“Let’s give children a fairy tale”: Theater in kindergarten

December 30, 2014

Competition “My Pedagogical Initiative - 2014”
Nomination “Methodological work in preschool educational institutions”

I invite you to the wonderful world of children's theater.

Theater is bright positive emotions, thanks to which we have the opportunity to manage the formation of a child’s spiritual needs, enrich and develop his personality.

The main goal of my work with children is the development of the creative personality of a preschool child. I found the only correct and effective, interesting way for myself and the children to realize this goal - organizing theatrical activities in kindergarten. I have been working in this direction for several years now. During this time, my students and I, with the help of colleagues and parents, together we built our children's theater.

The building of our theater is firmly based on the basic principles:

the principle of visibility and accessibility . This principle is based on the fact that theatrical activity is close and understandable to the child, as it is inextricably linked with play;
the principle of freedom and independence , which allows the child to choose his own role in the action and determine his attitude towards this role;
the principle of combination , which allows the use of collective and individual forms and methods of work, which makes it possible to develop the child’s creative personality in a variety of activities;
the principle of systematicity and consistency , which is implemented in the fact that classes are held within the framework of a theater studio.

In the windows of our theater you see the cheerful faces of the children, they seem to invite us to enter. Let's climb these steps, enter the hospitable, wide open doors and plunge into the magical world of theatrical activities in kindergarten.

Classes with children in our theater are based on the use of theatrical pedagogy, adapted for children, with increased play moments. Work is carried out in the following areas:

culture and technique of speech;
rhythmoplasty;
fundamentals of theatrical culture;
work on the play.

Each direction solves a group of problems.

Culture and technique of speech. Not only for actors - for all people it is necessary to have intelligible, coherent, correct, competent and beautiful speech. In theater classes, children's speech apparatus is improved, speech breathing and correct articulation, diction, and speech development are developed. We use different materials: articulatory exercises for the lips and tongue, tongue twisters, tongue twisters and poetry, breathing and voice exercises, and intonation expressiveness.

Rhythmoplasty. This section includes complex rhythmic, musical, plastic games and exercises designed to develop coordination of movements, teach how to create images of animals using plastic arts, and help children gain a sense of harmony between their body and the world around them.

Fundamentals of theatrical culture. Theater is not only a performance, but also a whole world of new words and concepts that are not used in everyday life. This is the “stage”, “curtain”, “backstage”. Acquaintance with many more amazing words and concepts awaits those who wish to look behind the scenes of the theater.

Work on the play is based on original plays based on Russian folk tales.

The fairy tale also pleases us, adults, with optimism, kindness, love for all living things, and compassion for the weak. A fairy tale educates morality, because through a fairy tale, children first come into contact with the understanding of good and evil, hard work and laziness, love and hatred and other moral concepts. Children's favorite fairy tales “Turnip”, “Kolobok”, “Teremok” are easily dramatized.

In the older group, children can already create full-fledged performances based on the fairy tale. A child, entering a fairy tale, gets the role of one of the heroes, thereby getting closer to the culture of his people, to our value system, to the Russian mentality. And with what pleasure children change clothes, creating a new image! The composition is created by children mainly for child viewers. Therefore, there is always a special atmosphere of trust in everything that happens on stage in the hall. It unites both performers and spectators in a single creative impulse.

Theater activities require children to be systematic in their work, hard work, determination, and perseverance in achieving goals, and this leads to the development of strong-willed personality traits, which is a good basis not only for subsequent studies at school, but also for success in later life.

Just as it is impossible to build a large and beautiful building alone, it is also impossible to create a theater alone. The enthusiastic, creative workers of our kindergarten are happy to play different roles in entertainment and leisure, theatrical activities, at holidays, and, of course, involve children in theatrical activities. During this time, we have accumulated considerable experience, and the costume department has been replenished with bright, beautiful costumes.

The theater combines all types of art, which makes it possible to talk with children not only about its history, but also about painting, architecture, the history of costume and decorative arts. I am convinced that only in the process of theatrical activity is the comprehensive development of a child’s creative personality possible. Theater education helps to identify and prepare the most gifted and capable children. They may not become great actors, but they will certainly grow up to be bright, talented, creative individuals.

Our children develop new skills and abilities in the process of theatrical activity:

they can pronounce tongue twisters at different tempos;
are able to act in concert;
know how to relieve tension from individual muscle groups;
know how to build a simple dialogue;
know several articulation exercises;
are able to pronounce a phrase with different intonations.

The process of creating a fairy tale captivates the children so much that they know each other’s words, sing songs from the play both on a walk and in the evening, putting books on the table and imitating playing the piano, and even at home. In the diagram you see how the number of children with a high level of knowledge and skills in all sections of theater activities has increased compared to the beginning of the school year.

