Acting for beginners: what exercises to do at home. Exercise "pantomime" Exercises for children of pantomime and dramatization
Warm-up or joint gymnastics
Lie on the floor and relax completely. Feel how the body spreads over the surface, taking up space on the floor plane. Feel the temperature difference between the floor and the body in the area of their contact. Feel your breath, your heartbeat.
Gradual relaxation: feet, calves, knees, thighs, stomach, chest, shoulders, elbows, wrists, fingers and toes, neck, face and even hair - everything feels completely relaxed.
You feel your body, hear the sounds around you. Find the impulse in the chest - the center of the will - and begin to get up. Required condition- You can only move forward, leaning on the floor. You sort of build your body, thinking through every movement, adding body parts in a logical sequence upwards, while maintaining expressiveness and purity - the logic of movement.
Each time you make a mistake, you completely relax again and start all over again until the body takes up a vertical position.
Possible preliminary exercises: rolling waves. The body should be like a wave of surf, dying on the shore.
Exercise 1
With circular movements of the hands, collect the air, energy around you and slowly exhale carbon dioxide through the mouth with concentration on the point of the abdomen (two fingers below the navel). Repeat 3 times.
Exercise 2
Circular rotational or translational movements of the joints are performed. Rotate the wrists, shoulders, elbows, knees, hips, torso, neck - all joints possible for movement are worked out. The smaller and more consistent you perform rotations or translational movements of the joints, the more they will be able to subsequently take part in the work of body language.
Exercise 3
The beginning of the movement, the process and the end of the movement. A point is selected (two fingers up from the navel), which is used as an impulse to start and end the movement. Fully open on clap (arms up, head raised, body extended), then close on clap, “die” and “be born” again. Feeling that the space around unfolds and twists again into a point. You train not only physical sensations, but also emotions, where feelings fade away
and come alive again full opening(happiness, delight, enlightenment).
Exercise 4
In the space in front of you, select a point, fixing three folded fingers of one hand. Then, from an impulse in the abdomen, start moving your hand in space
from point A, as if drawing an arbitrary line to a conditional point B. Clearly control the process. The momentum of the end of the movement should be reflected
in the abdomen (two fingers above the navel).The impulse in the abdomen gives the movement of any part of the body additional sensitivity and expressiveness.
Having fixed a point in space, we move the body or part of the body (head, leg, thigh) relative to this point. It is important that the point in the hand
didn't move a millimeter. It is important to understand that the expressiveness of movement is always achieved due to the statics of one part of the body relative to the movement of another, or the object relative to which the movement is made.
Part of the body is fixed in space,
and moves again relative to the fixation point. Then the hand is fixed, the body moves again relative to this point, the body is fixed,
and relative to the fixed body, the hand moves again. Movements are made in the system of a circle, square, triangle, etc.
At the same time, the expressiveness of the line of hand movement is similar to a calligraphic underline,
and the expressiveness of the body - the sculpture of the classics.
Exercise 5
Development of expressiveness of movements. On cotton, movement is performed by a separate part of the body, for example: arm, head, leg, shoulder, thigh, arm again, etc. On command or arbitrarily, you move
then one, then another part of the body, the momentum and fixation of the body part is preserved. The finer the movement of the joints in the body, the more useful this skill is in the future for performing more complex exercises.
Exercise 6
Swinging movement. Like glass, the body becomes brittle, and by moving each part of the body with a stabbing movement, we fix it through relaxation. We keep the rhythm and expressiveness of movements.
Exercise 7
Transmission of movements in the body ("body language"). Having placed two hands in front of you, bent slightly at the elbow, you begin to move your right hand towards the left from the momentum, clearly controlling the speed. The left hand is motionless, having reached a close point to the motionless hand, right hand stops. Immediately, the left hand, as if picking up the impulse, begins to move according to the same rules, and the right hand is fixed
in space. Complicating the exercise, you can move any part of the body, transferring the movement to another part of the body. Movements can be translational, rotational, circular and repetitive.
It is important that you keep the momentum of the beginning and end of the movement, control the process and speed of movement, fix the part of the body, ending the movement. →
Through impulse, movement is transmitted to another part of the body. At the same time, the expressiveness of the entire body pattern is preserved, it is desirable to maintain a single style of movement.
