The main tasks of theatrical activities in different age groups of preschool educational institutions
The main tasks of theatrical activities in different age groups of preschool educational institutions
Each of us spends our childhood in the world of role-playing games.
which help the child master the rules and laws of adults.
Each child plays in his own way, but in their games they all copy adults, their favorite heroes, and try to be like them. Children's games can be considered as improvised theatrical performances. The child is given the opportunity to play the role of an actor, director, decorator, prop maker, and musician. Making props, scenery, and costumes provides an opportunity for children’s visual and technical creativity
. Children draw, sculpt, sew, and all these activities acquire meaning and purpose as part of a common plan that excites children.
Particular importance in children's educational institutions can and should be given to theatrical activities
, all types of children's theater, because they help:
· form the correct model of behavior in the modern world;
· improve the child’s general culture and introduce him to spiritual values;
· introduce him to children's literature, music, fine arts, rules of etiquette, rituals, traditions, instill a sustainable interest;
· improve the skill of embodying certain experiences in the game, encouraging the creation of new images, encouraging thinking.
In addition, theatrical activity is a source of development of feelings and deep experiences of the child, i.e. it develops the child’s emotional sphere, forcing him to sympathize with the characters and empathize with the events being played out. The shortest path to emotional liberation of a child, removal of constriction, learning to feel and artistic imagination is the path through play, fantasy, and writing.
The improvement of speech is also closely related to theatrical activities, since in the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved.
Theatrical activities include acting out fairy tales, skits, role-playing dialogues based on illustrations, independent improvisations on topics taken from life (a funny incident, an interesting event, etc.); watching puppet shows and talking about them; dramatization games; acting out fairy tales and dramatizations; exercises to develop expressiveness of performance (verbal and non-verbal); exercises for the social and emotional development of children.
A huge role in organizing theatrical activities is played by the teacher, who skillfully guides this process. It is necessary that the teacher not only read or tell something expressively, be able to look and see, listen and hear, but also be ready for any “transformation”, that is, master the basics of acting, as well as the basics of directing skills. This is what leads to an increase in his creative potential and helps to improve the theatrical activities of children. The teacher must strictly ensure that with his acting activity and looseness he does not suppress a timid child and does not turn him only into a spectator. We must not allow children to be afraid to go “on stage” or to be afraid of making mistakes. It is unacceptable to divide into “artists” and “spectators,” that is, those who constantly perform and those who constantly stay to watch others “play.”
In the process of implementing a set of classes
The following tasks are solved for theatrical activities:
-development of creative abilities and creative independence of a preschooler;
— nurturing interest in various types of creative activities;
— mastering improvisational skills;
– development of all components, functions and forms of speech activity
— improvement of cognitive processes.
The basis of theatrical classes is theatrical play. Basic requirements for organizing theatrical games in kindergarten:
Ø Content and variety of topics.
Ø The constant, daily inclusion of theatrical games is a form of the pedagogical process, which makes them just as necessary for children as role-playing games.
Ø Maximum activity of children at the stages of preparation and conduct of games.
Ø Cooperation of children with each other and with adults at all stages of organizing a theatrical game.
The system of work for the development of theatrical activities is divided into three stages:
· artistic perception of literary and folklore works;
· mastering special skills for developing basic (“actor”, “director”) and additional positions (“screenwriter”, “designer”, “costume designer”);
· independent creative activity.
The pedagogical task is complicated by the synthetic nature of theatrical activity, in which perception, thinking, imagination, speech are in close relationship with each other and are manifested in different types of children's activity (speech, motor, musical, etc.).
Therefore, we can say that theatrical activity is integrative.
During theatrical games:
- children’s knowledge about the world around them expands and deepens; mental processes develop: attention, memory, perception, imagination; mental operations are stimulated; development of various analyzers occurs: visual, auditory, speech motor; vocabulary, grammatical speech, sound pronunciation, connected speech skills, melodic-intonation side of speech, tempo, expressiveness of speech are activated and improved; motor skills, coordination, smoothness, switchability, and purposefulness of movements are improved; the emotional-volitional sphere develops; behavior correction occurs; a sense of collectivism and responsibility for each other develops, and the experience of moral behavior is formed; the development of creative, search activity, and independence is stimulated; participation in theatrical games brings joy to children, arouses active interest, and captivates them.
We will reveal the tasks of working with children of different age groups.
2nd junior group
Children of this age demonstrate primary mastery of director's theatrical play.
