Stanislavsky Konstantin Sergeevich system. Briefly about the system and Stanislavsky

The Stanislavsky system is what many successful people refer to. However, not everyone knows what it is and the essence of this phenomenon. If you like self-development, then you should, at least theoretically, know the Stanislavsky system.

Konstantin Sergeevich Stanislavsky

The Stanislavsky system is a theory of stage art, a method of acting technique. It was developed by the Russian director, actor, teacher and theater figure Konstantin Sergeevich Stanislavsky in the period from 1900 to 1910.

For the first time, the system solves the problem of consciously comprehending the creative process of creating a role, and determines the ways of transforming an actor into an image.

Naturally, Stanislavski used in his work important aspects of heuristics in general, and lateral thinking in particular. This is despite the fact that at that time these areas of science did not exist as independent disciplines.

The goal of Stanislavsky's system is to achieve complete psychological authenticity of acting.

The system is based on the division of acting into three technologies: craft, performance and experience.

1. Stanislavski's craft is based on the use of ready-made cliches, from which the viewer can clearly understand what emotions the actor has in mind.
2. The art of performance is based on the fact that during long rehearsals the actor experiences genuine experiences, which automatically create a form for the manifestation of these experiences, but during the performance itself the actor does not experience these feelings, but only reproduces the form, the ready-made external drawing of the role.
3. The art of experience - the actor experiences genuine experiences during the game, and this gives birth to the life of the image on stage.

The system is fully described in the book by K. S. Stanislavsky, “The Actor’s Work on Oneself,” which was published in 1938.

Stanislavsky died in 1938, but his scientific achievements and creative understanding of human psychology are relevant to this day. In this article we will look at the 7 basic principles that make up the Stanislavsky system.

Action is the basis of performing arts

The Stanislavsky system is a rather conventional concept. The author himself admitted that a student can only learn skills and gain experience through close communication with the teacher.

That is, it is simply impossible to achieve a good result from a distance. It’s interesting that many people understand Stanislavsky’s system differently. Even its main conditions may differ for different actors or directors.

The principle of operation should be considered the central element of the system.

Action, in turn, is the basis of stage art, since any performance consists of many actions, each of which should lead to the achievement of a specific goal.

When building his role, the artist should not simply imitate the emotions and feelings of his character, because then his acting will turn out to be false.

On the contrary, the actor is obliged to try to build a chain consisting of simple physical actions. Thanks to this, his performance on stage will be truthful and natural.

Basic principles of the system

The discoveries of Konstantin Sergeevich Stanislavsky forever pushed into the past the work of theater teachers, so to speak, in terms of methods: blindly, by touch, previously educating their students - adhering to the principle of “random advice”. Stanislavsky's greatest work, his system, contains the laws and principles of acting, among which stand out:

We also urgently need to consider two more important components of the acting craft that contribute to its full development.

Don't play, but live

Truthfulness, in Stanislavsky's system, is one of the most important elements. No actor or director can portray something better than what exists in nature, in the real world.

Nature is both the main artist and the tool, which means it is what needs to be used. When performing in front of an audience, you must not just play the role, but live it entirely.

In the notes of Stanislavsky himself the following phrase is found: “During my show of Khlestakov, I also felt for minutes that I was Khlestakov in my soul.” Any role should become an important part of the artist himself.

But in order to achieve such a result, the speaker should use his life experience and imagination, thanks to which he will be able to believe that he is performing exactly the same actions as his hero.

In this case, all the components of the role and your acting tasks will not be far-fetched, but literally parts of yourself.

Preface: LEARN TO CREATE!

This book is the most complete collection of trainings on the Stanislavsky system. It is designed so that any person, regardless of age and profession, can develop all aspects of his spiritual and physical nature. In other words, I learned to create. The object of creativity can be anything.

Konstantin Sergeevich Stanislavsky was firmly convinced that imagination, faith in fiction, and a sense of truth, like concentration and muscle freedom, can be developed and exercised. The main thing is to strive for the goal and not give up trying.

Acting training according to the Stanislavsky system is of enormous importance not only for honing the actual acting skills. Any human activity can be elevated to the level of creativity, be it running a corporation or raising children. The main thing is to find your own path, to reveal your own nature. Stanislavsky said: “Each person reveals in himself and frees his grain, his love for creativity in a completely special and unique way, constituting his individual uniqueness, his secret. And therefore, the secret of one person’s creativity is not suitable for another and cannot be passed on as a model for imitation to anyone.” [1] We sincerely hope that our trainings according to the system of this greatest theater figure will help you reveal your creative individuality, thanks to which only you can reach the heights of any profession.

