Application for organizing theatrical activities for preschool children. Features of organizing theatrical activities with preschool children
Meaning and specificity theatrical arts are empathy, cognition, communication, and the impact of the artistic image on the individual. Theater is one of the most accessible forms of art for children, helping to solve many actual problems pedagogy and psychology related:
- With art education and raising children;
— formation of aesthetic taste;
— moral education;
— development of personal communicative qualities;
- education of the will, development of memory, imagination, initiative, fantasy, speech;
— creating a positive emotional mood, relieving tension, resolving conflict situations through play.
Theatrical activities in kindergarten are an opportunity to reveal the creative potential of a child and nurture the creative orientation of the individual. Children learn to notice interesting ideas in the world around them, implement them, create their own artistic image of a character, they develop creative imagination, associative thinking, the ability to see the unusual in the ordinary. Theatrical art is close and understandable to both children and adults, primarily because it is based on play. Theatrical play is one of the brightest emotional means that shapes the artistic taste of children.
Collective theatrical activities are aimed at a holistic impact on the child’s personality, his emancipation, independent creativity, and the development of leading mental processes; promotes self-knowledge and personal self-expression; creates conditions for socialization, enhancing adaptive abilities, corrects communication skills, helps to realize a sense of satisfaction, joy, and success.
Classification of theatrical games
There are several points of view on the classification of games that make up theatrical gaming activities. According to the classification of L.S. Furmina are objective (the characters are objects: toys, dolls) and non-objective (children in the image of the character perform the role they have taken on). Theatrical game researcher L.V. Artemova divides into two groups: dramatization and director's.
In dramatization games, the child independently creates an image using a set of expressive means (intonation, facial expressions, pantomime), performs his own actions in playing the role, performs any plot with a pre-existing script, which is not a rigid canon, but serves as a canvas within which improvisation develops (acting out the plot without preliminary preparation). Children worry about their hero, act on his behalf, bringing their own personality to the character. That is why the hero played by one child will be completely different from the hero played by another. Dramatization games can be performed without spectators or have the nature of a concert performance. If they are performed in the usual theatrical form (stage, curtain, scenery, costumes, etc.) or in the form of a mass plot spectacle, they are called theatricalizations.
Types of dramatization:
- games that imitate images of animals, people, literary characters;
— role-playing dialogues based on text;
- staging of works;
— staging performances based on one or more works;
— improvisation games with the plot being played out without prior preparation.
Director's games can be group games: everyone leads the toys in a common plot or acts as the director of an impromptu concert or play. At the same time, experience of communication, coordination of plans and plot actions is accumulated. In director's play, the child is not a stage character; he acts as a toy hero, acts as a screenwriter and director, and controls the toys or their substitutes.
Director's games are classified according to the variety of theaters (tabletop, flat, bibabo, finger, puppets, shadow, flannelgraph, etc.) According to other researchers, games can be divided into two main groups: plot-role-playing (creative) and games with rules.
Role-playing games are games based on household topics, with a production theme, construction games, games with natural materials, theatrical games, fun games, entertainment.
Games with rules include didactic games (games with objects and toys, verbal didactic, board-printed, musical and didactic games) and outdoor games (plot-based, plotless, with sports elements). In games with rules, attention should be paid to the combination of a fun challenge and active activity based on mental effort; this mobilizes the child’s intellectual potential.
Role-playing play is important in the development of theatrical play in children. The peculiarity of theatrical play is that over time, children are no longer satisfied in their games only with the depiction of the activities of adults; they begin to be captivated by games inspired by literary works (on heroic, labor, historical themes). Children are more fascinated by the plot itself, its truthful portrayal, than by the expressiveness of the roles performed. Thus, it is the plot-role-playing game that is a kind of springboard on which it receives its further development theatrical game.
In a number of studies, theatrical games are divided by means of depiction, depending on the leading methods of emotional expressiveness of the plot.
Skills and abilities of a teacher in organizing theatrical activities
For comprehensive development child through theatrical and play activities is primarily organized pedagogical theater in accordance with the goals of preschool education. The work of the teachers themselves requires from them the necessary artistic qualities, the desire to professionally work on the development of stage performance and speech, musical abilities. With the help of theatrical practice, the teacher accumulates the knowledge, skills and abilities he needs in educational work. He becomes stress-resistant, artistic, acquires directorial qualities, the ability to interest children with expressive embodiment in the role, his speech is figurative, “speaking” gestures, facial expressions, movement, intonation are used. The teacher must be able to read expressively, tell, look and see, listen and hear, be ready for any transformation, i.e. Possess the basics of acting and directing skills.
The main conditions are the emotional attitude of an adult to everything that happens, sincerity and genuineness of feelings. The intonation of the teacher’s voice is a role model. Pedagogical guidance of play activities in kindergarten includes:
- educating a child about the basics general culture.
- introducing children to the art of theater.
- development creative activity and children's playing skills.
The role of the teacher in educating the foundations of general culture is to instill in the child the needs of a spiritual nature, which are the main motivating force of the individual’s behavior, the source of his activity, the basis of the entire complexity of the motivation system that forms the core of the individual. This is facilitated by the inculcation of moral norms, the moral and value orientation of children towards highly artistic examples (in music, fine arts, choreographic, theatrical art, architecture, literature), the inculcation of communication skills and interaction with a partner in various types of activities. Theatrical games are based on the performance of fairy tales. Russian folk tales delight children with their optimism, kindness, love for all living things, wise clarity in understanding life, sympathy for the weak, slyness and humor, while the experience of social behavior skills is formed, and favorite characters become role models.
Main areas of work with children
Theater game
Objectives: To teach children to navigate in space, to be evenly placed around the site, to build a dialogue with a partner on a given topic. Develop the ability to voluntarily tense and relax individual muscle groups, remember the words of the characters in performances, develop visual auditory attention, memory, observation, imaginative thinking, fantasy, imagination, interest in the performing arts.
Rhythmoplasty
Objectives: Develop the ability to voluntarily respond to a command or musical signal, readiness to act in a coordinated manner, develop coordination of movement, learn to remember given poses and convey them figuratively.
Culture and technique of speech
Objectives: To develop speech breathing and correct articulation, clear diction, varied intonation and logic of speech; learn to write short stories and fairy tales, select simple rhymes; pronounce tongue twisters and poems, replenish lexicon.
Basics theatrical culture
Objectives: To acquaint children with theatrical terminology, with the main types of theatrical art, to cultivate a culture of behavior in the theater.
Work on the play
Objectives: Learn to compose sketches based on fairy tales; develop skills in working with imaginary objects; develop the ability to use intonations that express various emotional states (sad, happy, angry, surprised, admiring, pitiful, etc.).
Organization of a corner for theatrical activities
In kindergarten groups, corners for theatrical performances and performances are organized. They provide space for director's games with finger, table, stand, theater of balls and cubes, costumes, and mittens. In the corner are located:
— various types of theaters: bibabo, tabletop, puppet theater, flannel theater, etc.;
— props for acting out skits and performances: a set of dolls, screens for a puppet theater, costumes, costume elements, masks;
— attributes for various playing positions: theatrical props, makeup, scenery, director’s chair, scripts, books, samples of musical works, seats for spectators, posters, box office, tickets, pencils, paints, glue, types of paper, natural material.
Theatrical activities should provide children with the opportunity not only to study and understand the world around them through comprehension of fairy tales, but to live in harmony with it, receive satisfaction from classes, a variety of activities, and successful completion of tasks.
Used Books
1. Dodokina N.D., Evdokimova E.S. Family theater in kindergarten, Mosaic - Synthesis, 2008
2. Gubanova N.F. Play activities in kindergarten Mosaic - Synthesis, 2008.
3. Baranova E.V., Savelyeva A.M. From skills to creativity Mosaic - Synthesis, 2009.
4. Gubanova N.F. Development of gaming activity Mosaic - Synthesis, 2008.
Natalia Kononenko
Organization of theatrical activities in kindergarten
Forms of organizing theatrical activities:
Theatrical activity;
Joint theatrical activities of adults and children;
Independent theatrical and artistic activity;
Theatrical games and performances;
Theatrical play at holidays and entertainment;
Theatrical games in everyday life;
Mini-games in music classes;
Mini-games in other classes;
Children visiting theaters together with their parents;
Puppet Museum.
Classification of theatrical games
There is a multiplicity of points of view on the classification of games that make up theatrical gaming activities.
L. V. Artemova divides the theatrical play into two groups: dramatization(dramatization games with fingers, dramatization games with bibabo dolls, improvisation.) and director's(table theater toys, tabletop picture theater, stand-up book, flannelgraph, shadow theater, etc.).
IN dramatization games a child artist independently creates an image using a set of means of expression (intonation, facial expressions, pantomime, and performs his own actions in performing the role.
Dramatizations are based on the actions of a performer who can use puppets.
In director's play, the child is not an actor, he acts as a toy character, he himself acts as a screenwriter and director, controls the toys or their deputies.
Methodology for directing theatrical games
The effective development of children's theatrical play certainly requires targeted pedagogical support. It should be noted that the general methods of directing theatrical play are straight(the teacher shows the methods of action) and indirect(the teacher encourages the child to act independently) techniques.
The system of work for the development of theatrical activities is divided into three stages:
1. artistic perception of literary and folklore works;
2. mastering special skills for developing basic (“actor”, “director”) and additional positions (“screenwriter”, “designer”, “costume designer”);
3. independent creative activity.
The basis for directing theatrical games is working on the text of a literary work. R.I. Zhukovskaya advises presenting the text of the work expressively, artistically, and when reading it again, involve children in a simple analysis of the content, leading them to an awareness of the motives of the characters’ actions.
Enriching children artistic means The transfer of the image is facilitated by sketches from a read work or the choice of any event from a fairy tale and its drawing (the audience guesses). Interesting sketches in which children move to fragments of musical works.
Compilation verbal portrait hero;
Fantasizing about his home, relationships with his
parents, friends, inventing his favorite dishes, activities, games;
Composition of various incidents from the hero’s life that were not provided for
staging;
Analysis of invented actions;
Working on stage expressiveness: defining goals
appropriate actions, movements, gestures of the character, place on the stage
stage, facial expressions, intonation;
Preparation of theatrical costume;
Using makeup to create an image
Rules of dramatization (R. Kalinina):
Rule of individuality;
Rule of all participation;
Rule of freedom of choice;
Rule of helping questions;
Feedback rule;
Attributes for dramatizations;
The rule of a wise leader.
basic rules (E. G. Churilova):
Do not overload children;
Do not impose your opinion;
Do not allow some children to interfere with the actions of others;
Give all children the opportunity to try themselves in different roles, without distributing them
among the most capable.
