Sample games and exercises for the section
theatrical acting (1 year of study)
Goals:
General developmental games are held in the first part of the lesson, and theatrical games in the final part. When conducting these games, it is necessary to create a fun, relaxed atmosphere, to encourage tense and constrained children, and not to focus on mistakes and mistakes. Many games involve dividing children into performers and spectators, which makes it possible to evaluate the actions of others and compare them with their own.
"What changed"
Target: develop visual memory, attention, endurance.
Option 1: Theater paraphernalia is laid out in front of the children. Within 1 minute, children remember their location, then close their eyes. The teacher swaps attributes or removes one. Children must determine what has changed.
Option 2: Some of the children are “artists”, they show the mise-en-scène from a performance, the rest of the children are spectators, memorize it, then close their eyes. Changes are taking place on the stage. The audience must reconstruct the mise-en-scène.
"Catch Cotton"
Target: develop voluntary auditory attention and reaction speed.
The children stand scattered. They must react to the teacher’s clap and clap at the same time. The teacher offers to catch a small ball (flower, coin).
Target : develop visual memory, voluntary attention, and a sense of cohesion.
Several children form train carriages, standing in a column. The child standing in front of them, the “locomotive,” must remember in what order his “cars” are located. Then the “locomotive” turns away and names the children “carriages” in a clear sequence.
"Verbal Portrait"
Target: develop observation skills and voluntary visual memory.
The driving child stands in the center of the circle. Children walk in a circle, holding hands, and say the words: “Stand in the center of the circle, and do not open your eyes. Give me an answer quickly - Describe the portrait of Masha.” The children stop. The driver closes his eyes and describes the portrait (hairstyle, hair color, clothes, its color) of the named child.
"I put it in the bag..."
Target: develop voluntary auditory memory.
The teacher explains to the children sitting in a circle that they have an imaginary bag into which they can put any objects in a strict order. The teacher begins the game with the words: “I put it in the bag...”(names any object).The next child must repeat what was said and add his own object, etc. Gradually, more and more words are remembered. It is important to play them in the given sequence.
"U grandmothers growing in the garden...”
Target: the same as described above.
The teacher tells the children about a magical garden where anything can grow. The main thing is to remember the sequence of “grown up”.
"Shadow"
Target: develop attention, observation, imagination, fantasy.
One child (the driver) walks around the hall, making voluntary movements (stops, raises his hand, bends, turns). A group of children (3-5 people), like a shadow, follows him, trying to repeat everything exactly. what is he doing.
"Scouts"
Target: develop voluntary attention and speed of reaction. At a certain signal from one of the children - the commander, the "scout" children must perform actions. For example, on a blue signal
rockets (pencil of blue color) - sit down and hide, and at the signal of the red rocket - jump over an imaginary obstacle.
"Attentive Animals"
Target: train auditory and visual attention, reaction speed, coordination of movements.
Children are in the “forest school”, where the teacher trains their dexterity and attention by pointing, for example, to the ear, nose, tail and naming them. The children watch him carefully and name what he shows. Then, instead of an ear, he shows a nose, but stubbornly repeats the word “ear.” Children must quickly find their bearings and correctly name what the presenter showed.
"Merry Monkeys"
Target: develop attention, observation, speed of reaction.
The “monkey” children stand scattered. Facing them is a zoo visitor (one of the children), who performs various movements and gestures. The “monkeys,” imitating him, repeat everything exactly.
"Mirror"
Target: the same as in the game "Merry Monkeys".
Children stand in pairs opposite each other. One child is a “mirror” that reflects all movements, postures, facial expressions behind the child standing opposite. Then the children change roles.
"Snowball"
Target: develop auditory attention, voluntary memory, group cohesion.
Children sit in a circle. The teacher suggests “rolling a big snowball.” The themes of the game can be different: the names of the sitting children, the professions of their parents, favorite fruits, flowers, etc. For example, the theme chosen is “The street where I live.” The first child names his street, the next one says the street where the child who said it lives, and then his own, etc.
"Chairs"
Goals: instill the ability to move freely in space; coordinate your actions with your comrades.
At the teacher’s suggestion, children move around the hall with their chairs and “build” a circle (sun), a doll house (square), an airplane, a bus, etc.
"Friendly Animals"
Target: develop attention, endurance, consistency of actions.
Children are divided into three teams: bears, monkeys, elephants. Then the teacher names one of them in turn, which must perform its movement. For example, bears - stamp their feet, monkeys - clap their hands, elephants - bow. You can choose other animals and come up with other movements.
"Working with Emotional Models"
Target: introduce facial expressions of emotions.
The teacher draws children's attention to the eyes, eyebrows, mouth, and schematic images of faces expressing various emotions. After children learn to identify emotions by patterns, they are given cards and cut in half crosswise. Children are asked to find two matching halves and connect them.
“Working with emotional circuits”
Target: develop fantasy, imagination, logical thinking.
