To creativity and the art of reincarnation. Hensōjutsu or the art of disguise

Outline of the art lesson "The Art of Reincarnation"

Explanatory note

On the this lesson Students learn about the history and development ofmakeup as well as professionmake-up artist . Presentations (I) are used when reporting a new topic. In practical work, students use the application (II) (sequence of work withmakeup etc.), and then make-up according to the given samples. Practical music goes to the music ("Princess Turandot") (III). The lesson promotes team building (work in pairs and 3-4 people), corrects the psychological state of the student, helps to get rid of the complexes. In addition, it maintains interest in the subject, develops the aesthetic perception of the theater, metasubject connections and is a career guidance work.

Students use the following expressions:

composition;

color;

line;

hatch.

Based on this, further work in the lesson can be built, taking into account the individual characteristics of students.

The lesson ends with a photo session and viewing of their work on the computer. This lesson development can be used in art lessons, career guidance lessons or electives, and school holidays.

Planned results

The student must understand the meaning and interconnection of various types of art, their place and role in the spiritual life of a person, aesthetically perceive the diversity of the artistic picture of the world. Be aware of features artistic language various kinds of arts.

Universal learning activities

Personal: the establishment by students of the connection between the purpose of educational activity and its motive (the motive is to master the expressive possibilities of makeup and the ability to use them; the goal is to study various types of arts (theater, singing, choreography).

Regulatory:

setting a learning task;

determination of the sequence of intermediate goals, taking into account the final result;

anticipation of the result and the level of its assimilation, its temporal characteristics;

comparison of the method of action and its result with a given standard;

making the necessary additions, changes to the plan and method of action;

highlighting and awareness of what has already been learned and what is still to be mastered, awareness of the quality and level of assimilation;

education of volitional self-regulation.

Cognitive:

Transformation of an object from a sensual form into a model (make up yourself or a friend according to a given model, use various make-up techniques to achieve additional effects and greater expressiveness).

The choice of effective ways to solve the tasks;

Monitoring and evaluation of processes and performance results;

Extracting the necessary information, the ability to structure knowledge;

Independent creation of ways to solve problems of a creative nature.

Communicative: social competence, taking into account the position of comrades and teachers, the ability to listen and engage in dialogue, participate in collective discussion, integrate into a peer group and interact and collaborate productively with peers and adults.Equipment: make-up illustrations, make-up technique posters, make-up, cotton buds, cosmetic pencils, wigs, make-up removal wipes, make-up photos, make-up photos, projector + screen, large mirrors, costumes of fairy-tale characters, puzzle sheets and a self-assessment table

During the classes

7. The structure of the combined lesson.

1) Organizational stage.

3) Actualization of knowledge.

6) Primary fastening.Practical

VII. Primary fastening

VIII.

I. Organizational stage.

Greeting, mood for work, checking readiness for the lesson.

II. Setting the goal and objectives of the lesson

We continue to work on the Magic Theater project. Today's lesson, which concludes on the topic, is devoted to the "Art of reincarnation."

"The whole world is a theater, and the people in it are actors"

– How do you understand this statement?

– To whom do these words belong? (Shakespeare)

– Who is Shakespeare?

(English poet, actor, who had a huge impact on the development of creative art

We are with you throughoutIquarters dipped in wonderful world theater. We learned a lot about what and how the theater lives and what people who create this wonderful world of theater work there. The theater is a collective work and people who create this holiday work in it. What professions are there in the theater? Let's remember what qualities a director, decorator, screenwriter, costume designer, sound engineer should have.

Before you are sheets with a crossword puzzle, where the more accurate name of our topic is encrypted.

Announcement that all tickets are sold. (Full house)

Performing art genres (opera)

3.(Director) This is a creative worker of the theater or cinema, carrying out the staging of a film or performance. Director of performances, films, circus and variety programs, radio and television programsProfessionally important qualities: high erudition; ability to work with people; strong character;

will; active life position; artistic flair; the ability to think in visual images;

observation.

