"WHO'S WHO"
This task also has several options.
Option 1
A couple of actors are called. They are given 30 seconds to a minute to decide:
- * who are they, what kind of images do they represent? What is the essence of the conflict between them?
- * where and when does the action take place?
When the time allotted for preparation is over, the couple presents their improvisational scene. The task for the audience is to be able to understand what is happening and correctly answer the questions above.
Option 2
A couple of actors are invited. One of them must begin some improvisational action of his choice. The second participant in the exercise spends half a minute: trying to understand what is happening (answer the questions above). When the presenter claps, he enters the stage with the goal of positioning himself on the stage and becoming a partner of his fellow improviser.
"DETECTIVE" (interaction, acting improvisation, psycho-gymnastics)
Approximately half or even two thirds of the group members receive a note with one word"INVESTIGATOR". The rest receive a note with the word "SUSPECT" and with a specific task that is related to the specific topic being studied. Let's say, if the actors are now working on the gait of the character, then the tasks will be: “clubfoot”, “walk at a marching pace”, “shuffle”, “springy step”, “your usual gait”... For the topic “Emotions” the following tasks are suitable: “ sad", "worried", "anxious", "surprised", "enthusiastic"...
It is clear that none of the participants discloses the contents of their note to others. The idea is that the “investigators” must identify the “suspects” and guess their secret mission. Each of the “underground members,” in turn, performs the task in such a way as not to be identified by the “investigators” and, accordingly, to determine who among the participants is “friends” and who is “strangers.”
During the game, the parties can resort to various tricks. For example, "investigators" may try to ingratiate themselves with the "suspects" by imitating their movements, and so on...
"I'M ENTERING..."
This is without a doubt one of the most difficult exercises. You shouldn’t expect that your first experiences working with him will be successful: such mass improvisation requires from beginning actors both technique, skills, and a wonderful feeling for a partner... However, how training exercise, as an attempt to demonstrate how theater is a multifaceted and synthetic art, this task may be quite appropriate.
One volunteer from the group is invited. His task is to identify some public place for himself (shop, park, library, stadium, bank...). The exercise will begin at the director's signal with the volunteer actor "entering" the place of his choice and beginning to improvise with or without text. He does not directly name the location of the action, but gives clear hints to the rest of the spectators. Say, having “entered” the “bank”, he can turn to an imaginary cashier with a request to open an account or give out money; in the “library” - take an interest in the latest literature in the reading room; in a “clothing store”, consult with the seller when choosing a purchase...
Half a minute after the start of the scene, when the audience can clearly imagine which public place has been chosen by the leading actor, they can enter the stage and join in the action. It is advisable to determine the possible number of participants in advance, otherwise you risk seeing a noisy and poorly controlled crowd acting on stage (as a rule, almost the entire group wants to take part in the exercise!). By limiting the number of characters, it is easier to control how much the actors believe in the roles they have chosen, whether they are looking for expressive means for their images, how they feel in the proposed circumstances...
After all the participants have entered the stage in one role or another, the scene continues for another 3-5 minutes. It is important that each of the actors perform their role as naturally as possible. In this exercise, everyday authenticity is much more important than theatricality and brightness. After all, it’s not every day that a bank gets robbed while we’re in it, and the line at the supermarket doesn’t always end in a fight or a heart attack...
Finding the details of an everyday action, assigning a clear role to yourself and making the chosen image part of a multi-figure improvisation - this is what determines “success” or “failure” in this task.
The director, as one of the participants, can join the scene to ensure the successful “entry” into the role of the actors. He may start arguing with the “cashier”, quarrel, grab the hand of the “supermarket director”, “go into” reading room library" to a crying boy who has lost his parents... This checks the authenticity of the partners’ reactions and the organic nature of the theatrical play.
"MONOLOGUE OF A PROFESSIONAL"
5-7 participants are invited to the stage. They line up one after another, and the presenter (or the audience) determines for each his role and profession. Let's say the five who entered the site received the following tasks: dump truck driver, cosmetologist, bathhouse director, policeman, hairdresser. A general topic for discussion is now given. Let's say, "Training elephants at home."
The exercise goes as follows. When the presenter claps, the first of the actors begins his professional monologue on a given topic. After 10-15 seconds, a new clap gives the signal to the first participant to interrupt the performance (even mid-sentence!) and take a place at the back of the line. The performance will be continued by the second actor. From that place, from the word at which his comrade was interrupted. After the cosmetologist's opinion, the director of the bathhouse will discuss the training of elephants, then a policeman, then a hairdresser, and again it will be the turn of the dump truck driver...
Each of the actors goes through several circles, and the exercise continues until the theme is exhausted or the playing within certain roles becomes repetitive. Then you can either invite new participants to the set, or change the theme, or define new images for the actors.
"STORYTELLER"
The group stands in a chain or in a circle. The first participant begins an impromptu story. After this, the leader’s clap sounds, and the right to continue passes to the next player in line. The problem is that he pronounces his text in “jibrish” (an imaginary language, onomatopoeia without any meaning). Clap - the third participant returns to the story and continues the story of the first player. The fourth actor speaks Jibrish again. The fifth one returns to the story, and so on. In other words, each odd-numbered player tells a tale, each even-numbered player “continues” the story in “jibrish”.
The main task is for storytellers not to lose the thread of meaning and to continue a coherent and logical text, despite the interference in the form of “jibrish” reciters. In turn, Jibrish speakers act out the supposed continuation with gestures and intonation
that a fairy tale is told by more than a few people different styles, and one and only performer!
Since the exercise goes in several circles and ends after the story is logically completed, we ask the actors to pay attention to continuity in the meaning and style of the story, and to the tempo of the exercise: without jumps and pauses.
"A TALE OF THREE"
Already from the title it is clear that three actors will participate in the task. One of them plays the role of storyteller. He will have to tell one of the famous fairy tales determined by the presenter. The second actor sits on a chair facing the audience. His “duty” is to silently open his mouth and use facial expressions to imitate the telling of a fairy tale. His hands are behind his back, so they are not involved in the game. The role of the “hands of the second participant” will be “performed” by the hands of the third actor. To do this, he must kneel directly behind the second actor and put his hands under his armpits. The illusion is created for the viewer that these hands gesturing during the tale are the hands of the “storyteller” sitting on a chair.
It is the illusion that the tale is being told by a player sitting on a chair in the voice of the first actor and the hands of the third that is proof of the success of the scene. This can be achieved with the ability to work synchronously with partners and use non-verbal means of expressiveness (gesture, facial expressions, intonation) with theatrical brightness.
"MANNEQUINS"
Participants are distributed around the site. Everyone takes a place that provides him with sufficient freedom of movement.
Walking down the street, we often see mannequins standing in store windows. Each of you must now turn into one of them. Create your own image. Decide what and how you advertise. On the count of "Three!" this room miraculously transforms into a display case full of mannequins. I will play the role of a store owner who puts the window in order: he wipes the dust off the mannequins, changes their poses if necessary, and groups them together.
The task will require your concentration, imagination, and ability to control your body. Any questions? Once. Two. Three... People have turned into mannequins!
"PLASTICINE DOLLS"
This exercise continues and develops the previous one.
