Table role-playing tales and games for any occasion. Bedtime story
(3 women, 3 men)
(A play in two acts.)
Extended version of Halo's play. The events taking place this time are viewed in two perspectives - male and female.
(Illusion in two acts)
Anatoly Yuryevich Mozzhukhin, a wealthy businessman, a reflective middle-aged man in crisis. He's broke. His wife leaves him. As it turned out, the only person capable of supporting and sharing the bitterness of misfortune is his old friend, the “drunkard and tramp” Kamorin. But even he is unable to keep the main character from committing suicide. Fatal shot. It would seem that the end has been set in this sad story, however, it turns out that everything is just beginning. A playful play full of humor provides actors with a wonderful opportunity to show off their talents and show off the gift of improvisation.
(Comedy in two acts)
The famous writer, Dmitry Andreevich Koblikov invites his ex-wife, movie star, Svetlana Eduardovna Mnitskaya, to his dacha. He has a young wife, she has a young lover. A series of unexpected events, a range of new feelings. Confusion, confusion. Everything is like in the hero’s new philosophical novel called “Anthropology”.
(Etude)
An elegant philosophical miniature, made in the genre of “naive” comedy, touching on the most pressing problems of our time, at the same time filled with the highest tragedy. The sketch became the basis for the creation of the play MALUM IN SE.
(Naive comedy in two acts)
Given the obvious relevance of the problems addressed in the “naive” comedy, a comparison with a medieval tapestry involuntarily suggests itself. Philosophers, minstrels, mysterious forest dwellers, hunters and wild animals are invisibly present at this feast at dusk. Despite the extreme tragedy of the events unfolding in the play, the author managed to maintain the lightness and sharpness of the genre he designated.
(Dramatic sketch)
Passion and longing, love and misunderstanding, tenderness and hatred. There are so many colors and nuances in the life of every woman. Every experience is unique, every ending is predetermined and inevitable. Rich material for an actress planning a dramatic solo.
(Play in 2 acts)
In the sands of the Gobi Desert (Shamo) lives a family of deyti (the ancestors of the Mongols). They have their own ancient way of life, their own philosophy. The head of the family, Dorj, digs sand, trying to get to the inland sea, which promises happiness to all humanity. His daughter, Moon, is growing up. Like a bolt from the blue, Tim, a driver who has gone astray, appears in the life of the family. What will his appearance bring - happiness or death?
(Performance in two acts)
An extremely influential contemporary director, claiming to radically reform the theater, creates a “performance of the unsophisticated” in which traditional actors try to improvise, having no idea what the idea of the production is, what its literary basis is, what the ending will be. In the end, it all comes down to banal bargaining. Everything is very reminiscent of the absurdity and disorder of our days. The comedy is filled with unexpected metaphors, sharp dialogues, in a word, everything that characterizes the direction of pararealism developed by the author.
(Stanzas in two acts)
By coincidence, the names of the patients in the tenth ward of the oncology department are the same. Everyone is Pavel Andreevich. And their attending physician is also Pavel Andreevich. These are people completely different in age and worldview. One day in the hospital is like a whole life - a search for joy, discoveries, short happiness:
(Play in two acts)
A play-reflection on the last days of the great actress Marlene Dietrich. The material provides a unique opportunity to embody the images of Marlene and her Alter Ego Norma. Despite the obvious tragedy of the plot, the play is filled with light irony and humor.
(Unseen in two acts)
The play is an ironic fantasy based on the fairy tale "The Princess and the Pea."
(Scenes from family life in two acts)
The worries of family life lie on the fragile shoulders of Vera Andreevna Valyazhina. Her loved ones are passionate, contradictory people. My husband is afraid to leave the house and collects bells. The sister is in love with the composer Verdi. Mother is going to marry an air marshal. Only her love can save an explosive situation.
(Play in two acts)
A timeless parable about the flight and death of the Roman Emperor Nero.
(Play in two acts)
A play about the last night in the life of Komitas, an outstanding Armenian composer, folklorist, singer and choral conductor. Famous musicians were captivated by the art of Komi-tas: Vincent d'Indy, Gabriel Fauré, Camille Saint-Saens. In 1906, after one of the concerts, the outstanding French composer Claude Debussy excitedly exclaimed: “Brilliant Father Komitas! I bow to your musical genius!" Having survived poverty, deprivation, the nightmare of genocide, Komitas retired from the outside world, took refuge in his gloomy and heavy thoughts. In 1916, Komitas’ health deteriorated, and he was placed in a psychiatric clinic. The genius of Armenian music found his last refuge in Paris, in the suburban hospital Ville-Jouif, spending almost 20 years there until his death.
(Script for film)
Writer Povalyaev, who received an order for a play about A.S. Greene, goes to work in the city of his childhood, where amazing events, memories and dreams fall upon him, dictating their metaphysical scenario, breaking his worldview and, ultimately, life itself.
(Comedy in two acts)
A fan of the immortal ideas of the great Tesla who once dreamed of studying physics, and now a lost gambler, Igor Dmitrievich Poktilov, goes to a hotel in order to commit suicide. His bodyguard Eduard decides to save his patron at all costs. Completely unexpected characters come to his aid, including inhabitants of the subtle worlds.
(Comedy in two acts)
An old husband, a young wife and a young man. At first glance, the situation is banal and clearly anecdotal. If not... There are a lot of "ifs" here. Built according to the laws of pararealism, the play carries many meanings. The classic “theater within a theater” also gives it a polyphonic sound. Performed on stage, the play will provide an excellent opportunity for actors to demonstrate their skills.
(Drama in two acts)
What happens when music leaves our lives? What fills the resulting void?
The story of a brilliant pianist who lost the ability to play, but did not waste his gift. The play is a reflection, simultaneously representing modern dramatic material and a detailed psychological study, filled with music by S.V. Rachmaninov.
(In ten scenes)
The play is a report about one day in a pub. The kind that is characterized by cramped conditions, heavy light, slippery floors and loud-mouthed barmaids. All kinds of people meet here. Like balls in a bowling alley, their aspirations and destinies collide.
(Drama in two acts)
The artist's passion, the artist's love, the artist's life, his death - everything is unpredictable and poignant. The destinies of his loved ones and his characters are mixed like paints and who knows what might happen to them when this mixture is ready?
(Play in 2 acts)
The play is a fantasy about S. A. Yesenin and A. Duncan.
Vertigo is the feeling experienced by the patient that either he or the objects around him are in constant motion. Most often, this condition is accompanied by a sensation of rotation of surrounding objects, however, sometimes it may seem to a person that the earth begins to rotate under his feet.
(Hoax in two acts)
A play in which the author attempted to analyze the complex processes that occur in the consciousness (subconscious, superconscious) of a person suffering from schizophrenia. A unique appeal to the history of the life and death of the great Russian psychiatrist V.Kh. Kandinsky.
(Comedy in two acts)
The once very popular, but now abandoned actor finds himself in an amazing company of people who seem to know how to change life for the better. The situation on the verge of reality and absurdity that develops as a result of this meeting forces the hero of the play, and with him us, to reconsider our attitude to many things that seem undoubted and unambiguous. Bold plot twists and paradoxical decisions made by the characters in the play are based more on intuition than on any logic. This sharp modern comedy is fraught with a number of mysteries, in the effective search for answers to which the author sees the audience's interest.