4. Genre founded by Marcel Marceau, based on the plasticity of the body, imagery and gesture metaphor (pantomime)

5. Assistant director and actor who realizes the image of the hero, emphasizing those or other emotional feelings that the hero experiences with the help of a costume (Costumer). Patience and love for people, professions, the ability to draw sketches, a rich artistic imagination, interest in working with fabrics, manual work, good color perception.

6. The most important, without which there is no theater, is? (actor)

7. The author of the script who can compose an original plot (screenwriter). The qualities that hard work, self-confidence, attentiveness, intuitive thinking, erudition should have)

8. Artist-performer writing scenery according to sketches (Decorator). Possesses non-standard creative thinking, creative rich imagination, accuracy, attention, flexibility of thinking.

9. Specialist in sound recording and sound processing (sound engineer). Qualities: ear for music, memory for sounds, ability to master technical devices for sound recording and its processing.

II. Setting goals and objectives for the lesson. Motivation learning activities students.

Defined the words and our topic of today's lesson (makeup and mask)

Today in class you will learn aboutthe role of make-up and mask in everyday life and theater. You will try visual means of reincarnation: make-up and masks, as well as methods of applying make-up and creating an artistic image of a fairy-tale hero.

III . Knowledge update.

The form dialogue:

- So what is makeup for?

- Most often, makeup is used in the theater, cinema and circus.

- Makeup is needed to change the face.

- To make it more interesting and clearer who is who in the play.

The purpose of acting art is acting, a game in which the actor transforms into someone else. Of course, this reincarnation is conditional. What should be the make-up - the director decides with the theater artist. Make-up cannot be found ready-made, torn off from the image, outside of it. Properly selected makeup is a great and subtle art.

There are two ways of acting transformation: external and internal. These are the traditions of the folk theater of "performance" and the theater of "experience". The dramaturgy of the "theater of experience" required the actor to be born on the stage of a full-blooded image, when the viewer follows the development of the hero's fate, changes in his character, and "the embodiment of the life of the human spirit on the stage" takes place. True, the actor's existence is based on the finest internal technique.

The use of means of external expressiveness (costume, wig - hair glued to the fabric, make-up) in this case serves to embody a dynamically living image.

IV . Primary assimilation of new knowledge.

1 .(Include presentation "The Art of Reincarnation"

2.GRIM (French grime, from the old Italian grimo - wrinkled), the art of changing the appearance of an actor (primarily the face) in accordance with the requirements of the role being played.

3 .Grim is an extremely ancient art, it originates from primitive rituals associated with the "revival" of the totem - an animal that is the coat of arms and patron of the tribe. Some forms of theater based on the ancient classical tradition (Japan - "but" and "kabuki"; Indonesia - "topeng", traditional Chinese and Indian theaters) and today retain extremely conditional type make-up, when the painting of the actor's face is as close as possible to the mask.

4 .There are several types of makeup. Scenic makeup is use

5 .Volumetric make-up

6. Plastic makeup. Creation of a stage image.7 .Light theatrical make-up

8. Age makeup - the art of aging and rejuvenation

In the very general view make-up types can be divided into "realistic" and "conditional". Realistic makeup. The main goal of realistic makeup is to achieve high degree lifelike character. Here you can select a number of areas of makeup:

8. When developing realistic makeup it is often impossible to limit oneself to changing the face; everyone puts on makeup open areas body, especially the arms and décolleté. For example, when a young actress plays an age role, then a smooth, wrinkle-free neck can destroy the credibility of the image.

9. Conditional makeup

The principles of conditional make-up are based on the rejection of realistic traditions, on the exaggeration of individual features, features, qualities of the character, or on the use of the style of a particular aesthetic trend. The main directions of conditional makeup:

1. Genre (Pierrot's whitened face in ; "masked" make-up of classical theaters of the East; using the traditions of ancient tragedies; clown painted smiles all over the face; etc.);

10 . Grotesque, or eccentric (the principle of characteristic make-up brought to the maximum);

11 . Fairy-tale, or fantastic (used in the embodiment of fictional characters, or "humanized" images: Baba Yaga or Kashchei the Immortal in Russian fairy tales; Bread, Fire, Cat, etc.

