What walks can be depicted. Gait like eyes reflects the human soul

A beautiful walk is not even business card women. This is a brand, this is character, this is destiny! Few people are given such a gift from birth. So what? Let's make a beautiful walk - let's step towards fate.

Soon the fairy tale tells, but not soon the deed is done. And all because gait is not only physics, but also psychology. That is, you will have to deal not only with your legs, posture and back, but first of all with your habits, mood, and even worldview. Are you ready for such a radical change? Then go ahead, for a beautiful walk!

Folklore never deceives, never! From time immemorial, a woman's gait has attracted male look and aroused great interest. “It looks like a peahen” here it is, the ideal of the beauty of the past. Times are changing, in our, as they say, impetuous age, the ideals are already different: “You came out of May with a flying gait.” And even: “She passed, like a caravel, along the green waves”, what is it like, huh? Only here is where to get it, this flying light gait. How to make a beautiful walk - let's move on to practice.

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The basis of a beautiful gait is posture. The object of envy and admiration is the stately posture of queens from medieval engravings, the grace of oriental beauties, the figure of ballerinas and gymnasts stretched like a string. Let's not indulge in envy, it's better to learn from beautiful beauties. With queens, everything was simple: an invariable part of royal clothing is a corset, with which you want to keep your back straight.

Here's to you exercise number 1 from queens:

They threw a scarf around the neck (preferably not very elastic, but more rigid), stretched the ends of the scarf under the armpits and asked one of the sympathizers to tie a tighter knot on the back. Shoulders straightened, back straight - beauty! With such a "corset" to walk every day for half an hour, you can longer, if possible. Very soon, the shoulders and back will get used to the correct position.

We study further. Slender and portly oriental beauties. What are they wearing on their heads? Jug?

Exercise #2:

we can start with a small pillow or a book. Only, chur, do not support with your hands! Is it possible to keep the burden on the head? Amazing! Now let's try to walk around the room, sit down, stand on one leg.
From ballerinas and gymnasts - great workers - not even one exercise as a gift.

Exercise #3

Walking with sticky socks in place. It is not necessary to smear socks with glue, the main thing is not to tear them off. Do "one": the right knee bends and the heel, respectively, rises. The left knee is maximally straightened. Do "two": the right heel drops to the floor, the knee straightens, and the left heel rises. We continue the exercise at a moving pace, we try to make the movements of the hands natural. Run time 5 minutes.

Exercise #4

Stand straight, feet together, put your hands on your belt. Take your right leg out to the side. It is important that the body remains motionless during this movement. Stand for a few seconds, trying to avoid unnecessary tension. We do the same with the left leg. When moving from foot to foot, we also try to remain still, and not to shift from foot to foot, like, excuse me, a bear. We continue the exercise for five minutes.

Exercise #5

We tear the right leg forward a little from the floor, put our hands on the belt. Rotate the foot first to the right and then to the left. In each direction 816 times. Change legs and do the same. Exercise can be diversified and raise the leg to the side. You can, by rotating the foot clockwise, raise the leg as high as possible, and by rotating it counterclockwise, lower the leg to its original position. If this option is too complicated, and there is no strength to maintain balance, then the exercise can be done while sitting with legs crossed.

Exercise #6

Starting position - stand on toes, hands on the belt, elbows as far back as possible, back arched. March without bending your knees! The duration of the exercise is one minute.

Exercise number 7

The conventional name is "rocking chair". Imagine that your foot has a semicircular shape. Try to smoothly roll from heel to toe and back again. We walk around the room for at least a minute, rolling from toe to heel. Then vice versa - from heel to toe.

Exercise #8

Easy toe run. It is best to do this exercise barefoot. We got up on our toes and ran around the room for 5 minutes.

But what is she - a beautiful walk? Airy, light, swift, flying - what else? Aside from poetry and metaphor, let's try to "believe harmony with algebra". The correct gait depends on the correct posture (that is, on how we hold our back and head) and on the placement of the foot. A beautiful gait is a gait from the hip, we keep our heads straight, the step should be moderately wide and correspond to height, and our gaze should be confident. Do not swing your arms, do not make unnecessary movements with your body! Doesn't it remind you of anything? That's right, the lessons of the secretary Verochka from the Office Romance, they are, as they say, for all time. A few tips for achieving a graceful gait:

• We choose the "right" shoes. Walking in high heels is a separate science. You can train at home, but you don’t have to take out your inability to people - walking on bent legs with a heel constantly clinging to the asphalt cannot be called beautiful.
• No need to walk too fast! It is better to go to work a little earlier than usual, the gait will only benefit from this.
• We pay attention to the setting of the feet: they should be slightly turned to the sides, and the heels should go in a straight line when walking. Putting your feet too wide, like stepping "overlapping" is an equally big mistake.

We continue to study the technique of beautiful gait. The forward movement always starts with the leg, not the body. This will help make your walk smoother.

