Acting Exercises For The Theater Workshop

Zack.
OF Vázquez - Exercises for the Theater Workshop 1
EXERCISES FOR HIM

THEATER WORKSHOP
By Zack D. AND. Vazquez
There is an arsenal of exercises and games useful to develop different aptitudes and abilities.
that the actor needs. And since theater is a collective phenomenon, I leave a list of exercises to
work in the workshop.
Here we have divided the games and exercises into several categories:
1. Presentation.- Part of the group integration and warm-up, but I will start with them because
that is how we start any theater workshop.
2. Warming up - Warming up is entering the optimal psychic temperature to start working. It is a

recommendation for the beginning of all sessions since through a good warm-up the actors leave
behind the external problems and this helps them concentrate for stage work.
3. Group Integration - It has been said that a good environment in the theater workshop
or in the company is essential to be able to do a good job. Here are some techniques for
group integration, teamwork and trust in each other.
4. Concentration - Concentrating is putting all 5 senses into what you are doing. Here exercises
from here and now.
5. Imagination - An art creator must have a great imagination. Here are some exercises to develop
it.
6. Body Expression - Games for managing the body.
7. COMPREHENSIVE EXERCISES –Exercises to work the voice along with the body.
8. Dramatic Exercises - Here the dramatizations and improvisations begin.
I will classify the exercises into Beginners and Intermediate and Advanced. Beginners are for people
who have never done theater and/or new groups. These will become intermediates over time. The
Advanced ones will be for training actors at a professional level, but I will not include them in the
online version of this guide to avoid misuse of said exercises.
YO. Exercises for beginners and intermediates

1. PRESENTATION TECHNIQUES.
Any group needs to introduce itself to reduce inhibitions towards new people.
Zack. OF Vázquez - Exercises for the Theater Workshop 2
1.1- – “I am…” (Classic psychodrama presentation).- Group forms a circle where everyone can see
each other. Whoever introduces himself (voluntarily) takes a step forward, makes a movement or
gesture and says his name. When he returns to his place, the entire group must say what he said in
one voice: “I am Juan,” in addition to mimicking the movement and the way he says it.
1.2- I am..., I like..., I don't like...- Same in a circle. When introducing yourself, say your name, at
least one thing you like and one thing you don't like. The next person will say their name, say one
thing they like, one thing they don't like, and add something the others have said that they also like
or dislike. The moral of this is “We all have things in common.”
1.3- I am…, I came here because… and I hope….- Indicate your name, what each person expects
and what they have brought to give to the group.
1.4- I am not.- The person says his name and begins to say all the things that occur to him that he
IS NOT or DOES NOT WANT TO BE.
1.5- Presentation of my shy friend.- In this, a person next to you is told to introduce her,
whispering things about himself in her ear. Example: I tell the one on the right that “I'm Daniel and
I like pizza.” Then my partner says: “My friend is shy but he tells me his name is Daniel, and he likes
pizza.” The more things they say besides the name the better.
2. WARMING UP
Taken from Psychodrama, they are a set of procedures that intervene preparing the organism for
action. It allows participants to relax through the game, which will allow them to release their
spontaneity and get into the situation for action.
In psychodrama there are two types of warm-ups, non-specific and specific. The specific one is
aimed at what a single person needs in a therapeutic situation. The non-specific one , and it is the
one that serves us in theater groups, is aimed at working with the group: Disinhibition, group
integration and trust. In a non-specific warm-up, the aim is for the participants to let go of their
identity a little and leave behind social stereotypes, allowing themselves to relax their personality.
2.0- Warm-up commands : Stop, Popcorn, Charamusca and Action. There are 3 words that the
coordinator, when saying them, the entire group will respond in a specific way.
A. STOP!- Everyone remains motionless in the position they are in. Useful to close exercises.
B. Popcorn.- Everyone explodes with the words that come to mind: One after another, the first
thing that comes to mind. Getting louder and louder until the coordinator says “STOP”.
C. Charamusca.- Everyone holds hands and begins to tangle with each other to form a
charamusca (a typical Mexican sweet that is rolled up on itself).
D. Action.- After any indication, “Action” is said so that they begin to execute it.
E. Soliloquy. - During a STOP the actor will be asked to say what is going through his mind.
Three targeted warming techniques of psychodrama:
(It is “directed” because the coordinator indicates all the actions that the students will carry out)
2.1- Movements .- A circle is made. The indication is given to look for another's gaze. When two
gazes meet, they will move in space in the middle of the circle to exchange places in the circle.
Another person will then be found to continue. The goal is to keep looking at each other and be
careful not to collide with the other couples.
Variants: When looking at each other, throw a kiss to the other, give them a smile, a wink, a
knowing look, etc. Place exchanges can be fast, slow, “gravityless,” etc. Variant 2: Never take your
eyes off the other until you reach the point where the other was.
All in pursuit of achieving the greatest possible disinhibition.
2.2- Wandering.- Wandering is walking through space without an objective. Walk through space
without bumping into anyone or talking to anyone. The coordinator will indicate the variants. You
start first by looking at the ground. Then the feet of the others. Then the calves. So we continue
with the knees, the hips, the waist, the thorax, the neck until finally the face. Now they are
instructed to look at others but without letting themselves be seen, as if they were hiding their
gaze when discovered. Then you are asked to hold your gaze for a few seconds. Now you can
experience various ways of wandering: Marching as soldiers, flying, as crabs, as wounded or as
zombies, dancing, in a hurry, slowly, killing insects on the ground, angry, happy, being carried by a
leg, greeting everyone, etc.
2.3- Directed Fantasy : The director asks the group members to imagine a trip. It can be a trip to
the mountains, to the forest, to a city, to space, through your body, etc. The general indications of
the story are given to guide them (“They enter the forest, there are many branches and in the
distance you can hear the sound of falling water. They continue and reach a beautiful waterfall...")
but each person must imagine the details. In the end you should finish with something calm that
allows neuromuscular relaxation.
NOTE: There are three ways to do it: One way is with everyone lying on the floor with their eyes
closed. You start walking around and then everyone goes to bed with an indication like “Your body
becomes very heavy and you are slowly falling asleep.” The other is that everyone does it standing
up , with eyes closed, without moving through space. A third way will be seen in advanced
exercises, where everyone moves through space with eyes closed.
OTHER NON-PSYCHODRAMATIC WARMING TECHNIQUES

Any exercise that serves the purpose of preparing the actor for action is a good warm-up. For now
we will recommend the “vote”.
2.4- The vote. (the stain, You bring them, etc.) .- The game where a person "brings the vote" or
"the stain" and by touching another the latter becomes the one who brings the vote. What
specifically is voting? - >It is a chase game, in which the first player chases the others to achieve
their objective, that is, change roles. If it is the latter we can apply infinite variants:
“1- Poisonous stain”: When stained, the part of the body where it was touched “hurts” and the new
stainer must perform his function by touching that area.
“2- Chain stain”: If we put the emphasis on collaboration we can ensure that there is no change of
role but rather a sum of roles. Where the stainer gathers stainers, which must be united forming a
network that goes out to stain.
“3- Beetle stain”: If we look at the shapes, we see that there are infinite variants and combinations
to encourage breaks in everyday shapes, developing immediate adaptation. In this example: the
stained person must lie on his back on the floor shaking his limbs, with which he will stain. In this
way it will become an ally of the stainer, also staining.
“4- Odorless stain”: This is another variant for working with shapes. Here the spotted person must
put on a strong face and remain as if he were sitting on a toilet, with his right arm extended
upward. It is released when a partner lowers that arm simulating the water tank chain.
“5- Stain statues”: Also working on shapes, when being stained, the student must freeze in a pose
simulating a statue.
“6- Mancha song”: If we put the emphasis on disinhibition. The spotted one must sing a song until
he is rescued by a partner.
“7 - Character stain”: (For intermediates). By being stained they must build a character; This must
vary on each occasion.
“8 - Bridge stain”: Once stained, they must immobilize themselves in place and separate their legs.
The companions who try to save them must go through the opening of the legs.
As you can see, the spots fundamentally have a great psychomotor development. Similar to the
following game:
2.5- The Cat and the Mouse.- - The students form a circle in
pairs. A couple will become the cat and the mouse. The rest will
be “mousetraps”. The cat must chase the mouse and touch it
with its hand. If he does, they switch roles.
- If the mouse is placed next to one of the couples in the circle,
it can no longer be chased. At that moment, the student of the
pair located on the opposite side where the mouse was placed
will become a mouse and must run away.
2.6- Others.- The game of Colors (-Toc Toc - Who is it? -Maria, -What did you want? One color, -
What color?), Quemados (hitting the opposing team with a ball), Duck-Duck-Goose, etc. Any
children's or sports game can be a good warm-up if you know how to apply it.
3. GROUP INTEGRATION (Team Building)
Although during the warm-up you begin to work on group integration indirectly, there are exercises
to work on it even more thoroughly. When it is a work group, this is called “TEAM BUILDING”. The
team building process includes:
3.1- Clarify the objective and build a sense of ownership in the group
3.2- Identify teamwork inhibitors and eliminate or overcome them, or if they cannot be
eliminated, mitigate their negative effect on the team.
3.1- - The three rubber ball exercises.- With a light children's ball, try this:
A) Don't let the ball drop.- For a minimum of 6 people. Everyone forms a circle. The
objective is to hit the ball with your hands or any part of your body to pass it to a teammate,
without the ball ever touching the ground. It is not possible to hold the ball, only hit it. You have to
count the hits to have a group record.
B) Named volleyball.- It is played against a flat wall, about 3 meters away. The one who
starts will hit the ball against the wall and before the ball bounces off the wall he will say the name
of the next person to hit the ball. That person must go and hit it before the ball falls to the ground.
C) Dodgeball.- The game consists of teams playing the dodgeball game. A line is painted
on the ground and one team stands on one side and one on the other. The objective is to hit
members of the other team anywhere on the body. Anyone hit or burned is out of the game. The
team that manages to burn all its rivals wins. Note: If a person manages to catch the ball in the air
(before it bounces off the ground and without it slipping out of their hands for a moment) they will
get a point to use by bringing back someone from their team .
3.2- - Jumping rope.- With a long rope, two people circle it while the others, one after the other,
run in, jump once and leave. The objective is that the rope is never left alone and that each person
enters consecutively. If one falls behind or steps on the rope, everyone who has already made it
must come back and get to the end of the line.
3.3- - Letting Yourself Fall (The Drunk Bottle).-

Stage 1: Pair up, preferably with someone who doesn't talk as much and who has more or
less the same body mass. One is going to close one's eyes. You are asked to cross your arms across
your chest, hold yourself steady (like a board) and, when you are ready, fall back. The other must
be ready to catch him. After 5 repetitions they exchange roles.
Stage 2: A third person is added to the couple. The one in the middle drops back and forth.
Remember that your feet must be firmly planted on the ground "As if they were nailed"
Stage 3.- 4 or more people are placed around the one to be dropped. They (delicately)
catch him and push him to the other companions.
3.4- - Lazarillos (or Angels and Blind).- In pairs. One will be the guide for another who is
blindfolded and will give him a walk where he will try to get him to use the other 4 senses (smell,
touch, listen and taste). At the end of the trip the roles will be exchanged.
There are many variations of this exercise:

1- Blind with Dumb: The angel will be mute and will only be able to communicate with him
through touch.
2- Lazarillo without touching it: He will guide him only with his voice.
3- Guide with sound: Will guide you by making only a specific sound, such as clapping.
4- Guide with song: He will guide you by performing a song.
5- Fantastic ride: The guide will guide you through a fictional world. It will tell you that you are in a
cave, on a pirate ship, in a war, etc.
3.5- - Maximum circle, minimum circle, Knot.- When giving the indication “Maximum circle” the
actors hold hands in a circle and try to make it occupy as much space as possible. With “Minimum”,
the smallest space possible, keeping everyone close together. The exercise is repeated 2 or 3 times.
When saying “Knot”, without letting go of their hands, they will get under the arms or legs of their
companions until they form a huge human knot. One of the actors must get out of the knot and try
to untangle it.
3.6- - Human cat (game).- 3 squares are drawn on the ground, large
enough for a person to stand in each of them. It's similar to playing cat.
2 teams of 3 people are made. One team will be the Xs (cross-outs) and
another will be the “Os” (circles). The team that makes a line with its
three members wins: horizontal, vertical or diagonal.
The game is turn-based. First a member of team If the 3 players from
each team are already in the space and have not yet won, they will be
able to move (also in turns) one by one of the adjacent horizontal or
vertical squares.
3.7- Rollers.- At least five partners are placed on the floor lying face
up, having side-to-side contact and with their arms extended upwards. The sixth should lie face
down on the abdominals of those who are lying, supporting him from his head to his pelvis. Those
lying down begin to turn, all at the same time and to the same side. The effect of this roll will make
the person lying on top as if they were on rollers. It is important that the person on top also has his
arms stretched out.
Variation .- The 5 rollers do not move from their place, but the sixth partner is placed parallel to
the first and rolls over them. Then he settles in at the end and the second does the same. This
continues until everyone has rolled onto their partners.
4. CONCENTRATION EXERCISES.
Concentrating on something is putting all 5 senses into what you are doing.
Concentration exercises with your own body:
4.1- Body inventory.- Basic self-concentration exercise that consists of verifying, in the position of
your body, how each part is positioned.
“We start by feeling our big toe. How does your big toe feel? Is it cold or hot? Let's relax it.
How are the other toes? and the plant? Let's continue relaxing and don't forget to breathe
calmly….”
The guide can start at the feet from the big toe and reach the crown of the head, so that the
actor can make the actor aware of exactly how each part of his or her body is.
Likewise, the actor will be asked to always be aware of his pulse and to feel his breathing, as well
as to detect all temperature variations in each part of the body so that the body inventory is
complete.
When detecting areas of tension, we must try to relax them as much as possible and detect how
this promotes breathing. It is recommended to do it for the first time lying on the ground. It is
important to make a mental image of each area traveled.
4.2- - The metal ball : Lying down, imagine that a heavy metal ball is rolling throughout the body,
propelling it with a slight muscle contraction in the area where it passes.
4.3- - The smallest being and the most enormous being in the universe. - In a standing position,
focus your attention on gradually feeling smaller before the magnitude of the universe. Feel your
body getting smaller, smaller and smaller. Bend your body until you are squatting. Put your head
between your legs. Hold your legs tightly with your arms, bending your knees a little if you don't
have enough flexibility, and become a minimal atom in the universe. Once that is done, you will
proceed to do the process in reverse, feeling more and more enormous until you find your place in
the universe.
4.4- Auditory concentration.- Close your eyes and concentrate on the outside noises and start
building a story. If, for example, the noise is from a truck:
How is? What type? Who guides him and where is he going? When did you start your work?
4.5- Visual Concentration.- Fix your eyes on an object.
Material it is made of? How was it built? What produces it?
How much does it cost? Who bought it? What was it bought for?
4.6- Tactile concentration.- Close your eyes. Run your hands over an object.
-Feel its surface and describe it: Rough, smooth, rough.
4.7- Olfactory concentration.- Close your eyes and inhale hard.
What smells do you smell? What produces them? From where they come? Why does it occur?
4.8- Gustatory concentration.- Close your eyes and try a candy.
Describe: Flavor, physical state, material it is made of, etc.
(Try to feel it with your entire tongue, in which parts its flavor is best captured and in which parts it
is not).
4.9- Slapping.- The actors are placed in two rows and then each one faces a partner from the
other row. The goal is not to laugh. For every time one smiles, the other will slap him. End the
exercise when they stop losing.
4B. CONCENTRATION AND MEMORY

This is a small section within basic concentration, with some exercises to work on memory.
4.10- Remembering my colleagues. The simplest would be to ask everyone to close their eyes and
ask each one something different: How did X classmate dress? What color is your shirt? His shoes?
Who has the longest hair? Who wears black shoes? Etc.
KIM memory games

I learned about these games to reinforce memory skills through a Scout friend.
KIM's Story: Kimbal O'Hara was the son of an Irish sergeant serving in an Indian regiment. He once
befriended a certain Mr. Lurgan, a clever jewel merchant. Lurgan knew very well the customs and
way of thinking of the Indians, which is why he had become an agent of the Indian intelligence
service. He soon discovered that Kim could become a valuable government agent, and decided to
train him for this job. To get him used to being observant and retaining even the smallest details, he
used to organize challenges between Kim and an Indian boy who was in his service. He showed
them a little tray full of precious stones and trinkets, allowed them to look at it for a while, and then
covered the tray with a mat. The boys had to reproduce the contents of the tray in writing, in as
much detail as possible: This became the Kim games.
Individual tests based on KIM's game:
4.1- SIGHT: Out of 24 objects observed for 1 minute you will have to remember at least 16.
4.2- TOUCH: Out of 15 objects touched for 2 minutes you will have to remember at least 10.
4.3- TASTE: Out of 6 different flavors, you must recognize and remember at least 4 of them.
4.4- SMELL : Out of 10 different smells, you must recognize and remember at least 6 of them.
4.5- HEARING: Out of 20 different sounds, you must recognize and remember 13 of them.
4.6- VARIANTS
a) Kim Elephant: The players make the list several hours later
b) Kim bothered: While the player memorizes, the other players bother him, singing around him.
c) Stolen Kim: Players see all 24 items for 1 minute. Then they turn around and the game master
hides one. Whoever guesses the missing number first is the winner.
d) KIM SIGHTS and SOUNDS Players are seated at a Kim table. 12 objects will be placed on it. The
players look at them for a minute. At a signal, they must turn their backs and the game director
makes the objects fall one by one onto a wooden board or another table, according to an order
established in advance. Players have to recognize objects by the noise of the fall, and take note of
them in the order in which they hear them. Every object identified exactly and according to the
order of fall deserves a point. The game is difficult and you have to choose objects that make a
characteristic noise when falling.
5. Imagination
5.1- A thousand ways to die.- Each one goes to the center and represents a funny or strange way
to die. Electrocuted, a piano falls on him, etc. The exaggeration varies from 100 to 1000%.
5.2- Justification of Objects (the thousand uses of an object).- A series of objects is left in the
center of the group. In random order, each actor will come to the center to perform a symbolic
action with one of the objects, using it for something different from what that object was planned
for. Example: Using an umbrella as a shield, a newspaper as a sword, a shoe as a telephone, etc.
The exercise will continue until everyone has experienced different actions with each object.
5.3- Tell the story of the object.- Take any object. Then, using it as if it were a puppet, the first-
person story of the object will be told. Example: I take a pen and say. “I am the pen of the president
of Mexico and I have left my mark in treaties with all countries.”
5.4- 2-word story.- In a circle, one person says 2 words to tell a story. The next one says another 2.
The next two others that also continue the story. Thus until forming a short story that ends in a
saying or moral. If a person says something incoherent or is late in starting, the story starts over.
5.5- Creativity in images.- Complete the following activities on a sheet of paper:
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It is also possible with other figures, such as “T” or “S”.

