Correctional lesson on the course "development of facial expressions and pantomime." Game exercises for the development of facial expressions and emotions for middle-aged children, additional education teacher

Sections: Primary School

Goals: To develop the ability to reproduce facial, gestural and pantomimic movements in accordance with the task; develop the skill of recognizing emotions from a graphic image.

Objectives: Develop the ability to describe your mood, recognize the emotional state of others. Develop the ability to imitate movements corresponding to different emotional states of a person.

Correct the lag in locomotor development. To promote the development of the emotional sphere of children, enriching their sensory and social experience.

Progress of the lesson

1. Organizational moment.

Teacher: Guys, today you will take a fascinating journey into the domain of the winter sorceress. Your task is to show how the heroes of games and exercises move, speak, dance, feel, and express their emotions. In other words, you will try to express your emotional state through facial expressions, gestures and pantomimic movements. Our lesson is about joy.

2. Main part.

1. Exercise “Mood pot”.

Today we will cook the mood.
Let's put a little mischievous fun,
100 grams of pampering,
200 grams of good joke
And let's cook it all for 3 minutes.
Then we'll add heavenly blue
And a couple of sunbeams.
Let's put our best dreams
And mom's gentle voice.
Let's look under the lid.
We don't have jam there!
We're in a great mood there!

Teacher: I suggest you “cook” joy in a pot. What do we put in the pot to “cook” joy? (If children find it difficult, you can offer them options: a smile, a gift, a joyful meeting, a funny joke, etc.). Let's mix well, and at the end of the lesson we'll try what we got.

What does the face of a person who is in a good mood look like? (The person smiles or laughs, the eyes are slightly narrowed, the eyebrows are raised or in a calm state)

2. “Let’s listen to sounds.”

Listening to recordings of wind and snowstorm sounds. Children sit on chairs, back straight, eyes closed.

Teacher: Let's listen to the amazing sounds of nature surrounding us.

What did you hear? (The wind howls, a blizzard blows, the snow creaks underfoot)

What time of year do these sounds belong to? (Winter)

(Reading a riddle poem by a prepared student)

Everything is white all around, beautiful,
The willow tree shines in the frost,
Cold, frost, snowstorms
They spun and spun.
Everyone at home is wearing white hats.
This has come to us... (winter).

3. Game “Cold and Hot”.

Goal: tension and relaxation of the trunk muscles.

4. Exercise “Sunshine”.

Purpose: relieving facial muscle tension.

(Performed while sitting at a desk.)

Here comes a warm ray of sunshine. He looked into your eyes. Close them. The ray ran further across his face. Gently stroke your face with your palms on your forehead, nose, cheeks, chin. Stroke your head, neck, arms, legs gently and lightly. A ray of sunshine has climbed onto your stomach - stroke your stomach. Ray is not a mischief maker, he loves and caresses each of you. Make friends with him, he wants to warm you up. Take a deep breath and smile.

So you have warmed up with the help of a gentle and warm ray of sunshine.

What emotional state are you in right now? Describe it. (Calmness, joy, sadness, indifference)

5. Perception of facial schema.

A person can express his emotional state through facial expressions - expressive facial movements. (Students receive cards with schematic images of faces in different emotional states and examine them)

Describe 1 scheme. (Eyebrows in a calm state, eyes slightly narrowed, corners of the mouth raised)

What emotional state does this face express? (Joy)

When do you experience this condition?

Describe scheme 2. (The heads of the eyebrows are slightly raised, the corners of the mouth are lowered)

What emotions does this face express? (Sadness, sadness)

When are you sad?

6. Conversation about winter and signs of winter.

We also rejoice at the coming of winter. Winter is an amazing time of year that brings with it joy, fun, and new fun.

When does winter come?

What colors does winter use?

What do you think winter smells like?

What signs of winter do you know?

What is the name of the phenomenon of winter nature when snow falls quietly, calmly, without wind? (Snowfall)

But snow doesn't always fall quietly. The wind often blows, and then the snow rushes through the air, lingering near trees and houses, sweeping up large snowdrifts. This kind of snowfall is called a blizzard.

Sometimes there are thaws in winter. The sun will warm up, the wind will blow from the south, the snow will melt and become wet. It is easy to sculpt snow figures from such snow. Icicles will appear on the roofs. And after the thaw, frost will strike, a hard crust will form on the snow - crust, and ice will form on the roads. A fluffy snow fringe - frost - forms on trees and wires. Everything around you becomes amazingly beautiful. The trees are especially beautiful.

7. Game “Path”.

Goal: development, activation of imagination and accompanying positive emotions, development of spatial orientation, development of motor skills.

I invite you for a walk in the winter forest.

What emotions did you experience during your walk? (Interest, joy)

How can you tell by the expression on a person’s face what emotions he is experiencing?

Pick up a card with a face diagram that matches your emotional state.

8. Riddles about winter natural phenomena.

Guys, you have to solve “winter” riddles. But you need to make them not only with words, but also with body movements.

The star spun
There's a little bit in the air.
Sat down and melted
On my palm.

(Arms to the sides, spin, sit down, look at the outstretched palm)

Under our roof
A white nail is hanging.
The sun will rise,
The nail will fall.

(Straight arms above your head; drop relaxed arms and squat)

9. Conversation about winter fun.

On a frosty day, the snow creaks underfoot, and light snowflakes like stars fall to the ground from fluffy clouds. We love the beauty of winter nature, and we all love winter fun.

(Expressive reading by a prepared student of A. Kochergina’s poem “January”)

The sky is blue and the snow sparkles!
Who isn't afraid of frost?!
The sleds are flying down the hills,
The guys are racing on skates
They walk briskly along the ski track,
They make women out of snow.
And the yards are full of guys
And fun, laughter.

What winter fun do you know?

What games can you play in winter?

10. Sketch “Snowball fight”.

I suggest you play a little. Snowball game. (Children imitate movements: make snowballs and throw them at a target to the accompaniment of cheerful, energetic music)

I see smiles on your faces. Tell me, what emotions did the snowball fight evoke in you? (Joy, fun)

11. Making the application “Cheerful Snowman”.

A trained student asks a riddle using expressive movements.

I lived in the middle of the yard
Where the kids play.
But from the sun's rays
I turned into a stream.

What kind of snow can you make a snowman from? (Out of wet, sticky snow)

What does a snowman have instead of a nose? (Carrot or icicle)

The application was completed during preliminary classes. You need to finish the job: use plasticine to sculpt the mouth, nose, eyes and eyebrows of the snowman.

