Collection of acting classes in the school theater.
Explanatory note.
Relevance: In modern society, the prestige of intellect and scientific knowledge has sharply increased. Hence the desire to teach children to read, write and count, and not the ability to feel, think and create. Thus, the emotional-spiritual essence turns into a secondary value. Children are less likely to admire and be surprised, indignant and empathize, more often show indifference and callousness, their interests are limited, and their games are monotonous.
Electronic toys and computers, which have been popular recently, are not able to compensate the child for the children's community, without which the full mental and social development of the individual is impossible. Such children do not know how to occupy themselves in their free time, they look at the world around them without much surprise and interest, like consumers. Their memory and attention are not sufficiently developed, and psychologists, noting the lack of observation and creative invention, often make a diagnosis: "didn't finish the game," i.e. did not train his imagination in the joyful process of the game.
Working with children in music lessons at school, I had a need to find a form of development of children's creative abilities that would be close and interesting to me and the most effective and efficient for children.
So, I developed the program "Theatrical Creativity" for primary school students.
Theatrical classes simultaneously perform cognitive, educational and developmental functions and are by no means limited to the preparation of performances.
Games held on extracurricular activities, are really a game for the child, and not an organized activity, where each participant shows his initiative, his desires and ideas, learns to coordinate his actions with the actions of other participants, with certain rules.
Classes with children in stage speech serve as a kind of standard of correct speech and at the same time exercise and develop hearing, the respiratory system, and the latter is closely connected with the cardiovascular system. Consequently, doing breathing exercises in the process of learning stage speech, the child simultaneously strengthens his health; trains the articulatory apparatus.
Purpose: education and development of an understanding, intelligent, educated theatrical spectator with artistic taste, the necessary knowledge, and his own opinion.
Tasks:
based on the synthetic nature of theatrical art,
promote the disclosure and development of the creative potential of each child;
help to master the skills of teamwork and
communication;
to instill interest in the world artistic culture through the theater
and give primary information about it;
to teach creatively, with imagination and fantasy, to relate to
any job.
Theatrical art lessons are unusual, you need to conduct classes emotionally and excitingly. In the classroom, the teacher is required good mood and benevolence. Over the years, I had to develop a certain structure of classes.
The lesson structure looks like this:
- Greeting and articulation gymnastics
- Gymnastics for the face
- Tongue Twisters
- Exercises on speech technique (poetry, rhythmic reading)
- Tasks for the plasticity of movements (games)
- Outdoor games
The structure may change. It depends on the main goal of the lesson, the age of the student, the degree of assimilation of the material. It is only necessary to ensure that static exercises alternate with mobile ones, and one task changes in a timely manner.
An important condition for all work is the preservation of the game principle: a short explanation - a trial show - a brief analysis of the show - a streaming show and analysis of students - encouraging the best. Excessive analysis of errors reduces the interest of children and the emotionality of the lesson.
Each lesson must necessarily carry some new element, exercise, task or game. If the task turned out to be difficult for your children, then it must be replaced with an easier one in order to return to it at another stage.
A special place in the classes is given to work with an imaginary object, to which we pay great attention throughout the course. This is one of the elements of the system of K.S. Stanislavsky, very much appreciated by him, which enriches the imagination, develops creative imagination, logic and sequence of actions.
The main work on the development of speech (breathing, training of the speech apparatus, proverbs and tongue twisters) is carried out in the first two years of study, when children do it with pleasure. In the third year of study, we pay more attention to the expressiveness of speech, we are looking for colors to express creative ideas and ideas.
We finish the lesson, as a rule, with emotional entertaining or outdoor games, so that the children leave the lesson in a good mood.
Theatrical creativity
Main areas of work with children
Theatrical play is a historically established social phenomenon, an independent type of activity inherent in man.
Tasks. To teach children to navigate in space, to be evenly placed on the site, to build a dialogue with a partner on a given topic; develop the ability to voluntarily strain and relax individual muscle groups, memorize the words of the heroes of the performances; develop visual, auditory attention, memory, observation, figurative thinking, fantasy, imagination, interest in theatrical art; exercise in a clear pronunciation of words, work out diction; cultivate moral and aesthetic qualities.
Rhythmoplasty includes complex rhythmic, musical plastic games and exercises that ensure the development of children's natural psychomotor abilities, freedom and expressiveness of body movement; finding a sense of harmony of your body with the outside world.
Tasks. To develop the ability to arbitrarily respond to a command or a musical signal, the willingness to act in concert, engaging in action simultaneously or sequentially; develop coordination of movements; learn to memorize the given poses and figuratively convey them; develop the ability to sincerely believe in any imaginary situation; learn to create images of animals using expressive plastic movements.
Culture and technique of speech. Games and exercises aimed at developing breathing and freedom of the speech apparatus.
Tasks. Develop speech breathing and correct articulation, clear diction, varied intonation, logic of speech; coherent figurative speech, creative fantasy; learn to compose short stories and fairy tales, select the simplest rhymes; pronounce tongue twisters and poems; train a clear pronunciation of consonants at the end of a word; use intonations that express basic feelings; replenish vocabulary.
Fundamentals of theatrical culture. Children are introduced to elementary concepts, professional terminology of theatrical art (features of theatrical art; types of theatrical art, the basics of acting; viewer culture).
Tasks. To acquaint children with theatrical terminology; with the main types of theatrical art; to cultivate a culture of behavior in the theater.
Tasks. Learn to compose sketches based on fairy tales, fables; develop skills of action with imaginary objects; learn to find keywords in individual phrases and sentences and highlight them with your voice; develop the ability to use intonations that express a variety of emotional states (sad, joyful, angry, surprising, admiring, plaintive, contemptuous, condemning, mysterious, etc.); replenish vocabulary, figurative structure of speech.
The main requirements in the work are reliability, truthfulness of execution, expressed in purposeful actions in the proposed circumstances. To this end, children are given a series of exercises that develop precisely these skills.:
- Conjecture of the proposed circumstances;
- The story of the hero from his own face;
- On behalf of the character who came into conflict with him;
- Inventing events before and after the study;
- Characteristics of the hero in his own speech, etc.
Thus, students gradually form an idea of character as a special behavior. At this stage, the child should already be able to consider the act as an action through which the character of the hero is manifested.
At the final performance, dramatizations of poems, folklore holidays, "village gatherings" are shown. Schoolchildren participate in the performance as in a collective work, using the working terminology of acting.
Summary of acting classes No. 1
Topic: "The stage image of the puppet theater."Purpose: Formation of the ability to transform into an artistic image through acquaintance with the elements of acting
Tasks:
1. Introduce the elements of acting: facial expressions, gesture, plasticity.
2. Development of the motor sphere through the ability to control one's motor actions, develop motor skills associated with imagination, imaginative thinking, fantasy in creating acting sketches.
3.Education personal qualities that ensure the success of creative activity (enthusiasm, purposefulness, observation, independence);
Technical means:
1.Music center.
2. Screen.
3.Multimedia projector.
Course progress.
1. Organizational moment. (10 minutes).
1) Theatrical bow.
2. Updating knowledge
3) Acting training for warming up speech and motor
coordination:
Exercise "Snowballs"
Exercise "Pump"
Exercise "Lumberjack"
Exercise "Train"
Repetition of material as a method of forming self-knowledge.
3. Acquaintance with new material. (5 minutes).
Questions for the studios:
“In your opinion, who is involved in the theater group - the creation of a stage image?”
“What are the means by which you can create an interesting and expressive role?”
“Are those elements that you named enough to create a full-fledged stage image?”
Slide (1) The topic of the lesson.
Introduction to new material.
1. Slide show with different options for facial expressions of people.
What is the name of this stage element?
Slide (2, 3,4,5,6)
MIMIC - (Greek. Imitator) - expressive movements of the muscles of the face, which are one of the forms of manifestation of certain feelings of a person - joy, sadness, disappointment, satisfaction, etc.
Slide (7.8)
Types of facial expressions:
involuntary (reflex) everyday facial expressions;
arbitrary (conscious) facial expressions, as an element of acting art, consisting of conveying the state of mind of the character with expressive movements of the muscles of the face. It helps the actor in creating a stage image, in determining the psychological characteristics, physical and mental state of the character.
Practical work.
1 task.
Mimicry: The pain is aching, continuous. The face of an old man (characteristic features - wrinkles, narrowed eyes, distorted mouth).
2 task.
Facial expressions: Show the mask "Terrifying fear" (characteristic features - eyes and mouth are extremely wide open).
The most successful mimic sketches receive an asterisk.
stimulation method.
2. Slide show with different options for GESTURES and PLASTICS of people.
Slide (9,10, 11, 12,13,14, 15)
Introduction to definitions
GESTURES and PLASTICS are body language - iconic elements of postures and movements various parts bodies, with the help of which, as with the help of words, thoughts and feelings are structurally formed and encoded, ideas and movements are transmitted:
Slide (16,17,18,19)
like mimic gestures
head, hand and foot gestures
gait
different rotation of the body.
Practical work.
1 task.
Gestures: The fingers are as tense as possible, while shaking and constantly looking for support. The hands of an old man are clumsy and ugly.
Plasticity: The head is shaking, the back is hunched, the legs are bent at the knees, the body is constantly tilted forward, the arms are widely spaced to the sides.
Comparison method
2 task.
Gesture: Hands in position - "Danger" (arms tense, but flexible, ready to attack).
Plasticity: The body is in the “Waiting” position (the neck is stretched forward, the shoulders are raised, the body is tense and leaned forward, the legs are wide apart, ready to jump).