During the sketch you will turn into a plasticine doll. The exercise consists of three stages.
At my first signal, you become a plasticine doll that has been kept in a cold place. It is clear that the material has lost its plasticity, it is hard and cruel.
The second signal from the presenter marks the beginning of work with the dolls. I will change their poses, but do not forget that the frozen form will complicate my task and I will have to feel a certain resistance of the material!
The third signal is the beginning of the last stage of the exercise. Imagine that in the room where our plasticine dolls are located, all the heating devices were turned on at the same time. What, did you feel feverish? That's right, dolls experience something similar too! What's happening to them? They begin to soften. This is a process, not an immediate reaction. First of all, those parts of the doll’s body where there is less plasticine (fingers, arms, neck) float from the heat, then the legs soften. As a result, the entire doll “drains” onto the floor and turns into some kind of shapeless mass.
- 1. Frieze "plasticine doll".
- 2. The presenter’s work with hard plasticine, an attempt to change the pose of the dolls, their location in space and in relation to each other.
- 3. Softening of the dolls to the point of complete loss of shape - absolute muscular release of the actor.
"SCULPTURE OF FEELINGS"
In principle, the very name of the exercise explains its meaning. We divide the group into subgroups of 3-5 people each. Each subgroup is given the task: to choose a specific emotion and present it in the form of a multi-figure static composition.
After preparation, the sculptures are presented to the entire forum, and the audience tries to accurately name the feeling depicted. Sometimes difficulties arise due to the semantic similarity of definitions. For example, anger can easily be confused with irritation, annoyance, anger...
The training goes in two directions - plastic expression of emotions and verbal accuracy in determining emotional states.
"RECEIVING GUESTS"
For this exercise/game I will need four volunteers. Thanks to the brave ones, we greet them with applause!
One of you will be the owner of the house. He is to receive three guests. Who are these guests? This is where the problem lies. The fact is that when the owner walks out the door, you and I will determine what role each of the three actors gets. They can be anyone or anything: relatives of the owner of the apartment, his friends or enemies, service workers, presidents, inanimate objects, feelings, seasons... Our imagination here is limitless. Having determined the roles of the guests, we will invite the owner of the apartment to return to the room and ask, within, say, 5-10 minutes, to determine what kind of guests came to him today.
How to determine the image of a guest? Firstly, the actors playing the guests will have to come up with some kind of plastic image for their character, so the nature of the movements will already be some kind of clue. Also, consider using vocal expression. During the game, the host can ask the guests various questions - all together or separately, at his discretion. When answering questions, guests continue to play their roles and try to remain incognito. That is, the guests’ answers should be at the level of hints, clarifications, but not open “removal of the mask.” If within the allotted time the host manages to identify the images of the guests, he leaves the game as a winner and becomes one of the guests in the next round of the game.
"THREE MOVEMENTS"
This task is done in pairs. Each participant prepares three specific movements for his partner, which are logically connected to each other to a minimal extent. That is, it is impossible
get dressed, brush your teeth. On the contrary, each of the proposed actions should not be related to the other in meaning.
The task is that within 5-7 minutes the actors will have to figure out how to combine the disparate movements received from their partner into a logically justified and coherent plot. In this case, the order of movements cannot be changed: the task received first must be the first in the show, and the task named third must complete the entire scene.
In this exercise, you will have to use all your imagination to find a “justification” for a sequential chain of actions and to minimize all additional linking movements that will be necessary to move from the first task to the second, and then to the third.
"GROUP PATTERN"
Many of you probably have experience making puzzles.
Our puzzle will be unusual. To create it, we will not need any fragments of paintings, nor will there be a sample according to which a mosaic picture is usually made.
Your bodies will serve as the material for the work. One by one (the order will be free, that is, everyone can determine for themselves the order of “entry” into the puzzle), the group members will make a pattern.
The first participant sits on the floor, choosing the position, position of the arms, legs, and entire body at his discretion. Each subsequent participant, “complementing” the puzzle, must touch at least one of the previous comrades with his body. The exercise will end when the last “fragment” of the pattern takes its place in a kind of sculpture, reflecting its preferences, sensations, and its position in the group picture.
07/20/2016 at 08:16
Hello, dear friends!
Sometimes, listening to an experienced speaker, we are surprised at how easily and naturally he can put words into puzzles.
It seems as if he is not worried at the moment of performance, the possibility of stuttering, getting nervous or losing the right thought.
It feels like letters are transformed into words, and those, in turn, form a harmonious, beautiful network of thoughts and images of the master. At such a moment, I want to learn how to come up with masterpieces on the go, feeling confident in art, which is accessible to everyone. How to learn to improvise?
To begin with, what is verbal improvisation? This is a unique ability to easily, naturally and without preliminary preparation, fight conversational “wars.”
This can concern any topic: from penguins to terrorist attacks in America. The conversation comes about painting, ballet or space, a person immediately takes his bearings and masterfully delves into the very essence, diluting it with interestingly noted phrases.
Many people are mistaken in thinking that improvisation is empty talk. This is a whole science that helps the speaker more than once when communicating with the public.
Of course, even the most advanced master can stumble, forget the text, or unsuccessfully change the topic of conversation. Only with experienced gurus, we don’t notice such moments. Because they master the skill of verbal balancing act, and for inexperienced people, it is precisely such failures that are remembered.
Why is this necessary?
What techniques of verbal improvisation exist?
1. Associations
The essence of this technique is based on searching in your mind for a close association directly related to the topic of the speech. Of course, you understand that not every thought that comes to mind is worth voicing.
Let’s say you communicated with the masses on one of the selected topics. If there is a hesitation and you find it difficult to say anything further, you need to switch to the most appropriate association in the context of the topic of conversation.
For example, you need to improvise on the topic of music in your report. How to build something worthwhile in a couple of seconds? Think about what else you associate the word music with? Maybe you know interesting story creating a particular genre?
Or maybe there are musicians in your family? In any case, looking through the food for constructing thoughts in your consciousness, you can easily find there “ interesting facts”, which are very closely related to the main topic of your speech.
For example, in a conversation with a child, this method can be seen very cleverly. When little man, asks you a question, are you not dumping the whole truth on an unprepared mind?
That's right, you are looking for options, nuances, even playful ways to convey your idea in a way that is interesting, developmentally appropriate, and filled with usefulness.
2. Questions, save me!
A fairly common situation is that you are speaking a text and suddenly all the prepared phrases disappear. The feeling is not pleasant, and at the same time, correct, proven questions can come to the rescue.
In this case, you enable communication with the audience, conduct some kind of interaction, and on the other hand, allow yourself to come to your senses and re-capture the meaning of what is happening.
Be careful how you word the issue. Too complex - it will allow someone from the audience to find the strength to seize the initiative and begin to answer the question that was intended for your salvation, not utopia. Too simple - it may look dull and the listener will wonder: “ What's happening? It's obvious».
Prepare a chain of questions in advance that are easy to remember. They are able to efficiently shift attention and sometimes even relax the audience. But a lot depends on how you voice it.