Exercise 8
Speed and rhythm. Set the speed of movement when transferring from one part of the body to another (from 1 to 10)
from slow to fast. Set the shape of the body
Elementary easy to difficult (from 1 to 10).
From the initial shape (0) you begin to move, complicating the shape of the body. Slowly at first
at speed 1, then 2-3 movements at speed 10, 2, 5, gradually complicating the shape and proportion.
Exercise 9
By saving the graphic as the initial movement style, you move arbitrarily, conveying the movement
from one part of the body to another, while creating its own rhythm and proportion in action. Movements can be translational, rotational and reciprocating.
Exercise 10
Individual sign. This is your painting in motion, your hieroglyph, your analysis of psychopathic possibilities in bodily expression. The ability to express your own self through the form. What principles must be preserved in your individual sign in order to preserve this school:
Clear execution and conscious beginning;
The purity of the line in motion;
Dynamics, proportion, development of thought
and completeness in every movement, where one part of the body transmits the movement to another.
The transmission of movement is like a clear monologue, where feeling, character and thought are expressed. It is necessary to feel your body, the space around the body, the interaction of the body and space.
(!) The emotional experience of a gesture, posture, movement is important. The inner feeling of truth and adequacy - this is the culture, the ethics of the movement. Without these qualities, improvisation is pathological.
Pair exercises
Divided into pairs, students push each other and alternately, following the direction of the applied force.
Standing with their backs to each other, the partners alternately substitute their backs for support to each other, relaxing and at the same time maintaining stability, finding more and more expressive poses with the smallest fulcrum. In the future, all kinds of exercises for the development of sensitivity are included (sensitive hands, etc.)
"Mirror". The partners stand in front of each other, the leader begins to perform any actions, as if standing in front of a mirror, and the other clearly repeats his actions, like a reflection in the mirror. It is necessary to repeat not only the form, but also the emotional state.
"Subtle body". One partner touches a finger to any part of the body of the other partner, and he moves
from this point, continuing to move. Then the partners change places. Can be used rotational movements, twisting each other, any tightening, rotational and translational movements.
"Rhombus". One leader, the rest, stand in space in the form of a rhombus, repeat his movements, gestures, state, emotions, etc. The leader is responsible for the quality of his movements (purity, fullness, completeness, meaningfulness, graphic, etc.), he leads, not self-expresses. Followers must be extremely attentive and clearly follow all the movements of the leader, feel his psychodynamics, state changes, etc. The leader is considered to be the one who stands in front and, moving in the graph, occupies his own plane. The movements must be visible to those behind him. When the leader changes plane, turning right, left or 180 °, he becomes the follower, and his movement, state, thought is continued by another leader, whose task is to catch the continuation of the movement and its development. The ability of the actor to be flexible in mind, easily switch from the leader to the follower and vice versa, it trains psychophysics very much, expands the range of perception and attention, and most importantly, enriches it with new motor capabilities, emotions, thinking, etc. After performing the “Diamond” movement, you may notice that the stock of your movements has increased, but and the fullness of the movements still need to be worked on.
"Supplement in space". 3-4 people participate. Everyone finds their place in the proposed space. We choose the style or formula of movement: square, circle, triangle, diagonal, etc. One of the students begins to move in space, clearly drawing the chosen line of movement. The rest begin to move, complementing this movement in rhythm, form and content. At the same time (for starters), only two partners can move relative to the statics of the rest, which is necessary for the viewers to read the meaning of their actions. Moving, complementing the movements, the actors try to understand each other - this task is constant in all exercises. And, following the laws of any composition, the movement must have a beginning, development, climax and end. IN initial exercises it is advisable not to use a gesture, enough movement and addition simple forms. In the future, when the meaning of gestures is mastered, you can turn them on to give more informative meaning to actions. It is possible to include non-objective pantomime, dance, voice, text in the fabric of improvisations - provided that these means are mastered professionally.