The most successful plastic sketches receive stars. Incentive method
4. Practical work (Individual studies). (10 minutes)
1) Questions for studio members:
“What is the difference between a plastic sketch and a sketch?”
“After creating a stage persona, what should an actor do before he goes on stage?”
2) Demonstration of acting sketches "Snow Characters" using facial expressions, gestures and plasticity: "Snowflakes", "Snowmen", "Snow Animals".
Modeling method. Working with groups.
5. Summing up. (5 minutes)
Questions for the studios:
“Did today’s lesson help you learn some acting tricks?”
“Which sketches didn’t turn out today and why?”
“What do you think, what sketches were successful and why?”
Comparison method
6.Reflection:
Satisfactory (arm at waist level)
Good (hand at head level)
Excellent (hand above head) reflection
7. Homework - to finalize plastic sketches on the theme "Snow Characters".
Summary of classes in acting skills No. 2.
Topic: "Petrushka - a folk fair hero"The purpose of the lesson: the formation of initial knowledge about the main puppet of Russian theaters - Petrushka.
Tasks:
Tutorials:
1. To acquaint students with the origin of the main character of Russian theaters, with his "relatives" in different countries; 2. Introduce the character traits of this doll.
Developing:
1. To develop the observational, cognitive and creative abilities of the pupil.
2. Develop creative activity, fantasy, imagination and imaginative thinking.
3. To develop a meaningful approach to work among students: self-esteem, perseverance, comparison, motivation for knowledge and creativity.
Educators:
1. Encourage children to improvise using theater puppets;
2. Create a creative atmosphere in the classroom.
Pedagogical technologies: ….
Teaching methods: verbal, visual, productive, game, method of motivation and stimulation, information technology.
Methodological support of the lesson:
- decorated mini-gallery with various portraits of folk dolls - favorites;
- illustrations of scenes from productions;
Equipment and materials: audio recordings, dolls: Petrushka, gypsy, horse, round screen, paints, felt-tip pens, album sheets, poster, music center, musical noise instruments, Petrushka's clothes, squeaker, screen (working and round).
Preparatory work:
1. Work with literature.
2.Development and writing a summary.
3. Selection of musical design.
4. Preparation of illustrative and visual material.
5. Preparation of screens and dolls.
6. Preparing the classroom for the lesson.
Lesson progress
I. Organizational stage
Teacher: Good afternoon guys! We begin our lesson traditionally, with a working semicircle. Today we have a big and serious work ahead of us. And therefore, let's wish each other something that would help us to work well in class.
(The teacher is the first to stretch out his palm and name the wish. Children come up to him in turn and put their palm on him, saying the wish.)
II. Main stage
Teacher: I will start today's lesson with verses:
"There lived a scattered man
On Basseinaya Street.
He sat down on the bed in the morning
Started putting on a shirt
Put his hands in the sleeves -
It turned out they were pants.
Here's how scattered
From Basseinaya Street!”
"Mr. Twister
former minister,
Mister Twister,
Dealer and banker
Factory owner,
steamship newspapers,
I decided at my leisure
Travel around the world"
Teacher: Guys! Do you know who S. Ya. Marshak is?
Students: Children's writer
Teacher: And what is the connection between the poems I read and the children's writer S. Ya Marshak?
Students: He is the author of the verses he read.
Teacher: And which of you can still read some poems by S. Ya Marshak
(Children read poetry)
Teacher: Well done! Do you know a lot of this writer's poems?
But have you heard these verses of his:
Hello my young viewers!
Do you want to fight with me?
Come out a hundred people -
No one will leave whole
Come out two hundred people -
I'll put everyone in their place!"
Teacher: What can be said based on these lines about the character of this hero?
Students: (children's answers)
Teacher: What kind of character do you think suits such character traits? I'll give you a hint - this hero is also in our theater.
(If the children cannot answer, then they are given an additional riddle)
Teacher: In a bright red jacket,
He is with a bell in his hand.
funny toy
And her name is ... (Petrushka)
Students: Parsley
Teacher: The topic of today's lesson: "Parsley is a folk fair hero" To do this, I invite you on an excursion to our puppet museum. All of its exhibits will help us get to know our hero better. So, I invite you to our first hall "On the Roads of History"
(On the screen - illustrations of Petrushka, screen-skirts, hurdy-gurdies, doll clothes, a bag with dolls, a squeaky whistle, a stick)
Petrushka is a wonderful puppet of the Russian theater. No one knows what Petrushka and his representations were like in the last century. But to this day, he came in this form: a red cap, a bright shirt, a long and cunning nose and a hump behind his shoulders, and a stick in his hand. Everyone loved him. In the old days, Petrushka performed both in the village and in the city in courtyards and squares, but Petrushka and puppeteers were closed to the theater buildings and houses of nobles and nobility, because this art was considered not real.
That is why Petrushka and his fellow dolls were on the road all the time. He moved from place to place, from province to province, from city to city. A puppeteer walks along the road and carries a folding screen and a bag of puppets on his shoulder, and with him a musician. It's more fun to go together. The musician carries a hurdy-gurdy. This is such a musical box (drawing of a street organ). Her voice is very melodic.
(Music sounds, the work "Street organ")
(against the background of music) They will come, they will place the screen, the puppeteer will hide behind it, and the musician will sit in front of the screen, will play the barrel organ (the barrel organ sounds) and call the people. But then Petrushka appeared on the screen and it immediately becomes noisy, because Petrushka has a special voice: he squeaked, because the puppeteer had a “beep” in his mouth, such a special device for squeaking that people would run to his voice.
(The teacher dresses the doll and goes behind the screen)
Parsley:
Hello gentlemen!
Here I come to you
I left early in the morning.
From the owner of the booth.
He paid me in full
He gave me an empty piggy bank.
Paid per day
Day and night, I went away.
Because he's bad jokes.
What a freak he is.
And he yells "Out!"
Well, I kept silent, I didn't say a word to him.
Just gave a stick - Rrraz!
Get it, Karabas Barabas!
Teacher: (coming out from behind the screen) At the end of each scene, he beats his interlocutors - dolls with a stick. In order to continue acquaintance with Petrushka, you need to go to the next room.
Teacher: We go to the next hall of the "Fair festivities"
(On a round screen - illustrations of Petrushka's performance and drawings from his productions; dolls - a doctor, a gypsy, a merchant; a tray with goods; musical and noise instruments; a Russian shirt, a cap)
Teacher: Petrushka is cunning, witty and cocky, and he also loves all kinds of pranks. For this, Petrushka was loved most of all by the common people. And Petrushka himself was very fond of performing at a noisy and cheerful fair, on the fairground. Listen to how the fair hums and merrily!
(music "Theatrical noises" sounds)
Teacher: What did you hear at the fair? What did the people do on it?
(Students: had fun, walked, sold, touted, traded, bought ...)
Teacher: We have exhibits that were used at the fair: a tray with goods, musical instruments(explains to children)
Teacher: And let's try to play a fair and a fair performance.
Teacher: Now imagine that we are at the fairground. Some of you invite to the fair, some trade, some buy, some play the balalaika, and the little bear dances.
(Dance music sounds, children depict fairground festivities)
Teacher: This is how noisy the fair turned out to be. At the height of such a fair, a puppeteer always appeared (children sit on chairs). The puppeteer had a whole set of scenes with Petrushka. In some he met his bride, in others he bought a horse, was treated by a doctor, studied soldiery, fought with the devil ... In total there were more than twenty such scenes. And now we will try to play one of these scenes.
(The teacher chooses from the children for the role of Petrushka and the gypsy. An excerpt from the scene is played out.)
Parsley: Here come the kids!
Girls and boys!
Bonjour, nice girls,
Quick-eyed freaks!
And you bonjour, rouged old women,
Youthful old people.
I am your friend, Musyu vonger-Petrushka.
Came to entertain you
And congratulations on the holiday!
(A gypsy with a horse appears on the screen. The scene is voiced and beaten by students)
scene
Gypsy: Hello, Musyu Pyotr Ivanovich! How are you - how are you doing? Do you get sick often?
Parsley: What do you care? Are you a doctor?
Gypsy: Don't be afraid, I'm not a doctor ... I'm a gypsy, from the choir, I sing in bass, I drink kvass.
Parsley: Don't talk your tongue, don't speak your teeth. Say what you need, but drive by!
Gypsy: My French friend Thomas says that you need a good horse.
Parsley: This, brother, is the case. I've had a horse for a long time. Is the horse good?
Gypsy: Not a horse, but a miracle: it runs, trembles, stumbles, but falls, does not rise.
Horse: Yoke - go!
Parsley: Wow! That's the horse. What suit? Gypsy: Piebald with spots, golden, with a shaggy mane, crooked, hunchbacked - an English breed with a family certificate.
Parsley: Wow! This is what I need! Is it worth it?
Gypsy: According to an acquaintance, I’ll take it inexpensively: 3.000.000.
Parsley: You are asking too dearly. The horse is very young! Not a single tooth in the mouth yet. Oh, I'll sit down - I'll fall.
Gypsy: Will you fall soon?
Parsley: After 20 years, right at lunchtime. Yes, call the doctor soon.
Gypsy: Now I will bring (leave)
(Students sit on chairs)
Teacher: Well done our puppeteers! The parsleys amused the people. Let's clap for them.
