Associative thinking - games and exercises

(warm up, imagination, speed of thinking)

There are a lot of different exercises for the development of associative thinking.

Associations can be divided into several types:

1. Compatibility: sea ​​Sun
2. Similarity: ball - circle; line - beam
3. Opposite: summer Winter; good evil
4. Causal - investigative links: rain - puddle; joy - laughter
5. Item part: horse - tail; house - roof
6. Generalization: apple - fruit; tree - forest

You can use any type of associations in the exercises. Over time, you will notice which type you use more actively, and then you can consciously expand your thinking - train new ways.

simple associations

Start exchanging associations with your partner. They must be nouns (proper names can also be used).

For example: elephant - zoo - cage - bird - food - winter - skis - sticks - fence, etc.

The main thing here is the speed of thinking. Speak quickly, but at the same time try to relax and let the associations be born easily, without tension. Take the first association that was born, do not hesitate, do not choose from a variety of options, just let go of your imagination and create!

distant associations

The same as simple associations, but here you name the third or fourth image.

For example:

B: (to himself: zoo, cage, bird) - wing (out loud)

A: (to himself: flight, sky, clouds) - rain (out loud)

Partner B works with the image "rain"

This exercise also trains inner attention. At the moment when you imagine a chain of associations, you concentrate and turn on active imagination!

Unusual associations

For the development of the imagination, it is important to be able to look for unusual and non-standard associations. Move away from patterns of perception and think independently.

Take for the exercise very popular words or phrases:

• fruit
• country
• pet, etc.

Most people will build a chain like this:

• fruit - Apple
• poet - Pushkin
• country - Russia (or any other country, which is also very standard)
• pet - cat dog)

Come up with more recent associations to these words, try to expand your perception, and do not follow the template!

word flow

For this exercise, you need a partner who will listen to you or a voice recorder on which you will record this exercise.

For 1 minute, say all the words that come to your mind. It should be only nouns, do not make sentences out of words!

You need to speak very quickly, without pauses and "freezes".

Say everything, activate your imagination, speed up its work! Let the associations flow in a continuous stream!

After the end of the minute, count how many words you managed to say.

Good result - more than 60 words.

1 letter word flow!

Now do the same, but all the words that you name must begin with 1 letter. For example, you choose the letter "P"..

Printing, singing, singer, fasting, hovering, pond, hairstyle, reception, paralysis, food, button, etc.

Here the words are born from their phonetic basis. Sometimes you do not even have time to realize the word that you will now name.

This exercise develops conversational courage. We often analyze and weigh everything we say for a long time. And this exercise allows you to turn off unnecessary "thinking" and start just talking!

A good result is 25-30 words per minute!

No matter how much you put your teeth on the shelf, creative people need self-expression. And in order to reveal acting talent, improve stage skills, you need perseverance and patience. Acting exercises will help to acquire and hone all the skills necessary for a professional actor. After all, an actor on stage is not just a mechanical puppet that mindlessly follows the director's instructions, but a puppet that can think logically, calculate actions a few steps ahead. A professional actor is plastic, has good coordination, expressive facial expressions and intelligible speech.

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

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

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

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

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

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

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

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

"Listen to silence"

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

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

Exercise "Shadow"

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

Pantomimes and dramatizations

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

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

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

Exercises for the development of plasticity

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

"Painting the Fence"

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

What exercises make hands obedient:

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

"Pack it up"

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

"stroking the animal"

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

Development of coordination

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

Coordination exercises:

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

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

Scenes and sketches for beginner actors

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

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

Exercise "Think"

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

Scenic speech

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

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

Exercises for the development of stage speech:

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

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

Collection of acting classes in the school theater.