Emotion schemes are several sequentially depicted models of emotions, connected by arrow transitions. Children are put into subgroups and asked to come up with a story. In this story, events happen to the hero during which he shows the indicated emotions. For example, the scheme: sadness - surprise - joy. “A sad chicken was walking and saw his brother floating along the river on a leaf, and was very surprised. His brother invited him to swim with him. The chicken was happy and went swimming with his brother.”
"Guess what I'm doing?"
Goals: explain a given pose; develop memory and imagination. The teacher invites the children to take a certain pose and explain it. For example:
"One and the same in different ways"
Target: develop the ability to justify one’s behavior and actions with fantasized reasons; develop imagination, fantasy, faith.
Children are asked to come up with and demonstrate several options for behavior for a specific task: a person walks, sits, raises his hand, etc. Each child comes up with his own behavior, and the other children must guess what he is doing and where he is. This task can be performed in creative groups, each of which receives a specific task (sitting in the circus, watching TV, in the dentist’s office).
"Trip around the world"
Goals: develop the ability to justify your behavior; develop imagination.
Children are invited to go on a trip around the world and figure out where their path will take them - through the desert, a mountain path, a swamp, through a forest. They must change their behavior accordingly.
"Item Transformation"
Target: develop imagination, imagination, and ingenuity.
The object is placed on a chair in the center of the circle or passed around the circle from one child to another. Everyone must act with the object in their own way, justifying its new purpose, so that the essence of the transformation is clear. Options for transforming various objects: pencil or stick - key, screwdriver, fork, spoon, thermometer, etc. For transformation, you can take both small and large objects.
"Room Transformation"
Target: the same as in the game “Transformation of an object”.
Children are divided into two or three groups, each of them comes up with their own version of transforming the room. The rest of the children guess from the behavior of the participants what exactly the room has been turned into. For example: shop, theater, seaside, hospital, etc.
"The Transformation of Children"
Target: the same as in the game “Transformation of an object”.
At the teacher’s command, children turn into trees, flowers, mushrooms, toys, and animals.
"Studies"
Goals: develop imagination, expressiveness of conveying emotions by different means; ability to act together.
Sketches can be suggested by the teacher or composed by the children. Topics for sketches should be close and understandable to children (“Quarrel”, “Resentment”, “Meeting”, “Joy”, “Anger”, “Sadness”, etc.). The next stage is the composition of sketches based on fairy tales, poem plots, musical excerpts (“Kolobok and the Fox”, “Tanya and the Ball”, “Girl and Doll”, etc.).
Games by this direction may be supplemented or changed at the discretion of the teacher.
Hello, dear readers, guests, friends. Today I want to introduce you to a very talented mother, professional, actress, director - Yulia Belousova
We play in the theater - why?
And really – why? We don’t have the task of making an artist out of a child, and the vast majority of children are naturally okay with imagination, and they play role-playing games with great success without our adult help.
That's right. But acting training (and we will talk about it, only in a slightly adapted form) is an amazing and unique activity in that you do not get knowledge, skills, information, food for thought and impressions from the outside, from a teacher or from a book, but mostly you draw from yourself. And - in equally- from your “colleagues”, if any (ideally, acting training is a collective endeavor, but it is quite possible to do it alone with your mother). That is, this is a great way to get to know yourself - different, contrasting, unusual, to realize your creative courage, try to be the director of your own ideas, and, of course, bring them to life here and now.
At what age can you play these games?
From anyone. Such activities can be interesting and useful for both children and adults. Any game or exercise can, if desired, be adapted for the baby and vice versa - made more difficult and varied, you just need to turn on your imagination. Therefore, the age range of our classes will be approximately as follows: from 2-3 years to infinity. I will deliberately not talk about what exactly develops this or that task - you and I understand perfectly well that any game develops absolutely everything in a child, no matter what is written in the manuals and on the boxes of games and toys.
Let's agree on the shore!
Before you and I set sail from the shore and sail along the theatrical and creative waves, I want to draw your attention to one thing in order to avoid disappointment later. What we are accustomed to consider the theatrical activities of our children are matinees in kindergarten, for example, actually have nothing to do with theater in any of its manifestations and forms. I don’t want to offend anyone: matinees are an excellent, interesting and useful thing in their own way, but... infinitely far from the theater. Therefore, in this article you will not find advice on “how to teach a child to speak in public and not be embarrassed,” “what to do so that the child reads poetry loudly and clearly,” etc. Today we will not “learn roles”, put on makeup and sew costumes. But we will play all sorts of stories, come up with real sketches and even master the basics of pantomime. Well, once everything has been agreed upon, go ahead!
Queen Fantasy and King Imagination
These are our friends and helpers; we can’t live without them. Therefore, a whole block of training will be dedicated to them.
Transformers. And now we are all wizards. The game is somewhat similar to “the sea is rough.” I will clap my hands and say what we will turn into, and we all immediately become... a ball, a pencil, a flower, a toothbrush... And now it’s a little more complicated: a white rose bud, a faded chamomile in a vase, sad autumn rain, hot sand on the beach …. And now it’s even more difficult: rainbow, doubt, New Year, letter “A”, cheerful mood, mother’s smile.