Physical education minute
Assignment: And now we will hold a competition among you for the most noisy, cheerful and cocky Petrushka. Putting on a cap, you must pronounce the text as our hero would say it (a competition is being held)
Teacher: We are waiting for the next room "Pedigree of Petrushka"
"Pedigree" is when you want to know what kind of ancestors you had. Our Petrushka has a very rich past. This is Maccus - a popular character ancient comedy. He became the prototype of our hero. You could say his grandfather. The Italians created their own theatrical puppet named Pulcinella. And Pulcinella has new names.
(Portraits of Petrushka and his relatives abroad)
In France - open
in England - Punch,
in Germany - Casper,
in the Czech Republic - Kasparek.
Before you are portraits of various people's favorites, they have different names. But they are all relatives of our Petrushka.
Teacher: Do you guys know that our Petrushka has surnames. But she's unusual. Try to guess it. Here are the answer options:
(A list of surnames is posted. Children choose the correct answer from the options offered and place it under the portrait of Petrushka)
Pyotr Petrovich Kisly
Pyotr Fyodorovich Mustard
Pyotr Ivanovich Uksusov (correct answer)
Pyotr Nikolaevich Solyony
In some plays you will find such names as Petrushka.
Samovarov,
Vanka Ro-to-tui
Vanka Ru-tyu-tyu
(A frame from the presentation "Famous heroes of the theater. The art gallery consists of portraits: Petrushka, Pulcinella, Polichinel, Punch, Kasper, Kashparek, Makkuss; paintings depicting a puppeteer at a fair with a screen - a skirt).
Teacher: So our tour is over. And now I invite you to take your places at the tables. We learned a lot about Petrushka, about his character. I think it will not be difficult for you to draw his portrait. And you will place your finished drawings in our art gallery.
(The play “Parsley” by A. Rowley sounds, students draw)
III. Summarizing
Teacher: Guys, you received an unusual message from Petrushka. You can read it when you collect all the details together and correctly. You can substitute your detail when you name something interesting that you learned today.
(Students complete the task. Having collected all the details together, they read the text of the invitation to the New Year tree on the back)
Teacher: This is the end of our lesson. But we will continue our acquaintance with Petrushka and his ideas in the next lesson. Thank you for your work. Petrushka and I say goodbye to you.
Summary of acting classes No. 3
Theme: Game - "Journey to a fairy tale"Topic: Improving the complex of techniques and acting skills through stage perception.
The purpose of the lesson: Creating a stage image fairy tale hero through stage perception.
Tasks:
1. Develop the ability to sincerely believe in any imaginary situation (transform and transform).
2. To teach how to create images of fairy-tale characters that correspond to the given essential features.
3. Cultivate skills of readiness for any surprise.
The age of children is 10-12 years old.
The form of the event is a lesson - a game.
Equipment for the teacher:
- music Center;
- phonograms with sounds;
- didactic cards with associative chains.
Equipment for children:
- props for table setting;
- costumes of fairy tale characters;
- makeup.
Plan - a summary of the lesson.
- Good afternoon! Today I suggest you make a journey into a fairy tale and try yourself in the role of fairy-tale heroes, because this is exactly what K.S. Stanislavsky spoke about: “When you reach the truth and faith in art in the games of children, then you can become a great artist!” .
And before we get started, I suggest we greet each other at unusual shape, namely, try to find a rhyme for the lines and say a word.
Preparing children for work in the classroom. Creating a mood.
Exercise - greeting "Tell me a word."
- This light is lit on the stage!
You say to me: (children answer) Hello!
- Learn us, friends, not too lazy!
You say: (children answer) Good afternoon!
- There are many surprises ahead!
You say: (children answer) Hello!
Activation of attention
Exercise "Fairytale hero"
So, are you ready to go on a trip? (children answer) There is not an easy path ahead, so I suggest how to tune in and activate auditory, visual attention and memory. Concentrate your memory and try to cope with the next task, which is called "Fairytale Hero". Remember as many fairy-tale characters as possible that begin with the letter "K", "L", "S".
You did a brilliant job with the “Fairytale Hero” task, and now try to activate your auditory attention and the next task that you have to complete is called “Sounds”.
Exercise "Sounds"
I suggest you listen to the sounds in the office, on the street, in the Center for Creativity. Ready? As soon as I clap my hands, you activate your auditory attention and complete the task. So what sounds did you hear when I clapped my hands for the first, second, third time? Tell us about the nature of the sounds?
Well done! Well, now your favorite exercise is “Catch the Cotton”.
Exercise "Catch the cotton"
Your task is to catch the clap, namely, to answer my clap with your friendly ones. Ready? Then let's start ... Well, now, applause!
Now, you are really ready. For two months we have been studying the topic: "Perception", which is visual, auditory and tactile. Today, we sum up on this topic. And what they will be, we will find out at the end of our lesson.
Topic message.
- The topic of our lesson:
"Improving the complex of techniques and acting skills through stage perception."
The purpose of the lesson.
- And today we set ourselves the following goal:
"Creating a complete image of a fairy-tale hero through stage perception."
- Surely, you have already guessed what fairy tale we will go to? (children answer) That's right, in the fairy tale "The Adventures of Pinocchio or the Golden Key." And I suggest checking how well you remember her. Name the author of this wonderful tale.
Here is an associative chain to the fairy tale, look at it carefully and answer my question: “What heroes, actions and objects will be superfluous?”.
Exercise "Associative chain"
1. Pinocchio, Karabas, Harry Potter, Baba Yaga, Malvina, The Snow Queen, Pierrot.
2. Coins, a painted hearth, a magic wand, a pipe, a beard, a jug, a key.
3. Sun, snowfall, birdsong, thunder, dogs barking, frogs croaking.
- You did a good job with the task, and now try to make an event series using those cards that turned out to be superfluous.
Exercise "Event series"
Children, in turn, draw 2-3 cards and come up with an event series.
- Well done! You did a great job with the task, and now answer one more of my questions: “Without which components you won’t see a clear action in the performance?” That's right, if there are heroes, but there are no costumes, props, voice acting, will the image be complete? Of course not. Today we have to create a complete visual, sound image of one of the paintings of the Golden Key fairy tale. You are ready? Then let's start creating a visual image, namely, the table setting of the "Tavern of the Three Minnows".
Application of training exercises to the section "visual perception"
Table setting exercise
- In a short intermission between scenes, you need to set the table setting for the picture from the fairy tale "The Golden Key" "The Tavern of the Three Minnows." Unfortunately, we do not have a personal props, so we will have to set the table ourselves. I think that this task will not be difficult for you, especially since all the props are in front of you. Remember what the tavern looked like when Cat Basilio and Fox Alice came to it, what they ordered for dinner, and how their table was laid. Together, you can easily complete this seemingly simple task: with discipline and proper preparation. Remember that you are working during intermission and there are people in the auditorium who can hear you. There is a table in front of you, each of you receives one of the items that should later be used in serving and interior. Visualize the picture, create a visual image and get to work, the table should be set when I count to exactly ten.
Well done! The stage is framed, fairy-tale characters will appear on it very soon. And who it will be, we will try to hear.
Application of training exercises to the section "auditory perception" Exercise "Sonoscope of events";
Try to compose your own sonoscope of events for some of the scenes from the play "The Golden Key".
Now we will divide into two groups and sit down so that one group does not see the other - back to back. Each group will receive the name of their painting ("In the swamp at the turtle Tortilla" and "In the theater of Carabas") and several items that will help you create a sonoscope of events, and the other group will have a better auditory perception of the picture.
The first group sets the sounds, the second explains them. The group is given 2-3 minutes to agree on the nature of the sounds, then the children voice the pictures and make adjustments to the sound of the other group.
- Well done, you did a very good job.
Exercise "Soundtrack"
Now you have to listen to three audio tracks, which consist of different sounds. Your task is to come up with a storyline for each audio track. Imagine a picture based on a few sounds. Check how your auditory perception works. Close your eyes. Listen! Be careful, you may hear something familiar ahead!
- Open your eyes. What's happened?
- Tell us in more detail everything that you saw in your imagination. From beginning to end, consistently, without missing anything.
(The last sound track is the dubbing of the scene "The Tavern of the Three Minnows" from the fairy tale "The Golden Key")
- That's right, the last sound track is a good soundtrack to the scene "The Tavern of the Three Minnows". Your auditory perception has not failed you.
So the stage is set. We have created a visual perception of the picture. There is an audio track. But it looks like someone is missing. (children answer)
That's right, the most important thing is missing - the heroes of the picture: Basilio the Cat and Alice the Fox.
Application of training exercises to the tactile perception section
Exercise "Your way out"
But on the other hand, I have the costumes of these beautiful heroes, try to properly put on the costume of a fairy-tale hero with your eyes closed, using all the knowledge that you have received.
(the musical screen saver “The Song of the Cat and the Fox” sounds from the fairy tale “The Golden Key”, the children complete the task to the music)
After the task is completed, the group makes adjustments.
Formation of a holistic view of the topic
Exercise "Bring the picture to life"
So, the heroes are ready, the stage is set, there is a sound track, and I suggest that you finally revive the picture “The Tavern of the Three Minnows”, but first, let's listen to the sound track again, imagine the character and images of our heroes.
- I give you 2-3 minutes to prepare, and we look at what you did?!
(an impromptu display of the painting "The Tavern of the Three Minnows").
Analysis and evaluation of the success of achieving the goal. Self-esteem.
I want you to applaud each other now, because today in the lesson you completed all the tasks, thus we summed up the topic “Perception”. I would like to know what you liked about the lesson and what you didn't?
- Our fairy tale has not come to an end, tell me, what did Cat Basilio and Fox Alice hunt for so long in the fairy tale? (children answer) Of course, for gold coins!