Explanatory note.
Relevance: In modern society, the prestige of intelligence and scientific knowledge. Hence the desire to teach children to read, write and count, and not the ability to feel, think and create. Thus, the emotional-spiritual essence turns into a secondary value. Children are less likely to admire and be surprised, indignant and empathize, more often show indifference and callousness, their interests are limited, and their games are monotonous.
Electronic toys and computers, which have been popular recently, are not able to compensate the child for a children's community, without which a full-fledged mental and social development personality. Such children do not know how to occupy themselves in free time, they look at the world around them without much surprise and interest, like consumers. Their memory and attention are not sufficiently developed, and psychologists, noting the lack of observation and creative invention, often make a diagnosis: "didn't finish the game", i.e. did not train his imagination in the joyful process of the game.
Working with children in music lessons at school, I had a need to find a form of development of children's creative abilities that would be close and interesting to me and the most effective and efficient for children.
So, I developed the program "Theatrical Creativity" for primary school students.
Theatrical classes simultaneously perform cognitive, educational and developmental functions and are by no means limited to the preparation of performances.
Games held in extracurricular activities are really a game for the child, and not an organized activity, where each participant shows his initiative, his desires and ideas, learns to coordinate his actions with the actions of other participants, with certain rules.
Classes with children in stage speech serve as a kind of standard correct speech and at the same time exercise and develop hearing, the respiratory system, and the latter is closely connected with the cardiovascular system. Consequently, doing breathing exercises in the process of learning stage speech, the child simultaneously strengthens his health; trains the articulatory apparatus.
Purpose: education and development of an understanding, intelligent, educated theatrical spectator with artistic taste, the necessary knowledge, and his own opinion.
Tasks:
based on the synthetic nature of theatrical art,
promote the disclosure and development of the creative potential of each child;
help to master the skills of teamwork and
communication;
to instill interest in the world artistic culture through the theater
and give primary information about it;
to teach creatively, with imagination and fantasy, to relate to
any job.
The lessons of theatrical creativity are unusual, you need to conduct classes emotionally and excitingly. In the classroom, the teacher is required to have a good mood and benevolence. Over the years, I had to develop a certain structure of classes.
The lesson structure looks like this:
- Greeting and articulation gymnastics
- Gymnastics for the face
- Tongue Twisters
- Exercises on speech technique (poetry, rhythmic reading)
- Tasks for the plasticity of movements (games)
- Outdoor games
The structure may change. It depends on the main goal of the lesson, the age of the student, the degree of assimilation of the material. It is only necessary to ensure that static exercises alternate with mobile ones, and one task changes in a timely manner.
An important condition for all work is to preserve the game beginning: a short explanation - a trial show - brief analysis demonstrations - streaming demonstration and analysis of students - rewarding the best. Excessive analysis of errors reduces the interest of children and the emotionality of the lesson.
Each lesson must necessarily carry some new element, exercise, task or game. If the task turned out to be difficult for your children, then it must be replaced with an easier one in order to return to it at another stage.
A special place in the classes is given to work with an imaginary object, to which we pay great attention throughout the course. This is one of the elements of the system of K.S. Stanislavsky, very much appreciated by him, which enriches the imagination, develops creative imagination, logic and sequence of actions.
The main work on the development of speech (breathing, training of the speech apparatus, proverbs and tongue twisters) is carried out in the first two years of study, when children do this with pleasure. In the third year of study, we pay more attention to the expressiveness of speech, we are looking for colors to express creative ideas and ideas.
We finish the lesson, as a rule, with emotional entertaining or outdoor games, so that the children leave the lesson in a good mood.
Theatrical creativity
Main areas of work with children
Theatrical play is a historically established social phenomenon, an independent type of activity inherent in man.
Tasks. To teach children to navigate in space, to be evenly placed on the site, to build a dialogue with a partner on a given topic; develop the ability to voluntarily strain and relax individual muscle groups, memorize the words of the heroes of the performances; develop visual, auditory attention, memory, observation, figurative thinking, fantasy, imagination, interest in theatrical art; exercise in a clear pronunciation of words, work out diction; cultivate moral and aesthetic qualities.

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

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

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

Basics theater culture. Children are introduced to elementary concepts, professional terminology of theatrical art (features of theatrical art; types of theatrical art, basics acting skills; viewer culture).

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

Tasks. Learn to compose sketches based on fairy tales, fables; develop skills of action with imaginary objects; learn to find keywords in individual phrases and sentences and highlight them with your voice; develop the ability to use intonations that express a variety of emotional states (sad, joyful, angry, surprising, admiring, plaintive, contemptuous, condemning, mysterious, etc.); replenish vocabulary, figurative structure of speech.

The main requirements in the work are reliability, truthfulness of performance, expressed in purposeful actions in the proposed circumstances. To this end, children are given a series of exercises that develop precisely these skills.:
- Conjecture of the proposed circumstances;
- The story of the hero from his own face;
- On behalf of the character who came into conflict with him;
- Inventing events before and after the study;
- Characteristics of the hero in his own speech, etc.
Thus, students gradually form an idea of ​​character as a special behavior. At this stage, the child should already be able to consider the act as an action through which the character of the hero is manifested.
At the final performance, dramatizations of poems, folklore holidays, "village gatherings" are shown. Schoolchildren participate in the performance as in a collective work, using the working terminology of acting.

Summary of acting classes No. 1

Topic: "The stage image of the puppet theater."
Goal: Formation of the ability to transform into artistic image through familiarity with the elements of acting
Tasks:
1. Introduce the elements of acting: facial expressions, gesture, plasticity.
2. Development of the motor sphere through the ability to control one's motor actions, develop motor skills associated with imagination, imaginative thinking, fantasy in creating acting sketches.
3.Education personal qualities that ensure the success of creative activity (enthusiasm, purposefulness, observation, independence);
Technical means:
1.Music center.
2. Screen.
3.Multimedia projector.
Course progress.
1. Organizational moment. (10 minutes).
1) Theatrical bow.
2. Updating knowledge
3) Acting training for warming up speech and motor
coordination:
Exercise "Snowballs"
Exercise "Pump"
Exercise "Lumberjack"
Exercise "Train"
Repetition of material as a method of forming self-knowledge.
3. Acquaintance with new material. (5 minutes).
Questions for the studios:
“In your opinion, who is involved in the theater group - the creation of a stage image?”
“What are the means by which you can create an interesting and expressive role?”
“Are those elements that you named enough to create a full-fledged stage image?”
Slide (1) The topic of the lesson.
Introduction to new material.
1. Slide show with different options for facial expressions of people.
What is the name of this stage element?
Slide (2, 3,4,5,6)
MIMIC - (Greek. Imitator) - expressive movements of the muscles of the face, which are one of the forms of manifestation of certain feelings of a person - joy, sadness, disappointment, satisfaction, etc.
Slide (7.8)
Types of facial expressions:
involuntary (reflex) everyday facial expressions;
arbitrary (conscious) facial expressions, as an element of acting art, consisting of conveying the state of mind of the character with expressive movements of the muscles of the face. It helps the actor in creating a stage image, in determining the psychological characteristics, physical and mental state of the character.
Practical work.
1 task.
Mimicry: The pain is aching, continuous. The face of an old man (characteristic features - wrinkles, narrowed eyes, distorted mouth).