E. G. Churilova highlights ten main stages of working with preschoolers on a play:
1. Selecting a play or dramatization and discussing it with the children.
2. Dividing the play into episodes and retelling them for children.
3. Work on individual episodes in the form of sketches with improvised text.
4. Searching for a musical and plastic solution for individual episodes, staging dances (if necessary). Creating sketches of scenery and costumes together with children.
5. Transition to the text of the play: work on the episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters.
6. Work on the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes.
7. Rehearsals of individual paintings in different compositions with details of scenery and props (can be conditional, with musical arrangement.
8. Rehearsal of the entire play with elements of costumes, props and scenery. Clarifying the tempo of the performance. Appointment of those responsible for changing scenery and props.
9. Premiere of the play. Discussion with spectators and children.
10. Reruns of the play. Preparing an exhibition of children's drawings based on the performance, a stand or an album with photographs.
Plan for working on a fairy tale (E. A. Antipina):
I. 1. Reading a fairy tale. 2. Showing musical numbers. 3. Conversation based on content.
II. 1. Discussion of candidates for the roles of fairy tale characters. 2. Reading a fairy tale by role.
III. 1. Work with the leading child. 2. Introduction to the introduction.
IV. 1. Work with artists: a) expressive reading; b) game movements; c) facial expressions. 2. Getting to know dance patterns.
V. 1. Individual work on roles with a soundtrack. 2. Learning dances. 3. Consolidation.
VI. 1. Work on dancing. 2. Working with a phonogram.
VII. 1. Joint rehearsal for all participants in the performance. 2. Consolidation.
VIII. Dress rehearsal.
IX. Premiere.
Organization of a corner for theatrical performances
When designing a subject-spatial environment that provides theatrical activities for children, the following should be taken into account:
Individual socio-psychological characteristics of the child;
Features of his emotional and personal development;
Interests, inclinations, preferences and needs;
Curiosity, research interest and creativity;
Age and gender-role characteristics.
In the corner are located(V. A. Derkunskaya):
Various types of theaters (bibabo, tabletop, shadow, finger, flannelgraph theater, puppet theater, etc.);
Props for acting out skits and performances (a set of dolls, screens for a puppet theater, costumes, costume elements, masks);
Attributes for various playing positions (theater props, makeup, scenery, scripts, books, samples of musical works, seats for spectators, posters, programs, cash register, tickets, binoculars, “money”, license plates, types of paper, fabrics, paints, felt-tip pens, glue, pencils, threads, buttons, boxes, jars, natural materials).
Junior group. Classes are organized so that children do not have to reproduce the text of the fairy tale themselves; they perform a certain action. The text is read by the teacher, preferably 2-3 times, this helps to increase the children’s sound concentration and the subsequent emergence of independence.
Z. M. Boguslavskaya and E. O. Smirnova believe that children, acting in accordance with their role, use their capabilities more fully and cope with many tasks more easily, and learn without their noticing. Role-playing games activate children's imagination and prepare them for independent creative play. Children junior group They are happy to transform into familiar animals, but they still cannot develop and play out the plot. It is important to teach them some methods of game actions based on the model. The teacher shows the example. O. S. Laputina recommends for this purpose playing games “The Mother Hen and the Chicks”, acting out scenes based on the literary works “Toys” by A. Barto, “The Cat and the Goat” by V. Zhukovsky, and using nursery rhymes: “Cat’s House”, “Grow the Spit to belts”, etc. To create a reason for the emergence independent play, you can distribute toys and objects to children. The teacher shows the example.
The formation of interest in theatrical games develops in the process of viewing puppet shows, which are shown by the teacher, stimulating the child’s desire to be involved in the performance, complementing individual phrases in the dialogues of the characters, stable turns of the beginning and ending of the fairy tale. The children's attention is fixed on the fact that at the end the dolls bow, ask to thank them, and clap their hands. Theatrical dolls are used in classes and in everyday communication. On their behalf, the adult thanks and praises the children, says hello and goodbye. During classes and evenings of entertainment, he includes fragments of dramatization, dressing in a special suit, changing his voice and intonation. The teacher gradually expands the gaming experience by mastering varieties of dramatization games, which is achieved by successive complication game tasks, in which the child is included. Steps:
The game is an imitation of individual actions of humans, animals and birds and an imitation of basic human emotions (the sun came out - the children were happy: they smiled, clapped their hands, jumped on the spot).
The game is an imitation of a chain of sequential actions combined with the conveyance of the hero’s emotions (funny nesting dolls clapped their hands and began to dance).
A game of imitation of images of well-known people fairy tale characters(the clumsy bear walks towards the house, the brave cockerel walks along the path).
Improvisation game to music (“Cheerful Rain”).
A wordless improvisation game with one character based on the texts of poems and jokes read by the teacher (“Zainka, dance.”).
An improvisation game based on the texts of short fairy tales, stories and poems told by the teacher (3. Alexandrova “Herringbone”).
Role-playing dialogue between fairy tale heroes (“Rukavichka”, “Zayushkina’s hut”).
Dramatization of fragments of fairy tales about animals (“Teremok”).
Dramatization game with several characters folk tales(“Turnip”) and author’s texts (V. Suteev “Under the Mushroom”).
In children of this age, primary development of director's theatrical play is noted - tabletop toy theater, tabletop plane theater, plane theater on a flannelograph, finger theater. The process of mastering includes mini-productions based on the texts of folk and original poems, fairy tales (“This finger is a grandfather.”, “Tili-bom”).
Middle group. There is a gradual transition of the child from play “for himself” to play focused on the viewer; from a game in which the main thing is the process itself, to a game where both the process and the result are significant; from playing in a small group of peers playing similar (“parallel”) roles to playing in a group of five to seven peers whose role positions are different (equality, subordination, control); from creation in the game -
dramatization of a simple “typical” image to the embodiment of a holistic image that combines the emotions, moods of the hero, and their changes.
At this age, there is a deepening of interest in theatrical games, its differentiation, which consists in the preference for a certain type of game (dramatization or directorial, the formation of motivation for interest in the game as a means of self-expression. Children learn to combine movement and text in roles, develop a sense of partnership, combine movement in roles and the word, use pantomime of two to four characters. It is possible to use educational exercises like “Imagine yourself as a little bunny and tell us about yourself.”
With a group of the most active children, it is advisable to dramatize the simplest fairy tales using a tabletop theater; with low-active ones - dramatize works with a small amount of action.
The methods and techniques used in the younger group become more complex: telling a story in the first person, accompanying the text and movements: “I am a cockerel. Look at what a bright comb I have, what a beard I have, how important I walk, how loudly I sing: ku-ka-re-ku!”; tabletop theater For independent display, the following works are recommended: “Turnip”, “Teremok”, “Kolobok”. For demonstration by the teacher - “Two Greedy Bears”, “Fox”
and geese", "Fox, hare and rooster". To dramatize, use excerpts from fairy tales, where there are repetitions, and then the entire fairy tale.
Expansion of children's theatrical and gaming experience is carried out through the development of dramatization games. When working with children we use:
Multi-character dramatization games based on the texts of two or three-part fairy tales about animals and fairy tales (“Geese and Swans”);
Dramatization games based on the texts of stories on the theme “Adult Labor”;
Staging a performance based on the work.
The expansion of children's gaming experience also occurs through the development of theatrical play. At the age of 5 years, a child masters different types of tabletop theater: soft toy, knitted theater, cone theater, theater of folk toys and planar figures. Actions with dolls on the gapite become new content. A horse puppet theater is available to children (without a screen, and towards the end school year- and with a screen, spoon theater, etc. Finger theater is more often used in independent activities, when a child improvises based on familiar poems and nursery rhymes, accompanying his speech with simple actions (“We lived with grandma”).
Senior group. Children continue to improve their performing skills. The teacher teaches students to independently find ways of figurative expression and develops a sense of partnership. There are special excursions, walks, observations of the environment (the behavior of animals, people, their intonations, movements). To develop their imagination, children are offered tasks like: “Imagine a sea, a sandy shore. We are all lying on the warm sand, sunbathing. We're in a good mood. They dangled their legs and lowered them. They raked the warm sand with their hands,” etc. Mimic sketches, sketches for the memory of physical actions, and pantomimic sketches are used. Children are involved in inventing the design of fairy tales and reflecting them in visual activities. The child’s gradual transition from playing based on one literary or folklore text to a contamination game, which implies the child’s free construction of a plot in which the literary basis is combined with the child’s free interpretation of it or several works are combined; from a game where expressive means are used to convey the characteristics of a character, to a game as a means of self-expression through the image of a hero; from a game in which the center is the “artist”, to a game in which a complex of positions “artist”, “director”, “screenwriter”, “designer”, “costume designer” is presented, but at the same time the preferences of each child are associated with one of them , depending on individual abilities and interests.
Formed positive attitude children to theatrical games (deepening interest in a certain type of theatrical game, the image of a hero, plot, interest in theatrical culture, awareness of the reasons for a positive or indifferent attitude towards the game associated with the presence or absence of interest and the ability to express themselves in theatrical activities).
A new aspect of the joint activity of adults and children is the introduction of children to theatrical culture, i.e. familiarization with the purpose of the theater, the history of its origin in Russia, the structure of the theater building, the activities of theater workers, types and genres of theatrical art (musical, puppetry, animal theater, clowning, etc.). The theatrical and gaming experience is deepened by mastering different types of games - dramatization and director's theatrical play (activity and independence in choosing the content of games, creativity). The child becomes able to independently stage performances, including those based on a “collage” of several literary works. The experience of directing is enriched by the use of puppets, live hand puppets, and cane puppets.
Texts for productions become more complex (deeper moral meaning, hidden subtext, use of Russian folk tales-fables about animals). Fantasy play becomes the basis of a theatrical play in which real, literary and fantasy plans complement each other. For older preschoolers, “continued” games are typical. They master the game “To the Theater,” which involves a combination of role-playing and theatrical play, based on familiarity with the theater and the activities of the people participating in the production of the play.
Preparatory group. For preschoolers aged 6-7 years, a dramatization game often becomes a performance in which they play for the audience, and not for themselves; they have access to director's games, where the characters are dolls, and the child makes them act and speak. This requires him to be able to regulate his behavior, movements, and think over his words.
