Resource Guide For The Theater Workshop

RESOURCE
GUIDE FOR THE

THEATER
WORKSHOP
GAMES, GROUP DYNAMICS AND
PRACTICAL EXERCISES
IES ENRIQUE TIERNO GALVÁN

DE PARLA
INDEX
1. GAMES AND PRESENTATION

DYNAMICS AND GETTING TO KNOW
THE GROUP
2. DYNAMICS TO WORK ON TRUST IN THE

GROUP
3. GAMES AND DYNAMICS TO RELEASE

YOURSELF (Lose your shame)
4. GAMES AND EXERCISES TO TRAIN

AND CONTROL YOUR VOICE
5. BODY EXPRESSION EXERCISES AND

GAMES
6. DYNAMICS AND GAMES TO WORK ON

IMPROVISATION
7. DYNAMICS AND GAMES TO INVENT

STORIES
8. SESSION CALENDAR
1. GAMES AND PRESENTATION
DYNAMICS
1- THE PRESENTATION BINGO
The facilitator gives each participant a token and asks them to write down their
name and returns it to the facilitator. Then a blank cardboard is handed out where
the facilitator invites those present to write down the names of their classmates, as
the facilitator reads them, from the cards handed out by the group. Each one can
write them down in the section of their choice.
When everyone has their cardboard ready, the animator explains how to play: as
the names of the participants are said, they make a mark on the cardboard, where
that name appears. The person who completes a row first receives ten points.
The exercise can be performed several times.
2- THE BALL ASKS

The facilitator gives a ball to each team, invites those present to sit in a circle and
explains how to perform the exercise.
While a song is sung the ball is made to run from hand to hand; At a signal from the
animator, the exercise stops.
The person who is left with the ball in his hand introduces himself to the group: he
says his name and what he likes to do in his free time.
The exercise continues in the same way until the majority presents itself. In the
event that the same person is left with the ball more than once, the group has the
right to ask him or her a question.
3- THE KEYWORD:
Make eight cards per team; Each one has a word: friendship, freedom, dialogue,
justice, truth, companionship, courage, ideal, etc. The cards are placed in an
envelope.
The animator forms the teams and delivers the work material. Explain how to do
the exercise: people remove one of the cards from the envelope; each one
comments on the meaning they attribute to it.
Immediately the team chooses one of the words and prepares an allusive shout.
In plenary each team introduces itself: they say the name of its members and the
shout.
4- BODY PARTS
The facilitator invites people to form two circles (one inside the other) with an equal
number of people and asks them to face each other. It's recommendable to have
background music.
Ask them to introduce themselves by hand and say their name, what they do, what
they like and what they don't like.
Immediately the animator gives the signal for the circles to roll each one in the
opposite direction, so that another person in front of them touches.
The facilitator asks them to greet each other by giving each other a hug and ask the
other person the same questions they asked before, then they turn around again
and this time they greet each other with their feet, then with their elbows, shoulders,
etc.
5- PETER CALLS PAUL
The objective of this dynamic is to get the members of a meeting to record the
names of their colleagues and memorize the funny faces and attitudes of the
participants.
A circle is formed with the participants, all of them seated. The player in the lead
begins by saying his name and calling another player, example: "Peter calls Mary",
Mary answers "Mary calls John", John says "John calls Paul", etc.
He who does not respond quickly to his name pays penance which can be: telling a
joke, dancing with the broom, singing.
6- Let's get to know each other

These dynamics are an aid for holding the meetings of the Missionary Childhood
teams. We are aware of the need for creativity in the ways of transmitting and
increasing the missionary spirit, especially when it comes to children.
PRESENTATION AND KNOWLEDGE
This dynamic can be done in a general meeting of the members of a group
Objective: Achieve greater rapprochement between the members of a group and
allow each child to make themselves known.
Each one will choose the partner they know the least and both will discuss: What is
his name? What do you like to do? Why are you a member of this group? Do you
feel part of the group? (For 10 minutes) Each duo will choose another duo and
discuss the same questions; Then each quartet looks for another quartet and they
talk.
One is chosen to introduce his companions. The presentation can be expanded.
7. THE FRUIT BASKET

The animator invites those present to sit in a circle with chairs, the number of chairs
must be one less with respect to the number of members; Designate each one with
the name of the fruit. He repeats these names several times, assigning the same
fruit to several people.
He then explains how to carry out the exercise: the animator begins to tell a
(invented) story; Every time the name of a fruit is said, the people who have
received that name change seats (the one who was standing at the beginning of
the game tries to sit down), but if the word "basket" appears in the story, everyone
changes seat. The person who remains standing at each change introduces
himself. The dynamic is carried out several times, until everyone has introduced
themselves.
8. THE SHIPWRECK
The animator previously looks for what conditions to set: that there are no men
and/or women, both adults and/or young people, someone with glasses, etc. from
the same group or city.
It says that in the event of a shipwreck, lifeboats must be formed with the conditions
set out above and that the boats must: learn the names of the castaways, where
they were born, what group or institution they belong to, what name they give to the
boat, how It is a shipwreck, and one wonders what each castaway and the group in
general would save.
Simulate a rough sea by getting the participants to move simulating a rough sea
and give the order to form boats.
The boats are formed and they work on learning names. Presentation of the boats
in plenary.
9. BARBERS
This dynamic is for large groups. Each person writes their name and some details
about themselves on a large sheet of paper or legal paper (age, tastes, phrases,
etc... whatever they want). It is placed in front of the chest.
Everyone walks around the room trying to interact with others by reading what the
other has written. Appropriate background music is played.
Brief resonance about how they see the group now, who agreed on name, tastes,
etc.
10. THE NEWS

The facilitator can motivate the exercise by saying: "Every day we receive news,
good or bad. Some of them have been a source of great joy, which is why we
remember them more clearly. Today we are going to remember that good news."
Explain how to carry out the exercise: participants must write down on the sheet the
three happiest news stories in their lives (fifteen minutes).
In plenary, people comment on their news: the Animator does it first, followed by
his neighbor on the right, and so on until finishing. On each occasion, others can
contribute opinions and ask questions.
11. CONFIDENCES
The facilitator delivers the work material and explains how to perform the exercise.
The sheet of paper is divided. On the right side it is noted as a title: the happiest
moment and on the left side: the saddest moment.
Each person writes down on their sheet the happiest and saddest moment of their
life.
Plenary: people present their answers. First they comment on the saddest
moment. To follow a certain order, you participate from the left to the right of the
animator.
12. THE CURIOUS

The animator forms the work teams (five members and a secretary). Then he
explains the first part of the exercise: the teams must make a questionnaire with
those questions they would like to ask the rest of the group.
The teams prepare their questionnaire (twenty minutes).
Once everyone has finished, the secretaries visit the other teams to present their
work and add any questions they suggested.
In the next step, each team responds to the questionnaire that its secretary created
(sixty minutes).
13. DIFFERENT BEHAVIORS

The animator explains that it is about looking for attitudes that unite and those that
divide a group. They are written down on two strips of paper.
Teams are spontaneously formed and work begins. Each team must look for five
attitudes that unite and five that disunite.
In plenary, the teams present and comment on their answers about the attitudes
that they unite, then they do the same with the attitudes that they unite.
Evaluation of the experience. Which of these attitudes occurs more in the group?
(positive and negative). Which of them is given less? (positive and negative) What
can we do to grow in integration.
14. FEARS AND HOPES
On a sheet of paper each person freely writes their concerns, fears and hopes
about a situation they must face in their life or in the group.
Then the leader of the dynamic requests that each person inform him of the 2 most
important fears and hopes to write them down on the board.
After the responses have been noted, the two most frequently asked questions are
taken into consideration as a whole, to discuss them.
15. BY QUALITIES
Opportunity: for people who know little about each other.
Objective: break the ice. Tell yourself the qualities.
Motivation: for greater group integration it will be beneficial for each member of the
group to try to know and highlight the qualities of their colleagues.
On a piece of paper, each person writes the name of one of the people in the group
(drawn by lot). Next to the name write a characteristic quality of the person.
These ballots are placed on the wall and they are passed around in turn so that
each person must add some quality to the one written on each one, or if they find
the same one, underline it.
Resonance: the coordinator will highlight whether we are prone to see the good
side of others or not.
16. THE SECRET FRIEND

The facilitator motivates the exercise by noting that it is important to act sincerely
and avoid making bad jokes; In this way it will favor the integration of the group.
Then explain the dynamics.
Each person must take out a token with the name of a partner and keep it secret.
You must offer this person your friendship for the duration of the experience (one
month, if the group meets weekly) without them discovering it.
These tokens of friendship can be: cards with a message, gifts, a service, etc. At
the end of time, each person discovers their secret friend. It can be done this way:
the group sits in a circle: the facilitator asks for a volunteer to start the identification.
The secret friend covers his vision and places him next to him. The facilitator
questions the volunteer about the identity of his friend based on the clues he has
received. Then he invites him to discover his view and meet his friend. There may
be an exchange of gifts.
17. VOLUNTEERS TO FORM A GROUP

Opportunity: for when the formation of groups is going to be explained. The
minimum number of participants can be small or large.
Objective: show the importance of preparing the ground before forming groups,
awakening interest, motivating, creating concerns, etc.
Without further motivation, ask 8 people to come to the front (on the stage or in the
middle of the circle).
Ask some of the rest why they didn't go out. Ask the volunteers why they went out.
(The answers are usually: because they collaborated, because the neighbors
pushed them, because they liked the risk, etc.).
Show the diversity of objectives, motivations and fears. To form a group it is
necessary to prepare the ground for a good amount of time (interests, motivations,
concerns, etc.) and then make a clear invitation to participate in X group that seeks
such objectives. So yes, people come knowing why and the seriousness of the
group is better assured.
2. DYNAMICS TO WORK ON TRUST

IN A GROUP
"BALANCE"
Objective: Promote confidence in oneself and in others. Stimulate cooperation and
a sense of balance.
Participants: Class group. Divide into pairs.
Material: None.
Time: Between 15 and 30 minutes.
Starting instructions: It is important to invite couples to form between physically
disproportionate people.
Development: The participants are divided into pairs. Within each pair, the
members face each other, holding hands, putting their feet together and joining
their toes. From this position and without taking their feet off the ground, each
member falls backwards with their body completely straight. Like this until you
reach the arms completely and achieve the point of balance within the couple.
Once balance is achieved, you can try to make cooperative movements without
bending your arms: one of the members of the couple bends their legs while the
other bends them.
holds, both go down, etc.
Assessment:
How we feel?. Was it easy to find the balance? What happened to very
disproportionate couples?
“COLLECTIVE BALANCE: THE STAR”

