Acting exercises for beginners. Acting: self-instruction manual Acting while reading

Nowadays, acting in all its forms and types is rapidly flourishing and popularizing. Every day thousands of films are released on cinema screens, most of which amaze with their ideas and the skill of the characters. In addition, in every city there are theaters, doll houses and other public places, where various performances, plays, comedies are also shown every day, and everyone has the opportunity to watch the professional performance of the cast.

The relevance of this sphere of life cannot be disputed. This is why thousands of young boys and girls dream of becoming celebrities since childhood, in order to conquer the heights of this sphere and have millions of fans around the world. But desire alone, unfortunately, turns out to be catastrophically not enough. It takes a lot of effort to get into a vocational school, and even more effort to catch all the lessons on the fly. Of course, there are really decent acting courses in Arkhangelsk http://arhangelsk.videoforme.ru/actors_school/actor-full/artist, but besides this, self-development should take up most of the beginner’s training. The best stars of world cinema claim that at one time they received only 50% of their knowledge from any educational institution. Everything else is endless work on yourself!

Where should a newbie start?

Among young and talented students of this art, acting exercises have become very popular. It is worth examining why this is so, and whether they deserve attention.

As already mentioned, self-development of future stars is important. For this purpose, a huge number of exercises have been invented that help not only to learn all the intricacies of this area, but also to fully reveal that very professional within yourself. Such techniques exist in various types and combinations. Some of them help develop facial expressions, others help develop speech, others help teach how to quickly transform into another character, and so on. Among the millions of such techniques, you need to highlight a few basic ones that will help you show yourself in all its glory.

Basic acting exercises

And so, approaching a detailed analysis of each exercise, it is worth saying that among their huge number it is difficult to choose the best. But in this case, you need to analyze at least one option to train various aspects.

Exercise one. Memory training

When starting exercises to develop acting skills, you must first start training your memory. After all, it’s no secret that any actor, be he a novice amateur or a well-known specialist, needs to learn a huge number of words and lines every day.

In order to train your brain, the best scientists in the world have developed technology that allows you to remember a lot of information. The name of this technology is mnemonics, and it consists in the fact that you need to remember not “raw” words and phrases, but associate them with pictures, images, and so on.

The exercise itself is as follows. Your task is to write down the necessary words or phrases that you would like to learn today. Next, read them out loud several times, and try to come up with an individual association for each. Don’t complicate your life, just imagine a bright picture in your head, and so on with all the phrases and phrases.

As a result, you will end up with something similar to an imaginary film strip, where all the material that you needed to learn is sequentially presented.

Exercise two. Imagination training

Continuing interesting exercises in acting, it’s worth moving on to training your own imagination. Scientists prove that human imagination has no limits, which is why we see dreams, some of which may seem like complete nonsense.

This part of the preparation plays an important role, since only a trained person will be able to play the necessary role as correctly as possible and make an unforgettable impression on spectators and colleagues.
The exercise itself is banal. You need to walk down the street, pay attention to strangers passing by, and by their appearance and manners, imagine their position in life, profession, marital status. This is more like training some kind of psychic quotes, but believe me, this exercise will greatly help any beginner!

Exercise No. 3. Developing imagination

“Running” across the Internet with the request: “Acting exercises for beginners,” pay attention to exercises that help develop imagination. After all, this is an important aspect in the career of any actor.

How can you develop your imagination? Everything is banally simple. Place any item in front of you (be it a chair, a toy, a wardrobe item, or something else), and try, using your imagination, to tell what this item is made of and in what way. Believe me, this gaming approach only increases the chances of a better effect!

Exercise four. Developing facial expressions

And now you come to a very important part of self-development for a novice professional. Everyone knows that the most difficult task of a professional is to convey emotions as truthfully as possible. And it often happens that you need to portray strong anger or crying on camera, while behind the scenes everyone is joking and having fun.
In order to carry out this exercise, write down on a piece of paper a certain number of necessary emotions that you want to strengthen today. And then, in turn, imitate each of them in front of the mirror. Also, after finishing the exercise, ask someone close to you to evaluate your skills. Show him the learned emotions and listen to his criticism.

Exercise No. 5. Speech comes first!

