Perform relaxation, breathing and resonance exercises  (Page 6/6)

The flaps of the box must be together so that a hand can be slipped inside, but no-one must be able to see the contents.

Place the box in the centre of the acting area.

One by one, the learners must kneel in front of the box, facing the other learners, who check that (s)he does not look inside while putting a hand into the box.

The learner must identify the selected article by touch.

The learner then withdraws his/her hand, leaving the article in the box, and mimes an action once, showing how to use the article.

The other learners then call out the name of the article.

If they do not guess right, the action must be repeated.

Subsequent learners must remember which articles have already been identified. The learner might have to identify a number of articles before one is found that can be mimed.

Exercise 2: Encounters

Compile a list of characters.

Allocate one to each student.

No one must know who the others will characterise.

Divide them into groups of three members (not more than four).

When the groups are ready, they reveal their given characters to the other members of their group.

They have to plan a short scene; invent a situation, development, dialogue and conclusion.

During the activity the learners may not name the temperament or occupation of the character they are portraying.

The temperaments or occupations must only be revealed to the audience by means of the actions and attitudes of the performers.

At the conclusion of each short scene, the players must stay in the acting area while the learners attempt to say exactly what each performer represented.

Here are some suggestions:

• Policeman - fitness fanatic
• traffic warden - very shy person
• deaf person - copy-cat
• non-stop talker - mind reader
• boaster - kleptomaniac
• short-sighted person - glutton
• gardener - liar
• snob - doctor
• superstar - murderer

Exercise 3: The “Take-over”

Place a number of objects (any objects will do) in the centre of the acting space.

The learners must examine the objects.

These objects can be used in a short scene, either as they really are or as some other object.

The learners can remain in their groups from the previous exercise.

Allow five minutes for preparation.

Point to a group to perform their scene with the chosen objects.

Use your discretion and point to another group to move into the acting space to take over from the first group – the first group must then allow the second group to take over their space and objects and move away from the acting space and go back to their places in the circle.

Point to another group, until each group has had a turn.

The transitions must happen rapidly.

To initiate the ‘take-over’, you can also play music, blow a whistle, clap your hands, shout, play a musical instrument, etc.

ACTIVITY 3

The aim with this activity is to strive for clarity of communication without speech, by means of graphic movement.

Without dialogue, movement must be explicit and very carefully timed in order to communicate well.

The learners should be able to visualise the invisible, to make the concrete tangible and, where appropriate, to call into play the senses of taste, smell and hearing.

Exercise 1: Look at it

Let the learners think of something, animate or inanimate, which they can come and look at in the acting area.

They may not touch it or act with it, but just look at it and react to it.

No-one should attempt to start the exercise until they feel fully prepared and able to visualise the object clearly.

The other learners must be able to ‘read’ his or her subtle reactions.

After each visualisation, the learners can volunteer what they thought the object was.

Exercise 2: Sensation

Have the learners choose one of the following senses to perform:

Taste e.g. bitterness, hot curry, rancid butter, sweetness, medicine

Smell e.g. perfume, gas, fresh air, smoke

Touch e.g. a caress, a blow, a snake, an ice cube, something rough, sticky, silky, light, heavy

Sight e.g. sunrise, rugby match, accident, attraction, repulsion, amazement, distant object

Hearing e.g. gossip, gunfire, compliment, cry, music, doorbell

Have them use their facial expressions as well as body to express these senses.

Small groups will share their observations and offer constructive comments afterwards.

Exercise 3: Objects and Sensations

Have the learners, in their groups, devise a short scene combining Exercise 1 and 2.

They are only allowed to use one object.

They are allowed to use as many senses as they like.

Let the learners perform their scenes to the rest of the class.

The learners have to comment on each scene after every performance.

Let the learners choose the ‘winning scene’ after all the performances have taken place.

Helpful hints :

Encourage visualisation, communication and precision of movement.

Encourage teamwork, concentration, timing and the creation of mood by the style of the movement.

In a dramatic performance, points are sometimes blurred by indeterminate movement, so demonstrate the significance of how a dramatic moment can be clarified by means of posture and gesture (body language).

The learners must be relaxed to enable the ‘audience’ to ‘read’ his or her reactions.

To be specific, acting without dialogue is usually difficult. However, it is surprising how much can be communicated by the subtle reactions of the face, eyes and the rest of the body.