EXERCISE 6

MY PLACE

Keywords:

Opening and warm-up exercise.

Purpose:

Be aware of your position in relation to others and space.

Description:

From the position of the circle each participant will have to choose a point to occupy the space of the room homogeneously.

Duration:

10-20 seconds.

EXERCISE 7

OSMOSIS

Keywords:

Opening and warm-up exercise.

Purpose:

Think about one's own actions in relation to those of a collective, self-regulate without executing orders or giving them to others. Create spontaneously.

Description:

It starts from the exercise “My place” and asks you to start walking, the body straight and relaxed, looking in front of you, perceiving the movements that the body makes and deciding the various trajectories of its movement in space. It is also necessary to continue to maintain a balance in the distribution in the space by occupying the empty spaces between the participants. Every now and then the conductor can check the homogeneous distribution in space with a stop.

Duration:

from 5 to 10 minutes.

Variants:

At the stop you are asked to:

1.      stop in a position of imbalance

2.      alternately take an open/closed position, asked to imagine and then explain the “real” situation in which you find yourself, being in that position.

Remarks:

There is often the need to draw attention to concentration to avoid the automatism that leads to walking forming a circle and together observe if the level of collective concentration is such that the exercise is being performed according to the rules. Otherwise, the group is invited to reflect on the reasons and to adopt solutions.

EXERCISE 8

MEETING THE GAZE

Keywords:

Interaction in pairs.

Purpose:

Knowing the members of the group, entering into a relationship with the other in a non-everyday situation, knowing and controlling one's emotions.

Description:

It starts from the exercise “Osmosis” while walking, everyone freely decides to stop in front of a companion in silence and exchange a look taking as much time as necessary.

Duration:

from 5 to 10 minutes.

Remarks:

Participants are encouraged to “meet” everyone else and not to avoid each other, to maintain concentration so as not to instinctively externalize emotions, (basically in this exercise it is laughable when you meet the other, this is tolerated for the first few minutes then you are asked to stay more focused and to tell your feelings and thoughts at the end).

EXERCISE 9

THE THREAD

Keywords:

Interaction in pairs.

Purpose:

Establish a relationship with the other only through the gaze.

Description:

As in the previous exercise, the group moves in space and when a couple stops and looks into each other's eyes, they must continue to move while keeping their gaze fixed in the eyes of the partner, while each following their own path.

Duration:

From about 5 to 10 minutes

Remarks:

It is an excellent exercise to establish trust and harmony between the actors and to trigger the search for a less stereotypical movement.

ESERCIZIO 10

I TRUST YOU

Keywords:

Exercise for an initial phase, based on trust.

Purpose:

Develop a sense of responsibility, develop the ability to understand the intentions of the other, sensitize the body, stimulate the emotional part.

Description:

Form preferably mixed pairs. In each couple, which moves at the same time as the others, one person with their eyes closed is guided by the companion who will take care of him / her making him / her move in space, without losing the contact that is the tip of both index fingers.

Duration:

From about 5 to 10 minutes.

Variants:

1.      Instead of physical contact you can have a sound contact: the person guiding emits an articulated sound that the companion recognizes in the midst of others.

2.      One leads the other, who has their eyes open, placing their hand in front of their partner's face with the palm that corresponds to the chin and the fingertips to the forehead. The companion reacts to the movement of the hand, always maintaining the same ratio (palmchin, fingers-forehead). The one who leads can lead the companion into space and at the same time make him make movements with the body.

Remarks:

The conductor will have to pay attention to that no one gets hurt (especially if you work with children or adolescents) and at the end of the exercise ask to express the feelings felt.

EXERCISE 11

THE PENDULUM

Keywords:

Exercise for an initial stage.

Purpose:

Develop a sense of responsibility and trust; stimulate emotions.

Description:

A participant in the centre with their eyes closed is invited to abandon themself in the hands of the companions who are around them in a circle. The body of those in the centre is relaxed but rigid and never takes its feet off the floor. They abandons themself on the hands of their companions, who are in a balanced position with arms out ready to welcome the weight of their companion and gently accompany them back to the centre. In turn, everyone puts himself in the centre.

Duration:

About 30 minutes depending on the number of participants.

Variants:

It can be performed in three and the person in the centre will only be able to swing back and forth

Remarks:

If necessary, the conductor will have to suggest a correct position of the people in the circle, recall their sense of responsibility, invite the person in the centre to relax, or in some cases invite the people in the circle to accompany the body of those who are in the centre downwards if they are very relaxed and then bring it back to the centre.