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

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

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

7. Homework - to finalize plastic sketches on the theme "Snow Characters".

Summary of classes in acting skills No. 2.

Topic: "Petrushka - a folk fair hero"
The purpose of the lesson: the formation of initial knowledge about the main puppet of Russian theaters - Petrushka.
Tasks:
Tutorials:
1. To acquaint students with the origin of the main character of Russian theaters, with his "relatives" in different countries; 2. Introduce the character traits of this doll.
Developing:
1. To develop the observational, cognitive and creative abilities of the pupil.
2. Develop creative activity, fantasy, imagination and imaginative thinking.
3. To develop a meaningful approach to work among students: self-esteem, perseverance, comparison, motivation for knowledge and creativity.
Educators:
1. Encourage children to improvise using theater puppets;
2. Create a creative atmosphere in the classroom.
Pedagogical technologies: ….
Teaching methods: verbal, visual, productive, game, method of motivation and stimulation, information technology.
Methodological support of the lesson:
- decorated mini-gallery with various portraits of folk dolls - favorites;
- illustrations of scenes from productions;
Equipment and materials: audio recordings, dolls: Petrushka, gypsy, horse, round screen, paints, felt-tip pens, album sheets, poster, music center, musical noise instruments, Petrushka's clothes, squeaker, screen (working and round).
Preparatory work:
1. Work with literature.
2.Development and writing a summary.
3. Selection of musical design.
4. Preparation of illustrative and visual material.
5. Preparation of screens and dolls.
6. Preparing the classroom for the lesson.
Lesson progress
I. Organizational stage
Teacher: Good afternoon guys! We begin our lesson traditionally, with a working semicircle. Today we have a big and serious work ahead of us. And therefore, let's wish each other something that would help us to work well in class.
(The teacher is the first to stretch out his palm and name the wish. Children come up to him in turn and put their palm on him, saying the wish.)
II. Main stage
Teacher: I will start today's lesson with verses:
"There lived a scattered man
On Basseinaya Street.
He sat down on the bed in the morning
Started putting on a shirt
Put his hands in the sleeves -
It turned out they were pants.
Here's how scattered
From Basseinaya Street!”
"Mr. Twister
former minister,
Mister Twister,
Dealer and banker
Factory owner,
steamship newspapers,
I decided at my leisure
Travel around the world"
Teacher: Guys! Do you know who S. Ya. Marshak is?
Students: Children's writer
Teacher: And what is the connection between the poems I read and the children's writer S. Ya Marshak?
Students: He is the author of the verses he read.
Teacher: And which of you can still read some poems by S. Ya Marshak
(Children read poetry)
Teacher: Well done! Do you know a lot of this writer's poems?
But have you heard these verses of his:
Hello my young viewers!
Do you want to fight with me?
Come out a hundred people -
No one will leave whole
Come out two hundred people -
I'll put everyone in their place!"
Teacher: What can be said based on these lines about the character of this hero?
Students: (children's answers)
Teacher: What kind of character do you think suits such character traits? I'll give you a hint - this hero is also in our theater.
(If the children cannot answer, then they are given an additional riddle)
Teacher: In a bright red jacket,
He is with a bell in his hand.
funny toy
And her name is ... (Petrushka)
Students: Parsley
Teacher: The topic of today's lesson: "Parsley is a folk fair hero" To do this, I invite you on an excursion to our puppet museum. All of its exhibits will help us get to know our hero better. So, I invite you to our first hall "On the Roads of History"
(On the screen - illustrations of Petrushka, screen-skirts, hurdy-gurdies, doll clothes, a bag with dolls, a squeaky whistle, a stick)
Petrushka is a wonderful puppet of the Russian theater. No one knows what Petrushka and his representations were like in the last century. But to this day, he came in this form: a red cap, a bright shirt, a long and cunning nose and a hump behind his shoulders, and a stick in his hand. Everyone loved him. In the old days, Petrushka performed both in the village and in the city in courtyards and squares, but Petrushka and puppeteers were closed to theater buildings and houses of nobles and nobility, because this art was considered not real.
That is why Petrushka and his fellow dolls were on the road all the time. He moved from place to place, from province to province, from city to city. A puppeteer walks along the road and carries a folding screen and a bag of puppets on his shoulder, and with him a musician. It's more fun to go together. The musician carries a hurdy-gurdy. This is such a musical box (drawing of a street organ). Her voice is very melodic.
(Music sounds, the work "Street organ")
(against the background of music) They will come, they will place the screen, the puppeteer will hide behind it, and the musician will sit in front of the screen, will play the hurdy-gurdy (the hurdy-gurdy sounds) and call the people. But then Petrushka appeared on the screen and immediately it becomes noisy, because Petrushka has a special voice: he squeaked, because the puppeteer had a “beep” in his mouth, such a special device for squeaking that people would run to his voice.
(The teacher dresses the doll and goes behind the screen)
Parsley:
Hello gentlemen!
Here I come to you
I left early in the morning.
From the owner of the booth.
He paid me in full
He gave me an empty piggy bank.
Paid per day
Day and night, I went away.
Because he's bad jokes.
What a freak he is.
And he yells "Out!"
Well, I kept silent, I didn't say a word to him.
Just gave a stick - Rrraz!
Get it, Karabas Barabas!
Teacher: (coming out from behind the screen) At the end of each scene, he beats his interlocutors - dolls with a stick. In order to continue acquaintance with Petrushka, you need to go to the next room.
Teacher: We go to the next hall of the "Fair festivities"
(On a round screen - illustrations of Petrushka's performance and drawings from his productions; dolls - a doctor, a gypsy, a merchant; a tray with goods; musical and noise instruments; a Russian shirt, a cap)

