almost all children in preschool and primary school age.
* Kogerer. "Worttaubheit, Melodientaubheit und Gebardenagnosie". Berlin, 1924, B.92
What helps to improve the emotional, physical, mental functions of the child
The hands and muscles of the face are connected with a huge number of neurons in the motor zone of the cerebral cortex. The arms perform delicate and differentiated functions, and the muscles of the face reflect various emotional states. The motor area of the cortex is occupied by the head and arms, where the hands dominate over the occupied area. (*)
On our hands we have points and reflexogenic zones that have a connection with the brain. Therefore, when tired, it is sometimes advised to press with medium strength on the front, back and side surfaces of each finger. And with regular massage (loss, pressure), even only one thumb the functional activity of the brain increases. Therefore, due to wide connections with the cerebral cortex, local fatigue of the muscles of the hands (during writing, drawing or any other painstaking work) causes inhibition of the central nervous system, and as a result of this, a decrease in the general performance of the child develops. Since our hands, fingers are the most sensitive device for biocorrection. In particular, the fingers redistribute energy, and the bends of the fingers in one place or another and at a certain angle are capable of the force and direction of the energy flow in the body.
"Transformation" into a plant, animal or inanimate object, as well as any visual activity, is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. Therefore, "magic transformations", pantomime images, the performance of mudras for the development and massage of hands and fingers, ie. any visual activity with the body and hands is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. And the use of the proposed pantomime exercises and mudras by the teacher will reveal not only a storehouse of talents and capabilities of any child, but also give a positive health-improving result.
Pantomime improves all mental functions: visual perception, representation, imagination, memory, mental operations (analysis, synthesis, comparison, communication, abstraction) (*).
In my work, pantomime is an image of animals, plants by body movement, an image of plant growth, an image of natural phenomena and some objects around us.
Mudra is the oldest method by which you can regulate the flow of energy in order to heal and heal from all kinds of ailments. In Sanskrit, "mudra" refers to the ritual position of the hands in the Indo-Buddhist religion. Among the many mudras, I have chosen those whose implementation does not require a special setting or room, which can be performed during an explanation or during physical. minutes, physical pause. These mudras do not cure certain diseases, but regulate the work of organs, harmonize energy flows, improve overall well-being, increase immunity and mood, remove from depression, relieve fatigue, and increase efficiency.
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* Extract from the Soviet encyclopedic dictionary pantomime(from the Greek pantomimes literally - everything reproduces by imitation), a kind of stage art, in which the main means of creating an artistic image are plastic, facial expressions, gestures.
Pantomime- a performance reminiscent of ballet became widespread in the 4th - 1st centuries. BC. (Children's Encyclopedia "Art").
Words and thoughts touch intimately, like sound and gesture. “The sacrament of the word is reinforced by a gesture that creates a general spatial energy structure that has a certain form .... Through the word and mudra, you can find peace, relieve stress, concentrate, achieve merging with the One. ”(**)
The main thing is to always do any work with love, believe in the child's capabilities and never lose Hope and instill it in every child. To fantasize yourself and teach children to fantasize, to be an artist yourself and to develop artistry, to entice children into theatrical play.
And so that the desire to create, the feeling of happiness of creativity does not dry out in a person, it is necessary from childhood to develop the ability to play (a role), fantasize, discover and learn the world around him, these qualities will be useful to him in any activity.
In addition to all this, visual activity (not only painting and drawing) becomes the basis for enriching the interaction of children in the collective performance of work, children gain experience of joint creativity, develop social skills, which is very important in preschool age. At the same time, creative imagination, the ability to make one's own choice, self-confidence, etc. develop, the formation of the child's skills and abilities of visual activity, as well as universal personality traits, is ensured.
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*NS. Castrubin. Secrets of healing programs. M. "KSP +", 2002, p. 23
** E.I. Gonikman. Laotian healing mudras. M. Publishing House SME, 2002, p. 83
Pantomime exercises, wellness mudras for preschool and primary school children
1. Exercise "The sun greets"
This is a favorite exercise for all children; this exercise produces a particularly good effect on introverted children who do not adapt well to the new team. Children learn ethical standards of behavior, respect for elders, peers and goodwill for everything that surrounds the child in this world is brought up. And also children remember that the rays go from the sun in different directions, like their hands, and not to the sun. The exercise uses the Pure Radiance mudra - palms folded towards each other - which harmonizes the entire body.
