IN modern society It is difficult for people to feel liberated, manage their emotions, communicate freely, and be confident. Most feel fear, aggression, uncertainty, and cannot express their thoughts and feelings. Emotional depression leads to internal pressures, which manifest themselves not only in facial expressions and speech, but also in movements. An acting course helps solve these problems.
Acting is a set of exercises aimed not at mastering the skills of the acting profession, but at developing the psychophysical aspect of a person. Thanks to such a training program, a person learns to open up to the world, gets rid of fears and phobias associated with communicating with other people and speaking in front of the public. He becomes an excellent speaker, his relationships with all people are improved, he goes through life easily and playfully.
The course begins with getting to know yourself. This stage allows you to discover your creative self and express emotions freely and naturally. And the course begins with working with voice. An excited voice reveals a person’s inner state. Teachers will help your voice sound in full force, expand its range, and improve its timbre.
This is followed by work with speech, where the speech organs are developed for the purpose of clear pronunciation. This is done through various proverbs, sayings, etc.
Intonation plays an important role in speech, giving a unique color to the sentence.
This is followed by exercises on body plasticity, which help to get rid of the clamps that prevent you from feeling freely in space. But the body only reflects the state of a person’s soul. Therefore, the course includes a deep study of this aspect.
Improvisation is also studied at this stage. After all, it is impossible to communicate and live according to a template. Improvisation teaches a person to sincerely respond to events.
Psychotechnics will help you understand where fears come from, negative emotions, will give a person inspiration and overcome fear.
The course places great emphasis on developing imagination and attention. After all, as a rule, people listen but do not hear, they look but do not see.
The second stage includes working on dialogue, monologue, the ability to communicate with a partner, and working with new images. It consists of:
The path to yourself. This is the stage of accepting yourself, developing the ability to see beauty, understanding other people.
The path to a partner. Here a person learns to communicate with people, influence a partner and respond to his counteractions through various sketches.
Path to the author. A person is immersed in the world of ideas and images of the author. This is an actor's ability to act organically within the character's logic.
The path to character and image. At this stage, a person learns to understand the character, studies his gaits, gestures, and speech. This helps you better understand other people's thoughts and feelings.
An acting course helps a person discover new feelings and sensations in himself, helps him in his improvement, revealing his personal potential, and gives a person charisma. He becomes an unsurpassed speaker, easily communicating with the public. General resistance to stress is strengthened, since a person can easily manage his feelings and emotions after the course. Through his body he controls his mood and behavior and easily achieves success in life in general.
Methods that develop acting skills are very popular today with both adults and children. The reason for this is the requirements that life itself sets: the ability to adequately respond to external stimuli, act quickly in critical situations, express one’s thoughts clearly and clearly.
The last quality is most in demand by those whose occupation is related to communication: lecturers, company employees who often present presentations or make reports. Basic ways to help develop hidden talents, will be presented below.
Basic rules for beginners
Usually, training begins with the simplest techniques, but this does not mean that they are primitive or ineffective. Moreover, many of them are successfully used in leading acting schools. So, the basics of acting include:
- techniques for achieving expressiveness (pantomimes, small skits);
- who can name the most words starting with the letter;
- his own imitator;
- fantasy task (come up with a biography).
In addition to these, there are other methods - there are quite a lot of them. In general, it is not necessary to provide a scientific basis or organize some of your achievements - as long as they work. For example, the “broken phone” game used to be very popular among children - but with its help, they also develop the ability to hear, improvise, and sometimes transform.
Pantomime has been known for a very long time; it can be said to be one of the secrets of acting. A mime must be able to convey anything with the help of plasticity, movements, and subtle gestures: a mood, an action, an event. IN ancient Greece Actors, using pantomime, conveyed different characters and even characters. Considering that usually the composition of the troupe was strictly limited (and it included only men), this required remarkable talent.
Among folk games, a game with the strange name “Crocodile” is very close to pantomime. The presenter, on the instructions of the participants, must exclusively use gestures (without saying a word) to describe a word, phrase, saying, action, while he will have to make every effort so that the other players can solve the rebus.
Exercises with words starting with a specific letter develops creative thinking, teaches a non-standard perception of the world. The closest analogue is the game of cities. Can be recommended for developing acting skills for children. Trains memory, reaction speed, imagination, develops horizons. Imitation is based on the ability to repeat someone else's manners, speech, and gait.
Parodists master it brilliantly. You watch the performance of a talented imitator portraying famous person, and you are surprised: in appearance they are not at all similar, but everything else is like 2 drops of water! The ability to “disembody” into another type helps to create an image that matches the role, and to do it as deeply as possible.
An imagination task will come in handy while traveling on public transport: looking at random fellow travelers, you can imagine in your mind what this person does, where he works, what his temperament and habits are. The task becomes more complicated when exact data about a person is known, but the one who describes him does not know them.
A classic example is when Sherlock Holmes played a joke on his doctor friend by inviting him to make a “portrait” of a passer-by (who actually turned out to be the detective’s brother). For those who are interested in various esoteric practices, there is a similar exercise: they need, by the will of their imagination, to imagine that they are in an unfamiliar city or a completely foreign place and gradually adapt themselves to their usual state.
Important. During classes, you need not so much to quickly learn how to use techniques, but to focus on the quality of their implementation. And, of course, don’t be afraid to experiment.
Exercises to develop attention
Elements aimed at attentiveness (concentration) are the basis of the artist’s work. A person is always surrounded by objects and other people that prevent him from doing his job with maximum efficiency, accurately and accurately. An actor must be able to, despite irritating factors, short period time to completely “disconnect” from the outside world, focusing on the task at hand (embodiment of the image).
One of the most simple ways how to learn acting at home is the countdown technique. To do this, you need to close your eyes and count from 100 to 1 evenly, at the same pace. At the same time, the trainee maintains even and deep breathing, trying to imagine the image of each number.
The second method is associated with the ability to concentrate on a specific subject. You should take a comfortable position, concentrating on some thing, for example, the minute hand of a clock. It is very important to imagine that nothing else exists except this object. Hypnotists and psychotherapists use a similar practice when they put a patient into a state of deep trance.
What is special about attention exercises for children?
Acting for children 3 years of age and older involves the same exercises as for adults, but less complex. For example, a common game is “find some differences”. The child is shown two pictures that differ from each other. At first, it is permissible to give hints and push children in the right direction. Gradually, the baby learns to independently find the required parts, choosing more and more complex tasks.
Important. Particular subtlety is required in the ability to interest the child and introduce an element of play into the task. If a careless word or action discourages a child from engaging in an activity, it will not be so easy to entice him again.
How pantomime helps to reveal talent
The ability to convey emotions and subtle experiences with the help of gestures, plasticity, and dance has been known for a long time. Famous examples of this acting skill for adults - street performers, circus clowns, Japanese Kabuki theater. The artist’s goal is to, having at his disposal a limited arsenal of tools (makeup, costumes), convey what he wants to the viewer as accurately as possible. This requires real talent.
Moreover, the actors make up in a special, minimalist style, placing the main emphasis on conveying the idea through body language and gestures. Somerset Maugham in his book "Theater" main character, the leading actress, perfectly mastered the art of holding a pause - and with the help of this technique she played any role perfectly.
A person practicing pantomime must learn to convey emotions through subtle movements, turning the body, tilting the head: anger, sadness, joy, despair, and in such a way that the audience has a complete illusion of what is happening, without any doubt.
How to properly develop coordination
The ability to move or coordinate fluidly and accurately is a great help in improving acting skills for teenagers. Dancing, outdoor games, including team games, and sports are designed to accustom the vestibular apparatus to orientation in space.
At the same time, such activities contribute to the development of a harmonious personality - completely in accordance with the saying of Chekhov, who believed that everything in a person should be beautiful. Some sports, such as tennis, simultaneously strengthen muscles and develop the eye. Performing complex movements that require high concentration figure skating or gymnastics, is also achieved through persistent training. But acting for models includes exercises on the ability to move easily and plastically, as well as a sense of balance.
You can start with the basics: learn to stand on one leg while maintaining your balance. Or throw the ball at the wall, trying to catch it on the rebound (a more difficult option - standing on one leg). They develop coordination well in games that require moving in a complex pattern while performing some task: basketball, football, hockey.
Acting for beginners includes exercises to maintain balance on a beam or balance beam, and obstacle course running.
Examples of exercises and etudes
It doesn’t matter whether acting is required for life or just as a hobby, to develop it, everyone is able to develop several basic exercises, repeating which, it is quite possible to achieve tangible results:
- Exercise in front of a mirror. Looking at your reflection, read a poem with expression, sing, trying to convey emotions as fully as possible. Helps prepare for public speaking, develops diction and reduces the threshold of fear of public speaking.