The stride length should be proportional to the height. If you artificially increase the step, then the gait will turn out to be bouncing. We keep the chin straight, the stomach should be tucked up, and the arms should be slightly bent at the elbows. In no case should you wag your hips, this is a bad form. Ideally, the hips should move up and down, and even then only a little.

Taken from: http://www.idleworm.com/
Translation that you can say:

Many people are afraid to animate a walk. Several actions are performed at the same time and it seems that it is simply impossible to correctly depict them all. A single mistake in the very first drawing can ruin the entire scene. However, the process can be broken down into several steps to make the job much easier.

Any gait can be represented as a combination of four different postures:

• Contact (Contact),
• Separation (Recoil),
• Passing,
• High point.

These four poses and a couple of intermediate frames between them form one cycle. Of all of them, the most important is "Contact". Once you have drawn it, consider that 80% of the work is done. But, if a mistake was made, then it will be very difficult to correct it later. Therefore, if you "immediately" give "Contact" the closest attention, you will avoid problems in the future.

The picture below shows a front and side view of the contact.

Take a close look at this pose. You should notice a few very important details: in this pose, the foot is set back the farthest. That is why it is the most important in the whole cycle. You can plan the entire sequence of shots by simply positioning adjacent poses so that they flow into one another.

Some animators believe that the Recoil and High point poses are the most important. the head is in the lowest and highest position. This is not true. The contact posture is the basic building block of the entire gait cycle. If you start the cycle not with her, you will be doomed. It is obvious.

The position when the right leg is in front and the right arm is behind (and vice versa) is called "counterpose". With its help, nature takes care of maintaining stability while walking: one side of the body is balanced by the other. In good animation, such "balancing" is always present. If the animation seems weak or unnatural to you, then it's most likely because balancing has been missed.

You can think of a walk as a series of "falls". When moving, the character leans, "falls forward". But his hind leg is always successfully carried forward to catch and hold the body until the next "fall". Many basic animation techniques are used here, including those listed in the Bouncing Ball lesson. Look at the front view.

I drew imaginary cylinders to show the direction of the shoulders and hips. Once again, while one (shoulder or hip) moves forward, the other moves back, one butt goes up, the other goes down.

This technique has another name - torque ("Torque"). It is a fundamental principle for creating a good pose and should be a building block of almost any figure drawing you do. Michelangelo has always used torque in his sculptures, creating dynamic, lively poses, even if they were just standing people. One hip takes the weight while the other passively provides balance. The body is rarely symmetrical: in fact, symmetry can be your enemy.

Now let's take a look at the take-off pose, the second main pose of the cycle.

This is the frame where the character is pushed off the ground. It also depicts the lowest pose in the cycle. The character's arms are at the furthest distance from the body as a result of the force of the impact on the ground. The front foot is completely in contact with the ground, and the back foot has just come off it.

Remember: the front of the year is directly under the torso, supporting the weight. Too many beginners draw the takeoff pose in such a way that the leg is not under the body, but a few inches in front. Try to avoid it.

To keep things simple, let's skip the passing pose: it's practically intermediate. Let's look at the high point.

This is the highest point in the cycle. The character's body is stretched to the maximum at the moment when he lifts his lead leg to move to the next contact pose. The heel of the back foot is already starting to lift off the ground.

These three postures are the most important to memorize. If you memorize them well, you will be much more likely to get a perfectly acceptable gait.

There are two main ways to animate a walk: "walk in place" or "walk through the screen". Below is one example for each style.

Through the screen

On site

Why animate "walk in place"? This style has one important advantage: you have a cycle for one step and you can move it around the screen, which saves both time and paper.

The main disadvantages of animation in place:

1. May lead to confusion.
2. The character's jumps can be unnatural when he starts moving across the screen.
3. Sometimes it is difficult to correctly position the character over the background.

Let's start.

Take a look at the image below.

The cycle keyframes are shown here. The most important postures are the postures of contact, i.e. #1, #7 and #13. Use these images for coordination throughout your scene.

On a blank sheet of paper, draw two parallel horizontal lines running across the bottom of the page.

The character's feet will rest on them. They help to avoid mistakes (the character may move up or down too much).

2. Draw the first contact pose.

Place a blank sheet of paper on top of the image with the guide lines. You are now ready to draw the very first contact pose.

Place the heel of your right foot on the bottom line and the toe of your left foot on the top line. Let's put number 1 and, because this is a contact pose, I usually write the letter "c" in the upper right corner of the page, just above and to the side of the frame number (This is just my habit. I don't know if anyone else does this. You will understand how it is useful and reduces confusion when about 12 drawings are scattered around the table). Don't forget to circle the frame number, because he is key.

3. Draw the second contact pose, Figure 7.

If you have a backlight, turn it on. Put in a blank page. Put number 7. Circle. Write "with".

Remember that the second contact posture appears about half a second after the first. Now a little about how to position the second contact pose relative to the first: the front foot on #1 will be the back foot on #7. In this case, the right foot has just touched the ground at #1. On frames #1 to #7, she pushes off the ground and is more or less in the same place. In frame #7, she begins to take off from the ground. Look at the image below to see how #1 transitions into #7.