To better understand a literary work, D. V. Mendzheritskaya suggests using the “moral ladder” technique. Children must arrange the characters on the ladder according to their degree of personal sympathy. This
the technique is a more accurate indicator of children’s emotional attitude towards the characters compared to answers to an adult’s questions. When looking at the illustrations in the book, it is recommended to pay attention to the analysis of the emotional states of the characters. Sketches for acting out plots are offered: “ Horrible dream", "Thunderstorm", "Puppy", are recommended, along with exercises to develop imagination, tasks for tension and relaxation.
Taking into account the insufficient level of development of theatrical skills of preschoolers, it is recommended to use three types of preparatory exercises that activate the imagination and creativity of children, prepare them to understand the essence of a theatrical performance, develop the ability to play any role, aimed at developing an understanding of the image, ensuring a gradual complication of tasks; their variety, degree of difficulty and the possibility of returning to any type of exercise at a qualitatively new level.
The first type of exercise is used to develop attention and imagination. These are exercises that teach children to control attention, focus on the object that is in this moment more important than others (for example, “Sounds of Nature”), develop the ability to create images based on associations.
The second type of exercises develops the skills: to understand and emotionally express various states using intonation, to determine a person’s state from schematic drawings, the facial expression of a peer or an adult; find means of expression to adequately express your mood through facial expressions; determine the features of the external manifestation of emotional states in various poses and take poses in accordance with the mood and character of the portrayed character; determine the features of the external manifestation of emotional states with the help of gestures and pantomime scenes, select their own expressive gestures and independently build pantomime.
The third type of exercise is a version of children's auto-training and develops the ability to psychologically tune in to perform an upcoming action, quickly switch from one action to another, control facial expressions, posture, and gestures; trains the ability to change your experiences, facial expression, gait, movements in accordance with your emotional state. Children practice self-hypnosis
feelings of heaviness, lightness, cold, warmth, etc.
When teaching children the means of expressive speech, it is recommended to use familiar and favorite fairy tales, which are rich in dialogues, dynamics of replicas and provide the child with the opportunity to directly become familiar with the rich linguistic culture of the Russian people. Acting out fairy tales allows you to teach children to use a variety of expressive means in their combination (speech, chanting, facial expressions, pantomime, movements).
First, fragments from fairy tales are used as exercises: ask to enter the mansion on behalf of a mouse, a frog, a bear, and then ask who was more similar in voice and manners to this character. Next, complicate the task: offer to act out a dialogue between two characters, pronouncing the text and acting for each. Thus, children learn verbal transformation, striving for the character’s character, voice, and behavior to be easily recognized by everyone.
In all exercises, it is important to provide children with more freedom in action and imagination when simulating movements. Exercises using pictograms, role-playing dialogues based on illustrations using verbal means of expression, and puppet shows are effective. At the same time, acting itself is not an end in itself. The work is structured according to a four-part structure: reading, conversation, performance of a passage, analysis of the expressiveness of reproduction.
Organization of independent theatrical activities
Conditions for preschoolers to demonstrate independence and creativity in theatrical games the following (O. Solntseva):
Pedagogical support should be built taking into account the gradual increase in independence and creativity of the child;
The theatrical and play environment should be dynamically changing, and children take part in its creation.
Bibliography
1. Artemova L.V. Theatrical games for preschoolers. - M., 1991.
2. Antipina E. A. Theatrical activities in kindergarten. -M., 2003.
3. Dronova T. N. Playing at the theater. Theatrical activities for children aged 4-6 years. M: Education, 2005.
4. Makhaneva M.D. Theatrical classes in kindergarten. -M. : Sfera, 2001.
5. Migunova. E.V. Organization of theatrical activities in kindergarten. Velikiy Novgorod: b. n., 2006.
6. Sorokina N. F. Playing puppet theater: Program “Theatre-creativity-children”.-M. : ARKTI, 2004.
7. Churilova E. G. Methods and organization of theatrical activities for preschoolers and junior schoolchildren. - M.: Vlados, 2001.
2.3 Forms of theatrical activities used in preschool institutions
Theatrical activities in kindergarten can be organized in the morning and evening hours - at unregulated times; organically included in other classes (musical, visual arts, etc.), and also specially planned in the weekly schedule of classes in the native language and familiarization with the outside world.
It is desirable that all organized forms of theatrical activities be carried out in small subgroups, which will ensure an individual approach to each child. Moreover, each time subgroups should be formed differently, depending on the content of the classes.
Classes should simultaneously perform a cognitive, educational and developmental function and in no way be limited to preparing speeches. Their content, forms and methods of implementation should simultaneously contribute to the achievement of three main goals: the development of speech and theatrical and performing skills; creating an atmosphere of creativity, social and emotional development of children. Therefore, the content of such classes is not only familiarity with the text of any literary work or fairy tale, but also familiarization with gestures, facial expressions, movement, costumes, mise-en-scène, i.e. with the “signs” of visual language. Also, the content of theatrical classes includes: watching puppet shows and conversations about them; games - dramatization; acting out various fairy tales and dramatizations; exercises to develop expressiveness of performance (verbal and non-verbal); exercises for the social and emotional development of children.
Thus, theatrical activities will contribute to the development of self-confidence in children and the formation of social behavioral skills when each child will have the opportunity to express himself in the role of one or another character. To do this, you need to use a variety of techniques:
children’s choice of role at will;
the appointment of not only brave, but also timid and shy children to the main roles;
distribution of roles on cards (children take from the hands of the teacher any card on which a character is schematically depicted);
playing all roles by all children in turn.
Even the thought of dividing children into “artists and spectators” is unacceptable, i.e. on “constantly performing” and “constantly watching” how others play. Fear of making mistakes should not be allowed in the classroom atmosphere so that children are not afraid to go “on stage.” Therefore, when offering to “play” or “show” something, the teacher must proceed from the real capabilities of specific children. That is why the teacher faces two main tasks:
Understand, figure out what the baby feels, what his experiences are aimed at, how deep and serious they are;
Help him express his feelings more fully, create for him special conditions, in which his activity will manifest itself, his assistance to those about whom he has heard.
In accordance with this, the practical action of each child is the most important methodological principle for conducting these classes.
Individual work
Another form of organizing theatrical activities is pair work between a teacher and a child - one on one. This type of training is often called individual training. In the process of individual work there is close contact between the teacher and the child. This allows the teacher to study the child’s feelings more deeply, to understand what his experiences are aimed at, how deep and serious they are; helps the teacher identify gaps in knowledge and eliminate them through systematic work. Also, individual work helps prepare the child for the upcoming activity (class, game - dramatization, work in a play). In the process of this work, knowledge, abilities, and skills are consolidated, generalized, supplemented, and systematized in further activities.
Independent activities of children - theatrical games.
Theatrical games are a constant favorite among children. The wide-ranging influence of theatrical games on a child’s personality allows them to be used as a strong, but not intrusive pedagogical tool, because the child feels relaxed, free, and natural while playing. Thus, in the process of playing, children develop independent action skills, which consist in being able to outside help think through the idea, find visual and expressive means for its implementation, consistently implement the plan, control one’s actions in various types of theatrical activities, be able to act in different situations.
The outstanding director and actor K. S. Stanislavsky, in his book “The Actor’s Work on Oneself,” characterizing children’s play, says that a child’s play is distinguished by faith in the authenticity and truth of fiction. As soon as a child says to himself “... as if”, fiction already lives within him. At the same time, one more property is noticed in the child: children know what they can believe and what they should not notice.
To ensure that children’s interest in independent theatrical activities does not fade away, it is necessary to reinforce it with innovation, which would serve as a motive for the development of further activities. Such an innovation is the subject-spatial environment, which is one of the main means of developing the child’s personality, the source of his individual knowledge and social experience, the development of creative abilities... This environment not only provides theatrical activities, but is also the basis for the independent creativity of each child, a unique form of self-education . Therefore, when designing a subject-spatial environment, one should take into account the characteristics of the child’s emotional and personal development, his interests, inclinations, curiosity, creativity, preferences and needs, and one should not forget about the individual socio-psychological characteristics of the child, since they imply the desire to participate in joint activities with peers, as well as the occasional need for solitude. At the same time, to ensure an optimal balance of joint and independent theatrical activities of children (theatrical games), each age group should be equipped with a theatrical zone or a fairy tale corner, as well as a quiet corner where the child can be alone and rehearse a role in front of a mirror or still look illustrations for the play, etc.
Thus, in independent theatrical activities of children, the child not only receives information about the world around him, the laws of society, about beauty human relations, but also learn to live in this world, build their relationships, and this requires the creative activity of the individual (attention, imagination, logic, emotional memory, well-developed speech, facial expressions), i.e. the ability to behave in society.
Entertainment
In kindergarten, much attention is paid to the harmonious upbringing of each child. It is carried out in classes in fine arts, speech development, and music classes. Entertainment seems to unite all types of art, provide an opportunity to use them creatively, and evoke an emotional response in children when perceiving a poetic word, melody, visual and artistic images. There are many types of entertainment. One type is theatrical entertainment. It includes theatrical performances, concerts, performances with the participation of professional artists, as well as those prepared by kindergarten workers, students, and parents.
Thus, theatrical activities contribute to the self-realization of each child and the mutual enrichment of all, because both adults and children act here as equal partners of interaction. It is in general, a play or concert, that a child naturally and easily assimilates the rich experience of adults, adopting patterns of behavior. In addition, through entertainment and celebrations, educators get to know children better, the characteristics of their character, temperament, dreams and desires. A microclimate is created, which is based on respect for the personality of the little person, care for him, and trusting relationships between adults and children.
Holidays
Holidays, as well as entertainment, should bring joy and give everyone the opportunity to show their artistic abilities, emotional sensitivity, and creative activity.
In order for the holiday to be an effective form of organizing children's theatrical activities, it is necessary to carry out daily systematic work with them, developing their abilities, taste, creative activity in musical, artistic speech, visual activities, ensuring their acquisition of skills.
The teacher should remember that the holiday matinee is, first of all, joy for children. This is a source of impressions that a child can retain for a long time. This is a strong means of forming moral and aesthetic feelings. Therefore, good preparation, a thoughtful scenario, clear organization - all this determines the behavior and mood of each child at the holiday, the effectiveness of the impact various types art. Children should be joyful, cheerful, and behave freely and at ease. However, one should not allow unbridled fun, which excites children too much.
