Practical tasks for theatrical puppets. Features of theatrical puppet control
A performance is a work of theatrical art, which is created on the basis of a dramatic or theatrical work in accordance with the director's intention and under his direction by the joint efforts of actors, as well as an artist and composer. Theater is a place for spectacles Theater is a genus Scene is a platform, of art, on which a specific means of expression is presented. that the theater is public TYPES OF THEATER PUPPETS
TYPES OF THEATER DRAMA TYPES COMEDY THEATER PUPPET THEATER PUPPETS OPERA AND BALLET THEATER SHADOW THEATER
FROM THE HISTORY OF THE PUPPET THEATER There were no state puppet theaters in old Russia. At fairs, on boulevards, in city courtyards, wandering magicians, acrobats and puppeteers gave small performances. Usually one of them twisted the handle of the organ. To the loud sounds of music, the puppeteer showed from behind a small screen how the funny, long-nosed, loud Petrushka beat the tsarist officer with a stick, who wanted to take him into the army. From the clever Petrushka, both an ignorant doctor who did not know how to heal and a deceiving merchant got it. The life of the folk puppeteers - wandering actors was very difficult and did not differ much from the life of beggars. After the performance, the puppeteer took off his cap and held it out to the audience. Whoever wanted to, threw copper kopecks into the hat. TYPES OF THEATER DOLLS
CANE HORSE DOLL FINGER Controlled by one or several actors with the help of canes VIEWS ABOVE THE SCREEN Controlled by the puppeteer fingers THEATER GLOVE Controlled by the puppeteer PUPPETER's brush PUPPETS
CANE DOLLS Reed dolls are larger than glove puppets (head size can be up to 20 cm). This doll is lifted above the screen with a rod inserted inside it called a hapit. Sticks are attached to the doll's hands - sticks (wires), which are moved by the puppeteer. The doll's arms are bent at the elbows, the head can be turned and tilted. Such dolls, with their smooth and majestic movements, are indispensable in heroic and romantic performances. Their design allows you to perform a wide variety of movements and saturate the performance with interesting tricks and finds. Most of the puppet theaters in our country, including the Central Puppet Theater of S. V. Obraztsov, use a wide variety of cane puppet systems in their work. These puppets are called riding puppets, since the actors raise them above themselves during the performance. At the same time, the viewer sees them not in full growth - the lower part is hidden by a screen. Therefore, riding dolls are often made without legs.
DOLLS - MITTENS. TYPES Dolls - mittens were born from ordinary knitted mittens. Mittens do not have to be knitted from yarn, dolls sewn on the basis of working gloves look more expressive, since there is a great opportunity for applique faces, muzzles and clothes. The good thing about these dolls is that they are very easy to use and are designed for young children. We can make such "mittens" for any fairy tale. THEATER DOLLS
CANE DOLL WITH OPENING MOUTH. TYPES We present you new toys for the puppet theater. These are cane dolls with opening mouths. The hand is inserted into the mouth (mouth) of the toy and controls it. The other hand uses canes to control the doll's “hands”. THEATER PUPPETS The total height of the doll is 5055 cm.
CONE THEATER. TYPES It is not necessary to have a screen, decorations, a specially equipped place in the classroom with children, playing with them any fairy tale. You can show the children a fairy tale or take off together to act out a play on an ordinary table. Dolls intended for this purpose should stand firmly on the table, easy to move on it. Theater on the table is the simplest and most accessible theater for all ages of children. The body of the dolls is made in the form of a cone, to which the head and arms of the doll are attached. The size of such a doll can be from 30 to 10 cm.
FINGER THEATER. Finger puppets are the smallest puppet theater artists. Their height is only 7 - 9 centimeters. Such babies can be easily taken with you on any trip, for a walk or when visiting komulibo. Such dolls can become a charming souvenir for your friend's son or daughter, especially if this is their favorite fairy-tale character. Tiny puppets will become playmates for a child at the age of three. But do not give them to very young children, so that they do not tear off and swallow the glued parts. The child puts the doll on his fingers and acts for the character depicted on the hand. In the course of the action, the child moves one or more fingers, pronouncing the text, moving his hand behind the screen (if any). You can do without a screen and depict actions, moving freely around the room. Finger theater is good when you need to show several characters at the same time. For example, in the fairy tale "Turnip" new characters appear one after another. Such a performance can be shown by one child with the help of his fingers. Fairy tales "Twelve Months", "Geese Swans" and others with many characters can be shown by two or three children. TYPES OF THEATER DOLLS
WALKING DOLLS. TYPES These toys can serve as a table theater, designed to develop the motor skills of a child's hand. THEATER DOLLS
LIVE HAND DOLLS. A very simple doll with a "live" hand possesses bright and expressive TYPES. If at least a body is meant in glove and cane dolls, then it is not here. Instead of the doll's hands, the hands of the puppeteer work in gloves sewn to the dress - the doll's costume. The basis for imitating a doll's costume is a triangle or square made of fabric. The doll's head (up to 25-30 cm in diameter) is attached to the costume in the neck area and hung on strings around the puppeteer's neck. THEATER DOLLS Such a doll allows you to highlight the most subtle nuances of feelings and moods of the hero, it has expressive gestures and can perform complex actions that are inaccessible to other dolls (point, write, take the hand, pat the child on the head, etc.)
GLOVE DOLLS. Otherwise, it is called parsley, because this is how Parsley works. In Russia, since ancient times, there were parsley - actors who performed with dolls - Parsley, put on the actor's hand. In this case, the actor's index finger goes into the doll's head, and the big and middle fingers go into the sleeves of her costume. The movements of her head, arms, torso are carried out with the help of movements of the fingers, hand. TYPES OF THEATER The head of a glove doll can be in size from a ping-pong ball to a large apple. Too large a head makes it difficult for the actor to work, because its weight falls on his one finger. PUPPET Glove puppets are very agile and expressive. True, their hands stick up, but experienced actors act with them very dexterously. In China, for example, where the art of puppetry is extraordinarily developed, puppeteers manage to put their hands behind the doll's back or open a tiny umbrella with them. With the help of glove puppets, you can act out various scenes on topical topics, use them as funny assistants in the classroom in kindergartens, put on various performances and even pop numbers.
FLOOR DOLLS. TYPES Floor dolls are large dolls. Their height depends on the height of the puppeteer and can be from 1 m to 1.5 m. It is very interesting to work with such dolls. They are led "in the open" by one or two performers. This doll has large empty (without filler) sewn palms and slippers into which the puppeteer inserts his palms and feet, the head of such a doll can be hung around the puppeteer's neck with ropes, or the puppeteer's hand can be placed in the pocket on the back of the doll's head (then the doll can turn and tilt its head). THEATER PUPPETS Large dolls have rich stage capabilities: they walk among children, spectators, take their hands, can dance with them, bend over the drawing child and see what he is doing, how he writes, etc.
GLOVE DOLLS OR BIBABO. Bibabo dolls usually act on a screen behind which the driver is hiding. But when the game is familiar or the children themselves lead the dolls, that is, the moment of mystery has disappeared, then the drivers can go out to the audience, take pictures of them, give them something, take them by the hand, and involve them in the game. Such "exposure" does not diminish, but rather raises the interest and activity of the children. TYPES OF THEATER When children see an adult play with bibabo dolls, they will most likely want to learn how to drive such dolls themselves. If the doll turns out to be large for a child's hand, then not one, but two children's fingers can be inserted into the doll's head. Shorten the doll's sleeves so that the baby's fingers fit into the chucks of the doll's arms. You can also make dolls especially for children's hands. Show the children how to move the doll, how to drive it on the screen. The dolls must constantly move as if they were alive, they cannot be fixed on a plane, on a table. But on the other hand, you can create many funny scenes with them and use the same dolls in repeated games, constantly keeping the children interested in them. DOLL
DOLLS PUPPET. The puppets are not controlled from below, but from above. The puppeteer, who is above the doll, holds in his hands a cross - the so-called "wagu", where all the threads coming from the doll converge. The threads are attached to her shoulders, knees, elbows, head. By pulling the necessary threads or turning the planks, the actor makes the doll move its arms and legs. The number of threads can be up to thirty pieces - in this case, several people control the doll. Puppets can walk, sit down, move their arms and legs at the same time, dance, bend over. TYPES OF THEATER DOLLS
NEW THEATER TOYS. TYPES A new type of toys for the theater has been created - toys with an opening mouth (mouth) OF THEATER PUPPETS In addition to the above dolls for the puppet theater, a variety of original soft toys and souvenirs are made, and compositions from toys are also made according to any famous fairy tales and cartoons. The size of the toys for the composition and their number can be any.
SHADOW DOLLS SHADOW THEATER Flat hand-drawn puppets lean against the screen and light up. The main thing is the silhouette. TYPES OF THEATER DOLLS
city of Nevinnomyssk
Master class for teachers
"Basics of Puppetry"
E.P. Stepanova
Musical director
MBDOU No. 154 of Nevinnomyssk
Location : MBDOU number 154 "Pochemuchka"
Duration master class: 5-10 min.
Target:
General rules for puppetry
- Finger:
Greetings
Let's bow down
Let's circle
Let's run
puppeteering mitten puppet theater.
- Mitten
- Tabletop planar
We hold it behind the back
We do not take away from the table
Don't bounce
We pause
Rules for working behind the screen:
Can't lean on the screen
Smooth hand movement
reed(doll on a stick - a cane) , spoon
canes bi-ba-bo ".
surprise moment
The hand turns
And a kitten and a puppy,
So that the hand becomes an artist
Very, very little is needed:
Special gloves,
Intelligence, talent, and everything is in order.
municipal budgetary preschool educational institution "Kindergarten of general developmental type No. 154" Pochemuchka "with priority implementation of the physical direction of pupils"
city of Nevinnomyssk
Master class for teachers
"Basics of Puppetry"
E.P. Stepanova
Musical director
the highest qualification category
MBDOU No. 154 of Nevinnomyssk
Location : MBDOU number 154 "Pochemuchka"
Duration master class: 5-10 min.
Target:familiarization of teachers with the basics of cooing.
General rules for puppetry
1. The doll should be held at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise to 3/4 of its height.
2. When the doll performs the movements, its arms should be pressed to the body.
3. Hold the doll straight. The tilt of the doll is carried out by tilting the hand. The doll's waist falls right on the wrist.
4. Taking the doll to the background, you need to raise it higher.
5. To place the doll, you first need to tilt it, bending it at the wrist, then rest your wrist on the place where the doll is seated. When the previously seated doll gets up, it first leans forward, straightens and at the same time rises to a straightened position.
6. If the doll has no legs, putting it on the edge of the screen, put a free hand from below in place of the imaginary knees, covering it with the doll's clothes.
7. The movements of the doll and words should be directed towards a specific object of attention.
8. The speaking doll should emphasize the most important words with movements of the head or hands.
9. When one doll speaks, the rest should be motionless: otherwise it is not clear to whom the words belong.
10. The character of the actor is transferred to the doll
Taking into account the characteristics of the child, it is necessary to start work from simple to complex.
Stage 1 - acquaintance with the finger theater.
Goal: the development of small arm muscles, the ability and desire to convey the characteristic features of the character.
- Finger:one finger, two fingers. The presence of this type of puppet theater in two versions allows solving problems of the development of fine motor skills of the hand, the coordination of movements of the fingers.
I propose to complete several tasks:
Greetings
Let's bow down
Let's circle
Let's run
At the same time, this work is the foundation for a smooth transition to teaching techniques puppeteering mitten puppet theater.
- Mitten(no thumb). Observing puppet theater games using a mitten with a thumb showed that the child cannot concentrate his attention on the movement of the doll and accompanying the character with remarks, because distracted by thumb movements.
When organizing theatrical games using finger and mitten theater must have screens of three types: tabletop (curtain height 25 cm), floor (curtain height 70-80cm, children sit on chairs), floor (curtain height 1m, children play while standing, arm with a doll is slightly bent at the elbow).
Stage 2 - in middle age, we introduce children to the table theater.