Who do you think did the best job in today's class?
- Then, let me give a few gold coins to the most active participants, those who, in your opinion, coped best with creative tasks.
(Presenting coins for creating a stage image: the funniest, the brightest, the most charming, etc.)
- Our lesson has come to an end, and I want to finish it with the words of K.S. Stanislavsky: “When you reach the truth and faith in art in the games of children, then you can become a great artist!”. Do not forget those fairy tales that surround you, and stay as a child as long as possible!
Summary of acting classes No. 4
Topic: "Work on creating a stage image"Purpose: Formation of the skill of reincarnation in an artistic image through the elements of acting.
Tasks:
1. Learn to work in a team.
2. Acquaintance with the elements of acting.
3. Development of individual abilities.
Technical means:
1.Music center.
2. Audio cassettes, disks.
3.Video.
Lesson plan:
1. Actor's toilet.
2. Introduction to the topic.
4. Individual studies.
5. Summing up.
6. Homework.
Course progress.
1. Actor's toilet (15 min):
a) Theatrical bow.
b) Plastic warm-up.
c) Speech gymnastics.
2. Introduction to the topic.
Questions for the studios:
1) “What do you think, who is involved in the creation of a stage image both in a professional and amateur theater group?”
2) “What means can be used to create an interesting and expressive role?”
3) "What do you know about the Stanislavsky system?"
3. Elements of acting to create a stage image.
1) Acquaintance with definitions.
MIMIC - (Greek imitator) - expressive movements of the muscles of the face, which are one of the forms of manifestation of certain feelings of a person - joy, sadness, disappointment, satisfaction, etc.
Types of facial expressions:
a) involuntary (reflex) everyday facial expressions;
b) arbitrary (conscious) facial expressions, as an element of acting art, consisting of conveying the state of mind of the character with expressive movements of the muscles of the face. It helps the actor in creating a stage image, in determining the psychological characteristics, physical and mental state of the character.
c) facial expressions, just like speech, can be used by a person to convey false information (that is, in order to show different emotions that a person really feels at one time or another).
GESTURES and PLASTICS is the language of the body - the sign elements of postures and movements of various parts of the body, with the help of which, as with the help of words, thoughts and feelings are structurally formed and encoded, ideas and emotions are transmitted. Body technique, which includes such unsigned movements:
a) as mimic gestures
b) head, hand and foot gestures
c) gait
d) different rotation of the body.
2) Practical work.
1 task.
Mimicry: The pain is aching, continuous. The face of an old man (characteristic features - wrinkles, narrowed eyes, distorted mouth).
Gestures: The fingers are as tense as possible, while shaking and constantly looking for support. The hands of an old man are clumsy and ugly.
Plasticity: The head is shaking, the back is hunched, the legs are bent at the knees, the body is constantly tilted forward, the arms are widely spaced to the sides.
CONCLUSION: All these elements are characteristic of the image - an old man.
2 Task.
Facial expressions: Show the mask "Terrifying fear" (characteristic features - eyes and mouth are extremely wide open).
Gesture: Hands in position - "Danger" (arms tense, but flexible, ready to attack).
Plasticity: The body is in the “Waiting” position (the neck is stretched forward, the shoulders are raised, the body is tense and leaned forward, the legs are wide apart, ready to jump).
CONCLUSION: All these elements are characteristic of the image - a predatory animal.
4. Individual studies.
1) Questions for studio members:
a) “What is the difference between a plastic study and a sketch?”
b) “Having created a stage persona, what should an actor do before he goes on stage?”
c) "What other means can be used to create an artistic character?"
2) Showing video fragments - individual work of graduates.
3) Practical task - Each student, individually, should try to compose a story based on 3 main events.
4) Demonstration of single plastic studies.
5. Summing up.
Questions for the studios:
a) "Did today's lesson help you learn some acting tricks?"
b) “What do you not understand about composing an etude and working on a role?”
c) “Which sketches didn’t turn out today and why?”
d) “What do you think, which studies were successful and why?”
6. Homework - finalize single plastic studies
Summary of classes in acting skills No. 5
Topic of the lesson: "Methods of free well-being in theatrical activities";The purpose of the lesson: the development of freedom of expression and acting skills of students in theatrical activities through a system of training and game exercises.
Tasks:
Educators:
contribute to the development of a friendly attitude towards each other, partnerships,
development of curiosity, education of an optimistic outlook on life and one's own activity;
cultivate emotional responsiveness.
to motivate for further studies in theatrical creativity.
Developing:
developing the ability to adequately evaluate one's own creativity and the creativity of others;
development of acting skills;
development of skills of free well-being in public conditions;
develop the emotional and aesthetic sphere, imaginative thinking, fantasy, imagination, memory, attention, observation, the desire for self-expression.
Tutorials:
check and evaluate the level of knowledge, skills and acting skills; plastics.
to form knowledge about ways to relieve muscle and psychological clamps.
Methods
1. Verbal methods: story, conversation.
2. Visual methods: display method, demonstration.
3. Practical methods: exercises, games, training exercises.
Technologies: partially search engine.
Expected results:
Subject: - availability of knowledge about the types of acting clips (voice, plastic, psychological);
- self-diagnosis of actor's clamps;
Metasubject:
- possession of ways to remove bodily clamps, emancipation and uncertainty before a theatrical performance and in the conditions of public activity.
Personal: - the presence of a positive emotional atmosphere in the group.
- development of empathy.
- developing self-confidence
Material and equipment:
Chairs, fabrics, tape recorder
Lesson plan.
1. Organizational moment.
-preparation for the lesson, relaxation exercise (5 min.)
- announcement of the topic and setting the goal of the lesson. Introduction of new teaching material. The concept of "emancipation" (2 min.)
2. The main part.
-Repetition of the material covered, exercise "Circle" (the exercise is aimed at teamwork. (10 min.)
Exercise "Concert of fairy-tale characters" (the exercise is aimed at developing fantasy and imagination, overcoming the fear of publicity (25 min.)
3. Final part.
- Summarizing. (1 minute).
Lesson progress
1. Good afternoon, dear guys. Sit in a semicircle. We inhale through the nose, exhale through the mouth, with each breath we inhale a good mood, and with the exhalation all the bad things that you had today go away. Let's all together inhale, exhale and so on eight times. Now close your eyes, each of you remember your route from home to school. How many stairs do you have on the site, count how many roads you need to cross, is there a traffic light. Go all the way, in detail, in your imagination, silently. Who will reach the school, open your eyes. Has everyone arrived? If everyone has reached, then you are ready to go.
The topic of today's lesson is "Methods of free well-being in theatrical activities." You have probably heard the phrase "liberated person", "behaves liberated". Today we will learn, liberate ourselves. What words are synonyms for "liberated" do you know? Children's answer. Synonym dictionary: uncomplexed, released, free, spontaneous, unconstrained, liberated, uninhibited. Synonyms are more suitable for us: direct, unconstrained, uninhibited and, probably, uncomplexed. Before we start something new, let's remember what we did in the last lesson? Moreover, the past lesson is intertwined with today's and is aimed at overcoming uncertainty and fears before the performance.
2. What did we talk about? Well done, but about the "actor's clamp" and how to deal with it. We stand in a wide circle. Who remember what we did in the circle? It's good that you remember almost everything. I remind you again, one of you goes to the center of the circle, makes an unusual and unlike any other movement that can be repeated, and says his name. When the leader returns to his place, we repeat everything after him. We go clockwise from me, we began. Great, today is better than last time. And now let's complicate the task. Recall the tongue twister "From the clatter of hooves, dust flies across the field." Now, instead of our names, we pronounce a tongue twister with different intonations. And intonations depend on your movements and gestures. Options: you can call partners, scold, brag, teach, etc. And now counter-clockwise from me, we begin. Well done. Now we can move on to a new exercise, to a new topic.
3. Today we will have a concert, but not an ordinary one, but a "Concert of Fairytale Characters". What is it, you will find out now. To do this, we will share with you, on the audience, entertainers and actors. Of course, you will all try yourself in different roles, so now sitting still, remember poems, tongue twisters, songs. They remembered which of you is brave, I need two people. One of you will be, the entertainer, in other words the host, who announces the speaker, loudly, clearly and brightly, as if a very famous actor is performing. Actors read poetry, sing or tell tongue twisters, but not on their own behalf, but on behalf of any fairy-tale character. In other words, you guys, for a short time, turn into your favorite characters and act on their behalf. After the performance, you change, the actor becomes an entertainer, and the entertainer becomes an actor. A big request to you, please, no characters from computer games. The main condition: “I am not afraid of anything, because I am Ilya Muromets, Zmey Gorynych, fairy, Cinderella, Baba Yaga, Cheburashka, etc., and when I announce, I am a very famous entertainer.
Spectators watch, evaluate through applause.
The final stage. Summarizing.
Now let's sum up our lesson. You did a good job today, all great fellows. What was difficult for you to do today? What did you find the most difficult? What was easy for you? What qualities of your characters would you apply in life, why? (children's answers)
Let's return to the topic of our today's lesson: psychological and physical emancipation. Through exercises and mini performances, you learned to be spontaneous, relaxed, uninhibited, in a good way. Wearing the mask of your fictional characters, you struggled with your clamps and enslavement.
We will return to these exercises in the next lesson. Read Russian folk tales at home, choose your favorite characters. In the next lesson we will discuss the nature of your characters.
See you!!! Thank you for your business.
List of references used in preparation for the lesson.