There are different paths leading to the building of our children's theater. The path for communication with parents is lined with pink pebbles. They present all types of work with parents of pupils:

individual conversations;
reports;
open days;
open viewings of performances, holidays, fairy tales, games;
joint work on the preparation of theatrical performances.

This path initially had one direction - from the children's theater to the parents. But gradually, parents began to understand the need for theatrical work in kindergarten, saw the children’s development and interest in such activities, and began to actively help us in preparing performances, their design, and selection of attributes.

Another path is a connection with the school and the House of Children's Creativity. We are largely connected with the school by the fact that the children of teachers from MBOU Losevskaya Secondary School No. 1 attend the group; they are also enthusiastic people and open to helping us. From DDT, we have a theater studio “Buratino” in our kindergarten.

Green arrows show the creative growth of the children's team. This is our road to the future. We already have experience in showing performances for children of other groups in our kindergarten, performing for parents, and staging performances at regional seminars and methodological associations, I think we are quite capable.

Theater activities in kindergarten help us, adults, not only to embody our ideas and demonstrate our talents, but also to remain, in a sense, children. And it gives our students the joy of communicating with a fairy tale, emotional pleasure and unforgettable impressions for a lifetime!

Appendix 1: Culture and technique of speech

Appendix 2: Rhythmoplasty

Author: Nagornaya Maria Dmitrievna, teacher of the MK preschool educational institution Losevsky kindergarten No. 1, Pavlovsk district, Voronezh region.

“We play theater” (from work experience)

Early preschool age is the most favorable period of child development. One of the most effective means of child development and education used in our group is theater and theatrical games. Play is the main and leading activity of preschool children, and theater is one of the most accessible forms of art.

A fairy tale is also always an invariable companion of childhood. It plays a special role in the life of a child, comprehensively influencing its development. The kid empathizes with the characters, sharing their feelings. In d/s, entry into a fairy tale occurs in a specially organized environment. It is the organization of the subject-game environment that contributes to the success of using theatrical games at work.

In the younger group, we organized a dressing up corner and selected toys, masks, and costumes for theatrical performances. I organize games with children - dramatizations of familiar fairy tales, puppet theater games, performance games. Work on theatrical activities begins with the younger group. I show children small puppet shows. I take the plot from familiar nursery rhymes, poems, and fairy tales. I am gradually including children in dramatization games, games that imitate the actions of humans, animals, birds, and fairy-tale characters. For demonstrations in the younger group I use a tabletop toy theater, a theater on a flannelgraph, and a finger theater. To enrich your child’s experience, you need to develop the ability to be a spectator, an artist, and the ability to interact with other participants in the game.

First, I read expressively or tell a fairy tale, sing the characters’ songs, pronounce them, the children listen, sing along, and memorize them. It is very good to show children a fairy tale using a flannelgraph, a table theater, or a finger theater. When playing a fairy tale for the first time, we make sure to use realistic images.

In our theater corner there is a finger theater , in order to make this activity interesting, I made a screen in the form of a large beautiful wooden house, the children really like it. And you can make finger puppets from various materials, fabric, tennis balls, mittens, paper, cardboard. Or you can use a ready-made theater. Finger theater effectively develops fine motor skills of preschoolers, which affects the formation of children's speech. He is an indispensable assistant in communicating with the guys.

Also in our corner there is a shadow theater , which is joyful entertainment. Children love to watch how figures of people, animals and birds move on a brightly lit screen. The stage of the shadow theater is the screen. I made the screen for the shadow theater from plywood and covered it with thin white material. When shown, the shadow theater figures are pressed tightly against the material from the back, or the figures have magnets, and they are glued to magnetic tape. Therefore, they are easy to move around the screen. A light source is placed behind the screen. The silhouettes of the figures are made of thin cardboard or plywood. Many interesting fairy tales and other literary works loved by children can be shown in the shadow theater.

Planar or ordinary toys that children play with every day are called tabletop theater . A platform for this children's table. You can make a character for a tabletop theater yourself from any available material: pine cones, acorns, roots; from household materials: milk and kefir bags, shoe boxes. I sit down at the children's table, and the children sit in a semicircle in front of me. Children should not see the toys that I will use to show the performance.

For the performance, it is recommended to take scenes from familiar fairy tales, or you can come up with a whole story yourself. You just need to remember that their content should be extremely simple, without difficult, impossible actions and movements for toys. The toy show is designed for a small group of children. It can be displayed in a group room. The purpose of such displays is to entertain and please children, to make the doll more interesting for them, and to help them add variety to their play activities. The teacher acts out a fairy tale for the children that is appropriate for the children’s age. For example: “Chicken Ryaba”, “Kolobok”, “Teremok”, “Turnip”, “Masha and the Bear” and others. During the show, puppet characters and children communicate.

