Following the recent discussion that unfolded in the comments, I also decided to speculate about what personally attracts me to acting, and why exactly it attracts me. Although the topic is actually even broader than it seems.
And here's where it all started.
“...There are few talented actors. But there is a whole business that takes away
suitable types and makes strong craftsmen out of them (I always
I was surprised how many similar faces we have in the cinema and in the States. Then it dawned on me that this was most likely not just a coincidence). I try my best to drive this thought away from myself, but - I think - each of our idols knows perfectly well in what angle he will look best in front of the camera. And he constantly keeps this in his head. Charm? Charisma? They are well aware of this, and they will show you all this in the most favorable light. A good costume designer, makeup artist and hairdresser will do the rest.
Sounds completely ugly, right? That is, the actor is not concerned with getting used to his character. He only thinks about how to make you believe in all this, using a certain arsenal of tricks from his palette. For some it is richer, for others it is poorer.
Now let's think about it - what difference does it make to us, after all? Will Fiennes pull out all the stops to make us believe in his Heathcliff, or will Costner and Willis choose a script in which they themselves will feel organic and act accordingly and look completely believable?” e_zaec
This is why, Hare, I have always appreciated, appreciate, and will appreciate you, it’s because you are not lazy to formulate your thoughts very clearly and clearly! No, and for many other things, of course, but for this in particular.
And when these thoughts suddenly turn out to be also mine, for some reason not formalized in the form of a neat text like yours - in such cases I generally come into a state of complete euphoria and immediately begin to joyfully jump up on my shaky chair, actively waving its paws in the air and sometimes even quietly squealing with delight :)
That is why I really wanted to quote you, and also to slightly develop the topic you touched on yesterday.
It's no secret that I'm really quite partial to good, talented acting.
But what do I personally mean by this, which is actually quite a conventional concept?
A good actor for me is, first of all, a person who is capable, who knows how to play a variety of roles and create images that are different from each other. A person who stars in films that vary in both genre and style. And it goes without saying that he does all this well, that is, his characters will be what is called “psychologically reliable” and convincing.
It is precisely this kind of work that will be most pleasant and interesting for me to watch: I would say that more often than not I am interested not so much in the film itself and its plot, but in the image created by the actor in this film. For example, "Valmont" by Milos Forman. Or "Amadeus"... Or... yes, yes, or any of the films with Ralph Fiennes.
The more complex the character is, the more interesting it will be. But at the same time, I must also unconditionally trust the actor: the slightest doubt, and that’s it - the magic spell disappears, the charm is gone forever...
But if, in addition to all of the above, acting work makes me want to not only immediately reconsider (this is necessary), but also begin to think, that is, to get into the skin of the hero, for a while looking at his world through his own eyes, try to analyze the course of his thoughts and logic of his actions, in general, as they say, to understand “how he came to live like this” - in this case, my delight will truly know no bounds.
Hmm. Of course, like any normal woman, the vast majority of viewers, I also love a beautiful picture, so I won’t lie: if the mentioned “ideal characters”, in addition to all the charms listed above, are portrayed by an actor who is attractive in appearance, I will like it much more than with no less skill the same role was played by a certain bald and toothless stump with a belly below the knees.
It is for this reason that from time to time all my complex discussions about the thrill of contemplating talented acting happily go for a walk in the forest, and I myself, freed from the shackles of snobbery and armed with an impressive bag of popcorn, sit down to watch some... Let’s do without examples - in a word, some beautifully made Hollywood garbage, which in fact is neither mind nor heart :)
Although, in general, my “ideal film” is both a script and acting, and also a joy for the eyes.
Do I agree to watch a film where no one plays anything at all, but everyone looks extremely impressive - for example, they very dashingly wave sparkling swords and sparkle from left to right with slender military ankles?.. It’s a difficult question. Probably, after all, only if someone plays there whom I already highly value by default, so that, firstly, I will be ready to forgive him for any “sins”, and secondly, I simply won’t fall asleep out of boredom while watching.
However, every rule has its exceptions, but in this case they are still exceptions.
Now let me return to the text quoted at the beginning about “strong craftsmen” e_zaec
.
She spoke about them in the most, in my opinion, exhaustive way. Neither add nor subtract!
Indeed, these are excellent embodiments of an image once chosen and one hundred percent suitable for them, under which, in fact, films are made and scripts are written.
By the way, I have a strong feeling that in recent years this practice has been steadily declining: today there are still significantly fewer names under which films are “made” than, for example, in the eighties. And on the other hand, much more often the exact opposite happens before our eyes - almost every popular boxbuster strives to open the next “star”.
Either this labor market has grown to such an extent, or simply the tastes of the people have changed, and the people began to demand much more variety - the devil knows. Cinema is still a very young industry, constantly developing, so we now have the opportunity to observe all these changes, constant search, testing of some new paths and new approaches to creating films.
...In any case, today's "Hollywood superstar" is already quite noticeably different from the classic Hollywood star of twenty years ago (I am generally silent about the earlier period). Today, he is a person who constantly tries himself in a variety of genres and is not afraid to experiment. In fact, things are moving towards abandoning any particular role: I think a star like Johnny Depp will suit everyone as an example.
...But I got a little off topic.
So, I completely agree with Zaets' theory about the existence of two separate categories of actors who adhere to fundamentally different methods of work.
As an example, let me consider the candidacy of Harrison Ford, whom we have already discussed before.
Yes, he is charismatic, he is kind, but no matter how much I love his Indiana Jones and Han Solo, I could never call him a good actor.
Harrison Ford, in my opinion, is just a very clear example of an actor of one role! Once a role is chosen, a completely specific style, but all this is honed to almost unimaginable perfection. Roughly speaking, all of Ford’s successful works will always remain only facets of this very, once chosen image. I repeat once again - yes, I really like Ford’s bright, charming, and in their own way very, very holistic characters, but this is not at all what I personally consider acting.
For me, one very important thing will be missing here: the element of surprise. If I know in advance what to expect from an actor, then I will simply get bored very soon, and the incentive to wait for the next roles disappears. If all the actor’s roles are relatively similar, it will be enough to just choose one or two as favorites, and then pass the time by rewatching them on long winter evenings.
If, on the contrary, I know that an actor knows how to be different, then the process of waiting for new (or searching for old) films with his participation takes on an almost detective flavor. Will it surprise you this time or not? And how will he cope with a new, unexpected task? Or maybe it will be like in that wonderful film again, only even better?..
And it's never boring :)
That is why for me there is a huge difference - “whether Fiennes will wriggle out of his pants so that we believe in his Heathcliff, or Costner and Willis will be given a script in which they themselves will feel organic” (c)
And any comparison of the works of the same Costner with the works of the same Fiennes is, in my case, a completely impossible and unthinkable thing, simply because these are completely different phenomena in principle.