There is one essential aspect to humor. This is a casual story. If you approach the question with a smile, then you may succeed wonderful transition from the state: “Oh , gods! I forgot everything", to the stage " I'm a genius!" Feel free to use jokes, anecdotes, and short stories in the pre-story to questions and feel free to communicate with people using them.
3. The last word is decisive
Sometimes, the head refuses to help its owner and does not want to use either associations or questions! Nothing! In this case, there is another way to get out.
Its essence lies in the careful and unobtrusive use of the last word of the sentence in the report.
For example, you are stuck on the phrase: “ Music is what people live for!" You need to concentrate and hang on to the last word. " People, beings who have long been accustomed to sound: from ancient times they praised the sacred instrument with the help of which sound was produced», — « What is sound?».
Of course, this was my improvisation on the theme last words in a sentence. I think you have grasped the meaning of such a game, which can prompt you to the right thought in time and save the situation.
What exercises can improve the skill?
1. Book
To complete the first task you will need a book. Open it on any page and see what word she begins her story with.
Take exactly this word as the topic of your speech and feel free to delve into your memory to extract interesting data and facts from there, to reveal the essence.
Practice the game with a partner - it will definitely be more fun!
2. Ping Pong
For such training you will definitely need a partner. Choose one of the topics together. Let's say this is fencing. Start talking about the first association that comes to your mind, forming it into a sentence. No more than 30-40 seconds is enough. for its qualitative disclosure.
Then you fall silent and it’s your partner’s turn to strain his brains. With similar tasks on the first topic. Ideally, there should be about 5 topics from each brainstorming participant. Then, change the task.
3. Endless improvisation
The essence of such a brain shake-up is aimed at preparing you for continuous transitions from one topic to a dozen similar or radically different ones.
Choose the first “victim” and try to approach the game performance as emotionally and vividly as possible. When your knowledge and strength are exhausted, move on to another topic.
The performance, lasting 1-4 minutes, should look organic and complete. You can ask your loved ones to act as listeners or prepare a fascinating story for your child before bed.
Friends, this is the point.
Subscribe to my blog updates and recommend it for reading. In the comments, tell us how you feel about improvisation and have you tried to master such an art?
See you on the blog, bye-bye!
How did our Master fare after shoeing the flea? The strength of the body accelerated, the timidity disappeared, I began to gather the children in the evenings, show and tell, teach my business. Sometimes, out of habit, fear would come to his throat and he would laugh. The master will say a couple of cherished phrases, shake himself up, look at the listeners - and well, speak!
It’s not scary anymore, but what? I have learned my job by heart and have many secrets in store.
Only more and more often both children and adult students began to ask him questions. Yes, not only in blacksmithing, but with a twist, you know!
- How did you manage to become such a successful Master? - Well... How is that. Just everything. Work!
- Are your products the result of a long-studied technique or improvisation? - What? What...mmmmm improvisation?
- Tell us how to show such perseverance in other crafts?
- Do you know that a law on training has now been adopted? How do you feel about him?
Questions, questions, questions. Words are needed to answer. Yes, not simple ones, but bright, fast, accurate, right off the tongue! Where can you find so many words? Yes, forge a pattern that will make everyone gasp!
And every time the Master became delirious. How can you say something when you don’t know for sure! The master loved precision in everything! And here it is for you! The topics are unfamiliar, the laws are different... the crafts are different... And, lo and behold, everything is interesting to them!
The Master became confused and went to the American Sage, who lived in their village and taught the children to speak. Help me, my beloved American, how to talk about unfamiliar topics. I’m afraid to blurt out something, so I remain silent, but the students are unhappy...
The American looked at the Master. Yes, he says, I can help, and the tribute from you will be quite small. Complete all my tasks that I give you. And success and happiness will come!
And he told him this...
About that very improvisation that helps in any performance.
Let's leave the Master with our rhetoric teacher. Let him listen carefully, we won’t interfere.
And let's talk about this: How much percentage in life do we speak on a prepared topic from the sphere of personal or professional competence (= I KNOW PERFECTLY!), and how much do we have to improvise (= I DO NOT KNOW VERY MUCH)?
50/50? More blanks? Or maybe unprepared speeches?
Have you seen speakers whose speech flows smoothly, beautifully, it seems that he knows about everything in the world?
Do you want the same?
Then we will learn the skill verbal improvisation.
WHAT IS THIS?
The ability to speak easily, without hesitation or pauses, spontaneously, without prior preparation, on any topic in any company. Our Master was asked to talk about success, and about perseverance as the main character trait, and about politics, and about the creative process. If he had the skill, it wouldn't be difficult.
IMPORTANT!
Verbal improvisation is far from what people sometimes call the generation of delirium. Yes, there are people who talk a lot and not to the point, without stopping, but this does not mean that they are proficient in verbal improvisation.
SI is an art that anyone can learn and which helps the speaker all the time! Verbal improvisation is a dance of words that are not huddled together behind the stage, i.e. in the brains and in the language of the speaker, but boldly form into virtuosic dance steps, full of meaning and charisma. Moreover, there are always two in a couple: the speaker leads in the dance. The audience follows him.
WHERE IS IT USEFUL? FUNCTIONS?
1. Answers to questions.
You are well prepared, the topic is yours, dear! And tuuuut! Bang! Question!
I remember the tap-dancing lawyer from the musical “Chicago,” when in the pauses between dance figures he listened to a question and then beat out a clear rhythm of the answer. Many different ones, incl. tricky questions - and a clear, detailed answer that leads him to the desired result. By and large, there was a lot of improvisation in that dance, because we can never predict in advance what question we will be asked.
How does SI help? Without yet knowing the answer, you can improvise on a related topic that is closer to you, and then smoothly move on to the one to which the question was asked (after all, you have already thought about the answer). The second option is also reasonable: start by answering the listener’s question, and then smoothly integrate new interesting facts, improvising and providing valuable knowledge. It's easier for you! It's more interesting for listeners.
SI allows you to fill the pause to think about the answer!
2. Opening the verbal flow. Removing pauses and freezes.
Do you think listeners will remember such a pause-confusion? Certainly! What if she is not alone during the performance? A painful feeling is guaranteed from you.
SI helps get rid of pauses and freezes, make speech continuous, and open a free and easy speech flow.
3. Thesis preparation. Freedom to convey text.
Surely many of us have attended presentations and speeches where the speaker, having memorized the text by heart, could not afford to move a step away from it. And if, God forbid, I forgot – a disaster! What's next in my text? Uh...
Therefore, this preparation strategy is not very suitable for people who want to learn fluency and beauty of speech. It is better to prepare according to key points - it is better to add the rest as the speech progresses, covering the backbone of the text with SI fabric.
SI gives you freedom from memorizing text!
4. Audience support.
Jerry Weissman, a very well-known business presenter and author of books on presentations, considers the concept of “audience support” to be one of the key concepts for a speaker. If you don't take care of them, who will?
Don't kill your audience with a simple list of facts, figures, arguments. Even if it's a boring annual report. After some time, the audience will get tired and will not be able to perceive the necessary information. It is important to be able to notice this in time and change the state of the audience: improvise, tell a story from life, a tale that will be appropriate. We are all human. Even the most serious audience needs emotions!