And now, having listed the four main exercises aimed at comprehensive development, it is necessary to proceed to the most important “calling card” of a professional. After all, most roles are played by people with correct speech and the ability to correctly express their thoughts.
To achieve this goal, all methods will be good. Read a lot of different literature, tongue twisters, special words, and so on. In addition, learn how to correctly pause between words when there is a change in the idea of ​​the text, its suspension, etc. It is also necessary to set up the effect of exclamation and question as correctly as possible, so that it sounds and looks vital, and without fanaticism.

To become a talented actor, you need to put in enormous effort and time. But any path to the pinnacle of glory begins with self-development, so it’s worth starting with yourself first. To this end, there are many exercises designed to train all aspects of an actor and his 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 the 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 the true creative state of an actor consists of four important interrelated 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 his classes, Chekhov developed his thoughts about the 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 of 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 brightly and convincingly in public.

Associative thinking - games and exercises

(warm-up, imagination, speed of thinking)

There are many different exercises to develop associative thinking.

Associations can be divided into several types:

1. Compatibility: sea ​​Sun
2. Similarity: ball - circle; line - ray
3. Opposite: summer Winter; good evil
4. Cause and effect relationships: rain - puddle; joy - laughter
5. Item part: horse - tail; house - roof
6. Summary: apple - fruit; tree - forest

In the exercises you can use any types of associations. 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. These must be nouns (proper nouns 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 allow associations to be born easily, without tension. Take the first association that was born, don’t hesitate, don’t choose from many 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 myself: flight, sky, clouds) - rain (out loud)

Partner B works with the image "rain"

This exercise also trains internal attention. The moment you imagine a chain of associations, you concentrate and turn on your active imagination!

Unusual associations

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

Take very popular words or phrases for the exercise:

• fruit
• a country
• pet, etc.

Most people will build something like this:

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

Come up with fresher associations for these words, try to expand your perception, and don’t follow the template!

Stream of words

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

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

You need to speak very quickly, without pauses or 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.

A good result is more than 60 words.

Stream of words starting with 1 letter!

Now do the same, but all the words 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 words are born from their phonetic basis. Sometimes you don’t even have time to realize the word you are about to name.

This exercise develops conversational courage. We often spend a long time analyzing and weighing everything we say. And this exercise allows you to turn off unnecessary “thinking” and start just talking!

Good result - 25-30 words per minute!

Acting classes represent a set of exercises for the psychophysical development of a person. Thanks to special training, you can become an excellent speaker, actor, teacher, or persuasive coach. Acting courses help get rid of facial, speech and internal constraints that prevent you from moving through life and communicating with others easily.

Exercises for beginners

Before an actor goes on stage or into a frame, before acting and speaking his first lines, it is necessary to prepare the actor’s apparatus – his own body. The basis of good acting is imagination, attention to your partner, trust and perception. It is important to understand: anxiety, as with any stress for the body, is absolutely normal. Fighting anxiety, which sometimes serves as fuel for creativity, is stupid. The main thing is to be able to prevent the degeneration of excitement into panic and fear. Simple exercises from a professional actor will help you “reset”, tone your body and get ready for work.

Emotion training

A lesson with an acting teacher from the St. Petersburg Television School teaches aspiring actors to work with emotions. First you need to understand the types of emotions. Having identified positive, negative and neutral emotions, you can begin training. Successful work will require imagination, the ability to recall certain events from your own life experience. The exercises will teach you to quickly enter the desired emotional state and concentrate, relax and express vivid emotions without hesitation.

How to cry just like that

The heroine of the popular youth series "Deffchonki" shows a master class in acting of the highest level - the ability to show tears at the right moment. You can master the tear skill using several classic methods. Many actors retire and recall sad episodes from their own lives or imagine a terrible picture. Galina Bob shows alternative options: with the help of special breathing, bright light, completely getting used to the image, evoking certain emotions. The actress demonstrates examples of good and bad acting and talks about external technical assistants invented specifically to make the life of a film actor easier.

Learning to play strong emotions

One of the most exciting questions for aspiring actors is how to play a strong emotion. For a natural game, facial expressions alone are not enough; mental effort is required. First, you need to remember the ways of expressing emotions in real life, then feel and convey the right mood. Evgenia Dean, head of the Gamma Theater Studio, talks in detail about the method of acting and uses her own example to show several game emotions.

Meisner's acting technique for film

A unique video featuring two aspiring actors introduces beginners to the Meisner technique. The technique was created specifically for cinema and is one of the most popular and large-scale in America. The activity helps to get rid of psychological pressures, connect the thought process to the game and activate emotional memory. The technique teaches partner play with the exchange of impulses, thoughts and moods.