12-13. Age make-up - the art of aging and rejuvenation

See how to apply age makeup step by step

14 .Dark eyeliner

15 .Eyeliner using cold tones

16 .Wrinkles on the forehead, darkening of the sides of the nose.

17 .Creases around the mouth, chin

18 .Nasal folds

19 .All lines should be shaded slowly.

20-21 Make-up paints change the actor's face with pictorial techniques: the general tone, strokes that form folds, change the shape of lips, eyebrows, face oval, in combination with the developed lighting score of the performance, allow to achieve the desired effect.

For a strong change in the shape of the face, which cannot be achieved only with the help of make-up paints, a variety of stickers are used, both flat and voluminous. For example, you can make a snub nose or an Asian eye slit using a special patch.

The most important means of make-up, which allows you to significantly change the face and general appearance of the character, are various post-production products (wigs, mustaches, beards, hairpieces and other hair patches and stickers). They are made from both real and artificial hair and are widely used in all types of makeup. An artist who designs makeup and helps an actor change their appearance is called a make-up artist.

22 .THEATREMASKS23 . Theatrical masks - special overlays with a cutout for the eyes (as a rule, the shape of the mask repeats the human face) have been used since ancient times in order to convey the character of roles and emotional mood.24 .Masks are: Carnival,25 .Ritual,26 .Comic and tragic. They are made of paper, papier-mâché, plaster, wood, metal and other materials.27 .Many theaters use theatrical masks made by professionals from Venice, where theatrical carnivals and festivals have been held for several centuries. Only by observing complete harmony between all of the above means of acting, you can count on the recognition of the audience.

V . Initial check of understanding

28 . In the staff of the theater, a make-up artist is as necessary as a director or actors. It is the make-up artist who conjures up the faces of the actors before the performance, helping to create the desired image.If deep scars are present in the image, warts use material such as . With the help of skillfully applied make-up, you can change the shape of the face, age the actor or make him younger, as well as emphasize the character traits of the hero of the play. Some actors do their own makeup. In order to successfully make up, the actor must not only know his face well, but also take into account the character of the character, the image of which he will have to embody on the stage.

Profession Make-up artist invents make-up to create a certain image or resemblance to a historical character, selects wigs, beards, overlays, hairstyles and other details that emphasize the image of the hero. This reincarnation, created by the actor together with the artist, sometimes even constitutes the essence of the whole performance. Make-up artist must be proficientARTpastige , a sense of tone, line, color, hairdressing, knowledge of the history of hairstyles, the ability to create them. (Entry in notebooks)

Today at the lesson we have make-up makeup and watercolor.

How to apply makeup, I'll show you on the mask. The main thing is to create artistic image hero

VI . Primary fastening

How is makeup applied? Make-up artist work with an actor

Start by lubricating the actor's skin or . This is necessary to create the effect of "elasticity" of the skin.for the subsequent easy shading of a make-up.

Then proceed to the selection and application of the general tone (base). If the basis is neglected, the actor's face in theatrical light will look gray, to some extent painful, visually "lost". The appearance of the character depends on the chosen base color. It can be used to judge age, race, even character actor. It is important to remember to apply foundation to the actor's earlobes and neck so that the facial makeup itself does not look like a mask.

The next step in makeup is applying . Not only make-up artists can do it masterfully, even an ordinary woman can do it. But the technique of applying makeup in the theater is somewhat different: they start from the protruding part of the cheekbones smoothly, in small strokes, moving to the eye socket and to the ear; then from the inner corner of the eyes we “lead” to the wings of the nose; and finally, we pay attention to the temples, brow ridges, then the chin and earlobes. The main techniques for correcting the face (narrowing or expanding) are done if necessary.