In the end, what is better - classical music or rock and roll? The light of a night fire or the sun's reflections dancing on the surface of the water? Watermelon or pork cartilage?..
P.S.
Actually, everything written above is a private point of view, which I am in no way trying to position as the only correct one.
At the same time, I remember very well that there is no arguing about tastes: my opinion is simply my opinion, which, however, is the only true one for me at the moment. And to agree with him, or to snort with displeasure, is entirely up to the readers;)
THEATER GAMES (DESCRIPTION)
THEATER GAME
In addition to the proposed general developmental games, additional material can be found in the books:
♦ Chistyakova M.I. Psychogymnastics - M., 1995.
♦ Samukina N.V. Games at school and at home: psychotechnical exercises and correctional programs. - M., 1995.
♦ Theater lessons in school lessons / Comp. Ershova A.P. - M., 1992.
GENERAL DEVELOPMENTAL GAMES
RELAY RACE
Target.
Progress of the game. Children sit on chairs in a semicircle. When starting the game, they stand up and sit down in turns, maintaining the tempo and not interfering with each other’s actions. This exercise can be performed in different ways, coming up with interesting game situations with the children.
a) ACQUAINTANCE. From behind the screen, a favorite character from children's fairy tales appears (Carlson, Little Red Riding Hood, Pinocchio, etc.). He wants to get to know the children and offers to stand up and say his name clearly after the previous one.
b) RADIOGRAM. Game situation: A ship is sinking in the sea, the radio operator transmits a radiogram asking for help. The child sitting on the first chair is a “radio operator”; he transmits a certain rhythmic pattern along the chain by clapping or patting the shoulder. All children take turns repeating it, passing it on. If the task is completed correctly and the last child, the “captain” of the rescue ship, accurately repeats the rhythm, then the ship is saved.
WHAT DO YOU HEAR?
Target. Train auditory attention.
Progress of the game. Sit quietly and listen to the sounds that are heard in the study room for a certain time. Option: listen to sounds in the hallway or outside the window.
EXERCISE WITH OBJECTS
Target. Train visual attention. Progress of the game. The teacher randomly places several objects on the table (pencil, notebook, watch, matches, coin).
The driving child turns away at this time. On command, he approaches the table, looks carefully and tries to remember the location of all the objects. Then he turns away again, and the teacher at this time either removes one object or changes something in their arrangement. The driver must accordingly either name the missing item or put everything back as it was.
HANDS-LEGS
Target. Develop active attention and speed of reaction.
Progress of the game. With one clap, children should raise their hands, with two clap, they should stand up. If your hands are raised: one at a time - lower your hands, two at a time - sit down.
EXERCISE WITH CHAIRS
Target. Instill the ability to move freely in space, coordinate your actions with comrades. (You must sit on the chairs and build the given figure at the same time.)
Progress of the game. At the teacher’s suggestion, children move around the hall with their chairs and “build” a circle (sun), a doll house (square), an airplane, a bus.
IS THERE NO?
Target. Develop attention, memory, creative thinking. Progress of the game. The players stand in a circle and join hands; the leader is in the center. He explains the task; if they agree with the statement, they raise their hands up and shout: “Yes!”; if they don’t agree, they throw up their hands and shout: “No!”
Are there fireflies in the field?
Are there any fish in the sea?
Does a calf have wings?
Does a piglet have a beak?
Does the mountain have a ridge?
Are there doors to the hole?
Does a rooster have a tail?
Does the violin have a key?
Does the verse rhyme?
Does it have errors?
PASS THE POSE
Target. Develop memory, attention, observation, imagination, endurance.
Progress of the game. Children sit on chairs in a semicircle and cross-legged on the floor with their eyes closed. The leading child comes up with and fixes the pose, showing it to the first child. He remembers and shows it to the next person. As a result, the pose of the last child is compared with the pose of the driver. Children should definitely be divided into performers and spectators.
REMEMBER THE PHOTO
Target. Develop voluntary attention, imagination and fantasy, coordination of actions.
Progress of the game. Children are divided into several groups of 4-5 people. A “photographer” is selected from each group. He arranges his group in a certain order and “takes pictures”, remembering the location of the group. Then he turns away, and the children change positions and positions. The “photographer” must reproduce the original version. The game becomes more complicated if you invite the children to pick up some objects or figure out who is being photographed and where.
WHO IS WHAT?DRESSED?
Target. Develop observation skills and voluntary visual memory.
Progress of the game. The driving child stands in the center of the circle. Children walk in a circle, holding hands, and sing to the tune of the Russian folk song “Like ours at the gate.”
For boys:
Stand in the center of the circle and don’t open your eyes. Give me your answer quickly: What is our Vanya wearing?
For girls:
We are waiting for your answer: What is Mashenka wearing?
The children stop, and the driver closes his eyes and describes the details, as well as the color of the named child’s clothes.
CAREFUL NESTING DOllS
Target. Develop attention, coordination of actions, activity and endurance.
Progress of the game. Children sit on chairs or on the carpet, the teacher shows cards with a certain number of drawn matryoshka dolls. After a few seconds he says: “One, two, three - freeze!” There should be as many children standing as there are matryoshka dolls on the card (from 2 to 10). The exercise is difficult because at the moment of completing the task, no one knows who exactly will be “rising” and how many there will be. The readiness of everyone to stand up (if there are not enough “matryoshka dolls”) or sit down immediately (if he sees that there are more people standing up than necessary) effectively influences the activity of each child. As an option, children can be asked not just to stand up, but to form a round dance from a given number of children.
FRIENDLY BEASTS
Target . Develop attention, endurance, consistency of actions.
Progress of the game. Children are divided into three groups - bears, monkeys and elephants. Then the teacher calls one of the commands in turn, and the children must simultaneously perform their movement. For example, bears - stamp their feet, monkeys - clap their hands, elephants - bow. You can choose other animals and come up with other movements. The main thing is that each group performs its movement synchronously, communicating only with their eyes.
TELEPATHY
Target . Learn to maintain attention and feel your partner.
Progress of the game. The children stand scattered, in front of them is a leading child - a “telepath”. He must, without using words or gestures, contact one of the children only with his eyes and change places with him. The game continues with a new “telepath”. In the future, you can invite the children, changing places, to say hello or say something nice to each other. Continuing to develop the game, children come up with situations when they cannot move or talk, but they must call a partner to them or change places with them. For example: “On reconnaissance”, “On the hunt”, “In the kingdom of Koshchei”, etc.
TRAIL TO TRAIL
Target . Develop attention, coordination of actions, orientation in space.
Progress of the game. Children walk along the hall in a chain, placing their foot only in the vacant “footprint” of the person in front. Don't rush and step on your feet. As the game progresses, children fantasize about where they are, where and why they are going, and what obstacles they are overcoming.