- Tabletop planar(character image on each side of the figurine), tabletop toy theater.
Start work in the middle group using these types of puppet theater, because the child completely controls the movement of the doll, accompanies the character with a word. And the ability to see the figure's face allows the novice artist to better master the techniques puppet theater tabletop: the child does not look at the other side of the doll, plays "for himself"; this technique helps artists interact with each other without being distracted by the audience.
Purpose: to teach the rules of driving a doll:
We hold it behind the back
We do not take away from the table
Don't bounce
We pause
In theatrical activities classes, children move the dolls of the table theater to the familiar musical accompaniment. This technique allows children to navigate a conventional scene, interact with each other, not collide with each other, and learn the basic rules of puppetry. Then the techniques of entering the dialogue on the plot of a familiar fairy tale of small content according to the “question-answer” scheme were worked out, sketches and exercises were played for the development of communication skills and the formation of the main types of emotions, the transfer of facial expressions and gestures of the character. In the implementation of these tasks, the following types of puppet theater are required:
- Cam, reed, spoon .
Stage 3 - acquaintance with the puppet theater.
Purpose: to teach puppetry techniques, the ability to work behind a screen, develop speech, a sense of artistry, the desire to improvise.
Rules for working behind the screen:
Can't lean on the screen
Smooth hand movement
The hand should be at the level of the screen
Only the brush with hapit works
All three types of puppet theater are identical in puppetry techniques: when teaching children to play with puppets of a cam (the cam is hidden), reed(doll on a stick - a cane) , spoon(based on a wooden spoon or spatula), it is necessary to take into account the level of development of the muscle mass of the hand, forearm, shoulder, because the organization of the game involves the use of a floor screen. At the beginning of work with these types of puppet theater, a floor screen with a curtain of 70-80 cm is used, children-artists sit on chairs. Additionally, games and exercises are held to develop physical qualities: strength, agility, speed.
When certain results are achieved (children confidently manipulate the dolls at the level of the screen, enter into a dialogue and support it, convey the image of the hero with bright intonations), you can start working on a screen with a curtain height of 1 m (children-artists are standing). This version of the screen allows you to increase the volume of actions, storylines, and change of scenery. Also at the second stage of working with dolls on canes the doll itself also changes: it becomes mobile with the help of an additional hapit to the hand (paw). This version of the doll makes it possible to prepare children for mastering the puppetry techniques of the theater " bi-ba-bo ".
- Puppet theater "bi-ba-bo".
Today this type of puppet theater is the most widely represented in the assortment of factory production. At the first stage, “bi-ba-bo” dolls are supplemented with a cane for the head; this makes it easier to manage the theatrical games, because children have formed the skills of puppet manipulation of dolls on a cane. Throughout the entire stage, the simplest techniques of working with the doll are practiced with the children: transferring the doll's walking without a screen, on the screen, running the character's head and tilting in a given direction and interacting with other characters.
In order for the child to learn how to control the "b-b-bo" doll in full, exercises with a glove are used: the head of the doll is fixed on the index finger, the rest of the fingers represent the hands (paws) of the character. This technique allows the child to learn how to use the doll “from the inside”, and later it is easy to apply the acquired skills in playing with the “b-b-bo” doll. At the second stage, the puppets of the theater "bi-ba-bo" become more complicated: the basis of driving the doll remains the same, and the mouth becomes the movable part, which is activated by means of a fishing line.
Tablet small Tablet large Floor dolls (Tablet, or parquet, can walk on the floor, on the floor of the stage, which is called a tablet. Hence their name. Different types of tablet dolls are known. Puppeteers of the Middle Ages, for example, put a doll on a table and controlled it with ropes. There are tablet dolls that are controlled not with the hands, but with the legs of the puppeteer. Sometimes, instead of the artist, the dolls were controlled by ... a horse.)
These types of puppet theater are used in the middle group by the teacher himself as surprise moment in the classroom, in regime moments, in puppet shows with children of the senior and preparatory groups. Children really like to play with tablet dolls in free play activities, come up with small stories, act out the plots of familiar fairy tales, nursery rhymes. The management of these dolls for children 4-5 years old is a complex process that requires the formation of the basic techniques of puppetry, a high level of development of the shoulder girdle
Masks, masks-caps, mask chest .
Acting out small scenes that are not connected by a common plot, as well as fairy tales on the canvas of a work of art, children transform into the image of the chosen character and convey the characteristic features of their hero (depending on the level of development of skills and abilities in theatrical activity). For more efficient work with these types of theater, it is necessary to organize a wardrobe room, enriched with various types of costumes; dressing room with a set of theatrical attributes (noses, beards, wigs, etc.). When playing out the plot of a literary work, the methodological foundation is the scheme of work on a fairy tale.
The hand turns
And a kitten and a puppy,
So that the hand becomes an artist
Very, very little is needed:
Special gloves,
Intelligence, talent, and everything is in order.
municipal budgetary preschool educational institution "Kindergarten of general developmental type No. 154" Pochemuchka "with priority implementation of the physical direction of pupils"
city of Nevinnomyssk
Master class for teachers
"Basics of Puppetry"
E.P. Stepanova
Musical director
the highest qualification category
MBDOU No. 154 of Nevinnomyssk
Location : MBDOU number 154 "Pochemuchka"
Duration master class: 5-10 min.
Target:familiarization of teachers with the basics of cooing.
General rules for puppetry
1. The doll should be held at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise to 3/4 of its height.
2. When the doll performs the movements, its arms should be pressed to the body.
3. Hold the doll straight. The tilt of the doll is carried out by tilting the hand. The doll's waist falls right on the wrist.
4. Taking the doll to the background, you need to raise it higher.
5. To place the doll, you first need to tilt it, bending it at the wrist, then rest your wrist on the place where the doll is seated. When the previously seated doll gets up, it first leans forward, straightens and at the same time rises to a straightened position.
6. If the doll has no legs, putting it on the edge of the screen, put a free hand from below in place of the imaginary knees, covering it with the doll's clothes.
7. The movements of the doll and words should be directed towards a specific object of attention.
8. The speaking doll should emphasize the most important words with movements of the head or hands.
9. When one doll speaks, the rest should be motionless: otherwise it is not clear to whom the words belong.
10. The character of the actor is transferred to the doll
Taking into account the characteristics of the child, it is necessary to start work from simple to complex.
Stage 1 - acquaintance with the finger theater.
Goal: the development of small arm muscles, the ability and desire to convey the characteristic features of the character.
- Finger:one finger, two fingers. The presence of this type of puppet theater in two versions allows solving problems of the development of fine motor skills of the hand, the coordination of movements of the fingers.
I propose to complete several tasks:
Greetings
Let's bow down
Let's circle
Let's run
At the same time, this work is the foundation for a smooth transition to teaching techniques puppeteering mitten puppet theater.
- Mitten(no thumb). Observing puppet theater games using a mitten with a thumb showed that the child cannot concentrate his attention on the movement of the doll and accompanying the character with remarks, because distracted by thumb movements.
When organizing theatrical games using finger and mitten theater must have screens of three types: tabletop (curtain height 25 cm), floor (curtain height 70-80cm, children sit on chairs), floor (curtain height 1m, children play while standing, arm with a doll is slightly bent at the elbow).
Stage 2 - in middle age, we introduce children to the table theater.
- Tabletop planar(character image on each side of the figurine), tabletop toy theater.
Start work in the middle group using these types of puppet theater, because the child completely controls the movement of the doll, accompanies the character with a word. And the ability to see the figure's face allows the novice artist to better master the techniques puppet theater tabletop: the child does not look at the other side of the doll, plays "for himself"; this technique helps artists interact with each other without being distracted by the audience.
Purpose: to teach the rules of driving a doll:
We hold it behind the back
We do not take away from the table
Don't bounce
We pause
In theatrical activities classes, children move the dolls of the table theater to the familiar musical accompaniment. This technique allows children to navigate a conventional scene, interact with each other, not collide with each other, and learn the basic rules of puppetry. Then the techniques of entering the dialogue on the plot of a familiar fairy tale of small content according to the “question-answer” scheme were worked out, sketches and exercises were played for the development of communication skills and the formation of the main types of emotions, the transfer of facial expressions and gestures of the character. In the implementation of these tasks, the following types of puppet theater are required:
- Cam, reed, spoon .
Stage 3 - acquaintance with the puppet theater.
Purpose: to teach puppetry techniques, the ability to work behind a screen, develop speech, a sense of artistry, the desire to improvise.
Rules for working behind the screen:
Can't lean on the screen
Smooth hand movement
The hand should be at the level of the screen
Only the brush with hapit works
All three types of puppet theater are identical in puppetry techniques: when teaching children to play with puppets of a cam (the cam is hidden), reed(doll on a stick - a cane) , spoon(based on a wooden spoon or spatula), it is necessary to take into account the level of development of the muscle mass of the hand, forearm, shoulder, because the organization of the game involves the use of a floor screen. At the beginning of work with these types of puppet theater, a floor screen with a curtain of 70-80 cm is used, children-artists sit on chairs. Additionally, games and exercises are held to develop physical qualities: strength, agility, speed.
When certain results are achieved (children confidently manipulate the dolls at the level of the screen, enter into a dialogue and support it, convey the image of the hero with bright intonations), you can start working on a screen with a curtain height of 1 m (children-artists are standing). This version of the screen allows you to increase the volume of actions, storylines, and change of scenery. Also at the second stage of working with dolls on canes the doll itself also changes: it becomes mobile with the help of an additional hapit to the hand (paw). This version of the doll makes it possible to prepare children for mastering the puppetry techniques of the theater " bi-ba-bo ".
- Puppet theater "bi-ba-bo".
Today this type of puppet theater is the most widely represented in the assortment of factory production. At the first stage, “bi-ba-bo” dolls are supplemented with a cane for the head; this makes it easier to manage the theatrical games, because children have formed the skills of puppet manipulation of dolls on a cane. Throughout the entire stage, the simplest techniques of working with the doll are practiced with the children: transferring the doll's walking without a screen, on the screen, running the character's head and tilting in a given direction and interacting with other characters.
In order for the child to learn how to control the "b-b-bo" doll in full, exercises with a glove are used: the head of the doll is fixed on the index finger, the rest of the fingers represent the hands (paws) of the character. This technique allows the child to learn how to use the doll “from the inside”, and later it is easy to apply the acquired skills in playing with the “b-b-bo” doll. At the second stage, the puppets of the theater "bi-ba-bo" become more complicated: the basis of driving the doll remains the same, and the mouth becomes the movable part, which is activated by means of a fishing line.
Tablet small Tablet large Floor dolls (Tablet, or parquet, can walk on the floor, on the floor of the stage, which is called a tablet. Hence their name. Different types of tablet dolls are known. Puppeteers of the Middle Ages, for example, put a doll on a table and controlled it with ropes. There are tablet dolls that are controlled not with the hands, but with the legs of the puppeteer. Sometimes, instead of the artist, the dolls were controlled by ... a horse.)
These types of puppet theater are used in the middle group by the teacher himself as surprise moment in the classroom, in regime moments, in puppet shows with children of the senior and preparatory groups. Children really like to play with tablet dolls in free play activities, come up with small stories, act out the plots of familiar fairy tales, nursery rhymes. The management of these dolls for children 4-5 years old is a complex process that requires the formation of the basic techniques of puppetry, a high level of development of the shoulder girdle
Masks, masks-caps, mask chest .
Acting out small scenes that are not connected by a common plot, as well as fairy tales on the canvas of a work of art, children transform into the image of the chosen character and convey the characteristic features of their hero (depending on the level of development of skills and abilities in theatrical activity). For more efficient work with these types of theater, it is necessary to organize a wardrobe room, enriched with various types of costumes; dressing room with a set of theatrical attributes (noses, beards, wigs, etc.). When playing out the plot of a literary work, the methodological foundation is the scheme of work on a fairy tale.
The hand turns
And a kitten and a puppy,
So that the hand becomes an artist
Very, very little is needed:
Special gloves,
Intelligence, talent, and everything is in order.