SI allows the speaker to change, shake up the audience, give it a break!
5. High energy.
I once watched a video in which one of the Western speakers ran onto the stage brightly! High energy! He waved his hands! I was on fire! Called! And then... He ran back to the pulpit and...quickly read to himself what was next in the text...then ran out again! I was on fire! And such running about 5 times during the performance!
At these moments I had a reasonable question: the text said: “Wave your hand and shout?”)))
The thesis is as follows: It is IMPOSSIBLE to use a piece of paper while working at high energy! In addition to the energy, you also need the gift of improvisation to make it look sincere and effortless.
SI allows you to perform at high energy!
6. Shoe a flea = reduce fear.
Mastering the skill of verbal improvisation is one of the techniques for reducing anxiety. A person goes on stage, completely confident: “I will find the right words”!
You may be less knowledgeable (since this sometimes happens) - but be able to pull out the necessary facts, figures, arguments, quotes in time using the SI skill.
SI relieves fear!
7. Small talk.
One day a girl comes to me for training and says: “I’ve been making presentations for a long time. The partners are delighted. But when, after business negotiations and presentations, everyone just goes to a restaurant, I fall into a stupor and don’t know how to maintain a conversation! And they are men: classic themes: hunting, fishing...”
What does the case say? About the fact that in ordinary, informal communication, you simply cannot do without the SI skill. Nobody wants to be considered a fool or quiet!
Other situations small talk You and I are also well aware of: a date, a party, friendly get-togethers.
Having mastered the SI skill, you will become the soul of any company!!!
TRAINING. TECHNIQUES. ALGORITHM.
How can you learn to spontaneously improvise on any topic?
How can you teach words to dance easily in your speech and form beautiful and smooth shapes?
Below we offer you simplest algorithm developing a skill that includes 5 simple steps or stages.
5 Specific Dance Steps to Master
BY VERBAL IMPROVISATION
In our group of friends, we have this tradition: when we sing songs with a guitar, then before some especially favorite melodies we encourage the guitarist: “Sing so that your soul first unfolds... and then curls up!” The first three stages of mastering SI are just an attempt to expand the arsenal, put all the tricks and techniques on the shelves, and then collapse it into one quick, instant process of finding a solution here and now, on stage!
Stage 1. Boogie-woogie in octopus style.
The technique is that you take any association associated with the main topic of the speech and begin to develop this topic.
Important! It is necessary to select not just any, but those that are as close to the topic as possible and vivid and interesting associations.
In a word, you and I are learning to dance like that octopus from the children's song who mastered the “8-legged boogie-woogie.” Octopus is your main theme that needs help to convey information better. If I wanted it, I rolled it out, expanded it, spread new topics, if I wanted it, I rolled it back, returning to the main topic.
It's really worth coming back. Otherwise, a speaker who “dances far” in his improvisation will be taken at least not seriously. Thus, we try to expand one association (the first octopus leg), then the return, the second, etc. As a result, we not only reveal the central theme, but also present it in a more comprehensive, bright, and interesting way.
At one of the trainings, I was given a very simple topic for improvisation: “airplane”. The octopus danced with all its might: as a result, I touched on the topic of flights (“Why don’t people fly like birds?”), the topic of gods and people (from the book “Flights of Gods and People”), the topic of freedom, compared types of transport and smoothly brought everyone to the idea of the beauty and freedom of such a type of movement as an airplane.
Shall we practice?
Exercise 1: The best improvisation is the one whose techniques you have mastered in advance. Ask someone to give you a topic to improvise on. Sketch a variety of associations to the topic in your head or on a card (at least 10). Try to develop at least 3-5 of them within 3 minutes. For example, you are asked the topic “success”, and you quickly sketch out associations leadership, money, fame, opportunities, examples successful people, literature on the topic, success criteria etc. Thus, you carry out the so-called brainstorming stage. Jerry Weissman calls the first stage of idea spewing the "slap" method, followed by "grinding," which we'll get to later.
So, SI technique No. 1: Associations.
Stage 2. Step and tap dance.
That is, “slap” and “grinding”. Indeed, it is not enough to sketch out a number of associations in your head; it is important to make the transitions smooth and beautiful. Just like in a dance, when tap dancing, the dancer moves in small steps to the right, even further to the right, even further to the right! And on each segment it beats several bars. In the same way, you and I, reader, can use a special technique: moving on to the last word, which helps to cope with the disclosure of the topic when associations do not come to mind.
The essence of the technique is that the speaker switches to one of the last words that was heard in his speech and begins to reveal it as a new topic.
Airplane…
Let's write the first sentence.
Some people prefer to fly by plane within Russia and abroad.
Let's cling to the last word:
Abroad, a concept that was absolutely closed to people of the Soviet period (many remember the so-called “Iron Curtain”), is now open to us in all its glory, in our democratic times.
Let's take the last word again:
By the way, about democracy. Democracy as a form political organization society in its pure form is found only in the USA, in the country for which this form has become the most natural.
And they froze again. What to do! Let's go natural!
Do you feel the style of movement? Step right - even more right - even more right!
And we tap dance improvisations, like the aforementioned Richard Gere character in the musical “Chicago.”
Shall we practice?
Exercise 2: Take yours again educational topic for improvisation. Think through the transitions from topic to topic. You build in the “go to the last word” technique.
Technique No. 2: Go to the last word.
Stage 3. Dance challenge.
However, throughout the film, our favorite tap dancer not only managed to beat the beat, but also challenged the audience, trying to cheer them up with questions! What kind of reception is this? Let's say you again don't know what to say next. Then a natural and beautiful move would be to ask the audience a question: closed (requiring a YES/NO answer) or rhetorical (not requiring an answer).
What does this give us? Gaining time. Audience involvement. In addition, you will find out what interests listeners in the speech. It is important to specify exactly closed or rhetorical questions to avoid the appearance of a second speaker.
For example, the topic of my speech is still “airplane”. And I build into my speech a few questions I need:
Are there people in the audience who have never flown on an airplane?
How many of you are afraid/love to fly by plane?
Do you agree with me that this type of transport is very convenient?
Why in modern world Is it important to move quickly? Yes because...
Have you noticed that now many people can afford to fly abroad in the summer?
Shall we practice?
Exercise 3: Look at the associations written down for your topic. Convert all associations into questions, e.g. Freedom: - Do you consider yourself a free person? People and birds: - Do you remember the myth of Daedalus and Icarus? And continue until the end of the list. Create a 3-minute speech with built-in questions. Now it is important to try to shift towards this technique.
Reception No. 3: Questions for the audience.
Let's continue.
Remember, readers, the quote at the beginning of our algorithm? “...so that the soul unfolds and then curls up!”
After mastering each technique individually, we advise you to take a new topic for improvisation and integrate all three techniques. Moreover, without any preliminary preparation, you can collapse all three stages of brainstorming into one - right here and now, on stage.
Result (stages 1-3):
Verbal improvisation is brainstorming in a condensed form!
Stage 4. Spontaneous choreography.
How do we master SI? That's right: practice, practice and more practice! It's not enough to know the tricks. We must use them! A spontaneous reaction to any verbal situations is born precisely when this skill is developed.