Club work
Also, one of the forms of organizing theatrical activities of children in preschool educational institutions is circle work, which contributes to the solution of the following tasks: the development of children's fantasy, imagination, all types of memory, all types of creativity (artistic speech, musical play, dance, stage) and much more.
The preschool has teacher-supervisor children's theater, which not only implements these tasks, but also corrects the actions of all teachers who carry out the solution of all problems, according to the basic program, including theatrical activities, attracts them to actively participate in working on games and performances (up to participation in them in roles of "actors").
The director of theatrical activities works with children who want to go to the club. The head of the circle sets a goal - not to limit himself to scriptwriting, directing and staging work with children - “actors”, but as a red thread through the entire life of the kindergarten, through all types of children’s activities, to carry out the solution of problems aimed at developing in children’s activities, to carry out the solution of problems, aimed at developing in children creativity.
The content of the course includes mainly work on the play: analysis of the content of the work, distribution of roles, game exercises, sketches that contribute to the practical and emotional development of actions in the plot, and staging work on the entire performance is carried out in special classes, which are held at least once once a week for thirty to forty minutes, either in the first half of the day or in the second. But such work is not carried out in isolation from the educational work carried out by group teachers, musical director, visual arts teacher.
So, for example, in music classes, children learn to hear different emotional states in music and convey them through movements, gestures, facial expressions, listen to music for the next performance, noting its varied content, etc.; During speech classes, children develop clear, clear diction, work is done on articulation with the help of tongue twisters, pure talkers, nursery rhymes, etc., children become familiar with literary work for staging a play, etc., in art classes, children get acquainted with reproductions of paintings, with illustrations similar to the content of the plot, learn to draw with various materials based on the plot of a fairy tale or its individual characters. Everything should acquire a special content and mood play activity children in their free time from classes under the guidance of a teacher and in independent children's activities. Children play in the theater. They act either as actors or spectators, controllers, ticket takers, hall attendants, and tour guides around the exhibition hall. Children draw posters and invitations to performances and prepare an exhibition of their works.
IN theater studio Under the guidance of a specialist, various etudes to convey different feelings and speech exercises are performed. It could be frank rehearsal work over the next game - production, performance. In this case, it is more expedient to use the technique of acting out one plot (or individual scenes to it) with the help of various theatrical games (board, bench dolls, bi-ba-bo, etc.). For example, work is underway on the musical fairy tale “Cat House” (music by V. Zolotarev), some children act out the next scene using bi-ba-bo dolls on a screen, others use a table theater, and others dramatize.
On the days when the production is scheduled, roles are distributed among all the children of the group: who will go to deliver invitation cards to children - spectators (in the invited group) and adults (employees of the institution), who takes part in the design of the exhibition, the foyer of the children's theater, put up posters, who helps prepare the artistic room (costumes, paraphernalia), etc. - this is in the first half of the day. After a day's sleep, the game - the action continues: now we need a controller, a guide, an attendant in the hall, on the stage, in the cafe; the artists change clothes in the costume room... And at the appointed hour the guests arrive (children of another group and adults). The performance begins. It is advisable to involve as many children as possible in it. This can be achieved by changing child actors into separate roles in each action and including adults in the action.
Chapter 3. Organization of theatrical activities in the senior group of preschool educational institution No. 108
To confirm the theoretical presentation, we present materials obtained from pre-graduation practice in the period from 01/26/05. to 02.22.05. at preschool educational institution No. 108, in the senior group.
Practical work on the topic of the final qualifying work was carried out in accordance with the “Art Fantasy” program described above. The work plan for theatrical activities of children of senior preschool age was built in accordance with the main sections of the program:
Theater game.
Culture and technique of speech.
Fundamentals of theatrical culture.
Working on the play.
Dividing the “Art Fantasy” program into sections, focusing on the psychological characteristics of age, is very arbitrary, since it is not always possible to determine the boundaries of the transition from one to another.
There are tasks common to all sections, for example: development of imagination, voluntary attention, memory, activation of associative and figurative thinking.
Theater game.
General educational games.
Aesthetic education of children, including through the means of theater, is aimed primarily at developing a child’s readiness for creativity. To achieve this goal, it is necessary to develop such qualities as attention and observation, without which creative perception of the surrounding world, imagination and fantasy, which are the main conditions for any creative activity, are impossible. It is equally important to teach a child the ability to navigate the environment, develop voluntary memory and speed of reaction, cultivate courage and resourcefulness, the ability to coordinate their actions with partners, and activate the thought process in general.
By solving all these problems, general developmental games included in theatrical activities not only prepare the child for artistic activity, but also contributes to a faster and easier adaptation of children in school conditions, and creates the prerequisites for successful studies in primary school– primarily due to the actualization of intellectual, emotional-volitional and socio-psychological components psychological readiness to school education (Appendix No. 1).
When conducting collective educational games, I had to create a fun and relaxed atmosphere, encourage tense and constrained children, and not focus on mistakes and mistakes.
To give children the opportunity to evaluate the actions of others and compare them with their own, in almost all games we divided the children into several teams or into performers and spectators. Moreover, the role of the leader in many games was performed by a child.
Special theater games.
Acquaintance with the specifics and types of theatrical art, general developmental and rhythmic games and exercises, classes in culture and speech techniques are useful for all children, as they develop qualities and form skills necessary for any culturally and creatively thinking person, contribute to the development of intelligence, activate cognitive interest, expand the child’s knowledge about the world around him, prepare him for a subtle perception of various types of art. In order to move from theatrical games to work on sketches and performances, we need, as we conventionally called them, special theatrical games that develop mainly imagination and fantasy. They prepare children for action in stage conditions where everything is fiction. Imagination and faith in this fiction - distinguishing feature stage creativity. K.S. Stanislavsky encouraged actors to learn the faith and truth of play from children, since children are very seriously and sincerely capable of believing in any imaginary situation and easily changing their attitude towards objects, the scene and partners in the game. Chairs placed in a row can turn into the interior of a bus or airplane, mom's dress can turn into a princess's ball gown, and the room becomes... fairy forest, then the royal castle. But for some reason, when children go on stage in front of the audience, they seem to lose their abilities, turning into wooden dolls with memorized gestures, inexpressive speech, unjustified antics.
Thus, the teacher faces difficult task- preserve childish naivety, spontaneity, faith, which are manifested in the game when performing on stage in front of the audience. To do this, it is necessary, first of all, to rely on the child’s personal practical experience and provide him with as much independence as possible, activating the work of his imagination. We introduced children to stage action with the help of exercises and sketches based on the material of well-known short fairy tales. First of all, these are games, exercises and sketches aimed at the authenticity and appropriateness of action in the proposed circumstances, i.e. in an imaginary situation. Any actions in life are performed naturally and justifiably. The child does not think about how he does this, for example, when he picks up a fallen pencil or puts a toy in its place. Doing the same thing on stage with an audience watching you is not so easy. “You know from experience,” said K.S. Stanislavsky, “what is the bare, smooth, deserted floor of the stage like for an actor, how difficult it is to concentrate on it, to find oneself even in a small exercise or a simple sketch.” In order for children to act naturally and purposefully, they needed to find or come up with answers to our questions: why, for what, why is he doing this? Exercises and sketches for stage justification help to develop this ability, i.e. the ability to explain, justify any of your poses or actions with fantasized reasons (suggested circumstances)
Games involving actions with imaginary objects or memory of physical actions contribute to the development of a sense of truth and belief in fiction. The child uses the power of imagination to imagine how this happens in life and performs the necessary physical actions. When offering such tasks, we must keep in mind that children must remember and imagine how they acted with these objects in life, what sensations they experienced. So, when playing with an imaginary ball, you need to imagine what it is like: big or small, light or heavy, clean or dirty. We experience different sensations when we pick up a crystal vase or a bucket of water, or pick chamomile or rosehip flowers. Whenever possible, children are asked to first act with a real object, and then repeat the same action with an imaginary one. For example, we asked the children to look on the carpet for a lost bead that was actually there. And then they suggested looking for an imaginary bead.
Well-known folk and specially selected games help prepare children for actions with imaginary objects (Appendix No. 2).
We also offered children the following tasks to perform actions with imaginary objects: wash hands, draw, wind a ball, wash a scarf, make pies, hammer a nail, carry a bucket of water or sand, sweep the floor, eat an apple, embroider, water flowers, play a musical instrument , rock a doll, etc. And also perform paired and group exercises: play ball, pull a rope, carry a bucket, play snowballs, badminton, pass a bowl of fruit or a tray with dishes, look for a needle, bead or part from a small machine.
Having fantasized the proposed circumstances for certain actions, the children move on to acting out sketches. The word "etude" has French origin and is translated as “teaching.” The concept of “sketch” is used in painting, music, chess and serves as preliminary, training work. In theatrical art, a sketch is a small performance in which a certain event should take place in the proposed circumstances, conditions, situation. They can be proposed by the teacher or composed by the children. Moreover, the proposed circumstances can be supplemented by the teacher and included by the children in the sketch as the performance progresses.
For the sketches, we proposed topics that were close and understandable to children (“Quarrel”, “Resentment”, “Meeting”). The ability to communicate with people in various situations is developed by sketches of polite behavior (“Introduction”, “Request”, “Gratitude”, “Treat”, “Talking on the phone”, “Consolation”, “Congratulations and wishes”, “Buying a theater ticket” and so on.).
When writing a sketch, children must answer many questions: where am I, where did I come from, when, why, who, why?
We also asked the children to come up with sketches for basic emotions: “Joy”, “Anger”, “Sadness”, “Surprise”, “Disgust”, “Fear”. Such sketches develop the ability to convey an emotional state with the help of facial expressions and gestures. The same abilities, as well as the logic of behavior, are developed by studies on the five senses (hearing, vision, taste, smell, touch). The work of each of the senses causes us to act differently. The behavior of a person looking and listening, tasting and smelling is different. In addition, a person who tastes candy or bitter medicine, or smells paint or a baking cake will behave differently. The children, independently and with our help, came up with the place and circumstances of the action, the situation, and then acted out their sketches.
The next stage is writing sketches based on fairy tales. The children chose an episode from a fairy tale and composed a sketch based on it. For example: “Kolobok and the Fox”, “Little Red Riding Hood at Grandma’s”, “Thumbelina - Bride of the Beetle”, “Return of the Bears” (fairy tale “The Three Bears”).