– tabletop toy theatre, tabletop plane theatre, plane theater on flannelgraph, finger theatre. The process of mastering includes mini-productions based on the texts of folk and original poems, fairy tales, stories (“This finger is a grandfather ...”, “Tili-bom”, K. Ushinsky “Cockerel with his family”, A. Barto “Toys”, V. Suteev “Chicken and Duckling.”) The child begins to use finger theater figures in joint improvisations with an adult on given topics.
Tasks:
Ø Fostering positive moral ideals, the desire to be responsive, to correctly evaluate the actions of characters.
Ø Develop a sustainable interest in theatrical play activities.
Ø To achieve free expression of children’s emotions in gestures, facial expressions, movement, singing, and words.
Ø To achieve children's performing skills in creating an artistic image, using play, song, and dance creativity for this.
Ø Expand children’s ideas about the surrounding reality, about the past and future, about objects, customs and life, nature, etc.
Ø Let children consolidate their understanding of various types of theater - dramatization, floor theater, table theater.
Ø Enrich children's speech, achieve correct intonation and expressive speech.
Ø Encourage children to improvise on the theme of familiar fairy tales, stories, and come up with stories of their own composition.
Ø Develop children's memory, thinking, imagination, attention.
Ø Teach children to correctly evaluate themselves and their comrades.
Ø To arouse in children the desire to move, that is, to dance, and create a bright, plastic image.
Ø To foster children’s desire to “play,” that is, to act out fairy tales.
Ø Achieve the ability to use song, dance and game improvisations in independent activities.
Middle group
At this age, interest in theatrical games deepens .
Expansion of children's theatrical and gaming experience is carried out through
the development of dramatization games.
At the age of 4-5 years, the child masters different types of table theater: soft toys, wooden theater, cone theater, folk toy theater and plane figures. The riding puppet theater (without a screen, and by the end of the school year - with a screen), the spoon theater, etc. are also available to children. Children show performances based on the plots of Russian folk tales “Fox with a rolling pin”, “Zhikharka”, “Rukavichka”, “Bull” —tar barrel”, “Puff”, “Geese-swans”, 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”; S. Mikhalkov “Kittens”, 3ubkova “We shared an orange”).
Tasks
Ø Cultivate a sustainable interest in theatrical and gaming activities.
Ø Lead children to create an expressive image in sketches, dramatizations, song and dance improvisations.
Ø Expand their understanding of the objects around them. Develop the ability to identify the characteristics of objects (color, shape, size). Expand children's knowledge about the characters participating in theatrical and play activities.
Ø Replenish and activate children's vocabulary. Form intonation expressiveness of speech. To develop children's dialogical speech in the process of theatrical and play activities.
Ø To consolidate knowledge about the rules of manipulation with riding dolls.
Ø Continue to develop in children the desire to participate in dance improvisations with and without dolls.
Ø Maintain the desire to speak in front of children, parents, and kindergarten staff.
Senior group
In older preschool age, the theatrical and play experience deepens
through mastering different types of dramatization games and director's theatrical games. Along with figurative play sketches, improvisation games, and staging, older preschoolers have access to independent productions of performances, including those based on a “collage” of several literary works. For example, “A Journey through Fairy Tales”, “New Adventures of the Fairy Tales Heroes by C. Perrault”, etc. The experience of directorial play is enriched by puppets, dolls with a “living hand”, and cane dolls.
Texts for productions are becoming more complex. Russian folk tales and fables about animals (“The Fox and the Crane”, “The Hare and the Hedgehog”), works by L. Tolstoy, I. Krylov, M. Zoshchenko, N. Nosov began to be used in theatrical play.
Tasks
Ø Continue to develop a sustainable interest in theatrical and gaming activities.
Ø Improve children's performing skills in creating an artistic image, using game, song and dance improvisations for this purpose.
Ø Expand children's understanding of the surrounding reality. Improve children's ability to navigate in a group, hall, or kindergarten premises.
Ø To consolidate children’s ideas about various types of puppet theaters, to be able to distinguish between them and name them.
Ø Continue to enrich and activate children's vocabulary. Improve intonation expressiveness of speech. Develop dialogical and monologue forms of speech.
Ø To consolidate knowledge about the rules of manipulating dolls.
Ø Encourage children to improvise on the theme of familiar fairy tales, stories, and come up with their own stories individually and collectively, using dolls.
Ø Develop children's memory, thinking, imagination, attention.
Ø Foster a desire to play with theater dolls. Develop the ability to use song, dance, and game improvisations in independent activities.
Ø Support children’s desire to actively participate in holidays and entertainment, using the skills acquired in classes and in independent activities.
