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Road 20 Sitio Siwang Road, Nagtinig, Barangay San Juan, Taytay, Rizal

NAME:___________________________________________________________
GRADE & SECTION:_________________________________________________
SUBJECT INSTRUCTOR: MR. ANGELO M. LLENES, LPT____________
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CHAPTER BODY CONDITION EXERCISES IN THE

3 CREATIVE WORK ENVIRONMENT

LEARNING TARGET

CONTENT STANDARD PERFORMANCE LEARNING COMPETENCIES

STANDARD
The learner:
The learner: The learner: 1. demonstrates different warm-ups
 consciously applies 1. executes proper and exercises for the performing
safety and physical arts
professional practices exercises in a
in the work classroom 2. demonstrates exercises that are
environment setting used to prevent injury and
encourage professional longevity.

LESSON PROPER

Beginning each rehearsal with a warm-up is a great way to help students like you transition from school
mode to rehearsal-mode. It will also help you to establish a pattern for rehearsals and to know what to expect
each class or each afternoon.

It is suggested that each warm-up consist of a physical, a vocal, and a group component. The physical
and vocal components prepare you to use your bodies as tools on the stage, while the group component can
build energy, direct focus, and serve as a bonding exercise for all of you as a cast.

Physical warm-ups for acting, like those for exercise, get the body ready to move. It can also help students
to get some of their wiggles out if they have been stuck at their desks all day.
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● Neutral Stance: Actors should become accustomed to defaulting to this position when you circle up
for warm-ups. It is done by standing with your feet slightly more than shoulder-width apart, slightly
bent at the knees (so that the knees do not lock), arms held loosely at their sides.
● Stretches: There are a near-infinite combination of stretches and you should makes sure you work
all of your major muscle groups: arms, back, core, legs. Work rotations as well as plain back-and-
forth stretching.
● Relaxing the Neck and Back: Many people (including stressed-out teenagers) carry a lot of tension
in their neck, shoulders, and spine. Consider the following instructions to help release some of that
tension during physical warm-ups:
o Roll your neck slowly from side to side, so that your chins touch your chests.
o Slowly bend at the waist, arms hanging loosely. This should be close to toe-touching, but
without any strain or stress to do so: if you can touch the floor, great; if not, you shouldn’t force
it. With your teacher, he/she may want to go around to the circle of you and other casts and
touch your backs lightly; you should be able to bounce loosely without feeling tension in your
back muscles. Then roll slowly back up, vertebra by vertebra, feeling your spine slide back
into place.

● Tense and Release: Another way to get the tension out of your muscles is to draw attention to it,
one muscle group at a time. Consciously tense your fingers, as much as you can, hold for five
seconds, and then release. Then your arms (forearms then upper arms, if you can isolate them).
Then face, neck, back, stomach, thighs, calves, feet.

● The Puppeteer: Imagine that you are marionettes being dangled by a puppeteer: You should stretch
up all the way to the sky, as much as you can, on tip-toe. Then release one set of joints at a time:
fingers, wrists, elbows, shoulders, neck, waist, knees, ankles, so that you end up with their feet flat
on the ground, bent over at the waist, knees unlocked.

● Shakeout: Circle up. Raise your right hands and shake it eight times, while counting aloud. Then do
the same with the left hand, right foot, and left foot. Repeat, shaking one less time on each round,
until you get down to one shake on each appendage. End with a big, satisfying “HWAH.”

Vocal warm-ups include a lot of information on how the body makes sound – both how the breath,
stomach, chest, and throat work together to support the projection of sound, and how the lips, tongue, teeth, and
palate actually shape syllables.

Breath Support: This is one of the most important considerations for an actor. Most of us do not use our
respiratory systems to their full extent on a daily basis – and most of the time, we don’t need to. In order to project
on stage and to take full advantage of the opportunities the human body presents for performance, actors must
learn to breathe in a way that better supports the voice.
● Talk about the lungs and the diaphragm. The diaphragm is a muscle at the base of the lungs which
separates the thoracic cavity (generally thought of as the chest cavity, containing the heart, lungs, and
ribs) from the abdominal cavity. Breathing in contracts this muscle, allowing the lungs to expand further.
● Practice breathing deeply, all the way down into the diaphragm. Place your hands just below your ribs so
that you can feel this muscle work.
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● Be reminded that posture plays a big part into the use of the voice. Your lungs and muscles cannot
operate at maximum efficiency if you are slouched or slumped.
● Experiment with other breathing variations. What do you sound like if you will breath very shallowly, barely
into the chest at all, and try to speak? How can the speed of air intake or expulsion affect the voice?