Now tell me, please, is it possible to play rain? No, not show it, but play it (or “play it” – whatever you want)? Of course you can! But you can only play a story, but you need to find out or create it. What does rain do? It's going... Great! What else? It’s pouring like buckets, drizzling... Wonderful! And he can also play on the roofs, like on drums, or draw drops on the asphalt, or play with a passerby, trying to drop a drop right down the collar, or blow bubbles in a puddle, or... And now we already have something to do, and the question is “how to play rain" is simply not worth it! And what kind of rain is it? What is his character? Gait? What's your mood today? Maybe he didn't get enough sleep or is angry with someone? And against whom and for what?... Or vice versa - he is very happy because his grandmother came to see him! By the way, can rain have a grandmother? And if so, what does it look like?... And now our rain becomes alive. And we ended up with a small sketch, almost a performance!
Etude
. Now let's try to play a story that someone else came up with. I suggest turning to A. Usachev’s well-known book “Once upon a time there were hedgehogs.” The choice fell on this work, firstly, because probably almost everyone has read this fairy tale, and secondly, the events of this story are quite detailed, they can easily be looked at through a “magnifying glass” and turned into a full-fledged sketch-story.
The kids love to “paint with broad strokes,” so they are ready to show and tell an entire cartoon or fairy tale in two or three gestures. And that's great! And our task is to direct their attention to little things that are no less interesting and “tasty” than dashing plot twists.
Veronica the Hedgehog fell into a jam jar. This is a whole story! You just need to help the child live it in detail a little. To do this, right during our “performance” we can suggest to the child something that has escaped his attention, we can even come up with little things that were not in the book; the magic word “suddenly” is very important in this “prompting”.
Veronica was eating raspberry jam. The forbidden is important! So, she ate without anyone noticing. Delicious! At first she took the jam with one finger, and then she got carried away and began to eat it with her whole paw. And suddenly... it dripped onto the dress. Upset? No? Well, that’s right – jam is more important. She ate and ate and was full! The belly has become so big and the paws are sticky! Does he still want it or not? And this doesn’t matter anymore: the jam has run out anyway, and the last drop remains on the bottom. Suddenly Veronica realized that she was inside the jar... It's fun: you can press your nose to the glass, you can shout up - and you get a funny echo. How many games can you come up with! Oh-oh-oh... How do we get out now? Jump? No, I can’t reach the neck... Maybe I should climb up? But the paws slip... What if the can is broken? I don't have enough strength. Somehow I already feel uneasy... And I really want to go to my mother... What will Veronica do next? Call for help? Or will he come up with his own way out of this situation?
You need to be as delicate as possible with hints: if the child is good at coming up with options on his own, then you shouldn’t interrupt his thoughts, unless you offer some very unexpected circumstance - let him try to get out. And if the child strives to “jump” straight to the result, then the more detailed the mother’s monologue is, the better.
And here are more ideas for similar sketches from the same book: Veronica stuck to the oil can, Vovka plays football and pierces the ball with needles every time, Veronica peeks into a box of bronze medals, Veronica drinks daddy’s ink instead of compote, etc.
Music, let's be friends!
Without music, perhaps, there is no theater. She is a powerful means of expression, a character, the creator of the atmosphere of the performance and an exponent of the feelings and emotions of the characters. Let's listen to her. It is better if the music is classical, instrumental (without words). It’s good if it’s a small and easy-to-understand piece or a 1.5-2 minute excerpt. I.S. Bach, D. Kabalevsky, S. Prokofiev, P. Tchaikovsky, R. Schumann wrote music for children; in their creative heritage there are many such works that we need: small, bright and expressive, eventful. You can easily choose something interesting just for you and your baby. There is a small list of musical pieces suitable for such games.
Now let's imagine who this music is about? About how the cat drank milk and sharpened its claws? Great! Can you show me this cat? But I wonder what happened to our cat during this “boom” - but obviously something happened, because the music screamed so loudly?!
The more questions the child is asked, the better. Pay your and your children’s attention to musical accents and all sorts of changes: suddenly the music became quiet, quiet, and now there is a pause - also for good reason, and now the tempo and tonality have changed - why is this? etc.
What is the character of this music? Is she kind or militant, thoughtful or playful? It is not necessary to listen to music while sitting, you can move, there is only one condition: listen to the music where it leads and calls. Or maybe we can draw or sculpt it? Let's try! Or compose a fairy tale (together with your mother, of course), and then play it to music, like a sketch?
Voice acting. Here's another interesting one team game. True, it is not with music, but with sounds. Together we come up with a chain of simple actions. For example, I take a glass of tea from the table, put two lumps of sugar in it, stir it with a spoon and drink it. All this, of course, is not real, but imaginary. Now let's think about what sounds we hear during these actions? Footsteps, the sound of sugar cubes, the clanking of a spoon, the sound of drinking water... Perhaps something else? Now let's find suitable objects around us so that we can make these sounds - the most inappropriate objects at first glance can become excellent helpers. All is ready? Now, if there are more than two players, you need to distribute the sounds among themselves. One of the players performs all the actions with imaginary tea, and everyone else voices this process. The game requires close attention from everyone, because the task is not to catch each other, but, on the contrary, to voice the fragment as accurately as possible!
