Game improvisation - exercises. Improvisation games Improvisation games in the preparatory group
Creative tasks for theater studio in kindergarten and primary school
Murashova Natalia Yuryevna Additional education teacher, Municipal Budgetary Educational Institution Secondary School No. 58, Khabarovsk.Target: Theatricalization of a famous fairy tale in kindergarten.
Tasks:
- Adapt well-known fairy tales for short theatrical performances;
- Organize conditions for creative self-expression of a group of children;
- Develop improvisation skills among future KVN players.
Description: The idea of remaking Russian folk tales for short improvisations came to me a long time ago. Just then I was developing and testing my theater club program for various parallels. “The Golden Key,” “Little Red Riding Hood,” and “The Scarlet Flower” went to the middle grades, and I rewrote these fairy tales for elementary school. But, I think, in kindergarten they will be even more appropriate (you can slightly rewrite the lines in the fairy tale Kolobok, since I did it for 4th grade). Somewhere else I had a fairy tale about Mashenka and the three bears... but over the years, the printout has disappeared somewhere. I'll find it and post it later.
Such an impromptu theater will be useful to many: educators, additional education teachers, theater club leaders, animators and interested parents. It can be used at any children's birthday, birthday celebration in the classroom, during theater classes in kindergarten or elementary school, and in all kinds of events dedicated to theater week.
Progress:
Each participant in the action is given a piece of paper with one single phrase, which he will have to say every time he hears his “name” (role).
It is important to explain that you need to say your phrase differently each time: with different emotions corresponding to the situation.
It is extremely important to rehearse a couple of times in advance.
"CHICKEN RYABA"
Characters:
Grandfather - “Old age is no joy”
Grandma - “Youth is not life!”
Chicken Ryaba - “Where-tah-tah!”
Egg - “And I’m with a surprise!”
Mouse - “Well, they can’t do anything without me!”
THEATER – EXPROMT (text read by an adult)
Once upon a time there lived a grandfather (replica) and Baba (replica). And they had Chicken Ryaba (replica). The chicken laid it down (replica) Testicle (replica)- not a simple one, but a golden egg (replica). Grandfather (replica) beat and beat, did not break. Woman (replica) beat and beat, did not break. A Mouse (replica) ran, waved her tail... Egg (replica indignantly) rolled, fell and broke. Grandfather crying, Baba (sobbing, says his line) The chicken is crying and (replica) clucks. "Don't cry, Grandfather (replica), don't cry, Baba (replica), I'll lay you another Testicle (replica offended). Not golden, but simple.” And from then on the Ryaba Hen became (replica) every day an egg (another egg runs out and says the line: And I’m with a surprise!) carry. Or even two (the second egg runs out: Me too!), or even three (another one runs out: Yes, we are all here with surprises!). But there were no gold ones among them anymore.
All the artists come out to bow.
"KOLOBOK"
Characters:
Old man - “I want to eat!”
Old woman - “Where is my frying pan!”
Kolobok - “They won’t catch up with us!”
Hare - “Lap and hop, and I’m hungry like a wolf.” (you can wear a vest, like an airborne soldier)
Wolf - “Shnyaga shnyaga - communal life. U-U-U-U" (possible with guitar)
Bear - “I’m the strongest here!” (the largest or, conversely, the smallest actor)
Fox - “I don’t eat koloboks, better give me mushrooms”
TEXT
Once upon a time there lived an old man (replica) with the Old Woman (replica). Once upon a time the Old Woman (replica) broomed the barn, scraped the bottom of the barrel, kneaded the dough, baked Kolobok (replica) and put it on the window to cool. Tired of Kolobok (replica) lie on the window and he rolled from the windowsill - onto the rubble, from the rubble - onto the porch, from the porch - onto the path...
Rolling, rolling Kolobok (replica), and a Hare meets him (replica). Kolobok sang (replica) song and rolled on, only the Hare (replica offended) I saw him.
Rolling, rolling Kolobok (replica), and the Wolf meets him (replica). Kolobok sang (replica) song and rolled on, only the Wolf (replica) I saw him.
Rolling, rolling Kolobok (replica), and Bear meets him (replica in bass). Kolobok sang (replica) song and rolled on, only the Bear (replica) I saw him.
Rolling, rolling Kolobok (replica), and Fox meets him (replica). Kolobok sang (replica) a song, and while I was singing, Lisa (replica, rubbing paws) she quietly crept up and ate it.
This is where the fairy tale ends. Who watched - well done!
"TEREMOK"
Characters:
Teremok (2 people)- “Come in, make yourself at home!” (holding hands)
Mouse – “I’m a little mouse” (scratches behind ear with paw)
Frog – “I am a frog frog” (jumps)
Hedgehog - “I am a four-legged hedgehog”
Rook - “I am a foreign rook - fenkyu veri mach” (flapping its wings)
Donkey – “And I’m a sad donkey – before and after the elections”
Bear - “I’m going to crush everyone now!”
Text(adult reads, pausing for remarks)
Stands in the Teremok field (replica), he is neither short nor tall. Here across the field-field Mouse (replica) she runs, ran and knocks on the Teremok. And the Mouse became (replica) live.
Stands in the Teremok field (replica), he is neither short nor tall. Here across the field-field Frog (replica) runs, runs closer and knocks. The mouse looked out (replica) and began to call the Frog to her (replica) live together.