Analysis

A person is designed in such a way that he is often unable to analyze his own emotions. He fails to notice what he feels when he eats, walks or talks. We also do not tend to analyze the actions of other people.

An actor, on the contrary, must be a very good researcher. For example, he should examine in detail how his typical day goes. Or observe the behavior of a person trying to please the people he came to visit.

These and other observations should become habitual. Thanks to this, the actor or director will be able to collect certain information and gain experience. Among other things, he will be able to competently build a chain of physical actions, and therefore his character’s experiences.

Simple exercises to develop acting skills

Acting exercises can be considered anything that develops the basic qualities of an actor, listed in the subsection “acting self-development.”

Here are the simplest of those offered by acting training according to Stanislavsky:

• Imitation.
  When in a crowded place, find a person who piques your interest and watch him. Come up with the necessary circumstances for him and try to reproduce a small fragment of his behavior yourself, trying not to miss a single characteristic feature.
• Memory of physical actions.
  Let us remind you that the right physical action can evoke the right emotion. Their non-objective reproduction will help develop a memory of physical actions. Simulate breakfast without food, dishes and cutlery, take a shower without a bath or water, draw without pencils and paper, etc.
• I am in the proposed circumstances.
  Develop your imagination by inventing unusual circumstances for yourself and trying to exist in them as truthfully as possible. Usually this exercise is performed in the form of sketches: the “pipe burst” sketch, the “first time at the skating rink” sketch, the “desert island” sketch, etc.

Simplicity, logic and consistency

According to Stanislavsky, the score (chain) of physical actions should be as simple and clear as possible. Due to the fact that the artist has to perform hundreds of times in front of the audience, he must relive his role again and again, and with a complex scheme of actions, he will certainly get confused.

It will be much more difficult for him to express any emotions on stage, and for the viewer, in turn, it will be more difficult for him to analyze his performance. Stanislavsky believed that almost all people’s actions are very logical and consistent. Therefore, they should be the same during a theatrical production.

Logic and consistency must be present in everything: goals, desires, thoughts, emotions, actions and other areas. Otherwise, the same confusion will continue.

Briefly about the system and Stanislavsky

Konstantin Sergeevich Stanislavsky

(his real name is Alekseev) is a great theater reformer, creator of the world’s most famous acting system, teacher, actor, theater director. By birth (born January 5 (17), 1863 in Moscow) and upbringing, he belongs to the highest circle of Russian industrialists.

Konstantin Sergeevich inherited his talent from his grandmother, a French woman by birth, a famous Parisian actress. He began to gain stage experience in 1877 in the Alekseevsky circle (Moscow). Konstantin Sergeevich always preferred the roles of brightly characterized heroes, so one of his favorite roles: student Megrio from the vaudeville “The Secret of a Woman.” At the beginning of the 20th century, he plunged into the development of a fundamentally new system of acting, his famous literary works: “An Actor’s Work on Himself” and “My Life in Art.”

He expressed the essence of his entire system in one succinct phrase: “there are no small roles on stage, just like in life, every person is valuable. The main thing for the stage is to create the illusion of living reality.” Until his last days Stanislavsky (he died in Moscow on August 7, 1938) lived in a tireless search for more and more new methods of pedagogical creativity - he dreamed of creating an actor of a “new type” and a nationwide theater of deep life truth.

Shortly before his death, Stanislavsky developed a method of physical action: filling physical action with psychological content: fantasy, feelings, internal actions. Thus, he crossed out everything old that Stanislavsky’s students of previous years followed (his system, unlike previously existing theatrical systems, is no longer based on studying the final results of creativity, but on identifying the reasons that cause certain consequences).

It is worth noting that Konstantin Sergeevich’s books contain many self-refutations, due to the “fault” of his constant search for new acting and directorial solutions. By the way, his contradictions are one of the main reasons for such great public interest in his works.

Overarching goal and cross-cutting action

One of the most important conditions of the Stanislavsky system is such a concept as a super task. Neither artists nor directors should in any way neglect the ideas of the author of the play for the sake of their own opinions.

The director is obliged to fully reveal the author's idea and try to express it on stage. And an actor, in addition to this, should also be as deeply imbued with the ideas of his characters as possible. The main task is to express the main idea of ​​the work, since this is the main task of the performance.