For example: a cunning fox leads her cubs along a path where hunters have set traps; scouts walk through the swamp over hummocks; tourists cross the stream on pebbles and so on.
Be sure to divide the children into teams, with each team coming up with its own version.
FLYS- DOES NOT FLY. GROWING- NOT GROWING
Target . Develop attention and coordination.
Progress of the game. The teacher or driver names the object, if it flies, the children wave their arms like wings; if it doesn’t fly, they lower their hands. If it grows, they raise their arms up; if it doesn’t grow, they cover themselves with both hands.
SPARROWS- CROW
Target . Develop attention, endurance, dexterity.
Progress of the game. Children are divided into two teams: “Sparrows” and “Crows”; then they stand in two ranks with their backs to each other. The team that the leader calls catches; the team, which is not named, runs away to “houses” (on chairs or to a certain line). The presenter says slowly: “Vo-o-ro-o...”. At this moment, both teams are ready to run away and catch. It is this moment of mobilization that is important in the game.
A simpler option: the team that the leader names claps its hands or begins to “fly” scattered around the hall, while the second team remains in place.
FUNNY MONKEYS
Target . Develop attention, observation, speed of reaction.
Progress of the game. The children are standing scattered - they are monkeys. Facing them is a child - a visitor to the zoo, who performs various movements and gestures. “Monkeys”, imitating the child, exactly repeat everything after him.
SHADOW
Target. Develop attention, observation, imagination, fantasy.
Progress of the game. One child, the driver, walks around the hall, making voluntary movements: stopping, raising his hand, bending over, turning. A group of children (3-5 people), like a shadow, follows him, trying to exactly repeat everything he does. When developing this game, you can invite children to explain their actions: I stopped because there was a hole ahead; raised his hand to catch a butterfly; bent down to pick a flower; turned around because he heard someone scream; etc.
COOKS
Target . Develop memory, attention, imagination.
Progress of the game. Children are divided into two groups of 7-8 people. One group of “cooks” is invited to cook the first dish (which the children will offer), and the second, for example, prepare a salad. Each child comes up with what it will be: onions, carrots, beets, cabbage, parsley, pepper, salt, etc. - for borscht; potatoes, cucumber, onion, peas, egg, mayonnaise - for salad. Everyone stands in a common circle - this is a saucepan - and sings a song (improvisation):
We can quickly cook borscht or soup
And a delicious porridge made from several grains,
Chop salad or simple vinaigrette,
Prepare compote.
Here's a nice lunch.
The children stop, and the leader names one by one what he wants to put in the pan. The child who recognizes himself jumps into the circle. When all the “components” of the dish are in the circle, the host offers to prepare the next dish. The game starts over. In the next lesson, children can be asked to prepare porridge from different cereals or compote from different fruits.
EMBROIDERY
Target. Train orientation in space, coordination of actions, imagination.
Movegames. Using a counting rhyme, a leader is selected - the “needle”, the rest of the children stand holding hands, followed by the “thread”. The “needle” moves around the hall in different directions, embroidering various patterns. The pace of movement may vary, but the “thread” should not break. To complicate the game, you can put obstacles on the way by scattering soft modules.
CAREFULBEASTS
(ear,nose,tail)
Target . Train auditory and visual attention, speed of reaction, coordination of movements.
Progress of the game. Children imagine that they are in a forest school, where the teacher trains their dexterity and attention. The presenter points, for example, to the ear, nose, tail and names what he is showing. The children watch him carefully and name what he shows. Then, instead of an ear, he shows a nose, but stubbornly repeats: “Ear!” Children must quickly find their bearings and correctly name what the presenter showed.
LIVE PHONE
Target. Develop memory, auditory attention, coordination of actions.
Progress of the game. Numbers from 0 to 9 are distributed among the children. Then the presenter calls any telephone number. Children with the corresponding numbers come forward and line up in order of the numbers in the named number.
JAPANESE CAR
Target . Develop memory, visual and auditory attention, coordination of movements, sense of rhythm, consistency.
Progress of the game. Children sit in a circle and simultaneously perform a number of movements:
1) clap their hands in front of themselves;
2) clap both hands on the knees at the same time (right - on the right, left - on the left);
3) without straightening the elbow, throw the right hand to the right - up, while simultaneously snapping the fingers;
4) do the same with the left hand.
When children learn to act rhythmically and synchronously at different tempos, each child is asked to remember their serial number starting from 0. The machine is turned on again, and the children, in numerical order, call out their number for each click. At the next stage, with a click of the right hand, the participant in the game calls out his number, and with a click with the left hand, any number that is involved in the game, thus transferring the move to another child, etc. Children cope with this version of the game in the second half of the preparatory group.
TYPEWRITER
Target. Develop memory, attention, coordination of movements, sense of rhythm, coordination of movements, consolidate knowledge of the alphabet.
Progress of the game. Letters of the alphabet are distributed among the children, with some children getting two letters. The presenter asks any word, for example “cat”, and says: “Let’s start.” The child who received the letter “k” claps his hands first, the child with the letter “o” claps second, and the child with the letter “t” claps last. The end of a word is indicated by the whole group by clapping or standing up.
SPECIAL THEATER GAMES
EXERCISES AND STUDIES
GUESS: WHAT AM I DOING?
Target. Justify a given pose, develop memory and imagination.
Progress of the game. The teacher invites the children to take a certain pose and justify it.
1. Stand with your hand raised. Possible answers: I put the book on the shelf; I take out candy from a vase in the cabinet; hanging up my jacket; I decorate the Christmas tree, etc.
2. Stand on your knees, arms and body pointing forward. I'm looking for a spoon under the table; watching the caterpillar; I feed the kitten; I'm polishing the floor.
3. Squat. I look at the broken cup; I draw with chalk.
4. Lean forward. I tie my shoelaces; I pick up the scarf and pick a flower.
THE SAME THING IN DIFFERENT WAYS
Target . Develop the ability to justify one’s behavior, one’s actions with fantasized reasons (suggested circumstances), develop imagination, faith, fantasy.
Progress of the game. Children are asked to come up with and show several options for behavior for a specific task: a person “walks”, “sits”, “runs”, “raises his hand”, “listens”, etc.
Each child comes up with his own behavior, and the other children must guess what he is doing and where he is. The same action looks different under different conditions.
Children are divided into 2-3 creative groups, and each receives a specific task.
I group - “sit” task. Possible options:
a) sit in front of the TV;
b) sit in the circus;
c) sit in the dentist’s office;
d) sit at the chessboard;
e) sit with a fishing rod on the river bank, etc.
II group - task “go”. Possible options:
a) walk along the road, surrounded by puddles and mud;
b) walk on hot sand;
c) walk along the deck of the ship;
d) walk along a log or a narrow bridge;
e) walk along a narrow mountain path, etc.