Objective: Promote trust, cooperation and group cohesion.
Stimulate the sense of balance.
Participants: Class group.
Material: None.
Starting instructions: You have to let yourself fall very slowly to achieve the balance
of the group.
Development: The entire group in a circle, holding hands, with the legs slightly
open and separated until the arms are stretched. The group is numbered from 1 to
2. People with number 1 will go forward and those with number 2 will go backward.
You have to fall backwards or forwards very slowly until you reach the balance
point. Once achieved, they can be changed, 1 will go backwards and 2 will go
forward. And even end up trying to move from one position to another without
interruption.
Assessment:
What difficulties occurred? What problems are there in real life when it comes to
trusting a group and being able to cooperate with each person based on their
potential?
“COUPLE OF STATUES”
Objective: Promote trust, cooperation and group cohesion. They foster trust.
Participants: Class group. Divide into pairs.
Material: None.
Starting instructions: None.
Development: In pairs, one of the people adopts a position as if they were a statue.
Another person, with their eyes covered, has to discover the posture, to later
imitate it. Once he thinks he has achieved it, the observers uncover his eyes to
compare the results. The roles are then changed.
Variation: Do it with groups of 3 – 4 people in each role (statues – imitators). Those
with their eyes closed can talk to each other.
Assessment:
How have we felt the communication and physical contact?
“TRUST BAROMETER”
Objective: Evaluate the degree of trust and agreement.
Material: Writing material. Cards with the stated expressions.
Development: Each person individually must respond to the scale presented below.
The facilitator shows each of the expressions on a card or token, just as it appears
on the scale. The first series of expressions refers to the group; the second to the
individual members. The two series of cards must be arranged, each one on one
side, so that the expression that best matches the group's opinion will have the
number 1, and the worst one will have the number 12. Next, add the numbers in the
parentheses of the first 4 cards (separately for each series of cards). These sums
are then put on the “agree” barometer scale below.
Assessment:
The results obtained in the scale are discussed regarding four aspects: conflict,
adaptation, disagreement and agreement. Comment how you felt, what you think of
these results, etc.
MATERIAL:
First series of cards:
In the group I have observed the following:
There was a lot of warmth and friendship.
Aggressive-destructive behaviors abounded.
The group members were little interested or integrated.
Some members of the group tried to dominate and take the lead.
We understood each other admirably.
Some help was missing.
Much of the conversations were inconsequential.
We were fully dedicated to our work.
Everyone was extremely courteous.
There was deep discomfort.
We were working on procedural issues.
We discussed issues related to our work.
Second series of cards:
In myself I have observed the following:
With some I was friendly and cordial.
I barely showed interest.
I was focused on the task.
I was attacked by several.
I took over the leadership of the group.
I was courteous to everyone.
My proposals were generally misguided.
I was a simple troupe.
I easily accepted the group's proposals.
I was upset.
I was lively and aggressive.
I was well understood by everyone.
“FAN OF ESTIMATES”
Objective: Promote trust, cooperation and group cohesion. They foster trust.
Material: Paper and pen.
Development: Sitting in a circle, each person writes their name at the top of the
sheet and passes the sheet to the person on their left. She writes something that
she liked about the previous person and continues turning the page to the left. The
next person also writes something they like about the person whose name they put
on the sheet and passes it on to the next person. Thus, until making a complete
revolution it returns to its owner. To prevent anyone from being influenced by what
the previous people say, you can fold the paper into a fan and each person write
their message on one of the folds of the fan.
Assessment:
What did we think when we thought that they were writing about us? How did we
feel when we wrote about our other colleagues?, etc.
“SHARE QUALITIES”
Objective: Create a positive climate of trust and interpersonal communication.
Strengthen our own knowledge and the knowledge we have of others.
Participants: Class group
Material: Six large hexagons, one per group, cut into six pieces. Writing tools.
Time: 45 minutes.
Development: The class is divided into groups of 6. Each group is given six
hexagons, cut into six parts each. Each of the pieces has a number on the back.
Each member of the group is given the six pieces of the hexagon that have the
same number.
Instructions for the teacher:
Any one of the group volunteers to be FOCUS, and is placed in the center of the
group. Each of the other members of the group takes a piece of hexagon and
writes on it: ALL THE POSITIVE THINGS YOU CAN ABOUT THE FOCUS
PARTNER. Only real qualities can be written. Whatever you write, let it be true.
Before starting, reflect for a few moments on the qualities of your partner. When
they have finished, each one tells the person who has acted as FOCUS the
qualities they have put and gives them their piece of hexagon. Then another
volunteer is offered and the exercise is repeated, until all members of the group
have passed.
Assessment:
Approximately 15 minutes are then dedicated to a dialogue with the class about the
exercise carried out. How has the exercise turned out? Have you discovered
qualities that you didn't know about in a colleague? Has it been difficult for you to
find positive things to write about your colleagues? Why is this?
Grades:
Negative aspects must be totally excluded.
It should not be avoided that qualities are repeated in the same child.
Only real qualities should be said or written.
Before starting to write there must be a time for reflection.
The exercise must be done with seriousness and concentration.
“CONSTELLATION OF SYMBOLS”
Objective: Create a climate of trust and interpersonal communication in the group.
Discover the positive aspects that exist in others.
Participants: Class group. Divide the class into groups of 6.
Material: A sheet of paper for each one and writing utensils.
Time: 45 minutes.
Development: The class is divided into groups of 6 students. The exercise consists
of each one having to choose for each of the other five group mates a SYMBOL
THAT
RERESENT YOUR WAY OF BEING, indicating the reason why you represent it
that way.
A star, because you usually accompany me in difficult times.
A rose, because you're nice. For a few minutes everyone is silent, while each
You choose the symbols that best represent each of your classmates.
Afterwards, there is a sharing. Everyone says the symbol with which they have
represented one of the group. The interested party takes notes and makes their
own constellation of symbols, with the notes they have taken. Then proceed in the
same way with each of the other members of the group. When everyone has
finished, there is an exchange about what each one has been told and how he sees
himself: if he agrees; if you disagree; if they have told you things you had never
thought about, etc.
Assessment:
How has the exercise turned out? Have you discovered qualities that you didn't
know about in a partner? Has it been difficult for you to find the symbols? Why is
this?
Grades:
It is important that all symbols refer exclusively to positive qualities of others. The
goal is for everyone to try to discover the positive in others and value it; and, at the
same time, that each member of the group feels valued.
The atmosphere must be serious and sincere.
“SIMILAR”
Objective: Increase confidence in oneself and in the other members of the group.
Participants: Group – class.
Material: None.
Time: 30 minutes.
Development: At first the facilitator will explain what the game consists of and ask
for a few moments of silence. Then, ask some members of the group (preferably on
a voluntary basis) to name people in the group who are similar to them. In a second
phase of the game everyone will have to say who is similar to them in the group.
Once everyone has said what they are like, each person will be asked to explain
why they are similar to that person. The participants and the choices they have
received will be placed on the blackboard or on a blank piece of paper. In a final
phase, a dialogue will be established between all the members of the group so that
they can discuss the similar aspects they believe they have with other people.
Assessment:
The facilitator will establish a dialogue between the members of the group so that
all of them explain what they have felt when seeing the similarities with other
members of the group. Also point out, on behalf of each one, the discoveries they
have made when making this game.
“PALM OR FIST”
Objective: Develop trust between the members of the group.
Material: A sheet of paper with the table that appears on the next page and a pen.
Time: 30 minutes.
Development: The players will have the graph that appears on the following sheet
next to the table. The members of the group are divided into pairs; if possible, those
members who have the least relationship with each other will form the pairs. They
will stand with their hands behind their backs. At a signal from the facilitator, the
players will show their partners the open hand or the closed fist. Each couple will
write down the result they obtain in each play, in the following way: If both show
their fist, they both win one point, if both show their palm, each one wins two points,
if one shows a fist and the other shows a palm , whoever got a fist wins four points
and the other zero. The results are noted in the table. When everyone has
understood the rules of the game, the game begins. Hands are shown 10 times.
Once this first phase is completed, the results of each player are added up and the
results are shown to the other teammates. A second part begins in which the
players can comment and negotiate with their partner the possible movement.
Another ten moves are made, the results are recorded and the scores are
discussed. Afterwards, a third phase begins that develops in the same way as the
first two, except that instead of being individuals they will be pairs (they will have to
make a joint decision before drawing their hand, they will take turns with each play).
The results will be recorded and discussed.
Assessment:
The facilitator will ask questions like these: "How did you feel?", "Were you
competing or collaborating?", "Did you act differently the second time?", "Have you
agreed on a movement and then you have?
“ARTISTS”
Objective: Increase the confidence of the group members.
Material: A copy for each participant of the following list or a similar one and a pen.
Time: 30 minutes.
Development: All members of the group are asked to list the list that has been
given to them in order of preference from 1 to 8. One for the preferred activity and
eight for the least preferred. Once the ordering is finished, the facilitator asks those
who have chosen the first one on the list to raise their hands and so on. The results
of the choice made by each of the components are noted. A small dialogue is
started about the results. The facilitator will then ask the following question: have
you found yourself uncomfortable thinking that, perhaps, you would have to do
what is indicated on the list?
If the facilitator believes it is appropriate and always without forcing the members of
the group, he will encourage some of the chosen options to be carried out.
Assessment:
Engage in a dialogue about what they felt when choosing the options presented
and when carrying them out.
Grades:
Order the following list of activities from 1 to 8:

____ Read aloud a reading from the book.
____ Walk around the room with a book on your head.
____ Recite a poem.
____ Tell a joke.
____ Talk for three minutes about your best quality.
____ Perform a pantomime about a person.
____ Talk for three minutes about what you like most about your classmates.
____ Imitate animal sounds so that other classmates can guess them.
“SECRETS”
Objective: Develop trust between group members.
Material: Folio.
Time: 30 minutes.
Development: Everyone in a circle thinks about the deepest secret, hidden,
hidden,... We are not going to tell it. Quiet. We think of him... Now we imagine, we
just imagine that we reveal that secret here. What do you think the reaction of those
present would be? Would they laugh? Would they understand?... If you want, you
can answer these questions out loud.
If there is a lot of trust, those who want can write their secret, put it in their
unnamed envelope, all the envelopes are shuffled, read and commented on.
Assessment:
A dialogue will be established in which the facilitator will ask the members of the
group how they felt having to think about their secret or having to tell it – in a non-
explicit way – to other people. Try to answer all the secrets that appear.
“THE DRUNK BOTTLE”:

GOALS:
- Create an environment of relaxation, harmony and trust within the group.
- Put each participant in the situation of having security in their companions.
PARTICIPANTS:
This activity is focused on groups from which the participants have enough physical
strength to hold their classmates. Groups should not be excessively large,
approximately 10 people.
TIME:
Its duration is approximately 15 - 20 minutes.
MATERIAL:
No type of material is required.
PLACE:
This activity can be carried out both in open spaces and in closed spaces, without
the need for them to be very spacious.
PROCEDURE:
There are circles of approximately ten people, all of them very close together,
almost joined at shoulder height. Next, one of the participants stands inside the
circle, in the center, with their feet together. Little by little he lets himself fall, without
moving his feet from the ground, in such a way that the members of the circle
gently push him towards each other, without allowing him to fall, like a “snack doll.”
This will be done successively with the other participants in the group.
OBSERVATIONS:
This is an activity that is perfect to intersperse between other more formal
dynamics.
“THE CONFIDENT PARACHUTER”:

GOALS:
- Create an environment of relaxation, harmony and trust within the group.
- Put each participant in the situation of having to trust their classmates.
PARTICIPANTS:
This type of activity can be done with all types of groups from children, teenagers
and even adults.
TIME:
The duration of the activity is relative, although it is approximately 10 to 15 minutes.
MATERIAL:
No type of material resources are required to carry out this activity.
PLACE:
The activity can be done both in open and closed spaces, and it does not have to
be too large.
PROCEDURE:
The group participants make two rows, all standing (one in front of the other) with
their arms extended. With sufficient separation so that there is space and in such a
way that the person who falls on the arms of the members of said rows does not fall
to the ground. Another participant, from a higher height where rows are formed,
will throw himself into the arms of the group members. These will catch the
participant who is jumping so that he does not fall to the ground. The participant
who jumps must have complete confidence in his companions, knowing that they
will prevent his fall.
OBSERVATIONS:
Among all the members of the group, we will comment on the activity, reflect on
how we felt, if we liked it, if we thought it was fun, etc...
"NOSE WITH NOSE":