(Play in 2 acts)
To a certain extent, the impetus for writing this play was the news of the tragic death of the famous Czech theater director P. Lebla, the motto of whose work could be Wyspiański’s catchphrase “Everything but kissing.” The author is trying to figure out what a scene is? Together with his characters, he takes a journey through the looking glass, into the very belly of the theater. The deep psychologism of the play is combined with grotesquery, which is appropriate when mentioning the name of P. Lebla, who so loved this genre.
(Play in 2 acts)
Is music always love? And if music replaces, displaces it? If music is inspiration, a premonition of trouble? What if music is tragedy itself? Music is harmony. Music is symmetry. Same as fate. Is a person able to resist it? The choice of the names of the first and second acts, which coincide with the names of G. F. Handel’s program works “Water Music” and “Music for Fireworks,” is not accidental. The play is modern, innovative in many ways, and is intended for directors and actors of psychological theater.
(In two acts)
What happens when two women, two completely different women, live together? Anything can happen here. Their melodies and nebulae intertwine, colors mix. An eternal struggle, more like a dance, pleasure with a taste of pain, anticipation of happiness, fantasy. Flowers. Flowers. Flowers.
The woman's secret will never be solved. The author does not set himself this task. He only lifts the veil a little, just enough for the viewer to physically feel the magic of love.
(Comedy in two acts)
The play, seemingly structured according to the laws of comedy, replete with witty dialogues and funny situations, carries within itself the painful theme of female loneliness. The comedy is multi-layered and polyphonic. It provides rich material for the performer of the role of the main character.
(Comedy in two acts)
In the life of every person there is a “moment of truth”, a rehearsal of the Supreme Court, when forgotten sins, old dreams and lost illusions arise from oblivion and acquire quite tangible features. A play about the “midlife crisis”, performed in the author’s style of pararealism.
(Comedy in two acts)
Recently, the famous scientist Sergei Petrovich Tomilin with his two daughters, not accepting change, decides to settle in a secluded place, far from people. One day, the serene life of the hermits is disrupted by the arrival of the third, younger sister and her friend. These are people of new times, new values. Along with the uninvited guest, anxiety, doubt, and love enter the Tomilins’ house.
(Scenes from family life in 2 acts)
This play is all about family life with tragedies and secrets, laughter and magic, transformations and death beyond the threshold, birds and children. The look is new, non-standard. It’s as if some photographer, balancing on the brink of genius and madness, to the amazement of his family, at the most unexpected moment, took a series of photographs and changed their fate.
(Play in 2 acts)
The play is a stage interpretation of the biblical tale of Jonah, a prophet sent by Yahweh to announce imminent death to the sinful inhabitants of Nineveh, but who ended up in the belly of a sea monster, performed in the author’s characteristic manner.
(Night rehearsal of "Kashtanka" by A.P. Chekhov at the Theater-House of S.O. Zelinsky in 2 acts)
(Playing with light in two acts.)
Retired actors, who have long left the theater, gather at the dacha to perform a benefit performance for their “prima,” the terminally ill actress Trukhanova, who once brilliantly rehearsed the role of Arkadina. The old house, the landscape with the “witch’s lake”, even the coincidence of the name of the actor playing Treplev with the name of the character seems to intertwine the threads of Chekhov’s “The Seagull” and the unfolding action. The metaphysical laws of the theater are included, directing events in their direction.
The play is intended mainly for older performers. According to the author, a special role in the production is given to stage lighting.
(Play in two acts)
A very rich man, faced with an incurable disease, tries to look into himself, rethink his life, correct something, repent. As in a cracked mirror, the usual, serene reality suddenly transforms, the funny becomes tragic, the sad suddenly acquires shades of laughter, miracles and chimeras appear from the hero’s subconscious. A lot of unexpected, unpredictable, paradoxical things.
(Play in 4 acts)
The play is a detailed analysis of the motives behind the war. The famous writer Samson Levin, whose play takes place in Gomel in 1942, together with his characters, tries to model human psychology under occupation.
(Study in one act)
A theatrical parable about the immortality of the Great Utopia, its leaders and its victims.
(Drama in two acts)
Reflections on who we are, what our hectic life is, what the end of the world is in the perception of Russian people. Today and always.
(Play in 4 acts)
The famous metropolitan theater director Korsak, who planned to stage a play about Mussorgsky, comes to the provincial town in order to invite his old friend, the once brilliant but drunken actor Dronov, to play the main role. The destinies of the characters are closely intertwined with the destinies of Mussorgsky and his contemporaries. The events of the play, sometimes funny, sometimes full of drama, receive unexpected existential development.
(Drama in two acts)
Moira is destiny. Moira is a metaphysical space where, according to the conviction of the aging and drunkard “darling of fate,” the writer Agrov, the threads of life are concentrated. How to restore faith to people, how to make sure that life, which obviously resembles a clownery, does not remain meaningless, so that the “era of unconsciousness” does not become familiar and comfortable for people? He tries to answer these questions in a rather strange way, in a way that causes misunderstanding, bewilderment, and laughter among the people around him.
(Comedy in two acts in the space of classical poetry and prose of Korea.)
A bewitching action full of magic and irony, combined with fragments of classical prose and poetry of Korea, inspired by an exquisite floral aroma.
(A bargaining drama in two acts)
A dynamic comedy about women, men, people, birds, people - birds, clouds and snares, ornithology and taxidermy.
(Crime chronicle in two acts)
A detective in love, Aristarkh Petrovich Kreshchenov, is investigating the most famous crime in the entire history of mankind. The play, designated as a crime chronicle, is in fact a comedy performed according to all the canons of pararealism, where light irony can turn into a musical phrase, sharp dialogue takes on graphic features, and a tense storyline turns the viewer into a participant in the events taking place on stage.
(Tragedy with disguises in two acts)
A theatrical story about how an actor becomes saturated with the smells of a character, how his fate changes in the process, and how a play, at times, turns out to be much more real than life itself.
(In two acts)
The author combines the plays "Satire", "Tea Ceremony" and "Divertimento" into a single dramatic cycle "Dancing". And indeed these plays, each of which is a dialogue, are unusually plastic. Their main task is to “give voice to the silence of the sexes.” "Satire" is a play for two men. The leitmotif is the relationship between fathers and children. Is it possible to bridge the gap between generations? What is the masculine principle - is it only destruction and death? What is loneliness in a man? What lies ahead for all of us? The author and his characters are trying to find answers to these questions.
(Outdoor games for adults in two acts)
The play takes place on New Year's Eve. Old friends spend time organizing fun games and competitions. One of the games started by women is swinging, husband swapping. At a certain stage, events unfold in a completely unexpected perspective. In the ironic, sometimes grotesque dialogues, the signs of our ambiguous, full of drama times are discerned.
(Elegy for Andrei Tarkovsky in two acts)
Death carries out the final montage of our life. After death, after the flow of life has expired, the meaning of this flow appears. (Pier Paolo Pasolini)
(Comedy in two acts)
Television journalist Inessa Kruglova manages to find the famous bard Kirill in Soviet times, whose death was officially announced in the press. In the fifteen years since his death, he has become a homeless tramp. Veronica makes an attempt to return him to society.