- Depict the mood. Try to use body position and facial expressions to overwhelm emotions (for example, joy). To do this you need to imagine some bright event, literally feel it again and play it, create an image happy person. This same category includes advice on how to learn to cry with the help of acting: you need to remember some sad, unbearable event in your life (personal tragedy, emotional experience) and force yourself to relive it.
- Free improvisation. Find a unique image, recreate it in the smallest details (gait, speech, behavior, accent) and with their help complete the portrait. You can make friendly caricatures of friends and acquaintances, and then ask them how successful the copy was.
Attention. During any exercise, it is important not to overact, to rely on the sincerity and subtlety of experiences, and not on excessive emphasis on external manifestations of emotions.
Finally
There are no absolutely universal methods of how to learn acting - there are only general recommendations. And on their basis, anyone - a teacher, student, businessman, aspiring artist - is able to develop their natural talents or acquire new skills.
In life we often play different roles, not only on stage. As Shakespeare said, “The whole world is a theater, in it women, men - all actors”. Acting is useful not only in theater and cinema, it can be useful when speaking in public with a speech or presentation, in business communication and in many other life situations. This section of our website was created to help in learning the art of acting.
This course of classes is intended for aspiring actors who are just trying their hand at the art of impersonation and want to take free online lessons on developing acting skills. In the training lessons you will briefly become acquainted with the theatrical systems of Stanislavsky, Meyerhold, Chekhov, Nemirovich-Danchenko, learn what qualities a real actor should have and how these qualities can be acquired, get closer to the art of impersonation and the art of experience, be able to make stage speeches and naturally reproduce the simplest emotions at the right moment. In addition, in this section you will learn about leading theater universities, schools, clubs and studios; you will be able to download and read useful books and textbooks; learn about exercises and games that are used in training professional actors; You will also be able to watch video clips of real acting trainings with your own eyes.
What is acting?
Acting art is a professional creative activity in the field of performing arts, consisting in the creation of stage images (roles), a type of performing arts. When performing a certain role in a theatrical performance, the actor, as it were, likens himself to the person on whose behalf he is acting in the play. By influencing the viewer during the performance, a special playing space and community of actors and spectators are created.
In modern society, when people spend a lot of time on computers and various mobile gadgets, many find it difficult to feel liberated, manage their emotions, communicate freely, and be confident. Because of this, people experience apathy or fear, as well as difficulty expressing their own thoughts and moods. Emotional depression leads to internal pressures, which manifest themselves not only in facial expressions, speech, movements, but also in inner world. Therefore, acting is useful not only for those who want to become a professional actor in the future, but also for people who want to learn how to manage emotions, be sociable, charismatic and successful in life.
Elements of the art of transformation
The basis of acting creativity is its main idea - transformation. Reincarnation can be external and internal. In the process of preparing for a role, the actor selects certain facial expressions, gestures, voice intonations, gait, and resorts to help. All in order to convey with maximum accuracy the demeanor and other external attributes of the character he portrays. But true reincarnation lies not only in conveying the appearance of a character on stage: the actor reveals the spiritual world of his hero, shows his character, expresses his thoughts and experiences.
The concepts of external and internal reincarnation can only be divided conditionally. We can say that these are two sides of the same coin - the creative process, which are closely interconnected. In the process of transformation, action, thought and feeling are in inextricable unity.
To truly transform into your character, you need to know and be able to do a lot. Konstantin Stanislavsky identified two key groups of elements of acting:
First group: the actor's work on himself. The elements of this group represent psychophysical processes in which the will, mind, emotions, external and internal artistic data of the actor are involved. All these are called Stanislavsky elements actor's creativity, these include: attention, memory, imagination, sense of truth, ability to communicate, emotional memory, sense of rhythm, speech technique, plasticity.
Second group: the actor's work on the role. Elements of the second group of acting art are associated with the actor’s work on the role, which ends with the organic merging of the actor with the image of his character, that is, transformation into the image. This group, according to Stanislavsky, includes 2 types of mastery: the art of presentation and the art of experience.
But acting is not only about transforming into a specific character about whom everything is known. The actor has to think out, imagine his character, that is, get involved. The famous theater teacher Stanislavsky noted that true creative state actor consists of four important interconnected elements:
- Stage attention (active concentration);
- Stage freedom (tension-free body);
- Stage Faith (correct assessment of the proposed circumstances);
- Stage action (an emerging desire to act).
Of course, learning all the elements of acting is difficult, and not everyone can master it. Faina Ranevskaya once said:
I receive letters - ‘Help me become an actor’. I answer: ‘God will help!’
Probably, you shouldn’t rely on God alone either. It is important to want and work hard, and those who try are truly favored by luck and higher powers.
Want to test your knowledge?
If you want to test your theoretical knowledge on the topic of the course and understand how suitable it is for you, you can take our test. For each question, only 1 option can be correct. After you select one of the options, the system automatically moves on to the next question.
Acting training and lessons
In order to master the qualities and techniques described above that make up the art of acting, we have prepared a series of lessons for you.
(1874-1940) - Russian and Soviet theater director, actor and teacher. The biomechanics he developed is a system of acting training that allows you to move from external to internal transformation. The extent to which the actor will be perceived by the audience depends on the accurately found movement and correct intonation. Often this system is contrasted with the views of Stanislavsky. In our lessons, biomechanics is considered as an addition to Stanislavsky’s system, and is aimed at developing the ability to reproduce the necessary emotions “here and now.”
(1891-1955) - Russian and American actor, theater teacher, director. In class, Chekhov developed his thoughts about ideal theater, which is associated with the actors’ understanding of the best and even divine in man. Mikhail Chekhov spoke about his philosophy of acting as the ideology of the “ideal person”, which is embodied in the future actor. The system of training actors, according to Chekhov, includes such elements as the world of images and creative thinking, our higher consciousness, professional acting technique, habits and the ability to control our body.
(1858-1943) - Russian and Soviet theater teacher, director, writer and theater figure. To develop acting skills, you can use the concept developed by Nemirovich-Danchenko about the system of “three perceptions”: social, psychological and theatrical. Each type of perception must be important for the actor, and their synthesis is the basis of theatrical skill. The Nemirovich-Danchenko approach helps actors create vivid, socially rich images that correspond to the ultimate goal of the entire performance.
Books and textbooks
Many books and textbooks are devoted to theatrical and stage skills. To make it easier for you to navigate this variety of acting literature, we have created a special book section, where we will talk about the most interesting, and most importantly, useful publications for training actors.
“An actor’s work on himself” - K.S. Stanislavsky. This book is one of the most famous and sought-after works of the great Russian director and theater teacher Konstantin Sergeevich Stanislavsky. We can say that this work has been a reference book for any actor and director for a long time. It is rightly called one of the most famous textbooks on acting and theatrical art. The book consistently sets out the contents of the so-called Stanislavsky system, which today underlies the practical training of leading Russian and world theater universities. In addition to a theoretical description of the system itself, in the book you will find useful exercises and practical recommendations.
“On the history of the creative method: Publications. Articles" - V.E. Meyerhold. The creative method of Vsevolod Meyerhold remains poorly studied. Researchers of the history of the director's performances interpret the general principles of Meyerhold's direction in many different ways. For many years, domestic theater studies were limited in their ability to objectively study non-realistic artistic methods. Meyerhold's own theory of theater was denied. “When he talks about the principles of his theater - he is weak and even helpless - he does not know what principles he is proceeding from,” this opinion of A. V. Lunacharsky was characteristic of many works about Meyerhold.
“On the actor’s technique” - M.A. Chekhov. This is one of the most famous books by Mikhail Chekhov, who saw many actors and directors different types, schools, directions and calibers. Organizing, systematizing and simplifying the accumulated material took the author many years. The original version of this book was written in English, since Chekhov moved to live and work in the USA after the revolution. But now the book can be read in Russian.
“Acting training. Gymnastics of feelings" - S.V. Gippius. This is the work of the famous Russian theater director and acting teacher Sergei Vasilyevich Gippius, with whom more than one generation of future actors and directors worked. Four hundred acting exercises presented in the textbook will help free the imagination, develop the ability to transform, creative imagination and intuition. All exercises are based on the system of Konstantin Stanislavsky, recognized throughout the world as the standard of acting, deeply meaningful and adapted by the author specifically for the learning process.
. This textbook on rhetoric was written by German professor at the University of Bremen Heinz Lemmermann almost in the middle of the last century. The book is intended as a systematic introduction to modern rhetoric for readers without special philological and linguistic education. The author tries to popularly reveal the key concepts and principles of rhetoric that are necessary for each of us. The textbook is suitable for both adults and schoolchildren, and with it everyone can master the course of rhetoric proposed by the author and learn to speak clearly and convincingly in public.