The right foot (leading) touched the ground, and the whole body moved forward. The left leg (back) has moved forward and now almost touches the ground.

Sketch with light lines, trying to keep the overall pose as similar to #1 as possible. The only difference will be in the arms, legs and direction of the hips, everything that changes frame #1.

After you have roughly sketched the second contact pose, you will need to compare it with the first. Remove sheet #7 from pins and place over #1. Click on these frames now to make sure the pose and position on both frames are the same. Neither should be more or less. In addition, the angle of inclination must be the same, otherwise, it may appear that the character is limping.

Now that you've drawn these two poses, you can start inserting the main frames between them. First, look at what should happen.

All the main keys are present here. Contact, liftoff and high point. Keep these positions in mind when you start drawing them yourself. If, for example, you place position #2 too high, then it will be difficult to draw #5 correctly: the whole action will be too "tense": the gait will lack elasticity. Her walk will look too "wooden" for a cartoon character.

See what I meant:

The opposite is also dangerous: if the take-off pose is too low, the result can be too exaggerated, too unnatural for all but the most amazing characters.

Just remember that after the first contact, the character descends into the take-off pose, then rises to the top point, then returns to the contact pose again, after which the pattern repeats.

At the heart of manners of communication are physical movements. Thanks to them, each of us knows body language, that is, a silent language consisting of gestures and facial expressions, without which the image is ineffective.

Body movements are an important part of the human image.

It is very difficult to make a good impression in the absence of skillful possession of one's own body. That is why gestures and body movements are an important part of our image. It often happens that it is a gesture that shows the real face of a person, even when he himself does not want it. When speech does not match the facial expression, it is usually interpreted by the interlocutor either wrongly or negatively.

The generally accepted image of a business person is reliable, fit, energetic, collected. But this does not mean at all that his gestures should be sharp, and his movements should be very fast. You just need to avoid a relaxed or shuffling gait, lower your eyes for a long time when talking, or sit in a relaxed position, as if in a half-asleep. The modern level of communication is very high, and the time of a business person is highly valued. You can relax during leisure hours, but during working hours smartness is an integral feature of a businessman.

In the practice of business interaction, several basic gestures and postures are distinguished, reflecting the various internal states of partners and interlocutors.

Gestures of openness testify to the sincerity of the interlocutor, his good-natured mood and desire to speak frankly. This group of signs includes the gestures “open hands” and “unbuttoning the jacket”.

The “open hands” gesture consists in the fact that the interlocutor stretches his hands forward in your direction with palms up. This gesture is especially common in children. When they are proud of their achievements, they openly show their hands. When they feel guilty, they hide their hands either behind their backs or in their pockets.

Gesture with open hands ”demonstrates a desire to meet halfway and establish contact. It is best to begin this gesture, as it were, from the depths, from the level of the abdomen, pointing the hands slightly upward towards the interlocutor.

The unbuttoning of the jacket gesture is also a sign of openness. People who are open and friendly to you often unbutton and even take off their jackets in your presence. Experience shows that agreement between interlocutors in unbuttoned jackets is achieved more often than between those who remained buttoned up. The one who changed his mind in a favorable direction unclenched his hands and automatically unbuttoned his jacket.

When it becomes clear that an agreement or a positive solution to the issue under discussion is possible, and also in the case when a positive impression is created from joint work, those sitting unbutton their jackets, straighten their legs and move to the edge of the chair closer to the table, which separates them from the interlocutors sitting opposite ( most often negotiating partners).

Gestures of suspicion and secrecy indicate distrust of you, doubts about your rightness, about the desire to hide something and hide from you.

In these cases, the interlocutor mechanically rubs his forehead, temples, chin, seeks to cover his face with his hands. But more often than not, he tries not to look at you, looking away. Another indicator of stealth is the inconsistency of gestures. If a hostile or defensive person smiles, this means that he is trying to hide his insincerity with an artificial smile.

Protective gestures and postures are a sign that the interlocutor feels danger or threat. The most common gesture of this group of signs is the arms crossed on the chest. They can occupy three characteristic positions.

A simple crossing pt/k is a universal gesture denoting the defensive or negative state of the interlocutor. In this case, you should reconsider what you are doing or saying, because the interlocutor will begin to move away from the discussion. It is also necessary to take into account the fact that this gesture affects the command of other people.

If in a group of four or more you cross your arms defensively, you can expect other group members to follow suit soon. True, this gesture can simply mean calmness and confidence, but this happens when the conversation is not of a conflict nature.

If, in addition to arms crossed on the chest, the interlocutor still clenches his fingers into a fist, this indicates his hostility or offensive position. In this case, you need to slow down your speech and movements, as if inviting the interlocutor to follow your example. If this does not help, then try to change the subject of the conversation.