Preparatory group
In the preparatory group, the game material becomes even more complex. Theatrical performances include: staging of theatrical plays, children's operas, musical and rhythmic plays. Dramatization of Russian folk tales, songs, literary works; dramatization games: “The Starling and the Sparrow”, “Child Kittens”, music. E. Tilicheeva.
Tasks
Ø To improve the comprehensive development of children’s creative abilities through the means of theatrical art.
Ø Develop creative independence in creating an artistic image, using game, song, and dance improvisations for this purpose.
Ø Continue to expand children's knowledge about the surrounding reality. Deepen your understanding of objects, theatrical puppets, and scenery. Improve children's ability to navigate the premises of the kindergarten. Expand and clarify children’s ideas about the types of puppet theaters, be able to distinguish between them and name them.
Ø Continue to activate and clarify children’s vocabulary, expand their vocabulary. Improve dialogic and monologue forms of speech. Foster a culture of verbal communication. Improve the ability to compose short stories, tales from personal experience, using dolls.
Ø To consolidate knowledge about the rules of manipulating dolls.
Ø Strengthen the skills of improvising dialogues of characters in well-known fairy tales. Improve the skills of collective writing of stories from personal experience using theatrical puppets.
Ø Improve memory, attention, thinking, imagination, perception of children.
Ø To develop the creative independence of children, encouraging them to convey the mood and character of the music with the plasticity of their bodies, theatrical dolls, creating a bright dance image of the hero.
Ø Support children's initiative in individual and collective improvisations on children's musical instruments that accompany puppet shows and dramatizations.
Ø Encourage the desire to take an active part in holidays, leisure and entertainment, using improvisational skills acquired in classes and in independent activities.
Work organized in this way will contribute to the fact that theatrical play will also become a means of self-expression and self-realization of the child in various types of creativity, self-affirmation in a peer group. And the life of preschoolers in kindergarten will be enriched due to the integration of games and various types of art, which are embodied in theatrical and play activities.
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From puppet theater in kindergarten to understanding oneself in the world around us
Bibliographic description:
Chekanova, O. L. From puppet theater in kindergarten to knowing oneself in the world around us / O. L. Chekanova.
— Text: direct // Theory and practice of education in the modern world: materials of the I International. scientific conf. (St. Petersburg, February 2012). - T. 1. - St. Petersburg: Renome, 2012. - P. 136-137. — URL: https://moluch.ru/conf/ped/archive/21/1514/ (access date: 01/29/2022). Puppet theater is the most common form of organizing children's leisure in kindergarten. Puppet shows enjoy the well-deserved love of children and bring great pleasure to the organizers of the productions. The doll itself is very close to children’s perception, because they have been familiar with this toy since early childhood, and therefore perceive it as a close friend. And if this hitherto silent friend unexpectedly comes to life before their eyes, tells stories, sings, laughs and cries - this spectacle turns into a real holiday for them.
However, puppet theater cannot be considered only as entertainment. Its educational and cognitive significance is very important. During the preschool period, the child begins to develop an attitude towards the environment, character, and interests. It is at this age that it is very useful to show children examples of friendship, kindness, truthfulness, and hard work.
Puppet theater is a synthetic art; it influences young spectators with a whole range of artistic means. When showing puppet theater performances, both the artistic word and a visual image - a doll, and picturesque and decorative design, and music - a song, musical accompaniment are used. The skillful use of puppet theater provides great assistance in the daily work of a kindergarten in the mental, moral, and aesthetic education of preschoolers.
The role of puppet theater in the development of a preschool child cannot be overestimated. First of all, a doll helps to establish contact with a child if he is “enslaved,” emotionally “stressed,” or afraid of strangers. A small doll causes less fear and apprehension, and a child, especially a younger one, makes contact with it faster than with an adult. Children who avoid touching are more likely to give a hand and say hello to a doll than to a teacher. By actively interacting with the doll, the child gradually becomes more open and courageous in direct contacts with the outside world, with people. This allows a preschool child to most painlessly go through the period of adaptation to school, new teachers, curriculum, and often to a new children's team.
Familiarization with playing dolls begins at an early age. Putting a doll on his hand - a kitten, a dog, a parsley, the adult sings (melodic sounds attract the baby's attention) a nursery rhyme, a song, a joke, imitates the voices of different animals, evokes a positive emotional reaction in the child, which in turn contributes to the early formation of aesthetic taste in the child, emotional creative needs.
In younger groups, poems, fairy tales, and songs familiar to children are acted out using a table theater. The fairy tale "Turnip", for example, is illustrated using plane dolls. And with the cheerful Petrushka, who is not even hiding behind a screen, the children willingly shake hands and answer his questions.