For implementation, children (child) are invited to squat down, fold their palms against their cheeks and cover their eyes. At the same time, the teacher says the words: “The sun was fast asleep at night. In the morning I opened my eyes (the children open their eyes), went up, (the children, together with the teacher, rise from their squatting positions) and saw the blue sky. At the same time, the palms are placed in front of them, folded fingers to each other - the "Pure Radiance" mudra. At the words of the sun's greeting, the hands go up, spread apart, go down, returning each time to the position of the "Pure Radiance" mudra. "Hello, heaven" - hands are raised up. “Hello, birds (clouds, clouds, if the weather is bad outside the window, wind, etc.)” - arms out to the sides. "Hello, trees" - arms slightly down and to the sides. "Hello Earth" - hands below. "Hello, people of the whole earth" - arms to the sides of the chest. You need to finish the exercise with a greeting from the teacher (teacher, educator) and all the children in the class, group. You can continue to say hello, especially with children. preschool age, with mom, dad, grandmother, grandfather and with each of them. Drawing the attention of children to the fact that the sun "distributes" its rays from itself, from its "heart" to everyone it sees, with whom it meets and whom it loves.
2. Exercise for the fingers
You can do it as at the beginning of classes before writing, drawing, labor activity in labor lessons, the world around you, etc. and in the middle (physical minute). Ant behavior is a closed fist when the thumb is bent and hidden under the rest. This mudra regulates the functions of the kidneys, rectum, spine, and removes fear. Touching the index finger of the thumb with the pads of the fingers during the "greeting" is a mudra that increases the energy potential of the body, enhances metabolic processes, and improves blood circulation. The combination of medium with large contributes to the harmonization of the liver, stomach, gallbladder; nameless - harmonization between the liver and gallbladder system with the lungs and the large intestine, with the little finger - stabilizes the psyche, strengthens the Spirit, physical and spiritual immunity.
Children perform the exercise sitting at tables (desks) just before work.
“One, two, three, four, five children came to draw; all the handles were lifted, the fists were clamped. "
Hands, bent at the elbows, stand on the table, fingers clenched into a fist.
Each finger in turn rises to its own words:
"Went out a finger for a walk" - the little finger rises;
"And behind him the second" - the ring finger rises;
“The middle one went for a walk too” - the middle finger rises;
"Index - behind him" - the index finger rises.
One thumb remained pressed to the center of the palm.
“And the thumb is still asleep.
Friends-fingers began to wake him up: "Wake up, you lazy person, wake up quickly, go out for a walk, sleepyhead, and hear your friends." Each finger knocks - "wakes up" 1 - 2 phalanx of the thumb 3-5 times.
The thumb is straightened, the fingers-friends "greet" him
touching each with the pads of your fingers with your thumb.
You can "greet" with the fingers of both hands.
Or
"One, two, three, four, five, fingers will draw" - children clench and unclench their fists, on the last word the fist remains clamped.
"I am drawing" - the little finger rises;
"Mom is with me" - the ring finger rises;
"Dad will paint" - the middle finger rises; "Grandmother" - the index finger rises;
“Where is the grandfather? Grandfather is still asleep. " One thumb remained pressed to the center of the palm.
1 - 2 phalanxes of the thumb for the phrase: "Wake up, grandfather" - each finger knocks 3-5 times.
"Grandfather woke up, stretched out" - fingers move apart in different directions, stretching movements are performed, spreading his arms to the sides. "And hugged everyone" - while wrapping their arms around themselves. You can repeat the hug 2-3 times.
This gives the child a feeling of love and tenderness that he lacks so much in his life. He is loved by himself, and therefore by all the people around him.
3... Exercise "The balloon is inflating"
To relax, distract from difficult or painstaking work and to further focus on the task, to increase self-confidence, it is good to use the exercise "The balloon is inflating." During this exercise, the child strengthens his energy shell, protects himself from negative influences.
Invite children to stand near the table, put their hands and head down, relax. The arms hang freely.
The teacher depicts the "work" of the pump, saying "shih-shih-shih." Children, under the noise of a running pump, slowly raise their heads and hands up, pretending to inflate a balloon with their hands. Raising their hands up, "tie a ball" - closing the fingers above the head. The teacher depicts the blowing of a light breeze and suggests depicting the swaying of the ball in the wind, and the children depict the movement of the ball in the light breeze by swaying the body of the body to the sides. The teacher informs the children that he has decided to joke with the balloon, and pulls the string, which is untied, and the balloon is quickly deflated. Children depict how the ball deflates, wriggles and spins when it falls. Inflation of the balloon is repeated, the balloon is tightly tied and swayed again in the light breeze. Then the teacher offers to gently "strong, well-inflated balloons" to sit down and continue the work. While "inflating" balloons, children can be asked to remember what shape they are, and to depict a balloon of their favorite shape.
