Theatrical work of junior schoolchildren. Theater activities in the correctional school of the proverb and sayings

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Introduction

The value of the theatrical activity in the development of the child is difficult to overestimate, since theatrical art occupies a special position among other types of arts by the possibility of direct emotional impact on a person. The theater arises the so-called presence effect, everything happens here and now, in space and time that are coordinates of life, therefore the theater is "live art", which is understandable to many, even children, and maybe, especially by him. Theatrical activity allows us to solve many pedagogical objectives, especially the speech, intellectual and artistic and aesthetic development and perception of children; It is an inexhaustible source of emotion and feelings, a means of attaching a child to universal values, performs a psychotherapeutic function.

Currently, theatrical activities are not included in the system of organized learning children in kindergarten. Teachers use it in work mainly for the development of the creative potential of children and more often as a staged to the holiday, and in everyday life - rather unsystematic, episodically, often in order to make the life of children in a group of more exciting, more diverse. Nevertheless, this type of activity pays great opportunities for solving a number of tasks from different educational areas related to the speech, social, aesthetic, cognitive development of a child who are in one way or another today in the process of organized training. The theatrical game was considered a type of creative activity in which the child is studying with the help of various means (gestures, facial expressions, movements, etc.) to transmit the actions of the hero, its emotional state. Preschool pedagogy is looking for the development of children in purely childish activities in counterweights of the school "type, and the game is the leading activity of children up to seven years, which should be mainly used by teachers. Theatrical activity, being a kind of game, initially wears synthetic character: this is a literary text and a sound word, plastic and action of the actor, its suit and visual scene space. The Children's Theater allows the teacher to solve the tasks not only performers, but also cognitive, social, aesthetic, speech.

The modern education system is focused on the identity of the child, the development of its creative activity, and theatrical activity is one of the most effective ways of impact on the child, in which the principle of implementing a personality-differentiated approach in training and education is most pronounced. It is very important that in the world, rich information, new technologies, the child has not lost the ability to learn the world with the mind and heart, expressing his attitude to good and evil, could know the joy associated with overcoming the difficulties of communication, insecradiability. Playing, doing, communicating with adults and peers, he learns to live next to others, take into account their interests, rules and norms of behavior in society, that is, becomes socially competent.

Object work: Theatrical activities of the pre-school educational institution.

Object of work: preschool children

The purpose of the work: to consider the development of the identity of preschoolers when using theatrical activities in the DOU.

In accordance with this, we can formulate the objectives of the study:

1. Analysis of pedagogical literature on the issue of research;

2. To explore the theoretical aspects of the development of the identity of preschoolers in Dow. Theatrical educational preschool personality

3. Studying the features of the organization of theatrical activities of children of preschool age;

Research Hypothesis: The process of developing the identity of children in a preschool educational institution will be effective if there is a methodology for organizing the theater activities based on theatrical games.

The study of the study was MBDOU "Padunsky kindergarten" 652370, Kemerovo region, industrial rn, Padunskaya P / ST, Spring, 10,

Chapter 1. Theoretical aspects of the development of the identity of preschoolers in Dow

1.1 Features of the development of the identity of preschoolers

Modern pedagogical science considers the person as a whole, in which the biological is inseparable from social. Changes in personality biology affect not only the features of its activities, but also on the lifestyle. However, those motives, interests, goals are played by a decisive role, i.e. The results of social life, which, identifying the entire appearance of the personality, gives it the strength to overcome their physical disadvantages and characteristics of character (flareness, shyness, etc.). Personality, being a product of public life, at the same time is a living organism. The relations of social and biological in the formation and behavior of the personality are extremely complex and have an unequal impact on it at different stages of human development, in different situations and types of communication with other people. So, courage can reach the recklessness when the desire is encouraged to attract attention (the natural need for recognition). Another person courage to go to meet life difficulties, although no one except him knows about it. It is important to see the degree of gravity of quality. Excessive politeness, for example, can border with zealum, obedience - to be an indicator of passive execution of requirements, indifference, and foulness - to testify to the livelism of interest, speed of switching attention, etc..