With children of the third and fourth year of life, they act out the simplest plots of familiar fairy tales, using elements of costumes and hats with silhouettes of characters. The children willingly join in the dramatization of the fairy tale using a flannelgraph, tabletop and finger theater.
Children of the fifth and sixth year of life, as a rule, already know and love puppet theater and participate with great desire in performances. The teacher is faced with the task of encouraging preschoolers to engage in independent theatrical games and to dramatize familiar literary works. Children of this age can already be taught to drive dolls - parsleys and puppets.
By mediating interaction with other people with dolls, timid children begin to understand the process of communicating with peers. By playing the roles of characters with different personalities, children “try on” different models of social behavior. By playing the role of a Wolf or a Bear, a child can express aggression, by playing the role of a Bunny - caution, by playing the role of a Cockerel - determination and courage. This experience allows the child to subsequently show tolerance, perseverance, and kindness in various life situations.
For a child, a puppet theater character is, first of all, a toy. The child sees how performances are performed with the help of dolls and begins to understand that they were created in order to “retell” the content of the fairy tale. Around middle preschool age, the child himself, without the help of dolls, tries to repeat and act out a familiar fairy tale. Active children always enjoy playing roles: putting on costumes, speaking and acting. But for many children, getting on stage is a serious test. It’s often the first time a child dares to speak words from the stage on behalf of a doll. He psychologically hides behind the doll.
In the hands of an adult, a doll is an assistant in solving many pedagogical problems. With the help of a doll, you can create playful motivation for the productive activities of children, give an adequate assessment on behalf of the doll of the product of the child’s activity without the risk of causing his resentment or resistance. This use of characters is most effective when working with children of middle and primary preschool age.
Both adults and children can participate in the puppet show. Such activities enrich children with new impressions, knowledge and skills, develop interest in literature, music, theatrical art, and form aesthetic taste. This is a great opportunity for teachers to carry out various educational, educational, and moral tasks not in an edifying way, but directly, unnoticeably for children, who, as a rule, are captivated by theatrical performances.
Music in puppet shows sounds during the plot, when the characters sing, dance or simply listen to the playing of the violin, piano, harmonica, pipe, etc. Music is introduced to create a certain mood, as a musical setting. However, in a puppet show it is not always of an auxiliary nature. Music often plays a very important role. How long will the attention of a preschool child last if he sits motionless on a chair during a theatrical performance? No more than 10 minutes. What if he takes an active part in the performance, for example, performing as a spectator some piece of music that is especially important for the successful continuation of the performance? This number doubles (sometimes triples)! At the same time, children’s emotional responsiveness, choral singing and children’s performance skills are formed (it’s one thing to sing for the audience, and quite another for the artists themselves!).
The musical repertoire for such performances is prepared with the children in advance during music classes, and the children do not necessarily know where they will use it. This will help maintain the moment of surprise.
The saturation of the performances with emotional and entertaining moments also increases the interest of children. The collective empathy of children forms in them the rudiments of social feelings and relationships.
Performances involving a puppet theater will occupy a certain place in the kindergarten system, provided:
— the presence and development of children’s ideas and interest in various types of theater;
— children mastering the rules and techniques of theatrical activities;
- a serious, sincere, emotionally positive attitude of the teacher towards children’s theater games.
Staging a puppet show with the participation of children is a very labor-intensive task, requiring great emotional investment and creative energy of both the directors and the actors themselves - the children. It is very important to take into account several psychological factors. The process of identifying, detecting the emotions of some children, when it occurs in the presence of the whole group, is necessary not only for the teacher, who uses it as a condition for changing the inappropriate position of the child; This process helps preschoolers understand each other, focus on the strengths and weaknesses of their peers’ character, and understand their experiences. An atmosphere of deep mutual understanding is a fertile ground for eliminating unethical, selfish tendencies in children, cultivating responsiveness, sensitivity to good and intransigence to evil. The means of influencing children’s feelings are: purposeful interaction with morally contradictory characters, the sincere, emotionally expressed attitude of the teacher himself to all moments of a fairy tale or role-playing game, and, finally, the active position of sensitive, responsive children, of whom there are always many in the group.
At first, it is very difficult for a teacher to organize such performances; the ability to quickly and creatively respond to the emotional responses of both actors and spectators, to clearly navigate difficult moments and to direct the entire performance absolutely imperceptibly does not immediately develop. But when this skill comes, working on staging the play gives great pleasure not only to the children, but also to the adults participating in it.
Key terms
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: puppet theater, child, kindergarten, doll, puppet show, doll face, music, teacher, puppet help, aesthetic taste.