4. Exercise "The tree grows"
This exercise helps children to draw from the idea of how a tree grows, to remember after transformation that the tree grows out of the ground and stretches with branches to the sky, the sun. Children remember that trees are of different thicknesses, heights, some trees are fragile and slender, others are strong and powerful. By the depicted tree, you can understand the state of mind of the child at the time of the lesson.
Hands folded together at chest level - the Pure Radiance mudra is performed to harmonize the entire body.
To do this, children are invited to squat down (preferably in a circle), fold their palms in a boat in front of the chest. Every child is a seed. After the rain, a tree sprouts from the seed. The teacher plays the role of a rain cloud that "flies" between the children and "waters" each seed - touches the head of each child.
The teacher comments on the actions of the children: "The seed sprouts after the rain." Children slowly raise their closed hands up, imitating the passage of a sprout through the ground. Then they rise from their haunches, without opening their palms. “The tree has grown, and large branches grow from the trunk -“ hands ”that reach out to the sun” - children separate their palms and depict with their hands branches going in different directions. “Small twigs appear on the branches - fingers, which children spread in different directions.
5. Image of a bush
Carrying out the growth of a bush with their hands helps children remember that bushes are smaller than trees, large branches of a bush grow from one seed - a point. The palms folded together at chest level - the Pure Radiance mudra - which helps to harmonize the whole organism.
Children sit on their haunches or at tables. The palms are folded in a boat. When the seed germinates, the palms diverge in different directions, and the hands close at the elbows. The fingers spread apart in different directions, like small branches of a bush.
6. Grass image
And again, palms folded together at chest level - the "Pure Radiance" mudra helps to harmonize the whole organism. Open hands is a mudra used for emotional instability, depression, heart problems, and circulatory disorders.
The palms are folded in a boat. Children can depict herbs while standing or sitting at a table. When the seed germinates, the palms diverge in different directions, remaining closed at the base of the palms. The fingers can be pressed together or spread apart, like a grass bush.
7. "Light bulb"
Exercise helps to relax the muscles of the back and arms, and most importantly, it helps to cope with bad moods or psychological stress.
Children stand in a circle or between rows. Hands down, draw an oval. The eyes are closed. The teacher says that he turns on the light bulb and snaps his fingers. Hands are thrown up, while the child jumps easily. The pads of the fingers are connected above the head, the eyes open, and a smile appears on the face of the children. At the second click, the light turns off - the hands go down, depicting an oval, the eyes close, the smile is removed from the face. The third click “turns on the light”, and in the image of “on” the children are invited to take their places.
8. "Turtle"
Performing the "turtle" mudra helps to relieve stress, replenish energy. I use it in case of increased excitability of children and, if necessary, to concentrate the attention of children.
The fingers of the right hand are intertwined with the fingers of the left hand. Thumbs up connected by terminal phalanges, as if forming the head of a turtle. The palms of the intertwined hands should be kept parallel to the table (floor), the "head" directed towards the chest of the child.
You can check the strength of the "shell" of the "turtle", if time permits: spread the arms of each child to the sides - all the children really like to measure their strength with the teacher.
9. "Building a house"
We carry out this “construction” before drawing, applique of the house, especially with kids, who understand “construction”. And also it can be used as a physical. a minute at school.
Children, together with the teacher, pronounce words and perform pantomime work on building a house.
"We will build a house, a house, we wake up to live in it, in it" - the guys squat down at the tables or in the center of the office, their hands are placed horizontally in front of the chest, one above the other.
"One brick, two brick, three, four, five and six"- hands alternately swap places, imitating the laying of bricks, at the same time rising from their haunches.
"We Will Build The Walls"- hands go up and outline the contour of the erected wall
at home.
"Let's make a window, look at it a little"- fingers are connected to form a window;
"We will build a roof"- a triangle is drawn with the hands;
"Let's make a pipe"- palms are placed against each other;
“We have built our own house, it will be fun to live in it” - children return to their seats .
