Stage games. Games with elements of theatricalization for children of preschool age. Theatrical game promotes
The theater actor is a profession, entirely tied in practice and regular training. Acting skills for children 5 years old, teenagers or adults - a mandatory attribute of the training program in the theater school. Like the game on musical instrumentWhere no theory will replace muscle memory and motility of hands, scenic art is impossible without a variety of skills developed, such as:
- observation;
- emotional memory;
- the ability to improvise;
- live imagination;
- feeling partner.
That is why the training of theatrical students does not imply a boring cramp and schooling for smart books. After all, despite the fact that the theory is still part of the course, no one is doing anything, how many quotes from Stanislavsky you know for memory, it is important that you can show on the site.
The main condition for the development of any skill is a necessity. It happens two types:
- Life. The group of cave people needs to learn to act together to drive the mammoth and do not die with hunger. They have no choice, so they or cope, or die.
- Game. A group of students plays a group of cavemen who need to drive Mammoth. Students will not die if they do not cope with the task, but attempts to satisfy imaginary necessity will also contribute to the development of the interaction skill.
If the factor of the vitality is absent, it will not be replace with nothing but game imitation. This is what makes playing acting by the most common and only effective method of learning the artist.
For kids
In children of preschool and junior school age Games are a leading type of activity through which they get acquainted with the world around, acquire valuable experience and are comprehensively developing. Even the most uncomfortable acting games for children are developing and helping the child to produce certain skills. So, the salts and catchings provide children with physical activity, the development of reaction and coordination, hide and seek - attention and logical thinking, mother-of-mother - communication skills in society, etc.
Teach a preschooler through the game can everything in the world. Just pick up for him required games And send the gameplay.
For the development of scenic skills in children, the best choice will be the game of acting for elementary schoolrequiring the work of imagination. These games include:
- theatrical games are small game performances on finished plots that can be taken from popular fairy tales or cartoons, cycling any number of participants;
- games in faces - all games in which children act as a hero or character; Such games differ from the theatrical full freedom of action, their plot and the content comes up with the child itself;
- games with dolls - games where the doll is an inanimate object that is endowed with the qualities of animated in the game; Similarly, students of theatrical schools work out faith in the proposed circumstances, in particular, learn to play decorations and propumes as if they are real.
Imagination is the basis of not only acting art, but also creativity in general. Games for the development of imagination contribute to the flexibility and variability of thinking: the ability to find non-standard solutions and think creatively.
For teenagers
When moving a child to adolescent age, the all-consuming thrust for the games is replaced by a tight for communication. Now the peer society becomes the main source of experience and new information for the child, and the harmonious development of his personality is directly dependent on success in communicating.
A teenager constantly feels a huge undiscarted potential and is looking for a use. Acting can be for a teenager by the way of self-expression in which he needs so.
The teenager is very important to develop such qualities in itself as:
- healthy self-esteem and confidence in their forces;
- the ability to find mutual language with peers;
- the ability to take the initiative and be the leader;
- the ability to make independent conclusions, take your own solutions and resist the harmful effect on the part.
The best games for the development of acting skills for teenagers are the games for interaction with a partner and teamwork.
An example of a team game
- Participants get into the circle, holding a rope (the length of the rope is taken at the rate of 1 m per participant).
- The presenter offers a team shape (triangle, rhombus, square, etc.), which should be built with closed eyes, talking only orally.
- A version of the game is possible in the form of a competition between two teams, as well as for a while.
An example of a game of interaction with a partner
The game "Siamese twins" is very popular, where two partners, clasping each other for the waist, become like a similar body. They only have two hands for two and walk they are forced, leaning on each other. In such a form, teenagers perform their usual domestic actions, for example, have breakfast, dressed or even play tennis.
For adults
An adult is the most difficult to train acting from scratch, this explains the age limit on the admission of students in many theatrical collections (on average until 25-26 years). The fact is that adults in their diversified life in society managed to acquire the busy masks, behavioral templates, stereotypes of thinking, standard reactions, etc. To teach adult to play others, you must first teach it to be yourself, relaxing the grip of self-control.
Games for acting adults are games for inner liberty and improvisation, the ability to "dive with your head" into any outer without preparation, without fearing to be mistaken, cause disapproval or seem funny.
Example game of liberty and improvisation
- The actor comes into the center of the site, receives from the leading circumstances and the cotton begins to exist in them. If the presenter shouted "Monkey!" And slapped into his hands, the actor instantly turns into a monkey and exists in this image until the lead shouts something new.
- It is important that each member of the group can be both a valid actor and leading.
- What is crazy and reasonably shrinkable circumstances than a contrast of their change, the more interesting the exercise becomes more useful.
There is a mathematical, humanitarian, and there is a school of acting skills for adults, where you can improve the sound of your voice, make a speech competent and beautiful, get rid of the accent, to liberate, become a more pleasant and cheerful interlocutor, learn to act in the situation, so so that it is advantageous and naturally.
Approximate games and exercises to the section
theater game (1 year of study)
Objectives:
- develop game behavior, readiness for creativity;
- develop communicative skills creative skills, self-confidence, attention, memory, observation, aesthetic feeling.
Outdoor games are held in the first part of the classes, directly theatrical games - in the final. When carrying out these games it is necessary to create a cheerful, relaxed atmosphere, encourage clad and cured children, not to focus on misses and errors. Many games suggest the division of children on performers and spectators, which makes it possible to appreciate the actions of others and compare them with their own.
"What changed"
Purpose: develop spectatic memory, Attention, exposure.
1 option: theatrical attributes are decomposed before children. For 1 min, children remember their location, then closed the eyes. The teacher changes the attributes by places or one removes. Children must determine what has changed.
Option 2: part of the children are "artists", they show the Misaneszen from any play, the rest of the children are the audience, remember it, then closing their eyes. There are changes on the scene. Spectators must restore the Misaneszen.
"Catch cotton"
Purpose: develop arbitrary auditory attention, speed of reaction.
Children stand silent. They must react to the pedagog's cotton-and slap with it. The teacher offers to catch a little ball (flower, coin).
Purpose : develop visual memory, arbitrary attention, sense of cohesion.
Several children form train cars, standing in the column. The child standing in front of them is "locomotive", must remember, in which sequence it is "wagons". Then the "steam locomotive" turns away and calls children-"wagons" in a clear sequence.
"Sloves Portrait"
Purpose: develop observation, arbitrary visual memory.
The driving child is standing in the center of the circle. Children go in a circle, holding hands, and utter words: "In the center of the circle you get up, and do not open your eyes. Quickly give the answer - the car is described. Children stop. Driving closes eyes and describes a portrait (hairstyle, hair color, clothes, her color) called the child.
"I put in the bag ..."