(Comedy in 2 acts with variations)
Doctor Vasily Ilyich Kovrogov is not ready for the change of eras, which has changed the country and society beyond recognition, overturned the usual ideas about values and the meaning of life, and distorted the way of life of his family. The painful analysis of what is happening for the hero is more than a “midlife crisis”; it is a resection of the soul. His salvation lies in irony, the elixir from death and madness at all times.
(Dream in two acts)
How many oddities and secrets, rustles and melodies, warmth and despair are hidden in the illusory space of love! Sometimes it seems that the characters in the play are in this space of the century, and sometimes they behave as if they are seeing each other for the first time. The world they created is capable of emitting light, but it is dangerous and unpredictable when this light fades. What is the connection between a man and a woman? Holiday? Execution? A game? Hard to say. One way or another, everything is very similar to an oriental ceremony, lifelong.
(Test prints in two steps)
Conflict of times. The tragedy of an elderly photographer against the backdrop of the emerging millennium. The play is written in an unusual “control print” style, which makes it possible to give the events taking place in it an original analytical series, a special rhythm and additional volume.
(Sketch in the genre of dramatic clownery)
An etude-parable made in a grotesque manner about the search for truth in the blind space of lost harmony.
(Metamorphoses of modern times in two acts.)
The play is a construction of the world in which we live, in the perception of a person who thinks in chess categories of eternity, a person who is in a state of precarious balance between life and death, norm and pathology, located in that substance where youth and old age, mimicking each other, make sounds of chaos called music.
(Fantasy based on the fairy tale by E. T. A. Hoffmann in two acts with outlandish mechanisms, wonderful transformations, music by the gentleman Gluck and an angel in two acts.)
A new reading of the famous fairy tale by E. T. A. Hoffmann, proposed by the author, fills the play with a special atmosphere. Accurate psychological portraits of the characters give the plot features of reality. Masterly metamorphoses of a magical performance are adjacent to the concentration of analysis. The philosophical sound is harmoniously combined with light irony and mischief. The play is of interest to both children and adults.
(Play in 2 acts)
The Hermitage is interpreted as a hermit’s cell, a retreat. The hero of the play, a middle-aged, lonely man named Absinthe, finds solitude in a somewhat unusual space, a cafe. Observing the events taking place around him, he remains indifferent for a long time. However, fate inexorably makes adjustments to his serene existence. Love, confusion, generational conflict, anxiety for the future radically change and fill his life with new meaning. Sharp, modern, imbued with irony and illuminated by a special melody characteristic of the author, the play is both a kaleidoscope of bright characters and a philosophical parable.
(Comedy in 2 acts)
The comedy takes place in a hotel cafe. Visitors, men and women of different ages, with different fates, are united by the eternal theme of the failure of love. Loneliness generated by the illusion of lack of freedom. An eccentric waiter with the strange name Eros, sincerely trying to help the characters understand everyday conflicts, in fact turns out to be a hostage to their passions.
(Drama in two acts)
A fantasy play about the great French sculptor Auguste Rodin and his student Camille Claudel.
(Idylls in 2 acts)
Two elderly people, husband and wife, Yakut and Mura, who suffered a great tragedy, decide to radically change their lives. They leave people in search of an idyll. The place that accepted them is Yakutia, Paradise, as it seems to them at first. But changes begin to occur in their serene existence...
(Love story in two acts)
A play full of tenderness, replete with comedic and dramatic situations, about the love of older people. Benefit roles for older actors.
Many teachers do not attach much importance to the first reading of the play. They leave it to the students to familiarize themselves with it whenever they please. And the play is often read haphazardly, in fits and starts, on the bus, on the subway, during meals and before bed, when the book falls out of hand. If you also announce who is playing what role, then they will read not so much the play as their role in the play. Students will first of all try to find winning places in the text where they can show their charm, temperament, and cause laughter in the audience. One often gets a very chaotic, superficial impression of the work itself.
Stanislavsky approached his first acquaintance with the role completely differently. He compared this moment with a meeting of future spouses, which is organized by a matchmaker-director, and the final moment of creativity - the birth of a stage image - with the birth of a new living creature, combining the features of the actor and playwright who gave birth to him.
The first reading of a play is an exciting event in the life of an actor, his first step towards creativity. This is an occasion to unite the efforts of the performing group to accomplish a common artistic task. Therefore, the reading of the play should be organized in such a way as to instill in future actors a respectful attitude towards the playwright’s work and a sense of responsibility when getting acquainted with a new literary work. It is no coincidence that Stanislavsky arranged the first reading of the play with some solemnity, thereby setting the tone for all further work.
A careless approach to this initial stage of work can create prejudices that prevent the actor from further approaching the role. A hastily formed opinion about a play is often superficial and misleading, but changing it later is not easy. There are different types of prejudices. They often arise under the influence of random life circumstances that are superimposed on the impressions of what they read.
When working on a well-known classic work, it is not easy to overcome the inertia of tradition and read the play with your own eyes, as it is today, and not through the eyes of predecessors and school teachers. Only under this condition can one expect that the image will be a new, independent artistic creation, and not a repetition of previously created samples.
The modern interpretation of the play is sometimes mistakenly understood as an approach to it from the perspective of currently fashionable theatrical concepts and tastes. But a genuine modern reading presupposes a free attitude towards the author's text, overcoming any biases, including biases caused by the demands of fashion. You must be able to perceive even a well-known play as if for the first time, and create your own opinion about it. Stanislavsky compared the spontaneity of artistic perception to a blank sheet of photographic paper, which captures everything that is currently visible to the eye, and prejudice - to a previously used film, on which the image will turn out to be confused and indefinite.
Nemirovich-Danchenko also spoke about a free attitude to the play. “Here I have the text of the work, I don’t want to know any history of this play - neither literary nor stage. I only know the author who wrote this play. I don’t want to know what they say about this author in literature, and I don’t care about the layers of previous theatrical work on this play. (Then I will certainly strive to find out more about this - to proofread my work.) First of all, the most authentic text is important to me. As a contemporary of a certain theatrical aesthetics, the author (meaning Griboyedov.- G. K.), naturally, was at the mercy of the theater of his era, in this case - the theater that existed more than a hundred years ago, with certain stage requirements, tasks, effects, with such and such a situation, with such and such pathos, such... then the quality of the actor’s charm, etc. I discard all this. After this, the Russian theater went through a hundred years of culture, it became different - and the stage presence is different, and the emotionality of the auditorium is now different, and all the artistic tasks rushing from the stage to influence the audience are not the same as they were a hundred years ago... I myself am no longer the same what I was in relation to “Woe from Wit” sixty years ago... I have become different. I am filled with ideas and a sense of modernity. And it cannot be that this will not affect my perception of Griboyedov’s text.
To approach a classical text today freely, without any superficial bias, is both the difficulty and the satisfaction.”
Usually there is a collective listening to the play, which makes it possible to create a favorable atmosphere for its serious, thoughtful perception.
The reading of a play should not be an artistic performance, so as not to impose on the actors any interpretation of roles, intonations, or characteristics. This should be a competent report of content, allowing you to catch the course of the author’s thoughts and follow all the turns of stage events.