All members of the acting team must try to achieve this goal. This can be achieved by identifying the main line of action that runs through all parts of the work and is called end-to-end action.

Training according to the Stanislavsky system

The process of training actors through the eyes of Konstantin Sergeevich Stanislavsky can be divided into two sections:

The first section is related to the elements of an actor’s work on himself. Here we are talking about constant training, about using all the elements of creativity in the process of preparing for a role: intelligence, artistic abilities, will, feelings of the actor - while connecting imagination, attention, emotional memory to the entire preparation process.

There are four important stages in an actor’s work , both on himself and on the role:

1. Cognition is familiarization with the role, at this stage the creative process is born - Stanislavsky assigns a very important role to this stage, here it is important not to make a mistake in understanding the role.
2. Experience is a complete analysis of the role: the concept of the whole, through its components.
3. Embodiment - due to a clear representation of the time of the play, the people of that time, and the setting.
4. Impact - what it means to “be”, “exist” in the life of a production. The actor must convey the character of the role - this is the goal of all his work, and “in order to be distracted from the audience, one must be carried away by what is on stage,” Stanislavsky taught.

The second section of Stanislavsky’s system is devoted to the actor’s work on the role, which ends with the organic fusion of the actor with the role, transformation into the image. This “fusion” can only be achieved if you work on the role “from yourself” - completely immersed, imbued with the role. This requires analysis: the process of understanding the play and the role. The purpose of this analysis is to deepen, to completely immerse “into the soul of the role.”

Collectivity

The ultimate task will become accessible only when all the artists join forces to work on the performance. Stanislavsky argued that mutual compliance and understanding of a common goal are extremely important.

When an artist tries to imbue himself with the ideas of an artist, writer or director, and an artist or writer with the desires of an actor, then everything will be great. Artists must love and understand what they are working on, and also be able to give in to each other.

If there is no mutual support in the acting team, the art will be doomed to failure. Many of you have probably heard Stanislavsky’s famous phrase: “Love the art in yourself, not yourself in the art.”

How to build a training

Based on the exercises, sketches and assignments contained here, you can build training sessions - individual or collective. Preference is given to group classes under the guidance of a teacher. Stanislavsky himself advises this: he explains this by the fact that the student cannot see himself from the outside, and therefore makes dangerous mistakes, which can subsequently turn into a stamp or a clamp. However, some exercises, such as “muscle relaxation” or “film of the day,” can be performed individually.

How to organize training sessions? At the beginning of the course, it is recommended to include one type of exercise in one lesson, then you can begin combined training. Immediately after the lesson, write down your observations: what was easy, what was more difficult; How other group members rated you. This is necessary in order to find your dominant type and identify “weak points” that need development.

And, of course, it is necessary to remember that no abbreviated manual will give a complete understanding of the Stanislavsky system. To do this, you need to study the original works of Konstantin Sergeevich himself and his followers. In addition, we should not forget about the spectator’s personal impressions. Go to the theater, watch films, try to attend rehearsals of different directors, think, feel, write down... And then the acting profession will open up to you as Stanislavsky understood it, saying that “stage individuality is a spiritual individuality, first of all. This is the artist’s point of view...the artistic prism through which he looks at the world, people and creativity.” [2]

Training of visual and associative impressions

Development of visual memory, external and internal vision

Theatre, cinema or television is primarily a visual art. Any actor must have a well-developed visual memory, be able to see and imagine not only what is around him - the stage, the scenery, the auditorium. With his inner vision, he must see what the viewer sees (the actors, the mise-en-scène, the entire scene), and what his character “sees.” The exercises in this section are aimed at developing external and internal vision, as well as building visual associative chains.

Simple exercises for viewing an object

1. Select several items. Consider them one by one and tell each other about each of them.

2. Consider two objects at once, looking for similarities or differences in them.

3. Ask students to look at the same object at the same time. Switch your attention from object to object.

4. Show a group of objects to students, then cover these objects and ask them to describe what objects they are and in what order they are located.

5. Ask students to remember the location of objects in this part of the room. Watching is prohibited. Change the location and ask to tell about the changes.

6. In public places (on the street, in transport, in the library, etc.) look at people: a) one at a time; b) in twos, looking for similarities or differences in them. Think about who these people could be, where they are going, what their thoughts are doing.