A collection of acting classes in the school theater.
Explanatory note.
Relevance: In modern society, the prestige of intelligence and scientific knowledge has sharply increased. 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, be indignant and empathize, more often show indifference and callousness, their interests are limited, and their games are monotonous.
Electronic toys and computers popular in Lately, are not able to compensate the child for the children's community, without which full mental and social development of the individual is impossible. Such children do not know how to occupy themselves in their free time, the world look without much surprise or interest, like consumers. Their memory and attention are insufficiently developed, and psychologists, noting a lack of observation and creativity, often make a diagnosis: “didn’t finish the game,” i.e. did not train his imagination in the joyful process of the game.
While working with children in music lessons at school, I had a need to find a form of developing children’s creative abilities that would be close and interesting to me and as effective and efficient as possible for children.
So, I developed the “Theatrical Creativity” program for primary school students.
Theatrical classes perform simultaneously cognitive, educational and developmental functions and are in no way limited to preparing performances.
Games held on extracurricular activities, are really a game for a 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.
Stage speech classes with children serve as a kind of standard correct speech and at the same time exercise and develop hearing, respiratory system, and the latter is closely related to the cardiovascular system. Therefore, while studying stage speech in the process of learning breathing exercises, the child simultaneously improves his health; trains the articulatory apparatus.
Goal: education and development of an understanding, intelligent, well-mannered theater audience with artistic taste, the necessary knowledge, and their own opinion.
Tasks:
relying on the synthetic nature of theatrical art,
contribute to the discovery and development of the creative potential of every child;
help develop teamwork skills and
communication;
through the theater to instill interest in world artistic culture
and give primary information about it;
teach creatively, with imagination and fantasy, to relate to
any job.
Theater lessons are unusual; classes need to be conducted in an emotional and engaging way. During the lessons the teacher is required good mood and goodwill. Over the course of several years, I had to develop a certain structure of classes.
The structure of the lesson looks like this:
- Greeting and articulation gymnastics
- Gymnastics for the face
- Tongue Twisters
- Exercises on speech technique (poems, rhythmic reading)
- Tasks on plastic movements (games)
- Outdoor games
The structure may change. It depends on the main goal of the lesson, the age of the student, and the degree of mastery of the material. You just need to make sure that static exercises alternate with moving ones, and that one task is replaced by another in a timely manner.
An important condition for all work is to preserve the game beginning: a short explanation - a test display - brief analysis display – continuous demonstration and analysis of students – encouraging the best. Excessive analysis of mistakes reduces the interest of children and the emotionality of the lesson.
Each lesson must necessarily contain some new element, exercise, task or game. If the task turns out to be difficult for your children, then it should be replaced with an easier one in order to return to it at another stage.
A special place in the classes is given to working with an imaginary object, to which we pay great attention throughout the course. This is one of the elements of K.S. Stanislavsky’s system, very valued by him, which enriches fantasy, develops creative imagination, logic and sequence of actions.
The main work on speech development (breathing, training the speech apparatus, proverbs and tongue twisters) is carried out in the first two years of schooling, when children do it with pleasure. In the third year of study, we pay more attention to the expressiveness of speech, looking for colors to express creative ideas, ideas.
We usually end the lesson with emotional, entertaining or active games so that the children leave the lesson in a good mood.
Theater creativity
Main areas of work with children
Theatrical acting is a historically established social phenomenon, an independent type of activity characteristic of humans.
Tasks. 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 tense and relax individual muscle groups, remember the words of the characters in performances; develop visual and auditory attention, memory, observation, imaginative thinking, fantasy, imagination, interest in the performing arts; practice clear pronunciation of words, practice 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; gaining a sense of harmony of your body with the world around you.
Tasks. Develop the ability to voluntarily respond to a command or musical signal, readiness to act in concert, joining in the action simultaneously or sequentially; develop coordination of movements; learn to remember given poses and convey them figuratively; develop the ability to sincerely believe in any imaginary situation; learn to create images of animals using expressive plastic movements.
Culture and technique of speech. Games and exercises aimed at developing breathing and freedom of the speech apparatus.
Tasks. Develop speech breathing and correct articulation, clear diction, varied intonation, logic of speech; coherent figurative speech, creative imagination; teach to compose short stories and fairy tales, select the simplest rhymes; pronounce tongue twisters and poems; train clear pronunciation of consonants at the end of a word; use intonations that express basic feelings; replenish your vocabulary.
Fundamentals of theatrical culture. Children are introduced to elementary concepts, professional terminology of theatrical art (features of theatrical art; types of theatrical art, the basics of acting; spectator culture).
Tasks. Introduce children to theatrical terminology; with the main types of theatrical art; cultivate a culture of behavior in the theater.
Tasks. Learn to compose sketches based on fairy tales and fables; develop skills in working with imaginary objects; teach to find keywords in individual phrases and sentences and highlight them with your voice; develop the ability to use intonations that express various emotional states (sad, happy, angry, surprising, admiring, pitiful, contemptuous, condemning, mysterious, etc.); replenish vocabulary, figurative speech.
The main requirements in the work are reliability, truthfulness of execution, expressed in purposeful actions in the proposed circumstances. For this purpose, children are given a number of exercises that develop these particular skills.:
- Speculation of the proposed circumstances;
- A story about the hero on his own behalf;
- On behalf of the character who came into conflict with him;
- Inventing events before and after the sketch;
- Characteristics of the hero according to his own speech, etc.
Thus, schoolchildren gradually develop an idea of character as a special behavior. At this stage, the child should already be able to consider an act as an action through which the character of the hero is manifested.
At the final performance, performances of poetry, folklore festivals, and “village gatherings” are shown. Schoolchildren participate in the performance as a collective work, using the working terminology of acting.
Acting lesson notes No. 1
Topic: “Stage image of the puppet theater.”Goal: To develop the ability to transform into an artistic image through familiarity with the elements of acting
Tasks:
1.Introduce the elements of acting: facial expressions, gestures, plasticity.
2. Development of the motor sphere through the ability to control one’s motor actions, develop motor dexterity associated with imagination, imaginative thinking, fantasy in creating acting sketches.
3. Education personal qualities ensuring the success of creative activity (passion, determination, observation, independence);
Technical means:
1. Music center.
2. Screen.
3.Multimedia projector.
Progress of the lesson.
1. Organizational moment (10 minutes).
1) Theatrical bow.
2. Updating knowledge
3) Acting training to warm up speech and motor skills
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 studio members:
“Who do you think is responsible for creating a stage image in a theater group?”
“What means can you use to create an interesting and expressive role?”
“Are the elements you named sufficient to create a full-fledged stage image?”
Slide (1) Lesson topic.
Getting to know new material.
1. SHOW Slides with different options Facial expressions of people.
What is this element of the stage image called?
Slide (2, 3,4,5,6)
FAMILY - (Greek: Imitator) - expressive movements of the facial muscles, which are one of the forms of manifestation of certain human feelings - joy, sadness, disappointment, satisfaction, etc.
Slide (7,8)
Types of facial expressions:
involuntary (reflex) everyday facial expressions;
voluntary (conscious) facial expressions, as an element of acting, which consists of conveying the character’s state of mind through expressive movements of the facial muscles. She helps the actor in creating a stage image, in determining psychological characteristics, physical and mental state of the character.
Practical work.
1 Task.
Facial expressions: The pain is aching, continuous. Old man's face ( character traits– wrinkles, squinted eyes, distorted mouth).
Task 2.
Facial expressions: Show the “Terrifying Fear” mask (characteristic features - the eyes and mouth are extremely wide open).
The most successful facial sketches receive an asterisk.
Stimulation method.
2. SHOWING slides with different options for GESTURES and PLASTICS of people.
Slide (9,10, 11, 12,13,14, 15)
Introduction to Definitions
GESTURES and PLASTICS are body language - symbolic elements of poses and movements of various parts of the body, with the help of which, as with words, thoughts and feelings are structurally formed and encoded, ideas and movements are transmitted:
Slide (16,17,18,19)
like facial gestures
head, hand and foot gestures
gait
different rotation of the body.
Practical work.
1 Task.
Gestures: Fingers are tense as much as possible, while shaking and constantly looking for support. The hands of an old man are clumsy and ugly.
Plasticity: The head is shaking, the back is hunched, the legs are bent at the knees, the body is constantly tilted forward, the arms are widely spaced to the sides.
Comparison method
Task 2.
Gesture: Hands in position - “Danger” (arms tense, but flexible, ready to attack).