Personality, by definition L. S. Vygotsky, is a holistic mental system that performs certain functions and occurs in a person to serve these functions. The main functions of the personality are the creative development of social experience and the inclusion of a person into a system of social relations. All sides of the individuals are detected only in activities and in relations with other people. The personality exists, manifests itself and is formed in activities and communication. Hence the most important characteristics of the personality - the social appearance of a person, by all its manifestations of the people who surround him.

The development is primarily characterized by qualitative changes, the emergence of neoplasms, new mechanisms, new processes, new structures. X. Werner, L. S. Vygotsky and other psychologists described the main signs of development. The most important among them: differentiation, dismemberment of a previously unified element; the emergence of new parties, new elements in the development itself; Rearrangement of connections between the parties of the object.

Preschool age is characterized by the inclusion of a child in a group of peers in kindergarten, managed by an educator, which, as a rule, becomes for him, along with parents, the most refrain. The teacher, relying on the help of the family, seeks, using various types and forms of activity as an indirect factor (motor, game, productive, communicative, labor, educational, research, musical and artistic, reading (perception) of fiction artistic literature)

The formation of the identity of the preschooler is influenced by the main activities that it performs, the development of speech and the cognitive sphere, but the most important thing in this process has the development of self-assessment, the intensive sphere, dynamic and meaningful parties to emotions and feeling.

Development of self-consciousness and self-assessment of the preschooler. A special role in the development of the identity of the child in the preschool period is played by people surrounding, before the parents of the preschooler becomes independent, more independent than before, from adults, they are expanding and complicated by his relationship with others, and this opens up significant opportunities for deeper self-consciousness, evaluating himself And others. Therefore, its self-consciousness and self-esteem develop.

On the 4th year of life, the child knows his name, surname, the floor, age, sets questions about themselves, its own body, speaks positively. A year later, it begins to confess his skills, knowledge, mastering ideas about some of the peculiarities of its body, the appointment of organs.

In the senior preschool age, the ideas about themselves arise in self-esteem, their own dignity, develop the skills of self-control and self-regulation of actions and relations with others, the hierarchy of motives.

By the end of the preschool age, evaluation judgments about the surrounding, about themselves are gradually becoming more complete. The self-esteem of the preschooler is already reflected in the feeling of pride and shame.

The child begins to navigate not only on direct relationship with adults, the situation, but also for certain consciously adopted tasks, norms, rules communication acquires a holistic context.

In the relationship of preschoolers with peers typical is a cooperative competitive level Communication - communication, in the course of which children are steadily aspire to achieve a common gaming goal, belonging to partners as rivals in a joint game

Development of the fake sphere of the preschooler. In preschool age, the intensive sphere of the child is actively developing, evidence of the formation of motives - motives to activities related to the satisfaction of human needs. Topics in this area include motives associated with the interest of children to the world of adults, with the desire to be similar to them. They are usually intertwined with gaming. An important motive for preschoolers is to establish and preserve positive relationships with adults.

Based on the desire for self-affirmation in children there is a motive of competition - the desire to win, win, be the best. Moral motifs are also developing, in particular, he obey the older, the desire to make a pleasant one who needs other people. However, the activities of preschoolers are encouraged by non-individual motives, but their hierarchical system, in which major and sustainable motives gradually acquire the leading importance and subordination of the newly partial, situational subordination of motives contributes to the awareness of the child as a subject of action. It is the beginning of further complication of motives.

Development of the dynamic and meaningful parties to emotions and feelings of the preschooler. The development of the dynamic side of the emotions and feelings of the preschooler is due to the formation of the ability to control and regulate their emotional manifestations. The meaningful aspect of emotions and feelings is associated with the reasons and object objects of the experience.