Using elements of puppet theater in theatrical entertainment for older preschoolers
Using elements of puppet theater
in theatrical entertainment for older preschoolers.
"Puppet Theatre! How much does he mean to children?
hearts, how impatiently the children look forward to meeting
with him! Dolls work wonders: they entertain, teach,
develop the creative abilities of preschoolers..."
Theatrical entertainment is one of the forms of organizing the artistic activities of preschoolers in kindergarten, the purpose of which is to show children interesting sights, fill them with impressions, bring joy, and give them the opportunity to show independence and creative activity. They allow us to solve a number of educational problems facing the team of teachers.
The puppet theater cannot leave anyone indifferent, be it a child or an adult. A doll in the hands of parents and teachers is an indispensable assistant in the upbringing and education of a preschool child.
When an adult communicates with a child using a toy, the child absorbs every word, he believes the “come to life” toy and strives to do what it asks. By entertaining children, the doll develops their creative abilities: artistry, musicality, imagination and sense of humor.
A child involved in the process of direct communication with a theatrical puppet learns the basics of acting, dramatization, puppeteering, and uses his knowledge and experience in independent theatrical activities, at holidays and entertainment.
Development of creative activity of preschool children through puppet theater
Understanding the importance of puppet theater, we decided to use this unusually effective means in our work.
Having read methodological and popular literature about puppet theater, and having received the necessary knowledge on the manufacture and management of theatrical puppets, we got to work.
There is always interest in puppet theater. And in our kindergarten, in each age group (starting with the group of young children), theatrical activity corners are organized, where there is a folding screen and a set of parsley dolls or finger theater actors. Teachers show little skits to children and use dolls for surprise moments in class. Children in the middle group try to act out familiar fairy tales on their own. In senior and preparatory groups, children actively participate in puppet shows, show dramatizations and performances to younger preschoolers and parents. In such common events, each child becomes a member of a team united by a common goal.
Model: Interaction of puppet theater with other forms of art
Great assistance in the manufacture of attributes and decorations for puppet shows and dramatizations is provided by specialists in visual arts, teachers, and parents.
Children enthusiastically participate in performances, skits where they themselves are the actors, and puppet shows. They love dolls and enjoy playing, making up little stories and acting them out on their own.
In joint creative activity,
In the overall performance, educators and parents get to know each other, their children, their characteristics, temperament, dreams and desires better. 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.
We involve parents in active participation in performances, theatrical events and entertainment, theme evenings as manufacturers of scenery, costumes, etc. Learning texts with children can also be entrusted to the child’s parents.
The union of teachers and parents promotes the intellectual, emotional and aesthetic development of children.
Musical education in our kindergarten is not limited to music classes. In subgroup work with children, we engage in more depth with what attracts them. Working with children, I had the opportunity to involve them more in a specific type of activity, to develop independence and creative activity. In such classes, I actively use fairy tales and noisemakers with beautiful music, expressive children's voices and funny noise designs. Onomatopoeia on various noise and children's instruments in various ways, with different volumes and shades teaches children the ways and techniques of playing various noise instruments, and also contributes to the development of creative imagination. In the process of such activities, children’s hearing develops - they distinguish even small shades of sound; auditory memory - children learn to listen carefully and quickly respond to individual words of a fairy tale. By listening to such fairy tales and participating in them, children learn to wait until the next instrument begins to play - this contributes to the development of patience, endurance, and the ability to control their behavior. Children learn to listen to others, give in, and empathize - which contributes to the development of communication and interaction skills.
For successful studies in this direction, I have drawn up a plan-program. The planning reflected the main tasks in this direction:
— development of children’s creative abilities;
- development of imagination, ability to improvise;
- development of memory, attention, expression of basic emotions;
— formation of expressiveness of gesture and speech, the ability to build dialogues;
- instill a sustainable interest in literature, theater, and music.
I began work on compiling a card index of theatrical games, tongue twisters, riddles, sketches and exercises, taking into account the age of the children.
In subgroup classes, as a warm-up, for theatrical games, dramatizations, sketches and tabletop mini-performances (exercises), I use funny “finger actors”, fairy tales and noisemakers with funny noise design.
In order for children to enjoy interacting with a theatrical puppet, I teach them basic puppeteering techniques. We are helped with this by exercises, theatrical games and sketch training on a theater screen, which are necessary for the formation of expressive speech and the ability to construct dialogues. Before starting work on the sketch, children are invited to play with the doll, hold it in their hands, take a good look at it, and try to “revive” it. Sketch training is necessary for the development of attention, memory, imagination, thinking, expressiveness of speech and gesture, expression of various emotions.