"Dialogue of hands". Performed in pairs. One partner asks a question through the movement of the hand, the other answers with a gesture. At the same time, the beginning, the process and the transmission of the movement of each gesture are tracked. When one finishes, the other immediately starts moving. Movements - gestures should be conditionally abstract, but filled with inner meaning. If understanding is achieved, gestures can conflict, synchronize, and through a culmination come to a point of understanding.
"Supplement in graphics". The principle of addition in the schedule - partners stand one after another in pairs
in the back of the head, standing in front is leading, and standing behind it is complementary. Following the already learned rules of movement - the beginning, the experience of the process of movement, the fullness and purity of the lines, the end of the movement - the leader acts, and the complementary accepts the completed movement as a question and answers just as clearly and expressively, maintaining the style of the leader. At the beginning of the movements, there should be little and the gesture should be wide, the question-answer is clearly monitored. In the future, the gesture, like an interesting argument between two friends, mixes the movements of both partners, as if anticipating the question and the answer. The goal is to understand each other. You can move in space, in one plane, etc. The purity of lines during transitions
in space depends on the level of professionalism. Temperament, rhythm, feelings, character, facial expressions - all included. And the most important thing is what happens between you.
"Graphics in space". The facilitator starts by asking a question in motion. The leader can be the one who stands in front, or the one who knows exactly what he wants to express. The space between the partners must be connected by colligraphy of lines. Moving in space (graphically and expressively relative to the angle of view), moving from one point to another, the actor must determine for himself and express who moves, with what state, how and why he does it, while not losing the set rhythm and pace ( preferably keeping abstraction, coding your everyday feelings into a symbol, sign, image).
"Three partners". The first in several movements sets the theme (graphics, expressiveness, fullness
and comprehension). The second one develops it in space and in rhythm. The third finds a point. Then they change places. In all initial and subsequent exercises, emotional and psycho-energetic inclusion is important, otherwise there will be no accumulation of these qualities and the awakening of new potentials - development, and most importantly, a sense of truth and adequacy of the reaction will not be formed.
in relationships with partners.
No matter how much you put your teeth on the shelf, creative people need self-expression. And in order to reveal acting talent, improve stage skills, you need perseverance and patience. Acting exercises will help to acquire and hone all the skills necessary for a professional actor. After all, an actor on stage is not just a mechanical puppet that mindlessly follows the director's instructions, but a puppet that can think logically, calculate actions a few steps ahead. A professional actor is plastic, has good coordination, expressive facial expressions and intelligible speech.
Before you start to study and work out etudes and sketches to the fullest, you need to understand yourself a little. A real actor needs certain character traits that must be actively developed in himself. Other qualities should be hidden in the far corner and remembered very rarely.
Consider such a quality as self-love. It would seem - a normal state for every person. But this quality has 2 sides:
- Self-love - makes every day to develop and learn, not to give up. Without this quality, even a very talented person cannot become a famous actor.
- Selfishness and narcissism is a dead end for an acting career. Such a person will never be able to work for the viewer, all attention will be riveted to his own person.
A good actor cannot be distracted. He should not be distracted by extraneous noise while playing on stage. For acting, by its very nature, implies constant control of oneself and a partner. Otherwise, the role will simply become a mechanical representation. And attention allows you not to miss important details during training, watching theatrical performances, master classes and trainings. To learn how to concentrate, use the attention exercises from stagecraft.
Attention is the basis of a good start to a theatrical career
The development of attention does not begin with special exercises, and with Everyday life. A novice actor should spend a lot of time in crowded places, watching people, their behavior, facial expressions, and characteristic features. All this can later be used to create images.
Keep a creative diary - this is the usual diary of a creative person. In it, express your thoughts, feelings, write down all the changes that have occurred with the surrounding objects.
After filling creative diary, you can move on to working out scenes and sketches. A novice actor is obliged to convey as accurately as possible the image and facial expressions of the person he was watching. It is necessary to place prototypes in non-standard situations - it is such productions that show how much the actor was able to understand and get used to the image of an unknown person.
"Listen to silence"
Next exercise- the ability to listen to silence, you need to learn to direct attention to a certain part of the external space, gradually expanding the boundaries:
- listen to yourself;
- listen to what is happening in the room;
- listen for sounds throughout the building;
- recognize sounds in the street.