Basics of the Stanislavsky system

More than 80 years ago K.S. Stanislavsky came up with a system that helps any actor, beginner and established, brilliant and mediocre, to play with dignity. The basics of the system are useful for all public speakers: actors, speakers, lecturers. Special knowledge is designed to turn an ordinary speech into a charismatic one. The author of the video sets out the complex system in accessible language, explaining three key points for understanding: “super-task”, “stage action”, “belief in the proposed circumstances”.

Acting lessons with Mikhail Koltunov

The main task on the path to acting is getting rid of tensions and liberation. An actor must boldly try new movements, actions, and experiment with his voice and body. During the group class, Mikhail Koltunov teaches how to develop acting energy and use the acquired skills in further acting.

Exercises to develop facial expressions

Facial expressions are an integral part of the acting profession. Along with the main instruments of the game (voice, vocals, stage movement), it has a certain palette that is developed with experience and exercises. How to develop and train rich, varied facial expressions? The video shows effective exercises for elasticity and effective functioning of the facial muscles.

Master class for beginners

The training video presents a simple lesson on acting skills. Beginners will replenish their repertoire of diction and plot exercises, learn about the possibilities of pronouncing the sound [r], learn to work with a partner, and practice changing emotions, facial expressions and exclamations. The advice of a professional teacher will teach individuality, freedom and the ability to fantasize and turn on the imagination literally at the click of a button.

Game improvisation

The ability to improvise is given to some by nature, to others as a result of hard training. There are a lot of exercises to increase the speed of thought processes, as well as auxiliary techniques that help you quickly respond to your partner’s remarks, giving an instant response. The exercise-game “Yes and No” clearly shows how you can conduct an impromptu dialogue or argument ad infinitum.

Language of the body. Gestures

Acting teacher German Sedakov shows exercises to give flexibility to the body and plastic movements. An online acting class includes an interesting warm-up and games that train reaction speed, smoothness and sharpness of movements, bodily and speech improvisation. Such practices are actively used by personal growth coaches at team events for the purpose of team building.

Warm-up before the performance

The channel reveals behind-the-scenes work in the theater. To prepare for the performance, each actor does an articulatory and motor warm-up. Special gymnastics allows you to prepare the body and speech apparatus for creative actions on stage, and saves you from loss of voice, stuttering and stiffness on stage. The proposed exercises are suitable for daily training and toning your speech and body.

Acting skills help you feel confident on stage and in life, reveal your own potential, and boldly step out of your comfort zone.

"Acting tutorial"

according to the system of P.M Ershov

Studying acting by correspondence is a difficult matter. Much in this craft is passed on “from beak to beak”; communication with the personality of the teacher and the atmosphere of collective creativity present in classes in theater studios and educational institutions are no less important.

If all the above factors are favorable, then, in fact, the question arises: what and how to learn.

Ershov's system arose as a result of observation and generalization of the objective laws of human behavior. If such laws did not exist, we would not have the opportunity to “read”, understand the behavior of others, the feelings that they experience. The study of these patterns and the creation of works of art in accordance with them is. in essence, practical mastery of the Ershov system.

The basis of this page is the ideas of P.M Ershov, outlined in his works

Acting technology. M., 1992.

The art of interpretation. Part 1: Directing as practical psychology.

Part 2: Directing as art criticism. Dubna, 1997.

P. M. Ershov, 1975

Not intending to simply reprint these books (which might be useful, since these books are extremely difficult to get outside of Moscow), the authors tried to focus their attention on the experience of using the Ershov system in terms of practical training of actors.

Therefore, the theoretical part is as short as possible (for deeper theoretical analyzes we refer to the above-mentioned books) and the basis is the Exercises and Commentaries on them.

A few general prerequisites for using this Internet acting tutorial:

It is advisable to begin studying and mastering absolutely all parameters of Ershov’s system by observing the surrounding life, and especially real interactions between people. Just like an artist who is able to sort a sunset sky into the colors of the spectrum and then mix colors in the right proportions in his palette, an artist must be able to dissect the complex interactions of people in life into individual components in order to later confidently take from his creative palette what he needs to create an image.

Theoretical mastery of the system is impossible: it is better to do without knowing. Not doing it, knowing it, is pointless (we are talking, of course, about mastering the system).