Teacher: Petrushka is cunning, witty and cocky, and he also loves all kinds of pranks. For this, Petrushka was loved most of all by the common people. And Petrushka himself was very fond of performing at a noisy and cheerful fair, on the fairground. Listen to how the fair hums and merrily!
(music "Theatrical noises" sounds)
Teacher: What did you hear at the fair? What did the people do on it?
(Students: had fun, walked, sold, touted, traded, bought ...)
Teacher: We have exhibits that were used at the fair: a tray with goods, musical instruments(explains to children)
Teacher: And let's try to play a fair and a fair performance.
Teacher: Now imagine that we are at the fairground. Some of you invite to the fair, some trade, some buy, some play the balalaika, and the little bear dances.
(Dance music sounds, children depict fairground festivities)
Teacher: This is how noisy the fair turned out to be. At the height of such a fair, a puppeteer always appeared (children sit on chairs). The puppeteer had a whole set of scenes with Petrushka. In some he met his bride, in others he bought a horse, was treated by a doctor, studied soldiery, fought with the devil ... In total there were more than twenty such scenes. And now we will try to play one of these scenes.
(The teacher chooses from the children for the role of Petrushka and the gypsy. An excerpt from the scene is played out.)
Parsley: Here come the kids!
Girls and boys!
Bonjour, nice girls,
Quick-eyed freaks!
And you bonjour, rouged old women,
Youthful old people.
I am your friend, Musyu vonger-Petrushka.
Came to entertain you
And congratulations on the holiday!
(A gypsy with a horse appears on the screen. The scene is voiced and beaten by students)
scene
Gypsy: Hello, Musyu Pyotr Ivanovich! How are you - how are you doing? Do you get sick often?
Parsley: What do you care? Are you a doctor?
Gypsy: Don't be afraid, I'm not a doctor ... I'm a gypsy, from the choir, I sing in bass, I drink kvass.
Parsley: Don't talk your tongue, don't speak your teeth. Say what you need, but drive by!
Gypsy: My French friend Thomas says that you need a good horse.
Parsley: This, brother, is the case. I've had a horse for a long time. Is the horse good?
Gypsy: Not a horse, but a miracle: it runs, trembles, stumbles, but falls, does not rise.
Horse: Yoke - go!
Parsley: Wow! That's the horse. What suit? Gypsy: Piebald with spots, golden, with a shaggy mane, crooked, hunchbacked - an English breed with a family certificate.
Parsley: Wow! This is what I need! Is it worth it?
Gypsy: According to an acquaintance, I’ll take it inexpensively: 3.000.000.
Parsley: You are asking too dearly. The horse is very young! Not a single tooth in the mouth yet. Oh, I'll sit down - I'll fall.
Gypsy: Will you fall soon?
Parsley: After 20 years, right at lunchtime. Yes, call the doctor soon.
Gypsy: Now I will bring (leave)
(Students sit on chairs)
Teacher: Well done our puppeteers! The parsleys amused the people. Let's clap for them.
Physical education minute
Assignment: And now we will hold a competition among you for the most noisy, cheerful and cocky Petrushka. Putting on a cap, you must pronounce the text as our hero would say it (a competition is being held)
Teacher: We are waiting for the next room "Pedigree of Petrushka"
"Pedigree" is when you want to know what kind of ancestors you had. Our Petrushka has a very rich past. This is Maccus, a popular character in ancient comedy. He became the prototype of our hero. You could say his grandfather. The Italians created their own theatrical puppet named Pulcinella. And Pulcinella has new names.
(Portraits of Petrushka and his relatives abroad)
In France - open
in England - Punch,
in Germany - Casper,
in the Czech Republic - Kasparek.
Before you are portraits of various people's favorites, they have different names. But they are all relatives of our Petrushka.
Teacher: Do you guys know that our Petrushka has surnames. But she's unusual. Try to guess it. Here are the answer options:
(A list of surnames is posted. Children choose the correct answer from the options offered and place it under the portrait of Petrushka)
Pyotr Petrovich Kisly
Pyotr Fyodorovich Mustard
Pyotr Ivanovich Uksusov (correct answer)
Pyotr Nikolaevich Solyony
In some plays you will find such names as Petrushka.
Samovarov,
Vanka Ro-to-tui
Vanka Ru-tyu-tyu
(A frame from the presentation “Famous Theater Heroes. Picture gallery consists of portraits: Petrushka, Pulcinella, Polichinel, Punch, Kasper, Kasparek, Makkussa; paintings depicting a puppeteer at a fair with a screen - a skirt).
Teacher: So our tour is over. And now I invite you to take your places at the tables. We learned a lot about Petrushka, about his character. I think it will not be difficult for you to draw his portrait. And you will place your finished drawings in our art gallery.
(The play “Parsley” by A. Rowley sounds, students draw)
III. Summarizing
Teacher: Guys, you received an unusual message from Petrushka. You can read it when you collect all the details together and correctly. You can substitute your detail when you name something interesting that you learned today.
(Students complete the task. Having collected all the details together, they read the text of the invitation to the New Year tree on the back)
Teacher: This is the end of our lesson. But we will continue our acquaintance with Petrushka and his ideas in the next lesson. Thank you for your work. Petrushka and I say goodbye to you.