Plasticity: The body is in the “Waiting” position (the neck is stretched forward, the shoulders are raised, the body is tense and leaned forward, the legs are spread wide, ready to jump).
The most successful plastic sketches receive stars. Stimulation method
4. Practical work (Individual studies). (10 minutes)
1) Questions for studio students:
“What is the difference between a plastic sketch and a sketch?”
“Having created a stage character, what should an actor do before going on stage?”
2) Showing of acting sketches “Snow Characters” using facial expressions, gestures and plasticity: “Snowflakes”, “Snowmen”, “Snow Animals”.
Modeling method. Working with groups.
5. Summing up. (5 minutes)
Questions for studio members:
“Did today’s lesson help you learn some acting tricks?”
“Which sketches didn’t work out today and why?”
“Which sketches do you think were successful and why?”
Comparison method
6.Reflection:
Satisfactory (hand at waist level)
Good (hand at head level)
Excellent (hand above head) reflection
7.Homework is to finalize plastic sketches on the theme “Snow Characters.”
Acting lesson notes No. 2.
Topic: “Parsley - a folk fair hero”Purpose of the lesson: to develop initial knowledge about the main puppet of Russian theaters - Petrushka.
Tasks:
Educational:
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.
Educational:
1. Develop observational, cognitive and Creative skills pupil.
2. Develop creativity, fantasy, imagination and imaginative thinking.
3. To develop in students a meaningful approach to work: self-esteem, perseverance, comparison, motivation for knowledge and creativity.
Educators:
1. Encourage children to improvise using theatrical puppets;
2.Create a creative atmosphere in class.
Pedagogical technologies: ....
Teaching methods: verbal, visual, productive, game, method of motivation and stimulation, information technology.
Methodological support for the lesson:
- decorated mini-gallery with various portraits of folk dolls - favorites;
- illustrations of scenes from productions;
Equipment and materials: audio recordings, dolls: Parsley, gypsy, horse, round screen, paints, felt-tip pens, album sheets, poster, stereo system, musical noise instruments, Parsley's clothes, squeaker, screen (working and round).
Preparatory work:
1.Work with literature.
2.Development and writing of notes.
3. Selection of musical accompaniment.
4. Preparation of illustrative and visual material.
5. Preparing screens and dolls.
6. Preparing the classroom for class.
Progress of the lesson
I. Organizational stage
Teacher: Good afternoon guys! We begin our lesson traditionally, with a working semicircle. Today we have a lot of serious work ahead of us. And therefore, let's wish each other something that would help us work well in class.
(The teacher is the first to extend his palm and name a wish. Children come up to him in turn and put their palm on his, saying a wish.)
II.Main stage
Teacher: I’ll start today’s lesson with poetry:
“Once upon a time there lived a man who was absent-minded
On Basseynaya street.
He sat down on his bed in the morning,
I started putting on my shirt,
He put his hands into the sleeves -
It turned out that these were trousers.
That's how absent-minded
From Basseynaya Street!
"Mr. Twister"
Former minister
Mister Twister
Businessman and banker
Factory owner
Steamboat newspapers,
I decided in my spare time,
Travel around the world"
Teacher: Guys! Do you know who S. Ya. Marshak is?
Students: Children's writer
Teacher: What is the connection between the poems I read and the children's writer S. Ya Marshak?
Students: He is the author of the poems read.
Teacher: Which of you can also read some poems by S. Ya Marshak
(Children read poetry)
Teacher: Well done! Do you know a lot of poems by this writer?
But have you heard these poems of his:
“Hello, my young viewers!
Would you like to fight with me?
Come out about a hundred people -
No one will leave intact
Two hundred people come out -
I’ll put everyone down on the spot!”
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 these character traits? I'll give you a hint - this hero is also in our theater.
(If the children cannot answer, 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 - a folk fair hero” To do this, I invite you on an excursion to our puppet museum. All 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 there are illustrations of Petrushka, screen-skirts, barrel organs, doll clothes, a bag of dolls, a squeaker whistle, a stick)
Petrushka is a wonderful puppet of the Russian theater. Nobody knows what Petrushka and his ideas were like in the last century. But he has survived to this day 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 not allowed to enter theater buildings and the houses of nobles and nobility, because this art was considered not real.
That's why Petrushka and his fellow dolls were always on the road. He moved from place to place, from province to province, from city to city. A puppeteer is walking along the road and carrying a folding screen and a bag of dolls on his shoulder, and with him a musician. It's more fun to go together. The musician carries a barrel organ. This is a music box (drawing of a barrel organ). Her sound is very melodic.
(Music sounds, the piece “Hurdy Organ”)
(against the background of music) They will come, they will set up a screen, the puppeteer will hide behind it, and the musician will sit in front of the screen, play on the organ (the organ sounds) and invite people. But then Petrushka appeared on the screen and it immediately became noisy, because Petrushka had a special voice: it squeaked, because the puppeteer had a “squeaker” in his mouth, a special device for squeaking so that people would come running to his voice.
(The teacher dresses the doll and goes behind the screen)
Parsley:
Hello, gentlemen!
So I came to you here
I left early in the morning.
From the owner of the booth.
He paid me outright,
He gave me an empty piggy bank.
Paid per day -
Day and night, I left.
Because he's not to be trifled with.
What a freak he really is.
And he yells “Get out!”
Okay, I kept silent, I didn’t say a word to him.
He just gave in with a stick - Rrraz!
Take it, Karabas Barabas!
Teacher: (coming out from behind the screen) At the end of each scene, he hits his interlocutors - the dolls - with a stick. In order to continue acquaintance with Petrushka, you need to go to the next room.
Teacher: Let’s move on to the next hall of the “Fair festivities”
(On the round screen are illustrations of Petrushka’s performances 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 loved to perform at a noisy and cheerful fair, on the fairground. Listen to how lively the fair is buzzing and having fun!
(Music “Theater Noises”)
Teacher: What did you hear at the fair? What were the people doing on it?
(Students: had fun, walked, sold, barked, traded, bought...)
Teacher: We have exhibits that were used at the fair: a tray with goods, musical instruments(explains to children)
Teacher: Let's try to act out a fair and a fair performance.
Teacher: Now let’s imagine that we are at a fairground. Some of you are inviting to the fair, some are trading, some are buying, some are playing the balalaika, and the little bear is dancing.
(Dance music plays, children pretend to be at a fair)
Teacher: That's how noisy our fair turned out to be. At the height of such a fair, a puppeteer always appeared (children sit on chairs). The puppeteer had a whole set of scenes with Petrushka. In some he met his bride, in others he bought a horse, was treated by a doctor, learned to be a soldier, fought with the devil... In total there were more than twenty such scenes. And now we will try to act out one of these scenes.
(The teacher selects from among the children the roles of Parsley and the Gypsy. An excerpt from the scene is acted out.)
Parsley: Here come the kids!
Girls and boys!
Bonjour, nice girls,
Quick-eyed freaks!
And bonjour for you, rouged old ladies,
Youthful old men.
I am your acquaintance, Monsieur Vonger-Petrushka.
I came to amuse you
And congratulations on the holiday!
(A gypsy with a horse appears on the screen. The scene is voiced and acted out by the students)
Scene
Gypsy: Hello, Monsieur Pyotr Ivanovich! How are you living - are you doing? Do you often get sick?
Parsley: What do you care? Aren't you a doctor?
Gypsy: Don’t be afraid, I’m not a doctor... I’m a gypsy, from the choir, I sing in a bass voice, I drink kvass.
Parsley: Don’t talk with your tongue, don’t speak with your teeth. Say what you need to, and drive by!
Gypsy: My French friend Foma says that you need a good horse.
Parsley: This, brother, is the case. It’s been a long time since I got a horse. But is the horse good?
Gypsy: Not a horse, but a miracle: it runs, trembles, stumbles, but if it falls, it does not rise.
Horse: Yoke - yoke!
Parsley: Wow! That's how the horse is. What suit? Gypsy: Piebald with spots, golden, with a shaggy mane, crooked, hunchbacked - English breed with a family certificate.
Parsley: Wow! This is exactly what I need! Is it expensive?
Gypsy: I’ll take it inexpensively if I know you: 3,000,000.
Parsley: You're asking too much. The horse is very young! There is not a single tooth in the mouth yet. Oh, if I sit down, I’ll fall.
Gypsy: Are you going to fall soon?
Parsley: After 20 years, right at lunchtime. Yes, call the doctor quickly.
Gypsy: I’ll bring you now (they leave)
(Students take their places on chairs)
Teacher: Well done our puppeteers! The parsley plants amused the people. Let's clap for them.