Then the make-up artist draws the details of the face: forehead, eyes, eyebrows, nose, cheeks, lips of the character, depending on his image and the idea of ​​the performance as a whole. This is the most laborious and main part make-up work. Here you need to understand and take into account the individual characteristics of the facial features of the actor. In conclusion - for the harmony of the created image(10-15MIN.)

VI . Primary fastening Practical work. To the music from the play Turandot»

Now we will be real make-up artists.

In order for the make-up to turn out to be accurate, the make-up artist takes a photograph of the desired character and, already looking at it, the actor applies the make-up.briefing Remove makeup with a cotton swab, with any cream. We work with a brush carefully, do not get paint into the eyes. The actor must be seated so that the light falls on him.

Practical work. Students are divided into make-up artists and artists.

VII . Theatrical demonstration of the work done. Staging fragments from the play "Flying Ship". First public speaking. (Debut) So, sit back, our actors are ready to perform.

IX .Control of assimilation, discussion of mistakes made and their correction

1. Necessary for playing on stage face decoration. (Makeup)

2. False hair sewn onto a fabric base. (Wig)

3. The one who tells the actors the text of the role. (Prompter)

4.Special overlay that hides the face, with cutouts for the eyes. (Mask)

5. Substitute for the main performer of the role. (understudy)

6.Items imitating genuine ones. (Props)

IX. Reflection: oral review of the viewed performance (Director) , we often resort to enthusiastic assessments - the phrases “how believable he played”, “the actor felt this role”, “he embodied in his hero”. It happens the other way around, and in this case, the definitions of "pretending", "lack of life", "serving a role" are used. Stanislavsky lives in each of us with his “I don’t believe!”. Not uncutInternal reincarnation - the ability of an actor to fully live on stage with the thoughts and feelings of his character.

Grim of the soul - in the system of Stanislavsky - the concept of the process of stage reincarnation; correctly understood and grasped the essence of the character and the typicality of the character.)

Project participants share their opinions. Groups evaluate the work of each participant. The actors give their assessment of the make-up, the make-up artists evaluate the actors, note the positive and negative sides make-up, masks, costume attributes. How makeup helped transform into a hero (as an artistic image). The teacher evaluates the work of the groups as a whole.

X . Outcome: We come to the conclusion: The art of the theater is collective. Also, decorators, costume designers, make-up artists, and, of course, actors take part in the creation of the performance. Of course, not the last place is occupied in the theater and artists. They create scenery for theatrical performances, decorate and decorate the stage, backstage, hall. Create flyers and posters. Not one performance is complete without the talented hands of make-up artists who skillfully know how to turn an ordinary actor into a mysterious creature, monster, fairy-tale creature or literary hero, historical genre.

Self-esteem. Self-assessment sheets are distributed. Project assignments are displayed on the screen. They evaluate the work, the editor-in-chief displays the results

The actor is the basis of theatrical art and the bearer of its specificity. Acting art is acting, the art of reincarnation. Magic "if". Conventionality of theatrical art: truth and fiction of the world on the stage. The faith and imagination of the viewer are components of theatrical art. Actor - director - ■ artist and their role in collective creativity.

X.D/z.

Try to do makeup at home and make up yourself, and let your mothers take pictures of you, and we will make an exhibition of photos for the best makeup.

Introspection of the lesson
Today's lesson "The Art of Reincarnation" was held in the 9th grade. It matches perspective plan school curriculum edited by Nemensky. The lesson is based on the students' knowledge of the section "Fine art, design and architecture in human life", the topic "painting and graphic exercises" on the possession of students' skills graphic image. The lesson motivates to a deeper study of the history of the theater and its art.Knowing the peculiarities of adolescence, I tried to reveal the topic of the lesson through project activities, which was held during the first quarter and for 7 lessons. Today's lesson was the last and was devoted to makeup and mask.To acquaint students with the history of makeup and masks, the features of their implementation -the purpose of my lesson. To do this, I performed the following tasks: educational: formation of skills in applying make-up and masks, applying them in practice: Showing fragments of the play "Flying Ship"