Summary of acting classes No. 3

Theme: Game - "Journey to a fairy tale"
Topic: Improving the complex of techniques and acting skills through stage perception.
The purpose of the lesson: Creating a stage image of a fairy-tale hero through stage perception.
Tasks:
1. Develop the ability to sincerely believe in any imaginary situation (transform and transform).
2. To teach how to create images of fairy-tale characters that correspond to the given essential features.
3. Cultivate skills of readiness for any surprise.
The age of children is 10-12 years old.
The form of the event is a lesson - a game.
Equipment for the teacher:
- music Center;
- phonograms with sounds;
- didactic cards with associative chains.
Equipment for children:
- props for table setting;
- costumes of fairy tale characters;
- makeup.

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

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

Summary of acting classes No. 4

Topic: "Work on creating a stage image"
Purpose: Formation of the skill of reincarnation in an artistic image through the elements of acting.
Tasks:
1. Learn to work in a team.
2. Acquaintance with the elements of acting.
3. Development of individual abilities.
Technical means:
1.Music center.
2. Audio cassettes, disks.
3.Video.
Lesson plan:
1. Actor's toilet.
2. Introduction to the topic.

4. Individual studies.
5. Summing up.
6. Homework.
Course progress.
1. Actor's toilet (15 min):
a) Theatrical bow.
b) Plastic warm-up.
c) Speech gymnastics.
2. Introduction to the topic.
Questions for the studios:
1) “In your opinion, who is involved in the creation of a stage image in both a professional and amateur theater group?”
2) “What means can be used to create an interesting and expressive role?”
3) "What do you know about the Stanislavsky system?"
3. Elements of acting to create a stage image.
1) Acquaintance with definitions.
MIMIC - (Greek imitator) - expressive movements of the muscles of the face, which are one of the forms of manifestation of certain feelings of a person - joy, sadness, disappointment, satisfaction, etc.
Types of facial expressions:
a) involuntary (reflex) everyday facial expressions;
b) arbitrary (conscious) facial expressions, as an element of acting art, consisting of conveying the state of mind of the character by expressive movements of the muscles of the face. It helps the actor in creating a stage image, in determining the psychological characteristics, physical and mental state of the character.
c) facial expressions, just like speech, can be used by a person to convey false information (that is, in order to show different emotions that a person really feels at one time or another).
GESTURES and PLASTICS is the language of the body - the sign elements of postures and movements of various parts of the body, with the help of which, as with the help of words, thoughts and feelings are structurally formed and encoded, ideas and emotions are transmitted. Body technique, which includes such unsigned movements:
a) as mimic gestures
b) head, hand and foot gestures
c) gait
d) different rotation of the body.
2) Practical work.
1 task.
Mimicry: The pain is aching, continuous. The face of an old man (characteristic features - wrinkles, narrowed eyes, distorted mouth).
Gestures: The fingers are as tense as possible, while shaking and constantly looking for support. The hands of an old man are clumsy and ugly.
Plasticity: The head is shaking, the back is hunched, the legs are bent at the knees, the body is constantly tilted forward, the arms are widely spaced to the sides.
CONCLUSION: All these elements are characteristic of the image - an old man.
2 Task.
Facial expressions: Show the mask "Terrifying fear" (characteristic features - eyes and mouth are extremely wide open).
Gesture: Hands in position - "Danger" (arms tense, but flexible, ready to attack).
Plasticity: The body is in the “Waiting” position (the neck is stretched forward, the shoulders are raised, the body is tense and leaned forward, the legs are wide apart, ready to jump).
CONCLUSION: All these elements are characteristic of the image - a predatory animal.
4. Individual studies.
1) Questions for studio members:
a) “What is the difference between a plastic study and a sketch?”
b) “Having created a stage persona, what should an actor do before he goes on stage?”
c) "What other means can be used to create an artistic character?"
2) Show video fragments - individual works graduates.
3) Practical task - Each student, individually, should try to compose a story based on 3 main events.
4) Demonstration of single plastic studies.
5. Summing up.
Questions for the studios:
a) "Did today's lesson help you learn some acting tricks?"
b) “What do you not understand about composing an etude and working on a role?”
c) “Which sketches didn’t turn out today and why?”
d) “What do you think, which studies were successful and why?”
6. Homework - finalize single plastic studies