Physical education minute
Assignment: And now we will hold a competition among you for the most noisy, cheerful and cocky Petrushka. Having put on the cap, you must pronounce the text as our hero would say it (a competition is being held)
Teacher: The next hall “Pedigree of Parsley” awaits us.
“Pedigree” is when you want to find out what kind of ancestors you had. Our Petrushka has a very rich past. This is Maccus, a popular character in ancient comedy. He became the prototype of our hero. You could say he's his grandfather. The Italians created their own theatrical puppet named Pulcinella. And Pulcinella got new names.
(Portraits of Petrushka and his relatives abroad)
In France - Polichinelle
in England - Punch,
in Germany – Kasper,
in the Czech Republic - Kasparek.
Here are portraits of different people's favorites, they have different names. But they are all relatives of our Parsley.
Teacher: Do you guys know that our Petrushka has surnames? But she is unusual. Try to guess it. Here are the possible answers:
(A list of surnames is posted. Children choose the correct answer from the proposed options and place it under the portrait of Petrushka)
Pyotr Petrovich Kisly
Pyotr Fedorovich Mustard
Pyotr Ivanovich Uksusov (correct answer)
Pyotr Nikolaevich Solyony
In some plays you will find such surnames as Parsley.
Samovarov,
Vanka Ro-to-tui
Vanka Ru-bye-bye
(Still from the presentation “ Famous heroes theater The picture gallery consists of portraits of: Petrushka, Pulcinella, Polichinelle, Punch, Kasper, Kaszparek, Maccus; paintings depicting a puppeteer at a fair with a screen - a skirt).
Teacher: Our excursion is over. And now I invite you to take your places at the tables. We learned a lot about Petrushka, about his character. I think it won’t be difficult for you to draw his portrait. And you will place your finished drawings in our art gallery.
(The play “Petrushka” by A. Rowley is played, students draw)
III. Summarizing
Teacher: Guys, you received an unusual message from Petrushka. You can read it when you put all the details together and correctly. You can add your own detail when you name something interesting you learned today.
(Students complete the task. Having collected all the details together, read the text of the invitation to the New Year tree on the back)
Teacher: Our lesson has come to an end. But we will continue our acquaintance with Petrushka and his ideas in the next lesson. Thank you for your work. Petrushka and I say goodbye to you.
Acting lesson notes No. 3
Topic: Game – “Journey to a Fairy Tale”Topic: Improving a set of techniques and acting skills through stage perception.
Purpose of the lesson: Creating a stage image 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 given essential characteristics.
3. Develop skills of preparedness for any surprise.
Children's age is 10-12 years.
The form of the activity is an activity – a game.
Equipment for the teacher:
- music Center;
- phonograms with sounds;
- educational cards with associative chains.
Equipment for children:
- props for table setting;
- costumes of fairy-tale characters;
- makeup
Plan - summary of the training session.
- Good afternoon! Today I invite you to take a journey into a fairy tale and try yourself in the role of fairy-tale characters, because this is exactly what K.S. Stanislavsky said: “When you reach truth and faith in children’s games in art, then you can become a great artist!” .
And before we start class, I suggest we greet each other at unusual shape, namely, try to find a rhyme to the lines and finish the word.
Preparing children for work in the classroom. Creating a mood.
Exercise - greeting “Say a word.”
- The lights are on on this stage!
You tell me: (children answer) Hello!
- We, friends, are not lazy to study!
You say: (children answer) Good afternoon!
- There are many surprises ahead!
You say: (children answer) Hello!
Activation of attention
Exercise “Fairy-tale hero”
So, are you ready to go on a journey? (children answer) No ahead easy way, so I suggest how to tune in and activate auditory, visual attention and memory. Concentrate your memory and try to cope with the next task, which is called “Fairytale Hero”. Remember as many fairy-tale characters as possible that begin with the letters “K”, “L”, “S”.
You coped with the task “Fairytale Hero” brilliantly, but now try to activate your auditory attention and the next task that you have to cope with is called “Sounds”.
Exercise “Sounds”
I suggest you listen to sounds in your office, on the street, in the Creativity Center. Ready? As soon as I clap my hands, you activate your auditory attention and complete the task. So, what sounds did you hear when I clapped my hands the first, second, third time? Tell us about the nature of the sounds?
Well done! Well, now your favorite exercise is “Catch the Cotton.”
Exercise “Catch the Cotton”
Your task is to catch the clap, namely, to respond to my clap with your friends. Are you ready? Then let's begin... Well, now, applause!
Now, you are truly ready. For two months, we have been studying the topic: “Perception,” which is visual, auditory and tactile. Today, we are summing up this topic. And we will find out what they will be at the end of our lesson.
Subject message.
- Topic of our lesson:
“Improving a set of techniques and acting skills through stage perception.”
Purpose of the lesson.
- And today we set ourselves the following goal:
“Creating a complete image of a fairy-tale hero through stage perception.”
- Surely, you have already guessed what fairy tale we will go to? (children answer) That's right, to the fairy tale “The Adventures of Pinocchio or the Golden Key.” And I suggest checking how well you remember it. Name the author of this wonderful fairy tale.
Here is an associative chain for a fairy tale, look at it carefully and answer my question: “Which heroes, actions and objects will be superfluous?”
Exercise “Associative chain”
1. Pinocchio, Karabas, Harry Potter, Baba Yaga, Malvina, Snow Queen, Pierrot.
2. Coins, painted hearth, Magic wand, pipe, beard, jug, key.
3. Sun, snowfall, birdsong, thunder, dogs barking, frogs croaking.
- You completed the task well, and now try to compose an event sequence using those cards that turned out to be superfluous.
Exercise “Event sequence”
Children take turns drawing 2-3 cards and coming up with an event sequence.
- Well done! You coped with the task wonderfully, and now answer one more of my questions: “Without what components will you not be able to see clear action in the play?” That's right, if there are heroes, but there are no costumes, props, or voice acting, will the image be complete? Of course not. Today we have to create a complete visual and sound image of one of the paintings from the fairy tale “The Golden Key”. You are ready? Then let’s start creating a visual image, namely setting the table for the “Tavern of the Three Minnows”.
Applying training exercises to the section " visual perception»
Exercise “Table Setting”
- During the short intermission between scenes, you need to set the table for the painting from the fairy tale “The Golden Key” “The Tavern of the Three Minnows”. Unfortunately, we don’t have personal props, so we’ll have to set the table ourselves. I think that this task will not be difficult for you, especially since all the props are in front of you. Remember what the tavern looked like when Basilio the Cat and Alice the Fox came to it, what they ordered for dinner, and how their table was set. All together, you can easily complete this seemingly simple task: with discipline and proper preparation. Remember that you are working during intermission and there are people in the auditorium who can hear you. There is a table in front of you, each of you receives one of the items that should subsequently be used in serving and interior design. Visualize the picture, create a visual image and get to work, the table should be set when I count exactly to ten.
Well done! The stage is set, and very soon fairy-tale characters will appear on it. And who it will be, we will try to hear.
Application of training exercises to the section “auditory perception” Exercise “Sonoscope of events”;
Try to create your own sonoscope of events for some scenes from the play “The Golden Key”.
Now we will divide into two groups and sit so that one group does not see the other - back to back. Each group will receive the name of their painting (“In the Swamp at the Tortilla Turtle” and “In the Karabas Theater”) and several objects that will help you create a sonoscope of events, and the other group will have a better auditory perception of the painting.
The first group sets the sounds, the second explains them. The group is given 2-3 minutes to agree on the nature of the sounds, then the children voice the pictures and make adjustments to the sound of the other group.
- Well done, you coped with the task very well.
Exercise “Soundtrack”
Now you have to listen to three audio tracks, which consist of different sounds. Your task is to come up with storyline for each audio track. Use a few sounds to create a picture. Check how your auditory perception works. Close your eyes. Listen! Be careful, you might hear something familiar ahead!
- Open your eyes. What's happened?
- Tell us in more detail everything you saw in your imagination. From start to finish, consistently, without missing anything.
(The last audio track is the dubbing of the scene “The Tavern of the Three Minnows” from the fairy tale “The Golden Key”)
- That’s right, the last soundtrack is a good soundtrack for the scene “The Tavern of the Three Minnows.” Your auditory perception did not fail you.
- So, the stage is set. We created the visual perception of the picture. There is a sound track. But it seems like someone is missing? (children answer)
That's right, the most important thing is missing - the heroes of the picture: Basilio the Cat and Alice the Fox.
Application of training exercises to the tactile perception section
Exercise “Your Exit”
But I have the costumes of these wonderful heroes, try to put on the costume of a fairy-tale hero correctly with eyes closed using all the knowledge you have gained.