At about 4 years, children appear the ability to distinguish true and external manifestations of emotions, and better they recognize negative emotions. Preschoolers can already be aware of the legitimacy, contrary to the eliminated emotions, their emotions are generated by the substantive peace and interpersonal relationships. The successful development of the child at this age requires a cheerful, cheerful mood, the source of which is affectionateness and respect.

In preschool childhood, higher feelings are formed. Special experiences accompany the attitude of children to parents, communicating with which in joint activities feed joyful emotions. Relieving experiences viewing by clicking conflicts in the family, disputes with peers, unfair attitude towards them. The preschooler often flows into jealousy, if it seems to him that a brother or sister (in kindergarten is another child).

Deeper the feeling of pride and self-esteem, which are the basis of the child's self-assessment, determine its behavior. Sometimes these feelings are closed from a child of another person, as a result of which curiosity, selfishness form, egoism. An important role in the development of the identity of the preschooler belongs to aesthetic feeling (excellent, harmony, rhythm).

Bright intellectual feelings of preschoolers are a sense of surprise and curiosity. Success in activities causes vivid positive experiences, which can manifest themselves restrained, but failure leads stormy discontent. Unpleasant experiences associated with activities often generate uncertainty in their forces, fear of new tasks.

The main source of harmonious development of emotions and feelings of the preschooler is the family. The development of its emotional sphere occurs in the direction of the complication of the content of emotions, the formation of the emotional painting (background) of life, the expressness of the experiences. Preschoolers actively assimilate the language of feelings capable of explaining their emotional state, learn to regulate it.

1.2 Age Features of Preschool Children

Preschool age is the most important in the development of a person, since it is filled with essential physiological, psychological and social changes. This is the period of life, which is considered in pedagogy and psychology as a self-concrete phenomenon with their laws, subjectively experiences in most cases as happy, carefree, complete adventure and discoveries of life. Pre-school childhood plays a decisive role in the formation of a person, determining the course of its development at the subsequent stages of the human life path.

The characteristic of the ageal features of the development of preschool children is necessary for the proper organization of the implementation of the educational process both in the family conditions and in the conditions of a preschool educational institution (group).

Age from 3 to 4 years

In three years or a little earlier, the "I myself" becomes a favorite expression. The child wants to become "as an adult", but it is clear, you can not. The separation of oneself from an adult is a characteristic feature of the crisis of three years.

The emotional development of a child of this age is characterized by manifestations of such feelings and emotions as love for loved ones, attachment to the educator, friendly attitude towards others, peers. The child is capable of emotional responsiveness - to empathize, console peers, help him, he may be ashamed of his bad actions, although it should be noted, these feelings are unstable. Relationships that the child of the fourth year of life establishes with adults and other children, differ in instability and depend on the situation. Large emotional well-being is characterized by girls.

Since in the younger preschool age, the behavior of a child involuntarily, actions and actions are situationally, the consequences of their child does not represent a normally developing child sense of security, trusting and active attitude towards the surrounding. The desire of a child to be independent of an adult and act, as an adult can provoke unsafe methods of behavior.

Children 3-4 years old assimilate some norms and rules of behavior associated with certain permits and prohibitions ("you can", "need", "it is impossible"), may see the inconsistency of the behavior of another child standards and rules of behavior.

However, at the same time, children allocate not a violation of the norm itself, but violation of the requirements of an adult ("You said that it is impossible to fight, but he holds"). It is characteristic that the children of this age are not trying to point out the child himself that he does not receive according to the rules, but are complaining of adult. The child has violated the rule, if it is not specifically indicated by it, does not have any embarrassment. As a rule, children are experiencing only the consequences of their careless actions (broke the dishes, broke clothes), and these experiences are associated to a greater extent with the expectation of adult sanctions following such violations.

