divination 

The essence of the art of transformation. People. transformation skill. Universal learning activities

Photographer Howard Schatz gives the actor (famous or not so famous) "settings"/situations and asks him to mimic the moment appropriately. It turns out a scene in one photo.
Very interesting read :)


Hugh Laurie

1. You are an exemplary family man and good father. You are having dinner with your wife when your 15-year-old daughter announces to you that she is pregnant.
2. You are a young designer. On the morning before your first show, you realize that your collection is not ready to be shown and there is not a single "amazing" thing in it.
3. You are a narcissistic, arrogant MP in the British Parliament. You are giving a speech that live broadcasts the BBC channel and you are terribly rushing from the sound of your own voice.

David Strathearn

1. You are a 9-year-old boy who hears for the first time from his 16-year-old brother where babies come from.
2. You are an exalted evangelist who exclaims during the sermon: “Thank you, Jesus! Thanks Jesus! Thanks!"
3. You are a former athlete. You are incredibly angry at the referee who awarded a penalty for your 7 year old son's foul.

Joan Allen
1. You are the heir to a multi-million dollar fortune. You will find out that your young husband is having an affair with an even younger lady. Standing in front of the mirror, you think about whether you should do a facelift.
2. You are the first female secretary of defense in US history. You are meeting with the Chairman of the Joint Chiefs of Staff, who called you a "very nice lady" on CNN the day before.
3. You are an aggressive head of an advertising agency, arguing with your deputy, who failed to get a Cialis contract (analogous to Viagra). “You are such a beating that you need to go to Cialis advertising billboards yourself!!”

John Goodman
1. You're a nerd who flirts with a cheerleader and doesn't understand that you have no chance of success.
2. You leave the nursing home where your wife is. For the first time, she didn't recognize you when you arrived.
3. You are the varsity basketball coach yelling at the referee. You know that if you get sent off, your guys will play more aggressively.

John Leguzamo

1. You are a hostage hearing your friend being tortured in the next room. You understand that you are next.
2. You are a 4-year-old boy on a walk in the new "realistic" dinosaur park. You've just been "licked" by a 50-ton mechanical brontosaurus.
3. You are a heroin addict persuading a dealer to lend you a dose. You will give him his money back.

John Malkovich

1. You are a young naive actress, you are new to Hollywood. Your agent just called you and told you that you have been cast in a big movie, according to the script, George Clooney will fall in love with you.
2. You are a builder. Together with your friends at work, you are sitting at a construction site and are going to have lunch. You yell at a hot girl passing by, "hey babe, do you want to see what I have in my lunch box?"
3. You are an average drug dealer, you owe a big mafia boss a heck of a lot of money. Your courier just told you that "suddenly the wind came up and blew two bags of your cocaine away."

Whoopi Goldberg

1. You are an exemplary wife of a famous televangelist. You just found out that your husband had an affair with a call man and the press knows about it.
2. You are a rich woman from Fifth Avenue, you wish "Merry Christmas" to the doorman, whom you never give a tip.
3. You are Barbara Walters, you are interviewing a recently divorced actress. You ask her about last movie, and then immediately ask the question: “Were you very hurt that he left you for a young one?”

Michael Douglas

1. You are an unfortunate father whose daughter disappeared two months ago. You were called to the police to identify the body of a young girl. The coroner pulls the sheet and you realize that this is not your daughter.
2. You a little boy to the freak show. You watch a pierced uncle eat cockroaches.
3. You are a 14 year old girl who has just opened her 18 year old sister's bedroom door without knocking. The sister was there having sex with her boyfriend.

Ian McShane

1. You are a prosecutor with great political ambitions. You are speaking at a high-profile murder trial and the main defense witness just said too much and you can catch him in a lie ...
2. You are a former Marine. You are returning home from gym and you were attacked by a robber with a knife. You think to yourself "dude, you have no idea who you're hooked up with"...
3. You are watching Formula 1 races on TV. This is the first time your son has entered the race, having just crashed into the fence. They pull him out of the car and the commentator says: “he doesn’t move” ...