EXERCISE 12

THE MIRROR

Keywords:

Exercise for an initial phase and in general to exercise bodily and emotional creativity.

Purpose:

Getting in tune with the other. Collaborate. Work on concentration and creativity.

Description:

Facing each other. The first makes simple movements, the second imitates them as in a mirror. Movements can become more and more complex if an appropriate harmony is established. At the signal of the conductor the roles are exchanged.

Duration:

From 10 to 20 minutes including variants.

Variants:

At the signal of the conductor there is no longer the pre-established rule: without agreeing everyone passes from the role of the driver to that of the imitator and vice versa within the established relationship.

Remarks:

In some cases, it may happen that the driver tries to deceive the other or put him in difficulty, thus going off topic. The conductor must intervene by bringing back to the centre the purpose of the exercise which is tuning. In other cases, some may tend to perform exercises that have a mainly gymnastic aspect. To avoid this so that the exercise is also a way to conduct research in free body expressiveness, the conductor can start with an example conducted by himself with a helper.

EXERCISE 13

THE JOURNEY

Keywords:

Relaxation and concentration exercise.

Purpose:

Work on concentration, stimulate imagination and emotions.

Description:

Distributed randomly, standing in space, with eyes closed, all turned towards the conductor, follow the instructions of the same that invites you to relax, to feel your body, to imagine it in the space in which you are, listening to every little noise, and slowly to imagine going out, advancing through the streets, moving away more and more, to the sea, to the mountain … imagine the sounds, the objects, the people you meet and then slowly go back.

Duration:

About 10 to 15 minutes

Remarks:

At the end of the exercise you can point out how the stage presence of each one was very strong (usually it is so) and reflect together on this aspect (in fact the body remained motionless but not inert or passive thanks to the concentration of one's mind).

EXERCISE 14

THE STATUES

Keywords:

Exercise of bodily creativity to create scenic structures.

Purpose:

Actively and pragmatically reflect on a topic; develop creativity through gestures.

Description:

In pairs, starting from a topic or concept given each couple gives life to two images that interpret that idea each elaborated by a participant by shaping the body of the companion as if it were a statue. Each statue will be observed by the group and its creator has the opportunity to explain it, to place it in a space and in a time, stimulated by the questions of the conductor.

Duration:

About 20 minutes

Variants:

The “sculptor”, if they prefer, can fit into the image created by themselves as part of the statue

Remarks:

It is important that each couple works in silence without giving verbal indications to each other; interaction passes through contact. It is very important the moment when everyone explains their work to others: the conductor will ask to give a title and will ask for other information, the creative part then continues at this stage.

EXERCISE 15

HOW DO I WALK

Keywords:

Opening and warm up exercise.

Purpose:

Work on self-perception and self-awareness, on body memory.

Description:

Observe yourself while walking without using a mirror, feel your walk, become aware of it, starting from the support of your feet on the ground to the movement of your shoulders and of your arms. Focus on the passage of weight from one foot to another, and slowly switch from your usual way of walking to a neutral pace in which you self-control the gait, the posture of the shoulders, the look …

Duration:

About 10 minutes

Variants:

The conductor proposes speed variations (normal, slowed down, accelerated) alternating with stops

Remarks:

In the variant draw attention to the maintenance of the gait in the different speeds

EXERCISE 16

MAN AND ANIMAL

Keywords:

Dramaturgy exercise for an initial research on the character.

Purpose:

Work on body expressiveness, on extradaily expressiveness.

Description:

Walking and gradually losing one's verticality, thinking about the animal that everyone thinks he is, imagining turning into that animal. Without imitating him in a slavish way, feel his gait, the rhythm of his walk, the sinuosity, the movements ...

Duration:

about 10 minutes

Variants:

The conductor can ask everyone to show his walk to the group and you can create a game of guessing or otherwise simply make observations on the work seen.

You can give life to simple improvisations / interactions in pairs

Remarks:

Stimulate participants to develop in-depth research and not stop at superficial and / or stereotyped imitation; make participants reflect on the correspondence that could exist between the human character/social characteristics and the animals represented

EXERCISE 17

BALANCE

Keywords:

Training exercise.

Purpose:

Work on self-perception, balance and coordination, impulses, explore the possibilities of your body.

Description:

Standing in a neutral position, move the balance onto one foot, lift the other and move it in the 4 directions (north, south, east, west) and then, drawing with the tip, a circle. Repeat with the other foot and continue with all the joints of the body, with particular attention to the pelvis.