10."Ice cream"
To depict ice cream from the freezer - strong, firm and "joyful" - the children are standing straight with their hands up and slightly to the sides. Head up, smile on his face.
But the sun has warmed up, and the ice cream begins to melt, to feel sad - the children slowly lower their hands and head down, depicting sadness on their faces. At the same time, smooth movements are performed with the body, you can sit on the floor.
Then the ice cream is "whipped" - the children vigorously move from side to side - "freeze", gradually taking the original position (pose).
Or so
11... "Sparrows"
Performed in the classroom when drawing small birds.
Children stand at their places or in the center of the room, hands are along the body, slightly back with the hands. The head is pulled into the shoulders, the body is slightly tilted forward, and the legs are slightly bent at the knees. Offer the children in this position to jump in place (or in a circle), then "spread" their wings, rise on their toes - "take off".
Other birds are depicted in a similar way, taking into account their characteristics, as well as animals.
12.Favorite and disliked colors
To bring the children closer to each other, to help the child understand himself painlessly and imperceptibly, to splash negative emotions towards the offender, I conduct an exciting lesson for children and necessary, useful for the teacher.
Children (a child) are invited to choose three colors from a set of paints that everyone likes, and apply them on a sheet of paper of any shape (spot, strip, in the form of a flower, a tricolor man, etc.). Then apply three colors that they don't like. Also any shape. While the paint dries up, call one child to the center, turn him with his back to the children and invite him to think or say only bad things about everyone present. After that, ask the guys what color this child is at the moment. Then ask the same child to think or speak mentally about everyone the best words, and ask the children to name the colors of paints that they will give him now.
You can do this to the teacher himself, then explain to the children that our mood and those around us depend on each person. Then do the same with the children.
These "pictures" will help the teacher in individual communication with a child "always offended" dissatisfied with someone in the class (group). It will also help the teacher find out which of the children perceives him positively and who negatively, therefore, it is necessary to make comments to this child carefully, and try to find contact with him through another (positive) person.
13 line magic
On a prepared sheet of paper, invite the children to quickly draw with a simple pencil or pen a continuous, curved line that intersects itself several times (Fig. 1a; 2a). Then, turning the sheet in a circle, examine the resulting drawing, and try to see (consider) the image, the object (1b). Highlight it with shading, drawing lines of straight, wavy or points on the resulting elements (details) of an image or object (Figure 2 a, b).
Details can be painted over with colored pencils (Figure 1c).
1(a B C)
You can perform the task with paints, drawing a continuous line with a brush and without hesitation to apply any colors to the resulting elements (Figure 3a). Allow the sheet to dry. And then, turning the sheet, determine what happened (3b). Review the work and determine what happened at the end of the lesson with the whole class. You can hear several options and "open" to the author of the work a lot of interesting things in his "magic line".
2 (a, b)
3 (a, b)
14. "Mood ball"
Exercise improves the mood, with his own thoughts, wishes for himself all the very best, kind, pleasant, the child concentrates his own energy. It gets a charge of positive emotions and gets rid of stress, fear, resentment, etc. I recommend doing this exercise before a difficult task, test work.
Invite the guys to stand near their place, put their hands in front of them, palms facing each other. The distance between the palms is 15-20cm. Hands are not tense, fingers are slightly bent, as if holding a small ball. You need to listen to yourself, to your hands, and then warmth, slight tingling, pulsation, etc. will appear between your palms. Everyone can have an individual feeling, but it will be necessary. With light, pulsating movements of the hands towards each other, an imitation of holding an inflated rubber ball is created - this is the concentration of one's energy. Then invite all the children to present something for them the most pleasant and desirable (sweets, relaxation on the sea, river, receiving a gift, and so on). Put pleasant sensations mentally into your energy ball, feel how it slightly increased, became more elastic, and then “swallow” the ball, that is. put it in yourself with all the pleasant ideas and sensations.
It is necessary at the moment of "swallowing the ball" to help the children with the words: "A pleasant warmth went through the body, penetrating into every cell of our body. There was a feeling of lightness and purity. The mood has improved. Everyone has a bright head, pure thoughts, excellent mood, and a kind heart. Everyone is ready to do the job. "
Each teacher can come up with his own words.
In the future, "Balls of Mood" can be shared mentally with parents, friends, classmates, with people who are in a bad mood or have no good relationships.