Exercise "Shadow"
It not only develops attention, but also teaches you to move consciously. One person slowly makes any pointless actions. The task of the second is to repeat all movements as accurately as possible, try to predict them, and determine the purpose of the actions.
Pantomimes and dramatizations
A good actor is able to convey emotions expressively with words and body. These skills will help to involve the viewer in the game, to convey to him the full depth of the theatrical performance.
Pantomime is a special kind of stage art based on the creation of an artistic image through plasticity, without the use of words.
- Best Exercise to learn pantomime - crocodile game. The goal of the game is to show an object, a phrase, a feeling, an event without words. Simple but fun game perfectly trains expressiveness, develops thinking, teaches you to make decisions quickly.
- Dramatization of proverbs. The purpose of the exercise is to show a well-known proverb or aphorism with the help of a small scene. The viewer must understand the meaning of what is happening on the stage.
- Gesture game- with the help of non-verbal symbols, an actor can say a lot on stage. You need at least 7 people to play. Everyone invents a gesture for himself, shows it to others, then shows some other person's gesture. The one whose gesture was shown must quickly repeat it himself, and show the next someone else's gesture. Who lost - is out of the game. This game is complex, develops attention, teaches to work in a team, improves plasticity and coordination of hands.
Exercises for the development of plasticity
If things are not going well with plastic surgery, this deficiency can be easily corrected. At regular performance following movements at home, you can learn to feel your own body better, skillfully manage it.
"Painting the Fence"
The exercise “painting the fence” develops the plasticity of the hands and arms well. It is necessary to paint the fence using the hands instead of a brush.
What exercises make hands obedient:
- smooth waves from one shoulder to another;
- invisible wall - you need to touch the invisible surface with your hands, feel it;
- rowing with invisible oars;
- twisting clothes;
- pulling an invisible rope.
"Pack it up"
A more difficult task is to “collect in parts”. It is necessary to assemble in parts some kind of complex mechanism - a bicycle, a helicopter, an airplane, to create a boat from the boards. Take an invisible part, feel it with your hands, show the size, weight and shape. The viewer must imagine what kind of spare part is in the hands of the actor. Set the detail - the better the plastic, the faster the viewer will understand what the actor is collecting.
"stroking the animal"
Exercise "petting the animal." The task of the actor is to stroke the animal, pick it up, feed it, open and close the cage. The viewer must understand - this is a fluffy hare or a slippery, wriggling snake, a small mouse or a big elephant.
Development of coordination
The actor must have good coordination. This skill allows you to difficult exercises on stage, perform several movements at the same time.
Coordination exercises:
- Swimming. Extend straight arms parallel to the floor. Perform with one hand circular motions back, the other forward. Move your hands at the same time, periodically change the direction of movement of each hand.
- Knock - stroke. Put one hand on your head and start stroking. Place the other hand on the stomach, lightly tap. Do movements at the same time, not forgetting to change hands.
- Conductor. Stretch out your hands. One hand moves up and down for 2 beats. The other one performs arbitrary movements for 3 cycles. Or draw a geometric figure. Use both hands at the same time, periodically change hands.
- Confusion. Extend one arm, with a straight arm, make circular movements clockwise, while simultaneously rotating the brush in the other direction.
These exercises are not easy to do at first. But constant practice brings results. Each exercise should be repeated at least 10 times every day.
Scenes and sketches for beginner actors
A novice actor does not have to invent everything from scratch. The ability to qualitatively copy and imitate is an integral part of performing arts. You just need to find a movie with your favorite character, try to copy his facial expressions, movements, gestures and speech as accurately as possible, convey emotions and mood.
The task seems simple, but at first it can be difficult. Only regular classes help you hone your imitation skills. In this exercise, you can not do without attention and the ability to concentrate on the little things. Jim Carrey has a good gift for imitation - he has a lot to learn.
Exercise "Think"
The acting profession involves a well-developed fantasy and imagination. You can develop these skills with the help of the “Think Out” exercise. You need to go to crowded places, choose a person, observe, pay attention to appearance and demeanor. Then come up with a biography for him, a name, determine the occupation.