Duration:

About 20 minutes

Variants:

1.      In rotations suggest speed variations: slowed down / accelerated alternating with stop

2.      Well placed in balance, a part of the body, foot, elbow, pelvis, shoulder etc is “thrown” as if by an impulse, suddenly.

Remarks:

During the course of the exercise draw attention to the gaze that must be projected forward (invite to choose a point on the opposite wall, this also helps to better maintain balance) and to the breath that must be continuous without apnea.

EXERCISE 18

THE JOINTS

Keywords:

Training exercise.

Purpose:

Work on self-perception, balance and coordination, impulses, explore the possibilities of your body.

Description:

Standing in a neutral position, move the balance onto one foot, lift the other and move it in the 4 directions (north, south, east, west) and then, drawing with the tip, a circle. Repeat with the other foot and continue with all the joints of the body, with particular attention to the pelvis.

Duration:

About 20 minutes

Variants:

1.      In rotations suggest speed variations: slowed down / accelerated alternating with stop

2.      Well placed in balance, a part of the body, foot, elbow, pelvis, shoulder etc is “thrown” as if by an impulse, suddenly.

Remarks:

During the course of the exercise draw attention to the gaze that must be projected forward (invite to choose a point on the opposite wall, this also helps to better maintain balance) and to the breath that must be continuous without apnea.

EXERCISE 19

ROPE – ROOT – STONE

Keywords:

Training exercise.

Purpose:

Feel the importance of the pelvis as a centre of gravity, work on the synthesis of the gesture and on the mime.

Description:

The exercise consists of imagining pulling a rope, extracting a root and transporting a stone from one point to another, making simple and structured gestures that the conductor shows. It is important to look at the focal points (origin of the rope, location of the root, place where I have to unload the stone).

Duration:

30 to 40 minutes

Variants:

1.      Vary the intensity with which the action is performed: slowed down, accelerated

2.      Vary the points of origin of the rope with respect to the body

3.      Rope, root, and stone are just mental images, performing the same actions without using your arms and focusing on feeling the weight shifts and how the body tries to balance them, emphasizing the importance of the pelvis and the bent position of the knees that transforms the body into a kind of spring always ready to act / react

EXERCISE 20

RESPIRATION

Keywords:

Training exercise

Purpose:

Become aware of the respiratory system and the importance of breathing for vocal emission, know and make known your voice

Description:

Standing in a circle focus on deep breathing, inhale from the nose and exhale from the mouth, feel the movement of the diaphragm when, for example, laughing, emitting a continuous mmmmm sound, output vowels with different intensity and volume.

Duration:

About 30 minutes

Variants:

Perform the exercises lying on your back

Remarks:

Each exercise within this section dedicated to vocal warm-up must be done all together and also one at a time (especially for vowel emissions) and then move on to the next one

EXERCISE 21

SINGING VOWELS

Keywords:

Vocal exercise.

Purpose:

Refine listening, experiment with vocal skills.

Description:

In a circle a participant emits the vowel A. The whole group repeats it by tuning to the same note, at the end, the neighbouring participant emits the E but with a different or higher or lower tonality the others repeat it together and so on proceeding alpha-betically all 5 vowels in rotation.

Duration:

Depends on the number of participants

Remarks:

Gently point out if the exercise is not conducted according to the rules (the change of tone for example) and possibly ask to try and repeat.

EXERCISE 22

THE INTENTION

Keywords:

Vocal improvisation.

Purpose:

Practice vocal expressiveness.

Description:

Learn a phrase, even a famous one and / or in your own language, by heart. Use the phrase to practice vocal emission and to play on intentions: pronounce the phrase with a feeling of anger, fear, joy etc.

Duration:

Depends on the number of participants, about 30 minutes

Variants:

Pronounce the sentence starting from a physical conditioning: to be restrained, to be prodded, to be distracted by another actor(s).

EXERCISE 23

RHYTHM

Keywords:

Warm-up and/or improvisation exercise.

Purpose:

Working on improvisation, stimulating the sense of rhythm and creativity.

Description:

In a circle play on the rhythm caused by sound produced with the voice and / or with the body (clapping, clapping of the hand on the chest, on the thigh ...). First everyone repeats that of the companion who precedes him, then the second adds something to the rhythm of the first etc.

Duration:

It depends on the number of participants.

Variants:

You can help the participants with musical stimuli.

Remarks:

Exercise tends to create good mood and harmony in the group.