Epilogue
All these exercises help me in working with children, in communicating with them, and for the children to be liberated, to relax emotionally and physically, to tune in to work. And also to communicate with me, with each other and with parents. All these exercises help me and the children to increase efficiency, improve my energy balance, and harmonize the body. I really hope, I am sure, that these fun exercises will be enjoyed and will help both children and adults.
I wish you success, luck, health and good mood.
Play exercises on the development of facial expressions of pantomime !!!
Game exercises for the development of facial expressions
"Ate a sour lemon" (children winced).
"Angry with the fighter" (knit eyebrows).
“We met a significant girl” (smile).
"Frightened by the bully" (raise their eyebrows, open their eyes wide, open their mouths).
“Surprised” (raise their eyebrows, open their eyes wide).
"Offended" (lower the corners of the lips).
"We know how to dissemble" (blink with the right eye, then with the left).
Thanks to these systematically conducted game exercises, facial expressions become more mobile and expressive, movements acquire greater confidence and controllability.
Game exercises for the development of pantomime
Exercise "Kitten funny - sad"
The teacher asks all children to turn into kittens, and then show funny kittens when they play, then sad kittens when they miss their mother. And, finally, again funny kittens, when they bought a new toy.
Exercise "Pantomime proverbs"
The guys are offered to portray a pantomime proverb:
"Do not open your mouth on someone else's loaf,"
"If you chase two hares, you won't catch a single one,"
"They don't look a gift horse's teeth"
"A kind word and a cat is pleased."
Mimic cube; Mirror
The child, with the help of facial expressions, depicts an emotional state, schematically represented on the edge that fell out.
What vegetable / fruit do children eat?
Children mimic an emotional state as instructed by an adult. For example: "You took a bite of a sour lemon (sweet apple)." One child shows and the rest guess. For example: "Vova is eating an apple, and which one?"
Who said that?
According to the intoned phrase, children find the appropriate facial expression among the proposed pictures.
Choose a child
An adult reads poems by A. Barto "Bunny", "Goby", "Bear", "Horse" and asks the children questions. They choose the desired picture among the images of a cheerful, sad, frightened, angry child.
Which of the guys dropped the bunny?
Which of the guys was scared for the bull?
Which of the guys took pity on the bear?
Which of the guys loves their horse?
Gnome
Children pick up pictogram cards with facial expressions corresponding to different emotional states.
The gnome was walking along the lawn and saw a bunny.
- What long ears you have! - exclaimed the gnome.
The dwarf left the house and met the boy.
- Hello boy! What a wonderful morning!
- Well, I’ll talk to everyone, - the boy grunted and went on.
Stage
You can invite children to act out small scenes where it is necessary to emphasize the features of the situation with facial expressions. For example, to depict how a child found a huge mushroom and was surprised, or was frightened in the zoo of a lion, and his mother calmed him down.
Forming a long, smooth, sounding exhalation in children, it is necessary to begin work on the development of intonational expressiveness.
Game exercises for the formation of statements
As the speech abilities of children increase, the content of the games also changes. Now they include children's sayings, colored intonation and mimicry.
Mimic Cube or Posecond phrase
Children repeat the proposed or independently composed phrase with the intonation that fell on the cube or specified by the teacher.
Overheard conversation
The pictures show leaves (snowflakes, etc.) with a schematic drawing of various emotional states. Children look at them, recognize them and tell them what they think or how they feel.
For example, a sad car in the garage: "After a long road, I stand dusty, dirty, and the owner left and forgot to wash me." Funny car: "Now my master will come, and we will go with him on an amazing, joyful journey!"
Conversation in a basket
Children put on a “bracelet” with a picture of a vegetable or fruit with some kind of facial expression and, with the help of facial expressions and intonation, convey a conversation corresponding to a given emotional state.
Forest Trouble
(Children stand around the teacher.
The teacher reads poetry.
Children pronounce interjections. The teacher shows what the facial expression should be, what
there should be intonation.)
On a clear, warm spring day
A shadow fell over the bare forest.
Fear seized the bunny
- Ah, ah, ah:
- Scary kite in the sky
- Oh, oh, oh!
Run away faster -
- Hey Hey hey!
Beware of evil claws
- Hey Hey hey!
Where there is a kite, there is trouble
- Yes Yes Yes!
Sharp beak is not nonsense
- Yes Yes Yes!
The hare hits the block with his paw
- Ban, ban, ban!
(Children play the game on
Like a huge drum
- Ban, ban, ban!