Chevy Chase

1. You just saw that the woman next to you opened her cloak, and there was nothing underneath.

2. You just heard your teenage daughter bragging to her friends that she "put her earring in somewhere"..

Alan Cumming

1. You are four years old and you have just released a family parrot from a cage.
2. You are four years old and you ignore the reproaches of your mother, upset by the disappearance of a parrot.
3. You persuade your girlfriend to go with you to visit your parents
4. The man who was betrayed
**

Natasha Richardson

1. You are a woman who understands that her relationship with the man she loves is going nowhere.
2. Former school "scarecrow", the current rock star. You are driving in your limousine to the reunion.
3. You are a computer genius who just hacked into an English teacher's database and gave herself an A on her final test.

Most importantly, the idea!

The appearance of the hero

reflection of his inner world

and character.

In this lesson, students get acquainted with the history of the emergence and development of makeup, as well as with the profession of a make-up artist. When messaged new topic used presentation (I). In practical work, students use the application (II) (sequence of work with makeup, etc.), and then perform makeup according to the given samples. Practical music goes to the music ("Princess Turandot") (III). The lesson promotes team building (they work in pairs and 3-4 people), corrects the psychological state of the student, helps to get rid of the complexes. In addition, it maintains interest in the subject, develops the aesthetic perception of the theater, metasubject connections and is a career guidance work.

Students use the following expressions:

1) composition;

Based on this, further work in the lesson can be built, taking into account the individual characteristics of students.

The lesson ends with a photo session and viewing of their work on the computer. This lesson development can be used in art lessons, career guidance lessons or electives, and school holidays.

Planned results

The student must understand the meaning and relationship various kinds arts, their place and role in the spiritual life of a person, to aesthetically perceive the diversity of the artistic picture of the world. Be aware of features artistic language various kinds of arts.

Universal learning activities

Personal: students establishing a connection between the purpose of educational activity and its motive (the motive is to master the expressive possibilities of makeup and the ability to use them; the goal is to study various types of arts (theatre, choreography).

Regulatory:

Statement of the educational task;

Determination of the sequence of intermediate goals, taking into account the final result;

Anticipation of the result and the level of its assimilation, its temporal characteristics;

Comparison of the method of action and its result with a given standard;

Making the necessary additions and changes to the plan and method of action;

Isolation and awareness of what has already been learned and what is still to be mastered, awareness of the quality and level of assimilation;

Education of volitional self-regulation.

Cognitive:

Transformation of an object from a sensual form into a model (make up yourself or a friend according to a given model, use various make-up techniques to achieve additional effects and greater expressiveness).

Choice effective ways solving tasks;

Monitoring and evaluation of processes and performance results;

extraction necessary information the ability to structure knowledge;

Independent creation of ways to solve problems of a creative nature.

Communicative: social competence, taking into account the position of comrades and teachers, the ability to listen and enter into a dialogue, participate in a collective discussion, integrate into a peer group and interact and cooperate productively with peers and adults.

Master the expressive features of makeup, as well as the ability to use them, make makeup according to the model, compose the story of the hero, present and defend the project.

Interdisciplinary connections:

Literature, history, music, theater and art, technology.

Lesson type:

Lesson presentation

Organization of the lesson:

Work in groups (in pairs); prepare tables with necessary material. Everyone needs an emblem on their chest.

Equipment and materials:

Make-up, mirror, wet wipes, change, photo of the hero in makeup, routing, the sequence of applying makeup; camera, water cans, felt-tip pens, pins, adhesive tape, glue, paper, ballpoint pens.

Visual range:

On the board is the topic of the lesson, a computer, an interactive whiteboard.

Music for the play "Princess Turandot"
Yann Tiersen - La Valse d "Amelie (from the film "Amelie Poulain")

Video sequence:

1. Presentation on the topic "Secrets of acting"
2. The sequence of applying makeup - a technological map.

During the classes

I. Organizing time(1-3 minutes). Greeting, mood for work.
Check readiness for the lesson.
II. Topic post (15 minutes)
III. Practical work (20 minutes)
Summing up (5 minutes).

I. Organizing time.

Greeting, mood for work, checking readiness for the lesson.

II. The topic of the lesson.

We continue the theme "Synthesis of arts in theatre, cinema and television". Today's lesson is the final one on the topic and is dedicated to the "Art of reincarnation". In the lesson, you will try visual means of reincarnation: makeup and how to apply makeup.