Role-playing theater is theater where children take on the role of a chosen character. Children, with the help of an adult or independently, act out poems, riddles, short fairy tales, and stage songs. For better visibility, children need costumes. You can buy them in a store or sew them yourself. In the group, I made a hanger for them, here children can try on a costume and take on the role of one or another hero.

An excellent option for theatrical games would be mask theater . I will also make masks for games from paper or thick cardboard. These can also be knitted character hats that are attached with an elastic band around the head. And if children also help in making masks, it is even more interesting and exciting.

Theater on sticks . To make this theater I needed wooden sticks and character silhouettes made from cardboard or paper. The secret of the toys is that each silhouette is attached to a stick and the character is activated by turning it. Theater on a stick is interesting for children not only because it is very easy to make, but also because the actions can be depicted behind a screen or while moving freely around the room.

Meeting a doll helps children relax, relieve tension, and create a joyful atmosphere. Our children love to participate in performances; they actively and with great pleasure take on leading roles. While playing theater, children learn to understand speech addressed to them, make sentences, communicate with peers, and master the culture of communication. And I would like to hope that the love for theater, creativity, and music will remain with our students forever.

THEATER CLASSES WITH PRESCHOOL CHILDREN AS THE BASIS OF CULTURAL AND CREATIVE ACTIVITIES

The synthesis of various types of art is of particular importance; they are simultaneously in the sphere of education and upbringing. One of the most famous syntheses of space-time and plastic genres of art is theater. Since time immemorial, the art of theater has accompanied humanity because it has exceptional capabilities to truthfully and wisely reflect the life of society on stage. Performing arts gives the audience an incomparable sense of empathy and emotional participation in the process itself. Theater is built on the play of images, the play of something. Play is the closest form of activity for young children. Through play, children explore the world and learn; Finally, they communicate with each other. Any communication between children is a game of two little actors. Performing arts gives young spectators and young actors an amazing sense of empathy and emotional participation in the creative process itself. In a preschool educational institution, creating a theatrical performance is a special creative process. The teacher, children and their parents go through various storylines, victories and failures during the performance along with the characters of the play. During this creative process, children live through a certain period of time and make an exciting journey to anywhere on the planet and in any era. Theater can take us back many centuries and, by depicting events of the distant past, make them close and understandable to a child; can help in gaining knowledge. Theatricalization in the perception of a holistic image of the world helps the teacher teach the child to see the beauty in life and in people. Theatrical play brings pleasure from meeting new characters, events, and historical plots. Preschoolers are invited to participate in skits, get acquainted with examples of oral folklore, are transported to specific historical events, different geographical zones, and become thoroughly acquainted with the culture of a certain era. Children follow the events of the play with great pleasure, choose roles for themselves, and come up with costumes. Based on independent work and work with teachers and parents, children not only contemplate the action of the play - they become the main creators of the play. There is a conscious adaptation of the child in the creative process, which turns into an irresistible desire to participate and create. This is how the initial stage of intensifying the cultural and creative activity of preschool children is carried out. It is necessary to intensify the cultural and creative activities of preschoolers, starting with the personally developing education of the child in a playful way. The organization of theatrical activities for preschoolers should be carried out on the basis of a multi-level, differentiated and subjective-personal approach to each child. To do this, children need to be tested. It is especially difficult to determine the abilities of preschoolers. The child requires a special environment and conditions that encourage the preschooler not only to become more active, but also to be creative. Basically, in primary and middle preschool age, creativity in children can only be collective - therefore, it is necessary to organize a process in which children and adults will create a collective action based on theatricalization. In the process of creating a theatrical performance, the acting abilities of children of senior preschool age, the ability to creatively experience a role, temperament, observation, the ability to analyze stage action, and the ability to improvise are revealed. What about primary and secondary preschoolers? Young and middle-aged children display abilities for creative imagination, a desire for joint collective creativity and stage action. A collective creative process is required in the special space of the theater. Theatrical educational cultural and creative space is a field of active productive interaction between a preschooler, teacher, parents and the created performance based on a special environment between them, in which collective experience has a beneficial effect on the subjective experience of each child. In this space there is a special pedagogical model, special relationships “teacher-child”, “student-parent”. This provides an opportunity for maximum creative use of the existing skills of primary and secondary schoolchildren and the development of new ones, and also promotes the socio-cultural development of children of different ages based on collective creativity and the creation of the final product - a theatrical performance. Based on the cultural and creative activities of younger preschoolers, the dynamics of the development of children’s abilities are successfully traced; the teacher analyzes and correlates intermediate states before and after participation in a theatrical performance or a group stay within the creative process, as well as the process of reflection. The teacher conducts the survey independently and repeatedly involves parents in creating a more detailed analytical map of changes in the child’s creative well-being. The questions can be different, for example: 1. What fairy tales or stories do you love most? 2. Do people read stories or fairy tales to you every day? 3. Do you like listening to fairy tales with music? 