Living word
How we miss him, as soon as life puts us in a situation of some kind of “show”! The words of a memorized poem awkwardly fall down somewhere, and even try to forget themselves along the way! Horror! And how easy it is for us to talk about how we vacationed at sea, about little kitten, who has been living at our house since yesterday, about the holiday on the occasion of our birthday. It’s all true: a word can become alive and expressive, and therefore interesting to the listener, only if it is born as a “picture” inside. That is, first we imagine in our imagination what we are talking about - not the text itself, but very interesting story! – and then we turn our picture into words. This is the main secret of “speaking” games: the birth of a living word.
A tale about...
Yes about anything! I have a bus ticket in my pocket, let’s write a fairy tale about it. The one in whose hands the ticket is located will begin to speak. At my request, the ticket is passed on, and the story is continued by another narrator. I wonder where the plot will lead by the end of the fairy tale? The passing of the “baton” occurs at the boundary of events: “and suddenly...”, “and one day...”, “and then...”
Say it as if... Here's another game with words. I will suggest a short but not very easy to pronounce phrase: “too salty soup”, for example. For older children, the phrases will be more intricate and longer, but for kids, on the contrary, they will be simpler, you can even limit yourself to one or two words. The main thing is that it can be quickly and easily remembered. Now say it as if you don’t want to eat this nasty soup, and now as if salty soup is your favorite delicacy, the saltier it is, the better. And now it’s as if you cooked this soup, and now you’re apologizing for the fact that it came out too salty. And now this is not about soup at all - this is an encrypted message, it must be said in secret so that no one else can hear it. And now “too salty soup” is your name. Introduce youreself! And now you are the host of the concert and announce the next number of the program. You can continue for a long time.
"Mother" What a wonderful word! We say it very often. And for what reason? Let's remember in what situations we turned to our mother today. Drew this morning beautiful drawing And invited to admire my mother. And then we saw children walking on the street and began persuade Mom should go for a walk. After asked for help tie your shoelaces. And then the phone rang and we called mom. And on a walk we met a large and scary spider, and out of fear we shouted: “Mom!” And after lunch, my mother lay down to rest, and we really needed to ask her something, so quietly, in a whisper, so as not to wake us up, and very affectionately: “Mom!” That's how many stories have happened today, and how different the same word sounded! Now let's play them like a sketch, like a small performance in which only one word will sound.
Two hands - two sorceresses
Hands are perhaps one of the most expressive means. How often, when telling or explaining something, we involuntarily gesture with our hands, helping our story. Their gestures can sometimes say even more than words.
Fly. It seems to be flying around us and buzzing. And we have her - once! - and caught him in his fist. Let's hear how she's buzzing there? Now let's look at it, just be careful - it will fly away! We open one finger at a time - one, two, three, four, five - it flew away! Now let’s find it again with our eyes and catch it again, only this time with the other hand.
Glue. Today we glued (by the way, what kind of craft did we make? Was it a gift or just for ourselves? Did it turn out beautifully?), and there was glue left on the palm. You need to clean it off with each finger of the same hand in turn. Happened? Now on the other palm.
Modeling. You can sculpt from plasticine, from clay, from dough. Or maybe from your own own hand. First you need to stretch your hands and warm them up. And now you can sculpt. Anything! Table, mushroom, boat, house, chair. Now let's blind some creature. It can be the most incredible and fantastic. Ready? How does it move? Can I pet him so he won't bite? What does it eat for breakfast and where does it live? What does he have - antennae or paws? He has friends? And most importantly: what is his name, because a name is destiny in some way?
Pantomime. This is theater without words, but in this case they are not needed, everything is clear. Let's make an imaginary ball. We sculpt it carefully, it should be very, very round and smooth. Here it is getting bigger and bigger, and now let's make it denser and smaller, for this we need to put in more effort. Oh, it has become heavy and almost touched the ground, and it’s hard to hold it - your hand itself is reaching for the ground. And now he suddenly became light. And now you need to hold him so that he doesn’t fly away, you’ll even have to stand on tiptoe. Let's now release him into the sky, let him fly! And we look at him, and there he is, completely transformed into a dot.
Maybe now we will “blind” a cube and build from our imaginary bricks whole house? You decide. We can go on forever. For those who want to play such games, I would like to wish them not to get carried away with “roles”, but to look for and notice what is alive and real in everything around them: in themselves and in each other, in their own and others’ reactions and emotions, in words, actions, impressions, in the surrounding world. Although they say that actors “play a role,” acting in this case is a process that is as honest as possible, akin to a child’s game: seriously, to the end, for real. This is the paradox of acting training: while acting, don’t act. Don’t grimace and pretend, but live and feel.