The stage of training beyond any framework begins. It's time to master spontaneous choreography!
Shall we practice?
Exercise 4: Take any topic you know well. We set ourselves the task of telling it at least 5 times during the day. different people with minor modifications. The next day we take a little-known topic and go into battle. On the third day - the announcement of the film, an anecdote, a tale - and off we went. On the 4th day, we ask someone to ask a more difficult topic - and we carry out 5 more stories!
The technique is called “opening the verbal flow” or “Say “A”... It is important here to start and practice improvisation consciously for at least 4 days of the work week!
Result: SI = a process that allows you to extract from consciousness the ALREADY EXISTING BAGGAGE OF KNOWLEDGE!!!
Stage 5. Tango for advanced.
Many participants in public speaking trainings asked me the same reasonable question after mastering the technique of verbal improvisation: “How can I make my improvisation even more virtuosic? Yes, I know the tricks. Yes, I discovered the courage to improvise. But I don’t want to pour from empty to empty. I need the next stage."
Indeed, verbal improvisation is nothing more than a model, a strong foundation, a backbone of techniques, a frame, a framework for infusing more and more knowledge into it. Here I completely agree with Tony Buzan and his method of developing verbal intelligence: read dictionaries, read books... but! “Read more” is too much general recommendation. And time is so fast now that there is simply no time to master volumes of books.
Okay, I offer you a new dance for the advanced: tango with its clear frame, with its prescribed structure and a huge share of improvisation. Combine knowledge and SI - what could be better?
If you want more, reader, follow me.
So, a beautiful continuation and build-up of CONSCIOUS SPONTANITY is embedding new knowledge(not necessarily by specialty) within the framework of verbal improvisation. To do this, you and I will read. But in light of the worldwide acceleration, we will master books very quickly.
Shall we practice?
Exercise 5:
1. So, you take any book you are interested in, preferably in paper form (much easier and faster!!!). Contents: NOT fiction (this can be any books on business, sales, psychology, marketing, your specialty, philosophy, it can be journalism, history, etc.).
Flip through the book according to the method: cover the entire cover, very thoughtfully read the contents and assimilate the structure of the book, then leaf through the ENTIRE book without stopping. Skimming through ONLY THE KEY POINTS. IN good books Usually the main ideas are in bold or italics.
It is very important to do this in 20 minutes. If you want to read in more detail, prepare your bookmarks in advance, and then in free mode you can return to the fragments that interest you. But for now, remember that you and I are creating a new basis for verbal improvisation. And thus, you master one book in 20 minutes. What do we then do with the new knowledge?
2. Having leafed through one book in this way, you TELL its contents - everything that you remember to at least 3 different people! And only then in the evening you can write down a paragraph of text (honed in advance) and make notes. Before this, the book is stored in your head in oral form. This is why you will be able to flexibly improvise on a given topic of the book.
This technique allows the speaker to expand the boundaries of improvisation, learn a lot of new things in short time, learn not to bury new knowledge in your head and quickly forget it, but to effectively integrate it, increasing the level of memorization and hone your ability to dance with words! Create a collection of your new themes! Increase conscious spontaneity!
Result of step No. 5: SI = frame for infusing and structuring new knowledge!
A brief summary of the algorithm for mastering Verbal Improvisation:
1. Verbal improvisation as brainstorming: technique Associations.
2. Verbal improvisation as brainstorming: technique Jump to last word.
3. Verbal improvisation as brainstorming: technique Questions for the audience.
4. Verbal improvisation as a process of realizing knowledge.
5. Verbal improvisation as a frame=frame for embedding new knowledge.
Thus, SI is both freedom and foundation! It will help you make any speech meaningful, structured and at the same time lively, bright, unusual!
The article used ideas and materials:
Sergey Shipunov (SI+ techniques)
Acting exercises
THEATER DIRECTORS
Invite your team to compose and stage a performance in 15-30 minutes, the text of which consists of only four lines. For example:
Once upon a time in the cold winter season
I left the forest. It was bitterly cold.
I see it's slowly going uphill
A horse carrying a cart of brushwood.
or
Our Tanya is crying loudly,
She dropped a ball into the river.
Hush, Tanechka, don't cry,
The ball will not drown in the river.
You can take any other well-known quatrains.
An improvisation performance by a creative group should be staged by lot in the genres of opera, operetta, circus, horror film, musical, drama, melodrama, comedy, detective story, documentary, variety, etc. It can turn out to be an interesting and funny performance.
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MIRROR
When there are many actors on stage, there is a need to work as a “team”: developing a sense of common rhythm and tempo, mutual assistance, and reproducing words that evoke feelings of emotion in others. This is what is often called "chemistry". Some theater companies know its secret, others do not. Is it possible to train actors in this direction?
One of the exercises that can help us is called "Mirror". Divide your team into pairs. Let them stand facing each other. One of them must be the leader. Let the leader show with facial expressions the actions he performs every morning in front of the mirror: shaving, applying makeup, etc. The second participant tries to imitate the leader’s actions as accurately as possible without laughing. It will be very successful if the leader begins to reproduce his actions as if in slow motion, making it easier for the second participant to repeat them. When all couples have achieved some success, the instruction should be to switch roles. And leadership passes to someone else.
The exercise will become appropriate when leadership passes without an outside command, when the participants themselves feel that the goal of the exercise has been achieved and they can change roles. This stimulates the distribution of the actors’ functions in the dialogue and makes it possible to concentrate creative efforts.
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THE CAMERA SEES EVERYTHING!
Seeing yourself on video is a terrible shock. We would all naturally like to see how we really look, so we want to look at ourselves from the outside. But often reality brings us into a state of shock. Many actors are mistaken in believing that they are able to perfectly convey other people's thoughts. Others, on the contrary, underestimate themselves. The truth lies somewhere in the middle and is best understood through video footage. Use video not only to record performances, but also during rehearsals. Take any script you love and film the troupe during the reading of the roles. Give them short passages so they can remember them immediately. Then play the tape and comment for each person on what they did well and what they need to continue to improve on. This will frighten some, but a good dose of reality will benefit everyone.
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INTERVENTION GAME
The best way to help people improve their acting abilities is to make them feel free in all sorts of improvised situations. Actors don't always have to rely solely on the words of a pre-written script; they have to improvise their own lines. And when they do this, there is a high probability that their lines will be motivated by their own real thoughts. And the result will be the production of natural-sounding lines, which in itself is the key to acting. We call this “playing a mind game.”
There are many types of improvisation, we advise you to try the following option.
Make two actors (optional) imagine themselves in some typical situation: on a bus, in line at a hotel to check in, in a park, etc. Give them a theme and let them start improvising. Ask the rest of the cast to keep a close eye on the actors when they have a problem. interesting idea, they can say at any time - “I’m interfering!” At this moment, the two playing the skit should freeze. Intervening or becoming additional actor, or replaces any of the actors of his choice. He either starts the scene over again using the same theme or completely changes it, the value (and humor) of this act being in acquiring the ability to adapt to each other and produce natural sounding lines. Encourage your actors to be as natural as possible.