7. Peering into the person, try to “catch” his character for the role.

8. Look through costume drawings by era. Choose them yourself (and hang them on the walls).

9. The same with architecture.

10. Imagine that you need to organize a friendly party or social reception. 1.Modern party (reception). 2. The same in different historical periods: a) in the 60s of the 20th century; b) before the Second World War; c) at the beginning of the 20th century; d) in the 1860s; d) at the beginning of the 19th century.

11. Remember your visual impressions: favorite paintings, natural landscapes, city views, room furnishings, shapes and colors of objects.

12. Move to active viewing of objects. For example, take an object - a painting. What does she represent? What is its size? Colors, paints, technique? Under what circumstances could it have been painted? What task did the artist set for himself? What prompted him to choose this particular plot? Justify and revive everything - first with one, and then with another fiction of the imagination!

Circle of attention

Circle of attention

represents not one point, but a whole small area that includes many independent objects. The eye jumps from one side to another, but does not cross the boundaries outlined by the circle of attention. To build a circle of attention, it is necessary to limit the planned area, or the circle for visual attention, by the lines of the objects themselves located in the room. Here, for example, is a round table covered with different things. The area of ​​its board is an outlined small circle of attention in the light. But on the floor there is a rather large carpet with furniture standing on it - this is the middle circle in the light. Another, even larger carpet clearly outlines a large circle in the light. Where the floor is open, count out the required number of parquet squares drawn on the rug. The largest circle of attention is the entire stage.

Managing attention in a large circle

As the circle in the light expands, the area of ​​attention increases. However, this can only last as long as you are able to maintain the mentally outlined line of the circle. As soon as the outlined boundaries begin to fluctuate and melt, we must quickly narrow the circle to the limits accessible to visual attention. But it is precisely at this moment that disaster often occurs; attention slips out of your power and dissolves in space. We have to collect and direct it again. To do this, you need to quickly turn to the help of a point object, even, for example, to a light bulb glowing in a box. There is no need that in the light she is not as bright as she seemed before in the dark, however, this does not prevent her from attracting attention to herself now. Now, after you have strengthened it for a minute, first create a small circle in the light with a lamp in its center. Then outline a medium circle of attention in the light and in it several small ones. Do these exercises in the dark and in the light. If you get lost in a large circle, quickly “catch on” to a point object. Hold on to it, create a small circle for yourself, and then a medium one. It should be remembered that the wider and more deserted the large circle, the narrower and denser the middle and small circles of attention should be within it, and the more closed the public loneliness.

Exercise

Mentally outline, narrow and expand the circles of attention that lie outside of you.

Mobile circle of attention

Take a hula hoop. Put it on yourself and hold it with your hands so that you yourself are in its center. Walk around the room inside this hoop. The tangible lines of the hoop will help keep the contours of the circle within clearly defined boundaries. Now take off the hoop and try to carry such a mobile circle of attention with you in your mind.

Film of the past

Going to bed and turning off the light, train yourself daily to look through the entire life of each past day, while trying to detail your memories to the last limit, that is: if you think about lunch or about morning tea, then try to remember and see not only the food you ate, but also the dishes on which the dishes were served, and its general arrangement on the table. Remember the thoughts and internal feelings caused by the dinner conversation, and the taste of what you ate. Other times, remember not the immediate day, but more distant moments of life. Mentally review in even more detail apartments, rooms, places where you once lived or walked, and, remembering individual things, mentally use them. This will return you to the once well-known sequence of actions and to the line of the day of your former life. Check them too in detail with your inner attention. Try to remember your loved ones, living or dead, as vividly as possible. But in all this work, a large role is assigned to attention, which receives new reasons for exercise.

Looking into the world

Look into nature. Take a flower, or a leaf, or a cobweb, or frost patterns on glass, etc. Try to define in words what you like about them. This will force attention to delve deeper into the observed object, to treat it more consciously when evaluating it, to delve deeper into its essence. Don't be disdainful of the darker sides of nature. And here, do not forget that among the negative phenomena there are hidden positive ones, that in the ugliest there is also beauty, just as in the beautiful there is ugly. Turn to the same study of works of art - literature, music, museum objects, beautiful things and other things, to the study of everything that catches your eye and that helps to develop good taste and love for the beautiful. In an unfamiliar place - guests or somewhere else - ask yourself questions and honestly, sincerely answer them: who, what, when, where, why, for what

is what you observe happening? Define in words what you find beautiful, typical in the apartment, in the room, in the things that interest you, what most characterizes their owners. Determine the purpose of the room or object. Ask yourself and answer: why is furniture, certain things or other things arranged this way and not otherwise, and what habits of their owners do they hint at? It is not only the external, visible world that can be observed. You can also examine the inner world of another person when it is revealed through his actions, thoughts, impulses, under the influence of the circumstances offered by life. Watch these actions carefully and study the circumstances, compare both, ask yourself: “Why did the person act this way or that way, what was in his thoughts?” Draw an appropriate conclusion from all this, determine your attitude towards the observed object and, with the help of all this work, try to understand the warehouse of his soul.