Try to play any of the proposed games with your baby, and your own instinct will definitely tell you the direction where you want to go next.
This concludes our lesson. With great pleasure I will answer any of your questions. Creative success everyone!
Belousova Yulia
A theater actor is a profession that is entirely dependent on practice and regular training. Acting games for children 5 years old, teenagers or adults are a mandatory attribute of the training program at a theater school. Like playing on musical instrument, where no theory can replace muscle memory and hand motor skills, performing arts is impossible without a number of developed skills, such as:
This is why teaching theater students does not involve boring cramming and sitting through smart books. After all, despite the fact that theory is still part of the course, no one cares how many quotes from Stanislavsky you know by heart, the only thing that matters is what you can show on the set.
The main condition for developing any skill is necessity. It comes in two types:
If the factor of vital necessity is absent, nothing can replace it except a game imitation. This is what makes acting games the most common and only effective method artist training.
In preschool and younger children school age games are the leading activity through which they get acquainted with the world around them, gain valuable experience and develop comprehensively. Even the most simple acting games for children are educational and help the child develop certain skills. Thus, tag and catch-up provide children with physical activity, development of reaction and coordination, hide and seek - attention and logical thinking, daughters and mothers - communication skills in society, etc.
You can teach a preschooler everything in the world through play. Just select the right games for him and guide the gameplay.
To develop stage skills in children best choice will be an acting game for primary school, requiring the work of imagination. Such games include:
Imagination is the basis not only of acting, but of creativity in general. Games to develop imagination promote flexibility and variability of thinking: the ability to find non-standard solutions and think creatively.
As a child enters adolescence, the all-consuming craving for games is replaced by a craving for communication. Now the society of peers becomes the main source of experience and new information for the child, and the harmonious development of his personality is directly dependent on success in communication.
A teenager constantly senses enormous untapped potential within himself and seeks to use it. Acting can be the way a teenager needs to express himself.
It is very important for a teenager to promptly develop such qualities as:
The best acting games for teenagers are games that involve partner interaction and teamwork.
The game “Siamese Twins” is very popular, where two partners, clasping each other around the waist, become, as it were, one fused body. They only have two arms between them and they are forced to walk, leaning on each other. In this form, teenagers perform familiar everyday activities, for example, having breakfast, getting dressed, or even playing tennis.
Acting is the most difficult thing to teach an adult from scratch, which explains the age limit for admitting students to many theater schools (on average up to 25–26 years). The fact is that adults, during their difficult life in society, have managed to acquire a lot of masks, behavioral patterns, thinking stereotypes, standard reactions, etc. To teach an adult to play others, you must first teach him to be himself, loosening the grip of self-control.
Games for acting for adults are games for internal liberation and improvisation, the ability to “dive headlong” into any pool without preparation, without fear of making a mistake, causing disapproval or seeming funny.
There is a mathematical school, a humanities school, and then there is an acting school for adults, where you can improve the sound of your voice, make your speech competent and beautiful, get rid of an accent, loosen up, become a more pleasant and cheerful interlocutor, learn to act according to the situation, so that it is advantageous and natural.
Children's play is a joyful process of creativity. How to arouse and maintain playful interest in acting? After all, in children's games, almost all people play enthusiastically. Actors don't get carried away on stage while acting very often. For an actor, this is the highest peak of creative well-being on stage. Probably in children's games, the players keep the necessary game rules in their minds and the game happens. And winning is possible! Maintain faith in yourself! This means acting is much more difficult. Its rules are more complicated than the rules of just a children's game, and then the fun leaves the game, the excitement and interest go away, which is largely based on the opportunity to express oneself - to win, or to hold onto the game itself, to get pleasure from the fact that you can play this game. Can! Pay attention to the verbs - fun, fun, have fun. This condition is present in any game situation. What amuses the playing person?
Let's take one of the simplest children's games - "blind man's buff." Any game is sacred. The hidden meaning of this game is connected with the transition to another world - the world of “blind man’s buff”. When we played this game as children, we had no idea that we were playing with death. We, with excitement and some fear, teased the water player, who played the “blind man’s buff” - a person who has lost touch with our world, who has lost his sight - the main channel for obtaining information about our world. And those who were caught by the “blind man’s buff” left the game with death. They became beyond the line of the game, i.e. beyond the line of life, beyond measure. This trait always attracts living and playing people. The desire to push the boundaries of the space of life beckons, because by taking risks, running next to the “blind man’s man” player and not falling into his hands, we gain freedom, we arm ourselves with the ability to live. Live in such a way as to avoid the fear of death. We are increasing the degrees possible risk, the degree of behavior possible for oneself in this world. This is how we find this world, we appropriate it, we become its masters. The frightening and alien world to us becomes safe and familiar. You just need to learn to live in it, skillfully manipulating its rules. It is from here that all human desires to acquire something in this world grow: big physical strength, good health, beyond ability, money, power, human recognition and love, have many children or relatives, or friends, etc. and so on. All this, in my opinion, is “one but fiery passion” to acquire some kind of super-weaponry in this world and against this world. Acquire superpower that will allow you to cope with any limitations of existence in the rules of the game of this world.