Dialogue form:

"So what's the makeup for?"

- Most often, makeup is used in the theater, cinema and circus.

- Makeup is needed to change the face.

- To make it more interesting and clearer who is who in the play.

The goal of acting is acting, a game in which the actor transforms into someone else. Of course, this reincarnation is conditional. What should be the make-up - the director decides with the theater artist. Grim cannot be found in ready-made detached from the image, outside of it. Properly selected makeup is a great and subtle art. (Include presentation "History of makeup" music from the movie "Amelie Poulain").

The history of makeup goes back to folk rituals and players who demanded an external transformation from the participants. In ancient times, it had a religious, symbolic meaning. The traditional make-up of the Chinese, Indian, Japanese and other theaters of the East, conditional in drawing and colors, associated with the most ancient ritual rites, has survived to the present.

There are two ways of acting transformation: external and internal. These are the traditions of the folk theater of "performance" and the theater of "experience". The dramaturgy of the "theater of experience" demanded that the actor be born on the stage of a full-blooded image, when the viewer follows the development of the fate of the hero, changes in his character, and "the embodiment of the life of the human spirit on the stage" takes place. The truth of the actor's existence is based on the finest internal technique.

The use of means of external expressiveness (costume, wig, make-up) in this case serves to embody a dynamically living image.

In the second half of the eighteenth century, they tried to give make-up a greater characteristic, individual brightness. But only the development of realism in the theater created the basis for the art of make-up. The works of N.V. Gogol, A.N. Ostrovsky, A.P. Chekhov demanded from the actor the ability to create make-up - an image that generalizes the individual and social features of the human image. a huge role makeup in his work was given by K. S. Stanislavsky. Since then, a new position has appeared as a make-up artist, creative assistant to the director and artist. A huge contribution to the development of the art of make-up in the Russian theater was made by many make-up artists, among whom it is worth noting M. G. Faleev, N. M. Sorokin and I. V. Dorofeev. The creator of the theoretical foundations of makeup in the USSR is the make-up artist R.D. Raugul.

One of the specific features of the theater is the extraordinary contrast of its images, which is created by the live action of the acting actors. All means of expression, including makeup, contributes to this concretization of images. Through make-up, an actor can change his face, give it such an expressive form that will help the actor most fully and comprehensively reveal the essence of the image and convey it to the viewer in the most visual form.

In the staff of the theater, a make-up artist is as necessary as a director or actors. It is the make-up artist who conjures up the faces of the actors before the performance, helping to create the desired image. With the help of skillfully applied make-up, you can change the shape of the face, age the actor or make him younger, as well as emphasize the character traits of the hero of the play. Some actors do their own makeup. In order to successfully make up, the actor must not only know his face well, but also take into account the character of the character, the image of which he will have to embody on the stage.

Makeup- an active means of external expressiveness. When making up, the actor gives one or another shade to the skin, changes the line of the eyebrows, makes the eyes more expressive.

Make-up artist invents make-up to create a certain image or resemblance to a historical character, selects wigs, beards, overlays, hairstyles and other details that emphasize the image of the hero. This reincarnation, created by the actor together with the artist, sometimes even constitutes the essence of the whole performance.

Folk actors of the Middle Ages (buffoons, jugglers, etc.) painted their faces with soot, the coloring juice of plants. Primitive make-up was used by participants in medieval mysteries.

In the "performance theatre" the actor hides behind the mask of his hero, literally and figuratively. He rather represents the character, depicts his behavior, and does not live his life. These are certain types in which some character trait is emphasized. In creating a game mask, means of external expressiveness play an important role: make-up, plastic, costume features.

These are the masks of Italian comedy dell'arte by Carlo Gotzia(Brigella, Columbine, Harlequin, Pierrot, etc.). They were carriers of certain human traits and were unchanged from performance to performance.

A person, hiding behind a mask, gained greater freedom, as if he is hiding behind it from the viewer, as if saying "it's not me, it's him, my character."