Resonating Chambers: These are the cavities in the body where air – where the sound “comes from.” Practice
creating sound through each of these chambers.
● Head: Creates a higher pitch and a softer tone. (Not to be confused with the “head voice” or falsetto).
● Nasal: Also high-pitched, sounds a little more pinched.
● Mouth: Where most of our resonance typically happens.
● Chest: Darker and deeper in tone.

Warm up in Enhancing Volume:

● Pair up and stand across from each other in two rows. Each partner should say a line – one of their own
from the show, or one of the tongue-twisters listed under Diction. After each interchange, both rows
should take a big step backwards. If either member of the pair cannot hear the line clearly, raise their
hand to indicate that their partner should try again.

Warm up in Enhancing Pitch:

● Scales: The simple do-re-mi-fa-so-la-ti-do is a good way to practice pitch. You can run up and down the
scales for a basic warm-up, and then, if you want to get more advanced, try to hit certain combinations:
do-fa; re-so; mi-la; etc.

Warm up in Enhancing Diction

Diction exercises warm the mouth up to go through all the motions it will need to during a show. Basic
suggestions include:
● “Motorcycle” lips: vibrate the lips by pushing air through while keeping them mostly closed
● Stretch and squish the mouth – make “ow” sounds with the mouth as big and open as possible, then
make “oo” sounds with the lips scrunched forward
● Repeat single sounds:
● Repeat single words that work through different vocal shapes: Topeka,

Tongue-twisters of all kinds fall into this category. The best put the mouth through all of its paces, using the
tongue, lips, and teeth to form every possible variant of sounds in the English language.

When working through these warm-ups, make sure that you are rounding out your vowels and hitting all of
their consonants sharply. Listen for tell-tale slurring and sliding. For the one-liners, repeat several times; for the
longer ones, just go through once or twice.
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Tongue twisters that can be used when doing Vocal Warm-ups:

● Red leather, yellow leather
● She sells sea shells by the sea shore
● The lips, the teeth, the tip of the tongue
● Three little kittens who lost their mittens
● How many boards could the Mongols hoard if the Mongol hordes got bored? (from Calvin and
Hobbes)

● To sit in solemn silence on a dull dark dock:

In a pestilential prison with a life-long long
Awaiting the sensation of a short, sharp shock
From a cheap and chippy chopper on a big black block. (From The Mikado)

● What a to-do to die today, at a minute or two to two;

A thing distinctly hard to say, but harder still to do.
For they'll beat a tattoo, at twenty to two
A rat-tat-tat- tat-tat-tat- tat-tat-tattoo
And a dragon will come when he hears the drum,
At a minute or two to two today, at a minute or two to two.

● “The Announcer’s Test” or “One Hen, Two Ducks” – this one is a call-and-response. The leader has
to know the whole thing; the rest of the cast repeats after them. This was initially used in the 1940s
as a test for radio correspondents, to ensure that they had proper diction for broadcasting; there are
many variations (some go all the way up to 25!).
One Hen
One hen, two ducks
One hen, two ducks, three squawking geese
One hen, two ducks, three squawking geese, four prairie oysters
One hen, two ducks, three squawking geese, four prairie oysters, five corpulent porpoises
One hen, two ducks, three squeaking geese, four praire oysters, five corpulent porpoises, six pairs
of Don Alverso’s tweezers
One hen, two ducks, three squeaking geese, four praire oysters, five corpulent porpoises, six pairs
of Don Alverso’s tweezers, seven thousand Macedonians in full battle array
One hen, two ducks, three squeaking geese, four praire oysters, five corpulent porpoises, six pairs
of Don Alverso’s tweezers, seven thousand Macedonians in full battle array, eight brass monkeys
from the ancient secret crypts of Egypt
One hen, two ducks, three squeaking geese, four praire oysters, five corpulent porpoises, six pairs
of Don Alverso’s tweezers, seven thousand Macedonians in full battle array, eight brass monkeys
from the ancient secret crypts of Egypt, nine sympathetic apathetic old men on roller skates with a
tendency towards apprehension and sloth
One hen, two ducks, three squeaking geese, four praire oysters, five corpulent porpoises, six pairs
of Don Alverso’s tweezers, seven thousand Macedonians in full battle array, eight brass monkeys
from the ancient secret crypts of Egypt, nine sympathetic apathetic old men on roller skates with a
tendency towards apprehension and sloth, ten frogs.
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
Creating art can involve a lot of hunching, twisting, and bending; there is a lot of physical strain on your
body as an artist.
Repetitive stress and long hours can take a toll on your well-being. Your body is your biggest asset as
an artist, so we’ve selected five exercises to help you stay healthy and creating for as long as possible. These
exercises don’t take up much time or space so you can do them from the comfort of your studio.
If you're getting into the studio after a long day of work, consider these movements as a time for you to
focus, transition toward creativity, and maintain your health for a long future full of making artwork.

