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

Collective creativity acquires a particularly important significance in relation to acting work. Therefore, it is fundamentally important that almost from the very beginning of teaching acting skills, it is necessary to pay close attention to the development of a “feeling of the elbow” among beginners. The authors of this tutorial express doubt that it makes sense to work out the exercises and studies proposed in it alone: ​​in this case, some, perhaps their most important component, will inevitably be lost. We recommend that you apply to the individual use of the materials of the tutorial if you have at least some experience in stage activity.

Exercises for developing a collective "sense of elbow" among beginners in acting training are addressed, therefore, to the master, leader or group leader and should take an important place at the beginning of the team's work (according to work experience, they must be addressed during the first six months of training). The same exercises are also useful in further work, as a means to gather attention, to mobilize the group before the start of the lesson, rehearsal.

The manager is a hired manager, the boss!

If you do not have a single subordinate, you are not a manager, but a maximum specialist!

Denis Shevchuk

In addition to the exercises below, these goals are achieved with the help of any, preferably related to moving in space, games that are of a collective nature. A set of core games and game elements that can be "weaved" into the performance of any exercise, which will decorate it and make it multifunctional.

Exercises, games and game elements of collectivity

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

Get up on your fingers. The leader turns his back to the group, shows a sign with some number (from 1 to 10), (you can just have a certain number of fingers), starts counting (up to three or five, then turns sharply to the group. At the time of the turn, the number of standing (or sitting, lying, etc.: as you agree) should be equal to the number written on the plate.The condition of the exercise is complete noiselessness of execution.

Japanese machine. Each student thinks of a short word or number (not repeated) and tells the others.

Next, the leader introduces a simple rhythm of four beats with some movement for each measure. After the group has mastered the simultaneous execution of the rhythm, for the last two measures, the students begin to convey "leadership", using the words they intended, naming their own word first, and then someone else's. The one whose word is called becomes the leader for the next measure and also passes the leadership to another. "The leader who missed his word or did not fall into the share flies out.

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

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

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

Typewriter. Students distribute the alphabet among themselves (each gets several letters) and are the keys of the typewriter which letters they got. Hitting the right key is the clap of the right person (who got it). Someone offers to print some phrase, and the participants “type”, clapping at the right time with equal intervals between the “letters”. A space is indicated by a common clap of the whole group, a point is indicated by two common clap.

Earth - water - air - fire. The facilitator points to one of the participants standing in the circle, telling him one of the key words. The one who was pointed out must (no later than five counts counted by the leader) name (without repetitions) an animal - a fish - a bird or turn around himself, respectively. The one who made the mistake is out.

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

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

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

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

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

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

Posture transfer. Participants line up. The first one comes up with some kind of complex pose (the rest do not see which one) and, at the signal of the host, “transfers” it to the second one (the latter must memorize it as accurately as possible in 10–15 seconds). At the next signal of the presenter, the first one “removes” and the second one “assumes” this pose. Then the pose is transferred from the second to the third participant, etc. The task is to transmit the pose as accurately as possible from the first to the last performer. If there are enough participants, it is better to split into two teams and “pass” one pose given by the leader - who is more accurate.

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

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

Wordless Impact Elements

Reading books is prestigious, modern, profitable.

Knowledge is also capital, which is always with you.

Shevchuk Denis

Each human action has a specific goal (albeit not always conscious) and it can be decomposed into component actions of a smaller volume. The smallest components of action are evaluation, extension and impact.

Grade

Evaluation is the first moment of any action realized by the subject, when the purpose of the action only arises in consciousness.

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

On the psychic side, this is the moment of establishing in the mind a connection between interests (common goal) and one or another external, objective phenomenon. At the moment of “evaluation”, the general subjective goal, being concretized, turns into a particular objective goal, that is, into a goal both objective and subjective ... From the external, muscular side, “evaluation” is always more or less prolonged and more or less complete immobility.

The most difficult thing to "put into one's head" is a fact of extreme importance and extremely unexpected... The more difficult the "assessment", the correspondingly longer it is - the longer the immobility that enters into it and follows the first reflex movements.

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

Exercises

Grade

Watch people when they “saw”, “heard”, “learned”, “understood” something unexpected, find in them a moment of physical immobility, “fading”. 1
After a real assessment in life, a person usually somehow changes (the changes fit into the following parameters: mobilization, extension, weight), use this rule to check your mastery of the assessment.