In Rus', dressing up in various masks is more likely associated with Christmas and carols. Kolyada - a holiday of pagan origin Slavic peoples associated with winter solstice, later timed to coincide with Christmas. The mummers used masks depicting animals, skins, horns. Caroling is the glorification of the infant Christ, the gifting of conjurers, winter Games and fun.

What is the purpose of makeup?

- The task of makeup is that with the help of various techniques, makeup helps to reflect facial expressions characteristics roles, enhance the emotional perception of the character.

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 others 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 is a professional creative activity in the field of performing arts, consisting in the creation of stage images (roles), a type of performing art. playing a certain role in theatrical performance, the actor, as it were, likens himself to the person on whose behalf he acts in the play. By influencing the viewer during the performance, a special playing space and a community of actors and spectators are created.

AT 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 the 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 connected with the actor's work on the role, which ends with the actor's organic fusion 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 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 in many ways interpret general principles directed by Meyerhold. Domestic theater studies long years was limited in the 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 by Mikhail Chekhov, who has seen many actors and directors. different types, schools, directions 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.

Domestic culture has a non-tangential relation to such a luminary of stage art as Stanislavsky. There is even a whole direction, which is called a "school", bearing his name.

One of the main components of this school is the development of actors' ability to stage transformation. Not only that: in order for such a state to be as reliable as possible, the actor should not have "left" the character all the time that was allotted for the tour of such a performance.

In fact, we are talking about a deep immersion in an altered state of consciousness, when a person can no longer distinguish his personality from a character, there is no clear boundary where real life and the image begins.

This is exactly how, according to Stanislavsky's idea, a feeling of contact with the audience in the auditorium could be achieved, capable of making them empathize. Truthfulness, sincerity, honesty, reliability - these are the qualities that were required from an actor on stage.

This idea is absolutely sound, and the masters of this genre have repeatedly proved their ability to demonstrate the mastery of the audience's attention. And yet there are some points in this case that are alarming. We are talking about the fact that many talented actors end their lives too soon, sometimes right on stage.

On this occasion, there was a strong opinion that a real actor should die on stage. There are many explanations for this fact, which usually satisfied those who were interested. And yet there was something wrong with it.

Let's look at this issue from a slightly different perspective. There is such a term in psychiatry as stigma. In a popular explanation, this is the reaction of the nervous tissue of the body to a mental image.

So, for example, when a schizophrenic patient had a manic attack (in which she assumed the image of Christ crucified on the cross), bleeding wounds appeared on her palms and feet.

This, of course, is a pathology, although, on the other hand, one can see in this the force of psychic creativity that reincarnation is capable of manifesting. An example can be given that is not related to a morbid state of the psyche.

For example, an actress, playing a tragic role, can burst into tears (and quite sincerely) so much that she then has to resort to sedatives. On the one hand, she understands everything, all the comedy of the situation, but on the other, sobbing, she continues to empathize with her character.

Now we see not only a deep reincarnation, but also a split personality. Of course, this is not a pathology, but the fact that this is a schizophrenic syndrome is certain.

Is this good or bad for an actor? It is precisely this duality that is a happy outlet through which common sense returns to consciousness usurped by the role, albeit on a voluntary basis. But what else?

It has been noticed: the more talented the actor and the more magical his performance on stage, the shorter his life. Apparently, this fact must be answered, even several answers, which, as a result of superposition, will explain the conditions that led to death.

Since we are talking about talents, then, following natural patterns, an excess of some qualities in them implies a lack of others. Most often, acting talent is aggravated by some kind of illness, and this is already a loophole for death, although not yet mandatory.

Then, the school, which requires deep immersion in the role, changes the state of the psyche so much that even later, after leaving the image, he (the image) continues to live in the actor, albeit in a hidden form. Then the second hero, the third. One "good", the other "bad" - a villain.

And all this requires reincarnation. However, all of them, although only roles, are nevertheless parts of a person's reality, and hence his history. In other words, there are such levels of figurative immersion, exits from which can never be complete. The design of the image, of course, was banished by the personality of the actor, but the quintessence of the character remained.

Now it is clear that the accumulation of such contradictory, but beloved images cannot but affect the health of the psyche. At first, a person feels a constant craving for loneliness in nature, and then, without getting the necessary recovery, for "incomprehensible" reasons, he suddenly becomes angry, aggressive, after which, without visible reasons falls into a deep depression.