Stands in the Teremok field (replica), he is neither short nor tall. Here's a Hedgehog across the field (replica) he runs, he ran to the door and knocks. And the mouse became (replica) yes Frog (replica) call for (waving their paws) Hedgehog to his place (replica) live together.
Stands in the Teremok field (replica), he is neither short nor tall. Here above the Rook field (replica important) flies, lands near the door and knocks. And the mouse became (replica), Frog (replica) yes Hedgehog (replica) call Rook to you (replica) live together.
Stands in the Teremok field (replica), he is neither short nor tall. Here, across the field, Donkey (replica) goes, he came to the door and knocked.. And the Mouse began (replica), Frog (replica), Hedgehog (replica) yes Rook (replica) invite Donkey to live with you.
Stands in the Teremok field (replica), he is neither short nor tall. There's a Bear across the field (replica) wanders, he comes to the door and roars.. The Mouse got scared (replica scared), Frog (replica scared), Hedgehog (replica scared), Grach (replica scared) and Donkey (replica scared) and they jumped out of Teremok (replica scared). A Bear (replica) climbed onto the roof (hugged Teremok by the shoulders) and crushed Teremok (replica in chorus and dying voice).
That's the end of the fairy tale! Every viewer is well done!
The actors take their bows
Exercises, tasks, games for theater classes
“Oh yes I am!”
Sitting in a semicircle, the children count in order, starting from 1, but skipping the number 3, and then all the numbers that are divisible or ending in 3 (13, 23, etc.), instead they say: “Oh, me! » Whoever makes a mistake is eliminated. You can have a competition between two teams.
"Walking with Change"
Children stand behind each other. On the command “one”, the column moves around the hall in the direction in which they are standing. On command - “two” the movement changes to the opposite direction, “three” - turn 360 degrees and continue moving, “four” - jump on one leg. Whoever makes a mistake is eliminated.
“Who’s behind?”
One student stands with his back to the others with his eyes closed. Another approaches the driver from behind, calls his name and quietly sits down. The voice can be changed. The driver must guess who approached him.
“Draw a bird or animal”
Each child thinks about what animal or bird he wants to turn into, and shows it in the form of a pantomime. Others guess: who is it? The first condition is to believe in transformation. Don't smile during the show!
"Meeting of Two Cubs"
Imagine that the cubs of two different animals went for a walk for the first time and met. They don’t yet know who they met, so they try to find out everything about each other: who he is, where he lives, what he eats, who he’s afraid of, etc. Before you get into character, you need to think through all these questions.
"Animals in the Yard"
First, we need to remember what kind of pets live in a village yard... They all have different characters. Even animals of the same species differ from each other in this way. Each child receives a card that says who he will portray, and the rest guess what kind of animal it is and determine its character.
Cards: arrogant turkey, cowardly rabbit, hungry
a piglet, an angry goose, a handsome peacock, a lively goat, an angry rooster, a lazy cat, a noisy puppy, an impudent crow, a nimble sparrow, etc.
"Painting"
Imagine that the stage is a blank sheet of paper. Children need to draw a picture on a given topic. Before going on stage, you need to decide who he is and what he will do. When one of the students takes the intended pose, the others must guess what he is doing. You can also depict inanimate objects: stone, wood, etc. Condition; can't be repeated.
Topics: “On the river in summer”, “In the forest”, “On the sports ground”, “In the garden”, “In the city park”.
"Impromptu Theater"
A short fairy tale or story is chosen, where the action takes place in one place, and read aloud once or twice. Roles are assigned and performers are invited to the stage. The announcer (storyteller) pronounces a text that carries information about the actions of the heroes, the “actors” appear from behind the scenes and consistently perform everything that is said. You need to read clearly, pausing long enough to complete the actions. Direct speech also comes from the narrator.
This is a very emotional and simple task for the guys, which leads them to work on the dramaturgy of the work, its laws and, ultimately, staging the play.
"Animals in the Circus"
During the classes, many performances with “trained animals” are prepared. First, it is decided what numbers they will be. Then responsible trainers are appointed, the movements that will be performed by the “animals” are “selected”, and their order in the act is determined.
What can animals do? (each is given a name):
“Doggies” - respond to a nickname, dance, spin, turn sideways, walk on their hind legs with their front legs resting on the other’s shoulders, play leapfrog, solve problems.
“Monkeys” - squeal, fool around, scratch themselves, dance in a circle, parody - how the guys behave in the cafeteria, during recess, jump rope, clap while sitting on the floor, bounce on their buttocks.
“Bears” - tumble, dance in pairs, box, play with a ball, bring this or that thing.
“Cats” - wash, stretch, play with a ball, walk on their hind legs, turn sideways, walk between the trainer’s legs, spin a hoop.
“Tigers” - stand on their hind legs, growl, fight, jump over a stick and each other, jump through a hoop, hit a ball.
“Navy Seals” - crawl, leaning on the front paws, bow, play with a balloon, roll over sideways.
“Bunnies” - jump, drum, play leapfrog, jump with turns.
“Parrot” - bow, run sideways on the perch, talk, solve problems, answer questions.