It’s good if, immediately after getting acquainted with the play, the actor becomes interested in the role, and his imagination and life experience tell him the right solution. But we have already agreed not to rely on a happy accident, but to proceed from those difficult situations when the performer is unclear how to approach the role.
To understand the content of the play, after reading there is usually a free exchange of opinions. The actors share their first impressions of what captured their imagination, what captivated them in the new play, and what left them indifferent. However, such judgments are often superficial and amateurish, and opinions are not well thought out. Therefore, it is better to avoid hasty conclusions that can do more harm than good.
Stanislavsky paints a typical picture of such a discussion with great humor. “At the first conversations,” he writes, “according to the custom of the theater, the floor is given to everyone who wishes. Usually these days, those who speak are those who have to remain silent at the performance, that is, the dumb employees. The first of them to speak was the most arrogant and very stupid person, a lover of loud words of a rally nature. Through the lips of Chatsky, he called for cruelly castigating the outdated foundations of our society, which have changed little since the last century; he begged the artists to ridicule the representatives of secular society and the bureaucracy - the worst enemies of the renewal of humanity - with the help of Griboyedov's brilliant satire. Only in this noble task did he see the justification and social significance of the production of “Woe from Wit” in a leading theater... According to the speaker, Chatsky is something like a rally speaker with a healthy throat, a loud voice, and a ferocious face. Quoting Chatsky’s remarks, the employee hummed in a bass voice and pumped his fists hard in the air.
The next speaker spoke almost exclusively about Chaadaev. His speech had nothing to do with the play, or with Chatsky, or with Griboyedov, or with the production. Its only meaning was that it gave the speaker the opportunity to show off his erudition.
To the third - very boring, floridly - said one of the so-called “friends of the theater”, a young private assistant professor, famous for his abstracts, which he read at various clubs and circles...” (vol. 4, p. 381). As a result of such discussions, “opinions very rarely agree on anything definite,” notes Stanislavsky. “More often than not, they diverge in the most diverse, opposite and unexpected directions. A confusion forms in the heads of future performers. Even those who seemed to have found their attitude to a new work lose it” (vol. 4, p. 313).
To dispel the fog and help the performers understand the work, the theater sometimes organizes special conversations and lectures, given by qualified specialists, experts in literature, history and everyday life. Stanislavsky recalls one of these lectures on “Woe from Wit.”
His description begins with how the troupe greeted the professor “with not noisy, but respectful applause,” how the professor gracefully thanked the theater “for the honor and joy” of being a participant in his new creative work, and how he spoke “interestingly and beautifully” for about two hours. “Starting with the biography of Griboyedov, he moved on to the history of the creation of “Woe from Wit”, to a detailed analysis of the surviving manuscripts. Then he moved on to studying the last text of the play, quoted by heart many poems that were not included in the publication, compared them... Then the lecturer remembered the most important commentators and critics of the play, and examined the contradictions that they encountered.
In conclusion, he read and handed over to the chief director a whole register of titles of critical articles about the previous performance of the play... The speaker was applauded for a long time and warmly. The artists surrounded him, shook his hands, thanked him and said, interrupting each other:
Thank you! Thank you! You have given us so much! Thank you!
You said so many important things!..
You really, really helped us!” (Vol. 4, p. 374). The actors exchanged impressions of a successful conversation. And only the most talented actor of the troupe was thoughtful and gloomy amid the general excitement. When asked by his friend what he was concerned about, the artist replied that he was surprised, amazed by the professor’s knowledge, that his head was full and his heart was empty.
“- What kind of talent is needed to accomplish at least part of what he said in two hours?! It’s already so difficult, it’s already scary to take on work, but here it’s on you! They piled pounds of all sorts of information on their backs and said: “God bless you! Bon Voyage!.."
However,” Rassudov objected to him, “we must know all this and be guided in our work.”
I don't know, they probably should. I'm not a scientist. But let them not tell us about this now, at the first steps, let them not say so much at once; Let them tell us about this later, gradually, when we feel at least some ground under us... And, finally, when we have completely mastered the role, give us a lecture every day. Everything will go well” (vol. 4, pp. 375-376).
Such a wary attitude towards other people’s opinions about the play at the very beginning of work is characteristic of actors who defend their creative independence. Stanislavsky encountered such opposition more than once in practice. Here, for example, is what I. N. Pevtsov tells about his work on the role of Tsar Fyodor Ioannovich within the walls of the Art Theater. Before the rehearsal, Stanislavsky spoke interestingly and with inspiration about the life of old Russia, about the image of a weak-willed tsar, and deeply revealed his tragedy. Noticing that Pevtsov was preoccupied with something, he turned to him with a question: “Tell me, does what I say bother you?” Pevtsov admitted that he was interfering, and when asked why?, he answered:
“Because you paint the image so captivatingly that I feel like an absolute poor man compared to the visions that arise in you, and I can only try to portray something you have outlined. Until now, I have preferred at least something worse, but arising in me and from me, than something better, but transmitted to me from another.” .
Each new role poses many questions to the performer that he must answer. It is important to organize the work in such a way that these answers themselves mature in his mind, and are not presented in ready-made form. It is impossible, for example, after the first acquaintance with the play to require students to accurately determine the ideological concept of the work, its ultimate task and end-to-end action.
At the first moment, only a premonition of the future concept of the performance can be born, which requires careful testing in practice. In the future, based on an objective analysis of the play, a more accurate idea of its ideological content will be formed, and a “target” for the ultimate task will be determined. A gradual deepening and specification of such a preliminary supertask will occur throughout the work.
If you immediately offer students ready-made solutions for the images and the entire performance, this means killing in the bud that living creative process that must form in the soul of the actor and go through all stages of its development; this means scaring away the artist’s personal emotional memories that arose during his acquaintance with the play, and displacing them with his own, perhaps more vivid, but not organic for the performer of the role.
Of course, the teacher captivates the will and imagination of the beginning actor with some infectious visions and thoughts about the future performance, pushes him towards a correct understanding of the image, but if he values the living organic process of creativity, he will not force the result, will not impose his decisions on him.
His task is to help the student carefully grow the image according to the laws of organic nature. But “if the director puts his thoughts, his feelings, taken from his personal emotional memories, into the actor, if he tells him: do exactly this, he is thereby raping him. Does he need my emotional memories? - asks Stanislavsky. - He has his own. I must stick to his soul like a magnet and
see what's there. Then throw another magnet. I'll see what kind of material he has there. Yeah! I understand what kind of living emotional material he has - there can be no other way.” . Only from this living material can a living image be grown.
Until the actor revives the actions of the character with his emotional memories and determines his attitude towards the future image, he is unable to critically evaluate the opinions of others. These opinions can only confuse him and dull his creative initiative in search of an independent solution. It is necessary to let the actor understand the material of the play himself.
For a large company, impromptu scenes are best suited. The best thing is to take any fairy tale, miniature or text of your own composition. The roles are easy to define - they are all nouns. Also consider the roles of the curtain, intermission and bell. The presenter can only read the text loudly and expressively, and the characters can get into character and perform all the actions.
We present to your attention several sample texts.