Alcoholic binges and even narcotic oblivion, in fact, are vents that lead consciousness out of the world of inner passions, where not only hidden images assert their right to leadership, but this right is challenged even by the personality itself.

Naturally, such a state of affairs can negatively affect physical health. Quite often surprising variants in the development of relations between the remaining image and the personality of the actor are not uncommon.

Every actor, and talented in a special way, dreams of playing some significant person. And if this dream comes true, then one can imagine with what awe and delight he begins to immerse himself in the image. As a result, this is no longer the same actor, but the hero of the script revived in the body of the artist, whose thoughts, reactions, phrases express not the game, but life itself.

And suddenly, in the midst of preparations, for some reason this performance is removed, and another one is being prepared instead. Of course, with pain, but the actor is forced (albeit temporarily) to abandon such a coveted role. However, the image, the image - it's not that he can't - he just doesn't want to get rid of it - it's akin to treason, betrayal.

So, in the depths of the psyche, two people collide: one is a beloved, and the second is an unloved image. As a result, strange things can happen that even experienced psychologists find it difficult to explain.

The phenomenon is that with such an actor, things start to happen mysterious phenomena which often put his life on the brink of death. It seems that our hero is being pursued by some kind of evil fate, moreover, purposefully and at every opportunity.

What is the focus? And that there is always something that prevents him from playing in the play that replaced his dream. You can doubt, not believe, but there can be one explanation. The offended pride of the first image pursues the usurper. And since it now merges into new role with the personality of the actor, it means that the carrier himself is considered among the declared enemies.

It is no wonder that such a scenario is drawn to a thriller, where the role of the victim is already indicated. And the more talented the actor, the more he is suitable for sacrifice. What happens - art kills its main carrier - the actor? This paradox needs to be resolved.

Let's get back to the plot, when the crying actress showed a split consciousness, at the same time realizing herself as a person, but, at the same time, feeling the power of the image as a living being, her second "I". As you probably remember, it was this duality that helped her decide who was where. In other cases that we have discussed, this does not happen.

There are several reasons. This is a deeper immersion in your favorite roles, an unwillingness to give up these experiences (which are akin to narcotic ones), a pathological desire to play roles not only on stage, but also to continue them in life.

You can, of course, say: "But why do we need such powerful experiences, if they cause such trouble?!" However, such claims are wrong. Firstly, one cannot force oneself not to love if this feeling has already been manifested, and, secondly, what kind of art will it be if it is castrated?

So, there is something else, unclaimed "school". Why unclaimed? Yes, because such cases continue to shake the acting world. At the same time, wonderful, talented actors live and play in parallel, demonstrating a brilliant game and not at all suffering from a "figurative" disease.

This is all the more strange that both those and these come from the same school. Everyone is certainly talented, but some suffer, while others do not. There can be only one answer here: those who avoid mental stress from an overabundance of images, apparently, somehow intuitively find a consensus with them.

A meditative study of this problem showed that in the risk group, actors only master the process of immersion and are absolutely incompetent in how to properly exit the image, mistakenly believing that if the "Personal Self" has manifested, then the transition process is over.

We have already talked about how residual phenomena can develop. And the point here is not that these "remains" should not be - it is not. They necessarily remain, as traces of real experiences - that's another matter.

Some can negotiate with them, while others cannot. Exactly, no matter how paradoxical it may sound. Why is there no information about this fact?

Yes, because those who negotiate do it unconsciously, not understanding the deep meaning of this process, while for others this mechanism is blocked. So it turns out that the school has a significant drawback, which so tragically affects the fate of many talented actors.

Perhaps this flaw has already been noticed by people who, by virtue of their profession, could not fail to notice that somewhere in the methodology an error lurked. But, firstly, they simply do not have special knowledge, and, secondly, the authority of the luminaries is too strong to declare that the well-known school is imperfect.

Specifically, we are talking about the fact that any agreement can be implemented only if there are at least two parties. This means that immersion in the image should not be a reincarnation of the personality, but only a concession when the personality leases the body to the image.