In my classes, I create situations in which the child finds phrases, words to express emotions, the content of a certain scene in which his character acts.
The ability to concentrate on a toy, a stage image, or a piece of music does not come to a child right away. This is preceded by systematic work.
Work on the performance is carried out in stages:
· Reading and analysis of the play: morality, main idea, characteristics of the characters and their actions.
· Distribution of roles between children and adults.
· Determining and remembering the place of the doll on the screen, the sequence of its actions.
· Playing out individual episodes close to the text.
· Individual learning of texts with a doll on your hand, connecting words with the actions of the doll.
· General rehearsals of the entire play.
Older preschoolers enthusiastically participate in puppet shows that are shown to children of younger preschool age. Such performances foster affectionate, warm feelings for children. Children from the preparatory and senior groups performed musical fairy tales for the kids. A creative group of teachers is preparing interesting performances based on Russian folk tales for all the children of our kindergarten. .
I include puppet shows and fragments of productions throughout the year in matinees, leisure and entertainment. Dance improvisations by children who do not take part directly in the skits serve as excellent screensavers during scenery changes and are illustrations of the skits. At the matinees, scenes from fairy tales and performances were shown: “Cinderella”, “Under the Mushroom”, “Dragonfly and Ant”, “Turnip”, “Kolobok”, “Teremok”, “The Wolf and the Seven Little Goats”, “Vovka in the Far Far Away Kingdom” ", "Masha and the Bear", "Geese-Swans", "Zayushkina's Hut", "The Fox and the Crane", etc.
I include bright puppet scenes, full of improvisation and childish spontaneity, and individual, short-lived numbers, close to play in nature, in holiday scripts. Entertainment that features funny and kind dolls takes on a unique coloring: they not only entertain, but also make the audience worry, worry, and sympathize with the characters. Dolls can cause excitement in any person: be it a child or an adult. Children willingly enter into dialogue with puppet characters, sincerely sympathize with them, vigorously express their emotions, reacting to the problems of fairy-tale characters, and willingly sing along with the dolls.
A performance for children is an opportunity for joyful communication with peers and adults, the realization of their abilities and an unforgettable experience. That is why in entertainment I so actively use elements of puppet theater, which, in my opinion, helps children discover their talents, understand themselves and the world around them, be enriched with positive emotions, become bolder, kinder, more confident, and smarter.
Literature:
1. Shchetkin activities in kindergarten.
2. . . Mosyagin holidays for children.
3.Doronova to the theater: Theatrical activities of children 4-6 years old: A methodological manual for teachers of preschool educational institutions.
4. Puppeteering for kids: Basics of puppeteering in kindergarten.
5. Cartouchine for kids.
6. Grigoriev “Little Actor”.
7.Hooking on a child in theatrical activities.
8. Gubanov activity of preschool children: 2-5 years. Methodological recommendations, lesson notes, scripts for games and performances.
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Theatrical and gaming activities
The spiritual life of a child is complete only when he lives in the world of fairy tales, creativity, imagination, fantasy, and without this he is a dried flower.
V. Sukhomlinsky
The relevance of theatrical and gaming activities at the present stage is obvious: pedagogy from “didactic becomes developmental”, which means the use of elements of theatricalization and improvisation in the process of teaching and raising children is becoming more and more noticeable, representing one of the promising directions of pedagogical thought. Getting acquainted with modern ideas of developmental education, we understood their essence for ourselves, trying to adhere to its main principles of development, creativity, and play. We support those pedagogical ideas and the essence of which boils down to a single concept: the development of a child can be understood as an active process of self-awareness, the active creation of a biography by a little person. And adults must help him - teachers in this case - We, musical directors, connected with him by common ties of assistance and cooperation.
In our activities, we rely on the works of such authors as Vygotsky A. S. “Imagination and creativity in childhood” - M., Prosveshchenie, 1991., Voronova V. Ya. “Creative games of older preschoolers” - M., Prosveshchenie, 1971., Fesyukova L. B. “Education with a fairy tale” - Enlightenment, 1990., Kazakova T. G. “Develop creativity in preschoolers” - M., Education, 1985., Sinitsyna K. S. “Clever fairy tales” - M. , Education, 1997., program “Musical Masterpieces” Radynova O., “Musical Development of Children” Radynova O., Antipina A. E. “Theatrical Activities in Kindergarten”, Burenina A., “Theater of All Possible”.