6. Body expression
Most of the communication in a dialogue process occurs in the body. So you have to work on it.
Note: Before working on Body Expression, you must spend a few minutes warming up your body to
avoid injuring your body during any movement.
6.1- - Exercises in a row (or diagonal).- Everyone forms a line next to the wall or at the ends of the
space. The exercise consists of one by one crossing a marked space of about 5 meters doing
different psychomotor exercises:
A- Normal walking.- When the first person reaches the middle, the second leaves and so on.
6.2- Jumping sideways.- Same thing, jumping sideways with your legs open and your arms
going up and down (like doing butterflies, but moving forward).
C- Jogging.- Jogging first in a yogic step (knees up, bringing them above the waist) and then in the
opposite direction, trying to kick our own buttocks with our heels.
D- Walking like a beast.- Same, walking with hands and arms forward.
E- Walking like a beast backwards.- Same thing, walking with hands and arms backwards.
F- Crab.- Walking in 4 points to the right and when you reach the middle to the left.
G Camel.- Right foot with right hand. Left foot with left hand. The camel advances first on the left
side, then on the right side.
H- The monkey.- Walk forward with your hands always touching the ground at the same time,
with your head drawing a horizontal line with respect to the ground, and your legs pushing and
falling together.
6.3- Kangaroo.- The actor crouches down and holds his ankles with his hands. Move forward by
jumping.
J- With the buttocks.- In this one they come out in a row one after the other. They take two steps
and sit on the floor, with their arms stretched parallel to its surface and their legs also stretched
out in front of them. They begin to walk with their buttocks, to the right and then to the left, as if
they were their feet. It is necessary to keep your back very straight, forming a ninety degree angle
with your arms and legs. When they reach the middle, they turn on their axis and the other half
they turn backwards.
K- Turns and jumps.- They consist of moving forward rotating on its own axis, with our gaze
(almost) always on the fixed point of the destination. When turning, the head points towards that
point.
fixed until the last moment, which rotates rapidly until it reaches it again.
First walking and then mixing it with jumping.
L- Gazelle.- (if there is space of about 50 meters), run trying to imitate
the step of a gazelle, first with the right foot, raising the knee, stretch the
left foot backwards, and continue with the foot left, also raising the knee
and stretching the right backward. So you keep alternating one and one.
M- Legs crossed.- Standing side by side, two actors hold each other by
the waist, squeezing each other tightly, and cross their legs, the right of
one with the left of the other, raising them so that they do not touch the
ground.
Then they begin to walk, keeping in mind that each one must consider the other's body as his own
leg. The idea is to walk and not jump. The leg (the actor) does not help, it is the other who must
make all the effort so that she, that is, her partner, advances.
N- Wheelbarrows.- An actor on the ground leans on his hands and the other holds him by his
feet. One walks with his hands and the other follows him, like someone driving a wheelbarrow.
Ñ- Burro Bala.- An actor squats and the other jumps over him. The one who jumped now squats
down and the other jumps over him. So consecutively.
Z- Others: If the teacher knows ground acrobatic techniques (rolls, tiger jumps, cart turns) or
dance movements, parkour, martial arts or biomechanics, they could be added here urgently to
work on them. Likewise, you can look for new ways to walk as a couple, such as walking while
leaning against the other's back.
Note: In all these exercises you must work on synchronization with the partners in front of you, to
perform the movements at the same rhythm and tempo as the others.
6.2- - The tank with liquid.- Individually or in pairs, we enter an imaginary tank that covers us
completely. The tank is then filled with one of the following substances. Then we move as if we
were in that substance and as if we could breathe that substance. The substances can be:
- Water, Oil, Sand, Clay or Plasticine, Plastic balls, Excrement, others.
6.3- From nothing to the explosion.- A circle of people looking at each other. If there are 10, for
example, 1 looks at 4, this one at 7, this one at 10, this one at 3, this one at 6, this one at 9, this one
at 2, this one at 5, this one at 8, this one at 1. Everyone must pay close attention to the person they
are looking at.
The goal of the exercise is to do nothing. He looks attentively at his model without doing
anything. But as soon as our model moves a little, we move too but a little more than it. As there is
someone who also looks at us, and for whom we are the model, he will move a little more than us
and a little more even than our model.
It's an escalation. Starting from the instruction to do nothing, remain motionless, we go to all
extremes. It will stop when the movements can no longer be imitated.
6.4- The Mirrors.- In pairs, facing each other at a distance of approximately one meter, one
partner looks in the mirror and the other will act as a reflection. You should try not to make very
fast movements, which are difficult to follow, as well as movements hidden behind your back. At
the order of the coordinator, role changes will be made to get the couple on the same page. Once
several changes have been made, the couple will independently make the changes without talking
or agreeing on them in advance, but each one will begin their role according to the needs of each
couple at that moment.
What we will try to build is a spontaneous movement done two at a time. What we recommend
for the members is not to be deaf to what the other proposes and not to be mute in a passive
attitude.
6.5- The group mirror.- Two rows are arranged in pairs facing each other and an area is
delimited on the floor, which cannot be transgressed, which will act as a mirror. The structure in
pairs is similar to the previous one, what is added are the lateral movements (right, left) of the
mirror. Since there are colleagues working on both sides who can be disturbed (without touching
them), you will have to be very focused.
6.6- Support points.- When we stand, we use 2 support points: Both feet. If we are with our
hands and feet on the ground, we have 4 points. If we sit down, we have 4 too.
The coordinator will say a number from 1 to 10 and the actor must jump and fall with that
number of support points and remain motionless in that position. (If it is too complicated, simply
change the number of support points seeking to explore as many positions as possible.)
Variants .- Mix the support points with the wall or with your companions.
6.7- - Push and stretch.- They are placed in pairs. The exercise is in 5 stages.
(First) Actor 1 is going to push actor 2 from behind. 2 is going to resist but letting 1 beat him.
(Second) Actor 1 is going to pull actor 2 by the arm Same.
(Third and Fourth) At the end they reverse roles.
(Fifth stage) Now, each person on their own, using their body memory, will pull “an invisible
person”, and will also push them. The goal is to tense and use the same muscles that were used
when pushing and pulling the real person, making a similar effort.
6.8- - The series of the sculptor and the statues or sculptures.- They are a series of exercises
where two roles work: The sculptor and the sculpture. In itself, the sculptor will mold the sculpture
to create a statue. The statue will remain motionless, moving as instructed by the sculptor.
Sculpture 1: The sculptor touches the model.- The exercise begins and each sculptor works with
the statue they want. To do this, he touches the body of the statue, taking care to produce the
effects he wants in the smallest details. It is necessary to touch, model, and each gesture of the
sculptor will correspond to a corresponding gesture, to each cause an effect that is not identical.
The director should suggest that this first exercise last the necessary time (two or three minutes,
or more, depending on the participants, the atmosphere created, etc.) for the sculptor and the
model to understand each other, so that the statue can easily translate the gestures of the
sculptor, seen and felt.
Sculpture 2: With a small touch.- In this you will push whatever you want to move using only the
index finger. The harder you press, the more the statue part will move in that direction.
Sculpture 3: Blowing into the clay.- Same as the previous one, but instead of using your hands,
you only use the wind that blows through your mouth.
Sculpture 4: (optional) Many sculptors per sculpture.- The same, but instead of one sculptor,
there will be several working with the same statue. It requires a connection between the sculptors
so that they never talk to each other.
Sculpture 5: The sculptor never touches the model.- Again in pairs. In this second part, the director
gives the signal for the sculptors to move away from their models. However, they must continue
making the same gestures that they did before, when they touched their models for the first time.
The statues, which previously saw and felt these gestures, now continue to see them, but without
feeling them: they must, however, continue to respond as if they were still feeling them, as if the
sculptors continued touching them.
This is how a remote model is produced. Sculptors must continue to make realistic gestures, that
is, the gestures that would be necessary for the statues to perform the movements, adopt facial
expressions, or make the gestures that the sculptors would like them to make.
Sculpture 6-The sculptors disperse around the room.- If in the previous exercise the sculptor and
model were facing each other, without obstacles, always in a straight line, now the sculptors must
move throughout the room, first taking care to move the faces of their models in the direction of
the place where they intend to stand (that is to say: the model, which does not have autonomous
movements, cannot look for the sculptor if he leaves his field of vision).
Sculpture 7- The sculptors make a single sculpture.- Going as far away as possible and inside a
room where models and sculptors overlap, where visibility is obstructed, the sculptors try to relate
their models to each other, to form a single multiform statue that includes to everyone and has a
meaning suggested by the director or the sculptors themselves.
6.6- Gamma of Feelings.- The most important section of bodily expression is the expression of
emissions and feelings.
A) - Emotional Statues: Re-taken from statue-theatre and psychodrama, make statues (static
positions) where corporality and gesture show emotions and feelings:
Admiration, Kindness, Love, Arrogance, Greed, Kindness, Anger, Cowardice, Humor,
Compassion, Desire, Doubt, Weakness, Contempt, Disappointment, Hope, Envy, Energy,
Falsehood, Failure, Taste, Generosity, Humility, Indifference, Evil, Patience, Concern,
Security, Blush, Sincerity, Tragedy, etc.
At first they can be individual, and later with companions joining.
B)- Emotional machines: The same as the previous one, but you will have to give the statues a
movement or action. Start by passing a member, assume a position and repeat a movement
indefinitely. Another person arrives and joins the action with a movement that "fits" as if it were
the gears of a machine.
C)- Physical states: Going from one physical state to the opposite. Examples:
From pain to relief.
From heat to cold.
From joy to sadness.
From youth to old age.
From hunger to satisfaction.
From sober to drunk.
From laughter to tears.
From calm to fatigue.
From the desire to go to the bathroom to calm.
Etc... and vice versa.
D)- Combine Archetypal Characters with Physical States and Gestures.
Character Physical state Gesture

child blind Rage
old drunk Happiness
poor sleepy Sadness
rich lame Worry
political pain Avarice
priest cold Modesty
Gangster Dream Fear
You can put 3 glass jars, in one put folded pieces of paper with types of characters written on it. In
other physical states and in other Gestures or Feelings. At the end you can ask everyone to take a
piece of paper from each jar and make a representation where they perform some action mixing
the 3 conditions .
7. Comprehensive
Exercises.
These are exercises in which a series of factors are worked on at the same time, such as voice,
body, rhythm, confidence, disinhibition, group work and self-esteem.
Previous note: In these exercises, shouting means indicating out loud using the diaphragmatic
voice. You should never hurt your voice during an exercise.
7.1- Come, can I? - One of my favorites. Everyone in a circle, open enough so that you can run
through the center. It is a game of swapping places using a command.
- The person who initiates will shout to anyone else: “Can I?” and he will point with his index finger,
using his entire left arm stretched from the shoulder blade. This person, looking into your eyes, will
answer: “Come”, making a gesture with the right hand, first stretching it forward with the palm
facing up and then bending the elbow (as if bringing the palm of the hand towards the face).
- The moment the second person says “Come”, the first will run towards the second.
- The second actor immediately after saying “Come”, (and before the first arrives) will ask a third
“Can I?” with the same mechanics. The third will answer “Come” and will ask a fourth “Can I?”, who
will answer “Come” and so on.
- If the gesture or voice is weak, the other person does not answer.
- Everyone must go at maximum speed, it is an energy game.
- You cannot ask “can I” to the actors next to you.
- The exercise ends when 30 seconds pass in which the “Come” and the “May I” have a constant
rhythm.
7.2- The applause game.- This is a rhythm game. Everyone in a circle.

