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Using outdoor games as a means of developing motor activity

Chokotov, E. N. Using outdoor games as a means of developing motor activity / E. N. Chokotov, O. V. Fadeev. – Text: direct // Young scientist. – 2012. – No. 12 (47). -S. 607-609. – URL: https://moluch.ru/archive/47/5810/ (date of application: 05.05.2022).

The game is a historically established social phenomenon, an independent type of activity characteristic of man. With his formation in the modern world, a person owes a greatly to the game. By the game, it is customary to understand the conscious activity aimed at achieving the set conditional goal [1, p. eleven].

The game can be a means of self -knowledge, entertainment, rest, a means of physical and general social education, a means of sports. Games are a treasury of human culture. Their variety is huge. They reflect all areas of material and spiritual creativity of people. They can be divided into 2 large groups: mobile and sports. Sports games are the highest stage of development of outdoor games. They differ from the moving uniform rules that determine the composition of the participants, the size and marking of the site, the duration of the game, equipment and inventory, etc., which allows competitions of various scale. Competitions in sports games are in the nature of the wrestling and require participants in great physical stress and volitional efforts [4, p. 6].

The game has long been an integral part of a person’s life, it occupies leisure, brings up, satisfies the needs for communication, motor activity, and obtaining external information. Progressive Russian scientists – teachers, hygieneists (P.F. Zlesgft, A.P. Usov and many others) revealed the role of the game as an activity that contributes to qualitative changes in physical and mental development, which has a versatile effect on the formation of his personality.

Sports games are traditionally popular among all categories of the country's population due to the versatile effect on the human body, including emotional. Therefore, they serve as an effective means of physical education in a wide age range [2, p. 21].

A variety of movements and actions performed by participants in outdoor games are of great healing value. They contribute to strengthening the motor apparatus, improving the total metabolism, increasing the activities of all organs and systems of the body and are an active vacation, especially for persons engaged in intense mental activity.

Outdoor games relate to those manifestations of game activity in which the role of movements is pronounced. The sports game is characterized by creative active motor actions motivated by its plot (theme, idea).These actions are partially limited to the rules (generally accepted, established by the leader or playing). They are aimed at overcoming various difficulties along the path to achieving the goal (win, master certain techniques) [3, p. 22].

The most important result of the game is joy and emotional upsurge. It is thanks to this wonderful property of the game, especially with elements of competition, more than other forms of physical education, which are adequate to the needs of the body in motion. For a purposeful training of some muscle groups, along with outdoor games, playing exercises that do not have a complete plot, development of events (for example, relayers) can be used.

The diverse motor activity inherent in outdoor games, which carries the embryo of a sports competition, is extremely useful and even necessary for the proper development of the motor and psychological sphere and the education of personal qualities. Therefore, sports games are not only a means of full development of the body, but also wide open gates into the world of physical culture and sports [5, p. 6].

The most important feature of sports games is that they represent a universal type of physical exercises. Games classes affect the motor and mental sphere of those involved. The choice of behavior in constantly changing conditions of the game determines the wide inclusion of consciousness mechanisms in the processes of control and regulation. As a result, the strength and mobility of nervous processes increases, the functions of regulating the activity of all body systems with the cerebral cortex and the central nervous system are improved.

At the same time, game activity is difficult and variety of movements. As a rule, all muscle groups can be involved in them, which contributes to the harmonious development of the supporting engine apparatus.

The variability of game conditions requires the constant adaptation of the movements used to new situations. Therefore, motor skills are formed by flexible, plastic. Dexterity is being improved, the ability to create new movements from previously learned.

In game activity, the need for creativity inherent in a person finds its expression. The variety of game situations sets the playing a wide variety of tasks that require the right solution. The result and directly the process of solution itself bring to playing internal pleasure, causing the desire to experience it again and again [2, p. thirty].

Thus, the game is a process of satisfying the needs of an individual in physical and aesthetic activity, in creative, socially significant activities.

Movements are called games with relatively simple content, where natural movements are used, and the achievement of the goal is not associated with high physical and mental stresses.

The actions of the participants in the game are determined by its plot and are conscious acts of behavior due to the current game situation and the chosen way to resolve it. The actions of the players are of a competitive nature and are expressed in the desire to emerge victorious in every single combat and during the entire game.

Thus, gaming activity appears as a special kind of competitive activity between individual participants and teams. To resolve a particular game situation, participants use special actions called game techniques. These actions can be individual or collective [3, p. 28].