We use the total pedagogical ideas of these authors in the following context. The path to becoming a creative personality is difficult and complex. From the first spark of independent thought to the need to think, think, reason, there is a long way to go. The pace of this journey is different for each child. It is important to be patient, not to rush, not to rush, not to rush to give ready-made solutions, not to “feed” the child with chewed “spiritual food”. Everyone knows the truth: “Coercion is the enemy of creativity.” Creative development is possible only if the child has positive motivation. Therefore, an important point in the process of organizing developmental activities in kindergarten is the creation of motivation, which is based on the basic needs of preschool children.
Psychologists note that it is in play that a preschooler’s need to act independently as an adult is realized.
Theatrical games provide great scope for the child’s creative expression. They develop children’s creative independence, encourage improvisation in composing short stories and fairy tales, and support children’s desire to independently seek expressive means to create an image, using movements, posture, facial expressions, different intonation and gesture. In order for a child to show creativity, it is necessary to enrich his life experience with vivid artistic impressions and give him the necessary skills and knowledge. The richer the child’s experience, the brighter the creative manifestations in various activities. Therefore, it is very important to introduce a child to music and theater from a very early age. To captivate children with art and teach them to understand beauty is the main mission of a music director. It is art (theater) that awakens in a child the ability to think about the world, about himself, about responsibility for his actions.
In our opinion, theatrical and play activities are a vivid emotional means that shapes the aesthetic taste of children. Theater influences the child’s imagination through various means: words, actions, visual arts, music.
First of all, in our kindergarten, the teachers created conditions for the theatrical and playful activities of children: they purchased a puppet theater, together with the teachers they made shadow and finger theaters, and made a screen with a curtain for changing the scenery during the performance.
We constantly replenish the set of musical instruments: metallophones, xylophones, tambourines, triangles, harps, rattles, etc. With the help of our parents, we prepare costumes for fairy tales.
We involve children in theatrical and play activities, starting from early preschool age. Thus, in the younger group, together with children from the preparatory school group, they staged a musical performance based on the Russian folk tale “Zayushkina’s Hut.” Kids are spectators, but at the same time they are also performers of individual numbers (girls perform the flower dance, boys perform the hare dance). Throughout the musical performance, child actors conduct a dialogue with the children-spectators. For example, Lisa asks the children: “Whose hut was it?” The audience answers: “Zayushkin.” And so on.
In the middle group we continue to enrich children's experiences and develop their gaming skills. It was a successful evening of fairy tales and riddles, in which children from the secondary and preparatory school groups took part. Children in their fifth year of life played independently in the orchestra and behaved more freely in the hall. In the script for matinees and evenings of entertainment for the older group, we include short fairy tales and dramatizations. Most often the action takes place in the forest, and the characters are children. For example, the script for the New Year's matinee included the staging of "The Magic Boot", and the script for the matinee dedicated to International Women's Day on March 8 included the staging of "Snowdrops". Such creative activity of children at entertainment evenings and matinees leads them to stage children's operas in the preparatory group for school.
Older preschoolers will remember a visit to the theater for a long time. After watching the performance, the actors talked with the children, showed them techniques for working with dolls, and answered numerous questions from the children: “How do they make dolls for the theater?”, “Who can become an artist?” and so on.
After such excursions to the theater, children’s games become noticeably livelier, becoming more varied and emotional.
For the production of children's operas, the choice of literary work that forms the basis of the libretto is of great importance. We choose a literary work together with teachers, taking into account the knowledge and interests of the children.
Together with the teachers, we think in advance about how best to convey the content of the text and music to the children. We try to ensure that every child becomes interested in the fairy tale and expresses a desire to play one or another role in it. After reading the fairy tale, we suggest listening to it in audio recording. Then we have a conversation with the guys, with the help of which we teach them to delve into the essence of the characters’ behavior.
Next, we invite children to listen to the music to which each character acts. The children are transported to a fairy-tale world and experience various emotions and experiences. Then the teacher learns the text with the children, paying special attention to the expressiveness of speech.
In addition, we give the kids small tasks. For example, when preparing for an opera
We suggest running “Turnip” like a Bug or a Cat; pronounce the words in a thin voice, like a Mouse, or in a cheerful, ringing voice, like a Granddaughter. Many movements of individual and group dances, for example the dance of the Fly and the Mosquito in the opera “The Fly-Tsokotukha”, the dance of the snowdrops in “The Twelve Months”, were invented by the children.
When assigning roles, we take into account the individual abilities of children and their capabilities. We were worried about the question: what to do if not everyone who wants can get the role? We decided to appoint an understudy for each role. This gives inactive children the opportunity to overcome their shyness, take a closer look at their friend, and create a fairy-tale image in their own way. We give children in the pre-school group the opportunity to assign roles themselves. Usually the candidates nominated by children for the main roles coincide with our choice. But this skill did not come immediately, of course. Children were gradually taught to notice the abilities of their comrades: the ability to transform, to convey the characteristic abilities of literary characters in dramatizations.