At the initial stage, it is better to pay special attention to mastering the naturalness and immediacy of the elements of action, rather than to consolidating what has been achieved: the concept of action, as a material for acting, should be constantly enriched and expanded due to one’s own intuitive findings and discoveries.

The order of mastering the parameters is as follows. It hardly makes sense to practice initiative without mastering the wordless elements of action. “The “system” is not a “cookbook”: you need such and such a dish, look at the table of contents, open the page - and you’re done. No, this is a whole culture on which you need to grow, be educated over the years.” (K.S. Stanislavsky “The Actor’s Work on Oneself”)

By clicking on the CAPITAL TITLES OF RUBRICS you will be taken to the theoretical part, where you can read brief comments and some quotes from the works of P.M. Ershov on this topic;

When you click on the Titles of the Rubrics, typed in bold, you will be taken to a collection of exercises and comments to them.

To master the following parameters, especially during group classes in theater schools, studios, master classes, it is recommended to use a game form of training.

A separate section (at the beginning) contains some exercises and games that can be used in group acting training to form and strengthen teamwork skills and “common sense” in beginning actors.

Collectiveness of acting creativity

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

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

Exercises to develop a collective “sense of community” for beginners in acting training are therefore addressed to the master, manager or group leader and should occupy an important place at the beginning of the team’s work (according to work experience, they should be addressed during the first six months of training). These same exercises are also advisable for further work, as a means of gathering attention and mobilizing the group before the start of a lesson or rehearsal.

In addition to the exercises given below, these goals are achieved with the help of any games, preferably related to movement in space, that are of a collective nature. A set of core games and game elements that can be “woven” into the performance of any exercise, which will decorate it and make it multifunctional, can be found in the book “Pedagogical sacraments of didactic games” from the series Library of the practicing teacher V.M. Bukatov, Moscow, "Flinta", 1997.

Exercises, games and game elements of collectivity.

Chairs. The presenter or teacher gives the command to build a figure or letter from chairs. The students’ task is to build the required figure as quickly and silently as possible (negotiations are prohibited) (a circle facing outward, the letter p facing the window, etc.). An additional complication of the task is the requirement of simultaneity (get up from a chair at the same time, lift at the same time, etc.).

Stand on your fingers. The presenter turns his back to the group, shows a sign with any number (from 1 to 10), (you can just have a certain number of fingers), starts counting (to three or to five, then sharply turns to the group. At the moment of turning, the number of people standing (or sitting, lying, etc.: as agreed) should be equal to the number written on the tablet.The condition of the exercise is complete noiselessness of execution.

Japanese car. Each student thinks of a short word or number (not repeated) and tells the others. Next, the leader introduces a simple four-beat rhythm with some movement for each measure. After the group has mastered the simultaneous execution of the rhythm, for the last two measures the students begin to convey “leadership” using the intended words, calling their own word first, and then someone else’s. The one whose word is called becomes the leader for the next beat and also transfers leadership to the other. “The leader who misses his word or does not get his share is eliminated.

Third wheel. A well-known game that hardly needs any commentary.

Constructions. Participants must line up as quickly as possible and silently (without communicating) according to any given parameter (alphabetically, according to the first letters of the middle name; ascending apartment number, etc.)

Roulette. Participants are divided into two groups, one representative each sits at the table, opposite each other and puts their hands on the table. A coin is placed between them. When the leader claps, they must cover the coin with their hand - whoever is faster. They should not react to all other signals from the leader (stomping, sounds) - they should not move (one who moves his hand at the wrong time loses). The place of the loser is taken by another representative of the group.

Typewriter. Students distribute the alphabet among themselves (each gets several letters) and use the typewriter keys to determine which letters they get. Hitting the right key is a clap from the right person (who got it). Someone suggests typing some phrase, and the participants “type” by clapping at the right moment with equal intervals between the “letters.” A space is indicated by a common clap for the entire group, a period is indicated by two common clap.

Earth - water - air - fire. The presenter points to one of the participants standing in the circle, telling him one of the key words. The one pointed to must (no later than five counts counted by the leader) name (without repetition) the animal - fish - bird or turn around himself accordingly. The one who makes a mistake is eliminated.