"Get into character"
You need to walk across the stage and sit down, then get up and walk in the image of this or that person: very old, sick, wounded, sneaking up on someone, looking for something, fleeing from someone, etc.
"Professionals"
Imagine yourself as a representative of a particular profession and, using the art of pantomime, show it at work. Remember the professions of your parents or acquaintances. The audience must guess who the participant portrayed.
"Mirror"
The actors put on makeup in front of the mirror. Children stand in pairs, facing each other. One of them is an artist and the other is a mirror. The “Mirror” carefully monitors the “artist’s” movements and repeats them in a mirror image. Movements should be smooth and unhurried.
What can an artist do? Put on a wig, style your hair, apply foundation to your face, fill your eyebrows, paint your eyelashes and lips, etc.
"Window"
Between the children is an imaginary window with very thick glass through which sounds do not pass. One wants to say something to a friend. Everyone needs to decide in advance what they are going to tell their partner. To do this, he can articulate with his lips, write imaginary letters on glass, and explain on his fingers. The partner must understand it and respond in the same way.
"Circus Artists"
Children need to imagine themselves as real circus performers. These are tightrope walkers, heavyweights, boxers, magicians, jugglers, horse riders, acrobats, clowns, and gymnasts. Transformation will be complete if children learn to work with imaginary objects.
"Mass Scenes"(sketches-improvisations)
This assignment develops students' professional understanding of drama. It includes a set of skills acquired during the learning process, allowing you to “show” your character depending on the place and time of action, his desires. First, locations that are already familiar to the children from stage work are selected. For example, the following scenes are presented: “In the slot machine hall”, “In the ready-made dress atelier” (someone can portray mannequins), “On the trolleybus”, “In the store”, “At the lesson”, “At the clothing market”, “ In the library”, “At the post office”, “In the hairdresser”, “In the photo studio”, etc. When a place is chosen, a decoration fence is made. Issues discussed:
“Who do you want to introduce? What should the stage look like in a given game situation?” Roles are assigned, props are selected.
After viewing, the scenes are analyzed by the student spectators and the teacher.
"Improvisation of a fairy tale"
The class is divided in half, and both groups choose a director, select a well-known fairy tale for dramatization, and distribute roles. You can also depict inanimate objects. You need to speak in your own words, and most importantly, maintain the storyline!
"Simultaneous bow, clap hands"
Everyone at once or one group is given time during which the children must gather and, without any commands from anyone, simultaneously clap their hands, and after some pause (for example, three seconds) clap again, etc. Claps can be replaced by bowing from the waist, raising your arms, or jumping. An exercise is considered well done when everything is done at the same time, when there is no ricochet in the claps or discrepancies in the movements.
"Item Transformation"
If a chair is turned into a bus engine, then other students can “become” passengers, a conductor, a mechanic’s assistant, a driver’s friend, etc. When the audience guesses about the content, place and time of the “transformation”, each of the spectators can invent a role and a task for themselves, but such that the “transformation” set by the first performer becomes more complete and expressive. Everyone can become a helper. The work of assistants should be evaluated: the assistant who works well is the one who, firstly, does not interfere with the main performer, secondly, found an unexpected task, thirdly, completed it honestly, fourthly, his work helped and expanded the effect of transformation.
"Transformed myself"
A group of students (3-7 people) is invited to “transform” into bushes, trees, flowers, toys, tools, fruits, vegetables, berries, bread, etc. The task can be given in the form: “We are entering... (pause, gathering attention)... sports store. One two Three. After the command “three”, each member of the group depicts an object, changing their position so that the body resembles the intended object. This exercise trains courage, imagination, ingenuity, and creativity. The student “distorts” his position in space, as if getting into the skin of a given object. For example, to portray a morel mushroom, a boy squats, shrinks, stretches out and makes a crumpled face-grimace. The exercise is convenient for starting classes; becomes more complicated along the lines of more complex task words.
"Divide into teams"
All players are divided into pairs, at least using the calculation of 1st and 2nd. Then each couple offers the leader a choice - sun or rain; train-plane; cabbage-onions, etc. Moreover, these words need not be said, but played. The presenter, guessing the word played, chooses one from the pair and team 1, the other - to team 2 (sparrows - crows) and the whole group is divided, and the partners have the opportunity to remember each other well.
Over time, it is possible to agree on the nature of the words, for example, only animate or inanimate objects, or one is this, the other is another. Adjectives, flowers, events, writers, etc.
This game gives everyone the opportunity to play something, because... this is not needed on its own, which seems scary to many, but as an auxiliary task for dividing into teams.
“Take a partner, change places”
“Taking a partner” means making eye contact with someone in the group, but you cannot use gestures or words, just catch their eyes so as to make eye-to-eye contact. Then pairs of partners arise, who can then be given any additional task - change places, ask each other a question, one stand up, the other sit down, etc. This exercise is also convenient to use when, for some reason, you need to quickly change the order of distribution of children. For example, in order for boys to move with girls, it is enough to give a chain of commands; “We took it through the eyes of our partner (pause). They left this partner and took another (pause).