Summary of classes in acting skills No. 5

Topic of the lesson: "Methods of free well-being in theatrical activities";
The purpose of the lesson: the development of freedom of expression and acting skills of students in theatrical activities through a system of training and game exercises.
Tasks:
Educators:
contribute to the development of a friendly attitude towards each other, partnerships,
the development of curiosity, the upbringing of an optimistic outlook on life and own activities;
cultivate emotional responsiveness.
to motivate for further studies in theatrical creativity.
Developing:
developing the ability to adequately evaluate one's own creativity and the creativity of others;
development of acting skills;
development of skills of free well-being in public conditions;
develop the emotional and aesthetic sphere, imaginative thinking, fantasy, imagination, memory, attention, observation, the desire for self-expression.

Tutorials:
check and evaluate the level of knowledge, skills and acting skills; plastics.
to form knowledge about ways to relieve muscle and psychological clamps.

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

The final stage. Summarizing.
Now let's sum up our lesson. You did a good job today, all great fellows. What was difficult for you to do today? What did you find the most difficult? What was easy for you? What qualities of your characters would you apply in life, why? (children's answers)
Let's return to the topic of our today's lesson: psychological and physical emancipation. Through exercises and mini performances, you learned to be spontaneous, relaxed, uninhibited, in a good way. Wearing the mask of your fictional characters, you struggled with your clamps and enslavement.
We will return to these exercises in the next lesson. Read Russian folk tales at home, choose your favorite characters. In the next lesson we will discuss the nature of your characters.
See you!!! Thank you for your business.
List of references used in preparation for the lesson.
1. L.V. Grachev "Actor's training: theory and practice".
2. Elvira Sarabyan "Acting training according to the Stanislavsky system."
3. N.A. Oparin "Pedagogy of theatrical leisure".
4. Russian folk tales.

Summary of acting classes No. 6

TOPIC: "The Art of Being Different"
The purpose of the lesson: Purpose: the formation and disclosure of creative individuality.
Work on diction and clarity of pronunciation.
Development of artistic courage, acting attention, imagination and fantasy.
Development of improvisational abilities.
Development of stage communication skills: work with an imaginary and real object.
Tasks:
- create conditions for the intellectual, moral and emotional self-expression of the individual, for the discovery and development of abilities in artistic, artistic, literary activities;
- promote the role of self-government in planning, organizing and analyzing activities;
- to form a circle of trainings, allowing to optimally distribute participants according to their abilities;
- Encourage creative self-expression.

Equipment: stage, chairs, tape recorder

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

I block. Warm up.
1. Dive. I invite everyone to stand in a circle.
This is a close interaction of actors - we see each other. I am preparing you for the role. In order to enter the role, all extraneous thoughts must be left behind the scenes.
2. Study with an imaginary object.
A convenient and not time-consuming method of overcoming the fears and anxieties of a large group is the creation of a "Basket of deposits":
Participants need to remember things that are bothering them that may interfere with active participation in our session, such as distractions
Did I feed the cat?
When will uncle leave the hospital?
I have nothing to say
Concerns about participating in class
Can I handle my anxiety?
Will I be asked to speak?
What if I don't answer the right way?
Try to put all your worries in this basket by imagining your unwanted item. While fears are in the trash, they can be forgotten.

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

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

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

7. Extras.
Making an extra in the theater is much more difficult than playing a separate episode. There are a number of exercises.
J.P. Sartre: “Man is not what he is; Man is what he is not
A person is constantly trying to go beyond his "I".
Exercise "In one bundle".
All participants are tied with one rope. Everyone is given a sheet of paper, where it is written - to whom, what needs to be done. One is late for the train, another has to meet a friend urgently, the third just wants to sleep, and so on.
Participants must somehow resolve the situation.

IV block. Embodiment.
8. Etude around the play. "The Hut in the Forest" Since the actors play animals in this play, the sketch will also be with animals - Fox, Wolf, Crow, Flea - their character, habits, gait, voice, etc.
Exercise "Explosion"
In turn, the leader shows the numbers 4,3,5. Participants, without saying a word, stand in exactly this number. Someone will get up several times, someone will continue to sit. Leadership qualities are determined (the leader will always get up). Bow. (depict "wave")

9. The state of "silence". Stop the internal monologue.

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

Summary of acting class number 7.

