How to get rid of muscular clips during public statements?
Ability to be self-controlled - one of the major properties forming impression about the person, especially about that which even for a while came under the spotlight...
I think, everyone who visited a scene, behind a tribune - in a word, on the place of the speaker - and was not rather prepared for it, felt on himself all set of feelings of terrible nervousness and discomfort: goosebumps, unbending knees, the dried-up throat and God knows what else symptoms.
In actor`s practice (actors are those people, for which performance before audience - the primary professional activity) all these feelings are called muscular clips.
Prestarting nervousness (well, or “predvystupatelny“) - absolutely natural and very necessary feeling, without it performance risks to become unemotional and fresh. The similar phenomenon has physiological character.
Many think - it is from unhealthy nerves, I will drink soothing - and everything will be normal. However sedatives need to be used only in extreme cases, much better, from the physiological point of view, to chew some refreshing chewing gum or to rassosat lollipop: and for a neck it is useful, and distracts (as a matter of fact as child a baby`s dummy).
Generally speaking, this main thing that teach the beginning actors to, - to remove muscular clips, that is tension. Magnificent means for this purpose - self-massage. Depending on what gives you more inconvenience - the clamped extended neck or nails which stuck into palms - massage sheyno - a vorotnikovy zone or hands. The simplest methods of relaxation:
stroking of a neck from top to down fingers with easy pressing;
roundabouts fingers from the head to shoulders, on shoulders it is possible to use also an easy poshchipyvaniye;
rotation of the relaxed head at first with the chin lowered on a breast, to the right and to the left, fixing an ear on a shoulder, and then the same rotation with the thrown-back head (here it is important not to be overzealous, on 8 times it is quite enough);
in conclusion as much as possible to extend a chin forward and to return to a starting position (it is possible to make only 4 times, but with an active exhalation through a mouth on a sound “x - x - x“).
For hands effectively also:
stroking of each finger from a nail to a brush, as on a straight line, and round;
a potiraniye of palms to feeling of heat;
exercise “Fan“ at which fingers are bent serially from a little finger and are covered with a thumb, and then on the contrary, covering a thumb from above. At the same time also the rotary motion in a hand joint is carried out.
Before the exit to the place of performance I recommend to execute exercise “ the Body on splittings “. This name was given by the Russian reformer of theater K. S. Stanislavsky. It is clear, that infernal tortures here at anything, just remember how in the 19th century hangers looked what they were made of. It were small pegs, or are caustic on which misters hung up the coats and fur coats.
To keep the body in the situation “on a splitting“ - it is necessary “to put on“ it a backbone as if. Try: relax muscles of a back, shoulders, hands, then raise shoulders with a deep sigh, and “put on“ a backbone with an exhalation.
Ideally there has to be a feeling of the fixed back, at the same time shoulders and hands have to remain free, hang. Easily, but... this feeling should be made habitual, so, to repeat exercise daily and repeatedly, at each opportunity.
Me all these exercises were remembered from a student`s bench just because I regularly used them. Perhaps, and for you they will be useful.