Age from 4 to 5 years

For 4-5 years, social norms and rules of conduct are not yet recognized by the children, but they already begin to develop generalized ideas about whether (not necessary) behave. " Therefore, children turn to peers when he does not adhere to the norms and rules with the words "do not do", "so it is impossible", etc. As a rule, by 5 years, children without a reminder adult greet and say goodbye, say "Thank you" and " Please ", do not interrupt adult, politely turn to it. In addition, they can remove toys on their own initiative, perform simple labor duties, bring the matter to the end. Nevertheless, following such rules is often unstable - children are easily distracted on what they are more interested, and it happens that the child "behaves well" only in relation to the most significant people for him. At this age, children appear ideas about how "it is necessary to behave in girls, and how to boys.

At this age, children are well mastered the algorithm for the processes of washing, dressing, bathing, meal, cleaning the room. Preschoolers know and use attributes to the appointment, accompanying them: soap, towel, handkerchief, napkin, cutlery. The level of development of cultural and hygienic skills is such that children freely transfer them to the plot-role-playing game.

There is a concentration on their own well-being, the child begins to worry the theme of his own health. By 4-5 years, the child is able to elementary characterize its well-being, attract the attention of an adult in the event of ailment.

In musical and artistic and productive activities, children emotionally respond to artistic works, works of musical and visual art, in which various emotional states of people, animals are transferred with the help of figurative means.

They begin to perceive the plot of the musical work more holistically, to understand musical images. Interesting is more active in music, various types of musical activity. The difference in preferences related to musical and artistic activities, boys and girls are found. Children not only emotionally respond to the sound of a musical work, but also in passionately talking about it (about the nature of musical images and narration, musical expressiveness), correlating them with life experience. Musical memory allows children to memorize, recognize and even call favorite melodies.

The development of performing activities contributes to dominance at this age of productive motivation (sing a song, dance dance, play on a children's musical instrument, reproduce a simple rhythmic pattern). Children make the first attempts of creativity: create a dance, come up with a game of music, improvise simple rhythms of a march or dance, on the formation of a musical taste and interest in musical and artistic activity as a whole are actively affected by the installation of adults.

Age from 5 to 6 years

The child 5-6 years old seeks to know himself and another person as a representative of society (the nearest society), gradually begins to be aware of communication and dependence in the social behavior and relationships of people. In 5-6 years, preschoolers make a positive moral choice (mainly in the imaginary plan).

Despite the fact that, as in 4-5 years old, children in most cases use the words-assessment words "good" - "bad", "kind" - "evil", much more often starts to use a more accurate dictionary for designation Moral concepts - "polite", "honest", "caring", etc.

Qualitative changes at this age occur in the behavior of preschoolers - the possibility of self-regulation is formed, i.e. Children begin to present those demands that previously presented to them by adults. So, they may not be distracted by more interesting things, bring to the end to the end of an attractive job (remove toys, restore order in the room, etc.). This becomes possible thanks to the awareness of children of generally accepted norms and rules of behavior and the obligation of their implementation. The child emotionally experiences not only the assessment of his behavior by others, but also compliance with the norms and rules themselves, the correspondence of his behavior with their moral and moral ideas. However, compliance with the norms (to play together, share toys, control aggression, etc.), as a rule, at this age it is possible only in cooperation with those who are most likely with friends.

Age from 6 to 7 years

In general, the child is 6-7 years old as a person as an independent entity of activity and behavior.

Children are able to give certain moral concepts ("a kind person is such that, which helps and relates everything well, protects the weak") and it is quite subtly to distinguish them, for example, very well distinguish the positive painting of the word "economical" and negative - the words "greedy " They can make a positive moral choice not only in an imaginary plan, but also in real situations (for example, can independently, without external coercion, refuse something nice in favor of a loved one). Socio-moral feelings and emotions are sufficiently stable.