- Whoever starts will give a round of applause to the person on the right.
- This one will respond to the applause in front of him with another applause; He will immediately
turn and give a second clap to the person on his right.
- The next one will do the same, they will give a first clap to receive the other's applause and they
will give their second clap for the next person in line.
Once a round of clapping is completed, you can begin changing the direction of the clapping: After
receiving a clap, the next clap can be returned to the same person or cast to anyone else in the
group. This person will respond in the usual way with a clap and will extend their applause to
anyone else.
- The rhythm should not change, it should be maintained either fast or slow all the time.
- If someone makes a mistake, start over with applause only towards the right side.
7.3- The “NOW” game.- It is very similar to the previous one. Everyone in a circle. Several
commands will be used here. The director must define what the gestures will be for each command
(although here I propose a gesture for each command).
- It begins by shouting “Now!” (the basic movement) to the right along with a “karate-style” blow
to the right with the left arm.
- The next one also launches his “Now!” with the same gesture to the next. Like this consecutively
until going around.
1) The first command to add is “HONDOM”. After the first round, when it is someone's turn to say
“Go”, you can use HONDOM instead. HONDOM is used by clenching your fists up and punching
your elbows down. The effect of HONDOM is to reverse the direction of the game. If we were
going to the right then now to the left. The one who shouted “Ya” for the last time repeats “Ya”
again but in the opposite direction (and with the gesture backwards).
2) The second command to add is “AJA TORO”. When a person makes a mistake, so that the game
does not stop, whoever starts shouting “ AAAAAAAAJA TORO” (lengthening the first A). Then
everyone will go to the center and high-five each other when saying “Bull.” They all return to
their positions quickly. The person who started the “AJA TORO” says “GO” in the desired
direction for the game to restart.
3) The third command is “THERE”. This command, used when it is your turn, consists of crouching
slightly with your legs open, extending your arms to the sides, joining the thumb with the index
finger of each hand with the palm facing up, and saying “THERE”. Alla makes the “Ya” skip the
next one and it is the turn of the partner 2 positions further away to continue with the game .
(That is, if “1” says “Alla”, “2” does nothing and “3” continues saying “GO”)
4) The fourth command is “ ALLI”, it is the mixture of “HONDOM” and “ALLA”. When it is your
turn, you stand firm and make a “Binocular” with your hands to see through the hole made
between your pular and your index finger. When saying “THERE” the meaning is reversed but
skipping one. (That is, if 1 said “Ya”, 2, “Ya” and 3 “THERE”, then 4 and 2 do nothing, but 1 says
“Ya” in the opposite direction from which they started.
5) The fifth command is “TWIST”, it is really like a HONDOM, reversing the order of “Now”, but
with the difference that when saying Twist on your turn everyone must turn 180°, leaving
everyone with their backs to the center of the circle . It will return to the primary position after
another twist or after an “Aja Toro”.
6) The sixth command, and perhaps the most difficult. “FREEZE”. Whoever uses “FREEZE” on their
turn will remain firm and inflate their cheeks, as if they were holding their breath. From here on,
the following will say “NOW” in their minds, without speaking or making any gestures. At any
time someone whose turn it is to say “NOW” can start it again . The condition is initiated by the
person whose turn it would be according to the rhythm at which it is carried out.
7) The seventh and last command is “CANON”. When taking your turn, you will make a shooting
gesture (holding the imaginary gun with both hands and pointing with both index fingers) and
shout CANNON, pointing at ANY member, who will continue with the game . The member who is
targeted can respond with a “GO” to the right or left, a “HANDOM”, or another “CANNON”.
In short, the commands are 0) NOW : move or basic bit. 1) HANDOM : reverses the meaning. 2) AJA
TORO : Anyone uses it when someone makes a mistake to start over. 3) ALLA : You skip to the next
one. 4) THERE : It is reversed but jumping to the previous one. 5) TWIST : It is reversed but
everyone rotates 180 degrees, reversing the circle as well. 6) FREEZE : The game remains silent and
without movement until someone stops it. 7) CANNON : You point at anyone so that they continue
the game. You always have to keep up the pace. Losing it is the same as losing your life.
7.4- COLORED BALLS.- This one is a little different from the previous ones.
Everyone in a circle will play throwing imaginary balls at each other. First the coordinator will throw
someone an imaginary first ball, saying “Blue”. That person will mime catching it and throwing it to
someone else saying “Blue.” When everyone has thrown the ball, a second ball will be thrown
saying “Red”. Now there are two balls at the same time. You have to be aware of where both are,
taking care that they are not both thrown at the same person. Once the game progresses, more
balls can be added: “Yellow”, “White”, “Black”, etc. Everything at the level that the group can work,
to maintain rhythm and precision.
7.5- THE WOLF (or Death or the Murderer).- This game is about hiding and discovering roles.
The coordinator tells everyone to close their eyes. Then by touching someone's head, he will
secretly choose them as the “Wolf.” Then he asks everyone to open their eyes and explains: “You
are all sheep, but among you there is a wolf in sheep's clothing. They will have to discover it by
seeing their body attitude."
-Everyone is going to wander through space trying to discover who the wolf is.
- The wolf, for his part, is going to kill the sheep by winking (it can be winking twice). -The sheep
who is winked will take 5 steps before dying and will utter a terrifying scream.
- The sheep that discover the wolf (minimum 2) must go towards him holding hands and choke
him from behind. If it's the wolf, they win by killing it. If it is not, the sheep they hanged die and
they can no longer kill anyone together (they would have to find another partner.
- The wolf wins if he kills all the sheep or the sheep if they kill all the wolves.
- NOTE: The dead sheep will tell the coordinator who killed it. If the person who killed him is not
the wolf, that person is left out of the game.
- It is not possible to talk during the game, only gestures can be made.
- The wolf cannot kill another wolf by winking at it, but if it can join with a sheep to kill another
wolf by choking its neck, it is perfectly legal.
- Two wolves cannot join together to kill sheep by hanging them.
- The wolf must wait at least 10 seconds before killing again.
7.6- THE IMAGINARY SWORD- Two groups, facing each other, with a leader in front of each of
them. They will act as if they were wielding a wooden sword. Each leader, in turn, can deliver one of
six different blows:
1-NECK! The blow must be at the height of the opponent's throat, who must crouch down quickly,
at the same time as everyone on his team);
2 FEET! It is trying to reach his feet, while the opponent and his team all have to jump at the same
time;
3-ON THE LEFT! a lunge to the left; everyone must avoid it by jumping to the right; 4-FOR THE
RIGHT! a lunge to the right; everyone must jump to the left;
5-IN THE CENTER! a thrust right in the middle of the group; Half the team must dodge to one side
and the other half to the other;
6-FRONT! advance of the leader with his sword; The opposing group must jump back.
The leader must shout the name of the attack and mime attacking that way.
DRAMATIC EXERCISES- Previous notes.
The dramatic exercises should begin in groups with the new groups. And by group I mean the
WHOLE group. Forget about the fourth wall for a while, using all the space in the room or stage and
dedicate yourself fully to dramatizing what was requested.
For this, we will use some elements of the famous “Stanislvaski System” in improvisations:
a- Relaxation. - Nobody should be tense. Any type of muscular tension is reflected in the body, in
the voice and in the lack of fluidity of the improvisation. To achieve muscle relaxation, it is
recommended to do exercises during a warm-up.
b- Concentration of attention.- Do concentration exercises beforehand, to place our 5 senses in the
improvisation and in what happens on stage.
c- Justification.- React in the correct way to fictitious stimuli, to “justify” them.
d- Adaptation.- Process of responding truthfully on scene according to the circumstances that
happen, avoiding falling into “flat” and false characters.
e- Imagination.- Encourage the use of imagination, creating imaginary objects or scenery, but
responding to these as if they were real.
f- Objectives.- The actor always has an objective for being on stage. If it doesn't have it, it shouldn't
be in it. When starting improvisation, each actor must know their objectives, otherwise they will
not adequately play their roles.
g- Communion.- Always be in relationship with other colleagues and with the stage space. No one
exists only as a point in space (except in certain situations of extreme mental disorder of a
character, but the actor must remain aware of the rest).
Without theorizing any further, let's get started!
8. DRAMATIC EXERCISES - Group Improvisations
8.1- Directed group improvisations.- In this type of improvisations the coordinator will narrate a
specific situation from the outside and the students will carry out the actions at the same time. This
must include a space, time of day and a series of events or circumstances that will make the
situation more complex. An important fact is that each student will choose freely and without
premeditation the role they will play, and is free to change it from one moment to another if
necessary. Example: The director tells:
“... It's night, they are on a boat, for some reason they are all sleeping on the floor. The sounds of
dawn begin to be heard, the freshness of the sea drops splashes on our faces, our feet become
moist. The body is getting wetter and wetter. Water is entering the boat, and if they don't take it
out it will sink!
Examples of circumstances: no lifeboats; the whole crew left in a boat; another ship approaches; a
pregnant woman begins to give birth; storm with giant waves; there are sharks in the water; etc
Other themes to dramatize can be: a trip to the mountains; the abandoned factory; lost on the
island crash landing; a war, the Persian antiques fair, all locked in an Egyptian art museum where
everything comes to life, etc.
8.2- Improvisations based on a story.- Here the director will first tell a story and then, together,
they will try to represent it. Examples.-
“A group of friends go to a forest, but strange things begin to happen to them and they see ghosts.
They enter a house where they find strange beings that trap them to eat them. Later, when they are
about to be devoured, they realize that everything is a hallucination due to some mushrooms they
ate by accident.”
“Two families that are fighting meet at one's house to discuss an important issue: Whether or not
to cut down an apple tree that sheds many leaves and no one picks up. In the middle of the
situation some thieves enter to rob everyone. “So the neighbors work together to stop the thieves.”
“The toys in a store at night start to wake up (like in Toy Story). Then some rats kidnap a doll, and
the rest of the toys go to rescue her.”
8.3- Silent improvisation - It is also found within collective and simultaneous improvisation, but in
this case neither word nor sound can be uttered. Communication is done only through gestures.
This will trigger the investigation of the expressive possibilities of one's own body, as well as doing
everything possible to be clear with the messages we send and knowing how to understand the
messages we receive. “Say it with mime” should be avoided; listening, patience, and observation
should be developed. Possible examples: waiting room of a hospital guard; gas leak in the office;
turbulence in flight; hostage taking at an airport; inexperienced bus driver.
8.4- In another language.- The same thing, but all speaking in different invented or unknown
languages.
8.5- - Photographs.- The director indicates a type of photograph, of some “social” event. Then the
members, one by one, must be placed in complementary static positions to form that photograph.
Examples of photographs.- Ranch wedding with the husband being forced. Team won the world
cup. Erotic photo from men's magazine. Superhero team. Children at a children's party. All about to
be eaten by cannibals. Zombie friends. Drunk friends.
8.6- - Images.- Almost like the previous one: A student indicates if he or she has an image of
something that has occurred to him or her, and the others must create it together. The difference is
that here the actors can act as set elements. If the image is an angel in the clouds, one actor would
be the angel, another would be clouds, another would be the angel's chair, another would be the
sun, and another would be the harp.
8.7- Animals.- Everyone thinks of an animal that they like the most. They will begin to move
around the room imitating that animal at the limit of human capabilities. If it is a bird waving its
arms, if it is a quadruped with four points, if it is a crawling snake, etc. At first each individual,
looking for this animal: How it sleeps, how it eats, goes to the bathroom, grooms itself, hunts,
walks, flees, mates, etc. Once the animal has been mastered, we proceed to begin interacting with
the others. If an animal “kills another” it will remain dead for about 10 seconds before reviving and
continuing with the coexistence.
8.8- - Chimeras.- Variation of the previous one, but quite extensive. Once you have a favorite
animal and have experimented with it, you are asked to think of an animal that is as different as
possible from the first one. They will do the same job with this animal. Once this is done, they will
seek to combine characteristics of both animals to create a new animal: The chimera.
8 .X.1- Asides.- This is an intermediate stage between group improvisations and sub
group. It consists of the coordinator who is carefully following the development of the
group dramatic situation, proposing a “stop” to the general situation and focusing on a
specific situation between two or more companions who will be assigned to continue
developing the situation they have been playing. The rest is stopped at stop. Then, using a
new “stop” it will freeze the previously cut situation and then continue together and cut
again. The idea of this game is for everyone to go through a shortened situation of
interaction with others.
9 .X.2- Soliloquies.- Similar to the previous one. The teacher will make a “STOP” and the
entire group will be stopped. Then he will ask for a Soliloquy from each one so that they
can say what their character must be thinking at that moment.
9. DRAMATIC EXERCISES - Sub-Group Improvisations
For the following exercises, work groups of 4 to 6 members are asked to form.
Things to take care of in collective action:

a- Everyone must actively participate in improvisation.
b- Locate the work in a well-defined space. If there are imaginary objects, the whole group
must know where they are.
c- Do not cover each other or stand in lines, or speak more than 2 at the same time.
d- Everyone must listen to their colleagues and react accordingly.
And individual performances.
a- Avoid turning your back, speaking softly or always staying in the same position.
b- Make sure that “star” actors want to take center stage in all the improvisations.
c- Avoid overacting and always play the same type of character.
d- The actor must always know the answer to these 4 key questions about his character ,
which the director must ask at the end of the improvisation . Who is it? (without
existentialities, what is the role of the character or how would you describe it), Where is
he?, What does he want? ( your goal to achieve) How are you going to achieve it? (the
method used during improvisation to achieve that objective).
NOTE.- About conventions : conventions are pre-established guidelines that we all agree to give
as truth in order to carry out the task. We must keep in mind that theater is “pure convention.” The
actress who plays Juliet in Shakespeare's play does not die in every performance, however, if she
plays her role well we will suffer in that scene and it is quite likely that we will also cry, “as if” she
had really died, but If this tacit convention had not been established between actors and audience,
theater would not exist. For this reason, in our work we must agree on certain conventions.
Most important conventions:
A) The stage space: in order to create this space more easily, it is recommended that we define it
from the beginning. If we have a stage, this can be the space, but if the work takes place in a
classroom or living room it would be convenient to delimit it with a line on the floor or with a light
that focuses only on that area or in any other way.
B) Entrances to the scene: these should be made from the sides, if possible, it is preferable to
place a screen, leg or harlequin that suggests the outside space. These can also cut out space and
create different environments.
C) The fourth wall: The use of the fourth wall has been developing in theater for more than a
century. This determines a closed space, as if the actors were acting enclosed in an environment,
only for some magical reason the wall that borders the audience is transparent. Fact that the
characters are unaware of. When a character communicates directly with the audience it is said
that he “ broke the fourth wall .” This act is common in comedies or dramas that incorporate a
humorous scene, where the “ aside ” usually appears, which is the diversion of an actor's attention
towards the audience. This act gives a different participation to the public. For this reason this is a
common resource in what is called participatory theater. For example, the actor enters the scene
holding a gun and says “hands up,” after his scene partners do so, he looks at the audience and
makes some gesture or comment to them about the fact that they are also being assaulted.
D) The backs: with respect to the use of the fourth wall we had said that the characters are
unaware of it, but not the actors, therefore in the development of the scene they will take care not
to turn their backs to the audience, since if they do not do so, the Spectators will miss a large part
of the events that occur there and the actor's voice runs a great risk of being lost among the
stagehands and never reaching the ears of those who kindly approached the theater. To encourage
this work, all the objects in the scene will be arranged in such a way that the actor, when using
them, is not forced to turn his back.
E) Use of objects: as we saw in all the exercises stated above, the objects used in the scene are
not always real, nor should they be. Therefore, the actor from his work will create them, not only as
existence but will give them qualities. For example: a character enters the scene after a long trip
carrying his suitcase loaded with memories, we should not herniate the actor in each performance
but rather he will simulate the weight of this suitcase based on his body. It also usually happens
with the use of imaginary doors, which seem to come to life throughout the scene and without the
actors noticing they move, in this way an actor enters through a door and when he decides to leave
it turns out that it is located 20 cm.
All these elements seem minimal, but in the development of a work we will verify that the
public's attention will focus on these elements and not on others that we have carefully rehearsed,
so "let's respect the conventions and help them enter the fiction."
Improvisation exercises in groups of 3 to 6 people:
9.1.- Free improvisations with “Approach, Middle and End” - The first exercises can be free
improvisations or marked by the director. The situation must always present the following
characteristics:
1- There must be an approach where the characters and the conflict are presented.
2- A knot where the conflict worsens.
3- An outcome, positive or negative, to end the story.
Below are some examples of situations that the teacher can give. The students would be the ones
to develop this topic, having 5 minutes to agree on the roles that each of the actors will assume
and the structure of the scene:
Couple of boys discovered by their parents. Lost in X place. Pregnancy news to the family. Finding
out that the soup was poisoned. Find your partner with the lover. Discussion about abortion. A
wedding. A seperation. The death of a loved one. First experience of love. Environmentalists
defending a tree. Inside a truck where everyone is packed together. Bite from a poisonous snake. A
woman beaten by her husband. Sexual harassment. A judgment. Restaurant assault. Fight over
inheritance. Husband comes home raw. Broken robot. Lion tamer. Casino player who wins and
loses. A visitor arrives in another language. Friends who meet after a long time and learn secrets
from the past.
9.2- Free Improvisations with a Wild Card.- Like the previous one, groups are made, but a
group of 3 or 4 actors who will act as wild cards are left out. These wild cards will be present during
the presentations of the other groups and at the moment they wish or after an indication from the
director, one or more of them will enter the scene to give a dramatic twist to the story. The original
actors must adapt to the wild cards to conclude the story with them.
Examples of wild cards : Police officers who intervene, curious reporters, nosy neighbors, hosts
of a game show, Santa Claus, someone famous, zombies - ghosts, other characters close to the
protagonists that the situation warrants.
9.3- Characters with Fabrics.- Following the same previous structure, it is used to work with
“costumes”. The teacher provides the students with a variety of at least 20 fabrics of different
colors, sizes and textures, and during the improvisation they use them as costumes or props.
Note: Color psychology is important here, although spontaneity is initially recommended when
choosing colors.
9.4- Characters with masks.- Same, but instead of cloths use masks. The actor must allow the
mask to transform him, so before starting the improvisation a warm-up will be required using the
masks and experimenting with free movements with them.
9.5- Close improvisations.- An extremely small stage is delimited, where the entire group can
barely fit. Examples: Trapped in an elevator, large family in a very small house, group traveling on a
bus that is too full.
9.6- Improvisations with specific guidelines.- Following the same scheme, some of the
following guidelines are given for “something” that should occur during the improvisation, at any
time:
- A dramatic pause or awkward silence during the climax.

- 15 seconds of simultaneous action (everyone starts doing something).
- A dramatic twist (twist, when something is revealed to the viewer or an event happens that
changes the general context of the story).
- A breaking of the fourth wall.
- Revelation of an unexpected object (example: Someone takes a bomb out of a suitcase that
was always there).
- A surprise entry.
- Music from an unexpected source (with the help of someone, for example when opening a
book classical music begins to play).
- 2 uses of extreme contrast (loud/quiet, fast/slow, calm/chaotic, etc.).

- An important object for the characters. (A chair, a ring, a briefcase, a laptop)
- An action that is difficult to act like: A kiss, a death, a hit, a bite, a lie, a charge, a search for
something valuable lost, etc.
- Others that the director thinks of (remembering never to oversaturate the improvisation with
guidelines, since it would be anti-pedagogical).
9.7- Predominant emotional state.- After the groups have finished and they have already
agreed that it is useless to improvise, the director assigns (randomly or by democracy) an emotional
state that dominates each of the characters in the scene.
Admiration, Kindness, Love, Arrogance, Greed, Kindness, Anger, Cowardice, Humor, Compassion,
Desire, Doubt, Weakness, Contempt, Disappointment, Hope, Envy, Energy, Falsehood, Failure,
Taste, Generosity, Humility, Indifference, Evil, Patience, Concern, Security, Blush, Sincerity, Tragedy,
etc.
Actors must begin with this emotional state and not lose it, unless the history of improvisation
warrants it.
9.8- Combine Archetypal Characters with Physical States and Gestures.- Similar to the previous
one but more specific. Each person will be given 3 pieces of paper to assign a Character, a physical
state and a predominant gesture or emotion.
Character Physical state Gesture