The gesture, when the hands are crossed around the shoulders (sometimes the fingers dig into the shoulders or biceps so hard that they turn white), indicates the containment of the interlocutor's negative reaction to your position on the issue under discussion. He is ready to rush into battle and hardly restrains himself so as not to interrupt you. This technique is used when the interlocutors argue, trying at all costs to convince each other of the correctness of their position. The pose of crossed arms is often accompanied by a cold, slightly squinted look and an artificial smile. This facial expression says that your interlocutor is "on the limit." And if prompt measures are not taken to reduce tension, a breakdown may occur.

Let's point out another gesture popular among business people - the same arms crossed on the chest, but with the thumbs held vertically. This gesture conveys a double signal: the first is about a negative attitude (crossed arms), the second is about a sense of superiority expressed by the thumbs. The interlocutor who resorts to this gesture usually plays with one or both

fingers, and a standing position is characterized by swaying on heels. A gesture with an emphasis on the thumb is also used to express ridicule or disrespect for a person who is pointed at with the thumb as if over the shoulder.

Gestures of reflection and evaluation reflect the state of thought and the desire to find a solution to the problem. A pensive (reflective) facial expression is accompanied by a hand-to-cheek gesture, when the interlocutor assumes the pose of Rodin's The Thinker, leaning his hand on his cheek. This gesture indicates that he is interested in something. It remains to be seen what prompted him to focus on some problem.

The pinching of the bridge of the nose, which is usually combined with closed eyes, indicates deep concentration and intense thinking.

When the interlocutor is busy with the decision-making process, he scratches his chin. Once the decision is made, the scratching stops. This gesture usually corresponds to slightly narrowed eyes - he seems to be looking at something in the distance, looking for the answer to his question there.

When the interlocutor brings his hand to his face, resting his chin on his palm, and stretches his index finger along his cheek (the rest of the fingers are below his mouth), this is eloquent evidence that he critically perceives your arguments.

Gestures of doubt and uncertainty are most often associated with scratching with the index finger. right hand places under the earlobe or the side of the neck (usually five scratching movements are made). Touching or lightly rubbing the nose is also a sign of doubt. When it is difficult for the interlocutor to answer your question, he often begins to touch or rub his nose with his index finger. True, it should be noted here that sometimes people rub their nose because it itches. However, those who scratch their nose usually do it vigorously, while those for whom it is a gesture only lightly rub it.

The pose of insult is taken by the interlocutor when he is offended or offended by your words. In this case, he raises his shoulders and lowers his head (“bows”). Such a pose is often accompanied by drawing on a sheet of paper (arrows, circles, etc.). You should switch the conversation to another (preferably neutral) topic. When you see that the interlocutor has calmed down, carefully find out the reason for his claims against you.

Gestures and postures that indicate a reluctance to listen and a desire to end the conversation are quite eloquent. So, if during a conversation your interlocutor lowers his eyelids, then this signals that you have become uninteresting for him, or simply tired, or he feels his superiority over you. When you notice this look in your interlocutor: keep in mind that you need to change something if you are interested in successfully ending the conversation.

The gesture associated with scratching the ear is caused by the interlocutor's desire to isolate himself from the spoken words. Another option is rubbing auricle, drilling in the ear with the tip of a finger, pulling the earlobe in an attempt to cover the auditory opening with it. This last gesture indicates that the interlocutor has heard enough and wants, perhaps, to speak out himself.

In the case when the interlocutor clearly wants to end the conversation faster, he noticeably (and sometimes unconsciously) moves and turns towards the door, while his legs turn towards the exit. The turn of his body and the position of his legs indicate that he really wants to leave. An indicator of such a desire is also a gesture when the interlocutor takes off his glasses and defiantly puts them aside.

In this situation, you must either interest the interlocutor in something, or give him the opportunity to leave. If you continue the conversation in the same vein, you are unlikely to achieve the desired result.

Gestures that indicate a desire to deliberately drag out time are usually associated with glasses. One way to take the time to think about the final decision is to suck on the temples of glasses. Periodic removal and putting on glasses, wiping lenses is also practiced.

When you observe such a gesture immediately after asking a person about their decision, it is best to remain silent and wait.

If the partner puts on his glasses again, this means that he wants to "look" at the facts again.

The gesture that serves as a sign of not rushing is "pacing". Many interlocutors resort to this method, trying to "buy in" to solve a difficult problem or make a difficult decision. This is a very positive gesture. But you shouldn't talk to someone who walks around. This can disrupt the course of his thoughts and interfere with his decision.

The gesture of a self-confident person who feels his superiority over others is

"laying hands behind the spiiu with the capture of the wrist." This gesture should be distinguished from the gesture of "hands behind the back to the castle." He says that the person is upset and trying to pull himself together. Interestingly, the more angry a person is, the higher his hand moves along his back. It was from this gesture that the expression "pull yourself together" came from. This is a bad gesture used to hide your nervousness, and an observant negotiator will surely feel this.

An indicator of complacency and arrogance is also the "spire-like position of the hands."