Theatrical performance.
Participants are invited, each of whom is given roles. For this performance, it is best to prepare signs with the names of the roles in advance and hang them on the artists’ necks, since the performance is performed without costumes.
"RESCUING THE PRINCESS"
Characters:
King,
Queen,
Prince,
Princess,
Robber,
Bear,
Sparrow,
Cuckoo,
mouse,
Horse,
Oak,
Throne,
Sun,
Window,
A curtain.
If there are quite a lot of people present, then you can add additional roles: Bees, Breeze, Trouble, Horizon, Barrel of Honey, Rays.
After the roles are distributed, the presenter explains the conditions for presentation and participation. The actors must play their roles, focusing on what the presenter will read. The most interesting thing is that the artists will not know the content of the production in advance, and all their actions will be completely improvised at their discretion. The presenter’s task is to give the artists the opportunity to take certain poses depicting the actions that the presenter calls. In the text, such necessary pauses will be indicated by ellipses.
So, let's begin our performance, consisting of five actions.
"RESCUING THE PRINCESS"
Act one
THE CURTAIN opens... There is a spreading OAK tree on the stage... A light BREEZE blows its leaves... Small birds - SPARROW and CUCKOO - flutter around the tree... the birds chirp..., occasionally they sit on branches to clean the feathers... A BEAR waddled past... He was dragging a BARREL of WITH HONEY and waved away the BEES... A gray vole MOUSE was digging a hole under the OAK... THE SUN slowly rose above the crown of the OAK, spreading its RAYS in different directions... THE CURTAIN is closing...
Act two
THE CURTAIN opens... There is a THRONE on the stage... THE KING enters... THE KING stretches... walks to the WINDOW. Having opened the WINDOW wide, he looks around... He wipes the traces left by the birds from the WINDOW... He sits on the THRONE in thought... The PRINCESS appears with the step of a light doe... She throws herself on the KING's neck..., kisses him... and they sit together on the THRONE... And at this time A BIGGER is prowling under the WINDOW... He is contemplating a plan to capture the PRINCESS... THE PRINCESS sits down at the WINDOW... THE BIGGER grabs her and takes her away... THE CURTAIN closes...
Act three
THE CURTAIN opens... There is a TURN on the stage... THE QUEEN sobs on the KING's shoulder... THE KING wipes away a stingy tear... and rushes about like a tiger in a cage... THE PRINCE appears... The KING and QUEEN vividly describe the kidnapping of the princess... They stamp their feet... THE QUEEN falls at the feet of the PRINCE and begs to save his daughter ... THE PRINCE swears to find his beloved... He whistles to his faithful HORSE..., jumps on him... and rushes away... THE CURTAIN closes...
Act four
THE CURTAIN opens... A spreading OAK tree stands on the stage... A light BREEZE blows its leaves... Small birds - SPARROW and CUCKOO - sleep on a branch... Under the OAK tree, lounging, lies a BEAR... THE BEAR sucks its paw... Occasionally dips it into a BARREL OF HONEY... The back paw... But here a terrible noise disturbs the peace and quiet. It is the BRIEF who is dragging the PRINCESS... The animals run away in horror... THE BRIEF ties the PRINCESS to the OAK... SHE cries and begs for mercy... But then the PRINCE appears on his dashing HORSE... A fight ensues between the PRINCE and the BIGGER... With one short blow, the PRINCE defeats the BIGGER... THE BIGGER under the OAK gives oak... THE PRINCE unties his beloved from the OAK... Having placed the PRINCESS on a HORSE... he jumps on himself... And they rush to the palace... THE CURTAIN closes...
Act five
THE CURTAIN opens... On the stage, the KING and QUEEN are waiting for the return of the newlyweds at the open WINDOW... THE SUN has already set behind the HORIZON... And then PARENTS see in the WINDOW the familiar silhouettes of a PRINCE and PRINCESS on a HORSE... PARENTS jump out into the yard... CHILDREN fall at the feet of their PARENTS... and ask for blessings... They bless them and begin to prepare for the wedding... THE CURTAIN closes...
We invite all artists to take a bow.
"Fairytale Performance"
Roles:
A curtain,
Throne,
Princess,
Prince,
Air kiss,
Window,
The Dragon,
dragon heads,
dragon tail,
Horse,
clouds,
Sun,
Trees,
Wind.
The curtain opens...
Castle. In the palace, a Princess sits on the Throne... A handsome Prince enters... Sends an Air Kiss to the Princess... They begin to be polite... At this time, an evil Dragon flies into the Window... with three Heads and an orgome Tail..., grabs The princess... and flies away... The prince sets off to save the bride... Saddles up his Horse... and rushes like an arrow to the Dragon's cave... Clouds cover the sun..., Trees creak alarmingly..., The wind knocks the Horse off his feet ... and prevents the Prince from approaching the cave... The Dragon appears... Its three Heads spew out flames and smoke... The battle begins... The Prince cuts off the first Head..., the second and the third... The Dragon's body fights in convulsions..., The tail shakes from side to side... The Princess runs out..., trips over the Tail... and almost falls... The Prince picks her up... They kiss... The tail continues to swing...
The curtain is closing...
Game-sketch "Turnip"
Seven players-characters from the fairy tale Repka take part. The presenter distributes roles.
The 1st player will be the turnip. When the leader says the word "turnip", the player must say "Oba-na".
The 2nd player will be the grandfather. When the presenter says the word “grandfather,” the player must say “I would kill.”
The 3rd player will be grandma. When the leader says the word "grandmother", the player must say "Oh-oh."
The 4th player will be the granddaughter. When the leader says the word "granddaughter", the player must say "I'm not ready yet."
The 5th player will be the Bug. When the leader says the word "Bug", the player must say "Woof-woof".
The 6th player will be the cat. When the presenter says the word "cat", the player must say "Meow-meow".
The 7th player will be the mouse. When the presenter says the word "mouse", the player must say "Pee-pee".
The game begins, the presenter tells a fairy tale, and the players voice it.
“Grandfather planted (2nd player: “I would kill”) a turnip (1st player: “Both-on”). The turnip grew big - very big. Grandfather came to pull the turnip, he pulled and pulled, but couldn’t pull it out. Grandfather called grandmother "Grandma for grandfather, grandfather for turnip, they pull and pull, but they can’t pull it out..."
"Turnip 2"
Roles and their description:
Turnip - at every mention of it, he raises his hands above his head in a ring and says: “Both-on.”
Grandfather rubs his hands and says: “Well, well.”
The grandmother waves her fist at the grandfather and says: “I would kill him.”
The granddaughter rests her hands on her sides and says: “I’m ready.”
Bug - "Woof-woof."
Cat - "Pssh-meow."
Mouse - "Pee-pee-scat."
The sun stands on a chair and looks, and as the story progresses, he moves to the other side of the “stage.”
Fairy tales can be played in the same way "Teremok", "Kolobok" etc.
"Shchi"
Roles:
the pan is grimacing,
meat - smiles contentedly,
potato - holds his fingers like a fan, moves them and laughs,
cabbage - looks melancholy at those around him, not sharing the general excitement,
carrot - jumping with figurines on his hands,
onion - looks angry, smug and pinches everyone,
quick with fat - hisses when addressed,
the refrigerator opens its doors cordially and generously,
tap water - depicts something malicious and vile,
the hostess is an absent-minded but charming woman.