Scenic speech
Good stage speech involves more than just clear pronunciation and good articulation. A good actor should be able to shout softly and whisper loudly, conveying the emotions, age and state of mind of the hero with just his voice.
To learn how to betray emotions in a word, you need to pronounce a simple phrase from the point of view of different characters - a little girl, a mature woman, an aged man, a famous actor or politician. You need to find special intonations for each character, use typical speech turns.
Exercises for the development of stage speech:
- Blow out the candles. Take in more air, blow out 3 candles in turn. The number of candles must be constantly increased, the muscles of the diaphragm must be used when inhaling.
- Practicing exhalation technique. The poem "The House That Jack Built" is suitable for this exercise. In one breath, it is necessary to pronounce each part of the work.
- Improving diction. Slurred speech is unacceptable for a good actor. You need to honestly identify the problematic sounds in your speech, daily pronounce tongue twisters that are aimed at eliminating the problem. You need to do at least half an hour 3-5 times a day. Tongue twisters teach to speak clearly at a fast pace, which is extremely important in acting.
- Intonation plays a prominent role in creating the right image. For training, it is necessary to read aloud artistic dramatic texts daily.
Acting exercises can be studied independently, various trainings will come to the rescue. But it is better to study in the company of like-minded people - you can go to courses or arrange theater evenings at home. The main thing is to never give up, always believe in your own talent, move towards the intended goal.
Name. Communication exercise"Pantomime"
purpose.
The procedure of group psychological training. Participants show each other a large variety of various pantomimes.
This procedure can be inserted into the training program as an independent, great exercise which takes a lot of time. In this case, the facilitator needs to tune in himself and set the participants up to the fact that the exercise can last up to 60-90 minutes or even more - until the participants are exhausted.
The procedure can also be used as a warm-up exercise. In this case, it is enough to make one circle. It can also be used in this mode: first, the exercise is carried out as a big one, then on subsequent training days it is introduced as a warm-up exercise - to consolidate the result.
Qualities. . Artistry
Many people do not use the potential of their own facial expressions and pantomimes in communication because they are not sure, doubt themselves, do not know all the possibilities of the powerful language of our body. The main goal of this exercise is precisely that the participants imbued these opportunities, so we must spare no time for this exercise.
The idea of this exercise is simple and similar to a child's game - you need to depict some activity (any kind) with your body movements. The other participants must solve the riddle of what the activity is. Guessing takes place in turn - in a circle. When the other participants have completely solved the riddle, then and only then it is the turn of the next one. If you can't figure it out, this person invents and performs another riddle.
Sometimes mysteries are only partially solved. Let's say someone portrayed a person writing a love letter. Someone guessed, but guessed partially: "You are writing a letter!" In this case, the guesser makes a gesture “not quite like that” (in order not to get out of the role, let him be silent at all for the time being) - this means that the riddle has not yet been solved. You should also draw the attention of the participants - immediately or during the exercise - that you can think of similar actions: "I am writing a love letter" - "I am writing a complaint."
The exercise starts with the leader himself. He depicts something simple, like sawing wood or lifting a barbell.
There is a discussion at the end:
What are your general impressions of the exercise?
Do you regret spending so much time on it?
- How do facial expressions and pantomime differ in their capabilities?
- what did you pay more attention to when guessing and when guessing?
- how can pantomime be used in everyday life, in communication, at work?
- if a person does not understand what you require of him, can your pantomime help?
1. Communicative exercise "Pantomime" [Electronic resource] // A. Ya.. 08.25.2015..html (08.25.2015).
Tatyana Kolchenogova
Pantomime
These exercises are aimed at studying the concept pantomime and gestures. Helps develop mindfulness and empathy.
Exercise 1. "Greetings"
In this exercise, the children must come up with a new way to say hello to each other.
Exercise 2. "Memories"
In this game task, an adult must ask leading questions related to "magic" means of understanding.
Questions:
“What means of ‘magic’ understanding do you remember?”
“How can we know about the mood of a person if we do not see his face and do not hear his voice?” (pantomime)
After that, the children should greet each other only with gestures.
Exercise 3 "Guess who?"
This game develops sensory and tactile images.