Having gained some experience in working on plot sketches, we moved on to improvisational dramatization games based on well-known fairy tales. Children were divided into 2-3 creative groups and were given the task of playing first the same fairy tale, and later - different fairy tales. Participants in the mini-play had to independently assign roles, clarify the development of the plot and imagine the proposed circumstances. We encouraged children's attempts to move away from traditional stereotypes, awaken creative imagination and imagination, helping with questions, for example: what hero? (Lazy or hardworking, kind or evil, hungry or well-fed, stupid or smart.)
Working on sketches and improvisation games develops many of the qualities necessary for participation in performances, including the ability to act in a fictional environment and communicate and respond to the behavior of partners.
Culture and technique of speech.
Exercises and games for the development of culture and speech technique help children form correct, clear pronunciation (breathing, articulation, diction, spelling), teach them to accurately and expressively convey the author’s thoughts (intonation, logical stress, range, voice strength, tempo of speech), and also develop imagination, the ability to imagine what is being said, expand their vocabulary, make their speech brighter and more imaginative.
Many of the children we worked with were characterized by general tightness of the muscles, including the speech apparatus, inexpressiveness and monotony of speech, lack of semantic pauses and logical stress, and swallowing of the beginning and end of words. When working to emancipate a child, it is impossible to do without special games and exercises that develop breathing, free up the muscles of the speech apparatus, and form clear diction and vocal mobility.
In older preschool age, the respiratory and vocal apparatus is not yet fully formed, but it is necessary to strive to ensure that children understand that an actor’s speech should be clearer, more sonorous and expressive than in life. We included speech exercises and games in each lesson, combining them with rhythmic and theatrical games (Appendix No. 3).
First of all, we taught the children to take a silent breath through the nose, without raising their shoulders, and exhale smoothly, evenly, without tension or jolts (exercises “Playing with a candle” and “Soap bubbles”). In the future, in each task, not only breathing is trained, but also other components of speech in combination. Depending on the tasks assigned in the lesson, the emphasis was either on breathing (exercises “Bad Tooth”, “Caprisy”, “Bells”, “Lullaby”), or on articulation (games “Summer Day”, “At the Zoo”, “In the Forest” "), then on diction (exercises "Trained Dogs", "Bird Yard"), then on intonation (the game "Create a Dialogue", where the heroes can be the Ogre and Puss in Boots or the Elephant and the Mouse) or pitch ("Airplane" , "Miracle Ladder").
All these components of speech can be perfectly trained using tongue twisters and poems, without the use of special acting training.
Tongue twisters help develop correct pronunciation and articulation, train diction, and help children learn to quickly and clearly pronounce difficult to pronounce words and phrases. Tongue twisters are a fun word game that we offered children in various versions: “damaged telephone”, “snake with collars”, “hand ball”, etc. (Appendix No. 4).
We learned tongue twisters with the children collectively, starting to pronounce each syllable slowly, clearly, actively, as if bouncing a “ball” off the floor. Gradually the pace increased. They also pronounced tongue twisters exaggeratedly clearly, in a loud whisper, so that they could be heard at a distance. To activate the speech apparatus, children were asked to pronounce tongue twisters silently, vigorously moving their lips.
We used the learned tongue twisters, especially dialogical ones, in various theatrical games, in working on intonation, in improvisations, inventing a plot and characters (“Tall Tales”, “Two Friends Met”, “Fair”).
In order to achieve results in the artistic education of preschoolers, it is necessary to rely on the emotional world of the child, on his cognitive interest. In this regard, the role of poetry in children's theatrical games and exercises is great. A poetic text, like rhythmically organized speech, activates the child’s entire body and contributes to the development of his vocal apparatus. But poems are not only of a training nature for the formation of clear, competent speech. Imaginative, interesting to children, they find an emotional response in the child’s soul, making them exciting various games and tasks. Dialogue poems, which children really like, are especially useful in the classroom. Speaking on behalf of a certain character, the child is more easily liberated and communicates with his partner.
From the point of view of the performing activity of preschoolers, we tried to teach them to use intonations, with the help of which various feelings can be expressed. The same word or phrase can be pronounced sadly, joyfully, angry, surprised, mysteriously, admiringly, pitifully, anxiously, contemptuously, condemningly, etc. While working on intonation, we did not simply ask the children to pronounce a phrase, for example, plaintively or admiringly, but encouraged the children to strive to improvise the proposed situations. By offering children the game “Phrase in a Circle,” we strived to ensure that each child could explain where, to whom, under what circumstances he pronounces this phrase with a certain intonation.
When talking with children about logical stress, it should be noted that by it we mean the selection of individual words in a phrase that determine its meaning and expressiveness. For example, they suggested pronouncing a tongue twister that the children had learned, highlighting different words in it: “The engraver Gavrila engraved the engraving.” “The engraver Gavrila engraved the engraving,” etc. After such exercises, it was easier for children to identify main (key) words in larger poetic texts.
Also working on the culture and speech technique of children, we included creative games with words (“Magic Basket”, “Tasty Words”, “Question and Answer”) in our work. They develop children's imagination and fantasy, expand their vocabulary, teach them to conduct a dialogue with a partner, write sentences and short stories.
Fundamentals of theatrical culture.
As a rule, preschoolers rarely go to theaters these days. Their experience is limited to 1-2 visits, mainly to a puppet theater. But children as young as 3 years old can be very sensitive and grateful spectators. They are ready to watch the same play several times with unflagging interest. The main task of introducing children to the basics of theatrical culture is to familiarize children with some basic concepts and terminology of theatrical art.
The implementation of this task was of a practical nature, i.e. occurred during theatrical games, exercises, work on sketches, and visits to the theater in the form of dialogue in the form of questions and answers. It makes no sense to strictly demand that each child master all the material; it is enough that the children understand the teacher using theatrical terms and gradually expand their vocabulary (Appendix No. 5).
During theater classes and rehearsals, the teacher expands and systematizes children’s knowledge about theater on the following topics:
Features of theatrical art,
Types of theatrical art,
The birth of the performance
Theater outside and inside,
Culture of behavior in the theater. (Appendix No. 6).
Working on the play.
In the evening, we conducted group work with the children, the purpose of which was to prepare for the performance of the play based on the fairy tales of H. H. Andersen “Fairytale Dreams” (Appendix No. 7).
Creating a performance with children is a very exciting and useful activity. Joint creative activity involves even insufficiently active children in the production process, helping them overcome shyness and inhibition. In preparation for the performance, we tried to follow several basic rules:
1) do not overload children;
2) do not impose your opinion;
3) do not allow some children to interfere with the actions of others;
4) provide all children with the opportunity to try themselves in different roles, without distributing them among the most capable.
As a result, the children looked forward to each rehearsal and worked with desire and joy.
We divided all the work with preschoolers on the play into nine main stages:
1.Choose a play or dramatization and discuss it with the children.
2. Dividing the play into episodes and retelling them for children.
3.Work on individual episodes in the form of sketches with improvised text.
4.Searching for musical and plastic solutions for individual episodes, staging dances. Creating sketches of scenery and costumes together with children.
5. Transition to the text of the play: work on the episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters.
6.Work on the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes.
7.Rehearsals of individual paintings in different compositions with details of scenery and
props (possibly conditional), with musical accompaniment.
8. Rehearsal of the entire play with elements of costumes, props and scenery. Clarifying the tempo of the performance. Appointment of those responsible for changing scenery and props.
9. Premiere of the play. Discussion with the audience and children, preparation of an exhibition of children's drawings based on the performance.
The first stage of working on a play is related to its selection. As a rule, the material for stage implementation is fairy tales, which provide “an unusually bright, broad, multi-valued image of the world.” The world of a fairy tale with its wonders and secrets, adventures and transformations is very close to a preschool child. In order to awaken children's interest in the upcoming work, the children's first meeting with the play was emotionally intense: telling fairy tales that were included in the script, showing artistic illustrations in books, listening to musical works used in the future performance, watching feature films based on fairy tales. All this helped to feel the atmosphere of fairy-tale events, broaden the children’s horizons, and intensify their cognitive interest.
The second stage involves dividing the play into episodes. After reading the script to the children, the children retold each episode, complementing each other, and came up with names for them. For example: “The Return of the Prince”, “Meeting the Princess”, “The Prince’s Journey”, etc.
The third stage is working on individual episodes in the form of sketches with improvised text. At first, the participants in the sketches were the most active children, but gradually we tried, without forcing, to involve all members of the team in this process. We used exercises with dolls in which children improvised the actions and dialogues of the characters. In such exercises, children were hampered by a relatively small vocabulary, which made it difficult to conduct free dialogue. But gradually, feeling our support, they began to act more naturally and confidently, and their speech became more varied and expressive.
The fourth stage is introducing children to musical works that will be performed in whole or in fragments in the performance.
Vivid musical images help children find the appropriate plastic solution. At first, the children simply improvised movements to the music and independently noted the most successful finds. Then they moved, turning into a specific character, changing their gait, postures, gestures, observing each other.
At the same time, during art classes, children learned to create sketches of scenery and costumes, made drawings of individual episodes of the play according to a creative plan, selecting colors in accordance with their imagination.
The fifth stage is a gradual transition to the text of the play itself. During rehearsals, the same passage was repeated by different performers, i.e. the same text was heard many times, this allowed the children to quickly learn almost all the roles. In addition, in preschool educational institutions, teachers participate in this work, who, in their free time from classes, repeated individual episodes with subgroups of children. During this period, the proposed circumstances of each episode were clarified (where, when, at what time, why, why) and the motives for the behavior of each character were emphasized (For what? For what purpose?). Children, watching the actions of different performers in the same role, assessed who did it more naturally and truthfully.
For our part, taking into account the speech, plastic, and acting capabilities of the children, we have identified 2-3 performers who can cope with a specific role.
The sixth stage begins the actual work on the role. Due to age-related psychological characteristics, a child always plays himself; he is not yet able to transform, play the feelings of another person. Based on personal emotional experience and memory, he can remember a situation in his life when he had to experience feelings similar to those of the characters in the play. Under no circumstances should you impose on young performers the logic of another person’s actions or your specific patterns of behavior.
You cannot order your child: “Be scared” - or show your option of action. This leads to programmed behavior. You can suggest and help the child remember some life episode when the child was really scared. Only in this case will the children’s behavior on stage be natural and genuine. It is very important to achieve interaction with partners, the ability to hear and listen to each other and change your behavior accordingly.
