The key to good performance is knowing how to control the body. Only when relaxed does it become an obedient guide of the soul. To achieve this result, an actor needs to loosen up. And working with psycho-emotional and physical blocks will help in this.
The essence of the technique
The actor must be able to achieve a result that is not only in his or her own mind, but also in his or her own mind. A lot of attention to the actor’s painstaking work on the development of his body was given by our teachers. They have developed a series of techniques for unlocking clamps. These exercises make it easier to work on scenes, with emotional memory, gestures, and on creating the appropriate atmosphere for the play.
What to prepare for
Unlocking yourself by talking to new people helps. And a number of effective exercises:
Communicating with passersby. A girl puts lipstick on her lips and asks strangers if such a provocative color suits her. The man experiments with any item of clothing in a similar way to decorative cosmetics.
Mirror. One participant mirrors his partner’s movements.
Loose walking. Slow walking barefoot develops elasticity in the lower extremities. Feel the weight of your body on your feet and fix your attention on each contact with the floor. Relax your shoulders, don’t force your breathing, and don’t clench your knee joints.
Grounding. Forms a springy gait. Feet are parallel to one another, pelvis moved back, knees bent. Bend forward with your body until the weight of your body is on the pads of your toes. Keep your head parallel to your body. This will help you not lose your balance. The abdomen, as opposed to the rib cage, is expanded. Your gaze is directed forward, looking straight ahead and imagining that you are holding a fruit basket on your head. At first you will feel discomfort. But afterwards, unlocking the knee joints will lead to a springy gait.
Chair exercise. Sit on a chair in your usual position. Stand not in your usual mode, but push your feet off the floor, without leaning on the chair. Rest your feet on the floor, put your body weight on the pads of your feet and push off. Then rise up from the chair as you do every day and feel the difference. In traditional lifting, more of the load is on the torso. During a proper one, the legs are actively involved.
Stage fright, trembling voice during public performances – the consequences of the muscular and mental armor.
In most cases, social factors are to blame:
- parental errors in upbringing;
- negative experiences in school performances;
- bullying in childhood;
- Negative attitudes of peers and teachers toward the child’s stage performance.
When working on emancipation it is important to distinguish a relaxed body from a lax one, looseness and artistry from indecent tactlessness. Emancipation is not bragging and showing off, but an internal state of calm and serenity.