Detach yourself from the visible

Detach yourself from this place, from time, transport yourself to another environment that is well known to you, and act as your imagination tells you. Decide where you would like to mentally transport yourself. Let's say you want to find yourself at home. To do this, you first need to mentally climb the stairs, ring the bell at the front door, in short, perform a series of sequential logical actions. Think about a doorknob that needs to be pressed. Remember how she turns, how the door opens and how you enter your room. What do you see in front of you? Try walking around the room and living in it. What do you want to do? What time is it now? Mentally transport yourself to other, unfamiliar, conditions that do not exist now, but that can exist in real life. For example, take a trip around the world. These dreams need to be fulfilled not “somehow”, not “in general”, not “approximately” (any “somehow”, “in general”, “approximately” are unacceptable in art), but in all details , from which every large enterprise is composed. During the journey, you will have to deal with a wide variety of conditions, with the way of life and customs of foreign countries and nationalities. It is unlikely that you will find all the necessary material in your memory. Therefore, you will have to draw it from books, paintings, photographs and other sources that provide knowledge or reproduce the impressions of other people. From this information, find out exactly where you will have to mentally visit, at what time of year, month; where you will have to mentally sail on the ship, and where, in what cities you will have to make stops. There you will also receive information about the conditions and customs of certain countries, cities, etc. Let the imagination create the rest that is missing to mentally create a trip around the world. All this important data will make the work more grounded, and not groundless, which is always the case with dreams “in general” that lead an actor to acting and craft. After this extensive preliminary work, you can already draw up a route and hit the road.

Bring the impossible closer to the probable

Now imagine something that is impossible in real life. For example, be transported to another planet or to a fairy-tale world. What are your plans? Why did you find yourself in this unknown world? What do you intend to do? Be consistent: consider “local” conditions and your life needs. Logically justify your actions - that is, “bring the impossible closer to the probable.”

“I am”, or Stepping aside

Imagine that your partners went on an expedition to the Far North, while you stayed at home. Try to guess what they are doing now? Mentally “step aside” and watch how they are freezing in the North, repairing a broken airplane, or preparing to defend themselves against attacks from animals. In this case, you are a simple spectator of what your imagination draws to you, and you do not play any role in this imaginary life. Now imagine that you are there. Once again, “step aside” and try to see yourself among them. What are you doing? Be transported into your own dream. Now, as a character in an imaginary life, you can no longer see yourself, but see what surrounds you, and internally respond to everything that happens around you as a true participant in this life. At this moment of your active dreams, a state is created in you that we call “I am.”

Mental Journey

Mentally travel to different places: walk the streets of the city, ride the tram, subway, go to shops, museums, etc.

…

“Let’s go to church,” Tortsov suggested to us when he entered the classroom.

- To church?! Why? – we were perplexed. - What about the lesson?

- This will be the lesson that you and I will go first to church, then to a furniture store, then to some government office, to a railway station, to a market.

Vyuntsov had already stood up, apparently about to leave, but Tortsov stopped him.

– We, artists, do not need to hire a cab to go around all these places. Sit quietly, and your imagination will travel. His sphere, not real life, is our artistic field.

Not even a few seconds had passed before most of us found ourselves mentally in church.

- In which? - Tortsov asked Velyaminova, who had already managed to cross herself, pray and flirt with the imaginary Nicholas the Wonderworker, kissing his hands.

Our beauty was unable to determine which church she entered.

In general - to the church.

- No. “In general” it doesn’t count in art, Arkady Nikolaevich told her. – You go to church in honor of some saint, and not to church at all.

“I don’t know how this is done,” Velyaminova flirted.