Exhibition of works.

3. Summary of the lesson.

Winter is a wonderful time of year. You can ski, skate, build snow fortresses, and sculpt snow figures. Winter activities bring a lot of joy and fun.

At the beginning of the lesson, we “cooked” joy in a pot, put smiles, gifts, joyful meetings, and funny jokes in it. What else do you want to add to the pot? (fun, sunny days, games with friends)

Mix the contents of the pot well and try what happens. There were small sweet ice candies in the pot. I see smiles on your faces. Did you like the lesson? Thank you for your attention and work in class.

Useful transformations.

We learn to imagine, depict, remember.

PREFACE

This manual includes pantomime images, introduces the technology of using game moments, as well as technology in which the implementation of health mudras is combined with the performance of psychological tasks. They will help any teacher in explaining the material (especially in art and natural history classes), in relaxing the muscles of the body and face during school hours, in helping a child adapt to a new team, in restoring friendly, friendly relationships. By performing various exercises with the fingers, figures - mudras (folding the fingers in a certain order according to the Chinese method), the child achieves a good level of development of fine motor skills of the fingers and finger flexibility. This has a beneficial effect on preparing the child for drawing and writing, as well as on the development of speech (excitation occurs in the speech centers of the brain when exposed to the fingertips), as well as a healing, restorative effect of organs, the immune system and energy potential. Both the exercises for the fingers and the mudras performed have no contraindications and provide a significant therapeutic effect, because the mudras are performed by children with pleasure, in a playful way and of their own free will.

I came to this...

Working with children of preschool, primary school and secondary school age, in one day I had to adapt several times to the different ages of the children, find ways to explain, communicate, and most importantly, set up children in a group (class) or a child in an individual lesson to work and be sure to get result. Knowledge and skills acquired in the process of any activity and not included in the context of the child’s life interests have no personal meaning for him and are therefore poorly absorbed and do not provide a developmental effect and practical skills. A child cannot understand why it is necessary to draw or sculpt in one way and not another, even after explanations, detailed analysis and consideration. And if he doesn’t understand, it means he doesn’t fulfill it, doesn’t work. Therefore, before drawing any object or image (sun, bird, cloud, falling snow, etc.), you can invite the child to depict it with pantomime (play of hands and body). That is, to “transform” into this object or image - to enter a fairy tale. For example, if you need to teach how to draw the sun, invite the child to turn into the sun, imagine how he will wake up from sleep, rise and how he will see the sky, clouds, trees, earth, people, birds, and so on from above. How the sun greets with its rays everyone it sees, distributing rays of joy and warmth to everyone from itself. At the same time, children remember that the rays come from the sun in different directions, like their hands diverging to the sides, up, down, and not towards the sun, and then they draw the sun as it was depicted. Children also learn that they need to say hello to everyone; they develop respect and a friendly attitude towards everyone and everything around the child. The child’s mood also improves, pleasant sensations and feelings arise, since the “Pure Radiance” mudra harmonizes the entire body. Children are freed from negative emotions and receive positive ones.

Most children draw trees from top to bottom. They often do not understand why they are asked or suggested to draw trees differently. When children “grow up”, how to draw trees becomes clearer and easier. A tree and a bush grow from the ground, from a planted seed, and they pull branches (and children’s hands) towards the sun and, growing, they stretch out small branches - fingers. Leaves fall from trees, scattering in different directions (leaf fall), and do not fall like rain from a tree, in orderly rows. At the moment of depicting an object with pantomime, the child “turns” into an object, into a natural phenomenon, and better understands how to draw it, get an image, and not just depict the object. He gains logical thinking skills, explanations of why he is drawn this way and not another. Also, a tense, shy child loosens up, opens up, and after several lessons becomes free from a number of complexes (embarrassment, uncertainty). He understands that it is possible to depict an object as he understands, he perceives it himself, without looking at others. And this leads to independence, faith in oneself, in one’s strengths, in the correctness of actions, in thinking about one’s activities. At the same time, receiving harmonization of the body by performing the “Pure Radiance” mudra.

It is important for the teacher to be consistent in his actions; the actions must be accessible and exciting for the child. They must be carried out independently by the child (it is necessary to achieve the child’s desire for independence), it is necessary to wait and achieve the implementation of these actions from beginning to end, which will lead in the future to an understanding of their actions.

“Transformation” into a plant, animal or inanimate object, as well as any visual activity, is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. Any creative activity of a child contributes to the development of each of these functions and connects them with each other. And pantomime helps the child organize knowledge, formulate and record an idea of ​​the world, understand why it is done this way and the object is depicted. As a product of a child’s creation, a mini-pantomime performance and visual activity make it possible to identify the main problems associated with the formation of character that a child faces in the process of activity and communication, and on the other hand, to find ways to solve them and select the right methods of correctional work.

I “turn” with children into objects, phenomena, and this helps me find contact with any child, liberate him, win him over and get him involved in the activity. This “transformation” helps in classes with children with disorders of early emotional development and with children with abnormal brain development. In creative activity, children consolidate the emotionally experienced state, feel it more deeply, and clearly reflect the stages of development of visual-spatial-motor experience. For children, “transformations” are not just fun, but joy, emancipation, relaxation from mental or practical stress, and also creativity, a theatrical mini-performance.

Everyone knows that the decisive and unique period of child development is preschool age, as well as the age of primary schoolchildren. At this age, the foundations of personality are laid, will and voluntary behavior are developed, imagination, thinking, creativity, and initiative actively develop. All these important qualities are formed better and more qualitatively in learning through games, fairy tales, and “magic.” At this time, the child voluntarily obeys the rules and requirements; their fulfillment gives him maximum pleasure and therefore makes the child’s behavior meaningful and conscious.