(the musical intro “Song of the Cat and the Fox” from the fairy tale “The Golden Key” plays, children complete the task to the music)
After the task is completed, the group makes adjustments.
Formation of a holistic view of the topic
Exercise “Bring the picture to life”
So, the heroes are ready, the stage is set, there is a sound track, and I suggest you finally revive the picture “The Tavern of the Three Minnows,” but first, let’s listen to the sound track again, imagine the character and images of our heroes.
- I give you 2-3 minutes to prepare, and we’ll see what you got?!
(impromptu screening of the painting “The Tavern of the Three Minnows”).
Analysis and evaluation of success in achieving the goal. Self-esteem.
I want you to applaud each other now, because today in class you completed all the tasks, thereby summing up the topic “Perception”. I would like to know what you liked about the lesson and what you didn’t?
- Our fairy tale has not come to an end, tell me, what did Basilio the Cat and Alice the Fox hunt for in the fairy tale for so long? (children answer) Of course, for gold coins!
Who do you think did the best job in today's lesson?
- Then, allow me to award several gold coins to the most active participants, those who, in your opinion, coped with creative tasks best of all.
(Awarding coins for creating a stage image: the funniest, the brightest, the most charming, etc.)
- Our lesson has come to an end, and I want to end it with the words of K.S. Stanislavsky: “When you reach truth and faith in children’s games in art, then you can become a great artist!” Don’t forget the fairy tales that surround you, and stay in childhood as long as possible!
Acting lesson notes No. 4
Topic: “Work on creating a stage image”Goal: Formation of the skill of transformation into an artistic image through elements of acting.
Tasks:
1.Learn to work in a team.
2.Introduction to the elements of acting.
3.Development of individual abilities.
Technical means:
1. Music center.
2. Audio cassettes, discs.
3.Video.
Lesson plan:
1. Actor's toilet.
2. Introduction to the topic.
4. Individual studies.
5. Summing up.
6. Homework.
Progress of the lesson.
1. Actor's toilet (15 min):
a) Theatrical bow.
b) Plastic warm-up.
c) Speech gymnastics.
2.Introduction to the topic.
Questions for studio members:
1) “What do you think, who in both professional and amateur theater groups is engaged in creating a stage image?”
2) “What means can you use to create an interesting and expressive role?”
3) “What do you know about Stanislavsky’s system?”
3.Elements of acting to create a stage image.
1) Getting to know the definitions.
FAMILY - (Greek imitator) - expressive movements of the facial muscles, which are one of the forms of manifestation of certain human feelings - joy, sadness, disappointment, satisfaction, etc.
Types of facial expressions:
a) involuntary (reflex) everyday facial expressions;
b) voluntary (conscious) facial expressions, as an element of acting, which consists of conveying the character’s state of mind through expressive movements of the facial muscles. 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 emotions other than those that a person actually feels at one time or another).
GESTURES and PLASTICS are body language - symbolic 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 techniques, which include such non-sign movements:
a) as facial gestures
b) gestures of the head, arms and legs
c) gait
d) different rotation of the body.
2) Practical work.
1 Task.
Facial expressions: The pain is aching, continuous. The face of an old man (characteristic features - wrinkles, squinted eyes, distorted mouth).
Gestures: Fingers are tense as much as possible, while shaking and constantly looking for support. The hands of an old man are clumsy and ugly.
Plasticity: The head is shaking, the back is hunched, the legs are bent at the knees, the body is constantly tilted forward, the arms are widely spaced to the sides.
CONCLUSION: All these elements are characteristic of the image - an old man.
2 Task.
Facial expressions: Show the “Terrifying Fear” mask (characteristic features - eyes and mouth 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 spread wide, ready to jump).
CONCLUSION: All these elements are characteristic of the image - a predatory animal.
4. Individual studies.
1) Questions for studio students:
a) “What is the difference between a plastic sketch and a sketch?”
b) “Having created a stage character, what should an actor do before going on stage?”
c) “What other means can be used to create an artistic character?”
2) Display of video fragments - individual works of graduates.
3) Practical task - Each student, individually, must try to compose a story based on 3 main events.
4) Display of single plastic sketches.
5. Summing up.
Questions for studio members:
a) “Did today’s lesson help you learn some acting tricks?”
b) “What do you not understand about writing a sketch and when working on a role?”
c) “Which sketches didn’t work out today and why?”
d) “Which sketches do you think were successful and why?”
6.Homework – finalize single plastic sketches
Acting lesson notes No. 5
Theme of the training session: “Ways of free well-being in theatrical activities”;Purpose of the lesson: development of freedom of expression and acting skills of students in theater activities through a system of training and game exercises.
Tasks:
Educators:
contribute to the development of a friendly attitude towards each other, partnerships,
developing curiosity, cultivating an optimistic outlook on life and one’s own activities;
cultivate emotional responsiveness.
motivate for further pursuits of theatrical creativity.
Educational:
developing the ability to adequately evaluate one’s own creativity and the creativity of others;
development of acting abilities;
development of skills for free well-being in public conditions;
develop the emotional and aesthetic sphere, imaginative thinking, fantasy, imagination, memory, attention, observation, desire for self-expression.
Educational:
check and evaluate the level of knowledge, skills and abilities of acting; plastics.
to develop knowledge about ways to relieve muscle and psychological tension.
Methods
1. Verbal methods: story, conversation.
2. Visual methods: display method, demonstration.
3. Practical methods: exercises, games, training exercises.
Technologies: partially search.
Expected results:
Subject: - knowledge of the types of acting clips (voice, plastic, psychological);
-self-diagnosis of acting pressures;
Metasubject:
- knowledge of ways to remove bodily tensions, liberation and uncertainty before a theatrical performance and in public activities.
Personal: - presence of positive emotional atmosphere in Group.
- development of empathy.
- development of self-confidence
Material and equipment:
Chairs, fabrics, tape recorder
Lesson plan.
1. Organizational moment.
-preparation for class, relaxation exercise (5 min.)
-announcement of the topic and setting the purpose of the lesson. Introduction of new educational material. The concept of “emancipation” (2 min.)
2. Main part.
-Repetition of the material covered, exercise “Circle” (the exercise is aimed at collective work. (10 min.)
Exercise “Concert of fairy-tale characters” (the exercise is aimed at developing fantasy and imagination, overcoming the fear of publicity (25 min.)
3. Final part.
- Summarizing. (1 min).
Progress of the lesson
1. Good afternoon, dear guys. Sit in a semicircle. We inhale through our nose, exhale through our mouth, with each inhalation we inhale a good mood, and with the exhalation, all the bad things you had today go away. Let's all inhale, exhale, and so on eight times. Now close your eyes, each of you remember your route from home to school. How many stairs do you have on the site, count how many roads you need to cross, is there a traffic light. Go all the way, in detail, in your imagination, silently. Whoever gets to school, open your eyes. Have you all arrived? If everyone has arrived, then you are ready to go.
The topic of today's lesson is “Ways of free well-being in theatrical activities.” You have probably heard the phrase “a liberated person”, “behaves in a relaxed manner”. Today you and I will learn and liberate ourselves. What words synonyms for “liberated” do you know? Children's answer. Dictionary of synonyms: uncomplicated, liberated, free, spontaneous, relaxed, liberated, uninhibited. Synonyms are more suitable for us: spontaneous, relaxed, relaxed and probably uninhibited. Before we start something new, let's remember what we did in the last lesson? Moreover, the past lesson is intertwined with today’s and is aimed at overcoming uncertainty and fears before performing.
2. What did we talk about? Well done, about the “acting pressure” and how to deal with it. We stand in a wide circle. Who remembers what we did in the circle? It’s very good that you remember almost everything. Let me remind you again, one of you goes to the center of the circle, makes a movement that is unusual and unlike anyone else, which they can repeat, and says your name. When the presenter returns to his place, we repeat everything after him. Let's go clockwise from me, let's start. Great, today is better than last time. Now let's complicate the task. Let us remember the tongue twister: “The clatter of hooves causes dust to fly across the field.” Now, instead of our names, we pronounce a tongue twister with different intonations. And intonation depends on your movements and gestures. Options: you can call your partners, scold, brag, teach, etc. Now, counterclockwise from me, let's start. Well done. Now we can move on to a new exercise, a new topic.