Dramatization games for older preschoolers often become performances, and the spectators are children from other groups.
The kindergarten does a lot of work with parents: they set up a stand “Artistic creativity of children with color photographs, where you can see how children participate in artistic activities. We provide consultations for parents on the topics “Development of theatrical and play activities in children”, “Creating conditions for independent artistic creativity”, “The influence of theater on the formation of artistic taste in children”, etc.
The value and benefits of theatrical activities are obvious, since they are closely related to other types of activities - singing, moving to music, listening, etc.
In the process of work, children literally transform before our eyes, become free, liberated, and if they skillfully pose questions, they learn to think, analyze, and propose their own ideas. Our task as a teacher is to practice encouraging the child to “see, be surprised, tell.”
By working on the expressiveness of characters’ remarks and their own statements, children’s vocabulary is activated and the sound culture of speech is improved.
We believe that children's theatrical activities help us solve many pedagogical problems related to the formation of the expressiveness of a child's speech, intellectual and artistic-aesthetic education. Any fairy tale or theatrical play is an inexhaustible source of development of feelings, experiences and emotional discoveries, a way of becoming familiar with spiritual wealth.
It is very important for us as teachers that in a world saturated with information and new technologies, a child does not lose the ability to understand the world with his mind and heart, expressing his attitude towards good and evil, and can experience the joy associated with overcoming communication difficulties and self-doubt. The need for contact and systematization in a single pedagogical process is obvious.
Finger Theater
Author:
Rukan Natalya Valerievna,
teacher
second qualification category
MADO kindergarten No. 73 in Tyumen
Finger theater is a set of character figures that are put on a separate finger. These can be just individual dolls, animals, some objects for staging a fairy tale, or well-known characters from our favorite Russian folk tales. The Finger Theater is a unique opportunity to place a fairy tale on the palm of a child, in which he can take the role of any hero. A child can put any character on his finger and play. It is very important, when playing, to address the child, including him in the game. Theater is also an excellent speech and sensory-motor simulator. Dolls develop the mobility of the fingers of both hands, help master the speech of characters, help develop vocabulary and activate speech functions.
The finger theater is intended for children from 3 to 7 years old.
Goal: to develop fine motor skills of the hands in combination with speech; development of communicative abilities of preschool children in the process of finger theater.
Objectives: Teach children to act out small plays, skits, fairy tales using finger theater;
Develop: speech, thinking, memory, attention, creative imagination; enrich vocabulary;
Evoke positive emotions; instill a sustainable interest in the theater;
Description : knitted, sewn hero dolls, decorations.
Preparation: Set up the scenery, assign roles.
Variability of use:
-Learning nursery rhymes;
-Dolls can be used for acquaintance and learning to count (for example, in the fairy tale “Teremok” a mouse, a frog, and a hare began to live together, then a fox came and there were four of them); to get acquainted with the characters and plot of a fairy tale, to get acquainted with the concepts of “right - left”, “next to each other”;
- Acting out fairy tales: “Turnip”, “Teremok”, “Kolobok”, “Ryaba Hen”...;
-Come up with your own fairy tale;
-Guess the hero;
- “Who says what” (onomatopoeia);
- “The world of emotions” (sadness, joy, anger, surprise);
- “Name what color is the hero?” (gingerbread man - yellow, fox - orange, mouse - gray).
Finger theater and games with fingers develop the child’s brain, stimulate the development of speech, creativity, and imagination of the baby. Simple movements help to remove tension not only from the hands themselves, but also to relax the muscles of the whole body. They can improve the pronunciation of many sounds. The better the fingers and the entire hand work, the better the child speaks.
Dear teachers and parents - participants of the exhibition!
On June 2, 2015, a solemn ceremony of awarding the winners of the regional methodological exhibition “Modern educational environment of kindergarten and family” took place at the information and exhibition complex of the Tyumen Regional Duma. Details >>>
From June 8 to June 10, 2015, teachers from Tyumen received certificates of exhibition participants and multimedia albums with the full version of the exhibition at the Grant Center for the Development of Creativity for Children and Youth at the address: Profsoyuznaya St., 52. tel. for inquiries: 685-321,
June 9, 2015 Diplomas, certificates and gifts were sent to the winners and participants of the Exhibition of the south of the Tyumen region, Yamal-Nenets Autonomous Okrug and Khanty-Mansi Autonomous Okrug-Yugra by registered parcel post to the address of the preschool educational institution. Details >>>
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