You probably already know how to do a plank, but we can’t help but reiterate how beneficial this
exercise is in building core strength whether you spend your day standing at an easel or throwing clay—
a strong core is important for all artist’s posture and physical health.

Lower back pain afflicts a huge number of people and can contribute to a variety of health
problems. Superman back extensions help strengthen and lengthen the muscles of your lower back. Lie
face down on the floor with your arms outstretched. Raise your arms and legs off the floor and hold for
one-second intervals before slowly lowering until you're laying flat again. Repeat this movement 10 times,
and then rest. Pair this motion with planking to help evenly strengthen your core. Cape optional.

Jumping rope is an excellent way to get your heart pumping and blood flowing. Keep a jump-rope
in your studio and you can do this on the sidewalk or in the parking lot. Start by jumping rope for 60
seconds at a pace that feels comfortable to you. If you’re feeling uninspired but don’t have time to go for
a walk get out the jump-rope to literally jumpstart your body.

The world record for most non-stop push-ups is 10,507. While this probably can’t be beaten in
your studio, even a few repetitions of this simple motion can provide a strenuous workout for a variety of
muscles. Push-ups work your core, shoulders, and arms ... and are a great all-around workout. Working
all of these muscles at once is a good way to signal to your body that it's time to refocus. Doing push-ups
takes very little space and you can easily vary the muscles worked by changing the position of your arms
and legs.

Ok, so this one isn't strictly an exercise, but it's important to do in order to prevent injury and
increase mobility. Foam rollers can function as a self-massage tool, and although rolling can initially be
uncomfortable, you'll feel more limber after. Keep a foam roller in your studio and use it to release the
tension caused by muscle stress and fatigue. Position your targeted muscle group on the roller while
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maintaining a straight spine. Then, do 5–10 repetitions on each side. Before finishing, pick the area that
is most painful and remain on that spot without rolling for 30 seconds.

Hand exercises often get overlooked. We're all used to the idea that other parts of our body need regular
movement to keep them nice and healthy, but we often forget our wrists, hands and fingers when designing
exercise routines.
But hands that spend all day doing repetitive movements such as typing or drawing can benefit from just
a few hand exercises, which only take a few minutes. Just make sure that you wash your hands before and
afterwards.
To help keep your paws in tip-top shape, comic artist Kaitlin Bruder has put together the infographic
below, detailing a number of hand and wrist stretches that she does regularly, especially when she's drawing or
has been on her phone of computer for
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When you want to build muscle, you lift weights. Want to get faster? Run sprints. Want to increase your
flexibility? Stretch. Want to get more creative? Same idea. The best way to get those juices flowing is with some
good, old-fashioned creativity exercises.
Creativity is a muscle. And, like any muscle, it needs exercise. If you’re struggling to connect with your
muse, consider this new workout plan.
Whether you’re stumped on how to design your new logo, need inspiration for your next series of
paintings, or have to work through your writer’s block, we’ve got 10 creativity exercises designed to target your
core artistic muscles.

You’re not always in control of when creativity strikes. And when you put parameters on creativity—like
“I have to design a logo for this client in the next three hours”—the added pressure can make it hard to get
inspired.
Try scheduling time just to be creative. Think of it as your creative “free gym” time. By setting aside a
chunk of time where you’re free to create without any expectations, deadlines or client work, you take some
pressure off and allow space for creativity to strike in new ways.

Sometimes, strict boundaries can stifle creativity. But other times, they can actually spark creativity.
Set a timer for five to ten minutes, and challenge yourself to create something—a design sketch, a small
painting, a poem, a new idea, you name it. The tight deadline can help you find new and interesting ways to
develop your art.

When you’re working on a single design, it’s easy to get caught up in the quest for perfection, which can
put a serious damper on creativity. Who can think of new, innovative ideas when they’re stressing over what line
thickness looks best?
If this is your struggle, try the 30 Circles Exercise. Draw 30 identical circles on a sheet of paper, and set
a timer for three minutes. Fill in as many circles as possible in the three minute window. In other words, focus
on quantity, not quality.
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Work your creative muscle with artistic exercises, but if you want to be your most creative, switch things
up and throw different kinds of exercises into the mix.
Have different topics each day. They might be related to work—like “10 design tools that haven’t been
invented yet” or “10 ways to find new clients”. Or something completely unrelated—like “10 ideas for next
summer’s big blockbuster” or “10 technologies that could give dogs the ability to speak.