General rules for puppetry
1. The doll should be kept at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise to 3/4 of its height.
2. When the doll performs movements, its arms should be pressed to the body.
3. Hold the doll straight. The tilt of the doll is carried out by tilting the hand. The doll's waist falls right on the wrist.
4. Taking the doll to the background, you need to raise it higher.
5. To place the doll, you must first tilt it, bending it at the wrist, then rest your wrist on the place where the doll is seated. When the previously seated doll gets up, it first leans forward, straightens and at the same time rises to a straightened position.
6. If the doll has no legs, putting it on the edge of the screen, put a free hand from below in place of the imaginary knees, covering it with the doll's clothes.
7. The movements of the doll and words should be directed to a specific object of attention.
8. The speaking doll should emphasize the most important words with movements of the head or hands.
9. When one doll speaks, the rest should be motionless: otherwise it is not clear to whom the words belong.
10. The character of the actor is transferred to the doll
Taking into account the characteristics of the child, it is necessary to start work from simple to complex.
Stage 1 - acquaintance with the finger theater.
Goal: the development of small arm muscles, the ability and desire to convey the characteristic features of the character.
Fingertip: one finger, two fingers. The presence of this type of puppet theater in two versions allows solving problems of the development of fine motor skills of the hand, the coordination of movements of the fingers.
I propose to complete several tasks:
Greetings
Let's bow down
Let's circle
Let's run
At the same time, this work is the foundation for a smooth transition to teaching puppetry techniques for a mitten puppet theater.
Mitten (without thumb). Observing puppet theater games using a mitten with a thumb showed that the child cannot concentrate his attention on the movement of the doll and accompanying the character with remarks, because distracted by thumb movements.
When organizing theatrical games using finger and mitten theater, it is necessary to have three types of screens available: table (curtain height 25 cm), floor (curtain height 70-80 cm, children sit on chairs), floor (curtain height 1 m, children play standing, the hand with the doll is slightly bent at the elbow).
Stage 2 - in middle age, we introduce children to the table theater.
Tabletop plane (the image of the character on each side of the figure), tabletop toy theater.
Start work in the middle group using these types of puppet theater, because the child completely controls the movement of the doll, accompanies the character with a word. And the ability to see the face of the figurine allows the novice artist to better master the techniques of puppetry of the table theater: the child does not look at the other side of the doll, plays "for himself"; this technique helps artists interact with each other without being distracted by the audience.
Purpose: to teach the rules of driving a doll:
We hold it behind the back
We do not take away from the table
Don't bounce
We pause
In theatrical activities classes, children move the dolls of the table theater to the familiar musical accompaniment. This technique allows children to navigate a conventional scene, interact with each other, not collide with each other, and learn the basic rules of puppetry. Then the techniques of entering the dialogue on the plot of a familiar fairy tale of small content according to the “question-answer” scheme were worked out, sketches and exercises were played for the development of communication skills and the formation of the main types of emotions, the transfer of facial expressions and gestures of the character. In the implementation of these tasks, the following types of puppet theater are required:
Cam, reed, spoon.
Stage 3 - acquaintance with the puppet theater.
Purpose: to teach puppetry techniques, the ability to work behind a screen, develop speech, a sense of artistry, the desire to improvise.
Rules for working behind the screen:
Can't lean on the screen
Smooth hand movement
The hand should be at the level of the screen
Only the brush with hapit works
All three types of puppet theater are identical in terms of puppetry techniques: when teaching children to play with puppets of a fist (a fist is hidden), a reed (a doll on a stick - a cane), a spoon (based on a wooden spoon or spatula), it is necessary to take into account the level of development of the muscle mass of the hand, forearm, shoulder, because the organization of the game involves the use of a floor screen. At the beginning of work with these types of puppet theater, a floor screen with a curtain of 70-80 cm is used, children-artists sit on chairs. Additionally, games and exercises are held to develop physical qualities: strength, agility, speed.
When certain results are achieved (children confidently manipulate the dolls at the level of the screen, enter into a dialogue and support it, convey the image of the hero with bright intonations), you can start working on a screen with a curtain height of 1 m (children-artists are standing). This version of the screen allows you to increase the volume of actions, storylines, and change of scenery. Also, at the second stage of working with dolls on a cane, the doll itself changes: it becomes mobile with the help of an additional hapit to the hand (paw). This version of the doll makes it possible to prepare children for mastering the puppetry techniques of the "bi-ba-bo" theater.
Puppet theater "bi-ba-bo".
Today this type of puppet theater is the most widely represented in the assortment of factory production. At the first stage, “bi-ba-bo” dolls are supplemented with a cane for the head; this makes it easier to manage the theatrical games, because children have formed the skills of puppet manipulation of dolls on a cane. Throughout the entire stage, the simplest techniques of working with the doll are practiced with the children: transferring the doll's walking without a screen, on the screen, running the character's head and tilting in a given direction and interacting with other characters.
In order for the child to learn how to control the "b-b-bo" doll in full, exercises with a glove are used: the head of the doll is fixed on the index finger, the rest of the fingers represent the hands (paws) of the character. This technique allows the child to learn how to use the doll “from the inside”, and later it is easy to apply the acquired skills in playing with the “b-b-bo” doll. At the second stage, the puppets of the theater "bi-ba-bo" become more complicated: the basis of driving the doll remains the same, and the mouth becomes the movable part, which is activated by means of a fishing line.
Tablet small Tablet large Floor dolls (Tablet, or parquet, can walk on the floor, on the floor of the stage, which is called a tablet. Hence their name. Different types of tablet dolls are known. Puppeteers of the Middle Ages, for example, put a doll on a table and controlled it with ropes. There are tablet dolls that are controlled not by the hands, but by the puppeteer's legs. Sometimes, instead of an artist, the dolls were controlled by ... a horse.)
These types of puppet theater are used in the middle group by the teacher himself as a surprise moment in the classroom, in regime moments, in puppet shows with children of the older and preparatory groups. Children really like to play with tablet dolls in free play activities, come up with small stories, act out the plots of familiar fairy tales, nursery rhymes. The management of these dolls for children 4-5 years old is a complex process that requires the formation of the basic techniques of puppetry, a high level of development of the shoulder girdle
Masks, masks-caps, mask chest.
Acting out small scenes that are not connected by a common plot, as well as fairy tales on the canvas of a work of art, children transform into the image of the chosen character and convey the characteristic features of their hero (depending on the level of development of skills and abilities in theatrical activity). For more efficient work with these types of theater, it is necessary to organize a wardrobe room, enriched with various types of costumes; dressing room with a set of theatrical attributes (noses, beards, wigs, etc.). When playing out the plot of a literary work, the methodological foundation is the scheme of work on a fairy tale.
The hand turns
And a kitten and a puppy,
So that the hand becomes an artist
Very, very little is needed:
Special gloves,
Intelligence, talent, and everything is in order.
General rules for puppetry
1. The doll should be held at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise to 3/4 of its height.
2. When the doll performs the movements, its arms should be pressed to the body.
3. Hold the doll straight. The tilt of the doll is carried out by tilting the hand. The doll's waist falls right on the wrist.
4. Taking the doll to the background, you need to raise it higher.
5. To place the doll, you first need to tilt it, bending it at the wrist, then rest your wrist on the place where the doll is seated. When the previously seated doll gets up, it first leans forward, straightens and at the same time rises to a straightened position.
6. If the doll has no legs, putting it on the edge of the screen, put a free hand from below in place of the imaginary knees, covering it with the doll's clothes.
7. The movements of the doll and words should be directed towards a specific object of attention.
8. The speaking doll should emphasize the most important words with movements of the head or hands.
9. When one doll speaks, the rest should be motionless: otherwise it is not clear to whom the words belong.
10. The character of the actor is transferred to the doll
Taking into account the characteristics of the child, it is necessary to start work from simple to complex.
Stage 1 - acquaintance with the finger theater.
Goal: the development of small arm muscles, the ability and desire to convey the characteristic features of the character.
- Finger:one finger, two fingers. The presence of this type of puppet theater in two versions allows solving problems of the development of fine motor skills of the hand, the coordination of movements of the fingers.
I propose to complete several tasks:
Greetings
Let's bow down
Let's circle
Let's run
At the same time, this work is the foundation for a smooth transition to teaching techniques puppeteering mitten puppet theater.
- Mitten(no thumb). Observing puppet theater games using a mitten with a thumb showed that the child cannot concentrate his attention on the movement of the doll and accompanying the character with remarks, because distracted by thumb movements.
When organizing theatrical games using finger and mitten theater must have screens of three types: tabletop (curtain height 25 cm), floor (curtain height 70-80cm, children sit on chairs), floor (curtain height 1m, children play while standing, arm with a doll is slightly bent at the elbow).
Stage 2 - in middle age, we introduce children to the table theater.
- Tabletop planar(character image on each side of the figurine), tabletop toy theater.
Start work in the middle group using these types of puppet theater, because the child completely controls the movement of the doll, accompanies the character with a word. And the ability to see the figure's face allows the novice artist to better master the techniques puppet theater tabletop: the child does not look at the other side of the doll, plays "for himself"; this technique helps artists interact with each other without being distracted by the audience.
Purpose: to teach the rules of driving a doll:
We hold it behind the back
We do not take away from the table
Don't bounce
We pause
In theatrical activities classes, children move the dolls of the table theater to the familiar musical accompaniment. This technique allows children to navigate a conventional scene, interact with each other, not collide with each other, and learn the basic rules of puppetry. Then the techniques of entering the dialogue on the plot of a familiar fairy tale of small content according to the “question-answer” scheme were worked out, sketches and exercises were played for the development of communication skills and the formation of the main types of emotions, the transfer of facial expressions and gestures of the character. In the implementation of these tasks, the following types of puppet theater are required:
- Cam, reed, spoon .
Stage 3 - acquaintance with the puppet theater.
Purpose: to teach puppetry techniques, the ability to work behind a screen, develop speech, a sense of artistry, the desire to improvise.
Rules for working behind the screen:
Can't lean on the screen
Smooth hand movement
The hand should be at the level of the screen
Only the brush with hapit works
All three types of puppet theater are identical in puppetry techniques: when teaching children to play with puppets of a cam (the cam is hidden), reed(doll on a stick - a cane) , spoon(based on a wooden spoon or spatula), it is necessary to take into account the level of development of the muscle mass of the hand, forearm, shoulder, because the organization of the game involves the use of a floor screen. At the beginning of work with these types of puppet theater, a floor screen with a curtain of 70-80 cm is used, children-artists sit on chairs. Additionally, games and exercises are held to develop physical qualities: strength, agility, speed.
When certain results are achieved (children confidently manipulate the dolls at the level of the screen, enter into a dialogue and support it, convey the image of the hero with bright intonations), you can start working on a screen with a curtain height of 1 m (children-artists are standing). This version of the screen allows you to increase the volume of actions, storylines, and change of scenery. Also at the second stage of working with dolls on canes the doll itself also changes: it becomes mobile with the help of an additional hapit to the hand (paw). This version of the doll makes it possible to prepare children for mastering the puppetry techniques of the theater " bi-ba-bo ".
- Puppet theater "bi-ba-bo".
Today this type of puppet theater is the most widely represented in the assortment of factory production. At the first stage, “bi-ba-bo” dolls are supplemented with a cane for the head; this makes it easier to manage the theatrical games, because children have formed the skills of puppet manipulation of dolls on a cane. Throughout the entire stage, the simplest techniques of working with the doll are practiced with the children: transferring the doll's walking without a screen, on the screen, running the character's head and tilting in a given direction and interacting with other characters.
In order for the child to learn how to control the "b-b-bo" doll in full, exercises with a glove are used: the head of the doll is fixed on the index finger, the rest of the fingers represent the hands (paws) of the character. This technique allows the child to learn how to use the doll “from the inside”, and later it is easy to apply the acquired skills in playing with the “b-b-bo” doll. At the second stage, the puppets of the theater "bi-ba-bo" become more complicated: the basis of driving the doll remains the same, and the mouth becomes the movable part, which is activated by means of a fishing line.