GOALS:
-Develop closeness with other people with some spontaneity.
- Achieve a relaxed atmosphere among the members of the group.
PARTICIPANTS:
This technique can be done with all types of groups from children, adolescents and
even adults. It is not necessary to determine the number of participants in the
groups.
TIME:
The duration of the activity is relative, approximately 10 - 15 minutes.
MATERIAL:
The necessary material resources are a couple of bandages or handkerchiefs.
PLACE:
We do not need a particularly large space, since it can be done anywhere, whether
it is open or closed.
PROCEDURE:
Two of the group members go out to the center of the circle that the rest of the
participants will form. Each of the two participants is blindfolded and placed at a
certain distance (approximately two meters). They must try, blindfolded and with
the help of the other members of the group according to their oral instructions, to
rub nose to nose. Once this is done you can move on to do it with other couples.
OBSERVATIONS:
“THIS IS A HUG”:
GOALS:
- Develop closeness with other people with some spontaneity.
- Produce a physical approach between the members of the group.
PARTICIPANTS:
The number of participants is undetermined. This activity can be done with all types
of groups: children, adolescents and adults.
TIME:
The duration is indeterminate, although it is approximately 10 - 15 minutes. This
depends on the number of members of the group.
MATERIAL:
It does not require any type of material resources.
PLACE:
This technique can be carried out without the space being too large, it also does
not matter whether it is an open or closed space.
PROCEDURE:
All members of the group sit in a circle. In order and one by one, each member of
the group says to the person sitting on their right and out loud: “DO YOU KNOW
WHAT A HUG IS?” The person sitting to the right of the person asking the question
answers: “NO, I DON'T KNOW.” Then they give each other a hug, and the person
who answered goes to the previous person and answers: “I DIDN'T UNDERSTAND
IT, GIVE ME ANOTHER ONE.” Then they give another hug, the person they
hugged asks the same question to their partner on the right, performing the same
operation that they had previously performed with him/her. So on until all the
members of the group have been hugged and hugged.
OBSERVATIONS:
"CAR WASH":
GOALS:
- Stimulate a relaxed atmosphere.
- Form cohesion in the group through physical contact.
PARTICIPANTS:
The number of participants should not be excessive. This activity can be done with
all types of groups: children, adolescents and adults.
TIME:
The duration is indeterminate, although it is approximately 5 minutes. It can get
boring if we drag it out for too long.
MATERIAL:
PLACE:
This technique is performed in large spaces, whether open or closed.
PROCEDURE:
We make two lines with the members of the group, parallel. Later we will distribute
car washing functions to the participants. For this we will divide the rows into small
subgroups, that is, if we divide them six by six: three will be from the right row and
another three from the left. The functions will be the following: soap dispenser,
brushes, water and drying. One person will take on the role of “being a car”, go
through the tunnel and the others will try to clean it by fulfilling their assigned
function.
OBSERVATIONS:
“PASS THE FIAMBRE”:

GOALS:
PARTICIPANTS:
The number of participants should not be excessive. This activity can be done with
all types of groups: children, adolescents and adults.
TIME:
boring if it goes on for too long.
MATERIAL:
PLACE:
PROCEDURE:
We form two lines with the members of the group, parallel, later the animator will
ask for a volunteer.
The two lines will interlock hands, in such a way that there is no space left
uncovered. The volunteer will lie down on the grill (hands clasped) and the
members of the lines will move their arms. They must ensure that the cold meat
(volunteer) arrives from the beginning of the line to the end of it.
OBSERVATIONS:
"STRENGTH":
GOALS:
- Form group cohesion through physical contact.
PARTICIPANTS:
It is carried out with groups of adolescents. The number of group members is not
important.
TIME:
The duration depends on the animator, if it lasts too long the technique can become
boring.
MATERIAL:
PLACE:
PROCEDURE:
We form a circle among all the group participants. One has to stay outside. The
components of the circle are joined together in such a way that there is no gap and
the participant who is outside the formed circle must try to cross the circle. If he
succeeds, the one from where the participant entered will be left out, that is, the
one who left the gap.
OBSERVATIONS:
"OLIVE":
GOALS:
PARTICIPANTS:
This technique is appropriate for groups of children and adolescents.
TIME:
boring if it goes on for too long.
MATERIAL:
PLACE:
PROCEDURE:
We form a circle among all the group participants, one of the components stays
within the circle that we have formed. The participants who are part of the circle
begin to throw from one side to the other and when one of the members of the
circle touches the one inside, which is the olive, they will place themselves inside
along with the partner who started the game as “olive”. So on until there are so
many olives that the circle cannot cover them.
OBSERVATIONS:
"VITAL SPACE":
GOALS:
PARTICIPANTS:
This technique is appropriate for groups of children and adolescents.
TIME:
The duration is approximately 5 minutes.
MATERIAL:
PLACE:
It is important that the space in which we perform the technique can delimit areas.
PROCEDURE:
We delimit an area where all the members of the group will be in it, that space is
the “living space”. The members must move, pushing around the circle. Those who
go outside the delimited area are eliminated, we must try not to be taken out of our
space.
OBSERVATIONS:
“WOLVES AND LAMBS”:

GOALS:
PARTICIPANTS:
This technique is appropriate for groups of children and adolescents. Care must be
taken to ensure that the number of group members is not excessive.
TIME:
MATERIAL:
PLACE:
PROCEDURE:
One or two members of the group will take on the role of being the wolves and the
other members will be the lambs. The lambs will unite tightly with arms and legs
forming a pine cone, the wolves will be in charge of separating them and as they
succeed, these lambs will transform into wolves and what this entails, that is,
helping the wolves to undo the pineapple.
OBSERVATIONS:
"THE PIG":
GOALS:
- Create a relaxed atmosphere and rapprochement between the different members
of the group.
- Develop closeness with other people with some spontaneity.
- Produce a physical approach between the members of the group.
PARTICIPANTS:
We can perform this technique with any type of group, regardless of the number of
participants.
TIME:
MATERIAL:
No type of material is required.
PLACE:
PROCEDURE:
All the participants sat in a circle. Each of us and in order will say what we like most
about the pig part. For example: What I like most about pork is ham. So everyone
until each one has named a part, (if possible they are not repeated).
Once this is done, we will go around again but this time each one must kiss the
“part of the pig” that they have named, to the partner on the right. For example:
whoever said thigh, must kiss the partner's thigh. So on until all the members of the
group have kissed the part of the pig they mentioned to the partner on the right.
OBSERVATIONS:
“THE CASTLE OF SURPRISES”:

GOALS:
- Maintain or prepare a climate of relaxation within the group.
- Orally develop the creativity of individuals.
PARTICIPANTS:
Groups can be of any age, adapting it to each one.
TIME:
MATERIAL:
PLACE:
PROCEDURE:
The entertainer creates the atmosphere, inviting the group to imagine that they are
in an enchanted castle, in which there are many rooms and in each of them they
become different professions, for example: doctors, bullfighters, footballers,
gangsters... .
One of the individuals in the group enters one of the rooms. Your mission will be to
answer the questions of your classmates, depending on the room you are in, what
the questions will be like. He must try to get the entire group to accept him as one
of the profession.
If you manage to overcome the questions asked by the group, you become part of
the professional team. In the event that you cannot overcome it, change rooms,
returning to other types of questions other than another profession.
OBSERVATIONS:
Among all the members of the group, we will comment on the activity, we will reflect
on how we felt, if we liked it, if we found it fun, if we found the role played by the
tenant difficult, etc...
“THE ATOMIC SHELTER”:

GOALS:
- Personal acceptance.
- Reflect on social integration.
- Become aware of the arguments we use to assert our self-esteem.
- Reflect on feelings of rejection and social exclusion.
- Reflect on the mechanisms of social exclusion, whether they are coherent and the
feelings of the real marginalized.
PARTICIPANTS:
The groups can be above all mature (adults, young people who take the game with
positive aspects).
TIME:
MATERIAL:
PLACE:
PROCEDURE:
The entertainer creates the atmosphere by inviting the group to imagine that they
are in a state of national emergency, because a nuclear war has destroyed the
planet. There is only one bunker, which has a capacity for four people, each group
having been distributed into a total of five people, so one of the members of the
group must stay outside and find death. Between this group of five people, a
dialogue must be established, each one pointing out their worth to try to stay inside
the bunker, since staying outside automatically means death.
Among the entire group, you must choose which of the group members will be left
out.
OBSERVATIONS:
We will discuss with all the participants in the technique the feeling of the “expelled”
and the reason for their expulsion. We must be careful how the game is played, to
avoid possible conflicts, due to subsequent rejection.
“THE LAZARILLOS”:
GOALS:
- Put yourself in the situation of “no control”.
- Raise awareness to understand and experience the situations of disabled people.
- Work with the topic of values.
PARTICIPANTS:
Groups can be of any age, adapting it to each one.
TIME:
MATERIAL:
We will need some tissues, bandages, to cover our eyes.
PLACE:
PROCEDURE:
We will distribute blindfolds to half of the group, in order to blindfold themselves to
put themselves in the situation of the blind. The other half of the group will play the
role of guide with their corresponding partner, that is, accompanying them to guide
them, helping them to experience situations such as tasting food, smelling, paper,
without using the sense of sight.
When the specified time passes, it is changed, that is, the “guides” will be the blind
and the latter will be the “guides.”
OBSERVATIONS:
We will discuss with all the participants in the technique the feeling of the “guide” as
well as the feeling of those who have played the role of the blind.
3. DISINHIBITION GAMES AND

DYNAMICS
The chatterbox:
· Objective: that anyone can develop themselves.

· Materials: members.
· Development: the group asks one person to talk about a topic defined by the
group for a few minutes.
Do you like your neighbor?
· Objective: know the name of each person.

· Materials: chairs, members.
· Development: a round is formed and whoever starts (generally, the coordinator)
asks someone “do you like your
neighbor?". The person responds with YES, NO or MORE OR LESS. If the answer
is YES, everyone stays the same.
place; If the answer is NO, everyone changes places, and if the answer is MORE
OR LESS, only that person changes places with anyone else.
List of names:
· Objective: get to know each other among the members of the group.
· Materials: paper and pencil or blackboard and chalk.
· Development: a person writes their name and they pass by making a “posta”.
Each person who passes takes one of the letters of the name and writes a word or
sentence referring to the person who wrote the name.
Say it with mime:
· Objective: develop psychomotor skills.

· Materials: groups of people.
· Development: standard. Say a message only with mime.
Sale of Absurd Things:
· Objective: Develop oral ability, to argue and to become uninhibited in front of the
group
· Materials: Group members and tokens with absurd objects, for example, bibs for
giraffes, combs for peeling, etc.
· Development: each member of the group will have a token each, then one by one
they will come forward and for a minute they will have to try to sell it arguing in
favor of its sale.
Dramatize a saying:
· Objective: Develop understanding, the ability to understand messages and the

ability to transfer meanings to concrete situations
· Materials: Work groups and proverbs.
· Development: Each group will be given a proverb, which they will have to
represent in front of the group. The rest of the group can participate by guessing
the dramatized sayings.
Tell a story with your feet:
· Objective: Develop ingenuity and body expression.