In his work “Worttaubheit, Melodientaubheit und Gebardenagnosie” Korepep, based on clinical material, distinguishes four stages of expressive movements: 1) pantomimic, 2) automatic, 3) facial expressions, 4) laughter, crying, etc. (*). He proves on neuropathological facts that it is possible to distinguish between these stages, both more ancient and more recent. Pantomime expresses the action completely and with the whole body. Automatic movements (symbolic) express the action only partially and mainly with the hand. Facial movements become predominantly facial. And the sound ones are mainly voice-based. Not yet knowing about the work and conclusions of Korepepa, I began working with children using the same stages of expressive movements (pantomime, facial expressions, automatism of movements and speech). The correctness of my actions was confirmed by the results. Children begin to think, create, believe in themselves and their capabilities, non-speakers begin to make attempts to speak and then speak, because with “magic words”, “transformations”, pantomime images, the words of an adult are clearer to the child, and it is easier and simpler for him to work. A desire to become a wizard appears, and along with this desire, confidence in oneself and one’s capabilities appears. Children calm down, get rid of symptoms of neurosis, negative habits, or the symptoms of disturbances in emotional development are smoothed out. They relax during the exercise, are distracted from the previous lesson (task) and their emotional state, concentrate their attention on their actions with their hands and body, distracted, driving away extraneous thoughts, anxieties, and worries.

Children are able to retain in their memory images perceived earlier, and this ability is inherent in all or almost all children of preschool and primary school age.

*Kogerer. "Worttaubheit, Melodientaubheit und Gebardenagnosie." Berlin, 1924, V.92

What helps improve the emotional, physical, mental functions of a child

The hands and facial muscles are connected to a huge number of neurons in the motor zone of the cerebral cortex. The hands perform subtle and differentiated functions, and the facial muscles reflect various emotional states. The motor zone of the cortex is occupied by the head and arms, where the hands dominate in terms of area occupied.(*)

We have points and reflexogenic zones on our hands that are connected to the brain. Therefore, when tired, it is sometimes advised to press with medium force on the front, back and side surfaces of each finger. And with regular massage (rubbing, pressing) even just one thumb, the functional activity of the brain increases. Therefore, due to extensive connections with the cerebral cortex, local fatigue of the arm muscles (during writing, drawing or any other painstaking work) causes inhibition of the central nervous system, and as a result, a decrease in the child’s overall performance develops. Since our hands and fingers are the most sensitive device for biocorrection. In particular, the fingers redistribute energy, and the bends of the fingers in one place or another and at a certain angle affect the strength and direction of the energy flow in the body.

“Transformation” into a plant, animal or inanimate object, as well as any visual activity, is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. Therefore, “magical transformations”, pantomime images, performing mudras for the development and massage of hands and fingers, i.e. any visual activity with the body and hands is directly related to the most important mental functions - visual perception, motor coordination, speech and thinking. And the teacher’s use of the proposed pantomime exercises and mudras will reveal not only the storehouse of talents and capabilities of any child, but will also give a positive health result.

Pantomime improves all mental functions: visual perception, representation, imagination, memory, mental operations (analysis, synthesis, comparison, communication, abstraction) (*).

In my work, pantomime is the depiction of animals and plants through body movements, the depiction of plant growth, the depiction of natural phenomena and some objects that surround us.

Mudra is an ancient method with which you can regulate energy flows for the purpose of healing and healing from all kinds of ailments. In Sanskrit, “mudra” is the name given to the ritual position of the hands in the Hindu Buddhist religion. Among the many mudras, I have chosen those whose implementation does not require a special environment or room, which can be performed during an explanation or during physical exercises. minutes, physical pauses. These mudras do not treat certain diseases, but regulate the functioning of organs, harmonize energy flows, improve overall well-being, increase immunity and mood, relieve depression, relieve fatigue, and increase performance.

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*Extract from the Soviet encyclopedic dictionary pantomime(from the Greek pantomimes literally - reproducing everything by imitation), a type of stage art in which the main means of creating an artistic image are plasticity, facial expressions, and gestures.

Pantomime- a performance reminiscent of ballet became widespread in the 4th - 1st centuries. BC. (Children's encyclopedia "Art").

Words and thoughts come into close contact, like sound and gesture. “The sacrament of the word is reinforced by a gesture that creates a general spatial energy structure that has a certain shape…. Through words and mudra you can find peace, relieve stress, concentrate, and achieve merging with the One.”(**)

The main thing is to always do any task with love, believe in the child’s capabilities and never lose Hope and instill it in every child. To fantasize yourself and teach children to fantasize, to be an artist yourself and to develop artistry, to involve children in theatrical play.

And in order for a person’s desire to create and the feeling of happiness of creativity not to dry up, it is necessary from childhood to develop the ability to play (role), fantasize, discover and explore the world around him; these qualities will be useful to him in any activity.

In addition to all this, visual activity (not only painting and drawing) becomes the basis for enriching the interaction of children when performing work collectively; children gain experience in joint creativity and develop social skills, which is very important in preschool age. At the same time, creative imagination, the ability to make one’s own choices, self-confidence, etc. develop, ensuring the formation of the child’s skills in visual arts, as well as universal personality qualities.

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*E. Kastrubin. Secrets of healing programs. M. “KSP +”, 2002, p.23

**E.I. Gonikman. Laotian healing mudras. M. SME Publishing House, 2002, p. 83

Pantomime exercises, health mudras for preschool and primary school children

1. Exercise “The sun says hello”

This is a favorite exercise for all children; this exercise has a particularly good effect on withdrawn children who do not adapt well to a new team. Children learn ethical standards of behavior, respect for elders, peers and goodwill towards everything that surrounds the child in this world. Children also remember that the rays come from the sun in different directions, like their hands, and not towards the sun. The exercise uses the “Pure Radiance” mudra - palms folded towards each other - which harmonizes the entire body.

To perform this, children (children) are asked to squat down, fold their palms near their cheeks and close their eyes. At the same time, the teacher says the words: “The sun slept soundly at night. In the morning I opened my eyes (the children open their eyes), rose up (the children, together with the teacher, rise from their haunches) and saw the blue sky.” The palms are placed in front of you with fingers folded towards each other - the “Pure Radiance” mudra. When greeting the sun, the hands rise up, spread to the sides, fall down, each time returning to the position of the “Pure Radiance” mudra. “Hello, sky” - hands raised up. “Hello, birds (clouds, clouds, if the weather outside is bad, wind, etc.)” - arms to the sides. “Hello trees” - hands slightly down and to the sides. “Hello, Earth” - hands down. “Hello, people of the whole earth” - arms to the sides from the chest. You need to finish the exercise by greeting the teacher (teacher, teacher) and all the children in the class or group. You can continue to say hello, especially to preschool children, to mom, dad, grandma, grandpa, and each of them. Drawing children's attention to the fact that the sun “distributes” its rays from itself, from its “heart” to everyone it sees, meets and loves.