Magic wand. Participants pass each other a pen (or other object) in a certain order (or at the request of the owner of the wand), offering to continue the sentence (phrase) they started. The person receiving the wand must come up with a continuation on five counts and becomes the master himself, assigning the task to the next one. The owner can guess a person’s profession with a pose, an action with a gesture, etc.

Hands-legs. According to one of the presenter’s signals (for example, a single clap), the participants must raise their hands (or lower them, if they are already raised at the time of the signal); according to another (for example, a double clap), they must stand up (or, accordingly, sit down). The performers' task is to hold out as long as possible without confusing signals and maintaining the overall rhythm and noiselessness of movements. If there are enough participants, it is better to split into two teams and check which team will last longer (using a stopwatch), improving the result of the previous one.

Rhythms. The teacher or one of the participants shows a rhythm consisting of clapping, stomping, etc. sound effects. The participants’ task is to, observing the given tempo and duration of pauses, perform in turn (in a given order) only one element of the rhythm (clap, stomp, etc.)

Rhythmic entry. At the beginning of the lesson, come up with some kind of rhythm common to all participants and take their places to this rhythm (each time the rhythm should change, becoming more complex and varied, including not only clapping and stomping, but also all possible sound effects). When the group can confidently perform this exercise, you can connect creative tasks to the rhythm (bravura, sad, etc.) or achieve development and diversity within a given rhythm, dividing it into parts.

Orchestra. The presenter distributes parts of various instruments among the participants, consisting of clapping, stomping, and all possible sound effects. The participants' task is to rhythmically perform a well-known piece of music (or a rhythmic score composed on the spot) under the direction of a conductor who controls the volume of the overall sound and introduces and removes individual parts.

Machine gun fire. Participants sit in a circle and the leader sets the pace of the machine-gun fire (slow at first) with three claps. Participants take turns clapping, accurately observing the tempo, gradually (very slowly) accelerating to the speed of a machine gun burst (the clapping almost merges), and having reached the maximum speed, they also begin to slowly reduce it.

Pose transfer. Participants stand in a line. The first one comes up with some complex pose (the others don’t see which one) and, at the presenter’s signal, “transmits” it to the second one (he must remember it as accurately as possible in 10-15 seconds). At the next signal from the leader, the first “takes off” and the second “takes” this pose. Then the pose is transferred from the second to the third participant, etc. The task is to transfer the pose as accurately as possible from the first to the last performer. If there are enough participants, it is better to split into two teams and “transmit” one pose given by the leader - who is more accurate.

Bull and cowboy. Two participants stand at a distance from each other (at least 5 meters), one turns his back - this is a bull, the second takes an imaginary rope in his hands - this is a cowboy. At the signal to start, the cowboy must throw an imaginary rope over the bull and pull him towards him (the bull, of course, resists). The exercise will be successful if the participants manage to synchronize their actions so that the audience “sees” an imaginary rope stretched between them.

Mirror. One of the participants becomes the leader, the second becomes his reflection in the mirror, i.e. copies all his actions and movements as accurately as possible.

NON-WORD ELEMENTS OF ACTION

“Each human action has a specific goal (even if not always conscious) and it can be decomposed into component actions of a smaller scope. The smallest components of action are assessment, adaptation and impact.”

“Evaluation is the first moment of any action conscious by the subject, when the goal of the action just arises in consciousness.”

““Assessment” is a moment during which it is necessary, figuratively speaking, to “get into your head” something seen, heard, perceived in one way or another, in order to determine what to do, taking into account a new circumstance.”

“From the mental side, this is the moment of establishing in consciousness a connection between interests (a common goal) and one or another external, objective phenomenon. At the moment of “evaluation,” the general subjective goal, becoming more specific, turns into a private objective goal, that is, into a goal that is both objective and subjective... From the external, muscular side, “evaluation” is always more or less long-term and more or less complete immobility.”

“The most difficult thing to “get into your head” is a fact of extreme importance and extremely unexpected... The more difficult the “assessment”, the correspondingly longer it is - the longer the immobility that enters into it and follows the first reflex movements.”

The “nature of “appreciation” is akin to the phenomenon called “surprise.” But with this word, as a rule, we call only strong degrees of “assessment,” that is, long, difficult assessments.”

EXERCISES

Extension

“ADJUSTMENT begins immediately after the “evaluation” - at the very moment when a specific, objective goal has arisen in consciousness. “Additionalization” is, in essence, overcoming physical barriers, obstacles on the subject’s path to his goal, while his attention is not absorbed by them, but for the purpose of subsequent influence."