Developing: improve the ability of figurative thinking and representation, highlight the common and the different. Development creativity. To develop the ability to express value judgments in the process of discussing work performed, to respect the opinion of a friend.Educational: to cultivate respect for theatrical art, the art of reincarnation through acquaintance with the poster, scenery, costume and acquaintance with professions, since the class is pre-profile and seeks to know oneself, choosing one's interests and abilities.P type this- a lesson in the application of skills and abilities , in appearancepractically creative. The creative task required students to put on their own make-up, and with the help of means of expression make-up, masks, costume elements will transform into the heroes of a fairy tale and creatively show their characters.This type of lesson was not chosen by chance, because the acting and creative task gives meaning to learning, motivates students. In doing so, I usedpaired form of organization activities using theatrical elements. With this form, creative activity develops, independence is checked and the work of each student and work in a group is evaluated.For best results in class, usepresentation, make-up master class.whose tasks were called upon:with the help of make-up and masks, teach children to express their feelings and form a positive worldview in them.
I have also used different working methods: methods of organization and implementation of educational cognitive activity: crossword, verbalstory, staging a fragment of the play.

I believe that the story serves to enhance the cognitive activity of students.visualdemonstration ( presentation, master class, showing an excerpt from a fairy tale.)

One of better ways The development of creative abilities in students is the formation of figurative perception, on the basis of which an artistic image is created. And if the artistic image is the most unusual, that is, it combines the incompatible, then the ability to create is higher. But for this it is necessary to tune the strings of the soul, to catch inspiration. The unexperienced, the unfelt emotionally cannot be realized: the unconscious cannot be embodied. That is why the brightness of visibility, I would say "juiciness" should be a lot. And of course, the verbal and visual methods should complement each other, which I did. At the 1st stage, the lessonpracticalperforming aging makeup sketch.

reproductive. The practical work of children at the first stage of the lesson was of a reproductive nature. The students applied according to the model (subsequence ) previously acquired knowledge of applying makeup. Reproductive exercises especially effectively contribute to the development of practical skills and abilities, since the transformation of skill into a skill requires repeated actions according to the model.5.partial searchthe main stage of practical work was connected with independentapplying make-up and painting masks, pastige. 6.Self workindependent work was carried out as per my assignment - (execution sequence) , and on the student's own initiative, without instructions and instructions from the teacher. The guys are quite mature and were able to cope with the task on their own.In the lesson, I used specific methods for artexplanation and instruction To increase student motivation, I usedmethods of stimulating and motivating learning: throughout the lesson, the interest of the children was supported by creating various situationscreating a situation of emotional experience(presentation + story + Shakespeare's statement, music, pre-profile orientation for high school students)

Situations of novelty, relevance,(data about popularity in many countries)

To maintain a relationship with students, I used

methods of control and self-control in training: applied briefing

The whole lesson is divided into 9 stages.

The structure of the combined lesson.

1) Organizational stage.

2) Setting the goal and objectives of the lesson. Motivation of educational activity of students.

3) Actualization of knowledge.

4) Primary assimilation of new knowledge.

5) Initial check of understanding

6) Primary fastening. Practical

VII. Control of assimilation, discussion of the mistakes made and their correction.

VIII. Reflection (summarizing the lesson)

IX.Information about homework instructions for its implementation

The main stage is a practical work of 30 minutes. All stages were logically connected and worked on the main one.
1. Organizational - set up students for a working mood.
2. Setting goals and objectives for the lesson. Motivation of educational activity of students- created intrigue to decipher the topic of the lesson
3. Knowledge update. Story - helped create an artistic image for the future presentation.
4. Primary assimilation of new knowledge. A story about make-up and methods of actor's transformation. Presentation on the types of makeup

5. Primary check of understanding. A story about the profession of a make-up artist, a master class

6.Primary fastening.Practical work, the guys themselves paint the characters from the fairy tale

7. Control of assimilation - elements of theatricalization. Oral review of the work of the make-up artist and actor.

8 Reflection (summarizing the lesson). We come to the conclusion that the theater has a collective character. And the result depends on each. Self-esteem.