EXERCISE 24

ALL TOGHETER

Keywords:

Exercise of education and vocal expression.

Purpose:

Work on the understanding and serenity of the group and on the rhythm.

Description:

Sing together simple songs in which the trend is emphasized with movements that put the participants in contact with each other (e.g. clapping hands with the partner etc.).

Duration:

Depends on the number of participants

EXERCISE 25

CAN YOU COUNT TO 4?

Keywords:

Exercise on coordination and rhythm.

Purpose:

Work on coordination and rhythm, release energy and expressiveness.

Description:

To very rhythmic music, from two rows each couple proceeds forward (with free danced steps) four steps forward and four turned to eachother. In turn they follow the others without losing the rhythm.

Duration:

It depends on the number of participants.

Variants:

When moving, add stops and pitch changes.

Remarks:

Exercise tends to give rise to a feeling of joy and liberation.

EXERCISE 26

LITERATURE, MUSIC AND DANCE

Keywords:

Cultural deepening.

Purpose:

Work on listening, learn about aspects of other cultures.

Description:

Listening to music, reading texts, watching videos and reflecting in the light of critical texts.

Duration:

Variable, dividing the work into several meetings.

Remarks:

It is essential to ask participants to write down their own reflections and write down the ideas that have emerged on the topics.

EXERCISE 27

THE RIGHT SOUNDTRACK

Keywords:

Dramaturgy exercise, work on autobiography.

Purpose:

Work for idea associations, become familiar with a dramaturgical work.

Description:

Given a famous scene/monologue locate the musical piece or poem, which is suitable. Then stage it with simple means.

Duration:

30 minutes

Remarks:

The conductor stimulates, without being intrusive, the participants without replacing them in the creative part.

EXERCISE 28

SAN REMO

Keywords:

Physical presence

Purpose:

Work on stage presence, work on the ability to synthesize the gesture by eliminating redundancies

Description:

Half of the group are arranged in a line in front of the seated comrades. To a popular well-known song, everyone sings in playback interpreting the song. One must try to attract the attention of the audience (conductor and another half of the group that observes). In the end the conductor makes observations on the quality of the movements and the stage presence expressed. Afterwards the other half of the group will do the exercise.

Duration:

About 20 minutes

Remarks:

In the considerations on the work, be careful not to judge others but to make a real effort to observe the effect of the gesture of others.

EXERCISE 29

REALIZE

Keywords:

Work on text.

Purpose:

Work on individual creativity.

Description:

In a poem emphasize: the verbs, then the objects, then the images. On each one reflect and create theatrical images (e.g. through the exercise of statues) or graphically, identify and collect materials and objects that can be used in improvisations.

Duration:

4h (it is advisable to divide this exercise into several meetings)

EXERCISE 30

WHO LEFT IN DISORDER?

Keywords:

Improvisation exercise

Purpose:

Stimulate the ability to observe, imagine and improvise, interacting with objects and with the scenic space.

Description:

Set up a space with objects arranged more or less randomly, ask an actor to imagine what happened to you.

Duration:

About 20 minutes

Variants:

Ask to remove what is not strictly necessary and possibly be able to replace it with another object (e.g. a table with a towel)

Remarks:

Leave all the time necessary to carry out the action, anticipate that you will remain in concentration until the conductor says stop, invite you to never lose concentration.

EXERCISE 31

SPATIAL TRANSLATION

Keywords:

Improvisation exercise.

Purpose:

Stimulate the ability to observe, make people understand the ways of creativity that also proceed by absurdity, contrast etc. Living the environment in a creative way (enhancing the environment in which you are).

Description:

Use a different place than usual, observe it in its main characteristics (e.g. laundry), make an improvisation in which it is used as such, in a coherent and ordinary way, then make an improvisation in which the same space is used in an extraordinary way.

Duration:

15 to 30 minutes

Variants:

Make a famous scene: e.g. final of Casablanca, Juliet on the balcony, etc.

EXERCISE 32

I ANALIZE A CHARACTER

Keywords:

Improvisation exercise.

Purpose:

Physical description of a character without the psychological aspect, work on autobiography.

Description:

Thinking about a person, who has had importance in his own life, talking about him for a few minutes, then describing him or her as if they were in a photo, the conductor further stimulates by asking where they are, in what era ...

Duration:

About 10 minutes.

Remarks:

Draw the actor's attention to the physical presence while the story is being made.