Observe in life and master the organic “freezing” in the process of doing something: 2
It is necessary to clarify the concept of "case", which occurs hereinafter, by "case" is understood any process that has a beginning and an end and requires the subject to focus on the obstacles encountered during implementation. From this position, this or that activity can “be a thing”, or it can “not be”. For example, driving a car is not a matter under normal circumstances, but it can be a matter of learning to drive, chasing, etc. When performing exercises, it is necessary (especially visible from the side) to control whether a person is engaged in a business or not (if not, then nothing what parameters of behavior are not discussed). Observe in life and master the organic “freeze” in conversation.

When reading a newspaper, when walking.

Try to play an etude according to the scheme: you did something - suddenly something unexpected happened (saw, heard, noticed, understood) - it became urgent to deal with a newly arisen, “new” business. 3
To successfully master the “assessment” in all exercises, it is necessary to achieve focused attention on the matter that precedes the “assessment”, i.e., the “importance of the matter” for the character.

Play the etude according to the scheme: you did something - suddenly something unexpected happened (saw, heard, noticed, understood) - it became necessary to make “corrections” in your activity, somehow change it to successfully achieve the goal. Play the etude according to the scheme: you did something - suddenly happened (saw, heard, noticed, understood) something unexpected - you need to “hide” the fact that this circumstance seriously affects your entire life. 4
At first, it is easier to master the “assessment” in cases that require “urgent”, simple physical actions (turn off the kettle, open, grab, run, hide, etc. Gradually “add”, circumstances that make the “assessment” not so simple and unambiguous , requiring some time (usually a fraction of a second, sometimes, in rare cases and seconds) to make a decision.

"Three things at the same time." Plan three things that require focused attention (For example: going camping, watching food being prepared, talking on the phone), do them “at the same time.” If you manage to ensure that all three things are important enough for you (do not dismiss from none) "assessments" themselves will arise in unexpected places for you.

"Important Conversation" After each remark of the partner, make a more or less large assessment. Machine-gun line of assessments. For any partner’s word, for any subject, make a series of assessments with the general implication “it can’t be!”, “Really!”.

"Great Appreciation". Come up with a circumstance that radically changes the fate of your character (in any play, almost every character has such circumstances). Outline the business that the character is busy with before and after the occurrence of this circumstance. Play a moment of long organic immobility, during which the character “clarifies” what happened and decides to do something new.

Annex

“ADDENDATION begins immediately after the “assessment” - at the very moment when a specific, objective goal arose in the mind. "Addition" is, in essence, overcoming physical barriers, obstacles on the way of the subject to his goal, until his attention is absorbed not by them, but by the goal of the subsequent impact.

"First of all, 'attachments' can be divided into two groups: 'attachment' for influencing inanimate objects, and 'attachment' for influencing a partner."

"... "attaching" to the impact on a living person, we are forced to proceed from our subjective ideas about its properties and qualities ... the nature of such an "addition" is determined primarily by what, according to the acting partner, the reaction of the partner to the subsequent impact will be ... Moreover, the main role here plays the idea of ​​the actor about the balance of forces between himself and his partner.

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

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

"Additions "from below" and "from above" differ from each other not only in their mental content, but also from the external muscular side ... "

“Muscular mobilization of the extension “from above” is the opposite of muscular mobilization of the extension “from below”. The one who attaches himself “from below” reaches out to the partner, he prepares to receive what he asks in such a way as to hinder the partner as little as possible, he is forced to wait and be fully prepared to accept any reaction of the partner ... At every moment he is ready for an answer.

“The extension“ from above ”, on the contrary, is characterized by the tendency to be higher than the partner ... to straighten the spine. That is, recline from a partner.

“The extension “on a par” is characterized, respectively, by muscular liberation, or even by looseness, negligence.”

“Additions are extremely expressive precisely because they are involuntary. They “automatically”, reflexively reflect what is happening in a person’s soul: both his state of mind, and his attitude towards his partner, and his idea of ​​himself, and the degree of his interest in the goal.

Exercises

Annex

To master this parameter of human behavior, it is technologically convenient to single out three "extensions": "above", "below" and "equal".

Watch several people perform a single non-verbal action (eating, driving, thinking, going to the movies or watching TV) and try to find differences in behavior that could be explained by different additions to the object of attention. If a person does not think in the process of this matter, then all changes in postures are associated with his extension, the adaptation of his body to one or another material object.