In any group work, it is important to be able to communicate carefully and calmly with each other. It is important to keep your attention on your partner and notice his attention to you. The beginning of this skill will be training to quickly make eye contact (look at each other). Those standing and sitting in a circle make eye contact and change places. Next, you can ask a group of 3-4 people to make eye contact and ask them to stand up at the same time. As you practice, the tasks should be made more difficult: changing places, ask a question; change places with chairs without rattling or knocking; take the eyes of the first partner, throw, take the second, throw, take the third, change places with the second, etc.
"Exercise with chairs"
The whole group is on command; “Get ready! Please!”, at the same time she stood up, picked up the chairs, placed them in the form of some kind of figure and sat down at the same time. For example; “We got ready to simultaneously place the chairs in a semicircle facing the door! Please!" It is important that there are no conversations during the task, no one commands, everyone works at the same time, adapting to each other. This can be monitored by "judges".
Gradually, the figures can be complicated by asking the chairs to be placed in a circle, a square, the letter G, or the number 3. Each time you should pay attention to the clarity of the end of the exercise, so that everyone working simultaneously sits on their assigned chairs.
"Broken phone"
Students pass a word in a whisper into the ear of one another so that all students in a row along the chain receive and pass the word. Everyone else “catch” it by ear, trying to catch what word the row conveys. First, the teacher asks those who caught what word the series transmitted, then what word the last one in the line of transmission received, and, finally, what word the first transmitted. This exercise can be done in Russian and German.
"Follow the trail"
This is an exercise to adapt to a partner walking in front of you. You can only place your foot in the vacant “footprint” of the person walking in front, this is how the whole chain goes. To justify it, you can invent that we are walking through a swamp, or through mud, or across a stream on stones, then you can not just walk, but jump and choose where to put your foot. It is necessary to ensure that the person walking behind does not step on the heels of the person in front, but waits until the “footprint” is completely free. When only part of the students performs the exercise, others can monitor the accuracy of execution.
A moving exercise for the whole group. Each next one follows in the footsteps of the previous one. Attention and orientation to the behavior (steps) of the other is the basis of theater training in this exercise. Beginners often have difficulty completing this simple task. It is important to repeat and train those who do not handle it well. This task can also look like a collective sketch of “crossing a swamp” by different groups, with the development of the sketch to “saving” those who have failed and helping the groups to each other, while maintaining the task of putting their feet in the same footprint. Later, you can choose presenters who invent where they are, why and why they are going this way, what obstacles are on the way, etc. Depending on the task, the logic of behavior should change, but the same degree of attentiveness should be maintained.
"It flies, it doesn't fly"
This traditional children's game requires attention. The presenter calls the nouns, the players perform accordingly given movements: for example, they clap their hands or wave their hands to a flying object; to a non-flying object, they do nothing or press their hands along the body. Whoever makes a mistake is eliminated from the game. You can play the game on animate and inanimate objects, on even and odd numbers, etc.
"In truth and in pretend"
First, the real “business” is done - to look for a needle hidden in the classroom, then this is done “for fun”, i.e. the performer, knowing that there is no needle, looks for it in the same way as he was looking for in truth. “Things” can be very different; aim and throw the ball at the target, wash the walls, water the flowers, sweep the floor, aim, train: in truth, then in pretend.
"Peekaboo"
First, children play in truth, in reality, leading and hiding, and then repeat in make-believe, i.e. They play as if they were playing hide and seek, but in such a way that no one would guess that it was for fun.
Play is important for developing teamwork skills. It is important that all children take part in it; based on its nature, the teacher will be able to determine the important personal qualities of schoolchildren.
It is difficult to play in truth and pretend, repeating in the second case everything that happened in the first, in a large group, because everyone depends on each other. Playing the game is the ultimate task. To make it interesting to watch, you can introduce new events, incidents, and actions.
Stage 1 - play and repeat the elements.
Stage 2 - we play once and restore everything that happened in repetition.
Stage 3 - building a play-game.
All children are invited to line up at the speed signal according to the alphabet of the first letters of the surnames or first names of the participants.
The task must be completed silently. The task is only possible in a group where everyone knows each other’s last names and alphabet. During the exercise, no talking, bickering, or arguing (words or gestures) should be allowed. The group should move silently until everyone takes their place; when the row is built, the “judges” evaluate their work, check, and make suggestions.
For theatrical culture, the mood for joint, collective work is important. This sense of connection is essential in performing theatre. You can build according to any “rule”: names “on vowels”, then “on consonants” or “through one”, according to the alphabet of surnames, according to the seniority of birthdays, etc.
Children, clasping hands, “write” the letter assigned by the teacher in a round dance; written B, E, G, O, I, P, L, R, V, etc. (printed). Before the letter begins, everyone should stand in a chaotic order, each on his own. If there are a lot of children, then you can ask a short word, for example: cat, yak.
"Round dance-letter"- this exercise is easy to perform if the round dance is obedient and smart, if the leader writes well, i.e. knows how to start writing a letter. For such a round dance, you need 10-12 people. It gives a good warm-up and coordination of movements, in addition, it has a task - action - result, moreover, collective equal actions and a clear result. This is its benefit as training for teamwork.
"Room Transformation"
Just like the exercise of transforming a thing, it is performed through the precise execution of appropriate actions. The student does something in the room, and we understand that this is no longer a room, but a forest, for example, a train station, etc.
This exercise is considered the central theatrical task of the first stage of acquaintance with acting.