When all the players have taken their poses and facial expressions, the presenter begins to read the text:
One day the housewife found a saucepan,
She decided to cook cabbage soup in it.
I poured water from the tap into it,
I let the meat in and lit the fire.
I wanted to grate carrots,
That fig turned up - it’s disgusting to look at.
The owner decided to clean it,
Carrot cursed: “Again, it’s mine!”
Carrots should be kept in the refrigerator
She won't even think of offending you.
The hostess took up the potatoes then.
After all, cabbage soup with carrots is not a problem at all.
The potatoes in the basket were alive in the oven.
The potatoes were covered with sprouts, and all
She shrank as if she were fifty years old.
The hostess looked, she felt sad,
She had never heard of cabbage soup without potatoes.
The hostess took out cabbage forks.
The sight of cabbage made her sad.
Cabbage, potatoes, carrots - trouble.
The hostess couldn’t even dream about cabbage soup.
But the bow she forgot about
(I kept it in a box on the balcony)
He lay there and his orange side glowed,
He was proud that he was the only one left standing.
And now it is crumbled, fried, salted,
They throw it into the pan, I’m pleased with myself.
And let the dinner with cabbage soup fail,
But the onion soup turned out delicious!
"Fried eggs"
Roles: a hot frying pan that throws all the time, butter - soft, lazy and cowardly, a kitchen door - looks at everything and evaluates, water - melancholic and good-natured. All other guests will be eggs.
"Marishka got hungry. She went into the kitchen to fry some eggs. She took a frying pan, eggs, and looked in the refrigerator for something else. She couldn’t find it. She didn’t know what she needed, but she knew the oil and hid it. Mariska heated up the frying pan and splashed eggs on it. It smelled bad, the eggs began to writhe, turn black, and burn. The frying pan went wild and started throwing everything around. The hot eggs stuck around Marishka. Marishka screamed and ran to the water. But she didn’t want to eat.
"Propaganda performance"
The presenter goes on an improvised stage and announces: “We bring to your attention the propaganda performance “Saving the Red Star Armored Train.”
Act one.
Characters (come out one at a time and line up in a semicircle): Anka the machine gunner, a wounded sailor, V.I. Lenin, Red Commissar Dobrov, White Guard Lieutenant Sliznyakov, guard dog Brave, switchman, fireman and armored train driver.
The participants take a dramatic pause and say in unison:
"Due to the armored train being sent for repairs, the performance is cancelled."
This is followed by a general bow and applause.
Bedtime story.
“Don’t live the way you want.”
Characters:
1.King.
2. Princess.
3. Leo
4. Cat.
5. Robber 1-2 people.
6. Servant.
In one kingdom there lived a king. Dressed in purple and ermine, he sat importantly on the throne, and kept repeating: “Ah, it’s not easy to be a king!” This is a very important mission."
The king had a daughter - a beautiful princess. She sat in the castle and was bored all the time. Her only entertainment was singing and playing the harpsichord (song 4 from The Bremen Town Musicians).
- Aren’t you a prince on a white horse? – she asked the passing riders. - When will he appear? - and she sighed heavily - Oh! I'm so tired of waiting...
- Ah! It's not easy being a king! - the king answered her, immersed in his thoughts.
One day, when the princess was looking out the window, as usual, a robber drove past. He had long dreamed of taking possession of the crown of the stupid king:
- I am not me, the crown will be mine!
- Aren’t you a prince on a white horse? – asked the princess.
- I! – the robber realized that, having kidnapped the princess, he could demand a ransom from the king. - I! - he repeated.
-Will you pick me up?
The robber, without thinking for a long time, grabbed the princess, threw a bag over her head and galloped into the forest where the robber’s lair was located.
- A! - the princess shouted.
- Ah! - exclaimed the stupid king. - It's not easy to be a king. Servants!
The most agile of the servants, John, came running to the king’s cry.
- Calm only calm! “Everything is elementary and simple,” he reassured the king.
- My daughter has been kidnapped! In the forest she will be torn to pieces by terrible lions! Oh! It's not easy being a king! Half the kingdom and the hand of the princess to the one who frees her,” His Majesty became generous.
John collected a small bundle, took his faithful cat, who always helped him cope with troubles, and took his leave.
“Let everyone into the castle and not let anyone out,” John gave his last instructions and set off.
The robber's lair was guarded by a terrible lion. He was very lonely because the forest animals were afraid of him and did not want to have anything to do with him.
John whispered to the cat to make friends with the lion.
- Easy, master.
While the cat and the lion were establishing contacts, John made his way into the hut to the robbers. He thought that he needed to save the princess, but what did he see when he opened the door?..
The princess sat on a chair and ordered the robber:
- If you are a prince, then you must read poetry to me, talk about your love, perform feats for me. Fight a lion, for example. Besides, I need a new dress, this one is already worn out.
- I just made it up! Better sweep the floor. I took the hostess into the house, not a talking radio.
-Ah well! – the princess grabbed a broom and began to beat it on the robber’s back.
- Guard! Save! - shouted the robber. And he ran out of the hut.
John also wanted to escape before he got hit, but it was too late. The princess saw him.
- And here is my savior! Wonderful! How long have I been waiting for you... - and she fainted right into John’s arms.
Apparently he was destined to serve all his life. First to the stupid king, and then to his daughter. John didn't know whether to laugh or cry. There’s nothing to do but leave a person in a semi-fainting state alone in the forest. And the king’s word is the law, since he promised half the kingdom and the princess’s hand in addition, he must keep his word. And John must follow orders and not object.
That’s the end of the fairy tale, and well done to those who listened.
"Theatre - Impromptu".
Characters:
Trees,
Path,
Prince,
Wind,
Horse,
Robber,
Princess,
Hut.
Dark night. Forest. The wind howls. Trees sway in the wind. A path goes off into the distance between the trees. A prince gallops along the path on his faithful horse. He jumps and jumps and jumps, tired, galloping. Get off your horse. He makes his way between the swaying trees, and the path goes further and further into the distance until it is completely out of sight (“Chao” is the voice of the path).
The prince looked around and saw a hut standing on one leg. He knocked on the hut:
- Knock-knock, who lives in the small house, who lives in the low one?
“He also found me a little mansion,” the hut was offended, “by the way, I’m a hut on one leg, an ordinary one, and my dimensions are standard.” I’m not inviting you to come inside: a robber is visiting me now, and he’ll soon return from hunting. Come back another time.
The prince was amazed; he had never seen such talkative huts before. He hid behind the trees and began to wait for the robber. Like all princes, the desire for exploits and adventure was in his blood.
The wind howled, the trees swayed, the path went into the distance and could not go away. And the prince sat near the hut, having tied his horse nearby, and waited.
Suddenly he sees a robber and a princess sneaking towards the hut from different directions.
“Either they are meeting secretly, or a battle is planned,”
Rubbing his hands, the prince whispered.
Without looking at each other, the robber and the princess entered the hut; out of surprise they ran into each other, hit their foreheads and fell to the floor.
- A-ah-ah! - the princess shouted.
