1. Pantomime and Mime

2.  To master the basic principles of pantomime and apply them to common stage actions  To recognize and practice conventional mim actions and exercises  To use facial expressions and gestures to enhance a characterization  To differentiate between mime and pantomime

3.  To tell a story they used  Movements  Gestures  Facial expressions

4.  Includes two forms of silent acting:  Pantomime  Mime  Often used interchangeably, the styles are different.  Non-verbal communication is the core to pantomime and mime.  Smile, happy  Blow a kiss to say goodbye  Fingers to our lips, silence

5.  Visualize watching a live sporting event if someone describe details of what the actual work and the actions of the audience then select a small group of students to paint them are a particular sport. The remaining students should try to name the sport they are watching. They should be in describe details from the pain to mine that are indicative of that particular sport, such as head movements, hand gestures, and facial expressions. As a variation have the students act as an audience in response to the action of the sporting event. This

6.  Relaxation exercises are not only useful but he also improves mental and physical well-being.  Relaxation is a foundation of acting; using relaxation techniques in voice and diction should be used throughout the course.

7.  Identify a person or a group of people who typically have good posture.  Check your own posture by standing with your back and shoulders touching the wall and your heels approximately 3 inches from a wall

8.  Identify the following:  Walking barefoot across a gravel road  Walking on the surface of the moon  Walking into the cafeteria on your first day at a new school  Walking down a sidewalk holding a leash of a large, rambunctious dog

9.  Visualize a character who might be in a situation in which he or she would have to cross, turn, or fall.  Experiment with shy, confident, strong-willed, or retiring type persons.  Experiment with different types of falls: a comic fall, a melodramatic fall, a heroic or tragic fall, and so on.

10.  divide into groups with each group performing the following exercise:  You have picked up a bottle of ketchup and unscrew the lead in order to pour some on a hamburger. At first now ketchup comes out, but then suddenly a large quantity floods your food.  After each group performs discuss different ways individuals react to the same stimulant stimulants.

11.  You are a police officer at a busy intersection that has lost its traffic light to a power outage. Traffic is backed up in all directions, and drivers are impatient you tried to conceal your hostility for the honking drivers while calmly directing the traffic. For this exercise have students work in payers; one student will be the native, the other a foreigner. If time permits have them switch roles

12.  You are in a foreign country where you do not speak the language. You hesitate to approach a stranger, but finally you see a friendly looking person. Using hand and arm gestures as well as a facial expression try to show that you are hungry would like to know of any nearby restaurants.

13.  As one student follows the instructions in the text have the other student pantomime reactions to that emotion. For example, if one student pantomimes rage in the first exercise, the other might repack either with aggression, fear, or scorn. Have students take turns and being the initiator or the reactor. Try to identify the emotion being portrayed.

14.  Two students  For exercise two, have students and ask these scenes in different ways—melodramatically or comically, for example.  How many different ways can we enact a scene.

15.  Actions of a baseball player  a chef  A dentist  A carpenter  A sales clerk  A mail carrier  A fisherman  A quarterback  A new dad  A new mom  Secretary  A doctor  A spoiled child  Basketball player who is a ball hog

16.  Size  Shape  Weight  Resistance  Texture  Placement  Condition  Brick  Empty box  Soft pillow  Small stuffed animal  Ball Bearing

17.  Bring a ball to class  Baseball  Jacks ball  Tennis ball  Golf ball  Basketball  Racquetball  softball  First Observe  What is it look like when it rolls  And when it’s tossed  And when it ‘served  When it’s hit Put all outside. Two people pick one ball and pantomime the time the ball used

18.  Pantomime handling were eating foods of different sizes, temperatures, and textures. Thigulpings might include:  Crisp crackers  Sloppy sandwiches  Sticky taffy  Scalding soup  Mashed potatoes tests

19.  Daily activities  Family member

20.  Four people sit at a table building a house of cards. Emotion is run high as the house gets taller. Only chairs can be used as props. The goal is to help others “see” the table, the cards and the cardhouse.

21.  Guests at a fancy dinner party are seated around a lovely table while they are being served food and drink. One by one, each guest discovers that the food they were served taste terrible. The host s seem unaware of the problem, so the guest s tried to be gracious and polite. Each tries to avoid eating the food without calling attention to the action (See next slide).

22. THE 5 MINUTE SPECIALMORE TIME  Students should be able to show moods by this time.  A definite beginning and end  Distinct characters whose expressions, gestures and actions reveal character and mood.  Clear, simple movements that are purposeful and motivated

23.  Relaxation  Surprise  Click  Inclination  Charlie Chaplin  Illusory walk  Pantomime  Chest  Gesture  Nonverbal communication  Rotation  Happiness  fingertips  Mummenschanz  Woman shuns  Resistance  Isolation  Anger  Combination  Sadness  Marcel Marceau  Kinesthesis  Eyes  Cross  Preparatory action

24. RELAXATIONSURPRISE  A combination of inner composure, mental awareness, and physical flexibility; the act of “letting go all over”  The emotion conveyed when eyes widen, brows lift, and the mouth forms in the shape of an O.

25. “CLICK”INCLINATION  The setting up of an action with definite hand movements; for example, the snap of a mime’s hand around a glass  The bending of the body to the front, the side, or the rear

26. CHARLIE CHAPLINILLUSORY WALK  a silent film star who was a master of pantomime  A basic mind convention; the mind uses exaggerated movement to appear to be walking

27. PANTOMIMECHEST  The art of imitating real- life actions with out using words  The body part where most movements begin

28. GESTURERESISTANCE  Hand and arm movements and facial expressions that help and express an idea or an emotion  A term for the firmness or its solidity of an object in opposition to outside force

29. ISOLATIONANGER  The separation of parts of the body for individual development and expression  The emotion conveyed when eyes narrow, brows furrow, and jaw sets firmly

30. MUMMENSCHANZEYES  the Swiss- trained mime Troupe that initiated the use of special props and non- traditional objects in mime  One of the body parts in most mimes emphasize with makeup

31. CROSSPREPARATORY ACTION  To move from one place to another on stage  A movement opposite to the action that the mime wants the audience to follow

32. MIMESADNESS  The art form that does not precisely imitate real live physical action but gives an illusion of that action  The emotion conveyed when eyes narrow, counter brows and mouth turn downward, and facial muscles sag

33. MARCEL KINESTHESIS  The Frenchman who is one of the best known mimes in history  The neuromuscular awareness that you feel when your body is in a particular position

34. NONVERBAL COMMUNICATION ROTATION  The general term for expressing ideas and emotions without using words; the essence of pantomime and mine  The turning or pivoting of a part of the body such as the head or a chest

35. HAPPINESSFINGERTIPS  the emotion conveyed when eyes squint, brows lift, and mouth curves upward  The body parts where all arm movements must end