We did not offer children pre-conceived mise-en-scenes and tried not to establish the line of behavior of each character; they arose on the initiative of the children, relied on their creative imagination and were corrected by us. Different casts of performers offered their options, and we fixed the most successful mise-en-scenes for further work over the performance. Achieving expressiveness and clarity of speech, we identified the speech characteristics of the characters. Someone speaks smoothly, drawing out words, another - very quickly, emotionally, a third - slowly, confidently, a fourth - grumpily, a fifth - angrily, etc.
The seventh stage is the rehearsal of individual paintings in different compositions. At this stage of work, we made sure that the children did not repeat the poses, gestures, and intonations of other performers, but looked for their own variations. We taught the children to place themselves around the stage without crowding together or blocking each other. Any discovery or new successful solution was noted and encouraged by the children who were not currently involved in the rehearsal.
The eighth stage is the shortest in time. During this period, rehearsals of the entire play take place. If before this children acted in conventional settings, with conventional objects (large cubes, chairs, sticks, handkerchiefs, flags), now we began to use scenery prepared for the performance, props and props, as well as costume elements that helped in creating the image.
Rehearsals took place with musical accompaniment, at which point the tempo of the performance was clarified. The lengthiness of individual scenes or, conversely, excessive haste and crumpledness make the performance uninteresting for the audience. At this stage, the children’s responsibilities in preparing props and changing scenery were assigned.
The ninth stage - the premiere of the performance - is also a dress rehearsal, since until this moment the children have never acted in costumes. The first spectators were teachers, who very strictly but objectively assessed the children’s performance.
A premiere is always excitement, bustle and, of course, elation, festive mood. Children begin to understand in practice what the collective nature of theatrical art is, how the success of the performance depends on the attention and responsibility of each performer. There is no point in holding a discussion immediately after the presentation. The guys are too excited and are unlikely to be able to evaluate their successes and failures. But the very next day in a conversation you can find out how critically they are able to think about their own game.
Answering our questions about what was good and what was not, the children learned to evaluate the sincerity and truthfulness of behavior on stage, and noted the expressiveness and resourcefulness of individual performers. We, directing the conversation in the right direction with our questions, tried to point out the main mistakes and shortcomings, but at the same time praise the children and note the most successful and interesting points speeches.
For children, the most important and useful period is the period of preparation for the performance, and then the opportunity to play it as long and often as possible. It is probably true that children get tired of playing the same thing over and over again. This is only possible if everything in the performance is programmed and young performers blindly carry out the will of the director. But if the guys understand what they should do on stage, but try to act differently each time, then this is already an element of creative improvisation. In addition, performances can be performed in different casts. The same role, when performed by different children, completely changes, acquiring new colors and sound. Everyone puts their little experience, their emotions and sensations into it. And here the teacher’s task is to reveal the child’s individuality, teach him to look for his own means of expression, and not to imitate other performers.
Conclusion
Many teachers and psychologists often think about what determines the success or failure of a performance, theatrical game, or holiday. The result is not always better where more effort is spent. Various experiments and studies have shown that success is guaranteed when the teacher takes an individual approach, shows respect for the personality of each child, and believes in the abilities and capabilities of all his students.
So, our research, devoted to the study of the characteristics of the organization of theatrical activities in senior preschool age, gives grounds to conclude that the organization of theatrical activities of children of senior preschool age has certain features. Having implemented the main objectives of the study, we determined that:
The theatrical activity of children is purposeful, that is, it allows them to successfully solve many educational tasks of a preschool institution.
It has certain forms of organization: classes, individual work, independent theatrical activities of children, entertainment, circle work.
It has a certain content - in accordance with the program under which the teacher-director of TID works in a preschool educational institution (we worked under the “Art - Fantasy” program).
He has specific methods of work as a teacher-leader of a TID: an individual approach, respect for the child’s personality, faith in his abilities and capabilities.
As you know, theater provides very great opportunities for children to live in a given situation. A constant state of play maintains children's interest in in-depth study of the proposed material. Allows you to experience the culminating moments in the cultural history of mankind in a diverse and colorful way.
In the process of creating a theatrical performance, children learn to express feelings and thoughts in an artistic form and, thereby, liberate their personality. Using the entire rich arsenal of theatrical means, they also receive purely playful pleasure, which allows them to deeply consolidate the acquired skills.
The synthetic nature of theatrical activities makes it possible to successfully solve many educational tasks of a preschool institution: to cultivate artistic taste, develop creative potential, and form a sustainable interest in theatrical art, which in the future will determine the need of each child to turn to the theater as a source of emotional empathy and creative participation.
Theater in kindergarten will teach the child to see the beauty in life and in people; will give rise to the desire in him to bring the beautiful and good into life himself.
Taking into account the results of the work done, we have made the following recommendations for teachers and specialists of preschool educational institutions:
Create conditions for children's creative activity. Encourage performing creativity in theatrical activities, develop the ability to behave freely and relaxed during a performance, encourage improvisation through facial expressions, expressive movements and intonation.
Introduce children to theatrical culture (introduce them to the structure of the theater, theatrical genres, with different types of puppet theaters).
To ensure the relationship between theatrical activities and other types of children's activities in a single pedagogical process.
Create conditions for joint theatrical activities of children and adults
Literature
1. Artyomova L.V. Theatrical games for preschoolers. M., Education, 1991.
2 Antipina E. A. Theatrical activities of children in kindergarten: games, exercises, scenarios. M., Sfera shopping center, 2003.
3 Antropova M.V. Psychological, pedagogical and hygienic approaches to organizing developmental activities for preschool children. // Preschool education No. 24 (96), 2002.
4 Bogacheva N. I., Tikhonova O. G. Organization of leisure in the family. M., Academy, 2001, 208 p.
5 Vetlugina N. A. Aesthetic education in kindergarten. M., Education, 1978, 207 p.
6 Devina I. A., Mashtakova I. V. Managing emotions. M., Os, 89, 2002, 48 p.
7 Ivantsova L. Korzhova O. The world of puppet theater. Rostov-on-Don, Phoenix, 2003, 160 p.
8 Makhaneva M.D. Theatrical activities in kindergarten. // Preschool education No. 12. 2002.
9 Makhaneva M.D. Theatrical activities in kindergarten. M., Creative Center Sfera, 2001.
10 Merzlyakova S. I. Magic world theater M., Institute for Advanced Training of Education Workers, 1995.
11 Minaeva V. M. Development of emotions in preschoolers. M., Education, 1999.
12 Mikhailova A. Ya. Theater in the aesthetic education of junior schoolchildren. M., 1975.
13 Orlova F. M., Sokovnina E. N. We are having fun. M., Education, 1973, 207 pp.
14 Petrova T.I., Sergeeva E.L., Petrova E.S. Theatrical games in kindergarten. M., School press, 2001.
15 Educational games for children of primary preschool age. M., 1991.
16 Semyonova S.I. Lessons of goodness. M., ARKTI. 2002, 80 p.
17 Simanovsky A. E. Development of creative thinking in children. Yaroslavl, Academy of Development, 1997, 192 p.
18 Smirnova S. A. Pedagogy. M., Academy, 2001, 512 p.
19 Sorokina N. F. Playing puppet theater. M., ARKTI, 2001, 162 p.
20 Tufkreo R., Kudeiko M. Collection of ideas. M., Linka-Press, 2004, 200 p.
21 Furmina L. S., Shibitskaya A. E., Panteleeva L. V. Entertainment in kindergarten. M., Education, 1975, 243 p.
22 Churilova E. G. Methods and organization of theatrical activities for preschoolers and junior schoolchildren. M., VLADOS, 2003, 160 p.
23 Shorygina T. A. Beautiful fairy tales. M., Knigolyub, 2003, 136 p.
24. Artistic creativity and the child. Ed. N. A. Vetlugina, M., Pedagogy, 1972, 286 p.
25. A child in the world of fiction, visual arts, music. Magazine "Preschool Education", 2004, No. 6.
Appendix No. 1
Relay race.
Target. Develop attention, endurance, consistency of actions.
Progress of the game. Children sit on chairs in a semicircle. When starting the game, they stand up and sit down in turns, maintaining the tempo and not interfering with each other’s actions. This exercise can be performed in different ways, coming up with interesting game situations with the children.
a) ACQUAINTANCE. From behind the screen, a favorite hero from children's fairy tales appears (Carlson, Little Red Riding Hood, Pinocchio, etc.). He wants to get to know the children and offers to stand up and say his name clearly after the previous one.
b) RADIOGRAM. Game situation: a ship is sinking at sea, the radio operator transmits a radiogram asking for help. The child sitting on the first chair is the “radio operator”; he transmits a certain rhythmic pattern along the chain by clapping or patting the shoulder. All children take turns repeating it. passing on further. If the task is completed correctly and the last child, the “captain” of the rescue ship, accurately repeats the rhythm, then the ship is saved.
What do you hear?
Target. Train auditory attention.
Progress of the game. Sit quietly and listen to the sounds that will be heard in the study room for a certain time. Option: listen to sounds in the hallway or outside the window.
Appendix No. 2
WE WILL NOT TELL YOU WHAT WE DID, BUT WE WILL SHOW YOU!
Target. Develop imagination, initiative, attention, the ability to act in concert, and play with imaginary objects.
Progress of the game. The room is divided in half by a cord or line. On one side are those selected using the rhyme “Grandfather and three to five grandchildren”, on the other side are the rest of the children and the teacher who will ask riddles. Having agreed on what the riddle will be about, the children go to their “grandfather” and “grandchildren.”
Children. Hello, gray-haired grandfather long, long beard!
Grandfather. Hello, grandchildren! Hello guys! Where have you been? What have you seen?
Children. We visited the forest and saw a fox there. We won’t tell you what we did, but we will show you!
Children show an invented riddle. If “grandfather” and “grandchildren” give the correct answer, the children return to their half and come up with new riddle. If the answer is given incorrectly, the children say the correct answer and after the words “One, two, three - catch up!” they run across the line, into their home, and “grandfather” and “grandchildren” try to catch up with them before they cross the lifelines. After two riddles, new “grandfathers” and “grandsons” are chosen.
In riddles, children show how they, for example, wash their hands, wash handkerchiefs, chew nuts, pick flowers, mushrooms or berries, play ball, sweep the floor with a broom, etc.
Appendix No. 3
GAMES AND EXERCISES ON SPEECH BREATHING
GAME WITH A CANDLE
Target. Develop proper speech breathing.