3. Today we will have a concert, but not an ordinary one, but a “Concert of fairy-tale characters.” What is this, you will now find out. To do this, we will share with you, the audience, the entertainer and the actors. Of course, you will all try yourself in different roles, so now, sitting still, remember poems, tongue twisters, songs. We remembered which of you is brave, I need two people. One of you will be the compere, or otherwise the presenter, who announces the speaker loudly, clearly and brightly, as if a very famous actor is performing. Actors read poetry, sing or tell tongue twisters, but not on their own behalf, but on behalf of any fairy-tale character. In other words, you guys briefly transform into your favorite characters and act on their behalf. After the performance, you change, the actor becomes the entertainer, and the entertainer becomes an actor. A big request to you, please, no characters from computer games. The main condition: “I am not afraid of anything, because I am Ilya Muromets, Zmey Gorynych, fairy, Cinderella, Baba Yaga, Cheburashka, etc., and when I announce, I am a very famous entertainer.
The audience watches and appreciates it through applause.
The final stage. Summarizing.
Now let's summarize our lesson. You did a good job today, well done everyone. What was difficult for you to accomplish today? What did you find most difficult? What was easy for you? What qualities of your characters would you apply in life, and why? (children's answers)
Let's return to the topic of our lesson today: psychological and bodily liberation. Through exercises and mini-performances you learned to be spontaneous, relaxed, relaxed, in a good way words. By putting on the mask of your fictional characters, you fought against your clamps and rigidity.
We will return to these exercises in future lessons. Read Russians at home folk tales, choose your favorite characters. In the next lesson we will discuss the nature of your characters.
See you!!! Thank you for the lesson.
List of references used in preparation for the lesson.
1. L.V. Grachev “Acting training: theory and practice.”
2. Elvira Sarabyan “Acting training according to the Stanislavsky system.”
3. N.A. Oparin “Pedagogy of theatrical leisure”.
4. Russian folk tales.
Acting lesson notes No. 6
TOPIC: “The art of being different”Purpose of the lesson: Purpose: 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: working with imaginary and real objects.
Tasks:
- create conditions for intellectual, moral and emotional self-expression of the individual, for the discovery and development of abilities in artistic, artistic, literary activities;
- contribute to increasing the role of self-government in planning, organizing and analyzing activities;
- create a range of trainings that allows you to optimally distribute participants according to their abilities;
- promote creative self-expression.
Equipment: stage, chairs, tape recorder
Progress of the lesson:
The whole world is a theater, we are all reluctant actors,
Omnipotent Fate distributes roles,
And the heavens are watching our game.
Acting training removes emotional barriers in communication, creates an emotionally comfortable atmosphere in the classroom, creates a situation of success, allowing you to express yourself. All this contributes to more successful self-realization. Participants perform independent actions and are responsible for them to other participants. The publicity effect that occurs during the training contributes to the development of tolerance and empathy, the ability to understand and accept another person. Understanding the emotional state of another is expressed in the form of empathy and sympathy.
Thesis: Everyone is talented!
I block. Warm up.
1. Immersion. I invite everyone to stand in a circle.
This is a close interaction between the actors - we see each other. I'm preparing you for the role. In order to get into the role, all extraneous thoughts must be left behind the scenes.
2. Study with an imaginary subject.
A convenient and time-efficient method of overcoming the fears and anxieties of a large group is to create a “Deposit Box”:
Participants need to remember what worries them, which may interfere with active participation in our lesson, for example, these may be distractions
Did I feed the cat?
When will uncle leave the hospital?
I have nothing to say
Concerns about participating in class
Will I be able to cope with anxiety?
Will I be asked to speak?
What if I don’t answer as expected?
Try to put all your worries in this basket, imagining your unnecessary item. While the concerns are in the basket, they can be forgotten.
II block. Speech techniques.
3. Practicing diction.
Relaxation exercise “Worship of the sun”
Everyone is standing in a circle. Legs are shoulder-width apart, feet are parallel, arms are freely lowered along the body.
inhale – raise your arms and head up;
exhale - tilt.
Exercise "Buttons"
“Twisting” with your hand and the sound of the button, clearly pronounce the “bundles” of consonants: TCHKa, TCHKu, TCHKe, TCHKi, TCHKo.
Since speech and reading occur during inhalation, its organization is crucial in the management of breathing and voice.
First of all, it is necessary to ensure that while reading there is always a supply of air in the lungs; a weak stream of air is involuntarily compensated for by their excessive tension, which is dangerous for the ligaments.
Before you say a tongue twister out loud, you need to do it silently several times, actively articulating with your lips, as if you want to be heard through soundproof glass! Then say it in a whisper, but so that you can be heard at the end of the hall. Only after this say it out loud, but not quickly. But after that - three times in a row quickly.
- From the clatter of hooves, dust flies across the field
- The bull is stupid, the bull is stupid, the white lip was stupid
- Sasha walked along the highway and sucked on a dryer
4. Theater rules:
- silence behind the scenes
- you cannot turn your back to the audience
- remain in role until the end of the performance
- be able to listen to your partners
- all actions are performed by clapping
(Warm-up. We control the body. To the music we go on stage from both sides. Assistants show the movements).
III block. “Acceleration”, “inhibition” of mental activity.
5. Determine the “grain” of character!
An important element of acting is the interaction between partners.
- Go to your partner who is sitting opposite you. Look at each other. Tell us something about your partner, maybe he reminds you of some bird, animal, tree...
We work in pairs (development of communication skills). It is proposed to combine two sentences into a coherent story.
1) “Far away on the island there was a volcanic eruption...”; “...that’s why our cat remained hungry today.”
2) “A truck drove down the street...”; “...that’s why Santa Claus had a green beard.”
3) “Mom bought fish at the store...”; “... so in the evening I had to light candles.”
4) “Spring will come soon...”; “...that’s why I bought interesting books at the store.”
6. Acting technique - proposed circumstances.
Suddenly a crying girl appears on the stage. What will each participant do? Analyze.
Now let's try to do it all over again. Can we? Will it be easy?
It is very important to remember how you felt…..Remember this state!
7. Extras.
Making extras in a theater is much more difficult than acting out a separate episode. There are a number of exercises.
J.P. Sartre: “Man is not what he is; man is what he is not"
A person constantly strives to go beyond the boundaries of his “I”.
Exercise “In one bundle.”
All participants are tied with one rope. Everyone is given a sheet of paper where it is written who needs to do what. One is late for the train, another has to urgently meet a friend, the third just wants to sleep, etc.
The participants must somehow resolve the situation.
IV block. Embodiment.
8. Sketch around the play. “A Hut in the Forest” Since the actors play animals in this play, the sketch will be with animals - Fox, Wolf, Crow, Flea - their character, habits, gait, voice, etc.
Exercise "Explosion"
One by one, the presenter shows the numbers 4,3,5. The participants, without saying a word, stand up in exactly this number. Some will get up several times, others will continue to sit. Leadership qualities are determined (the leader will always stand up). Bow. (Draw a “wave”)
9. State of “silence”. Stopping the internal monologue.
10. Reflection.
Each participant draws their emotions on the theater mask and puts it on. Everyone stands in a circle and shares their impressions.
At the end of the lesson, you can ask whether the idea of a deposit worked, whether the anxiety of the participants increased or, on the contrary, decreased when they literally put it aside. The teacher sums it up. Today you tried yourself as an actor, I think you succeeded. At the next lesson you will be able to play the role of decorators, costume designers, directors, screenwriters, and make-up artists. And then decide for yourself what you will do in our theater studio.
All the best!
Acting lesson notes No. 7.
Topic: “Theatrical sketches as a source of creative imagination”Compiled by: V.E. Rakhmatullina
Goal: to introduce students to types of theatrical sketches.
Tasks:
Educational:
provide basic theoretical knowledge on the topic “Theater Etude”;
introduce new types of theatrical sketches;
Developmental:
develop the ability to transform 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;
develop the speech apparatus of students with the help of articulatory gymnastics and diction exercises based on learned tongue twisters without demonstration by the teacher;
develop the physical capabilities of the body through muscle relaxation training;
develop skills to interact with a partner;
Educational:
develop CTD skills;
instill skills of interaction with a partner;
learn to bring together life observations with your individual experience, analyze and build the sequence and logic of actions in stage conditions.
Expected result: to develop students’ individual abilities to transform through work on sketches for further use in working on the role.
Teaching methods: Elements of an adaptive behavior system (A.S. Granitskaya), health-saving technologies based on a person-oriented approach (N.K. Smirnova, I.S. Yakimanskaya), technologies of collective creative activity (I.P. Ivanov).
Form of organization of classes: individual, pair, group.
Equipment: music center
Lesson duration 45-60 minutes depending on the complexity of the exercises and etudes
Progress of the lesson
I. Part. Greetings. Organizing time
Goal: to set up students for productive work on the topic, to find out emotional condition pupils before the start of class
1) Exercise-game “Hello.”
The teacher greets the students, showing any state: joy, sadness, surprise, resentment, anger, suspicion, gloating, goodwill...