Purpose: develop an arbitrary auditory memory.
The teacher explains to children sitting in a circle that they have an imaginary bag in which they can put any items in a strict order. The teacher starts the game with the words: "I put in a bag ..."(calls any item).The next child must repeat said and add your subject, etc. Gradually remembered words is becoming more and more. It is important to play them in a given sequence.
"W. grandmothers in the garden grows ... "
Purpose: the same as in the above described.
The teacher says to children about the magic garden, where anything can grow. The main thing is to remember the sequence of "grown".
"Shadow"
Purpose: develop attention, observation, imagination, fantasy.
One child (driven), walks around the hall, making arbitrary movements (stops, raises the hand, leans, rotates). A group of children (3-5 people), as a shadow, follows him, trying to repeat everything exactly. What he does.
"Scouts"
Purpose: develop random attention, speed of reaction. According to a certain signal of one of the children - the commander, children, "scouts" must perform actions. For example, in the blue signal
rockets (blue pencil) - sit down and trunks, and in the signal of the red rocket - jump over the imaginary obstacle.
"Attentive beasts"
Purpose: training auditory and visual attention, speed of reaction, coordination of movements.
Children are in the "Forest School", where the teacher trains their dexterity and attention, showing, for example, on the ear, nose, tail and calling them. Children carefully follow and call what he shows. Then, instead of the ear, he shows the nose, but stubbornly repeats the word "ear". Children must quickly navigate and correctly call what the lead showed.
"Merry monkeys"
Purpose: develop attention, observation, speed of the reaction.
Children - "monkeys" are a swarming. Face to them is the visitor of the zoo (one of the children), which performs various movements and gestures. "Monkey", angry with him, everyone is exactly repeated.
"Mirror"
Purpose: the same as in the game "Merry monkeys."
Children stand in pairs opposite each other. One child is a "mirror", which reflects all movements, poses, facial expressions for standing opposite the child. Then children change roles.
"Snowball"
Purpose: develop auditory attention, arbitrary memory, group cohesion.
Children are sitting in a circle. The teacher offers "roll a big snowball." Themes of the game can be different: the names of the sitting children, the professions of their parents, favorite fruits, flowers, etc. For example, the topic "Street, on which I live" is chosen. The first child calls her street, next says the street on which he lived that he said, and then his own, etc.
"Chairs"
Objectives: instilling the ability to move freely in space; Coordinate your actions with comrades.
At the suggestion of the teacher, children move around the hall with their chairs and "build" a circle (sun), a house for a doll (square), plane, bus, etc.
"Friendly Beasts"
Purpose: develop attention, exposure, consistency of actions.
Children are distributed to three teams: bears, monkeys, elephants. The teacher then calls one of them alternately, which should perform its movement. For example, bears - stupid foot, monkeys - clap your hands, elephants - bow. You can choose other animals and come up with other movements.
"Working with emotion models"
Purpose: to acquaint with the Mimic image of emotions.
The teacher draws the attention of children to the eyes, eyebrows, mouth, schematic images of persons expressing various emotions. After children learn how to determine emotions on models, they distribute cards and cut them in half across. Children offer to find two suitable halves and combine them.
"Work with emotion schemes"
Purpose: develop fantasy, imagination, logical thinking.
Emotion schemes are several consistently depicted models of emotions associated with arrocate transitions. Children are united into subgroups and suggest to come up with a story. In this story, the events occur with the hero at which it exhibits the indicated emotions. For example, a scheme: sadness - surprise - joy. "They walked a sad chicken saw her brother floating on the river on a leaflet, and was very surprised. Brother invited him to swim with him together. The chicken was delighted and went with his brother in swimming. "
"Guess what I'm doing?"
Objectives: explain the specified pose; Develop memory, imagination. The teacher offers children to take a certain pose and explain it. For example:
- stand with a raised hand. Possible options for answers: "Let the book on the shelf", "I'll get a candy from a vase in the locker" and others;
- lean forward. Possible answer options: "Tied shoelaces", "raising a handkerchief", "breaking the flower".
"One and the same in different ways. "
Purpose: develop the ability to justify your behavior, actions by naphantasized reasons; Develop imagination, fantasy, faith.
Children are invited to come up with and show several behaviors on a specific task: a person goes, sits, raises his hand, etc. Each child comes up with his own behavior, and the rest of the children should guess what he is doing and where is located. This task can be performed in creative groups, each of which receives a specific task (sit in the circus, at the TV, in the office at the dental physician).
"Trip around the world"
Objectives: develop the ability to justify your behavior; Develop fantasy.
Children are invited to go to trip around the world And come up with where the path is pierced - in the desert, the mountain path, swamp, through the forest. Accordingly, they must change their behavior.
"Transformation of the subject"
Purpose: develop imagination, fantasy, intelligence.
The subject is placed on the chair in the center of the circle or transmitted in a circle from one child to another. Everyone must act with the subject in its own way, justifying his new purpose so that the essence of the transformation is clear. Options for turning different items: pencil or wand - key, screwdriver, plug, spoon, thermometer, etc. For the transformation, you can take both small and large items.
"Turning the room"
Purpose: the same as in the game "Transformation of the subject".
Children are distributed into two-three groups, each of them comes up with its own version of the room. The rest of the children in the behavior of the participants are guessing, what exactly the room is turned. For example: Shop, Theater, Sea Coast, Hospital, etc.
"Turning children"
Purpose: the same as the Yves game "Transformation of the subject."
At the Team Team, children turn into trees, flowers, mushrooms, toys, animals.
"Etudes"
Objectives: develop fantasy, expressiveness of emotion transmission by different means; The ability to act together.
Etudes can be offered to a teacher or painted by children. Topics for etudes should be close and understandable to children ("quarrel", "offense", "meeting", "joy", "anger", "sadness", etc.). The next stage is the composition of etudes on fairy tales, plots of poems, musical passages ("Kolobok and Lisa", "Tanya and the Ball", "Girl and Doll", etc.).
Games in this area can be supplemented or changed at the discretion of the teacher.
Introduction
In the center of attention of teachers working with children preschool age, there are tasks for creating the necessary conditions for training and upbringing; development of children's knowledge and techniques of independent activities; Implementation of the state standard of pre-school education.
Mastering the child of knowledge and skills, the development of its abilities is carried out only in active activity.
The most important activity of the child of preschool age is the game. The game develops thinking, speech, imagination, memory, the rules of social behavior are assisted and the corresponding skills are brought up.
One of the forms of organization pedagogical process - Is the theater game.
Through various forms of theatrical game, children are improving moral and communicative qualities, creative abilities, mental processes.