III group - task “run”. Possible options:
a) run away, being late for the theater;
b) run away from an angry dog;
c) run when caught in the rain;
d) run, playing blind man's buff, etc.
IV group - task “waving your arms”. Possible options:
a) drive away mosquitoes;
b) give a signal to the ship to be noticed;
c) dry wet hands, etc.
V group - task “Catch the little animal”. Possible options:
b) parrot;
c) grasshopper, etc.
TRIP AROUND THE WORLD
Target. Develop the ability to justify one’s behavior, develop faith and imagination, and expand children’s knowledge.
Progress of the game. Children are invited to go on a trip around the world. They must figure out where their path will lie - through the desert, along a mountain path, through a swamp, through a forest, a jungle, across the ocean on a ship - and change their behavior accordingly.
TRANSFORMATION GAMES
In the theater, the spectator believes what the actor believes. Stage attitude is the ability, with the help of faith, imagination and fantasy, to change one’s attitude towards an object, place of action or partners, changing one’s behavior accordingly, justifying the conditional transformation.
TRANSFORMATION OF AN OBJECT
Target. Develop a sense of faith and truth, courage, intelligence, imagination and fantasy.
Progress of the game. The object is placed on a chair in the center of the circle or passed around the circle from one child to another. Everyone must act with the object in their own way, justifying its new purpose, so that the essence of the transformation is clear. Options for transforming various objects:
a) pencil or stick - key, screwdriver, fork, spoon, syringe, thermometer, toothbrush, paint brush, pipette, comb, etc.;
b) a small ball - an apple, a shell, a snowball, a potato, a stone, a hedgehog, a bun, a chicken, etc.;
c) notebook - mirror, flashlight, soap, chocolate, shoe brush, game.
You can transform a chair or a wooden cube, then children must justify the conventional name of the object.
For example, a large wooden cube can be turned into a royal throne, flowerbed, monument, bonfire, etc.
ROOM TRANSFORMATION
Target . Is the same.
Progress of the game. Children are divided into 2-3 groups, and each of them comes up with their own version of transforming the room. The rest of the children guess from the behavior of the participants in the transformation what exactly the room has been turned into.
Possible options proposed by the children: a store, a theater, a seashore, a clinic, a zoo, Sleeping Beauty's castle, a dragon's cave, etc.
TRANSFORMATION OF CHILDREN
Target . Is the same.
Progress of the game. At the teacher’s command, children turn into trees, flowers, mushrooms, toys, butterflies, snakes, frogs, kittens, etc. The teacher himself can turn into an evil sorceress and transform children at will.
ACTION GAMES WITH IMAGINATIONAL PEOPLE
OBJECTS OR MEMORY OF PHYSICAL ACTIONS
WE WILL NOT TELL YOU WHAT WE DID, BUT WE WILL SHOW YOU!
Target . Develop imagination, initiative, attention, the ability to act in concert, and play with imaginary objects.
Progress of the game. The room is divided in half by a cord or line. On one side are those selected using the rhyme “Grandfather and three to five grandchildren”, on the other side are the rest of the children and the teacher who will ask riddles. Having agreed on what the riddle will be about, the children go to their “grandfather” and “grandchildren.”
Children. Hello, gray-haired grandfather with a long, long beard!
Grandfather. Hello, grandchildren! Hello guys! Where have you been? What have you seen?
Children. We visited the forest and saw a fox there. We’ll tell you what we did, but we’ll show you!
Children show an invented riddle. If “grandfather” and “grandchildren” give the correct answer, the children return to their half and come up with a new riddle. If the answer is given correctly, the children say the correct answer and after the words “One, two, three - catch up!” they run across the line, into their home, and “grandfather” and “grandsons” try to catch up with them before they cross the saving line. After two riddles, new “grandfathers” and “grandchildren” are chosen.
In riddles, children show how they, for example, wash their hands, wash handkerchiefs, chew nuts, pick flowers, mushrooms or berries, play ball, sweep the floor with a broom, etc.
KING (version of the folk game)
Target . Develop actions with imaginary objects, the ability to act in concert.
Progress of the game. Using a rhyme, a child is selected to play the role of king. The remaining child workers are divided into several groups (3 - 4) and agree on what they will do and what work they will be hired for. Then they approach the king in groups.
Workers. Hello king!
King. Hello!
Workers. Do you need workers?
King. What can you do?
Workers. Guess it!
Children, acting with imaginary objects, demonstrate various professions: cooking, washing clothes, sewing clothes, embroidering, watering plants, etc. The king must guess the profession of the workers. If he does it correctly, he will catch up with the fleeing children. The first child caught becomes king. Over time, the game can be complicated by introducing new characters (queen, minister, princess, etc.), as well as inventing the characters of the characters (king - greedy, cheerful, evil; queen - kind, grumpy, frivolous).
BIRTHDAY
Target. Develop skills in acting with imaginary objects, cultivate goodwill and contact in relationships with peers.
Progress of the game. With the help of a counting rhyme, a child is selected who invites the children to the “birthday”. Guests come one by one and bring imaginary gifts.
With the help of expressive movements and conventional play actions, children must show what exactly they decided to give.
RHYTHMOPLASTY
GAMES FOR DEVELOPMENT OF MOTOR ABILITIES
ANTS
Target . Be able to navigate space, be evenly placed around the site, without colliding with each other. Move at different paces. Attention training.
Progress of the game. When the teacher claps, the children begin to move chaotically around the hall, without colliding with other children and trying to fill the free space all the time.
CACTUS AND WILLOW
Target . Develop the ability to control muscle tension and relaxation, navigate in space, coordinate movements, stop exactly at the teacher’s signal.
Progress of the game. At any signal, for example clap, children begin to move chaotically around the hall, as in the “Ants” exercise. At the command of the teacher “Cactus”, the children stop and take the “cactus pose” - feet shoulder-width apart, arms slightly bent at the elbows, raised above the head, palms with the backs turned towards each other, fingers spread out like thorns, all muscles are tense. When the teacher claps, the chaotic movement resumes, followed by the command: “Willow.” Children stop and take the “willow” pose: arms slightly spread to the sides, relaxed at the elbows and hanging like willow branches; the head hangs, the neck muscles are relaxed. The movement resumes, the teams alternate.
PALM
Target. Tighten and relax alternately the arm muscles in the hands, elbows and shoulders.
Progress of the game.“The palm tree has grown very, very big”: extend your right hand up, reach for your hand, look at
“The leaves have wilted”: drop the brush. “Branches”: drop your arm from the elbow. “th whole palm tree”: drop your hand down. Repeat the exercise with your left hand.
WET KITTENS
Target. The ability to relieve tension alternately from the muscles of the arms, legs, neck, and body; move in all directions with a soft, springy step.