All children will take turns. At the beginning, one person from the group is chosen, he steps aside and closes his eyes. Then one of the guys comes up to him and holds out his hand. The driver with his eyes closed tries to remember his hand, after which speaks: "All". After that, all the participants in the game hold out their hands to him, and he must find "that", which has just "remembered".
Exercise 4 "Magical forest"
This task helps to remove bodily barriers.
First, a driver is chosen (in principle, everyone can drive in this game in turn, and all other participants become in a close circle "Magical forest" and do not let the one who leads into the middle. But "forest" can hear and speak, he does not let the ignoramuses and rude people through. Therefore, to go to the center, you need to ask very well and kindly.
After the game, the children should definitely discuss when "forest" lets and when not.
Exercise 5 "Theater"
This exercise helps to develop a creative approach in communication with the help of pantomimes.
Children are encouraged to show how they walk (gait):
Small children who are learning to walk;
old grandfather;
Little cheerful girl;
adult girl (Mother);
Important man.
Children discuss the features of the gait of each of the characters.
Exercise 6 "Who are you?"
Aimed at expressing and understanding one's feelings through touch.
Each of the participants in the game will drive in turn. He steps aside and closes his eyes. After that, one of the guys comes up to him and tries to express his feelings with touches. After that, he returns to his place. The task of the driver is to guess who touched him, and what feeling he was trying to show.
Exercise 7 "Fun Zoo"
This exercise is designed to develop pantomime and understanding of others.
Children are given pictures of animals. They choose and make their own. After that, without words, only with the help of facial expressions and pantomimes they must find their own kind. For example: children depicting monkeys must find each other with the help of the image of these animals.
Exercise 8 "Roles and Situations"
To complete this task, the children are divided into pairs and with the help of "magic" words of understanding, facial expressions and pantomimes play specific situations.
For example:
“You and your friend competed, you won and he lost. What will be your actions?
“What would you do if your toy was broken?”
"Grandma brought three apples: you and your friend. How will you share them? Why?"
“If you are late for a walk with friends, and the team for the game is already assembled, and you don’t have a place, what will you do?”
Exercise 9 "Conclusion"
After all tasks are completed, the group should take stock. It should be remembered about "good rules" And "magic" means of understanding.
At parting, the children come up with a new way to say: "Goodbye".
Pantomime is known since ancient times and invariably popular view stage art, the main expressive means of which are the facial expressions and plasticity of the artist. Elements of pantomime are often found in folk dances, are common in modern acting and are widely used in teaching young artists the art of acting on stage.
"Pantomime is the poetry of silence." Josef Michael Kreutzer.The tasks facing the mime actor, in their essence, are indistinguishable from the tasks of the dramatic actor. This:
- Creation of a bright stage image.
- Continuous action in the fight against the proposed circumstances.
- Emotional expressiveness and recognition.
Pantomime for children
Any modern children's pantomime theater in Moscow or a theatrical circle begins the training of little artists with pantomime. Most often, kids learn to portray animals and play charades, when one child shows a certain scene, and the rest try to guess the word. The benefits of such exercises child development is huge and includes: - development of the imagination;
- developing the ability to correctly express emotions;
- emancipation and strengthening of self-esteem;
- taste for creativity and creative thinking;
- expanding horizons and acquiring valuable emotional experience;
- development of communication skills and interaction with other children.
Children's tasks
Funny tasks for pantomime can be of varying complexity, depending on the age of the baby. For the youngest children (up to 4 years old), a simple repetition for adults is suitable. Children are very fond of imitating moms and dads, showing how they do the cleaning, cook dinner, get ready for work and more. This is exactly what should be done with children, gradually complicating tasks. You can offer children to portray various domestic and wild animals, inanimate objects (for example, vehicles), representatives of professions (for example, a policeman, fireman, doctor), etc. Children 4–6 years old may well turn on their imagination and come up with ideas for pantomime on their own, you are only required to offer them simple topics. The child learns to remember what he usually does in different situations, and to reproduce small scenes from his own life. Topic examples: - Seasons,
- kindergarten,
- in the courtyard.
- dad brought a new toy;
- It is your birthday;
- a dog is running towards you;
- you got a two (five).
- chameleon,
- ladybug.