CHANGE CHAMELEON
Have you ever been in a situation: you have a lot of people, several roles and you are not sure who to give which one? Here is a way that gives anyone the opportunity to test themselves, their abilities in choosing different roles - and the opportunity to have fun at the same time. Make as many copies of the play as there are roles in it. Write the character's name in capital letters on each copy. Now hand out the roles at random and ask them to start reading the roles, regardless of what name is written at the top of the copy. Don’t pay attention to who got the role: a woman or a man, old or young. Let them read. Give the command “Change!” every minute. At the same time, everyone passes copies to the left and the participants begin to read new roles. Not only does this stimulate character development, but it allows you to test people in roles that would not normally be available to them. And everyone wins.
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COMPLICATING CIRCUMSTANCES
Take a short poem that everyone knows. Have the actors take turns reading it with complicating circumstances, for example:
if he had a toothache
got a speck in my eye
I wish my shoes would sting
there was a pie in my mouth
I would like to go to the toilet
You can also imagine the following situations:
traveling in crowded transport
to the sounds of a waltz in the park
when a child is crying nearby and the actor wants to cheer him up
How would these external conditions influence the nature of the conversation?
COME HERE!
A. S. Makarenko testified that he began to consider himself a master when he learned to say this phrase with 18 different intonations. Encourage your actors to do this.
This phrase can be pronounced with various shades: exclamatory, interrogative, surprised, stunned, ironic, satirical, derogatory, loving, denunciatory, indifferent, sarcastic, pathetic, humiliated, mocking, prosecutorial, cruel, commanding, dismissive, pleading, despising, condescending etc. The actors, sitting in a circle, say the phrase: “Come here!” (or any other) with different intonation.
SET YOUR EMOTION SCALE
One of the most difficult tasks for a director is to establish a balance between the emotional level of the actor and the pathos of the text he pronounces. Beginning actors are usually not emotional enough; more experienced ones often overact. Complicating the problem is the lack of objective standards for evaluation; you can say “more expressive” or “less expressive,” but by how much?
Try to create your own rating scale and say: “Here is a mildly stronger manifestation of anger,” say: “You give out anger as a 5, but we need 7 or 8.” As the process progresses, say "That was only 6, but we still need at least 7."
This will help the directing process because the actors will have a clear understanding of the level of emotional expression. Naturally, even before a person learns to express his feelings at level 7 or 8, he needs to be given the opportunity to test himself at 10. It is always easier to move backward than to crawl forward. And you can’t even laugh at it!
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LINES IN THE STEREO SYSTEM
Often among amateur actors there are people who feel awkward when expressing emotions. The lines they pronounce sound inexpressive and unconvincing. Even when you constantly remind them to show the character's feelings more clearly, their performance is not much different in expressiveness from a flight attendant announcing the need to fasten your seat belts during takeoff.
A hopeless case? Most likely not. This happens not because they are not emotional enough, but perhaps because they are embarrassed to show feelings. They are afraid of looking expressionless. Try the exercise called "Lines in a Stereo System." Ask an actor who has no difficulty to read the text at the same time as the performer. And then these two will have the opportunity to experiment in expressing emotions without being left alone. After all, it is easier to sing in a duet than as a soloist, and even easier in a quartet. It is possible that sometimes three or four people will have to read together.
You, as a director, should encourage any initiative in every possible way and do not forget to have fun while doing it. Once the actors are relaxed, it will be easier for them to read alone. This is a great way to give more experienced actors a chance to encourage new ones.
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HOW TO SPEAK FUNNY LINES
After all, when you've mastered the game, funny moments can arise. Funny is always good. But how laughter can interfere with the understanding of the text of a play requires your attention. Inexperienced actors continue their role while the audience is still laughing at a joke. As a result, the subsequent text is not perceived by the audience. If you don't pause when laughing, you will inadvertently train your audience not to laugh at all. They will be afraid to miss words. But don't delay the pause. To maintain momentum, allow the reaction to reach its peak, but continue before the laughter has completely subsided. Practice bursting into laughter in rehearsals when the actors least expect it. This exercise will teach them to pause and the skill should become automatic.
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STOP! I CAN'T HEAR!
One of the most common mistakes made by non-professional actors (as well as by professionals) is the inability to reproduce words loudly. This makes everyone sad. You have to reproduce beautifully written words, but the audience, except those who are excellent lip readers, have absolutely no idea what the actor is saying. This mistake is easy to make when staging a play if the director directs the actors from close range. Try to place your assistants in different places in the auditorium and start reciting something familiar first, and then lines from the play. Let those who are listening to you, whenever they do not hear the lines, shout “stop!” Remind that in an empty auditorium the sound is heard more clearly, while people “absorb” the sound, and therefore everything should reach them very clearly. This exercise will give everyone the opportunity to learn how to pronounce the text of the play correctly. If you yourself are not very strong at recitation, invite the choir director and give you a 10-minute lesson. Never let great lyrics go unheard by your audience.
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Tongue twisters-2
Getting into a taxi, the dachshund asked:
What is the fare?
And the taxi driver replied:
We drive taxis just like that.
I tie a vine in the forest, I carry the vine on a cart.
Don't lie down the vine - I'll punish you!
In the shallows we lazily caught burbot.
In the shallows we lazily caught tench.
Wasn’t it me you sweetly begged for love?
but the fogs of the estuary beckoned me.
The gypsy on tiptoe tsked at the chicken: “Tsuk!”
Baker Peter baked pies.
The parrot says to the parrot: “I’ll parrot you, I’ll parrot you!”
To the parrot the parrot answered: “parrot, try it, parrot!”
Whey from yogurt.
I drive through potholes, I can’t get out of potholes.
The crow missed the little crow.
Near the bell stake.
A weaver weaves fabrics for Tane scarves.
My spoon is grooved and curved, and with a reverse turn.
The mice dried the dryers, The mice invited the cats.
Rima cleans the wound early, Roma washes the frame nearby.
I visited Frol and lied to Frol about Lavr.
I’ll go to the Lavra, to the Frol Lavra.
The ships tacked and tacked, but did not tack.
Hey you lions, weren't you howling by the Neva?
Three priests walked, three Prokopya priests, three Prokopyevichs.
They talked about the priest, about Prokopye, about the priest, about Prokopyevich.
The priest is standing on his head, the cap is on his butt,
A shock under the butt, a pop under the cap.
Feofan Mitrofanych has three sons Feofanych.
From the clatter of hooves, dust flies across the field.
The Greek rode across the river,
The cancer sees the Greek in the river,
The Greek put his hand in the river,
Cancer by the hand of the Greek DAC.
Four little black, grimy little devils
A drawing was drawn in black ink.
The pig was white-nosed, blunt-nosed,
She dug up half the yard with her snout.
Karl stole corals from Clara,
Clara stole Karl's clarinet.
Mom washed Mila with soap. Mila didn't like soap.
Osip is yelling, Arkhip is not far behind - who will out-shout who. Osip is hoarse, Arkhip is hoarse.
There goes a goat with a sideways goat,
A goat walks with a barefoot goat.
A goat walks with a barefoot goat,
A goat walks with a sideways goat.
A good beaver for beavers.
Is it you Ilya, or am I Ilya?