1. L.V. Grachev "Actor's training: theory and practice".
2. Elvira Sarabyan "Acting training according to the Stanislavsky system."
3. N.A. Oparin "Pedagogy of theatrical leisure".
4. Russian folk tales.
Summary of acting classes No. 6
TOPIC: "The Art of Being Different"The purpose of the lesson: Purpose: the formation and disclosure of creative individuality.
Work on diction and clarity of pronunciation.
Development of artistic courage, acting attention, imagination and fantasy.
Development of improvisational abilities.
Development of stage communication skills: work with an imaginary and real object.
Tasks:
- create conditions for the intellectual, moral and emotional self-expression of the individual, for the discovery and development of abilities in artistic, artistic, literary activities;
- promote the role of self-government in planning, organizing and analyzing activities;
- to form a circle of trainings, allowing to optimally distribute participants according to their abilities;
- Encourage creative self-expression.
Equipment: stage, chairs, tape recorder
Lesson progress:
The whole world is a theater, we are all unwilling actors,
Almighty Fate distributes the roles,
And the heavens are watching our game.
Acting training removes emotional barriers in communication, creates emotional comfortable atmosphere in the classroom, creates a situation of success, allowing you to express yourself. All this contributes to more successful self-realization. Participants perform independent actions and are responsible for them to other participants. The effect of publicity arising during the training contributes to the development of tolerance and empathy, the ability to understand and accept another person. Comprehension of the emotional state of another is expressed in the form of empathy and sympathy.
Thesis: Everyone is talented!
I block. Warm up.
1. Dive. I invite everyone to stand in a circle.
This is a close interaction of actors - we see each other. I am preparing you for the role. In order to enter the role, all extraneous thoughts must be left behind the scenes.
2. Study with an imaginary object.
A convenient and not time-consuming method of overcoming the fears and anxieties of a large group is the creation of a "Basket of deposits":
Participants need to remember what is bothering them that may interfere with active participation in our session, for example, these may be distractions
Did I feed the cat?
When will uncle leave the hospital?
I have nothing to say
Concerns about participating in class
Can I handle my anxiety?
Will I be asked to speak?
What if I don't answer the right way?
Try to put all your worries in this basket by imagining your unwanted item. While fears are in the trash, they can be forgotten.
II block. Speech techniques.
3. Practicing diction.
Relaxation exercise "Adoration of the Sun"
Everyone is standing in a circle. Feet shoulder-width apart, feet are parallel, arms are freely lowered along the body.
inhale - raise your arms and head up;
exhale - tilt.
Exercise "Buttons"
“Twisting” with your hand and the sound of the button, clearly pronounce the “bundles” of consonants: TCHKa, TCHKu, TCHKe, TCHKi, TCHKo.
Since speech and reading takes place on inspiration, its organization is crucial in the production of breathing and voice.
First of all, it is necessary to ensure that during reading there is always a supply of air in the lungs, a weak stream of air is involuntarily compensated by their excessive tension, which is dangerous for the ligaments.
Before saying a tongue twister out loud, you need to do it silently several times, actively articulating with your lips, as if you want to be heard through soundproof glass! Then say it in a whisper, but so that you can be heard at the end of the hall. Only after that say it out loud, but not quickly. But after that - three times in a row quickly.
- From the clatter of hooves, dust flies across the field
- The bull is stupid, stupid bull, the white lip was stupid
- Sasha walked along the highway and sucked dry
4. Theatrical rules:
- silence behind the scenes
- Don't turn your back on the audience
- in the role to be until the end of the performance
- be able to listen to your partners
- we perform all actions on cotton
(Warm-up. We control the body. To the music we go on stage from both sides. Assistants show the movements).
III block. "Acceleration", "deceleration" of mental activity.
5. We define the "grain" of character!
An important element of acting is the interaction of partners.
- Approach the partner who is sitting opposite you. Look at each other. Tell us something about your partner, maybe he reminds you of some bird, animal, tree...
We work in pairs (development of communication skills). It is proposed to connect two sentences into a coherent story.
1) “Far away on the island, a volcano erupted…”; “…that’s why our cat was hungry today.”
2) “A truck drove along the street ...”; "...that's why Santa Claus had a green beard."
3) "Mom bought fish in the store ..."; “…so we had to light candles in the evening.”
4) “Spring will come soon…”; “…that’s why I bought interesting books in the store.”
6. Actor's reception - the proposed circumstances.
Suddenly, a crying girl appears on the stage. What will each participant do? Analyze.
Now let's try to do it all over again. Can we? Will it be easy?
It is very important to remember what you felt…..Remember this state!
7. Extras.
Making an extra in the theater is much more difficult than playing a separate episode. There are a number of exercises.
J.P. Sartre: “Man is not what he is; Man is what he is not
A person is constantly trying to go beyond his "I".
Exercise "In one bundle".
All participants are tied with one rope. Everyone is given a sheet of paper, where it is written - to whom, what needs to be done. One is late for the train, another has to meet a friend urgently, the third just wants to sleep, and so on.
Participants must somehow resolve the situation.
IV block. Embodiment.
8. Etude around the play. "The Hut in the Forest" Since the actors play animals in this play, the sketch will also be with animals - Fox, Wolf, Crow, Flea - their character, habits, gait, voice, etc.
Exercise "Explosion"
In turn, the leader shows the numbers 4,3,5. Participants, without saying a word, stand in exactly this number. Someone will get up several times, someone will continue to sit. Leadership qualities are determined (the leader will always get up). Bow. (depict "wave")
9. The state of "silence". Stop the internal monologue.
10. Reflection.
Each participant draws their emotions on the theatrical mask and puts it on. Everyone stands in a circle and shares their impressions.
At the end of the session, you can ask if the idea of a deposit worked, if the anxiety of the participants increased or, conversely, decreased when they literally put it aside. The teacher sums up. Today you tried yourself in the role of actors, I think you succeeded. At the next lesson, you will be able to play the role of decorators, costume designers, directors, screenwriters, make-up artists. And then decide for yourself what you will do in our theater studio.
All the best!
Summary of acting class number 7.
Topic: "Theatrical sketches as a source of creative imagination"Compiled by: V.E. Rakhmatullina
Purpose: to introduce pupils to the types of theatrical sketches.
Tasks:
Educational:
give basic theoretical knowledge on the topic "Theatrical sketch";
introduce new types of theatrical sketches;
Developing:
develop the ability to reincarnate through the creation of sketches;
develop the ability to improvise;
develop acting skills through work on sketches;
develop the ability to analyze and synthesize your feelings;
to develop the speech apparatus of students with the help of articulatory gymnastics and diction exercises based on learned tongue twisters without being shown by the teacher;
develop the physical capabilities of the body, through muscle relaxation training;
develop the ability to interact with a partner;
Educational:
to form the skills of KTD;
to instill the skills of interaction with a partner;
to learn how to bring life observations closer to their individual experience, to analyze and build a sequence and logic of actions in stage conditions.
Expected result: to develop the individual abilities of pupils for reincarnation through work on sketches for further use in working on the role.
Teaching methods: Elements of an adaptive system of behavior (A.S. Granitskaya), health-saving technologies based on a personality-oriented approach (N.K. Smirnova, I.S. Yakimanskaya), technologies for collective creative activity (I.P. Ivanov).
Form of organization of the lesson: individual, pair, group.
Equipment: music center
The duration of the lesson is 45-60 minutes, depending on the complexity of the exercises and sketches
Lesson progress
I. Part. Greetings. Organizing time
Purpose: to set up pupils for productive work on the topic, to find out the emotional state of pupils before the start of the lesson
1) Exercise-game "Hello".
The teacher greets the students, showing any state: joy, sadness, surprise, resentment, anger, suspicion, malevolence, goodwill ...
Pupils greet the teacher according to the mood with which they came to the lesson, trying to convey the emotional state as accurately as possible.
Question of the teacher: What are emotions?
Expected responses of pupils: manifestation of feelings, experiences.
II. Part. Warm up
1) Articulation gymnastics (traditionally, we start the lesson with articulation gymnastics). Purpose: to prepare speech, Breathe-helping machine and other expressive instruments of the body of pupils for further work
Statistical exercises
Exercise "Shovel". Stick out a wide tongue, relax and put your lower lip on it. Make sure that the tongue does not tremble. Hold the tongue in this position for 10 seconds, perform 6-8 times
Exercise "Tube". Stick out a wide tongue. Bend the sides of the tongue up. Blow into the resulting tube. Perform the exercise 6-8 times. Dynamic exercises
Exercise "Delicious jam."
Stick out a wide tongue, lick the upper lip and remove the tongue deep into the mouth. Perform the exercise 6-8 times.
Exercise "Swing".
Stick out a narrow tongue. Stretch your tongue alternately to the nose, then to the chin. Do not close your mouth while doing this. Perform the exercise 6-8 times.
Exercise for the speech apparatus "Sound"
Description of the exercise:
Pronounce vowel sounds in turn, trying to lengthen each sound as much as possible on one exhalation: i-e-a-o-u-s-i. Try to make sounds in one breath, gradually complicating the exercise with the number of sounds pronounced in one breath.
Dictionary exercise, an exercise on the power of the voice based on the tongue twister: "Bull stupid."
Description of the exercise:
The tongue twister should first be pronounced slowly, articulating each sound, and then gradually move on to the tongue twister.
bull stupid
dumb bull,
The bull's lip was blunt.
2) Warm-up for the whole body (exercises to relieve mental and physical clamps):
Exercise "Frozen"
Description of the exercise:
Participants froze in a spontaneous pose allegedly millions of years ago. Participants must try to get out of the frozen state using their energy. But first you need to imagine yourself frozen into a block.