Progress of the game. Children move around the hall in a scattered manner with a soft, slightly springy step, like little kittens. At the command “rain”, children squat down and squeeze into a ball, tensing all their muscles. At the command of the “sun”, they slowly stand up and shake off the “raindrops” in turn from each of the four “legs”, from the “head” and “tail”, respectively removing the clamps from the muscles of the arms, legs, neck and body.
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EDUCATIONAL PROGRAM of the State educational institution of Moscow
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Educational program of the state center for child development - kindergarten No. 1619 “Swan” of the southern district education department
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Kindergarten No. 478 of the Southern District Education Department of the Moscow Department of Education
Main educational programBenefit. Development of abilities meansfamiliarizationpreschoolers With artisticliterature. M. Perspective, 2010. L.A. Kondrynskaya, T.N. Vostrukhin. Artisticliterature in the development of creative abilities...
I think few people know that our favorite actors, whom we have loved since childhood, periodically neglected their level of quality and starred either in some minor film, or played so poorly that they can be thrown tomatoes for such a mediocre game. Every year, all the attention of actors is focused on the awards of the year, where the highest achievements in the film industry are celebrated.
Also, the presence of a kind of anti-prize in the life of cinema seems to be a completely natural phenomenon. This anti-premium is "Golden Raspberry", which was invented back in 1981. This film award was a mirror image "Oscar" and his nominations, noting "worst movie, worst actors" and so on. Over the 35 years of existence of this anti-award, many outstanding filmmakers have received it, but some were especially noted!
A selection of the worst actors in the world:
1.
One of the favorites of this award rightfully became the American film comedian - Adam Sandler. He has 19 nominations to his credit, five of which he won.
Sandler became a regular "Golden Raspberry" since the 90s, when he was nominated for "worst actor" in film "Bulletproof". Since then, he has been nominated consistently every three years, or even more often! These were always nominations either "worst actor", or " worst case scenario."
The actor harvested the richest raspberry harvest in 2012, when he received 4 nominations for two different films and won 3 of them. The movie was to blame "So different twins". Thanks to this film, the comedian became the owner of a unique achievement: he managed to get "Golden Raspberry" immediately and for "Worst Actor" and "Worst Actress" and in addition there was a reward for "worst case scenario".
In general, 2012 was a turning point in the actor’s career. Of course, he didn’t shine often before, but over the past 5 years in a row he has collected 11 nominations! (four of which he won). Although, I think Sandler himself doesn’t care about such fame, he was one of the highest paid American actors, and remains so.
2.
Two-time winner Oscar" And "Golden Globe"- Ben Affleck also ate quite a lot in his time "Malinki". Your first "Oscar" And "Golden Globe" he received already in 1998 for the best screenplay for a film "Good Will Hunting" Z then was relatively successful "Armageddon", but for the one loved by many "Pearl-Harbor" the actor received his first nomination for "Golden Raspberry" How " worst actor of the year". Michael Bay's film was received rather coolly and received 6 nominations at once, including " worst director" And "worst film", and "worst screen couple". At that time, all the awards passed over both the film itself and Ben Affleck in particular.
But the actor apparently did not draw the proper conclusions, and soon ended up in the most disastrous project of his entire career. This project became a film "Daredevil" which came out in 2003. For this superhero movie, the actor was the first to receive his anti-award and was recognized as a performer " worst leading role". That year was generally a breakthrough for Affleck. Besides "Daredevil" he also took part in the film "Gigli" who picked 6 berries at once "Raspberries". Ben Affleck and Jennifer Lopez were recognized "worst on-screen couple" of the year.
Apparently, by inertia, he got into the nomination the following year "Worst Actor" for the Kevin Smith film "Jersey Girl". But he did not receive the award. Then, it seemed, everything calmed down and some good films came out, nominations for "Golden Globe", but the dark past reminded itself once again in 2010. Then he was again nominated for "Golden Raspberry" How "worst actor of the decade", and all for the same film "Daredevil" He lost to his competitor, who will be discussed further. Life seems to be getting better for Ben: let's go "Oscars" And "Golden Globes".
But one more "Golden Raspberry" he still got it. Ben Affleck won the award in 2015 "for restoring reputation", so at the moment we can consider him completely rehabilitated.
3.
For the famous American film comedian Eddie Murphy, the situation for the time being was similar: prestigious awards alternated with unsuccessful ones, ups alternated with downs. Having received 3 nominations for "Golden Globe" in 1990 Eddie first took " Golden Raspberry for Worst Screenplay" to the film "Harlem Nights" This was his first film award in the history of his work. The film corrected his situation in the 90s "The Nutty Professor" and participation in the voice acting of the cartoon "Shrek".
These works brought him an award "Saturn" and a bunch of nominations in prestigious awards. And in 2002 a failed film was released "The Adventures of Pluto Nash", for which Eddie Murphy was again nominated for " "Golden Raspberry". It seems to have passed, I didn’t receive the award. But in 2006 he completely “shot” in the film "Dream Girls" for which he received "Golden Globe" and nomination for "Oscar".
Everything was fine until Murphy hit the jackpot in 2008: for the film "Norbit's Tricks" he received 4 anti-award nominations and won 3 of them. Moreover, in one film the actor managed to play: "Worst Actor", "Worst Supporting Actor" and "Worst Supporting Actress".
It really was a complete fiasco, and then it started: in 2009, the film was nominated for an anti-award "Meet Dave", in 2010 again nominated for the film "Imagine this", and the actor was recognized to the fullest "worst actor of the decade." in 2010 he was again nominated for his performance in the film "A Thousand Words" and this is Murphy's last film award to date.
4.
But Travolta either doesn’t know how to choose films, or he doesn’t care where to star. John became famous back in the late 70s, thanks to two films in which he danced more than acted: the picture "Saturday Night Fever" And "Grease" brought the actor nominations for Oscar and Golden Globe. Then for all 80 years he did not star in a single good film. And the paintings "Perfect" and "Lost" brought him 2 nominations for "worst male roles"
The beginning of the 90s also did not go well for him: at first John was nominated for an award "Golden Raspberry" How "worst actor of the decade" and then how "worst supporting actor" per film "Scream." At the same time, fortune was quite favorable to the actor: he did not win in any of the numerous nominations, and Quentin Tarantino finally pulled him out of failure. In 1994, a successful stage in Travolta's career began. Behind "Pulp Fiction" he received nominations Golden Globe and Oscar.
Hello, dear readers, guests, friends. Today I want to introduce you to a very talented mother, professional, actress, director - Yulia Belousova
We play in the theater - why?
And really – why? We don’t have the task of making an artist out of a child, and the vast majority of children are naturally okay with imagination, and they play role-playing games with great success without our adult help.