4. If you get paint on you, will you be upset? 5. Can you show an animal without a costume? 6. Do you want to play an unusual musical instrument? 7. Do you want to find yourself in a magical world? 8. Try to retell and finish a fairy tale or story in a different way, is it difficult for you? 9. Is it difficult for animals or plants to talk? How do they communicate? 10. Why is the world around us alive and we need to be friends with everyone? Junior and middle preschool age is the age of every minute communication with adults. Children ask thousands of questions. Julia Clark points out that preschool children can ask an adult up to three thousand questions a day, while an adult can limit himself to a few dozen. Not only children, but also adults should ask questions in order to get to know the child. This will enable the teacher to build a competent step-by-step process of cultural and creative activity based on theatricalization. For children of primary and secondary preschool age, the following stages of acquaintance with creativity should be involved: 1. Arousing interest. 2. Involvement in the collective creative process. 3. Manifestation of one’s own temperament. 4. Determining your own capabilities: “I can, I can.” All these steps can be combined into the first stage - “Immersion in creativity” (acquiring skills). The second stage for middle-aged and older children is “Creating Together” (observation and imagination). The third stage for older children is “Sharing creativity” (analysis and improvisation). The organization of cultural and creative activities of preschool children should be based on the following principles:  the principle of the demand for each child, regardless of his age and capabilities;  the principle of an individual approach to each child; - the principle of collective creativity and co-creation with parents. A teacher must be a creative person, stand at the forefront of creative development and movement in a preschool educational institution. He must use special, delicate methods, since we are talking about three- and four-year-old children who should not receive negative emotions in the educational space. Otherwise, the child receives psychological trauma, and sometimes mental illness, which is difficult to diagnose and correct in the future. To avoid this, you need to build an educational space based on art. Art is a guideline and toolkit for a preschool teacher. For a teacher working with young children, a special form of communication is also necessary. Theatricalization takes on this function. It is theatricalization that acts as a universal form of communication with younger schoolchildren within the educational space. Otherwise, children, as hostages of innovative processes taking place in preschool educational institutions, are placed in school classes from a very early age. What is the advantage of theatricalization in working with preschoolers? Educational material, enriched with theatricalization, is always understandable to children, is loved, is not perceived as learning, causes special observation in the child, works to develop empathy, provokes reflection, and ensures the effective formation of communication abilities and various creative skills. The goal of any lesson with preschoolers is training and consolidation of skills. Theater classes are always a creative training, a socio-cultural skill. For a child, theater classes are always a game with adults, and not study, for which the child is not always ready. A preschool child perceives the world figuratively; he does not understand alphabetic signs and mathematical symbols. Theatrical games will bring the child closest to a figurative sense of what is happening. A theatrical situation within the educational space will help the teacher to embody, feel and solve social, artistic, educational problems, and children - to master life, replenish their worldview and create for themselves their own picture of the world. The psychological role of theatrical play is to develop and prepare the feelings and abilities of a preschooler through proper exercises. This is the development of organs of perception, speech, and movement mechanisms. The psychology of theatrical play should morally develop the child’s personality, and the philosophy of play should determine the properties of the game, its theatrical style, filling it with educational content. The psychology of theatrical play shows the material properties of the game - what the child plays with, and philosophy - why and how the child plays. The psychology and philosophy of theatrical play are designed to resolve everything for the child within the educational space, but not unconsciously, but purposefully: in an educational dialogue, based not on the authority of an elder (teacher or educator), on solving mutual tasks in a creative dialogue. Today, preschool and school education have long been linked. But how detrimentally does this affect a child, who from the age of five, and sometimes from three years old, is prepared for prestigious schools, squeezing into him a complex set of knowledge necessary for entrance exams to school, without teaching him figurative and artistic thinking and figurative logic, thereby neglecting the psychology and physiology of the child. Based on this, several conclusions can be drawn. 