When solving these pedagogical problems, the coordination of the elements of theatricalization with a plan of educational work plays an important role. Depending on the calendar planning, You can select gaming and scenic material. So, with children of junior preschool age on the topic "Autumn, autumn, please visit!", It is possible to play with the help of the Carton theater Russian folk fairy tale "Repka". IN medium group on "like beasts in the forest winter" - the stage in Russian folk fairy tale "Winter beasts." IN senior group On the topic "Autumn Forest" you can offer children a mini-drainage "Mystery of the Ladie", using glove boxes: Bear, bunny, fox. IN preparatory group on the topic "Maslenitsa" in the class-game "Spring-Red" with folk games and rounds.
At the end of the school year, summing up the learning and quality of children's knowledge, it is possible to diagnose the level of the emotional sphere of the child and creative manifestation. The degree of manifestation of the emotional and creative abilities of children is estimated by the indicators: high level, medium, low. The dynamics of changes in the level of these indicators makes out the conclusion about the feasibility of use in the process of educational and educational work of methods and techniques of theatrical games.
Practice educational work And the annual comparative analysis of the quality of knowledge and indicators of creative manifestation of children is shown: theatrical forms give impetus to development cognitive abilities; activates mental processes; Awaken creative initiative, imagination, fantasy.
Theatrical game, corresponding to the age of the child, is capable of harmonizing his appearance. Speech exercises, etudes, a theatrical story, a game-game, a fabulous quiz, the drainage of the fairy tale - all these forms of theatricalization develop mental processes, improve the moral and communicative qualities of the individual, awaken the desire for creativity.
Theatrical game contributes:
1. Development of the speech of children.
2. Development of moral and communicative qualities of personality.
3. Development of motor qualities and skills.
4. Development of creative imagination and fantasy.
5. Development of cognitive abilities.
The varieties of theatrical games are:
1. Games with theatricalization elements.
2. Lesson-game.
3. Theatrical story.
4. Quiz entertainment.
5. Performance game.
The most important conditions in the implementation of game forms of work are:
1. Using speech exercises.
2. Selection of exercises or tasks depending onindividuality of children.
3. Ensuring psychological comfort in class and out of occupation.
4. The prompting of children actively participate in theatrical game, exercise, etude.
Let us dwell on the method of theater games and the conditions of their implementation.
I. Games with theatricalization elements.
Games with the elements of theatricalization include: speech exercises; Etudes on the expression of major emotions; Etudes to reproduce basic character traits; games for the development of attention and memory; Etudes on expressive gestures; role-playing games.
1. Speech exercises affect emotionally personal
Child's sphere; develop the purity of pronunciation; Improve the intonation color of speech; Develop the ability to use expressive votes. To perform these exercises, pre-learning of texts is necessary. Exercise can be collective or individual. It is important that children do it meaningfully, emotionally, with interest. Texts must correspond to the age characteristics of children.
For example, such: "Echo", "we are going, we go on a cart", "Cleaners" - develop expressiveness of speech, memory, imagination.
2. Etudes on the expression of major emotions develop moral and communicative identity qualities; Contribute to understanding the emotional state of another person and the ability to adequately express their own. The content of etudes is not read by children.
Emotional retelling of the proposed situation is a condition for creating a variety of game options on a given topic. Etudes should be short, diverse and accessible to children in content.
So, in an etude, "chanterelle overhears", children through a certain pose and facial expressions learn to transfer the emotional state of the character.
3. In etudes to play Damn character Children learn to understand what behavior of what a character line corresponds to.
The focus is on the model of positive behavior.
So, in the episodes of "greedy dog", "the terrible beast" through the Mimico, the gesture, the pose of children transmit separate character traits (greed, closure, cowardice, courage).
4. Games for the development of attention and memory develop the ability to quickly focus; Activate memory and observation. In these games, children perform various movements on the signal, repeat the specified movements and exercises.
So, in the game "Magic Circle", children perform various movements on the signal and develop attention; In the game "Wrinking toys" through reincarnation, players develop motor-hearing memory.
5. purpose etudes for expressive gestures is the development of the correct understanding of the children of emotional and expressive movements of the hands and adequate use of the gesture. The content of etudes activates the expressiveness of movements, creative imagination.
In the game "Snowballs", children through imaginary winter entertainment are mastering the expressiveness of movements; In the "friendly family" through the pantomimik, the accuracy and expressiveness of the transmitted actions are developing: drawing with brush, knitting, sewing, modeling, etc.
6. Role-playing games using elements of costumes, props, masks and dolls develop creative imagination, fantasy, communicativeness. Children along with the teacher master masks, props, elements of costumes and scenery. In the preparation process, parents can participate.
In the game "We organize a universal theater", children together with the teacher master dolls from paper bags, cups and play household and fabulous stories. Collective relationships develop, creative imagination, fantasy.
II.. Lesson-game.
This form of the organization of pedagogical work may include: etudes, fragments of fairy tales, game with theatrical elements.
In the exercise in improvised form, fragments of fairy tales are performed. This technique of conducting classes helps exciting to solve software tasks; It has a positive effect on the formation of the emotional and moral environment of the child. At an integrated occupation, the game in the Russian folk fairy tale "Masha and the Bear", children perform the tasks of the teacher to develop a coherent speech, develop mathematical abilities, memory, attention.
III. Theatrical story.
The techniques and methods of the theatrical story can be used during the class and outside it. While reading or telling the literary work, the teacher "plays" the characters himself uses the intonational, emotional color color. Through expressive reading, playing episodes; Through illustrative material, children are immersed in the atmosphere of a literary work. All tasks that are included in the program content classes can be solved with the help of expressive gaming theatrical agents. An example of such a theatrical form may be an occupation of familiarization with fiction: Russian folk fairy tale "Havroshchka".
IV. Quiz - entertainment.
Theatrical form of literary quiz-entertainment contributes to the expansion of the horizons of children; Activates emotional and creative potential. Work is carried out on the manufacture of costumes and props. A musical design is preparing, a phonogram is recorded, texts are learned, excerpts from literary works are being rehearsed.
Scenic version of the work-playing of works by A.S. Pushkin "Lukomorye" leads children to a fabulous journey. In this quiz, children participate in short stonsings, answer questions, guess the riddles. Preschoolers with interest and pleasure are involved in a cognitive theater game.
V.. Performance game.
This form of work requires a long and thorough preparation: a special staging is written taking into account the age-related individual characteristics of children. IN gaming form Rehearsals are held. Decorations and costumes are preparing, posted poster and theatrical programs.
The performance-game, delivered through the Russian folk tale "Rusta", contributes to the disclosure of the creative potential of children, emotionally enriches performers and spectators of the performance.
Thus, children through various forms of theatrical game develop moral and communicative qualities, creative abilities, mental processes.
Practical material.
Speech games and exercises .
1. "Funny poems" (for children 3-4 years).