- "Fashion sentence"
- "House 2",
- "A big difference".
- Sergey Zverev,
- Timati,
- Boris Moiseev,
- Ksenia Sobchak.
Teenagers appreciate humor, so it's best to come up with funny words for pantomime. When thinking of celebrities or famous TV shows, stop at those that lend themselves best to parody.
Fairy tale script without words for children
Staging a full-fledged performance-a fairy tale without words can be a wonderful pastime for your child and his friends on the occasion of a holiday or just in your free time. To do this, you do not need a special adapted scenario of a pantomime fairy tale for children without words, you can choose any fairy tale in roles and adapt it for staging. Here's how it's done: - Search for a fairy tale. When choosing a fairy tale, carefully read the text, it should contain as little "water" as possible and as much action as possible. You can check this very easily: as you read the lines, try to imagine how you express their essence without words, using gestures and facial expressions. It turns out? So, this is a good text, feel free to take it to work.
- Distribution of roles and preparation. Discuss the fairy tale with the children, invite them to choose their own roles, tell the plot of the fairy tale in detail, but in your own words.
- Conditional place of action and mise-en-scène. Agree with the little artists about how you will equip the playground, into which zones you will divide in accordance with the requirements of the fairy tale (palace, tower, cave, dark forest, etc.). Each hero must understand where he is supposed to be and what to do. Of course, children will not be able to remember everything, but do not worry about this, because you have the role of leading a fairy tale - the only person who can and should speak. You will direct all the action and will be able to help the actors.
- When the preparatory work is completed, you can open the play. You, as the presenter, announce the exits of the characters and read their text, and the child actors translate this text into sign language. It looks something like this:
Pantomime for adults
Pantomime is not only a set of developmental exercises for children, but also a way to diversify any adult party. The game "Crocodile" is not inferior in popularity even to "Mafia", because it perfectly liberates the company and cheers up. In addition to leisure time with friends, "Crocodile" can be used as a training for employees, because during the game valuable skills are developed: - sense of team, cohesion;
- ability and desire to interact with each other;
- intelligence and logic;
- imagination and creativity in problem solving.
- The player who shows the hidden word is forbidden to speak, pronounce the word with his lips and use any sounds.
- It is forbidden to show the word by letter.
- It is allowed to show each word separately if a phrase or phrase is guessed.
- Spectators can ask questions, the acting player can answer them only by means of pantomime.
Word examples
Difficult:- hydroelectric power plant,
- magnitude,
- historical materialism,
- natural selection,
- binomial theorem.
- polite deer,
- elusive Joe,
- delirium tremens,
- childbirth,
- enema,
- horse in coat
- happy addict,
- homeless optimist.
- desert Island,
- spaceship,
- Submarine,
- North Pole,
- Ocean floor.
- delayed salary,
- married
- divorced,
- retired,
- won the lottery
- drunk,
- underdrank.
- D'Artagnan,
- Winnie the Pooh,
- Headless horseman,
- Master Yoda,
- Kenny from South Park
- Bender from Futurama.
Tasks for companies and corporate parties
Here are some more popular mime games for teens that are also suitable for adult companies: Orchestra (preferably performed to rhythmic instrumental music)
- The company is an orchestra playing imaginary musical instruments. Everyone's tools are different.
- One of the orchestra members is chosen as the conductor. He stands in front of everyone, depicting the game on his instrument.
- Suddenly, the conductor changes his instrument to that of any of the orchestra members, such as a flute.
- The owner of the flute should stop playing and cover his ears with his hands, and the rest of the orchestra begins to imitate playing the flute, following the example of the conductor.
- The conductor returns to his instrument, the orchestra returns to his. Everything repeats from the beginning.
- The company is divided into 2 teams, each team makes a picture, preferably with the appropriate number of characters, so that everyone can participate (“Barge haulers on the Volga”, “Cossacks write a letter to the Sultan”, “They didn’t wait”, etc.).
- The first team has allotted time to prepare and show their painting in the form of a small pantomimic study.
- The second team is given time to confer, after which they need to guess which picture the team No. 1 revived.
- Teams change, and at the end of the game, the winning team is determined by points.