child blind Rage
old drunk Happiness
poor sleepy Sadness
rich lame Worry
political pain Avarice
priest cold Modesty
Gangster Dream Fear
9.7- Improvising Sayings.- Carry out an improvisation “of values”, in which at the end of the
story the characters end up telling the moral of the story with a Saying. It starts first with the
director indicating a saying to the group that will improvise: “Water that you should not drink, let it
run”, “Everything fits in a little jar, knowing how to arrange it”, etc.
9.10- Styles.- “Style” improvisations will be made. It doesn't matter that the rules of the "style"
are unknown to the actor, what will matter is that he lets himself be carried away by what that
"style" inspires him. Styles:
9.11- Melodramatic/ “Telenovela”, Horror, Badly dubbed movie, Silent Film, Surrealist,
Existentialist, Total absurdity, Cartoonish, “FACEBOOK” style (as if it were a virtual conversation,
using Like, Comment, Delete, etc.), Underwater Style, Greek Style, Medieval, Japanese, Refined
English, Chilango, Gringo, Norteño, Spanish, Argentine, Hippie, Action Movie, Old West, Star Wars,
Harry Potter, Lord of the Rings, Flintstones, Tim Burton, Marquis of Sade (erotic novel), Vampires
and Werewolves, X-Men, etc.
9.8- Unreal characters, real situations.- Improvisation in which the characters are fantastic, but
they face some everyday life situation. Example: Superheroes who have to go buy milk at the store
but the super villains beat them to the last liter.
9.9- Real characters, impossible situations.- Characters from everyday life in extreme
situations that they accept as normal. Like a picnic on a volcano, astronauts trying to tune in to the
soccer game, fishermen who live inside a whale, etc.
9.10- The newscast.- For groups of 3. A newscast where there are 3 hosts. 1 will be the main
one from the general news and the other 2 will be from some other section of the program
(weather, sports, security, economy, entertainment, etc.) As if they were speaking to the camera,
they will begin to give the news, with the states that the last word that one says will be the first
word that the other begins with (it can be modified a little). For example:
Actor 1: …and that's how the president arrived at the Marías Islands.
Actor 2: María la del Barrio, will make a new production in Hollywood with Johnny Depp. The
movie will be action.
Actor 3: Strong and frenetic action took place this morning at the Santa Catarina River crossing
when 2 police officers and an old lady on a bicycle had an altercation. Witnesses say they saw
nothing.
Actor 1: Nothing is important...
9.10.1- Disordered drivers.- Variation of the previous one. Every driver has a disorder that
makes them very noticeable. Obsessive compulsive, arsonist, bulimic, etc. He tries to give the news
but the disorder gets the better of him.
9.11- Improvisation without dialogue.- A short improvisation where no one speaks to dialogue,
not because they are mute, but because everything is understood without the need to dialogue.
Note: If you can laugh, cry, make noises with your mouth, pray, sing, etc.
9.11.1- The dramatic encounter. - A character “A” is with another “B”. Then they meet a third
character “C” whom “A” loves and “B” hates. The meeting must be so dramatic that all 3 are left
speechless. The rest of the circumstances and roles are raised by the actors by agreement. This
exercise will be cut after the reaction, since that is what we are working on (although if the teacher
wants, it can be improvised from there).
9.12- STOP and Change.- It is for 3 maximum 4 people. The group that passes does not plan the
improvisation, they simply go to the stage space and begin to improvise the first thing that comes
to mind. Whenever the teacher wants, he can say “STOP” and the group will freeze. When the
director says “Change” the action will begin again, but make a new story from the position in which
they left off.
9.12.1- STOP, Chaos, STOP, Change.- Identical to the previous one, but after the Stop the
director will say “Chaos” and the actors must move “without control through space”, raising arms,
jumping, lying down, as if possessed. When it is convenient, they will say “Stop” again and then
“Change”, starting a new improvisation in the strange position in which they have remained.
9.13- Another Newscast.- The structure of this exercise is as follows: in the foreground two
journalists sitting looking at the audience; Behind them and to their sides are two subgroups, one
to the right and the other to the left. The journalists, one at a time, will report news of any kind.
They cannot report more than three per shift. At the end of each news story the journalist will say
“let's go outside”, in this way he will enable the group on the right, which will then represent the
event. Now when at the end of the news you say “let's go to the scene”, then you will be enabling
the group on the left.
9.14- Role Changes.- The actors organize the situation and improvise it, during its development
the coordinator claps his hands, at that moment each one continues with the role that the partner
on his right had been occupying. The sex of the partner you replace must be respected.
9.15- Strange Language.- They are asked to organize a small improvisation. When they are
ready, they are warned that they have to do it in German (making up the words they don't know). It
can also be done in Chinese, in a made-up language, or using numbers instead of words.
9.16- Object actors.- Each group is asked to organize a situation to improvise in a certain time,
but in this case only two of the group can act, the rest must occupy a specific place in the scene as
an object that must be used in some way. moment (chair, floor lamp, telephone, hair dryer, ticket
machine, parking meter, mailbox, etc.).
As the improvisation goes on and whenever the performers want, they must stand next to their
partners who act as objects and imitate them in the same way; Once the faithful copy is made, they
replace the partner and he continues the situation that was developing. Changes can be made as
many times as you want, but the development of the situation must be respected. It is important
that everyone transitions through all roles.
9.17- Quick improvisation.- Everyone at the same pace will do an improvisation where all the
characters are in a great hurry and it ends very quickly.
9.18- Slow improvisation.- Improvisation where all the characters are lazy, sleepy or simply
very slow at everything.
9.19- Fast and Slow.- In improvisation all the characters will either be very fast or very slow,
but there will be one or two characters who are the opposite.
9.20- Newspaper stories.- The day's newspaper will be taken and the headlines will be read to
the group of actors. This group of actors must begin to improvise without agreeing on the situation
indicated in the headline. A STOP can be made if they cannot put an end to the improvisation to
indicate another headline.
9.21- FREZEE.- In this game a group of 3 or maximum 4 actors start an improvisation and the
rest of us watch them. At the moment any actor deems appropriate, he or she will shout “FREEZE”
and the actors will remain in a plastic frame (STOP). The one who shouted “FREEZE” will enter the
stage, remove one of the actors who was there and take his position. When he is ready, he will
signal a change of situation and the other actors will unfreeze after hearing it and follow him in the
new story with new characters.
9.22- Improvisation alphabet. - It is a condition that can be added to any of the previous types
of improvisation (where it is spoken, of course). The dialogue of the first actor to speak must begin
with the letter “A”, the first word of his sentence, the next one with B, the one who answers with
“C”, etc. Whoever loses is left out of the improvisation and it begins again.
9.23- Soccer! -STOP! Improvise! Change! - 4 actors are going to play mini soccer on stage with
any ball. 2 teams are made and the goals are marked. From each team, one plays the goalkeeper
and the other plays the forward. “Football” is shouted and they start playing. At any time the
teacher will say “STOP!” to freeze them all and then he will say “Improvise.” The 3 players closest
to the ball will begin to improvise the first thing that comes to mind, starting from the position in
which they were left and using the ball like any other object (see exercise 5.2, the thousand uses of
an object). . When the teacher wishes, he will say “STOP!” and from there you can say “Futbol” for
the game to continue, “Improvise” for them to do another improvisation or “Change” to change
one of the actors on stage with another from outside.
9.24- Ventriloquists.- Two pairs are requested. From each pair they must choose who will be 1
and who will be 2. The two 1 will improvise among themselves, but without speaking. It will be the
two of them, who, placed one meter away from them, will give them a voice from their place. The 1
must move his lips and react according to what the 2 says. After finishing the improvisation, the
roles will be reversed.
9.25- -These hands are not mine.- Two pairs are also requested, numbered 1 and 2. In this
case, 1 will hide his hands (inside his shirt or in his pockets), and 2, behind him almost hugging him,
will “Lend” him his hands. While the 1 speak, the 2 will make the hand gestures they consider
necessary. Later they will reverse roles.
Possible situations where the hands are very busy.- Lovers, boxers or karate fighters, cooks,
children playing, teacher and student, police and thieves, suicides, salespeople, etc.
9.26- Improvising a Dramatic Triangle.- Improvisation where the 3 roles of the Dramatic
Triangle (Victim, Executioner and Savior) are played in a clearly marked way.
Variant.- Same, but with a reversal of roles during the improvisation (example: the savior
becomes the executioner of the first executioner who is now a victim, while the first victim
becomes the savior of the executioner.)
10. DRAMATIC EXERCISES- Improvisations in pairs
Why leave couple improvisations until almost last? Because in a couple all the improvisation
falls on the strength of both people. Here they are all intermediate level, since a greater degree of
seriousness and commitment is required when improvising.
Two types of guidelines can be given to any exercise before starting:

Given environment: each couple is determined an environment in which the action will take
place. They will have to consider the rest of the data.
Some possible environments: on the edge of a cliff; in a collective; at a pool party; in a bomb
shelter, on the moon, etc.
Given circumstances: Each pair is asked to construct an improvisation of some of the following
circumstances: given that they are being chased by the police; since they are tied by the hands;
since they have drunk too much; since it rains torrentially; since a snake bit me; since it is flooded
outside; since it dawns; since I carry the inheritance in my pocket; since I am lame; since my brother
doesn't arrive .
It will be the teacher's decision to give them these guidelines or not when he or she sees fit.
10.1- Conflict of a life.- Two actors. They will both be given a reason to fight. They are going to
keep this motif in 3 improvisations. 1 where they are children. Another where they are adults. The
last one when they are old. It is an exercise where they will have to explore the archetypes of child,
adult and old man and how the treatment of the same conflict varies according to the character.
10.2- - Improvisation of a phrase.- It is a quick improvisation in which each person can only say
one phrase. But, with that, plus the body expression of each one, it should be enough to
understand: 1) Where they are. 2) Who they are (or what roles they play) and what relationship
there is between them. 3) What emotion or emotional gesture predominates in them. 4) If there is,
who has greater power or scenic weight in the scene.
10.3- Improvisations with prompter.- The actors will represent two people having any
dialogue. But beforehand, each one will have been given a list of papers with short phrases
previously written. The actors are going to be listed as one and two. When the director applauds,
one must, without stopping improvising, read the phrase adapting it to the dialogue as if they had
really said it. When the director applauds again, it will be actor two's turn, the next one applauds
again, and so on consecutively until the cards run out.
Examples of notes : “I would like to eat a hamburger”, “I like you a lot”, “I have cancer”, “I am
not human”, “It was my mother's fault”, “AH! I have a phobia of that”, etc.
10.4- The mirror double (Negative and Positive).- The improvisation begins with an actor
getting dressed or brushing his teeth in front of a mirror (the second actor). After a few seconds the
real person must say some wish of theirs and the reflection will begin to tell them what they have
to do to achieve that wish. The real one should respond with negative and pessimistic comments
while the reflection should give you positive and encouraging comments. Although the movements
are mostly equal, the positive one should be more extroverted and the negative one more
introverted. The improvisation ends when one of the two convinces the other (to resign or commit
him).
Variant .- On the contrary, the real is very positive but the reflection is very negative.
10.5- Infinite improvisation (II).- One member of the group remains in the stage space and the
rest leaves. From now on, any partner who wishes enters it, proposing from his actions a situation,
a specific space and link. The first must adapt to the proposal that the second brings and improvise.
At any time a third colleague enters with a new proposal, then the first must decide to leave and
the second must adapt to the new proposal. Within this mechanic, there will always be two on the
scene.
10.5.1- II with objects.- the same mechanics as the previous one, but this time each partner
must enter the scene with an object that they will use in it.
10.5.2- II with object transformation : the same mechanics as the previous one, but on stage
there will always be the same object that whoever enters must transform from their actions into
another element. For example: a chair that can be transformed into a throne, a sleigh, a telephone
box, a baby, etc.
10.5.3- II with invented language.- Same structure, but this time the one who enters proposes
an invented language. Due to the tonalities, the musicality, the pauses and silences, the
articulation, the phonetics, etc., what was already there must be adapted to the proposed
language.
10.5.4- II with status.- Same structure, but whoever enters must propose a specific status.
When we talk about status, we mean three different categories namely: superior, inferior or equal.
These can be between parents and children, bosses and employees, thieves and police, etc. It is
important that these relationships always manifest themselves through action, which is not
debatable, but on the contrary, is modifying.

10.5.5- II with Fabrics.- There are many small fabrics on the stage, each person who enters will
take a fabric and use it as a prop or as part of their costume.
10.6- The danced - a couple passes by, and the coordinator plays certain music that they must
dance together. The music cuts off suddenly and from that moment on they begin to develop a
situation.
10.7- Change of eras.- Couples are asked to invent an improvisation with a free theme and
represent it. Once the round of presentations is over, they are asked to perform the improvisation
again but the coordinator will change the period.
For example: age of the caves; in the colony; gauchesca of two past centuries; Egyptian; from
the future, in 3005; tangoada; wild west texan; English countryside.
10.8- With unexpected circumstances.- Each couple is asked to put together an improvisation
and then go on to represent it. In its development, the coordinator will propose some specific
circumstances that modify the situation. It is important that these circumstances introduced by the
coordinator modify the situation without radically changing it.
For example: someone may be listening to you; an earthquake strikes; one smells bad; urgent
need to go to the bathroom; it starts to leak; burning smell is felt; Someone calls for help
somewhere nearby.
10.9- Tourism.- Each couple has planned their improvisation, when the time comes to perform
it, they are told the place where it will take place. For example: in the jungle; in the desert; In the
middle of the sea; in a demonstration; at a Ricky Martin recital; in a basement; etc
10.10- Interviewing the Foreign Specialist. - One actor acts as the interviewer and the
other as the interviewee. But the interviewee speaks a strange language that the interviewer does
the favor of translating for the audience (resulting in a quasi-monologue by the interviewer).
10.11- Different objectives.- In these improvisations, the place where the characters are going
to be and the relationship between them is indicated, but each one is indicated an objective
without the other actor listening. When starting improvisation in a normal situation, each actor will
seek to achieve their objective. It is important that the objectives given to them are contradictory
and only one of the two can achieve it completely.
These objectives can be: Desire to confess (of any kind: sentimental, personal, business), obtain
something from the other, etc.
10.11. X- Protagonist/Antagonist Exercises - A/B
In these exercises they begin with an Antagonist in a situation and with his own objectives, to
whom a protagonist appears who initiates the conflict because his interests are not compatible
with the antagonist. The exercise ends when one of the two parties meets their objective or the
teacher stops them because they have fallen into some dramatic loop.
It is important that the location of the situation is clearly stated before starting, as well as the
relationship between the characters. Certain teachers, such as the Argentine teacher Coral Aguirre,
request that these exercises be done by the actors being themselves and the stage location is the
same classroom (assuming of course that there were no other people in the room).
The mechanics are this. The leading actor waits outside the room. The antagonist prepares and
begins to improvise. When you are ready, knock on the living room door and after 15 seconds the
protagonist will enter to start the conflict (without physical violence obviously).
(Note: the reason, even if it is fictitious, must be something logical and coherent, and not be
resolved simply by using another table)
10.11.1- The Table.- B is using a Table, and he has an important reason (life or death, said Coral
Aguirre) for using it and not letting anyone else use it. Then enters He who needs to take the Table
for a reason that is also of utmost importance. Variant: With a chair.
10.11.2- The classroom - B is doing an activity in the classroom (or wherever it is) and A enters
needing the room to himself. B will try to continue his activity and A will try to keep B out.
10.11.3- Come with me – B is doing an activity and A urgently needs B to accompany him
somewhere. B will try to continue carrying out his activity while A tries to convince him to
accompany him.
10.11.4- Valuable Object.- B is doing something and at the same time has a valuable object
that he does not want anyone else to use or have. A needs that object urgently. B has to continue
his activity and deny the object to A, who will do everything possible to obtain it.
10.11.6- Stop.- B is getting ready to go somewhere or do something. A arrives to prevent him

from doing so. B must continue preparing his departure and A must do everything possible so that
B does not leave.
Other improvisations AB.
In these the structure is given, but the other characteristics will be free for the actor:
10.12- He who wins loses.- “ B” does not love “A”, but he wants something that “A” has. “A”
feels affection for “B”, but does not want to give “A” what he wants. If “A” wins the object, he must
resign himself to keeping “B.” If “B” refuses to give the object, “A” will lose. Therefore, he who
wins, loses.
10.13- Dramatic turn.- “ B” is stronger or more powerful than “A”. “B” insults and mistreats
(psychologically) “A”. Then something happens that causes “A” to gain more power than “B” and
get even.
10.14- The talkative and the serious.- “A” speaks and “B” listens to him. “B” is not mute, but
he does not say anything, rather he reacts physically to what “A” is telling him. “A” takes these
reactions into account in his speech. The interesting thing here is: 1) How to justify B's silence
dramatically (it is not valid that B is mute) and 2) How A assumes or accepts B's silence, that is,
what A does with B's silence (since A doesn't know he's in a monologue).
Note: Every monologue is a dialogue, and if the other does not express itself with words, it can
be expressed in other codes.
10.15- The talkative and the one with few words.- “A” talks a lot and “B” just a few words.
This exercise can work on a power relationship, with “A” being superior to “B” or vice versa.
11. IMPROVISATIONS WITH TEXT BY A COUPLE.-
Exercise with text
These exercises are an important stage in the training of an actor, since they will show you the
multiple ways of approaching the same theatrical passage. The exercises consist of a couple of
actors memorizing the texts and doing a performance where ONLY that text is said. Even so, the
dramatic place, the scenic weight of each one, their relationship and their role must be clear. Some
teachers allow more dialogues to be said apart from those in the text, but in my experience it is
more satisfactory to work only with the indicated lines.
Note: The use of imaginary objects is prohibited in these exercises. All objects used must be
prepared and brought from the students' own home.
Exercise 11.1: Do you have a lot waiting?
(B is alone, A enters)
A: Hello.
B: Hello.
A: Do you have a lot waiting?
B: Centuries. Come on.
(A and B leave together. Dark.)
Exercise 11.2: How did it go?
(B on scene, A arrives)
C: You arrived?
A: AHA.
(Pause)
B: How did it go?
A: Good… Good.
(Pause)
A: Dinner is served. You come?
B: AHA.
(A and B sit down to dinner. Dark.)
Exercise 11.3: I have to tell you something.
A: Where are you going?

B: To the center and… Let's see.
A: Are you going to be late?
B: I don't know.
A: I just have to tell you something, I...
B: Tell me later, now I have to go out.
A: What are you going to do?
B: Nothing special. ( Pause ) Do you want to come?
A: I... Better not.
B: I'll come soon.
Exercise 11.4: Did you tell him?