Exercise "Mercury ball".
Description of the exercise:
It is necessary to concentrate attention on the tip of the little finger of the left hand, in order to then imagine in the little finger of the left hand a tiny mercury ball of mobile metal, which is ready to crumble into many smaller balls throughout the body.
* In such exercises, the subconscious dictates to the body such postures and movements that cannot be invented and repeated on purpose. After such exercises, although they give great physical activity, muscles do not hurt, as it happens after normal exercise. Why? Because such exercises are performed taking into account individual characteristics.
III. Theoretical part.
Purpose: motivating pupils to study new material
So, we are ready to perceive new information. The theme of our lesson is “Theatrical sketches as a source of creative imagination”. This is a very difficult, but surprisingly interesting topic.
Question: What do you already know about theatrical sketches?
That's right, an etude is a little story played out on stage. Question: What is the difference between an etude and an exercise?
Expected student responses.
An etude is an exercise that has content. It can last thirty seconds and half an hour, it's not important, it's more important whether it contains vital content. Any actions in life are performed naturally and justifiably. We do not think about how I, for example, pick up a fallen pencil or put a toy back in its place. Doing the same thing on stage when the audience is watching you is not so easy. To be natural, you need to find answers to the questions why, for what, why am I doing this? In sketches, we use facial expressions, gestures, figurative speech, body plasticity. Theatrical sketches have their own rules and composition.
The sketch consists of:
1. Ties (acquaintance with the character, scene and conditions);
2. Events; 3. Climaxes (the highest emotional point of the etude);
4. Decoupling (outcome, resolution of the situation).
Question: What sketches have we already performed?
Expected student responses:
- plastic, - for the memory of physical actions.
In fact, there are many types of etudes:
sketches for artistic imagination;
studies on the logic and sequence of actions and feelings;
on interaction with stage objects;
sketches for a specific event;
sketches for reincarnation.
Teacher: Today we will get acquainted with studies on the logic and sequence of actions. The execution of such an etude (as well as any other) requires a series of logical and interconnected actions in the proposed circumstances. But first, guess what our sketch will be about:
There is a portrait in the room
Looks like you in every way
Laugh - and in response
He laughs too.
Expected student responses: mirror
And we will also call our sketch "Mirror"
IV. Practical part "Work on etudes"
Etude "Mirror" (pair study)
Purpose: to develop the skills of interaction and interdependence of partners
And so, our sketch is called “Mirror”. Guys, today we will work in pairs. One of you will be a "Mirror" and the other one will be just a "Human". In this study, we will, first of all, follow the relationship and interdependence of partners. Begin. Stand up against each other. Decide which of you will be the "Mirror" and which one will be the "Man". Let the “Man” do what he usually does in front of a mirror: comb his hair, try on new clothes, "induces cosmetics" and more. Show what the mood of the “Man” is, and the “Mirror” should accurately reflect all the actions of the “Man”:
"Acting Exercise Book"
Compiled by: Tsybulskaya E.Yu.,
teacher of additional education of the structural unit
"Children - Youth Center" Novokuibyshevsk.
Theater is a synthetic art. It is important that the little actor is able to develop all the qualities necessary for acting. This is imagination, and fantasy, and speech, and much more.
Today it is difficult to choose from the many exercises in acting skills those that will be useful in practice. Many of the exercises given in various collections are completely unsuitable for working with children and adolescents. In my first collection, I present exercises for the development of attention, memory and imagination, which I have tested in practice. My experience shows that the modern theater school needs to be updated, which is why I propose to conduct a set of exercises in the classroom to develop imagination, fantasy, memory, attention, so as not to violate the integrity of the development of all these important qualities.
This collection is addressed to directors and heads of amateur theatres. Work on the formation of acting skills and a sense of collective creativity in pupils should take an important place in the activities of an amateur theater.
Exercises for the development of imagination and fantasy
Enter the role. Read the proposed text in a whisper; loudly; at machine gun speed; at a snail's pace; as if you were very cold; as if you had a hot potato in your mouth; like a three year old; like an alien.
The Russian people carried enough
Carried out this railroad -
Will endure whatever the Lord sends!
Will endure everything - and wide, clear
He will pave the way for himself with his chest.
We stroke the animal. All participants receive tasks on leaflets. It is necessary to portray that they are stroking the animal or taking it in their arms. Here, hands and palms should mainly work. It is proposed to "stroke" the following animals:
hamster (depict how it slips out of your hands, runs along your shoulder, etc.);
a cat
a snake (it entangles itself around your neck);
elephant
giraffe.
The task of the whole group is to guess the animal.
Dramatization of proverbs . Groups (3-5 people each) are given the task to stage a proverb in advance. Possible proverbs: “Teach a child while it lies across the bench, it will be difficult when it runs”, “Measure seven times, cut one”, “Seven nannies have a child without an eye”, “What is the builder, such is the monastery”, etc.
Metaphors. The leader pronounces a word, for example: “Fade out ...” All participants describe what they saw on their inner screen (stars, windows, forces, eyes ...). This exercise improves associative thinking and fantasy.
Feel. Sit on a chair the way a king sits on a throne; bee on a flower; beaten dog; punished child; a butterfly that is about to take off; horse rider; astronaut in a spacesuit.
Walk like a baby who has just begun to walk; an old man; prideful; ballet dancer.
Smile as a very polite Japanese man smiles, Jean Paul Belmondo, a dog to his master, a cat in the sun, a mother to a baby, a mother's child.
To frown, as a child frowns when a toy is taken from him; like a man who wants to hide his laughter.
Reincarnation in amoeba, in insects, in fish, in animals, ...
If the participant shows something simple, such as a cat, they are asked questions: How old is the cat? Is it wild or domestic? What are his habits?
True is not true. The facilitator unexpectedly asks questions to which the participants must, without hesitation, give immediate answers or somehow react.
How is Andrey Petrovich's health? How do you know?
When will you return the book to me?
Are you aware of how this could end?
Are you feeling bad?
Can I like what you say and do in class?
How do you like today's weather?
Where do you put your wedding ring?
What happened to your dog?
Where is your wonderful smile?
Object in a circle. The group sits down or becomes in a semicircle. The facilitator shows the participants an object (a stick, a ruler, a jar, a book, a ball, any object that comes into view). Participants must pass this object around to each other, filling it with new content and playing around with this content. For example, someone decides to play the line like a violin. He passes it to the next person just like a violin, without saying a word. And he takes it exactly like a violin. Violin etude completed. Now the second participant beats the same line, for example, like a gun or a brush, etc. It is important that the participants do not just make some gestures or formal manipulations with the subject, but convey their attitude towards it. This exercise is good for developing imagination. To beat a line like a violin, you must first of all see this violin. And the less similar the new, “seen” object is to the proposed one, the better the participant coped with the task. In addition, this exercise is for interaction, because a person must not only see a new object himself, but also make others see and accept it in a new capacity.
Travel painting. The participant is shown a reproduction of a famous canvas and is invited to talk about what is depicted there. After one or two phrases, he passes the reproduction to another, who will also add his own phrase. Thus, a complete sketch or story is organized with its own plot.
Sculptor and clay. Participants are divided into pairs. One of them is a sculptor, the other is clay. The sculptor must give the clay a shape (pose) that he wants. "Clay" is pliable, relaxed, "accepts" the form that the sculptor gives it. The completed sculpture freezes. The sculptor gives her a name. Then "sculptor" and "clay" change places. Participants are not allowed to talk.
What happened next? A small, well-known literary work is selected, for example, the fairy tale "Turnip". A group equal in number to the number of fairy-tale characters is invited to improvise and imagine (in appropriate images) what happened after the turnip was pulled out.
non-existent animal. If the existence of hammerhead fish or needlefish is scientifically proven, then the existence of thimblefish is not excluded. Let the child dream up: "What does a pan fish look like? What does a scissor fish eat and how can a magnet fish be used?"
Animation of objects. Imagine yourself with a new fur coat; lost mitten; mitten, which was returned to the owner; a shirt thrown on the floor; shirt neatly folded.
Imagine: the belt is a snake, and the fur mitten is a mouse. What will the children do?
We write our own stories. The players are divided into several teams. The facilitator distributes sheets of paper and pencils to the teams. The task of the players is to come up with a fun game in 5-6 minutes. humorous tale, beginning with the words: “We lived ...” and ending: “Well, wow!”. After the set time has passed, everyone takes turns reading their stories, but in such a way that they are accompanied by sound design or some other addition, as well as participation in the presentation of the rest of the guys. Players can also read and immediately not only play this tale, but also translate it into sign language or come up with something else.
Associations. Players take turns saying the words that come to mind in response to a word spoken by another player. You need to play quickly, if the association is not clear, it is advisable to explain it or seek an explanation.
Conversation of the deaf. All participants in the game are divided into pairs, partners will portray two deaf-mutes. The leader, in private, explains to one of the players of the pair what he should tell his interlocutor. Then everyone sits down in a semicircle, leaving the center free. The first couple, going to the middle, depicts an unexpected meeting of two deaf-mutes, then one of them (who received the task) begins to tell his partner his story. His friend must, also with gestures, ask his companion questions, and he, therefore, answer them. The players are given no more than 5 minutes for a conversation, and then the player who listened needs to be told what he understood from what he saw? The facilitator compares his answer with what the player actually talked about, and introduces others to him.