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

Crazy and stupid. Observe how the same action associated with an extension to a material object is performed by a professional and a beginner. Determine what physically expresses the difference between them (the nature of the extensions, their duration, concentration of attention, etc.), and show the sketch, trying to achieve maximum expressiveness of the show. Observers should make sure that in the pursuit of brightness, the performer in no case loses the “business” that his character is engaged in. This is easily determined when the performer does not follow the successful or unfavorable development of his business, i.e., is “indifferent” to the problems that arise in the way of its implementation.

Imagine yourself as a “very big and important person”, then “very small and insignificant”, do some business, keeping this feeling, see how your behavior changes when doing the same thing with different outbuildings. Find the same feeling in communication with partners. 5
In this case (as in the case of working on the third exercise), it is better to choose a specific subject matter, shift the book, clean the room, ask the partner for something, explain it to him, etc.

Think of several postures (sitting, lying, standing, moving). Try to move from pose to pose in the process of doing something, changing the attachment to the object of attention.

Three things at the same time. Carry out the exercise (described in the topic Evaluation) by choosing three tasks that require the most different additions to the body (for example, repairing a clock - an extension to small, painstaking work with a material object; talking with the boss - an extension to a partner; and preparing for the arrival of guests - an extension to space).

Start something in the annex above, make an assessment of any circumstance and continue the work in the annex below, and vice versa.

"Entrance to the annex". Make an entrance to the room in a given extension, using various types of “entrances”: to the subject, to the case, thinking, from the subject.

Do the sixth exercise, changing the annex after entering (after assessing some new circumstance).

"Psychopath". Change the extension to the opposite after each replica of the partner.

"King of the Hill" One of the students answers all the replicas of partners in a given extension. If someone manages to “throw him off the mountain,” then he climbs the mountain himself.

"Promotion and Demotion". Think of a case that requires several referrals to partners. Perform the exercise step by step raising (lowering) the extension.

Find moments of wordless behavior (Entries, exits, pauses, etc.) in the well-known dramatic material and try to play them in all types of outbuildings.

When performing the exercise, one should (as before) achieve a real employment of attention by some business, even if, at first, it seems to be not characteristic of the character being played.

Children's poems. Choose a few children's poems (for example, Barto, Mikhalkov, Chukovsky, etc.) and perform them on behalf of some of their characters (or invented characters) with a certain extension to the audience.

If you manage to pick up verses with characters' dialogue, it is extremely useful to work on them, using all the options for adding characters to each other.

The weight

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

“The weight of the body plays the value not of an absolute value, but of a relative value - in relation to weight to human strength ...”

“Enthusiasm for work, prospects for success, hopes “inspire” a person, increase his strength or reduce the relative weight of his body ... All this entails straightening the spine, raising the head and general muscular mobilization,“ upwards ”, lightening the head, body, arms, legs and so on, down to open eyes, raised eyebrows and a smile... A drop in interest in business, the expectation of defeat, fading away reduce strength or increase the relative weight of the body.

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

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

Exercises

The weight

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

Watch several people perform a single non-verbal action (eating, driving, thinking, going to the movies or watching TV) and try to find differences in behavior that could be explained by different feelings of "weight" of one's own body.

Observe the peculiarities of behavior, the performance of any deeds, reactions, assessments of people who are tired, very elderly, sick, very upset by something. Find the state of “heaviness” of the body, try to do something in this state, speak, move, etc. Observe the peculiarities of behavior, the performance of any deeds, reactions, assessments of children, people who are passionate about something, joyful. Find a feeling of weightlessness, “lightness” of the body, “its absence”, try to do something in this state, speak, move, etc.

Follow the details of the external expression of the process of "disappointed" and "rejoiced", determine which parts of the body become heavier and lighter earlier, which later.

Try to see in life “heavy” and “light” arms, hands, legs, head, eyes, lips, copy it, watch what sensations you get when performing actions with a given weight of body parts, do you manage to become “different” man.

Find moments of change in "weight" in the life around you, describe them in as much detail as possible.

Try to play a change in weight according to the scheme: you did something - suddenly happened (saw, heard, noticed, understood) something unexpected - it turned out to be a big nuisance that upset your plans ("heavier") or great joy ("feel better").

Do the previous exercise with ordinary, everyday things: a book, a handkerchief, a lamp, a cup, a lighter, etc.

Do this exercise in a real dialogue with people, noting if they noticed the elements of "play", "goofing around".