A: Hello.
B: Hello.
A: Have you already ordered?
B: I was waiting for you.
A: Wow, you would have asked. I'm late.
B: But you just arrived. Also, ask what?
A: You already know, what I always ask for...
B: ( Interrupts ) Did you see C?
A: … (Does not answer)
B: You told him?
A: No, not yet.
B: Still not what? Haven't you seen it yet?
A: … (Does not answer)
B: What's the matter?
( Pause )
A: I'm not going to tell you anything.
B: But it's not possible, if we had... we had agreed that...
A: I'm sorry.
B: You swore you were going to tell him…!
A: ( interrupts ) I'm very sorry, but I have to go.
B: A A! TO! ( Pronounces A's name continuously )
Exercise 11.5: I was looking for you.
A: Hello.
B: What a surprise.
A: I was looking for you.
B: Oh yeah? I'm very busy.
A: I realized.
B: Right now I am waiting for “C”. We have planned…
A: ( Interrupts ) What's wrong with you?
B: Nothing Why?
A: It must have seemed to me… Did you go to see the show of “D”?
B: No, don't I tell you? Am I on a project that takes a long time?
A: I can know what it is.
B: Well… ( Doubt ) Yes. They proposed to me to make a program.
A: I could help you with anything you want. ( Pause ) No commitments, whatever you need.
B: Thanks, “C” and I already did the project. Now we need…
A: (Interrupting) Do you remember Easter? At first you didn't want to go either.
B: Don't mix things up. Another time, another situation. We barely knew each other then.
A: That's why you barely knew me... And now…
B: I don't know what happened to María.
A: Because?
B: Why what?
A: I love you.
B: I don't know what that's about now. This is not the time… No… No…
A: Not cigars.
C: You upset me.
A: I know. Is it for a reason? The steps you have taken are not erased. As “D” said: “The bones
settling into each other's little corners.”

B: Nor are the nights when you didn't arrive and the silences at question time erased.
A: But I love you.
(Pause)
(“C” arrives)
B: At last. Are you OK?
C: ( nods )
B: ( points to “A”) Let me introduce you to a friend, a friend I haven't seen in a long time.
C: Delighted. You are from"?
B: No, no. He is a friend of both of us who hasn't been here in a long time.
A: ( permission ) I'll leave you to talk. ( A “C” ) delighted again. ( A “B” ) I'll wait for you at the
usual place and time.
(Note: in the original version of the exercise, the names of “C” and “D” were María and Martín
respectively.)
Whats Next? From here on, the next exercises would be to do dramatized readings of classic
and contemporary texts as well as the assembly of short works or fragments of large works. Once
starting with the works, you must begin to work with the construction of characters, which I will
not include in this book since it is something that each teacher works on in their own way.
12.- INDIVIDUAL EXERCISES and TASKS.
We will finish this collection of exercises with a series of individual exercises that can be brought
in as homework during the course.-
12.1- Dramatization of a poem.- The actor must memorize a poem (in verse) and make a
representation with it, as if it were a monologue in verse. He will make sure that it sounds natural
when spoken, without changing words and making sure that the story is clear to the audience.
12.2- The storyteller.- The actor will look for a story that will memorize a story and tell it to the
other actors, as if they were children. To do this, you must use gestures and movements that are
striking for children.
12.3- The valuable object.- The actor will bring an object that is valuable to him and will tell us,
standing and looking at all of us, the history of the object and why it is valuable to him.
12.4- Sequence of movements of the object.- Using the valuable object from the previous
dynamic, think about 3 emotions that it produces in us. The exercise is divided into several parts
the actor will show:
1- For each of these emotions we are going to create a “Statue” with the whole body.
2- Now, let's link those statues with a movement. That is, “Statue 1” “Movement to reach
Statue 2” “Statue 2” “Movement to reach Statue 3” “Statue 3” “Movement to reach statue 1”
“Statue 1” etc.
3- The last part of the exercise is for the movement to become fluid without any pause for the
statues.
4- Background music will be used and the movements will be done with the tempo and rhythm
of the music.
12.5- Circle of trust, revived memory.- The actor will bring a written memory from his
childhood that is very strong and emotional. The whole group will make a circle and whoever starts
will go to the center. Standing or sitting, with your eyes closed, you will be asked to recount that
memory in the present tense, as if you were living it all over again. The coordinator must ensure
that the actor does not say anything in the “past” and everything is in the present. Likewise, he will
ensure that he does not get ahead of the story and that he relives it moment by moment,
emphasizing the smells, images and different sensations of the memory.
12.6- Monologue.- A monologue will be performed for the group, trying to apply everything
learned about voice and body so far.
ANNEX: VOICE WORK
The voice (from the Latin vox, vocis) refers, among other meanings, to "the sound that the air
expelled from the lungs produces when it leaves the larynx, causing the vocal cords to vibrate," in
addition to the "quality, timbre or intensity." of this sound. It includes talking, singing, laughing,
yelling, screaming, etc.
The speech apparatus to generate the human voice consists of the respiratory organs (lungs,
bronchi and trachea); the organs of phonation (larynx, vocal cords and resonators -nasal, buccal
and pharyngeal) and the organs of articulation (tongue, teeth, lips and glottis).
“Voice, voice and more voice” is what the great theater masters say about what an actor needs.
It is necessary to train the voice, so breathing , resonance , intonation and projection exercises
must be present in any theater workshop.
So let's start working, not on raising the volume of the voice, but on releasing it. This section of
the book will be theoretical and practical, although later there will be other voice exercises.
1- BREATHING
Correct breathing is called diaphragmatic, because by depositing the air in the abdomen, the
diaphragm muscle is the support and catapult of the air that will vibrate your vocal cords.
Take a deep breath and time how long you can read until you need air again, or, also, prolong
a vowel (example: Aaaaaaaaaaaaaaaaaaaa....................................) and time it until you run
out of air. It will probably be 10, 15 or 20 seconds that his air lasted.
This means that not enough air entered because we have not accustomed our reservoir
(abdominal muscles and lungs) to accumulating it. It is due to this lack of habit or exercise that
when we breathe deeply in an open field we have a feeling of suffocation. So, let's train our chest
for abdominal breathing:
Through your nose, inhale slowly, taking care that the air you take in pushes the muscles of
the abdomen. Feel your stomach tends to rise. You are not only filling your lungs but also your
abdominal cavity. Then, also slowly, expel the air as if you were blowing gently. Of course, when
you release your breath, your stomach will deflate. It is recommended to do these ten times in
the morning and ten times at night, for seven days.
Little by little you will realize that your rib cage asks for or is more willing to receive more air.
These abdominal breaths should be deep and slow. Nothing will win with sudden exercises.
Always practice in a standing position, raising your head moderately, releasing your arms and
without muscle tension. When you breathe, do not raise your chest or shoulders. The second week,
or when you feel ready, move on to the next phase:
Inhale as indicated (feeling how your abdominal cavity fills) and, after deep inhalation, stop
the introduced air (10 seconds) and then release it by blowing slowly.
In the third week we are going to take advantage of that breathing to better manage the air and
transform it into sounds. For it:
When expelling the air, instead of blowing slowly, we will emit the sound of the letter u,
continuously, without cutting off the air outlet: +uuuuuuuuuuuuuuuuuuu...
The sound emission must be soft, very weak, so as not to waste air. The letter u is
recommended because the position of the lips to pronounce it prevents us from wasting air. Thus
we begin to exercise better air management and control of the multiple muscles involved in oral
language. Don't worry if your handwriting appears a little shaky or shaky at first. Precisely, this will
show you that you have not yet mastered the “air release”, because, through continuous exercise,
it will sound uniform and firm.
Starting from the fourth week, and with the same pace of practice:
Take deep breaths and make sounds with different vowels but varying the intensity; that is,
sometimes making them sound loud and other times very weak .
Obviously, when you make loud sounds, the air will run out faster; but, this way you will learn
to master your output and know modulation variations. In the fifth week, we enter the
differentiation of nasal sounds: with the same air, instead of vowels, pronounce the letters m and
n.
For effect, take a deep breath, make a soundmmmmmmmmmmmmmmmm... and

nnnnnnnnnnnnnnnnnnnnnnn. alternately with each breath .
Pay special attention to the impact of those sounds throughout your head. Feel how all of it
vibrates. You will notice that the air comes out of your nose when you say mmmmmm... or
nnnnnnnn... and that they resonate in your head. Check it by holding your nose for a second. Each
time, try to make those sounds louder. Then, mix consonants with the vocals. For example:
nnnnnnnnnnnaaaaaaaaaa... nnnnnnnnnnnneeeeeeeee... (imitates a moo)

mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmm
2- RESONATORS
For the emission of the voice, the resonance cavities are essential, which are divided into:
- Upper (Located from the upper jaw upwards)
- Inferior (Located in the neck and chest)
- Auxiliary (Located in the oral cavity).
In this fifth week we would work more with resonators:
The next exercise is to pronounce the vowels (A, E, I, O, U) and the SOUND consonants (B,
D, G, LL, L, R, Rr, M, N, Ñ, Y.) constantly ( AAAAAAAAAAAAA) and using the palm of the hand
feel the part of the body where there is greater resonance or vibration. Touching our neck,
chest, sword, nose, neck, etc.
Once we know where our voice resonates, we can achieve better projection and clarity when
speaking, in addition to being able to use certain resonators for the characters we play and give
them a “Nasal” way of speaking, for example.
3. VOICE PROJECTION
To project or place your voice better, these exercises come for the sixth week:
Make sure that the sound produced by the passage of air through your vocal cords, making
them vibrate, shocks and resonates in your palate and comes out strong, clear and sonorous,
outwards.
First throw vowels intermittently: A, A, A, E, E, E, O, O, O, U, U.
Then continuous vowels: AAAAA, EEEEE, IIIIIII.
And combine them: A, A, A, AAAAAA, E, E, EEEEEEAAAAAA.
Then practice singing some musical phrases.
Raise your head so the whole sound can come out. Imagine that you are sending your voice a
certain distance (for example 5 meters) and that it must reach there with all its strength and clarity.
Then, imagine that your voice must reach 10 meters and make sure it comes directly, clear and
strong.
It is also good to alternate by varying the volume; that is to say:
Sing very softly as if you were singing into a person's ear, then very loudly, as if the other
person were deaf .
But continue to exhale correctly, continue with diaphragmatic breathing and only reduce the
intensity of your expulsion of air. You should only change the volume. But, singing loud or soft, you
should hear the same, whether you are very close or at a distance.
Finally, another exercise to control or manage your air output:
Take a lit candle and place your lips about four or three centimeters from the flame (without
burning yourself, please) and pronounce the letter u for a long time.
The sound (air) must come out very slowly. The practice is at not turning the fire off . Of course,
this will be achieved if you control, regulate or manage your air, because if you blow too hard, you
will extinguish the flame. Do this exercise as many times as necessary until saying:
uuuuuuuuuuuuuuuuuuu... very close to the flame, do not extinguish it.
And if you want a daily self-assessment, try this exercise:
Breathe and say: "Thanks to my laying hen, I have no shortage of eggs. Daily I have one, I
have two, I have three, I have four, I have (continue like this until you can breathe).
Success will be in having more eggs every day... That will be the best proof that you are
breathing more and better. You can.
4. GOOD DICTION: SPELLING
Now, we will move on to a fairly broad topic that is the basis of our vocal technique:
SPELLING: The Art of Pronouncing Well.
Correct pronunciation requires that we adhere to good use in the articulation of sounds, in the
linking of words and in intonation schemes. Each of the types of articulation that make up the
phonetic system of the language is called a phoneme . Phonemes are divided into Consonants and
Vowels .
Consonants consist of certain noises produced by the air inhaling at the very point of
articulation, whether the air arrives there loudly, due to having vibrated in the vocal cords, or
whether it arrives deaf or without laryngeal vibrations.
Vowels are produced in the vocal cords of the larynx and modified in the mouth or nose
according to the different resonators. The same sound comes from the larynx for a, e, i, o and u,
but the mouth gives that sound a different resonator due to the shape and size of each vowel.
CONSONANTS
Types of consonants : The acoustic peculiarity of each consonant depends on: 1) Whether or
not the aspirated murmur is accompanied by laryngeal vibration. 2) Of the mode of articulation. 3)
From the point of articulation.
1) Whether or not the aspirated murmur is accompanied by laryngeal vibration.
A) SONORAS.- B, D, G, LL, L, R, Rr, M, N, Ñ, Y.
B) DEAF.- P, T. C, Z, F, S, J, Ch
2) By the mode of articulation the consonants are divided into
A) Plosives.- P, T, K, M, N. The organs form complete contact and close the air outlet for an
instant.
B) Fricatives .- S, F, Z, L, LL, Y, J. The organs approach but do not close. The air passes with a
difficulty that produces friction.
C) Affricates .- Ch, Ñ. There is first occlusion and then friction.
3) By the point of articulation:
A) Bilabials.- P, B, M. Both lips are active organs, just the lower one .
B) Labiodentales.- F, V. Active organ the apex, passive the upper teeth.
C) Interdental .- Z, C, (ce, ci) from Spanish pronunciation. Active organ the apex, passive the
edge of the upper teeth. The tongue sticks out a little between the teeth.
D) Dental .- T, D. Active organ is the lingual postdorsum, passive is the hard palate.
E) Alveolar .- Sm N, L, R, Rr. Active organ the apex, passive the upper alveoli about a
centimeter above the teeth.
F) Palatales.- Ch, Ll, Ñ. Active organ is the lingual postdorsum, passive is the hard palate.
G) Velars .- K, Q, j, G, Active organ the lingual postdorsum, passive the soft palate.
VOWELS
Types of vowels : “i” and “ e ” are “Anterior Vowels ” because their articulation is done by
raising the tongue against the hard palate; The “ o ” and “ u ” are called “ Back Vowels ” because
their articulation is done by going back and raising the tongue against the soft palate. The “ a” is “
medium ” or “neutral”. More important is to take into account the division of vowels into Open
and Closed. The degree of openness of a vowel depends on the distance between the tongue and
the palate.
The “ a ” is the most open vowel. The tongue is

flattened at the back of the mouth.
The “ e ” is less open. The tongue rises in front and
approaches the hard palate.
The “ o ” is even more closed. The tongue approaches
the soft palate.
The “ i ” is more closed. He gets up higher and moves
further.
The “ u ” is more closed. It rises higher but retreats.
It is important to be very careful and ensure that the spelling is perfect since mispronunciation
can change the meaning of the word, examples to work with :
he – I have – he reads its wings – its rooms thirst for you
a – ah – ha roof – I miss you Come later.
e – eh – he the fact – fern – the bed Run ahead.
o – oh – ho your session – succession. Be tough.
loa – it has Read it – Lela His wings.
to the – wing – Allah Calló – Cayo The echoes.
and what - thread More expensive – Mask. The souls.
be – has been Basket – Sixth. The
know me – stamp Elvira – The Vira. It shelters her.
- jealousy Talkative – Talking. The agony.
mea – has me It's face down – Beetle. I will do that.
no longer – flat Takes it away – Loquita. Other people's
bye Bye. Elsa sees –He knows. I love him.
kiss – see that One hundred – I feel. They cancel it.
and that – plaster Hundred – Temple. It was heard.
and pray - cry Chance – Orange Blossom. He forgot.
and I love - I call House hunting. It opened.
that I – I burned I understand you He went through.
pot – oh, now I hear you The plane.
wolf – it goes It is nail – slave The craving
the echoes – the dry ones es cape – escape The appetite.
The lot. I poured – milk
We must correct the errors of changing the sound of the letters or skipping their pronunciation. For
example, we usually say “fight” to fight; “general” for general; “nunkintesteso” for I never tried
that; “cama, damichocolate” for cama dama y chocolate or, “pase diaño” for pass de ano;
“damemajagua”, for give me more water, etc.
Next come the exercises to vocalize better:
Spend about 30 days on vowels, diphthongs and tripthongs. Strive for clear, precise and sonorous
pronunciation. Clean sound that each letter. Exercise as often as you can.
Note : Don't aim to do all the exercises in one day. Dosage your practice. Nothing advances
with precipitation. Listen to yourself, insist with discipline, be constant and don't get
discouraged. Remember that “ many are called and few are chosen.” The difference is in
persevering patience.
A) First the separated vowels: a - e - i - o - u.

B) Then each vowel in a prolonged and intermittent (cut) way:
“aaaaaaaaaaaa a - a - a - a- a - aaaaaaaaaaaa a - a- a - a- a - a – a”, “eeeeeeeeeeee e - e - e -
e - e- e - e - e eeeeeeeeee”, etc.
C) Next, combine the vowels; linking them. Example:

“a, i, o, aaaaaaaiiiiiiiiiiiiaaaaaaaaa, a, i, a, e, u, e, eeeeeeeuuuuuuuuueeeeeee e - u – e.”
Thus, combining all the vowels.
D) Practice cut and linked diphthongs. Interspersing the stressed vowel:
“a - e - áeáeáeaé a - e áeáeaéaé”, “a - i áiai, aí”, etc. Thus, we will continue with aeaiaoau,
eaeieoeu, iaieioiu, oaoeoiou, uaueuiuo.
E) Later, triphthongs (three united vowels) arrive. Also pronounce them separately and linked;
varying the accents:
a - e - i áeiaéiaeí (repeat several times).
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaah
áeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee aaaaaaaaaeeeeeeeeeeeeeeeeí
Continue : aeaaeiaeoaeu, aiaaieaíoaiu, aoaaoeaoiaou, auaaueauiauo, eaceaieaoeau, eia,
eieeíoeiu, eoaeoeioiiuo, euaeueeuieuo, iaeiaiiaoiau, ieaieiieoieu, ioaioeioiiuo, uiiuo,
oaeoaioaooau, oeaoeioeooeu, oiaoieoiooiu, ouaoueouiouo, uaeuaiuaouau, ueaueiueoueu,
uiauieuiouiu, uoauoeuoiuou.
F) Now the consonants come ahead: báebaébáibaíbáobáobáubaú...