"Body in Action"
The child freezes in some position, and everyone sees a photograph of him doing something, for example, looking at a window display, putting groceries in a bag, leaving the entrance, etc. Other children try to guess the photographed case, but guess without words. They go out, repeat the pose and continue the action interrupted by the moment of photography. Naturally, different children will show different actions. Everyone is discussing how one show is different from another, which one is more consistent with what they saw. You can continue this exercise with the “add” task - the first one sets his photo, and the second, third, etc. “enters” photography with its own understanding of the first pose, i.e. with his own idea of the photographed history, of what else should and could happen there. When everyone has entered the photograph, the command is given to continue the movement interrupted by the photograph. Sometimes it turns out that one “lives” in the forest, another in the kitchen, the third in the gym. The result is a kind of “nonsense”, and the children see it well; sometimes, to the great joy of all participants, the whole picture comes to life without violating the logic of life.
"Composing stories through costumes"
Two or three costume characters are named or called up, the children invent a plot that unites them: where, when, how it started, what happened, how it ended. It is important that the task is played with a minimum of verbal text, the entire emphasis is on what is happening, the action of each of the performers.
Carnival costumes allow you to expand the work of composing plots and stories, the characters of which will be determined by the “costumes”. What story-plot could happen between the tiger cub and the bell? What ~ is between a musketeer and a snowflake? And so on. The costume gives impetus to fantasy, and the collision of two costumes in one story directs this fantasy in a certain direction, which often results in a striking performance effect. Children manage to play a fairly lengthy scene, improvising the text in the proposed circumstances of the plot and character. The first one is composed in class. The second follows from the requirement of special behavior in a suit.
"Children's poems based on roles"
This exercise is a dialogue in different interpretations. This is a rehearsal of skits, but with different performances and different ideas being built. The connection between them is being worked out - if you play like this, then the general meaning will be like this; If you think about the third, then you need to play differently again. Dialogues from poems by Marshak, Barto, Zakhoder are convenient for work. For example:
Custom made for Zhitkov.
Sorry, there is no such thing.
Where is this citizen?
I flew to Berlin yesterday.
"Mass Scene"
Children are invited to create a “living picture” called a bazaar, recess, stadium, beach, etc. Picture - photograph. Then each performer determines for himself where he was, what he was doing 1 minute before the photo, and what will happen to him in a minute. Then it is proposed to start living the situation until the moment of photography, a clap of the teacher’s hands records the moment, then a clap, and the situation unfolds further.
This exercise is plot-based and voluminous in execution, but by mobilizing patience and organizational skills, the teacher will be able to prepare quite expressive and spectacular theatrical performances with the children.
Work on the “before” and “after” of the photo flash is carried out so that each performer is in the most lively and natural situation at the moment of “stop” - shooting.
The crowd stage can be improved according to the laws of mise-en-scene and composition. You can “dress” a crowd stage and select props. If you prepare to show what happened “before” and “after”, you will need to compose words.
To work on a crowd scene, you can take works of literature as a basis.
Verbal and theatrical games develop children's associative thinking, communication skills, acting abilities, and sense of rhythm. They can be used in any setting, with different numbers of participants and without any prior preparation.
Contact
This game develops associative thinking, increases vocabulary, develops memory, improves communication, and develops reaction. It is good to play with both younger and older students.
The driver thinks of a word and names its first letter: for example, “k.” Everyone else takes turns asking the driver about some word starting with the letter “k,” but they formulate the question in such a way that the other team members guess what word is meant, but the driver does not guess. When one of the players understands the meaning of the question and the implied word, he says: “Contact.”
If the driver still guesses the word given by the participants, the game continues. If not, then he names the second letter of the word he has planned. This can continue until the word is completely revealed. The driver’s task is to unravel as many words of the command as possible and not give away his word for as long as possible.
For example, the driver thought of the word “caramel”. One of the participants asks him: “Isn’t this what they eat for breakfast?” Team members must guess what they are talking about. If the driver does not guess the word within 10 seconds, the players name their word - “porridge”, and this word must match. If two people from a team say two different words, then the contact does not count.
Mom and Dad
This game is aimed at developing the child's vocabulary. It’s good to play with junior and senior schoolchildren, you can all play it together, even with your parents.
Two nouns are thought of, one is feminine, the other is masculine, but such that they are related to each other. For example, a bald head and a wig, a knife and a fork. The person who guesses these words is allowed to ask questions to the whole team, and the team can only answer “yes” or “no” to the question asked by them. The player wins if he guesses correctly. Then the next player on the team becomes the guesser.
Nouns and hat
A game for cohesion, understanding, listening and explaining skills. Develops imaginative thinking, reaction, and the ability to clearly construct a sentence.
Participants sit down at the table, but it is important that there is an even number of players. They take a number of pieces of paper, and everyone writes on their sheet as many nouns as possible that come to mind. Then all the sheets are mixed, placed in a hat, and it goes around in a circle.
Some player takes out a piece of paper, unfolds it, and after that must explain to his counterpart (or neighbor), without using the word written on the sheet, as well as words with the same root, what this noun means. Two minutes are given for this. The words are guessed in order. The pair that manages to guess the words written on the largest number of pieces of paper wins.