The alarm flew over the ground
(Children scatter in the group and
hiding)
Get away with your feet
Warm-up or joint gymnastics
Lie on the floor and completely relax. Feel how the body spreads over the surface, taking up space on the plane of the floor. Feel the difference in temperature between the floor and the body in the area of their contact. Feel your breath, your heartbeat.
Gradual Relaxation: The feet, calves, knees, thighs, abdomen, chest, shoulders, elbows, wrists, fingers and toes, neck, face and even hair all feel completely relaxed.
You feel your body, hear sounds around you. Find the impulse in your chest - the center of will - and start standing up. Required condition- you can only move forward, leaning on the floor. You, as it were, build your body, thinking over each movement, composing parts of the body in a logical sequence upward, while maintaining expressiveness and purity - the logic of movement.
Every time you make a mistake, you completely relax again and start all over again until the body takes an upright position.
Possible preliminary exercises: rolling waves. The body should be like a wave of the surf dying on the shore.
Exercise 1
With a circular motion of your hands, collect air, energy around you and slowly exhale carbon dioxide through your mouth, concentrating on the point of your abdomen (two fingers below the navel). Repeat 3 times.
Exercise 2
Circular rotational or translational movements of the joints are performed. Rotate the wrists, shoulders, elbows, knees, hips, torso, neck - all possible joints are being worked out for movement. The smaller and more consistent you perform the rotations or translations of the joints, the more they will be able to subsequently take part in the work of body language.
Exercise # 3
The beginning of the movement, the process and the end of the movement. A point is selected (two fingers up from the navel), which is used as an impulse for the beginning and end of the movement. Open completely on cotton (hands up, head up, body stretched out), then close on cotton, “die” and “be born” again. The feeling that the space around is unfolding and again twisting into a point. You train not only physical sensations, but also emotions, where feelings fade away
and come to life again until full discovery (happiness, delight, enlightenment).
Exercise 4
In the space in front of you, select a point, fixing three folded fingers of one hand. Then, from the impulse in the abdomen, start moving your hand in space.
from point A, as if drawing an arbitrary line to the conditional point B. Clearly control the process. The impulse of the end of the movement should be reflected
in the abdomen (two fingers above the navel).The impulse in the abdomen gives the movement of any part of the body additional sensitivity and expressiveness.
Having fixed a point in space, we move the body or part of the body (head, leg, hip) relative to this point. In this case, it is important that the point in the hand
did not move a millimeter. It is important to understand that the expressiveness of movement is always achieved due to the statics of one part of the body relative to the movement of another, or the object relative to which the movement is made.
A part of the body is fixed in space,
and moves again relative to the fixation point. Then the hand is fixed, the body moves again relative to this point, the body is fixed,
and the hand moves again relative to the stationary body. Movements are performed in the system of a circle, square, triangle, etc.
At the same time, the expressiveness of the line of movement of the hand is similar to a calligraphic handwriting,
and the expressiveness of the body - to the sculpture of the classics.
Exercise # 5
Development of expressiveness of movements. On the clap, a movement is performed with a separate part of the body, for example: an arm, head, leg, shoulder, hip, arm again, etc. On command or at will, you move
now with one or the other part of the body, the impulse and fixation of the part of the body is preserved. The finer the movement of the joints in the body, the more useful this skill in the future for performing more complex exercises.
Exercise 6
Stabbing motion. Like glass, the body becomes fragile, and by moving each part of the body with a stabbing motion, we fix it through relaxation. We keep the rhythm and expressiveness of movements.
Exercise 7
Transmission of movements in the body ("body language"). Putting out two arms in front of you, bent slightly at the elbow, you start from the impulse to move your right hand towards the left, clearly controlling the speed. The left hand is motionless, reaching a close point to the motionless hand, right hand stops. Immediately left hand, as if picking up the impulse, begins to move according to the same rules, and the right one is fixed
in space. By making the exercise more difficult, you can move any part of the body, transferring the movement to another part of the body. Movement can be forward, rotational, circular, and repetitive.
It is important that you maintain the momentum of the beginning and end of the movement, control the process and speed of movement, fix the part of the body, ending the movement. →
Through an impulse, movement is transmitted to another part of the body. At the same time, the expressiveness of the entire body pattern is preserved, it is desirable to maintain a single style of movement.