2. Exercise for fingers

You can do it at the beginning of classes before writing, drawing, labor activities in labor lessons, the surrounding world, etc. and in the middle (physical minute). "Ant behavior" - a clenched fist when the thumb is bent and hidden under the rest. This mudra regulates the functions of the kidneys, rectum, spine, and eliminates fear. Touching the pads of the fingers while “greeting” the index finger with the thumb is a mudra that increases the energy potential of the body, enhances metabolic processes, and improves blood circulation. The connection of the middle with the large helps to harmonize the liver, stomach, gall bladder; nameless - harmonization between the liver and gallbladder system with the lungs and large intestine, with the little finger - stabilizes the psyche, strengthens the Spirit, physical and spiritual immunity.

Children perform the exercise while sitting at tables (desks) immediately before work.

“One, two, three, four, five, the children came to draw; They all raised their hands and clenched their fists.”

Hands bent at the elbows stand on the table, fingers clenched into a fist.

Each finger rises in turn to its own words:

“The finger went out for a walk” - the little finger rises;

“And then the second one” - the ring finger rises;

“The middle finger went for a walk too” - the middle finger is raised;

“The index finger is behind it” - the index finger rises.

The thumb remained pressed to the center of the palm alone.

“But the thumb is still asleep.

His friend fingers began to wake him up: “Wake up, couch potato, wake up quickly, go out for a walk, sleepyhead, and hear your friends.” Each finger taps – “wakes up” 1 - 2 phalanges of the thumb 3-5 times.

The thumb straightens, the friend fingers “greet” it

touching each fingertips with the thumb.

You can “hello” with the fingers of both hands.

Or

“One, two, three, four, five, they will draw their fingers” - the children clench and unclench their fists, the fist remains clenched on the last word.

“I draw” - the little finger rises;

“Mom is with me” - the ring finger rises;

“Dad will draw” - the middle finger is raised; “grandmother” - the index finger is raised;

“Where is grandfather? Grandfather is still sleeping." The thumb remained pressed to the center of the palm alone.

1 - 2 phalanges of the thumb for the phrase: “Wake up, grandfather,” - each finger taps 3-5 times.

“Grandfather woke up and stretched” - the fingers move apart in different directions, stretching movements are performed, spreading the arms to the sides. “And hugged everyone” - at the same time they wrap their arms around themselves. You can repeat the hug 2-3 times.

This gives the child a feeling of love and tenderness that he lacks in his life. He is loved by himself, and therefore by all the people around him.

3. Exercise “The balloon is inflated”

To relax, distract from complex or painstaking work and to further focus on completing the task, to increase self-confidence, it is good to use the “Ball is inflated” exercise. While performing this exercise, the child strengthens his energy shell and protects himself from negative influences.

Invite the children to stand near the table, put their hands and heads down, and relax. Hands hang freely.

The teacher depicts the “work” of the pump, saying “shih-shih-shih.” Children, to the sound of a running pump, slowly raise their heads and arms up, pretending to inflate a balloon with their hands. Raising your hands up, you “tie a ball” - clasping your fingers above your head. The teacher imitates the blow of a light breeze and suggests that the ball sway in the wind, and the children depict the movement of the ball in the light breeze by swaying the body to the sides. The teacher tells the children that he decided to joke with the balloon and pulls the string, which unties and the balloon quickly deflates. Children depict how the balloon deflates, twists and turns as it falls. Inflating the balloon is repeated, the balloon is tied tightly and sways again in a light breeze. Then the teacher invites the “strong, well-inflated balloons” to carefully sit down in their seats and continue working. While “inflating” the balloons, children can be asked to remember what shape they come in and draw a ball of their favorite shape.

4. Exercise “A tree grows”

This exercise helps children draw an idea of ​​how a tree grows, and remember after the transformation that a tree grows from the ground and stretches its branches to the sky and the sun. Children remember that trees come in different thicknesses and heights; some trees are fragile and slender, others are strong and powerful. From the tree depicted, you can understand the child’s state of mind at the time of the lesson.

Palms folded together at chest level - the “Pure Radiance” mudra is performed to harmonize the entire body.

To perform this, children are asked to squat down (preferably in a circle), cup their hands in front of their chests. Every child is a seed. A tree sprouts from a seed after rain. The teacher plays the role of a rain cloud, which “flies” between the children and “waters” each seed - touches the head of each child.

The teacher comments on the children’s actions: “A seed sprouts after the rain.” Children slowly raise their clasped hands up, imitating the passage of a sprout through the ground. Then they rise from their haunches without opening their palms. “The tree has grown, and large branches grow from the trunk - “hands” that reach out to the sun” - the children separate their palms and use their hands to depict branches going in different directions. “Small twigs appear on the branches - fingers, which children spread in different directions.

5. Image of a bush

Growing a bush with your hands helps children remember that bushes are smaller than trees; large branches of a bush grow from one seed - a dot. Palms folded together at chest level - “Pure Radiance” mudra - which helps to harmonize the entire body.

Children sit on their haunches or at tables. The palms are folded into a boat. When the seed germinates, the palms move in different directions, and the arms close at the elbows. The fingers spread in different directions, like small branches of a bush.

6. Image of grass

And again, palms folded together at chest level - the “Pure Radiance” mudra - helps to harmonize the entire body. Open hands are a mudra used for emotional instability, depression, heart problems, and poor circulation.

The palms are folded into a boat. Children can pretend to be herbs while standing or sitting at the table. When the seed germinates, the palms move in different directions, remaining closed at the base of the palms. The fingers can be pressed together or spread in different directions, like a grass bush.

7. "Light Bulb"

Exercise helps relax the muscles of the back and arms, and most importantly, helps cope with bad mood or psychological stress.

Children stand in a circle or between rows. Hands down, forming an oval. Eyes closed. The teacher reports turning on the light bulb and snapping his fingers. The arms fly up, and the child jumps easily. The fingers touch the pads above the head, the eyes open, and a smile appears on the children’s face. At the second click, the light turns off - the hands drop down, depicting an oval, the eyes close, the smile disappears from the face. The third click “turns on the light bulb”, and in the image of a “light bulb on”, children are invited to take their seats.

8. "Turtle"

Performing the “turtle” mudra helps relieve tension and replenish energy. I use it when children are hyperexcited and when it is necessary to concentrate children's attention.