“We’ll sort it out now,” Tortsov reassured her. “Please allow me your pen,” he kindly addressed her. She hastened to fulfill his request and extended her beautiful hand to Arkady Nikolaevich. But Tortsov put her back on her full lap, saying:

- Just mentally... mentally extend your hand to me, I’ll take it, and we’ll go. Which street? – Tortsov asked Velyaminova.

“On Pokrovka,” she answered.

“Let’s go,” Tortsov said boldly, without moving from his place. – Don’t forget to tell me when you come.[1]

"Pedigree" of the item

When looking at any object, try to look into its past, come up with a “pedigree” for it. Switch your attention from object to object. Share your fantasies with your partners.

…

Rakhmanov pointed out some object to us, even a chandelier. And everyone directed their gaze at her and tried to concentrate their attention on her. If the object did not capture us by itself, then, as is expected in such cases, we began to examine and study the shape, lines, and color. But since such an activity is not very exciting and does not last long, they resorted to the help of the mind, imagination and fiction.

I told myself:

“This chandelier dates back to the times of Alexander I and Napoleon. Perhaps she shone for one of them during magnificent festivities, balls, or during state negotiations that made history. Even if her fate was more modest, she served not emperors, but simple nobles. How many handsome ladies and gentlemen she saw! How many lush, florid phrases, sentimental poems, touching romances she listened to on the clavichord or on old pianos! How many love dates and piquant scenes she was present at!

Then came the harsh times of Nicholas I. Who knows, maybe this chandelier shone during the secret meetings of the Decembrists, and after that it hung abandoned for a long time in an empty house, while its masters languished far in the snow, in the north, underground, in shackles, chained to wheelbarrows hands.

Time flew by and, who knows, maybe the chandelier was sold at auction to a rich and purple-footed merchant. He hung it in his shop. How shocked the poor graceful aristocrat-chandelier was by the new vulgar society into which she found herself.

Did the merchant really steal? Has the wonderful chandelier really hung in the antique shop for a long time? Her aristocratic simplicity was not appreciated. She was waiting for an expert. Tortsov appeared and carried her with honor to his theater...

But here she fell not into his hands, but into the Rublevs, Polushkins and theater props. Look what they did to her! Here is the wrinkled thinnest slit! Here's a bent candlestick! And the dull tone of bronze! Doesn’t he testify to the hard lot that a gentle aristocrat found among the theatrical bustle and bohemia?!

Poor elegant old chandelier! Is there something ahead for you? Will they really sell you for scrap? Will they really melt you down in a furnace so that later they can make door hinges or pot-bellied samovars?!”

I was so lost in my daydreaming that I missed the purpose of the new object.

Everyone was already paying attention and fantasizing about the vulgar plush fake album with metal corners and slotted plaques.

Try opening the album. You will be surprised at the rabble of photographs that the prop makers drew in it. At the top is a portrait of some volunteer from Rogozhskaya. The young merchant put on his uniform for the first time and hurried to take off for posterity. How to show your prowess? He grabbed the saber, half-pulled it out of its sheath and with a fierce face reaches for the apparatus, as if about to kill an invisible enemy in its place. Next to the hero from Rogozhskaya is a photograph of the Austrian Emperor Franz Joseph in a pompous pose. Below him is a fish man under water, in an aquarium, with unpleasant whitish eyes. And next to the fish is a portrait of the venerable old nun, the abbess of the monastery. What a motley company the holy woman found herself in![1]

Create visions

Create inner visions. Remember your previous life - by decades, by years, by months, by days. Restore events, people’s faces, and surroundings in your memory. Detail your memories. If you, for example, recall how you had lunch today, then you need to remember: everything you ate and in what order, the taste of everything you ate, all the dishes and their general arrangement on the table, thoughts and internal feelings caused by the dinner conversation. Imagine not only the past, but also the future.

From stills to film

When reading a literary work or play, create visual images for individual passages and then for the whole work. Let these images, like individual frames, form a “film strip.” “Scroll” this film strip inside yourself.

What would happen if...

1. I would be alone in my room, and trying to remember the song for the role...

2. I would be bored, I’m looking for something to do, everything falls out of hand...

3. I entered the room where I lived as a child and where another person now lives...

4. I had to decide an important and urgent question for myself...

5. I was going to the theater, where I had an appointment with a person dear to me...

6. All group members would be: animals; French, English, etc.; flowers in the flowerbed; birds; statues, for example, in an antique museum...

7. If I were a tree...

8. When performing these exercises, you need to not just imagine abstract pictures, but try to get used to this image.