Purpose: develop the purity of pronunciation. Pay attention to intonation expressive speech.
The move: children along with the teacher pronounce poems. Gradually, from exercise to the exercise, children acquire the skill of intonational expressiveness.
"The swamp is stump,
Keep him too lazy.
Neck does not turn around.
And I want to laugh! "
"What a shoemaker?" - Was!
Shil shoemaker? - Shil!
For whom boots?
For a neighbor cat! "
"- Cat, what is your name?
Will you wear a mouse here?
Meow! Do you want some milk?
And in the comrades of the puppy?
2. "Echo" (for children of 4-5 years).
Purpose: change the intonation color when reading text.
Move: "We wandered a dark boron,
We asked in a friendly choir:
Houses of grandmother Yaga?
The forest answered us:
The text is repeated, is replaced only by confrontation, as asked? -
"Together; quiet; Grozno; cowardly; boldly…"
3. "We are going, we are going on the cart" (for children 5-6 years).
Purpose: develop the purity of pronunciation, the feeling of rhythm, expressiveness.
Move: "We are going, we go on the trolley,
Collect nuts in the forest
Creak, creak, creak,
Creak, creak, creak.
The leaves are sturgee - sh-sh-sh
Birds whistling - fill-feather, fill-feather,
Squirrel on a branch
Nuts all gnawing - the Central Committee, the Central Committee, the Central Committee, the Central Committee,
Redhead chanterelle bunny sees, (pause)
Long-long ride,
Finally arrived! "
Purpose: develop the ability to use expressive votes.
The move: "The Sun (Saw High Sound Wen)
From a hill, a funny rod ran (chatting tongue, imitating funny "Bulkani").
To the edge filled a big deep puddle
("Bulk" low sounds).
Blown through the edge ("Bulk" wave: up-down).
Selected from under the bark of the bug (zhd
And bugs (z, s)
Plane wings (KRS-Krsh- with raising)
And flew somewhere (Trp-Tr-Tr - a whisper).
So Spring came! "
5. Species. Cleaner.
Purpose: Improve the purity of pronunciation.
Move: "hot bricks!
Skuschi-ka with a furnace
Baked in the furnace
From the flour of Kalachi! "
"Taryry-bars, Rastabara,
At Varvara Kura Star! "
"SENY VIZH WHO SENA"
"Stick Sasha bumps sob."
"Eagle on Mount, Feather on Orel."
"Buzz on the honeysuckle beetle,
Green on the beetle casing "
Etudes on the expression of major emotions.
1. "Fox overhears" (for children 3-4 years).
Purpose: to develop the ability to understand the emotional state and adequately express their (attention, interest, concentration).
The move: chanterelle standing at the windows of the hut, in which the cat lives and the rooster. Overhears. The head is tilted aside - listens, the mouth is semi-open. The foot is completed forward, the body is slightly tilted forward.
2. "Delicious candy" (for children 4-5 years).
Purpose: transmit internal state through faith (pleasure, joy).
The move: the girl in the hands of an imaginary box with candy.
She stretches her in turn of children. They take candy, thank, unfold a piece of paper and treat. According to faces it is clear that the treat is delicious.
3. "Walk" (for children 5-6 years).
Purpose: fixing the reproduction of various emotions (joy, pleasure, surprise).
Stroke: Summer day. Children walk. Rain is coming. Children run home. Came running on time, the thunderstorm begins. Thunderstorm passed, the rain stopped. The children went out again and began to run on puddles.
4. "Battle" (for children 6-7 years).
Purpose: fixing the reproduction of various emotions (joy, pride, fear). Development of creative imagination.
Move: one child depicts Ivan Tsarevich, the second
Snake - Gorynych (head and hand hands are the head of the snake). There is a battle. Ivan-Tsarevich obsessed the serpent - defeated.
Etudes on playing character traits.
1. "old man" (for children 3-4 years).
Purpose: through facial expressions, gestures to transmit character traits (fun, kind, funny, mischievous).
The move: read the poem of D. Harms "Funny old man." Children imitate the states and actions that are stated in the poem.
"He lived in the light of the old man
Vertically challenged,
And the old man laughed
Extremely simple:
Ha ha ha, yes hehehe,
Hee chi hee, yes sooooooo!
Bu-boo, yes be-be-b
Ding Ding Ding
Yes, three-thy!
Once, seeing spider,
Scared frightened
But, clutching for the Boca,
Loudly laughed:
Hee chi hee, yes ha ha ha,
Ho-ho-ho, yes Gul-Gul!
Hy-hy-gi, da ha-ga,
Go-go, yes Bul-Boule!
And seeing dragonfly,
Terribly angry
But from laughter to grass
So fell:
Gee-gee-gee, yes gu-gu-gu,
Go-go, yes bah-bah,
Oh guys! I can not!
Oh guys! Ah, ah!
2. "greedy dog" (for children 4-5 years old).
Purpose: through facial expressions and gestures to transmit character traits (greed).
Turn: The teacher reads the poem V. Kwitko.
"The greedy dog \u200b\u200bFirewood brought
Water struck, kneading the dough,
Pirogov Snow, hidden in the corner,
And ate himself - gam, gam, gam! "
Children imitate the state and actions referred to in the poem.
3. "Scary Beast" (for children 5-6 years).
Purpose: Through the pantomime transfer the character traits and behavior of characters (bold, cowardly, stupid, cautious).
Stroke: Pedagogue reads the poem V. Semerin "Terrible Beast". Children who have received roles act in the text.
"Straight to the room door,
The predatory beast penetrates!
He sticks fangs
And mustache bellow
He is burning pupils
I want to get scared!
Maybe this is a lioness?
Can a wolf's sweep?
Stupid boy shouted:
Brave boy shouted:
4. "Magic ring" (for children 6-7 years).
Purpose: Through the pantomime to transmit character traits (kind, evil, fair). Develop a creative imagination.
Move: an evil wizard, using a enchanted rheel,
Turns a good boy in bad. The boy is offended, teases, everything breaks. Finally, the charter, he falls asleep. Good wizard proposes to save the boy, remove the ring. All children are quietly suitable and removed the ring.
The boy wakes up. He is gentle again, asks for all forgiveness. All fun.
Games for the development of attention.
1. "Be careful!" (for children 3-4 years).
Purpose: stimulate attention; Quickly and accurately react to sound signals.
The move: children walk under the merry music. Then, on the word "bunnies", children depict bunnies (jump), on the word "horses" - horses (hitting the foot on the floor), the word "crayfish" - heels, "stork" - stand on one leg, "birds" - Run, spreading hands.
2. "Magic Circle" (for children 4-5 years).
Purpose: Perform carefully to move the signal.