By 6-7 years, the child confidently owns self-service culture: can independently serve itself, has useful habits, elementary personal hygiene skills; determines the state of his health (healthy or sick), as well as the state of health of others; may call and show that it is from him that part of the body, which organ; owns the culture of food intake; Dresses in line with the weather, not superhalying and not insulating excessively. The senior preschooler can already explain to a child or adult, which must be done in case of injury (algorithm of actions) and is ready to provide elementary aid to itself and other (rinse your eyes, rinse the wreck, process it, turn to adult for help) in such situations.

The speech skills of children make it possible to fully communicate with a different contingent of people (adults and peers, familiar and unfamiliar). Children not only pronounce correctly, but also distinguish the phonemes (sounds) and words. Mastering the morphological system of the tongue allows them to successfully form quite complex grammatical forms of nouns, adjectives, verbs. Moreover, at this age, children react to various grammatical mistakes as their own and other people, they have the first attempts to realize the grammatical features of the language. In his speech, the senior preschooler more often uses complex proposals (with written and supervisory connections). In 6-7 years, vocabulary increases. Children accurately use words to transfer their thoughts, ideas, impressions, emotions, when describing items, retelling, etc. Along with this, it is significantly increasing and the possibilities of children understand the meaning of words. They can already explain the little-known or unknown words, close or opposite in meaning, as well as the figurative meaning of words (in sayings and proverbs). Moreover, the children's understanding of their values \u200b\u200bis often very similar to generally accepted.

Chapter 2. Theatrical activity as a means of developing a person in Dow

2.1 The role of theatrical activity in the development of the creative activity of the preschooler

Theatrical art is close and clear to children, because theater is based on the game. Theatrical games are one of the bright emotional means forming the taste of children.

The theater affects the imagination of the child with various means: in a word, action, visual art, music, etc. To whom she was lucky enough at an early age to plunge into the atmosphere of the theater, that all his life will take the world with beautiful, the soul does not think it, it does not work out and spiritually does not appear.

The theater enables the child to show itself in various activities: a song, dance, playing.

The theater as a type of art most fully contributes to the creative development of the identity of preschoolers. From the earliest years, the child seeks to show creativity. Therefore, it is so important to create an atmosphere of a free expression and feelings in children's teams, encourage the desire of children to be unlike others, wake up their fantasy, try to maximize their abilities.

It should be noted that the role of theatrical games in the attachment of children to art: literary, dramatic, theatrical.

Theatrical games are playing in persons of literary works (fairy tales, stories, specially written insignments). The heroes of literary works become acting persons, and their adventures, events of life, changed by children's fantasy, is the plot of the game. It is easy to see the feature of theatrical games: they have a ready-made plot, which means that the child's activity is largely predetermined by the text of the work. The question arises: what is the work of a child in these games? Is it legitimate to attach them to the category of creative games?

This theatrical game is a rich field for children's creativity. We note, first of all that the text, works for children - only canvas, in which they wove out new plot lines, introduce additional roles, change the ending, etc. For example, in the game of the tale "Teremok" after the bunny-shooter on the threshold of the house there is a squirrel-fluffy tail, then the children became a pity of the bear, a fox, a wolf, who asked for teremok and promised no one offended. The game ended with a friendly dance of the characters fairy tales. So, the children "transferred" a well-known fairy tale according to their ideas about the need to live in friendship and peace, not see the enemy in those who do not look like you.

Creative playback of roles in the theatrical game is significantly different from creativity in the plot-role-playing game. In the last game, the child is free in the transfer of the image of role-playing features: Mom may be kind, harsh, caring or indifferent to family members. In the theatrical game the image of the hero, its main features, actions, experiences are determined by the content of the work. The work of the child is manifested in the truthful image of the character. To implement it, you need to understand what the character is why it does, imagine his condition, feelings, i.e. Peel into his inner world. And it should be done in the process of listening. It must be said that a modern child, in the life of which sooner or later includes audiovisual media (TV, video), gets used to the lightweight perception of artistic works. Lightweight, because the image is presented in contrast to the image that develops on the basis of representations, the work of the imagination during the listening process (and later independent reading).