Observe the peculiarities of behavior, the performance of any deeds, reactions, assessments of children, people with self-esteem. Find a feeling of sufficient “lightness” of the body, combined with control over the elegance, beauty of each movement, try to do something, speak, move, etc. in this state.

Achieve the skill of “voluntarily” changing the weight of your own body at any time, for any reason.

A detailed description of various acting techniques can be found in special literature, for example, in the book by K. Stanislavsky "The work of an actor on himself."

Exercise: Role reversal

Role reversal is one of the easiest ways to diversify your presentation. Different roles require different intonations, gestures, emotions, energy. Having gained a rich role range, you can easily change the nature of your speech and the form of presentation of the material.

• The practiced ability to get used to different roles gives internal permission to behave differently, unusually. Stage fright is removed - "After all, it's not me doing this! I'm just playing a role in which I'm supposed to speak loudly, almost scream, wave my arms invitingly, etc."

In this exercise, you will be asked to try on yourself 5 most different roles. Then you yourself can expand the list of similar types.

1. Boring, boring lecturer (dry bureaucrat).
2. The seller from the east (gypsy).
3. Pensioner (grunting, complaining about life).
4. Angry boss arguing a dressing down.
5. Igniting showman (charismatic leader).

Your task is to first enter the first role and improvise for 40-60 seconds from this role, then switch to the next one, and so on. In one role, you need to hold on for at least 40 seconds in order to work out not only the skill of entering the image, but also the ability to stay in it for a long time.

After you have played these 5 performances, your observer partners give feedback: they rate on a 10-point scale how well you did each of the roles. You can think together what is worth changing in your game, what to add to this or that image.

• For example: "The role of the seller from the east was the best - 9 points out of 10. In second place is the pensioner - 7 points out of 10. Here, in the course of the speech, it was worth hunching over more and speaking a little quieter ..."

If some role is not successful, then try to play it again, taking into account the feedback received!

Is everything easy? Arrange a bonus game for yourself: come up with a role yourself and make a speech based on this role, and let your partners guess what role you played.

Exercise: Mirror (Modeling)

How do children learn? They repeat what adults do. Monkeys! And this is one of the fastest and most effective ways to learn!

How can we enrich our portfolio of speaking styles and broaden the range of our speaking options?

Very simple. Get a video of a speaker you like and whose style you would like to emulate.

Turn on the TV. Get close. Start video recording. And start copying the pose, facial expressions, gestures, movements of your model. If possible, copy the voice, intonation, speech.

At first it can be difficult, you will be late, not in time. This is fine. But after a while, suddenly, as if by a click, you will feel that your body has joined the game and began to move, gesticulate in the manner of your model.

• For this “click” to occur, it is important to do this exercise for at least 15 minutes at a time.

It is advisable to take not one model, but four or five. Imitating one person, you risk becoming his "double".

Take the best from several speakers, reimagine it all - and create your own unique style.

Leader and Lead Trainer

"University of Rhetoric and Oratory"

It is actively used not only directly by the actors. If you look closely, you can see that many people play in life. Yes, and we ourselves often have to play - at work, when communicating with friends, at home. Many participate in creative amateur groups or competitions, perform at corporate parties.

In order to evoke not condescending smirks, but admiring glances with your game, you should pay attention to the basics of acting.

Basic concepts

Both a novice theater and film star and an amateur need to understand what is required of him in acting classes, what qualities need to be actively developed in himself, and which ones should be hidden in a distant box and remembered as rarely as possible.

Selfishness and selfishness

Loving yourself is the natural state of every person. But it is worth distinguishing between a positive feeling - a healthy self-love and a negatively colored self-love.

Self-love makes us improve day by day, to be better than yesterday, not to let go of weakness, not to give up, even when it's hard. And acting lessons, especially at first, are not an easy task.

Selfishness is, in other words, selfishness. When a person only thinks about how beautiful he looks now, revels in the thought that he is on stage, then, as a rule, he forgets about his immediate task - to live on stage in the image of a hero, and slides down to banal narcissism.

Healthy pride pushes us to new heights and achievements, to constant work on ourselves. Selfishness kills any creativity, extinguishes the impulse, devastates the soul.

Attention

In any field of activity, a person with is unlikely to be able to achieve success. Acting skills for beginners include many exercises aimed specifically at development. A lot is tied to this in acting skills, starting with the fact that attention is turned on in the classroom in the first place so that not a single word of the teacher is missed, and ending with the fact that on stage, the actor must act exactly along the lines of the role, not being distracted by extraneous noises, but at the same time keep the partner and his actions under control so as not to turn into a mechanical performer.