A lilac eye-picker with half-broken legs.
Grandfather Danil divided the melon. A slice for Dima, a slice for Dina.
Cook Peter and cook Pavel,
Peter baked, and Paul soared,
Pavel soared, Peter baked,
Cook Peter and cook Pavel.
The heron wasted away, the heron was withered, the heron was dead.
tongue twisters provided by the site http://www.jesus4u2.org/russian/resursi.html
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SIMULATORS
The essence of this exercise is very simple - the actors take turns saying a phrase, for example: “A Christmas tree was born in the forest,” but using different intonations. For example, you can say this phrase: choking with laughter, crying, shocked, in the monotonous voice of a robot from a science-fiction film , in the style of a famous politician, surprised, scared, angry, etc. Options should not be repeated.
WARM-UP
As a group, loudly and clearly, separating each sound, say the following sounds several times:
7. Tongue twisters
Try saying these words just like that, and then with nuts in your mouth behind both cheeks. The best nut to use is hazelnuts.
Tell us about your purchases.
What about purchases?
About shopping, about shopping, about my shopping.
Mom washed Mila with soap.
A blunt-lipped bull, a blunt-lipped bull.
The bull had a lip, was stupid
Buy a pile of spades (3 times)
One day a jackdaw pops, scaring
I saw a parrot in the garden
And that parrot says:
Scare the jackdaw, pop, scare.
But, jackdaw pop, frightening in the garden,
Don't scare the parrot.
Peter – cook, Pavel – cook (3 times)
There is grass in the yard, there is firewood on the grass
One firewood, two firewood, three firewood.
Prokop has arrived - dill is boiling
The digging is gone - the dill is boiling.
How dill boiled under Prokop,
This is how dill boils without Prokop.
The cap is not sewn in the Kolpakov style.
The bell was not poured in the Kolokov style.
We need to re-cap the cap,
It is necessary to re-ring the bell - re-ring it.
Sasha walked along the highway and sucked on a dryer.
Cuckoo bought a hood. He put on the cuckoo's hood,
How funny he is in the hood!
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GEORGIAN CHORUS
This is an exercise to develop breathing. The whole group sings one sound at the same time, for example “a”. It is important to use your breath sparingly. The sound should be smooth, equal in volume, and not attenuated. Whoever is last is well done. You can also use another sound: “i”, “e”, “o”. But when they pull “a”, it is very reminiscent of a Georgian male choir.
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GAME OF THE MAIN D'HOTEL
A head waiter is a manager in a restaurant, but this is also the name of the person who announces the arrival of guests.
Imagine a ball in some count's house, guests come in one after another. The head waiter announces their names. He makes it important, loud and clear. So that no one asks again later: who came there?
Now about the game itself. Choose several long, difficult names. For example:
JEROVAAM
PARLIPOMENON (although it's not a name, so what?)
Etc.
Stand in a circle and take turns saying one name.
Here are some rules on how to do this:
There is no need to split the word. It should sound cohesive. (for example, Jeroboam can be pronounced as Jerovo Am - funny, because “am”!)
Do not emphasize some vowels more than others, do not put a strong emphasis
Do not swallow or stretch endings and accented letters.
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TEXTS
Read any texts out loud. Discuss where to pause and where the emphasis is on a word.
As a rule, a word is remembered best if there is an emphasis on it and a short pause after it. The words that come after a pause are the worst to remember.
The best way to learn about this is in the next section - literary reading.
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FICTION READING
Advice from Andrey Goncharov (Moscow)
At our rehearsals we do what is called artistic reading. Those. We take a passage from Scripture, I choose it in advance and according to the meaning of the exercise, and read it. But how...
1. Let's say the reading passage is taken from the Sermon on the Mount. I ask people to read 5-10 verses at a time, as if you were playing Jesus. Those. at this point it is important to convey through your diction the feelings that Jesus experienced while preaching that day: love, meekness, humility, care, peace, grace. And I demand all these signs from the reader. If he doesn’t succeed, then do it again, first showing what is required of him. In general, I begin to demonstrate all the exercises myself, thereby setting the necessary, correct course for my people. Those. What is required of them is not simple monotonous reading, but exactly how Jesus spoke these words! Further.
2. We read a passage from Scripture in the voice, manner and diction of an elderly person and a child who is not only just learning to read, but who still doesn’t read well, but already knows how. And here I ask my people to show me the difference between reading an elderly person and a child. Of course, the difference is in the voice. But not only in him. After all, in addition to simple reading, I ask people to convey their behavior in accordance with the given character. Those. they are already sitting down, as befits an old man or a child. And here the huge differences are already visible. And in the manner of reading, and reading syllables, some kind of muttering under one’s breath, but so that everything could be clearly heard!
3. "Fast reading." This is when a person, reading a book, shows that he has already read these lines. Those. in other words, reading at high, enormous speed. He is not required to pronounce words clearly. No. It’s like skimming through a text, but it’s desirable that explicit, clear words be spoken at least sometimes. And then you can again rush in search of the lost place. You are allowed to improvise in this type of reading, inserting your own words like: “well, well, I’ve already read that!” or “so, it already happened!” or "uh-huh!" You can move your finger across the book while reading.
4. "The voice of compassion, grief, sadness." Matthew 24 is perfect. Where Jesus lists future events. I just believe that Jesus was very emotional as he spoke these words. Maybe in some places he could barely hold back a tear, because He loves us very much. According to this place, I demand the same reading from my people. A very difficult task, perhaps the most difficult. You need to put sadness and sorrow into your voice. Those. Demand from your people at this time to try to experience, to convey to everyone listening at the rehearsal what the reader is asking for! To send chills down the spine of everyone listening. This is a sure sign that a person succeeded. Out of 8 people, only 3 of us succeeded! Probably because I demand a lot from my people.
5. "Voice of the Devil." Despite all the seemingly simplicity, it is also a difficult task. Since it is required not only to yell and hiss like Satan, but also to convey through your voice all the hatred that the devil feels for us, people. Those. everyone should believe the reader!
I spend the first half hour of rehearsal on such exercises. I believe that such exercises are very important, as they develop the diction level of the entire group. It’s just that some people in the group, who don’t learn everything so quickly, who were initially not as developed as others, are sometimes offended that basically the same roles are played, and they often sit on the “bench.” Explain to the entire group at once that you are seeking equal development for all members.
And also, if you see that a person is doing well in rehearsal, don’t spend a lot of time on him. He's doing great anyway. Better take care of those lagging behind. Only then will they be able to catch up with the successful, highly developed actors in your group. I just think it’s better when people are already prepared for the role, then you don’t have to waste time on setting the right voice for the actor!
WE READ LIKE CHILDREN
Let's try to speak in children's voices. To make this better, read aloud some text one at a time. Read slowly, stuttering, repeating words, pronouncing poorly, sniffling, as first-graders do. It will be easier for you to do this if you all play school. Let someone be the teacher (or teacher). He tells who to read to; the other “children” must read to themselves and run their fingers over the text. Another tip: to make the text really difficult for you, turn the page and read “upside down.” With this game-exercise, you train not only your vocal abilities, but also learn to get into character (in in this case in the form of a child).