1. A comprehensively developed child is not one who has developed vision, hearing, touch, and smell, but first of all, one who has become familiar with the values of culture, masters the method of figurative artistic and aesthetic thinking, understands art, participates in the dialogue of cultures, feels his social law. 2. The tasks of modern education of a preschooler should be based on the development of the instincts of work, knowledge, beauty, religious feelings and the introduction of the child to the multifaceted integrity of culture; through the beautiful artistic and aesthetic to morality and knowledge - this is the slogan of modern preschool education. Not a denial of children's creativity, but on the contrary - its development through new theatrical technologies and introducing children to the great artistic and aesthetic experience of different cultures. Not coercion to knowledge, but an imaginative perception of the educational space based on a dialogue of cultures. Defining the natural activity of a child as a game, we can highlight a fundamental moment - the moment of imagination. At the same time, one cannot ignore its psycho-biological significance - the exercise of the organs involved in the future work. It is necessary to connect the complex development of a preschooler and further education at school through theatrical play, and use a scientifically developed system of theatrical educational technologies as part of the educational space of a preschooler. In this way, it will be possible to bring the imagination to reality and enable the child to rise to the highest level of work, feeling comfortable, without overexerting physically and without getting emotionally tired. The Bulgarian scientist G.K. Lozanov pointed out that creating a favorable emotional and psychological climate in classes with preschoolers is not all: it is necessary to create an even more favorable atmosphere during testing, when the child must answer the questions posed to him and solve those determined by the educational environment tasks. This is where the main psycho-emotional clamp of a child occurs, when he does not want to communicate, tell, or answer questions. Joy and stress-freeness in the educational process of preschoolers is a fundamental point. And this moment can be provided by theatrical play, which will eliminate that “clamp that prevents the increase in the “level of intimacy,” which is understood as the level of relationship or communication corresponding to a greater or lesser degree of mutual agreement between the teaching adult and the child being taught.” Learning as the acquisition of conditioned reflexes begins at the earliest stages of life. When a child begins to walk, he begins to actively master speech. The mastery of this ability is associated with a qualitatively new period of his learning, in which, with the predominance of play, there is an increase in the contribution to the learning of speech. Thanks to playful verbal communication with an adult, the child’s learning makes a sharp leap forward. In playful communication with parents and other people around him, the child acquires new knowledge and appropriates social experience. Socialization within a children's group is also acquired through theatrical play. As soon as the play space is removed, the child loses initiation. Therefore, the learning space of a preschooler should be based on a gaming environment with a predominance of interactive illustrations, using new theatrical technologies. Preserving the natural play environment for the child, enriching it with educational, interesting for the child, educational movement based on theatrical games towards the goal outlined together with the teacher - this is what, in our opinion, is very important in preschool education. To build a new educational space for a preschooler, you need to change its content. The play educational space in which a preschooler is placed must be a set of conditions that provide a theoretically, methodologically, substantively, maximally artistically and aesthetically comfortable environment, which ensures the methodologically organic integrity of the development of intelligence in unity with the emotional world of the child in order to form an educated and aesthetically socialized personality . Theatrical play is the creation of a “second” plane of reality with the help of specific figurative and symbolic means, which is a means of preserving and transmitting life experience in a generalized symbolic form. Thus, theatrical play can be proposed as a system of teaching activities of the teacher, aimed at organizing, motivating and controlling the active, creative, collective cognitive activity of preschoolers starting from the age of three. One of the areas of modern pedagogical preschool psychology is associated with teaching communication skills as ways of using the child’s knowledge and social skills to solve practical problems of communication and learning movement in the educational space. Theatricalization is the disclosure of the internal kinship of a diverse artistic image, the transformation and translation of a given artistic form into a spatial action using artistic modalities - color and sound, sound and space, space and movement, space and recitation. Preschoolers must witness the creation of living sound, color, shape, and movement. Live is better than any kind of copy or mediated demonstration. The synthesis of spatial, temporal, visual, acoustic arts helps in the transformative, cognitive, and communicative activities of a preschooler. This proves the creative role of art in the development and emotional formation of a preschooler. An emotional and moral picture of the world is revealed to the child through movement, color, spatial structures, and sounds in the form of music, dance, and poetry. For preschool children and teachers, these are recipes for psychotherapy, recipes for the art of pedagogy. Many similar phenomena were known in ancient times, in Greece, Egypt, and