To improve attention, acting for beginners offers fairly simple exercises.

Keeping a creative diary

The development of attention does not even begin in the classes themselves, but in everyday life. The beginner is invited to observe people and situations wherever he is, paying special attention to interesting personalities, their behavior, because in the future they can be used as prototypes for roles.

To the same exercise, an attentive attitude to surrounding objects is added. Every day you need to write down what changes have occurred, what was not noticed before, what specifically has changed.

Listening to the silence

The exercise is to learn to direct your attention to a certain circle of outer space. Gradually, this circle expands.

• We listen to ourselves.
• We listen to what is happening in the audience (class).
• We listen to what is happening in the building.
• We listen to what is happening on the street.

Observation display

After the beginner's creative diary is filled, acting lessons are transferred to the stage. Based on his observations, the student must convey the image of the observed on the stage as accurately and interestingly as possible: his gait, gestures, behavior, facial expressions. At the same time, the teacher can place this character in non-standard situations that did not actually happen. At the same time, it will be seen how carefully the novice actor observed, how much he understood this person and was imbued with his image - his organicity in the given circumstances will depend on this.

Action

When passing the course "Acting skills" training begins with the analysis of basic concepts. So without such a thing as action, there can be no performance. The definition of action is the main meaning of any role. The main thing from this is that action is an act of will. An actor on stage is not a thoughtless mechanism that performs movements and actions because he was ordered to do so, and not a monkey who, without realizing it, simply repeats a set of actions and words. The actor first of all thinks, and every action on the stage must be comprehended and logically substantiated by him.

Acting for beginners is based on the fact that there is no action for the sake of action itself. Every action must have a goal, for the sake of achieving which it is performed. Therefore, it turns out that everything that an actor does in the image of a hero, he does consciously and of his own free will, and not just for beauty.

Any acting exercise involves the conscious action of someone on stage.

Work in the proposed circumstances

In this exercise, students are given a location: a forest, an old hospital, etc. Beginning actors need to find an excuse for who they are, how they got here, they need to see this place in their imagination to the smallest detail. The teacher then produces sounds to which the actors react depending on the proposed circumstances. Even with the help of music, an atmosphere is created - it can be a dark fairy-tale forest or a light birch grove. And here acting for beginners has three goals. Firstly, this is a test for attentiveness (how quickly an actor reacts to changes in music or sounds), secondly, it teaches novice actors to act in given circumstances that need to be adapted for themselves, and thirdly, it teaches them to keep the atmosphere, without jumping from sadness to joy and back again.

Shadow

In the discipline "Acting skills" training always takes place in a complex way, the basic concepts are intertwined in one exercise, they require constant concentration of forces from the actor.

An interesting exercise with a shadow. The first person makes some movements, justifying them with a goal (it can be any pointless action), and the second person is his “shadow” - he completely repeats each action. Of course, the first must work slowly so that the second has time to repeat. But the task of the second participant is to follow the leader very carefully and try to predict his actions. In addition, he also needs to understand what kind of action is being performed, and justify it, because the goal of a person and a shadow always coincides.

Exercises such as these, which help to hone acting skills for beginners, develop a sense of shoulder - it always reminds the actor that he does not work alone, but depends on everyone, and everyone depends on him in the same way.

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

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

Where to start for a newbie?

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

As already mentioned, self-development of future stars is important. To this end, a huge number of exercises were invented that help not only to learn all the subtleties of this area, but also to fully reveal that same professional in oneself. Such techniques exist in various forms and combinations. Some of them help develop facial expressions, the second - speech, others contribute to learning how to quickly transform into another character, and so on. Among the millions of such tricks, you need to highlight a few basic ones that will help you show yourself in all its glory.

Acting Basics Exercises

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

Exercise one. Memory training

Starting exercises for the development of acting skills, you must first begin to train your memory. After all, it is no secret to anyone that any actor, whether he is a novice amateur or a well-known specialist, needs to learn a huge number of words and lines every day.

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

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

As a result, you will get something similar to an imaginary film strip, which sequentially presents all the material that you needed to learn.