The move: playing standing in a circle. At the signal of the bell, children take turns make the following movements: one dies and gets up, the other claps in his hands, the third - dies and stands up, etc.
3. "Listen to cotton" (for children of 4-5 years).
Purpose: develop active attention.
The move: playing go in a circle. When the presenter creates in your hands once, children must stop and take a stork pose (stand on one leg, hands on the parties). If the presenter claps two times - take the pose of a frog (sit down, heels together, socks and knees to the sides, hands between legs on the floor). Three cotton players renew walking.
4. Molchanka (for children 6-7 years).
Objective: Develop attention and ability to quickly focus.
Move: drive:
Quieter, mice,
Cat on the roof
And kittens even higher!
One, two, three, four, five,-
Since then, it's time to be silent!
Playing shook. Driving watching who speaks or laugh. This baby is paying Phanta. When the phantas will drop 5-6, they are played. Each owner performs an art number.
Games for the development of memory.
1. "Remember your place" (for children 3-4 years).
The move: children stand or in different corners of the room.
Everyone must remember its place.
Merry music sounds, everything is "turning into birds and move around the room. Music ends. Everyone must return to its place.
2. "Wrinking toys" (for children 4-5 years).
Purpose: develop motor-hearing memory.
The move: in the store of the toys there are toys: dolls, bunnies, bears, frogs, birds, butterflies. Music sounds: "The toys turn on the plant."
Children move around the room. The music ships, children return to their places.
3. "Artist" (for children 5-6 years).
Purpose: Develop attention and memory.
The move: the child plays the role of the artist. He carefully considers the one who will "draw", then turns away, gives his verbal portrait.
4. "In the Mirror Store" (for children 6-7 years).
Purpose: develop observation and memory.
The move: there was a lot of big mirrors in the store. There was a man, he had a monkey on his shoulder. She saw herself in the mirrors and thought that these were other monkeys and began to twist her head. Monkey answered her the same.
She fused her foot - and all the monkeys stuck up. Nor did the monkey, everyone repeated the accuracy of her movement.
Etudes on expressiveness gestures.
1. "quieter" (for children 3-4 years).
Purpose: Develop the expressive movement of hands and adequately use the gesture.
Stroke: Mice are moving the road on which kitten sleeps.
They go on socks, they stop and signs show each other: "Hush!"
Expressive movements: the neck is stretched forward, the index finger is attached to the compressed lips, the eyebrows "go up".
2. "Snowball game" (for children 4-5 years old).
Stroke: Etude is accompanied by cheerful music. Winter. Children play snowballs. Expressive movements: Burnt, grab the snow with two hands, blind snowball, throw the snow with sharp, short movements.
3. "Playing with pebbles" (for children 5-6 years).
Purpose: develop expressiveness of movements, creative imagination.
The move: children walk along the seashore, bending around the pebbles.
It is included in the water and splashed, scratching the water with two hands. Then, sit on the sand and play with pebbles: it throws up, then throwing into the sea. Light music sounds.
4. "Friendly Family" (for children 6-7 years).
Purpose: develop expressiveness of movements, creative imagination.
The move: children sit on chairs in a circle. Everyone is busy business: one sculpts, the other is in powder a nail, someone draws a brush, someone sews, knits. Children perform a pantomime with imaginary objects, striving to more accurate actions.
Role-playing using elements of costumes, props, masks and dolls.
1. "We play a fairy tale" (for children 3-4 years old).
The move: the teacher acts as a storytelling. Children using masks, props, play the famous fairy tale. ("Repka", "Teremok" and more ..)
2. "Guess the situation" (for children of 4-5 years).
Purpose: develop creative imagination and fantasy.
The move: children in turn using the props and the elements of the costume "create a situation." The rest are guessing:
1) "Tanya collects mushrooms in the forest."
The girl depicts a mushroom, in his hands - a basket and a staff, on the head - a casman.
2) "Oleg floats under water."
A boy, in a mask for snorkeling, in a rubber hat depicts a diver.
3) "Katya fell under the rain."
A girl in a raincoat with an umbrella jumping through the puddles, heels from cold drops.
3. "Zhmurki" (for children 5-6 years).
Purpose: Develop Communication, Creative Imagination, Fantasy.
The move: All children together with the educator are preparing masks of mouse and cats. The cat's mask has no eyes cut. Children sit in a circle. "Cat" - in the center. Cat: "Mouse, Mouse, Looking for!" One mouse performs a request. The cat does not see the cat in the mask with painted eyes - who. She must guess whose voice was. If not, let him touch the clothes of the mouse. When forth, a new mouse is selected.
Game continues.
4. "Organize the Universal Theater." (for children 6-7 years).
Purpose: develop creative interaction, imagination, fantasy.
The move: all children with the educator crawling dolls from gloves, paper bags. Then, play household or fabulous scenes.
Literature
1. Burnina A.I. From the game to the performance. Toolkit. St. Petersburg, 1996.
2. Genov G.V. Theater for kids. M., "Enlightenment", 1968.
3. Gurin Yu.V., Monina GB. Games for children from three to seven. St. Petersburg, "Speech", 2008.
2. Kryazheva N.L. Development of the emotional world of children. Yekaterinburg, y-factor, 2004.
4. Orlova F.M. We are having fun. M., "Enlightenment", 1993.
5. Ulyyova N.A. In the word, the soul grows. " St. Petersburg, "Start", 1999.
6. Chistyakova M.I. Psychogympics. M., "Enlightenment", 1999.
7. Theater lessons in the lessons at school of the APN of the USSR. M., "Pedagogical workshops on art Education", 1990.
8. Fophele K. How to teach children to cooperate. M., Genesis, 2006.
.. and again about watermelon and pork cartberries.In the footsteps of the recent discussion, which turned in the comments, also decided to speculate that I personally attract me in acting work, and why it attracts me. Although the topic is still extensive than it seems.
But why it all started.
"... Talented actors are little. But there is a whole business that selects
suitable types and makes strong artisans from them (I'm all the time
surprised how many similar persons in our cinema and in the states. Then it came to me that it was most likely not a simple coincidence). I drive this thought from myself with all my forces, but - as I think - each of our idols knows perfectly, in what angle he will look in front of the camera best. And he constantly keeps it in his head. Charm? Charisma? They are aware of this are aware of it, and it will be shown to you all in the most advantageous light. A good costume artist, makeup artist and hairdresser commemorate the rest.
Most ugly sounds, yes? That is, the actor is not careful not to get into his character. He thinks only about how to make you believe everything, using a certain arsenal of tricks from his palette. Someone is richer, someone has poorer.
And now I will estimate - what is it, in the end, the difference? Whether the Fayns will be turned away from the pants, so that we believe in Hitclyf, or the Costra with Willis will pick up the script in which they themselves will feel organically and accordingly - to act and look completely plausible? " e_ZAEC.