A gesture of self-confident people is also “laying hands behind the head”. This gesture is also characteristic of "know-it-alls". Many interlocutors get annoyed when someone demonstrates it in front of them. There are several ways to interact with the interlocutor who used this gesture. If you want to find out the reason why the interlocutor is showing superiority, lean forward with outstretched palms and say: “I see that you know this. Could you elaborate on some details?" Then lean back in your chair, leave your palms in the field of view and wait for an answer.

Another way is to force such an arrogant interlocutor to change his posture, which, in turn, will cause a change in his attitude. To do this, you need to take some object and, setting it aside at a great distance from it, ask: “Didn’t you see this?”, Forcing him to lean forward.

A good way to interact would be to copy his gesture. If you want to show that you agree with the interlocutor, all you need to do is repeat their pose. However, if the interlocutor in the “hands on the head” position makes a remark to you, you should not copy his gesture so as not to anger him.

Gestures of disagreement can be called repression gestures, as they indicate the restraint of one's opinion. Picking up, plucking non-existent villi from a suit is one of these gestures. The interlocutor who removes the villi usually sits, turned away from others, and looks at the floor. This is the most typical gesture of disapproval. When the interlocutor constantly picks the fibers from his clothes, this is a sure sign that he does not like everything that is said, even if he verbally agrees with everything.

Ready gestures signal a desire to end a conversation or meeting. They are expressed in the filing of the body forward, while both hands lie on their knees, or wrap around the side edges of the chair. In such cases, you should take the initiative in your own hands and be the first to offer to end the conversation. This will allow you to maintain a psychological advantage and control the situation.

Gestures associated with the manner of smoking indicate how the interlocutor relates to the circumstances: positively or negatively. First of all, you need to pay attention to the direction in which he releases smoke from his mouth - up or down.

A positive, self-confident and self-satisfied person will blow smoke up constantly. Conversely, a negative interlocutor, with hidden or suspicious thoughts, will almost always direct the puff of smoke down. Blowing a jet down from the corners of the mouth speaks of an even more negative and hidden attitude.

Whether a person is positively or negatively tuned can also be judged by the speed of exhalation of smoke. The more energetically the jet is released upwards, the more confident the person feels, the faster the jet is exhaled downwards, the more negative he is.

Observations of the gestures of smokers in the conditions of sale confirm this. Those who have made a positive decision blow the smoke up, while those who have decided not to buy blow it down.

Exhaling smoke through the nostrils is a sign of an arrogant, confident person. The jet of smoke in this case goes down only due to the location of the nostrils, and the person often raises his head up, which makes him look even more arrogant.

If a person's head is tilted down when he blows smoke through his nose, it means that he is angry.

During any business conversation

it is very important to observe gestures that indicate a lie. According to Alan Pease, an Australian psychologist and recognized specialist in sign language, this is due to the fact that I

that our subconscious works automatically Psychologists say that a deceiver, no matter how hard he tries to hide his lies, can still be recognized, because he will be betrayed by a discrepancy between the microsignals of the subconscious, expressed by gestures, and the spoken words.

So, during a conversation or negotiations, your interlocutor or partner may have a gesture associated with bringing their hands closer to their face. This should alert: apparently, your interlocutor has something unpleasant or bad in mind. It can be doubt, uncertainty, gloomy foreboding. But most often this is some exaggeration of a real fact or a clear lie. Let's start with what gestures can give the interlocutor if he is clearly lying.

When we watch or hear others tell lies or lie ourselves, we make an effort to cover our mouth, eyes, or ears with our hands. Protecting the mouth with the hand is one of the few frank gestures that clearly indicates a lie. Hand covers mouth and thumb pressed to the cheek, while the brain at the subconscious level sends signals to restrain the spoken words. Some people try to fake a cough to disguise this gesture.

If such a gesture is used by the interlocutor at the time of speech, this indicates

Okay, enough of him talking lies. However, if

"Hang noodles on your ears"!

he covers his mouth with his hand at the moment when you speak, and he listens, this means that he feels how you are lying.

The gesture when the interlocutor touches his nose is a subtle, disguised version of the previous gesture. """? U "/

It can be expressed in several light I'

touching the dimple under the nose or being N-> 4 ^

expressed by one fast, almost imperceptible N

touch on the nose.

Explanation of this gesture How did I know! it may be that during a lie, ticklish urges appear on the nerve endings of the nose, and you really want to scratch it in order to get rid of unpleasant sensations.

The gesture associated with rubbing the eyelid is caused by the fact that there is a desire to hide from deception or suspicion and avoid the gaze of the interlocutor who is being told a lie.

Men usually rub their eyelids very vigorously, and if the lie is very serious, they look away or even more often at the floor.

Women very delicately do this movement, swiping a finger under the eye.

What lies usually causes an itchy sensation in

worse than others? muscle tissue not only the face, but also the neck. Therefore, some people pull back their collar when they lie or suspect that their deceit has been discovered.