CAE CAI CAO CAU, DAE DAI DAO DAU, FAE FAI FAO FAU, GAE... etc.
G) Finally, exercise special combinations with tripthongs and consonants ; For example:
TRIAI FLUOU GLIA, ÑEOE, etc.
Move your jaws and lips well so that you don't miss the strong, clear sound of each letter. Vary the
accents.
H) You also have to strengthen your language. For that:

H1) take out the league ( as much as possible) and return it to its normal position. Repeat
this in the morning and at night about 5 times.
H2) Let's use the letter L and sing only with that letter. One melody in the morning and
another at night, only with the letter 'ele'.
“LLLLLLLLLLLLLLLLLLLLLLLL”
H3) Today, with the R. Repeat what motorsports storytellers say:
“Carrrrrrrrrrrrrrrrrrrrrrrrrrrrrro in sight.”
H4) Whistle . Yes, I whistle a lot. After all, you are expelling air and giving your lips a
position. Whistling helps to loosen the lips and control the release of air.
I) Read or improvise , speak very slowly, slowly... “ chewing” the words , the syllables and each
letter. Exaggerate the articulation, the pro - nUn - cla - tion of each syllable. If you find a word or
syllable difficult, all the more reason, with more caprice, insist on its correct, clear and strong pro
-un - cia - tion.
J) Record yourself 10 minutes syllabusing . Read a paragraph only in syllables. For example, like
this: “EL MAS GLO - RIO - SO HE- RO - IS - MO ES VEN - CER - SE AU - NO MIS - MO”.
K) LAUGHTER: It is a sound emitted from the stomach, with a slight pronunciation of the “J”. Can
be done in all vowels
With the A : Frank, hysterical or flirtatious laughter.

With the E: Sneak or serious laughter.
With the I: Mocking, effeminate or childish laughter.
With the O: Laughter of an obese person.
With the U: For hypocritical or fake laughter.
Start with A and End with O: To make a laugh grow. The other way around for the
opposite effect.
L) TREBLE AND BASS:

There are three tones of voice that we can handle using the larynx. When lowering the larynx we
use a deep voice; when raising it, sharp.
Exercise : Pronounce the following sentences in Natural, Acute and Grave tones.
God, Love, Death, Grief, Life, Eternity, Homeland, Ridiculous, Hate, I know, I want, I won't
go, I like it, Forget me, I love you, I don't buy anything, I'll accompany you, I don't
understand you, Do you love me ? I love you!
M) At this point you can read and memorize (it is good to exercise your memory) some popular
tongue twisters. This helps a lot with mental coordination and the brain-language relationship.
TONGUE TWISTER
Tongue twisters are useful for solving already known speech defects. It is good to record
yourself or go to a specialist to be able to detect which letters or combinations of these are most
difficult. Tongue twisters are also recommended to exercise the tongue before and after each
performance. Here is a small list of tongue twisters to memorize and use when required. The
interesting thing about tongue twisters is being able to say them clearly and quickly, increasing the
speed without stopping pronouncing any of the words.
The first 2 tongue twisters are particularly useful for the pronunciation of the “R” and “RR”,
since it is very common to have diction problems with this consonant.
A) R with R cigarette, R with R barrel, fast the cars run, loaded with sugar to the railway.
B) In three sad baskets of wheat, three sad tigers ate wheat; They ate wheat, three sad tigers,
in three sad dishes of wheat.
This other exercise is also very useful for those who get “tangled” in their own words:
“Shrimp, candy, candy, shrimp; shrimp, candy, candy, shrimp; shrimp, candy, candy, shrimp;
shrimp, candy, candy, shrimp…”
And finally, some tongue twisters, in order of difficulty:

TONGUE TWISTER. LEVEL 1
1. IN THE MORNING, ANA ZAVALA'S MOTHER GOES TO THE SQUARE TO EXCHANGE ORANGE PEELS
FOR APPLES, BANANAS, POTATOES AND PUMPKINS, TO WASH THEM, CRUSH THEM, TIE THEM, PACK THEM,
LOAD THEM, AND SEND THEM TO CANADA.
2. COCO ROMO COUNTED THE COLTS AND THE BULLS OF THE SOTO; THE FOOLISH MOOR TOOK THE
COLTS, TOOK THE BULLS, AND ONLY BECAUSE OF HIS CRYING WAS THEY CONDONED.
3. MEMO MEDINA LOVINGLY PADDED HIS MOTHER MANUELA'S CAT WHILE MODESTO, A BROWN
BOY, CLIMBED THE SUMMITS ON THE BACK OF A MULE EATING AND CHEWING.
4. MELESIO MORENO SENT COINS, MANOLO MORALES KILLED MOSQUITOES AND AMPARO MENDOZA
TOOK EMPANADAS WITH MARI HIS SISTER IN THE MEZQUITAL.
5. THE BABY NINA WAS BORN NORMALLY, THE NANA NOTORIOUSLY ANNOUNCED IN A DISTRESSING
INSTANT, EVEN THOUGH SHE NEVER NEEDED TO STATE OR ANXIOUSLY PRESENT SUCH INTERESTING NEWS.
6. NO ONE EVER NOTES THAT THE NOTION OF A NATION IS NOT NECESSARILY UNDERSTOOD, EVEN
THOUGH THERE CONTINUOUSLY HAVE TENDENCIES TO RIGHTEN NATURAL DIRTS TO THE NATION OF ITS
BIRTH.
7. GERMÁN THE BULLY, DRIVING IN HIS TRUCK ON THE WAY TO BELÉN, HIT THE PANZÓN DON JUAN
WITHOUT HAVING A GOOD END, ACCORDING TO JOAQUÍN KANKUN.
8. WITH ODOROUGH LOTIONS, THE CRAZY EVILS OF FIGHT AND LUCÍA, WHICH WERE SHOWN BY THE
VEILS AND THE LONG TAILS OF LONG AND LUCTUOUS FABRICS, WERE MANAGED TO CALM.
9. ERRE CON ERRE, CIGAR; ERRE WITH ERRE, BARREL; FAST RUN AND ROLL THE FAST WHEELS OF THE
RAILWAY.
10. PRETTY COILS, BIBS, BOOTIES, CHEAP BOOTIES, VENANCIO SOLD; HE KISSED BABIES, HE BLEED
BRAVELY, HE LAUNCHED BOATS AND HE NAVIGATED WELL.
TONGUE TWISTERS LEVEL 2.
11. A RUIN TWISTWITHLY WRITTEN STORY REPLICATES STRONGLY REFUTING THE RETROGRADE
RETURN OF THE REBEL RAMIRO RAMÍREZ RAMOS, RATIFYING THE REVOLUTIONARY REFORM OF HIS
SPARKLING REPUBLICAN PATH.
12. LORD WHAT HEAT, UNPARALLELED, RENDERING, WHICH BY GIVING FLAVOR OF LOCAL COLOR
CAUSES A STENT OF PURE SWEAT! LORD HOW HOT!
13. THE ZONZA ZITA DOESN'T CEASE TO WHISTLE AND ITS Bland CEASE SUSY WHISPER; SUSY WHISTERS
ZITA'S BAD CESSATION THAT WON'T STOP WHISTLEING.
14. SATISFYING HER SINCERE CRAVINGS OF SCARE, SUSANA SNEAKED THE DIRTY KILLER OF LEFT-
HANDED ZOZAYA IN THE HOLY SESAME.
15. NEVER GET RIDERS TOGETHER WITH YOUNG GERMANIANS, OR GERMICIDAL GENERATIONS, DO
NOT FREEZE GELATINS, OR AJUSTICE JURISTS IN THEIR COURT MEETINGS.
16. TO MAKE PEPITA'S NEAT EYELIDS PALE, PUT ROTTEN PASTRIES ON PERFIDUS, IMPOLUTED PAPERS.
PUT PERFIDENT PAPERS PUTTRID PASTELS ON IMPOTLIGHT FOR PEPITA'S CLEAN EYELIDS TO PALE
PERMANENTLY AND PROPERLY.
17. TITO TANCREDO ASKED THE TRAUMATOLOGIST TECLO: WHAT IS A TRAUMA, TECLO? TRAUMA?,
THE SAME AS TRAUMATOSIS, TANCREDO, THE TRAUMATOLOGIST TECLO ANSWERED TO DUMB TITO.
18. FERNÁN FERNANDO FERNÁNDEZ, PHILANTHROPIST OFFICIAL, FACILITATED THE OPERATION OF THE
IRON FILIGREE FACTORY, SIGNING A FINANCING WITH THE PURPOSE OF FACILITATING THE FIRM FRATERNITY
OF THE MANUFACTURERS.
19. A CHILEAN DRIVER STARTED SCREAMING IN THE CHUECO CHANCHULLO WHEN HE HEARING THAT
LUCHO WAS GOING TO FIGHT TO EACH CHIROZOS, HARVEST CHILILES AND SCRATCH VESTS.
20. I BUY LITTLE COCONUT BECAUSE I EAT LITTLE COCONUT. IF I EAT MORE COCONUT, MORE COCONUT
I WOULD BUY
TONGUE TWISTERS LEVEL III
21. THE FAMOUS LIGHT BULB MADE IN FRANCE MELTED BECAUSE THE SOURCE OF INFLUENCE THAT
MANUFACTURED THE FLUID FAILED, AND THE FIERCE SEALS THAT FLASHED IN THE FIRMAMENT FINALLY
DIED.
22. MARICHU MORQUECHO, CHOCHA, MUCHA AND SHOWER, FOR HIS CHACHA NICHA FIGHTS LIKE A
MALE, LIKE A MALE FIGHTS, SHOWER, MOCHA AND CHOCHA, FOR NICHA HIS CHACHA, MARICHU
MORQUECHO.
23. THE MEAT BURNS, CARMEN; CARMEN, THE MEAT IS BURNING. HOW DO YOU EAT MEAT? DO YOU
EAT IT BURNT OR CURED? HOW DO I EAT MEAT? I EAT THE MEAT WITHOUT BURNING AND ALSO EAT IT
RAW!
24. IN TLAPACOYA TAFOYA MADE A TROUBLE ON MOYA, BECAUSE MOYA IN TLAPACOYA STOLE A
ROOSTER FROM TAFOYA THE ROOSTER, SO THAT MOYA WOULD NOT GO, FOR TAFOYA'S ROOSTER, TO
CREATE A TROUBLE IN TLAPACOYA.
25. THIS YEAR, THE CHILD NÚÑEZ CHEATED THE ÑAÑIGO NOÑERA WITH THE PIÑATA FROM OLD, WHEN
THE ÑAÑIGO CORUÑA, TAKING CANE ON THE Flock, IN THE CANE, WITH VIRTUALNESS, TEACHED HIM HOW
TO CUT CANE.
26. I HOPE LAJAS AWAY; ALEJO; I HOPE YOU GO AWAY, AWAY, AWAY FROM THOSE LAJAS; LAS LAJAS
AWAY, ALEJO, ALEJO AWAY LAS LAJAS; LAS LAJAS I HOPE YOU ARE AWAY, ALEJO.
27. THE PAVA WAS SLOORING, PAPING PAPERS, AND VAPORIZING THE HAIR AND THE VEIL; THE TURKEY
WAS WATCHING, THE TURKEY WAS PEELING, AND PROBABLE OUTBREAKS OF COMPLETE POVERTY THE
TURKEY WAS DROOLING, drooling papers.
28. WHILE HERODOTUS DITHYRAMBOS DICTATES TAKING ALL THE DATA IN DETAIL, IT MATTERS A BIG
DOWN FOR THE LATE DOWN IF DANTE SELLS DETONANTS IN HIS STORE.
29. A FREIGHTER LOADED WITH COGULLAS AND TOGAS, GUIDED BY GUMERSINDO CANDONGA, WON
AS MANY GALATES AS THE RUBBERY CACIQUE LIKED WHO, DRIPPING FAT, DANCED CONGA BEFORE THE
FOUR CATS OF THE VARIETY WARRIOR.
MORE TONGUE TWISTERS
30. He who deworms the parasites that parasitize by parasitizing the parasite will be a great
dewormer, since he deworms the parasites that parasitize by parasitizing the parasite.
31. In a house, a cockroach trapped the entire house, and whoever manages to un-cucarachize
the house that the cockroach trapped in, will be a great un-cucarachizer, because he un-
cucarachized the house that the cockroach trapped in.
32. A shrimp color had the caramel that provided stability to the color, the prodigality of the
stability of the candy color gave it a shrimp color; and he who removes the shrimp color from the
caramel, a prodigy of prodigality of color stability, will be a great decolorizer, since he removed the
shrimp color from the caramel.
33. The archbishop of Constantinople wants to de-archbishopconstantinepolize. The one who

deprives me of archbishopconstantinopolice will be a great dearzobishopconstantinopolizar,
because he dearzobishopconstantinopolitanizado the Archbishop of Constantinople, and will be
paid his corresponding dearzobishopconstantinopolitanización.
34. Cuauhtémoc cuauhtemoctized Cuauhtemoctizin, and he who descuauhtemoctizin

Cuauhtecmotizin, will be a great descuauhtemoctizer, because he descuauhtemoctized
Cuauhtemoctizin, who had cuauhtemoctized Cuauhtémoc.
35. Nezahualcóyotl, father of Nezahualpilli, NezahuacoyotltizoNezahualcoyotltizin, and