That's what, the hurt, I always appreciated you, I appreciate, and I will appreciate it for the fact that you are not lazy to clearly and clearly formulate your thoughts! No, well, for much more, of course, but for it - in particular.
And when these thoughts suddenly turn out to be part-time, for any reason, for any reason unformed in the form of such as you, neat text, - here in such cases I generally come to the state of full euphoria and immediately start happily jumping on his shaky Stool, actively drying in the air in the air and even sometimes quietly reciting from delight :)
That is why I really wanted to quote you, and besides, it was a little to develop the topic you affect yesterday.
It's no secret that I'm really very not indifferent to a good, talented acting game.
But what personally I put in it, actually a fairly conditional concept?
A good actor for me is first of all a person who is capable of playing a variety of roles and create different images from each other. A person who is filmed in films, various both in the genre and style. And it goes without saying that he does all this well, then I mean the characters will be, what is called "psychologically reliable" and convincing.
To watch such work I will be most pleasant and interesting to me: I would say that it is more often interesting to me even so much the film itself and its plot, how much created by the actor in this film image. For example, "Walmond" Milos Forman. Or "amatem" ... or ... yes, or any of the films with Rail Fires.
The harder the character will be arranged, the more interesting. But at the same time, I should also unconditionally believe the actor: the slightest doubt, and all - the magic marrow disappears, the charm is irrevocably ...
But if, in addition to all the acting, the acting will cause me a desire not only to immediately revise (this is necessary), but also to think about it, that is, to get into the skin of the hero, while looking at his world with his own eyes, try to analyze the course of his thoughts and logical His actions, in general, as they say, understand, "how he reached such a life," in this case, I will truly delighting the limit.
Ghm. Of course, as any normal woman overwhelming most viewers, I also love a beautiful picture, so I will not lie: if the "ideal characters" mentioned to all the above-mentioned glasses will show an actor attractive outwardly, I will like it much more than it would be worth not less The same role was performed by a bald and toothless stump with a belly below the knees.
It is for this reason that periodically all my complex reasoning about the kayfa from contemplating a talented acting game safely go to the forest to walk, and I myself, having freesed from the snobism, and armed with an impressive package of popcorn, sit down to watch some ... we do without examples - in one word, Some beautifully made Hollywood Muuro, who actually, nor the mind, neither the heart :)
Although actually, my "perfect film" is a script, and the game, and besides the joy for the eyes.
Do I agree to watch a movie where no one plays anything at all, but everything looks extremely impressive, - a rainier, very famously make sparkling swords and left to the left of the slender military ankles? .. Difficult question. Probably, after all, only if there is someone who I am already there, I do not appoint a default, so I will first be ready to forgive him any "forelegations", and secondly, it is not nervous trite From boredom in the process of viewing.
However, from each rule there are exceptions, but in this case it is still exceptions.
Now return to the text quoted in the beginning of the "strong artisans" e_ZAEC.
.
She told about them the most, in my opinion, an exhaustive way. Neither add nor take away!
Indeed, these are excellent embodiments once chosen and one hundred percently suitable image, under which, in fact, films are made and scripts are written.
By the way, I have a resistant feeling that last years This practice is steadily underway: today it is still significantly less names, which "make films" than, for example, in the eighties. And on the other hand, much more often in our eyes is right inverse - almost every popular Bibster strives to open the next "star".
Whether this labor market has grown to such an extent, whether the people have changed simply, and the people began to demand a much larger diversity - hell knows him. Cinema - Industry is still very young, constantly developing, so we are now just have the opportunity to observe all these changes, a permanent search, tacking some new ways and new approaches to the creation of movies.
... In any case, today's "Hollywood Superstar" is already quite noticeably different from the classic Hollywood star of twenty years ago (about an earlier period I am generally silent). To date, this is a person who is constantly trying himself in a variety of genres and is not afraid of experimenting. In fact, the case goes to the abandonment of some kind of defined role: I think such a star like Johnny Depp, I will arrange all as an example.
... but I left a little from the topic.
So, I completely agree with the theory of Zaceka on the existence of two separate categories of actors, which adhere to fundamentally different methods of work.
For example, I will consider Harrison Ford's candidacy, we are talking about which we already came before.
Yes, he is charismatic, he is kindly, but no matter how I loved his Indiana Jones and Han Solo, I could never call him a good actor.
Harrison Ford, in my opinion, is just a very visual example of an actor of one role! Once the selected role, a completely defined style, but all this is honed to almost unthinkable perfection. Roughly speaking, all forty works of Ford will always remain only the faces of this very, once the selected image. I repeat once again - yes, I really like bright, charming, and in my own way, very very holistic characters of Ford, but this is not at all what I personally consider the acting game.
For me, one very important thing will be inherent here: an element of surprise. If I know in advance what to expect from the actor, then I simply will be bored very soon, and the stimulus wait for the following roles. If all the roles of the actor relative to the same type, it will only be enough to choose from them into one or two favorites, so that later to drive time, revising them with long winter evenings.
If, on the contrary, I know that the actor knows how to be different - in this case the process of waiting for new (or the search for older) films with his participation acquires almost detective color. Will surprise this time, or not? And how can I cope with a new, unexpected task? Or maybe again it will be as in that wonderful FTDLM, only even better? ..
And it never happens to be boring :)
That is why there is a huge difference for me - "Whether Fayns will be turned away from the pants so that we believe in Hitclyf, or the Costra with Willis will pick up the script in which they themselves will feel organic" (c)
And any comparison of the works of the same Coster with the works of the same FIUNS - the thing in my case is absolutely impossible and incredible is simply because it is absolutely different phenomena in principle.
In the end, what is better - classical music or rock and roll? Night fire or dancing on the surface of water solar glare? Watermelon or pork fitting? ..
P.S.
Actually, all written above is a private point of view, which I do not try to position, as a certain true.
At the same time, I perfectly remember that the tastes are not arguing: my opinion is just my opinion, which is the only one faithful for me at the moment. And agree with him, or it is displeased to snatch - entirely reading;)
Stage Games
Translation I.G. Mugkova
Characters
Hydrangea -actress
Gertruda - dramatic and director
Completely empty, without any scenery scene of the theater.
In the depth, in the background, there may be several random and habitual items for all the theatrical farms, usually cluttering the scene, when the performance is just beginning to rehearse and ahead - long a month and a half.
Includes Gertrude. Reads the platform. Plops in your hands to check acoustics. Then looking on the backyards of the scene and brings the table and chair.
The scene is barely illuminated.
Includes actress - hydrangea. She looks around with a view of a satisfied personality and at first does not notice Gertrud. The first five of their short replicas utters from different points of the scene, trying the sound of voice and checking his hearing in the hall. Strivered by laughter. And when suddenly laughter interrupts, we understand that it was not natural, but only served as a test for resonance.