Tablet small Tablet large Floor dolls (Tablet, or parquet, can walk on the floor, on the floor of the stage, which is called a tablet. Hence their name. Different types of tablet dolls are known. Puppeteers of the Middle Ages, for example, put a doll on a table and controlled it with ropes. There are tablet dolls that are controlled not with the hands, but with the legs of the puppeteer. Sometimes, instead of the artist, the dolls were controlled by ... a horse.)
These types of puppet theater are used in the middle group by the teacher himself as surprise moment in the classroom, in regime moments, in puppet shows with children of the senior and preparatory groups. Children really like to play with tablet dolls in free play activities, come up with small stories, act out the plots of familiar fairy tales, nursery rhymes. The management of these dolls for children 4-5 years old is a complex process that requires the formation of the basic techniques of puppetry, a high level of development of the shoulder girdle
Masks, masks-caps, mask chest .
Acting out small scenes that are not connected by a common plot, as well as fairy tales on the canvas of a work of art, children transform into the image of the chosen character and convey the characteristic features of their hero (depending on the level of development of skills and abilities in theatrical activity). For more efficient work with these types of theater, it is necessary to organize a wardrobe room, enriched with various types of costumes; dressing room with a set of theatrical attributes (noses, beards, wigs, etc.). When playing out the plot of a literary work, the methodological foundation is the scheme of work on a fairy tale.
The hand turns
And a kitten and a puppy,
So that the hand becomes an artist
Very, very little is needed:
Special gloves,
Intelligence, talent, and everything is in order.
General rules for puppetry
1. The doll should be held at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise to 3/4 of its height.
2. When the doll performs the movements, its arms should be pressed to the body.
3. Hold the doll straight. The tilt of the doll is carried out by tilting the hand. The doll's waist falls right on the wrist.
4. Taking the doll to the background, you need to raise it higher.
5. To place the doll, you first need to tilt it, bending it at the wrist, then rest your wrist on the place where the doll is seated. When the previously seated doll gets up, it first leans forward, straightens and at the same time rises to a straightened position.
6. If the doll has no legs, putting it on the edge of the screen, put a free hand from below in place of the imaginary knees, covering it with the doll's clothes.
7. The movements of the doll and words should be directed towards a specific object of attention.
8. The speaking doll should emphasize the most important words with movements of the head or hands.
9. When one doll speaks, the rest should be motionless: otherwise it is not clear to whom the words belong.
10. The character of the actor is transferred to the doll
Taking into account the characteristics of the child, it is necessary to start work from simple to complex.
Stage 1 - acquaintance with the finger theater.
Goal: the development of small arm muscles, the ability and desire to convey the characteristic features of the character.
- Finger:one finger, two fingers. The presence of this type of puppet theater in two versions allows solving problems of the development of fine motor skills of the hand, the coordination of movements of the fingers.
I propose to complete several tasks:
Greetings
Let's bow down
Let's circle
Let's run
At the same time, this work is the foundation for a smooth transition to teaching techniques puppeteering mitten puppet theater.
- Mitten(no thumb). Observing puppet theater games using a mitten with a thumb showed that the child cannot concentrate his attention on the movement of the doll and accompanying the character with remarks, because distracted by thumb movements.
When organizing theatrical games using finger and mitten theater must have screens of three types: tabletop (curtain height 25 cm), floor (curtain height 70-80cm, children sit on chairs), floor (curtain height 1m, children play while standing, arm with a doll is slightly bent at the elbow).
Stage 2 - in middle age, we introduce children to the table theater.
- Tabletop planar(character image on each side of the figurine), tabletop toy theater.
Start work in the middle group using these types of puppet theater, because the child completely controls the movement of the doll, accompanies the character with a word. And the ability to see the figure's face allows the novice artist to better master the techniques puppet theater tabletop: the child does not look at the other side of the doll, plays "for himself"; this technique helps artists interact with each other without being distracted by the audience.
Purpose: to teach the rules of driving a doll:
We hold it behind the back
We do not take away from the table
Don't bounce
We pause
In theatrical activities classes, children move the dolls of the table theater to the familiar musical accompaniment. This technique allows children to navigate a conventional scene, interact with each other, not collide with each other, and learn the basic rules of puppetry. Then the techniques of entering the dialogue on the plot of a familiar fairy tale of small content according to the “question-answer” scheme were worked out, sketches and exercises were played for the development of communication skills and the formation of the main types of emotions, the transfer of facial expressions and gestures of the character. In the implementation of these tasks, the following types of puppet theater are required:
- Cam, reed, spoon .
Stage 3 - acquaintance with the puppet theater.
Purpose: to teach puppetry techniques, the ability to work behind a screen, develop speech, a sense of artistry, the desire to improvise.
Rules for working behind the screen:
Can't lean on the screen
Smooth hand movement
The hand should be at the level of the screen
Only the brush with hapit works
All three types of puppet theater are identical in puppetry techniques: when teaching children to play with puppets of a cam (the cam is hidden), reed(doll on a stick - a cane) , spoon(based on a wooden spoon or spatula), it is necessary to take into account the level of development of the muscle mass of the hand, forearm, shoulder, because the organization of the game involves the use of a floor screen. At the beginning of work with these types of puppet theater, a floor screen with a curtain of 70-80 cm is used, children-artists sit on chairs. Additionally, games and exercises are held to develop physical qualities: strength, agility, speed.
When certain results are achieved (children confidently manipulate the dolls at the level of the screen, enter into a dialogue and support it, convey the image of the hero with bright intonations), you can start working on a screen with a curtain height of 1 m (children-artists are standing). This version of the screen allows you to increase the volume of actions, storylines, and change of scenery. Also at the second stage of working with dolls on canes the doll itself also changes: it becomes mobile with the help of an additional hapit to the hand (paw). This version of the doll makes it possible to prepare children for mastering the puppetry techniques of the theater " bi-ba-bo ".
- Puppet theater "bi-ba-bo".
Today this type of puppet theater is the most widely represented in the assortment of factory production. At the first stage, “bi-ba-bo” dolls are supplemented with a cane for the head; this makes it easier to manage the theatrical games, because children have formed the skills of puppet manipulation of dolls on a cane. Throughout the entire stage, the simplest techniques of working with the doll are practiced with the children: transferring the doll's walking without a screen, on the screen, running the character's head and tilting in a given direction and interacting with other characters.
In order for the child to learn how to control the "b-b-bo" doll in full, exercises with a glove are used: the head of the doll is fixed on the index finger, the rest of the fingers represent the hands (paws) of the character. This technique allows the child to learn how to use the doll “from the inside”, and later it is easy to apply the acquired skills in playing with the “b-b-bo” doll. At the second stage, the puppets of the theater "bi-ba-bo" become more complicated: the basis of driving the doll remains the same, and the mouth becomes the movable part, which is activated by means of a fishing line.
Tablet small Tablet large Floor dolls (Tablet, or parquet, can walk on the floor, on the floor of the stage, which is called a tablet. Hence their name. Different types of tablet dolls are known. Puppeteers of the Middle Ages, for example, put a doll on a table and controlled it with ropes. There are tablet dolls that are controlled not with the hands, but with the legs of the puppeteer. Sometimes, instead of the artist, the dolls were controlled by ... a horse.)
These types of puppet theater are used in the middle group by the teacher himself as surprise moment in the classroom, in regime moments, in puppet shows with children of the senior and preparatory groups. Children really like to play with tablet dolls in free play activities, come up with small stories, act out the plots of familiar fairy tales, nursery rhymes. The management of these dolls for children 4-5 years old is a complex process that requires the formation of the basic techniques of puppetry, a high level of development of the shoulder girdle
Masks, masks-caps, mask chest .
Acting out small scenes that are not connected by a common plot, as well as fairy tales on the canvas of a work of art, children transform into the image of the chosen character and convey the characteristic features of their hero (depending on the level of development of skills and abilities in theatrical activity). For more efficient work with these types of theater, it is necessary to organize a wardrobe room, enriched with various types of costumes; dressing room with a set of theatrical attributes (noses, beards, wigs, etc.). When playing out the plot of a literary work, the methodological foundation is the scheme of work on a fairy tale.
The hand turns
And a kitten and a puppy,
So that the hand becomes an artist
Very, very little is needed:
Special gloves,
Organization of theatrical activities (puppet theater)
Theatrical activities are increasingly used as a means of teaching and developing preschool children. The teacher plays small plays and sketches in different types of puppet theater, forming in children an interest in performing everyday activities, explaining the meaning of moral norms (using etiquette words, ways of resolving conflict situations, etc.), introducing children to works of fiction, forming interest to the theater, finally, forming elementary performing skills in children for their use in theatrical games and theatrical activities. To solve these problems, it is necessary for the puppet show to be a vivid and memorable show, so that the puppets come to life in the hands of the teacher. However, in the curricula of teacher training colleges there are no academic disciplines, in the process of mastering which students would acquire puppetry skills. This article will help everyone to understand how you can drive the dolls so that their "actions" are similar to the living movements of the characters.
Let's make a reservation right away that the article discusses ways of driving puppets in the most common and one of the most difficult types of theater to drive - the Petrushka theater, or glove puppets. The Petrushka Theater is one of the oldest puppet theaters named after its main character. Back in the Middle Ages, puppeteer buffoons gave performances in which Petrushka ridiculed human vices. These performances were often satire on those in power; in order not to be persecuted, the puppeteers spoke through a squeak - a device that changes the voice of a person beyond recognition. This type of puppet theater got its second name because the doll, like a glove, wraps around the hand of the puppeteer actor. 
There are two types of dolls - dolls with hapit and without hapit. Gapit is a wand - a cane that controls the head of a glove puppet; the limbs of the doll are carried by the fingers of the puppeteer actor. Hapit can be simple, performing only head turns to the right - left (see Fig. 1) or complex, mechanical (see Fig. 2). In the second case, the head not only turns in different directions, but also tilts. Of course, such a doll is more expressive in movements, but also much more difficult to control.
Rice. 1. A doll on a simple hapite Fig. 2. A doll on a complex gapit
In preschool institutions, dolls without hapit are most often used. In this case, they represent a "three-fingered" glove: the middle "finger" drives the doll's head, and the side ones - hands (paws). The position of the fingers in the glove may vary. In some cases, the glove can also be "five-fingered" - if in the course of action the doll must act with its feet. Her “legs” lead the fingers of the puppeteer's second hand (see Fig. 3).
Rice. 3. The position of the hand in the glove doll without hapit
Going out with the doll on the screen, you must always keep it at the same level - "feel the floor." The doll should rise above the screen by ¾ of its "height". The legs of riding dolls are not visible, often they are not made at all, but the audience should get the impression that the dolls are walking on the floor or on the ground, and the puppeteer must constantly feel the imaginary floor level without allowing the doll to "dive underground" or "float through the air" (see Fig. 4).
Rice. 4. Position of the glove doll on the screen
Technique for driving glove puppets in a puppet theater
The laws of stage action in puppet theater remain the same as in drama theater. The development of the action of the puppet character is carried out as the fulfillment of a number of stage tasks that determine the content of the pieces of the role... Together they make up what can be called patterned role .
The actions of the puppet character take place in the proposed circumstances performance and each separate scene, therefore all his behavior is due to these circumstances... Puppet character in every scene in action and in word:
expresses his attitude to what is happening,
enters into communication with their partners,
influences them by their words and actions and
he himself perceives their actions and words.
The behavior of the puppet character must always be justified by the inner content of the picture.... The expressiveness of the actions of the doll depends on how interesting and correct in the essence of the content of the scene the plastic actions and adaptations are found, thanks to which its actions as a character become most distinct.
Everything that a doll does on stage is determined by the questions:
what's happening? (in the play, in a separate picture);
what does this character do;
how does(plot and technically).
Thus, stage action in puppet theater is a demonstration of the actions of a character - a puppet in all circumstances of the performance... This impression is determined by:
understanding the logic of the character's actions;
an understanding of the figurative means of the doll.
The artist's work with the doll begins with a comprehensive acquaintance with it. If the performer did not make his own doll, then first of all he gets to know her:
technical device,
way of management,
tries how comfortably the chuck, reed, thread, etc. fit..