China. Fairy tales, myths and legends were clothed in oral epics and folk music. Decorative and applied arts, so understandable to a child, were presented in the form of folk toys, masks, costumes, songs and musical instruments. In the Ancient world, which was very wise, everything new was not only told to the child, but also shown or played with him. Now more and more often the new material is read to the child, the screen is shown and silently, indifferently, immobilized is absorbed by a preschooler and schoolboy. The artistic and emotional coloring of the dialogue of a preschooler and teacher disappeared, only the monologue of the student remained. Verbal reports, and even more so written polls are far from always applicable and are not at all suitable for preschoolers who do not own any speech or writing freely. Children are poorly analyzing themselves: it is easier for them, for example, to play, draw, sing, figuratively reincarnate, show a smiling or sad face. The more reliable live observations of the activities of children and how the child is revealed. It is necessary to create an adapted and more familiar sphere of stay for him, and not scare him with tests and questions. This is the number one task for a teacher of a preschool educational institution. It is necessary to provide a preschooler with the opportunity to try himself to be someone else, to reincarnate and find the degree of freedom that is lost in the lesson while listening to new material. The child is an artist, and therefore the Creator. Children are not just students, researchers, but creators at different steps of their development, the main thing is to help children feel exactly the creators. In the educational process based on theatricalization, a creatively gifted child goes to the step of a creative personality - the ability to show the result. Therefore, it is so important to use the pedagogy of art in pedagogical science, which means to reach a new level in pre -school education. The child has paradoxical-shaped thinking, this gives him the desire for self-expression, he has a craving for acting self-representation. Church singing - self -expression, drawing - self -expression, theatrical game - self -expression. To achieve a positive result, the principle is one: the child creatively develops with the help of a dialogue with a teacher based on pedagogy of art. The formation of cognitive motivation in a preschooler occurs on the basis of a theatrical game. The child participating in theatrical games not only acquires individual knowledge and skills - he passes the steps of stadial development, which is determined by the establishment of new relations with people, the formation of new motives for behavior and value attitudes. The creation of a game space is a procedure for transformations of the initial situation, when a preschooler and teacher work in the generally accepted system of the teacher’s monologue and consolidating the acquired knowledge of the preschooler. In the dialogue, you can transform the model of the training space based on the general scientific principles of art pedagogy, into the training of playing space. Art and only art should become the basis of preschool pedagogy and not only. Why art? Because the educational game space of a preschooler and a schoolboy is interaction and communication with art. The educational and educational process of preschoolers cannot be imagined without games. Games can become theatrical. Theatrical technologies are a multidimensional space for the work of adults and children, which qualitatively changes the educational space of a preschooler. The role-playing games, becoming theatrical, acquire new forms. The participation of preschoolers from the age of three and years in the games of the mini-theater or the creation of the performance enriches the child with new knowledge, makes him strain his mind not mechanically, but creatively, develops various intellectual emotions in children. Surprise at a meeting with a new, unknown, curiosity and curiosity, confidence or doubt in their judgments, the joy of a solution found - all these emotions are a necessary basis for the psychological development of the child from a very young age. Through familiarization with art based on theatricalization, the creative potential of the personality is activated, and the earlier this potential is laid, the more active the desire of the preschooler to analyze the values of world culture and the ratio of value landmarks and peoples. The children's theater opens up great opportunities for teachers: it is the synthesis that unites the problems of the artistic and analytical vision of the world, contributes to the social adaptation of children, helps them overcome specifically set tasks through the game, participation in mini-scenes, and theatrical productions. The theater is a special language that the writer, artist, sculptor, composer, choreographer, historian, geographer, art historian speaks to us. In some cases, it is more simple, in others it is more complicated, but undoubtedly always interesting for children, because it gives the child the right to choose: to remain simply a viewer or go directly to the role of a participant and creator. In each era, you can find a hint to aesthetic reading of a theatrical work. It is enclosed in the atmosphere of the era, in the interpretation of the ideal, in relation to a person (the main character) and the world around him. In the analysis of theatrical productions, with direct participation in them, a child’s acquaintance with the outside world and the formation of him as a person occur. Non -traditional methods for the formation of the active perception of the surrounding world in preschool children in theatrical classes are of great importance. In theatrical classes, the cognitive activity of preschool children through their stage creativity is developing. After all, childhood is a joy, a game, a merger with nature, acquaintance with the family and with the homeland, with other people and with other countries. The theater is a magical world in which the child rejoices, playing, and in