HYDRANGEA.What a miracle!
Full emptiness.
No scenery.
And still a miracle!
GERTRUDE. Because you are here.
HYDRANGEA.Are you on stage too?
GERTRUDE. Yes, a long time ago.
HYDRANGEA.Having burned in darkness?
GERTRUDE.Why was it buried?
HYDRANGEA. I have not seen you.
GERTRUDE.And I love to remain unnoticed. Dissolve in the environment. I have a complete merger with this place. With a damn item. With the theater, I mean.
HYDRANGEA.Well, so we are in it!
GERTRUDE. Your feelings have already posted?
HYDRANGEA. Oh yeah!
Talk to you: this is a miracle!
They hugging, then with heat begin to kiss and, finally, carefully look at each other. Gertrud appeals to a technique that is not visible. He is in the depths of the hall. IN certain moments Actions that are accurately designated by remarks, both women alternately will appeal to this technique - Batistist. That will be, in essence, internal reflections, hearing only by the audience.
GERTRUDE.Batist, can we add a little light?
Shine
HYDRANGEA.Divisy as sunlight in Greece.
GERTRUDE. You are beautiful ... Thank you, Batist!
You look great.
Where please?
HYDRANGEA. From Greece.
Didn't you get my postcards?
GERTRUDE.I never look into postcards, they annoy me.
HYDRANGEA.That's how? ( Batistist). Hi, Batist! ( Gertrude).I'm sorry. I sent you three postcards: one from Crete, one with Peloponnese and one of Italy - on the way back.
GERTRUDE. And I did not see, and did not read.
HYDRANGEA. Yes, God with them. Is it really true: do you think I'm in good shape?
GERTRUDE. In excellent.
One hundred percent woman.
And very sexy.
Hydrangea (absently). All the better.
GERTRUDE. Okay. Its time to begin.
HYDRANGEA. I can't wait, terribly not tolerant!
GERTRUDE. The state of lust! It is necessary to lies.
HYDRANGEA. And I always say myself: if you are not entering this condition before starting work on such a role, it is better not to start at all. It requires how to start life from scratch.
GERTRUDE. What you are in a state of lust is good ... But at some point, when we have to translate the vertical of the text in a horizontal position, you will have to abandon all your desires.
HYDRANGEA. That's how? Do you think so? Okay ... if you want.
GERTRUDE. Yes, I personally do not want anything. This is a play, mine behaves like a tyrant. There is a share of sadism in the initiation of your desires by my text. And then - and refusal!
HYDRANGEA. Good good. Everything you speak and crashes into memory. I am from those actresses that constantly nourish your mind. Need feeding.
GERTRUDE. We will do not hurry.
Slow penetration.
Which will not get caught, you will not stop.
Captured in you forever.
And you will come out of this story already quite another person.
HYDRANGEA.Believe me, Gertrude, I understand it, and it makes me happy. Your words are like a touch of a magic wand. They transform me.
GERTRUDE. I like what you say so, hydrangea.
HYDRANGEA. Actors are faithful servants of playwrights. I gave an interview with one Greek newspaper. So said. Word word: Actors - loyal servants of playwrights.
GERTRUDE. And you really think so?
HYDRANGEA. Gertrude, how can you ask me such questions? Of course!
GERTRUDE. Okay.
Can I ask you about favoring?
HYDRANGEA.I'm listening to.
GERTRUDE. You could not utter my name in his original sound?
HYDRANGEA. I.e?
GERTRUDE. With true nordic pronunciation, do you understand? I have a nordic name. So take me pleasure: they say it to the Nordic Pet: Gerletrude!
HYDRANGEA. Here it is like! This is something new. Do you want so much?
GERTRUDE. I ask you.
HYDRANGEA. Agree. But ... as if not to get down ... After all, the habit was developed ...
GERTRUDE. So I would like you to get rid of our habits. I would exhibit them at the door of your own thought. Habits, you see, whether they enjoy acting ingenuity.
Hydrangea (joyfully and enlightening). Lady! It became ultimately, you do it for me! So that I got free from banal reflexes, professional stamps, yes?
GERTRUDE. Yes.
HYDRANGEA. Understand.
Gertruda (turning to Batistu, so the hydrangea does not hear it). She understand. And now, to show me how well she understands, will argue about the problem of identification, it is well known to her ... Thanks to David. The man of her life ...
HYDRANGEA. You know, I have everything very successfully in order to understand the problem of identification. The man of my life David constantly spoke to me about her ... In connection with the Jewish question ... He was a Jew ... And he spoke about Jewish identification ... And all that ... and I listened ... He always said that he came from everywhere and nowhere. And I answer him: If you came from everywhere, you carry footprints left by hundreds of cultures ... And in this your wealth, my dove is mine ... Do you remember? He was neuropath. And he knew it to himself. So said: I am a neuropath. Well, let, agree to the neuropath. It was very in love.
GERTRUDE. Oh yeah!
HYDRANGEA. When I met you, I just ran out with David. Do you remember?
GERTRUDE. Yes of course.
HYDRANGEA. I was crushed, broken.
Live-live with a similar type.
He throws you.
And you crushed.
I was crushed.
GERTRUDE.I remember perfectly.
HYDRANGEA(Batistist, so that Gertruda does not hear her). I ask everything myself, firstly, - whether she really remembers, and secondly, do not do it for it.
GERTRUDE. I would even say that I had to collect you a teaspoon.
HYDRANGEA. I was destroyed! Oh, the wound is deep when it comes to such a person as David. He became Pygmalion for me. I was fooling ... that is, it seemed to myself a superficial and not too thoughtful or something. And suddenly I meet David. Beautiful like God, gentle as a lamb, and at the same time strong, courageous, understand? What he created with me is impossible to imagine! When we met, I was in an embryonic state, and he made a woman from me. Woman is engaged, held. I already had an actress before him. Good actress ... talking about it straight, without false modesty. But I was good predominantly in the comedies. And with David, all genres became available to me. Do you understand me ... Gerletrude?
GERTRUDE(referring to Batistu, so the hydrangea does not hear her). She has to make an effort on himself to pronounce my name in this way. So nordically! For me, this is a test of a kind. She must be able to focus and stop being a tetra.
(Hydrangea). Of course, I understand you, although I was always painful to realize that a woman could take place, to prove himself in the best way and self-realize only because the man does it. This is some kind of woman-naughty position, my boyfriend. To be objective and purely reaction. You are an artist! And far from the latter! You are a free man! Why reduce my own identity to the scale of love relationships. This is unworthy of you yourself.