The fingers of the right hand are intertwined with the fingers of the left hand. The thumbs are connected by terminal phalanges, as if forming the head of a turtle. The palms of the intertwined hands are kept parallel to the table (floor), the “head” is directed towards the child’s chest.

You can check the strength of the “shell” of the “turtle”, if time allows: move each child’s arms to the sides - all the children really like to measure their strength with the teacher.

9. “Building a house”

We perform this “construction” before drawing or appliquéing a house, especially with children, who understand “construction.” And it can also be used as a physical. a minute at school.

Children, together with the teacher, pronounce words and perform the work of building a house in pantomime.

“We will build a house, a house, we will live in it, in it” - the guys squat down at the tables or in the center of the office, placing their hands horizontally in front of the chest, one above the other.

"One brick, two bricks, three, four, five and six"- hands alternately change places, imitating brick laying, while simultaneously rising from squatting.

"We will build walls"- hands rise up and outline the contour of the erected wall

Houses.

“Let’s make a window and look out of it a little”- fingers are connected to form a window;

"We'll build a roof"- make a triangle with your hands;

"Let's make a pipe"- palms are placed opposite each other;

“We built our own house, it will be fun to live in it” - children return to their places .

10."Ice cream"

Depict ice cream from the freezer - strong, hard and “joyful” - children stand straight, raising their arms up and slightly to the sides. The head is raised, there is a smile on the face.

But the sun has warmed up, and the ice cream begins to melt, sadness - the children slowly lower their hands and heads down, feigning sadness on their faces. At the same time, smooth movements of the body are performed, you can sit down halfway.

Then the ice cream is “beaten” - the children move vigorously from side to side - “frozen”, gradually taking its original position (pose).

Or so

11. "Sparrow"

Performed in classes when drawing small birds.

Children stand at their seats or in the center of the room, arms are placed along the body, hands slightly back. The head is pulled into the shoulders, the torso is slightly tilted forward, and the legs are slightly bent at the knees. Invite children in this position to jump on the spot (or in a circle), then “spread” their wings, rise on their tiptoes - “fly up”.

Other birds are depicted similarly, taking into account their characteristics, as well as animals.

12.Favorite and least favorite colors

To bring children closer to each other, to help a child understand himself painlessly and unnoticeably, to release negative emotions towards the offender, I conduct an exciting activity for children and a necessary and useful one for the teacher.

Children (children) are asked to choose three colors from a set of paints that everyone likes, and apply them to a sheet of paper of any shape (spot, stripe, in the form of a flower, a three-color man, etc.). Then apply three colors that they don’t like. Also any shape. While the paint is drying, call one child to the center, turn his back to the children and invite him to think or speak mentally only bad things about everyone present. After this, ask the guys what color this child is currently. Then ask the same child to think or say mentally the best words about everyone, and ask the children to name the colors of the paints that they will give him now.

You can do this to the teacher himself, then explain to the children that our mood and that of those around us depends on each person. Then do the same with the children.

These “drawings” will help the teacher in individual communication with a child who is “always offended” by someone in the class (group). It will also help the teacher to know which of the children perceives him positively and which negatively, so you need to make comments to this child carefully, and try to find contact with him through another (positive) person.

13.The magic of the line

On a prepared sheet of paper, invite the children to quickly draw with a simple pencil or pen a continuous line with bends, intersecting itself several times (Figure 1a; 2a). Then, turning the sheet in a circle, examine the resulting drawing, and try to see (examine) the image, the object (1b). Highlight it by shading, drawing straight lines, wavy lines or dots onto the resulting elements (details) of the image or object (Figure 2 a, b).

Details can be painted over with colored pencils (Figure 1c).

1(a B C)

You can complete the task with paints, applying a continuous line with a brush and without thinking about applying any colors to the resulting elements (Figure 3a). Let the sheet dry. And then, turning the sheet, determine what happened (3b). You can look at the work and determine what happened at the end of the lesson with the whole class. You can hear several options and “discover” a lot of interesting things in his “magic line” to the author of the work.

2(a, b)

3(a, b)

14. “Mood Ball”

Exercise improves mood; with his own thoughts, wishes for himself all the best, kindness, and pleasure, the child concentrates his own energy. Receives a charge of positive emotions and gets rid of stress, fear, resentment, etc. I recommend doing this exercise before a difficult task or test.

Invite the children to stand near their place, place their hands in front of them, palms facing each other. The distance between the palms is 15-20cm. The hands are not tense, the fingers are slightly bent, as if holding a small ball. You need to listen to yourself, to your hands, and then warmth, slight tingling, pulsation, etc. will appear between your palms. Everyone may have an individual feeling, but it will definitely be there. With light, pulsating movements of the hands towards each other, an imitation of holding an inflated rubber ball is created - this is the concentration of one’s energy. Then invite all the children to imagine something most pleasant and desirable for them (sweets, a vacation at the seaside, a river, receiving a gift, and so on). Mentally put pleasant sensations into your energy ball, feel how it has slightly enlarged, become more elastic, and then “swallow” the ball, i.e. place it within yourself with all the pleasant ideas and sensations.

It is necessary at the moment of “swallowing the ball” to help the children with the words: “A pleasant warmth began to flow through the body, penetrating into every cell of our body. There was a feeling of lightness and purity. My mood has improved. Everyone has a bright head, pure thoughts, a great mood, and a kind heart. Everyone is ready to do the job.”

Each teacher can come up with his own words.

In the future, “Mood Balls” can be shared mentally with parents, friends, classmates, and people who are in a bad mood or do not have good relationships.

Epilogue

All these exercises help me work with children, communicate with them, and help the children to relax, relax emotionally and physically, and get ready for work. And also communicate with me, with each other and with parents. All these exercises help me and the children improve their performance, improve their energy balance, and harmonize the body. I really hope, I am sure that these exciting exercises will appeal to and help both children and adults.

Success, good luck, health and good mood.

Our website is aimed primarily at the practical side of developing stage skills. This explains the use of special games and exercises in teaching to consolidate knowledge and train acting skills. The exercises presented below are aimed at developing not only a specific professional quality, but also at improving a whole set of skills useful for transforming into a role. Many of these techniques and exercises were used by the world's leading actors to develop their acting talent.

Expressiveness exercises: pantomimes and dramatizations

A sense of truth and expressiveness are essential to any actor's skill. It is these qualities that help actors hear the cherished word “I believe” from the director. Actors need to develop expressiveness and believability in order to become understandable to their audience, to properly convey to them the idea of ​​a theatrical work. There are special techniques and exercises for this.