When you see that the interlocutor is lying, you can ask him to repeat or clarify what was said. And this will make the deceiver refuse to continue his cunning game.

In the process of business communication, it is very useful to monitor the position of the shoulders, arms and head of the interlocutor, as this provides a lot of important information that allows you to better understand him. Such gestures are almost not fixed by consciousness, but they are very important in the process of communication, since they convey true thoughts and moods much better than words. The most characteristic poses using these parts of our body are shown in the figures below.

As a rule, a person raises his shoulders when he is tense, and lowers when he is relaxed. A person standing in front of a large group of people and intending to make some kind of message or report can obtain significant information about the mood of the audience by observing the position of the shoulders and heads of the listeners. The more negative and tense the audience is, the more negative and hostile the queue or other group of people is, the more there are raised shoulders and lowered corners of the mouth.

A raised head and lowered shoulders can mean openness, interest, a mood for success, a feeling of control over the situation.

A lowered head, raised shoulders can express isolation, a sense of defeat, contempt, dissatisfaction, fear, insecurity.

A tilted head can indicate interest, curiosity, and possibly flirting.

The poses are very expressive, fixing only the position of the body, by which one can also judge the internal state of a person. If a person says what he thinks, his body sends signals that we call unambiguous. In such cases, the posture is usually straight, without much bending, and can be described by a straight line connecting the head to the feet. When the correspondence between thoughts and words is violated, the body begins to send double signals, and the line connecting the head and feet becomes broken. Let us give some examples of unambiguous signals.

A person who is in control of the situation and says what he thinks usually assumes the posture shown in fig. A. It can be a speaker, a head waiter, a steward, a hotel manager or a merchant; he controls the situation, knows the business, enjoys the work and does not have any hidden intentions. A person who seeks to get others to obey wants to give instructions like, “Enough, stop!” k is not going to hide his intentions, will gravitate toward the pose shown in fig. B. This may be a manager who is clearly determined to implement his decision, or a service worker who asks customers (passengers) for something in a decisive tone.

The man in Fig. V. is defensive: "I insist that this place be kept for me" or "No thanks, I will not change my mind under any circumstances." This position of the body also expresses a clear correspondence between thoughts and words.

In cases where there is a clear discrepancy between thoughts and words, the body

sends effective signals, which can be seen in the example of the pos shown below.

The IV position can be taken by a flirtatious, flirtatious woman or an embarrassed and insecure person. The meaning of the message here is in the subtext, between the lines.

Pose "D"> is characteristic of a person who hugs someone friendly and kisses on the cheek, unconsciously pushing back lower part body, ? then to demonstrate that; and at this time there is nothing but friendship hidden by bodily contact. Such an aoz \ can be seen at dances, especially among women. She is also received by the waiter, who seeks to show exaggerated deference. It is typical of students and employees who politely stand at the door of the boss's room and respectfully report on their business.

If a client who verbally refuses the services of a seller or a service worker is in the “D” position, they will still negotiate with him.

It is much more difficult to do this if his posture resembles the posture in Fig. B.

A person who is ashamed of his tall, walks in low heels and stoops, as shown in fig. E. This is especially true for women and young people.

Teenagers also stoop a lot. Because of this, others consider them sometimes lazy and slow, which is far from always true. It’s just that in adolescence, so much happens in the brain and body of a person that it is very difficult for him to cope with it.

The position of the body in fig. F is typical for people of small stature who try to appear taller. They seem to pout, wanting to say: “Here I am, you see what an important person I am!” This pose is often adopted by lower-level managers who admire themselves and want to convince the world how important their position is. Body movements are fixed in the gait. She, in the words of Balzac, is “the physiognomy of the body”. Its components are: rhythm, step dynamics, amplitude of body transfer during movement, body weight. These indicators manifest themselves in different people in different ways. By gait, one can judge the well-being of a person, his character and age.

To master the skills of "reading" gaits, let's point out their characteristic types and explain what each of them means. 1.

Concerned person - walks in the pose of a "thinker", head down, hands clasped behind his back. 2.

A person who is depressed has his hands in motion or in his pockets, drags his feet and, as a rule, looks down. 3.

Confident person - walks fast, waving his arms, has a clear goal and intends to realize it. 4.

An arrogant person is a highly raised chin, hands move with emphasis on energy, legs are like wooden ones, the style is “pacing the leader”.

Of these types of gaits, the gait of a confident person is most preferable for creating an attractive appearance.

Significantly loses the image when a person behaves unnaturally when walking, trying to look more solid. At the same time, he loses himself in the eyes of others no less than when demonstrating bad E habits. Being natural is one of the main conditions

the formation of a business image, because it is pretense, an attempt to look different from what is inherent in your inner self, that is most noticeable from the outside.

The gait should not be sluggish or shuffling. You should also not go to the other extreme - make sweeping movements with your hands and wide steps.