“First of all, “extensions” can be divided into two groups: “extensions” for influencing inanimate objects, and “extensions” for influencing a partner.”

“... when “adjusting” to the impact on a living person, we are forced to proceed from our subjective ideas about his properties and qualities... the nature of such an “addition” is determined primarily by what, in the actor’s opinion, the partner’s reaction to the subsequent impact will be... Moreover, the main role What plays here is the actor’s idea of ​​the balance of power between himself and his partner.

For example, I have the right to demand, my partner is obliged to obey me; I am stronger than him; He needs me more than I need him."

“Thus, “extensions” for influencing a living person can be divided into groups: one we will call “extensions from below”, the other “extensions from below”... and the middle, intermediate group of “extensions” - “equally”.”

“The extensions “below” and “above” differ from each other not only in their mental content, but also from the external muscular side...”

“The muscular mobilization of the attachment “from above” is the opposite of the muscular mobilization of the attachment “from below.” The one who is attached “from below” reaches out to the partner, he is preparing to receive what he asks for in such a way as to complicate the partner as little as possible, he is forced to wait and be fully prepared to perceive any reaction from the partner... In every in a moment he is ready to answer"

“The “on top” extension, on the contrary, is characterized by a tendency to be taller than the partner... to straighten the spine. That is, to lean away from the partner.”

“The extension “on an equal footing” is characterized accordingly by muscular looseness, or even looseness, negligence.”

““Additions” are extremely expressive precisely because they are involuntary. They “automatically,” reflexively reflect what is happening in a person’s soul: his state of mind, his attitude towards his partner, his self-image, and the degree of his interest on target."

EXERCISES

“Many features of “outbuildings” (and human behavior in general) are associated with the feeling (of course, subconscious) of the weight of one’s own body.”

"Body weight is not an absolute value, but a relative value - in relation to weight and human strength..."

"Passion for a task, prospects for success, hopes "inspire" a person, increase his strength or reduce the relative weight of his body... All this entails straightening the spine, raising the head and general muscular mobilization, "up", lightening the head, body, arms , legs, etc., right down to open eyes, raised eyebrows and a smile... A decrease in interest in the matter, the expectation of defeat, extinction reduces strength or increases the relative weight of the body."

“If something significant happens to a person, then his weight changes to the same extent.”

To master this parameter of human behavior, it is technologically convenient to distinguish three “weights”: heavy, light and with dignity.

EXERCISES

Mobilization

From the mental side, “mobilization” is this or that concentration of a person’s attention on a goal. One of the key concepts in Ershov’s terminology, which allows one to structure the importance of specific goals for a subject, and, accordingly, the key to the logic of his behavior and character. Mobilization is preceded by “mobilization” - the degree of readiness of a person for activity until the goal is understood. After clarifying the goal, that is, “assessment,” “mobilization turns into one or another mobilization

"Mobilization is expressed in the general concentration of attention and, therefore, in the direction of gaze, in the eyes, in breathing. In the general tightness of the muscles of the body, in particular in the tightness of the back - spine. This is the working state of the body, its adaptability to the expenditure of effort and a relatively wide choice actions - to those and such that are required, as soon as the goal is specified, readiness to overcome obstacles that have not yet arisen, but are about to arise, which are possible, probable on the way to the goal."

Observe people when they “saw”, “heard”, “recognized”, “understood” something unexpected; find a moment of physical immobility, “freezing” in them.*

* NOTE After a real assessment in life, a person usually changes somehow (according to Ershov’s classification, changes fit into the following parameters: mobilization, extension, weight), use this rule to check your mastery of the assessment.

Observe in life and master the organic “freezing” in the process of doing something*: when reading a newspaper, while walking.

* NOTE It is necessary to clarify the concept of “business”, which appears hereinafter. By “business” we mean any process that has a beginning and an end and requires the subject to concentrate attention on the obstacles encountered during implementation. From this position, this or that activity may “be a business”, or it may “not be.” For example, driving a car is not a matter under normal circumstances, but may be a matter when learning to drive, being chased, etc.

When performing exercises, it is necessary (this is especially visible from the outside) to control whether the person is engaged in the activity or not (if not, then there is no question of any behavioral parameters)

Observe in life and master organic “freezing” in conversation.