- A-a-a! – the prince shouted in fear.
And the robber was in such shock from all this that he fainted.
The prince, having come to his senses, ran into the hut and, not quite understanding what was happening, caught the falling robber.
“I thought princesses weren’t so heavy,” he concluded in surprise.
- I'm here! – the princess waved her hands in front of him and jumped up so that he would finally notice her.
“Oh,” the prince was embarrassed.
He threw the robber to the floor, took the princess by the hand, and justice was restored.
The princess agreed to do anything to restore her reputation and get out of the forest as quickly as possible.
They tied up the robber, put him on a faithful horse and slowly walked along the path: “Here you go!” All kinds of people will walk all over me! – the path became indignant and went further and further, hiding behind the trees. Well, okay, just left the forest.
The trees were swaying. The wind howled. It was a dark night. In the middle of the forest, now on one leg, now on the other, a hut stood, waiting for lost travelers to come to its light.
That’s the end of the fairy tale, and whoever listened, well done.
"A fairy tale is a game for the little ones."
Start telling the story as usual. Having reached the place where Kolobok meets the hare, spread your hands and say: “What about the hare? There is no hare..."
The first task is to find the hidden hare.
Let's tell the tale further. Kolobok meets a wolf. We draw a wolf with our fingers on two sheets of paper using watercolors.
“And a bear meets him...”
We prepare the bear using cotton wool, whatman paper, scissors and glue. You can dress someone up if you have a fur coat or brown clothes. Then you can make a mask out of paper.
At the end of the Russian fairy tale, Kolobok dies. And in our fairy tale he can be saved. The guests help him escape from the fox by pushing the ball (Kolobok) with his head.
"The Tale of a Kitten."
Kitty
Magpies
piece of paper
Wind
Porch
Sun
Puppy
Rooster
Chicken
Today the kitten went outside for the first time from the house. It was a warm summer morning. The sun scattered its rays in all directions. The kitten sat down on the porch and began to squint in the sun. Suddenly his attention was attracted by 2 magpies that flew in and sat on the fence. The kitten slowly climbed down from the porch and began to sneak up on the birds. The kitten jumped high. But the magpies flew away. It didn't work out. The kitten began to look around in search of new adventures. A light breeze was blowing. He was pushing a piece of paper along the ground. The paper rustled loudly. The kitten grabbed her. Scratched it a little. He took a bite and, not finding anything interesting in it, let it go. The piece of paper flew away, blown by the wind. And then the kitten saw a rooster. Raising his legs high, he walked importantly around the yard. Then he stopped. He flapped his wings. And he sang his sonorous song. Chickens rushed to the rooster from all sides. Without hesitation, the kitten rushed towards them and grabbed one chicken by the tail. But she pecked the kitten on the nose so painfully that he screamed a heart-rending cry and ran back to the porch. Here a new danger awaited him. The neighbor's puppy barked loudly at the kitten. And then he tried to bite him. The kitten hissed loudly in response, released its claws and hit the puppy in the face with its paw. The puppy whined pitifully and ran away.
The kitten felt like a winner, he began to lick the wound inflicted by the chicken. Then he scratched his hind paw behind his ear, stretched out on the porch at his full height and fell asleep.
Thus ended the kitten’s first acquaintance with the street.
"Fairy tale".
Queen
King
Prince
Robber
Princess
Bear
Sparrow
Cuckoo
Mouse
Horse
Oak
Throne
Sun
Breeze
Window
A curtain
The curtain opens. There was a spreading oak tree in a wide field. A light breeze blew through its leaves. Small sparrow and cuckoo birds flutter around the tree, chirp, and every now and then sit on oak branches to clean their feathers. A bear waddled past, carrying a barrel of honey and swatting away the bees. The sun slowly rose above the crown of the tree, scattering its rays in different directions. The curtain closes.
The curtain opens. And at this time, in his kingdom, on the throne, the king was sitting. Stretching, he went to the window and looked around. He wiped the marks from the window. Left behind by the sparrow and the cuckoo. In thought, he sits on the throne. The princess appeared. She threw herself on her father's neck, kissed him and sat down on the throne with him. A robber was making his way under the window, looking around. When the princess sat down by the window, the robber quickly grabbed her and dragged her to his lair, which was located near an abandoned old oak tree.
The queen mother is crying, the king father is crying. The princess's lover, the prince, appears. The Queen throws herself at his feet. The prince bows and goes in search of the princess.
A curtain.
The oak tree was still swaying in the wind, and the sparrows and cuckoos were alarmed and chirping loudly. The bear ate a barrel of honey, lay down under a tree and fell asleep, sucking his hind paw. The robber tied the princess to an oak tree. But then the prince appeared on his dashing horse, he fell, unable to stay in the saddle, and straight onto the robber. A fight ensued. One hit. And the robber under the oak tree gave the oak. Having placed the princess on a horse, the prince sat down himself, and they rode to the castle.
The king and queen were waiting for them at the window.
-Where have you been, you dissolute daughter? We're worried! - the father-king shouted at her, pressed the prince and princess to him, kissed them both.
- The robber is dead, only you remain, young man. Get married! – the queen joined the hands of the young people and the ending was a foregone conclusion.
"In the village of Kantimirovka."
Wind
Tree
Rooster
Dogs
Chickens
Aibolit
Pig
Parrot
Woodpeckers
Night. The village of Kantimirovka is quiet. The wind howls. An old willow tree stands swaying. The rooster crowed. The dogs immediately started barking. The chickens clucked in response. Someone's footsteps were heard. Doctor Aibolit is sitting in his room. Grunting affectionately, the pig enters the room and lies down at Aibolit’s feet. He scratches her belly and she squeals with pleasure. A parrot mutters something in a hissing whisper in its sleep. The silence is broken by woodpeckers who continually knock on the tree growing under the window. The rooster looked through the doctor's window, saw a grunting pig, considered that his feathers also deserved attention, he, crowing, flew through the open window into the room and settled down on the other side.
The disappearance of the rooster alarmed the entire chicken coop. The chickens, clucking alarmedly, rushed to look for him.
The wind howled, woodpeckers knocked on the swaying willow, the parrot grumbled in its sleep, and the doctor fell asleep in his chair, surrounded by a pig, a rooster and chickens. It’s night in Kantimirovka.
In the scenario of any holiday, there comes a moment when all the main ceremonial toasts have already been said, but the guests are not yet ready for active competitions or dance entertainment. It is then that the presenters come to the aid of fun activities that can be done right at the table.
The proposed selection is Catholic role-playing tales and games for any holiday, written by talented Internet authors (thanks to them). Each of them can safely be classified as “icebreaker” games that “split the room,” liberate guests, put them in the mood for festive fun, and therefore serve as a wonderful transition to an active entertainment program.
A fairy tale - a noisemaker at the "Drums" table
To conduct this, the presenter divides those present into several teams, each of which will represent one of the members of the “drums” family: Grandfather, Grandmother, Father, Mother or Son, then the participants, at each mention of “their” character, make “their” noise: rustle, rattle etc. When the text mentions a family, everyone makes noise at the same time.