· Materials: Cards with sentences, for example, I slipped when stepping on a
banana peel; Today while walking I got a piece of gum stuck to my shoe, etc.
· Development: Each of the participants will come forward and count with their feet
the phrase they have received. Your classmates will be able to guess them.
THE MONKEY - The entire group imitates the monkey's walk.
Variant - do the same imitating other bipedal animals.
Variant.- Perform these characterization movements in slow motion and fade-out.
ON FOUR LEGS - they imitate quadruped animals (not the knees).
Variant.- give the sensations, states of mind, state of the weather and different
places, also do it in slow motion and fade out
CROSSED LEGS - The group is divided into pairs (especially of the same size),
they tie their legs together, looking like Siamese twins. They must run and walk as
if they were one person.
Variant - one leg of each member is used, they run as if it were a three-legged
person.
CIRCLE OF TWO.- In pairs, both hold their ankles forming a human wheel, which
moves slowly, kiting,
RACE IN SLOW MOTION.- Everyone from the start must run in slow motion,
stretching their legs as much as possible with each step, the last one will win when
reaching the finish line.
RIGHT ANGLE .- On the floor, all actors seated with their legs stretched out and
their backs straight, must move without bending their knees or lifting their feet, first
forward then backward.
SNAKE .- In a ventral ulnar position, crawl and move through a labyrinth, using
only movements of the thorax.
Variant.- like the previous one but in this case dorsal ulna.
THE BLIND AND THE GUIDE. - The guide makes the blind man, who is
blindfolded, move by means of sounds he emits at a safe distance (without
touching him but close to him, as the trust between them grows, the guide will
move further and further away)
THE IMAGINARY JOURNEY.- The guide will not be able to speak, but he will be
able to touch the blind man, taking him to imaginary places, forest, city, etc. That
will set them with different characteristic sounds of the environment and they will be
driven through dangerous places.
THE LAME AND THE BLIND. - The blind man, blindfolded, will carry the lame man
on his back, who will guide him along a path with obstacles. Collisions with these
will deduct points from the team. The orders will be to move forward, backward, left,
right, etc. When you reach the goal the change will be made.
FIGURES .- Groups are formed, these will make figures with their bodies, leaving
full freedom to the imagination and good humor, simultaneously they will form
(airplane, vase with flowers, boat, etc.) after being formed they will remain
motionless.
THE COMBAT OF BOZ, KARATE, JUDO, ETC.- The actors are boxers and fight
in pairs, the fight is done without touching each other, however they must express
that they feel the blows, in such a way that they reflect the violence or content in
their actions.
FUTBGOL, BASKETBALL, VOLY, ETC. - Divided into teams, without using a ball
they play a match as if they had one, the coordinator acts as a referee, and must
observe whether the imaginary movement of the ball coincides with the real
movements of the actors, including those who make mistakes.
COGOLLADA. - The actors reproduce a complete scene of a traditional cogollada,
the actors improvise cowboys, girls who dance, pianists, girls, commissioners,
gunmen, etc. A classic action is reached with whistles, shots and others, all without
real objects and without contact between actors, the coordination takes care of the
actions.
LOVE. - You work in pairs, who are two meters away from the other person, they
make love, they kiss, etc. Gesturing each action, then the feelings are reversed as
indicated by the coordinator.
STORIES IN LANGUAGES. - The group can be divided into three or more teams,
each one discusses a story that they are going to dramatize in a language
determined by the coordinator.
MUTUAL MASSAGE - The actors stand in two rows, each facing the other, they
begin to massage each other, first their face, then their entire body down to their
feet.
MECHANICAL TAPESTRY. - Everyone lying together on their dorsal ulna on the

floor, body with bodies glued together, each actor rolls around until the entire row is
finished. Then return to the game.
Variant.- Similar to the previous one, but with his hands on the floor and on his
knees, the actor rolls on the backs of the actors and so on until finishing, the
sequence is repeated.
Variation.- They must align themselves lying on the floor and with rotating and
simultaneous movements (turning, back, chest, etc.) they help to move the actor
who is going for the enzyme and so on the entire group.
RELAXING MASSAGE. - You work in pairs, one actor standing in a relaxing

position must let the trunk fall, another actor with the tips of his fingers will type
gently and successively at the rhythm of a downpour, moving throughout the body
except the spine, This will be massaged with circular movements vertebra by
vertebra from the base of the head to the coccyx, then lie on the floor completely
relaxed without any tension. The standing actor must slowly stretch each of the
limbs, then the actor will lie down as if he had just woken up. without making any
effort and stretching the entire body.
ORCHESTRA.- one of the actors will stand in front of the group who will be the
director of the orchestra, each actor will emit a sound with his voice without
changing it rhythmically, the director will indicate the order in which he is interested
in listening to the sounds, the harmonized frequencies, until that an audible melody
is heard, once this is achieved the role of the director is noted and the sounds of
each actor will also vary.
THE CHAIR.- An actor sits in a chair, a second he sits on its lap, the first one
slowly picks it up, the other actors proceed to do the same until they form a long
line, finally the coordinator removes the chair, everyone must follow sitting then
move the structure (giant chair without disassembling it).
BEAR. - In an imaginary forest there are several people working, everyone knows
that there is a bear loose that can attack them. They also know that the bear
attacks those who move or are in action, that is why it is necessary that when the
bear enters everyone throws themselves on the ground, pretending to be dead;
The bear will verify that this is the case, and that they are relaxed and not
breathing: those who are not there will be taken away.
PAPER. - The group is separated into pairs, a paper is placed between the two
bodies, they must move the paper throughout the body, preventing it from falling to
the ground, without using their hands or mouth.
ZOMBIES - An actor determines a mood (sad, happy, violent, kind, etc.) and the
rest follow him, moving around the environment and engaging the entire body.
Variant.- two rows facing each other must greet each other in different moods, it is
important that the confrontation be antagonistic, sad – happy, etc.
MONSTER.- In a group of three or more, they must form the imaginary figure of a
monster, to do so they must use the expression of their body, whether it is the leg
or the tail, what it does and how it behaves; eye without dismembering.
THE STATUES AND THE GUARDIAN.- One is chosen to be the guardian, the rest
are the statues, immobile, but when the guardian does not realize it they can move,
but if he surprises them or notices that a statue did not have that position initial
takes it out and so on until there are none left. The first will act as guardian.
Variant. The members of the group adopt static positions, attitudes or actions while
one of them walks around the group. Every time this happens the action changes,
and it must also be discovered at the time of the change if it is not separated from
the group.
Variation: The driver can suggest environments for the members to adopt positions
related to the place, for example, in the field, at a dance, at school, etc. The change
can be total, for example, if you say “change”, you must acquire a statue hunting
butterflies, when it is not seen change to picking flowers, etc.
Variant: the “environment” is pointed out and they are asked to maintain continuity
in the action, for example in a construction, the first position is a bricklayer loading
cement, unloading bricks: mixing cement with lamp, and so on and remember that
you do not have to be sequential and do not allow yourself to be discovered in the
change or moving,
POWER LOADING AND DISCHARGING. - In a circle, the energy is charged

throughout the body and discharged in the middle by shouting. It is repeated until a
lot of heat accumulates in the center.
Variation.- In a circle, the energy is charged throughout the body and by taking a
step to the center, it is discharged in the middle by shouting and returning to the
initial position. It is repeated until a lot of heat accumulates in the center in a regular
rhythm.
MIRROR .- As a couple face to face, one makes gestures, actions and movements,
which the other person must reproduce simultaneously, after a prudent moment the
roles are changed.
Variant.- In two rows they hold hands always facing each other in muscular
communication, without taking their eyes off each other, they try to move without
letting go and these are imitated by the others.
Variant.- This time the movements will be more accelerated until the mirror breaks
(it can no longer imitate) the actors jump in different directions without losing
communication.
MIRROR IN BALANCE. - You work in pairs, both actors hold canes (broomsticks)
in the tips of their fingers, one imitates all the actions of one of them, following him
with his eyes and facing each other.
THROW STONES.- The group is divided into two teams, facing each other, one
group throws stones at the other, without losing their gaze and without moving, the
line that receives the imaginary stones.
Variant.- You see those who receive the stones, react to each impact, it is done
with all fury. The actions are reversed.
INSULTS .- In two groups at a considered distance, they insult the other group but
without words, only with gestures with the greatest possible anger and without
resting until the coordinator says so. The first without reaction, the second with
reaction and the facts are changed.
MECHANICAL DOOR.- With two broomsticks, two quotes or two long

handkerchiefs, two actors are placed facing each other, holding with both hands,
arms stretched. While one stick is down the other will be up, the movement is
achieved with rotation of waist, so that the sticks rise and fall at the rhythm of the
hips. The others in column will try to pass between the sticks without colliding with
them. Whoever crashes or does not pass in his turn will replace the one who is
moving the sticks, first one then the other like this until everyone passes at least
five times.
VARIANT.- Two other actors will be added who hold two sticks in their hands
vertically like an electric door opening and sawing, it changes when they lose.
RHYTHMS .- the entire group sitting in a circle, the actors will move their heads
from one side to the other, then they will clap their heads at the same rhythm, then
their waists at the same rhythm, then their feet tapping, and then return in
regressive way, all at the same pace. The rhythm will be set by the coordinator or a
member. The entire sequence will be repeated at least two times, then three times
and so on progressively.
Variant.- This time standing, advancing to the center and then retreating, without
losing rhythm, each sequence will change rhythm.
THE BALANCE IN DANGER. - in pairs, each one chooses his opponent, both on
one foot, they push each other until one of them puts the other foot on the ground
first, they cannot move from their place, only push and pull without jumping or
changing feet.
Variant.- They can be mobilized only by jumping in the same pir loses whoever
changes or places their foot on the ground.
Variant.- This time a circle is drawn, the one who leaves or puts the other foot or
changes foot in the fight loses.
CRICKET WAR .- A circle is demarcated, in the center two actors sitting back to
back and holding their arms, they must not lift their feet from the floor, in this
position they must make them lose their balance or remove their opponent from the
demarcated area.
FIGHT WITH… CATS. - The participants are divided into two groups, the “horses”
and the “donkeys”, at opposite ends. The teams must go to the other end with the
largest number of participants. When leaving, everyone must get on all fours and
leave at speed. When the donkeys and horses meet, they must fight trying to knock
each other down. Those who fall leave the game.
THE BALL BETWEEN THE LEGS.- Participants must walk with a ball between
their legs, trying not to lose their posture, which must be straight. With this exercise,
you will correct your posture, walking on toes, heels, the sides of the foot and
changing the ball between the knees, thighs, and ankles.
Variation.- This time jumping without dropping the ball, try to reach the goal, if the
ball falls, return to the game. The winner will be the one who manages the route in
all three positions of the ball, thighs, knees, ankles.
Variation.- Now we do it in a squatting position, without using our hand to catch the
ball or hold on to the floor, whoever does it loses.
SPIRAL .- A spiral is drawn on the floor, taking care that it is not too close to the
other, you walk step by step, touching the toes with the heels of your feet, always
stepping on the designed lines. Once for entry and the other for exit, if you fall or do
not step on the line you return to the beginning
Variation.- When you reach the center, turn back on your back under the same
conditions. Then you can become blindfolded only guided by your partner's voice.
BALANCE ON THE ROPE. - A straight line is marked on the floor (which will be a
rope) the participants will go from step to step, colliding tip and heel, without losing
balance and returning in reverse.
Variant.- Plow with long steps and Lugo running until he acquires a good balance.
Variant - this time it is done blindfolded and the same previous sequence.
MARCHING WITH OBSTACLES. A path is set along which obstacles will be

placed, the walker will have to travel without touching any, each collision will count
points against. You will always walk with the tips of your feet on the line marked on
the floor of the path. Arms loose, head and spine upright, look straight ahead, walk
without moving your hips. The route must be traveled first forward then return
backwards. Preceding the step with a brief swing stretching forward.
Variant.- This time a book or other object that will not break or damage when falling
to the floor will be placed on the walker's head.
Variant.- Now walk “heavily”, “lightly” reversing the roles, for this it is necessary to
strengthen the ankles, apart from the flexibility and looseness of the legs, which
leads to improving walking.
RECOMMENDATIONS. - The weight of the body should not be carried from one
hip to the other, creating an impression of jumping, nor should the arms move
excessively; they should easily follow all the harmonious movements of the body.
THE IRON BACK. - Sitting on the floor back to back, they cross their arms at the
elbows. Maintaining this position, they must lift their partner, leaving him lying on
the other's back with his legs stretched. They alternate the positions, the one who is
Upstairs you should be totally relaxed.
THE STRONG BROOM.- The participants sit on the floor in pairs, facing each other
and place a broomstick between them horizontally, holding it with both hands. This
position must be maintained. They must try to push each other. Whoever manages
to displace their opponent will win and move on to the other stage.
THE RABBIT .- It is executed in two stages:
to. on the balls of your feet, knees bent and together, hands resting on the floor,
head straight.
b. Jump with both feet forward, arms loose and without bending the elbows. This
exercise serves to strengthen the abdominal, back and leg muscles. The pace of
the jumps should gradually increase and be higher to acquire elasticity and ease.
THE CABRIOLA. - With my knees glued and together, my hands resting in front of
me, I will perform a somersault and return to the same initial position and continue
like this several times. This exercise elasticizes the spine; also the abdominal
muscles, the flexors and the extensors of the legs at different times.
STRENGTH ON THE BACK. - Lying on the floor with your hands on your head,
feet supported by your buttocks, raise your pelvis and part of your trunk until your
legs are perpendicular to your feet, head and shoulders on the floor, return to the
starting position, bending little by little. little back; They must touch the vertebrae of
the back one by one from top to bottom. They work the dorsal muscles, shoulder
blades, legs, neck, abdomen and spine, promoting upright carriage.
BALLS. - sitting with your legs bent, knees and feet together, hug your knees,
resting your forehead on them, roll back and forth without resting your head on the
floor. This exercise works for the flexor muscles (legs, arms, trunk, neck) and
improves the sense of balance
LITTLE LION. - Kneeling with legs and feet together, forearms on the floor bent
forward, moving the forearm and knees, first on the right side and then on the left;
The head should remain upright with the gaze fixed straight ahead at a single point.
This exercise serves to prevent scoliosis, if there are scoliotic attitudes it will correct
them.
THE SWAN.- Lying on your ventral ulna, with your forehead resting on the bed,
hold your ankles with your hands, knees and feet together; Then raise your head,
shoulders and stretch your arms, thus raising your knees, which must always
remain together. Swinging, the movement should be powered by the legs and
chest. The support point is the belly; In this exercise, the extensor muscles of the
legs and neck, the spine and shoulder blades work, supporting better
diaphragmatic breathing.
THE HARE .- on your knees with your palms resting on the floor, head raised,
jump; the feet are propelled upwards, the knees are raised less than the feet, like a
handstand. Return to the initial position, resting on the balls of your feet, without
bending or turning your fingers downwards, and in this way the descent of the
knees is stopped. This exercise helps control the strength and muscles of the leg
and arms, and especially the abdominal muscles, and also exercises mastery of
balance and control of your forces. Do not push too hard as you run the risk of
going overboard and flipping. For safety, have someone next to the person
executing to avoid accidents or blows.
4. GAMES AND EXERCISES TO