You can choose absolutely any topics of conversation: a story about how a dog’s paw was crushed and the player treated it, about a fishing trip, about visiting a museum, etc. The more versatile and extensive the chosen topic, the more interesting the exercise will be.
. Large family photo. It is proposed that the guys imagine that they are all a big family and everyone needs to be photographed together for a family album. You must select a "photographer". He should arrange the whole family for photographing. The "grandfather" is chosen first from the family; he can also participate in the arrangement of the members of the "family". No more settings are given for children, they must decide for themselves who to be and where to stand. And you wait and watch this entertaining picture. The role of "photographer" and "grandfathers" is usually taken by guys striving for leadership. But, however, elements of leadership and other "family members" are not excluded. It will be very interesting for you to observe the distribution of roles, activity-passivity in choosing a location.
After the distribution of roles and arrangement of "family members", the "photographer" counts to three. On the count of "three!" everyone together and very loudly shout "cheese" and make a simultaneous clap of their hands.
Different people. Children are given the task of moving around the room if they were made of sand, glass, straw, snow, on hinges.
The history of the thing. Come up with a story for a thing (an item in hand). Two items are taken. Participants at the same time begin to invent for themselves what happened to this thing from the beginning of its creation. On clap, the story of one thing stops and another thing continues. You can ask what the participant was thinking.
Attention Development Exercises
Typewriter. The participants distribute the alphabet among themselves (each gets a few 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 suggests typing a phrase, and the participants “type” by clapping right moment with equal spacing between the "letters". A space is indicated by a common clap of the whole group, a point - by two common clap.
How many people clapped? The group sits in a semicircle. A "leader" and a "conductor" are selected from the participants. The "leader" becomes his back to the semicircle at some distance from him. The “conductor” takes a seat in front of the students and gestures first to one, then to the other. Called by the “conductor” gesture, the participant claps his hands once. The same participant can be called twice or thrice. A total of 5 claps should sound. The “leader” must determine how many people clapped. After he copes with his task, the “leader” takes a place in the semicircle, the “conductor” goes to introduce, and a new participant comes out of the semicircle.
Mirror. You can play this game in pairs or together. Players sit or stand opposite each other. One of them makes different movements: raises his hands, moves them in different directions, scratches his nose. The other is a "mirror" of the first.
To begin with, you can limit yourself to hand movements, but gradually complicate the game: build faces, turn around, etc. Game time is limited to 1-2 minutes.
Four forces. The players sit in a circle and perform movements in accordance with the words: "earth" - hands down, "water" - stretch your hands forward, "air" - raise your hands up, "fire" - rotate your hands in the wrist and elbow joints.
Be careful. Players sit around the room and wait for a while. They do not know what kind of task they will be asked and when the question will be asked. Questions are asked by the facilitator. Therefore, he must be especially careful.
After a certain time, the facilitator asks to describe all the events that have occurred in the room since the moment everyone took their seats. It could be someone coughing, a door creaking, etc.
Important little things. For a few seconds, the facilitator shows the item to the players. It is necessary to show it in such a way that everyone has the opportunity to examine the proposed subject well from all sides.
Then the facilitator hides the item and asks the players about some subtle feature of this item.
Players should try to remember the named detail and give the correct answer.
Interference. One of the participants in the exercise is given some complex text.
The participant must read this text for a minute, and then retell it or answer questions. While he is reading, the other participants should actively interfere with him: make noise, laugh, ask questions, etc.
Sensitive ear. One player closes their eyes and tries to guess which of the other players just snored, grumbled, or meowed.
Drop, river, ocean. It is desirable to accompany the action with a dynamic musical background.
All participants get up from their seats and are distributed according to playground. Each player is a drop. It is easy to imagine a window after the rain. Large drops on transparent glass.
The host gives the command: "Come together in twos." All players should instantly find a mate and grab hands. Without letting the players come to their senses, the host commands: "Come together in threes." And now the three players are moving to the music, holding hands and not forgetting to dance. The host's commands follow one after another: "Four people, five, six each." “Everyone in a common circle,” the leader commands, and all players form a large round dance.
The last word. The teacher names different nouns. Suddenly, he interrupts, approaches one of the participants and asks to repeat the last word.
Question to a neighbor. Everyone sits in a circle, the leader is in the center. He approaches any player and asks a question, for example: "What is your name?", "Where do you live?" etc. But the answer should not be the one who is asked, but his neighbor on the left.
Memory exercises
What's gone? Several objects or pictures are laid out on the table. The child examines them, then turns away. An adult removes one item. The child looks at the remaining objects and names what has disappeared.
Repeaters. The host sits on a chair, looks at his watch, opens a book, yawns, picks up the phone, then, after a pause, puts it back in place, closes the book. The participant must repeat which in the same sequence.
Memory training. The tray holds six different small items, such as a toy car, candy, pencil, sharpener, comb, spoon...
For a short time, the child remembers that he is lying, then the tray is covered with something. What's under the cover?
Then switch roles.
Remember everything. Players in pairs turn their backs to each other, tune in to their partner and try to imagine him as clearly as possible. Now you can start the game. The host announces that now you have to remember the appearance of the person standing behind your back. After these words, no glances at the partner are allowed.
First task:
remember the name of your partner. (The task is performed in turn by absolutely all participants).
Second task:
remember what color your partner's eyes are.
Third task:
answer how long the trousers are on the partner (the question should sound exactly like that, even if the pair is a girl in a skirt).
Next task:
say what shoes are on the partner's feet.
Don't forget what to buy? Prepare items that we will use as purchases - different bags, bottles, toys, balls can be apples,
the big ball is a watermelon, small household items can be molded. Stores can be different: "Toys", "Household goods", "Grocery", etc.
We send the child to the "shop" and ask him to buy the necessary purchases, starting with a few, gradually increasing. The child must return and show, tell what he bought.
Deer. Memorize and play the poem:
Deer has a big house,
He sits and looks out the window
A hare runs past,
And knocks on the window:
"Knock, knock, open the door,
There's an evil hunter in the forest,
Come on, bunny, run,
Give me a paw!
Action chain. The child is offered a chain of actions that must be performed sequentially. For example: "Go to the closet, take a book to read, put it in the middle of the table."
Puppeteer. The "puppeteer" blindfolds the player and "leads" him, like a puppet, along a simple route, holding his shoulders, in complete silence: 4-5 steps forward, stop, turn right, 2 steps back, turn left, 5-6 steps forward etc.
Then the player is uncovered and asked to independently find the starting point of the route and go through it from beginning to end, remembering their movements.
Magic bag with gifts. 10-15 objects of different shapes, functional accessories, colors are poured onto the floor. Within a minute, the children examine and memorize them. The adult puts them back into the bag and asks them to answer questions about the items:
What color was the keychain?
How many hair ties were on the floor?
Who where? Players stand or sit in a circle, the driver is in the center. He carefully examines the circle, trying to remember who is standing where. Then he closes his eyes and turns around his axis three times. During this time, two of the players standing through one change places.
The task of the driver is to indicate those who are not in their place. If he is wrong, he remains the driver, if he guesses, the specified player takes his place.
When compiling the collection, exercises developed and tested in practice by directors and acting teachers were used.
In life, we often play different roles, not only on stage. As Shakespeare said, "the whole world is a theater, in it women, men - all actors". Acting is useful not only in theater and cinema, it can be useful when speaking in public with a speech or presentation, in business communication and in many other areas. life situations. This section of our site was created to help in teaching acting.
This course is designed for beginner actors who are just trying their hand at the art of impersonation and want to take free online lessons to develop acting skills. In the training lessons, you will briefly get acquainted with the theatrical systems of Stanislavsky, Meyerhold, Chekhov, Nemirovich-Danchenko, learn what qualities a real actor should have and how these qualities can be acquired, get closer to the art of reincarnation and the art of experience, be able to make stage speeches and naturally reproduce the simplest emotions at the right time. In addition, in this section you will learn about leading theatrical universities, schools, circles and studios; you can download and read useful books and tutorials; learn about the exercises and games that are used in the training of professional actors; and you can also watch video clips of real acting trainings with your own eyes.
What is acting?
Acting art- this is a professional creative activity in the field of performing arts, consisting in the creation of stage images (roles), a type of performing art. Performing a certain role in a theatrical performance, the actor, as it were, likens himself to the person on whose behalf he acts in the performance. By influencing the viewer during the performance, a special playing space and a community of actors and spectators are created.
In modern society, when people spend a lot of time at computers and various mobile gadgets, it is difficult for many to feel liberated, manage their emotions, communicate freely, and be self-confident. Because of this, people experience apathy or fear, as well as difficulty in expressing their own thoughts and moods. Emotional depression leads to internal clamps, which are manifested not only in facial expressions, speech, movements, but also in inner world. Therefore, acting is useful not only for those who want to become a professional actor in the future, but also for people who want to learn how to manage emotions, be sociable, charismatic and successful in life.
Elements of the art of reincarnation
The basis of acting creativity is its main idea - reincarnation. Reincarnation is external and internal. In the process of preparing for the role, the actor selects certain facial expressions, gestures, intonations of the voice, gait, resorts to help. All in order to convey with maximum certainty the demeanor and other external attributes of the character portrayed by him. But true reincarnation lies not only in conveying the appearance of the character on the stage: the actor reveals the spiritual world of his hero, shows his character, expresses his thoughts and feelings.
The concepts of external and internal reincarnation can only be divided conditionally. We can say that these are two sides of the same coin - the creative process, which are closely interconnected. In the process of reincarnation, action, thought and feeling are inseparably united.