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READING RULES
When reading this verse, you need to do everything that is written as you read.
Remember firmly that before you begin the word in the exercise,
The chest cage should be expanded slightly.
And at the same time, pick up the lower abdomen, the support of breathing and sound.
The shoulders should be motionless and at rest while breathing.
Speak each line of poetry in one breath.
And make sure your chest doesn't tighten while you speak.
Because when you exhale, only one diaphragm moves.
Having finished reading the lines, do not rush to move on to the next one:
Pause briefly at the pace of the verse, at the same time
Hold your breath for a moment, then continue reading.
Make sure every word is heard.
Remember to use clear and pure diction on consonant sounds.
Before doing an exercise on tempo, height and volume,
You need to pay attention to the evenness and stability of the sound:
Exhale sparingly, counting on a whole line.
Composure, sonority, flight, stability, smoothness -
This is what you first look for in the exercise with attentive hearing.
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Gesticulation of hands and plasticity of the body
THE ART OF GESTICULATION DURING THEATER READING
Since during the "reading" there is no opportunity to use scenery or props, all that remains is that which constitutes the actor's technique: eye contact, voice control and gestures - all this will compensate for the losses. But how is it possible to gesture while reading when your hands are busy with the text?
1) Memorize the text. Participating in reading is not at all an excuse for not memorizing the text; of course, when you forget words, you can spy on them. But when you look into the text, you deprive yourself of the possibility of action. If you are tied to text, your ability to make eye contact and gestures suffers. Why? Yes, because the script is the best prop for gestures. If you read the lines, you can no longer use it.
2) Use a folder with text (script) as a convenient prop. Be creative about it. Although it's only a black folder, you'll be surprised how many uses there are for it. If it's "raining" you can hold it over your head like an umbrella. It can also be used as a desk, calendar or book, Bible, royal decree, dictionary, or any readable medium. You can illustrate your frustration by slapping your knee or head. It can become a waiter's tray or a plate from which to eat. Come up with other functions for it.
3) Use your free hand for other gestures. I don't usually plan my gestures. It's hard to make them feel natural if they're pre-planned. But in normal life, people gesture to make their actions more expressive. In the theater you can keep all your gestures and even emphasize them slightly. Depending on the weight of your script folder, you may want to close it and rest it on your knee so you can gesture with your free hand. If you do this, then place your finger in the right place so that you can easily open it if necessary. The audience should see that you are using it not only as a prop, but also for its intended purpose. This involuntarily reminds them that they are complicit in the act of creation. The ultimate goal is that you shouldn't let the script get in your way. Participants in the reading must be fluent in the text, so that the script becomes a natural part of the theatrical performance. Skillful gestures should not stand out in this action, but contribute to the fulfillment of the ultimate task.
In the process of preparing a performance, the reading takes up as much time as a traditional performance. By the time you have mastered eye contact, changes, and gestures, you will not have saved any rehearsal time. Mastery comes with experience, and you will be able to skillfully weave your acquired experience into the sphere of communication with people.
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TENSION AND RELAXATION EXERCISE
Before you start playing on stage, it is advisable to warm up. Try this exercise. Stand up straight, raise your arms up, raise your head, look at your hands. Now rise up onto your toes. Stretch hard, as if you were trying to lift a heavy bag onto the top shelf. Tighten your whole body. Very, very strong! Hold this position for 7-10 seconds and then relax. It is not so easy to immediately relax the body, but after severe tension it is easy to do.
All the “relaxed” ones sit on chairs, and the leader must check how well it turned out. He approaches each person and lifts his hand (by the fingers), moves it in different directions (it must be very obedient, if it is even a little tense and resists, then the result will not be achieved), then throws it. The leader also checks his legs. The leg should be taken under the knee. If you lift at this joint, the leg should obediently bend, the foot should drag along the floor. Repeat this exercise 3-5 times. It relieves stiffness very well before going on stage. In general, it’s a good idea to do this exercise before each theater group lesson. Let this become a habit for actors.
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NONVERBAL SYMBOLS
What are nonverbal symbols? These are voluntary and involuntary movements of the body (including the hands), with the help of which a person expresses his words, thoughts and emotions. For example, waving your hand means greeting, if a child stomps his feet, it means he is dissatisfied with something, he doesn’t like something, etc.
As a group, try to remember the largest number of non-verbal symbols you know. Using them on stage will help you perform in pantomime.
You can even make it into a game. Everyone takes turns showing some kind of gesture and saying what it means. So, until they remember everything they can.
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GESTURE GAME
This game is played by 7-15 people. Each player invents a gesture for himself. For example: scratch your ear, clap your hands, show your horns, etc. Everyone sits in a circle and the game begins. Someone is starting. He shows his own gesture first, and then someone else’s. The person whose gesture was shown must immediately repeat it himself, and then show someone else’s gesture again. If someone gets confused, he leaves the game. There should be two winners.
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CROCODILE GAME
A minimum of 4 people are required to play. Players are divided into two teams with approximately the same number of people. The first team thinks of a word, for example, “student”. Then they call any player from the opposing team and tell him this hidden word. This player's task is to pantomime this word for his team to guess it. When a player shows the hidden word, his team begins to guess out loud. For example: are you showing the school? To which the player can respond with a nod of the head, but must not utter any words or sounds. When the word is guessed, the teams change roles.
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PAINTING THE FENCE
This is an exercise to develop hand plasticity. The whole group simultaneously or in turn does the following movements:
Paints the fence (the brush is your hand).
Blows waves over the shoulder (the wave should be smooth).
Touches an invisible wall (the palms should seem to be touching the plane, the palm and fingers should be spread out along the “wall”).
Rowing on oars.
Tugs on an invisible rope (in this case the whole group is divided into two parts).
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ASSEMBLE THE PIECES
Each member of the theater group is given the task of depicting the following on a piece of paper:
Assembling the bike piece by piece
Installing all four wheels on a car
Assembling the plane piece by piece
Assembling a helicopter piece by piece
You make a boat with oars out of boards
You assemble other equipment piece by piece (come up with it yourself, my imagination doesn’t work in this matter)
This is how you should do this exercise. When you take a spare part, you show its shape (feel it all with your hands) so that the audience has a clear idea of what is in the actor’s hands. And then you install it. The whole group must guess what the actor has now collected.
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STROKING THE ANIMAL
As in the previous exercise, all actors in the theater group receive assignments on pieces of paper. This time they need to pretend that they are petting the animal or picking it up. Here again the hands and palms should work mainly. They offer to “pet” the following animals:
Hamster (image him slipping out of your hands, running along your shoulder, etc.)
cat
A snake (it gets entangled around your neck)
Elephant
Giraffe
The task of the whole group is to guess the animal.
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PARROT IN A CAGE
When a professional performs this mini-scene, it seems very easy to do. However, try it yourself.
So, you need to do the following:
Approach the cage (all objects are imaginary, including the parrot)
Feel it with your hands
Take it and move it to another place
Tease the parrot
Find the door and open it
Pour the grains into your palm and feed the bird
Pet the parrot (after which it should bite you)
Pull your hand back
Close the cage quickly
Wave a threatening finger
Move the cage to another location.
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