TRAIN AND CONTROL THE VOICE
FACIAL MOVEMENTS. - Make faces and gesticulations, this will soften the sound
box of the mouth, giving better ease and proper pronunciation, alternating these
exercises with speeches and will improve with tongue twisters, placing the nasal
cavity, palatine sector, frontal and glottis.
SYLLABLE READING.- A paragraph is read in syllable form. Pronouncing as the

consonants and vowels that make it up sound, first slowly and then speeding up.
VOICE WARM-UP. - (with complete or diaphragmatic breathing) emit a moo (cow

sound) at different intensities and pitches (low, medium, high)
BREAK THE WALL. - All participants stand in front of the wall, a quarter away,
they will emit forceful but false screams, trying to hit the wall at the same point with
the force of their voice to make a hole.
THE WALL RESPONDS.- At the same distance as the previous exercise, utter a
word, then move away prudently to listen to the rebound of the word with the
intensity that was emitted. Strong – far; weak – close, etc.
THE VOICE AND THE NOISE.- Two participants stand at both ends and in the
middle the entire group will make a joint and simultaneous noise. The two actors try
to communicate above the noise; At first they will be separated only by the group.
As the noise grows, they must retreat as far away as possible from each other. The
couple that achieves the best communication and at the greatest distance will be
the winners.
RESPIRATORY MASSAGE.- They are divided into pairs, one becomes the dorsal
ulna, breathes normally, so that his partner captures the respiratory rhythm with his
hands placed on the abdomen, when he has achieved this he will press first on the
exhalation and the inhalation will release, when To achieve this, you will sit on the
abdomen and in the same way on the inhalation you rise a little and on the
exhalation you press, then the role changes.
Variant.- The same but this time with the ventral ulna and the seated actor placing
his hands on the back of the actor who is lying down.
Variation.- This time one actor is lying down and the other is standing, at the
moment of exhalation, he will pull one of the limbs, stretching it gently.
EXERCISES FOR TONGUE VIBRATION (preparation of the sound "rr").
· Bend the tip of the tongue up and back, with the help of the upper incisors.
· The same exercise, but with the lower incisors.
· Repeat the same exercises but now using the tongue as if it were a lever,
pressing outward with force (putting some pressure on the teeth).
· Quickly hit the anterior and posterior surfaces of the upper incisors with the tip of
the tongue.
· Raise the tip of the tongue upward, with the rest of it horizontal.
· Imitate the sound of a motorcycle, car, etc. (“rrrrr..”; “rrrumm…”) trying to make the
tongue vibrate.
· Quickly articulate the sounds: “tttt…”; “dddd…”; “tdtdt…”
· Quickly articulate “la-la-la-la…”
· Likewise, trying to lengthen the sound as much as possible, combinations of this

type: “dara-dara-dara…”; “doro-doro-doro…”; “dere-dere-dere…”; “tere-tere-tere…”;
“vera-vera-vera…”;
· Frequently repeat words with the soft “r” sound, such as: cara, toro, moro, mora,
pera, pero, caro, para, tira, mira, dura, cura, aro, cigar, chorus, parrot, paro, cera,
shooter, bullfighter, ...
· As you get closer to the correct sound, practice with words that contain the sound.
It is advisable to start with simple words and with the sound at the end of the word:
car, tower, hat, donkey, mud, bar, dog, vine, run, barre, nose, nougat, brown, vase.
EXERCISES CORRECTLY ARTICULATE DOUBLE DIRECT SYLLABLES

("SYMPHONS")
The double syllable or "symphon" consists of pronouncing two consonants at the
same time in a single stroke of voice. When there are difficulties in achieving this,
you should try to divide your pronunciation into two strokes of voice, interspersing a
vowel to progressively achieve articulation correctly.
PROCEDURE: The exercises should be aimed at unfolding the double consonant,

dividing it into two syllables by including a vowel between them.
For example, to pronounce "PLA", the symphon will have to be divided by adding
between them the same vowel that follows after it (the "A"). Another possibility is to
add the vowel "I" between the double consonant, making the articulation of the
stuck syllable softer. In any case, it is done in three steps:
1º) Articulate the first phoneme followed by the vowel ("PA" or "PI")
2º) Articulate the second phoneme followed by the same vowel ("LA")
3º) Union of the two syllables in a word that will be repeated quickly until the first
vowel is softened (and later eliminated):
"PA-LA, PA-LA, PA-LA", ... "PLA"; or "PI-LA, PI-LA, PI-LA, PI-LA", .... "PLA."
Ex.: To pronounce "BLANCO", the symphon "BL" will have to be unfolded by

adding the same vowel between the two consonants. Steps:
1st) Articulate the first phoneme by first adding the same vowel that follows after
the symphon ("BA"); or with the vowel "I" ("BI").
2º) Articulate the second phoneme with the same vowel ("BA-LA"; or "BI-LA")
3º) Union of the syllables in a word, repeating it more and more quickly until the first
vowel is softened (eliminated): "BA-LAN-CO, BA-LAN-CO, BA-LAN-CO,...."BLAN-
CO "; or "BI-LAN-CO, BI-LAN-CO, BI-LAN-CO,... "BLAN-CO".
The order that we will follow for the double direct syllables will be the following:
1º) BL, PL, FL, BR, PR, FR (different organs participate in their articulation).
2º) CL, CR, GL, GR, TR, DR (for its articulation the tongue is the active organ,
varying its position).
1. White, soft, blouse, cable, saber, table, Paul, town, furniture, bible, devil,...
2. Plate, pen, plinth, plate, plate, plenum, plate, lead, suit, ...
3. Skinny, flute, arrow, fringe, lazy, floats, flow, phlegm, flatus,...
4. Ember, arm, brief, gap, shine, breeze, brush, witch, mist,...
5. Prado, prisoner, premium, price, soon, hurry, test, teacher,...

6. Cold, phrase, strawberry, brake, forehead, fried, rubs, fruit, friar,...
7. Of course, clergy, climate, class, chlorine, carnation, client, clove, ...
8. Grow, crest, cross, brood, sieve, chrome, crater, kibble, ...
9. Globe, ruler, glutton, glory, gland, ruler, glycerin,...
10. Record, big, thank you, tap, cricket, grotto, crack, fat, pleasant,...
11. Lock, suit, train, three, work, wheat, throne, triangle,...
12. Dragon, drama, mother, father, godmother, godfather, painting, drill...
PUBLIC SPEAKING EXERCISES
1. Breathe deeply and do diaphragmatic breathing, at least 5 times

2. Read aloud, using the natural patterns imposed by your own breathing and those
determined by the rhythm of the punctuation.
3. Recite the alphabet in front of a mirror, pronouncing each letter correctly.
4. Hum a melody.
5. Give elasticity or flexibility to the lips: Pronounce "QUE" in rapid succession, as
follows: Contract your lips as much as possible to pronounce "Q" and exaggerate
the distension of your lips to say "E." Other exercises are: - Say many times tra, tre,
tro, tru, and bra, bre, bro, bru, - Talk with a pencil in your mouth. - Say many times
lal, lel, lol, lul. - Say tongue twisters.
6. Speak without gasping. Do 5 minutes of exercise, squats or push-ups. Then read
aloud. After a few sessions, you will learn to control your breathing and be able to
speak without panting. Example: read without breathing the following paragraph,
straight, without pauses, without punctuation, or intonation: "In theatrical art there
are no traps, everything is natural and fair, a good artist is the logical result of a
long study based on a long patience. Wanting to be an artist is easy, what is
difficult is asking art for what it cannot give, and even more difficult is being able to
give it everything it usually asks for.
7. Whistle. Frequent whistling improves your voice and optimism.
8. Sing. Singing improves the voice.
Specific recommendations :
1. Exercises to modulate the tone or volume of the voice: - Say the numbers from 1
to 10, starting with a low volume for 1 and gradually increasing the volume to 10,
which is the highest. - Return from 10 to 1, starting with high volume for 10 and low
for 1. - Repeat the exercise several times.
2. Intonation exercises: To give intonation and emphasis, say the following
phrases: - THIS HAS NO NAME, YOU FOOLED ME. - THIS HAS NO NAME, YOU
DECEIVED ME.'' - MEN DON'T UNDERSTAND WOMEN." - "Yes of course". - "I
PASSED WITH A GRADE OF SEVENTY."
3. Diction exercises: To articulate and pronounce words well, it is recommended: -
Vocalize in front of the mirror with your mouth open exaggeratedly, to help
pronunciation. - Yawn in front of the mirror to relax your throat. - Practice
diaphragmatic breathing. - Pronounce the basic timbres of the words, to do this, it is
suggested to read the following paragraphs:
YO. Tired, loaded, shaved, the girls marched; Quietly, calmly, flocks of cats hunted
rats; The frogs sang, called, jumped, and by jumping they were healed of their
astral illness.
II. In the morning Ana Zavala's mother goes to the plaza 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.
III. That the baby stops drinking milk in front of the TV, that he kisses the romper,
that he gives me that shaft that I left him, and that he finds out what I thought. Read
and learn to say tongue twisters, examples: 1. Pablito drove a nail into the bald
man's bald head. He stuck a little nail into the bald head of a bald man. Pablito. 2.
Three sad tigers were swallowing wheat in a wheat field; In a wheat field they
swallowed wheat, three sad tigers, 3. Constantinople requires a great
deconstantine planner; He who deconstantinoplans Constantinople will be a good
deconstantinoplanner. 4. If Samson does not season his sauce with salt, it turns out
bland; Samson's sauce turns out bland if he seasons it without salt.
5. BODY EXPRESSION EXERCISES

FACE TO FACE
Material: None
Age: 8 to 12 years
Development: In pairs. Facing each other with arms extended and hands open.
They fall forward, stopping each other with their hands.
HUNT THE DEER

Age: 11 to 12 years
Material: Spades Development: In trios. Two of them place a pair of pikes on their
shoulders, the third (deer) must hang from the pikes. Transport the deer. Change of
role.
RABBITS IN THE FOREST

Age: 8 to 12 years
Material: None Development: In pairs, forming two concentric circles. One member
of the couple acts as a "tree", standing with his legs open, the other as a rabbit,
sitting in front of the tree. The hunter (master) gives a signal and each rabbit goes
under his tree, walks around the circle, returns to the shelter of his tree, sits down
and claps his hands, signaling that he is ready.
"CUT THE FOX'S TAIL"