EXERCISE 33

ABOUT ACTIONS

Keywords:

Exercise in self-dramaturgy

Purpose:

Ability to synthesize, body expressiveness.

Description:

From a famous character from the cinema or theatre (e.g. King Kong) or a character you are working on, extrapolate 5 actions that characterize them and act in the space. The same work can be done on events related to current events etc.

Duration:

About 20 minutes.

Remarks:

Draw the attention of the actor to the importance of defining the beginning and end of the action.

EXERCISE 34

PREDICAMENT

Keywords:

Improvisation exercise.

Purpose:

Ability to improvise, to bring out elements of one's own sensitivity.

Description:

The host entrusts a character in a problematic situation to each actor who has to develop it (a single mother looking for work, an elderly person alone...). After an individual research, everyone shows their work to others.

Duration:

About 20 minutes.

Remarks:

The work is individual, the actor must be a director of himself - it is therefore advisable after a first research to ask to define the situation in order to make it synthetic and effective.

EXERCISE 35

POLARITY

Keywords:

Improvisation exercise.

Purpose:

Reflection on identity and autobiography.

Description:

Reflecting on the conditions of a character: restlessness, lust for power, passivity, combativeness ... identify the opposite condition and starting from famous people of cinema and theatre define some according to this scheme. Then ask to think of a known person who is in similar conditions and place him in a scene to be improvised.

Duration:

45 minutes

EXERCISE 36

VARIATION ON THE THEME

Keywords:

Exercise in improvisation and dramaturgy.

Purpose:

Composing and decomposing a situation to see various points of view, not stopping at the first idea, pushing the expressive research beyond everyday normality.

Description:

Given a text, identify a character who develops some different situations on the theme that emerges from the text (either with the exercise of the statue or by voice). After an accurate description (place, time, people, actions ...), we try to overturn one or more of the above elements, in order to transform the situation from obvious to less obvious, disruptive, provocative etc.

Duration:

About 2h (it is advisable to divide the phases of the exercise into several sessions).

EXERCISE 37

PERSPECTIVES

Keywords:

Exercise in comprehension of a text and synthesis

Purpose:

Develop the ability to have a total vision of a work, the ability to synthesize and identify salient elements.

Description:

Consider the characters of the work on which you are working or of a famous work and tell the whole work or a part from the point of view of each character.

Duration:

2 h (it is recommended to divide the work into several consecutive meetings, involving each participant of the group).

Variants:

As an alternative to the vocal story you can use the means of tableau vivant or statues (still image created with the body of one or more participants)

EXERCISE 38

HINT NOT DESCRIBE

Keywords:

Dramaturgy exercise.

Purpose:

Develop the ability of a total vision, the ability to synthesize and identify salient elements, develop awareness and expressive maturity.

Description:

Consider the characters of the work on which you work or of a famous work: moving in space impersonate the characters like an illustrator who makes sketches, without redundant movements, with recognizable, essential, dynamic gestures and passages without falling into stereotype or pantomime.

Duration:

20 minutes.

Remarks:

The conductor creates a continuous dialectical relationship with the student, also intervenes during improvisation to recommend punctual cleaning of movements, gestures, passages, observes when the student falls into the traps of a gesture too explicit and / or descriptive etc.

EXERCISE 39

FRONT THE COMMISSIONER

Keywords:

Dramaturgy exercise.

Purpose:

Character study, impersonate.

Description:

Consider a character of the work on which you work or of a famous work and make the identikit. When questioned, tell all the connotations, the personal data; with the same expressive quality tell the actions, the behaviour, the conflicts, the objectives …

Duration:

15 minutes

EXERCISE 40

AT THE SCHOOL OF DRAMATURGY

Keywords:

Dramaturgy exercise.

Purpose:

Ability to synthesize, research and develop all possible meanings from a story.

Description:

Synthesize in 5 minutes the plot of a work (famous or on which you are working), summarize it in a minute, then in 10 words. Divide it into situations. Divide situations into main and secondary. Represent the various situations, further develop the secondary situations.

Duration:

3h (it is advisable to divide this exercise into several meetings).

EXERCISE 41

ME, LIKE HIM

Keywords:

Writing exercise.

Purpose:

Work on autobiography.

Description:

Writing work in which each actor takes into consideration the character, the situation, the concept, the feeling told in the work (story, novel, poetry) and reflects on what is closest to him, what is proper to him, what he has in common with what he has in front of him. From the written text draw inspiration for a scenic development also with other actors.

Duration:

4 h (it is advisable to divide this exercise into several meetings)