Physical exercises from level II are applied.<\/p>\n\n\n\n
Difficulty levels are augmented (combinations of movement, movement in space, breathing, voice, added jumps and turns.)<\/p>\n\n\n\n
Shifting energy from one type to another, as practised in part II.<\/em><\/p>\n\n\n\n The release of energy in a movement should be looked at more closely. The amount of energy used for triggering a movement is a quick impulse<\/em>, ‘sats’[207]<\/span>. It is ‘a physical accent that marks the body’s passage from immobility to movement’.<\/p>\n\n\n\n Enlarged and stylised, it becomes the arsis<\/em>, a movement starting in its opposite direction, which Meyerhold called otkas<\/em>[208]<\/span>. It induces movement and makes it clear. Movement always has three parts: otkas (sats), posyl (movement proper), and stoika;<\/em> the ending position.<\/p>\n\n\n\n Exercise 3.1:<\/strong> Find six movements<\/em> or actions, and practise them with exaggerated otkas,<\/em> with posyl<\/em> and clear stoika, and join them together in a choreography.<\/em><\/p>\n\n\n\n All movements must be breathed. But breath must be transferred to the limbs as well.<\/p>\nMarcel Marceau<\/cite><\/blockquote>\n\n\n\n By consciously changing breathing patterns<\/em>, the actor can change energy and expression:<\/p>\n\n\n\n Exercise 3.2:<\/strong> Analyse a simple action<\/em> (such as putting on a coat, drinking a glass of water). Dissect the action first into its movement units.<\/p>\n\n\n\n Exercise 3.3:<\/strong> Breathing movement<\/em>: Do the physically upward parts<\/em> of your action above while inhaling,<\/em> and the downward<\/em> movements exhaling.<\/em> Movement is functional and sportive.<\/p>\n\n\n\n Exercise 3.4:<\/strong> Opposite breathing<\/em>: Do downward<\/em> movements while inhaling, upward<\/em> movements exhaling,<\/em> and become aware of the change of expression. Movement becomes dramatic.<\/p>\n\n\n\n Exercise 3.5:<\/strong> Violent breathing<\/em>: Hold your breath, wait three seconds, and just before<\/em> you feel the necessity to breathe out, do the movement quickly and violently, just before<\/em> you exhale. Movement turns aggressive.<\/p>\n\n\n\n Exercise 3.6: <\/strong>Deep breathing, lying on the back, become conscious of the three respiratory zones:<\/em> abdominal\/ribcage\/lungs.<\/p>\n\n\n\n<\/div><\/details> Exercise 3.7:<\/strong> Do movement series in slow motion or live your life in the classroom in slow motion.<\/em><\/p>\n\n\n\n Exercise 3.8:<\/strong> Slow motion, stop<\/em> and ‘freeze’: continue with a quick or sportive rhythm. Stop, ‘freeze’, continue in slow motion. The changes must be sudden, with nothing in between.<\/p>\n\n\n\n Exercise 3.9:<\/strong> Practise movement sequences using different dynamics: accelerating, decelerating, legato and staccato (in saccades). <\/em>(Example: putting a coat on in saccades, like having a fever.)<\/p>\n\n\n\nBreathing techniques<\/h2>\n\n\n\n
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Breathing techniques exercises 3.2–3.6<\/summary>
Rhythmical work and dynamic patterns: exercises 3.7–3.10<\/summary>