It is known in psychology such a state of consciousness when the body reacts to the signal of the image by movement and this is called an ideomotor reaction. There is another state of consciousness when the "Personal Self" can observe the movement of the image.

In this version, the body is absolutely motionless. This process is called phantom, because attention was watching the image - the phantom. So what is missing from the "school" of stage impersonation?

The immersion of the actor is the opening of the mind to the intellect. Any failure in this connection - and tension makes itself felt in the form of signs (there are as many of these parallels as a person can notice, in fact, the whole world is linked by them into an integral cosmic system), and then in the form of accidents. This is how the intellect teaches the mind. But is it worth it not to bring to such harsh lessons?

It can be argued that the state of parallelism of consciousness (where the ideomotor embodiment and phantom observation of it go on simultaneously) is capable of not only introducing an image into consciousness (and not consciousness into an image).

It is able and absolutely painless to bring it out, creating an opportunity for an effective contract with residual states that continue to be active for some time.

Such a technique could significantly strengthen the national school and save the health, and sometimes the life of many talented representatives of the art of acting.

Define your totem. Full description magical properties of animals, birds and reptiles Andrews Ted

Exercise 5

On the early stage human evolution, before we had a permanent physical body, we may have been able to freely change our appearance. When the body was less dense, we had the ability to take on any form. Now for this we have to use imagination.

The art of werewolves is inherent in all people without exception. It's not just about turning into an animal. Every day on certain level we change our energies to fulfill the demands that life in society imposes on us. FROM early childhood we know when to smile, when to be serious, how to make excuses, or how to assume different roles depending on the situation.

Most of the ancient myths and traditions about reincarnation reflect a time in human evolution when we were not so attached to the physical body. Today they must be interpreted symbolically. Reincarnation is the process of adjusting and changing your own energies to suit the demands of the moment.

Everyone who is able to learn how to achieve a goal has the art of reincarnation. If you can adapt to change, pleasant or not, then you can consider yourself a werewolf. If you can force the will to change Bad mood good if you can adapt to relationships with a large number of people and to various life circumstances, then you possess the art of reincarnation.

In this art we can all achieve high level. We can learn to resonate with the energies of a particular totem animal and use them in our lives. When we learn to do this, we will begin to realize that there really is magic in the world.

Today, all magical changes take place primarily at the level of your mind. This does not make them any less real or less effective. When we recognize this, we enter the path of real magic. Gradually, you will learn to control your imagination in accordance with your desires. When we change what goes on in our heads, we will change the world. We can learn, with the help of imagination, to achieve a certain goal, to reincarnate into another being.

This is what can be taught this exercise. This is just the beginning. It will not make you masters of reincarnation, but will only help you improve and expand your creative imagination, facilitating your attunement to a totem animal and the manifestation of those of its qualities and energies that you need.

To become a master of disguise, you must master the skill of observation. You cannot reincarnate into the body of a bird - even in thought - if you do not know how the body of a bird functions. Start by observing the two or three states your animal is most likely to experience. Visit zoos. Observe the animals' behavior and take notes. Imitate their movements and sounds. Start imagining yourself as this animal. Think about how you might feel if you were an animal.

Examples of body postures conducive to reincarnation

If desired, you can help yourself in the implementation of the reincarnation, using a dance and / or an animal costume. The diagram below incorporates elements of the previous dance-related ritual, but goes a step further. It will allow you to get even more tangible results.

1. You need privacy for this exercise. No phone calls, nothing to disturb you.

2. Begin the exercise by delineating the sacred space using the circle motion as described in the previous exercise. Then move in a spiral towards the center of the circle. If you want, you can put a chair there or put a soft mat to sit on.

3. When you are in the center, stop. Feel and visualize the unformed energy of your totem animal around you. Now start moving, imitating your animal. As you assume the posture and walk within the circle, imitating the animal, feel its energy intensify and condense within and around you.

4. Now sit down and mentally create an image of your animal. Try to see how the image is formed and grows in the area of ​​your solar plexus. Imagine how in front of your mind's eye it takes on a stable form.

5. When you can fully visualize it in front of you, begin to visualize it being absorbed into your body through the solar plexus. Take in all of his essence through this energy center.