Exercise two. Imagination training

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

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

Exercise No 3. Develop fantasy

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

How to achieve the development of your imagination? Everything is simply banal. Put any thing in front of you (be it a chair, a toy, a wardrobe item, or something else), and try, using your imagination, to tell what this item is made of and how it is made. Believe me, such a playful approach only increases the chances of a better effect!

Exercise four. We develop facial expressions

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

Exercise No 5. Speech comes first!

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

It takes a lot of effort and time to become a talented actor. But any path to the pinnacle of glory begins with self-development, therefore it is worth starting with yourself first of all. To this end, there are many exercises aimed at training all aspects of the actor and his skills.

“He who moves mountains begins by removing small stones.” Confucius

You should start your career as an actor with a very strong desire: the greater the desire, the higher the chances of success. This path is only possible for a person who is obsessed with his goal and is ready to sacrifice a lot for it. The main difficulty on the way to a stunning acting career is the number of fellow travelers. The competition among the actors is so high, and such a fierce struggle for a place under the sun is being fought that even an unconditional and outstanding talent can disappear in the crowd of applicants without being noticed.

Imagine that a career is a narrow door of a service entrance to the building of a theater institute. Thousands of people are bursting through this door at the same time, most of them are mediocre, some beginners are really talented, but only those who work better with their elbows will crawl through.

Let's put a tick in front of the ability to make your way - it will serve you well hundreds of times, but they will not be able to do it alone either at the beginning of the path or in the future. There is a thing that an actor needs even more than talent, because without it, talent is good for nothing. This is a skill that allows you to start learning acting and successfully complete it. There are many acting skills, here are the most basic ones.

• Observation. I saw, remembered, copied, repeated. This is about emotions, assessments, adaptations, plasticity, facial expressions, characters, etc. All the juicy characters of the performances come from city streets.
• expressiveness. Remember the popular phrase from the theatrical press repertoire: “the artist wanted to convey to the audience…”? So, in fact, no one is interested in what the artist wanted, even theater critics. The only important thing is that he managed to convey to the audience, and for this it’s not enough just to want, you need to be able to correctly express your intention.
• Erudition and erudition. An actor may not be educated, but he cannot be uneducated. This is especially true of literature, since literature for the theater is the foundation of the foundations.
• Living imagination. An actor without imagination is professionally unfit. The reason for this is that he will not be able to convincingly play a single role. Imagination allows him to immerse himself in the circumstances of the play: to imagine that all this is happening to him here and now, and to truly experience the imaginary.

Imitation

Imitation is the essence of not only acting, but art in general. A good actor looks believable on stage, because he does not invent anything, but reproduces what he saw in real life. To become an actor, you must first learn to imitate, and an ordinary mirror will help you with this.

1. Find among friends and acquaintances an interesting type that you would like to “try on”.
2. Watch him as carefully as possible, remember how he moves, how he looks, how he speaks.
3. In front of the mirror, reproduce in great detail everything that you can remember.
4. When you start to succeed, come up with random circumstances and exist in them in a mastered stage image.
5. Create the following image.

So you can start an acting career as a teenager or as an adult, after which you may be lucky to get a job in one of the famous theaters or get a role in a film.

Memory of physical actions

These are exercises to train the imagination and tactile memory. To become an actress or actor, you need to learn how to get used to the action taking place on stage. Not to play the role of a soldier with a fake sword, but to feel like a brave warrior and win back a piece of props like a real sword. This is perhaps the most difficult skill of a professional actor, and you will have to practice for a long time to master it.

The essence of the exercise is that you perform ordinary manipulations with ordinary things, for example, washing dishes or ironing a shirt, but do without the things themselves.

1. Wash an imaginary plate under an imaginary stream of hot water with an imaginary sponge.
2. Do not miss a single accompanying sensation (the plate is slippery and greasy, the sponge is rough and foamy, the water burns your hands)
3. Repeat with a real plate and analyze the errors.

Practice in the acting team

Doing the exercises on your own will allow you to develop the primary skills that no artist can do without. But this practice has its own ceiling, it is called "interaction and communication." If you're not going to play exclusively one-man shows, you'll have to learn how to work in a team. This is not so simple and much more important than it seems at first glance. The performance is a huge mechanism, each of the actors, like a gear, performs its unique function in it. One gear fails - the mechanism breaks.

You can learn how to work in a team only at group acting courses under the supervision of experienced professional teachers.

The most enjoyable and effective are acting classes for teenagers, which take place in a playful way using exercises, team games, stories about yourself, with staging scenes that could happen in the life of every person.