The students greet the teacher according to the mood with which they came to class, trying to convey their emotional state as accurately as possible.
Teacher question: What are emotions?
Expected responses from students: expression of feelings, experiences.
II. Part. Warm-up
1) Articulatory gymnastics (traditionally we start the lesson with articulatory gymnastics). Goal: to prepare the speech, breathing apparatus and other expressive instruments of the pupils’ body for further work
Statistical Exercises
Exercise "Spatula". Stick out your wide tongue, relax it and place your lower lip on it. Make sure your tongue doesn't tremble. Hold your tongue in this position for 10 seconds, perform 6-8 times
Exercise "Tube". Stick out your wide tongue. Fold the lateral edges of the tongue upward. Blow into the resulting tube. Perform the exercise 6-8 times. Dynamic exercises
Exercise “Delicious jam”.
Stick out your wide tongue, lick your upper lip and remove your tongue into the back of your mouth. Perform the exercise 6-8 times.
Exercise "Swing".
Stick out your narrow tongue. Stretch your tongue alternately towards your nose and then towards your chin. Do not close your mouth. Perform the exercise 6-8 times.
Exercise for the speech apparatus “Sound scale”
Description of the exercise:
Pronounce vowel sounds one after another, trying to lengthen each sound as much as possible in one exhalation: i-e-a-o-u –y –i. Try to pronounce the sounds in one breath, gradually complicating the exercise with the number of sounds pronounced in one breath.
Diction exercise, voice strength exercise based on the tongue twister: “Bull is thick-lipped.”
Description of the exercise:
The tongue twister should first be pronounced slowly, articulating each sound, and then gradually move on to the tongue twister.
The bull is thick-lipped
Dull-lipped bull,
The bull's white lip was blunt.
2) Warm-up for the whole body (exercises to relieve mental and physical stress):
Exercise "Frozen"
Description of the exercise:
The participants froze in a spontaneous pose supposedly 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:
You need to concentrate your attention on the tip of the little finger of your left hand, and then imagine in the little finger of your left hand a tiny mercury ball of moving 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 provide great physical activity, the muscles do not ache, as happens after regular exercise. Why? Because such exercises are performed taking into account individual characteristics.
III. Theoretical part.
Goal: motivating students to learn new material
So, you and I are ready to perceive new information. The topic 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, a sketch is a small story played out on stage. Question: what is the difference between an etude and an exercise?
Expected answers from students.
An etude is an exercise that has content. It can last thirty seconds or half an hour, this is not important, what is more important is whether it has life content. Any actions in life are performed naturally and justifiably. We don’t think about how I, for example, pick up a fallen pencil or put a toy 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, and body plasticity. Theater sketches have their own rules and composition.
The sketch consists of:
1. Settings (introduction to the character, setting and conditions);
2. Events; 3. Climax (the highest emotional point of the sketch);
4. Resolution (outcome, resolution of the situation).
Question: What sketches have you and I already performed?
Expected answers from students:
- 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;
to interact with stage objects;
sketches for a specific event;
sketches for transformation.
Teacher: Today we will get acquainted with studies on logic and sequence of actions. The execution of such an etude (like any other) requires a number 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,
Similar to you in everything,
Laugh and in response
He will laugh too.
Expected answers from students: mirror
And we will also call our sketch “Mirror”
IV. Practical part “Working on sketches”
Study “Mirror” (pair study)
Goal: to develop skills of interaction and interdependence of partners
And so, our sketch is called “Mirror”. Guys, today we will work in pairs. One of you will be the “Mirror”, and the second will simply be the “Man”. In this study, we will, first of all, monitor the relationship and interdependence of the partners. Begin. Stand up to each other. Decide which one of you will be the “Mirror” and which one will be the “Man”. Let the “Man” do what he usually does in front of the mirror: comb his hair, try on new clothes, “does makeup” and more. Show what mood the “Man” is in, and the “Mirror” should accurately reflect all the actions of the “Man”:
The profession of “actor” for many theater and film lovers will forever remain a bright dream, the realization of which even the most notorious optimists cannot count on. In Stanislavsky's homeland, in Russia - a country that gave the world one of the strongest theater schools - love for theater can safely be considered a national trait. This explains both the huge competition in the acting department of any theater university and the popularity of acting courses for beginners in Moscow and other cities.
Probably, every school had or has its own small drama club, universities have KVN teams, and “cabbage clubs” are still popular in enterprises.
If the path from an applicant to a student is full of insurmountable difficulties, then from a student to becoming a famous and sought-after actor is even more difficult. Exceptional natural abilities and titanic work aimed at constant self-improvement are what his new profession requires of a future artist. And let no one be embarrassed by the apparent ease with which the artist conquers the audience at the performance, for this ease is achieved through hard work and persistent work, which ordinary spectators are not even aware of.
Very often, students are deceived by the apparent ease of acting, and are severely disappointed when they find out at what price this ease is bought.
Dedicating your life to the stage or the big screen is a bold decision and a serious life step that not everyone is ready for. That is why higher acting courses for adults are in demand today more than ever. It sounds like a paradox, but don't be surprised. Here short list reasons that make acting courses popular:
- Possibility of creativity. All theater courses lead the student from the simplest practices and exercises to the first serious stage experience - staging a full-fledged professional performance. Yes, this is not the level of the Moscow Art Theater, and you are unlikely to expect a full house at the premiere, but the highest joy in art always comes from the process, not the result, even to those whose results exceed the wildest expectations. That is why the opportunity to walk “in the shoes” of a real theater artist is attractive in itself.
- A unique and quick-to-gain psychological experience. Many believe that the actor's main talent is the ability to transform. This is not entirely true, because... the ability to enter into a role is rather a consequence of talent, its product, which requires the ability to understand people. First of all, the actor must understand his character as a person, and only then will the doors open to him to authentically embody the role. All actors have a great understanding of people.
- Relaxation. Creative activity has always been considered in a good way relieve tension and fatigue. The opportunity to live someone else's life, try on unusual character traits, and, perhaps, discover new unexpected qualities in yourself, is an exciting adventure that can displace negative emotions and contribute to the restoration of vitality.
Weekend courses
Among the students of acting courses at the Benefit School in Moscow, you can meet not only applicants to theater universities who are preparing for entrance exams. Acting courses are of interest to a wide audience of all ages and professions, especially weekend courses, which give the opportunity to combine classes with work and study.
Acting classes are a rare combination of pleasant relaxation and useful practice. Educational games form the basis of learning.
Due to the nature of the subject, the best way to learn acting is through games. This includes collective games to develop attention, reaction, memory and interaction with partners, as well as individual game exercises - etudes, the essence of which is to stage small scenes. This method of learning is not only effective, but also good for health: games have a beneficial effect on the psychological state, calm the nerves, relieve tension, relax and help restore strength. Thus, attending acting classes on weekends is considered by many students not only as a source of valuable experience, but also as an inexpensive active holiday after a working week.
Who might benefit from weekend courses:
- Children of primary school age and teenagers. Leisure from school activities, the development and strengthening of healthy self-esteem and self-confidence, the development of creative thinking, the development of communication skills and valuable psychological experience, all this together can only give a child stage creativity.
- People who have difficulty communicating and suffer from low self-esteem. An actor is a person whose job is to be the center of attention. Among the most important professional skills is the ability to win over the audience, establish contact and hold their attention throughout the entire performance.
- Businessmen and entrepreneurs, as well as people whose occupation comes down to direct work with clients and negotiations. The most difficult thing in the work of a negotiator is the ability to persuade, overcoming skepticism and the abyss of alienation when negotiating with strangers. A theater actor does this every time he goes on stage. Remember the expression “play a role convincingly.” In addition, a negotiator is always a speaker who cannot do without a delivered and expressive speech, that is, without one of the main conditions for the professional suitability of an actor.
Advanced training in acting
For people with primary acting education, or at least general idea about the basics of how an actor works on himself and on his role, there are special advanced training courses in acting. With their help, an actor will be able to quickly get in shape and make up for the lack of practice, a student will be able to consolidate basic material, and an amateur will be able to take a confident step towards professionalism.
In advanced training courses, training does not start from scratch, and the time saved on the basics is spent on deep and detailed disclosure of the secrets of successful stage creativity.
The main advantage of the benefit school's advanced training courses, which makes them attractive even for practicing professionals, is the valuable experience of teachers - leading actors and directors of the capital. Students of advanced training courses will enjoy live communication with the most accomplished representatives of the acting and directing professions, who will willingly share the secrets of their success. In addition, the listener automatically finds himself in a professional environment, gets the opportunity to make valuable contacts, and establish creative interaction with like-minded people.