Starting to work with a new doll, the performer makes a number of movements with it, putting specific tasks into them (both close to his role and beyond it). During this period, he can freely improvise various movements with her.
One of the main secrets of puppetry is to measure the movements of the doll with its scale ... Commensurate with the scale of their own bodies, children often make the mistake of making the doll move boldly and sharply. Thus, the actor steals from the doll. The movements of the doll should be clearly dismembered, small and very precise: a little the doll bowed its head - she was already sad, moved a little forward - this is already a whole step.
How exactly are the movements of the doll conveyed? What physical actions of the fingers and hands of the puppeteer actor determine the plastic actions of the doll??
The doll is led on the leading hand "away from you"... This makes it easier for the doll to walk, it is easier for the actor to keep track of his doll and the doll of his partner.
Driving a doll without a hapit ... The index finger guides the doll's head, the middle and big fingers lead the hands / paws, the ring and little fingers are pressed to the palm and form the volume of the doll's body.
If the doll does not act, it should be in a neutral position. The puppet's arms should be folded over their belly - this is the starting pose for the glove puppet. The "calm" position of the doll's hands is achieved due to the fact that the puppeteer's thumb is pressed against the palm, covered with the middle finger from above (it is located parallel to the ring and little fingers).
To raise the "hands" up, it is necessary to bring the fingers - "hands" as close as possible to the index finger - "neck". To spread the "hands", it is necessary to spread the thumb and middle fingers to the sides as much as possible. For the doll to rub "hand" on "hand" - connect the pads of the thumb and middle fingers and rub them against each other. To "hug" another character, fingers first spread apart, then grab the body of another doll: the thumb is above the partner's thumb, the middle finger is under the partner's middle finger, forming a kind of "lock". To stroke another character, stroking actions are performed with the middle or thumb from top to bottom.
To tilt the doll's head slightly, bend the index finger in the first phalanx. To depict a negative wiggle of the doll's head ("no, no"), you need to move your index finger to the right - to the left. In this case, you can "grab your head with your hands" - slightly bend the index finger - "neck", grasp the side parts of the doll's head with your thumb and middle fingers.
To depict a "chest" bow, it is necessary to bend the index finger in the second phalanx. To depict the doll's "waist" bow, tilt behind any object, bend the wrist. The fold depth determines the depth of the bend.
A glove doll without a hapit does not have the function of turning the head, so the rotation is carried out by the entire body of the doll - the entire hand. To enhance this movement, you can slightly tilt the doll's head - bend the index finger in the first phalanx.
Driving a doll with a hapit ... If the doll has a hapit (a stick on which the doll's head is mounted), then the doll's hands / paws are guided by the thumb and forefinger, and the head behind the hapit is controlled by the other hand.
To turn the doll's head, one must very carefully turn the hapit, because with a sweeping movement, the doll is able to "look" behind its back, like an owl, which is a driving error.
To depict negative shaking of the doll's head, it is necessary to slightly scroll the doll's hapit to the right - to the left ("no, no"); in this case, you can spread the doll's hands to the sides (bend the index and thumb on the sides).
The hapit doll is capable of “shrugging the shoulders” (the thumb and forefinger are connected “in a ring” and the entire hand is slightly raised upward), but it has a complex technology of landing and tilting.
Mastering the plastic actions (movements) of the doll is based on the following principles :
Complex plastic actions must be disassembled and the sequential movements constituting them must be found.... Elements of complex movements are not always clearly visible. To determine them, you need to do all these movements yourself, or see how a friend does them, and choose what will be expressive and beautiful in the movements of the doll.
Plastic actions should be based on the coordination of movements of a certain doll, in the same way as human movements are coordinated.... The leader must show the children the mechanics of human movements (moving the hand forward tilts the body back; covering the face with the hand forces the head to tilt, etc.). Despite the fact that the doll does not reproduce the anatomical structure of a person, the use of some laws of coordination makes its movements extremely convincing. It is necessary to “look through” all parts of the doll from “head” to “legs”.
Along with strong and large gestures and movements, subtle "half movements" play an important role. which give the doll a special expressiveness and persuasiveness. This can be a barely noticeable turn of the head, subtle tremors of the "shoulders" when crying and similar movements.
The doll should be held straight on the hand, the body tilts forward, backward, sideways are carried out by bending at the puppeteer's wrist. Compliance with this rule imparts clarity and purity to the movements of the doll.
Compliance with these rules allows the performer to build the doll's plastic actions and to master various ways of driving it.
Driving the doll, depicting the gait... The doll turns sideways to the viewer. The actor must walk, but slowly, so that for each step the doll has time to make several steps. Doll step - movement of the body up and down ... You can not make separate and sharp movements, just slightly raise and lower your hand. For characterizing the gait lowering and raising the hand and at the same time leading it forward, it is necessary to slightly wiggle the hand in the joint - you get a waddling gait... The larger the character (and, accordingly, the doll), the greater the interval in the movements of the hand: the "bear" is swinging (the hand not only rises up and down, but also turns left and right), with a greater amplitude than the "wolf", and that - more amplitude than the "hare", etc. If the doll is hapitic, the turns of the hand are replaced by light turns of the head. You can find other features of the gait - jumping, limping, etc., however, the basic scheme of the doll's "gait" and its proportionality to the scale of the doll should always remain.
Driving method of the doll depicting landing... The technology of planting dolls without hapit and hapit ones has a certain difference.
The doll turns sideways to the viewer. Head dolls without hapit goes down a little (the index finger bends slightly) while maintaining the same level of the doll on the screen. Further, the hand moves back and down with the simultaneous lifting of the head (straightening the index finger). A slightly accentuated movement captures the moment when the doll “sat down”. Hapit doll sitting down, "acts" as follows. The doll, without changing the floor level, tilts about 45 degrees, the doll's "arms" are slightly extended forward, the actor's palm is tightly pressed to the hapit. Then the hand moves backwards, the actor's hand goes down slightly (while the wrist goes up) - the doll “lifts the ass”; then the hand and wrist are straightened (the hapit is pressed against the palm again) and the whole doll goes down - sits down.
Before sitting down, the doll must "look" at the place where it sits(turn back, tilt your head slightly, turn forward again). This will be the detail that gives the doll not only external, but also internal resemblance to a person, creates the impression that the doll "thought" before "sitting down".
Stacking the doll... First, the doll "sits down", then turns to face the viewer and lies down (the hand bends down and fits on the bed of the screen). Already lying down, the doll can "tinker" - slightly move its head, "rub hand in hand", "rub eyes" (bend the index finger - "neck", bring the "head" of the doll to its "hands", rub the face of the doll with fingers - " hands "; if the doll is hapite, then the hapite is pulled down, allowing the" hands "to reach the" head "). If the doll needs to be covered with a blanket, then, "sitting down", the doll "takes with its hands" the edge of the blanket and lies down. The blanket should automatically cover her.
Lifting the doll... Actions are performed in the reverse order compared to "landing" or "laying" the doll, but it is no longer necessary to look back at the landing site.
If the doll has to pick up an object or hit, it must be remembered that its movements depend on its size and the size of the object with which it is dealing.
Lifting the object by the doll. For a doll, even a matchbox is a whole box. It is not easy for her to grab such a large object at lightning speed, she must take it slowly. Action dolls without hapit ... Holding the doll at the desired level, it is necessary to bend the wrist (bow in the waist - the doll will bend over to the garden bed), extend the "arms" to the object (unbend and stretch the fingers in the right direction), then "take" the object (grab it with the middle and thumb), press it to the doll's belly - palms, and slowly unbend the brush - straighten the doll's "back", just barely leaving a fold (if the object is heavy). If the object is large, it is imperative to make a pause - "take a break", the doll can even "breathe". If the object is elongated, the doll can "throw it on the shoulder" (for this, when gripping the object, it must be additionally squeezed between the middle (or thumb) and index fingers - "hand" and "neck"). In this case, the doll can even wipe sweat from its forehead with its “free hand”. When moving with an object, the doll should go slower than usual - it carries weight. If the object needs to be acted upon, it is clamped between the pads of the thumb and middle fingers; the action is transmitted in a generalized way, but if possible with the isolation of the phases of movements (swing - the object rises with the fingers - hands up, the doll deviates back, the hand bends to the back side; lowering - the movement of the fingers and hands is enhanced by lowering the entire hand, the doll leans forward; pause - fixing the object at the desired point). If it is necessary to move the object to the right and to the left, it is necessary to turn the entire hand - the body of the doll. When lowering the object, you must act in the reverse order.
Actions of a doll with a hapit. Holding the doll at the desired level, it is necessary to tilt it towards the garden bed, extend the "arms" to the object (unbend and extend the fingers in the right direction), the actor's hand, leading the hands, goes down slightly (while the wrist goes up) - the doll "lifts the ass" , then "take" the object (grab it with your middle and thumb), press it to the doll's belly, and begin to straighten (the hand and wrist straighten, the hapit is pressed against the palm again). If it is necessary to move the object to the right and to the left, it is necessary to turn the entire hand that guides the doll's “hands” without turning the hapit and keeping the head position unchanged. When lowering the object, you must act in the reverse order.
The connection between the character's appearance and the way he thinks helps to establish the character's speech ... How to organically connect speech with a character if his mouth for the most part does not open?
The movements of the doll in connection with the word are based on the following principles :
The silent doll remains stationary, the talking doll must move(this rule applies mainly to those cases when there are two or more dolls on the screen and there is a general conversation between them). Its movements can be very different. Just as a word has its own meaning and intonation, so the movements of a talking doll have their own nuances. If the word spoken behind the screen is not confirmed by the movements of the doll, then it may turn out to be unrelated to this character for the viewer. There are times when a silent doll has to move - she can silently do everything that is due to her role. Or it can remain completely motionless, freeze, saying a phrase, and designate speech with only minimal nods of the head. It all depends on the circumstances of the action or the task of the mise-en-scène.
The movements of the talking doll reflect either directly what she says, or that thought, and, consequently, the attitude that lies in the spoken text.
The illusion of transferring the voice of the doll is carried out using the synchronization of the movement of the doll and the voice of the actor... Speech and movement, connected by a common meaning, can complement, but not duplicate each other: plastic actions can precede the word, and, having prepared it, be expressed in it. Likewise, the word can be the beginning and the cause of the subsequent movement. Here they are connected by meaning and temporal sequence, although they do not coincide in time, they do not overlap. The coincidence of the rhythm of speech with the rhythm of movement can provide synchronization and the illusion of revival, even if this movement is everyday, not bearing a figurative origin.
The rhythm of speech and the power of the word are reflected in the rhythm and power of movement.
All the behavior of the doll: its movements, gestures and words should be addressed to a well-defined object - an object or character... The viewer should see where the doll's attention is directed, what its action relates to, with whom it speaks. The play of a doll that speaks without speaking to a partner ceases to be convincing. The doll's gaze is determined by the position of its head, and the viewer traces its direction in the direction of the nose as the most protruding part of the doll's head.
If the doll is alone on the screen and says a monologue that is not addressed to the subject, then she should address her words to the audience... So, for example, "sweeping the floor" and reasoning about why she "does" it, the doll moves along the bed of the screen sideways to the viewer, acting with a broom; when he reaches the middle of the bed he stops and “speaks” the text, turning to face the audience (while he can nod his head, look at different edges of the auditorium, etc.), and then resumes movement.
The voice of the actor should "merge" with the doll... For this, the leading characteristics of the image are selected and for them intonation, timbre and rhythm of speech are selected. For each character, these characteristics should not coincide with other characters.
It must be remembered: the movements of the doll and her speech are determined primarily by the character of the character, his external features and the internal content of the role. Therefore, before working with a doll, it is necessary to draw up a "bank of intonations" that determines the range of pitch of the characters' voices in the play (which of the characters speaks above all, who is below everyone who occupies intermediate positions; whose speech should be louder, whose is quieter; how to express joy in intonation , sadness, fear, surprise, etc.). Such a “bank” should not become frozen once and for all for any character: in different works the wolf can be cruel, kind and stupid, or very evil. Each time, the character's intonation will change. At the same time, for a beginner puppeteer, the "bank" will serve as a tool for searching for means of speech expression, helping to create an interesting performance.