The presenter comes up with a well-known quatrain and writes out rhymes from there, and distributes the pieces of paper to the players. Each player composes his own quatrain with the resulting rhymes. Then the presenter reads out loud all the composed quatrains, and each of the participants must guess from which poem these rhymes were taken.
A point is awarded to the one who guessed at least a specific poet. The one who scores more points wins.
Burime
1. Option for older students
The game is aimed at developing vocabulary, a sense of rhythm and rhyme.
All participants sit in a circle and take a large piece of paper. The first participant writes three rhyming lines on it and folds the piece of paper so that only the last of them is visible to the next participant. The next participant comes up with a rhyming line for it, and also composes another one for the neighboring player.
The result is a joint poem. Usually it turns out to be very funny, because one of the participants comes up with his own plot for the given line, and someone supports the plot of his neighbor.
Another type of game: participants are given four rhymes, and they need to come up with their own poem.
2. Option for younger students
With small children you can play not poetry, but drawing burim. The rules of the game are the same, only instead of rhyming lines, each participant draws a part of the body of one creature.
Literary heroes
This game develops acting skills, communication, team spirit, cohesion, and develops abstract thinking.
The guys are divided into teams. Each team shows a scene, but preferably without words. It’s best if it’s a scene from a book everyone knows. For example, in class we recently read “Mowgli” by R. Kipling. The students were divided into 3-4 teams, 4 people each, and each team presented an episode: one shows the scene on the Rock of Councils, when Mowgli attacks Shere Khan with fire, the other team depicts how Akella missed, and the rest guess during the show , which episode they are seeing and which character the participants play.
You can make fairy tales, cartoons, legends, and myths in the same way. For example, the theme of the game could be the labors of Hercules. Then each team shows some feat of Hercules, and the rest guess.
Characters
The game helps develop communication skills, acting abilities, and teaches you to understand the psychology of the character being portrayed.
One participant leads, and the rest come up with a word whose number of letters matches the number of people sitting. Then each player depicts some human quality, the name of which begins with the letter he received (tediousness, laziness, impudence, kindness, etc.). The driver must guess which quality is being depicted.
Another type of game: the driver comes out, and the team members agree on which of them portrays which quality. At the same time, it is allowed to represent quality not only with facial expressions, but also with the help of words and intonation.
Professor
The game is aimed at developing imagery and fine motor skills, promotes interaction skills and team building, and helps combat psychological problems such as stage fright, inability to speak to a large audience, and answer tricky questions. It is good for shy people who find it difficult to feel free in communication.
One of the guys sits on a chair and pretends to be a senile professor. He puts on a large jacket, usually backwards. Another person stands behind him and puts their hands under his arms so that they look like the hands of a person sitting.
All participants, secretly from the professor, wish for some fantastic invention that this scientist allegedly made. And the professor needs to give a lecture about his new invention and at the same time guess what it is, since he does not know it in advance. His only assistant is the hands of the second player, which move in front of him and try to depict what the professor has invented, or somehow tell him what it is.
It is important for the scientist not to lose face, because he is giving a lecture: “Dear audience, I am a famous professor, I recently invented a fundamentally new device, now I will remember what the essence of my invention is.” At the same time, everyone sees hands that are explaining something, and it turns out very funny.
The professor's task is to guess what invention he made. The task of the player representing the hands is to clearly explain the essence of the discovery with gestures.
RULES OF THE BOARD GAME “IMPROVIZATION”
"Improvisation" is a team game of explaining and guessing words in unusual ways. One player from the team receives a card containing a word or expression, as well as way, to whom you should explain what is hidden on the card. The team has 1 minute to name which word or expression was guessed.
There are ways to understand each other:
"Sign Language". The player uses only gestures; you can point to objects and their parts. You cannot make sounds or show letters and numbers (if they are present in the task). |
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"In Colors". The player draws what was hidden. You cannot make sounds, use gestures, or write letters and numbers. |
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"Yes and no". A player can only answer “yes” or “no” to questions asked by the team. You may have 2 minutes to complete this task. |
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"In other words". The player can explain the mystery in any words, except those indicated on the card and their cognates. |
In addition, the game contains “Improvisation” surprise cards with a variety of tasks:
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"Leisya, song". You need to explain which musicians are on the card. For this you will have to sing something from their repertoire.
· "A Masterpiece Comes to Life". It is necessary to explain what work of art is hidden. To do this, you should arrange assistants and objects in the same way as on the hidden masterpiece.
· "Blitz". You need to explain 10 words in 1 minute "in other words".
· "Winged words". Need to gestures show a “catchphrase” (proverb, saying, etc.).
· "A person". Need some explanation "in other words", what famous person or character is riddled.
· "The Master's Hand". There is a wish for a famous work of art, you need it draw.
WHAT DO YOU NEED TO PLAY?
· At least 2 teams (optimally 2-3).
· At least 2 players on each team (optimally 3-5).
· Drawing supplies.
The rest can be found in the box with the Improvisation board game.
HOW TO PLAY?
The task of the commands– move your chip from “Start” to “Finish” faster than your opponents. To be eligible to roll the die and make a move, a team must complete the task first. One player from the team must draw a card and explain the word or expression on it in the indicated way. The team must guess what is on the card and correctly name this word or expression.
1. Lay out the playing field. Place cards with tasks: on the cell in the center of the field - a stack of “Improvisation” cards, in each of the four cells in the sectors of the field - a stack of “thematic” cards.