9. Information about homework, briefing on its implementation

At each stage of the lesson, the formation of meta-subject concepts took place. universal learning activities. Namely:
cognitive - familiarity with makeup, mask.
figurative-symbolic - creation of an artistic image
regulatory isolated and saved the target-sample , children were guided by the pattern and rules for performing the action, controlled and corrected themselves, and evaluated the result of the work.
Communicative -cooperated with me, with classmates, realized the content of their actions, independently planned ways to achieve the goal.
The lesson was aimed at:
-development of attention, imagination, memory of students.

- their awareness of the content of the lesson, the sequence of actions.

- the formation of a reflective, adequate self-esteem;

- formation of a holistic worldview corresponding to the current level of development of science and society, taking into account the cultural diversity of the modern world.

- the formation of a conscious respect for another person, his opinion about the theater, the traditions of the theater.

- through the development of the artistic heritage of the theater in the world to the development of aesthetic consciousness and creative activity.

The objectives of the lesson were achieved, the lesson plan was completed, the lesson material was learned by the students.

The use of scouts in the camp of the enemy was known hundreds of years ago, and was even recorded in the "Art of War" by Sun Tzu. The ninja adopted and developed numerous camouflage and surveillance techniques in Japan during the Middle Ages. So the strict classification of layers and classes of Japan, as well as the certainty in the costumes of each "caste" only helped spies and scouts to conduct surveillance from a guise in which no one could detect and recognize them. Even hairstyles for different classes could be different - remember the famous samurai bun, for example.

It is traditionally considered that city ​​ho de" (or " shichi ho de") were typical variants of shinobi impersonations, such as:

1. 出家 Sukke, Buddhist monk
2. 虚無僧 Komuso, a wandering monk in a hat that completely hid his face
3. 浪士 Ronin or tsunegata, a samurai without a master, a mask that allowed you to equip yourself to the fullest
4. 商人 Akindo, merchant
5. 楽士 Gakushi, musician
6. 山伏 Yamabushi, mountain warrior monk, ninja distant cousin
7. 旅芸人 Sarugaku or tabiganin, actor or circus performer with a monkey

But the shinobi never purposefully fettered themselves to any limits, and the above-mentioned identities were simply the most typical representatives of unfamiliar faces (tramps, if in Russian) in new places. In the same way, shinobi could pretend to be a samurai, an ambassador, and generally anyone - there are known cases of dressing up as devils ( they) or ghosts.

In order to fully meet the chosen role, shinobi studied the habits, customs and variations in the appearance of representatives of this group for a long time. From this we can conclude that the ninja were not only good fighters, as is commonly believed, but also actors, psychologists and sociologists, because the slightest inconsistency in the behavior of their disguise could sometimes cost the lives of not only the ninja, but also his family and clan.

For female shinobi kunoichi, the range of roles was no less, although it seems that women rarely traveled, much less alone. Therefore, kunoichi either got used to the role for some time in one place (as a rule, playing the role of servants of miko temples, maids, peasant women ..), or traveled as wandering soothsayers, fortunetellers, prostitutes.

To change the appearance, ordinary clothes of the required class were used. Features of the "second personality" - lameness, illness, injury, and so on - were achieved by special methods (uncomfortable shoes, hunger strike, masterful make-up). It was necessary not only to depict all this, but also to behave as if one had long ago put up with these shortcomings. To do this, ninjas sometimes acted similarly to modern Hollywood actors - for some time they lived next to their future "personality", if there was such an opportunity, adopting habits and skills. And if everything was quite simple with the "worker-peasant" class, then it is quite difficult to master creative professions even modern man. Do you feel like learning how to juggle?