Age: 8 to 12 years Material: Plastic bags Development: Catch the bag in the seam
of the pants. Behind. Players must cut the tails of the other foxes (remove the
plastic bag from their backs). After "cutting off the fox's tail" we return it to him. If
ropes are used, avoid tying them around the waist to avoid injury.
CROSS THE POND

Age: From 8 to 12 years Material: Newspapers Development: Each student with
two sheets of newspaper. They must advance without stepping on the ground, until
a designated point. To move forward, advance a newspaper and get on. Bring the
other newspaper forward and get on. And so on. Check that the sequence (passing
the newspaper from behind and getting on) is done correctly.
THE BUTTERFLY HUNTER

Age: 9 to 12 years Material: Hoops
Development: One hoop for every five players. Scattered around the playing field.
The ring bearers chase the rest to get them inside the ring (hunt them). Change of
role every time it is achieved. The pursuers cannot throw the rings to avoid falls.
THE CENTIPEDE
Age: 10 to 12 years Material: None Development: Groups of five in a row. The first
with his hands on his knees. The others, with their hands on the ankles of the
previous one. Draw a circuit and try to get them to do it without letting go (break the
centipede). Do not use competition between groups to achieve correct execution.
THE RUN ON STILTS

Age: 11 to 12 years old Material: Stilts (hands-free) Development: In a circle,
holding hands (I run). Move left, right, front, behind, according to the teacher's
instructions. Also use different rhythms with objects, or music. Prior to this game
there must be sessions in which the student becomes familiar and consolidates the
use of this material.
THE CAT AND THE MOUSE

Age: 8 to 12 years Material: Parachute Development: The mouse gets under the
parachute. The cat gets on the parachute. The rest around, grabbing the
parachute. The cat must catch the mouse while the others make big waves that
confuse the cat. When I catch it, another couple comes out.
THE HAWK
Age: 8 to 12 years Material: None Development: Field delimited by two lines
separated by about ten meters. One volunteer (hawk) inside the field, the rest
(pigeons) behind the lines (dovecote). At a signal, the pigeons must cross from one
side of the field to the other without being caught by the sparrowhawk. Trapped
pigeons become hawks. Like this until there are no pigeons left.
ANIMAL FAMILIES
It is a very good game to build confidence at the beginning of an evening.
Folded papers on which an animal has been written or drawn are distributed to the
audience. The papers must not be opened until the signal is given.
When the signal is given, the papers are unfolded and each one, imitating their
animal, has to meet their equals. Once all the groups are together, they can sing a
song with the sound of the animal.
THIS IS A DUCK
A character with any other object in his hand makes a few people come out and
tells them to make and reproduce the gestures and dialogue that he initiates.
He begins by saying: “I'll give you the duck.” The other asks: is this duck? And the
answer is “duck it is.”
This dialogue is repeated crying, laughing, with a weak voice, with a deep voice...
THE MAGIC PARK

The number of players is unlimited
You need a tape recorder with a “prepared” cassette with music that has some
unexpected cuts. You also need a box with messages.
The players sit in a circle. The game director turns on the tape recorder and at this
moment the package is passed from hand to hand. When the music stops, the
player whose hands the package is in opens it, takes out a message and must do
what the message indicates.
CAR TRIP
The players all sit in a circle and each one is given the name of a car part. The
game director stands in the center and begins to tell a story, the more complicated
and diverse the better. Each time a piece is named, the player with that name
stands and bows deeply. If you get distracted and don't do it, you have to pay for a
piece of clothing.
When the make of the car is said, everyone stands up and... bow.
CHAIN SET
The participants of the game are all sitting in a circle. The entertainer gives a player
any object: for example, a cane. The player must improvise an action with the stick.
For example: you can turn it into a fishing rod. After a while, the neighbor on the
right has to get up to interrupt the action of the previous one, acting, for example,
as a forest guard. The fisherman then sits down and the guard must find a new use
for the stick, such as the handrail of a ladder. The partner on the right now has to
intervene, acting, for example, as a neighbor on the stairs... and after the person on
the handrail sits down, he has to turn the cane into a lamppost...
So on.
CUCHICHÍ, CUCHICHÁ, CUCHUCHÍ, BUM BUM

The players sit in a circle. The leader makes any move. For example: you touch
your left shoulder with your right hand. This movement is performed rhythmically
with the right hand in the following way: A) when saying “cuchichí” the right hand
touches the right knee. B) when saying “cuchichá” the right hand touches the left
shoulder; then he says “cuchichí” and the right hand touches the right knee again.
D) when you say “Bum Bum” the right hand touches the left shoulder again.
These movements can also be done with both hands.
Having said the 4 words, change your movement, for example: you touch your
mouth with the palm of your hand.
When the entertainer begins the second movement, the next player begins the first
with the same words. Then the entertainer makes a third move and the first player
will make the second, at the same time a third player enters, who has to make the
first move, and so on.
Each player will look at the immediately previous one to imitate his movement.
If a player gets confused, they can be made to pay a pledge.
THE IGLOU
Age: From 6 to 12 years Material: Parachute Development: A large circle holding
the ends of the parachute. At a signal, raise the parachute, advance two steps,
pass the parachute behind you and crouch down, pulling down. Everyone stays
under the canopy of the parachute, like an igloo, to sing a song.
THE LABYRINTH
Age: 8 to 12 years Material: None Development: In rows of five, holding hands.
One row after another forming corridors. Two volunteers (a mouse and a cat). The
cat chases the mouse through the corridors of the maze. At a signal from the
teacher, the rows are released from the sides and are caught by the one in front
and the one behind (as in the drawing), thus changing the labyrinth.
THE MESSAGE
Age: From 7 to 12 years Material: None Development: Two lines parallel to each
other, 10 or 20 m, are drawn in space. The players of each team are divided into
two groups, following one of the two lines in front of their teammates. Those on one
side with odd numbers and the others even. They sit one after another. The teacher
dictates the message to the numbers 1 of each team. Then he gives the signal and
number 1 on his team runs to give the message to two and so on.
JUMP AND SCREAM

Age: From 6 to 12 years Material: None Development: Initially the couples agree on
a slogan. They get ready to run and when they want, they say the message and
jump with their arms raised.
Pantomime Exercises
Not only must the mime do these pantomime exercises but; All members of the theater, since
they are fundamental for stage movement or movement on stage, there are several practices
where the actor develops his agility and skill on stage. THE BREATHING:
It is essential in every exercise routine since it serves to cleanse the entire body from the inside
and is divided into INSPIRATION AND EXPIRATION.
INSPIRATION: generally done through the nose, it is slow and silent.

EXPIRATION: it is done through the mouth, very slow and deep, if we place our hand in front of
us we will notice how the air comes out of us.
We must do these two exercises every time we finish some warm-up exercises and between
each set we must relax our body, to release tension.
RELAXATION: this consists of stopping the tension, the effort to which the human body is
suppressed for most of the day or a series of strong exercises.
CONCENTRATION: is when all the tension is placed on a single idea, in such a way that
desperation must be completely introduced into our mind and not interfere with the main idea
that interests us.
The instruments of the actor are the voice and the body, their physical function is intimately
animated with the internal life of each one, their naturalness is the contradiction in theater,
improvisation, synchronization, dance, a story and acting must be reflected.
There are several games or dynamics to put these exercises into practice and you can combine
them with other exercises, for example the duck game, the phrase, Marshal, the cow, etc.
How to do pantomime exercises

*Starting from a given reality, ask yourself what am I going to do?
What instruments am I going to use? In what order will I use it?
*Be aware of the other objects in the scene.
*Work with each of them with full discipline and confidence.
*Take the time necessary to make another movement.
*With our body and without any objects, give a clear explanation of these
*Movements must be slow and precise.

* Represents: Actions (running, jumping, carrying a weight, handling a puppet, etc.) and feelings
(sadness, joy, tiredness, boredom, etc.)
6. EXERCISES TO DEVELOP
IMPROVISATION
THE GREETING WITHOUT CONTACT AND WITHOUT SOUND
The actors walk slowly and when they pass each other they begin to greet in
the following order:
1- they simply stand in front of the partner, look at each other without gesturing
in a neutral manner and follow the next partner
2-they stand in front of their partner and look at each other, gesturing joy, and
follow the next partner.
3-they stand in front of their partner and look at each other, gesturing hatred,
and follow the next partner.
4-they stand in front of their partner and look at each other, gesturing without
saying hello (nodding their head) and follow the next partner
5-they stand in front of their partner, look at each other, salute each other in a
military style and follow the next partner.
6-they stand in front of their partner, look at each other, greet each other with
one arm raised and follow the next partner
both arms up and follow the next partner
both arms up, jumping for joy, and follow the next partner.
THE GREETING WITH BODY CONTACT AND WITHOUT SOUNDS
the following order:
1-they stand in front of their partner, look at each other and shake hands and
follow the next partner
2-they stand in front of their partner and look at each other and give each other
a kiss on their own hand and transfer it to the partner's cheekbone and follow
the next partner
3-they stand in front of the partner and look at each other and with both arms
they take the partner's face and follow the next partner
4-they stand in front of their partner and look at each other and hold each
other's shoulders, gently shaking each other, and follow the next partner.
5-they stop in front of their partner, they look at each other and they simply hug
each other and they follow the next partner
6-they stand in front of their partner, look at each other, hug each other
profusely, and follow the next partner.
THE GREETING WITH SOUNDS IN IMPROVISATION
The actors walk slowly and when they pass each other they begin to greet
in the following order:
1- Greeting alternately they must say:
good morning...good afternoon and good night while
A-they say hello as if they were taking off their hats
B-bowing
2-they stand in front of their partner, they look at each other and hug each other
profusely under a text about the time they stopped seeing each other and they
follow the next partner
3-they stand in front of their partner, look at each other and hug each other,
giving their deep condolences under a text about the deceased and follow the
next partner.
4-they stop in front of their partner, look at each other and hug each other
emotionally under a text about their farewell to the place and follow the next
partner
THE GREETING WITH SOUNDS IN IMPROVISATION of representation
the following order, imagining how they would do it, generating short improvised
texts......
1-how dad and the neighbor greet each other,
2-a girl and a boy,

3-as we greet mom,
4-How we greet people we don't know,
5-how we greet an old friend..
6-how we greet the bride..
5-how we greet those who owe us money
GREETING WITH SOUNDS ACCORDING TO AREAS OF THE WORLD
Imagine greetings in different areas of the world
1How would you greet each other in Alaska?
2How would you greet each other in Russia?
3How would you greet each other in Arabia?
4How would you greet each other in Argentina?
5How would you greet each other in Germany?
6How would you greet each other in the Vatican?
7How would you greet each other in China?
8How would you greet each other in Africa?
9How would you greet each other in India?
GREETING WITH SOUNDS ACCORDING TO ANIMALS
Imagine greetings like different animals incorporating their sounds
1How do cats greet each other?
2How do dogs greet each other?