Each participant must master all the variety of individual actions in order to be able to resolve any situations that he encounters during the game. In the most frequently repeated situations, game skills are used, which are a fixed way to perform game techniques.

The actions of the players are distinguished by a special variety, but in each of them two interconnected sides can always be distinguished: external and internal. Under the external should be understood the chosen way of solving a motor problem, which has a certain motor structure, due to a specific situation and the laws of motion mechanics. The other side is made up of mental processes associated with choosing the right solution.

In the conditions of modern civilization, due to a sharp decrease in human motor activity, the role of systematic physical exercises, outdoor games increases [4, p. 34].

The importance of outdoor games in the education of physical qualities is also great: speed, dexterity, strength, endurance, flexibility. Games foster feelings of solidarity, camaraderie and responsibility for each other's actions. The rules of the game contribute to the education of conscious discipline, honesty, endurance, the ability to pull oneself in hand after a strong excitement, to restrain one's egoistic impulses.

In the institutes of physical culture, sports games are a special subject, including: history, theory, teaching methods, practical mastery of the technique and tactics of individual games, and the development of pedagogical skills. Each sports game has its own characteristics. At the same time, various sports games have initial features that allow them to be divided into certain groups: team and non-team, with direct contact with the enemy and without contact, with an additional projectile (stick, rocket, bat) and without it. When determining the influence of sports games on the body of those involved, as well as their significance in the system of physical education, it is necessary to proceed from the general characteristics of game actions. In outdoor games, a variety of movements and actions are used: walking, running, jumping, sudden stops, turns, various throwing and hitting the ball (puck).Players, appropriately using gaming techniques, strive together with their partners to achieve an advantage over the enemy, which is active. Outdoor games are one of the effective means that help relieve nervous tension and cause positive emotions.

Leshaft emphasized that the game, unlike strictly regulated movements (for example, gymnastics), is always associated with initiative moments of solving physical problems. The game is the need for restoration of both physical and spiritual forces. Outdoor games help not only in solving a number of special tasks, but also (bearing in mind the nature of the game activity) is always met by a good appointment with students, a new interest in training sessions. The game is an impetus for sports. Make a game or relay, i.e. Turn on the “emotional” lever from the students to continue training with desire and interest. In sports, games are widely used, the main content of which is to promote the development of strength, speed, dexterity and other qualities. The game is also the best output after training. The game is morally strong -willed education.

The game is rightfully occupied by one of the central places in the field of physical education. Only the game is both a means and method of physical education.

Game activity is characterized by a number of fundamental features that distinguish it from other types of human activity.

Game activity is active, creative, causing an integral reaction of the body. It takes place with the participation of all functional systems of the body with the leading role of mental processes and brain activity.

Game activity proceeds within the framework of certain targets, the achievement of which serves as an incentive motive for the actions of the players [5, p. 32].

The effectiveness of outdoor games for solving the problems of physical education largely depends on the conditions of their conduct – emotional saturation, a variety of motor content, the presence of a spacious room, a site, a sufficient amount of necessary objects and a creative approach to both players of games.

Kuramshin Yu.F. Theory and methodology of physical culture. Textbook. – M., Soviet Sport, 2007. – 320s.

Matveev L.P. and Novikov A.D. Theory and methodology of physical education. Textbook for physical education institutions. – M., “Physical Culture and Sport”, 1976. – 190 p.

Tailors Yu.I. Sports and outdoor games. Textbook for secondary special educational institutions of physical education. – M., “Physical Culture and Sports”, 1984. – 220s.

Shevchenko A.A., Perevshchikov Yu.A. Fundamentals of physical education. – Kyiv, publishing house of the School of School, 1984 – 280s.

Basic terms (generated automatically): game, game activity, physical education, action, motor apparatus, the action of the playing, the right solution, the body system, sports game, physical culture.

Puppet theater actress on why the work of a puppeteer is similar to playing a musical instrument.

Irina Nechitailo: “When you are a good puppeteer, you can revive even a teapot”

Puppet theater actress on why the work of a puppeteer is similar to playing a musical instrument.

The premiere of the children's performance The Dog That Couldn't Bark based on the fairy tale of the same name by the Italian writer Gianni Rodari took place in April at the Krasnoyarsk Puppet Theater. The main role in it was played by a young actress Irina Nechitailo. We talked to her about working in the theater.