To truly transform into your character, you need to know and be able to do a lot. Konstantin Stanislavsky singled out two key groups of elements of acting skills:
First group: the work of an actor on himself. The elements of this group are psychophysical processes in which the will, mind, emotions, external and internal artistic data of the actor participate. All this is called Stanislavsky elements actor's creativity, these include: attention, memory, imagination, sense of truth, ability to communicate, emotional memory, sense of rhythm, speech technique, plasticity.
Second group: actor's work on the role. The elements of the second group of acting art are associated with the actor's work on the role, which ends with the actor's organic merging with the image of his character, that is, reincarnation into the image. This group, according to Stanislavsky, includes 2 types of skill: the art of representation and the art of experience.
But acting is not only the reincarnation of a particular character, about which everything is known. The actor has to think, imagine his character, that is, to be included in. The famous theater teacher Stanislavsky noted that the true creative state of an actor consists of four most important interconnected elements:
- stage attention (active concentration);
- stage freedom (a body free from tension);
- stage faith (correct assessment of the proposed circumstances);
- stage action (an emerging desire to act).
Of course, it is difficult to learn all the elements of acting, and not everyone can master it. Faina Ranevskaya once said:
I get letters - 'Help me become an actor'. I answer: ‘God will help!’
Probably, it is also not worth relying on God alone. It is important to want and work hard, and those who try are really favored by luck and higher powers.
Do you want to test your knowledge?
If you want to test your theoretical knowledge on the topic of the course and understand how it suits you, you can take our test. Only 1 option can be correct for each question. After you select one of the options, the system automatically moves on to the next question.
Acting training and lessons
In order to master the qualities and techniques described above that make up the art of acting, we have prepared a series of lessons for you.
(1874-1940) - Russian and Soviet theater director, actor and teacher. The biomechanics developed by him is a system of acting training that allows you to move from external to internal reincarnation. How the actor will be perceived by the audience depends on exactly the movement found and the correct intonation. Often this system is opposed to the views of Stanislavsky. In our lessons, biomechanics is considered as an addition to the Stanislavsky system, and is aimed at developing the ability to reproduce the necessary emotions “here and now”.
(1891-1955) - Russian and American actor, theater teacher, director. In the classroom, Chekhov developed his thoughts about the ideal theater, which is associated with the actors' understanding of the best and even the divine in man. Mikhail Chekhov spoke of his philosophy of acting as the ideology of an “ideal person” who is embodied in a future actor. The system of training actors, according to Chekhov, includes such elements as the world of images and creative thinking, our higher consciousness, professional acting technique, habits and the ability to control your body.
(1858-1943) - Russian and Soviet theater teacher, director, writer and theater figure. For the development of acting skills, one can use the concept developed by Nemirovich-Danchenko about the system of "three perceptions": social, psychological and theatrical. Each of the types of perception should be important for the actor, and their synthesis is the basis of theatrical skill. The Nemirovich-Danchenko approach helps the actors create vivid socially saturated images that correspond to the most important task of the entire performance.
Books and textbooks
A lot of books and textbooks are devoted to theatrical and scenic skills. To make it easier for you to navigate this variety of acting literature, we have created a special book section, where we will talk about the most interesting, and most importantly, useful publications for training actors.
"The work of an actor on himself" - K.S. Stanislavsky. This book is one of the most famous and sought-after works of the great Russian director and theater teacher Konstantin Sergeevich Stanislavsky. We can say that this work has been a reference book for any actor and director for a long time. It is rightly called one of the most famous textbooks on acting and theatrical art. The book consistently outlines the content of the so-called Stanislavsky system, which even today underlies the practical training of leading Russian and world theater universities. In addition to the theoretical description of the system itself, the book contains useful exercises and practical recommendations.
“On the history of the creative method: Publications. Articles” - V.E. Meyerhold. The creative method of Vsevolod Meyerhold remains poorly understood. Researchers of the history of the director's performances interpret the general principles of Meyerhold's directing in many different ways. For many years, domestic theater studies were limited in their ability to objectively study non-realistic artistic methods. Meyerhold's own theater theory was denied. “When he talks about the principles of his theater - he is weak and even helpless - he does not know what principles he proceeds from,” this opinion of A. V. Lunacharsky was characteristic of many works on Meyerhold.
"On the actor's technique" - M.A. Chekhov. This is one of the most famous books of Mikhail Chekhov, who has seen many actors and directors of different types, schools, trends and calibers. Ordering, systematization and simplification of the accumulated material took the author many years. The original version of this book was written in English language, since Chekhov, after the revolution, moved to live and work in the United States. But now the book can be read in Russian.
"Acting Training. Gymnastics of the senses "- S.V. Gippius. This is the work of the famous Russian theater director and acting teacher Sergei Vasilyevich Gippius, with whom more than one generation of future actors and directors worked. Four hundred acting exercises presented in the textbook will help to free the imagination, develop the ability to reincarnate, creative imagination and intuition. At the heart of all the exercises is the system of Konstantin Stanislavsky, recognized throughout the world as the standard of acting skills, deeply comprehended and adapted by the author specifically for the learning process.
. This textbook on rhetoric was written by Heinz Lemmermann, a German professor at the University of Bremen, almost in the middle of the last century. The book is conceived as a systematic introduction to modern rhetoric for the reader without special philological and linguistic education. The author tries to popularly reveal the key concepts and principles of rhetoric that are necessary for each of us. The textbook is suitable for both adults and schoolchildren, and with it everyone can master the course of rhetoric offered by the author and learn how to speak clearly and convincingly in public.
In modern society, it is difficult for people to feel liberated, manage their emotions, communicate freely, and be self-confident. Most feel fear, aggression, insecurity, they cannot express their thoughts and feelings. Emotional depression leads to internal clamps, which are manifested not only in facial expressions, speech, but also in movements. The course in acting skills helps to solve these problems.
Acting is a set of exercises aimed not at mastering the skills of the actor's profession, but at developing the psychophysical aspect of a person. Thanks to such a training program, a person learns to open up to the world, gets rid of fears and phobias associated with communicating with other people, speaking to the public. He becomes an excellent speaker, he develops relationships with all people, he goes through life easily and effortlessly.
The course starts with getting to know yourself. This stage allows you to discover your creative self, freely and naturally express emotions. And the course begins with work with the voice. An excited voice betrays the inner state of a person. Teachers will help to sound the voice in full force, expand its range, improve the timbre.
This is followed by work with speech, where the organs of speech are developed for the purpose of clear pronunciation. This is done through various proverbs, sayings, etc.
An important role in speech is played by intonation, which gives a unique color to the sentence.
This is followed by body plastic exercises that help get rid of the clamps that prevent you from feeling free in space. But the body only reflects the state of the human soul. Therefore, the course is a deep study of this aspect.
Improvisation is also studied at this stage. After all, it is impossible to communicate and live according to a pattern. Improvisation teaches a person to sincerely respond to events.
Psychotechnics will help to understand where fears, negative emotions come from, give a person inspiration and step over fear.
On course great importance is given to the development of imagination and attention. After all, as a rule, people listen, but do not hear, look, but do not see.
The second stage includes work on dialogue, monologue, the ability to communicate with a partner, work with new images. It consists of:
The path to yourself. This is the stage of self-acceptance, the development of the ability to see the beautiful, understanding of other people.
Path to a partner. Here a person learns to communicate with people, influence a partner and respond to his counter-actions through various studies.
path to the author. A person is immersed in the world of ideas and images of the author. This is an actor's ability to organically act in the logic of the character.
The path to character and image. At this stage, a person learns to understand the character, studies his gaits, gestures, speech. It helps to better understand the thoughts and feelings of others.
The acting course helps a person to discover new feelings and sensations in himself, helps him in his improvement, revealing his personal potential, gives a person charisma. He becomes an unsurpassed orator, easily communicating with the public. General stress resistance is strengthened, as a person easily manages his feelings and emotions after the course. Through his body, he controls his mood and behavior and easily achieves success in life in general.
Acting requires a lot of knowledge, skills and abilities that are difficult to formalize only in the form of text and pictures. It is very important to see the actor's action, to try to perform special exercises, repeating after a specialist or teacher. This is especially true for stage action, for controlling facial expressions and for biomechanics. In addition, master classes by established actors will help you get practical advice in the art of transformation. Video materials are used in the lessons, and those videos that did not fit the topics of our training are collected on this page.
Acting skills for a sales manager (video)
In this video, Rodion Vyushkin from the Shchukin Theater School conducts a training for sales managers. In this lesson, you will learn special acting techniques and exercises useful in business.
Duration: 1 hour 15 minutes 2 seconds
Articulation gymnastics (video)
This is a video of TV presenter Ksenia Teleshova, in which she tells what exercises to do to warm up before giving a speech. These exercises will help to tune in, warm up and stretch the muscles of the face, tongue, lips, chest. All exercises are explained in detail and clearly demonstrated. In addition, the positive mood of the presenter is simply contagious. The proposed gymnastics, on the recommendation of Xenia, should take about two minutes, after which you will be fully equipped to deliver a clear speech.
Duration: 7 minutes 44 seconds
In addition, the presenter has a number of acting lessons that you can watch at these links.
- http://www.youtube.com/watch?v=slRlwKSw3Es- correct breathing training
- http://www.youtube.com/watch?v=jL4MYbvushc- diction training
A series of master classes (video in English)
In this video collection you will find dozens of lectures on acting language in English with explanations and exercises. The lectures are very popular on youtube and have high ratings (over 90% positive ratings on average).
Duration: more than 3 hours in total