Topic: "Theatrical sketches as a source creative imagination»
Compiled by: V.E. Rakhmatullina
Purpose: to introduce pupils to the types of theatrical sketches.
Tasks:
Educational:
to give basic theoretical knowledge on the topic "Theatrical Etude";
introduce new types of theatrical sketches;
Developing:
develop the ability to reincarnate through the creation of sketches;
develop the ability to improvise;
develop acting skills through work on sketches;
develop the ability to analyze and synthesize your feelings;
to develop the speech apparatus of students with the help of articulatory gymnastics and diction exercises based on learned tongue twisters without being shown by the teacher;
develop the physical capabilities of the body, through muscle relaxation training;
develop the ability to interact with a partner;
Educational:
to form the skills of KTD;
to instill the skills of interaction with a partner;
to learn how to bring life observations closer to their individual experience, to analyze and build a sequence and logic of actions in stage conditions.
Expected result: develop individual abilities pupils to reincarnation through work on sketches for further use in work on the role.
Teaching methods: Elements of an adaptive system of behavior (A.S. Granitskaya), health-saving technologies based on a personality-oriented approach (N.K. Smirnova, I.S. Yakimanskaya), technologies for collective creative activity (I.P. Ivanov).
Form of organization of the lesson: individual, pair, group.
Equipment: music center
The duration of the lesson is 45-60 minutes, depending on the complexity of the exercises and sketches
Lesson progress
I. Part. Greetings. Organizing time
Purpose: to set up pupils for productive work on the topic, to find out the emotional state of pupils before the start of the lesson
1) Exercise-game "Hello".
The teacher greets the students, showing any state: joy, sadness, surprise, resentment, anger, suspicion, malevolence, goodwill ...
Pupils greet the teacher according to the mood with which they came to the lesson, trying to convey the emotional state as accurately as possible.
Question of the teacher: What are emotions?
Expected responses of pupils: manifestation of feelings, experiences.
II. Part. Warm up
1) Articulation gymnastics (traditionally, we start the lesson with articulation gymnastics). Purpose: to prepare the speech, respiratory apparatus and other expressive instruments of the pupils' body for further work
Statistical exercises
Exercise "Shovel". Stick out a wide tongue, relax and put your lower lip on it. Make sure that the tongue does not tremble. Hold the tongue in this position for 10 seconds, perform 6-8 times
Exercise "Tube". Stick out a wide tongue. Bend the sides of the tongue up. Blow into the resulting tube. Perform the exercise 6-8 times. Dynamic exercises
Exercise "Delicious jam."
Stick out a wide tongue, lick the upper lip and remove the tongue deep into the mouth. Perform the exercise 6-8 times.
Exercise "Swing".
Stick out a narrow tongue. Stretch your tongue alternately to the nose, then to the chin. Do not close your mouth while doing this. Perform the exercise 6-8 times.
Exercise for the speech apparatus "Sound"
Description of the exercise:
Pronounce vowel sounds in turn, trying to lengthen each sound as much as possible on one exhalation: i-e-a-o-u-s-i. Try to make sounds in one breath, gradually complicating the exercise with the number of sounds pronounced in one breath.
Dictionary exercise, an exercise on the power of the voice based on the tongue twister: "Bull stupid."
Description of the exercise:
The tongue twister should first be pronounced slowly, articulating each sound, and then gradually move on to the tongue twister.
bull stupid
dumb bull,
The bull's lip was blunt.
2) Warm-up for the whole body (exercises to relieve mental and physical clamps):
Exercise "Frozen"
Description of the exercise:
Participants froze in a spontaneous pose allegedly millions of years ago. Participants must try to get out of the frozen state using their energy. But first you need to imagine yourself frozen into a block.
Exercise "Mercury ball".
Description of the exercise:
It is necessary to concentrate attention on the tip of the little finger of the left hand, in order to then imagine in the little finger of the left hand a tiny mercury ball of mobile metal, which is ready to crumble into many smaller balls throughout the body.
* In such exercises, the subconscious dictates to the body such postures and movements that cannot be invented and repeated on purpose. After such exercises, although they give a lot of physical activity, the muscles do not hurt, as happens after regular exercise. Why? Because such exercises are performed taking into account individual characteristics.
III. Theoretical part.
Purpose: motivating pupils to study new material
So, we are ready to perceive new information. The theme of our lesson is “Theatrical sketches as a source of creative imagination”. This is a very difficult, but surprisingly interesting topic.
Question: What do you already know about theatrical sketches?