whoever desnezahuacoyotltizin uses Nezahualcoyotltizin, will be a great desnezahualcoyotltizer,
because he denezahualcoyotltizoNezahualcoyotltizin, who had Nezahualcoyotltizo the Great
Nezahualcóyotl, dre of Nezahualpili.
36. This is the city of Rome, in which there is a gate; This door opens onto a street and the
street goes to a square, in which there is a door; This door leads to a street and the street goes to
the plaza. In the square there is a house, inside the house a patio, in the patio a staircase. The
staircase goes to a room, this room leads to a bedroom, in the bedroom there is a bed, next to the
bed a table, on the table a cage, inside the cage a parrot, which, singing, says to everyone: “Let it
happen.” Take out of the cage that is on the table that is next to the bed that is in the bedroom
that overlooks the room that goes to the stairs that go down to the patio that is inside the house
that is in the square that faces the street that "He goes to the gate in the city of Rome."
Verbal interpretation of the role
In the theater, verbal interpretation always constitutes the basis of the actor's work, no matter
how important the plastic interpretation is , verbal interpretation requires correct phrasing and
clear diction as a foundation. The first thing is, therefore, to learn to read according to the meaning
of the sentence, and so clearly that nothing said is lost.
Each phrase contains an image that gives it its meaning. This image can be represented by a single
word or by a set of words, which we will call "guide word or words."
When saying the phrase, the emphasis must be logically placed on these "guide words",
concentrating our attention on them, although without increasing the volume of the voice. Phrases
often tend to have several accents, and then preference must be given to one, which will be
dominant, and the others secondary.
When trying to read the dialogue according to the meaning of the phrase, we will immediately
notice that the grammatical punctuation set by the playwright does not generally correspond to the
natural way of saying the phrase, which forces us to establish certain phrasing rules. which for the
experienced actor become habit.
Phrasing is determined precisely by pauses of the most varied duration. Thus, the pause can be
only a very brief moment, as well as reach a long duration in order to effect a "transition." Its
artistic value will be discussed later.
The pause, for now, organizes the phrase and at the same time serves to breathe. You always
breathe after definitively finishing an idea; If the sentence is long, we will look for the right, logical
moment to breathe.
We establish the following phrasing rules in relation to grammatical punctuation:
i. The comma does not necessarily mean a short pause. In many cases it should be ignored.
ii. Where a pause should be made, the respective signs are often missing.
iii. Semicolons can mean either a short pause or a long pause. It must be defined according to the
meaning.
iv. The point does not always mean lowering your voice.
v. Often the point where it should be marked is missing.
vi. The voice is always lowered where an idea definitively concludes; especially before the
transition.
vii. The ellipses generally mean - when they are within parliament - brief pauses, leaving the voice
raised; especially when you want to give the impression that you are looking for the words.
viii. Ellipses at the end of the speech mean a truncated dialogue that must be read as if the sentence
were complete; That is, the actor must complete it immediately as if he had to say it in its
entirety, taking care, above all, not to make a "delay" where the ellipses begin.
ix. The actor who must interrupt an incomplete speech will do so a little before his interlocutor
finishes, or immediately after, in the event that the last word is very important.
x. If due to lack of concentration the second actor does not enter on time, the first must
automatically complete the phrase that should be left in suspense.
xi. Generally two parliaments are linked; That is, when the first actor finishes, the second will
enter immediately to avoid annoying pauses. When there is a pause between two
parliaments, it must always be marked.
xii. Entering accurately does not mean violating the phrase or stepping on the previous one. The
tempo of the dialogue must always be maintained.
xiii. The ends of sentences tend to fade or rush. This is one of the most common defects among
beginners, which must be avoided.
xiv. Another common defect of beginners consists of defective diction, which allows vowels to be
mixed or confused, and double consonants to disappear: "En nada" sounds like "Enada" and
"Del lateral" sounds like "Delado."
xv. Questions.
a. A question is intoned (leaving the voice raised) when the sentence begins without an
interrogative element, and if the answer can be "yes" or "no."
b. A question is not sung when the sentence begins with an interrogative element, such
as: Why? When? Where? As? Who?
c. There are questions that are actually exclamations, and they must be intoned as
such. xvi. Exclamation and question marks are frequently missing from the playwright's text.
xvii. It often happens that the actor must say two of his own lines, even if they appear to be
interrupted by the words of another character, as if they were a single speech, mentally
linking them. Of course, you will give your partner the opportunity to say your words, giving
the impression of not hearing them.
xviii. You have to master the Spanish accent, at least the use of o and z, especially for the
interpretation of the theater of the golden age.
Knowing how to say a sentence with its logical accent, applying the pauses in an intelligent way,
is not only essential for the actor, but for anyone who has to read in such a way that it is
understood without the slightest effort: lawyers, radio announcers , teachers, etc.
Once accustomed to ignoring grammatical punctuation and reading according to the meaning of
the sentence, the actor no longer needs, in practice, to fix phonetic phrasing, unless it is a special
defect, such as a pause between two speeches. . But without having overcome the difficulties of
clear diction, effective use of voice and logical phrasing, the student cannot begin to interpret a
theatrical character through his or her own personality.
PHRASING
A single phrase can have the most diverse intonations, depending on the circumstances in
which we pronounce them. If we put these variations into the mouth of a bank manager, an
English butler, a policeman, an old professor, a maid or a lady of good society, the interpretations
will necessarily have to be different.
Therefore, there are three factors that define the intonation of a phrase:
1) The very meaning of the phrase.
2) The character of the character who pronounces it.
3) The circumstances in which the character finds himself and that generate
emotions.
Phrasing Rules:
i. Each sentence must have only one main accent.
ii. To give greater intensity to a phrase within the same emotion, the emotional intensity and
the volume of the voice are increased (from piano to mezzo forte, from mezzo forte to forte,
etc.) and the tempo is changed (from allegro to andante , or from andante to slow).
iii. If several phrases lead to a conclusion, the tempo is considerably slowed down when
reaching it, although the end of the phrase should not be allowed to pass out.
iv. When the same phrase or word is repeated one or more times, the tone and tempo must be
changed, giving greater intensity to one or the other.
v. When there is a series of synonyms, qualifying adjectives or enumerations, the intensity must
be changed, while varying the tempo. Frequently, a crescendo and a decrescendo are made,
choosing one word as the climax of the series.
vi. On the other hand, there are cases in which two or more identical words are given the same
tone, without making any pause.
vii. A short pause before or after a word (often the guide word) will give emphasis to it.
viii. Slowing down the tempo of a phrase (making a "retardando") gives it greater prominence.
Important phrases should be pronounced more slowly to make them stand out.
ix. Certain emotions gain greater intensity by slowing down the tempo, such as: contempt,
indignation, surprise, confusion, doubt, coquetry.
x. There are phrases that require a pause and, at the same time, greater intensity, so that the
other actors have the opportunity to react.
xi. When a sentence is incomplete, when interrupted by the speech of another actor, the first
one must complete the sentence in mind as if he had to say it in its entirety, without
delaying the end. Otherwise, the phrase lacks naturalness.
xii. When reading a letter or document on stage, the actor must give the impression that it is the
first time he is reading it, and yet give enough emphasis to the substantial part so that the
audience does not miss its content. This is obtained by reading the unimportant part with
reading intonation and delaying the substantial part, reacting, at the same time, to what is
read, that is, reading with the intonation corresponding to the reaction.
xiii. When writing a letter, saying its content out loud and, at the same time, making comments on
what was written, the actor must clearly differentiate these two intonations.
xiv. You have to know how to take the tone given by the actor who says the previous speech.
xv. You have to know how to take time, all the time necessary, especially at the end of the act.
that lack emphasis.
To find the proper intonation, the student must proceed to define the character of the character
he is going to play, the place he occupies within the structure of the work in general and his
participation in each scene. That is, the three fundamental questions that the actor will ask himself
before entering the scene:
1st Who am I?
2nd Where do I come from?
3rd What am I going to?
EMOTIONS IN THE VOICE.

Every theatrical conflict is, deep down, a conflict of emotions. The expression of the most diverse
emotions must always be the basic element of acting and, consequently, also of intonation. The
purpose of all drama is to lead the audience towards a defined feeling. Here is a list of some of them
ADMIRATION. Excitement : PRIDE.

Condition : SUCCESS. PATIENCE
Happiness : ECSTASY. PATIENCE.
Relief : Strangeness : PITY.
Altruism : FAITH. PROMISE.
BITTERNESS. FAILURE. PROTEST.
THREAT. FRANKNESS. REBELLION.
LOVE. JOY. REFLECTION.
DISTRESS. Enjoyment : REMORSE.
Annihilation : Gratitude : Resentment :
APPRECIATION. GRAVITY. Resignation :
Disgust : Ennui : REPLICA.
GOODNESS. HYPOCRISY. DISGUST.
Mockery . MODESTY. RESENTMENT.
CERTAINTY. IGNORANCE. RESIGNATION.
CYNICISM. IMPATIENCE. Resolution :
Cowardice : Unconsciousness : I respect :
CONVICTION. INDECITION. I BEG
COURAGE. INDIFFERENCE. SARCASM.
CRUELTY INDULGENCE. Satisfaction :
Defeat : CONCERN. Servility :
Distrust : Gonna Loneliness :
DISDAIN. Irony Surprise :
DESIRE. IRRESPONSIBILITY. SUFFERING
DESPAIR. JUSTIFICATION. TENDERNESS
SPITE. COMMAND. TRANQUILLITY.
CONTEMPT. LESS PRESSURE. Sadness :
UNCONCERN. FEAR. Triumph :
Pain : Mercy : URGENCY.
DOUBT. NATURALNESS Urgency :
SELFISHNESS Nostalgia : WORTH.
Hope : HATE. WILLPOWER
The elements that make up the interpretation of the phrase:

We said that the three factors that define the intonation of a sentence are:
1) The very meaning of the phrase.
2) The character of the character who pronounces it.
3) The circumstances in which the character finds himself
These factors will generate changes in the phrase. What the audience will perceive are changes in
emotion, tempo, and quality and strength of tone.
a) Emotion or the mixture of emotions as a basic factor.
to. The emotional intensity can be decreased or increased, or mixed with another
secondary emotion, since we have seen that emotions rarely occur in pure, isolated
form.
b) The tempo of the phrase.
to. You can vary the tempo of the scene according to musical terms: slow, allegro,
vivace, etc. An intelligent change of tempo is of great help to avoid monotony, and
of greater effect than increasing the volume of the voice.
Also the pause, skillfully used, lends naturalness to the dialogue.
c) The quality and strength of the tone.
to. You can change the pitch, timbre and strength of the voice.
To obtain a change in intonation, the actor may vary one, two or the three factors indicated above. In
addition, the voice can be nuanced with certain states : Tiredness, Weakness, Curls, Cold, Pain, Old
Age, etc. As well as with various diseases such as: Stuttering, Coughing, Hoarseness, Hoarseness, Loss
of teeth, etc.
EXERCISE
GIVE EACH PHRASE THE FEELING OR NUANCE IT INDICATES.
1. INDIFFERENCE. - Have you lived in Monterrey for a long time?

- What time is? Can you pass me the mustard?
- It's been a good trip, don't you think?
2. INDULGENCE. -Despite everything, we had a good trip.
-You must be happy, you did what you could.
-Don't be so sorry, it really wasn't your fault.
3. DOUBT. -Are you really 18 years old?
-Honestly, didn't you like the movie?
-Are you sure it was her?
-I don't know... sometimes it seems like she's good, but... who knows.
4. IRONY. - He can't even say 3 books he's read and he's already president.
4.5. BITTER IRONY. - I thought we would never see each other again... you swore you wouldn't
even go to my funeral.
5. CYNICISM. Yes, I was unfaithful to you and during your wedding night. AND?
-Sir, I didn't kill him. The boy went into cardiac arrest just before he was
stabbed.
-God asked me to do it. If you don't believe me, ask him.
-I am a man of simple tastes, I like dynamite, gunpowder and gasoline. Do you
know what all these things have in common? They are cheap.
6. ADMIRATION. -I wouldliketo be like you; have your word, your strength and your courage...
and your virtues.
-What a beautiful landscape! The mountains, the meadows, everything is so
beautiful.
-A great film. It has everything: Plot, actors, photography, musical
7. REPLICA. -Well, even if it's good, I'm telling you that I don't like it, so stop it.
- You are intolerable. No matter how much I try to please you, you always find
something to argue about.
- Well, you are demanding. But I worked too hard for you not to like it.
8. DESPITE. - I won't see him again! Not even in case of death!

- I will never accept it, no matter who gets hurt!
- I don't adapt to their ways of loving, because if they give me love I want it
all, or I don't accept the part they offer me.
9. TENDERNESS - I'm going to go and say hello to Grandma Alejandra. You will like it very
much.
- Thank you for your understanding, with you I will get ahead.
10. BITTERNESS. - It's useless. No matter what I do, everything goes wrong.
- I hate my life. There's no hope. No effort is enough.
- I don't know if it was always like this, like now, the custom of us both sitting
together by the fire, in a troubled river of five hundred words with our hands
joined and our souls distant.
11. JUSTIFICATION. -I'm sorry. You got in the way and I couldn't help but hit you.
-I need to talk with you. I have to explain to you what happened.
-Yes, I have done wrong, but it was unconscious. I never wanted to do it.
12. COURAGE. - Do that to me?! I will pay for them.
- No! I told you I do not want. NO!
- Go away or I'll have to forcibly remove you.
13. CONVICTION. - I have learned from my mistakes and now I will be more careful.
- I will finish my career and be the first generation place.
- No doubt. It was her, look closely.
- It's true. You must believe it and accept it.
- I'm sure, I saw it through that window. It was him, I saw him!
14. DISMIST. - Yes, I'm going to do my homework.
15. CONTEMPT. -Take it as you want, I don't care what you do.
16. PROTEST. - No! I said no and a thousand times NO! Even if you claim otherwise.
- It is not possible for me to continue living like this, with that disorder; You
have to put an up to here.
- The outrages of the tyrant no longer remain silent. If justice is denied,
peasant, student, take it!
17. UNDERPRESSED. - Do not insist. I already told you that you can't come with me.
18. IGNORANCE. - Is what is rumored true? I had no idea.
- Why would he kill his own wife?
- Mom, what is sex?
19. CERTAINTY. - Don't hurry, he will wait for us until we arrive.
- Don't lose faith. In the end everything will work out.
- It shouldn't take long, he is a person who never misses an appointment
20. HUMILITY. - You are so generous, in reality, I don't deserve all this.
- If you like, come to my house for a taco. But sorry for the mess.
- “To think that there will be no one to accompany you along the path, like me,
kissing your footprints in the dust of the path. I was matter that loved you, I
have no soul to wait for you in another life
21. LOVE. - You are the ideal of my life, I have never loved anyone like you.
I want to be in your life something more than a moment, something more than
a dream.
- Love will return to your ears, the burning words will sound; your heart from
its deep sleep, perhaps it will awaken; but mute and absorbed and on his knees.
As God is worshiped before his altar, as I have loved you, no one will ever
22. HATE. -You are a scoundrel! A wretch! Get out!
-Don't lick the hand that ties you like a dog. Break the irons into pieces and if
they besiege you, kill!
- Shoot him instantly. Death to the traitor!
- If my dream of blood came true, with one slash of humanity, I would divide
you. And you will suffer and sorrow until the end of the centuries.
23. APPRECIATION. - She is a great person, I admire her a lot. Is my best friend.
- I have fond memories of her. She was my first teacher.
- He saved my life, thanks to him I was able to finish my degree.
24. CONTEMPT. - I don't know how he came to occupy that position. He's a fake.
- It's worthless. Let him go and the further away the better.
- It will be very good, but coming from you, I don't want it.
25. REBELLION. - No, that never. No way.
- I don't care who opposes it. Never.
- Tell him I'm not going and I'm not going, even if whoever orders me.
- I said no and I will never accept.
- I said no and I won't do it! Before dead!
26. COMMAND. - You won't go if I don't let you. Enough of doing what you want.
- I tell him to do it and quickly. And be specific in the instructions.
-You have to go because I said so. So do it and that's it.
-Come on, come here and immediately!
-Because here what I say is done.
27. PRAY
- Please, I beg you to think very carefully about what you are going to do,
remember that it is a decisive step in your life.
- Life, don't go away. Stay a moment. Stay in my arms for 10 more minutes.
- Listen to me, I beg you. Just a moment please. You are mistaken. I swear!
- “It's all I have left, if they take it away from me, I will freeze to death!”
28. PIETY. -Poor people. This catastrophe left them in misery.
-Poor dear. So small and misfortune has already taken its toll on her. Poor girl.
- My God, have pity on them… they need you, Lord.
- That awful! Let's do something to help them!
29. CRUELTY -What he suffers is little for what he deserves! He must pay for what he has
done!
What punishment could erase his fault?
-I would like to be a bird of prey, vulture, condor or eagle and gouge out your
eyes with my beak and your heart with my claws!
-Do not eat or drink anything. He's a traitor, so let him rot. "He deserves it!
To suffer! Let him die!
30. FAITH. - I can do everything through Christ who strengthens me.
- No matter what happens. Jehovah will provide.
- Allah will accompany me in the desert as in the ocean.
- I am in the hands of God. God is my guide.
- I know I will succeed. I have prepared so well that I cannot fail.
- “I believe in progress like the sun that shines on us.
- And it will be a day of celebration and of loving each other face to face with
a single soul.
31. INDECITION. - What if things didn't go as planned? What will we do?

- Will it be the path to the right... Or the path to the left?
- I'm afraid I'll get nervous and ruin it. It would be unforgivable.
- And... What if I didn't come back? He didn't assure me anything. I shouldn't
32. PRIDE. - I do what I want, when I want and where I want.
- My word is the law. Obey me everyone.
- And I have said it. I'm the best. Is there anyone who doubts it?
- Nobody can sell me, there is no one who can reach me. I will triumph.
- There are birds that cross the swamp and do not get stained, my plumage is
one of those.
33. RESENTMENT. - I will never forgive him for this! I can not forget it!
- Everything could wait but that, there are no excuses or possible explanations.
They acted very dirty, they have to pay dearly.
- I can't help him after what he did to all of us.
34. ANGUISH. - Days and weeks have passed, and I still hold on to this phone waiting for
news. I don't know if I live or die!
- My God! If the truth comes out, what will happen?
- Doctor, tell me the truth. No matter what it is, it is preferable to this anguish
of not knowing.
- He told me he would return in 8 days; It's been fifteen and no news. I don't
know what to do.
35. TRANQUILITY. - Finally! I have been saved! And all thanks to God!
- Just what I needed! Thank you for helping me get out of this!
- That good that you arrived! I've been waiting for you all day, but you're
36. FRANKNESS. - I like them just the way they are and I don't care what they say. I like them
without artifices, even if they are not very pretty
37. HYPOCRISY. - It's been a pleasure meeting you. I am at your command.
- I would love for you to come visit me, as you wish.
- You count on me. If I can be of any service to you, I will be happy to do so.
38. DESIRE. - I don't know how, but I have to get it. I have worked a lot for it and I have to
see it in my studio.
38. DESIRE. - If I could make my dream come true... It would be divine!
- I would like to know what you think when you look at me, to know the cause
of looking like that, then knowing why you look at me, to ask you to look at
me like that again.
- I want to know Paris, Spain, Rome, Greece, Switzerland, the East... just by
dreaming I am happy.
39. - It is something unattainable, something intangible. We can never have him
RESIGNATION. with us. It's not even worth trying.
- Leave it alone, forget about it, it's not worth it. You waste your time
regretting it and that is irreparable.
- I'm not going to move on, I don't want to listen to reasons, I have my reasons.
- We must give up everything, separate. Don't see each other or talk again.
If possible, forget us.
40. RESIGNATION. - I will think of God and close my eyes. Whatever comes, I no longer oppose
it!
- I can't refuse, I'm so committed... It's too late.
- It's useless, it couldn't be any other way, the same thing always happens.
- It is my destiny, why fight if at the end of the day it will have to be like this.
41. ECSTASY. - Phew, Phew, how beautiful! What a marvel! It's a gift to look at!
- What a landscape, it is indescribable! So much beauty together! Nature in all
its splendor!
- What wonderful food! The flavor so refined! The dessert is so sweet! It is a
masterpiece, a supreme delicacy!
42. REPUGNANCE. -Do you call that noise music? What a disgusting taste!
-What a degrading spectacle! Gross! What degradation to art!
43. VALUE. - Whatever they are, I'll wait for them here. You'll see that you won't be able to
pass through here.
- Do you challenge me? I don't care about your superiority, I will know how to
defend myself.
44. FEAR. - Don't you understand that I'm in danger? Don't you know that they can arrive
at any time?
- I did not go! Please don't rush! Just listen to me for a moment!
- Can't! I really can't! No, please no!
- Don't leave me, wait for me, please. You can't leave me alone!
45. CONCERN. - I'll leave you, you can go... Although no, wait, wait still: let the rain stop...
Wait a while.
- I can't help it, it's something that obsesses me. It is beyond my strength.
- 10 and they don't arrive. Wouldn't something happen to them? Where could
we find out? They must be here by now.
- Another day without news! It is urgent to locate him. What a lack of common
sense.
How irresponsible. He doesn't think about anything!
46. - What do I care, let them say what they want!