Pantomime. Pantomime is a type of stage art in which the main means of creating an artistic image is the plasticity of the human body without the use of words. Well-known games are great for performing exercises with pantomime: Crocodile, Activity, Alias. The goal of such games is to use pantomime and without words to try to explain the hidden object, phenomenon or phrase to other players so that they guess. Not only is this a great way to practice expressiveness, it's also a lot of fun, so give it a try!

Dramatization of the proverb. To cope with this task, you can use not only the capabilities of your body, but also your words. The purpose of the exercise is to play a short scene illustrating a well-known proverb in such a way as to convey its meaning to the playing partners or spectators as clearly as possible. Possible examples of proverbs: “Mark seven times - cut once”, “A woman with a cart makes it easier for a mare”, etc.

Exercise "Words starting with..."

Within a minute, try to name as many things as possible that are now in the room with you and begin with the letter: “K.” The letter “P”... And the letter “B”?

Count how much you got. If you try, you can name more than 50 things, or even more than 100. To help you make the most of this exercise, we suggest paying attention to certain groups of surrounding objects that you may have forgotten to include.

You may also find a creative thinking training lesson on developing your imagination useful. In this lesson you will find various tips and exercises that will be relevant for developing your acting abilities.

Exercise “Repeat”

Any aspiring actor needs his own reference point, an example to follow. Unlike the times of Stanislavsky, we now have at our disposal a huge variety of examples of domestic and foreign acting art, easily accessible on the Internet. We just need to open YouTube, download a movie with the character we need and try to repeat his emotions and speech.

To perform the exercise, turn on the video and start copying the pose, facial expressions, gestures, and movements of your model. If possible, copy your voice, intonation, and speech. It will be difficult at first, but the more you rehearse, the better you will get. Of course, it is impossible to do everything exactly as your character does, try to be as similar as possible: pay attention to all the details, the typical manner of performance, the emotions experienced.

The video below illustrates how famous comedian Jim Carrey performs this exercise on stage.

Acting fantasy exercise “Think it through”

When traveling on public transport, try to come up with a name, biography or other details for strangers who are traveling with you based solely on their appearance. Pay attention to even the most insignificant details and try to come up with a rationale for every detail of the appearance of the person you are observing.

These exercises are aimed at developing the creative thinking and imagination of the actor, for whom a rich imagination is one of the most important components of success. In order for the viewer to believe in your game, you yourself must convince yourself for some time that you are your character and living his life. Stanislavsky called an actor’s ability to create his character and get used to his role as the art of experience, which you can read about in this lesson of our training.

From proposed circumstances to role

In this exercise, based on the hero’s known life circumstances, you need to think of his character and imagine his emotional state. We can say that this exercise is the opposite of the previous one. To complete it, try to imagine how certain life circumstances influenced the hero, his behavior, emotions, words. Try to describe or even show a person who:

1. I haven’t slept for a long time and I’m very tired from doing difficult work.
2. Yesterday I received a promotion and a new salary that was 2 times more than the previous one.
3. He received the superpowers of a real superhero; now he can fly, climb walls, and shoot webs with his wrist.
4. I just lost my entire fortune at roulette.
5. He watches a boring acting performance while his favorite football team is playing a football match on TV.

Concentration exercises

Concentration is very important for an actor. There are many factors around us that influence our behavior, thoughts and emotions. If you want to play your role well, you need to learn not to be distracted by external stimuli. In addition, it is important to be able to quickly get ready and tune in to the subject of your transformation. There are a number of techniques and exercises to develop acting attention.

Countdown. Close your eyes and count from 100 to 1 silently. Try to count at the same pace and not too fast. Breathe evenly and concentrate on the numbers, try to visualize them.

Concentration on the subject. Sit comfortably and concentrate your gaze on one object, for example, the hand of a clock hanging on the wall. Try to throw extraneous thoughts out of your head and think only about the arrow.

There are also special techniques for improving concentration, a video of one of which you can watch below, starting at the 4th minute:

Do these exercises to train your ability to concentrate quickly, but remember that for mindfulness, sometimes it is useful to simply get enough sleep and clearly identify the object of concentration. You can read other useful tips on how to be attentive in a special lesson.

Exercise “Changing Roles”

In life, we often play different roles, finding ourselves in different circumstances. If we want to develop our acting talent, it is important for us to learn to manage our emotions while playing a wide variety of roles. After all, all these skills are the professional craft of an actor, which he must have at the highest level.

To practice emotional control and the ability to quickly change roles, try the following exercise. Say the same phrase several times (for example, “Dear friends, it was not in vain that I gathered you here”), from the perspective of different characters: a little girl, her mother, an elderly person, a businessman, a famous artist, a president. Try to find the features of each of them; for this, the phrase can be slightly modified by adding typical speech techniques for each character. In addition, you can try saying a phrase on behalf of the same character, but in different emotional states.

For this exercise, it is useful to use the techniques we have already described, which you can find in lessons on public speaking and the craft of acting.

Improvisation Exercises

Improvisation - this is the work of the actor to create a stage image, action and his own text during the performance, not according to a pre-created script. With the help of improvisation it is easy to test how skillfully you possess the qualities of a real actor. As a rule, in life we ​​have to play spontaneous, unrehearsed roles, so training improvisational skills is relevant not only for professional actors. There are various modifications of improvisation and exercises to improve the ability to perform without preparation:

"Endless". The objective of this exercise is that you need to continuously deliver a monologue on a specific topic for 3-5 minutes without preparation. Pauses should be minimal, and your presentation should sound so convincing that listeners think that you are delivering a prepared speech. Topics can be different: start with subjects that are familiar to you, and then move on to unfamiliar or completely unknown topics. The highest aerobatics is a monologue without a topic at all.

"Interview". Another type of improvisation is an interview. Ask your friend or colleague to prepare a series of questions for you. Questions should be unexpected and open-ended, that is, requiring a detailed answer, and not just “yes” or “no.” Try to answer the questions posed quickly, confidently and in as much detail as possible, convincingly defend your opinion and express your emotions as clearly as possible.

With reference to words. Choose 20-30 words that are distantly related to each other. Write each word on a separate piece of paper or card. After this, you can begin an improvised speech, pulling out words in random order and linking them into a coherent story, being sure to use each of the written words in your speech.