the game he knows everything new. In many preschool educational institutions, acquaintance with the world of Russian life, Russian culture, the organization of the Museum of Russian Culture The creation of a folklore ensemble occurs on the basis of the theatrical and game activity of babies, but it is fragmented. The quality and level of the complexity of the material increases every year and has the principle of “through education”. Different objects are not combined with one topic related to art. But there are positive examples. For example, in the center of early development “Galeas”, acquaintance with fiction occurs using theatrical activity. For children of three, four years, this is a puppet or finger theater, for older children - participation in theatrical productions. Musical and art classes are combined with cognitive classes. The dialogue between the teacher and the child is based on the material being studied, working with the work, the search for collective images, musical design by noise instruments - this is also the theater of children and adults. In theatrical classes for a child for three or four years, everything is unusual. Instead of living nature-decorations that the teacher draws, various heroes (characters) live here. The theater takes the child to the distant past, future and to a fairy tale, children learn about ancient myths and legends. On the stage, not only people speak, but also animals, birds and even objects. Knowledge about the theater, the emergence of a steady interest in it, stage skills are not born suddenly. Only the system in work on the principle of “from simple to complex”, starting from primary school age, as well as the use of the entire complex and methods of theatrical and educational and game activity, will help to successfully solve the tasks. The teacher encourages children to show independence in the choice of expressive means when creating characters' images, teach to feel their comrade, strive to help him. Genre folklore scenes, finger theaters, illustrations by noise instruments are loved by children of preschool age. The teacher puts the children in the search situation in choosing expressive means for transmitting the image, develops the ability to freely choose movements, actions, gestures, facial expressions, intonation, and to transmit the game image. Art is a source of comprehension of spiritual culture of both the past and the present. The widespread involvement of art in the school practice of preschool education enables children to get a more holistic idea of the world, the features of world, Russian culture, their interaction, mutual influence both in the past and in the present. Introduction to art contributes to the formation of aesthetic consciousness of a young man, enriches him spiritually and develops aesthetically. The theater is a synthesis of pedagogy and art. Theatrical classes have a special didactic potential. The theater is a special, spiritual communication with the child. This is verbal communication closest to the children. For a child, it begins with infancy: with lullabies, nursery rhymes, jokes, pestle. This is a special theatrical form of communication of the child and mother. It is difficult to find another means of verbal influence on the child, with which theatrical games, performances are comparable, where real and fantastic events have intertwined. These are animals known to children endowed with the features and character of man; plants acquiring unprecedented qualities; People who commit unusual actions and exploits; gods and goddesses, helping the heroes to fight evil and rightly punishing forces of nature; These are instructive cases from life. In the modern process of teaching preschool children, theatrical classes can become the basis of the educational space. From the standpoint of the socio-pedagogical approach, the artistic and aesthetic development of the world with preschoolers is interpreted as the joint activity of the community of teachers, educators and children in the development of different-sedentary parts of the educational space. Such an interpretation involves the special interaction of the child with the outside world, activates the spheres of artistic and aesthetic experiences of productive imagination, contribute to the special formation of attitude to reality, which understands children and encourages them to work. All this is highlighted by the use of theatrical worldwide activities in working with preschoolers, the implementation of the creative process to create a collective original product-a theatrical mini-performance or presentation. Thus, the use of theatrical teaching methods in the process of cultural activity of preschool children is promising in the light of modernization of the system of additional art education. Literature 1. July Clark. Baby Dolittle, The Hebrew University of Jerusalem. - 2001. 2. Barkova A.M. Socio-pedagogical factors for raising children by folklore: abstract. dis. ...cand. ped. Sci. - M., 2000. 3. Vlasova S. Theater begins: Methods of psychol. prepared children to participate in the theater. staging / S. Vlasova // Burch. - 1997, No. 6. - 4. Gabay T.V. Pedagogical psychology. - M., Moscow State University, 1995. 5. Doronova T. Development of children from 4 to 7 years old in theatrical activities: the program “From childhood to adolescence” // Child to children. garden. - 2001, No. 2. 6. Dewey D. Psychological study of the game. - M., 1995. 7. Zvorygina E.V. Children's first story games. - M.: Education, 1988. 8. Lashkina N. S. Fine activity and theatrical games / Lashkina N. S. Preschol. upbringing. - 1998, No. 2. 9. Leontiev A.N. Psychological foundations of preschool game: problems of the development of the psyche. Ed. 4th. - M., 1981. 10. Lozanov G.K. Accelerated learning and human capabilities - M.: Prospects, 1982. 11. The program “Theater - Creativity - Children”: Development of Creative. Abilities of children by means of theater.Sai / N.F. Sorokina, L.G. Milanovich // Preschool. upbringing. - 1996, No. 9. 12. Filatov V.P. The riddle of human understanding. - M.: Politizdat, 1990.