That's right. But acting training (and we will talk about it, only in a slightly adapted form) is an amazing and unique activity in that you do not get knowledge, skills, information, food for thought and impressions from the outside, from a teacher or from a book, but mostly you draw from yourself. And - equally - from your “colleagues”, if there are any (ideally, acting training is a collective endeavor, but it is quite possible to do it alone with your mother). That is, this is a great way to get to know yourself - different, contrasting, unusual, to realize your creative courage, try to be the director of your own ideas, and, of course, bring them to life here and now.
At what age can you play these games?
From anyone. Such activities can be interesting and useful for both children and adults. If desired, any game or exercise can be adapted for the baby and vice versa - made more difficult and varied, you just need to turn on your imagination. Therefore, the age range of our classes will be approximately as follows: from 2-3 years to infinity. I will deliberately not talk about what exactly develops this or that task - you and I understand perfectly well that any game develops absolutely everything in a child, no matter what is written in the manuals and on the boxes of games and toys.
Let's agree on the shore!
Before you and I set sail from the shore and sail along the theatrical and creative waves, I want to draw your attention to one thing in order to avoid disappointment later. What we are accustomed to consider the theatrical activities of our children - matinees in kindergarten, for example - actually have nothing to do with theater in any of its manifestations and forms. I don’t want to offend anyone: matinees are an excellent, interesting and useful thing in their own way, but... infinitely far from the theater. Therefore, in this article you will not find advice on “how to teach a child to speak in public and not be embarrassed,” “what to do so that the child reads poetry loudly and clearly,” etc. Today we will not “learn roles”, put on makeup and sew costumes. But we will play all sorts of stories, come up with real sketches and even master the basics of pantomime. Well, once everything has been agreed upon, go ahead!
Queen Fantasy and King Imagination
These are our friends and helpers; we can’t live without them. Therefore, a whole block of training will be dedicated to them.
Transformers. And now we are all wizards. The game is somewhat similar to “the sea is rough.” I will clap my hands and say what we will turn into, and we all immediately become... a ball, a pencil, a flower, a toothbrush... And now it’s a little more complicated: a white rose bud, a faded chamomile in a vase, sad autumn rain, hot sand on the beach …. And now it’s even more difficult: rainbow, doubt, New Year, the letter “A”, cheerful mood, mother’s smile.
Now tell me, please, is it possible to play rain? No, not show it, but play it (or “play it” – whatever you want)? Of course you can! But you can only play a story, but you need to find out or create it. What does rain do? It's going... Great! What else? It’s pouring like buckets, drizzling... Wonderful! And he can also play on the roofs, like on drums, or draw drops on the asphalt, or play with a passerby, trying to drop a drop right down the collar, or blow bubbles in a puddle, or... And now we already have something to do, and the question is “how to play rain" is simply not worth it! And what kind of rain is it? What is his character? Gait? What's your mood today? Maybe he didn't get enough sleep or is angry with someone? And against whom and for what?... Or vice versa - he is very happy because his grandmother came to see him! By the way, can rain have a grandmother? And if so, what does it look like?... And now our rain becomes alive. And we ended up with a small sketch, almost a performance!
Etude
. Now let's try to play a story that someone else came up with. I suggest turning to A. Usachev’s well-known book “Once upon a time there were hedgehogs.” The choice fell on this work, firstly, because probably almost everyone has read this fairy tale, and secondly, the events of this story are quite detailed, they can easily be looked at through a “magnifying glass” and turned into a full-fledged sketch-story.
The kids love to “paint with broad strokes,” so they are ready to show and tell an entire cartoon or fairy tale in two or three gestures. And that's great! And our task is to direct their attention to little things that are no less interesting and “tasty” than dashing plot twists.
Veronica the Hedgehog fell into a jam jar. This is a whole story! You just need to help the child live it in detail a little. To do this, right during our “performance” we can suggest to the child something that has escaped his attention, we can even come up with little things that were not in the book; the magic word “suddenly” is very important in this “prompting”.
Veronica was eating raspberry jam. The forbidden is important! So, she ate without anyone noticing. Delicious! At first she took the jam with one finger, and then she got carried away and began to eat it with her whole paw. And suddenly... it dripped onto the dress. Upset? No? Well, that’s right – jam is more important. She ate and ate and was full! The belly has become so big and the paws are sticky! Does he still want it or not? And this doesn’t matter anymore: the jam has run out anyway, and the last drop remains on the bottom. Suddenly Veronica realized that she was inside the jar... It's fun: you can press your nose to the glass, you can shout up - and you get a funny echo. How many games can you come up with! Oh-oh-oh... How do we get out now? Jump? No, I can’t reach the neck... Maybe I should climb up? But the paws slip... What if the can is broken? I don't have enough strength. Somehow I already feel uneasy... And I really want to go to my mother... What will Veronica do next? Call for help? Or will he come up with his own way out of this situation?
You need to be as delicate as possible with hints: if the child is good at coming up with options on his own, then you shouldn’t interrupt his thoughts, unless you offer some very unexpected circumstance - let him try to get out. And if the child strives to “jump” straight to the result, then the more detailed the mother’s monologue is, the better.
And here are more ideas for similar sketches from the same book: Veronica stuck to the oil can, Vovka plays football and pierces the ball with needles every time, Veronica peeks into a box of bronze medals, Veronica drinks daddy’s ink instead of compote, etc.
Music, let's be friends!
Without music, perhaps, there is no theater. She is a powerful means of expression, a character, the creator of the atmosphere of the performance and an exponent of the feelings and emotions of the characters. Let's listen to her. It is better if the music is classical, instrumental (without words). It’s good if it’s a small and easy-to-understand piece or a 1.5-2 minute excerpt. I.S. Bach, D. Kabalevsky, S. Prokofiev, P. Tchaikovsky, R. Schumann wrote music for children; in their creative heritage there are many such works that we need: small, bright and expressive, eventful. You can easily choose something interesting just for you and your baby. There is a small list of musical pieces suitable for such games.
Now let's imagine who this music is about? About how the cat drank milk and sharpened its claws? Great! Can you show me this cat? But I wonder what happened to our cat during this “boom” - but obviously something happened, because the music screamed so loudly?!
The more questions the child is asked, the better. Pay your and your children’s attention to musical accents and all sorts of changes: suddenly the music became quiet, quiet, and now there is a pause - also for good reason, and now the tempo and tonality have changed - why is this? etc.
What is the character of this music? Is she kind or militant, thoughtful or playful? It is not necessary to listen to music while sitting, you can move, there is only one condition: listen to the music where it leads and calls. Or maybe we can draw or sculpt it? Let's try! Or compose a fairy tale (together with your mother, of course), and then play it to music, like a sketch?