Today

Modern society provides not an example more possibilities for reincarnation than before. The ability to easily purchase both casual and business clothes allows you to instantly change your look to a completely different one. The lack of religious clergy on the street is fully compensated by representatives of subcultures wearing rather catchy, distracting elements of their appearance.

And such things as reversible clothing (dark on the outside, catchy on the inside) or wide raincoats, as it used to be universal, today it allows you to change your look in a matter of seconds before being completely unrecognizable, just add a couple of distracting touches, like a bright headdress or a massive jewelry . And how many women change a simple ring on their finger in the eyes of women, and it’s not worth saying.

Define your totem. Full description magical properties of animals, birds and reptiles Andrews Ted

Exercise 5

Early in human evolution, before we had a permanent physical body, we may have been able to change our appearance freely. When the body was less dense, we had the ability to take on any form. Now for this we have to use imagination.

The art of werewolves is inherent in all people without exception. It's not just about turning into an animal. Every day, at a certain level, we change our energies to fulfill the demands that life in society imposes on us. FROM early childhood we know when to smile, when to be serious, how to make excuses, or how to assume different roles depending on the situation.

Most of the ancient myths and traditions about reincarnation reflect a time in human evolution when we were not so attached to physical body. Today they must be interpreted symbolically. Reincarnation is the process of adjusting and changing your own energies to suit the demands of the moment.

Everyone who is able to learn how to achieve a goal has the art of reincarnation. If you can adapt to change, pleasant or not, then you can consider yourself a werewolf. If you can force the will to change Bad mood for good, if you can adapt to relationships with a large number of people and under various life circumstances, then you have the art of reincarnation.

In this art, we can all reach a high level. We can learn to resonate with the energies of a particular totem animal and use them in our lives. When we learn to do this, we will begin to realize that there really is magic in the world.

Today, all magical changes take place primarily at the level of your mind. This does not make them any less real or less effective. When we recognize this, we enter the path of real magic. Gradually, you will learn to control your imagination in accordance with your desires. When we change what goes on in our heads, we will change the world. We can learn, with the help of imagination, to achieve a certain goal, to reincarnate into another being.

That is what this exercise can teach you. This is just the beginning. It will not make you masters of disguise, but will only help you improve and expand your creative imagination, contributing to your attunement to the totem animal and the manifestation of those of its qualities and energies that you need.

To become a master of disguise, you must master the skill of observation. You cannot reincarnate into the body of a bird - even in thought - if you do not know how the body of a bird functions. Start by observing the two or three states your animal is most likely to experience. Visit zoos. Observe the animals' behavior and take notes. Imitate their movements and sounds. Start imagining yourself as this animal. Think about how you might feel if you were an animal.

Examples of body postures conducive to reincarnation

If desired, you can help yourself in the implementation of the reincarnation, using a dance and / or an animal costume. The diagram below incorporates elements of the previous dance-related ritual, but goes a step further. It will allow you to get even more tangible results.

1. You need privacy for this exercise. No phone calls, nothing to disturb you.

2. Begin the exercise by delineating the sacred space using the circle motion as described in the previous exercise. Then move in a spiral towards the center of the circle. If you want, you can put a chair there or put a soft mat to sit on.

3. When you are in the center, stop. Feel and visualize the unformed energy of your totem animal around you. Now start moving, imitating your animal. As you assume the posture and walk within the circle, imitating the animal, feel its energy intensify and condense within and around you.

4. Now sit down and mentally create an image of your animal. Try to see how the image is formed and grows in the area of ​​your solar plexus. Imagine how in front of your mind's eye it takes on a stable form.

5. When you can fully visualize it in front of you, begin to visualize it being absorbed into your body through solar plexus. Take in all of his essence through this energy center.

6. Now start with the feet or hands. Feel how they change. Imagine and feel how hooves, paws or claws are being formed. Visualize fur or feathers growing instead of skin. Allow the changes to take place slowly and gradually – from the toes up and up. The last part of the body to be transformed should be the head. This will help you stay in control.