UNCONCERN. - Which anyway, with and without your opinion, I eat.
- Bh, let him die for me. As if I cared.
- I don't care if he gets angry or not, I don't give importance to trifles.
47. ENJOYMENT. - The water is so delicious, jump in!
- How sweet the hours pass with you!
- Ah... if you knew what you inspire me!
- What a delight, what a marvel! What a delight, try it! It's the tastiest thing
I've ever tasted, I wouldn't get tired of eating it.
- I wouldn't change myself for anyone, I am the happiest person in the world.
48. SUFFERING - If your absence is an irreversible evil, if blind, stumbling and defeated,
dragging the perished remains of the dead love that you cursed so much, I
cannot walk without remembering you sad.
- Let me, let me. I can not anymore! You do me a lot of damage!
- My condition is lamentable, my suffering is eternal. If only God would have
mercy on me to end this pain
- Please Doctor, give me something, this pain is unbearable, I can't stand it, it
is beyond my strength; whatever it is, but give it to me, please.
49. REFLECTION. - I have to think about it, I can't rush it, I must carefully examine the pros and
cons.
- Be calm. We cannot rush, we have to think about it.
- First you have to do a thorough study, one mistake would be fatal and we
would lose everything.
- Examine it well and then calmly present your judgment.
50. SARCASM. -Thank you, it has been a great party. I had a blast.
-What a beautiful fabric on your dress, I like it for some curtains!
-I see, those “works of art” are worthy of a “genius”!
-I don't care, the truth is I wasn't planning to go.
-What a great trip. Flat tires, the van's climate control didn't work, and you
forgot to make hotel reservations. You're great.
- Why not, if you're not jealous? You don't even know what jealousy is!
- Of course you will! You always do what you're told! You are obedience
walking!
51. GRAVITY. - I have thought about it a lot; I assure you that it is so and I pledge my honor
to it. I know well what I'm saying.
- Yes I know what I'm doing. I have meditated a lot before deciding.
- I swear, it's not out of jealousy, it's out of dignity. Your behavior is morally
offensive.
- If I could save him this bitter pill, I would do anything, but it is no longer
possible.
52. WILL - If not today, it will be tomorrow. I will work day and night until I get it
- I will not rest until I achieve it, I have always longed for it.
- It won't stay for me. I will do even the impossible, it is my ideal and I will
fight until
achieve it. I will never give up.
- He who perseveres, achieves.
- Do it, I assure you that if you put all your effort you will succeed.
- Even if it is little by little, always move forward. Do not go back even to gain
momentum.
53. SUCCESS. - There is no doubt, success is decisive, resounding, extraordinary.
- What does everything we go through matter? After all, we triumphed!
- Bravo, bravo, we won! What a great triumph!
54. FAILURE.
- It's useless, another failure! And worse than the previous ones!
- There's no hope! Everything was lost! And when we thought it was so safe...
that's life.
- Because of you all my plans sink, I have failed! I can never forget it!
55. KINDNESS. - Eat all you want, don't worry. There is enough.
- Please keep it, you will use it more than me, do me that favor.
- Let me help you. Don't take it the wrong way, accept it.
56. SELFISHNESS - For me, let the world roll, as long as I don't lack it, everything is in order.
- I don't care that you need it, I don't want to lend it to you and I won't lend it.
- Yes, yes, I know. But I won't tell him. Let him suffer what he already
suffered until he finds out!
- It's mine, listen to me carefully, I'm not going to allow anyone to use what's
57. PATIENCE - We'll wait a little longer, anyway, what's the rush?
- Be calm, there is enough time, there is no reason to rush so much. Our nerves
can be affected.
- It doesn't matter to me today or tomorrow, it's the same, calmly things turn
out better.
58. URGENCY. - We're going to miss the plane! Don't you realize what time it is?
- Hurry up. Hurry up! We can't wait for you. It's always the same, you're never
ready. Caramba. You never understand anything! Well, stay so you can learn
to be punctual next time.
- I can not wait. Either it is resolved now or there is no business. Slow things
shock me! Overall, yes or no?
59. THREAT. - If you take that step, I warn you that it will cost you dearly. Stick to the
consequences!
- This is the last time I call your attention. I expel the other one.
- If you bother me again, you will regret it. I swear!
60. PROMISE. - Forgive me, I promise it won't happen again! It was an accident.
- I really did poorly on the exams, but I will study hard from now on to make
up for the lost time.
- I promise I won't tell anyone, it will be our secret. Dead first before
speaking!
- You will lack nothing; everything I have is for you.
61. REMOR.
- I couldn't sleep, all night I wondered how I could commit such an atrocity.
-Forgive me, my God, I don't know how I could do it, I can't explain it to
myself... But I did it and I ask your forgiveness.
- It was my fault. It was my fault. If you had taken more precautions nothing
would have happened. It's my fault she's dead!
- I can not forget it. Day after day, night after night... always thinking about the
same thing.
62. - I don't know if he would stay alive, but why would he go through if he sees
IRRESPONSIBILITY that I'm going to go through?
- What is prohibited? What do I care! Totally, someone come to
prevent me.
- I did it because I wanted to. And I will do it again since it is my body and I
decide what to do with it.
- I'm leaving, let them do what they want. I do not want to work. Let them run
me if they want.
63. DESPERATION. - I don't see, I don't see! Why me, my God!?
- Aid! Only you can save me! Have compassion!
- For charity, I beg you, help me!
- It's the deadline and I haven't gotten anything! Everything is lost! What do I
do, my God? What I do?
- No! No! Not even death itself would save me from this. Piety! Piety!
- I'm going to die soon; that's my luck; Who opposes the laws of destiny?
Although death is a dark path, who does not cross that path?
- They look for me, they follow me, I repeated trembling, my eyes shining the
light of a bonfire. They look for me, they follow me... they will tear my hands,
they will eat my tongue.
- …my soul, that shadow that floats on the ground… It will never rise again.
- Where do the dead go? Where did my dead go, where did she go?
64. NATURALITY - Why so much surprise? It was planned that this would be the case
65. CONFORMISM. - Yes Yes. We have two hours here, but don't worry, we can wait.
- Well, it's not the job I want so much, but at least I'll have money.
66. IMPATIENCE. - How long do you think we will be waiting for you?
- What a lack of consideration! We've been waiting here for an hour, in the
sun. If he doesn't come in five minutes, will we leave him here?
67. JOY -Let's toast to the year ahead! Because it brings us dreams! Cheers to life! Live
life!
68. PAIN - Pain of thinking about your return and suffering when thinking that you are
not coming back! - Never...! Never...! In my last lap I will no longer hear the
echo of your step, nor the echo of your voice... Eternal silence.
69. SADNESS - Oh, old house, deserted mansion, kneeling I kiss your door crazy believing
that that dead woman inside waits thinking of me!
- How sad it is to add a kiss to a heartbreaking goodbye!
- I come to say goodbye to you since that immense love no longer exists.
- Sorry, Fido won't wake up anymore.
70. LONELINESS - It's time to be silent; The grim reaper is coming. The sound of my voice fades
away.
71. GRATITUDE - And one last lightning in his eyes love ignited. “Thank you,” I said, and
leaned down to kiss the dying head of that dying god.”
- Mr. Judge, you don't know how I thank you. If it weren't for you I would be
in jail.
72. CONDITION - I love you with all my soul.
73. RESPECT - He is my father and I will never raise my voice at him.

- Please come in, this is your house. I have been waiting for your visit for so
long!
74. ANNOYING - Even the friction of your step on the carpet, the songs you sing and your
unnerving accent bothers me.
- I don't know if I loved you, but now you make me tired. You think you know
what I think, when I don't think anything.
75. NOSTALGIA - Remember that time, my lip on yours.
-This is the house where I grew up. I can still smell the beans that mom made.
- A long time ago the cowardly heart forgot her forever, that love of distant
days no longer burns.
76. RESOLUTION -Have the tenacity of the moldy nail that, now old and mean, becomes a nail
again. Let your head bite and scream vengefully, already rolling in the dust!
77. DISGUSTING - It's disgusting! Get him out of my sight. I don't know how you can have it so
much
time there near you.
-Who the hell can re-ingest something that came from themselves?
78. DEjection -I can't fight destiny anymore. My strength has run out.
79. ANGER - Nobody can stop me. I'm pissed!
- I'm going to go, even if I walk over your dead body.
- Everyone die! Fuck you! Let the worms swallow them!
80. GRIEF - I have to find him one day, we'll see each other and then he'll pay me all
together!
81. MERCY - “In this decisive hour, in this crucial moment, I give you my forgiveness. I
couldn’t be at peace if I didn’t.”
82. COWARDY - That I must attend to this evil immediately and not leave it when it is too late.
- Don't you see that without fighting I am already defeated? It's stronger than
me.
83. RELIEF - Ah,... they're finally gone! Come, there is nothing to fear now!
84. DISTRUST - You think? Are we not falling into a trap? I honestly don't know, but it
doesn't seem credible to me.
85. MOCKER - As always, running and arriving late. You have just arrived at the end of the
essay.
- Did you see how he tripped? It couldn't be more clumsy!
86. SATISFACTION
- This was not what I expected and look, it has arrived at the right time. Great!
87. SERVILISM - What an honor, Mr. Commissioner! Have you come to embark with us? It
arrives just in time, because the flood will begin shortly.
- What you say. - Consider it done.
88. TRIUMPH - The wheel has turned and now I have Jerusalem at my command. A whole
great city under my power
- Mexico is champion! Mexico is Olympic champion! The gold is ours!
- Live the independence! Long live Mexico!
89. DEFEAT - I never thought I would come back like this. We have lost everything,
everything, even our honor. Only death remains.
90. ALTRUISM - No matter what it costs, being for such a noble cause, we will pay everything.
91. STRANGENESS - It's not possible! It just can't be! But you are?"
92. SURPRISE - That awful! I never thought you would return so soon and so peacefully!
- A party for me? I did not expect it!
93. EXCITATION - I don't know what's wrong with me. I think my head is going to explode at
any moment.
- I want to break the windows, break down the doors, make the world my own.
94. HOPE - God willing, as soon as this year ends, get that scholarship abroad. It will be
wonderful.
95. MALICE - Come on, drink the water. To the last drop.
- Aim the cannons. When I give the order, shoot.
96. LUST - I'll wait for you in my room. Do not delay.
- Everything you want you will have in me.
97. ENVY - Well, with so much money anyone could buy a car like that.
98. JEALOUSY - Why did you notice her and not me? What does she have that I don't?
- Where were you last night? You went with him, right?
99. HAPPINESS
- He was born, and he has my eyes! He is the most beautiful baby.
- Do you really agree to marry me?! It is wonderful! We have to tell everyone!
100. EMPTY - I want to be alone. Get out of here. Leave me alone.
- If I jump, will everything end? Wow, it feels good to fall.
And to finish this manual...
Exercise : Say the same phrase with different nuances:
“I WILL DO IT AS YOU WANT”

Said with:
NATURALITY, JOY, SADNESS, LOVE, HATE, CRYING, IMPATIENCE,

TENDERNESS, COURAGE, FEAR, PRIDE, PATIENCE, MOISTURE, FASCITION, LAUGHING,
Making changes to:
Fast or slow Severe or Acute
Without further words, I say goodbye for now. I hope these exercises are useful in your workshops
and you never stop doing theater. Any questions or comments can be sent to me at
esau.teatro@gmail.com . I close this book with a dialogue from Hamlet to his comedians that wisely
instructs in the correct way to act in theater:
Hamlet, Act Three, Scene VIII

HAMLET and two comedians, Palace Hall.
Hamlet.- You will say this passage in the way that I have recited it to you: with ease of language, not
with an off-key voice, as many of our comedians do; It would be better then to give my verses to
the crier to say them. Don't even paw like that, slashing the air: moderation in everything; since
even in the torrent, the tempest, and rather, the hurricane of the passions, that temperance that
makes the expression soft and elegant must be preserved. It bothers me extremely to see a man,
with his head heavily covered with his hair, who by shouting spoils the affections he wants to
express, and breaks and tears the ears of the rude crowd; who only likes insignificant gestures
and noise. I would have such a madman flogged: a farcical Herod, more furious than Herod
himself. Avoid, avoid this vice.
Comedian 1st.- That's what I promise you.
Hamlet: Don't be too cold either; Your own prudence must guide you. The action must correspond
to the word, and the word to the action, always taking care not to trample on the simplicity of
nature. There is no defect that is more opposed to the goal of representation, which from the
beginning until now, has been and is: to offer nature a mirror in which virtue sees its own form,
vice its own image, each nation and each century. its main characters. If this painting is
exaggerated or weakened, it will excite the laughter of the ignorant; but it cannot but displease
men of good reason, whose censure must be of greater weight to you than that of the entire
crowd that fills the theater. I have seen some comedians perform, which others applauded with
enthusiasm, if not with scandal; who did not have the accent or figure of Christians, nor of
Gentiles, nor of men; that when I saw them swell and roar, I did not judge them to be of the
human species, but rather rude simulations of men, made by some bad apprentice. They imitated
nature so wickedly.
Comedian 1.- I believe that this defect has been corrected quite a bit in our company.
Hamlet: Correct him completely, and also take care that those who act as clowns do not add
anything to what is written on their paper; because some of them, to make the most stern
listeners laugh, begin to laugh, when the interest of the drama should occupy all their attention.
This is unworthy, and shows too much in the fools who practice it, the ridiculous determination
to show it off. Go get ready.
SOURCES AND BIBLIOGRAPHY
1. Jorge HOLOVATUCK and Débora ASTROSKY “MANUAL OF THEATRICAL GAMES AND EXERCISES
- Towards a pedagogy of the theatrical” Collection: El País Teatral
2. Augusto Boal. “THEATER OF THE OPPRESSED - Games for actors and non-actors” Editorial
Alba.
3. Constantin Stanisvalski. “An actor prepares” 8th edition. Constancia Editorial.
4. Coral Aguirre. “Practical Acting class notes.”
5. Virgil Leos. “Class notes on Theory and Practice of Acting.”
6. Peter Barkworth. “The Complete Book of Acting.” Diana Mexico Editorial.
7. Anne Bogart. “Scenic points of view: Movement, Dramatic Space and Dramatic Time.” 1
edition. Edition of the Spanish Stage Directors Association.
8. Gustavo Thomas. “Acting method of Antonio González Caballero.”

Acting Exercises For The Theater Workshop

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Zack.

OF Vázquez - Exercises for the Theater Workshop 1

EXERCISES FOR HIM

2. Warming up - Warming up is entering the optimal psychic temperature to start working. It is a

6. Body Expression - Games for managing the body.

8. Dramatic Exercises - Here the dramatizations and improvisations begin.

YO. Exercises for beginners and intermediates

OTHER NON-PSYCHODRAMATIC WARMING TECHNIQUES

3. GROUP INTEGRATION (Team Building)

3.3- - Letting Yourself Fall (The Drunk Bottle).-

There are many variations of this exercise:

4B. CONCENTRATION AND MEMORY

KIM memory games

Individual tests based on KIM's game:

It is also possible with other figures, such as “T” or “S”.

meaning suggested by the director or the sculptors themselves.

D)- Combine Archetypal Characters with Physical States and Gestures.

Character Physical state Gesture

7.2- The applause game.- This is a rhythm game. Everyone in a circle.

DRAMATIC EXERCISES- Previous notes.

Without theorizing any further, let's get started!

8. DRAMATIC EXERCISES - Group Improvisations

they will try to represent it. Examples.-

9. DRAMATIC EXERCISES - Sub-Group Improvisations

Things to take care of in collective action:

And individual performances.

Most important conventions:

Improvisation exercises in groups of 3 to 6 people:

and the structure of the scene:

- A dramatic pause or awkward silence during the climax.

- 2 uses of extreme contrast (loud/quiet, fast/slow, calm/chaotic, etc.).

Character Physical state Gesture

10. DRAMATIC EXERCISES- Improvisations in pairs

Two types of guidelines can be given to any exercise before starting:

debatable, but on the contrary, is modifying.

10.11. X- Protagonist/Antagonist Exercises - A/B

10.11.6- Stop.- B is getting ready to go somewhere or do something. A arrives to prevent him

Other improvisations AB.

11. IMPROVISATIONS WITH TEXT BY A COUPLE.-

Exercise with text

Exercise 11.1: Do you have a lot waiting?

Exercise 11.2: How did it go?

Exercise 11.3: I have to tell you something.

A: Where are you going?

Exercise 11.4: Did you tell him?

Exercise 11.5: I was looking for you.

settling into each other's little corners.”

12.- INDIVIDUAL EXERCISES and TASKS.

ANNEX: VOICE WORK

For effect, take a deep breath, make a soundmmmmmmmmmmmmmmmm... and

nnnnnnnnnnnaaaaaaaaaa... nnnnnnnnnnnneeeeeeeee... (imitates a moo)

In this fifth week we would work more with resonators:

Finally, another exercise to control or manage your air output:

And if you want a daily self-assessment, try this exercise:

4. GOOD DICTION: SPELLING

SPELLING: The Art of Pronouncing Well.

The “ a ” is the most open vowel. The tongue is

Next come the exercises to vocalize better:

A) First the separated vowels: a - e - i - o - u.

C) Next, combine the vowels; linking them. Example:

F) Now the consonants come ahead: báebaébáibaíbáobáobáubaú...

H) You also have to strengthen your language. For that: