Features of the organization of theatrical activities with preschool children. Theatrical activities in kindergarten and its organization

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State preschool educational institution

"Center for Child Development Kindergarten No. 81" SB RAS

Theatrical activity of preschoolers as a stimulus for the development of their creative imagination

in a Waldorf kindergarten group

Methodical development

Fisher Tatiana Viktorovna

Tomsk 2008

Introduction p.3. Theoretical part p.5. 1 Organization of theatrical activities in kindergarten and its influence on the development of the child's personality p.5. 1.1 Features of theatrical activities in kindergarten p.5. 1.2 Methods of work on theatrical activities in different age groups p.8. 1.3 The influence of theatrical activities in kindergarten on the development of the child's personality p.12. 2 Features of the development of imagination in preschoolers p.16 2.1 The concept of imagination and its connection with other mental processes p.16. 2.2 The main directions of the development of imagination in preschoolers p.17. 2.3 The mechanism of creative imagination p.19. 2.4 Influence of theatrical activities on the development of the creative imagination of preschoolers p.20. 3 Features of the organization of theatrical activities in conditions Waldorf kindergarten group p.22. 3.1 Aims of education p.22. 3.2 Telling a fairy tale p.23. 3.3 Puppet show p.25. 3.4 Puppet show during free play p.26. 3.5. Musical fairy tales p.27. 3.6. Performances-improvisation p.27. 3.7. Daily musical rhythm game p.27. 3.8 Performance of a spectator with children 6-7 years old p. 29. 3.9. Parents' play p.31 Empirical part p.32 Conclusion p.36 References p.38

Applications

INTRODUCTION

Sensitivity, sensitivity to beauty in childhood is incomparably deeper than in later periods of personality development. The need for the beautiful asserts moral beauty, giving rise to irreconcilability towards everything vulgar, ugly.

V. A. Sukhomlinsky

The world of childhood, the inner world of a child is the key to many exciting problems in our life. Play helps to open the cherished door to the world of children's consciousness. The game connects children with each other, children with adults into a single magical whole. And if a child begins to trust you, to believe - then you can create, fantasize, imagine.

The outstanding director and actor K.S. Stanislavsky in his book "The Work of an Actor on Oneself", characterizing a child's play, says that a child's play is distinguished by faith in the authenticity and truth of fiction. A child has only to say to himself "... as if", and the fiction already lives in him. At the same time, one more property is noticed in the child: children know what they can believe and what should not be noticed. To protect from aesthetic deafness means to take a step towards harmony. In the game, the child not only learns about the world around him, the laws of society, human relations, but also learns to live in this world, and this requires the creative activity of the individual (attention, imagination, logic, emotional memory, well-developed speech, facial expressions), i.e. ... the ability to keep oneself in society. The whole life of children is full of play. Every child wants to play a role. But how to do that? How do you teach your toddler to play, take on a role and act? The theater will help this. Theatrical games are always loved by children. The large and versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool, because the child during the game feels more relaxed, free, natural. The study of psychological, pedagogical and methodological literature, advanced experience shows that at present, a large theoretical and practical experience has been accumulated in organizing theatrical and play activities in kindergarten. Issues related to the organization and methodology of theatrical activities are widely represented in the works of domestic teachers, scientists, methodologists: N. Karpinskaya, A. Nikolaicheva, L. Furmina, L. Voroshnina, R. Sigutkina, I. Reutskaya, L. Bochkareva, I. Medvedeva, T. Shishkova, etc. At present, thanks to the efforts of scientists, methodologists and practitioners, work with children in theatrical activities has received scientific substantiation and methodological study. Scientists are unanimous in the opinion that theater is one of the brightest, most colorful and accessible to the child's perception of the arts. It brings joy to children, develops imagination and fantasy, contributes to the creative development of the child and the formation of the basis of his personal culture. In terms of the aesthetic significance and influence on the general development of the child, theatrical activity rightfully belongs to a place of honor next to music, drawing and modeling. Thus, theatrical activity is an effective means of a child's harmonious development, including his creative abilities. Subject of study: development of creative imagination by means of theatrical activity in the conditions of the Waldorf group of a kindergarten Hypothesis: raising children in the Waldorf group of a kindergarten creates the most favorable conditions for the development of creative imagination through theatricalization. These conditions include: daily musical and rhythmic play, daily telling of fairy tales and staging of puppet shows by educators, showing performances during free play by children and adults, preparing performances for the holidays. Purpose of the study: to study the influence of theatrical activity on the development of the creative imagination of preschoolers Research objectives:

To study the psychological and pedagogical literature on the problems of theatrical activity and the development of imagination in preschoolers

Reveal the role of theatrical activity in the development of creative imagination (after analyzing the psychological and pedagogical literature and the results of the experiment)

Describe the specifics of the methodology for organizing theatrical activities in the Waldorf group of a kindergarten

Summarize the research done and draw conclusions

Scientific research methods: analysis of psychological and pedagogical literature, testing. 1 Organization of theatrical activities in kindergarten and its impact on the development of the child's personality.

Features of theatrical activities in kindergarten

Scientists understand theatrical games as "theater games", "the plots of which are well-known fairy tales or theatrical performances based on ready-made scenarios." It was found that theatrical games differ from plot-role-playing ones not only in the plot, but also in the nature of the game activity. Theatrical games are performance games that have a fixed content in the form of a literary work played by children in their faces. In them, as in real art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, concrete images are created.

Classification of theatrical games

Artemova L. V. proposes to divide all theatrical games into two main groups: director's games and dramatization games. Director's games include: tabletop, shadow theater, flannelgraph theater. Where a child or an adult are not actors, but only create a scene, they play the role of a toy character - three-dimensional or flat. The child acts for him, depicts him with intonation, facial expressions. Dramatization is based on the performer's own actions, who can use puppets. Theatrical games as a kind of role-playing game retain their typical features: content, creative intent, role, plot, role-playing and organizational actions and relationships. But unlike role-playing games, theatricals develop according to a previously prepared scenario, which is based on the content of a fairy tale, poem, or story. Sorokina N.F. a method of working with children on theatrical activities in the classroom was proposed. This work is built in stages: 1) at the first stage, children collectively reproduce the text of the fairy tale; 2) at the second stage, one child is invited to read for all the characters of the fairy tale; 3) at the third stage, children perform a number of creative tasks (to express joy, fear, etc.); 4) at the fourth stage, a fairy tale is read by roles, etc.

Tasks of work on theatrical activities in kindergarten

Arouse interest in theatrical activities, a desire to perform together with a collective of peers. Encourage improvisation using means of expression available to each child (facial expressions, gestures, movements, etc.). Help in the creation of expressive means. To contribute to the fact that the child's knowledge about life, his desires and interests are naturally interwoven into the content of theatrical activity. Learn to coordinate your actions with the actions of your partner (listen without interrupting; speak, addressing your partner). Learn to perform movements and actions according to the logic of the characters' actions and taking into account the scene of the action. Arouse the desire to pronounce small monologues and detailed dialogues (in accordance with the plot of the performance). To acquaint children with the history of puppet theater and shadow theater. To teach how to control the simplest doll - a puppet using a variety of movements (turning the torso, walking), to coordinate their actions with the actions of partners.

Analysis of the methodological literature shows that in the development of theatrical and play activities, scientists and practitioners paid special attention to the development of children's creativity. As a result, interesting methodological techniques were found, for example:

Invite the children to independently come up with a plot with two imaginary toys and play with it; read a familiar fairy tale to children and invite them to come up with a new one, but with the same characters (O. Lagutkina);

Offer children an unconventional set of dolls for composing scenes and plays for different-contrast roles - Santa Claus and Frog, Snow Maiden and Petrushka (T. Nemenova); - to provide children with the opportunity to perform contrasting roles - an old bear and a little bear cub, an angry dog ​​and a defenseless puppy (G. Prima).

Theatrical activities in kindergarten

According to M.N. Makhaneva ("Theatrical activities in kindergarten"), it is advisable to focus on the content of theatrical activities in kindergarten. They may include: - Watching puppet shows and talking about them; - Games - dramatization; - Preparation and performance of a variety of fairy tales and performances; - Exercises to form the expressiveness of performance; - Selected exercises on ethics; - Exercises for the social and emotional development of children. Classes in theatrical activities should pursue the simultaneous implementation of three main goals: 1. Development of speech and skills of theatrical performance; 2. Creation of an atmosphere of creativity; 3. Social and emotional development of children. Classes are mainly built according to a single scheme: - introduction to the topic, creating emotional mood; - theatrical activity (in different forms), where the teacher and each child have the opportunity to realize their creative potential; - emotional conclusion, Thus, the development of self-confidence and social skills of behavior is promoted by such organization of theatrical activities of children, when each child has the opportunity to prove himself in some role. To do this, it is necessary to use a variety of techniques: - the choice of roles by children at will; - assignment to the main roles of the most timid, shy children; - distribution of roles according to cards (children take from the hands of the teacher any card on which the character is schematically depicted); - playing roles in During classes, it is necessary: ​​- to listen carefully to the answers and suggestions of the children; - if they do not answer, do not demand explanations, but proceed to actions with the character; - when introducing children to the heroes of the works, allocate time so that they can act or talk with them; - in conclusion, bring joy in children in various ways. 1.2 Methods of work on theatrical activities in different age groups An analysis of domestic and foreign psychological and pedagogical literature allowed us to conclude that at each age stage, the approaches to the methodology of working with children should be different. T.N. Doronova in her book "We Play the Theater" offers the following methods and techniques:

Methodology for working with children in the middle group

The teacher engages preschoolers in the content of the poetic work that will be used for staging, and performs it expressively. Then he asks the children if they liked it or not. Having received a positive assessment, he offers to role-play it in front of the parents and reads it again expressively to the children. Role work

The teacher briefly but convincingly gives an artistic description of the place where the staging will take place (forest, house, road, etc.), and again expressively reads a poetic work, involving children in pronouncing individual lines that they remember. Analyzes the events that are described in a poetic work. It forms in children an interest in them, a belief in the reality of what is happening and a desire to participate in it, taking on a certain role. After the distribution and acceptance of roles, it encourages children to fantasize about the appearance of the characters, their behavior, attitudes towards other characters, etc. At the same time, the characteristics can be presented much wider than those events that are included in the staging. The discussion ends with an expressive reading of the performance by the teacher with the participation of the children. Leads children to the fact that each image in which they have to act must be unique ("What is your kitten - funny or sad, how does he look?", Etc.).

Methodology for working with children in the older group

Children have become older, and now they are quite ready for the volitional regulation of their behavior, so work on theatrical activities with them can be built in two stages. The first stage involves preparation for the play and includes acquaintance with its content, making costumes and attributes, working on the role ... In terms of the duration of this stage, it is designed for a whole week. The second stage is entirely devoted to the direct preparation for the performance itself and the performance on stage. At the first stage, the teacher: - interests children in the content of the work that will be used for staging, and performs it expressively or invites the children to compose a play for their performance; - asks whether the children liked the work or not. Having received a positive assessment, the teacher offers to play it in roles in front of the parents and re-expressively reads it to the children. If the children come up with the content themselves, it invites each of them to choose a role for themselves. Role work Work on a role with children of this age is built in the same way as in a group environment.

The teacher briefly but convincingly gives an artistic description of the place where the staging will take place (forest, house, road, etc.), and again expressively reads a poetic work, involving children in pronouncing individual lines that they remember. Analyzes the events that are described in a poetic work. It forms in children an interest in them, a belief in the reality of what is happening and a desire to participate in it, taking on a certain role. After the distribution and acceptance of roles, it encourages children to fantasize about the appearance of the characters, their behavior, attitudes towards other characters, etc. At the same time, the characteristics can be presented much wider than those events that are included in the staging. The discussion ends with an expressive reading of the performance by the teacher with the participation of the children. Leads children to the fact that each image in which they have to act must be unique ("What is your puppy - funny or sad, how does he look? And how can you show the audience that he is in a good or bad mood?" .NS.).

Work on sketches It is obvious that the question of the depth of stage transformation in the broad sense of this concept cannot be faced by children of the sixth year of life. But the child's life experience, his knowledge and ideas about the surrounding reality allow him to create in his imagination the image of the character whose role he is to play. Therefore, when working with children, T.N. Doronova recommends the following techniques. You should start with the preparation of attributes for staging, costumes. Then you should move on to movement. First, the teacher asks each child what the character of his hero is. Based on general characteristics, it divides the heroes into two, three or more subgroups. So, for example, the bold and decisive make up the first group, the kind, important, the ordinary - the second, the cowardly - the third. Then the children of each subgroup are invited to demonstrate the movement of their characters. After the entire subgroup, for example, brave and decisive hares, demonstrates their movements, the teacher leads the children to generalized ideas about the nature of the movements of this image. It may sound like this: “Brave, decisive hares quickly and confidently walked along the forest path. With their muzzles raised high, they looked only up. Their shoulders were straightened, their chests were pushed forward, their paws were tucked into the pockets of their trousers (or folded behind their backs, etc.). " From characterizing the movements of each subgroup, the teacher proceeds to characterizing the speech of the characters. Work is also carried out in subgroups. At the beginning, the teacher, depending on the image and character of the hero, assumes each child to choose the appropriate intonation, and then, as in the development of movements, leads the children to generalized ideas about the character of speech of the given image as a whole. So, for example, if hares are brave and decisive, then, probably, they will speak loudly, accompanying their speech with paw gestures, looking directly into the eyes of the speaker, etc. upon completion of work on the expressiveness of speech, a rehearsal of the performance is held. The teacher always praises the children.

Methodology for working with children in the preparatory group

Work with children of six years old in theatrical activity is carried out in two interrelated directions. The first direction involves work on the development of attention, imagination, movements of children, removing their stage excitement, etc. The second direction is entirely devoted to work on the role and includes the analysis of a work of art, staging, work on the text, discussion of the characteristics of the characters of the heroes, the selection of means of stage expressiveness, working out mise-en-scenes, mastering the techniques of makeup, etc. Helping a little actor to work on himself and on the role is a rather difficult task. The teacher can effectively solve it, provided that he does not transfer the methods and techniques of schools - acting studios for adults to work with children. T.N. Doronova suggests taking the leading activity of preschoolers - a game - as the basis for theatrical activity. Despite the fact that the child "plays the theater", and the professional actor acts according to the laws of acting, they have a lot in common. Poet and art critic Maximilian Voloshin reasoned about this in such a way that art is precious only insofar as it is a game. Artists are children who have not forgotten how to play. Geniuses are those who have failed to grow. Anything that is not a game is not art. Therefore, when working with children, on the one hand, it is very important to preserve the richness of their imagination, liveliness and immediacy of the transfer of various emotional states for the stage. On the other hand, it is necessary to equip preschoolers with elementary acting techniques. Exercises It is advisable for a little actor to work on himself in the form of special exercises (imitating certain actions), which, after learning with a teacher, must be introduced into the daily life of children in the game. a heavy suitcase; - reach for a high hanging apple, pick it and quickly hide it, etc. Exercise to relax muscles: - fall asleep on a chair; - sitting on a chair, brush away drops of water from your hands, etc. Exercises to develop imagination : - pass the rope to each other, imagining that it is a snake; - pass each other a cube with the words "frog" or "ice cream"; - pass an empty box to each other and take turns taking out something imaginary from there and play with it. Role work The work of small actors on a role under the guidance of a teacher is structured as follows:

Acquaintance with the staging (what is it about, what are the main events in it). Acquaintance with the characters of the performance (where they live, what their house looks like, what is their appearance, clothing, demeanor, relationships with each other, etc.) Distribution of roles Directly work on the role:

- drawing up a verbal portrait of the hero; - fantasizing about his home, relationships with parents, friends, coming up with his favorite dishes, activities, games; - composition of various incidents from the life of the hero, not provided for by dramatization; - analysis of the invented actions of the hero; - work on the text (why the hero says so, what he is thinking about at the moment). The main task of the teacher is to help the child understand, feel everything that is hidden behind the words of the text; - work on stage expressiveness: determining the appropriate actions, movements, gestures of the character in the playing space, his position on the stage, the tempo of the performance, facial expressions, intonation; - preparation of theatrical costume; - creation of an image with the performance of skillfully applied makeup. Obviously, everything should be justified on stage: every action, every look. All actions must have some reason, be expedient. The stage behavior of the child should be motivated, with an inner meaning within the framework of the role he is playing. Working on facial expressions, comprehending body language, movements, children gradually master the means of expressiveness that will help them achieve success on the stage of the children's theater, feel confident in themselves and their capabilities. Thus, we see that each age stage requires its own approach to the methodology of working with children. The difference in approach is associated with understanding the capabilities of children at each age, with the presentation of requirements for the child and the expectation of certain results. 1.3 The impact of theatrical activities in kindergarten on development the personality of the child. Theatrical activities have a serious impact on the development of the child's personality. According to the famous psychologist A.N. Leontyev, developed play dramatization is already a kind of "pre-aesthetic" activity. Play - dramatization is, therefore, one of the possible forms of transition to productive, namely to aesthetic activity with a characteristic motive for influencing other people. Playing a role, a child can not only imagine, but also emotionally experience the actions of his character. This, of course, affects the development of the preschooler's sphere of feelings. Aesthetic experiences help the child to experience admiration for those manifestations of life that he had not noticed before, and to convey them through movements, gestures, facial expressions and other means of expression. The collective nature of theatrical activity makes it possible to expand and enrich the experience of children's cooperation in both real and imaginary situations. When preparing a play, they learn to highlight the goal, the means to achieve it, plan and coordinate their actions, and much more. Acting in a role, children gain experience of various kinds of relationships, which is also important for their social development. In addition, theatrical activities are fraught with tremendous opportunities for the correction of personal development. So, for example, V.G. Maralov and L.P. Frolova, in her recommendations to teachers on the prevention of aggressiveness and the formation of peacefulness in children, write: “There are ample opportunities for games - dramatization, when children play out some situations, take on the roles of positive and negative heroes; an aggressive child should often be placed in contrasting positions: either in the position of an aggressive hero, or in the position of a kind one - this makes it possible to fix different positions in consciousness and subconsciousness, to accept the value of non-aggressive, non-violent behavior. " Theatrical activity is used by psychologists in working with socially impulsive and socially passive children, in preventing and overcoming the child's self-doubt and self-doubt, anxiety and fears. According to T.I. Petrova, theater is a test of thinking, memory, speech, attention, communication skills. In the work "Theatrical games in kindergarten" Petrova T.I., Sergeeva E.A., Petrova E.S. note that in the process of theatrical activity, the child's personality develops, namely:

1. in the process of theatrical games, children's knowledge of the world around them expands and deepens; mental processes develop: attention, memory, perception, imagination; there is a development of various analyzers: visual, auditory, speech-motor, kinesthetic; vocabulary, grammatical structure of speech, sound pronunciation, skills of coherent speech, melodic and intonational side of speech, tempo and expressiveness of speech are activated and improved; motor skills, coordination, fluency, switchability, purposefulness of movements are improved; the emotional and volitional sphere develops; behavior correction occurs; a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed; the development of creative, search activity, independence is stimulated; participation in theatrical games brings children joy, arouses interest, and captivates them.

Alexandra Petrovna Ershova (head of the theater laboratory at the Institute of Art Education of the Russian Academy of Education) in her article "Is theater harmful to a preschooler?" offers a different look at the pros and cons of theatrical activities in kindergarten and school. “From my point of view,” says Ershova: among teachers, educators have certain and stable stereotypes: it is generally accepted that theater at school or in kindergarten is always good. There is nowhere for bad and harmful things to come from. The fact is that professional theater and kindergarten theater have completely different goals and objectives, although the means of achieving them are largely the same. Rather, that in professional theater it is a means (for example, the ability to memorize a text, improvisation, the ability to move, hear a partner, articulate correctly, the ability to work in a team, etc.), in school and kindergarten it becomes an end in itself. Professional theater has aesthetic goals, it must create a kind of spectacle that lives according to the laws of beauty. In the kindergarten, there shouldn't be any spectacle at all. " According to Ershova, the child's habit of being the object of general attention from an early age causes him significant psychological harm. Starting with the fact that for a kid performing in front of the audience is a colossal psycho-emotional overload, trauma, and ending with the fact that this leads to various deviations not only in his behavior, but also in consciousness. Imagine: here he is, so small, standing on the stage under the beam of a searchlight, all eyes are fixed on him. Who among us has not seen the eyes of preschool children before the performance! Yes, except for the fear that you have to say everything in time, do not forget where to stamp your foot, and where to sing, there is nothing else. Poetess L. Fadeeva very accurately conveyed this emotional state of the child in the poem "First Performance": I am standing on the stage. The hall was quiet. And I am silent, I do not remember the verse! I stand and think about whether to roar now or later. Most children are afraid to go on stage. They do it only with the expectation of subsequent praise. But praise can be harmful. The child should certainly be encouraged, but not praised for being a good actor. This implies that the other child is a bad artist. And if we want to praise a child, then we must certainly remember that praise is not necessary for "the role played well and the performance turned out", but for the fact that he learned the words well, stamped his foot on time - that's a fine fellow! “In working with children as a director and actor,” says Ershova: there is an eternal problem - the problem of excessive pressure. There is always a lot of adults. With this approach, the child is constantly explained what, how and why to do it. An adult becomes intolerable, he constantly puts pressure on the child with his superiority, erudition, and skill. We often underestimate what a strong partner, at least potentially, that little one with whom we prefer to speak in an imperative mood. I often remind my students - teachers: "You are no longer Mozart, and your student may be one!" We must not forget about it. You need to be more modest. We need to give children the opportunity to play Thumbelina, Cinderella, etc. as naturally as possible. The purpose of such an activity should be as follows: theater in kindergarten should be done not so that the result is a kind of spectacle that is not ashamed to show, but so that children have a natural environment for the development of fantasy and imagination, the development of speech and behavioral skills. " Output: Thus, theatrical activity is a purposeful process of forming a creative personality, contributing to the development of the ability to perceive, evaluate, feel the beauty in the surrounding world and convey one's attitude towards it, the ability to perceive objects as they are, to adapt to a particular social environment. First of all, theatrical activity is joy, laughter, a bright flash of emotions, pleasure from the game. This is an activity in which dreams, desires, phobias and much more are realized and played. In working with children, theatrical activity should be given due attention, since it is it that provides unique opportunities for the harmonious development of the child's personality. 2 Features of the development of imagination in preschoolers 2.1 The concept of imagination and its relationship with other mental processes R.S. Nemov in his book "Psychology" says that considering the process of a person creating something new, we are faced with one of several phenomena of the human psyche, the essence of which is that initially in his mind, a person creates an image that does not yet exist in reality ... The basis for creating such an image is the past life experience that a person receives by interacting with objective reality. The process of creating new mental images is called imagination. Imagination is the process of transforming representations that reflect reality and creating new representations on this basis. It is believed that imagination originated in the process of labor - human activity associated with the transformation of objects in the real world. For example, a person uses any tool of labor, notes or reveals some of its imperfections. Then he can imagine, in his mind, the image of a more perfect tool. In the course of the historical development of man, imagination began to manifest itself not only in work, but also in man's fantasies and dreams. Extremely complex forms of imagination have appeared, which are necessary in scientific, technical and artistic creation. The process of imagination always proceeds in an inextricable connection with two other mental processes - memory and thinking. If a person is faced with the task of reproducing the representation of things and events that were earlier in his experience, we are talking about memory processes. But if the same representations are reproduced in order to create a new combination of these representations or to create new representations from them, we are talking about the activity of the imagination. Close connections exist between imagination and thinking. This is especially evident in a problem situation. Faced with the unknown, a person begins to analyze, synthesize, correlate the perceived with past experience, and on this basis tries to penetrate into the essence of the relevant facts and phenomena. And in this he is helped not only by thinking and memory, but also by imagination, which is manifested in the recreation of a holistic image that reproduces the missing elements. Imagination is closely related to the processes of perception. It is included in perception, influences the creation of images of perceived objects, and at the same time itself depends on perception. By being included in perception, imagination enriches new images. For example, the perception of paintings becomes more meaningful, emotional when imagination is involved. 2.2 The main directions of the development of imagination in preschoolers Venger I.A. and Mukhina V.S. ("Psychology"), like many other psychologists, believe that at the beginning of preschool childhood, imagination is mostly involuntary, passive. The child does not set himself a special task to imagine or imagine anything and does not possess the necessary actions for this. Images of imagination arise in the course of playing, drawing, constructing, listening to stories and fairy tales as an additional result of the actions of perception and thinking performed by the child. In the middle preschool age, under the influence of the complication of the child's activities and the new requirements imposed on him by adults, he is faced with the tasks in advance of constructing an idea of ​​the game, drawing, remembering the material, and then reproducing it. In order to be able to solve these problems, the child begins to use methods that he learns from adults. Then the action of imagination begins to take shape, an active imagination arises. In the first half of preschool childhood, as well as at an early age, recreational imagination prevails, which consists in recreating the images described in poetry, fairy tales, and stories of adults. The characteristics of these images depend on the experience of the child, the material accumulated in his memory, and the level of understanding or what he hears from adults, sees in the pictures. However, the child's experience is poor, the level of understanding is still quite low, therefore, the images that arise are often far from reality, contain a mixture of the most heterogeneous elements gleaned from different sources. In particular, they often mix the real and the fabulous, the fantastic. To adults, this often seems to be a manifestation of the power of imagination, but in fact it is a manifestation of a lack of experience and criticism, an inability to distinguish between the possible and the impossible. The child tries to understand, and adults believe that he is fantasizing. A distinctive feature of the images of imagination in preschoolers is their brightness and emotionality, ease of occurrence and change. They arise and change for any reason. The influence of the child's feelings on his imagination is reflected in the fact that the child unwittingly ascribes to himself the qualities that he would like to have, first of all, the qualities of an adult. One of the manifestations of the brightness of the images of the imagination arising in the child is that the child believes in them almost as in a real event, phenomenon. The constant emergence of images of imagination helps the child to learn about the world around him, to move from the known to the unknown, but the absence of purposeful actions of the imagination leads to the fact that the emerging images are scattered. They are not combined into a coherent picture, but depend on changing external conditions, which each time serve as a pretext for the emergence of new images. The main acquisition in the development of the older preschooler's imagination is the mastery of active imagination and voluntary memorization. Senior preschool age is the age at which the child's active imagination acquires independence, separates from practical activity and begins to anticipate it, it combines with thinking and acts together with it in solving cognitive problems. Acquiring an active character, the recreational imagination of the child reproduces reality much more fully and more accurately than before. The child ceases to confuse the real and the fictional, when the imagination does not recreate a given description of the image, but directs it to build its own intention. It approaches the creative imagination of an adult. However, unlike him, the child's imagination does not participate in the creation of socially valuable products of labor. This is creativity  "for oneself", requirements of realizability and productivity are not imposed on it. At the same time, it has great importance for the development of the very actions of the imagination, preparation for real creativity in the future. The main "school" of active imagination is a role-playing game. Children build an idea for the game, coming up with a plot gradually, in the course of the game. But over time, the construction of the concept of the game begins to precede the game itself. Now, before starting to actually play, children play it in their minds, creating a coherent picture in their imagination. Of great importance in mastering the ability to build a game plan is its joint discussion by several children. At the same time, they complement each other, what one invented becomes an impetus for the imagination of another. But the concept is not yet a detailed picture of the game in the imagination. In it, only the general scheme of the future game is outlined, the details arise in the course of the activity. The share of active imagination in inventing and developing a game increases with the transition of the child to director's games, where he builds and implements the whole idea himself. Using toys only as external supports. Gradually, such a game begins to take place without real action, entirely in the imagination. It is one step from here to imagination, which does not need external support at all, and flows entirely in the mind. Born in play, active imagination is transferred to other activities - drawing, construction. The general features of the images of the preschooler's imagination - their brightness, emotionality, ease and speed of appearance, acquire a new meaning when the imagination begins to obey a single goal, to participate in the construction and implementation of ideas. These features lead to the originality of the ideas and results of children's creativity. 2.3 Mechanism of creative imagination According to Russian and foreign psychologists, including L.S. Vygotsky ("Imagination and Creativity in Childhood"), imagination is an extremely complex process in its composition. At the very beginning of the process, there are always external and internal perceptions, which form the basis of our experience. What the child sees and hears is thus the first reference points for his future creativity. He accumulates material from which his imagination will subsequently build. This is followed by a very complex process of processing this material. The most important components of this process are the dissociation and association of perceived impressions. Every impression is a complex whole, consisting of many separate parts. Dissociation consists in the fact that this complex whole is, as it were, unstuck into parts, individual parts stand out predominantly in comparison with others, some are preserved, others are forgotten. Dissociation is thus a prerequisite for the future activity of fantasy. The ability to highlight the individual features of a complex whole is important for all the creative work of a person on an impression. The process of dissociation is followed by the process of change to which these dissociated elements undergo. This process of change or distortion is based on the dynamism of our internal nervous excitations and their corresponding images. Traces of external impressions do not add up motionless in our brain, like things at the bottom of a basket. These traces represent processes, they move, change, die off, and in this movement lies the guarantee of their change under the influence of internal factors that distort and process them. An example of such internal change is the process of exaggerating and minimizing certain elements of impressions, which is of great importance for the imagination. The impressions given in reality are modified, increasing or decreasing their natural size. The passion of children for exaggeration, like the passion for exaggeration of adults, has very deep inner reasons. These reasons are largely in the influence that our inner feeling has on external impressions. We exaggerate because we want to see things in an exaggerated form, because it corresponds to our need, our inner state. The next moment in the composition of the processes of imagination is association, i.e. unification of dissociated and altered elements. This association can occur on a different basis and take various forms from a purely subjective association of images to an objectively scientific one, corresponding, for example, to geographical representations. And, finally, the final and last moment of the preliminary work of the imagination is the combination of individual images, bringing them into a system, building a complex picture. And the full circle of this activity will be completed when the imagination is embodied, or crystallized, in external images. Let us dwell on those basic psychological factors on which the course of all these individual processes depends. The first such factor is the human need for adaptation to the environment. If the surrounding life does not set a task for a person, then there is no basis for the emergence of creativity. The activity of the imagination depends on experience, on the needs and interests in which these needs are expressed. Of course, the fact that the imagination depends on combinatorial abilities and exercises in this activity depends on technical skill and on traditions, i.e. from those samples of creativity that affect a person.

2.4 The influence of theatrical activity on the development of the creative imagination of preschoolers.

The influence of theatrical activity on the development of creative abilities was studied by L.S. Vygotsky. His book "Imagination and Creativity in Childhood" is devoted to this problem. The creative activity of L.S. Vygotsky calls such human activity that creates something new, no matter whether it is a thing of the external world created by creative activity or a well-known construction of the mind or feeling that lives or appears only in the person himself. Any such human activity, the result of which is not the reproduction of the impressions or actions that were in his experience, but the creation of new images and actions, and will belong to the range of creative or combining behavior. This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy. The closest thing to children's creativity is children's theatrical creativity, or dramatization. Along with verbal creativity, dramatization or theatrical performance is the purest and most common type of children's creativity. This is explained by two main points: firstly, the drama based on action, on the action performed by the child himself, most closely, effectively and directly connects artistic creation with personal experience. The dramatic form of living out the impressions of life lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of an adult. External impressions from the environment are grasped and concretized by the child in imitation. For unconscious mental movements, by the power of instinct and imagination, the child creates those positions and conditions that life does not give him. Children's fantasies do not remain in the realm of dreams, as in adults. The child wants to embody any of his inventions, impressions into living images and actions. In a dramatic form, the full circle of imagination takes shape, which was mentioned above. Here, the image, created from the elements of reality, is embodied and realized again into reality, albeit a conditional one. The striving for action, for embodiment, for realization, which is inherent in the very process of imagination, finds its full realization here. Another reason for the closeness of the dramatic form for the child is the connection between dramatization and play. Drama is closer than any other kind of creativity, is directly related to the game, and contains elements of the most diverse types of creativity. This is the greatest value of a children's theatrical performance. Play is a child's life school, which educates him spiritually and physically. Its value is enormous for the development of the character and outlook of the future person. We can regard play as a primary dramatic form, distinguished by the precious feature that the artist, the spectator, the author of the play, the decorator and the technician are united in one person. In it, the child's creativity has the character of synthesis - his intellectual, emotional and volitional areas are excited with the direct force of life, without undue stress at the same time of his psyche. Thus, after analyzing the work of Russian psychologists, we can conclude that in preschool childhood, special attention should be paid to the development of creative imagination. An effective means of developing creative imagination is the theatrical activity of preschoolers.

... Features of the organization of theatrical activities in the Waldorf group of a kindergarten

3.1 The goals of education. Based on the methodological guide for teachers of preschool educational institutions and groups of the Interregional public organization "Commonwealth of teachers of Waldorf kindergartens" "Birch", the goal of education in Waldorf kindergarten is creating conditions in which the development of the individuality of a growing child leads to the formation of him as a free, moral and creative personality in the process of personality-oriented interaction between children and adults in a multi-age group based on the self-development of adults and in harmony with nature. Subgoal system:

A growing child's full-fledged living of childhood as the most important stage in the life path, in the process of which there is a deep penetration into the foundations of life through rhythmic life processes (the rhythm of the day, week, year) and interaction with people of different ages. Supporting the nature of childhood in a multi-age group. Introducing children to the basics of basic culture. Socialization of children in a multi-age group of children and adults, taking into account the traditions of family education. Widespread use of the ethno-cultural component in holidays and in the daily life of the children's team and family. Formation of ecological consciousness on the basis of daily observation of the beauty of the surrounding natural world. Creation of a pedagogical community of teachers and parents.

One of the most important ways of realizing these goals of the Waldorf educational system is theatrical activity, which is based on such components as daily telling and staging of fairy tales by the teacher and children, daily musical and rhythmic games, staging performances for the holidays of the year with children 5-7 years old. Tasks of theatrical activities in Waldorf kindergarten:

To cultivate a steady interest in theatrical play activities; Expand children's ideas about the surrounding reality, clarify children's ideas about objects and phenomena around them; To develop dialogical speech in the process of theatrical play activities; Learn to use different forms of interaction between children in a theatrical game; Stimulate the development of attention, memory, thinking, imagination; Expand elementary mathematical, environmental, moral representations through theatrical activities; Encourage children to improvise on the theme of familiar fairy tales, poems and stories, to come up with new ones; Develop an understanding of the moral qualities of a person, emotional awareness of oneself; To foster initiative and imagination in making dolls for your own performances;

3.2 Telling a fairy tale. Fairy tales play an important role in the pedagogical process of Waldorf kindergarten. She becomes one of the main means of moral education, has a therapeutic aspect, since her images are directed to the very soul of the child. The significance of a fairy tale is also great in the development of children's fantasy, the ability to imagine, in enriching the child's speech, in the development of his emotional life, in helping to overcome the difficulties that are inherent in the development of personality. After all, everything that children hear from adults, first of all, they associate with their lives. Each fairy tale gives an opportunity to be in your fantasy by anyone, and a prince, and an evil dragon, and a wizard and a fairy, and a poor stepdaughter, etc., which in turn cultivates in the child's soul the forces of goodness, justice, nobility and love. The tale is told to children every day. It has its own specific time in the rhythm of the day, place and ritual of storytelling. The same tale is told over the course of one week. This gives the child a sense of inner peace, and also provides an opportunity for children to get used to various fairy-tale images quite strongly. Such elements of language as sound, imagery, rhythm, melody are the means that directly and emotionally connect the child with the world of folk culture. There are a number of methodological requirements for a storyteller. For example, it is important that the tale is told orally and not read from a book. It is important to preserve the folk text, and not to tell fairy tales in a free way. The process of organizing the hearing is important, in which the child's hearing is concentrated on the speech of the narrator. The teacher must have an expressive literate speech, since children, after or while listening to a fairy tale, pronounce individual sounds and words, focusing on what was heard. The big meaning lies in the special calmly - chanting manner of the narrator, in the clear, precise sounding of the word. This creates the most favorable opportunities for the ancient wisdom stored in tales, since the personality of the narrator himself recedes into the background. The tale with children is not analyzed, the teacher does not comment on its plot, does not analyze it, does not ask children to memorize or specifically retell the tale. At the same time, children can use fairy tales in their games. Reincarnating in different heroes, they once again relive the meaning of the tale. Thanks to repeated repetition, the texts of fairy tales are remembered by children almost literally. Before the fairy tale, the children, together with the teacher, sing a short song: "" Come on, we want to hear you. " This naturally draws children's attention. There is a certain ritual after the fairy tale: the teacher gives the children a treat (a piece of apple, peanuts or candy) and sings a song: "" A little boy in a small sea floats in a small boat. A small sail on a small mast drives the boat forward. The boy finally sailed to a small bay in a small town. A small sail is lowered on the mast, the end of the little fairy tale "". 3.3 Puppet show ... Listening to a fairy tale, children internally draw pictures for themselves, images, which contributes to the development of imagination. At the same time, from time to time the life of these internal images should be enriched by external images. It is this important function that the puppet theater performs in Waldorf kindergarten. Acting, moving dolls evoke in the child "ideas of living things", cause inner mobility. The attractiveness of a puppet theater for the viewer is directly related to the fact that a three-dimensional image, which is in a motionless state, a picture before our eyes begins to move. And this movement is not mechanical, accidental. But internally expedient and, therefore, one might say, alive. The picture does not just move, but "comes to life" "before the eyes of the viewer, which has an unusually strong effect on the inner life of the child. Children's rich imagination plays an important role in such experiences. The substantive basis of a puppet show, shown by educators to children, is usually a folk tale, and the puppet theater turns out to be a kind of presentation of it. At the same time, children experience fairy-tale images in a slightly different way than during the usual daily listening to a fairy tale. The teacher shows a puppet show. This requires significant preparatory work, in particular for the development of the scene on which the fabulous action will unfold. As a rule, the stage is organized on one or two tables, and the main material for creating the landscape on which the fairy tale will unfold is fabrics of different colors and a variety of natural materials. Much attention should be paid to dolls, characters of the performance, expressiveness of their images. As a rule, all puppets for the theater in Waldorf kindergarten are handmade. An important condition for creating a theatrical puppet is its prototype, avoidance of external detailed elaboration, but, at the same time, good thoughtfulness of the internal character. A similar requirement applies to the theatrical landscape. Its simplicity and expressiveness, as well as the characteristic color scheme, understandable to a child, awaken his imagination, allow him to unconsciously penetrate into the moral essence of the tale. Prototype dolls also leave a fairly large field for the activity of children's imagination. For the puppet show in Waldorf groups, figurine dolls, marionettes, hand puppets and finger puppets are used. The teacher can involve children 6-7 years old in the performance of individual roles, after several shows of the play, when the children are already able to imitate an adult and know the text of the fairy tale well. When the week ends, the children are allowed to show the story by themselves in the afternoon or next week. Children 5-7 years old assign roles themselves, include younger children as spectators or performers of simple roles. A puppet show usually lasts 10-15 minutes. It takes place traditionally for each group at a certain time of the day and in a certain place in the children's room. It is important to show a puppet show at least once a month. 3.4 Puppet show during free play. This type of performances is performed independently by children. The impulse for such a game, a kind of children's artistic and creative activity, the child receives from a number of joint activities with the teacher and, first of all, from puppet shows shown by adults. A small performance is held before the free play. One performance is shown per week, the text is usually a rhythmized fairy tale or poem, a table, a teacher's knees becomes a stage, or a playground is built on the floor. The teacher shows and tells himself the first days, then one of the children wants to help. Children, thanks to the developed ability to imitate, as well as the simplicity of expressive theatrical means used by the educators themselves, learn a lot from the watched puppet shows. So, often, the fairy-tale plot itself is adopted. However, children often and willingly improvise, easily composing their own stories. Thanks to this, the vocabulary is enriched, the child masters various speech forms, uses both prosaic and poetic speech. Often, children's fairy tales reflect the state of mind of the child, which helps educators to understand the reasons for his behavior, personal manifestations. Children "play out" family conflicts, resentment, this is a kind of therapy for them. Such performances are staged by children during free play, that is, when the child is provided with a large space for self-expression in those activities that he chooses at will. In order for a puppet show of this kind to take place, children must have at their disposal a sufficient amount of natural material, scraps of fabric of various colors and textures, and, of course, theatrical puppets themselves. 3.5. Musical fairy tales... Of great therapeutic value are and musical fairy tales when the storytelling is accompanied by musical sounds. In them, children do not rely on the visual image they are used to. Sounds build a different image, each character or action is accompanied by its characteristic musical sound. While working on this fairy tale, I also gradually include children. Here, not only great concentration is required, but also responsibility, since a musical and noise instrument in the hands of a child wants to sound all the time, and if it sounds all the time, the fairy tale will not work, and the image will collapse. Therefore, it is important to do everything on time. It is very interesting that even small children (4 years old) can participate in this, especially if the tale is not very long. Observing children, one can notice how interesting the sound becomes for them, how they extract it, look for it in the world around them and in nature, which becomes important for modern life oversaturated with loud mechanical sounds. Since the sounds of nature are always more harmonious. They have a relaxing effect on a person, restore strength. It is not for nothing that quiet music, accompanied by the sounds of nature, is selected for relaxation. And children begin to look for these sounds, listen and hear them. They notice what used to pass by, remaining unheard. For example, drops, birdsong, wind noise, rustle of foliage. 3.6. Performances-improvisation. You can not only listen and show fairy tales, but also compose yourself. Small performances-improvisation after sculpting, handicrafts with what the children themselves did, it helps to revive the image, fill your work with meaning. Children become more confident in life, as they understand that whatever they need to play, they can create themselves. In the future, in their work, they try to convey the image more thoroughly, work on details. For example, in sculpting, not only the character, but also the attributes surrounding him, began to be sculpted more often. Children began to unite their efforts, creating collective compositions, agreeing that everyone would sculpt. This indicates a higher level of social and moral development of children. And in a group with children of different ages, this is always a more complicated relationship.

3.7. Daily musical rhythm game.

Daily musical and rhythmic game is a type of activity with children. The educator as an actor, using poems, melodies, depicting the movements of people, animals, the features of other heroes of the plot, plays a small performance in front of the children, and the children repeat, sing along, reproduce it through imitation. Such a "round dance" in a Waldorf kindergarten includes songs, poems, finger, gesture, folk outdoor games, united by a common plot. The content of the game becomes a fairy tale, processes occurring in nature, or events from people's lives. In the method of working with children in Waldorf kindergarten, there are no special requirements for the performance of songs, poems and movements. Children move and repeat the text of the game due to their desires, capabilities and age characteristics. It was said above that each child can carry in his performance of the role a content much richer than an adult shows him. That is why in a musical rhythmic game the main load falls on the leading educator, on the expressiveness of his performance, but only spontaneous imitation is required from children. In the process of forming a motor image, imagination is activated. The child, imitating the movement of an adult, actively works to create an internal image and creatively expresses it in his own movement. The need to form the expressiveness of movements is also associated with this task. With the help of imagination, the child not only builds a new image, penetrates into it, but also transfers the semantic meaning to another person. For any object, phenomenon and character there are gestures and words that children, together with their educators, play, pronounce, and sing. This helps shy, withdrawn children to feel included in a common game, and to slow down active, impatient children, helps them to move with everyone. The theme of the musical rhythmic game is always in tune with what is happening in the surrounding world, nature, contributes to the preparation for the upcoming holidays, creating a certain mood. While playing, children master many concepts and conceptual connections. And the daily recitation of the same verses for a month allows even the smallest to remember a rather large text. In addition to the round dance, in the rhythm of the day there are games in a circle of lower motor intensity, but no less interesting for children in their content. This is a morning circle and a daily complex of finger and gesture games, where the heroes of the performance are the finger, the hand of a child. In these games, the child's gesture is revived, he becomes a speaker. And you can observe how older children, pronouncing any words, come up with their own gestures, which helps them remember the poem and makes it more visible, filling it with an image. There are a lot of such games in our group - from the simplest, but loved by all children, to quite complex ones, which are available only to the elders, which they are very proud of, and for kids it is always an example that you want to imitate. Gestures in games range from very small ones, which are done only with the fingers, to large movements with the whole body. The teacher always tries to select these gestures very carefully, to think over each of them, since a well-found gesture is always an attractive game. The music rhythm game can be played at home or during free play. Then it is often seen how deeply the images presented by the teacher enter the child, or how the child himself is ready to perform them. The duration of this peculiar game is from 10 to 30 minutes. Usually a certain type of such a performance is played by a group during a certain era, and the next then a new era, as a rule, has its own daily musical and rhythmic game. Playing every day in such a round dance, children easily and joyfully imitate the simple artistic movements of the teacher, naturally learn, memorize poems, songs, movements without special memorization. Such a daily musical and rhythmic game provides diverse opportunities for speech development, has a beneficial effect on the child's sphere of feelings, the rhythmic system of the body, helps to revive imagination, and develops social abilities. 3.8. Staging performances with children 6-7 years old in the Waldorf group. The last year before school for children is spent in Waldorf groups differently than 3-4 years before that. The acquisition of new abilities, the development of motor skills, the ability to play for a long time and purposefully, sociality, the ability to build performances, take on the main role in a musical-rhythmic game, the ability to help adults and complete tasks - all this requires a special approach from educators to this group of children. And one of the most important directions in this work is the staging of performances for some holidays of the year. The tasks of working with children of six years old in staging performances are: the development of attention, imagination, movements of children, which plays an important role in the formation of school readiness. - work on the role, analysis of a work of art, dramatization, work on the text, discussion of the characteristics of the characters of the heroes, selection of means of stage expressiveness, working out mise-en-scenes, etc. The theatrical activity is based on the leading activity of preschoolers - play. The game manifests imagination, the immediacy of the transfer of various emotional states. Exercises with elements of theatricality in a Waldorf group are performed in numerous musical and rhythmic games throughout the entire time the child is in the group. Due to the fact that in musical-rhythmic games there is a change of mood, tempo, rhythm, etc., during the production of the performance, the readiness of six-year-old children for such an activity is manifested, children naturally enter the role, relate to it creatively. The task of the educator is to help preserve the child's individuality in the play. The work of small actors on the role is structured as follows:

Acquaintance with the staging (what is it about, what are the main events in it, what characters, their appearance, relationships). Distribution of roles Directly work on the role:

- work on text... The main task of the teacher is to help the child understand, feel everything that is hidden behind the words of the text; - work on stage expressiveness: determining the appropriate actions, movements, gestures of the character, facial expressions, intonation, the place of his position on the stage. suit. On the stage, everything must be justified: every act, every look. The stage behavior of the child should be motivated, with an inner meaning within the framework of the role he is playing. The choice of performance is special. The play is selected by the educators based on the qualities inherent in the children of this issue. Each person has his own Kashchei the Immortal and his Ivan Tsarevich, each has good and evil, darkness and light. A child meets in the world both good and bad. We are unable to protect him from evil, cruelty and violence, but we can help him grow in his soul Ivan Tsarevich or the Beautiful Princess, who would be able to overcome the Serpent Gorynych, and the evil giant - both in the world around him and in himself. Raise a kind, hardworking stepdaughter in yourself and defeat an evil stepmother. Invaluable help in this is provided by participation in the production of a fairy tale. Living the role helps the development of the child's soul, his personal qualities, contributes to the development of understanding of other people, motivation for actions, emotional flexibility. 3.9. Parent performance. Parents were also very interested in working on this topic. Elements of theatricalization are included in the lives of some families. Parents together with their children are preparing festive home performances. For example, a performance-gift for a birthday or for the arrival of a grandmother. Traditional steel parenting performances to the Knights', Christmas and Easter group holidays. Parents take an active part in the work of the workshops, where we, mastering various crafts and handicrafts, make new attributes and puppets for home and group theater.

The empirical part

To confirm or refute the hypothesis of the research, we examined the level of development of the creative imagination of children of two groups of kindergarten # 81 (working according to the traditional program: group # 7 and the program of the Waldorf kindergarten: # 4) at the beginning (ascertaining experiment) and at the end of the school year (control experiment). The study involved children 6-7 years old in the Waldorf group and children of the preparatory group for school. To diagnose creative imagination, we used the technique of T.D. Martsinkovskaya: "Blotography" test. During the year, in the experimental group No. 4, work was actively carried out aimed at the development of theatrical activities of children. The results of the experiment are as follows:

Test "Blotography"

(T. D. Martsinkovskaya "Diagnostics of the mental development of children")

Purpose: research of the level of creative imagination

Material: an album sheet of paper, a brush, paints Carrying out: the child is offered a drawing: a blot, which is obtained after folding a sheet with wet paint on it in half. The child looks closely at the drawing and tries to see what the resulting image looks like: “Look what happened? What do you see in this image? What did the artist want to paint? " Analysis of the results: depending on the number of solutions found, three levels of imagination development are distinguished: 1-2 solutions - low level 3-4 - average level 5 or more - high level

The results of the test carried out in the Waldorf group No. 4 on 4.10.2007.

Danil K., 6 years old: In the image (No. 1) I saw: a carpet, fallen trees, apples, the sun - 4 objects - an average level of development of creative imagination Anton K., 6 years old: In the image (No. 2) I saw: a swamp, a forest, a carpet - 3 objects - an average level of development of creative imagination Katya S., 6 years old: In the image (No. 3) I saw: a butterfly, a sunny meadow, the house of Baba Yaga (blue), a yellow field with people, on it there is tall grass (in the middle of the leaf); blue bridge; sunrise in the forest - 7 objects - a high level of development of creative imagination Lena R., 6 years old: In the image (No. 4) I saw: the sea, the island, the sunset - 3 objects - the average level of development of the creative image Tolik T., 6 years old: In the image (No. 5) I saw: the sun, the letter "H", two wheels from a large car, dumbbells, sand with blood - 5 objects - a high level of development of creative imagination Dasha P ., 5 years: In the image (No. 6) I saw: a candle burns in the dark, a bonfire, a sunset - 3 objects - an average level of development of a creative image Output:- 2 children with a high level - 33.3% -4 children with an average level - 66.6%

Outline of a formative experiment:

Work plan for the development of theatrical activities of children

in the Waldorf group GDOU №81 in the 2007-2008 academic year.

September 3-7 "Turnip", finger performance. September 10-14 "Pykh" performance with dolls-figurines. September 17-21 "How a worm found itself a house" performance with real vegetables. September 24-28 "Pot of Porridge" performance with dolls-figurines. 8-12 October "Danila and the Serpent" performance with dolls-figurines. October 22-26 "Nikita Kozhemyaka" puppet performance. November 5-10 "Here is a mountain and there is a mountain ..." performance on your knees with felted dolls. November 12-16 "Little Men" performance with dolls-figurines. 19-23 November "The Gnome and the Giant" puppet performance. December 17-21 S. Black "Christmas" stained glass performance. December 29 The Nutcracker is a dramatic performance. January 14-18 "Wolf's Song" performance with dolls-figurines. 4-8 February "Frost Red Nose" musical performance with dolls and figurines. February 10-15 "Mistress Blizzard" March 3-7 "Bast and Ice Hut" drama performance. March 17-21 "Snow Maiden" performance with dolls-figurines. April 7-11 "Three Goats and a Troll" performance with wooden toys. April 14-18 "Sparrow" musical performance with dolls-figurines. April 28-30 "Stream and Stone" performance on the table with knitted animals. May 22 "Cinderella" drama performance. June 2-7 "About a caterpillar that always wanted to sleep" performance on my knees with felted toys. September 24-28 "Pot of Porridge" performance with dolls-figurines.

The plan for showing performances by children 6-7 years old.

September 28. Harvest Festival - "Pot of Porridge" performance with dolls-figurines. December 29th. New Year's holiday - "Nutcracker" drama performance. February 8. Open lesson "Learning to play musical instruments" - "Frost Red Nose" musical performance with dolls figurines. 7 March "Bast and Ice Hut" drama performance. April 18 "Sparrow" musical performance with dolls-figurines. May 22 "Cinderella" drama performance at the graduation party.

The results of the test carried out in the Waldorf group No. 4 05/17/2008.

Danil K., 7 years old: In the image (No. 1) I saw: a forest, sun, meadow, a man with a long nose and a hat, a crooked tree, a mitten - 6 objects - a high level of development of creative imagination Anton K., 7 years old: In the image (No. 2) I saw: an airplane, a hand, in the lower right corner - the number "6" - 3 objects - the average level of development of creative imagination Katya S., 6 years old: In the image (No. 3) I saw: a sunset, a river, the sun, a bridge, spools on paper - these are tiny people, the sea, a ship with a sail and a flag, clouds, a mushroom, a dragonfly, a stone - 11 objects - a high level of creative imagination Lena R., 6 years old: In the image (No. 4) I saw: a butterfly, a gate, the sea, the sky, a rocket - 5 objects - a high level of development of creative imagination Tolya T., 6 years old: In the image (No. 5) I saw: the sky, fog near the mountains, smoke in the sky from a flying plane, colored cubes, a bouquet of flowers, an airplane at a festival, a color package - 7 objects - a high level of development of creative imagination Dasha P., 6 years old: In the image (No. 6) I saw: the princess looks out the window, the chimney, the palace - 3 objects - the average level of development of the creative imagination Output:- 4 children with a high level - 66.6% - 2 children with an average level - 33.3%

The results of the test carried out in the traditional group No. 8 05/19/2005.

Ilya S., 6 years old: In the image (No. 1) I saw: a hare, clouds, sun - 3 objects - an average level of development of creative imagination Marina K., 6 years old: In the image (No. 2) I saw: a heart, a road, sun rays - 3 objects - an average level of development of creative imagination Vera K., 6 years old: In the image (No. 3) I saw: the sky, a girl, a ship, the sun in the clouds, a submarine - 5 objects - a high level of development of creative imagination Margarita T., 6 years old: In the image (No. 4) I saw: a Christmas tree, a road, a clearing, a forest, a small fox and a hare in the forest - 6 objects - a high level of development of creative imagination Nikita Sh., 6 years old: In the image (No. 5) I saw: a mountain, fog, ice - 3 objects - an average level of development of creative imagination Vova V., 6 years old: In the image (No. 6) I saw: a hurricane, a TV set, a black hole - 3 objects - an average level of development of creative imagination Output:- 2 children with a high level -33.3% - 4 children with an average level - 66.6% Outcome: The results of the experiments indicate that this system of work (regular showing of puppet shows, theatrical activities during musical and rhythmic play, organization of performances by children during free play, performance of children at holidays) is an effective means of developing creative imagination. So during the year of regular and purposeful work, the indicators of the level of development of the creative imagination increased. The number of children in the experimental group with a high level of development of creative imagination increased from 33.3% to 66.6%. While in the group, the control indicators remained at the same level.

CONCLUSION

As a result of the analysis of psychological and pedagogical literature and the practical part of the study, we came to the conclusion that for the harmonious development of the personality of a preschooler, systematic, purposeful work on the formation of theatrical activity is necessary, which is an effective means of developing creative imagination. The study studied the psychological and pedagogical literature on the problems of theatrical activity and the development of the imagination of preschoolers, revealed the importance of theatrical activity in the development of the creative imagination of preschoolers (judging by the psychological and pedagogical literature and the results of the experiment), described the specifics of the methodology for organizing theatrical activities in the Waldorf group of children garden. In the theoretical part, the following were identified: the features of theatrical activity in kindergarten, the method of work on theatrical activity in different age groups, the influence of theatrical activity on the development of the child's personality, the peculiarities of the development of imagination in preschoolers, its connection with other mental processes, the main directions of the development of imagination in preschoolers, the mechanisms of creative imagination, the influence of theatrical activity on the development of creative imagination, the features of the organization of theatrical activity in the Waldorf group of the kindergarten are described. The environment of the Waldorf group of the kindergarten creates unique conditions for the harmonious upbringing of the child's personality, conditions for the effective solution of the problems of the development of theatrical activity in preschoolers. In the process of training according to the Waldorf method

the knowledge of children about the world around them is expanding and deepening; attention, memory, perception, imagination develop; the development of the basic feelings of children occurs; the vocabulary, grammatical structure of speech, sound pronunciation, skills of coherent speech, melodic and intonational side of speech, its tempo and expressiveness are activated and expanded; motor skills, coordination, fluency, switchability, purposefulness of movements are improved; the emotional and volitional sphere develops; behavior correction occurs; a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed; the development of creative activity, independence is stimulated;

participation in the classes "Musical-rhythmic game", "Fairy tale", staging of performances by senior preschoolers gives children joy, arouses interest, and captivates them.

Thus, the great importance of theatrical activity in the development of creative imagination has been revealed. In the practical part, the results of the study of creative imagination (at the beginning and at the end of the year, in the experimental and control groups) by the method of T.D. Martsinkovskaya: "Blotography" test. A system of work on theatrical activities was developed: a calendar plan, a plan for showing puppet shows (monthly), a plan for preparing and holding holidays. So, in the course of the study, a direct dependence of the development of creative imagination on systematic, systematic, purposeful work in theatrical activity was revealed. The value of this work lies in the fact that it presents a fairly complete, versatile material on the problem of the development of creative imagination and theatrical activity, provides modern methods of organizing work in these areas, describes the specifics of the work of the Waldorf group of a kindergarten, developed a calendar plan for this type of activity, the appendix offers scenarios of performances, texts of fairy tales. Thus, the research tasks have been solved, the goal has been achieved, the hypothesis has been confirmed, indeed: raising children in the Waldorf group of a kindergarten creates the most favorable conditions for the development of creative imagination through theatricalization. So the development tasks of preschoolers can be solved within the framework of non-traditional educational systems, by means of Waldorf pedagogy.

Bibliography

Artemova L.V. Theatrical activity. M: Education, 1996. Berezka: Methodological guide for teachers of preschool educational institutions and groups of the Interregional public organization "Commonwealth of teachers of Waldorf kindergartens" ". - M., evidentis, 2001. Authors: O. N. Arinina, N. V. Boyko, S. V. Varnikova. and etc. Bochkareva L.P. Theatrical and playful activity of preschoolers: Method. a guide for specialists in preschool education. - Ulyanovsk: IPKPRO, 1993. Venger I. A., Mukhina V. S. Psychology. M .: Education, 1988. Vygotsky L.S. Imagination and creativity in childhood. SPb .: SOYUZ, 1997. Doronova T.N. We play theater: Theatrical activities of children 4-6 years old. M .: Education, 2004. Ershova A.P. Is theater harmful to a preschooler? // Hoop // № 4, 1999. Leontiev AN Problems of the development of the psyche. - M .: Publishing house of the Moscow State University, 1981. Maralov V.G., Frolova L.P. Psychological bases of correction of personal development of preschool children. - Cherepovets, 1995. Martsinkovskaya TD Diagnostics of the mental development of children. - M .: Linka- Press, 1997. Makhaneva M.D. Theatrical activities in kindergarten: A guide for preschool workers. - M .: TC Sphere, 2004. M.V. Melicheva. Health culture of a preschooler.-SPb.: Publishing house of the RGPU im. A.I. Herzen, 2005. Nemov RS Psychology. - M .: Vlados, 1998. Petrova T.I., Sergeeva E.A., Petrova E.S. Theatrical games in kindergarten. - M .: School press, 2000 Sorokina N.F. Scenarios for theatrical puppet lessons. Scheduling: A guide for educators, teachers of continuing education and music directors of kindergartens. - M .: ARKTI, 2004.

Applications Appendix # 1. Game lessons with elements of theatricalization P.41 Appendix №2. The emergence of the puppet theater. P.57 Appendix No. 3. Fairy tale for the puppet theater "Once upon a time there was a boy" from "Harmonious child" L. Dykman. SPb 1997 P. 59 Appendix No. 4. Fairy tale for the puppet theater "Wolf song" from collection. "Russian folk tales" ed. Afanasyeva S.60 Appendix No. 5. The Tale of the Squash Gnome P.61 Appendix No. 6 by E. Shmelev "Spring". Poem with musical accompaniment P.62 Appendix # 7 Spring round dance "Stream" P.63 Appendix # 8. Round dance "On a visit" P.67 Appendix №9. Musical-rhythmic game "Little Musician" P.69 Appendix №10. Scenario “The Road to the Mill” by V. Stepanov P.71 Appendix No. 11. “Cinderella” staged based on the fairy tale by S. Perrot and the ballet by S. Prokofiev P.81 Appendix No. 12. The rhythm of the week of the Waldorf group. P.88 Appendix No. 13. Indicators of the dynamics of the development of pupils by years of study in the inter-certification period. P.89

ANNEXES

Appendix # 1.

Game activities with elements of theatricalization

2007 - 2008 academic year

The materials for the classes are distributed according to the season. Each lesson should be repeated 4-6 times once a week.

September

We roamed the fields

They wandered through the woods And divided everything that they found in half. A flower for you! And a flower for me! You are a fungus! And me a fungus! We did not divide the river, We did not divide the clouds, We did not divide the islands, Like a tiny nut! After all, forests, fields and gave - Everything for everyone!

(N. Bromley)

Movement in a circle, with gestures we show what we see (L). In a standing position, alternate gestures to to other children and to yourself. Three spaces- above, below, in the middle. Ends with a broad gesture (E).

2. Improvisation game

In the blue dome of heaven, Full of fairy tales and miracles, The sun shone, Rays descended And on the field and on the forest. Flowers bloom in the meadow, And above them butterflies (moths, bugs, bees) fly. (Poems by Melicheva) 3. Rhythmic leg exercise begins with a rhythmic lung
stomping, then the rhythm quickens. In conclusion, a stop and a wide gesture
arms (L) and a gesture of calming - arms crossed over the chest (E). There was silence, silence, silence ... Suddenly with a crash of thunder (bounce) she woke up! And the rain, can you hear, can you hear, can you hear? I dripped, dripped, dripped on the roof ... But the sky lit up, And everything settled down. (Unknown author) 4. Alternation of the general movement of the entire group of children inside the circle and
out. Compression is experienced inside, we ask the question: “What to do after
rain? " The expansion of the circle is experienced as liberation. Compression and
opening is a process akin to breathing, inhalation and exhalation alternate. -What to do after the rain?

Jump through the puddles!

What to do after the rain?

- Let the ships go.

What to do after the rain?

Ride a rainbow

What to do after the rain?

Just smile!

(V. Danko) 5. Alternating rhythm with hands and feet, clapping and stomping. Tyopiki-tepik, Claps on water, Claps of palms Yes with bare feet. (G. Lagzdyn)6. The children looked at the sky - a golden sparkling rain was pouring down from above! Protective gestures that create a shell (T, B)."Gold, gold falls from the sky" - Children scream and run after the rain. Fullness, children, we will save it, Only we will save it with golden grain In the barns full of fragrant bread! (A. Maikov)

October

1. The artist Autumn came to the forest. I took a long thin brush and
began to draw. This leaf will be red and this one will be yellow. We simulate ri-
popping, hands like a brush (S, L): Autumn with a long thin brush Repaints the leaves: Red, yellow, gold - How good you are, a colored leaf! The intensity of hand movement increases (increasing sounds L). And the wind blew thick cheeks. We start moving in a circle, like leaves. Red, yellow, gold - flew around the entire colored sheet! While standing, we express our annoyance and look at the sky (K, B) How insulting, how insulting - there are no leaves, only branches are visible! (I. Mikhailova) 2. Different trees grow in the forest (showing with our hands-branches different
tree characters):

linden tree with a spreading crown;

herringbone with dark paws;

cheerful birch;

willow lowered twigs above the water

and a strong oak tree.

Quiet in the forest, only you can hear the breeze swinging twigs:

The forest is exactly like a tower painted Lilac, golden, crimson Stands over a bright glade Fascinated by the silence. Birches with yellow carvings Shine in azure blue. Like towers, the Christmas trees darken, And between the maples they turn blue Now there, now here in the foliage of the through Clearance of the sky, that little window ... Small windows and large and huge windows (O). The forest smells like oak and pine. Over the summer it dried up from the sun, Today, in an empty meadow Among the wide courtyard of the Airy web, fabrics Shine like a net of silver ... A spider on a spider web goes down and hides (O). Today the last moth plays in the foliage all day, And like a white petal, It freezes in the web, Warmed by the warmth of the sun ... The moth folds and spreads its wings (A, Y) WITH Today it is so bright around, Such a dead silence, What is possible in this silence Foot movement as if rustling in dry fallen leaves (C) Hear the rustling of the leaves ... (I. Bunin) 4. A little fairy lives in the forest. She lives in a small house on
forest edge, looks out of the window and laughs. Funny jumping, hands
over your head. And at the other end of the forest, where it is dark, a witch lives. She wants everything in the forest to become dark, cold, and angry, and noisy, and raging ... Spiral-like movements of the hands, the body is bent and tilted forward (W). And then a knight came to the forest and said: "I'm not afraid of a witch!" Confident steps and hand movements near the body. We hold the body vertically (A, B). 5. A fairy runs out of the house and sees moths and dragonflies. Quiet in the forest
you can only hear the breeze shaking the twigs ... Further movement alternates
in a circle (P) and calmness (P): In the gaps of the branches, as in the windows, The sun looked, smiling. The air was infused with flowers And all the trees were sleeping while standing. Dragonflies congratulating on the morning. Whirling around, they sparkled with mother-of-pearl. They celebrated housewarming, Where the stumps squatted down, In the gap of the branches, as if in a window, From the heights the sun looked at them. (N. Berendhof) 6. Movement of hands from top to bottom (B, O, I). In the blue dome of heaven, Full of fairy tales and miracles, The sun shone, Rays descended And on the field and on the forest. And in the stream there are pebbles, And between them the fish are in a hurry. (Author's lyrics) Repeat several times for different fish: crucian carp, ruffs, perches ... 7. Sitting, hand gestures from top to bottom from heaven to earth. The sun is walking across the sky. Looking down at the ground. Sees grain lies And trembles from the cold. We'll make him a bed, We'll cover him with a land plot, So that he can sleep And wait for the spring ... (Author's lyrics) Repeat several times for a seed, a worm, a bug ... 8. In a small nest, the chicks have grown over the summer, their wings have grown stronger, and now they are going to winter in warm countries Move your arms as if birds were flying (L). Swifts flew away today ... And where did they fly away, tell me? And there they flew away, Where the days warm in the sun, Where there is no winter at all, But we are dearer to them all the same! And they will arrive in the spring And again they will whistle in the heights! (E. Blaginina)

November – December

1. The stars in the sky light up and go out ... and hide ... Asterisks- these are the palms. The fingers open and close. All children sit on the floor and cover their eyes with their palms. A melody on a lyre sounds over the head of every child. The spacing of the fifth can be used. The stars shine in the sky and hide behind a cloud, shine and hide ... A cloud flies across the sky, and the stars look out from behind it, like children from under a blanket. Children sleep in cribs, and in the morning the sun will stretch out a ray and wake everyone up affectionately. (Pat each child on the head.) 2.- Stars, stars, where are you, where are you? - High, far away, In the blue sky we shine, We send Light to the earth. We slowly rise to our feet, grow up. And silently up to heaven The forest grows up at night. At night the children rest, At night the Angel flies. (Translated from Norwegian author) 3. The children woke up in the morning, stretched and went outside for a walk! Here is my village; Here is my native home; Here I am rolling in a sled Down the steep mountain; Here the sled is curled up, And I'm on my side - bang! I roll head over heels into a snowdrift. All of you You won't bend your hands, and you wander home quietly, Reluctantly. The Isba is illuminated by the light of the world; The winter evening lasts, It lasts without end ... And I’ll start asking my grandmother for Tales. And grandma will begin to tell me a Fairy tale ... (I. Surikov) 4. And a fairy tale today is ... B. Zakhoder "The Gray Star".
Once upon a time there was a toad - clumsy, ugly, but she did not know that she was so ugly and that. that she was a toad because she was small. She lived in a garden where Trees, Bushes and Flowers grew. When the toad appeared in the garden, Flowers asked what her name was, and when she replied that she did not know, they were very happy. (Divide the children into four groups: Pansies, Daisies, Roses and Asters. One child will be a toad, and the Scientist Starling speech will all be spoken together.)“We will call you Anyutka,” said Pansies. "Better she Margarita!" said the Daisies. "We'd better call you Rose!" - said the Roses. “Let her be called Astra, - said Asters, - Or better, the Star is the same as Astra. In addition, she really resembles an asterisk, because she has radiant eyes! And since she is gray, we can call her the Gray Star! " Since then, everyone began to call the toad the Gray Star. And Flowers loved her very much, and every morning one could only hear: “Little star, come to us! Asterisk, come to us! " Flowers spoke to her affectionate words and thanked her for that. that she protects them, and the Gray Star-daughter was modestly silent, and only her eyes were shining. And then one day a very Foolish Man came to the garden. He saw Gray Starlet, shouted "Toad, toad!" and threw a stone at her. Gray Star did not even realize that she was in danger. But when the stone slapped nearby, she jumped under the Rose Bush. The Foolish Man scratched himself on the thorns and left. And Gray Star began to cry, and everyone consoled her as best they could. And the Scientist Starling said: “It's not about the name, it doesn't matter! For all your friends you were and will be a cute Gray Star! " And Gray Star stopped crying. Only she decided to come to the garden at night. And since then, not only she, but all her brothers and sisters, children and grandchildren also come to the garden at night and do useful things. And the children listened to the fairy tale, and fell asleep. And they dreamed a dream like a
my butterfly pupa sleeps under the bark, and in the spring it turns into a motley
butterfly. Children join hands, and the presenter gradually turns everyone on
inside the circle. The spatial shape of the spiral is formed. Then each
Each child takes turns leaving the center of the spiral into a common circle. Hands-
like the wings of a butterfly. The movement is accompanied by music.

January

1. Hand gesture revealing space: open the curtains (D). Then we simulate the movements of the cat.- small hand gestures near the face (M). The hands then emphasize surprise and admiration (L).- Mom, look out of the window, You know, it was not for nothing that the cat Was washing its nose yesterday! There is no dirt, the whole yard is dressed, It has turned white, brightened, Apparently there is frost. Next, the hands show snow on the branches, as if we were drawing a picture outside the window with our palms (C, B). Not prickly, light blue Frost is hung on the branches - Look at least you! As if someone is tough With fresh, white, puffy cotton wool I removed the bushes! An energetic gesture with hands up (P) and jumping in a circle with joy (A). Well, now there will be no dispute: On a sled, and uphill It's fun to run! We are making a request- open hand gesture (A, L). True, mom, you will not refuse, And you yourself, probably say: “Well. go for a walk soon! " (A. Fet) 2. Movement of the whole group of children inside the circle- covered with a snowdrift. On-
children move scatteringly (squeezing-disclosure). Oh, white-white-white! Here's a snowdrift! A breeze has flown - Fluffed up the snow! (Unknown author) 3. The forest is so beautiful, the wizard Frost decorated the trees. Him
long bushy beard (P) to the ground. He first snowed the wind on
let them go, and then said the magic words: "Cribble, crab, boom!"
We accompany the text with magic gestures (K, I, A, C). 4. All the trees were dressed in silver headgear (L). In the forest, trees stand, grow, And the breeze plays with twigs ... All trees in the forest are birches (oaks, poplars, fir trees). (Author's lyrics)5. With one foot, and then with the other, fluffed up the snow (B), and show the ru-
kami on the trees (L, M). An airy carpet crunches underfoot, Trees are dressed in crystal dress. And I look at them with admiration, Trying to come up with a silver verse. Hands high above the head- these are stars that twinkle (shrink- disclosure). How the stars twinkle in the night sky! The Queen Moon shines in the rays. We circle in place (P) and stop, listening (M). All this in winter I see around And I hear the sound of a transparent melody. Joyful jumping in a circle, then we stop and warm our cheeks. Oh, how the winter air is both fresh and vigorous! He is gifted with cool moisture! The frost will blush my cheeks, The palm draws patterns like a brush (C). Nightingales sing in patterns on glass. (A. Aminova)6. And also the Snow Maiden lives in the forest, a cheerful girl. At the Snow Maiden
long blond braid to the ground. She loves to jump, and on the right knife-
ke, and on the left. And turns the right handle, and the left ... Jumping and clapping. Claps with handles - clap, clap, clap, Foot stomps - top, top, top. We repeat it several times as a rhythmic exercise. Then we look for and call the Snow Maiden. Snow Maiden, ay, ay! I am looking for you, I am calling! Are you hiding under the tree? Taking refuge in the snow? With a prickly spruce branch Beckons me to her. Next, we touch different parts of the body.-arms, legs, chest, head (P, D). She showered with snowflakes, Embroidered a fur coat with ice - All of it sparkles! Suddenly the branches swayed, She sparkled ... (Unknown author) While we were wiping our eyes, there was no Snow Maiden, only a pile of snow in a clearing. 7. Rhythmic exercise for different steps- slow, fast
rykh, jumping at a gallop, then slowing down and stopping. And the kids are not afraid of the snow - Let's go for a drive on sleds! The sleds are slow at first - The kids are not afraid! And then, and then All run, run, run ... Slowly descended from the hill And stopped. (Unknown author) 8. We simulate ice skating. And the children are not afraid of the snow - We began to skate. I slide, slide, slide, Pirouettes take out ... 9. Let's simulate a snowball fight. And the kids are not afraid of snow - Throw a snowball into the clouds: My snow will be strong - He could fly high! It shines in the sun - It will fly straight to the sun! (Author's lyrics) 10.We stretch on tiptoe up, and then we kneel down and knock
we are in a ball: If I were very tall, I could reach the tops of the trees ... And if I were very small, I could sleep like an acorn all winter ... (Translated from English, by the author) You can whisper to the grains, I wish you something good ... First, keep your palms on the floor, and then turn them up. Grain sleeps under the ground. It is very strong! You need to wait patiently - Dream of Spring-Red ... (Author's lyrics) 11.And in the forest there was snow ... The snowflake whirled in the air and fell
on a hat, on a fur coat, on a knee, on a palm ... We rise to our feet and touch
we eat different parts of the body with index fingers- as if falling
snowflakes (C). Further, the alternation of gestures below and above, calmly
structure. Little Christmas trees And big ones ate Something fell silent, Something calmed down. Snow from morning to night Everyone wants to fall asleep. And in the forest everything is quieter, And the snow is getting higher! We reach out to each other (Ooh) Fir-trees-girlfriends They say to each other: "Too much snow, It's hard on the top of the head." (New author) 12.Change of mood to cheerful, the text is accompanied by jumping
and whirling. Snowflakes-stars are flying.
I look out from under my arm:
Whirling, dancing in the air
Airy and light!
The street has become brighter
A more elegant village.
Snowflakes are flying, spinning
All around white-white ... (Unknown author) 13. The children came home, sat down by the stove and began to warm themselves. Hands of the enemy
scattered around one another. We twist, twist up, up. We twist, twist down, down. We twist, twist into the distance, into the distance. We twist, twist near. near. We spin very slowly, Very, very close ... And quickly, quickly, quickly! (Translated from English, by the author)

February

1. Vigorous circular movements with the hands in front of you (P). Then we show how snowflakes fall from the skyS-shaped. The wind cloud-mill Spins at full speed. And snow-white fluff spreads to the ground. The movement of the hands below (L) is replaced by an energetic swing up (P). Then collect the snow in the palm of your hand (L) and smell it like flour (M). Then the blizzard will settle. It will boil like a river. And the snow seems to us Easy torment. (Unknown author) 2. Let's bake pies from snow flour. We simulate sculpting round
lumps with rhythmic gestures and easily throw them into the center of the circle (B), "c
stove "(U). There will be a lush dough, there will be a place in the oven. Wow! (Author's lyrics) 3. The wind swooped down, raised the drift. Eight movement
hands along the ground, and then feet. Then the movement in the figure eight in pro
space when all the children follow the adult. The winds blow in February, Howl loudly in the pipes, White drift winds along the ground like a snake ... (S.Ya. Marshak)We show with our hands how clouds float across the sky (B),we represent the blizzard by moving in a circle with the whole group.Small snowballs- these are snowflakes falling from the sky to the earth (C). Clouds float across the sky, Blizzard and blizzard are. And little clouds float, Little snowballs are. (Author's lyrics) 4. In the forest, trees stand, swaying twigs. Rapid movement is changing
rest (A, Y) Winter sings, aukets, The shaggy forest lulls Pine forest with a ringing sound. Around with deep longing Float into a distant country Gray clouds. We are spinning, hands are bent to the ground, like drifting snow. And Around the courtyard a blizzard spreads like a silk carpet, Yes, it is painfully cold. We sit in a tight circle on the floor (squeeze, E).

Sparrows are playful, like lonely children,

Cuddled by the window. The little birds were chilled, Hungry, tired, And huddled tightly. We stamp our feet strongly and make the circle wider (opening). And the blizzard with a furious roar Knocks on the hanging shutters And gets angry more and more. Sit down again in the middle of the circle (squeeze), dreamy hand movements above the head (M, C, A). But tender birds doze Under these snowy whirlwinds By the window itself. And they dream of a beautiful, In the smiles of the sun, a clear Beauty of spring. (S. Yesenin) 5. The sun warmed up and woke the first icicle. Show on-
the top of the icicle (C). The icicle laughed and cried with joy: drip-drip ...
And in the evening I was tired and fell asleep. The sky darkened (rounded gesture of hands above the head (B)), the stars shone (palms open, and fingers, like rays), the young month you-sailed on a small silver boat (the right palm floats up from bottom to top like a month (M)), snowball sprinkled quietly.,. We easily bounce on our toesindex fingers crossed overhead- it is a star (E). White snowflakes curl, silver. Next, we throw up our hands above the ground, as if we are straighteningsnow blanket (L). In the grove of an empty path swept over. Diagonal arm movement from top to bottom- the branch (C) bends. Leaning from the snow Gray-haired, shaggy bitch. Funny jumping- legs apart and together, hands like ears (A, U). Rides in a white fur coat Zayinka shaggy. 6. We imitate the movements of the bunny. Zainka is playing at the Christmas tree. Sweetheart beats on sweetheart: “These frosts are fierce, Christmas trees crackle from the cold under the frost, Christmas trees crackle from the cold, Sweethearts are completely cold from the cold. Confident movements, hands on the belt, foot on the heel (K). If only I, bunny, could be a peasant! We wrap our hands around the body, as if we are wrapping a coat (B). I should live and bask in the hut Joyful greeting, hands open (X). Your mistress with a gray! Chop the pie cabbage with our palms (K). Pies would be all with cabbage, Enjoy the smell, palms move to the face (M), Sweet carrot pies. Further, the general movement in a circle (P). Roll through the frost in a sleigh, We stop and lay on the barrel (G). Lay a winter in the wards. " (S. Yesenin) The bunny's fur coat is soft (stroking the chest from top to bottom (M)), bunny's legs are nimble (circular motion with the foot (L)), behind a funny ponytail (round palms behind the back (O)), the bunny's nose is completely frozen (lightly touch the tip of the nose with your finger (H)). The coward bunny heard that the twig cracked, ran through the forest, hid (everyone runs in a circle and squats (P)). The bunny needs to warm up: top-top-top, clap-clap-clap! (We alternate claps and stomping several times-rhythmic exercise). And under the bush. Only the ears are tor-chat and tremble. (Ears- these are the palms). He wiggled his left ear, wiggled his right ear (A circular motion of the palms (L)). 1. The bunny hears how the grasses of grass live under the snow, how the gnomes cherish the warmth ... We put our palms on the floor. Light movements close above the floor, as if covering the plants with a blanket (C), and then waking up with a light touch (H). Sleep, sleep, do not be sad! Soon the sun will come, It will bring warmth to everyone. The herbalists will touch - The grass will wake up. (Author's lyrics) 8. In the forest, trees stand, grow up, And the breeze (bunnies, chanterelles, squirrels) plays with twigs. Calming down- standing alternating movements of arms and legs. The Moon shines merrily over the village. White snow sparkles with a Blue light. Empty, lonely Sleepy village, Blizzards deeply covered the Izba. Silence is silent In the empty streets, And you can not hear the barking of Guard dogs. Downward movement. Only in the sky do the stars shine and ring. “Sleep, sleep, children,” they say quietly.

March

1. The movement starts high above the head, then the arms are lowered to the chest (Uh, D A). All around there is snow, snow, snow, And on the hill, no, no, no! Rooks saw, everyone shouts, Like a sailor from a ship: "Earth!" (Unknown author)2. Movement of the whole group in a circle, then stop and active
you hands. Snow is still whitening in the fields, And the waters are noisy in spring, They run and wake up the sleepy coast, Run and shine, and say ... They say to all ends: “Spring is coming! Spring is coming! We are the messengers of the young spring, She sent us ahead! "Spring is coming, spring is coming! And quiet, warm May days A rosy light round dance Crowds merrily behind her! (F. Tyutchev) 3. Alternating movements to the center of the circle with stamping, back- lung,
tiptoe (squeeze-open). Winter is not without reason angry - its time has passed. Spring knocks at the window And drives from the yard. And everything is fussing, Everything is pushing the winter out - And the larks in the sky Already ringing. Winter is still busy And grumbles in the spring - She laughs in her eyes And only makes more noise ... The wicked witch went mad And , capturing the snow, Letting go, running away, Into a beautiful child. Spring and grief is not enough: Washed in the snow And only became blush In defiance of the enemy.

(F. Tyutchev)

The sun shone, the ray dropped, the brook woke up, began to purr ... (brook and snowdrifts) 5. The sun shone, the bird woke up. The bird fluttered and flew
la. Movement in a circle, hands then rise high above the head, then
descend to the ground: Rises high into the sky, lowers down to the ground 6. We imitate the movements of the bird. We alternate the movements of the arms and legs.

A bird under my window is a nest for children,

Then he drags a straw in his legs. That bunch in the nose carries. The bird wants to make a house: the sun will rise, come. All day she is busy, But she sings all day. Children sit down inside a circle, calming down. The cold night will come, The fog will go from the river, The little bird will get tired, Sleep and stop singing. Awakening-joyful jumps in a circle. But, a little morning - the bird will again ring the song; Cheerful, well-fed, healthy, And sings to herself, sings! Why is she happy? Why is she so cheerful? Because she was busy And was not lazy. It is necessary to pray in the morning, - For this she gets up Very early to work And in labor she sings, sings! (E. Elgen)1. Movements of joy (A, R) are replaced by small tender gestures (B, N). Spring is knocking on the windows Sings in every way. Glasses are burning in the sun And in pools of water. I’ll bring a white snowdrop for my mother. It smells tenderly, tenderly, Like melted snow in the forest. (E. Blaginina) 8. Snowdrops are blooming, Snowdrops are blooming, So fresh, So tender. Further movement of the legs- as if rustling in the grass (C). Dry grass, dry dead wood, Again, joyful movements of the arms above the head and in the chest area.

But changing everything, the snowdrop blooms.

He is the first messenger of warmth and light, Spring is the same age, a sign of spring. (Unknown author)

April

1. Rhythmic exercise- at first slow steps in a circle,
then the movement speeds up and slows down again. Spring walks towards us With brisk steps, And the snowdrifts melt Under her feet. Black thawed patches In the fields are visible: One can see very warm Feet at spring. (I. Tokmakova)2. Rhythmic claps, then children pair up and push
palms into each other, fighting. Then there are claps again. When repeating
claps are replaced by stomping. What's that noise? What kind of thunder? Ice drift, ice breaker! An ice floe collided with an ice floe. Spun, turned! What's that noise? What kind of thunder? Ice drift, ice breaker! (Unknown author)

The sun shone and the trickle woke up:

Alternating active canter in a circle and quiet stops with squatting:

The stream ran over the pebbles.

I ran, I ran, I ran.

Then in a deep puddle

He lay, lay, lay, then again he rushed at a gallop, then seemed to fall asleep ...

I saw a river - jump there

And he drowned again. (Unknown author) 4. The sun lit up and woke the fish in the brook. (karask, ruffs, perches) The sun shone, a blade of grass woke up. Children sit in a circle and imitate the movement of a blade of grass with their hands (C, D). The sun warms up, a blade of grass comes to life, I stuck my nose out, looked out from under the ground - How far is spring ... (Author's lyrics) 6. Exercise for body geography- stroking. The children went out into the yard, the sun is hot, stroking the arms, legs, cheeks and eyes. Look: the sand in the sandbox has thawed, you can build. We simulate the game in the sandbox (S, D, R, P): A sandy river flows in the country. A tall house is built of yellow sand. And on the right near the river, Where the bank is steeper. They bake in a sand oven. (A. Usanova) 1. Children played enough, walked up and took paints. Simulate drawing with a brush with large hand movements (C, L, B).I AM I draw a blue sea. The sky is light-light blue, The mountains are dark dark blue, And the boat is golden. Above the waves there are white crests, And above them are white seagulls, The clouds above them are white, And the boat is golden. (Unknown author) 8. Soon the children will grow up, build a real ship, big, strong and reliable, and set sail. We simulate waves, move in a circle (B). Along the seas-oceans Yes to distant countries, Along the high waves Yes along the blue ramparts ... (Author's lyrics) 9.Phase of tranquility. In the meantime, we must return home, wash and rest a little.

May

1. Alternating movements to the center of the circle and outward (squeezing- disclosure). Gestures above the head, then below to the grass, then in the chest area.

Bird cherry, bird cherry,
Why are you standing white?

I am for a spring day
For May it has blossomed.

And you, grass-ant,
What are you creeping, soft?

For the spring holiday.
For May Day!

And you, thin birches,
What's green now?

For a holiday, for joy,
For May, for spring!

(E. Blaginina) 2. Alternation of small and large gestures (R, L). Here is a kidney - Vetochka's daughter. And here is a leaf - Whole tree son. (N. Orlova) 3. Here the horse stuck its nose out of the stable - what does it smell so good for?
Movement at the level of the face- sniff (X). And it smells like young grass,
young foliage. The horse beats its hoof: hurry, hurry, open
a door! Circular movements of the foot, as if a horse is kicking a hoof (P).
We will harness the horse and run into the meadows as soon as possible. Alternating fast and
calm movement in a circle. The horse gallops down the hill, the horse rises up the hill at a step. He stops on the hill and hits him with his hoof. 4. They rode to the pasture: "Whoa!" There the cow grazes. Movements become slow, not high above the ground (R, M, L). Little cow chews grass In the meadow, Little cow gives milk to her children: - Mu-mu, I love children, Mu-mu, pour some milk. (Author's lyrics) 5. Nearby the river runs, Nearby the river murmurs. (Different fish play in the river). 6. Dance moves for different characters. The last snail
it moves slowly in a circle and stops (M). Children sit on
floor. A merry ball in the meadow. It was opened in the spring. The mosquito played on the pipe. And the furry bumblebee danced, The fat beetle went to dance With a joyful beetle ... And the snail crawled, It crawls slowly, And under a green bush She lay down to rest. (Unknown author) 7. With gestures of the palms, we imitate the growth of a flower and the opening of a bud (C, B, L). A blade of grass grew and grew from under the ground, the bud blossomed - a flower appeared! Which one then? (Author's lyrics) Characteristic movements for different colors- white snowdrop, yellow dandelion, blue bell, red tulip. 8. We rise to our feet, imitate the movements of spring with wide movements
hands (L, R), we dance. As spring entered, creaking the gates, All to the feet are strewn with white flowers. Ay-yes, paradise-yes, the beautiful one is worth it. The girl entered, creaking the gates, All covered with white flowers to her feet. Hey-yes, paradise-yes, the beautiful is worth it. (V. Pludon) 9. And a flower bloomed near the gate. Small hand movements alternate, these are gestures of care, warmth (L, B). Movement, as if ringing a bell-ring, and this sound spreads widely around (H, W). At the end, the kids hold out their hands to each other (Ooh) A lily of the valley was born on a summer day And the forest preserves it. It seems to me, his back - He will quietly ring. And the meadow will hear this ringing, And birds and flowers ... Let's listen, what if we hear you and me? .. (E. Serova)

June

1. Alternating listening and observing states- close our eyes
palms and open them. Night has come, darkness has brought. The cockerel fell silent, the cricket began to sing. The night passed, the darkness took away, The cricket fell silent, the cockerel began to sing. We opened the window: "Hello, sun!" 2. Wide joyful hand movements (L), then surprise-
converge to the center of the circle. After that, light funny jumps and movement
in a circle, as if poplar fluff is flying. Summer! Summer! Is it snowing in the summer? Is it snow? Just laugh! Snow flies around the city, Why doesn't it melt? The wind blows at full speed - Poplar drives the fluff! (E Aedienko)3. Joyful jumps in place (I), then we imitate the movement,
as if we were blowing on a dandelion (O), and the fluffs fly away (L)."June has come, June, June!" - Birds chirp in the garden. On a dandelion only a blow - And all of it will scatter! (Unknown author) Further, the movement in a circle is replaced by stops - the children freeze on their haunches, like seeds. Then a jump, arms and legs to the sides (A) - a new flower bloomed. From fluffy balls Above a motley summer meadow Parachutists are flying in pursuit of each other. As soon as they touch the ground, They fall asleep as if on a sofa, And in the spring they wake up And there will be dandelions. (I. Tokmakova) 4. As in the morning, on a high mountain, an apple tree blooms! With our hands we show a high mountain (E) and the crown of a flowering tree (L). An apple tree blossomed in a young garden. I can't take my eyes off this apple tree. The sun will warm, The breezes will blow, The petals will fall, crumble. Petals crumble- light movement of the palms from top to bottom (P),and the apple tree stands- open hand gesture (A). Then the palms form a sphere (B)- there a seed is tied, and the apple tree holds out the fruits to people (A). Our apple tree will become simpler and poorer. But apples on it will be tied. And the apple tree will give People for their labors Sweet, ruddy Large fruits. (E. Blaginina) 5. As in the morning, on a high mountain, Children were playing ball, throwing the ball into the sky! (Author's Verse) Simulate a Ball Game- throw it high and catch it. 6. As in the morning on a high mountain The clouds lay, gloriously dozing! (Author's lyrics)We show with our hands above our head large round clouds (B). Next, we make interrogative movements with our hands (O, M, B, L).

Clouds, clouds, lush and white,
Tell me, clouds, what are you made of?

Maybe the clouds made you out of milk?
Maybe out of chalk? Maybe made of cotton wool?

- Maybe white, crumpled paper?
Denial gestures are accompanied by a confident step. Never, never, - the clouds answered, Never made us out of milk, Never out of chalk, never out of cotton wool, Never out of white, out of crumpled paper! We show with our hands how clouds float across the sky (M), how the drift of snow winds over the ground (P), how lightning flashes (D).- We are rainy, we are snow!
If we sail in winter, We carry the blizzard with us. If we sail in the summer, We carry a thunderstorm with us! (I. Mazin) 1. As in the morning, on a high mountain, the Rain lurked and descended from the mountain: We start with joyful jumping in a circle (A), stretch our arms forward (RU), stroke the grass (L). Finally, the arms are crossed over the chest.-feeling of confidence (E). The rain is running on the grass With a rainbow on my head. I'm not afraid of the rain, I'm fine, I'm laughing. I touch the rain with my hand: “Hello, this is how you are!” I stroke the grass wet ... I feel good, I live! (R. Rozhdestvensky)

And after the rain everything smells so strong!

Children form 5 groups. In the middle there are flowers, along the edges of the dragonfly, butterflies, ladybugs and bees. Dragonflies ButterfliesFlowersLadybugs Bees Groups take turns flying around the flowers and smelling their scent. Flowers at this time open their petals- open hand gesture. Sound-cheat, xylophone.9. As in the morning season, on a high mountain, Summer rises early, weaves a colored veil! We imitate the movement of the weaver (B). Next, we alternate movements to the center of the circle- ask a question and go back.

What are you, letushko, do you bother
On your mountain high?

Weave a colored bedspread
To warm the earth.

Silk weave patterns
With a thin gilded thread,
Let it run away without getting tired
Your silver shuttle.

To everyone's surprise A painted bedspread, Weaving the sun into the threads, To warm the earth. (V. Pludon) Calming, small gentle movements of the palms as if we were protecting ladybug(B, H). Then we show with our hand how it flies away (L), with our foot- as crawling in the grass (3). We conclude with a caring gesture of protection(B). Dress with polka dots At the ladybug. Ladybug Bad in the box Ladybug Do not touch your finger - Let it crawl away on the Green Road! Let it fly away on the Blue Road! Ladybug Don't, don't touch: (Unknown author) Appendix # 2. The emergence of the puppet theater Little is known about how dolls were used in ancient times. In most cultures, the doll has played a role in religious practices. Wishing to turn to the world of spirits, man created images - mediators. Dolls were worshiped. They were hung around their necks as amulets and placed in the grave of the deceased. From ancient India came a legend about how the puppet theater arose: "" God Shiva and his wife Parvati once passed a carpenter's shop and noticed small figures, like dolls with movable limbs. They became so interested in these creatures that, to the amazement of the carpenter, they let their spirit enter them and they came to life and began to dance. However, after a while Parvati got tired. And the gods went on. The dolls stopped moving and froze again. The carpenter rushed after him and asked: "Do not leave my dolls, let them stay alive." But Parvati replied: "After all, it was you who made them, therefore, not me, but you must give them life." The carpenter returned to his room and thought for a long time what to do. Finally, he came up with the idea of ​​animating them with threads "". India's early puppet theater was a shadow theater performance lasting weeks. Usually, performances of individual scenes from sacred Sanskrit texts were made. Today India is a country with diverse puppet schools and traditions. For example, Indian puppeteers do not speak during the performance. Instead, they make many different sounds to symbolize certain actions and feelings. In Europe, with the fall of the Roman Empire, theaters ceased to exist, puppeteers scattered all over the world, taking their traditions with them. For centuries, there is no documentary evidence of their fate. In the XV century. there were performances on biblical stories, the lives of saints, stories about the creation of the world, which were often played out with the help of puppets. Perhaps this is where the word "puppet" originates ("puppet" is little Maria, but there are other versions of the etymology of this word). The modern world cannot be imagined without a puppet theater.

Appendix No.

Appendix No.

CINDERELLA

Staging based on the tale of Sh. Perrot and ballet by S. Prokofiev

Characters and performers:

Her daughters: Elder and Younger.

Minister of Entertainment

Servants of the king

Asterisks

Fairy godmother

Spanish beauty

Oriental beauty

Prologue

An excerpt from No. 18 (1) "Scene with a Clock" (act 1 of the ballet "Cinderella") is played

7 gnomes appear, sit in a semicircle. Sounds No. 1 Introduction.

1st gnome:

We are from the land of magic gnomes,

Send you a story to tell

As for the heir to the crown,

The king decided to look for a wife.

2nd Dwarf:

The old castle was appointed

A fun ball for the subjects.

And the minister himself to young girls

I sent out invitations to everyone.

3rd Dwarf:

In that good old kingdom

The forester's family lived.

The mistress of the house is ill

And leaving her daughter, she died.

4th Dwarf:

I can't forget my wife, the forester grieved for a long time,

And often pitying the girl,

He called her an orphan.

5th Dwarf:

The years passed. He decided to get married

To make your lot easier;

Married with two daughters

A very respectable widow.

6th Dwarf:

The widow turned out to be

Rude, envious and angry.

I took a dislike to someone else's daughter

And she called her Cinderella.

7th Dwarf:

Household chores

She put on her:

Heat the hearth, clean the pots,

Prepare and wash clothes.

1st gnome:

Alas, in his father's home

Cinderella was a servant.

I secretly only dreamed of happiness

Always kind and cheerful.

Scene one

A room in Cinderella's house. Sounds No. 3 "Cinderella" (act 1)

Cinderella does housework, cleans the pot by the hearth. Stepmother enters.

Stepmother:

Cinderella! Again idle?

I haven't swept the floor yet

I didn't have time to dig up the beds

And I didn't light a fire!

They enter in pajamas and their daughter's caps. Stretch and yawn.

Stepmother:

My birds, woke up!

How did you sleep, daughters?

Eldest daughter(stroking belly)

Have you called for breakfast yet?

Stepmother:

I'll give you pirozhkov now.

Cinderella runs up with a tray. The sisters take a pie each. Are eating.

There is a knock at the door. Cinderella opens. A messenger enters, bowing.

Messenger:

Good day! Allow me to hand over

Ball invitation.

All the girls should be there

The king himself ordered so.

Stepmother:

Oh, thank you, very happy

We will definitely come

(Messenger leaves)

Stepmother:

Cinderella, get your outfits ready

We are going to the ball three of us!

Hugs her daughters. Cinderella goes out for dresses. The capricious sits down at the mirror and preens.

Youngest daughter.

Give back the beads, Caprice,

She took Mama's.

Eldest daughter:

Ah, leave me alone, Imagine

And stay out of my business!

Youngest daughter:

In an amicable way, sister,

I ask. If I get angry ...

Older:

Younger:

Then the tigress

I will grab your hair.

They stand in front of each other. Sounds # 4 "Father" (act 1)?

Stepmother:

My girls, do not quarrel!

Cinderella, hurry up!

Little time left

Learn to be quicker!

Eldest daughter:

Can you stroke the ribbons for me now?

What are you doing in the morning?

Youngest daughter:

Cinderella, what are you pulling at?

Is it time to comb my hair?

Cinderella runs from one sister to another, following orders. Helps to put on ballroom skirts. Sounds # 6 Vendors and Sister Dressing (act 1)?

Cinderella:

All is ready. Ah, sisters!

How I want to go to the ball!

Youngest daughter:

Yes, the king would be surprised.

Eldest daughter:

He didn’t call the creeps.

The sisters blow kisses to Cinderella and leave with their stepmother.

Cinderella, dreaming, dances a waltz with a broom. Cinderella sings the song "Cinderella teases me ...) (Sounds number 9" Cinderella's dreams of the ball "(act 1).?

Cinderella:

Oh how fun it must be

In the castle, all the lights are on.

The prince dances with the girls.

He is handsome, they say!

(The Godmother enters.)

Cinderella:

Hello godmother! I am pleased!

How did you come on time.

Godmother:

Remember baby, the reward awaits

Your good deeds.

I know that you are dreaming

Have fun at the ball.

Cinderella:

Godmother, you know everything!

Sounds No. 11 "The Second Appearance of the Beggar Fairy" (Act 1)?

Godmother:

Yes. And I can do a lot!

(The song sounds: “The stars are dancing ...)?

Cinderella:

Godmother, how lovely!

I am grateful to fate.

How am I going to the ball?

The dress is old on me ...

Fairy godmother:

Shining stars and moonlight

You will take it with you on the road.

The secret is in the magic wand -

The stars will help us.

The stars dance the waltz and give Cinderella a blue ball gown. Sounds No. 19 "Cinderella's Departure for the Ball" (act 1)?

Fairy godmother:

Here are the crystal shoes,

The stars have brought them.

Under your dress is a ball gown

We better not find it.

Cinderella:

A magic dream has come true

It's like I'm in a wondrous dream.

Fairy godmother:

Listen, Cinderella, what am I

I have to tell you.

Remember, goddaughter,

When it starts hitting 12

You must return home

And the magic will pass.

Cinderella:

As midnight begins to beat,

I must leave the castle ...

And the magic will pass!

Fairy godmother:

Forward! The carriage is waiting!

Sounds No. 17 "Aborted Departure" (action 1)

Scene two

Hall in the royal castle. The guests are couples. The king sits on the throne, the prince and the minister of amusement stand nearby. Sounds No. 22 "Dance of the Cavaliers" (Burré,? Act 2).

King:

My son, how many brides are there

From all over the country.

Minister:

From neighboring kingdoms

They are invited.

King:

I want you to choose for yourself

A worthy wife.

Minister:

Allow me, prince, to introduce you

One beauty.

The star of Spain for you

Ready to dance. ?

King:

My son, please, don't screw up your eyes

And stop yawning.

Sounds No. 41 "Temptation" (act 3). A Spanish dance is being performed.

Minister:

And this girl, my prince,

Pearl of the East.

King:

How lovely! Here's a surprise

Slender as black-eyed!

Sounds No. 43 "Orientalia" (act 3). An oriental dance is being performed.

Minister:

Well, now I'm glad to present

You two sisters, my prince.

Prince:

They walk like a parade.

King:

Oh, son, take your time!

The sisters are dancing the gavotte. Excerpt 7 "Dance Lesson" (act 1) The prince waves his hands in horror.

All guests are dancing mazurka no. 26 "Mazurka and the Prince's Entry" (act 2)

Servants enter, fanfare sounds.

King:

What happened? Explain!

The minister(to the side):

An unknown princess.

Who? Where? Here's the deal?

Cinderella approaches the throne, bows. The prince stands up. Sounds number 29 "Arrival of Cinderella to the ball" (act 2)

Prince:

How glad I am that you have decided

Our humble ball to attend.

Allow me, stranger,

Invite you to dance.

Sounds No. 30 "Big Waltz" (d.2) The Prince and Cinderella are dancing. The guests disperse, leaving them alone.

Prince:

I want that in this castle

You stayed forever.

Cinderella:

I will not forget this ball

But I must leave you.

The clock starts striking midnight. No. 38 "Midnight" (house 2)

Cinderella:

Prince, goodbye! Oh, awful!

It's time for me to hurry.

Prince:

Well, stay awhile!

Cinderella:

No, I'm sorry, I can't.

The gnomes from the clock appear, they help Cinderella to hide. The king and the minister of amusement appear.

King:

Where is the princess?

Prince(sad) :

King:

Servants, everybody here! Catch up!

What did she tell you?

What is the name and where to look?

Cinderella in a simple old dress runs by, they don't pay attention to her.

The minister(with a shoe) :

Ah, king, she disappeared

Only the shoe was found ...

King:

Search the entire kingdom

And get it out of the ground!

In the foreground, the minister and a servant with a shoe ride horses, then try on the shoe for six beauties.

Scene three

Cinderella's house. Sounds number 46. Cinderella sits by the hearth and admires a crystal slipper. Stepmother and her two daughters enter. Cinderella, frightened, hides the shoe in the pocket of her apron.Youngest daughter: How sorry I am for you, poor thing! There was such a wonderful ball! Eldest daughter: If only you had seen: the prince danced with the princess. Youngest daughter: How beautiful she is! Stepmother: And what an outfit she is wearing! Older: The prince fell in love, that's clear. Younger: That's what everyone in the castle says. Stepmother: Exactly at midnight she ran away, And no one could catch up. Older: She just lost her shoe. Younger: The prince ordered to look for her. Stepmother: To all the girls of the kingdom, -The king himself issued a decree, -It is necessary to try on a shoe. Older: If it is just right, she will become the bride of the prince ... Younger: Someone is knocking on our door! Enter the Minister of Entertainment, carrying a crystal slipper on a cushion.Minister: Are there girls in your house? Stepmother: Oh sure! My joy! (To the eldest daughter) Sit down quickly, try it on! So pull harder, come on! And now, you, dear! (To the younger daughter) Better bend your fingers. Well, pull, pull! Minister: What kind of girl is sitting on the sidelines next to the hearth? How lovely she is!

But what a sad look.

Stepmother:(To Cinderella) Your grace, you messy girl, quickly disappear from your eyes! Minister: No, I ask you to stay. We must fulfill the decree. Cinderella tries on a shoe.Minister: My God, she fits! Stepmother: Nonsense, it can't be! Minister:

Do not argue with me! (To the side) I can get the order.

Cinderella takes out of her pocket and puts on a second shoe.

Minister:

Hurry to the prince with joy,

Report to the king!

And bring them here.

I'll look after the bride.

Music sounds, Fairy Godmother appears. (She sings the song "The stars dance in a round dance" again, verse 1) (No. 11 "The second appearance of the Beggar Fairy", action 1) ?. She waves her magic wand. Stars run in and put on a ball gown on Cinderella. (Sounds No. 37 of "Waltz Code", action 2)

Enter King and Prince. (No. 50, "Amoroso", 3)

Prince:

Ah, father, what happiness!

(To Cinderella)

I will love you forever.

Allow you not to hesitate

Offer a hand with a heart !?

The music "Amoroso" is played, no. 3.

All participants bow out. The song is being played.

Appendix No.

Appendix No.

Appendix No.

Appendix No.

Appendix No.

1. The main educational program of the secondary educational institution "Kindergarten of general developmental type with priority implementation of the physical development of children of the second category No. 13" Seven-flower "for the 2011 2012 academic year

   Basic educational program

   The main educational program of the MDOU "Kindergarten of general developmental type with priority implementation of the physical development of children of the second category No. 13" Seven-flower "

2. Dpp discipline program. F. 11 Theory and methodology for the development of speech in preschoolers Goals and objectives of the discipline Goal

   Discipline program

   The purpose of teaching is to familiarize students with theoretical and didactic-methodological approaches to the problem of speech development of a child in modern psychological and pedagogical research and to create conditions for their use in educational practice.

3. Curriculum 21 Work of the teaching staff on a single methodological topic 34 Analysis of methodological work in areas of activity 36

   Report

   Public report of the State Educational Institution of the Center for Education No. 1989 is an important means of ensuring information openness and transparency of a state educational institution, a form of broad information to the public, primarily parental,

4. The concept of an inclusive kindergarten T.P. Medvedeva. Integration opportunities for children of different ages. MM Prochukhaeva O. N. Lisutenko "We are all alike": the first steps towards tolerance Part 2 Psychological and pedagogical work in an inclusive kindergarten

   abstract

   Egupova O.V. The system of work on the development of lexical and grammatical concepts and the development of coherent speech of the teacher - speech therapist of the inclusive group of the kindergarten.

5. Methodology of the ascertaining experiment 53 2Features of the emotional sphere of children with wd. Carrying out an ascertaining experiment 57> 3 Method of work on correction

   abstract

   1.1 The concept of "emotions" in various concepts. Emotion Research Survey. Psychological and pedagogical model of the emotional sphere of personality 9

Content

introduction …………………………………………………………………… .3

1. The development of children in theatrical activities ... ... ... 5

1.1. What is theater and its origins ………………………………………………… 5

1.2. Involvement of children in theatrical activities …………………… 6

1.3. Influence of theatrical play on the development of the general abilities of the child ..................... 9
1.4. Characteristics of theatrical games …………………………………… .13

1.5. Classification of theatrical games …………………………………… 15

2. Organization of theatrical activities of preschoolers at different age stages ...................... 20

2.1. Younger group ………………………………………………………… ..21

2.2. Middle group ……………………………………………………………… 22
2.3 Senior group …………………………………………………………… 25

2.4. Forms of the organization of theatrical activities ...................... 28

2.5. Methods and techniques for the development of theatrical activity in older preschool children .............................................. 33
3. Puppet theater …………………………………………………… ... 37

3.1 Types of theaters ………………………………………………………………… 37

3.2 Types of dolls ……………………………………………………………… ... 38

3.3. Organization of the corner of theatrical activity …………………… .41

4. The role of the teacher in the organization of theatrical activities …………………………………………………………… ..44

4.1. Skills and skills of the teacher in the organization of theatrical activities .............................................. 44

4.2. Main directions of work with children ………………………………… .46

Conclusion ……………………………………………………………… .49

……………………………..51

Introduction

The relevance of the work lies in the fact that theatrical activity in the preschool educational institution is one of the most accessible types of art for children. Theater is a means of emotional and aesthetic education of children. Theatrical activity is close and understandable to a child; it is an inexhaustible source of emotional discoveries. Every imagination, impressions from the surrounding life, the child wants to translate into living images and actions. Entering the image, he plays any role, trying to imitate what he saw and what interested him, and getting great pleasure. Thanks to the theater, the child learns the world not only with his mind, but also with his heart and expresses his own attitude towards good and evil. Theatrical activity helps a child overcome shyness, self-doubt, and shyness. Theatricalization is a means of self-expression and self-realization of a child.

Theatrical activity allows you to form the experience of social behavior skills due to the fact that each fairy tale or literary work for preschool children always has a moral orientation (kindness, courage). Thanks to the theater, the child learns the world not only with his mind, but also with his heart and expresses his own attitude towards good and evil. Theatrical activity helps a child overcome shyness, self-doubt, and shyness. The theater in kindergarten will teach the child to see the beautiful in life and in people, and will engender the desire to bring the beautiful and the good into life. Thus, the theater helps the child to develop comprehensively.

The whole life of children is full of play. Every child wants to play a role. Teaching a child to play, take on a role and act, at the same time helping him to acquire life experience - all this helps to carry out theatrical activities.

Theatrical games allow you to solve many pedagogical problems related to the formation of speech expressiveness - the ability to communicate with other people, defend your point of view, as well as intellectual, communicative, artistic and aesthetic education, the development of musical and creative abilities.

The emotional impact of works of theatrical art stimulates the acquisition of language, arouses the desire to share impressions, which contributes to the development of the child's speech. Carrying such a positive impulse, theatrical activity should be widely used in work with children.

The purpose of the work is to study the features of the organization of theatrical activities with preschool children.

The object of the research is the organization of theatrical activities with preschool children.

Research subject: theatrical activitiespreschool children.

Research objectives: 1) to study the development of children in theatrical activities; 2) to study the organization of theatrical activity of preschoolers at different age stages; 3) consider the role of the puppet theater in theatrical activities; 4) identify the role of the teacher in the organization of theatrical activities.

Research hypothesis: the process of upbringing and all-round development of children in a preschool educational institution will be effective if the method of organizing theatrical activities based on theatrical games is used in the classroom.

The work consists of an introduction, spirit of chapters, bibliography, conclusion, appendix.

1. Development of children in theatrical activities

1.1. What is theater and its origins

What is theater? This is the best, according to K.S. Stanislavsky, a means for people to communicate, to understand their innermost feelings. This is a miracle capable of developing creative inclinations in a child, stimulating the development of mental processes, improving bodily plasticity, and forming creative activity; help to reduce the spiritual gap between adults and children. The whole life of a child is full of play, every child wants to play a role in it. In the game, the child not only receives information about the world around him, the laws of society, the beauty of human relations, but also learns to live in this world, build relationships with others, and this, in turn, requires the creative activity of the individual, the ability to keep himself in society.

Ancient theater - the theatrical art of Ancient Greece, Ancient Rome, the countries of the Middle East (VI century BC. IV-V centuries AD.) At this time, the European theatrical art arose. Since ancient times, all the peoples of the world have holidays associated with the annual cycles of dying and rebirth of nature, with the harvest. These ceremonies gave birth to drama and theater in Greece, Rome. In Greece, they were dedicated to the god Dionysus. The choir of mummers and the lead singer did not just perform the song, a dialogue arose between them, which meant active facial expressions, action.

In Rome, during the harvest festivals, funny, amusing songs were sung, in which actual topics, social motives were rarely sounded; dances were performed (plastic culture of movement, gesture). Thus, at the origins of the theater is folk art, which arose as a necessary element in the social and spiritual life of people, as a mass spectacle.

In Ancient Greece, the theater consisted of an orchestra (a round platform on which the actors performed and a choir around which the audience was located), auditoriums, skens (a place for actors to dress and go out to the audience, which was outside the circle of the orchestra). Later, parascenias were added to the skene, where the property of the theater was kept; parods are passages between the stage and the seats for the audience. An ancient Greek actor (could only be a man) could play several roles during the performance, changing masks.

The Greeks came up with the idea of ​​presenting legends about their gods and heroes in living faces, they realized how instructive and entertaining a theatrical show can be. where, instead of the narrator, the very people who are told in the fairy tale (myth) spoke to the audience. We borrowed from the Greeks the very word "theater", which in Greek is pronounced theatron and means "spectacle".

In Russia, the origin of the theater was the school theater, and the home theater was popular. It was the educational theater and the amateur stage that played a certain role in the emergence of the professional theater. School theaters that appeared in the 16th - 17th centuries. in educational institutions, for the first time they stage plays about Russian history and modern Russia. In the XIX century. a huge role in the upbringing and education of children is played by theaters created in gymnasiums, cadet corps, and orphanages. The peasant theater for children was also popular. In European countries, the tradition of theater for children is associated with Christmas performances of play actions based on biblical and folklore subjects.

1. 2. Involvement of children in theatrical activities

Theatrical activity is an inexhaustible source of the development of feelings, experiences, emotional discoveries of the child, introduces him to spiritual wealth, is the most important means of developing empathy - a condition necessary for organizing joint activities of children.

Conditions for the development of theatrical games and the introduction of children to theatrical activities(S.A. Kozlova, T.A. Kulikova):

from an early age, teach children to listen to the artistic word, respond emotionally to it, more often refer to nursery rhymes, little dogs, hums, jokes, poems, including those that encourage dialogue;

to instill in children an interest in theatrical activity, to create situations in which the characters of the puppet theater enter into dialogue with children, act out scenes;

to take care of equipping theatrical games: purchasing theatrical toys, making homemade toys, costumes, decorations, attributes, stands with photographs reflecting the theatrical games of pupils;

pay serious attention to the selection of literary works for theatrical games: with a moral idea understandable to children, with dynamic events, with characters endowed with expressive characteristics.

The participation of children in theatrical games and performances becomes possible whenif they are ready for this kind of activity: knowledge of theater as an art form; an emotionally positive attitude towards him and a certain experience of his own theatrical and play activities.

At different stages of acquainting children with the theater and fostering a positive-emotional attitude towards it, the following tasks are solved:

Formation of ideas about the theater, an emotionally positive attitude towards it with the help of observations, excursions; it is necessary to highlight the features of the theater as a cultural institution with the specifics of work, social significance, the building itself and the interior;

Summing up the understanding of the specifics of acting. Based on the views of performances, form children's understanding of the means of figurative expressiveness, with the help of which the artists convey the image;

Formation of ideas about theatrical professions (main and auxiliary) by observing the work of a make-up artist, decorator, costume designer, etc., which activates interest in theatrical art, helps to expand vocabulary (make-up artist, wig, lighting, etc.). Children will learn what the direct participants in the theatrical action are doing (actors, musicians, conductor), who prepares the play for staging (director, artist, choreographer), who provides the conditions for its implementation (make-up artist, costume designer, cloakroom attendant);

Acquaintance with the rules of conduct in a cultural institution. A system of conversations, game dialogues that form the moral side of interaction with an art institution. Spectator experience of visiting theaters, museums contributes to the expansion and systematization of knowledge, strengthens the culture of behavior in the theater. This aspect should permeate the entire work: precede direct acquaintance with the theater, accompany conversations, games, visual activities, etc. It is necessary to repeatedly discuss the following problems with children: “What are the rules of conduct in the theater?”; “Who should observe them and why?”; “How to get to your place if other spectators are already seated?”; “Is it possible to talk during the action, eat, rustle with candy wrappers?”; "What is the intermission for?" ...

After conversations on these topics, it is advisable that the children act out scenes to consolidate the rules of behavior in the theater. For example: children draw tickets, choose "cashier", "ticket collector". Having bought a ticket, they go into the "hall" (the chairs are arranged in advance as in the auditorium). The ticketteer helps the spectators find their seats. “Spectators” ask for help in finding a place, thank you for your help, apologize when walking along the aisle, etc. You can offer to act out situations in which they might find themselves: “Imagine that the performance has already begun, and you cannot find a place. What would you do? "

When getting acquainted with different types of theatrical art, you can try to stage a well-known fairy tale ("Turnip", "Teremok") in the genre of puppetry, dramatic, musical (opera, ballet, operetta) performances. It is also better to get acquainted with the structure of the theater by taking an excursion to the "backstage" theater, where you can walk around the real stage, sit in the dressing room, try on costumes, take pictures in them, listen to stories of the theater workers.

It is better to acquaint children of preschool age with the basic concepts and terminology of theatrical art practically: during games, working on a play, visiting theaters, museums, exhibitions. You should not strictly require the assimilation of concepts, it is enough that children understand the basic theatrical terms, replenish their vocabulary. For this, theatrical games are offered in the form of questions and answers, rebuses, crosswords, riddles-puzzles, which always cause positive emotions in children.

1.3. The influence of theatrical play on the development of the general abilities of the child

Theatrical play, as one of the types of game activities , has a significant effect on the movechild personality development.

Theatrical activity is a source of development of feelings, deep feelings of the child, introduces him to spiritual values. It is equally important that theatrical games develop the child's emotional sphere, make him sympathize with the characters. It is the child's ability to such identification with a favorite image that has a positive impact on the formation of personality traits.

In the field of cognitive development: development of versatile ideas about reality, observation of natural phenomena, animal behavior, ensuring the relationship of construction with theatrical play for the development of spatial representations, creativity, intellectual initiative, memory development, learning the ability to plan their actions to achieve a result.

In the field of social development: the formation of positive relationships between children in the process of joint activities, the upbringing of a culture of cognition for adults and children, the upbringing of aesthetically valuable ways of communication in accordance with the norms and rules of life in society, the development of emotions. This allows you to usedramatizedmoral education game children when different polarity standards become significant for the child not only when correlating oneself with a positive character, but also with a negative, unattractive one(L. G. Lysyuk, S. G. Yakobson)... Thanks to this, social feelings arise, an emotional attitude to events and actions that are significant not only for the child personally, but also for those around him.

V dramatizedThe norms of moral behavior are revealed to the child in games, and in real relationships their actual assimilation takes place, noted A.V. Zaporozhets.

In the field of speech development: promoting the development of monologue and dialogical speech, enriching the vocabulary, figurative expressions, comparisons, epithets, synonyms, antonyms, mastering expressive means of communication.

In the field of aesthetic development: introduction to highly fictional literature, the development of such forms of imagination, which are based on the interpretation of a literary image, introduction to joint design activities for modeling costume elements, decorations, attributes, creating an expressive artistic image, developing spatial imagination as the basis of design thinking, creative conception, predicting the result, organizing teamwork when creating multi-figured plot compositions, learning how to independently find image techniques, materials.

In the development of movements: coordination of actions and accompanying speech, development of the ability to embody mood, character, and the process of image development in creative movement, support for the formation of musical-motor improvisation in etudes, expressive performance of the main types of movements.

Theatrical activities not only introduce children to the world of beauty, but also awaken in them the ability to compassion, empathy, activate thinking, imagination, and most importantly - help the child's psychological adaptation in the team.

Theatrical play - activityunusually emotionally intense, which makes her attractive tochildren... She brings great joy and surprise to the child. It contains the origins of creativity, children accept the guidance of an adult, not noticing it.Theatrical activitiesmost fully covers the personality of the child and meets the specificsdevelopmenthis mentalprocesses : integrity and simultaneity of perception, ease of imagination and faith in transformation, emotional sensitivity, not only figurative, but also logical thinking, motor activity, etc.(L. S. Vygotsky, D. B. Elkonin and others)... This speaks of a widedeveloping potential of theatrical play.

For a child- preschooler's main path of development- empirical generalization, which relies primarily on his ideas. Such generalizations are carried out in the process of symbolic-modeling types activities with the help of figurativefunds : symbols, placeholders and models(L.A. Venger, V.V.Davydov and others).

Basic ways development empirical generalization from children - observation and experimentation, says N. N. Poddyakov. An adult helps to analyze and generalize this experience, establish objective dependencies, determine its importance, and then fix the results in the form of conventional signs. Another way development generalization in a child is"accommodation" different situations when an adult invites the child to express the impression of the music in the language of movements.Theatricalthe game seems to be just that form"Residence" , although in the course of the game it is possible to observe the objective laws of reality identified by the author in the script and experiment with the author on the reality described in the script.

Some researchers(L.A. Venger, O. M. Dyachenko and others)there are two groups of abilities that are important for child development : modeling and symbolization. At the heart of development cognitive abilitiespreschool childrenactions of visual modeling lie. The first type of such action includes substitution actions. The game use of objects - substitution is the most important characteristic of the plot-role, and, consequently,theatrical play.

In theatrical games, various types of children's creativity develop: artistic speech, musical play, dance, stage, singing. Theatrical activity in kindergarten contributes to the development of imagination, all types of memory and types of children's creativity (artistic speech, musical play, dance, stage).

Experienced teachers' children strive for artistic portrayal of a literary work not only as “artists” performing roles, but also as “artists” who decorate the performance, as “musicians” providing sound accompaniment, etc. Possibilities of introducing preschoolers to creative artistic activities in the preparation of a theatrical game and its course are extremely high. Moreover, the higher, the more capable the teacher is, because in the activities that he has, he does well, which helps to reveal his individual characteristics, it is easier to captivate children, to develop their talents.

Theatricalgames are recommended to be used primarily inspeech development work... Play-dramatization is considered as an effective means of consolidating children's knowledge of the content of literary works. Carrying out dramatization games provides children with a better understanding of the meaning of arithmetic problems.

Theatricalgames can be included in other types of nurseryactivities... Revealed the mutual influence of visual andtheater and play activitiesfor aesthetic educationchildren: firstly, when decorating the scenery, and secondly, when images appear inchildren.

Thus,theatricalplay has a significant impact on the movechild personality development.

1.4. Characteristics of theatrical games

Scientists understand theatrical games as "theater games", "the plots of which are well-known fairy tales or theatrical performances based on ready-made scenarios."

Theatrical games are games - performances that have a fixed content in the form of a literary work played by children in their faces. In them, as in real theatrical art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, concrete images are created.

Theatrical play as one of its types is an effective means of socializing a preschooler in the process of comprehending the moral implication of a literary or folklore work. In the theatrical play, emotional development is carried out: children get acquainted with the feelings, moods of the heroes, master the ways of their external expression, realize the reasons for one or another mood. The theatrical play is also of great importance for speech development (improving dialogues and monologues, mastering the expressiveness of speech). Finally, theatrical play is a means of self-expression and self-realization of the child.

Theatrical play is the typical basis of artistic creation. P. Blonsky spoke about this, believing that all types of games are essentially the child's art, his creativity. Therefore, the theatrical play can be called creative play.

According to S. N. Tomchikova, theatrical activity of preschoolers is a specific type of artistic and creative activity, in the process of which its participants master the available means of performing arts, and according to the chosen role (actor, screenwriter, graphic designer, spectator, etc.) ), participate in the preparation and performance of various types of theatrical performances, get involved in theatrical culture.

Theatrical games were named so, apparently, for their closeness to theatrical performance. Spectacularity always brings joy, and fabulousness enhances the attractiveness of the game. Scientists understand theatrical games as "theater games", "the plots of which are well-known fairy tales or theatrical performances based on ready-made scenarios."

It is known that theatrical and play activities are of great importance for the all-round education of children: they develop artistic taste, creative and declamatory abilities, a sense of collectivism is formed, and memory develops. A feature of theatrical games is called a ready-made plot, which means that the child's activity is predetermined by the text of the work. A real theatrical game is a rich field for children's creativity: the text of a work for children is only a canvas into which they weave new storylines, introduce additional roles, change the ending, etc. Analysis of the literature has shown that theatrical games differ from plot-based roles games not only by the plot, but also by the nature of the game activity. Theatrical games are performance games that have a fixed content in the form of a literary work, played by children in their faces. In them, as in real theatrical art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, concrete images are created. The pedagogical basis for organizing the process of theatrical activity in preschool institutions is the peculiarity of the perception of the art of theater by preschool children. In order for this perception to be complete, children should be introduced to various types of theatrical activities.

1.5. Classification of theatrical games

There is a plurality of points of view on the classification of games that make up theatrical and play activities.

Objective and non-objective games in the classification of L.S. Furmina. Differentiation of theatrical games according to the concept, according to the literary text, according to the circumstances proposed by the adults E.L. Trusova.

In a number of studies, theatrical games are classified by means of representation, depending on the leading ways of emotional expressiveness of the plot. The theatrical play by L.V. Artemova divides into two groups: directing and dramatization.

The first group - director's games in kindergarten - includes tabletop, shadow theater, flannelgraph theater. A child or an adult is not an actor, he creates a scene, plays the role of a toy character - three-dimensional or flat. He acts for him, depicts him with facial expressions, intonation, and gestures. The child's pantomime is limited, since he acts as a motionless or sedentary figure or toy. Speech, its themes, intonation, expressiveness, diction come to the fore.

In the life of a child, director's play occurs earlier than plot-role. But both have common roots: plot-reflective play, during which a young child learns ways of acting with objects, masters the sequence of play actions when depicting an event familiar to him from personal experience (feeding a doll, going to bed, bathing, examining doctor, etc.). With the help of adults, the child enriches himself with the simplest game plots, begins to reflect not only actions with objects, but also those that are associated with the performance of the role. Thus, the prerequisites are created for the transition to a role-playing game with peers. But the child is not yet fully "ripe" for such an activity, since his communication skills are not sufficiently developed. Therefore, director's games arise, in which the child, from acting with a separate toy, proceeds to play according to his own design, including in his canvas several characters connected by certain relationships.

Thus, in the director's play, the child begins to use the previously acquired social experience and attracts partners. A feature of the director's game is that partners (toys, their deputies) are inanimate objects and do not have their own desires, interests, and claims.

In children of middle and senior preschool age, director's games undergo different changes. First of all, the content changes. In children 4–5 years old, the content of director's games is more varied than in children. They reflect familiar fairy tales, cartoons, but personal life events are used less often. Children easily combine knowledge and information obtained from different sources in one game. New characters (cartoon characters) appear, their number increases, the main and secondary characters stand out more clearly. For children 6–7 years old, the content of games is dynamic, with a predominance of their own literary creativity. Children love to play with familiar fairy tales, cartoons, changed by their own imagination, and bring a lot of fictional content into the game.

As E.M. Gasparova emphasizes, during preschool age, the development of the plot occurs on the basis of emerging associations. Directing games arise as an individual activity and remain so in early and early preschool age. Director's games alone are also observed in older preschoolers, especially when the child has little contact with peers (often gets sick, does not attend preschool) or has difficulty communicating with other pupils of the group due to individual characteristics (withdrawn, shy, has speech defects, etc. ). On average, and especially in older preschool age, joint directorial games arise. Associations of children are usually few in number - 2-3 people. Together, children come up with a plot, select or make the necessary toys, objects, play roles (each for his own character). In other words, in the joint director's play, the plot-role character is clearly expressed. Thus, director's games create real prerequisites for the emergence of role-playing games. But with the advent of the latter, director's games do not disappear: mutually enriching, complementing each other, both games are present in the life of a child and abroad of preschool age.

The second group - games-dramatizations, which are based on their own actions of playing the role. In this case, they can be used on their own actions of performing the role. In this case, dolls - bi-ba-bo, hats can be used. In this case, the child plays himself, mainly using his own means of expression - intonation, pantomime. By participating in these games, the child, as it were, enters the image, reincarnates into him, lives his life. This is perhaps the most difficult performance, since it is not based on any public image.

Play-dramatization contributes to the upbringing and development of an interesting independent, creative personality and ensures the manifestation of the individual inclinations of each child, changes the behavior of children: shy ones become more active, liberated, and mobile, unrestrained children learn to subordinate their desires, will to the interests of the team, that is, mutual assistance is brought up , respect for a friend, mutual assistance.

Developed play-dramatization is already a kind of pre-aesthetic activity. Its main features are, firstly, that, unlike role-playing games and early dramatizations, it does not generally reflect the actions of an imaginary character, but reproduces what is typical for him. On the other hand, this is not a direct imitation, not a direct imitation: on the contrary, we are dealing here with an arbitrary creative construction, guided by this or that initial creative construction, guided by this or that initial idea of ​​the child. The second main feature of true play-dramatization is that the child depicts the character whose role he takes on himself, but the way he does it reveals how perfect the transfer of the objective content expressed in this role is. Play-dramatization is, therefore, one of the possible forms of transition to productive, namely, to aesthetic activity with a characteristic motive of the influence of other people. Characteristic of dramatization games is the presence of two types of relationships between children: imaginary, corresponding to the role, plot, and real relationships of the participants in the joint game. Research and teaching experience convincingly shows that these two types of child relationships are not identical. With a completely prosperous or, as they say, a positive storyline, very unfavorable relationships may appear (both explicitly and openly). Already in early childhood, a child has the greatest opportunity precisely in a theatrical game, and not in any other activity, to be independent, to study with peers at his own discretion, to choose toys and use different objects, to overcome certain difficulties logically related to the plot of the game , its rules. The older the children become, the higher the level of their general development, the more valuable the theatrical play (especially pedagogically directed) is for the formation of amateur forms of behavior; children have the opportunity to outline the plot themselves or organize games with rules, find partners, choose the means to realize their plans.

Conclusions on the first chapter

Theater and play activitiesis of great importance for a comprehensive educationchildren: they haveartistic taste develops, creativity and recitation skills, a sense of collectivism is formed,memory develops.

Everythingtheatricalgames can be divided into two maingroup : director's games and games of dramatization.Director's games create real preconditions for the emergence of a role-playing game. Game-dramatization contributes to the upbringing anddevelopmentinteresting independent, creative personality and ensures the manifestation of the individual inclinations of each child, changes behaviorchildren.

2. Organization of theatrical activities of preschoolers at different age stages

2.1 Younger group

Tasks and content of the work.First of all, it is necessary to form interest in theatrical games, which develops in the process of watching small puppet shows, which are shown by the teacher, taking as a basis the content of nursery rhymes, poems and fairy tales familiar to the child. In the future, it is important to stimulate his desire to be included in the play, complementing individual phrases in the characters' dialogues, the steady turns of the beginning and ending of the tale. The attention of children is fixed on the fact that at the end of the dolls bow and ask to thank them, clap their hands. Gloves and other theatrical puppets are used in the classroom, in everyday communication. On their behalf, an adult thanks and praises the children, greets and says goodbye. In the course of classes, evenings of entertainment, he includes fragments of dramatization, changing into a special costume, changing his voice and intonation.

An important aspect of the teacher's activity is the gradual expansion of the gaming experience through the development of varieties of dramatization games. The implementation of this task is achieved by consistently complicating the game tasks and dramatization games, in which the child is involved. The steps are as follows.

A game-imitation of individual actions of a person, animals and birds (children woke up and stretched, sparrows flap their wings) and an imitation of the basic emotions of a person (the sun came out - the children were delighted: they smiled, clapped their hands, jumped on the spot).

The game is an imitation of a chain of sequential actions in combination with the transmission of the main emotions of the hero (funny nesting dolls clapped their hands and began to dance; the bunny saw a fox, got scared and jumped behind a tree).

A game that imitates the images of well-known fairy-tale characters (a clumsy bear walks to the house, a brave cockerel walks along the path).

Game-improvisation to music ("Merry Rain", "Leaves fly in the wind and fall on the path", "Round dance around the Christmas tree").

One-dark wordless improvisation game with one character based on the texts of poems and jokes read by the teacher ("Katya, Katya is little ...", "Zainka, dance ...", V. Berestov "Sick doll", A. Barto "Snow , snow").

Game-improvisation based on the texts of short fairy tales, stories and poems, which the teacher tells (3. Aleksandrova "Fir-tree"; K. Ushinsky "Cockerel with a family", "Vaska"; N. Pavlova "By car", "Strawberry"; E. Charushin "Duck with ducklings").

Role-based dialogue of the heroes of fairy tales ("Mitten", "Zayushkin's hut", "Three bears").

Staging of fragments of fairy tales about animals ("Teremok", "Cat, Rooster and Fox").

One-dark dramatization game with several characters based on folk tales ("Kolobok", "Turnip") and author's texts (V. Suteev "Under the mushroom", K. Chukovsky "Chicken").

In children of this age, the primary development of the stage director's play is noted - the tabletop toy theater, the tabletop plane theater, the plane theater on the flannelegraph, the finger theater. The process of mastering includes mini-performances based on the texts of folk and author's poems, fairy tales, stories ("This finger is a grandfather ...", "Tilibom", K. Ushinsky "Cockerel with a family", A. Barto "Toys", V. Suteev "Chicken and duckling") The child begins to use the figurines of the finger theater in joint improvisations with the adult on the given themes.

Enriching the gaming experience is only possible if special gaming skills are developed.

The first group of skills is associated with mastering the “spectator” position (the ability to be a benevolent spectator, watch and listen to the end, clap your hands, say thank you to the “artists”).

The second group of skills provides the primary formation of the "artist" position, which includes the ability to use some means of expression (facial expressions, gestures, movements, strength and timbre of voice, speech rate) to convey the image of the hero, his emotions and experiences and correctly hold and "lead" the doll or a figure of a hero in a director's theatrical game.

The third group of skills is the ability to interact with other participants in the game: to play amicably, not to quarrel, to play attractive roles in turn, etc.

The teacher's activities should be aimed at stimulating interest in creativity and improvisation, which is an important part of working with children. Gradually, they are included in the process of play communication with theatrical puppets, and then in joint improvisations with an adult such as "Acquaintance", "Providing help", "Talking an animal with its cub", etc. Children develop a desire to participate in play dramatic miniatures on free topics ("The Sun and the Rain", "In the Forest", "Funny Monkeys", "Kittens are Playing", etc.).

2.2 Middle group

The main directions of the development of theatrical play consist in the child's gradual transition from playing "for himself" to playing directed at the viewer; from a game in which the main thing is the process itself, to a game where both the process and the result are significant, from playing in a small group of peers performing similar ("parallel") roles, to playing in a group of five to seven peers whose role positions different (equality, subordination, control); from the creation of a simple "typical" image in a dramatization game to the embodiment of a holistic image, which combines emotions, moods, states of the hero, and their change.

At this age, there is a deepening interest in theatrical games. The work of an educator with children 4 - 5 years old should consist in maintaining their interest in theatrical play, in its differentiation, which consists in the preference for a certain type of play (dramatization or directorial), the formation of motivation for interest in play as a means of self-expression.

The expansion of the theatrical and play experience of children is carried out through the development of play-dramatization. Almost all types of play tasks and dramatization games that the younger preschooler have mastered are useful and interesting for a child of middle preschool age. Complication concerns texts that from now on are distinguished by more complex content, the presence of semantic and emotional overtones, interesting images of heroes, original linguistic means. In addition to the games mentioned above, the following are used in working with children: 1) multi-character dramatization games based on the texts of two - three-part fairy tales about animals and fairy tales ("Wintering animals", "Fox and the wolf", "Geese-swans", "Little Red Riding Hood" ); 2) games-dramatization based on the texts of stories on the themes "Children and their games", "Children and animals", "Labor of adults"; 3) staging a performance based on the work.

The informal basis is formed by figurative and play studies of a reproductive and improvisational nature (for example, "Guess what I am doing," "Guess what just happened to me," "Show, without naming, a literary hero," etc.).

The expansion of children's play experience also occurs through the development of theatrical play. At the age of 4 - 5, the child masters different types of table theater: soft toys, knitted theater, cone theater, theater of folk toys and plane figures. Actions with dolls in hapit become new content. The theater of riding puppets (without a screen, and by the end of the school year - with a screen), a theater of spoons, etc. are also available to children. Children show performances based on poetic and prosaic texts (S. Marshak "The Tale of a Stupid Mouse"; K. Chukovsky "Confusion "), Finger theater is more often used in independent activities, when a child improvises on the basis of familiar poems and nursery rhymes, accompanying his speech with simple actions (" We lived with a grandmother "; S. Mikhalkov" Kittens "; L. Zubkova" We were sharing an orange ").

Theatrical and play skills of preschoolers are significantly complicated.

The first group of skills ensures the further development of the “spectator” position (to be an attentive and benevolent spectator; to show elements of the audience culture: not to leave your place during the performance, to adequately respond to what is happening “on stage”, to respond to the appeal of the “artists”, to thank them with the help of applause, positively evaluate the play of peers - "artists").

The second group of skills is associated with improving the "artist" position. This mainly implies the ability to use the means of non-verbal (facial expressions, gestures, postures, movements) and intonational expressiveness to convey the image of the hero, his emotions, their development and change (Mashenka got lost in the forest - she was scared, saw the hut - was surprised, figured out how to deceive the bear , - was delighted), to convey the physical characteristics of the character, some of his character traits (the old grandfather has difficulty, but pulls the turnip; the granddaughter does not pull very diligently, wants to run away and play with her friends; the mouse is so afraid of the cat that she pulls with all her might). The ability to “control” a doll also develops: to hold it unnoticed by the audience, to “lead” a doll or a figure of a hero in a director's theatrical game, imitating walking, running, jumping, gestures and movements symbolizing greetings and goodbyes, agreement and disagreement.

The third group of skills provides for the primary mastering of the "director" position in the director's theatrical play, i.e. the ability to create a play space on the plane of the table, fill it with toys and figures at your discretion.

The fourth group allows the child to master the basic skills of a "show designer", which implies the ability to determine the place for the game, select attributes, use the materials and elements of costumes variably, and be included in the process of making the missing attributes for the game by the teacher.

The fifth group of skills, aimed at positive interaction with other participants in the game, includes the ability to negotiate, establish role relationships, and master elementary methods of resolving conflict situations during the game.

The teacher should pay attention to the development of interest in creativity and improvisation in the process of inventing the content of the game and translating the conceived image using various means of expression. Improvisation becomes the basis of work at the stage of discussing ways to embody the characters' images and at the stage of analyzing the results of theatrical play. Children are led to the idea that the same character, situation, plot can be shown in different ways. It is necessary to encourage the desire to come up with your own ways to implement your plans, to act not on the basis of copying an adult or imitating another child, but depending on your understanding of the content of the text.

2.3 Senior group

The main directions of the development of theatrical play consist in the child's gradual transition from playing according to one literary or folklore text to contamination play, which implies the child's free construction of a plot in which the literary basis is combined with its free interpretation by the child or several works are combined; from the game, where means of expression are used to convey the characteristics of the character, to the game as a means of self-expression through the image of the hero; from a game in which the center is an "artist" to a game in which a complex of positions "artist", "director", "scriptwriter", "designer", "dresser" is presented, but at the same time the preferences of each one of them, depending on individual abilities and interests; from theatrical play to theatrical and playful activity as a means of personal self-expression and self-realization of abilities.

The first is the formation of a positive attitude of children towards theatrical games. This implies a deepening of their interest in a certain type of theatrical play, the image of a hero, a plot, an interest in theatrical culture, an awareness of the reasons for a positive or indifferent attitude to play associated with the presence or absence of interest and the ability to express themselves in theatrical activities.

A new aspect of the joint activity of an adult and children is the introduction of children to theatrical culture, i.e. acquaintance with the purpose of the theater, the history of its origin in Russia, the arrangement of the theater building, the activities of people working in the theater, prominent representatives of these professions, types and genres of theatrical art (dramatic, musical) puppetry, animal theater, clownery, etc.)

In the senior preschool age, the theatrical and play experience is deepened through the development of different types of dramatization play and director's theatrical play. The deepening of the experience of play-dramatization lies in the fact that children become more active and independent in choosing the content of games, they relate to the choice creatively. For the senior preschooler, along with figurative and play sketches, improvisation games, and staging, independent staging of performances becomes available, including on the basis of a "collage" of several literary works. For example, “Traveling through the fairy tales of A.S. Pushkin "," New adventures of the heroes of the fairy tales of Ch. Perrault ", etc. The experience of director's play is enriched by puppets, puppets with a" living hand ", cane puppets.

The texts for the productions are getting more complicated. They are distinguished by a deeper moral meaning and hidden implications, including humorous ones. The dramatized play begins to use Russian folk tales-fables about animals ("The Fox and the Crane", "The Hare and the Hedgehog"), the works of L. Tolstoy, I. Krylov, G.Kh. Andersen, M. Zoshchenko, N. Nosov.

A striking feature of the games of children after 6 years is their partial transition to the speech plan. This is due to the tendency to combine different types of story games, including fantasy games. It becomes the basis or an important part of the theatrical play, in which the real, literary and fantasy plans complement each other. For older preschoolers, games "with continuation" are typical. They also master a new game "Into the theater", which involves a combination of role-playing and theatrical play, based on their acquaintance with the theater, the activities of the people participating in the production of the performance.

Children develop special skills that ensure the development of a complex of play positions.

The first group of skills is associated with improving the viewer's position as a "smart, kind advisor."

The second group assumes deepening the position of the "artist", the development of the ability to express one's attitude to the idea of ​​the performance, the hero, and to express oneself with the help of a complex of means of non-verbal, intonation and linguistic expressiveness.

The third group ensures the formation of the position of "director-screenwriter", which implies the ability to embody their ideas not only on their own, but also by organizing the activities of other children.

The fourth group allows the child to master some skills of a designer-costume designer, i.e. the ability to designate the place of the "stage" and "auditorium", to select, creatively use substitute items and independently made attributes and elements of costumes, to produce posters, invitations, etc.

The fifth group of skills involves the use of positive methods of communication with peers in the process of planning a game, during its course (transition from a game plan to a plan of real relationships) and when analyzing the results of a theatrical performance.

Children show independence and subjective position in a theatrical play more clearly and in a variety of ways. This is achieved, among other things, by means of stimulating their interest in creativity and improvisation in the process of inventing the content of the game and embodying the conceived image with the help of expressive means. Using specific examples, it is necessary to help the child understand that "the best improvisation is always prepared." Preparation is achieved by the presence of previous experience, the ability to interpret the content of the text and comprehend the images of heroes, a certain level of mastering various means of realizing one's ideas, etc. Solving this problem requires giving children the right to choose the means for improvisation and self-expression.

The implementation of these tasks and the content of work with children of all age groups requires taking into account the basic principles of organizing theatrical play.

2.4. Forms of organization of theatrical activities

Based on the tasks for the development of theatrical activity with preschoolers, its content of work in kindergarten is determined. Moreover, the forms of organization can be different. For example, L.V. Kutsakov and S.I. Merzlyakov are distinguished: classes (frontal, subgroup and individual), holidays, entertainment, performances, theatrical performances). The main form is an occupation, along with which other, no less important, forms of organizing theatrical activity are possible.

L.V. Kutsakov and S.I. Merzlyakov identified the following types of theatrical activities: fragmentary (in other classes), typical, dominant, thematic, integrative, rehearsal.

Typical,which include the following activities: theatrical and playful, rhythmoplastics, artistic speech, theatrical alphabet (basic knowledge of theatrical art).Dominant -dominates one of the specified types of activity.Thematic,on which all the named types of activity are united by one theme, for example: "What is good and what is bad?", "About dogs and cats", etc.

Complex -used as a synthesis of arts. An idea is given about the specifics of the arts (theater, choreography, poetry, music, painting), about modern technical means (audio and video materials). All types of artistic activity are combined, they alternate, there are features of proximity and differences in works, means of expressiveness of each type of art, which convey the image in their own way.

Integrated, wherenot only artistic, but also any other activity acts as a pivotal type of activity.

The rehearsals are the oneson which the "run-through" of the performance prepared for staging or its individual fragments is carried out. When organizing classes, it must be remembered that knowledge and skills acquired without desire and interest do not stimulate the cognitive activity of preschoolers.

Theatrical activities in kindergarten can be organized in the morning and evening hours - at unregulated times; organically included in other classes (music, art, etc.), as well as specially planned in the weekly schedule of classes in the native language and familiarization with the world around.

It is desirable that all organized forms of theatrical activity be carried out in small subgroups, which will provide an individual approach to each child. Moreover, each time the subgroups should be formed in different ways, depending on the content of the classes.

Classes should simultaneously perform a cognitive, educational and developmental function and in no way can be reduced only to the preparation of performances. Their content, forms and methods of conducting should contribute to the simultaneous achievement of three main goals: the development of speech and skills of theatrical performance; creation of an atmosphere of creativity, social and emotional development of children. Therefore, the content of such classes is not only acquaintance with the text, some literary work or fairy tale, but also acquaintance with gestures, facial expressions, movement, costumes, mise-en-scène, i.e. with the "signs" of the visual language. Also, the content of theatrical activities includes: watching puppet shows and talking about them; games - dramatization; playing a variety of fairy tales and performances; exercises to form the expressiveness of performance (verbally and not verbally); exercises for the social and emotional development of children.

Thus, theatrical activity will contribute to the development of self-confidence in children, the formation of social skills of behavior when each child will have the opportunity to prove himself in the role of one or another character. For this it is necessary to use a variety of techniques: the choice of a role by children at will; the appointment to the main roles of not only brave, but also timid, shy children; distribution of roles according to cards (children take from the hands of the teacher any card on which a character is schematically depicted); playing all roles by all children in turn.

Even the thought of dividing children into "artists and spectators" is unacceptable; on "constantly speaking" and "constantly watching" how others play. In the atmosphere of classes, fear of a mistake should not be allowed, so that children are not afraid to go “on the stage”. Therefore, when proposing to “play” or “show” something, the teacher must proceed from the real possibilities of specific children. That is why the teacher is faced with two main tasks: 1) to understand, to understand what the baby feels, what his experiences are directed at, how deep and serious they are; 2) help him to more fully express his feelings, create special conditions for him in which his activity will manifest, his assistance to those about whom he heard.

In accordance with this, the practical action of each child is the most important methodological principle of these lessons.

Individual work. Another form of organizing theatrical activity is the pair work of a teacher with a child - one on one. Such training is often referred to as individual training. In the process of individual work, there is a close contact between the teacher and the child. This gives the teacher a deeper study of the child's feelings, to understand what his experiences are directed at, how deep and serious they are; helps the educator identify gaps in knowledge, eliminate them through systematic work. Also, individual work helps to prepare the child for the upcoming activity (lesson, play - dramatization, work in a play). In the process of this work, knowledge, skills, skills in further activities are consolidated, generalized, supplemented, systematized.

Independent activities of children - theatrical games.Theatrical games are always loved by children. The great versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but not obtrusive pedagogical tool, because during the game the child feels relaxed, free, natural. Thus, in the process of playing, children develop the skills of independent actions, which consist in being able to think over a plan without outside help, to find pictorial and expressive means for its implementation, to consistently carry out what was conceived, to control their actions in various types of theatrical activities, to be able to act in different situations.

In independent theatrical activities of children, the child not only receives information about the world around him, the laws of society, about the beauty of human relations, but also learns to live in this world, build their relationships, and this requires the creative activity of the individual (attention, imagination, logic, emotional memory, well-developed speech, facial expressions), that is, the ability to keep oneself in society.

Entertainment. In kindergarten, a lot of attention is paid to the harmonious upbringing of each child. It is carried out in the art classes, speech development, music lessons. Entertainment, as it were, unites all types of art, makes it possible to use them creatively, evoke an emotional response in children when they perceive a poetic word, melody, visual and artistic images. There are many types of entertainment. One of the types is theatrical entertainment. It includes theatrical performances, concerts, performances with the participation of professional artists, as well as those prepared by kindergarten workers, pupils, and parents.

Holidays. Holidays, as well as entertainment, should bring joy and give everyone the opportunity to show their artistic abilities, emotional sensitivity, and creative activity.

In order for the holiday to be an effective form of organizing the theatrical activities of children, it is necessary to conduct daily systematic work with them, developing their abilities, taste, creative activity in musical, artistic, speech, visual activities, ensuring the acquisition of skills.

The educator should remember that a festive matinee is, first of all, a joy for children. This is a source of impressions that a child can retain for a long time. It is a powerful tool for the formation of moral and aesthetic feelings. Therefore, good preparation, a well-thought-out scenario, a clear organization - all this determines the behavior and mood of each child at the holiday, the effectiveness of the impact of various types of art. Children should be joyful, cheerful, free and at ease. However, you should not allow unrestrained fun that excites children too much.

Circle work. Also, one of the forms of organizing the theatrical activities of children in a preschool educational institution is circle work, which contributes to the solution of the following tasks: the development of children's imagination, imagination, all types of memory, all types of creativity (artistic speech, musical play, dance, stage) and much more.

2.5. Methods and techniques for the development of theatrical activities in older preschool children

N. Karpinskaya proposed a method of working with children in theatrical activities in the classroom. This work is built in stages: 1) at the first stage, children collectively reproduce the text of the fairy tale; 2) at the second stage, one child is invited to read for all the characters of the fairy tale; 3) at the third stage, children perform a lot of creative tasks (to express joy, fear, etc.); 4) at the fourth stage, a fairy tale is read by roles, etc. ...

The effectiveness of theatrical activity largely depends on its integration with classes in the visual arts of children. In the process of decorative and design creativity, children have the opportunity to think, reflect, remember and fantasize, which also has a positive effect on the expressiveness of the images created.

Of undoubted interest for practitioners is the methodological recommendations for the theatrical and playful activities of preschoolers, developed by L.P. Bochkareva.

Based on the analysis of scientific and methodological literature, the author describes the types of theatrical subject games and gives a detailed description of each of them. Naturally, the types of theatrical games are varied. They complement each other and can take a worthy place in the upbringing and educational work of the kindergarten and make the child's life brighter, richer and more diverse.

These recommendations touch upon another very important aspect of working with children, related to the manufacture of toys for theatrical activities and the creation of a subject-play environment in the group and on the site. An approximate long-term planning of this work is given, starting from the fourth year of life.

The author of the recommendations, of course, is well aware of the real difficulties faced by practitioners in organizing and conducting theatrical activities. First of all, this is due to the lack of study time, which is why work with children in this direction is carried out in close connection with classes on the development of speech, familiarization with the outside world and visual activity.

Analysis of the methodological literature and work experience shows that in the development of theatrical and play activities, scientists and practitioners paid special attention to the development of children's creativity. As a result, interesting methodological techniques were found, for example:

Invite the children to independently come up with a plot with two imaginary toys and play with it; read a familiar fairy tale to children and invite them to come up with a new one, but with the same characters (O. Lagutkina);

Offer children an unconventional set of dolls for composing scenes and plays for roles of different contexts - Santa Claus and Frog, Snow Maiden and Petrushka (T. Nemenova);

Provide children with the opportunity to play contrasting roles - strictly a bear and a small bear cub, an angry dog ​​and a defenseless puppy (G. Prima).

An analysis of the modern practice of preschool education allows us to conclude that more and more attention is paid by teachers to revealing the potential of the child, his hidden talent by means of theatrical art.

Methods for organizing games - dramatizations:1) the method of modeling situations - involves the creation, together with children, of plots-models, situations-models, sketches; 2)creative conversation method- presupposes the introduction of children into an artistic image by means of a special formulation of the question, tactics of conducting a dialogue; 3) the method of associations - it makes it possible to awaken the imagination and thinking of the child through associative comparisons and then, on the basis of emerging associations, create new images in the mind.

The general methods of guiding the game - dramatization, are direct (the educator shows the methods of action) and indirect (the educator encourages the child to act independently) methods.

Conclusions on the second chapter

In the process of theatrical games: children's knowledge of the world around them expands and deepens; mental processes develop: attention, memory, perception, imagination; mental operations are stimulated; there is a development of various analyzers: visual, auditory, speech-motor; vocabulary, grammatical structure of speech, sound pronunciation, skills of coherent speech, melodic and intonational side of speech, tempo, expressiveness of speech are activated and improved; motor skills, coordination, fluency, switchability, purposefulness of movements are improved; the emotional and volitional sphere develops; behavior correction occurs; a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed; the development of creative, search activity, independence is stimulated; participation in theatrical games brings children joy, arouses active interest, and captivates them.

3 puppet theater

Puppet theater is the most common form of organizing children's leisure time in kindergarten. The doll itself is very close to children's perception, because they are familiar with this toy from early childhood, and therefore perceive it as a close friend.

The puppet theater has existed for a very long time. Ancient peoples believed that different gods, good and evil spirits, supernatural beings live in heaven, on earth, underground, in water. To pray to them, people made images of large and small dolls made of stone, clay, bone or wood. They danced around such dolls, carried them on a stretcher, carried them on chariots, on the backs of elephants, arranged cunning devices for opening their eyes, nodding their heads, and biting the teeth of the dolls. Gradually, such spectacles began to look more and more like theatrical performances. For a thousand years in all countries of the world with the help of dolls legends about gods, demons, genies, angels were played out, human vices were ridiculed: stupidity, greed, cowardice, cruelty. In Russia in the XVII century. the most popular puppet theater was the Petrushka Theater. Petrushka is the favorite character of the buffoons who gave a performance to the audience. This is a daring daredevil and a badass, in any situation, retaining a sense of humor and optimism. In the XVIII century. in Russia, Petrushka appeared - a glove puppet controlled by a wandering puppeteer. Puppet theater is a type of theatrical performance in which puppets act, set in motion by actors-puppeteers, most often hidden from the audience.

3.1 Types of theaters

There are several classifications of puppet theater games for preschool children. For example, teachers L.V. Kutsakov, S.I. Merzlyakov are considered: 1) tabletop puppet theater (theater on a flat picture, on circles, magnetic tabletop, conical, toy theater (ready-made, homemade); 2) poster theater (flannelograph, shadow, magnetic poster, stand-book); 3) theater on the hand (finger, pictures on the hand, mitten, glove, shadows); 4) riding dolls (on hapit, on spoons, bibabo, reed); 5) floor dolls (puppets, cone theater); 6) theater of a live puppet (theater with a "live puppet", life-size, people-puppets, theater of masks, tanta-moreski).

For example, G.V. Genov classifies the types of theaters for preschoolers this way: magnetic; desktop; five fingers; masks; hand shadows; "Living shadows"; finger shadow; book theater; puppet theater for one performer.

T.N. Karamanenko, Yu.G. Karamanenko, one of the types of theatrical games - the puppet theater is characterized as a synthetic art, with a whole range of artistic means of influencing children. The authors divide them into the following types: 1) picture theater, represented by plane images: flannelograph; pictures on cardboard, represented by cardboard decorations, which are moved around the table with the help of stands; 2) toy theater using ordinary children's dolls and toys; 3) the theater of parsley, where the puppeteer puts a parsley doll on his hand, controls the doll, speaks for it.

3.2 Types of dolls

1) riding puppet theater; 2)Tmiddle dolls theater; 3)Ttheater of grassroots dolls.

Riding dolls- that is, those that during the performance are above the screen, above the puppeteer working with it. The term was introduced into circulation by Russian folk puppeteers, who opposed riding puppets to a puppet. Riding dolls, in turn, are subdivided into several types.

Glovethe doll is put on the puppeteer's hand and controlled by fingers and a brush. Glove puppets are put on the actor's hand like gloves. The basis of such a doll is a cover to which the handles and head are attached. The suit is sewn to the cover.

The puppeteer's hand can be positioned in different ways. The handles are made longer, sticks or wire-canes are attached to them. With this design, the doll moves more naturally and smoothly.

The glove doll is small in size, its handles are small and stick out upward. The doll most often lacks legs, but they can be attached and set in motion in the performance with the second hand. The doll's handles are sewn like mittens, fingers are stuffed and stitched, they are glued to the chuck (in the form of a ring, a thimble the size of the puppeteer's fingers). Handles with cartridges are attached to the doll's case. A cartridge is also inserted into the doll's head.

Doll Parsley... Glove puppets, regardless of whom they represent, are called a parsley doll, since the famous Parsley became the first character of this type of dolls. Animals - "parsley" and birds are made according to this type.

Bibabo dolls. Their mode of action is that they are put on the hand. The index finger is the head of the doll, and the thumb and middle finger serve as hands. Dresses decorated with details (pocket, apron, belt) are sewn for them. Heads can be made of foam rubber, paper pulp, fabric, papier-mâché.

Reeda doll that gets its name from the canes with which the actor controls her movements. The doll on canes has the following device: its head is fixed on a rod, which the puppeteer holds in his right hand. Thin, long, but stiff sticks are attached to the doll's wrists. The artist controls the doll's hands with his left hand.

The reed doll has long arms, the movements are more graceful than the glove doll. But the parsley doll has more opportunities to wield various objects: she can pick up any object, put it down, carry it away - of course, it is the artist's fingers that help the doll.

A reed doll is larger than a glove doll, and it is much more difficult to work with it. Quite complex puppets are made for puppet shows, canes are masked with the help of hidden mechanisms so that they do not distract the audience.

Fingerdolls are the smallest "artists", usually their height is only 7-9 cm. These are dolls - thimbles, hats, rings, dolls worn over the whole finger, dolls-cones and cylinders. These dolls are very easy to make. They are based on two felt or drape plates, sewn along the edges but the size of the finger. Such dolls are perfect for home entertainment. It is not necessary to make decorations, and a draped back of a chair can become a screen.

A finger doll can be made from a table tennis ball, a baby rattle ball, a kinder surprise egg case. We make a hole for the finger and decorate the toy. We put on a hand a regular glove or a cone made of a piece of fabric.

Median dolls are voluminous, controlled by puppeteer actors either from the side or from the inside of large dolls, inside which there is a puppeteer actor.

Shadow theatersthere are in many countries of the world, but the countries of the East are especially famous for them - Indonesia, Korea, China, Japan, India. The peculiarity of shadow theater is that all used dolls are flat. The doll has a clear, pronounced silhouette, so it is usually depicted in profile. The presentation will require good lighting and a flat screen.

Life-size puppetis a character that is equal in size to human height, used as a specialized costume for various events and celebrations. Such dolls are a very important component of promotions, children's parties, entertainment events, various themed parties, as well as corporate events.

In the theater of grassroots puppets, puppet puppets are used, they move with the help of threads, wire or rods made of metal and wood. All dolls are controlled from above. As in the theater of riding puppets, in the theater of grass-roots puppets, the viewer does not see the puppeteers - they are closed by an upper curtain or a paduga. In some performances, the actors may appear in front of the audience at half their height or even completely.

Puppet(from Italian marionetta) - a kind of controlled theatrical puppet, which is set in motion by the puppeteer with the help of threads or a metal rod.

A doll is usually made up almost entirely of fabric, but some parts are made of other materials as well. The most commonly used material is clay. Ropes are attached to the arms, legs, body and head of the doll, threaded through the holes of the so-called "cross", through the inclinations of which the doll makes human movements.

3.3 Organization of a theatrical activity corner

In the kindergarten group, it is recommended to organize corners for theatrical games and performances. There is a place for director's games with finger, table, stand theater, mitten theater, theater of balls and cubes, costumes (N.V. Miklyaeva).

In the corner are located (V.A. Derkunskaya):

various types of theaters (bibabo, tabletop, shadow, finger, flannelgraph theater, puppet theater, etc.);

props for acting out scenes and performances (a set of puppets, screens for a puppet theater, costumes, elements of costumes, masks);

attributes for various playing positions (theatrical props, make-up, scenery, director's chair, , books, samples of music, places for spectators, posters, programs, box office, tickets, binoculars, "money", numbers, types of paper, fabrics, paints, felt-tip pens, glue, pencils, threads, buttons, boxes, cans, natural material ).

The literary corner contains toy books, the pages of which are pillow-shaped and resemble rubber toys; clamshell books; panorama books. Books upholstered with fabric with embossed appliqués and representing a screen for playing puppet shows have 2-3 "glove" puppets as attachments. For older children - publications with audiovisual, optical effects, electronic parts and other game forms.

Conclusions on the third chapter

There are three main types of puppet theaters:

Theater of riding puppets (glove puppets, hapit-reed puppets and puppets of other designs), controlled from below. Actors-puppeteers in theaters of this type are usually hidden from the audience by a screen, but it also happens that they are not hidden and are visible to the audience in whole or at half their height.

Theater of grass-roots puppets (puppets), controlled from above with threads, rods or wires. Actors-puppeteers in theaters of this type are most often also hidden from the audience, but not by a screen, but by an upper curtain or a curtain. In some cases, puppeteer actors, as in riding puppet theaters, are visible to the audience in whole or half of their height.

Puppet theater of middle (not riding and not grassroots) puppets, controlled at the level of actors-puppeteers. Median dolls are voluminous, controlled by puppeteer actors either from the side or from the inside of large dolls, inside which there is a puppeteer actor. Among the middle dolls are, in particular, the dolls of the Theater of Shadows. In such theaters, the puppeteers are not visible to the audience, as they are located behind the screen onto which shadows from flat or non-flat puppet actors are projected. As middle puppet actors, puppet puppets are used, controlled from behind the puppets by the actors-puppeteers visible or not visible to the audience. Either glove puppets or actor puppets of other designs.

4. The role of the teacher in the organization of theatrical activities

4.1. Skills and skills of the teacher in the organization of theatrical activities

Probably, there is no such kindergarten where teachers do not use theatrical activities in their work. This has become a good tradition. Theatrical and creative activity of children, of course, will not appear by itself. In this, the teacher plays a huge role, skillfully guiding this process.

It is necessary that the educator 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. One of the main conditions is an adult's emotional attitude to what is read. When reading, children need not so much artistry as the sincerity and genuineness of the teacher's feelings, which are for them an example of an emotional attitude to certain situations. The intonation of the teacher's voice is a role model. Therefore, before offering children any assignment, you should practice yourself several times.

The great role of the teacher lies in the moment of transferring the situation in which the action takes place. Verbal description awakens children's fantasy, imagination. Therefore, it is necessary to discuss future scenarios with children as often and in detail as possible.

Thus, the work of the teachers themselves requires them to have the necessary artistic qualities, a desire to professionally engage in the development of stage plasticity and speech, and musical abilities. With the help of theatrical practice, the teacher accumulates the knowledge, abilities and skills necessary for him in educational work. He becomes stress-resistant, artistic, acquires directorial qualities, the ability to interest children in expressive embodiment in a role, his speech is figurative, “speaking” gestures, facial expressions, movement, intonation are used. The teacher must be able to expressively read, tell, look and see, listen and hear, be ready for any transformation, i.e. have the basics of acting and directing skills.

The main conditions are the emotional attitude of an adult to everything that happens, sincerity and sincerity of feelings. The intonation of the teacher's voice is a role model. Pedagogical guidance of play activities in kindergarten includes: 1) education in the child of the foundations of general culture; 2) introducing children to the art of theater; 3) development of creative activity and play skills of children.

The teacher must be extremely tactful. For example, the fixation of the child's emotional states should take place naturally, with the maximum benevolence on the part of the teacher and not turn into lessons in facial expressions.

We need to remember that a preschool child is not a professional actor, he always “plays in the theater”. Theatrical activity is by its nature creative and should be carried out in a free, light form. It is not always necessary to follow the text exactly, on the contrary, you can and should deviate from it, resort to improvisation. The task of the teacher is to encourage the "actor" to experiment, dream up, use knowledge about life. The teacher must provide the child with freedom of action and skillfully combine his fantasies into a coherent plot.

In no case should any pressure, comparison, assessment, or condemnation be applied. On the contrary, it is necessary to provide children with the opportunity to express themselves, to show inner activity. The teacher must strictly monitor so that his acting activity and uninhibitedness does not suppress a timid child, does not turn him only into a spectator.

It is inadmissible to divide into "artists" and "spectators", that is, into constantly performing and constantly remaining to watch how others "play".

The teacher himself must be able to expressively read, tell, watch and see, listen and hear, be ready for any transformation, i.e. master the basics of acting and directing skills. One of the main conditions is an adult's emotional attitude to everything that happens, sincerity and sincerity of feelings. The intonation of the teacher's voice is a role model. Therefore, before offering children any assignment, you should practice yourself several times.

4.2. The main areas of work with children

Theatrical play.The tasks of the theatrical play are to teach children to orient themselves in space, to be evenly placed on the site, to build a dialogue with a partner on a given topic.

To develop the ability to voluntarily strain and relax individual muscle groups, memorize the words of the heroes of the performances, develop visual auditory attention, memory, observation, figurative thinking, fantasy, imagination, interest in performing arts.

Theatrical games are based on enacting fairy tales. The Russian folk tale pleases children with its optimism, kindness, love for all living things, wise clarity in understanding life, sympathy for the weak, cunning and humor, while the experience of social behavior skills is formed, and favorite characters become role models.

Rhythmoplasty. The tasks of rhythmoplasty are to develop the ability to arbitrarily respond to a command or a musical signal, the readiness to act in concert, to develop coordination of movement, to learn to memorize given poses and to convey them figuratively.

Culture and technique of speech.Tasks: to develop speech breathing and correct articulation, clear diction, varied intonation, logic of speech; teach to compose short stories and fairy tales, to select the simplest rhymes; pronounce tongue twisters and poems, replenish vocabulary.

Fundamentals of theatrical culture.The role of the teacher in the upbringing of the foundations of the general culture is to educate the child's needs of a spiritual nature, which are the main driving force of the personality's behavior, the source of its activity, the basis of the entire complexity of the motivation system that constitutes the core of the personality. This is facilitated by the instilling of moral norms, the moral and value orientation of children to highly artistic samples (in music, visual arts, in choreographic, theatrical art, architecture, literature), instilling the skills of communication and interaction with a partner in various kinds of activities.

Objectives: To acquaint children with theatrical terminology, with the main types of theatrical art, to foster a culture of behavior in the theater.

Work on the play.Tasks: to teach to compose sketches from fairy tales; develop skills of action with imaginary objects; develop the ability to use intonations that express various emotional states (sad, joyful, angry, surprised, delighted, plaintive, etc.).

Conclusions on the fourth chapter

A huge role in the organization of theatrical activities is played by the educator, who skillfully guides this process. It is necessary that the educator 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, mastered the basics of acting, as well as the basics of directing skills.In the process of implementationcomplex of occupationson theatrical activity, the following tasks are solved: development of creative abilities and creative independence of the preschooler; fostering interest in various types of creative activity; mastering improvisational skills; development of all components, functions and forms of speech activity; improvement of cognitive processes.

Conclusion

Theatrical activities of children are purposeful, that is, it allows them to successfully solve many educational and educational tasks of a preschool institution.

It has certain forms of organization: occupation, individual work, independent theatrical activities of children, entertainment, circle work.

In the process of creating a theatrical performance, children learn to express feelings and thoughts in an artistic form and, thereby, liberate their personality. Using all the richest arsenal of theatrical means, they also receive purely playful pleasure, which allows them to deeply consolidate the acquired skills.

The synthetic nature of theatrical activity makes it possible to successfully solve many educational and educational tasks of a preschool institution: to foster artistic taste, develop creative potential, form a steady interest in theatrical art, which will further determine the need for every child to turn to the theater as a source of emotional empathy and creative complicity.

Theater in kindergarten will teach a child to see the beauty in life and in people; will engender a desire in him, to bring the beautiful and good into life himself.

Theatrical games represent literary works (fairy tales, stories, specially written dramatizations) in persons.

The all-round development of children through theatrical games will be effective only if it is a purposeful process, in the course of which a number of particular pedagogical problems are solved, aimed at achieving the final goal.

Theatrical activity in a kindergarten can organizationally permeate all regime moments: to be included in all classes, in the joint activities of children and adults in their free time, to be carried out in the independent activities of children. Theatrical activities can be organically included in the work of various studios and circles; products of theatrical activity (staging, dramatization, performances, concerts, etc.) can be included in the content of holidays and entertainment. Theatrical activities contribute to making the life of children in a group more exciting and diverse.

Thus, theatrical activity in kindergarten is aimed at developing sensations, feelings and emotions, thinking, imagination, fantasy, attention, memory, will, as well as skills and abilities (speech, communication, organizational, design, movement).

The role of the teacher in organizing and conducting theatrical games is very important. It consists in setting clear enough tasks for children and transferring initiative to children. It is important to skillfully organize their joint activities and direct it in the right direction, not to disregard a single issue, both organizational plan and issues concerning each child personally (his emotions, experiences, reactions to what is happening), to the difficulties with which children collide. It is very important for the teacher to implement an individual approach to each child.

Thus, theatrical play should be a school of such activity in which submission to necessity appears not as imposed from the outside, but as responding to the child's own initiative, as desired. The theatrical play in its psychological structure is the prototype of future serious activity - life.

List of used literature

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Bochkareva L.P. Theatrical and playful activity of preschoolers. Methodological guide for specialists in preschool education. - Ulyanovsk, IPKPRO, 2013 .-- 213 p.

Vygotsky L.S. Imagination and creativity in childhood.- M., 1991. - 194 p.

Doronova T.N. Development of children from 4 to 7 years old in theatrical activities // Child in kindergarten. - 2001. - No. 2.

Zakharova B. Ye. The skill of the actor and director. - M .: Education, 1973 .-- 320 p.

Zimina I. Theater and theatrical games in kindergarten // Preschool education. - 2005. - No. 4.

We play the theater: Theatrical activities of children 4-6 years old: Method. manual for educators of preschool educational institutions / T.N. Doronov. - M .: Education, 2014. - 127 p.

Egorova T.A. Complex lessons on fairy tales for children 4-6 years old. - Volgograd: Teacher, 2013 .-- 67 p.

Ivantsova L. Korzhova O. The world of the puppet theater. - Rostov-on-Don, Phoenix. - 2013 .-- 160 p.

Karpinskaya N.S. Games-dramatization in the development of creative abilities of children // Artistic word in the upbringing of preschoolers. - M., 1972. - 132 p.

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Lykova I.A.Teat on fingers - M. 2012 .-- 231 p.

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Makhaneva M.D. Theatrical activity of a preschooler // Preschool education. - 1999. - No. 11. - P.6-14.

Migunova E.V. Theatrical pedagogy in kindergarten. - M .: TC Sphere, 2015 .-- 128 p.

Migunova E.V.Organization of theatrical activities in kindergarten:Training method. allowance; NovSU named after Yaroslav the Wise. - Veliky Novgorod, 2016 .-- 126 p.

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Our life is essentially a puppet

performance. You just need to keep the threads

in your hands, do not confuse them, move

by their own will and by themselves

decide when to go and when to stand, not to allow

pull them to others.

Hong Zichn.

Aphorisms of old China.

Methodical development includes:

1. Mastering the basic theatrical actions (Acting).
2. Stage speech (mastering the elementary means of expressiveness of the image: speech, plastic, facial expressions).
3. Acquaintance with various theatrical puppets (table puppets, finger puppets, jumpers, etc.), mastering elementary actions with them.
4. Making attributes and actors of the puppet theater, mastering the actions of puppetry.
5. Cognitive development (development of attention, memory, speech).
6. Social and emotional development, development of personal qualities and communication skills.
7. Development of children's creative abilities (development of imagination and fantasy).

Relevance

Puppet theater - how many memories float at once, when parents first took puppets to the theater, how the magical world of fairy tales fascinated me, the movement of puppets on the screen. Coming home, I wanted to come up with my own theater, realizing my dreams and fantasies, because the fairy tale teaches the necessary life skills and communication with oneself, with the family and the world around us.

The proposed project will teach children and a teacher to arrange their own fairytale theater at home, to open the door to the world of puppets and puppet theater characters. Participation in our project will form interests and attitudes towards the environment, introduce the child into the world of beauty, awaken the ability for empathy and compassion, and help in social and psychological adaptation. DIY toys can come to life in the hands of a child and an adult. Positive emotions, interest, involvement of the child in the fairy-tale world activate thinking and cognitive interest, stimulate active attention, development of speech, and reveal his creative potential. By the end of the year, having accumulated some experience, children will be able to take part in a puppet show or theatrical performance of a fairy tale, scenes.

"It is necessary to expand the child's experience if we want to create a sufficiently solid foundation for his creative activity." (V. Vysotsky.)

Introduction

The value of the puppet theater, theatrical activities is enormous for the all-round development of the child's personality, and the puppet is a necessary link that connects play with creativity.

Theatrical activity develops the personality of the child, instills a steady interest in literature, theater, improves the skill of translating certain experiences into play, and encourages the creation of new images. (N.F.Sorokina). Theatrical activity can be viewed as modeling the life experience of people, as a powerful game training that develops its partners holistically: emotionally, intellectually, spiritually and physically. (A.I.Burenina.)

Play is the leading activity for preschool children. Theatrical play is a kind of role-playing game. The theme and content of theatrical play determine the moral orientation (friendship, responsiveness, kindness, honesty, courage, etc.). Theatricalization helps the child to comprehend the emotional and deep perception of the world around him. It enriches the aesthetic perception of children, since different types of arts are combined in the performances. The active participation of children in mini performances contributes to the development of their speech - supplements it with figurative comparisons, makes it more emotional and expressive. In the conditions of the game, the ability to interact with people is formed, to find a way out in various situations.

While playing with dolls, a child can more accurately than with words tell about what is happening in his life, what he feels, how he treats others, while the doll is responsible for everything said, and not himself. "A child's play is his language, and toys are words." (Ginott H.J.)

The process of making dolls is therapeutic in nature, influencing the development of the child's personality. A doll as a partner in communication in all its manifestations In addition, children develop fine motor skills of hands, imagination, the ability to concentrate, they acquire the skills of graphic and plastic representation of characters, creative processing of impressions. As V.S.Mukhina notes, dolls are of particular importance for the emotional and moral development of a child. Psychologists who work with dolls talk about the inclusion in children and adults of the mechanisms of projection, identification or replacement, which has an impact on development (L.V. Grebenshchikova). While playing with the doll, the baby learns reflection, emotional identification, replacement of real contact with a person, mediated through the doll.

Theatrical - play style of pedagogical activity is a style of interaction between a teacher and children, which does not so much facilitate the work of preschoolers as it allows them, having become interested, to voluntarily get involved in it.

The theatrical play brings great joy and surprise to the child. It contains the origins of creativity: children accept the guidance of an adult, not noticing it. As a syncretic activity, it most fully embraces the personality of the child and meets the specifics of the development of his mental processes: the integrity and simultaneity of perception, imaginative and logical thinking, motor activity, etc. (L.V. Artemova, L.S.Vygotsky, N.F. Sorokina, L.G. Milanovich, D.B. Elkonin and others).

Performing arts classes, participation of children in independent puppetry, acting out dialogues on stage with elements of costume, independent performance of roles in dramatization games and creative dramatization for parents not only lead children into the world of beauty, but also develop the sphere of feelings, form complicity, compassion, empathy , develop the ability to put oneself in the place of another, creative solution to problem situations.

The main goal of our program: to harmonize the child's relationship with the world around him, to reveal his creative potential, individuality, to contribute to the formation of positive character traits, the upbringing of a creative personality through theatrical activities.

• development of a communicative culture, social behavior and communication skills;
• development of the emotional sphere (the ability to feel, understand, empathize);
• acquaintance with various theatrical puppets and their substitutes (attributes);
• formation of puppetry skills and culture of behavior on stage, expressiveness of movements, facial expressions, plastics;
• development of cognitive interest and skills (attention, memory, thinking, motor skills and speech);
• development of imagination, fantasy, creativity;
• development of personal qualities of children, contributing to psychological adaptation.

The program of game lessons in a theater group consists of 107 lessons and is designed for three years of study: junior group "Gnomes" (children aged 3 to 4, 5 years), middle group "Wizards" (from 4 to 5, 5 years old), senior group "Storytellers" (from 5 to 6, 5 years old); 39 lessons per year. The lesson is held once a week, lasting from 15 to 45 minutes, depending on the age and individual characteristics of the children.

The basis for the implementation of our theatrical and play program is an individual approach, respect for the personality of the child, faith in his abilities and capabilities. The process of theatrical studies is based on developing methods and is a system of creative games and exercises. Since play for a child is a way of being, a way of knowing and mastering the world around him, theatrical play is a step towards art, the beginning of the creative development of a person. Classes are held in an entertaining, interesting form for children, if possible based on the plot structure, to help children and the teacher, the general doll "Little gnome" (doll for the teacher), which introduces children to the world of theater and fairy tales, helps in making characters of the theater, gives assignments , fabulous situations, helps and supports everyone.

Program for making dolls and attributes for presentation is built according to the craft principle (from the simplest doll designs to complex dolls), taking into account the age capabilities of children and their level of development.

Technique for making puppet artists : origami, applique, using natural material, from fabric, dough, papier-mache technique, socks, gloves, mittens, from boxes (cones, cylinders), air dolls (balloons), dolls from improvised material (threads, elastic bands, braid, etc.).

Playing with a made doll - artist, contributes to the solution of the following tasks (A. Yu. Tatarintseva, I. Ya. Shishova, I. Ya. Medvedeva):

• improvement of fine motor skills of the hand and coordination of movements;
• increasing responsibility for the result of doll management;
• development of methods of expression through a doll of emotions, feelings, states, movements;
• awareness of the cause-and-effect relationships between their actions and changes in the state of the dolls;
• the formation of adequate ways of expressing various emotions, feelings, states;
• development of voluntary attention;
• the formation of communication skills and abilities, a culture of communication.

The material for making characters for theater and theatrical games corresponds to calendar holidays and is presented with a gradual complication in mind. The content can be changed by the teacher, based on the individual capabilities of the children and the request of the group.

In the classroom, the following equipment and types of dolls are used:

Table and floor screens;

Plane wooden, plastic or cardboard figurines of fairy tale characters;

Decorative decorations (sun, trees, houses, etc.);

Sets of puppets for finger theater; glove dolls, mitten dolls;

Bi-ba-bo dolls, puppets. cane dolls, stock doll;

Dolls - amulets;

Toy characters (rubber and soft jumping toys);

Benefits and attributes for theatrical games (beads, buttons, felt-tip pens, etc.)

Game communication structure:

Greeting, game exercise for the development of communication and social interactions

We will all gather in a circle,

We will smile at each other

And we will turn to each other,

Let's say hello…. (spout, palm, etc.).

Show of a fairy tale, dramatization of a poem, nursery rhyme.

Speech exercises (art. Gymnastics, tongue twisters, exercise. On development. Intonation. Express., Breathing. Exercise., Etc.).

Theatrical play.

Creative games and exercises.

Making a theater character or attributes for a performance (drawing posters, painting tickets, sewing decoration elements, etc.).

The game is presented by a puppet artist.

Motor game, for communicative interaction and correction.

End of class ritual.

Age features and capabilities of children

Early preschool age children may already be more independent in performing small poems and songs. At 3-4 years old, the development of a child is characterized by developed coherent speech, its movements are more diverse and expressive, but actions are often involuntary and spontaneous. The child willingly imitates his elders, and will be able to play a role that boils down to performing expressive movements, with the inclusion of individual words and onomatopoeia, or one or two short remarks.

At the age of 4-5 years children develop voluntary attention, memory, speech becomes more independent and expressive, movements are more coordinated. This allows the child to independently fulfill his role, interacting with the participants in the performance. It is possible to select material for staging not only nursery rhymes, small songs, poems, but also fairy tales.

In older preschool age children strive for independence of judgments, assessments, for creative activity with a continuing desire to copy, imitate. Games with elements of fantasy appear: children not only generalize play actions in words, but also transfer them to an internal imaginary plane.

The first attempts of the child to play the role of “writer”, “performer”, “director” appear, which gives individual self-realization in coming up with a game plot and creating expressive images of characters.

Variety in theatrical games (dramatization by role, table theater, puppet theater on the screen); use of theatrical puppets, home-made toys, attributes, costume elements, scenery in the preparation of the performance. Improvement of the artistic-figurative performing skills of children, intonational expressiveness and the emotional state corresponding to the image (sad, cheerful, etc.), the appearance of a desire in children to show play-play viewers.

Methodological development, the organization of theatrical activities with preschoolers consists of the following sections, revealing the space of the child's interaction with the outside world, influencing personal and psychological development.

Little storytellers

Acquaintance with the world of theater, arouse interest in upcoming activities, creating a warm, benevolent atmosphere of interaction between a teacher and children. Show of puppet shows, staging of children's poems, nursery rhymes, etc., where the teacher is an artist, and the children are spectators. Formation of rules of conduct in the classroom and in the theater (listen carefully to the artists, show interest, mutual assistance, if you want to say something, or ask, wave a ribbon or ring the bell), the introduction of rituals for the beginning and end of the lesson (The first call - the children are calling, the second the call-children are waiting, and the third call - the fairy tale begins); formation of the position of an active spectator (clap at the beginning and at the end of the lesson, as a praise to oneself and as artists and as spectators). Acquaintance with the theater equipment: screen, bell, stage. Mastering basic theatrical actions and puppetry: going on stage, performing, bowing. Conducting games and exercises aimed at developing coordination, dexterity and accuracy of hand movements and to unleash the creative potential of children.

"Gnomes" bringing children to an understanding of theatrical play as a performance for the viewer; acquaintance with theatrical puppets and their substitutes.

"The Magicians" to promote, through theatrical play, the child's self-knowledge (teaching children self-observation, understanding and acceptance of the chosen game character). Develop individual abilities, harmonize the child's needs for recognition. Acquaintance with theatrical genres and different types of theatrical art, with the arrangement of the auditorium and stage.

"Storytellers" during this period, tasks are added for self-disclosure, introducing oneself and one's favorite toys, fairy tales, books, cartoon characters, and developing the ability to improvise. Development of expressiveness of speech, facial expressions and plastics. Development of a conscious attitude towards playing a role in a puppet show. Expansion of the vocabulary and concepts of theater, familiarity with theatrical terminology, the meaning of some theatrical concepts. To nurture the culture of the audience.

World of emotions

Teach children to consciously perceive the emotions of heroes, feelings of experience, and understand emotional states. To acquaint children with the language of emotions, expressive means, which are posture, facial expressions, movement, gestures; the ability to use them to express their own feelings and experiences, which contributes to an increase in the child's self-esteem, his emotional well-being. Enriching children's understanding of the emotions of joy, anger, sadness through familiarity with the situations of their occurrence in a fairy tale.

"Gnomes" acquaintance with the emotions of sadness and joy. Ability to name and recognize their reasons, to understand their changes. "Fear", the possibilities of overcoming it by fairy-tale characters. Introduce the names of basic emotions: joy, surprise, fear, anger, grief, interest. Senses recognition of good and bad mood.

"The Magicians" not only to acquaint one with the basic emotional states, but also to realize, to feel on oneself through the organization of the same situation, to compare it with one's mood at the moment, with the opposite emotions, overcome by the heroes of fairy tales. Distinguish emotions according to pictogram schemes, convey a given emotional state with the help of toys, pantomime, intonation.

"Storytellers", comparison, recognition of various emotional states, expression in an accessible way on stage. Help children cope with overcoming negative states. Understand and describe your desires and feelings, reproduce expressive postures and movements, compare emotions and express your feelings, and recognize the feelings of others through facial expressions and gestures.

The basics of magic

This section of the program is aimed at developing play behavior, artistic and aesthetic feelings, the ability to be creative in any business, the formation of communication skills with peers and adults in various situations. Arranging "theater of all kinds" (Ya. A. Komensky) in any situation. Develop the ability to see the unusual in seemingly ordinary objects. (AI Burenina.) Inventing, conjecturing, changing the end of a fairy tale, painting images, etc., everything that contributes to the development of creative imagination and imagination (the work experience of J. Rodari, A. Rogovin, M. Stul and other authors). Playing a variety of creative tasks that develop attention, creative imagination, speech, expressiveness of movements. Creation of playful fairy-tale situations requiring an independent solution. To reveal to the child his own capabilities and abilities, to help see and hear all the variety of colors and sounds that surround us. The transformation of objects such as furniture, dishes, pebbles and leaves into any kind of fabulous elements. Imagine that you are wearing an invisibility hat, or you have a magic wand in your hands. Enhance cognitive interest, conducting travel games.

"Gnomes" creating interest and enthusiasm for theatrical play, impromptu performances with jumping puppets; playing out poems that correspond to the age capabilities of children. "Magic wand" or "Magic flashlight" (for the good Fairy, in a "mysterious package", with their help, animating toys, objects, various transformations; "Magic book", meeting with fairy-tale characters.

"The Magicians" develop visual and auditory attention, memory, observation, resourcefulness, fantasy, imagination, imaginative thinking. Developing the ability to improvise, showing an impromptu concert in front of each other. Develop the ability to sincerely believe in any imaginary situation (transform and transform). Develop skills in action with imaginary objects. Travel games, hiking in the forest, where you can find Musical, Mysterious, Fairytale, Merry, Sad, Sports, Sweet, etc. "Magic bag", with simple objects that need to be turned into unusual ones. Sketches for the development of creative imagination (transfer a book like a brick or a cake, etc.) Exercises for improvising movements on stage to music, with attributes (ribbons, sticks, rags tied to strings, like puppets, etc.).

"Storytellers", development of children's creative abilities (creativity, cognitive activity, responsibility). To develop the ability to convey the character and mood of musical works in free play plastic improvisations. Games for improvisation of dialogues of fairy tale characters using game cards based on fairy tales. Games with household items (napkins, pencils, pieces of paper, paper, etc.), come up with what it looks like, how you can use it, play out a dialogue between objects. Creation of the "Theater of Everything" (A. I. Burenin), each object with its inherent character and demeanor "plays" in a small scene, which they all came up with together. Travel by "carpet plane", "hot air balloon", "time machine" through fairy tales, parts of the world, different eras. For children entering school, it is possible the situation of traveling on a magic ship to the land of knowledge with Captain Vrungel. On the way, visit the islands of Toys, Fairy Tales, Laughter, Bad Luck, etc.

Family world

To reveal to the child the world of interaction between mother and child: sayings, pestle, affectionate addresses, lullabies, etc. Exercises aimed at gaining experience in the skills of expressive speech and expressive movements. Implementation of experience in theatrical activities. Creation of a situation of communication in a family with the help of dramatization, plot-role interaction. To develop social behavior in children, skills of correct communication. Show the caring attitude of parents towards their children. Create a positive emotional mood.

"Gnomes" education of love, affectionate, sensitive attitude towards mom, dad, the need to please your loved ones with good deeds and the manifestation of a caring attitude towards them. Strengthen the ability of children to express their emotional state using facial expressions and expressive movements.

"The Magicians" children's understanding of their role in the family, to express attention and sympathy to mother's care for all family members. Ability to maintain good relationships with relatives, to show mutual assistance and attention. Accept your role in the family correctly.

"Storytellers", to give children an idea of ​​the professions (by the example of parents); to form respect, trust, mutual understanding and mutual assistance, caring attitude towards family members.

In the world of people

Develop elementary ideas about friendly relationships, contribute to the formation of good relationships between children. Teaching children ethically valuable forms and methods of behavior in relations with other people, the formation of communication skills, communicative methods of communication, the ability to establish and maintain contacts, cooperate and cooperate, avoid conflict situations. Helping children understand that doing something together is not only interesting, but also difficult, since you need to be able to negotiate, follow the order, listen to the opinions of other people.

"Gnomes" using toys as an example, show how to get to know each other, share your toys, find common interests and business. Express your emotional reactions, thoughts and feelings correctly.

"The Magicians" to form ways of solving problem situations among the characters of the performance, to promote the mastery of communication skills. Acquaintance with the rules of etiquette, provide mutual assistance to each other in the game and joint activities, which behavioral features help when communicating with others, and which interfere.

"Storytellers", independent dramatization of conflict situations and the production of masks depicting various emotional states; to teach to understand the difference between harmless jokes and evil teasers, because ugly heroes in fairy tales often have a kind heart. Formation of the ability to communicate, despite the difference in desires and capabilities. Ability to conduct a friendly dialogue, using simple means of expression, to yield to each other in conflict situations.

Natural world

Tell and show children the world of living nature, pay attention to the phenomena of inanimate nature, the interaction of living beings. How many new sensations and knowledge can be given by the singing of birds, the smell of a flower, floating clouds. Concept of life in the natural world. Together with the knowledge of the surrounding world, a culture of attitude towards nature is formed. The idea that we all, each of us are a part of the Universe, live on planet Earth. This is our common home. To reveal, using the example of works of art, the relationship in nature. Formation of a culture of behavior in nature, so as not to harm yourself and your friend, the world around you. Give free rein to the development of the child's fantasy in the course of our stories about nature, including the cognitive aspect. Through the characters depicting living beings (soft toys - bunnies, dogs, etc.), you can lay a sympathetic attitude towards them, as if they were really alive. Such an attitude forms feelings of care, compassion, pity, a desire to help, etc. Toys reflecting various man-made objects of labor, everyday life (cubes, dishes, a typewriter, furniture), toys, made by hand, help to form neatness in a child - the basis of careful attitudes towards them, to introduce them to the care of toys. This is the basis of humane behavior and good deeds in relation to people and objects of wildlife. The main content of the work on the formation in children of a careful and kind attitude to the man-made world also includes the solution, together with children, of small "problems" that arise with toys (resettlement, arrangement, joyful events and grief, etc.), making gifts and surprises from improvised material.

"Gnomes" activate cognitive interest. Formation of skills to depict the phenomena of living nature, using different expressive means: to walk like a club-footed bear, like a sly fox, etc. Imagine yourself as a small cloud, or with the help of a "fish" mitten doll, swim in the sea ocean, find a home, food, etc. Formation of a careful and cognitive attitude to the surrounding reality, to lay the foundations of an accurate attitude to your crafts and friends. Acquaintance with folk ways of describing and depicting the world around you, spiritually enrich the world of kids.

"The Magicians" we form the ability to imitate characteristic movements in posture, emotional manifestation, reactions of animals, correlate with human behavior. To foster a sympathetic attitude in children, help any characters of the world around them, for example, a blueberry bush, or a small bug, Ant, help a hare take a house from a fox, etc. NS.).

"Storytellers", lead children to understand how important it is to learn from animals, to perceive the world through their eyes. Maintain in children a cognitive attitude and emotional responsiveness to the aesthetic side of the surrounding reality. Develop speech as a means of communication. To teach how to make gifts for animals, to make a holiday for pets.

The world of theater (self-presentation)

Opportunity for children to show the experience of theatrical activity, gained during the year. Preparation of performances in front of peers and parents, this also includes, together with an adult, sewing costumes, making attributes, etc. The inclusion of children in the process of improvisation, presenting themselves on stage, creative self-expression. The inclusion of children in the composing process, the very presentation of oneself in the chosen role, stimulating creative activity. Support for adequate self-esteem, faith in the child's abilities and capabilities, the development of his creative activity.

"Gnomes" improvised actions of children on stage, either on their own or with the help of a toy. Dramatization of previously learned scenes on stage. Help children find an expressive gesture, posture, facial expressions. Playing out dialogues, combining them into a single whole action. The very presentation of oneself on stage, the selection of the necessary attributes.

"The Magicians" arouse interest in staging, awaken a motive for the development of creative activity. Continue to educate children in self-confidence and their capabilities, to develop creativity. Independent performance of roles in dramatization games. Theatrical performance for children, the manifestation of creativity and independence. Organization of rehearsals through fun creative games, where the child is given the opportunity to try himself in different roles. Joint work on the creation of theatrical posters, tickets and programs, theatrical attributes. Individual performances of children on stage for each other. Preparation and presentation of the performance (optional).

"Storytellers"

Development of creativity and independence in children. Organization and conduct of rehearsals, through fun theatrical games, where the child is given the opportunity to try himself in any role. Joint work on the creation of a theatrical playbill, tickets, programs, theatrical attributes. Individual performances of children on stage in front of each other. Preparation for the performance of your choice.

Long-term work plan

(repertoire and content of the lesson)

"Gnomes" ( younger age)

1st quarter

(September October November)

Table theater (toy theater)

Show performance on fairy tales. Shows-improvisation. Improvisation games with dolls. Exercises "Mischievous toys", "Doll, doll walk", improvisation game "Fairy tales on the floor" (9). Sketches with table dolls (10, p. 16). Exercise in puppetry, performing simple movements "back and forth", "turn", bow ", etc., an exercise to create a game image.

Finger theater

Show of fairy tales, encouragement of children to pronounce the simplest words, phrases. Exercises for the theater of stompers (4, p. 77). Exercise "Ay-yay-yay", "Come here", "Grandma has arrived" (9, p. 25). The development of manual skill and dexterity, the ability to play with fingers during the performance "Birthday of a finger", "Hello, doll, how are you", etc.

Introduction to small forms of folklore, the development of hand movements: "Okay" (14, p. 18).

Plane theater

The game "Who is behind whom" (the sequence of the release of the heroes, samples of self-demonstration of the fairy tale). Exercise based on the fairy tale "Kolobok", "Teremok", "Ladder" (6, p. 11).

Social development

The game "Who's good with us", "Guess who I'll tell you about", "Find your palm", etc.

Games for cognitive development "Magic bag", "What toy is gone", "Compose a fairy tale about toys".

Studies on the expressiveness of a gesture, on the expression of basic emotional states. (10, p. 22.)

Jumping dolls

Exercise "Bouncing ball" (9, p. 30), "Take a walk with my toy." Impromptu performances on stage with music. Imitation of the gaits and habits of animals, the formation of a respectful attitude to the toy as a partner.

Consolidation of the acquired skills and abilities, exit and impromptu performance of the toy on the stage "Concert of dolls" (9).

Sketches for the reproduction of individual character traits based on the material of children's folklore (10).

2 quarter

(December January February)

Stock dolls

Mastering the gait of dolls, playing nursery rhymes for children. "Cat", "Mice lead a round dance" (10, p. 14).

Show "Cockerel". Scenes "The Mouse", "Sonya the Cockerel" (9). Exercise "Sticks", "Legs" for the development of manual skill and mobility of the hand. Imitation of the gaits and manners of animals.

Masque

Acquaintance with the national holiday Maslenitsa. Choosing and making a mask, acting out a fairy tale (teacher in the role of a storyteller), developing creative imagination. Improvised actions of children on stage.

Dolls spoons

Playing a fairy tale (at the choice of teachers and the age capabilities of children). Improvised dialogues and monologues with puppets, Staging of poems and fairy tales familiar to children. Learning new poems, with the aim of teaching the expressiveness of intonation. (2, p. 47.)

Dramatization of previously learned scenes on stage. Listening to and guessing theatrical noises (development of attention, creative imagination). Depict with movements, facial expressions, whom they heard. Improvisation with objects (ribbons, scarves, etc.) to the music "Living Scraps" (2, p. 8). Show and story of the teacher "Magic in a fairy tale" (a set of objects: a wand, a hat, a shoe; in which fairy tale occurs, why are the heroes of fairy tales needed, etc.).

Studies for the reproduction of individual character traits (10, p. 23).

Glove and mitten dolls

Staging of children's nursery rhymes "My family", "Shadow-shadow-pottyen", "White-sided magpie", etc. We form an interest in playing with fingers, the ability to revive our palm. Exercises for the development of hand mobility "Fish" ", playing with the" Talker "dolls. Games with beads, laying out with a string.

Round dance and outdoor games "Zainka", "Shadow-shadow", "We will build a big house", "Oh, what kind of people are following the frost", etc.

Exercise on the development of imagination "Let's compose a fairy tale" (10, p. 19).

3 quarter

(March April May)

Work on the expressive performance of the text for a future theatrical performance. Dramatization of previously learned scenes, with costume elements.

Theatrical play "Journey to the Spring Forest" (10, p. 34); "On a visit to the forest animals", etc.

Game "Met", "Let's change". Games for the development of orientation in space and on the stage "Hide and Seek", "Find the same", "Put the toy in place".

Exercises and games for communication "Fairy tales on the floor", "Come visit us".

Demonstration of characteristic movements, imitation of role movements, the formation of the necessary knowledge, abilities and skills for performing on stage. Making artists' dolls and combining them into a single whole. We form the ability to change our appearance in accordance with an imaginary image.

"The Magicians" ( average age)

1st quarter

(September October November)

Impromptu performances by children in front of each other with a selected character. Self-presentation. "Puppet Carnival" (M. Rodina).

Securing ways to control tabletop dolls.

Glove & Glove Puppets

Acquaintance with the theater screen, the ability to show a doll on the screen, consolidation of puppet skills on the screen. Exercise "Talkers", "Fish swim in a pond", "Fancy gloves".

Jumping dolls

Show of puppet sketches using early acquired skills. The development of spatial orientation on the stage, the ability to move without bumping into each other, the ability to wait for one's release. Exercises "Walk, dance", "Let's change", "Jumping", "Narrow path", etc.

Stock dolls

Self-presentation on the early acquired skills "Puppet concert" (9, p. 23).

Playing out the simplest dialogues, expressiveness of speech, intonation. The ability to drive a doll around the screen without showing your hand, the ability to move several children on the screen at the same time. Pronunciation, performance of characteristic movements, onomatopoeia, activation of creative imagination.

Visunka dolls

(Jellyfish, crabs, octopuses.)

Development of creative self-presentation to music, with elements of playing emotions, one's mood, transmitting through movements, an object (handkerchief, ribbons, etc.) Exercise "Music of the Sea", "Storm", etc.

Playing sketches for the manifestation of the main emotional states.

2 quarter

(December January February)

Improvisation of dialogues and monologues, scenes or small fairy tales, corresponding to the age capabilities of children. Formation of puppetry skills on a large screen.

Spoon theater

Teaching children the techniques of driving dolls on the screen, "animating" the spoons with movements, now smoothly, as the grandmother walks, then quickly, as the granddaughter runs. Exercises to help practice movements on the screen. "The mouse saw the cheese, sniffed it, was surprised, ran away, etc.", "Consideration and revitalization of any object" (10, p. 43).

Masque

Replaying emotional states, transferring facial expressions. The game "Recognize the emotion", "Convey anger", "We give good", etc. Etude training for the development of mental processes (10, p. 45).

Development of attention and memory "Let's dance", "Check yourself", "Who came".

Finger theater

The development of fine motor skills, manual skill when playing with the hero of the finger theater. Exercises "Hello, finger, how are you", "Dance my finger". Playing sketches on the expressiveness of gesture and intonation based on the material of oral folk art (10, p. 47).

Dialogues to compare different emotions and emotional states. Dramatization of familiar poems about the family.

Visiting Petrushka

Concert improvisation. Exercises for the development of imagination "Flying carpet" (10, p. 47), "Walk in the woods". Moving and round dance games "House", "Loaf", "Centipedes" and others. Games with beads and objects for laying out and developing creativity. Games of improvisation with attributes accompanied by musical accompaniment. We form the methods and skills of communication between actors behind the screen, without the help of a teacher, the ability to show oneself.

3 quarter

(March April May)

Mastering the text for a future theatrical performance. Dramatization of dialogues on stage with elements of costumes and scenery. Staging of fairy tales, scenes learned earlier. Independent performance of roles in dramatization games. "Tales on the Floor", "A Doll's House", "At the Granny's in the Country".

Games for the development of skills to depict the movements of dolls, the habits of animals. Exercises for the development of imagination "We listen to sounds", "We are sad", "Hold the atmosphere" (10, p. 122).

Theatrical performance for parents, the design of the theatrical program and invitation tickets.

"Storytellers" ( older age )

1st quarter

(September October November)

Show children independent improvised performances to each other with their favorite character, hero of a fairy tale, doll, toy. Outdoor and folk games for the development of attention and communication "Let's change places", "Stand up those who have blue eyes, etc.", "Find objects of a certain color", "Compare toys", "Dress the same way", etc.

Finger puppets

Performing finger games and exercises of poems, nursery rhymes. Staging of small-scale fairy tales, dialogues and monologues. Coming up with your own scenes when solving problem situations by artists.

Mitten dolls

Exercises "Snake", "Let's do everything like me." Playing out a familiar fairy tale, rhyme. Cognitive and creative development with gloves, coming up with a creative image, how the characters are similar and different (for example, my fox is cunning, and mine is evil, etc.). Playing with "talkers", the development of speech, diction, intonational expressiveness and voice power. Plyundriki ", development of creative imagination.

Stock dolls

Introduce new dolls. Exercises "Snitch", "Worms on the screen". Playing out the simplest dialogues and fairy tales, dramatizing and learning new poems. Exercises for the development of facial expressions "My mood", "Let's laugh", games with a set of dolls "Alphabet of mood" (A. Tatarintseva).

Tactile games "We give good", "Good train".

Exercises for the development of memory and attention "Think of a fairy tale", "Remember a pose", etc. (10, p. 93).

Craft and compose, development of thinking. Studies for the expression of basic emotions, harmonization of emotional states "Magic Colors" (E. Belinskaya, p. 37).

2 quarter

(December January February)

"Concert of puppets", using previously acquired skills and knowledge Exercises for the development of attention and memory "Let's not get bored", "Zoo", "Be attentive", etc.

Glove puppets

Acquaintance of children with new dolls. Games "Unusual Creatures", "Clouds and Bird" (9). Scene "Unusual Planet". Exercise for the development of creative imagination (10, p. 91), "Bring objects to life", "Dreamers", "Compose a fairy tale".

Puppet puppets and half-puppets

(Belinskaya E., p. 57)

Exercises "Animate the doll", "Take a walk with my toy", "Let's get acquainted".

Show of actions with dolls by the teacher. Sketches with puppets and puppets (10).

Shadow play

Exercise "Live Pictures", "Dancing Shadows", "Stars" (M. Rodina). Exercises for improvisation of movements on stage to the music "I am in the image"; on the development of thinking "Film reel"; "Our Orchestra" (10, p. 123).

Speech and movement games (tongue twisters). Musical and rhythmic exercises with attributes. Plasticine country. (Belinskaya E.). Acquaintance with dolls of the "live" hand.

3 quarter

(March April May)

Role-playing and theatrical games "Dresser-make-up artist". Exercise "I am in the image" (monologues, poems for future performance).

Independent dramatization of poems, scenes, inventing the continuation of fairy tales, situations of communication between the characters. "What would have happened if the kolobok had not met the fox", or "How to help the beavers build a dam", "The meeting of the hare and the fox", etc. Finding new non-standard solutions. Working out movements, intonational expressiveness of speech, reproduction of individual character traits. (10, p. 93).

Acting out dialogues and scenes for future production. Active participation in theatrical performance for adults, performing several roles, ranging from natural objects to the heroes of a fairy tale.

Bibliography:

1. Artemova L.V. Theatrical games for preschoolers: A book for kindergarten teachers. - M.: Education, 1991.
2. Burenina A.I.From game to performance .: Study guide .: SPb, 1995.
3. "Let's get to know each other!" Author-compiler I. A. Pazukhina. - SPb. Childhood-Press, 2008.
4. Home theater. The series "Through the game - to perfection. - M .:" Liszt ", 2000.
5. Zinkevich T. D., Mikhailov A. M. Theory and practice of Fairytale therapy (experience of psychodiagnostics and psychocorrection). Publishing house "Smart", St. Petersburg, 1996.
6. Karamanenko T.N., Karamanenko Yu. G. Puppet theater for preschoolers.-M., Education, 1998 (methods of making puppets).
7. Orlova F.M., Sokovnina E.N. We are having fun. -M., Education, 1973 (methods of making shadow theater).
8. The development of the emotional sphere of the preschooler. Study guide / ed. Agafonova I.N./SPb.: APPO, 2006.
9. Motherland M. I., Burenina A. I. Kuklyandiya: Teaching aid for theater. activities. -SPb.: Publishing house "Musical palette", 2008.
10. Sorokina N.F. education and music directors children. gardens.-M .: ARKTI, 2001.
11. Samoukina N.V. Games at school and at home: psychotechnical exercises and correction programs.-M., 1995.
12. Sokolova S.V. Origami for the smallest .: Methodical manual for educators.-SPb .: Childhood - Press, 2008.
13. Tatarintseva A. Yu. Puppet therapy in the work of a psychologist and speech therapist.-SPb.: Speech, 2007.
14. Fedorova G.P. We were sitting on the golden porch. Games, activities, ditties, songs, nursery rhymes for preschool children. age. -SPb. "Childhood-Press", 2000.
15. DIY crafts. / Author-composition. V. Fedorova, -M.: "My world", 2008.
16. Churilova E.G. Methodology and organization of theatrical activities of preschoolers and ml. schoolchildren: Program and repertoire. -M .: Humanities. ed. center VLADOS, 2001.
17. Chistyakova M.I. Psychogymnastics. -M., 1995.
18. I-you-we. Program for the social and emotional development of preschoolers / comp. O. L. Knyazeva. -M .: Mozaika-Sintez, 2003.

2.3 Forms of theatrical activities used in preschool institutions

Theatrical activities in kindergarten can be organized in the morning and evening hours - at unregulated times; organically included in other classes (music, art, etc.), as well as specially planned in the weekly schedule of classes in the native language and familiarization with the world around.

It is desirable that all organized forms of theatrical activity be carried out in small subgroups, which will provide an individual approach to each child. Moreover, each time the subgroups should be formed in different ways, depending on the content of the classes.

Classes should simultaneously perform a cognitive, educational and developmental function and in no way can be reduced only to the preparation of performances. Their content, forms and methods of conducting should contribute to the simultaneous achievement of three main goals: the development of speech and skills of theatrical performance; creation of an atmosphere of creativity, social and emotional development of children. Therefore, the content of such classes is not only acquaintance with the text, some literary work or fairy tale, but also acquaintance with gestures, facial expressions, movement, costumes, mise-en-scène, i.e. with the "signs" of the visual language. Also, the content of theatrical activities includes: watching puppet shows and talking about them; games - dramatization; playing a variety of fairy tales and performances; exercises to form the expressiveness of performance (verbally and not verbally); exercises for the social and emotional development of children.

Thus, theatrical activity will contribute to the development of self-confidence in children, the formation of social skills of behavior when each child will have the opportunity to prove himself in the role of one or another character. To do this, you need to use a variety of techniques:

the choice of the role by children at will;

the appointment to the main roles of not only brave, but also timid, shy children;

distribution of roles according to cards (children take from the hands of the teacher any card on which a character is schematically depicted);

playing all roles by all children in turn.

Even the thought of dividing children into "artists and spectators" is unacceptable; on "constantly speaking" and "constantly watching" how others play. In the atmosphere of classes, fear of a mistake should not be allowed, so that children are not afraid to go “on the stage”. Therefore, when proposing to “play” or “show” something, the teacher must proceed from the real possibilities of specific children. That is why the educator faces two main tasks:

Understand, understand what the baby feels, what his experiences are directed at, how deep and serious they are;

Help him express his feelings more fully, create special conditions for him in which his activity and his assistance to those about whom he heard will manifest.

In accordance with this, the practical action of each child is the most important methodological principle of these lessons.

Individual work

Another form of organizing theatrical activity is the pair work of a teacher with a child - one on one. Such training is often referred to as individual training. In the process of individual work, there is a close contact between the teacher and the child. This gives the teacher a deeper study of the child's feelings, to understand what his experiences are directed at, how deep and serious they are; helps the educator identify gaps in knowledge, eliminate them through systematic work. Also, individual work helps to prepare the child for the upcoming activity (lesson, play - dramatization, work in a play). In the process of this work, knowledge, skills, skills in further activities are consolidated, generalized, supplemented, systematized.

Independent activities of children - theatrical games.

Theatrical games are always loved by children. The great versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but not obtrusive pedagogical tool, because during the game the child feels relaxed, free, natural. Thus, in the process of playing, children develop the skills of independent actions, which consist in being able to think over a plan without outside help, to find pictorial and expressive means for its implementation, to consistently carry out what was conceived, to control their actions in various types of theatrical activities, to be able to act in different situations.

The outstanding director and actor KS Stanislavsky in his book "The work of an actor on himself", characterizing the child's play, says that the child's play is distinguished by faith in the authenticity and truth of fiction. As soon as the child says to himself "... as if" and the fiction already lives in him. At the same time, one more property is noticed in the child: children know what they can believe and what should not be noticed.

So that the interest in independent theatrical activity in children does not fade away, it is necessary to reinforce it with innovation, which would serve as a motive for the development of further activities. Such an innovation is the subject-spatial environment, which is one of the main means of the child's personality development, the source of his individual knowledge and social experience, the development of creative abilities ... This environment not only provides theatrical activity, but is also the basis for the independent creativity of each child, a kind of self-education ... Therefore, when designing a subject-spatial environment, one should take into account the peculiarities of the emotional and personal development of the child, his interests, inclinations, curiosity, creativity, preferences and needs, and also one should not forget about the individual socio-psychological characteristics of the child, since they imply the desire to participate in joint activities with peers, as well as the occasional need for privacy. At the same time, to ensure the optimal balance of joint and independent theatrical activities of children (theatrical games), each age group should be equipped with a theatrical area or fairy tale corner, as well as a quiet corner where the child can be alone and rehearse a role in front of a mirror or still watch illustrations for the play, etc.

Thus, in the independent theatrical activities of children, the child not only receives information about the world around him, the laws of society, about the beauty of human relations, but also learns to live in this world, build their relationships, and this requires the creative activity of the individual (attention, imagination, logic, emotional memory, well-developed speech, facial expressions), that is, the ability to keep oneself in society.

Entertainment

In kindergarten, a lot of attention is paid to the harmonious upbringing of each child. It is carried out in the art classes, speech development, music lessons. Entertainment, as it were, unites all types of art, makes it possible to use them creatively, evoke an emotional response in children when they perceive a poetic word, melody, visual and artistic images. There are many types of entertainment. One of the types is theatrical entertainment. It includes theatrical performances, concerts, performances with the participation of professional artists, as well as those prepared by kindergarten workers, pupils, and parents.

Thus, theatrical activity contributes to the self-realization of each child and the mutual enrichment of all, because both adults and children act here as equal partners of interaction. It is in a general, play or concert that the child naturally and naturally assimilates the richest experience of adults, adopting images of behavior. In addition, in entertainments and holidays, educators get to know children better, especially their character, temperament, dreams and desires. A microclimate is created, which is based on respect for the personality of a small person, taking care of him, trusting relationships between adults and children.

Holidays

Holidays, as well as entertainment, should bring joy and give everyone the opportunity to show their artistic abilities, emotional sensitivity, and creative activity.

In order for the holiday to be an effective form of organizing the theatrical activities of children, it is necessary to conduct daily systematic work with them, developing their abilities, taste, creative activity in musical, artistic, speech, visual activities, ensuring the acquisition of skills.

The educator should remember that a festive matinee is, first of all, a joy for children. This is a source of impressions that a child can retain for a long time. It is a powerful tool for the formation of moral and aesthetic feelings. Therefore, good preparation, a well-thought-out scenario, a clear organization - all this determines the behavior and mood of each child at the holiday, the effectiveness of the impact of various types of art. Children should be joyful, cheerful, free and at ease. However, you should not allow unrestrained fun that excites children too much.

Mug work

Also, one of the forms of organizing the theatrical activities of children in a preschool educational institution is circle work, which contributes to the solution of the following tasks: the development of children's imagination, imagination, all types of memory, all types of creativity (artistic-speech, musical-play, dance, stage) and much more.

The preschool institution has a teacher-director of the children's theater, who not only realizes these tasks, but also corrects the actions of all teachers who solve all problems, according to the basic program, including theatrical activities, and attracts them to active participation in work on games - performances (up to participation in them in the role of "actors").

The head of theatrical activities conducts work with children who want to go to the circle. The head of the circle sets a goal for himself - not to be limited to screenwriting, directorial and staged work with children - "actors", but to carry out the solution of problems through all types of children's activities throughout the life of the kindergarten, through all types of children's activities, to solve problems in children's activities, aimed at the formation of creativity in children.

The content of the course includes, mainly, work on the performance: analysis of the content of the work, the distribution of roles, game exercises, sketches that contribute to the practical and emotional development of actions according to the plot, and staging work on a complete performance is carried out in special lessons, which are at least one times a week for thirty to forty minutes, either in the first half of the day, or in the second. But such work is not carried out in isolation from the educational work carried out by the educators of the groups, the music director, the teacher of visual activity.

So, for example, in music lessons, children learn to hear a different emotional state in music and convey it with movements, gestures, facial expressions, listen to music for the next performance, noting its diverse content, etc.; in speech classes, children develop a clear, clear diction, work is underway on articulation with the help of tongue twisters, pure talk, nursery rhymes, etc., children get acquainted with a literary work for staging a performance, etc. with illustrations that are similar in the content of the plot, they learn to draw with various materials on the plot of a fairy tale or its individual characters. All play activities of children in their free time under the guidance of a teacher and in independent children's activities should acquire a special content and mood. Children play in the "theater". They act first as actors, then spectators, controllers, usheters, attendants in the hall, guides in the exhibition hall. Children draw posters and invitations to performances, prepare an exhibition of their works.

In the theater studio, under the guidance of a specialist, different sketches are played out to convey different feelings, speech exercises. This can be a frank rehearsal work on the next game - staging, performance. In this case, it is more expedient to use a technique such as playing out one plot (or separate scenes to it) with the help of various theatrical games (tabletop, bi-ba-bo dolls, stand puppets, etc.). For example, work is underway on the musical fairy tale "The Cat's House" (music by V. Zolotarev), some children act out the next scene using b-b-bo dolls on the screen, others - a table theater, and still others - are dramatizing.

On the days when the performance is scheduled, roles are distributed among all the children of the group: who will go to distribute invitations for children - spectators (to the invited group) and adults (employees of the institution), who take part in the design of the exhibition, the foyer of the children's theater, hang posters, who helps to prepare the artistic room (costumes, paraphernalia), etc. - this is the first half of the day. After a day's sleep, the game continues: now you need a controller, a guide, an attendant in the hall, on the stage, in a cafe; the artists change in the wardrobe ... And at the appointed hour guests come (children of another group and adults). The play begins. It is advisable to involve as many children as possible in it. This can be achieved by changing in each action of the children-artists for separate roles and including adults in the action.

Chapter 3. Organization of theatrical activities in the senior group of preschool educational institution number 108

To confirm the theoretical presentation, we present the materials obtained in the pre-diploma practice in the period from 01/26/05. until 22.02.05. in preschool educational institution number 108, in the senior group.

Practical work on the topic of the final qualifying work was carried out in accordance with the "Art Fantasy" program described above. The work plan for theatrical activities of senior preschool children was built in accordance with the main sections of the program:

Theatrical play.

Culture and technique of speech.

Fundamentals of theatrical culture.

Work on the play.

The division of the "Art Fantasy" program into sections, focusing on the psychological characteristics of age, is rather arbitrary, since it is not always possible to determine the boundaries of the transition from one to another.

There are tasks common to all sections, for example: the development of imagination, voluntary attention, memory, activation of associative and figurative thinking.

Theatrical play.

General developmental games.

Aesthetic education of children, including by means of the theater, is aimed primarily at forming a child's readiness for creativity. To achieve this goal, it is necessary to develop such qualities as attention and observation, without which it is impossible to creative perception of the surrounding world, imagination and fantasy, which are the main condition for any creative activity. It is equally important to teach the child the ability to navigate in the environment, develop voluntary memory and quickness of reaction, foster courage and resourcefulness, the ability to coordinate their actions with partners, and activate the thought process as a whole.

Solving all these tasks, general developmental games, included in theatrical activities, not only prepare the child for artistic activity, but also contribute to faster and easier adaptation of children in school conditions, and create the prerequisites for successful study in primary grades - primarily due to actualization intellectual, emotional-volitional and socio-psychological components of psychological readiness for schooling (Appendix No. 1).

Conducting collective educational games, I had to create a cheerful and relaxed atmosphere, to cheer up squeezed and shackled children, not to focus on mistakes and mistakes.

In order to give children the opportunity to evaluate the actions of others and compare them with their own, in almost all games, we divided children into several teams or into performers and spectators. Moreover, the role of the leader in many games was performed by the child.

Special theatrical games.

Acquaintance with the specifics and types of theatrical art, general developmental and rhythmoplastic games and exercises, classes in culture and speech technique are useful for all children, since they develop the qualities and form the skills necessary for any cultural and creatively thinking person, contribute to the development of intelligence, activate cognitive interest, expand knowledge a child about the world around him, prepare him for a subtle perception of various types of art. In order to move from theatrical games to work on sketches and performances, we need, as we conventionally called them, special theatrical games that mainly develop imagination and fantasy. They prepare children for action in a stage setting where everything is fiction. Imagination and belief in this fiction are the hallmarks of stage creativity. K.S. Stanislavsky urged the actors to learn the faith and truth of the game from children, since children are very seriously and sincerely able to believe in any imaginary situation, it is easy to change their attitude towards objects, the place of action and play partners. The chairs placed in a row can turn into the interior of a bus or plane, a mother’s dress into a princess’s ball gown, and the room becomes either a fairy forest or a royal castle. But for some reason, going on stage in front of the audience, children seem to lose their abilities, turning into wooden dolls with memorized gestures, expressionless speech, and unjustified antics.

Thus, the teacher is faced with a difficult task - to preserve the childish naivety, spontaneity, faith, which are manifested in the game when performing on stage in front of the audience. For this, it is necessary, first of all, to rely on the child's personal practical experience and provide him with as much independence as possible, activating the work of the imagination. We introduced children to stage action through exercises and sketches based on well-known short stories. First of all, these are games, exercises and studies aimed at the authenticity and expediency of action in the proposed circumstances, i.e. in an imaginary situation. Any actions in life are performed naturally and justifiably. The child does not think about how he does it, for example, when he picks up a dropped pencil or puts a toy in place. Doing the same on stage when the audience is watching you is not easy. “You know from experience,” KS said. Stanislavsky - what is a bare, smooth, deserted floor of a stage for an actor, how difficult it is to concentrate on it, to find oneself even in a small exercise or a simple sketch. " In order for children to act naturally and purposefully, they needed to find or come up with answers to our questions: why, for what, why is he doing this? Exercises and sketches for stage justification help to develop this ability, that is, the ability to explain, justify any of your postures or actions with fantasized reasons (suggested circumstances)

Action games with imaginary objects or memory of physical actions contribute to the development of a sense of truth and belief in fiction. The child imagines how it happens in life, performs the necessary physical actions. When proposing such tasks, one must keep in mind that children should remember and imagine how they acted with these objects in life, what sensations they experienced. So, playing with an imaginary ball, you need to imagine what it is: big or small, light or heavy, clean or dirty. We experience different sensations when we pick up a crystal vase or a bucket of water, pick chamomile or rose hips. Whenever possible, children are encouraged to first act with a real object, and then repeat the same action with an imaginary one. For example, we asked children to look for a lost bead on the carpet, which was actually there. And then they suggested looking for an imaginary bead.

Famous folk and specially selected games help to prepare children for actions with imaginary objects (Appendix No. 2).

We also offered children the following tasks for actions with imaginary objects: washing their hands, drawing, winding a ball, washing a handkerchief, sculpting pies, hammering a nail, carrying a bucket of water or sand, sweeping the floor, eating an apple, embroidering, watering flowers, playing a musical instrument , rock the doll, etc. And also perform pair and collective exercises: play ball, pull a rope, carry a bucket, play snowballs, badminton, pass a bowl of fruit or a tray of dishes, look for a needle, bead or part from a small machine.

Having fantasized the proposed circumstances for certain actions, the children move on to playing sketches. The word "etude" is of French origin and is translated as "teaching". The concept of "study" is used in painting, music, chess and serves as a preliminary, training work. In the theatrical art, an etude is a small performance in which a certain event should take place in the proposed circumstances, conditions, and situation. They can be suggested by the teacher or written by the children. Moreover, the proposed circumstances can be supplemented by the teacher and children can be included in the sketch in the course of execution.

For sketches, we offered themes that were close and understandable to children ("Quarrel", "Resentment", "Meeting"). The ability to communicate with people in various situations is developed by etudes for polite behavior ("Acquaintance", "Request", "Gratitude", "Treat", "Talking on the phone", "Consolation", "Congratulations and wishes", "Buying a theater ticket" etc.).

When composing a sketch, children must answer many questions: where am I, where did I come from, when, why, who, why?

We also invited children to come up with sketches for the main emotions: "Joy", "Anger", "Sadness", "Surprise", "Disgust", "Fear". Such sketches develop the ability to convey an emotional state with the help of facial expressions and gestures. The same abilities, as well as the logic of behavior, develop studies for five senses (hearing, sight, taste, smell, touch). The work of each of the senses makes you act differently. The behavior of a person looking and listening, tasting and smelling is different. In addition, a person who tastes candy or bitter medicine, smells paint or a baking cake will behave differently. Children, both independently and with our help, came up with the place and circumstances of the action, the situation, and then played out their sketches.

The next stage is the composition of sketches based on fairy tales. Children chose an episode from a fairy tale and composed a sketch based on it. For example: "Gingerbread Man and the Fox", "Little Red Riding Hood at Grandmother's", "Thumbelina - Bug's Bride", "Return of the Bears" (the tale "Three Bears").

Having accumulated a certain amount of experience in working on story sketches, we moved on to improvised dramatization games based on well-known fairy tales. Children were divided into 2 - 3 creative groups and were given the task to play first the same one, and later - different fairy tales. The participants in the mini-performance had to independently assign roles, clarify the development of the plot and fantasize the proposed circumstances. We encouraged children to try to get away from traditional stereotypes, to awaken creative imagination and imagination, helping with questions, for example: which hero? (Lazy or hardworking, kind or evil, hungry or well-fed, stupid or smart.)

Working on sketches and improvisation games develops many of the qualities necessary for participating in performances, including the ability to act in conditions of fiction and communicate, and react to the behavior of partners.

Culture and technique of speech.

Exercises and games for the development of culture and speech technique help children form the correct clear pronunciation (breathing, articulation, diction, orthoepy), teach to accurately and expressively convey the author's thoughts (intonation, logical stress, range, voice strength, speech tempo), and also develop imagination, the ability to imagine what is being said, expand their vocabulary, make their speech brighter and more imaginative.

Many children with whom we worked are characterized by general tightness of muscles, including the speech apparatus, lack of expression and monotony of speech, absence of semantic pauses and logical stress, swallowing of the beginning and end of words. Working on the liberation of the child, it is impossible to do without special games and exercises that develop breathing, freeing up the muscles of the speech apparatus, forming clear diction and voice mobility.

At the senior preschool age, the respiratory and vocal apparatus is still incompletely formed, but it is necessary to strive for the children to understand that the speech of the actor should be more clear, sonorous and expressive than in life. We included speech exercises and games in each lesson, combining them with rhythmoplastic and theatrical games (Appendix No. 3).

First of all, we taught children to inhale silently through the nose, without raising their shoulders, and exhale smoothly, evenly, without tension and jolts (exercises "Playing with a candle" and "Soap bubbles"). In the future, in each task, not only breathing is trained, but also other components of speech in a complex. Depending on the tasks in the lesson, the emphasis was on breathing (exercises "Sick Tooth", "Caprice", "Bells", "Lullaby"), then on articulation (games "Summer Day", "At the Zoo", "In the forest "), Then on diction (exercises" Trained dogs "," Poultry yard "), then on intonation (game" Think of a dialogue ", where the heroes can be the Cannibal and Puss in Boots or the Elephant and the Mouse) or the pitch (" Airplane " , "Miracle ladder").

All these components of speech are perfectly trained on tongue twisters and poems, without the use of special acting training.

Tongue twisters help to form correct pronunciation, articulation, train diction, help children learn to pronounce difficultly pronounced words and phrases quickly and cleanly. Tongue twisters is a fun verbal game that we offered children in various versions: "broken phone", "snake with a collar", "handball", etc. (Appendix No. 4).

We learned tongue twisters with the children collectively, starting slowly, clearly, actively pronouncing each syllable, as if beating a "ball" off the floor. The pace was gradually accelerated. They also spoke tongue twisters with exaggerated clarity, in a loud whisper, so that they could be heard at a distance. To activate the speech apparatus, children were asked to pronounce tongue twisters silently, vigorously moving their lips.

We used the learned tongue twisters, especially dialogical ones, in various theatrical games, in working on intonation, in improvisations, inventing a plot and characters ("Fables", "Two friends met," "Fair").

In order to achieve results in the artistic education of preschoolers, it is necessary to rely on the emotional world of the child, on his cognitive interest. In this regard, the role of poetry in children's theatrical games and exercises is great. A poetic text, as a rhythmically organized speech, activates the entire body of a child, contributes to the development of his vocal apparatus. But poems are not only training in nature for the formation of a clear, competent speech. Figurative, interesting for children, they find an emotional response in the soul of the child, make various games and tasks exciting. Particularly useful in the classroom are dialogic verses that children really like. Speaking on behalf of a certain character, the child is more relaxed, communicates with a partner.

From the point of view of the performing activity of preschoolers, we tried to teach them to use intonations, with the help of which a variety of feelings can be expressed. One and the same word or phrase can be pronounced sadly, joyfully, angrily, surprised, mysteriously, admiringly, plaintively, anxiously, contemptuously, condemningly, etc. Working on intonation, we not only asked children to pronounce a phrase, for example, plaintively or admiringly, but encouraged the children to strive to improvise the proposed situations. By offering children the game "Phrase in a circle", we tried to ensure that each child could explain where, to whom, under what circumstances he pronounces this phrase with a certain intonation.

When talking with children about logical stress, it should be noted that by it we mean the selection of individual words in a phrase that determine its meaning and expressiveness. For example, they suggested pronouncing the tongue twister learned by the children, highlighting different words in it: "The engraver Gavrila engraved the engraving." "The engraver Gavrila engraved the engraving", etc. after such exercises, it was easier for children to highlight the main (key) words in larger poetic texts.

Also, working on the culture and speech technique of children, we included creative games with words in our work ("Magic basket", "Tasty words", "Question - answer"). They develop the imagination and imagination of children, replenish vocabulary, teach to conduct a dialogue with a partner, make sentences and short story stories.

Fundamentals of theatrical culture.

As a rule, preschoolers in our time rarely go to theaters. Their experience is limited to 1-2 visits, mainly to the puppet theater. But children from 3 years old can be very empathetic and grateful spectators. They are ready to watch the same play several times with unflagging interest. The main task of introducing children to the basics of theatrical culture is to familiarize children with some of the basic concepts and terminology of theatrical art.

The implementation of this task was of a practical nature, i.e. took place during theatrical games, exercises, work on sketches, visits to the theater in the form of a dialogue in the form of questions and answers. It makes no sense to strictly require the assimilation of all the material by each child, it is enough that the children understand the teacher who uses theatrical terms and gradually replenished their vocabulary (Appendix No. 5).

At theatrical lessons and rehearsals, the teacher expands and systematizes the knowledge of children about the theater by topics:

Features of theatrical art,

Types of theatrical arts,

The birth of the play

Theater outside and inside

Culture of behavior in the theater. (Appendix No. 6).

Work on the play.

In the evening, we conducted a circle work with the children, the purpose of which was to prepare for the showing of the play based on the fairy tales of G. H. Andersen "Fairy Dreams" (Appendix No. 7).

Creating a performance with children is a very exciting and rewarding activity. Joint creative activity involves even insufficiently active children in the production process, helping them to overcome shyness and stiffness. During the preparation for the performance, we tried to observe several basic rules:

1) do not overload children;

2) not to impose your opinion;

3) not allow some children to interfere with the actions of others;

4) provide all children with the opportunity to try themselves in different roles, without distributing them among the most capable.

As a result, the children were looking forward to each rehearsal, working with desire and joy.

We divided all work with preschoolers on the performance into nine main stages:

1. Choosing a play or staging and discussing it with the children.

2. Dividing the play into episodes and retelling them by children.

3. Work on individual episodes in the form of sketches with improvised text.

4. Searches for musical and plastic solutions of individual episodes, staging of dances. Creation, together with children, of sketches of scenery and costumes.

5. Transition to the text of the play: work on episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters.

6. Work on the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes.

7.Rehearsals of individual paintings in different compositions with details of the scenery and

props (can be conditional), with musical accompaniment.

8. Rehearsal of the entire play with elements of costumes, props and decorations. Clarification of the tempo of the performance. Appointment of those responsible for the change of scenery and props.

9.Premiere of the play. Discussion with spectators and children, preparation of an exhibition of children's drawings based on the play.

The first stage of work on a play is associated with its choice. As a rule, fairy tales, which give "an extremely bright, wide, multi-valued image of the world," serve as material for theatrical embodiment. The world of a fairy tale with its wonders and secrets, adventures and transformations is very close to a preschool child. In order to awaken the children's interest in the work ahead, the first meeting of the children with the play was emotionally intense: the story of the fairy tales that formed the basis of the script, the showing of artistic illustrations in books, listening to the musical pieces used in the future performance, watching feature films based on fairy tales. All this helped to feel the atmosphere of fabulous events, broaden the horizons of children, and activate cognitive interest.

The second stage involves dividing the play into episodes. After reading the script to the children, the children retell each episode, complementing each other, and coming up with names for them. For example: "The Return of the Prince", "Meeting the Princess", "Journey of the Prince", etc.

The third stage is work on individual episodes in the form of sketches with improvised text. At first, the most active children were the participants in the sketches, but gradually we tried, without forcing, to involve all members of the team in this process. We used exercises with puppets, in which children improvised the actions and dialogues of the characters. In such exercises, the children were hampered by a relatively small vocabulary, which made it difficult to freely conduct a dialogue. But gradually, feeling our support, they began to act more naturally and confidently, and their speech became more varied and expressive.

The fourth stage is the acquaintance of children with musical works that will sound in whole or in excerpts in the play.

Vivid musical images help children find the appropriate plastic solution. At first, the children simply improvised movements to the music, independently noted the most successful finds. Then they moved, turning into a specific character, changing gait, posture, gestures, observing each other.

At the same time, in art classes, children learned to create sketches of scenery and costumes, made drawings of individual episodes of the play according to a creative concept, choosing colors in accordance with their imagination.

The fifth stage is a gradual transition to the actual text of the play. During rehearsals, the same passage was repeated by different performers, i.e. the same text was sounded many times, this allowed the children to quickly learn almost all the roles. In addition, at the preschool educational institution, educators participate in this work, who, in their free time from classes, repeated individual episodes with subgroups of children. During this period, the proposed circumstances of each episode were specified (where, when, at what time, why, why) and the motives of the behavior of each actor were emphasized (For what? For what purpose?). Children, observing the actions of different performers in the same role, assessed who did it more naturally and truthfully.

For our part, taking into account the speech, plastic, acting capabilities of children, we have outlined 2-3 performers who are able to cope with a specific role.

The sixth stage begins the actual work on the role. The child, due to age-related psychological characteristics, always plays himself, he is not yet able to reincarnate, to play the feelings of another person. Based on personal emotional experience and memory, he can recall a situation in his life when he had to experience feelings similar to the feelings of the characters in the play. In no case should you impose on young performers the logic of another person's actions or your specific patterns of behavior.

You cannot order the child: "Be scared" - or show your own version of the action. This leads to programmed behavior. You can tell, help the child remember some life episode when the child was really scared. Only in this case will the behavior of children on stage be natural and genuine. It is very important to achieve interaction with partners, the ability to hear and listen to each other and accordingly change their behavior.

We did not offer children pre-conceived mise-en-scenes and tried not to establish the line of behavior of each character, they arose at the initiative of children, relied on their creative imagination and were corrected by us. Different cast of performers offered their own versions, and we fixed the most successful mise-en-scenes for further work on the performance. Achieving expressiveness and clarity of speech, we identified the speech characteristics of the characters. Someone speaks fluently, drawing out words, another - very quickly, emotionally, the third - slowly, confidently, the fourth - grumpy, the fifth - angry, etc.

The seventh stage is a rehearsal of individual pictures in different compositions. At this stage of the work, we made sure that the children did not repeat the poses, gestures, intonations of other performers, but were looking for their own options. We taught children to place themselves on the stage, without getting lost, without blocking each other. Any find, a new successful solution, we with those children who were not currently involved in the rehearsal, noted and encouraged.

The eighth stage is the shortest in time. During this period, rehearsals of the entire play take place. If before that children acted in conventional scenery, with conventional objects (large cubes, chairs, sticks, handkerchiefs, flags), now we began to use decorations, props and props prepared for the performance, as well as costume elements that helped in creating the image.

The rehearsals were held with musical accompaniment, at this moment the tempo of the performance was refined. The protractedness of individual scenes or, conversely, excessive haste, crumpledness make the performance uninteresting for the audience. At this stage, the responsibilities of children in the preparation of props and change of scenery were consolidated.

The ninth stage - the premiere of the play - is at the same time a dress rehearsal, since until that moment the children had never acted in costumes. The first spectators were the teachers who, very strictly, but objectively assessed the performance of the children.

The premiere is always excitement, bustle and, of course, an upbeat, festive mood. In practice, children begin to understand what the collectivity of theatrical art is, how the success of the performance depends on the attention and responsibility of each performer. There is no point in the discussion immediately after the presentation. The guys are too excited and are unlikely to be able to appreciate their successes and failures. But the very next day, in a conversation, you can find out how critically they are able to relate to their own game.

Answering our questions, what was good and what was not, the children learned to evaluate the sincerity and truthfulness of behavior on stage, they noted the expressiveness and resourcefulness of individual performers. We, directing the conversation in the right direction with our questions, tried to point out the main mistakes and shortcomings, but at the same time praise the children and note the most successful and interesting moments of the performance.

For children, the most important and useful period is the preparation of the play, and then the opportunity to play it as long and often as possible. Probably a statement that children get tired of playing the same thing. This is possible only if everything in the performance is programmed and the young performers blindly fulfill the director's will. But if the guys understand what they have to do on stage, but try to act differently each time, then this is already an element of creative improvisation. In addition, performances can be played in different compositions. One and the same role in the performance of different children completely changes, acquiring new colors and sounds. Everyone puts their little experience, their emotions and feelings into it. And here the task of the teacher is to reveal the individuality of the child, to teach him to look for his own expressive means, and not to imitate other performers.

Conclusion

Many teachers, psychologists often reflect on what determines the success or failure of a performance, a theatrical game, or a holiday. It is not always where more effort is expended, the result is better. Various experiments and studies have shown that success is guaranteed when the educator implements an individual approach, shows respect for the personality of each child, believes in the abilities and capabilities of all his pupils.

So, our research, devoted to the study of the features of the organization of theatrical activity in senior preschool age, gives grounds to conclude that the organization of theatrical activity of older preschool children has certain features. Having realized the main objectives of the study, we determined that:

Theatrical activities of children are purposeful, that is, it allows them to successfully solve many educational and educational tasks of a preschool institution.

It has certain forms of organization: occupation, individual work, independent theatrical activities of children, entertainment, circle work.

It has a certain content - in accordance with the program according to which the teacher-head of the TID at the preschool educational institution works (we worked according to the "Art - Fantasy" program).

Has specific methods of work of the teacher-head of the TID: an individual approach, respect for the personality of the child, faith in his abilities and capabilities.

As you know, the theater gives very great opportunities for children to live in a given situation. The constant state of play maintains children's interest in in-depth study of the proposed material. Allows you to diversify and multi-color to experience the culminating moments in the cultural history of mankind.

In the process of creating a theatrical performance, children learn to express feelings and thoughts in an artistic form and, thereby, liberate their personality. Using all the richest arsenal of theatrical means, they also receive purely playful pleasure, which allows them to deeply consolidate the acquired skills.

The synthetic nature of theatrical activity makes it possible to successfully solve many educational and educational tasks of a preschool institution: to foster artistic taste, develop creative potential, form a steady interest in theatrical art, which will further determine the need for every child to turn to the theater as a source of emotional empathy and creative complicity.

Theater in kindergarten will teach a child to see the beauty in life and in people; will engender a desire in him, to bring the beautiful and good into life himself.

Considering the results of the work done, we made the following recommendations for educators and narrow specialists of the preschool educational institution:

Create conditions for the creative activity of children. Encourage performing creativity in theatrical activities, develop the ability to freely and unfettered hold on during a performance, encourage improvisation by means of facial expressions, expressive movements and intonation.

Introduce children to theatrical culture (to acquaint them with the structure of the theater, theatrical genres, with different types of puppet theaters).

Ensure the relationship of theatrical activities with other types of children's activities in a single pedagogical process.

Create conditions for joint theatrical activities of children and adults

Literature

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Appendix No. 1

Relay race.

Target. To develop attention, endurance, coordination of actions.

The course of the game. Children sit on chairs in a semicircle. Starting the game, they get up and sit down in turn, keeping the tempo and not interfering with each other's actions. This exercise can be performed in different ways, coming up with interesting play situations with the children.

a) INTRODUCTION. A favorite hero of children's fairy tales (Carlson, Little Red Riding Hood, Pinocchio, etc.) appears from behind the screen. He wants to get to know the children and invites you to get up and say your name clearly after the previous one.

b) RADIOGRAM. Game situation: a ship is sinking into the sea, the radio operator transmits a radio message asking for help. The child sitting on the first chair is a "radio operator"; he transmits a certain rhythmic pattern along the chain by claps or patting on the shoulder. All children take turns repeating it. passing on. If the task is completed correctly and the last child - the "captain" of the rescue ship follows the rhythm exactly, then the ship is saved.

What do you hear?

Target. Train auditory attention.

The course of the game. Sit quietly and listen to the sounds that will be heard in the study room for a certain amount of time. Option: listen to sounds in the hallway or outside the window.

Appendix No. 2

WHAT WE DID WILL NOT TELL YOU, BUT WE WILL SHOW YOU!

Target. Develop imagination, initiative, attention, the ability to act in concert, play with imaginary objects.

The course of the game. The room is divided in half by a cord or dash. On the one hand, there are “Grandfather and three or five grandchildren,” selected with the help of a counting rhyme, on the other side, the rest of the children and the teacher who will make riddles. Having agreed on what the riddle will be, the children go to the "grandfather" and "grandchildren".

Children. Hello grandfather, gray-haired with a long, long beard!

Granddad. Hello grandchildren! Hello guys! Where have you been? What have you seen?

Children. We visited the forest and saw a fox there. We will not tell you what we did, but we will show you!

Children show a fictitious riddle. If “grandfather” and “grandchildren” give the correct answer, the children return to their half and come up with a new riddle. If the answer is given incorrectly, the children say the correct answer and after the words "One, two, three - catch up!" run over the line, into their home, and the "grandfather" and "grandchildren" are trying to catch up with them, until they crossed the rescue lines. After two riddles, new "grandfathers" and "grandchildren" are chosen.

In riddles, children show how they, for example, wash their hands, wash handkerchiefs, gnaw nuts, pick flowers, mushrooms or berries, play ball, sweep the floor with a broom, etc.

Appendix No. 3

SPEECH BREATHING GAMES AND EXERCISES

PLAY WITH A CANDLE

Target. Develop correct speech breathing.

The course of the game. Children are invited to take a silent breath through their nose, then blow on a burning candle, standing at some distance. The task is not to extinguish the candle, but only to smoothly "dance" the flame. The exhalation is done with a thin, elastic and smooth stream of air through tightly compressed lips. The first time the exercise is done with a real burning candle, and then you can play with an imaginary flame.

BUBBLE

Target. Same.

The course of the game. Children are divided into two teams. The first team blows "soap bubbles" with the help of imaginary straws on an even exhalation. We must try so that they do not burst immediately, but become as large as possible and, breaking away from the straw, fly away. Children of the second group follow their actions and at the same time read the poem "Bubbles" by E. Fargen in chorus or roles:

Caution - bubbles!

Oh, what!

Oh look! Swell!

Come off!

Mine - with a plum!

Mine - with a nut!

Mine - did not burst the longest.

ARTICULATION GYMNASTICS

LIP CHARGER

1. Cheerful piglet:

a) at the expense of "one" closed lips are extended forward, like a piglet's patch; on the count of "two" lips stretch into a smile, without exposing their teeth;

b) closed elongated lips (patch) move first up and down, then right and left;

c) the patch makes circular movements, first in one direction, then in the other.

Finishing the exercises, children are encouraged to completely release the muscles of the lips, snorting like a horse.

CHARGER FOR NECK AND JAW

Children often speak through their teeth, their jaw is clenched, the mouth is barely open. To get rid of these deficiencies, it is necessary to release the muscles in the neck and jaw.

Tilt your head to the right, then to the left shoulder. Then roll it over the back and chest;

Surprised hippopotamus: throw the lower jaw down sharply, while the mouth opens wide and freedom :.

Yawning panther: press both cheeks with both hands in the middle part and say "wow, wow, wow ...", imitating the panther's voice, sharply lowering the lower jaw wide: opening the mouth, then yawning and stretching.

4. Hot potato: Put an imaginary hot potato in your mouth and make a closed yawn (lips closed, soft palate raised, larynx lowered).

FREEDOM GAMES AND EXERCISES WITH A SOFT ATTACK

SORE TOOTH

Move. Children are asked to imagine that they have a very sore tooth, and they begin to moan at the sound "m". The lips are slightly closed, all muscles are free. The sound is monotonous, stretching.

KAPRIZULA

Move. Children portray a capricious child who whines, demanding to take him on the arms. Whine on the sound "n", without overestimating or underestimating the sound, looking for a tone on which the voice sounds smoothly and freely.

BELLS

Move. Children are divided into two groups, and each in turn depicts the ringing of bells: blow - bom! And the echo - mmm ... BOOMM - BOOMM! BOOMM - BOOMM! BOOMM - BOOMM! DINN - DONN! DINN - DONN! DINN - DONN!

LULLABY

Move. Children imagine that they are rocking a toy and hum a lullaby, first with their mouths closed to the sound "m", and then the same musical phrase of a lullaby to the vowel sounds "a", "o", "y".

Appendix No. 4

The tongue twister games can be offered in different ways.

"Broken phone" - two teams are playing. The captain of each gets his own tongue twister. The winner is the team that, at the signal from the leader, will quickly transmit the tongue twister along the chain and the last representative of which will better and more accurately pronounce it aloud;

"Hand ball" - the presenter tosses the ball and calls the name of a child. He must quickly run up, catch the ball and say a tongue twister, etc.;

A variant of the "handball" - children stand in a circle, in the center is the leader with the ball. He throws the ball to any child, he must catch him and quickly pronounce a tongue twister. If the child failed to catch the ball or was unable to pronounce the tongue twister clearly, he receives a penalty point or is out of the game;

"Snake with a collar" - children move in a chain behind the presenter and pass through the collars formed by the last two children. The child, in front of whom the collars have slammed, must utter any tongue twister. If he does it well, the collars open and the game continues, otherwise the child repeats the tongue twister;

"Phrase in a circle" - children, sitting in a circle, pronounce the same phrase or tongue twister with different intonation; the goal is to develop intonation;

"The main word" - children pronounce the tongue twister in turn, each time highlighting a new word, making it the main one in meaning. Tongue twisters can be learned in motion, in various poses, with a ball or with a rope.

TONGUE TWISTERS

Sasha sewed a hat for Sasha.

Sasha walked along the highway and sucked drying.

Lucky Senka Sanka with Sonya on a sled

Six mice rustle in the reeds.

Curdled milk serum.

The wasp perched on the nose, I will carry the wasp to the branch.

Forty mice were walking, carrying forty pennies; two plain mice were carrying two pennies.

The drying mice were dried, the mice were invited, the drying mice began to eat, the mice broke their teeth!

The bristle is at the pig, the scales are at the pike.

The cuckoo bought a cuckoo hood.

Centipedes have too many legs.

Frightened by a bear cub a hedgehog with a hedgehog and a hedgehog.

The beetle, buzzing over the puddle, waited until the snake's supper.

A beetle buzzes over the honeysuckle, a green casing on the beetle.

The red-haired cat was lying on its stomach.

Our Polkan fell into a trap.

From the trampling of hooves, dust flies across the field.

The weaver weaves fabrics on Tanya's shawl.

The bull was dull-lipped, the bull was dull-lipped, the bull had a dull white lip.

He hid the quail and quail in the copse from the guys.

The cap is not sewn in Kolpakov style, the bell is not poured out in a Kolokolov style. It is necessary to re-cap the cap, re-cap; it is necessary to re-chime the bell, re-chime.

Clara put the bow on the shelf, called Nikolka to her.

Karl stole corals from Klara, and Klara stole a clarinet from Karl.

Grass in the yard, firewood on the grass.

Three gibberish magpies were chattering on the hill.

Three magpies, three ratchets, lost three brushes.

At the gate - daisies, three snails crawled up to them.

In the mornings, my brother Kirill fed three rabbits with grass.

The wet weather is soggy.

Half a cellar of turnips, half a cap of peas.

The cat caught mice and rats, the rabbit gnawed a cabbage leaf.

Polycarp's catch is three crucian carp, three carp.

Kondrat's jacket is a bit short.

Valerik ate a dumpling, and Valyushka ate a cheesecake.

Appendix No. 5

Dictionary of theater terms

Proscene is the space of the stage between the curtain and the orchestra or auditorium.

Actor is active, acting (act - action).

Amphitheater - places located behind the parterre.

Intermission - the interval between the actions of the performance.

Applause - clapping of approval.

Artist - artist (skill, skill).

Playbill - announcement of the performance.

Ballet is a kind of theatrical art, where the content is conveyed without words: music, dance, pantomime.

Mezzanine - 1st floor above the parterre and amphitheater.

Benoir - boxes on both sides of the stalls at stage level.

Props are items specially made and used instead of real things in theatrical performances (dishes, weapons, jewelry).

Make-up is face tinting, the art of giving the face (through special paints, sticking a mustache, beard, etc.) the appearance that an actor needs for a given role.

Decoration (lat.) - decoration; decoration of the action on the theatrical stage (forest, room).

Dialogue is a conversation between two or more persons.

Drama is a composition for a stage.

Gesture - movements of the hands, head, conveying feelings and thoughts.

The backdrop is a painted or smooth background made of soft fabric, suspended at the back of the stage.

A pocket is a side part of the stage, hidden from viewers.

The curtains are vertical strips of fabric that frame the stage at the sides.

Mise-en-scene - stage placement, the position of the actors on the stage at a certain moment.

Mimicry - thoughts and feelings conveyed not by words, but by the face, body movement, facial expression reflecting the emotional state.

A monologue is the speech of one person, thoughts out loud.

Opera is a musical and dramatic performance in which the artists do not speak but sing.

Operetta is a fun musical performance in which singing alternates with conversation.

Padugas are horizontal stripes of fabric that limit the height of the stage.

Pantomime is an expressive body movement, the transmission of feelings and thoughts by the face and the whole body.

The wig is false hair.

Parterre - seats for spectators below the stage level.

Director - managing the actors, distributing the roles; the person in charge of the production of the performance.

Props - things that are genuine or fake, necessary for the actors during the course of the performance.

Remarque - explanations of the playwright on the pages of the play, which determine the place and setting of the action, indicate how the characters should behave in certain circumstances.

Repertoire - plays performed in the theater at a certain period of time.

Rehearsal - repetition, preliminary performance of the performance.

Replica - a phrase of an actor, followed by another actor or some stage action takes place.

Theater is a place for spectacles.

The rod is a metal pipe on cables, to which the wings and details of the scenery are attached.

Foyer - a room in the theater that serves as a resting place for spectators during the intermission.

Appendix No. 6

I. Features of theatrical art

All questions of this subsection can be considered during the discussion of the performance, in the work on the play. It is not necessary to use the word "synthesis"; it is enough to find out with the children that the theater uses and unites other types of art - literature, painting, music, choreography. But the main thing in the theater is the play of the actors. You can use the statement of V.I. Nemirovich - Danchenko: “You can build a wonderful building, plant excellent directors and administrators, invite musicians, and yet there will be no theater; but three actors will come out onto the square, lay a rug and begin to play a piece even without makeup and furnishings - and the theater is already there. For the actor is the king of the stage. "

In practice, children learn that theatrical art is collective, because created by the efforts of all members of the creative team. And, finally, unlike the works of painting, literature, music, which are created by an artist once, theatrical art is created anew each time in the presence and with the support of the audience. This feature of the theater can be understood by children only if the performance is repeated several times in the presence of different spectators (preschoolers, schoolchildren, parents).

II. Types of theatrical arts

You can talk about them only after the children have watched the performances of the puppet and drama theater, visited the opera and ballet theater. If this is not possible, then video recordings can be shown, especially excerpts from ballet and opera performances. Then you can invite them to stage a well-known fairy tale, for example, "Teremok", using such types of theater as puppet, dramatic, musical (opera, ballet, operetta).

III. The birth of the play

This subsection assumes the formation of ideas about theatrical professions, as well as about theatrical performance through the eyes of actors and the eyes of spectators.

There are many concepts and words that are easier to learn in the process of games and studies. Acquaintance with such concepts can be started by suggesting the game "Let's go to the theater" or "What the theater program told about".

You can consolidate your knowledge of theatrical terminology on the topic "Performance and Actor" using the game "Magic Basket" and other games. (Exercises and games for the chapter "Culture and speech technique", creative games with the word).

IV. Theater outside and inside

A theater building, as a rule, differs from residential buildings and institutions with its architecture, a beautiful facade, often with stairs and columns, it is not for nothing that the theater is called a “temple of art”. It is best to organize a city tour with your children and show the theater buildings. If this is not possible, then you can consider photographs or illustrations depicting famous theaters (Youth Theater, Puppet Theater, Musical Theater, Drama Theater).

Speaking about the arrangement of the auditorium, you can invite children to build a parterre, an amphitheater out of chairs, and mark the tiers of balconies. You can show in illustrations what the theater was like in Ancient Greece, and the modern structure of the theater.

What is the world of the wings, children should feel on the teak, walk around the stage, stand behind the scenes.

V. Culture of behavior in the theater

It is advisable to consider this topic in the practical activities of children, using theatrical games and sketches: "Buying a theater ticket", "What the theater program told about", "Today we are going to the theater", etc. You can acquaint children with the memories of famous cultural figures about their first visit theater (K. Stanislavsky, G. Ulanova, N. Sats and others).

These opportunities were used, the creative potential of an adult will largely depend. Chapter 2. Theatrical activities as a means of developing the creative abilities of older preschool children. Children's creative abilities are manifested and developed on the basis of theatrical activity. This activity develops the personality of the child, instills a stable ...

About the feeling of time as an aesthetic phenomenon, its value sense in the life of a child, and the experience is gained to be guided by it in his life. 2.4 Dynamics of the development of a sense of time in older preschool children The purpose of the control stage of the experiment was to identify qualitative changes in the levels of development of temporal representations in older preschool children ...

Comparative graph of the ascertaining and control stages Thus, our experimental work has proved that the process of forming moral values ​​in older preschool children will be carried out more efficiently with the systematic inclusion of games - dramatizations in the integral pedagogical process. At the same time, the selection of works of art for playing with them with ...

Natalia Kononenko
Organization of theatrical activities in kindergarten

Forms of organizing theatrical activities:

Theatrical lesson;

Joint theatrical activities of adults and children;

Independent theatrical and artistic activity;

Theatrical performances;

Theatrical play at holidays, entertainment;

Theatrical games in everyday life;

Mini-games for music lessons;

Mini-games in other activities;

Children visiting theaters with their parents;

Museum of dolls.

Classification of theatrical games

There is a plurality of points of view on the classification of games that make up theatrical and play activities.

L.V. Artemova divides theatrical performance into two groups: dramatizations(play-dramatization with fingers, play-dramatization with bibabo dolls, improvisation.) and director's(tabletop toy theater, tabletop picture theater, book stand, flannelgraph, shadow theater, etc.).

V games-dramatizations a child-artist independently creates an image using a complex of means of expression (intonation, facial expressions, pantomime, performs his own actions of performing a role.

Dramatizations are based on the actions of the performer who can use the dolls.

In the director's game, the child is not an actor, he acts for a toy character, he himself acts as a screenwriter and director, controls toys or their deputies.

Methodology for the management of theatrical games

The effective development of children's theatrical play certainly needs targeted pedagogical support. It should be noted that the general methods of guiding a theatrical play are straight(the teacher shows the ways of action) and indirect(the teacher encourages the child to act independently) techniques.

The system of work on the development of theatrical activities is divided into three stages:

1. artistic perception of literary and folklore works;

2. mastering special skills for the development of basic ("actor", "director") and additional positions ("screenwriter", "designer", "costume designer");

3. independent creative activity.

The management of theatrical games is based on work on the text of a literary work. RI Zhukovskaya advises to present the text of the work expressively, artistically, and during repeated reading, involve children in a simple analysis of the content, lead them to understanding the motives of the characters' actions.

The enrichment of children with artistic means of conveying the image is facilitated by sketches from a read work or the choice of any event from a fairy tale and its drawing (the audience is guessing). There are interesting sketches in which children move to the accompaniment of pieces of music.

Drawing up a verbal portrait of the hero;

Fantasizing about his home, relationship with ro-

parents, friends, inventing his favorite dishes, activities, games;

Composing various incidents from the life of the hero, not provided

staging;

Analysis of invented actions;

Work on stage expressiveness: defining the purpose

consistent actions, movements, gestures of the character, place on the stage

sky platform, facial expressions, intonation;

Preparation of theatrical costume;

Using makeup to create the look

The rules of dramatization (R. Kalinina):

Individual rule;

General Participation Rule;

The rule of freedom of choice;

Rule of Helping Questions;

Feedback rule;

Attributes to dramatization;

The rule of a wise leader.

basic rules (E. G. Churilova):

Do not overload children;

Do not impose your opinion;

Do not allow some children to interfere with the actions of others;

Provide all children with the opportunity to try themselves in different roles without distributing them

among the most capable.

E. G. Churilova singles out ten main stages of working with preschoolers on a performance:

1. Select a play or performance and discuss it with the children.

2. Dividing the play into episodes and retelling them by children.

3. Work on individual episodes in the form of sketches with improvised text.

4. Search for musical and plastic solutions to individual episodes, staging dances (if necessary). Creation, together with children, of sketches of scenery and costumes.

5. Go to the text of the play: work on episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters.

6. Work on the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes.

7. Rehearsals of individual paintings in different compositions with details of scenery and props (can be conditional, with musical accompaniment.

8. Rehearsal of the whole play with elements of costumes, props and decorations. Clarification of the tempo of the performance. Appointment of those responsible for the change of scenery and props.

9. Premiere of the play. Discussion with spectators and children.

10. Re-screenings of the play. Preparation of an exhibition of children's drawings from a play, a stand or an album with photographs.

Work plan on the fairy tale (E. A. Antipina):

I. 1. Reading a fairy tale. 2. Display of musical numbers. 3. Conversation on content.

II. 1. Discussion of candidates for the role of characters in the fairy tale. 2. Reading a fairy tale by roles.

III. 1. Working with the lead child. 2. Acquaintance with the introduction.

IV. 1. Working with artists: a) expressive reading; b) playing movements; c) facial expressions. 2. Acquaintance with the pattern of dances.

V. 1. Individual work on roles with phonogram. 2. Learning to dance. 3. Anchoring.

Vi. 1. Work on the dances. 2. Working with phonogram.

Vii. 1. Joint rehearsal for all participants in the performance. 2. Anchoring.

VIII. Dress rehearsal.

IX. Premiere.

Organization of a theatrical performance corner

When designing a subject-spatial environment that provides theatrical activity of children, one should take into account:

Individual socio-psychological characteristics of the child;

Features of his emotional and personal development;

Interests, inclinations, preferences and needs;

Curiosity, research interest and creativity;

Age and gender-role features.

In the corner are located(V. A. Derkunskaya):

Various types of theaters (bibabo, tabletop, shadow, finger theater, flannelgraph theater, puppet theater, etc.);

Props for acting out scenes and performances (a set of puppets, screens for a puppet theater, costumes, elements of costumes, masks);

Attributes for various playing positions (theatrical props, make-up, decorations, scripts, books, samples of music, seats for spectators, posters, programs, box office, tickets, binoculars, "money", numbers, types of paper, fabrics, paints, felt-tip pens, glue, pencils, thread, buttons, boxes, cans, natural material).

Younger group. Classes are organized so that the children themselves do not have to reproduce the text of the fairy tale, they perform a certain action. The text is read by the teacher, preferably 2-3 times, this contributes to an increase in the sound concentration of children and the subsequent emergence of independence.

ZM Boguslavskaya and EO Smirnova believe that kids, acting in accordance with the role, make fuller use of their capabilities and cope with many tasks more easily, learn without noticing for themselves. Role games activate the imagination of children, prepare them for independent creative play. Children of the younger group are happy to transform into familiar animals, but they cannot yet develop and play with the plot. It is important to teach them some methods of game actions based on the model. The sample is shown by the educator. OS Laputina recommends for this purpose to carry out the games "Mother hen and chickens", to play scenes based on the literary works "Toys" by A. Barto, "Cat and goat" by V. Zhukovsky, use nursery rhymes: "Cat's house", "Grow a scythe to belts ", etc. To create a reason for the emergence of independent play, you can distribute toys and objects to children. The sample is shown by the educator.

The formation of interest in theatrical games develops in the process of watching puppet shows, which are shown by the educator, stimulating the child's desires to join the play, complementing individual phrases in the dialogues of the characters, the steady turns of the beginning and ending of the tale. The attention of children is fixed on the fact that at the end the dolls bow, ask to thank them, clap their hands. Theatrical dolls are used in the classroom, in everyday communication. On their behalf, an adult thanks and praises the children, greets and says goodbye. In the course of classes, evenings of entertainment, he includes fragments of dramatization, changing into a special costume, changing his voice and intonation. The teacher gradually expands the play experience by mastering the varieties of dramatization play, which is achieved by consistently complicating the play tasks in which the child is involved. Steps:

The game is an imitation of individual actions of a person, animals and birds and an imitation of the basic emotions of a person (the sun came out - the children were delighted: they smiled, clapped their hands, jumped on the spot).

The game is an imitation of a chain of sequential actions combined with the transfer of the hero's emotions (funny nesting dolls clapped their hands and began to dance).

A game that imitates the images of well-known fairy-tale characters (a clumsy bear walks to the house, a brave cockerel walks along the path).

Game-improvisation to music ("Merry Rain").

A wordless improvisation game with one characters based on the texts of poems and jokes that the teacher reads ("Zainka, dance.").

Game-improvisation based on the texts of short fairy tales, stories and poems, which are told by the teacher (3. Alexandrova "Herringbone").

Role dialogue of the heroes of fairy tales ("Mitten", "Zayushkina hut").

Performance of fragments of fairy tales about animals ("Teremok").

A dramatization game with several characters based on folk tales ("Turnip") and author's texts (V. Suteev "Under the mushroom").

In children of this age, the primary development of stage director's theatrical play is noted - a tabletop toy theater, a tabletop plane theater, a plane theater on a flannelograph, and a finger theater. The process of mastering includes mini-performances based on the texts of folk and author's poems, fairy tales ("This finger is grandfather.", "Tili-bom").

Middle group... There is a gradual transition of the child from playing "for himself" to playing directed at the viewer; from a game, in which the main thing is the process itself, to a game, where both the process and the result are significant; from playing in a small group of peers performing similar ("parallel") roles to playing in a group of five or seven peers whose role positions are different (equality, subordination, management); from creation in the game-

dramatization of a simple "typical" image to the embodiment of a holistic image, which combines emotions, moods of the hero, their change.

At this age, there is a deepening of interest in theatrical games, its differentiation, which consists in the preference for a certain type of game (dramatization or directorial, the formation of motivation for interest in play as a means of self-expression. Children learn to combine movement and text in the role, develop a sense of partnership, combine movement in the role and the word, use the pantomime of two or four characters. It is possible to use teaching exercises such as "Imagine yourself as a little bunny and tell about yourself."

With a group of the most active children, it is advisable to dramatize the simplest fairy tales using table theater; with inactive - dramatize works with not big amount action.

The methods and techniques used in the younger group are becoming more complicated: leading the story in the first person, accompanying the text and movements: “I am a cock. Look, what a bright comb, what a beard, how important I walk, how I sing loudly: ku-ka-re-ku! ”; table theater. The following works are recommended for independent showing: "Turnip", "Teremok", "Kolobok". For showing by the teacher - "Two greedy teddy bears", "Fox

and geese ”,“ Fox, hare and rooster ”. For dramatization, use excerpts from fairy tales, where there are repetitions, and then the whole fairy tale.

The expansion of the theatrical and play experience of children is carried out through the development of play-dramatization. When working with children, the following are used:

Multi-character dramatization games based on the texts of two-three-part fairy tales about animals and fairy tales ("Geese-Swans");

Dramatization games based on the texts of stories on the theme "Work of adults";

Staging a performance based on the work.

The expansion of children's play experience also occurs through the development of theatrical play. At the age of 5, a child masters different types of table theater: soft toys, knitted theater, cone theater, theater of folk toys and plane figures. Actions with dolls in hapit become new content. The theater of riding puppets is available to children (without a screen, and by the end of the school year - with a screen, theater of spoons, etc.) at the granny).

Senior group. Children continue to improve their performing skills. The teacher teaches to independently find ways of figurative expressiveness, develops a sense of partnership. Special excursions, walks, observation of the environment (behavior of animals, people, their intonation, movement) are carried out. For the development of imagination, children are offered tasks such as: “Imagine the sea, sandy shore. We are all lying on the warm sand, sunbathing. We are in a good mood. They swung their legs, lowered them. They raked away the warm sand with our hands ”, etc. Mimic sketches, sketches for memory of physical actions, pantomimic sketches are used. Children are involved in inventing the design of fairy tales, reflecting them in visual activity. The child's gradual transition from playing according to one literary or folklore text to contamination-playing, implying the child's free construction of a plot, in which the literary basis is combined with its free interpretation by the child or several works are combined; from the game, where means of expression are used to convey the characteristics of the character, to the game as a means of self-expression through the image of the hero; from a game in which the center is an "artist" to a game in which a complex of positions "artist", "director", "scriptwriter", "designer", "dresser" is presented, but at the same time the preferences of each child are associated with one of them , depending on individual abilities and interests.

A positive attitude of children to theatrical games is formed (a deepening of interest in a certain type of theatrical play, the image of a hero, a plot, interest in theatrical culture, awareness of the reasons for a positive or indifferent attitude to play associated with the presence or absence of interest and the ability to express oneself in theatrical activities).

A new aspect of the joint activity of an adult and children is the introduction of children to theatrical culture, i.e. acquaintance with the purpose of the theater, the history of its origin in Russia, the arrangement of the theater building, the activities of the theater workers, the types and genres of theatrical art (musical, puppet, animal theater, clownery, etc.). - dramatization and director's theatrical play (activity and independence in choosing the content of games, creativity). The child becomes available to independent staging of performances, including on the basis of a "collage" of several literary works. The experience of director's play is enriched by puppets, dolls with a "living hand", reed puppets.

The texts for the productions are becoming more complex (deeper moral meaning, hidden subtext, the use of Russian folk tales-fables about animals). Fantasy play becomes the basis of theatrical play in which real, literary and fantasy plans complement each other. For older preschoolers, games "with continuation" are typical. They master the play "Into the theater", which involves a combination of role-playing and theatrical play, based on their acquaintance with the theater, the activities of the people participating in the production of the performance.

Preparatory group. For preschoolers 6-7 years old, dramatization play often becomes a performance in which they play for the audience, and not for themselves, they have access to director's games, where the characters are dolls, and the child makes them act and speak. This requires him to be able to regulate his behavior, movements, and think over words.

For a better understanding of the literary work DV Mendzheritskaya suggests using the method of "moral ladder". Children should arrange the characters on the ladder according to the degree of personal sympathy. This

the reception is a more accurate indicator of the emotional attitude of children towards the characters compared to the answers to the questions of an adult. When considering the illustrations in the book, it is recommended to pay attention to the analysis of the emotional states of the characters. Sketches for playing out plots are offered: "A terrible dream", "Thunderstorm", "Puppy", along with exercises for the development of imagination, tasks for tension and relaxation are recommended.

Given the insufficient level of formation of theatrical skills of preschoolers, it is recommended to use three types of preparatory exercises that activate the imagination and creativity of children, prepare them to understand the essence of theatrical performance, form the ability to play any role, aimed at developing an understanding of the image, providing a gradual complication of tasks; their variety, degree of difficulty and the possibility of returning to any type of exercise at a qualitatively new level.

The first type of exercise is used to develop attention and imagination. These are exercises that teach children to control attention, focus on the object that is more important at the moment than others (for example, "Sounds of Nature", develop the ability to create images based on associations.

The second type of exercises forms the skills: to understand and emotionally express various states with the help of intonation, to determine the state of a person by schematic drawings, facial expressions of a peer or an adult; find means of expression to adequately express your mood with the help of facial expressions; determine the features of the external manifestation of emotional states in various poses and take poses in accordance with the mood and character of the hero being portrayed; determine the features of the external manifestation of emotional states with the help of gestures and pantomimic scenes, select your own expressive gestures and independently build pantomime.

The third type of exercise is a variant of children's auto-training and forms the ability to psychologically tune in to the upcoming action, quickly switch from one action to another, control facial expressions, posture, gestures; trains the ability to change their experiences, facial expressions, gait, movements in accordance with the emotional state. Children practice self-hypnosis

feelings of heaviness, lightness, coldness, warmth, etc.

When teaching children the means of expressiveness of speech, it is recommended to use familiar and beloved fairy tales that are rich in dialogues, dynamics of remarks and provide the child with the opportunity to directly get acquainted with the rich linguistic culture of the Russian people. Playing fairy tales allows you to teach children to use a variety of expressive means in their combination (speech, hum, facial expressions, pantomime, movements).

At first, fragments from fairy tales are used as exercises: ask to be in the teremok from the face of a mouse, frog, bear, and then ask who was more similar in voice and manners to this character. Further complicate the task: offer to play out a dialogue between two characters, pronouncing the text and acting for each. Thus, children learn verbal reincarnation, striving so that the character, voice of the character, and demeanor are easily recognized by everyone.

In all exercises, it is important to provide children with more freedom in actions, imagination when imitating movements. Exercises using pictograms, role-playing dialogues based on illustrations using verbal means of expression, and puppet shows are effective. At the same time, acting itself is not an end in itself. The work is built on a four-part structure: reading, conversation, performance of a passage, analysis of the expressiveness of reproduction.

Organization of independent theatrical activities

Conditions for the manifestation of independence and creativity of preschoolers in theatrical games the following (O. Solntseva):

To build pedagogical support taking into account the gradual increase in the independence and creativity of the child;

The theater and play environment should be dynamically changing, and children take part in its creation.

Bibliography

1. Artemova L. V. Theatrical games of preschoolers. - M., 1991.

2. Antipina EA Theatrical activities in kindergarten. -M., 2003.

3. Dronova T. N. We play the theater. Theatrical activity of children 4-6 years old. M: Education, 2005.

4. Makhaneva M. D. Theatrical activities in kindergarten. -M. : Sphere, 2001.

5. Migunova. E. V. Organization of theatrical activities in kindergarten. Veliky Novgorod: b. n., 2006.

6. Sorokina NF We play puppet theater: The program "Theater-creativity-children" .- M. : ARKTI, 2004.

7. Churilova EG Methodology and organization of theatrical activities of preschoolers and younger students. - M.: Vlados, 2001.