3How do scorpions greet each other?
4How do little birds greet each other?
5How do elephants greet each other?
6How do monkeys greet each other?
7-expand the list with other animals

THE INVENTED GREETING
Now let's invent other ways to greet each other.
1-What would a greeting be like with...
a- the shoulders,
b-with eyes
c-with your back,
d-with your knees
e-with the hip
f-with your mouth
2-What would it be like with an element in your hand?
a- with a handkerchief
b-a part of our clothes
c-a broom
d- any element at hand, folders, chairs, etc.
WAYS TO WALK WITH DIFFICULTIES
The actors walk slowly and vary according to the instructions.
1- they walk with tight shoes
2- walk poised
3- stealthily on tiptoe
4- limping on one foot
5. very short steps
6- very long steps
WAYS TO WALK WITH ATTITUDES
1- walk sad
2-walk happy
3-walk leaving the court
4-walk dancing
5-walk sobbing
6-walk crying
7-walk laughing
WAYS OF WALKING ACCORDING TO THE PROFESSION
1- walk like soldiers
2- as cures
3- like thieves
4- like prisoners
5- as catwalk models
6- as buddies
7- like karatekas
8- like robots
9- like pregnant
10- like Chaplin
11- like drunks
12- like clowns
WAYS TO WALK ACCORDING TO SPACE (include sounds if necessary)
1- on ice
2- on rocks spaced by water
3- about water
4- about clouds
5- about air
6- about fire
7- about soap
8- about balls scattered on the floor
9- on a thread
10- clinging to a rope
WAYS TO WALK WITH IMAGINED ELEMENTS
1-like old man with cane
2-kicking stones
3-On skates
4-on a bicycle
5-by car
6-by plane
7-Like a baby who pooped
8-like blind people with a cane
9-like blind people in a dark room
10-carrying a sack of potatoes
11-carrying a wounded man
12-Crossing the desert without water
13-Crossing quicksand
14-entering and leaving doors
15-entering and exiting through windows
16-entering and exiting through very low caves
WAYS TO WALK SPORTSLY
1-like a pedestrian runner
2-like a basketball player

3-like a footballer
4-like a tennis player
5-like a swimmer
6-like an athlete
7-like a discus thrower
8-like a rugby player
9-like a boxer
WAYS TO WALK UNDULATING
1-We walk straight as if the body were holding onto a board
2-We walk with the body leaning forward as far forward as possible
3-We walk with the body backwards, as far back as possible
4-We walk with the body inclined to the right, as inclined as possible
5-We walk with the body leaning to the left, as leaning as possible
6-We walk with our body crouched, as close to the body as possible.
7-We walk with our arms raised, swinging our bodies and arms in the wind.
9-We walk with our arms forward and our body in a position to push an object.
10-We walk with our arms back and the body in a position to drag an object
WALK IN MIRROR
All participants walk in single file but it is the one in front who will mark the way
they walk, all those behind will imitate him.
After the imitation, the person in front will go back to the last row and whoever is
in front will continue, generating another way of walking.
To copy the imitations you can use any of the walking exercises previous to this
one.
SEQUENCED WALKING
All participants walk in single file but with the left and right steps marked and
counted.
1- They begin to walk in a row synchronizing their steps together left and right,
they stop and move forward 5 times in the most synchronized way possible,
everyone has to start and stop simultaneously.
Although it seems easy, it is difficult to achieve total synchronization.
2- They take 3 steps forward and the fourth stops, then they continue 5 times.
3- Take 3 steps forward and the fourth step will be done one step back, repeat 5
times.
4- They take 4 steps forward and the 5th step is two steps back, repeat 5 times.
WALK WITH RHYTHM OF BEATS
All participants walk in single file to the rhythm of the teacher, who will beat a
drum or play a sound element.
Each blow will be done in different spaces, times or rhythms,
Each blow will mean one step. (spaced blows will begin until abundant blows or
with rhythm like those of the conga)
If you use two sound generating elements, one can mean steps forward and
another steps back.
WALK TAKING PHOTO WITH UNEXPECTED SHAPES
The participants will walk until the teacher gives an order "Go", immediately the
most determined participant will shout a way that all participants must imitate.
For example
tree
scissors
etc
There will be no turns to shout out the form to copy, so two or 3 simultaneous
orders can be added and each participant will make the order that best suits
them.
Orders can be thematic
Orders can be with elements without movement or with movement

1- animal shapes
birds
cats
elephants
giraffes
etc
2- forms of house elements
Vases
standing lamps
TV
etc
3- forms of people
firefighters
witches
soldiers
etc
IMAGINARY PUPPET PLAYER
The objective of this game is to be attentive to the other and adapt to their
rhythm and possibility of movement.
This game is played between two.
One is the puppet and the other is the puppeteer.
The one who plays the puppet stands with his arms hanging down.
The puppeteer touches with a finger the place where the imaginary string is tied
and then, by pulling it, the puppet moves in the corresponding direction.
When the puppeteer releases the strings, the puppet returns to its initial
position.
After several attempts they change: the one who was a puppet becomes the
puppeteer and vice versa.
Try to make slow movements that the other can do.
PUPPET PLAYERS WITH THREADS
Also the same as game No. j0019 above, the objective of this game is to be
attentive to the other and adapt to their rhythm and possibility of movement, but
in this case there is the possibility that each string is moved by a different
puppeteer.
Four strong threads or a nylon rope will be used to tie the actor to each wrist
and each knee.
The puppet actor will be seated, doing an improvisation and the puppeteers
must move their limbs according to the theme.
With the exaggerated movements of the threads, we try to move the hands and
feet to try to give the expression, related to the text.
The puppet must exert a small pressure counteracting the loose thread, to
determine the movement.
The themes can be:
1- I have a headache
2- new shoes make me tight
3- I feel cold
4- I feel hot.
If good synchronization is achieved with the movements, try the standing

puppet-actor.
PUPPETS OF A SINGLE IMAGINARY THREAD
They are all puppets, and at the same time their own puppeteers, the
coordinator indicates the place where the imaginary thread will be and from
where the thread will be pulled.
Let's imagine that we have a thread tied somewhere in our body.
1. the ears
2- the nose
3- the mouth
4- one shoulder
5- from one knee.
6- one foot
7-alternating one and one the aforementioned parts
and takes us from one side to the other
1-to the side
2-towards the opposite side
3- up
4- down
This game can be combined to achieve coordination that when the first person
pulls, the rest only move in single file as if the threads were placed in tandem.
EXPRESSION WITH GUTURAL SOUND
At first, the game is played in groups of two, improvising a theme where the only
way to express oneself is with a guttural sound.
It should always be the same but with different nuances of expression
You can improvise with the following situations
1- I saw an alien
2- A seller and a buyer
3- The thief and his victim

4- A boyfriend and a girlfriend
5- A policeman and a drunk
There are many themes that can be improvised with this game
Each group can give the theme a tone
1- dramatic,
2- comic
3- violent
4- romantic
5- neutral
You can repeat the same theme later with a different tone.
EXPRESSION WITH A SINGLE WORD
It consists of groups of two improvising a theme where the only way to express
themselves is with a word that must always be the same but with different
nuances of expression.
Imagine a situation, for example, a salesman serving a buyer.
But they do not know how to speak with the full range of words that we have in
our real lives, the seller should only say “bra” and the buyer “panties”.
So every time the buyer speaks, he says what he wants, repeating the word
“bodice” in various ways, although he tries to convey his concern about selling
to the buyer;
The same person may only answer “panties” although he tries to explain that he
does not need the element that the seller wants to offer.
You can improvise with the following situations
1- I saw an alien
2- A seller and a buyer
3- The thief and his victim
4- A boyfriend and a girlfriend
5- A policeman and a drunk
There are many themes that can be improvised with this game
Each group can give the theme a tone
1- dramatic,
2- comic
3- violent
4- romantic
5- neutral
You can repeat the same theme later with a different tone.
FACE THE LINE WITH WORD EXPRESSIONS
This is a highly inhibitory game.
All the participants are in line,
The first one in front turns around and generates a word to the participant
behind. After doing so, he becomes the last in the line and whoever follows
repeats the action.
Each one improvises different words with the same theme.
Thematic variables can be
1- words of love
a-i love you
b-I love you
c-I love you
d-I idolize you
e-you are my life
f-you are my being
g-encourage word improvisation
2- words of hate
a-I hate you
b-I can't see you
c-unhappy
d-I repudiate you
e-you disgust me
f-garbage

2- words of joy
a-I'm happy
b-live life
c-what a beautiful aroma
d-how well I am
e-today river
f-I like to sing
3- bad words said in the diminutive
a-stupid
b-dumb
c-whore
d-tardito
e-trash
f-unhappy
You can vary the game by interpreting a word and expressing the opposite with
your body and face.
For example :
1-Say words of happiness in the saddest way possible
2-Say hateful words in the most loving way possible
3-Say words of kindness in the most malevolent way possible
4-Vary the possibilities by consulting them with the group
FACE THE LINE WITH BODY CONTACT
This is a highly inhibitory game. All participants are in line.

The first one in front turns around and generates a CONTACT expression to the
participant behind.
After doing so, they become last in line and whoever follows repeats the action.
Each one improvises a different slogan.
a- in silence
1- touch the partner's face and generate different expressions
2- hug him in different ways
3- touch another part of the body
4-encourage contact improvisation
repeat in the same way but with words
b- with onomatopoeic or guttural sounds
1- touch the partner's face and generate different expressions
2- hug him in different ways
3- hugs with words
4-encourage contact improvisation
TELEPHONE IMPROVISATION
A group is formed and a telephone speaker or a cell phone or any element that
simulates a telephone is used as an element.
The first participant will improvise a topic without announcing what it is and must
inform the rest of the participants what the topic is about, but only responding as
a counterpart to whoever is imaginary on the other side of the line giving us that
information.
The participant will not be able to directly report the topic, they will only have to
respond by giving basic data.
At the order of the coordinator, the phone will be passed to the next participant
who must at least guess what topic is being discussed by the first interlocutor.
With who?
Each person has to imagine who they are talking to and what they say... but
only without giving concrete information.
Others watching have to guess what the conversation is about.
7. GAMES AND DYNAMICS TO

CREATE STORIES
STORYTELLING GAMES
1. The invisible tale

I'm going to write an invisible story on the board. Pay attention to what I write and
complete the sentences respecting the key words you see.
A story is written on the board with missing words, entire sentences... so that the
children can complete it as they wish.
2. The sticky story

The class is divided into work groups. Each group will write on pieces of paper:
6 children one name
6 children one quality
6 children one action
6 children one place
Each group chooses one of each type of paper and makes up sentences. Later
they will get together and together they will create a story.
3. Story about
The envelope will serve as the cover, the title, a drawing, the names of the authors
will be placed on it... Inside there will be pages that contain five sentences or
paragraphs, depending on the level, (one on each paper). In front of the students,
each sentence or paragraph is introduced. Then, without anyone seeing it, the
pages are taken out and mixed, giving each boy or girl their envelope with "their
story." Absurdities, jokes, coincidences emerge... Rewrite the title, make the
drawings, etc.
4. Blank story
In my briefcase I have a very strange story that an elf gave me one day. He told
me: "You can only read it if you have imagination." Here it is. (Take out a blank
piece of paper, making sure the boys and girls realize that there is nothing written
on it.) I'll start reading and then you continue. (The "reading" of an invented story
that engages the children begins. After a while the narration stops and a volunteer
is asked to continue telling. It will be surprising what some people say about it and
the varied reactions of others.
5. Coconut cracker story

Students are asked to cut out 8x8 cm squares. We all write a story, alternating text
and drawing, in each square a paragraph or drawing. The squares are mixed up
and the boys and girls have to reconstruct the story.
6. Crazy story
Today you will collect press headlines and tomorrow we will write a "Crazy Story."
With all the headlines, mixing and changing them, the boys and girls will create
short stories, full of humor and fantasy. Ex: "Clashes increase in Baghdad." "Raúl
saved Madrid in Seville." Invention: "Raúl traveled to Baghdad and proposed to the
soldiers that they fly with him to Seville, thus saving himself from enemy bombs." A
story can be built from the new title.
7. Story album
Boys and girls cut out photos, drawings, stickers... of their real or fictional idols.
They stick each one on a card and then write biographical data, what they would
say if they met him, why they like him... They stick all the cards in an album with
transparent pages – so that the back of each sticker can be read – and they write a
short story whose protagonists are their idols.
The china in the pond : in the same way that when a china is thrown into a pond,
waves and different effects are produced around it, “the word thrown into the mind
by chance produces surface and depth waves.” Example: word “Chinese”. When
we make it sound and put it in our mind, they become clear:
 Words that start with “ch”: puddle, chocolate, pacifier…
 Words that start with “chi”: joke, fireplace…
 Words that rhyme in “-ina”: argentina, mina, rhyme, mandarin…
 Etc.
Simple and complex associations occur. One word attracts another by inertia.
A random word can work as a magic word.
The word “Chinese” could be broken down into:
 C: One hundred
 H: threads
 I: they imagined
 N: blackish
 A: cotton
“Words are like the surface layer of deep waters” (Wittgenstein)
The word <hello> : In Reggio Emilia, children used to take turns getting on a
platform to play “storyteller” telling a story of their invention. Can you make up a
story with the word <hello>? And with other words?
The fantastic binomial : Henry Wallon in his book The Origins of the Child's
Thought says that “thought is formed in pairs” , for example, the idea “soft” is
formed together with the idea “hard”. It is not formed before or after but
simultaneously.
Paul Klee, in his Theory of Form and Representation , writes that “contact is
impossible without its opposite. There are no concepts in themselves, but there are
regularly <>” .
So to choose a fantastic binomial it is good to do it by chance. For example: closet
and dog. A closet alone does not usually make you laugh or cry, but when paired
with a dog, it is something else:
 The dog in the closet
 The dog's closet
 The dog on the closet
 The dog in the closet
 Etc
The binomial can offer us varied fantastic stories. For example: The dog closet
seems to me above all a good idea for architects. It is made to store the dog's coat,
the collection of muzzles and leashes.
In general, there is too little laughter in schools.
There should be a trunk with old clothes in every house so that children could play
dress-up. In Reggia Emilia there is a whole closet.
What would happen if... : It's about asking ourselves questions to tell stories. For
example: what would happen if a man woke up transformed into a beetle?
“Hypotheses are like nets: you cast the net and, sooner or later, you find
something” (Novalis)
To formulate a question, it is necessary to randomly choose a subject and a
predicate. For example, with the subject “rivers” and the predicate “fly” it could
come out: what would happen if all the rivers took flight?
The arbitrary prefix : one way to make words productive is to deform them, in a
fantastic sense. For example, with the prefix “ des -” we can associate it with “ coat
rack ” leaving “ desperchero ”, which is not used to hang clothes but rather to take
them down without resentment when needed. Some prefixes:
 Bis-
 Maxi-
 Anti-
 Pre-
 In-
 Super-
 Mini-
 Etc.
One option to use the arbitrary prefix is to make two parallel columns, one of
prefixes and another of nouns chosen at random and combine them randomly as
well.
The creative mistake : A mistake can be an opportunity to write a story. If a child
writes in his/her notebook “it is the way of life” I can correct the error with a red
mark or follow his/her provocative suggestion, or for example with the confusion
between g and j: <> instead of <>, one can suggest that they invent the story of a
dance called <>. Will a << entanglement >> with two r's be more confusing than
others or will it be embarrassing? By laughing at mistakes you also learn.
Old games : Another option is to cut out titles from newspapers and magazines
and mix them to get absurd and/or funny news. For example: A judge / investigates
to be cleaner / given the failure of negotiations
Another option is to answer a series of questions that will configure events and a
story:
 Who was?
 Where was it?
 What was he doing?
 What did he say?
 What did the people say?
 How did it end?
 Other questions you can make up.
A group or person answers the first question on a sheet of paper and passes it
around without anyone being able to see the answer. The next group or person
responds to the second and so on. When finished, the entire story is read. The
same can be done through drawings .
Construction of a riddle: logic or imagination? We take “the pen” as an example.

 1st phase: estrangement. Definition of “the pen” as if we were seeing it for
the first time: plastic stick, cylindrical (approximate).
 2nd phase: association and comparison. Black White
 3rd phase: final metaphor. “It is something that traces a black path in a white
field.”
 4th phase: not essential. Give it a certain attractive form, for example, do it
in verse.
Riddle: on a white field, trace a black path. Solution: the pen .

Transforming stories : Children are sometimes conservative when it comes to
stories. They want to hear them again with the same words from the first time, for
the pleasure of recognizing them and learning them with their sequence and
experiencing the emotions in an order: surprise, fear, satisfaction... They need
order and reaffirmation. Sometimes we should not go too suddenly off the rails. It
may happen that at first the game of transforming stories angers them and makes
them feel in danger. It is important to know how to play it at the right time.
- Once upon a time there was a girl called Little Yellow Riding Hood.
- No, Red!
- Ah, yes, Red. Well, her dad calls her and…
- No, it wasn't his dad, it was his mom.
- It's true. He calls her and tells her: go to Aunt Rosita's house...
- Go to grandma's house; He told her, not from the aunt!
-…
Little Red Riding Hood in a Helicopter : based on the classic story, for example,
of Little Red Riding Hood, some key words are identified: “forest”, “wolf”, “flowers”,
“grandmother”, “girl” and the sixth word is the one that breaks the series:
“helicopter”. You can do the same with different stories. What happens if a new
word is added to the story?
Stories backwards : Reversing the stories as they are known. For example: Snow
White does not encounter 7 dwarfs but 7 giants. How does the story continue? It is
applying the inversion technique to a story.
What happens next : Once the story is finished, you can invent many different
endings or change the one that already exists and add more alternatives or a
continuation, the possibility of a
Story salad: some stories are combined with others, mixing characters, places,
events... For example: Little Red Riding Hood meets Thumbelina and his brothers...
Propp's letters : elements that appear in stories and have different functions. A
story can begin with the first function, the seventh or the twelfth. These are:
1. Remoteness
2. Prohibition
3. Transgression
4. Interrogation
5. Information
6. Deception
7. Complicity
8. Misdeed (or lack)
9. Mediation
10. Principle of contrary action
11. Departure
12. First function of the donor
13. hero reaction
14. Receiving the magic item
15. Displacement
16. Combat
17. Brand
18. Victory
19. Repair
20. The return
21. Persecution
22. Help
23. Incognito arrival
24. Deceptive claims
25. Difficult task
26. Task accomplished
27. Recognition
28. Discovery
29. Transfiguration
30. Punishment
31. Marriage
Each function can encompass its opposite. You can create your own <> deck of
your choice. You can also check out the storytelling game: Once Upon a Time
Stories in > : It is about telling a story with a specific slogan. For example: “tell the
story of the Pied Piper of Hamelin, setting it in Rome in 1973.”
The little glass man : Having a character (real: a whale, a person, from existing
stories (Cinderella, Thumbelina...) or imaginary, from invented stories) some
characteristics or material are attributed to him. An example: a glass man. You
must act accordingly. The matter could be analyzed like this, glass is:
 Transparent: man can read thoughts, he does not tell lies...
 Fragile: his house is padded, he transports it with trampolines...
 It can be colored: it is washable…
 Etc.
Other possible materials: ice, ice cream, butter, cellophane, marble, straw,
chocolate, plastic, smoke, almond paste...
Trip around my house : What is a table for a one-year-old child regardless of the
use made by adults? It could be a roof. Playing with things helps you get to know
them better.
The toy as a character, puppets and marionettes : two puppets chosen at
random also constitute a fantastic pairing. Scene changes and theatrical effects are
necessary. There are endless possibilities.
The child as protagonist : Corresponds to (and satisfies) his/her egocentrism. It
can be used for educational purposes.
Once upon a time there was a boy named Carlitos.

- Like me?
- Like you.
- It was me.
- Yes, it was you.
- What was he doing?
- Now I'll tell you
EXAMPLE GUIDE TO CREATE STORIES
- STORY TITLE
- DESCRIPTION OF THE CHARACTERS : with a quality (good,

serious, crazy,...)
- PLACE WHERE THE STORY HAPPENS .
- PROBLEM THAT PRESENTS AND BEGINS THE STORY.
- HOW THE STORY ENDS

ONCE THE STORY IS INVENTED, THE SCRIPTS OF THE
DIALOGUES OF THE CHARACTERS WHO APPEAR IN THE STORY,
INCLUDING THE NARRATOR, ARE PREPARED.
HELP TO CREATE SCRIPTS MAY BE LOOKING FOR COMPLEMENTS

TO CHARACTERIZE THE CHARACTERS. AFTER REHEARSING IT YOU
WILL BE READY TO PERFORM IT.
8. CALENDAR OF SESSIONS:
1st SESSION: Presentation and knowledge of the participants in the workshop.
2nd SESSION: Trust games in the group.
3RD SESSION: Dynamics and games to lose shame.
4TH SESSION: Games to learn to control your voice.
5TH SESSION: Body Expression Techniques.
6TH SESSION: Improvisation games and techniques.
7TH SESSION: Games to learn to create stories.
8TH SESSION: In groups we invent a story to be represented.
9TH SESSION: We finish dialogues from our story and rehearse them.
10TH SESSION: Rehearsal and character characterization.
11TH SESSION: General rehearsal for the sample.
12TH SESSION: Show the audience the stories we have created at recess

Resource Guide For The Theater Workshop

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GUIDE FOR THE

IES ENRIQUE TIERNO GALVÁN

1. GAMES AND PRESENTATION

2. DYNAMICS TO WORK ON TRUST IN THE

3. GAMES AND DYNAMICS TO RELEASE

4. GAMES AND EXERCISES TO TRAIN

5. BODY EXPRESSION EXERCISES AND

6. DYNAMICS AND GAMES TO WORK ON

7. DYNAMICS AND GAMES TO INVENT

2- THE BALL ASKS

6- Let's get to know each other

7. THE FRUIT BASKET

10. THE NEWS

12. THE CURIOUS

13. DIFFERENT BEHAVIORS

16. THE SECRET FRIEND

17. VOLUNTEERS TO FORM A GROUP

2. DYNAMICS TO WORK ON TRUST

“COLLECTIVE BALANCE: THE STAR”

Order the following list of activities from 1 to 8:

“THE DRUNK BOTTLE”:

“THE CONFIDENT PARACHUTER”:

"NOSE WITH NOSE":

“PASS THE FIAMBRE”:

“WOLVES AND LAMBS”:

“THE CASTLE OF SURPRISES”:

“THE ATOMIC SHELTER”:

3. DISINHIBITION GAMES AND

· Objective: that anyone can develop themselves.

Do you like your neighbor?

· Objective: know the name of each person.

Say it with mime:

· Objective: develop psychomotor skills.

Sale of Absurd Things:

· Objective: Develop understanding, the ability to understand messages and the

Tell a story with your feet:

· Objective: Develop ingenuity and body expression.

THE MONKEY - The entire group imitates the monkey's walk.

Variant - do the same imitating other bipedal animals.

Variant.- Perform these characterization movements in slow motion and fade-out.

ON FOUR LEGS - they imitate quadruped animals (not the knees).

MECHANICAL TAPESTRY. - Everyone lying together on their dorsal ulna on the

RELAXING MASSAGE. - You work in pairs, one actor standing in a relaxing

POWER LOADING AND DISCHARGING. - In a circle, the energy is charged

MECHANICAL DOOR.- With two broomsticks, two quotes or two long

MARCHING WITH OBSTACLES. A path is set along which obstacles will be

THE RABBIT .- It is executed in two stages:

4. GAMES AND EXERCISES TO

SYLLABLE READING.- A paragraph is read in syllable form. Pronouncing as the

VOICE WARM-UP. - (with complete or diaphragmatic breathing) emit a moo (cow

EXERCISES FOR TONGUE VIBRATION (preparation of the sound "rr").

· The same exercise, but with the lower incisors.

· Quickly articulate the sounds: “tttt…”; “dddd…”; “tdtdt…”

· Quickly articulate “la-la-la-la…”

· Likewise, trying to lengthen the sound as much as possible, combinations of this

EXERCISES CORRECTLY ARTICULATE DOUBLE DIRECT SYLLABLES

PROCEDURE: The exercises should be aimed at unfolding the double consonant,

Ex.: To pronounce "BLANCO", the symphon "BL" will have to be unfolded by

3. Skinny, flute, arrow, fringe, lazy, floats, flow, phlegm, flatus,...

4. Ember, arm, brief, gap, shine, breeze, brush, witch, mist,...

5. Prado, prisoner, premium, price, soon, hurry, test, teacher,...

7. Of course, clergy, climate, class, chlorine, carnation, client, clove, ...