– Irina, how can you contact a puppet theater artist? Are there any expressions that an actor might be offended by?

– There are reservations about puppet theater and puppet theater. When we studied, we ourselves said “puppet”, and they corrected us: “Ai-yay-yay, the puppet theater is a small house, and we are a puppet theater!” But now they are also calm about such an expression, and few people beat their chests with their fists for the “real” name. As for the name of the profession, both “puppeteer”, and “puppeteer”, and “puppet theater actor” are correct. We call ourselves that and that.

— How did you get into the profession?

– As a child, I didn’t know what a puppet theater was at all – I had never been to the Irkutsk Theater. Initially, I studied at a ballet school in Ulan-Ude, at the age of 16, due to illness, I had to give up ballet – I decided to become an actress. And that year, only puppeteers were recruited at the Irkutsk Theater School. At first I was upset – it seemed that these were some kind of “squirrel bunnies”, something hackneyed and uninteresting. I still decided to unlearn a year, and then transfer to a drama actor.

I was lucky: the master of the course was the chief director of the Irkutsk theater Aistenok Yuri Utkin, an incredible specialist in his field. It was he who showed us that the puppet theater can be completely different, and magic happens on the stage and it is not clear where the puppet ends and where the person begins. I fell in love with this magic and stayed. Although being a puppeteer is not easy. There are different types of puppets – puppets, glove, cane, muppets, finger puppets, flat ones … And each one needs to be mastered, so the puppeteer has a double load – he must play for himself and for that guy.

– It usually seems that playing in the puppet theater is not difficult: the actor stands, just moves the puppet and speaks in a squeaky voice.

– These are Soviet stereotypes. Now and the time is different, the artist must go to the “living plane”, where the actor and the puppet are partners. The performances have also changed a lot, and we do not hide behind a puppet – we sing, dance just like the actors of the drama. Again, it seems to me that it was fashionable then to make a voice like from a cartoon. At the moment, this is almost non-existent, the director most often repels the capabilities of the actor and his organics. The whole theatrical world strives for naturalness in the image, including in the puppet theater.

– I know that many viewers go to the theater to the actor.Is there such a thing in the puppet theater? Do they see you behind the doll?

– Not as often as in other theaters, but it happens. I remember that after the premiere of the play The Train, a girl came to me backstage and gave me a homemade unicorn. Her mother said that they go to me: “We love you very much and follow your performances. Your daughter sewed a unicorn for you.” It was very nice. Such situations are quite rare – in my practice there were a couple of such spectators. Children remember a bright doll rather than an actor. There was another story. In 2014, we staged the play My Magic Sock for the little ones. This production opened the baby scene for 24 spectators. Then a little spectator came to see me at the premiere. She also attended this performance in 2022. Eight years have passed, and already a 12-year-old girl came up to me and said that she was at that same premiere. At that moment, of course, I felt very strange: “What? How many years have passed? How old am I then?!”

– Do you have any favorite roles?

– Rather, favorite performances. My Magic Sock is my favorite. Firstly, this is a one-man show, you are alone on stage with a doll, there is nothing but you, a hero sock and a basket. No music or scenery. There are 12 children in front of you, and you have nothing and no one to hide behind. Then no one else did baby performances, and there was a feeling of jumping into an ice hole. You stand as if naked, and you need to fill the hall with your energy and keep the attention of the children throughout the performance. It seems to me that baby performances are a very important experience, it is not for everyone.

— Do puppeteers have “dream roles”? For example, every dramatic actor dreams of playing Hamlet.

“Puppeteers have the same dreams. The same Shakespeare is staged, and you want to play Hamlet or Ophelia. Or there is special material you want to play. For me, it's Maeterlinck's The Blue Bird. I love this fairy tale – it seems to me that the material is completely puppet. Ready to play any role.

– You have to get used to the role. Do you need to get used to the doll?

The doll is like a musical instrument. Even if you, for example, are a guitarist and already know how to play, you have to adapt to each new instrument. Same with the doll. You need to get used to her, find out how she walks, lies, sits, if she looks at you, then at what angle. And during the performance, when you bring your hero to the fore, then no one should pay attention to your face, at that moment you are not playing, but the character is in your hands.

– You said that there are many types of dolls with a variety of controls. What are your favorites?