You can do some historical research on the topic of how people acquired this superpower at different historical times. One of these ways was proposed by Christ. This is the opposite way. In order to live freely and easily in this world, one must overcome the fear of losing earthly things, the fear of losing earthly life itself. This is what he teaches us life path- death will be corrected by death...
But let's return to the game of blind man's buff. The essence of the rules of the game is that in the absence of a visual channel of perception (the water player is blindfolded), the “water” must catch (slap) players whose eyes are open and who are much more armed with his freedom and means of avoiding loss. He can only use hearing and touch. It’s like the blindness of chance, which can be circumvented and beaten. But the game does not happen if the players do not take risks, i.e. don't give in to blind man's buff additional features catch yourself. At the same time, equality in the strengths of the players and the water-blind man is restored. Only in this situation do players begin to show their maximum strength in an effort to catch or dodge. Only in a situation where it is possible for players to exert maximum effort does gaming excitement appear. At the same time, at any time, any of the players can take a break, moving aside, or stopping catching players for a while. But not all games are so safe...
What does acting have to do with it? If there is a need to transfer the game “in blind man’s buff” to the stage, a situation of a game within a game is created. But here the opposite happens! Just like in life, in order to survive you need to face death. This is the way of Christ, this is the way of Ivan the Fool. Fool - doing the opposite, like a cancer, backing away, but moving towards the goal.
The fact is that if this situation needs to be acted out on stage, then the actor playing “water” cannot help but see the situation. Otherwise, an accident may occur that will disrupt the programmed course of the game.
It is generally known that it is precisely the programmed course of the game that distinguishes a simple game or a life-game from a game on stage. In life, or the game, we players don’t know who will win and when. It is known that we propose, but God disposes. In acting, the player knows in advance who will win or lose what is at stake and when. In this sense, the actor is “God” on stage. He knows in advance what will happen. He is a creator - the author of the creation of life on stage.
But what is the game then? One of the main components of the game disappears - the desired win, as a result of the manifestation of one’s wonderful qualities. What is the actor playing? Who is he playing with? Who are his opponents in the game? What does he win or lose? What does an actor's skill as a player depend on?
These seemingly simple questions worry me as an acting researcher. The actor has it in the game this set means of achieving the goal and a certain logic of their use. An actor cannot change this. Randomness is not allowed here. What makes the game so exciting is that a lot of it is based on chance. But the actor can change, depending on the situation, “how” he uses these game tools. This is the “how”, in the acting school – “devices”, and there is that zone of chance in which the actor’s play lives and develops. But, you can keep your behavior within the given limits only by moving away from interfering factors: your own logic, knowledge of the fixed game plot and its twists and turns. This means that during the game the actor must constantly solve the problem of neutralizing some factors and dominating others. It is well known that for an actor it is important to eliminate the factor of knowledge of those character accidents that the actor needs to “seem” not know. To do this, it is necessary to remove one knowledge to the periphery of consciousness, extinguishing interest in it, and actualize the other with the help of passion, fantasy, and imagination. For the actualization process, the actor constantly, during the game, needs to create in his imagination those pictures and thoughts that the character may have at this time. Those. the actor's consciousness must be seriously occupied with work, so that there is no free space and time for irrelevant information.
So in everything: in order not to see “something”, it is necessary to occupy the vision with another “something”, to peer into something else. At the same time, it is not easy to direct the eyes to another object (looks at a book, but sees a fig), but to carry out research, to carry out real productive work in consciousness.
If we return to the acting game "blind man's buff", then the water player needs to constantly create pictures of internal vision, which he must fantasize based on sounds and touch. If these pictures appear in consciousness, then the pictures of real visual perception will be muffled, which prevent the actor from playing the “blind”. At the same time, the actor must use these visual perceptions in order to fulfill the plan of the role, to embody the artistic concept. This means that he simultaneously holds two plans of behavior in his consciousness. To do this, the actor creates in his consciousness a temporary setting for two-dimensional behavior, which is an artistic concept, working on the energy of artistic need. A formed artistic need, or a super-super-task, includes the energy of the need of the will into the work. It is then that the law of behavior in acting is embodied, which states: it is necessary to be at the right time in the right mise-en-scène and perform the intended effect. If this law is followed by all participants in the game, then the intended artistic result occurs “by chance.”
Now let’s understand the stages of mastering acting. First, the actors play a real game, for example, "blind man's buff." This is Mikhail Shchepkin’s behest - to take samples from nature. Then imitate nature. This means playing the same game, but with the “if” rule. If the eyes were blindfolded or closed, they are actually open. Then we play in a blindfold, through which we can see, but the spectator-observer does not know whether it is visible or not. Then there are several people with a blindfold, and it is not known which of them has a blindfold that is visible through it. If all players, both those who see through the blindfold and those who do not see through it, behave according to the same laws, i.e. make similar movements, learning occurs - to behave in such a way that everyone saw, and therefore thought, something the player doesn't actually see. This simple children's game, translated into acting, contains the whole main meaning of acting training.