A “wide” gait is not yet a sign of confidence, and a relaxed waddling gait is not an attribute of a high social position. Best Option- measured movements, straight posture. Correct posture creates an impression of confidence. In addition, it makes any person slimmer. And, conversely, if you have poor posture, you give the impression of a sloppy, unassembled and insecure person. Therefore, in order to create a more favorable external impression of yourself among others, your posture should not be stiff, but light, springy and always straight. The head is slightly raised, the back is straightened. Try to always stand and sit straight.

Gait is the habitual way and style of walking. It, like the eyes, reflects the human soul. All stiffness and clamps change the gait. But at the same time, gait forms the character and personality of a person.

The walk may be:
- clamped or free. In a healthy and prosperous person, it is free, and a stiff gait indicates problems and insecurity.
- loose or collected. Lack of concentration in gait gives rise to the same disorder in life and deeds.
- light or heavy. A light gait gives a feeling of flight, happiness and joy, while a heavy gait gives a greater psychological status.
- calm or energetic.
- confident or insecure.
- in a line or spread out. The gait can be straight, spread out, clubfoot. In this case, we are not talking about traumatic deviations, but only about small features.
- with different centers.
- female or male.

They used to say that a person is recognized by his gait. This is relevant in our time as well. By walking you can find out the profession and temperament of a person, as well as the state of his health. You just need to look carefully.

The most important thing that can be seen by observing how a person walks has to do with psychology. In literature, the description of gait has long been one of the methods for describing the hero. Psychologists have long realized that the way a person walks can determine his character. According to the system of energy-dynamic dichotomies developed by Jung, all people are divided into 4 categories: extroverts and introverts (rational and irrational).

A uniform, resolute, energetic, impetuous gait betrays rational extroverts. These are people with an assertive temperament. Confused, unstable, but at the same time rather fast gait with a sharp change in course is characteristic of irrational extroverts. In psychology, the temperament of such a person is usually called flexible-reversible. The gait of rational introverts is heavy, with sharp corners. Such people bypass obstacles at the last moment. Irrational introverts walk confusedly, slowly, often distracted by internal and external signals. The pace of their walking may be interrupted due to uncomfortable clothing or shoes. Such people are receptive and adaptive.

It should be noted that the actors were the first to notice the relationship between the state of a person and his gait. So, in particular, Konstantin Stanislavsky, the patriarch of the theater, the man who created his own school of actors, devoted a lot of time to studying the features of gait. According to him, it looks very stupid when the person who plays Oblomov on stage will march, and the person in the image of Chatsky will shuffle his feet. Walking always says something, which is why it is especially important for actors to learn how to control it. And since the Stanislavsky system is aimed at getting the actor into the character, it is impossible to do without walking. Stanislavsky wrote that energy moves along the spine, arms, neck and legs. This energy excites the action of the muscles in the legs and gives rise to the gait, which is of great importance on stage. IN real life people walk incorrectly, but on the stage, the gait must be, according to all the rules, such as nature has created it. But this is precisely the main difficulty.

Stanislavsky appealed to people not only to study their own gait, but to learn how to walk again. He also compared locomotor system a man with a perfect mechanism. If you keep a balance in his work, then you can not only control your own emotions, but also the work of internal organs.

According to Stanislavsky, there are several main signs of a correct gait. First of all, it should be smooth, continuous, socks should be placed slightly outward when walking. A person should move in such a way that from the outside it looks like a slide, and not like pushes from the bottom up and back. According to Stanislavsky, it is necessary to try to apply the requirements for gait, regardless of the speed of movement and the size of the steps.

Many people, indeed, walk incorrectly. For physical and psychological tone, the most harmful are the two extremes - walking, as if falling, when the head goes significantly ahead of the entire body, and walking in such a way that the body seems to be thrown back, and a person cannot see his own feet. The first gait gives rise to uncertainty, indiscipline, haste, substitution of really done deeds by reflection. Another gait forms excessive external self-confidence in the presence of internal clamps. However, the situation can be corrected. Thus, in particular, one of the most effective techniques correcting the way of movement is the practice of the so-called "underwater gait". It consists in trying to walk as if a person were moving underwater. In this case, the chin must be kept horizontal to the ground, and look straight ahead. In addition, you need to push off from the ground from the arch of the foot, removing muscle locks from the cervical girdle in order to avoid hypercontrol of the head.

You can learn a lot about a person's health from the way they walk. If a person has certain health problems, the gait can change beyond recognition. The person himself, who is in pain, may not even be aware that his gait has changed, because on a subconscious level he tries to hide his illness from others. Physicians for such a gait have the concept of "antalgic gait".

The so-called "wooden gait" indicates pain in the spine. "Easy gait" indicates the presence of problems with the feet (corns, calluses, microtrauma). If a person's peroneal nerve is damaged, then a "cock's gait" is formed. It also has a very short contact with the surface. About problems with gastrointestinal tract And digestive system in general, the shoulders bent forward testify, as if a person, when walking, tries to close the chest.