Repeating the same designs over and over can actually work wonders for your creative muscles.
Set aside time to draw or design the same thing every single day—whether it’s your dog, your logo, or
your favorite cartoon character. You’ll have to find new ways to make your design interesting and different (if you
don’t want to die of boredom), and you’ll discover new methods and inspiration you can bring to your work.
Get the most out of this exercise by mixing things up with free-hand drawing and computer design. The
more different mediums you use, the more creative bang for your buck you’ll get.

Some of the world’s most creative masterpieces are direct results of creators getting out and exploring
the world around them. The Legend of Zelda was inspired by creator (and video game legend) Shigeru
Miyamoto’s time exploring the forests and caves near his home in Sonobe, Japan. Walt Disney Studios not only
built an on-site zoo, but they also sent animators on regular field trips to the Los Angeles Zoo or San Diego Zoo
to observe the animals and get inspired for their drawings.
A change of scenery can spark your creativity, reignite your passion, and bring new inspiration to your
designs. Anytime you’re feeling uninspired, make it a point to get out of your office and into the world.

Jogging on the treadmill for 30 minutes everyday will eventually make you bored. But if you find new
ways to use the treadmill—like switching up the incline to work your glutes or doing sprint intervals—all of a
sudden, you’re excited about your workouts again.
You can do the same thing with your creativity! This exercise encourages divergent thinking, which helps
you develop your ability to think outside of the box and become a creativity powerhouse.

Take a field trip to the bookstore (or the library), and explore a section completely unrelated to what you
do. Pick up a book and read about something completely out of your realm of understanding.
If you’re a designer, you might pick up a book about equine therapy, the history of New Wave music, or
fashion.
Expose yourself to new information to challenge your brain and get the creative juices flowing. Plus, you’ll
have all sorts of great trivia for your next cocktail party!
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Sometimes, the simplest things are the most challenging. That’s true in the gym (have you ever tried to
do a perfect squat?) and it’s true in design.
Challenge yourself to design something using as few design elements as possible. What can you create
using only round shapes? Or lines? Or a two-color palette?
Simplifying will force you to examine how to use each element effectively, which can help you invent new
ways to incorporate each element into your designs.

Freewriting is exactly what it sounds like—just sit down and write. Instead of thinking about what you’re
putting down on the paper, just write whatever comes to mind, totally raw and unfiltered.
So, just set a timer and write until it goes off. Letting your thoughts flow straight from your head can help
you clear out unnecessary thoughts or worries and make more room for creativity. Plus, who knows, you might
find your next creative endeavor hidden in the pages of your freewriting!

References:

https://www.artworkarchive.com/blog/5-simple-exercises-artists-can-do-to-stay-healthy

https://99designs.com/blog/creative-thinking/creativity-exercises
https://www.carpalrx.com/post/hand-exercises-for-artists
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ANSWER SHEET in Physical and Personal Development in Arts Module

Module 4 (Weeks 14-17)

Name: ______________________________________ Grade: ________________________ Score: ______

Teacher: ____________________________________ Strand: ________________________ Date: _______

General Directions: Write your answers in the activities here. Detach and submit this part to your teacher upon his
direction which usually given after you have completed this module.

ACTIVITY

Activity No. 1:
Direction: Answer the question below in paragraph form.

1. What are the importance of physical exercises to both Performing artists and Visual artists?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________

Activity No. 2:
Direction: Below is a link to a video about routine hand exercise for visual artists / animators. Watch the video
and after that, recreate it in 3-5 mins short clip. In making the video, be sure to be creative. Put transitions,
designs and effects using any necessary applications you can download and install in your phone. Send the file
to your instructor’s messenger account.

https://www.youtube.com/watch?v=qn7qUkydEHg

Rubric in grading your output:

Content – 65%
Video Technicalities (Loudness of the voice & clearness of the video) – 15%
Creativity of the Video – 20%
Total - 100%
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Part A. TRUE OR FALSE

Direction: Write TRUE if the statement is true, and FALSE if it is not. Write your answers on the underline
provided beside the numbers.

__________________1. The physical and vocal components of warm-up exercises prepare you to use your bodies

as tools on the stage.

__________________2. Vocal warm-ups for acting, like those for exercise, get the body ready to move.

__________________3. Physical warm-ups include a lot of information on how the body makes sound.

__________________4. Resonating chambers can be found in head, nose, mouth and chest.

__________________5. One way of warming-up and enhancing your diction is through tongue-twisters.

__________________6. Your body is your biggest asset as an artist so exercising can avoid a lot of physical strain

on your body.

__________________7. Warming up and giving your hand a physical exercise is not necessary for a sculptor.

__________________8. Creativity is said to be comparable to a muscle and, like any muscle, it needs exercise.

__________________9. Looking at something familiar in a new way is one good exercise for your mind’s creativity.

__________________10. Freewriting is a tiring exercise and has nothing to do in enhancing your creativity.