– The most interesting for me are circus puppets. They are on strings, like regular puppets, but they have their own trick – for example, she can juggle or walk on her hands. Unfortunately, few people make such dolls, because it is quite expensive and difficult. But they are interesting for the artist in terms of puppetry.

When you're a good puppeteer, you can even bring a kettle to life. I am personally interested in working with small dolls.In the conditions of intimacy, every gesture must be verified. Probably, the ballet past affects – I dance with puppets. Of course, the huge reed puppets of the Chinese theater, such as the dragon, are also impressive.

– The theater recently hosted the premiere of the play The Dog That Couldn't Bark. What is the show about and why is it worth watching?

– The idea is very simple – how important it is to have your own voice. Once upon a time there was a Dog that did not meet other dogs. And she wanted to learn how to bark, but she did not know how to do it. And everyone she met tried to teach her in their own way: the Rooster – to crow, the Cuckoo – to crow, the Farmer generally believed that the Dog needed to keep quiet. And only after meeting another Dog, she realized what her voice should be. I would recommend everyone to watch the show. This is one of the few productions where there are no negative characters. All the characters have different personalities, and they are not evil. Lately I've been wondering how important this is. When there is a lot of aggression and negativity around, it is important to laugh at simple jokes and relax your soul a little.

Recommendation

Irina Nechitailo advised which performances in the puppet theater should be paid special attention to.

– The first performance for very young – All year round, about the seasons without words. A very lyrical performance.

— For children under 12 — The Dog That Couldn't Bark.

— For teenagers — “I am a fist. I AM ANNA. The performance makes you think. It's about how often they don't hear us. About bullying, school and your place in the world.

— For adults — Imaginary Sick for fun, or The Recluse and Six-Fingers for reflection.

Dossier

Irina NECHITAILO

Date and place of birth: January 1, Irkutsk

Education: In 2010 she graduated from the Irkutsk Theater School with a degree in Actor-puppeteer and head of the creative team (course master – Yuri Utkin).

Career: from 2010 to 2011 she worked in the troupe of the Irkutsk puppet theater Stork. In February 2011, she entered the service of the Krasnoyarsk Puppet Theater. From 2016 to 2018, she taught acting and was the developer of children's educational programs at the Open Youth University. She staged a private performance for the little ones Very Voracious Caterpillar. In 2018 she returned to the troupe of the Krasnoyarsk Puppet Theater.

Health app. With a healthy dose of updates. The Health app is designed to help you keep all your important health information in one, safe, convenient place.

Health app.
With a healthy dose of updates.

The Health app is designed to help you keep all your important health information in one, safe, convenient place. And with iOS 15, we've added even more powerful features to this app. You'll find new ways to share data with loved ones, a new walking stability metric to assess your risk of falling, and lots of visual insights in the form of trends to help track changes in your health.

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Open additional information. The new indicator Stability when walking.

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Interview with Nikita Kobelev: it seems to me that the public always lacks strong experiences we managed to talk with director Nikita Kobelev, who recently released the premiere in

Interview with Nikita Kobelev: it seems to me that the public always lacks strong experiences

We managed to talk with director Nikita Kobelev, who recently released the premiere in the Mayakovsky Theater. “Tales of the Vienna Forest” is a new work of the young director based on the play by Eden von Horvat, not so famous for the general public in Russia.

– Nikita, you have the glory of the dramatic pioneer, in particular, for the theater. Mayakovsky. Tell us what your preferences are connected with? Do not like Chekhov and Ostrovsky?

– I rather like unintended material more, like the opportunity to tell a new story. Chekhov and Ostrovsky are wonderful authors, I have plans to someday touch them.

In fact, I do not try to choose something new on purpose; I just look, read a lot of plays. And, of course, something fresh, unknown is always interesting. The material is important to me, and I think a lot about it, it is important that he hurts me. For example, I read the text for the “Tales of the Vienna Forest” four years ago, but only now I put it. If during such a time the texts did not disappear from my head, but constantly attended nearby, and I returned to them in my thoughts, it means that they have something real.

In addition, it seems to me that some authors are worth opening here. We do not know about many beautiful texts, and it seems to me to introduce the viewer to them a very curious task. At least in order not to go to theaters around 5-6 main names, but still new plays arose.

“Tales of the Vienna Forest” is just a wonderful play, and was not implemented in Russia undeservedly, although it was translated in the 80s. Apparently her time has not yet arrived at that moment.

– Four years! You always keep the material on an internal check for so long?