Exercise # 8
Speed and rhythm. We set the speed of movement when transferring from one part of the body to another (from 1 to 10)
from slow to fast. Setting the body shape
from initial simple to complex (from 1 to 10).
From the initial shape (0), you start to move, complicating the shape of the body. Slowly at first,
at a speed of 1, then 2-3 movements at a speed of 10, 2, 5, gradually complicating the shape and proportion.
Exercise 9
By keeping the graphic as the initial motion style, you move at random, conveying motion
from one part of the body to another, while creating its own rhythm and proportion in action. Movement can be forward, rotational and backward repetitive.
Exercise # 10
Individual sign. This is your painting in motion, your hieroglyph, your analysis of psychopathic possibilities in bodily expressiveness. The ability to express your own self through the form.What principles must be preserved in your individual sign in order to preserve this school:
Clear execution and conscious start;
Clean lines in motion;
Dynamics, proportion, development of thought
and completeness in every movement, where one part of the body transmits movement to another.
The transfer of movement is like a clear monologue, where feeling, character and thought are expressed. You need to feel your body, the space around the body, the interaction of body and space.
(!) Emotional experience of gesture, posture, movement is important. An inner sense of truth and adequacy - this is culture, ethics of movement. Without these qualities, improvisation is pathological.
Paired exercises
Having divided into pairs, students push each other and alternately, following the direction of the applied force.
Standing with their backs to each other, partners alternately substitute their backs for support to each other, relaxing and at the same time maintaining stability, finding more and more expressive poses with the smallest point of support. In the future, all kinds of exercises for the development of sensitivity are included (sensitive hands, etc.)
"Mirror". Partners stand in front of each other, the leader begins to perform some actions, as if standing in front of a mirror, and the other clearly repeats his actions, like a reflection in a mirror. It is necessary to repeat not only the form, but also the emotional state.
"A sensitive body." One partner touches a finger to any part of the body of the other partner, and he moves
from this point, continuing to move. Then the partners switch places. You can use rotational movements, twisting each other, any tightening, rotational and translational movements.
"Rhombus". One presenter, the rest, stand in the space in the form of a diamond, repeat his movements, gestures, state, emotions, etc. leads, not self-expression. Followers must be extremely attentive and clearly follow all the leader's movements, feel his psychodynamics, changes in state, etc. The leader is the one who stands in front and, moving in the graph, takes his own plane. Movement must be visible to those behind it. When the leader changes the plane, turning to the right, left or 180 °, he becomes a follower, and his movement, state, thought is continued by another leader, whose task is to catch the continuation of the movement and its development. The ability of the actor to be flexible in consciousness, to easily switch from the leader to the follower and vice versa, it trains psychophysics very strongly, expands the range of perception and attention, and most importantly, enriches it with new motor capabilities, emotions, thinking, etc. After completing the "Rhombus" movement, you may notice that the reserve of your movements has increased, but above the purity and the fullness of the movements still needs to be worked.
"Complement in space". 3-4 people participate. Everyone finds their place in the proposed space. We choose a style or formula of movement: a square, a circle, a triangle, a diagonal, etc. One of the students begins to move in space, clearly tracing the chosen line of movement. The rest begin to move, complementing this movement in rhythm, form and content. At the same time (for a start) only two partners can move relative to the statics of the rest, which is necessary for the audience to read the meaning of their actions. Moving, complementing the movements, the actors try to understand each other - this task is constant in all exercises. And, following the laws of any composition, the movement must have a beginning, development, culmination and end. V initial exercises it is advisable not to use a gesture, enough movement and addition simple forms... In the future, when the meanings of the gestures are mastered, you can turn them on in order to give more informative meaning to the actions. It is possible to include in the fabric of improvisations non-objective pantomime, dance, voice, text - provided that you master these means professionally.
Hands Dialogue. Performed in pairs. One partner asks the question through the movement of the hand, the other responds with a gesture. At the same time, the beginning, process and transmission of the movement of each gesture are monitored. When one finishes, the other starts moving at the same moment. Movements - gestures should be conditionally abstract, but filled with inner meaning. If understanding is achieved, gestures can conflict, synchronize and through the culmination come to the point of mutual understanding.
