Exercises for facial expressions. Exercise for a beginner actor

Each beginning actor dreams of immediately entering the stage in a serious role and creating to the sound of applause. But to dream, unfortunately, not enough, the stage triumph begins long before the receipt of the role and not from the reading of the play, but from painstaking and hard work. After all, talent is 99% hard work and only 1% is a divine spark.

Of course, no matter how much you work, without one percent of a hundred you still will not get it, but on one you will not go far. To shine on stage and in the cinema, you need from the very beginning to clearly understand what actor's skill is.

How it all starts

In order not to hear Stanislavsky's famous "Do not Believe!" At the first performance, a young man or a girl stepping on the thorny path of life in the work, they will have to work hard on themselves. In the actors' game, it is not only true experiences that are important, but also how the actor expresses them. After all, you can at least ten times feel everything, be at a break, but the viewer will not see anything except sluggish movements and incomprehensible, weak facial expressions. To convey the thought or emotion to the viewer, you need to have an expressive acting apparatus, that is, the body and the face.

Of course, the first exercise for a novice actor, chess player or musician will be the easiest. But only having achieved the ideal performance, you can proceed to the next task.

In many educational institutions teaching young talents in the Stanislavsky system, classes in acting begin with the removal of a chair on the stage. This task often causes confusion among students, because they want to become actors, not stage workers! But only having achieved ease and accuracy in such a simple (at first glance) exercise, you can go further. You always need to start somewhere, and taking out a chair is the first step on the stage.

What the working apparatus of the actor consists of

Exercise for a beginner actor must develop all parts of the body and soul in the complex. This complex consists of:

• Articulation;
• Facial expressions;
• Breathing;
• vote;
• Movements;
• Imagination;
• The ability to feel and sympathize.

All these necessary skills are developed with the help of acting training.

Articulation

Exercises on acting and stage speech begin with the articulatory apparatus. These are our lips, jaw, tongue and everything that participates in the process of forming words that we say aloud. If the actor has a sluggish articulatory apparatus, his words from the stage will not be clear to the audience, they will not sound clear. Therefore, the speech apparatus not only warms up before the performance, but also constantly develops and improves.

The warm-up begins always with the jaw, because it depends on how well the actor's mouth opens, what will be the message of the spoken one.

Exercises for the jaw

• Up down.
• To the sides.
• Back and forth
• Round.

To begin it is necessary slowly that on the first employment nothing to dislocate and not pereruzhdit. With the increase in the number of workouts, the speed of work will also increase.

Exercises for lips

• Tube up and down.
• A pipe in the sides.
• A pipe in a circle.
• Smile tube.
• Stretching the upper lip on the upper teeth.
• Stretching the lower lip onto the lower teeth.
• Relaxation of the lips with the pronunciation of "Тпррру".

Lips are directly involved in the formation of spoken words, so their mobility and tension depends on how clearly words and phrases will be pronounced and how clear they will be to the viewer.

Exercises for the language

• Needle-spatula-tube with tongue alternately.
• Chattering the tongue from side to side, up and down.
• Strikes tight tongue on the cheek: 1 time, 2, 3.
• Cleansing of the external surface of the teeth with tongue.
• Clatter.
• Chewing tongue.

The articulation exercise for a beginner actor for a language is as important as for lips. Together, the tongue and lips create sounds and words that must be qualitative, clear and loud.

Exercises for the larynx and the upper palate

• Massage of the upper sky with tongue.
• Swallowing an imaginary egg.
• A yawn with a closed mouth.

The larynx and the upper sky are very important in the presentation of the text, because they create a sound, and the message directly depends on them. If the actor can talk in a small room, especially without straining, then, speaking on the big stage, every word of it, even whispered, should be heard on the last row.

Mimicry

Exercises for facial expressions in the actor's training are not included in a separate category. But the moving facial expressions are no less important than the moving articulatory apparatus. After all, for the viewer to empathize with the hero, he must understand what feelings and passions he possesses at this moment, and to express the internal state of one eye is not enough. This involved facial expressions, posture, and movements. Of course, the demonstration of feelings through the facial expressions of empathy will not cause - it must be supported by the real feelings that the actor is currently experiencing in the image of the hero.

To develop facial expressions and give mobility to the facial features, it is enough just to bend before the mirror, to represent that joy, then sadness, then fear, then anger. What muscles work in this case, the beginning actor can see in life - for this they are monitored, and everything seen is carefully recorded in a personal diary.

Breath

From the right breathing on stage, as in sports, half the success depends. First of all, a message is created with the help of breathing, which brings the sounds to the very last rows. Also exercises for the actor's training include tasks for increasing the volume of the lungs. Not very beautiful and organic looks on the stage of an actor who during the long monologue begins to suffocate - it immediately "knocks out" the viewer, and return it to the play is very difficult. The actor also needs to be able to pronounce the words clearly and with a message at a time when he is doing various acrobatic stunts or physical exercises. Keep at the same time breathing at one level is quite difficult, and this also needs to be learned by doing certain exercises.

• "Air balloon" - with the help of breathing we support in the air an imaginary (or real) balloon.
• "Woodcutter" - exhale sharply at the same time with the movement of hands, as if chopping wood.
• "Ski race" - with each exhalation we make movements with our hands and feet, as if we are skiing, with a long exhalation, we leave the mountain.
• "Candle" - imagine that at the tip of the index finger a light burns, with its breath it is extinguished by putting the finger farther and farther.
• "Prisyadka" - slowly (for 10 accounts) with an exhalation we sit down, we take a breath below, just as we slowly get up with an exhalation.

Vote

There is no point in talking about the importance of voice for the actor. A modern actor should be able to sing and sound films and cartoons. Exercise for a novice actor on correct voice control is included in the stage speech, and in the vocal classes.

Movement

A good actor is now inconceivable without full ownership of his body. And in the cinema, and in the theater, he can fall out with difficult tricks and considerable physical exertion. In addition to classes in acting, the body's capabilities are developed even during classes in the stage movement. They include a general warm-up and stretching of muscles, removal of clamps and stiffness, acrobatics, balancing act, elaboration of scenic combat, slaps, blows, kisses and so on, part of circus art. All these exercises begin with simple workouts and end with complex plastic productions, when actors express their thoughts without words, only with the help of plastics.

Exercise for a beginner actor associated with the movement, in the future, will help him to empathize viewers, express thoughts and emotions in all available ways: not only facial expressions and voice, but also plasticity.

Imagination

It is difficult to imagine an actor who has not developed imagination and imagination. After all, he constantly needs to believe in something that really is not. Only the true faith of the actor himself, his complete immersion in the role and in the situation will make the viewer believe that this is Hamlet, and not a strange boy in ridiculous trousers; King Lear, not a grandfather, like Santa Claus, and so on.

There are no people who have no imagination at all. But there are people in whom it is poorly developed. To imagine the truthfulness of the situation and yourself the main character in it, the imagination needs to be developed. First of all, this is done with the help of observations, writing fairy tales, poems, stories, reading good authors. Then work begins with acting sketches. Etude - a small sketch in which the actor must act organically, and therefore, must believe.

We can say that the main exercise for a novice actor is sketch. It can be different: for non-objective action, in conditions of justified silence, with words and with objects, single and pair. The main thing is that in the sketch there was a story and an event. In this case, the actor must himself come up with a situation (or work in a given one) and behave in it naturally and organically, and for this he must believe that he really got into such a situation in the image of the hero.