Theater begins with a child

Every system has a starting point. In children's theater it is a child. On the adult stage, the material for the director’s work is the art of the actor. Children have not yet learned this art, so the director works directly with his soul.

Matvey Grigorievich Dubrovin , founder of the Theater of Youth Creativity, did not intend to raise entirely “Moscow” and “Komissarzhevsky”. Creating a theater school in 1956, he clearly understood that it was possible to educate through the means of theatrical art.

The main task of a child is to grow and develop. This has been the case at all times, starting with Ancient Greece. The environment in which development occurs has an influence. And the theater is a very special environment: a child enters it and never leaves completely.

“I came to Dubrovin as a schoolboy and I still can’t get out of TYuT,” laughs Evgeny Sazonov.

If children choose theater, it changes them. Even if they grow up and do not become actors, they will absorb the culture, the atmosphere of creativity, which will remain with them, no matter what profession they choose as adults.

Lesson notes for the senior group of preschool educational institutions. Introduction to theater arts

Lesson summary for the senior group “Acquaintance with theatrical art”
Author: Irina Vladimirovna Plastinina, teacher Place of work: GBOU School No. 854 Lesson
summary “Introduction to theatrical art” (using the example of the fairy tale “Fear has big eyes”)
Purpose: To introduce children to some theatrical professions, with elements of acting. Objectives: • Educational: expand children's knowledge in the field of theatrical professions, elements of acting. Learn to independently choose movements, methods of action, facial expressions, gestures to convey an image. Learn to dramatize a fairy tale: choose movements, methods of action, facial expressions, gestures to convey the image. Enrich children's vocabulary. • Developmental: develop imagination, memory and self-control. • Educational: To cultivate interest in theatrical activities, the ability to negotiate. Preliminary work : reading the Russian folk tale “Fear has big eyes.” Analysis of unfamiliar words. Preparing the scenery, listening to Russian folk songs and melodies. Playing the role of some Guess the characters. Vocabulary work: Scenery, props, act (action), actor, costume designer, make-up artist, set designer, director, well, deck, pig hoof mark, water carriers, shop, “fear has big eyes,” character, applause. Materials and equipment: hut, stove, mink, buckets (4 pairs), well, deck, puddle, pig's hoof mark, apple tree with apples, masks of grandmother, granddaughter, chicken, mouse, hare, cape for the wind, specially selected music, cards with attributes of people of a particular profession in the theater. Progress of the lesson: Children enter the hall to the music and stand in a semicircle. The teacher informs them that the children will go on a trip to the theater. The teacher says the magic words: “Turn around, spin around and find yourself in the theater.” Children perform movements according to the words of the teacher. The teacher and the children go to the center of the hall, onto the stage, and look at the “mini-theater” - the scenery for the fairy tale “Fear has Big Eyes.” Preschoolers sit down on chairs and the teacher introduces them to theatrical professions, their purposes, and attributes. The teacher reads the riddle
: Last time I was a teacher. The day after tomorrow I was a driver. He must know a lot, Because he... (artist) The artist turns into another character for the duration of the performance. His gait, voice, and facial expression changes. The artist's hairstyle, costume, and makeup help him transform.

Make-up is a special paint. The make-up artist applies makeup, makes up the actor.

The costume designer tailors the suit to fit the actor's body. He is in charge of the props.

The decorative artist creates the scenery.
Decorations are needed to make it clear where and when the actions take place. Our play has 3 acts: in the house, in the autumn meadow, and again in the house. There is a director in the theater. He helps stage the play. The director will be the teacher. Children sit on chairs. We choose actors and costume designers (they help put on masks). There are spectators in the theater - they applaud the actors. The actors take their positions. To the music, the teacher reads a saying: Oh. Long ago, in a distant forest, the fairy tale became lonely, bored, sad, she was alone in the forest clearing! And then she decided: She invited the children to visit. And let's amuse them, tell your fairy tales! She talked and talked - She dozed off and forgot... And we will help her - We will continue the fairy tale! A production of the Russian folk tale “Fear has big eyes.” At the end of the fairy tale, the actors bow and the audience clap. The actors take their places on the chairs. Reflection The teacher praises the children for their effort and theatrical performance. He sums it up by asking the question: what professions did people participate in staging the play? If children have difficulty answering, the teacher asks leading questions. The teacher can also show cards with the attributes of a person in a particular profession. What was difficult and what did you like about the lesson? To develop acting skills, the teacher plays the game “Guess . Goal: to teach how to improvise, choose movements, methods of action, facial expressions, gestures to convey an image. The presenter is put on a mask of some character (he does not know). Children silently show its characteristic features with the help of facial expressions, gestures, and movements; The presenter must guess which character's mask they put on him. Do this several times. Exit from the hall to the music.

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Summary of a lesson in the senior group of compensatory orientation for children with severe speech impairments Lesson on self-knowledge in the senior group Conversation in kindergarten with preschoolers 5-7 years old about the theater Methodological kit on the topic “Theater” for children of the senior preparatory group of a preschool educational institution

Children come to the theater for help

Children come to the studio with different goals. Often their parents bring them in so that they can have a hobby, so that they don’t wander around the streets, so that they can finally start reading.

“I ask the guys at the entrance: “Why did you come to the theater?” And here are their answer options: “I want to become an actor,” “my mother told me to,” “my dad studied here.” It is very rarely said that theater develops. But this is not the whole truth,” says Evgeny Sazonov.

Children come for help, although they don’t even realize it. They want to overcome fears and complexes, the inability to interact with others. They are driven by the desire to satisfy their human needs :

in communication;
in cognition;
in Game.

Exercise rights :

on your own opinion;
to make a mistake;
for mischief.

The theater responds precisely to these needs. Even a rehearsal is not so much a process of creating a performance as it is a satisfaction of the impulses of the soul, which in most cases are not even formulated. Choosing a repertoire is like choosing fate. There is no child who would not be taken to the theater, just as there are no children who are not suitable for the theater.

“I always tell the guys who cross the threshold of TYUT: “Do you want to do theater? Come in!”

What is a theater lesson plan (senior group)