Additional very useful pages from Natalia Trifonova's book "Do-it-yourself puppet theater"
The complex process of putting on the baby's hand, as well as the synchronous reproduction of speech and movements of the doll. The doll put on the hand must be turned to face you and the following movements must be made. Let the doll tilt its head forward several times, then make a waist tilt. In the first case, the joint of the index finger is bent, in the second, only the puppeteer's hand is bent. Then turn the doll to the right and left, clap your hands, spread them to the sides, lift them up, pull them forward. Stroke the doll's face with your hands or hand. Further master: when the doll hugs, takes the object, goes with it and puts it back, whispers in your ear, presses against you.
Their feelings and experiences are expressed simply. For example, to show that a bunny is crying, you need to cover his muzzle with his own paws, with joy - he jumps, with fright - trembles, with surprise - spreads his paws to the sides. And if this is a small scene "The Game of Hide and Seek", where there are two different characters, you need creativity from both children and an adult. The squirrel is lively, cheerful, kind and resourceful, speaks quickly and loudly, treats the bear friendly. The bear is phlegmatic, clumsy, moves and speaks slowly, likes to sleep and honey. He is looking for a squirrel calmly, without excitement, does not fuss. All this must be taken into account when working with both kids and adults.
To master puppetry, teachers will need a number of exercises.
First, we learn how to dress and drive the doll without a screen.
In order for the doll to act according to the text, it is necessary to master the elementary movements, that is, when necessary: it walked and sat down, turned, bent over, clapped its hands, squatted, circled, hugged, took objects, etc.; so that the doll looks at the children or at the hero. She keeps straight, does not lean to the side, does not throw her head back and does not go down. It's not easy, but amazingly addicting.
The doll does not come out immediately, as from the ground, but gradually: from the beginning, its head, shoulders, chest and legs appear. The doll must "live" all the time, do something, move and confirm the text with its movements. It can be difficult to read the text and simultaneously follow the doll or even two dolls on two hands. The doll should be at the level of the screen all the time. If possible, lower the doll's hands down. It is very important to develop a sense of the floor, that is, the doll should, as it were, walk on the floor, without lowering or rising. If you lead it on the screen quite evenly, then the audience will get the impression that it is sliding, rolling, but not going. Transferring the gait of the doll, it is necessary to move it forward with rhythmic movements. When she leaves, she does not fall through at once, but recedes into the depths of the screen behind the backdrop or gradually descends.
You can even plant a doll in two ways. If she has legs, turn her to face the audience, throw her legs over the screen and lower the doll a little. If she has no legs, put her in profile to the audience, lower her a little and with your free hand spread her dress along the screen, as if the doll stretched out her legs. And to take an object from the screen means to tilt only the upper part of the doll's body, this is achieved by bending the puppeteer's brush and it is not necessary to lower the whole thing down. Or lie down - sit her down from the beginning, and then put your head on the screen. When it is necessary to show that the doll is asleep, it is placed on the screen with its back to the audience so that its open eyes cannot be seen.
Each hero of the play has interesting and characteristic movements and reacts all the time to what is happening. All the insignificant, barely perceptible movements of the dolls make her real, meaningful, very busy and attract the attention of children. The doll is motionless, freezes, it immediately becomes uninteresting.
It is advisable to find for each character your own, characteristic voice, your own way of speaking. When showing the performance, the text is read at a moderate pace, expressively pronouncing and pronouncing the words clearly, give the audience an opportunity to see the hero, stop, do not rush with the words, pause, stop. Wait for the children to laugh, share their impressions, talk with the characters of the play. If necessary, make explanations, add text, speed up the development of the plot, or replace it with more accessible words, expressions.
We learn the ability to work with two dolls in two hands at once.
In the theater, you often have to work with two puppets. With a doll on each hand, it is important to speak, move in different ways, each has its own place on the screen, its own manner. We must try to use the entire play space of the screen and not group the dolls in one place. And if the doll speaks, then it moves slightly and gestures a little. The doll that is listening stands motionless and looks at the speaker. Each change of place and transition of dolls must be done reasonably, with a specific purpose. When the puppets change places, the puppeteers also change places.
Puppeteers work while standing, so there should be no unnecessary objects behind the screen that interfere with movement. It is spacious behind the screen so as not to hinder movement. Coordination in the work with the hero will come, but not immediately.
It is also important for the puppet theater to such moments as the foreground and background.
The show will be much more interesting and advantageous, if you make a background, it will enlarge the scene, create a background behind which the action or the gradual exit of the doll will take place.
Light enlivens the design and characters, everything becomes much brighter and more attractive. At the same time, of course, we observe the measure and do not overload the decoration of the screen and costumes with trifles and details, we do not clutter up with unnecessary, unnecessary decorations and things that are not needed in the performance. We do not strive to reproduce the exact life situation, to create the greatest believability. On the screen we put only what is necessary and the requisites and props for the display. Everything should be simple, elegant and beautiful.
When you need to show - a forest, we put a tree, a bush and a stump. But we beat them: a doll can sit on a hemp, it can hide behind a tree and bush. If possible, we make the design real (newspaper, book, apple, sour cream, water :)
And it is imperative to explain to the kids the new words used in the theater:
stage, screen, spectators, applause, scenery, lighting, backstage, curtain, poster, tickets, auditorium, puppeteer, performance
I. THEATER DOLL: NATURE,
ESSENCE AND INVERSIONS OF CULTURAL SENSE.
1.1. Actor as a doll / actor and a doll: from the metaphor of culture to the problems of acting expressiveness.
1.2. The Doll as an Actor: The Phenomenon of Reanimation of the Inanimate in the Theatrical Space.
II. NATIONAL AS AESTHETIC QUALITY
PUPPET THEATER.
11.1. State Puppet Theater of the Republic of Mordovia: in search of an individual style.
A.2. Puppet theater repertoire: reflection of the specifics of national culture.
Recommended list of dissertations
Theatrical puppet - form, function, image: On the example of theater puppets N. Ya. And I. S. Efimov 1999, Candidate of Art Criticism Kovycheva, Elena Ivanovna
Ningyo Joruri Theater in the Era of Japanese Urban Culture in the 17th-18th Centuries 2004, Doctor of Arts Kuzhel, Yuri Leonidovich
Puppet theater as a phenomenon of Soviet culture: based on the history of the Kostroma regional puppet theater 2012, candidate of cultural studies Zadorov, Ivan Alexandrovich
Development of creative abilities of children of primary school age by means of puppet theater in the system of additional education 2000, Candidate of Pedagogical Sciences Timofeeva, Tatiana Vyacheslavovna
Traditional shadow theater in Arab countries: philosophical and aesthetic aspects of the spectacle 2005, Ph.D. Dakrub, Walid Fahreddin
Dissertation introduction (part of the abstract) on the topic "The art of puppet theater in the context of national culture"
Relevance of the research topic. The puppet theater has always attracted people with its special magical atmosphere associated with the miracle of reviving an inanimate object - a doll. Today, puppet theater performances are mostly watched by children, but even in the century before last, when the concept of “art for children” did not exist, it was a theater for everyone. Moreover, the very hierarchy of official and folk theaters during this period not only did not know the now accepted division into theater for adults and theater for children, but into “live” theater and puppet theater. For a long time, puppet theater developed parallel to the theater of live actors, using the same repertoire with it, having almost the same circle of spectators. Perhaps for this reason, the theatrical puppet and the specificity of its play have always served as a metaphorical expression of those aesthetic and professional issues of the existence of art that the theater of man faced. The amazing resemblance of a doll to a living creature has always served as a reason for reflections and a broader plan associated with the reflections of philosophers about the dualism of our life, the puppet of our being.
On the other hand, it is important to note the fact that theatrical puppet still remains a mystery to theater theorists. A. N. Vasilkova writes about this: “What is the body of a doll is visible to everyone. Nobody knows what a doll's soul is: it seems that it is shrouded in an even greater mystery than the human soul, and the more this mystery attracts to itself ”. Theorists and practitioners argue about its essence, about the boundaries of its expressiveness, about the nature of its reflection of the reality of the human world. The open nature of these questions is also due to the fact that the development of modern theatrical art is dominated by the tendency towards the diffusion of expressive means, which occurs at the boundaries of its individual types. Sometimes the performance resembles a mosaic assembled from various elements, which naturally raises the question of its specific boundaries, the preservation of the specificity of means of expression, and even the independent existence of theaters within the framework of the system that has historically developed to the present day. One of the theorists of the puppet theater E.V. Speransky noted on this occasion: “. the theater of man in many cases begins, as it were, to step on the position of a puppet theater, to speak in its language, to use its artistic method, its means of expression. There is a kind of "aggression" of one type of theatrical performance in relation to another, and the development of various types of art is more and more subject to certain general universal laws of the theater as a single artistic organism, a single artistic nature. " One of the ways out of the situation of losing the specifics of puppet theater as an independent type of theatrical art is the search for special themes, problems, means, subordinate to the capabilities of the main character on the stage - a theatrical playing puppet.
Numerous troupes of puppet theaters in Russia find a solution to this problem through the development of the national repertoire. At the same time, someone strives to develop the technical capabilities of the doll, someone develops the expressive aspects of acting, someone is looking for new directorial and artistic solutions. The activity of the State Puppet Theater of the Republic of Mordovia, which in 2008 celebrated its 70th anniversary, is no exception. Unfortunately, the history of this troupe has not yet received proper coverage in special scientific research. Therefore, everything, starting from the repertoire, the composition of the troupe, decoration and acting, requires serious study, since the life of this collective reflects specific trends in the development of not only the entire puppet theater as a whole, but the peculiarities of the existence of the national culture of Mordovia.
The degree of elaboration of the problem. The first attempts at theoretical understanding of the specifics of puppet theater and its expressive means date back to the 19th. First of all, we are talking about the classic study of S. Magnan "The history of puppets in Europe from ancient times to the present day." At the turn of the XIX - XX centuries. a special contribution to the development of this problem was made by the theoretical works of the famous English director G. Craig. They largely influenced the development of theatrical theory of puppet theater at the present stage.
Modern theories of puppet theater are based on the data of aesthetics, cultural studies and theatrical theory, especially since the analysis of the significance and place of puppet theater in the system of culture and art is partly a subject of consideration in studies on aesthetics and cultural theory (Yu.B. Borev, Yu.M. Lotman, N. B. Mankovskaya), philosophy and theory of theater (I. M. Andreeva, J. N. Dukhanina, S. A. Izvolina, T. V. Kotovich, P. Pavi, A. Pavlenko, etc.). It should be emphasized that theater experts most often turn to the particular problems of puppet theater when analyzing general theatrical phenomena, especially when it comes to the specifics of acting expressiveness.
His own theory and history of puppet theater took shape in the 10s and 40s. XX century, when in general works on the history of theater and folklore (A. Beletsky, P. Bogatyrev, V. Vsevolodsky-Gerngross, N. Evreinov) some issues of the formation and development of puppet theater and its expressive means - a playing doll ( N.D.Bartram). At the same time, the works of the founders of the first professional schools of puppetry in Russia, E.S.Demmeni, C.B. Obraztsova, N. Ya. Simonovich-Efimova. Being not only practitioners, but also the first theorists of puppet theater, they paid special attention to the development of theatrical puppet, creating new, more expressive models on the basis of its traditional versions used in folk theater. In the course of numerous discussions, they discuss issues related to the expansion of the repertoire, in connection with which they begin to touch upon some theoretical problems. A significant number of researchers (I. Eremin, N. V. Nemchenko, O. Tekhnovitser, JI. Pumpyansky, A. JI. Fedotov, V. A. Shvemberger) turn to applied issues: the development of technical systems of puppets and the technique of acting.
The turning point in the development of the theory and history of puppet theater was the period of the 50-80s. It is connected with a discussion caused by the rapid development of innovations, which, according to some theorists, endangered the existence of puppet theater as a special kind of theatrical art. During this period, puppeteers from all over the world began a joint search for new systems of expressiveness that would take into account the specifics of puppet theater. This process takes place within the framework of numerous international symposia held by the International Union of Puppet Theater Workers - UNIMA. In parallel with this, researchers were actively involved in the development of its history and the historical approach can be considered predominant in modern research. Historical evolution is considered, first of all, from the point of development of the evolution of National technical systems. Among them, the largest amount of material relates to the puppet and the glove doll. Let us note the studies of V.E. Guseva, E.B. Korenberg, A.P. Kulish, A.F. Nekrylova, K.F. Raitarovskaya, N. Ya. Simanovich-Efimova, I.N.Solomonik, M.V. Tsifrinovich. Generalizations A.D. Avdeev, B.P. Goldovsky, S.V. Obraztsov.
In addition, many general questions of the specifics of the playing doll serve as an object for research in works of the applied and technical nature of theater in general and puppet theater in particular. Some of them focus their attention on the problems of acting expressiveness and the specifics of direction (T.P. Andrianova, M.A.Zolotonosov, E.S. Kalmanovsky, E.I. Latysheva, E.V. Speransky, etc.), others on the specifics of the artist's work in the puppet theater and general issues related to the stage design of a theatrical performance (V.I.Berezkin, L.I.Borisovskaya, V.N. Mikhailova, O. I. Polyakova, M. A. Frenkel).
But the most important thing is that the result of numerous discussions of this period was the creation of a full-fledged theory of puppet theater, due to which the theoretical study and systematization of materials on the history of theatrical playing puppets is carried out in the context of the general theory of the development of this type of theatrical art. Let us note several major studies in this area. The work of M.M. Koroleva “The Art of Puppet Theater. Fundamentals of Theory ”broadly covers the main problems of puppet theater aesthetics: the essence, the specifics of its artistic image and the main means of expression, the specifics of the interaction of living and inanimate, genre specifics, form and content. In the study of NI Smirnova "The Art of Playing Puppets: Change of Theater Systems", the internal components of its stylistic forms, the dialectics of their change in the context of philosophical and aesthetic concepts, theatrical thinking characteristic of different periods of history are considered. Of no less interest is the book by E. Kalmanovsky "Puppet theater, the present day", which examines the state of modern theory and its relationship with the practice of puppet theater. A.I. Vasilkova in her book "The Soul and Body of a Doll" explores the nature of the puppet convention and its interaction with a person, covering the spheres of theatrical, pop, cinematographic and theatrical life.
Despite the rather outlined boundaries of the theory of puppet theater, one of the problems in the research is the analysis of the phenomena taking place in modern provincial theaters, which are looking for their own special forms of expressiveness associated with the growth trend of national self-awareness in the regions. The State Puppet Theater of the Republic of Mordovia is no exception. Although attempts to fully analyze theatrical phenomena in Mordovia have been undertaken since the 60s. some researchers (B. Bassargin, V. S. By-zhinsky, N. M. Mirskaya, O. V. Pashutina, Y. F. Yushkin), but the art of puppet theater did not become the subject of special consideration, and in some cases even mention ... Until now, the history of the development of this group has not been written, its performances are only rarely evaluated in printed reviews, but the level of even these publications does not allow revealing significant elements for the analysis of national specifics. (However, this phenomenon is also typical for the entire theatrical art of Mordovia.) Therefore, in this study, we had to rely on a small historical material (studies of local historians), materials collected in booklets dedicated to anniversaries in the life of the theater, and on our own analysis of its performances.
Scientific research hypothesis. Any puppet theater, due to its origin, a long period of its development in line with the folk tradition, cannot refuse to reflect the historical and national life of a particular culture. Proceeding from this, it is included in the general trend of the process of "challenge" to the modern globalizing culture, seeking to find support and preserve its specificity by referring to the expressiveness or themes of traditional folk theater. But at the same time, developing a nationally colored individual style, he actively experiments, looking for his place in the system of modern theatrical art. In a broad sense, all this means that puppet theater has always sought to reflect broad themes that reveal the specifics of human existence, reflections of the surrounding reality.
The object of this dissertation research is the art of puppet theater as a cultural phenomenon, which determines the choice of the subject of research - puppet theater in the context of national culture.
The purpose of the dissertation research is to analyze the aesthetic features of puppet theater developing in the context of national culture.
Based on this goal, we can formulate the research objectives as follows:
1. Show that puppet theater is closely related to cultural phenomena through the metaphor of the puppet as a form of human reflection of his being and artistic vision of reality.
2. Consider the phenomenon of puppet theater and the specifics of its main means of expression - a theatrical playing puppet, which is based on the principle of animating the inanimate.
3. To identify the national as the most important quality inherent in puppet theater and its importance for stylistic searches and experiments in contemporary art.
4. To study the most important stages of the development of the State Puppet Theater of the Republic of Mordovia and creative searches at each of them.
5. Analyze the specifics of national stylistics in the theater repertoire, the prerequisites for its emergence and development at the present stage.
Theoretical and methodological basis of the dissertation research. Involvement of a wide range of theoretical studies for the study of the object under study required an appeal to the culturological principles of analysis associated with the possibility of a synthetic approach to the collection of theoretical material, the formulation of problems and their methods of solving them. In addition, the basic research methods in this dissertation should include general scientific ones - synthesis, comparison, analogy, generalization.
The author is guided by the basic principles of theatrical analysis, which have been developed by contemporary art history. Theatrical phenomenon is considered in the context of culture as a reflection of a certain specificity of thinking, formed at a particular stage of development.
Taking into account the specifics of theatrical methodology, which is focused on the analysis of specific phenomena occurring in stage practice, it was necessary to form a range of phenomena that serve as an empirical basis for research. We are talking about the performances of the State Puppet Theater of the Republic of Mordovia: "The Adventures of the Hunter Damai", "Viryava's Daughter", "Magic syul-gam", which, according to the author, allow creating a holistic impression of the picture of the development of the national style in the theater's repertoire.
Turning to the history of the development of puppet theater required work in line with the method of historical reconstruction, which made it possible to trace the stages of development of this phenomenon in a particular region.
The principles of semiotic analysis, which have recently been developed in theater studies, are of no less importance for the dissertation. It was they who made it possible to determine the specifics of the national stylistics developing in modern puppet theater, based on the symbolic properties of the theatrical playing puppet.
Scientific novelty of the work. Based on the study of a wide range of theoretical studies and analysis of the practical activities of puppet theater, for the first time, it was possible to include this phenomenon in the general logic of the development process of one of the most interesting phenomena in contemporary art: an appeal to the national specifics of culture as a way to resist the globalization of spiritual values in the modern world. The author sees this as one of the most important ways to preserve the specificity of puppet theater as such, which is often lost in the search for new expressiveness and experiments with the artistic form of the performance. That's why:
Studied the rootedness of the doll metaphor in culture and its significance for the designation of the fundamental aspects of human existence;
Analyzed the current state of the theory of puppet theater and approaches to the definition of its specific essence, which is associated with the phenomenon of theatrical playing puppet.
It has been determined that the development of the modern stylistics of this type of theater is associated with the development of the national repertoire and the awareness of the symbolic properties of a doll capable of embodying it;
The features of the formation and development of national themes in the repertoire of the State Puppet Theater of the Republic of Mordovia are traced.
Provisions for Defense:
1. Puppet theater, like any other kind of theater, has a set of common features. It is this commonality that determines the relative mobility of the boundaries of the puppet theater. But its main aesthetic features remain unchanged, since they are determined by the artificially-living nature of this type of theater. It has a special variety of technical forms and means of embodying stage images, since the theatrical playing puppet will remain the main instrument here. She has the qualities of an inanimate artistic object (puppet nature) and a playing performer (acting nature), combined into one by the talent of an invisible living actor.
2. A doll is one of the most interesting images in culture, which made it possible to metaphorically represent the theme of human existence in the world through the phenomenon of revival of a controlled inanimate object, to illustrate the interdependence between the creator and his creation, to realize a person's existence in culture, to consider the process of creativity and the creation of a work by an artist in art in general and theater in particular. This metaphor is connected not only with the history of human theater, it is a reflection of one of the main problems in determining the specifics of the puppet theater itself, which clearly demonstrates the duality of the acting, the separation of the external image from the actor. Therefore, the nature of puppet theater is based on the dialogical interaction of a person and a doll, the play of which creates a single stage image based on the combination of the living and the inanimate in a single plastic action. The contrast between the two components of the plastic action only emphasizes the moment of revival of the inanimate creature, creates a situation of convention and theatricality.
3. Instrumentality and artificiality are two important qualities that define the essence of the theatrical playing puppet and the way it lives on stage. These qualities make it possible to understand the relationship between the technical and expressive sides of the stage action. The range of achievement of the degree of generalization in the visual image of the doll is designated by the concept of "puppetry", which determines the lifelongness of its movement qualities and form. The conditional nature of the doll is quite comparable with the theatrical conditional nature of the acting, which implies that it has special artistic properties. Their specificity lies in the fact that the doll cannot play itself, but only portrays someone. The artistry of the doll depends on the artist's precise choice of the movement principle, as well as on the perfection of the technical performance, which should provide the actor with an obedient, flexible tool for creating an image. For this purpose, a system of dynamic means of expressiveness is distinguished, the selection of which is able to ensure the creation of a full-fledged visual image with the help of a doll - the gesture and facial expressions of the doll.
4. The properties of the theatrical playing puppet determine the special features of the theme and plot of the performances. Puppet theater has always gravitated towards fantastic fantasy, grotesque, allegorical form, metaphoricality. But this does not limit the search for something new in modern puppet theater. A possible way for the development of puppet theater at the present stage is movement in two directions: new expressive and pictorial possibilities of the puppet; new in the drama and genre of the puppet show. This search is especially active when referring to national folklore, when the puppet theater turns to the tradition associated with the national forms and thinking of culture, with which this theater is linked by close historical threads. Therefore, the national values of culture, folklore in these conditions provide incredible opportunities for the creation of absolutely modern forms of puppetry performances.
5. The creative search of the troupe of the State Puppet Theater of the Republic of Mordovia can serve as an example of the development of the main trends in puppet theater. The first stage of the activity of this collective belongs to the 30s. XX century. The performances of this theatrical troupe still retained many features of the traditional farce theater. The second stage in the development of the art of puppet theater in Mordovia refers to the end. 30s - 40s XX century. It is characterized by the process of gradual professionalization of performances, as well as the institutionalization of the amateur troupe as a professional puppet theater in the republic. Since 1948, the third stage in the history of puppet theater begins, which finally completed the process of professionalization of the troupe. It covers a long period of 50-70 years, when the troupe was actively searching for its own individual style. A fully professional creative team of directors, artists and actors is being formed in the theater. In the 80s. XX century began a new stage in the development of the State Puppet Theater of the Republic of Mordovia. It is associated with the search for new systems of playing and the formation of the repertoire, in connection with the change in the conditions of the troupe's existence, since in 1979 the theater acquired its stationary premises. The last (modern stage) in the history of the State Puppet Theater
Republic of Mordovia began in the 90s. XX century and continues to this day.
6. Since the fifties, plays in this genre, based on Mordovian folklore, have appeared in the repertoire of the puppet theater of Mordovia. Mastering the national plot required the creation of an optimal form of plot transmission. The first stage of development in this direction can be considered the appearance of a performance in the Mordovian language (60s), while maintaining the techniques of playing with a doll and a pictorial solution of action that have become traditional for the theater, associated with the development of the principle of illustrativeness and naturalism. In the 60s and 70s. an active search for new artistic depiction began: various techniques of open play of live actors, psychologism, picturesqueness and musicality of images, bold mixing of various systems of puppets in one performance. The possibility of problematic presentation was gradually rehabilitated, and new directorial techniques were searched for, related to the psychologization of action, the growth of its conventionality and allegory. In the 90s, an active experiment is being conducted in the troupe: new technical means of organizing the scenographic space, new stylistic solutions of the visual range, the integrity and dynamism of the puppet action, based on the combination of various plastic forms in a single space. The pictorial range of the performance is often built similarly to the compositional and pictorial techniques discovered within the framework of the ethno-futuristic trend in the visual arts of Mordovia. The directors discover the iconic properties of the doll, interpret it as a sign of national culture, thanks to which the unreal is organically interwoven into the real, the ritual is mixed with the fabulous, which creates multilevel systems of meanings. The design features of the doll are also considered from the standpoint of significance.