Try to play a sketch according to the scheme: I was doing something - suddenly something unexpected happened (saw, heard, noticed, understood) - it became urgently necessary to do something that had arisen, a “new” thing.*

* NOTE To successfully master the “assessment” in all exercises, it is necessary to achieve focused attention on the matter preceding the “assessment”, i.e. “importance of the matter” for the character.

Play the sketch according to the scheme: I was doing something - suddenly something unexpected happened (saw, heard, noticed, understood) - it became necessary to make “amendments” to my activity, to somehow change it in order to successfully achieve the goal.

Play the sketch according to the scheme: you were doing something - suddenly something unexpected happened (saw, heard, noticed, understood) - you need to “hide” the fact that this circumstance seriously affects your entire life activity.*

* NOTE At first, it is easier to master “assessment” in matters that require “urgent”, simple physical actions (turn off the kettle, open, grab, run, hide, etc. Gradually “add” circumstances that make the “assessment” not so simple and unambiguous, requiring some time (usually a fraction of a second, sometimes, in rare cases, a second) to make a decision.

"Three things at once." List three things that require concentrated attention (For example: getting ready for a hike, keeping an eye on the food being prepared, talking on the phone), do them “at the same time.” If you manage to ensure that all three things are important enough for you (don’t brush it off) from none) “assessments” themselves will arise in places unexpected for you.

"Important conversation." After each partner's remark, make a more or less large assessment.

Machine gun burst of assessments. For any word from your partner, for any subject, make a series of assessments with the general subtext “it can’t be!”, “Really!”.

“Great score.” Come up with a circumstance that radically changes the fate of your character. (In any play, almost every character has such circumstances). Outline the activity that the character is engaged in before and after this circumstance occurs. Play a moment of long, organic stillness during which the character “understands” what happened and decides to do something new.

MOBILIZATION

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

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

Observe and imitate the behavior of a person’s body during an important conversation, speech, or argument. Find differences in the physical expression of this “complex mobilization” from the “simple” one.

Find in the surrounding life moments of change in mobilization (concentration and weakening of attention), trace the sequence of changes in the concentration of gaze and muscles. Play mobilization and demobilization.

Having designated the degree 0 as the minimum (i.e., the complete absence of concentrated attention and the corresponding general relaxation of the body) and the degree 10 as the maximum possible mobilization of the body, find a stepwise increase, noticing in as much detail as possible the physical change in the body during the exercise.

Do exercise 4 as you go, find the most and least “purposeful” gaits and intermediate stages.

Do exercise 4 during any household activity, conversation, etc., watch how behavior changes with different “degrees” of mobilization.*

* - an increase in mobilization in the process of performing a task indicates an increase in the subject’s interest in the object of attention, that the “business” is developing in a favorable direction, that it is becoming more important (more dangerous) for the subject, demobilization in the process of performing a task indicates the opposite.

Observe in life the behavior of a person engaged in some activity (reading, cleaning, etc.), find “periods” of growth and decline in interest in the activity, note the physical manifestations of this process.

Observe the same thing with people in the process of communication.

Find the difference between the mobilization of a person attached to a short, important task for himself and the mobilization of a person who is ready for the fact that in the process of completing the task a sufficient number of obstacles and problems may be encountered that will require some time to resolve.*

* - “short” and “long” mobilization are close in external expression to “simple” and “complex” mobilization, but they have some specific differences, which we leave to you to discover.

EXTENSION

To master this parameter of human behavior, it is technologically convenient to distinguish three “extensions”: “above”, “below” and “equally”.

Observe several people performing any one wordless action (eating, traveling in public transport, thinking, at the cinema or watching TV) and try to find differences in behavior that could be explained by different attachments to the object of attention.

If a person does not think during this process, then all changes in postures are associated with his adaptation, the adaptation of his body to one or another material object.

Make the same observation of people's behavior in communication.

Clever and unskillful. Observe how the same action associated with an attachment to a material object is performed by a professional and a beginner. Determine how the difference between them is physically expressed (the nature of the extensions, their duration, concentration of attention, etc.), and show the sketch, trying to achieve maximum expressiveness of the display.

Observers should ensure that in pursuit of brightness, the performer in no case loses the “business” that his character is doing. This can be easily determined when the performer does not monitor the progress of his business successfully or unfavorably, that is, he is “indifferent” to the problems that arise along the way of its implementation.