If we understand that the form is the content, and the means is the goal, then it is absolutely clear that between inner world between man and the outside world there is a certain line, or a thin film-form of their interdependence. And if we understand stage action as the actor’s movement towards the character’s goals, then the action, in this case, occurs on the orthoganal of maintaining the correct physical movements that correspond to certain goals.
Then, this is probably what the technology of pedagogy for mastering stage action and acting looks like:
1.Mastering a skill creating a "target", or impact addresses. This the law of creating a "vision" or plan. The ability to create a “vision” means that I look at my playing partner, and see in him the real features of the manifestation of a given thing, for example, “hostility”, or vice versa, “love for me”. And the partner himself has nothing to do with it. This is how they “look at him” and “this is how they see him.” Seeing with “different eyes” is what allows you to “play the king.” I look at the wall in the rehearsal room, and I see, for example, the distant horizon and the surface of the sea...
2. Mastering "ballet" semiotics corresponding to a given “target”. For example, the semiotics of body movements during rain. Logic of movements human body during the wind. And there is no wind! This is the same childish answer - “the wind blows because the trees sway.” This “turnaround” of the process is inherent in the entire artistically imaginative creative process of creating an artistic illusion. Therefore, an actor needs, at a minimum, to master the bodily semiotics of stereotypes of wordless behavior. Semiotics of stereotypes of verbal influence. This is the mastery of the first great law of acting - identification law. The artist behaves in such a way that he creates the world around him. This law of “creating worlds” is perfectly understood in the art of pantomime, in stage movement. Etienne Decroux was the first to speak clearly about this, proclaiming a revolution in actor training. But in order to behave according to something, this “something” must be clearly represented and held in consciousness. Therefore, without the first skill, the second does not work. This means you need to create a “vision” and you need to be able to convey it through your movements. Then the same image, the same “vision” appears in the consciousness of “others”.
3.But in this case we can say that a talented actor who “creates worlds”, creates his partners as characters in a play, does not need talented partners at all. In practice, this often happens. The viewer goes to the theater to see his favorite talented actor. This is a clear soloist. But such practice by K.S. Stanislavsky destroyed and persecuted as negative. He asserted the principle of ensemble. It was this principle that allowed a group of actors to create the illusion of integrity of the story taking place on stage, in which the viewer believed. The conclusion is obvious. In order to create the illusion of integrity of the story taking place on stage, it is necessary that all actors behave in accordance with the laws of this story. This is the second great law - law of transformation. If the law of identification reveals a connection with the world and builds a score of the actor’s movements from the outside, i.e. centripetal, then the law of transformation is centrifugal. This law builds a form of behavior from the inside. “I am a teapot...” - and the body takes the most expressive form of correspondence to this object. This means that the law of transformation says “what I am and how my movements depend on me,” and the law of identification says “what the world is like and how my movements depend on the world around me.”
4. And the last law is law of opposition or contrast, or simply a counterweight. For only contrast allows us to distinguish one thing from another. This is the ability to build a struggle, to reveal a conflict. Build a mise-en-scene composition of the location of body parts in space and bodies relative to each other. In other words, this is mastering the laws of “stage interaction”.
It can be assumed that the content of the actor's training process must be built on the basis of this logic and the sequence of acquiring the actor's skills, where one presupposes the other, and in total allows the creation of acting through the main thing - stage action.
“Mind, will, feeling!” - according to Stanislavsky.
There are not enough people here, well, maybe someone will come along to discuss one issue.))
People constantly write: he plays like a log, there are no emotions, his face does not express anything. I always want to ask: is it necessary for an actor to put on a face like Jim Carrey, so that they will say about his work: he plays well, emotionally?
And the fact that people are different in life, some express all their feelings at once: with words, face, body, while others seem frozen, unemotional by nature, stingy in the external expression of feelings. Everyone is worried inside. After all, there are such people, and there are many of them.
Why does everyone want some kind of African passions from an actor, so that only in this case they can evaluate the acting as excellent?
Do not exaggerate. But what about the film of all times and peoples, The Terminator and its main character, a robot bodybuilder, who does not change his face? :) Which made him an idol for many years. And Stallone was paralyzed in half his face. The actor must
fit into the role.
The same Angelina Jolie Pitt in the role of Lara Croft that brought her fame is simply such a mini-sphinx (zero emotions, flexing of muscles), but her debut comedy is not familiar to many.
So I will never agree that the main thing is emotionality. This is exactly what all amateurs are guilty of. Both the Chinese and student theaters believe that the louder the cry, the greater the glory.
For me personally, acting is not about fussing with your face, not about facial expressions, but about the authenticity of expressions of feelings...
This is the most notorious, “I believe it or I don’t believe it.”
For me, the greatest indicator of acting is when I forget that I'm watching a film, when I empathize with the hero.