7. Also, as you visualize yourself in the process of reincarnation, visualize a door gradually forming, engraved with the image of the animal you are transforming into. This is the door to the inner world. Form is more easily retained at inner levels of consciousness, so visualize a door opening and you walking in as an animal.

8. At the very beginning, you will simply imagine everything that you want to experience in the form of an animal. However, over time, the sensations come alive. They take the form of a very vivid daydream. You will not just observe yourself from the outside, you will directly experience all the sensations.

9. On the other side of the door you will find your animal's habitat. You can use animal form to travel your way. inner world– visiting other people, past and future. You are an animal.

10. After a while, imagine yourself returning, exiting the door, and it slams tightly behind you. Then your body begins to slowly change again, starting with your head. Wool or feathers become leather again. Don't rush the conversion process. When you regain your original form, allow the animal image to leave your body through the solar plexus. Imagine that he is in front of you again. Now allow this image to slowly dissipate until it becomes a formless energy surrounding you at the center of your circle.

11. Slowly open your eyes and stand up. Perform a few movements of your ritual dance to express respect and gratitude to his spirit, and then begin to slowly spiral towards the borders of the ritual circle in a counterclockwise direction. Visualize how the energy is dissipated.

12. Erase the boundaries of sacred space by imagining yourself fully grounded and balanced, dancing in a counter-clockwise circle. Walk around the circle as many times as you did in order to create a sacred space.

This and similar exercises are associated with a certain risk. If you find that the day after doing the exercise you become too distracted and lose your sense of reality, take a break for a while. If people around you notice any change in your character, stop exercising immediately. Such an exercise should not be used too often.

Often there are people who have never meditated or exercised control over their energies, but they hope to jump over all this and learn to reincarnate right away. This can lead to certain problems. If you find yourself rushing home to complete the transformation exercise or neglecting other aspects of your life, then stop immediately. This will lead to an imbalance in the internal balance.

Manifest creativity when following the steps above. Tailor them to your own needs and experiment with them. Dance and reincarnation is creativity. To make them truly magical, you must use your creative imagination and intuition.

As you will see, the ritual dance is a very powerful tool, and its use almost always leads to quite noticeable results, even to the point of physiological changes. It may make sense to enter into totem form only under the supervision of someone who is well aware of deep altered states of consciousness. If not, then do everything very slowly.

Although to an outside observer the person undergoing reincarnation may look the same as usual, internally he or she undergoes complex transformations and perceives his or her body in a completely different way. This should not be overlooked or underestimated. It takes a lot of time and attention to absorb and balance the energies attracted as a result of reincarnation.

For beginners, it is best to use simple movements and postures. Always use the door. In this case, if during reincarnation you temporarily lose control over yourself, then your mind will already know how to return back.

Some may want to try dancing in a trance to facilitate the transformation. If you are not confident in your ability to control the process of reincarnation, then it is better not to do this. The dancer or person performing the reincarnation must not reach a state of ecstasy. This is very dangerous for the entire human energy system.

Many shamans use tambourines to enter an altered state of consciousness and facilitate the process of reincarnation. If you are working with other people, the tambourine can also be used to bring the person back to reality. One method of using a tambourine involves beating a slow rhythm, similar to a heartbeat, and then striking hard to release consciousness and facilitate reincarnation. Returning back to a normal heart rate helps bring consciousness back to normal. This method is especially effective because in this case there is no too abrupt transition from a profoundly altered state to a normal state of consciousness.

You can return a person to reality by taking his hands and exercising synchronously with deep breaths and exhalations. It is also helpful to massage your feet to open and activate the chakras that help us reconnect with the earth. To do this, it is better to sit or lie down while removing the fetishes attached to clothing or the animal costume that you used to facilitate the transformation.

In addition, it is very useful to stroke the spine from top to bottom, starting from the head. This balances the chakras and brings consciousness back to reality. Remember that your main goal is always to establish a connection with the energies and exercise conscious control over them at all stages.