"Addition to the schedule". The principle of complementing the schedule - partners stand one after another in pairs
in the back of the head, the one in front is the leading one, and the one behind it is complementary. Following the already learned rules of movement - the beginning, the experience of the movement process, the fullness and purity of the lines, the end of the movement - the presenter acts, and the complementary one accepts the finished movement as a question and answers just as clearly and expressively, keeping the presenter's style. At the beginning, the movements should be small and the gesture should be wide, the question-answer is clearly tracked. In the future, the gesture, like an interesting argument between two friends, mixes the movements of both partners, as if anticipating a question and an answer. The goal is one - to understand each other. You can move in space, in one plane, etc. Purity of lines during transitions
in space depends on the level of professionalism. Temperament, rhythm, feelings, character, facial expressions are all included. And the most important thing is what happens between you.
"Graphics in space". The facilitator begins by asking a question on the move. The leader can be someone who is in front, or someone who knows exactly what he wants to express. The space between the partners must be connected by line colligraphy. Moving in space (graphically and expressively relative to the angle of view), moving from one point to another, the actor must determine for himself and express who is moving, with what state, how and why he does it, while not losing the given rhythm and tempo ( preferably retaining abstraction, coding their everyday feelings into a symbol, sign, image).
"Three partners". The first sets the theme in several movements (graphics, expressiveness, fullness
and comprehension). The second develops it in space and rhythm. The third one finds the point. Then they switch places. In all initial and subsequent exercises, emotional and psycho-energetic inclusion is important, otherwise the accumulation of these qualities and the awakening of new potentials will not occur - development, and most importantly - a sense of truth and adequacy of the reaction will not be formed
in relationships with partners.
PURPOSE: development of the child's creative abilities, correction of gross motor skills.
Description. The presenter explains to the participants of the training that pantomime is a kind of performing art, in which the main thing is plasticity, gestures, and facial expressions. Further, each child is invited to take a card with a task, the purpose of which is to depict an action, think about its implementation, then present his work to the audience, i.e. other class members. The rest of the participants should try to guess what the participant is representing.
The painter spreads the paint, paints the walls
- The hairdresser gives the client a haircut
- A milkmaid milks a cow
- The waitress brings the order
- The gardener takes care of the garden
- The driver starts the car for a long time, drives
- The nurse gives the patient an injection
- The chef bakes pancakes
- The builder erects a building from bricks
Exercise “WHO NEEDS WHAT? »
PURPOSE: development of mental operations, broadening of horizons.
INSTRUCTIONS: I will name a person of a certain profession, and you will answer what he needs for work.
Shoemaker! - the psychologist calls.
Nails, hammer, leather, boots, shoes - children answer.
If the children's interest in the game does not disappear, you can offer the opposite option. The psychologist names the objects for the work of people of a certain profession, and the children name the profession.
EXERCISE "ALL PROFESSIONS ARE REQUIRED"
PURPOSE: development of logical thinking, speech.
Make up short story from the pictures using the proposed plan:
1. Who is shown in the picture
2. What do people of this profession do
3. Why this profession is important and necessary.
Exercise "POSTER PECHKIN"
Target. Improving the skills of differentiation of opposition sounds, the ability to carry out sound-letter analysis and synthesis. Development of cognitive interest, voluntary attention, analytical and synthetic activity, graphomotor skills.
The postman Pechkin is supposed to deliver the letters to the children, but some letters of the names of the addressees on the envelopes have been erased. Help Pechkin, insert the letters you need.
Exercise "Who is in charge?"
Listen to the story and complete the sentences. Explain why all professions are equally important.
Once, Vanya and Tanya dreamed about who they will become when they grow up.
- I will be a doctor, - said Tanya, - after all, a doctor is the most important profession, because ... (children answer: he heals people)
- And I will be a builder - after all, a builder is more important than a doctor, because ... (children's answers: he builds hospitals) - Vanya answered his sister.
- No, probably the chef is more important than the builder. After all, if ... (children's answers: the cook does not prepare dinner, then the builder will not be able to work) - said Tanya.
- So the seller is more important than the cook, if ... (children's answers: he won't sell the food, then the cook won't be able to cook dinner), - Vanya said after thinking.
- What if the seller gets sick and cannot sell the products?
“The doctor will cure him,” Vanya said confidently.
- So who is more important then? - Tanya asked perplexedly.
Mom solved the riddle when she returned from work.
There is no such profession that can be called the most important. All professions are equally important because ... (children's answers: they are useful.)
Exercise "WORLD OF PROFESSIONS"
PURPOSE: development of logical thinking, mental operations
INSTRUCTIONS: Name the professions shown in the pictures. What are the representatives of these professions doing? Pick up transport for every professional.