-Sometimes it is just that you need to realize something. You read and understand that you are ready to put this right now. And there are texts with which you work gradually. For example, the man who took his wife for a hat.

– Yes, you surprised the audience with a staging of Oliver Sax. How will you surprise the audience with your new work?

– (laughs) It seems to me that the play von Horvat is very acute. She is about different generations-gives a holistic portrait of Viennese society on the threshold of fascism and the economic crisis of the 30s. And, of course, written with such black humor.

The text explores human nature and its crisis. Its transformations. When we took up work, the actors said that a lot in the play is in tune with what they are happening in their lives, what they think about ..

At the same time, there are a lot of associations and references in the play (some even see the echoes of the film “Dislike”), many layers: love, family, public, religious.And dramatic – the girl, the heroine of the play Marianne, moves from purity to darkness, due to various life circumstances.

How was the rehearsal process going? Did the actors manage to capture the characters right away?

– It took some time to figure out who will play whom. And after successful joint readings, everything went forward.

Was there a complete understanding?

“It never happens that everything goes very smoothly. And here the material itself presupposes a certain acting courage, expense. Yes, perhaps, in comparison with European trends, everything is quite restrained. But for us, for the Mayakovsky Theater, there are some sharp things that the actors have not done here yet.

– Do you think our audience will be ready to accept your performance?

“If I did everything thinking about whether the audience is ready to accept…
It seems to me that the public always lacks strong experiences. And if we manage to create these experiences, I will be glad. At the same time, I think there will be people who, like me, will be interested in different layers of the performance. I think there is a viewer who is waiting for such a theater.

– Do you remember the moment when you staged the first performance at the Mayakovsky Theater at the invitation of M. Karbauskis? Did you feel at the time that this story would have a sequel?

– When I felt that there was such an opportunity, I admitted to myself that I would like to stage more in this theater. We previously discussed with Mindagaus that if the performance is successful, there will be an opportunity to cooperate. And everything happened even before the premiere of “People's Love” – Mindaugas watched the run-through and offered to work further. This is how we have been working all these years.

– Remembering yourself at that moment, what can you say about yourself today? How has the director Nikita Kobelev changed? Has there been a creative transformation?

– When I felt that there was such an opportunity, I admitted to myself that I would like to stage more in this theater. We previously discussed with Mindagaus that if the performance is successful, there will be an opportunity to cooperate. And everything happened even before the premiere of “People's Love” – Mindaugas watched the run-through and offered to work further. This is how we have been working all these years.

Let's give the public a chance to appreciate it.

– And who are you interested in as a director now? Whose work are you interested in seeing?

— This question is often asked. In recent years, I really like the work of a person who is banned from entering Russia, Alvis Hermanis. I saw his work not only here, but also in Riga. I like his sense of the theater, proportionality to a person and mild aggressiveness at the same time. I always look forward to the performances of Robert Lepage, Michael Thalheimer is also very interesting.

– Last season, the term “immersive” set the teeth on edge, there were many attempts to present this direction of theatrical art. Are you interested in this area?

– We did one performance – Decalogue – more of a promenade than an immersive theater.For me, the immersion theater in the attraction is located. Indeed, for the viewer this is a new experience, but what is it from the theater, and what about the attraction?

– Does the word attraction have a negative connotation here?

– Well, why, no. I just will not call a blockbuster copyright cinema. Although I watched the council of a little immersive performances to make a judgment, but nevertheless, it seems to me that in the form in which there is an immortal theater now, at least in Russia, this is an attraction where the form is more important than the content. The viewer does not go to him because he is interested in the topic, the game of actors or the director, but for the sake of new sensations. I see how people respond to this new form, for them this is interesting experience and experiences. But this is like a 3D ocher-they tried everything, but only James Cameron in Avatar managed to use competently. The rest tried to repeat, then everyone was tired, and everyone returned to 2D format. The attraction only in skillful hands becomes art.

– In the plans, apparently, you do not have such a form?

-There is no wrong one yet, but, for example, I am interesting, the promenade theater. Experience with the Decalogue turned out to be very curious. The performance is 3 hours and 40 minutes without an intermission. And people do not get tired-they are absolutely included in action, and in the final everyone always get up for some reason. That is, apparently, the form of transition from one scene to another turns off fatigue at some point.

“What do you think, could“ Tales … ”be suddenly immersive?”