2. Place the chips on the “Start” square, prepare an hourglass and a cube.
3. Break into teams. Roll the die to determine which team goes first. Within teams, agree on the order in which players complete tasks. Also agree on which part of the card you will perform tasks from during this game - white or black.
4. At “Start”, the player of the first team takes a card from any “thematic” pile and selects any line with a task to complete.
5. The method of explanation on the card is indicated next to the word or expression.
a. You cannot choose another way to explain a word or expression.
b. You cannot tell anyone what is hidden on the card until the guessing is completed.
6. The player must explain to his team in 1 minute what word or expression is on the card in the indicated way. You may have 2 minutes to complete the “Yes” and “No” tasks.
7. Let your opponents turn over the hourglass. This is a signal to begin the task.
8. The task is considered completed if the team manages to correctly name the hidden word or expression within the allotted time. In this case, the team rolls the dice and moves its piece forward the appropriate number of spaces.
9. If the team was unable to give the correct answer, the chip remains in place, and the team waits for its turn to make another attempt.
10. Made a move (moved a chip) - rest. Your team must wait for their turn to complete the task.
11. Did the chip land on the square with the image of the explanation method? The player takes a “theme” card from a pile located in the same sector of the field in which the chip is located. Then you need to find on the card the task line that is indicated by the same icon as on the cell. Do it.
12. If the chip lands on the cell, then the player takes the “Improvisation” card (in the center of the field) and completes the task indicated on it. First, the player must announce what type of task he received (“Blitz”, “Persona”, “Leisya, song”, etc.). The reward for a successfully completed task is indicated on the card.
HINTS, PENALTIES, BONUSES
How to fine and for what, what bonuses to award to teams - you can agree on all this yourself. Here are just some tips:
· If you complete a task from a “thematic” card, pay attention to what is written on its “back.” This is a hint that will help the team give the correct answer faster!
· If, after time has elapsed, the team is unable to name what is on the card, the opponents can offer one of their own versions of the answer. If the opponents name the correct answer, they can move their chip forward 1 square.
o Attention! This rule does not apply to Improvisation cards!
· If a team is stuck on one square, it can take advantage of a penalty to get off it. For example:
o If a team cannot leave a square within 3 turns, it can move the piece back one square.
o If a team wants to leave a square early, they can roll the die and move the piece back the appropriate number of squares.
GAME SET “IMPROVIZATION”
· Playing field;
· Rules of the game;
· 4 chips;
· Hourglass for 1 minute;
· 600 task cards:
o 200 “Improvisation” cards;
o 4 decks of “thematic” cards, 100 each: “Nature”, “Man and Woman”, “History and Society” and “Action”.
Ask stores for additional sets of cards with new tasks and topics. Contact us if you would like to suggest your own Improvisation activities!
Happy cabbage!
1. Improvisation
At the heart of schoolchildren’s creative activity, two factors are very closely interconnected – creative perception and self-expression. Therefore, the system of creative tasks should be aimed at their parallel development.
Improvisation is the starting point in the process of activating the creative potential of students.
It is hardly possible to study and describe the mechanism of action of improvisation as a creative apparatus, although such attempts exist (B.M. Runin, A.V. Makagonov, etc.). The creative act is carried out mainly subconsciously and in each specific case individually.
It is known that it is impossible to teach the creative experience of art, but it is possible to promote its formation and emergence. The subconscious can be penetrated through consciousness. Every act of art necessarily includes, as a prerequisite, the preceding acts of rational cognition, comprehension, recognition, and associations. Imagination plays a special role in creative activity.
Psychology and pedagogy of artistic creativity suggest two ways to control the imagination: influencing consciousness directly and indirectly. Real life ideas, transformed and enriched by human imagination, make it possible to invent fantastic stories, depict events of the distant past, and create works of the present and the future.
“In art, fantasy becomes an integral component of artistic truth, grows, is woven, is included in the fact of art, materializes in it in the form of images” (L.S. Vygotsky).
Improvisation(from Latin improvisus - unexpected, sudden) means composing poetry, music, etc. at the time of execution; speaking with something not prepared in advance; a work created in this way.
Improvisation in the classroom is a form of productive artistic activity in which the carrier of content is the process of activity itself, organic for self-expression. Improvisation is an important basis for the formation of mature creative thinking from a child’s wild imagination.
Improvisation is the most accessible form of play for children to reflect reality, in which a direct emotional reaction is its essence. Here the main incentives for self-expression are emotions and intuition.
Children's improvisation can be viewed from several aspects. It could be:
Rhythmic, intonation, plastic embodiment of the world around the student (the rustling of leaves, the chirping of birds, the sound of rain, the clatter of hooves, etc.);
Searching for just one word in a poem, prose;
The choice of intonation for a literary or musical text as a whole or a short phrase, as well as a picture to convey emotional content;
Experimental selection from a large number of proposed thoughts, drawings, melodies of one;
Imaginative vision and hearing of works of various types of art and capturing this in word, drawing, sound (musical, literary, pictorial modeling);
Writing elementary songs and melodies;
Rhythmization of songs, poems;
Melodization of prose, short phrases, plastic embodiment in movement, dance of sound colors, literary plots, etc.