Voice acting. Here's another interesting team game. True, it is not with music, but with sounds. Together we come up with a chain of simple actions. For example, I take a glass of tea from the table, put two lumps of sugar in it, stir it with a spoon and drink it. All this, of course, is not real, but imaginary. Now let's think about what sounds we hear during these actions? Footsteps, the sound of sugar cubes, the clanking of a spoon, the sound of drinking water... Perhaps something else? Now let's find suitable objects around us so that we can make these sounds - the most inappropriate objects at first glance can become excellent helpers. All is ready? Now, if there are more than two players, you need to distribute the sounds among themselves. One of the players performs all the actions with imaginary tea, and everyone else voices this process. The game requires close attention from everyone, because the task is not to catch each other, but, on the contrary, to voice the fragment as accurately as possible!
Living word
How we miss him, as soon as life puts us in a situation of some kind of “show”! The words of a memorized poem awkwardly fall down somewhere, and even try to forget themselves along the way! Horror! And how easily we talk about how we vacationed at sea, about the little kitten who has been living at our house since yesterday, about the holiday on the occasion of our birthday. It’s all true: a word can become alive and expressive, and therefore interesting to the listener, only if it is born as a “picture” inside. That is, first we imagine in our imagination what we are talking about - not the text itself, but a very interesting story! – and then we turn our picture into words. This is the main secret of “speaking” games: the birth of a living word.
A tale about...
Yes about anything! I have a bus ticket in my pocket, let’s write a fairy tale about it. The one in whose hands the ticket is located will begin to speak. At my request, the ticket is passed on, and the story is continued by another narrator. I wonder where the plot will lead by the end of the fairy tale? The passing of the “baton” occurs at the boundary of events: “and suddenly...”, “and one day...”, “and then...”
Say it as if... Here's another game with words. I will suggest a short but not very easy to pronounce phrase: “too salty soup”, for example. For older children, the phrases will be more intricate and longer, but for kids, on the contrary, they will be simpler, you can even limit yourself to one or two words. The main thing is that it can be quickly and easily remembered. Now say it as if you don’t want to eat this nasty soup, and now as if salty soup is your favorite delicacy, the saltier it is, the better. And now it’s as if you cooked this soup, and now you’re apologizing for the fact that it came out too salty. And now this is not about soup at all - this is an encrypted message, it must be said in secret so that no one else can hear it. And now “too salty soup” is your name. Introduce youreself! And now you are the host of the concert and announce the next number of the program. You can continue for a long time.
"Mother" What a wonderful word! We say it very often. And for what reason? Let's remember in what situations we turned to our mother today. In the morning we drew a beautiful drawing and invited admire my mother. And then we saw children walking on the street and began persuade Mom should go for a walk. After asked for help tie your shoelaces. And then the phone rang and we called mom. And on a walk we met a large and scary spider, and out of fear we shouted: “Mom!” And after lunch, my mother lay down to rest, and we really needed to ask her something, so quietly, in a whisper, so as not to wake us up, and very affectionately: “Mom!” That's how many stories have happened today, and how different the same word sounded! Now let's play them like a sketch, like a small performance in which only one word will sound.
Two hands - two sorceresses
Hands are perhaps one of the most expressive means. How often, when telling or explaining something, we involuntarily gesture with our hands, helping our story. Their gestures can sometimes say even more than words.
Fly. It seems to be flying around us and buzzing. And we have her - once! - and caught him in his fist. Let's hear how she's buzzing there? Now let's look at it, just be careful - it will fly away! We open one finger at a time - one, two, three, four, five - it flew away! Now let’s find it again with our eyes and catch it again, only this time with the other hand.
Glue. Today we glued (by the way, what kind of craft did we make? Was it a gift or just for ourselves? Did it turn out beautifully?), and there was glue left on the palm. You need to clean it off with each finger of the same hand in turn. Happened? Now on the other palm.
Modeling. You can sculpt from plasticine, from clay, from dough. Or maybe from your own hand. First you need to stretch your hands and warm them up. And now you can sculpt. Anything! Table, mushroom, boat, house, chair. Now let's blind some creature. It can be the most incredible and fantastic. Ready? How does it move? Can I pet him so he won't bite? What does it eat for breakfast and where does it live? What does he have - antennae or paws? He has friends? And most importantly: what is his name, because a name is destiny in some way?
Pantomime. This is theater without words, but in this case they are not needed, everything is clear. Let's make an imaginary ball. We sculpt it carefully, it should be very, very round and smooth. Here it is getting bigger and bigger, and now let's make it denser and smaller, for this we need to put in more effort. Oh, it has become heavy and almost touched the ground, and it’s hard to hold it - your hand itself is reaching for the ground. And now he suddenly became light. And now you need to hold him so that he doesn’t fly away, you’ll even have to stand on tiptoe. Let's now release him into the sky, let him fly! And we look at him, and there he is, completely transformed into a dot.
Maybe now we can “blind” a cube and build a whole house from our imaginary bricks? You decide. We can go on forever. For those who want to play such games, I would like to wish them not to get carried away with “roles”, but to look for and notice what is alive and real in everything around them: in themselves and in each other, in their own and others’ reactions and emotions, in words, actions, impressions, in the surrounding world. Although they say that actors “play a role,” acting in this case is a process that is as honest as possible, akin to a child’s game: seriously, to the end, for real. This is the paradox of acting training: while acting, don’t act. Don’t grimace and pretend, but live and feel.
Try to play any of the proposed games with your baby, and your own instinct will definitely tell you the direction where you want to go next.
This concludes our lesson. With great pleasure I will answer any of your questions. Creative success to everyone!
Belousova Yulia
P.S. This article is copyrighted and is entirely intended for private use; publication and use on other sites or forums is possible only with the written consent of the author. Use for commercial purposes is strictly prohibited. All rights reserved.
There are not enough people here, well, maybe someone will come along to discuss one issue.))
People constantly write: he plays like a log, there are no emotions, his face does not express anything. I always want to ask: is it necessary for an actor to put on a face like Jim Carrey, so that they will say about his work: he plays well, emotionally?
And the fact that people are different in life, some express all their feelings at once: with words, face, body, while others seem frozen, unemotional by nature, stingy in the external expression of feelings. Everyone is worried inside. After all, there are such people, and there are many of them.
Why does everyone want some kind of African passions from an actor, so that only in this case they can evaluate the acting as excellent?
Do not exaggerate. But what about the film of all times and peoples, The Terminator and its main character, a robot bodybuilder, who does not change his face? :) Which made him an idol for many years. And Stallone was paralyzed in half his face. The actor must
fit into the role.
The same Angelina Jolie Pitt in the role of Lara Croft that brought her fame is simply such a mini-sphinx (zero emotions, flexing of muscles), but her debut comedy is not familiar to many.