A set of diction exercises

The ability to speak clearly and distinctly is the most important quality of any actor. To train diction, you can use special exercises aimed at developing the speech apparatus and respiratory organs. You can find some of these exercises in a special lesson on rhetoric, as well as in the video we posted below.

Association chains

This game is aimed at developing associative thinking.

First, you will be asked to complete ten chains of 3 words with your association. Try to come up with an association that is very well connected with the proposed words, but with no others.

After completing the chains, you need to find the extra elements in the previously constructed chains. Click "Start" to start the game.

Practice

There are a lot of acting exercises, but the most important thing is the practical use of these techniques on stage and in life. It allows you not only to hone the necessary skills, but also to learn how to work in real conditions with real spectators. If you suddenly have a unique opportunity to play a role in a school play or at a New Year's corporate party, do not refuse it under any circumstances, but boldly get down to business. In addition, our ordinary life often offers us new roles:

• Yesterday's graduate student becomes a teacher.
• An ordinary manager turns into a great speaker during a presentation.
• Meeting new people helps you discover new qualities in yourself and show your best side.
• And many others.

Warm-up or joint exercises

Lie down on the floor and completely relax. Feel how the body spreads over the surface, occupying space on the floor plane. Feel the temperature difference between the floor and body in the area of ​​their contact. Feel your breath, your heartbeat.

Gradual relaxation: feet, calves, knees, thighs, stomach, chest, shoulders, elbows, wrists, fingers and toes, neck, face and even hair all feel completely relaxed.

You feel your body, hear sounds around you. Find the impulse in your chest - the center of the will - and begin to stand up. A prerequisite is that you can only move forward, leaning on the floor. It’s as if you are building your body, thinking through every movement, adding parts of the body in a logical upward sequence, maintaining expressiveness and purity - the logic of movement.

Each time you make a mistake, you completely relax again and start all over again until your body takes a vertical position.

Preliminary exercises are possible: rolling waves. The body should become like a surf wave dying on the shore.

Exercise 1

Using circular movements of your hands, collect air and energy around you and slowly exhale carbon dioxide through your mouth, concentrating on the abdominal point (two fingers below the navel). Repeat 3 times.

Exercise 2

Circular rotational or translational movements of the joints are performed. Rotate your wrists, shoulders, elbows, knees, hips, torso, neck - all joints possible for movement are worked out. The smaller and more consistently you perform rotations or translational movements of the joints, the more they can subsequently participate in the work of body language.

Exercise 3

The beginning of the movement, the process and the end of the movement. A point is selected (two fingers up from the navel), which is used as an impulse to begin and end the movement. On the clap, open completely (arms up, head raised, body extended), then close on the clap, “die” and “be born” again. The feeling that the space around is unfolding and again curling into a point. You train not only physical sensations, but also emotions, where feelings fade away
and come to life again until complete discovery (happiness, delight, enlightenment).

Exercise 4

Select a point in the space in front of you, fixing the three folded fingers of one hand. Then, from the impulse in the stomach, start moving your hand in space
from point A, as if drawing an arbitrary line to a conditional point B. Clearly control the process. The impulse of the end of the movement must be reflected
in the stomach (two fingers above the navel).The impulse in the abdomen gives the movement of any part of the body additional sensitivity and expressiveness.

Having fixed a point in space, we move the body or part of the body (head, leg, thigh) relative to this point. In this case, it is important that the point in the hand
didn't move even a millimeter. It is important to understand that the expressiveness of movement is always achieved due to the static state of one part of the body relative to the movement of another, or the object relative to which the movement is made.

Part of the body is fixed in space,
and moves again relative to the fixation point. Then the hand is fixed, the body moves again relative to this point, the body is fixed,
and the hand moves again relative to the stationary body. Movements are made in the system of circle, square, triangle, etc.
At the same time, the expressiveness of the line of hand movement is similar to calligraphic handwriting,
and the expressiveness of the body - the sculpture of the classics.

Exercise 5

Development of expressiveness of movements. When clapping, a movement is performed by a separate part of the body, for example: arm, head, leg, shoulder, thigh, arm again, etc. By command or arbitrarily, you move
first with one, then with another part of the body, the impulse and fixation of the body part is preserved. The finer the movement of the joints in the body, the more useful this skill will be in the future for performing more complex exercises.

Exercise 6

Pricking movement. Like glass, the body becomes fragile, and by moving each part of the body with a stabbing motion, we fix it through relaxation. We maintain the rhythm and expressiveness of movements.

Exercise 7

Transmission of movements in the body (“body language”). Having placed two arms in front of you, slightly bent at the elbow, you begin, on impulse, to move your right hand towards your left, clearly controlling the speed. The left hand is motionless, having reached a close point to the motionless hand, the right hand stops. Immediately the left hand, as if picking up the impulse, begins to move according to the same rules, and the right hand is fixed
in space. By complicating the exercise, you can move any part of the body, transferring the movement to another part of the body. Movements can be translational, rotational, circular and repetitive.
It is important that you maintain the momentum of the beginning and end of the movement, control the process and speed of the movement, and fix the body part when finishing the movement. →

Through impulse, movement is transferred to another part of the body. At the same time, the expressiveness of the entire body pattern is preserved; it is advisable to maintain a single style of movement.

Exercise 8

Speed ​​and rhythm. We set the speed of movement when transferring from one part of the body to another (from 1 to 10)
from slow to fast. Setting the body shape
from initial simple to complex (from 1 to 10).
From the initial shape (0) you begin to move, complicating the shape of the body. Slowly at first
at speed 1, then 2–3 movements at speed 10, 2, 5, gradually complicating the shape and proportion.

Exercise 9

By keeping graphics as the initial movement style, you move freely, conveying movement
from one part of the body to another, while creating its own rhythm and proportion in action. Movements can be translational, rotational and reciprocating.

Exercise 10

Individual sign. This is your painting in motion, your hieroglyph, your analysis of psychopathic possibilities in bodily expressiveness. The ability to express your own Self through form. What principles must be preserved in your individual sign in order to preserve this school:

Clear execution and conscious start;

Clean line in motion;

Dynamics, proportion, development of thought
and completeness in every movement, where one part of the body transmits movement to another.

The transmission of movement is like a clear monologue, where feeling, character and thought are expressed. You need to feel your body, the space around the body, the interaction of body and space.