Progress of the game. Children are asked to take a silent breath through their nose, then blow on a burning candle standing at some distance. The task is not to extinguish the candle, but only to make the flame “dance” smoothly. Exhalation is done with a thin, elastic and smooth stream of air through tightly compressed lips. The first time the exercise is done with a real burning candle, and then you can play with an imaginary flame.
BUBBLE
Target. Is the same.
Progress of the game. Children are divided into two teams. The first team, using imaginary straws, blows out “soap bubbles” while exhaling evenly. We must try so that they do not burst immediately, but become as large as possible and, tearing away from the straw, fly away. Children of the second group follow their actions and at the same time, in chorus or in roles, read E. Fargen’s poem “Soap Bubbles”:
Be careful - bubbles!
Oh, what!
Oh look! They're getting bloated!
They're having a blast!
Mine is plum!
Mine is the size of a nut!
Mine didn't burst for the longest time.
ARTICULATIVE GYMNASTICS
LIP CHARGER
1. Happy Piglet:
a) on the count of “one”, the closed lips are extended forward, like a pig’s snout; on the count of “two,” the lips stretch into a smile without exposing the teeth;
b) closed, elongated lips (patch) move first up and down, then to the right and left;
c) the snout makes circular movements, first in one direction, then in the other.
When finishing the exercises, children are asked to completely release their lip muscles by snorting like a horse.
CHARGING FOR THE NECK AND JAW
Children often speak through clenched teeth, their jaw clenched, their mouth barely open. To get rid of these shortcomings, it is necessary to release the muscles of the neck and jaw.
Tilt your head either to the right or to the left shoulder. Then roll it over the back and chest;
Surprised hippopotamus: throw the lower jaw sharply down, while the mouth opens wide and free:.
Yawning panther: press both hands on both cheeks in the middle part and say “wow, wow, wow...”, imitating the voice of a panther, sharply lowering the lower jaw wide: opening the mouth, then yawn and stretch.
4.Hot potato: put an imaginary hot potato in your mouth and make a closed yawn (lips closed, soft palate raised, larynx lowered).
GAMES AND EXERCISES FOR SOUND FREEDOM WITH SOFT ATTACK
SICK TOOTH
Move. Children are asked to imagine that their tooth hurts very much, and they begin to moan at the sound “m”. The lips are slightly closed, all muscles are free. The sound is monotonous and drawn out.
CAPRIZULA
Move. Children portray a capricious child who whines, demanding to be held. Whine on the sound “n”, without raising or lowering the sound, looking for a tone in which the voice sounds evenly and freely.
BELLS
Move. Children are divided into two groups, and each takes turns depicting the ringing of bells: blow - bang! And the echo - mmm... BOOMMM - BOOMMM! BOOMMM - BOOMMM! BOOMMM - BOOMMM! DING - DONNN! DING - DONNN! DING - DONNN!
LULLABY
Move. Children imagine that they are rocking a toy and hum a lullaby, first with their mouth closed for the sound “m”, and then the same musical phrase of the lullaby for the vowel sounds “a”, “o”, “u”.
Appendix No. 4
Games with tongue twisters can be offered in different versions.
“Broken Phone” - two teams play. Each captain gets his own tongue twister. The winner is the team that, at the leader’s signal, quickly transmits the tongue twister along the chain and whose last representative pronounces it out loud better and more accurately;
“Hand ball” - the presenter throws the ball and calls the name of a child. He must quickly run up, catch the ball and say a tongue twister, etc.;
“Hand ball” option - children stand in a circle, in the center is the leader with the ball. He throws the ball to any child, he must catch it and quickly say a tongue twister. If a child fails to catch the ball or cannot clearly pronounce a tongue twister, he receives a penalty point or is eliminated from the game;
“Snake with gates” - children move in a chain behind the leader and pass through the gates formed by the last two children. The child in front of whom the gates are slammed must pronounce any tongue twister. If he does this well, the gates open and the game continues, otherwise the child repeats the tongue twister;
“Phrase in a circle” - children, sitting in a circle, pronounce the same phrase or tongue twister with different intonation; the goal is to practice intonation;
“The main word” - children pronounce the tongue twister in turn, highlighting a new word each time, making it the main word in meaning. Tongue twisters can be learned in motion, in various poses, with a ball or with a jump rope.
TONGUE TWISTERS
Sasha sewed a hat for Sasha.
Sasha walked along the highway and sucked on a dryer.
Senka is carrying Sanka and Sonya on a sled
Six little mice rustle in the reeds.
Whey from yogurt.
The wasp settled on the nose, I will take the wasp to the branch.
Forty mice walked, carrying forty pennies; two smaller mice carried two pennies each.
The mice dried the dryers, the mice invited the mice, the mice began to eat the dryers, the mice broke their teeth!
The bristles are on a pig, the scales are on a pike.
Cuckoo bought a hood.
Centipedes have too many legs.
The hedgehog bear, the hedgehog and the hedgehog were scared.
The beetle, buzzing over the puddle, waited until dinner for the snake.
A beetle is buzzing over a honeysuckle, the beetle has a green casing.
The lazy red cat lay on his stomach.
Our Polkan fell into a trap.
From the clatter of hooves, dust flies across the field.
A weaver weaves fabric onto a Tane scarf.
The bull was blunt-lipped, the bull was blunt-lipped, the bull's white lip was dull.
He quailed the quail and hid the chicks in the copse from the guys.
The cap is not sewn in the Kolpakov style, the bell is not poured in the Kolokolov style. It is necessary to re-cap, re-cap; the bell must be re-belled, re-belled.
Clara put the onion on the shelf and called Nikolka to her.
Karl stole corals from Clara, and Clara stole a clarinet from Karl.
Grass in the yard, firewood on the grass.
Three magpies chattered on the slide.
Three magpies, three ratchets, lost three brushes.
There are daisies at the gate, three snails crawled up to them.
In the mornings, my brother Kirill fed three rabbits grass.
The wet weather turned soggy.
Half a cellar of turnips, half a container of peas.
The cat caught mice and rats, the rabbit gnawed a cabbage leaf.
Polycarp's catch is three crucian carp, three carp.
Kondrat's jacket is a little short.
Valerik ate the dumplings, and Valyushka ate the cheesecake.
Appendix No. 5
Glossary of theatrical terms
Proscenium - the space of the stage between the curtain and the orchestra or auditorium.
Actor - active, acting (act - action).
Amphitheater - seats located behind the stalls.
Intermission is the interval between the actions of the play.
Applause - approving claps.
Artist - artist (skill, mastery).
Poster - announcement of the performance.
Ballet is a type of theatrical art where the content is conveyed without words: music, dance, pantomime.
Mezzanine - 1st floor above the stalls and amphitheater.
Benoir - boxes on both sides of the stalls at stage level.
Props are objects specially made and used instead of real things in theatrical productions (dishes, weapons, jewelry).
Make-up is tinting the face, the art of giving the face (through special paints, gluing on a mustache, beard, etc.) the appearance required by the actor for a given role.
Decoration (lat.) - decoration; decoration actions on the theater stage (forest, room).
Dialogue is a conversation between two or more persons.
Drama is a composition for the stage.
Gesture - movements of the hands and head that convey feelings and thoughts.
Backdrop - a painted or smooth background made of soft fabric, suspended at the back of the stage.
Pocket - the side of the stage, hidden from the audience.
The curtains are vertical strips of fabric that frame the sides of the stage.
Mise-en-scene is stage placement, the position of actors on stage at a certain moment.
Facial expressions are thoughts and feelings conveyed not by words, but by face, body movement, facial expression reflecting an emotional state.
Monologue is the speech of one person, thoughts out loud.
Opera is a musical and dramatic performance in which the actors do not talk, but sing.
Operetta is a cheerful musical performance in which singing alternates with conversation.
Pads are horizontal strips of fabric that limit the height of the stage.
Pantomime is an expressive body movement, the transmission of feelings and thoughts with the face and whole body.
Wig - false hair.
Parterre - seats for spectators below stage level.
The director is the manager of the actors, distributing roles; the person directing the production of the play.
Props are things, real or fake, that the actors need during the course of the play.
Directions are the playwright’s explanations on the pages of the play, which determine the place and setting of the action, indicate how the characters should behave in certain circumstances.
Repertoire - plays performed in a theater during a certain period of time.
Rehearsal - repetition, preliminary performance of the performance.
Replica - a phrase of a character followed by another actor or some stage action is taking place.
The theater is a place for spectacle.
A fly rod is a metal pipe on cables to which the scenes and scenery parts are attached.
Foyer is a room in the theater that serves as a resting place for spectators during intermission.
Appendix No. 6
I. Features of theatrical art
All questions in this subsection can be considered during a discussion of the performance, while working on the play. It is not necessary to use the word “synthesis”; it is enough to find out with children that theater uses and combines other forms of art - literature, painting, music, choreography. But the main thing in the theater is the acting. You can use the statement of V.I. Nemirovich-Danchenko: “You can build a wonderful building, install excellent directors and administrators, invite musicians, and still there will be no theater; But three actors will come out onto the square, lay out a rug and start playing a play, even without makeup and decor - and the theater already exists. For the actor is the king of the stage.”
In practice, children learn that theatrical art is collective, because is created through the efforts of all members of the creative team. And finally, unlike works of painting, literature, and music, which are created by the artist once, theatrical art is created anew each time in the presence and with the support of the audience. This feature of the theater can be understood by children only if the performance is repeated several times in the presence of different spectators (preschoolers, schoolchildren, parents).
II. Types of theatrical art
You can talk about them only after the children have watched puppet and drama theater performances and visited the opera and ballet theater. If this is not possible, then you can show video recordings, especially excerpts from ballet and opera performances. Then you can invite them to stage a well-known fairy tale, for example, “Teremok”, using such types of theater as puppet, dramatic, musical (opera, ballet, operetta).
III. The birth of the performance
This subsection involves the formation of ideas about theatrical professions, as well as theater performance through the eyes of the actors and the eyes of the audience.
There are many concepts and words here that are easier to assimilate during games and sketches. You can start getting acquainted with such concepts by offering the game “Let’s go to the theater” or “What did you tell me about?” theater program».
You can consolidate your knowledge of theatrical terminology on the topic “Performance and Actor” using the game “Magic Basket” and other games. (Exercises and games for the chapter “Culture and technique of speech”, creative games with words).