So I will never agree that the main thing is emotionality. This is exactly what all amateurs are guilty of. Both the Chinese and student theaters believe that the louder the cry, the greater the glory.
For me personally, acting is not about fussing with your face, not about facial expressions, but about the authenticity of expressions of feelings...
This is the most notorious, “I believe it or I don’t believe it.”
For me, the greatest indicator of acting is when I forget that I'm watching a film, when I empathize with the hero.
And it’s even cooler when I can’t recognize the actor... (this is not about the make-up artists who sculpt Vysotsky and Yesenin from Bezrukov).
A striking example of transformation beyond recognition is the role of Bruce Willis in the film “Death Becomes Her.”
IMHO, to a great extent, personal assessment of an actor’s performance is a matter of taste; how many people are able to recognize the excellent performance of an unloved actor? And will we see authenticity in the performance of an actor who makes us sick...
I’m not exaggerating, I constantly come across such an assessment of acting work (a log), it seems that bodybuilders were not required to portray anything, the example is unsuccessful, just like the heroine of a comic book, in fact, a cartoon character.
The latest attack is Jesse Eisenberg in American Ultra (and the film The Double is cited as proof of his ability to play different characters).
The example of Orioles is exactly what I’m talking about, the maximum possible facial expressions, tears in the eyes - the temperament of southern people, eager to get out.)) And if you take the northerners, the Estonians from the joke, calm outwardly in any situation, how to play them, what to please the audience ? And how many people in everyday life behave like actors in Turkish or Brazilian TV series?
The closest thing to me is a game, as if it’s not a game at all, a person lives someone else’s life, of the Soviet actors for me it’s Nina Ruslanova, Nina Usatova, Vladimir Ilyin.
Personally, I really like the acting in Brazilian and Turkish TV series.
Is this some kind of joke?
It was a success.
Where are the series and where is the acting?
You can even see ours in theaters, for the most part, that’s where the acting is.
Both the Chinese and student theaters believe that the louder the cry, the greater the glory.
Like this? ;)
http://www.youtube.com/watch?v=kuIXYwOIAkc
How many people are able to recognize the excellent performance of an unloved actor?
Will we see authenticity in the performance of an actor who makes us sick...
I don't know who. I personally am capable.
and also vice versa. If my favorite actor is making trash, then I won’t watch it.
My last disappointment is my beloved Inna Churikova (I don’t even remember the name of the play)... She came to St. Petersburg and did a sloppy job.
And in the same way, Bezrukov surprised me, I accidentally watched an episode of some series, he played a local policeman there, the TV served as the background, so I won’t say the name of the series. I looked at it by chance, my hands were in the dough to switch, otherwise I would have switched immediately as soon as I saw “the valiant and many-faced Bezrukov.”
To my surprise, in the series he was organic, fit well into the character, and the dog next to him played wonderfully.
She and the dog were sitting so cutely talking over some cliff. And the dialogue was not bad and Bezrukovsky’s breathy voice did not irritate, and he chose the right intonation, confidential.
So the thought even flashed... he may not be a bad actor, but he’s just worn out.
But naturally you will forgive all the mistakes of your favorite artist... and you will find fault with the unloved one.
You can even see ours in theaters
Once upon a time we were fond of going to the Satire Theater. Tickets for the premieres in all theaters were mainly obtained through so-called demolitions, this is when students of one university, like rugby players, demolish another university in line and buy up the entire box office. Well then they speculate among their own people.
So we bought like people on Saturday at the box office in line for performances that had been going on for a long time. We almost saw the entire repertoire. One friend went to a performance with Andrei MIRONOV HIMSELF. He was at the zenith of his fame. And what? He spat all over, he looked indifferent, he played the pipe like a drunkard at the market. Moreover, my friend was a terrible rag-picker and loved to spend time on weekends in supermarkets, queuing for imported rags. And she “ran into the performance” so that the boys would have something to blurt out about to show off and move on to kissing.
Well, soon Mironov passed away. And as much as the rest of us missed him, we still love his facial expressions :)
But that rag-picker saw “THE TRUTH” - a dummy on the stage. And who do you believe - her or the films that many still remember today as a bright memory of their youth :)
Oleg F., and you looked at least one Brazilian series? Or at least the Turkish "Magnificent Century"?
I doubt. Otherwise they wouldn’t speak so disparagingly about the work of their actors.
They actually play very naturally, beautifully, naturally, expressively, and generally talented.
Of course, among them there are those who are not talented, but there are no exceptions anywhere.
And our young actresses, for the most part, only know how to goggle, nothing more.
Sometimes in films I am surprised to find bad acting by good actors,
For myself, I attribute this to the work of the director, which seems to be invisible, since the film is the fruit of the work of a huge team,
but why then do some directors have awesome actors?
and for some they simply work off their fees (we are talking about ours, and about Hollywood, and about French actors - about any)
Mironov (kingdom of heaven) was a weak actor, without a doubt, charming, darling, a people's favorite, but not an actor
Remembering the old school: Alexey Gribov - that was the Master;
and as an example of the impeccable acting of the old masters, I suggest everyone watch the film “The Wedding”,
where each of the actors is a diamond, not a single passing episode, the participants in the thread, naturally, have seen this film))
http://www.kino-teatr.ru/kino/movie/sov/6219/annot/
Mikhalkova.
I can’t stand him, but his roles in Rodney, Holmes, Station for Two and One Among Strangers are worthy of an Oscar for a supporting actor. Congenial!
Mironov (kingdom of heaven) was a weak actor, without a doubt, charming, darling, a people's favorite, but not an actor
My God, how different we are all!
I have always considered and still consider Mironov a genius, although he died while I was still in school.
Oh, Mikhalkov as an actor is just two darlings in the Mironov dimension :)
What happened to him later is called don’t judge, don’t be judged... and so on. At this time, everyone crawled along at their own pace, as no one had needed talent for 30 years; they needed breakthrough qualities that previously only the elite or suppliers possessed. What to remember now?
I feel sorry for Robin Williams and his brilliant heroes. Why did he leave?
I think Mironov is a genius
based on what roles? just for example
I honestly haven’t watched My Friend Ivan Lapshin, Mironov’s role there is very different from most of his roles,
I believe that with very strong directorial support, any actor will play better than his capabilities
Papanov was organic both in the role of Lyolik and in the role of General Serpilin,
but in Zakharov’s 12 chairs both: Mironov and Papanov did not shine, Zakharov’s fault is most likely...
There is an option when an actor pulls out a weak film,
But there is the opposite: a strong director raises weak actors to his level
And the fact that we are all different - that’s how nature intended it, to make life more fun, probably)))
I am of the opinion that the assessment of acting not only by ordinary people, but also by critics is a matter of taste,
only “I like / I don’t like”, there are no clear criteria for such an assessment,
They don’t jump high, they knocked down the bar or flew over it...