(!) The emotional experience of a gesture, posture, movement is important. An internal sense of truth and adequacy is culture, the ethics of the movement. Without these qualities, improvisation is pathological.

Pair exercises

Divided into pairs, students push each other and take turns, following the direction of the applied force.


Having stood with their backs to each other, the partners alternately expose their backs to support each other, relaxing and at the same time maintaining stability, finding more and more expressive poses with the smallest point of support. In the future, various exercises for developing sensitivity are included (sensitive hands, etc.)


"Mirror". The partners stand in front of each other, the leader begins to perform some actions, as if standing in front of a mirror, and the other clearly repeats his actions, like a reflection in the mirror. You should repeat not only the form, but also the emotional state.


"Sensitive body." One partner touches any part of the other partner’s body with his finger, and he moves
from this point, continuing to move. Then the partners change places. You can use rotational movements, twisting each other, any tightening, rotational and translational movements.


"Rhombus". One leader, the others, stand in a diamond-shaped space, repeating his movements, gestures, state, emotions, etc. The leader is responsible for the quality of his movements (purity, fullness, completeness, meaningfulness, graphics, etc.), he leads rather than expresses himself. Followers must be extremely attentive and clearly follow all the movements of the leader, feel his psychodynamics, changes in state, etc. The leader is considered to be the one who stands in front and, moving in the schedule, occupies his own plane. Movements must be visible to those behind it. When the leader changes the plane, turning to the right, left or 180°, he becomes a follower, and his movement, state, thought is continued by another leader, whose task is to catch the continuation of the movement and its development. The ability of an actor to be flexible in consciousness, to easily switch from the leader to the follower and vice versa, it greatly trains psychophysics, expands the range of perception and attention, and most importantly, enriches it with new motor capabilities, emotions, thinking, etc. Having completed the “Rhombus” movement, you may notice that the range of your movements has increased, but above the purity and fullness of movements still needs to be worked on.


"Addition in space." 3–4 people participate. Everyone finds their place in the proposed space. We choose a style or formula of movement: square, circle, triangle, diagonal, etc. One of the students begins to move in space, clearly drawing the chosen line of movement. The rest begin to move, complementing this movement in rhythm, form and content. At the same time (to begin with), only two partners can move relative to the statics of the others, which is necessary for the audience to read the meaning of their actions. By moving, complementing movements, the actors try to understand each other - this task is constant in all exercises. And, following the laws of any composition, a movement must have a beginning, development, culmination and end. In the initial exercises, it is advisable not to use gesture; moving and completing simple forms is enough. In the future, when the meaning of gestures is mastered, you can include them to give greater informative meaning to the actions. You can include non-objective pantomime, dance, voice, text into the fabric of improvisations - provided you master these means professionally.


"Dialogue of hands". Performed in pairs. One partner asks a question through a movement of the hand, the other responds with a gesture. At the same time, the beginning, process and transmission of the movement of each gesture are monitored. When one finishes, the other starts moving at the same moment. Movements - gestures should be conditionally abstract, but filled with internal meaning. If understanding is achieved, gestures can conflict, synchronize and, through a culmination, come to a point of mutual understanding.


"Addition to graphics." The principle of addition in graphics - partners stand one after another in pairs
at the back of the head, the one standing in front is the leader, and the one standing behind him is the complementary one. Following the already learned rules of movement - the beginning, experiencing the process of movement, fullness and purity of lines, the end of the movement - the leader acts, and the complementer accepts the completed movement as a question and answers just as clearly and expressively, maintaining the style of the leader. At the beginning, there should be few movements and the gesture should be broad, the question and answer should be clearly monitored. Subsequently, the gesture, like an interesting argument between two friends, mixes the movements of both partners, as if anticipating the question and answer. The goal is one - to understand each other. You can move in space, in one plane, etc. Cleanliness of lines during transitions
in space depends on the level of professionalism. Temperament, rhythm, feelings, character, facial expressions - everything is included. And the most important thing is what happens between you.


"Graphics in space." The presenter begins by asking a question in motion. The presenter can be the one who stands in front, or the one who knows exactly what he wants to express. The space between partners must be connected by colligraphy of lines. Moving in space (graphically and expressively relative to the angle of view), moving from one point to another, the actor must determine for himself and express who is moving, with what state, how and why he does it, without losing the given rhythm and tempo ( preferably maintaining abstraction, encoding your everyday feelings into a symbol, sign, image).


"Three Partners" The first one sets the theme in several movements (graphics, expressiveness, fullness
and comprehension). The second develops it in space and rhythm. The third one finds the point. Then they change places. In all initial and subsequent exercises, emotional and psychoenergetic inclusion is important, otherwise the accumulation of these qualities and the awakening of new potentials - development, and most importantly - the feeling of truth and adequacy of the reaction will not be formed
in relationships with partners.

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

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

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

• Self-love makes you develop and learn every day, and not give up. Without this quality, even a very talented person will not be able to become a famous actor.
• Self-love and narcissism are a dead end for an acting career. Such a person will never be able to work for the viewer; all attention will be focused on himself.

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

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

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

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

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

"Listening to Silence"

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

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

Exercise "Shadow"

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

Pantomimes and dramatizations

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

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

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

Exercises for the development of plasticity

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

"Painting the fence"

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

What exercises make your hands obedient:

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

"Pick it up piece by piece"

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

"Stroke the animal"

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

Development of coordination

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

Exercises to develop coordination:

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

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

Scenes and sketches for beginning actors

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

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

Exercise “Think it through”

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

Scenic speech

Good stage speech involves more than just clear pronunciation and good articulation. A good actor must be able to scream quietly and whisper loudly, and convey the emotions, age and mental state of the hero with just his voice.

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

Exercises for developing stage speech:

• Blowing out the candles. Take in more air and blow out 3 candles one by one. The number of candles must be constantly increased, and the diaphragm muscles must be used when inhaling.
• Practicing exhalation technique. The poem "The House That Jack Built" is appropriate for this exercise. Each part of the piece must be pronounced in one breath.
• Improving diction. Slurred speech is unacceptable for a good actor. You need to honestly identify problematic sounds in your speech and pronounce tongue twisters every day that are aimed at eliminating the problem. You need to exercise for at least half an hour 3-5 times a day. Tongue twisters teach you to speak clearly at a fast pace, which is extremely important in acting.
• Intonation plays a prominent role in creating the right image. To practice, you need to read literary dramatic texts aloud every day.

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