Through fantasy beings to more expressiveness (BLICK-09-EN)

Through fantasy beings to more expressiveness

group work

Cloths, plastic bags, sticks, cotton wool, stones, ropes, fly bouncers, rubbish bags, etc.

Many different percussions

Sound system for playing background noises

For this method, you need a sound system for playing background noises

15 minutes

In order to support the participants in finding their way more quickly into the framework of this exercise, a sound system can be used to play a very discreet background sound - the sound of a forest, birds chirping.

People usually feel joy when movement and music come together. When these two things fit together, when it matches, you feel it immediately through joy! And just as you feel it when music and movement harmonise, you also feel it very clearly when these two things do not go together.

Why is that?

We perceive sensory impressions with our whole body. And we express our feelings through movements. Our emotional sensitivity can be strongly influenced by music and movement. The term " psycho-motorics" points to this close connection between physical-motoric and mental-emotional processes.

Through this method/action, these benefits are achieved:

• Observing how other people move strengthens empathy
• Overcoming personal limits and getting involved in new things
• Dare to show yourself, come out of your shell
• Experiencing the creativity of one's own body
• Making yourself understood through non-verbal communication strengthens your expressiveness.

Step 1

Various materials are distributed around the room: cloths, plastic bags, sticks, cotton wool, stones, ropes, fly bouncers, rubbish bags, etc.

In addition, many different percussion instruments are available.

The participants first choose an object that particularly appeals to them at the moment. The percussion instruments will be used later.

Now the group leader gives the framework for the exercise:

"The idea is that we are together in a fantasy forest that is also home to fantasy creatures. The materials are these fantasy creatures, which we now bring to life.

The rubbish bag, for example, how does this rubbish bag move if it were a mythical creature?"

Step 2

The participants should now find two or three movement patterns with their material, with their fantasy creature, how this creature moves through the forest.

Step 3

Now the participants go together in pairs. In this tandem, one participant becomes the sound designer. He/she takes one of the percussion instruments provided and tries to accompany the movements of the fantasy creature with appropriate sounds, just like in a silent film. The sound designers have the task of finding exactly the instrument that can best accompany and support the movements of the fantasy creature. The group of two then swaps and the participant who first played the fantasy creature with his or her object now becomes the sound designer.

Step 4

Now the tandems perform in front of the other participants.

After each performance, a short feedback is given based on the following questions:

• How would I animate this fantasy creature?
• How was the sound? Too loud, too quiet, appropriate?
• Is there anything missing? Does it need more?

It is important to have a lot of percussion instruments available so that you can experiment at this point.

Step 5

Finally, there is an invitation: Two fantasy beings meet in the forest. Free improvisation is called for here! What will happen? Do the two fantasy beings have something to say to each other, do they come into contact with each other or do they simply walk past each other?

Barbara Schwiglhofer

https://cliniclowns.at/clowns/

http://www.bis-pinkafeld.at/lehrende-sob/ 

https://www.youtube.com/watch?v=K01A2O1ydn4

https://www.youtube.com/watch?v=mVFMo1GlTF4

I am a rhytmicist, singer and trainer for breathing and voice training. I also used to work as an acting coach and as a speech coach at a drama school. I work with children, young people, older people and with impaired people. I am currently working in adult education as a trainer for activation and creative design.

And I have also been a clinic clown for 20 years. Being a clown means the greatest freedom for me. Because a clown doesn't have to know everything! It's nice not to take life quite so seriously. Clowning has certainly been a great liberation for me personally. Laughter simply helps!

Where all these areas flow together for me is the theme of rhythm.

Music, Performing Arts

English, German