IV. Theater outside and inside
A theater building, as a rule, differs from residential buildings and institutions in its architecture, beautiful facade, often with stairs and columns; it is not for nothing that the theater is called a “temple of art.” It is best to organize a city tour with your children and show them the theater buildings. If this is not possible, then you can consider photographs or illustrations depicting famous theaters (Youth Theater, Puppet Theatre, Musical Theatre, Drama Theatre).
Speaking about the structure of the auditorium, you can invite children to build a stall, an amphitheater from chairs, and designate tiers of balconies. You can show in the illustrations what the theater was like in Ancient Greece, and the modern structure of the theater.
Children should feel what the world of the backstage is like on their feet, walk around the stage, and stand behind the scenes.
V. Culture of behavior in the theater
It is advisable to consider this topic in practical activities children, using theatrical games and sketches: “Buying a theater ticket”, “What the theater program told about”, “Today we are going to the theater”, etc. You can introduce children to the memories of famous cultural figures about their first visit to the theater (K. Stanislavsky, G. Ulanova, N. Sats, etc.).
Whether these opportunities were used will largely depend on the creative potential of an adult. Chapter 2. Theatrical activities as a means of developing the creative abilities of children of senior preschool age. Children's creative abilities are manifested and developed on the basis of theatrical activities. This activity develops the child's personality, instills sustainable...
About the sense of time as an aesthetic phenomenon, its value meaning in the life of a child, and the experience of being guided by it in his life is gained. 2.4 Dynamics of development of the sense of time in children of senior preschool age The purpose of the control stage of the experiment was to identify qualitative changes in the levels of development of time concepts in children of senior preschool age...
Comparative schedule of the ascertaining and control stages Thus, our experimental work has proven that the process of forming moral values in children of senior preschool age will be carried out more effectively with the systematic inclusion of games - dramatizations in the holistic pedagogical process. Significant in this case is the selection of works of art to play with...
Organization of theatrical activities for children in preschool educational institutions.
It is necessary to begin work on organizing theatrical activities for children in preschool educational institutions with the organization of a subject-developmental environment.
The issue of organizing a subject-developmental environment in a group must be approached creatively, trying to diversify its components. I will give an example of the organization of a subject-developmental environment for the organization of theatrical activities in my group of the kindergarten “Orlyonok”.
Types of theaters:
1.Bi-ba-bo (set of dolls for acting out)
2. Table theater.
3.Flannelograph.
4. Finger Theater.
5. “Theater in faces” - masks of heroes, hats, medallions.
Screen.
Attributes for mummering (made with the help of parents).
Each of the listed types of theater was introduced into the group gradually. The implementation of theatrical activities in a group is carried out in accordance with long-term planning. Long-term planning was drawn up for a period of one year with the participation of both teachers of the group, in accordance with the main program of the kindergarten.
The first type of theater that the children became acquainted with was the flat theater on a flannelgraph, then the Bi-ba-bo theater and the table theater.
The acquaintance took place in the I-junior group, the children watched theatrical performances shown by the teachers. At this stage, it is important to generate interest in the theater, intrigue the child, and attract his attention. Then the children got acquainted with the “theater in faces”, here for the first time they acted as actors themselves, of course, their role is still small, their lines are more like onomatopoeia of chickens, imitation of the movements of a bunny, fox; but the age in the I-junior group is only 2 years.
So the children came to II-junior group already familiar with 4 types of theater. At this stage, it is important to support children’s interest in theatrical activities. Words for dramatizations are memorized like nursery rhymes or poems during a walk, repeated more than once, so the child gains confidence and becomes capable of improvisation.
In the middle group they introduce finger theater, puppet theater. The finger theater is interesting, first of all, because by playing it the child trains fine motor skills. It doesn’t matter what it is made of: salt dough material, wood or plastic - when putting it on a finger, the child feels the structure of the doll, he needs to manipulate with his fingers and at the same time make sure that the doll remains in place. As you know, “the mind is at your fingertips.” Thus, finger theater can be called universal.
In middle and older preschool age, in all types of theater, children become independent, often inventing the plot themselves, and assigning roles. Children of this age really enjoy putting on performances of all types of theatre, especially Be-ba-bo. Feeling their independence, children express their emotions in a more multifaceted way, emotional and figurative coloring of speech appears, children do not get lost in a new plot, they easily modify the plot and lines of their characters. It is necessary to evaluate independently staged plays, certainly positively, otherwise the child’s interest will fade. Positive motivation is important in all types of activities of preschool children, and in theatrical activities its importance should not be downplayed. A positive response from a teacher can help overcome some shyness, help to believe in oneself, and liberate the child.
The stage of preparing the scenery is very important and interesting; of course, you can put on the scenery made by a real artist, but the process of creating scenery with the involvement of children is very interesting and educational for them, it also contributes to the development of speech and the development of imagination. After making the scenery, learning the roles, showing the performance to their parents, the children are full of new ideas and suggestions. They draw sketches of future decorations on their own.
Let's take a closer look at working with parents. Theatricalization is probably exactly the area in which every parent can be attracted and interested. The experience of my group suggests that all parents respond and try to assist teachers in their work using theatrical activities.
The main types of work with parents were:
Conversation – consultation (about ways to develop abilities and overcome problems of a particular child)
Exhibitions (photo exhibition, exhibition of children's works, for example: exhibition of drawings “Fairy Tale”, “Magic Costume”, photo exhibition “My Family in the Theater”, “ Home performance»)
Joint creative evenings(parents are invited to stage performances and participate in reading competitions “Me and Dad”, “Let’s Tell a Poem Together”)
Creative workshops (this is where parents and teachers share experiences and jointly prepare material for children’s leisure time)
In addition to all of the above, parents were involved in the production of costumes, scenery, attributes, posters, and help in choosing plays for performances.
An equally important direction in the system for the development of coherent speech and imagination through theatrical activities is the cooperation of group teachers and the music director.
Work with this specialist was carried out in the following areas:
Consulting group teachers on working with children (development of the articulatory apparatus, consolidation of learned sounds, work on plasticity, expressiveness of speech)
Individual sessions specialist teachers with children, including together with the teacher
Typical ones, which include the following types of activities: theatrical gaming, rhythmoplasty, artistic speech, theatrical alphabet (elementary knowledge of theatrical art).
Dominant - one of the specified activities dominates.
Thematic, in which all named types of activities are united by one topic, for example: “What is good and what is bad?”, “About dogs and cats,” etc.
Complex - a synthesis of arts is used, an idea is given about the specifics of the arts (theater, choreography, poetry, music, painting), about modern technical means(audio, video materials). All types of artistic activity are united, alternate, there are similarities and differences in works, means of expression of each type of art, conveying the image in their own way.
Integrated, where the core activity is not only artistic, but also any other activity.
Rehearsal rooms, where a “run-through” of the performance being prepared for production or its individual fragments is carried out.
When organizing classes, it is necessary to remember that knowledge and skills acquired without desire and interest do not stimulate the cognitive activity of preschoolers.
A modern school is in the process of modernization: technologies are being improved and new standards are being introduced. The formula returns - “training + education”, and the latter “should only go through joint activities adults and children, children with each other, in which the appropriation of values by children is the only way possible. At the same time, education fundamentally cannot be localized or reduced to any one type educational activities, but should cover and permeate all types: educational and extracurricular activities.” Now is the time for students to be involved in research projects, creative activities, sporting events, during which they will learn to invent, understand and master new things, be open and able to express their own thoughts, be able to make decisions and help each other, formulate interests and recognize opportunities.
We believe that stimulating children to imaginative and free perception of the world around them (people, cultural values, nature), which, developing in parallel with traditional rational perception, expands and enriches it, best of all through the organization theatrical activities. N.N. Bakhtin convincingly revealed the “educational” and “educational” and “ennobling” role of school theater. This effect is due to the fact that theatrical action in its psychological nature is close to children's creative play, which is of great importance for the development of many valuable personality traits of the child. Teachers are convinced in practice that the psychological characteristics of children's play bring it closer to the nature of performing arts. This creates natural preconditions for activities with children. acting skills. Exactly junior schoolboy able not only to discover the theater, but also to become an active participant in stage activities. Theatrical activity creates conditions for more successful socialization of the individual. In addition, the participation of children in the creative process of implementing a play at all its stages has great educational meaning.
Therefore, in our school for several years, as part of extracurricular activities, the work of the Semitsvetik theater studio has been organized. All children over 6 years old can participate in it, without any special requirements. The process of theater classes is built on the basis of developmental methods and, above all, the theory of the leading type of activity by A. Leontiev, and is a system of creative games and sketches aimed at developing the psychomotor and aesthetic abilities of children. Theatrical games are designed for the active participation of the child, who is not just a passive executor of the teacher’s instructions, but an accomplice pedagogical process. New knowledge is acquired in the field of problem situations that require joint active searches from children and adults.
Great importance is attached to individual and group work. The program is compiled taking into account and using modern innovative techniques and methods. Breathing and articulatory gymnastics, educational games, exercises and trainings. These tasks are offered at the beginning of each theater studio lesson with a mandatory justification: what exactly do these exercises develop (memory, attention, articulatory apparatus, fine motor skills, etc.), why these qualities are needed in the work of an actor and how they can be useful in the lives of people of other professions. In addition to exercises on attention and imagination, we do exercises on interaction with each other, learn to work collectively, observe animals, objects, people, and learn to perform simple sketches.
Theater activities help expand the child’s consciousness, develop his ability to manage his feelings, teach the child to consciously relate to his feelings and inner world. In addition, they make it possible to comprehensively influence the fundamental areas of the child’s psyche: mind, will, feelings, and develop communicative universal educational activities. Participation in theatrical games and performances provides a “situation of success” for every child.
Well, and of course, special attention is paid to introducing schoolchildren to the basics of theatrical culture through conversations, excursions to the theater, acquaintance with creative groups of our city, and performances by visiting artists. Nothing impresses children more than performances by creative groups and getting to know the theater “from the inside.”
And last but not least. At any creative work The child’s personality is highlighted as much as possible. For children, participation in productions may be their first experience of meaningful, appreciated, recognized creativity.
The form of theater gives the teacher the opportunity to freely express imagination, skills, and aesthetic preferences. Experience shows that during preparation and after the performance, the “teacher-student” relationship is enriched, becoming closer and more trusting. The teacher's authority increases as children's team, and in the eyes of parents and colleagues - spectators of the performance.