6. Now start with the feet or hands. Feel how they change. Imagine and feel how hooves, paws or claws are being formed. Visualize fur or feathers growing instead of skin. Allow the changes to take place slowly and gradually – from the toes up and up. The last part of the body to be transformed should be the head. This will help you stay in control.

7. Also, as you visualize yourself in the process of reincarnation, visualize a door gradually forming, engraved with the image of the animal you are transforming into. This is the door to the inner world. Form is more easily retained at inner levels of consciousness, so visualize a door opening and you walking in as an animal.

8. At the very beginning, you will simply imagine everything that you want to experience in the form of an animal. However, over time, the sensations come alive. They take the form of a very vivid daydream. You will not just observe yourself from the outside, you will directly experience all the sensations.

9. On the other side of the door you will find your animal's habitat. You can use the form of an animal to travel through your inner world—visiting other people, the past, and the future. You are an animal.

10. After a while, imagine yourself returning, exiting the door, and it slams tightly behind you. Then your body begins to slowly change again, starting with your head. Wool or feathers become leather again. Don't rush the conversion process. When you regain your original form, allow the animal image to leave your body through the solar plexus. Imagine that he is in front of you again. Now allow this image to slowly dissipate until it becomes a formless energy surrounding you at the center of your circle.

11. Slowly open your eyes and stand up. Perform a few movements of your ritual dance to express respect and gratitude to his spirit, and then begin to slowly spiral towards the borders of the ritual circle in a counterclockwise direction. Visualize how the energy is dissipated.

12. Erase the boundaries of sacred space by imagining yourself fully grounded and balanced, dancing in a counter-clockwise circle. Walk around the circle as many times as you did in order to create a sacred space.

This and similar exercises are associated with a certain risk. If you find that the day after doing the exercise you become too distracted and lose your sense of reality, take a break for a while. If people around you notice any change in your character, stop exercising immediately. Such an exercise should not be used too often.

Often there are people who have never meditated or exercised control over their energies, but they hope to jump over all this and learn to reincarnate right away. This may lead to certain problems. If you find yourself rushing home to complete the reincarnation exercise or neglecting other aspects of your life, then stop immediately. This will lead to an imbalance in the internal balance.

Get creative with the steps above. Tailor them to your own needs and experiment with them. Dance and reincarnation is creativity. To make them truly magical, you must use your creative imagination and intuition.

As you will see, the ritual dance is very powerful tool, and its use almost always leads to quite noticeable results, up to physiological changes. It may make sense to enter into totem form only under the supervision of someone who is well aware of deep altered states of consciousness. If not, then do everything very slowly.

Although to an outside observer the person undergoing reincarnation may look the same as usual, internally he or she undergoes complex transformations and perceives his or her body in a completely different way. This should not be overlooked or underestimated. It takes a lot of time and attention to absorb and balance the energies attracted as a result of reincarnation.

For beginners, it is best to use simple movements and postures. Always use the door. In this case, if during reincarnation you temporarily lose control over yourself, then your mind will already know how to return back.

Some may want to try dancing in a trance to facilitate the transformation. If you are not confident in your ability to control the process of reincarnation, then it is better not to do this. The dancer or person performing the reincarnation must not reach a state of ecstasy. It's very dangerous for everyone energy system person.

Many shamans use tambourines to enter an altered state of consciousness and facilitate the process of reincarnation. If you are working with other people, the tambourine can also be used to bring the person back to reality. One method of using a tambourine involves beating a slow rhythm similar to a heartbeat and then hitting hard to release consciousness and facilitate reincarnation. Returning back to a normal heart rate helps bring consciousness back to normal. This method is especially effective because in this case there is no too abrupt transition from a deep altered state to normal state consciousness.

You can return a person to reality by taking his hands and exercising synchronously with deep breaths and exhalations. It is also helpful to massage your feet to open and activate the chakras that help us reconnect with the earth. To do this, it is better to sit or lie down while removing the fetishes attached to clothing or the animal costume that you used to facilitate the transformation.

In addition, it is very useful to stroke the spine from top to bottom, starting from the head. This balances the chakras and brings consciousness back to reality. Remember that your main goal always is to establish a connection with the energies and exercise conscious control over them at all stages.

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