And it’s even cooler when I can’t recognize the actor... (this is not about the make-up artists who sculpt Vysotsky and Yesenin from Bezrukov).
A striking example of transformation beyond recognition is the role of Bruce Willis in the film “Death Becomes Her.”
IMHO, to a great extent, personal assessment of acting is a matter of taste; how many people are able to recognize the excellent performance of an unloved actor? And will we see authenticity in the performance of an actor who makes us sick...
I’m not exaggerating, I constantly come across such an assessment of acting work (a log), it seems that bodybuilders were not required to portray anything, the example is unsuccessful, just like the heroine of a comic book, in fact, a cartoon character.
The latest attack is Jesse Eisenberg in American Ultra (and the film The Double is cited as proof of his ability to play different characters).
The example of Orioles is exactly what I’m talking about, the maximum possible facial expressions, tears in the eyes - the temperament of southern people, eager to get out.)) And if you take the northerners, the Estonians from the joke, calm outwardly in any situation, how to play them, what to please the audience ? And how many people in everyday life behave like actors in Turkish or Brazilian TV series?
The closest thing to me is a game, as if it’s not a game at all, a person lives someone else’s life, of the Soviet actors for me it’s Nina Ruslanova, Nina Usatova, Vladimir Ilyin.
Personally, I really like the acting in Brazilian and Turkish TV series.
Both the Chinese and student theaters believe that the louder the cry, the greater the glory.
How many people are able to recognize the excellent performance of an unloved actor?
Will we see authenticity in the performance of an actor who makes us sick...
You can even see ours in theaters
Once upon a time we were fond of going to the Satire Theater. Tickets for the premieres in all theaters were mainly obtained through so-called demolitions, this is when students of one university, like rugby players, demolish another university in line and buy up the entire box office. Well then they speculate among their own people.
So we bought like people on Saturday at the box office in line for performances that had been going on for a long time. We almost saw the entire repertoire. One friend went to a performance with Andrei MIRONOV HIMSELF. He was at the zenith of his fame. And what? He spat all over, he looked indifferent, he played the pipe like a drunkard at the market. Moreover, my friend was a terrible rag-picker and loved to spend time on weekends in supermarkets, queuing for imported rags. And she “ran into the performance” so that the boys would have something to blurt out about to show off and move on to kissing.
Well, soon Mironov passed away. And as much as the rest of us missed him, we still love his facial expressions :)
But that rag-picker saw “THE TRUTH” - a dummy on the stage. And who do you believe - her or the films that many still remember today as a bright memory of their youth :)
Oleg F., and you looked at least one Brazilian series? Or at least the Turkish "Magnificent Century"?
I doubt. Otherwise they wouldn’t speak so disparagingly about the work of their actors.
They actually play very naturally, beautifully, naturally, expressively, and generally talented.
Of course, among them there are those who are not talented, but there are no exceptions anywhere.
And our young actresses, for the most part, only know how to goggle, nothing more.
sometimes in films I'm surprised to find bad game good actors
For myself, I attribute this to the work of the director, which seems to be invisible, since the film is the fruit of the work of a huge team,
but why then do some directors have awesome actors?
and for some they simply work off their fees (we are talking about ours, and about Hollywood, and about French actors - about any)
Mironov (kingdom of heaven) was a weak actor, without a doubt, charming, darling, a people's favorite, but not an actor
Remembering the old school: Alexey Gribov - that was the Master;
and as an example of the impeccable acting of the old masters, I suggest everyone watch the film “The Wedding”,
where each of the actors is a diamond, not a single passing episode, the participants in the thread, naturally, have seen this film))
http://www.kino-teatr.ru/kino/movie/sov/6219/annot/
Mikhalkova.
Mironov (kingdom of heaven) was a weak actor, without a doubt, charming, darling, a people's favorite, but not an actor
Oh, Mikhalkov as an actor is just two darlings in the Mironov dimension :)
What happened to him later is called don’t judge, don’t be judged...and so on. At this time, everyone crawled along at their own pace, as no one had needed talent for 30 years; they needed breakthrough qualities that previously only the elite or suppliers possessed. What to remember now?
I feel sorry for Robin Williams and his brilliant heroes. Why did he leave?
I think Mironov is a genius
based on what roles? just for example
I honestly haven’t watched My Friend Ivan Lapshin, Mironov’s role there is very different from most of his roles,
I believe that with very strong directorial support, any actor will play better than his capabilities
Papanov was organic both in the role of Lyolik and in the role of General Serpilin,
but in Zakharov’s 12 chairs both: Mironov and Papanov did not shine, Zakharov’s fault is most likely...
There is an option when an actor pulls out a weak film,
But there is the opposite: a strong director raises weak actors to his level
And the fact that we are all different - that’s how nature intended it, to make life more fun, probably)))
I am of the opinion that the assessment of acting not only by ordinary people, but also by critics is a matter of taste,
only “I like / I don’t like”, there are no clear criteria for such an assessment,
They don’t jump high, they knocked down the bar or flew over it...