HYDRANGEA.I know ... Gerletrid! I know perfectly. I heard a lot about this from others. How many friends repeated me: "He feeds you, he suppresses your individuality, quit your flame" ...
In fact, everything is the opposite ... And, frankly, can other people, be even close friends, claim the rightness of such judgments! They did not hold a candle over my bed!
Sorry ... I'm shocking you?
Gertruda (Batistist)What is it vulgar ...
HYDRANGEA.Must be, you consider me vulgar!
GERTRUDE. Not at all! Why would I consider you vulgar!? In you so much overturned different things ... you use common expressions! That is why you managed to conquer such a broad public.
HYDRANGEA. Stunning! You understand everything. You are from those women with whom you can talk about everything.
GERTRUDE.I hope so.
HYDRANGEA. It is also important what I know your creativity. To the extent that your creativity is you. Knowing your works, find out you!
GERTRUDE. Of course, by itself ... and however, the reality in the novels is disguised. She carries a mask of fiction by and large.
HYDRANGEA(Batistist).Just in horror I come from this word "by and large." In U-Jas!
GERTRUDE. Do not you think so?
HYDRANGEA. No, you are right ... You wear a mask by and large.
GERTRUDE. That's it.
HYDRANGEA. And in this famous play, which I read-re-read, ... Do you also wear a mask?
GERTRUDE. I can not answer you. Or rather I do not want. Your whole job will be to penetrate the unspoken area. And detect a reality there as an open wound. My reality.
HYDRANGEA. OK OK….
GERTRUDE. And tell me, did you have time to do my play, taking into account all these tanned handsome people who grazed around you?
HYDRANGEA. God, how do you know? Just clairvoyant!
GERTRUDE. Well no. But the sun, the sea ... and heat. I remember in your stories that the heat plays a significant role in your ... Location .. I want to say at the carnal level ...
HYDRANGEA. Yes it is.
GERTRUDE. It became so young you still!
(Batistist). Now I will convince me that it doesn't matter, but in fact I know how it is happy to get away for the young.
HYDRANGEA.Honestly, I am madly funny when young people mumble something like: "We are on vacation, you have to have fun" ...
And yet, I must say that some men accompanied by very, very young women, the chicrics called, were on the verge of gap with them, when I passed through the ranks of the semi-virgins, who just undressed me looks.
GERTRUDE(Batistist). All this is nonsense. In vain I allowed you to pull yourself in such an idiotic conversation! I can not forgive yourself!
HYDRANGEA. Do you probably seem like a cholem?
GERTRUDE. Are you kidding! It is our life! All life in this!
Some time they keep silence in an attempt to make the best tone rules to the maximally: polite smiles, surrounding the surrounding space.
HYDRANGEA.Beautiful theater. I have already played here a few years ago. It was a "favorite sorcerer" with Philip Petten.
(Sees the surprise of Gertruda). No, wait. I did not say that.
How is it?
Philip Patan ...
Or Felix Pot.
You know, I have a problem with names and surnames. Just unbelieveble. After all, you know: I have excellent memory, never fails. The text from the teeth bounces. But names and surnames! This is my nightmare ... Therefore, I ask you to connect if I will not always call you Gerletrid! My trouble. The role of Himena I learned in eight days ... I played with all her long tirades ... rehearsed ... how much? ... five weeks. And what is the name of the director - to remember it is impossible. As a result, difficulties arose at rehearsals ... and then I came up with one thing. I go along the very edge of the scene and say: Tell me, please sir, I would like to ask you ... And then he interrupts me. And he says: I ask you, Hortensia, call me just Pierre. You understood? He thought it would call him from politeness, and I just had a failure in my memory. You understood?
All their weaknesses. I have names and surnames.
But you can ask me any phone number - yours or David - service, homemade, mobile - at any moment, and I will call immediately. What you say here, memory ...
GERTRUDE(Batistist). Now she will tell me that the memory is selective ...
HYDRANGEA. Memory ... Help me.
GERTRUDE. Selective?
HYDRANGEA. No, this is a banality ... "Memory is an hour mind." That's how. This Shakespeare said. Beautiful, is not it?
GERTRUDE. And right enough, by and large.
Furious view of hydrangea towards Batista
HYDRANGEA.Okay … What are we doing today? I read everything? ... start first and divide the text to small pieces? ...
GERTRUDE. First. Trust yourself ... I will stop you ... interrupt as needed.
HYDRANGEA. Excellent.
You know, I always act on your own ... I am looking for. The most exciting is searching. And this is not a question of understanding. Not. You always understand well. It is necessary to search to penetrate the unspoken. Said - and then the thing is quite thin ... What then to talk about unspoken.
(With admiration). How cool you write! War down!
GERTRUDE. You understood everything ?
HYDRANGEA.Of course.
GERTRUDE. Did you catch the meaning of my play? I realized what is the essence of the drama? Did you rave all the threads?
HYDRANGEA. What do you mean, Gerletrude?
GERTRUDE. Do not my questions are clear?
HYDRANGEA. Of course, clear.
You know, I obeying instinct. And maybe I can make a mistake. If I trust the mind. In principle, instinct does not deceive me. David is stunned. He said that I had the instincts - unbridled, and knew what I said: he was a scientist.
I told you that he was a scientist?
You know, I lived with a genius. The more I think about it, the more I am convinced that he was a genius. I did a lot of stupid things with him ... It is not even clear how it all happened.
GERTRUDE.What about your instinct?
HYDRANGEA. Not instinct was the cause of errors, but my pride. And also the belief that live is to tear the flowers of pleasure. And nothing else ... so stupid. After all, pleasure I constantly received from my work. And demanded also. At least wrap in these pleasures!
GERTRUDE. And what ... Have you ceased to enjoy marriage?
HYDRANGEA. I do not know. Unclear. Such a person like David deserves me to be with him himself attentive and deep. To refuse to desire to shine continuously! He felt that I was not what I wonder.
GERTRUDE. All this escaped me.
HYDRANGEA. Naturally. Sorry, but we respect each other enough to speak sincere. You never loved a man. After all, there is no secret that men did not attract you ... Well, as it is, it is. It is ridiculous to reproach you. But ... You do not know how they crave for them to do, they gave them a nipple, they ignored the cradles, let off the Talc, especially when they are fifty!
Ghetruda(Batistist). I definitely nausees from her stories.
HYDRANGEA. Probably, I'm sick with my stories.
GERTRUDE. No, no, no one ... All this, as you say, influenced the development of your art. And if you have become a big actress ... you can say the biggest, so only thanks to the tests!
(Very fast, Batistist). Yes, I know that it is even worse than a connivance, just myself compromising myself! But I can't do anything!
HYDRANGEA. And you understand! We disassemble in life.
GERTRUDE(Batistist, but this time so that the hydrangea hears it). Batist, can you add lights?