Conditions for improvisation
1. Reliance on the problem-based, search method as the basis of developmental education. Creating a heuristic situation provides an opportunity for children not only to understand, but also to experience a creative task. This creates conditions for creative activity and free improvisation.
2. It is impossible to form and improve the creative gift in the process of monologue teaching a lesson. The search situation should be revealed only in the process of dialogical communication, which is not reduced to traditional questions and answers, but is considered as a process of thinking out loud.
3. Reliance on the method of comparative analysis, comparison of works of various artistic systems, and one’s own creative works.
4. Focus on playful creativity. Improvisation is realized in comparison games, riddles, writing poems and fairy tales, etc.
2. Play as a factor in the creative development of schoolchildren
One of the main features of the game is its active and creative nature.
The development of game theory began approximately in the middle of the 21st century and continues intensively. Many game concepts have been created, but there is no single holistic theory yet.
The most important feature of the game is that it allows you to reproduce and recreate forms of human interaction at any level, including those that are impossible in the conditions of work or everyday activity, since they often one-sidedly orient and develop a person, subordinating him to external necessity to the detriment of inner freedom.
The main types of games include imitative games, games of strength and skill, guessing games, fun games, competitive games, etc.
A game can be both valuable in itself and a means, a form of any serious rational activity, ranging from training and education to military exercises.
Scientists have long established that play for children is the best way of learning.
The hallmark of games is the combination of repetition and surprise. An educational game should lead the minds of the players through easy and even stages of the question and answer procedure, maintain and sharpen their interest by introducing new elements and use the attention thus created in order to involve them with confidence and enthusiasm in a process that brings with it surprise, pleasure and the joy of discovery.
In the art education of junior schoolchildren, especially for creative lessons, play activity becomes one of the most important methodological principles for conducting classes. It is based on playful communication. This is when a situation that is an analogue of a life situation is modeled in aesthetic terms.
The main thing in this process is the teacher’s playing position, which is expressed using gaming techniques. The teacher must be involved in the game and play himself. This turns the game into an educational factor, which contributes to the humanization of the teacher-student relationship. This is the main function of the teacher’s playful position, which contributes to the creation of a creative atmosphere.
In the teacher’s play position, two plans of play relationships are distinguished: explicit and hidden. Explicit is the specific and active participation of the teacher in the role-playing game of schoolchildren. Hidden - the teacher conveys his opinion to the children in such a way that they have complete confidence that they came up with it themselves. Pedagogical artistry is very important here.
In music lessons, schoolchildren deal with unusual material - with reality, transformed by the creative vision of the artist. Therefore, the teacher must first of all prepare children to perceive art and clearly explain the language of figurative conventional expression. Game simulation of the situation will help him with this.
Through role-playing play, the child enters into the artistic system of the work, transforming himself in the game, as if he himself becomes one of the elements of this imaginative system and gets the opportunity to directly, empirically learn the laws of the creative process.
So, play communication can be considered as, firstly, playful communication between a teacher and a group of children, and secondly, communication between children in a group.
The second type is characterized by three main functions. They are the most important in the overall structure of the educational process of younger schoolchildren, therefore play is not only a way of communication, but also a fundamental means of personality formation.
These are the functions:
Developing children’s communication skills with a team and the ability to coordinate their behavior in accordance with its principles;
Creative communication, that is, developing the ability to productively respond to non-standard situations and independently model them;
Communication in the language of images to a greater extent than in the language of concepts, that is, it develops the emotional-figurative sphere of the child’s thinking.
There are two types of games in music lessons : plot-role-playing and problem-simulating.
Role-playing game
It is characterized by the fact that through a plot-role situation, a child’s peculiar adaptation to the artistic world of the work occurs. Mandatory components of the game: plot, role, imaginary situation.
Conditions for organizing such a game:
The choice of plot is determined by the specific educational task;
Unobtrusive but firm control by the teacher of play dramaturgy: arrangement (in the most general terms) of the psychological dominant of each role. Offering children roles taking into account their needs, aspirations, psychological and physical capabilities;
Preparing children for play through analysis of works of art;
Activating the child’s imagination, creating an imaginary situation;
Help children find the right touches to embody specific images, feelings, states, etc. in words, colors and sounds.
Dramatization Games- These are arbitrary creative constructions. What is important here is not only what the child portrays, but also how he does it, how accurately he conveys the image.
Paraphernalia is of particular importance in organizing the game.
Problem-simulating game
It is characterized by the fact that it involves a playful deformation of the structure of a work of art in order to reveal the specific role of specific means of artistic expression, as well as to offer the child a non-standard situation that requires an independent creative solution. For example: - what will happen if a major piece is played in a minor key? – what happens if the piece is performed in a low register?
This may include other forms of gaming situations:
A story in a circle;
Playing out famous fairy tales (the teacher suggests the plot of the fairy tale, highlighting a particular situation in it, the children develop it in their story);
Defense of a fantastic project (offer to come up with a fantastic situation and try to prove its viability);
Guess the song by rhythm;
Mirror improvisation of the proposed simple movements.
Games should activate creative abilities and contribute to the formation of the ability to sensitively perceive human relationships. They transfer the child from the position of an object of activity to the position of its subject, which stimulates the formation of his emotional and spiritual culture.