– No I do not think so. Let there are many different places of action.

“A man who took his wife for a hat” could probably become a prospector. But, first of all, it is necessary to understand why to turn the performance into a fermentation. For the Decalogue, the task was to open the scene on the Sretenka, to “hold” people, as it were, the streets of this area, and, at the same time, the theater itself – therefore, this form turned out to be organic

– You said that you prefer to give time to the material to postpone in your head and you are ready to return to it if it is relevant. Are there any ideas for the future today?

-There are 2-3 ideas that I have in my head. I hope some of them come true next season.

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Teach.ru – an interactive training system. There are more minuses than pluses for a long time looked at this educational portal. I got acquainted with delighted and, on the contrary, with unpleasant reviews.

Teach.ru – an interactive training system. There are more minuses than pluses

I had long looked at this educational portal. I got acquainted with delighted and, on the contrary, with unpleasant reviews. He himself carefully studied interactive resources that brought me to certain conclusions.

Teach.ru It is absolutely free for teachers with access to interactive tasks and statistics. The teacher can create his own virtual class and track everyone's studies.

Students are also provided with free access to school and at home until 16:00. In the evening, students can solve up to 20 problems for free, and if they want to do unlimitedly, parents will be able to acquire access to an expanded account for them.

Most tasks have internal dynamics. Many of them can be used in the class on an interactive board.

Resources cover grades 1-11. In high school, only mathematics are presented. Most of the resources are devoted to elementary school, where there are interactive lessons and tasks in all subject disciplines. The teacher creates a virtual class. Registers students. Prints or sends the logins and passwords of students.

Parents can monitor the success of the student.

The teacher appears complete information about the educational activities of students.

It seemed that you could only admire. However, external attractiveness can be blocked big shortcomings data of resources.

Firstly, there is often doubt how interactive tasks correspond to the level of development of students. In many ways, they lag behind their intellectual abilities and have mainly reproductive.

Unfortunately, many teachers do not fully realize how to work with such resources. How justified is working with them in classes. For example, I read the next comment.

I, as a primary school teacher, know that the preparation of a child for school should start with the game. Therefore, I was literally involved in the process of using the platform from the first day Teach.ru. And, I must notice, the project really works. I spend classes in a computer class, I just plant students in front of computers and explain what we will do. This is interesting and familiar to the guys (after all, not like in the USSR-sit directly and do not move!). Hence there are no problems with discipline at all. You can find this comment on link.

I do not presume to judge by this passage about the system of work of such a teacher. But replacing training in a computer class is unlikely to lead to the effectiveness of learning.

But the main unforgivable shortage is that the program is extremely poorly tested.It does not always react to the wrong answers.

Here and below I give examples when the program missed me further, despite the fact that I showed the wrong answers.

I walked only in mathematics for the first grade. Such blunders of the federal resource categorically Unacceptable. And all other advantages fade, if the resources are not verified, have not passed the corresponding technical and methodological Examination. Especially if the resource claims to the role of a program and methodological complex.

Indian solitaire is one of the most interesting fortune -telling of our time – online fortune -telling Indian solitaire. In Indian solitaires are used characters from life. Usually cards

Indian solitaire

Here is one of the most interesting fortune -telling of our time is the online fortune -telling Indian solitaire. In Indian solitaires are used characters from life. Typically, cards predict the future for two months, but, if necessary, you can find out what will happen in the coming days. It is only necessary to mentally make the right period. It is already recognized that Indian maps can feel the emotional state of the fortuneteller, develop intuition, and logical abilities.

Indian solitaire is a deck of 25 cards with various symbols. For fortune -telling, the solitaire is laid out five cards in five rows. Turn the cards in different directions around your axis so that the drawing coincides – this is a prediction. Cards cannot be changed in places. Pay attention to those cards that lie nearby. Often the value of prediction depends on which card lies nearby. There are also torn cards – that is, the drawing coincides, but through one or two cards. All this matters in fortune -telling

It is very important: it is advisable to focus on the question that is interlocuing you, and lay out the solitaire only after that, then the answers will be the most believable. If the solitaire is too often laid out, then the probability of truthful answers will decrease. That is, it is undesirable to often use the fortune -telling Indian solitaire.

How to guess Turn the cards in different directions around your axis so that the drawing coincides. As soon as the drawing coincides, the interpretation of the falling card will be displayed at the bottom of the page. You can read about all the cards here