Theoretical and practical significance of the research. The dissertation research is important for the study and forecasting of trends in the development of contemporary culture and art in the Republic of Mordovia. In addition, it is important for the development of criteria for theatrical analysis of the current state of the art of puppet theater. The materials of the dissertation can be used in the development of lecture courses and special courses on cultural studies, aesthetics, the history of the culture of Mordovia, the history of the theatrical art of Mordovia, in theater practice, in particular in art criticism of theatrical phenomena.
Approbation of work. The main provisions of the dissertation are set out in articles and speeches at scientific conferences "Ogarevskie readings" (Saransk, 2007-2008), "Art in the modern world" (Saransk, 2007), "Yaushevskie readings" (Saransk, 2008), "Phoenix" (Saransk, 2008 ), at the round table "Region: culture in search of self-identity" in the journal "Regionology" (2008). The theoretical provisions and analysis of modern trends in the development of puppet theater are confirmed in the stage practice of the State Puppet Theater of the Republic of Mordovia, with which the creative activity of the author of this work is associated.
The structure of the thesis. The goals and objectives set have determined the structure of the dissertation research. Its content is laid out on 126 pages. The work consists of an introduction, two chapters and four paragraphs, a conclusion, a bibliography including 190 titles, 4 appendices.
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Conclusion of the thesis on the topic "Theory and history of culture", Romanovsky, Evgeny Yakovlevich
Conclusion
The ancient art of puppet theater has come a long way in its development, remaining a spectacle that cannot exist without a spectator; stage action is carried out by actors - reincarnating, creating artistic images; it is based on a drama that develops from a dramatic conflict. Therefore, all the basic laws of theatrical art, all its fundamental components and features are inherent in puppet theater, like any other type of theater. The commonality of the main features determines the relative mobility of the boundaries of the puppet theater, and they change under the influence of other types of theatrical art.
However, the main features of the art of puppet theater remain unchanged. From dramatic and other types of theater, puppet theater will always be distinguished by its artificially-living nature, because it is not an ordinary actor who appears before the audience, but a puppet - an artistic instrument that he cannot refuse, so as not to lose the specifics of his puppetry art. Therefore, in this study, we examined puppet theater from the point of view of the possibilities that are inherent in the nature of the theatrical playing puppet, since it is it that determines the specifics of this type of theatrical art.
The doll is one of the most interesting images in culture. It made it possible to metaphorically represent the theme of human existence in the world through the phenomenon of the revival of a controlled inanimate object, to illustrate the interdependence between the creator and his creation, and to realize a human being in culture. Another aspect of the existence of this metaphor can be considered topics that consider questions about the artist's creative act, about the process of creating a work in art in general and in the theater in particular. This side of the problem is clearly traced in the theatrical theories of D. Diderot, romantics, G. Craig, A. Artaud and J. Genet, in which the problem of metaphorizing a doll is related to the essence and specifics of an actor's play in the theater. In this context, one speaks of an actor as a doll or a conditional mask (role) put on by him in order to create a special conditional world of theatricality that separates stage and real space.
But this metaphor is connected not only with the history of human theater, it is a reflection of one of the main problems in determining the specifics of the puppet theater itself, which clearly demonstrates the duality of the acting, the separation of the external image from the actor. In this system, the actor's actions cannot be classified as a type of dramatic play, since it is completely subordinated to the conditions of the puppet scene. Therefore, the nature of puppet theater is based on the dialogical interaction of a person and a doll, the play of which creates a single stage image based on the combination of the living and the inanimate in a single plastic action. The contrast of the two components of the plastic action only emphasizes the moment of revival of the inanimate creature, creates a situation of convention and theatricality.
Plastic action becomes a mediator between the internal logic of the human actor and the external logic of the puppet's behavior, and its organization has a structure specific to the puppet theater. This is not a simple mechanical effect of an actor on the anatomy of a doll, but a complex psychophysical act.
Puppet theater has such a variety of technical forms and means of embodying stage images, which is inaccessible to either the dramatic or any other type of theater. But the theatrical playing puppet will always remain the main instrument here. She has the qualities of an inanimate artistic object (puppet nature) and a playing performer (acting nature), combined into one by the talent of an invisible living actor.
Instrumentality and artificiality are two important qualities that define the essence of the theatrical playing puppet and the way it lives on stage. These qualities emphasize those aspects that connect it with the visual arts and one of its creators - the puppeteer artist. He not only comes up with the guise of the hero of the play, but creates the inner content of the image, finds an appropriate expression for it. He can show his vision of the external stage image, his attitude towards it much more subjectively, since he does not have a barrier between drama and its individual perception in the form of an actor's external data. Therefore, unlike a theatrical artist, he creates an independent creation, separate and independent of the nature of the actor.
The instrumental and artificial qualities of the doll make it possible to understand the relationship between its technical and expressive sides. The puppet system is a typical manifestation of this. In technical terms, the influence of the puppet system on the structure of the artistic image is noticeably stronger, since both the movement capabilities of the doll and the method of setting the doll in motion depend on it, but the system itself serves only as a means through which the puppet image is expressed only in a certain range.
Another quality of theatrical playing puppet is its conventionality, and the range of achieving the degree of generalization in the visual image of the puppet is designated by the concept of “puppetism”, which determines the verisimilitude of its movement qualities and form. The emphasis on movement is important today, when contemporary artists strive to minimize the details of the appearance of the doll, and leave the actor a lot to work with movement.
The conditional nature of the doll is quite comparable with the theatrical conditional nature of the acting, which implies that it has special artistic properties. Their specificity lies in the fact that the doll cannot play itself, but only portrays someone. The artistry of the doll depends on the artist's precise choice of the movement principle, as well as on the perfection of the technical performance, which should provide the actor with an obedient, flexible tool for creating an image. For this purpose, a system of dynamic means of expressiveness is distinguished, the selection of which is able to ensure the creation of a full-fledged visual image with the help of a doll. First of all, these include the gesture and facial expressions of the doll.
Some secondary (semi-specific) means of puppet theater contribute to the creation of the stage image and artistry of the puppet. Their selection is conditioned by the movement capabilities of the doll. The first place among them is occupied by the sounding word. Additional means of expressiveness in puppet theater include music, which emphasizes the emotional expressiveness of movements, and plays a pictorial role. A large group of so-called nonspecific means, initially was not characteristic of puppet theater, since they do not provide for the use of a doll, replacing it with a living actor, an actor in a mask, human hands, etc.
The range of application of all these means of expression is due to the laconicism of the artistic language of the puppet theater, associated with the compactness of the form of both the vernal dramatic action and the internal construction of the image. Excessive laconicism is limited by theatricality (colorfulness) inherent in the puppet scene, due to the specific dimensions of the stage and the requirements for concentration of the action with bright, contrasting colors. Due to this circumstance, the colorfulness of the puppet theater serves as an additional means of its expressiveness.
These properties of the theatrical playing puppet are associated with special features of the theme and plot of the performances. Puppet theater has always gravitated towards fantastic fantasy, grotesque, allegorical form, metaphoricality. But this does not limit the search for something new in modern puppet theater, they are carried out in the same directions according to which all modern art develops - the uniqueness and individuality of the artistic style. A possible way for the development of puppet theater at the present stage is movement in two directions: new expressive and pictorial possibilities of the puppet; new in the drama and genre of the puppet show. This search is especially active when referring to national folklore, when the puppet theater turns to the tradition associated with the national forms and thinking of culture, with which this theater is linked by close historical threads.
An example of this is the creative search of the troupe of the State Puppet Theater of the Republic of Mordovia. The first stage of the activity of this collective belongs to the 30s. XX century, when in 1935 the first amateur puppet theater was organized in Saransk. In the performances of this theatrical troupe, many signs of a traditional farce theater were still preserved, which was expressed in the staging of concert programs, where, along with the play of puppets, circus performances were present.
If at the first stages of its existence, the elements of a bohemian puppet theater were directly preserved in it, then at the stages of growth of its professional level, features of an active creative experiment are noted. The second stage in the development of the art of puppet theater in Mordovia refers to the end. 30s - 40s XX century. It is characterized by the process of gradual professionalization of performances, as well as the institutionalization of the amateur troupe as a professional puppet theater in the republic. The children's repertoire remains the main reference point of the puppet theater.
Since 1948, the third stage in the history of puppet theater begins, which finally completed the process of professionalization of the troupe. It covers a long period of 50-70 years, when the troupe was actively searching for its own individual style. A fully professional creative team of directors, artists and actors is being formed in the theater.
It was at this time that the evolutionary process of accumulating experience in staging performances that were individual in their style began, first associated with a simple appeal to national problems and plot, and then with the creation of a specific form and pictorial and expressive structure of a national performance. Since the fifties, plays in this genre, based on Mordovian folklore, have appeared in the repertoire.
But mastering the plot based on folklore motives required the creation of an optimal form of conveying the plot. The first stage of development in this direction can be considered the appearance of a performance in the Mordovian language (60s), while maintaining the techniques of playing with a doll and a pictorial solution of action that have become traditional for the theater, associated with the development of the principle of illustrativeness and naturalism. The experience of the first performances has demonstrated that the solution of a national performance only by external means of conveying a folklore plot does not contribute to the identification of a specifically national stylistics. In the 60s and 70s. an active search for new artistic depiction began: various techniques of open play of live actors, psychologism, picturesqueness and musicality of images, bold mixing of various systems of puppets in one performance. The possibility of problematic presentation was gradually rehabilitated, and new directorial techniques were searched for, related to the psychologization of action, the growth of its conventionality and allegory.
It was possible to record these results in the 80s. XX century, when a new stage began in the development of the State Puppet Theater of the Republic of Mordovia. It is associated with the search for new systems of play and the formation of the repertoire, in connection with the change in the conditions of the troupe's existence, since in 1979 the theater acquired its stationary premises.
The last (modern stage) in the history of the State Puppet Theater of the Republic of Mordovia began in the 90s. XX century. and continues to this day. Now the theater's repertoire includes more than forty performances, and the main place among which is occupied by performances with national themes. During these moves, in national performances of the puppet theater, a gradual departure from the direct transfer of the techniques opened by the central theaters of the country is planned. The troupe is conducting an active experiment: new technical means of organizing the scenographic space, new stylistic solutions of the visual range, the integrity and dynamism of the puppet action, based on the combination of various plastic forms in a single space. The pictorial range of the performance is often built similarly to the compositional and pictorial techniques opened in the framework of the ethno-futuristic trend in the fine arts of Mordovia.
But the most important thing is that the directors discover the symbolic properties of the doll, interpret it as a sign of national culture. The unreal is organically woven into the real, the ritual is mixed with the fabulous, which creates multilevel systems of meanings. From the standpoint of significance, the design features of the doll are also considered: anatomy, mechanics, depiction, staticity and dynamism, which makes it possible to actively operate with its conditional nature.
Speaking about the search for new techniques in creating the image of a national performance, one should pay attention to a non-standard approach to organizing the stage space. Thanks to the created multi-layered system of screens and a tablet, it is possible to give additional dynamics to the stage action.
Puppet theater has entered the 21st century, and for all the controversy of many of its creative concepts, it has retained its specificity, has found its place in the rapidly changing contemporary art. Having lost his connection with the balagan theater, after a long period of dominance of the classical system of stationary theater, he returns to his original sources, tries to find some stable points of support in the tradition. Therefore, the national values of culture, folklore in these conditions provide incredible opportunities for the creation of absolutely modern forms of puppetry performances. This is evidenced by the practice of many theaters in Russia, including the State Puppet Theater of the Republic of Mordovia.
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