If a person walks as if on prostheses, this indicates the presence of arthrosis, arthritis, joint problems. If there are problems with cervical region(osteochondrosis, myositis), a person carries his head, "like a crystal vase." With ankylosing spondylitis, a person keeps an excessively straight posture when walking or bends over with the whole body. Vegetovascular dystonia and problems with pressure give rise to an unsteady gait, as if a person is walking by touch.

In addition, there are many other types of gait. Each person at different periods of his life uses one or the other, sometimes without even realizing it. There is a so-called puppet walk, in which the hands remain unused, the body does not bend, and the steps are small. There is also a drunken gait, which is scientifically called atactic.

The fox gait is characterized by the fact that a person tries to walk in one line, does not step to the sides and steps on his toes. A hysterically gaited person takes large, abrupt steps and stops instantly. In addition, it is very easy to determine the infantile, senile and dancing gait. And, no doubt, everyone can easily determine by the way a sailor or a general walks.

And more recently, the scientific world was shocked by a sensation - it turns out that it will be possible to recognize even a criminal by walking. Psychologists and sexologists say that a lot of interesting things are hidden in human movements, and you just need to learn how to read this book of gait.

Indian scientists from the Institute of Engineering and Technology proposed to introduce latest technology for biometric identification, which is carried out on a video image. According to Indian experts, this invention will not be superfluous in banks, airports, military bases and other facilities where there are video surveillance cameras. This technology, scientists are sure, will be the most effective for identifying criminals.

The new identification method is carried out in a very difficult way. Video surveillance cameras provide data that allows you to determine the characteristics of a person's gait. This data is then digitized and processed using statistical analysis. The analysis takes into account the height to which the person raises the legs, the frequency of steps, the amplitude of the swing of the shoulders and hips ...

When walking, a person, even without wanting it, betrays all his hidden desires and dreams. So, according to psychologists, any stress that a person had to endure leaves a certain imprint on the personality, as well as on its external manifestations - gait and gestures. Nowadays, it is very rare to see a person who stands firmly on two legs. As a rule, people have one leg bent, which indicates internal uncertainty.

Some people generally cross their legs, thus betraying their own isolation. And if at the same time the arms are crossed on the chest, then we can safely say that the person has major internal problems and complexes.

Critical people who constantly dislike everything tend to walk around with their hands in their pockets. If, when walking, a person looks straight ahead and his eyes are lowered, then such a person is oppressed by something. And if he drags his feet to everything, then it makes no sense to approach him with any conversations, because such communication will not bring any positive results.

Women who announce their approach by the sound of their heels tend to have an unrestrained character. They strive to show that they are confident in themselves, but in reality, such a demonstration is very often a compensation for shortcomings.

The shuffling "gait of a cavalryman" is inherent in people who are weak-willed or satiated with life. Those who put their heels inward while walking tend to be sociable and cheerful. And the one who is slightly clubfoot is usually shy.

If in the crowd you manage to see a person who walks with his head held high, hands smoothly accompanying body movements, straight posture - this will be a real find in a modern, stressful world.

Each person has their own individual gait. One has a proud, confident gait, another has a fussy, hasty gait, and a third has an imposing, lazy one. Try to portray the walk of a person ...

(prizes are handed out, awards to participants, participants sit down in their places)

V.P.: Just fine, I think Yakubovich will be satisfied. What do we have next.

W.O.: Of course, television cannot do without news. Each channel has its own news program, there are news stars.

V.P.: You know, Urmas, but I still like it better when a news program is hosted by a girl. It used to happen that you go into the studio, and there Sveta Sorokin broadcasts some terrible news on the air, and you stand and admire her, you can’t take your eyes off ...

W.O.: Valdis, stop. Don't forget why we're here.

V.P.: Oh, yes, yes, yes. We invite new members to this stage.

●Competition “News in one line”

Try composing a one-line message about an event that happened somewhere in the world. In this case, be sure to use 5 words in the text of the message. And the words should be:

All proposed nouns can be turned into verbs or adjectives, you can add any number of other words to the proposed words, the main thing is that the message has at least some sense.

V.P.(addresses the hall) While our contestants are thinking, I'll do my own thing. Now I will ask our Belarusian State Orchestra and its non-replaceable and respected conductor Vitaly to help me. The beginning of the songs will sound, and you have to guess what the song is and who sings it.

● ( competition with the hall)

W.O.: Finally, our girls are ready and we listen to them carefully.

(summing up, awarding, thunderous applause)

V.P.: Well, besides the presenters, there are still these, well, who run around with microphones, everyone asks something, writes down ...

W.O.: These are correspondents.

V.P.: Yes, and among them there are representatives of the beautiful sex. In general, I prefer to give interviews to girls, it is more pleasant to talk with them. Natalya Darialova used to come to me, so we sit with her for two hours. She asks me a question, and I answer her, she asks me a question, and I answer her ...

W.O.:Valdis, you got carried away again.

V.P.: And what is good is always nice to remember.

W.O.: Don't forget about our goal. And on this stage I invite six wonderful girls who want to become correspondents.