That's right, an etude is a little story played out on stage. Question: What is the difference between an etude and an exercise?
Expected student responses.
An etude is an exercise that has content. It can last thirty seconds and half an hour, it's not important, it's more important whether it contains vital content. Any actions in life are performed naturally and justifiably. We do not think about how I, for example, pick up a fallen pencil or put a toy back in its place. Doing the same thing on stage when the audience is watching you is not so easy. To be natural, you need to find answers to the questions why, for what, why am I doing this? In sketches, we use facial expressions, gestures, figurative speech, body plasticity. Theatrical sketches have their own rules and composition.
The sketch consists of:
1. Ties (acquaintance with the character, scene and conditions);
2. Events; 3. Climaxes (the highest emotional point of the etude);
4. Decoupling (outcome, resolution of the situation).
Question: What sketches have we already performed?
Expected student responses:
- plastic, - for the memory of physical actions.
In fact, there are many types of etudes:
sketches for artistic imagination;
studies on the logic and sequence of actions and feelings;
on interaction with stage objects;
sketches for a specific event;
sketches for reincarnation.
Teacher: Today we will get acquainted with studies on the logic and sequence of actions. The execution of such an etude (as well as any other) requires a series of logical and interconnected actions in the proposed circumstances. But first, guess what our sketch will be about:
There is a portrait in the room
Looks like you in every way
Laugh - and in response
He laughs too.
Expected student responses: mirror
And we will also call our sketch "Mirror"
IV. Practical part "Work on etudes"
Etude "Mirror" (pair study)
Purpose: to develop the skills of interaction and interdependence of partners
And so, our sketch is called “Mirror”. Guys, today we will work in pairs. One of you will be a "Mirror" and the other one will be just a "Human". In this study, we will, first of all, follow the relationship and interdependence of partners. Begin. Stand up against each other. Decide which of you will be the "Mirror" and which one will be the "Man". Let the “Man” do what he usually does in front of a mirror: comb his hair, try on new clothes, “put on makeup” and more. Show what the mood of the “Man” is, and the “Mirror” should accurately reflect all the actions of the “Man”:

Good actors get used to any role. All professionals read scripts, rehearse monologues, and also go for creative experiments in acting classes. A good game looks like it comes with no effort, but in reality it takes a lot of effort. The following guidelines will help you become a top-notch actor.

Steps

Do-it-yourself preparation

Record monologues and short skits. Buy a book of monologues online or in print and rehearse many roles. Choose a monologue and run it 2-3 times, then record your speech on video. When reviewing, pay attention to weak points, successful phrases, and also write down ideas for improving your game. After that, repeat and record the monologue again until the result suits you.

Watch your favorite actor. Watch and re-watch your favorite scenes. What do the movements of an actor look like? What words are underlined in each sentence? How does an actor behave in a moment of silence? It's not enough just to look at your favorite actors. Study their way of playing.

Focus on diction or manner of speaking. All actors must pronounce phrases clearly and confidently. Video recording will come to the rescue again. Listen to your voice and pay attention to fuzzy phrases. Learn to speak clearly at varying volumes and speeds so that each word exudes power and conviction.

Practice cold reading. In cold reading, you are given lines and asked to act them out without preparation. Such a task often comes across on tests. The task may seem intimidating, but it helps to improve acting skills and learn to improvise, which makes the actor feel confident.

Get used to different roles, characters and people. The best actors are like chameleons - they dissolve and get used to each role. This requires a rich emotional experience. Watch movies and plays, read information and take notes to see the world through the character's eyes. This is especially important when preparing for a specific role. Go deep into the role, explore the issue to fully immerse yourself in the character.

Preparation for the role

1. Read the script several times. For a good game, you need to capture the whole plot, and not just your role. The actor should not stand out, but become a cog in the big mechanism of history. To do this, you need to understand the plot, all the themes and motives, as well as your own role.

   • Analyze the entire plot and go back to the scenes with your character. Read them a couple more times and then focus on the character's role and words.
   • How would you summarize the essence of the film in 1-2 sentences? What about your role?

Now we will talk about how you can learn acting skills on your own. The fact is that not everyone has the opportunity to attend acting classes in Moscow, for example, despite the fact that there are a lot of them in the capital. How can you comprehend the great acting profession on your own? It turns out that it is not only possible, but also necessary. An acting tutorial can help you with this. But in general, the textbook is designed for people who are already involved in any theater school. So it's best to get an acting tutorial. As a rule, the basics are outlined there, with which you can easily begin to study the profession of an actor.
An acting tutor can teach you even better than a tutorial, because it's usually clearer when the material is explained by a human. Acting School, as a rule, recommends as additional education read books and various tutorials. Sometimes self-education is an order of magnitude more effective, because a person sets his own program for himself. Although it takes a lot of self-discipline. The acting tutorial includes such an interesting exercise as practicing in front of a mirror. It is very effective to imitate any actor. If you practice regularly, then the skills will go to the subconscious level, and you won’t even notice how you gradually become like an artist in manners. But people around you will notice. In general, there are several stages of self-learning. The first stage is the tutorial. After the tutorial, you can take an acting textbook, because there are more “advanced” skills. Then the final stage - acting tutor. Here you have the opportunity to show the other person what you are capable of. At this stage, your skill is polished to the limit.
After all this, feel free to go to the theater. Your skills will pleasantly surprise everyone. Even if you haven't been recruited into a theater studio, self-study is a great way to prepare for something as challenging and incredibly interesting as acting on stage. In conclusion, let's say that teaching aids a lot now. Choose a textbook or tutorial, depending on your level of preparation, set yourself goals and practice. All in your hands!