Characters and noise actions:
Grandfather Drum- rustling newspapers,
Granny Drum- rattling dishes
Drum Father- stomp their feet three times and make a creaking sound as the door opens
Mother Drum- make a scratching sound on a wooden surface
Son-drummer- clap their hands three times
Family of drummers - everyone present makes sounds at the same time.
Leading(reads the text):
At number thirteen on Mira Street
In a very shabby old apartment,
What our people call a communal apartment.
Family of drummers has been living for a long time.
They settled in a huge closet,
Where no man has gone before.
This closet, cluttered for a very long time,
Family of drummers here it endures for two centuries.
Other residents of the communal apartment
They gradually forgot about this family:
We got used to their usual noises and sighs -
They lived well under one roof.
Grandfather Drum loved at leisure
To make fun of my dear wife a little:
rustling Grandfather an old newspaper in the corner,
Driving Grandma rustling in sadness.
Granny in retaliation she rattled the dishes,
How Son-drummer I was scared more than once.
Drum Father when I was out of sorts,
He created a mess in his house:
He stomped his feet, creaked doors
And everyone is tired of these sounds.
A Mother Drum loved him so much:
I didn’t scold her at all for these pranks.
And as a sign of your tender and fiery feelings
Mommy I bought him a watermelon.
Drum Father I wasn’t known for being a miser -
The watermelon was certainly shared among everyone.
Residents of a communal apartment then
We heard the family chomping together.
Drummer son tried harder than everyone:
He gorged himself with watermelon gusto.
So friendly Family of drummers lived,
Until big trouble happened:
One day they suddenly decided to resettle the residents.
And this house was urgently demolished.
People left the communal apartment,
Family of drummers, of course, they forgot.
Now they are looking for another place to live
Where they will be nourished, comfortable, warm,
Where Grandfather Drum without any interference
He will continue to rustle with his pile of newspapers,
Where sometimes Drum granny
He can rattle his old pan,
Where Son-drummer will clap your hands,
Drum Father suddenly stamps his foot,
A Mother Drum sometimes without fear
Scratch at the door of your dear spouse.
Please respond, people who are not really against it
Hear all this late at night?
Table role-playing tale "Nebremen non-musicians"
The four guests who received cards with remarks can easily “reincarnate” into their heroes; to do this, they just need to expressively pronounce their phrase after each line where they are spoken about. It is important for the presenter to remember to take short pauses at the right moment and, if necessary, make signs to the participants.
Characters and lines:
Donkey: “I’m a horse in perspective!”
Dog: " Woof! I want to wet my throat first.”
Cat: " Mur-meow, suddenly I’ll become fat and important!”
Rooster: " Ku-ka-re-ku-ku! You can even hear it in Moscow!”
Leading:
In a neighboring village the year before last
Some peasant suddenly went crazy:
He drove out all the living creatures in the house
She had been living side by side for fifteen years.
And we lived with him all these years in peace:
Donkey is crazy... (I'm a horse in perspective!)
A DOG that no longer growled...
There lived an old robber, a CAT, who loved sour cream...
In this company, the ROOSTER was not out of place...
The company walked quietly along the road,
Both the paws and legs of the poor are tired.
Suddenly a light appeared in the forest hut -
The terrible robbers have a home there.
And friends began to discuss right here,
What better way to scare the robbers?
The DOG was suddenly the first to quietly say... (Woof! I want to wet my throat first!)
DONKEY, however, decided that he was not passive either. Still would! ... (I'm a horse in perspective!)
The CAT was very afraid of a night ram... (Moor-meow, what if I suddenly become fat and important?!)
He suggested to his friends to scare the gang -
Disperse the robbers with a shout.
ROOSTER, already flying up to the roof...( Ku-ka-re-ku-ku! You can even hear it in Moscow!)
The animals quietly went to the hut
And all together: DONKEY, DOG, CAT, COCK - they shouted (Everyone screams).
The robbers immediately ran away from the house.
Who lived in it? They are familiar to us.
And they lived for many more years in a house in peace
Brave DONKEY... (I'm a horse in perspective!)
A DOG that growled menacingly... (Woof! I want to wet my throat first!)
And a subtle connoisseur of homemade sour cream, CAT... (Moor-meow, suddenly I’ll become fat and important!)
And, of course, the ROOSTER, he’s not superfluous at all... (Ku-ka-re-ku-ku! You can even hear it in Moscow!)
(Source: forum.in-ku)
Table role-playing tale "Happiness is close."
KLAVA has been waiting for happiness for a long time,
Everyone is wondering where it is
Then her FRIEND came to her
And she hugged the hostess.
Together we decided it was time
Invite PETER to visit.
Like, even though he is a fool,
But he’s a master at singing ditties.
Parrot, having heard about this,
Sat on a higher perch,
The poor thing began to lament:
“Where can we wait out the HOLIDAY?”
At the first call
PETER came - ready for anything.
KLAVA made a salad
And washed the grapes.
Her FRIEND is helping her
And he approves of the recipes.
There's a knock on the door! KLAVA rushed:
What if there is some kind of setup?
The door opened - THE PRINCE appeared.
PETER almost shot himself!
Let's say it straight, without offense:
He had his sights set on KLAVA!
Here they remembered about the HOLIDAY,
The song was sung together.
PETER hiccupped and choked,
And he swung at the PRINCE.
The parrot was flying around the cage,
He called his ancestors for help.
And FRIEND is only happy:
There will be a fight, that's what we need!
Only KLAVA doesn’t yawn,
Raises a toast to happiness.
We took a sip of a glass,
But a glass is not enough for PETER!
But kindly, he goes to the drinking trough
A PARROT pours vodka.
PRINCE, having eaten a herring,
Everyone babbles their motive.
KLAVA speaks quietly:
“We have great grooms!”
And her FRIEND whispers to her:
“You pour them a third…”
The PRINCE made his decision,
Having proposed to KLAVA.
PETER, blushing from exertion,
Makes a cookie for a FRIEND.
And from the cage is a parrot
Suddenly a dog barked.
It was a GREAT HOLIDAY!
PETER eventually passed out.
PRINCE hid his face in the salad
(It was very tasty, by the way).
KLAVA sings a song,
How it all ends is waiting.
And the envious one, FRIEND,
Even though I was left without a spouse,
Sings along to her too
About “sorrows from the fields.”
Having seen enough of these things,
Our parrot has turned grey.
On weekdays he is silent,
And like a HOLIDAY, it screams so much.
This is where the fairy tale ends,
And whoever listened - well done!
Game moment "Merry table orchestra"
Who's sitting, who's sitting to the right of the bottle —
Beat the glass rhythmically with a fork.
Who's sitting, who's sitting from the bottle to the left —
Tap the plate firmly with a fork.
Who's sitting, who's sitting to the right of the herring —
Hit the plate with a fork and spoon.
Who's sitting, who's sitting to the right of the potatoes —
Hit your knees with both palms.
Who's at the table today? drank quite a bit —
Slowly hit the spoon with a fork
Who's in this room today? arrived late —
Gently knock the glass on the table.
Who today arrived on time and arrived —
Hit the heel on the floor as best you can.
Who's happy everyone left - clap your hands!
Who's a little was angry- don’t be shy either.
And now together everything possible - at once!
Have fun and joy at our holiday!
The selection is posted for your reference.