Theatrical games of preschoolers can still be called art in the full sense of the word, but they are approaching it. First of all, the fact that when playing a performance in the activities of children and real artists a lot in common. Just as artists are worried about the impressions, the reaction of the audience and the children in the theatrical game are thinking about the impact of other people. They are cared the result they achieved. And the result is how they portrayed how the work was played. The attention of the teacher and children is directed to achieving this result. Actually, in an active desire to the creative execution of the work consists of educational importance of theatrical games.

The theatrical games develop various types of children's creativity: speech, musical and gaming, dance, scenic, singing. An experienced teacher, children strive for the artistic image of a literary work not only as "artists", performing roles, but also as "artists", drawing up a performance as "musicians", providing sound support, etc.

For interest in theatrical games in children in children, the content of the work is influenced by the content of the work, the inclusion of them in the situation of the theater, the preparation of the performance, the desire to show a performance to parents. Also, throughout the preschool childhood, child interest is supported by the awareness of the success of the activity, so it is important to select every child that part of the work on which he will feel his growth will be satisfied.

The development of theatrical games depends on the content and methods of artistic education of children as a whole, as well as on the level of educational work in the group.

The basis of the management of theatrical games should be carried out on the text of the literary work. R.I. Zhukovskaya advised the teacher to present the text to children, works expressively, artistic, and when re-reading them to involve them in an easy analysis of the content, to summarize the motives of the actions of the characters.

Etudes contribute to the enrichment of children with artistic means of transmitting images. Children offer to portray individual episodes from the read work, for example, to show how in the tale of "Teremok" Fox built an ice-cold hut. In a fairy tale, this is stated in just one sentence, therefore, children must come up with the behavior of characters, their dialogues, replicas, and then lose. In another case, you need to choose any event from the fairy tale and, silently, play it. The rest are the audience - guess which episode is presented. Thanks to such gaming improvisations, the child gradually develop artistic abilities, without which the theatrical game is deprived of paints and expressiveness.

The desire for creativity increases, if a child gets something: a hare's replica successfully said in the same fairy tale "Teremok", expressively handed over to the chagrin, when Lisa kicked him out of the Lubyan Hug, and the like. The teacher not only talks about the success achieved by the child, but also necessarily attracts the attention of other children. For the rest, this can serve as a model for imitation, incentive for the manifestation of activity.

The organization of a theatrical game begins with the selection of a work, in which preschoolers are necessarily involved. The toddler tavern fascinates an emotional story about how good to play the fairy tale "Kolobok". The older children are actively discussing what to play better, coordinate their ideas and desires. The role distribution is not complicated. Children know that the game will be repeated several times, so everyone has the opportunity to try themselves in the roles like. In senior groups, usually agree on the two or three compositions of the "artists" engaged in the game.

The psychological advantage for the upcoming game is the work of children: participation in the preparation of posters, invitation tickets, scenery, costumes, etc. To participate in the theatrical game, the teacher discusses with the group who will prepare the auditorium who is responsible for the musical accompaniment of the performance. With the help of the teacher, children decide who to invite. These may be parents, pupils of other groups, pedagogical and service personnel.

So, the main goal of the pedagogical leadership is to wake the imagination of the child, creating the conditions for the children as much as possible, the children themselves show.

The educationalities of theatrical games are intensified by the fact that their subjects are practically not limited. She can satisfy the versatile interests of children. The diversity of the subject of display means, the emotionality of theatrical games make it possible to use them in order to comprehensively educate the identity of the preschooler, the development of the creative abilities of children.

Such a versatile influence on all directions of the child's personality, to develop its creative abilities will be effective if the management of the theatrical game will be correct and will preserve the beauty of its creative nature.

Thus, theatrical activity allows us to solve many pedagogical objectives relating to the formation of expressiveness of speech, intellectual and artistic and aesthetic education. Artworks are forced to worry, empathize with the characters and events, and in "In the course of this empathy, certain relations and moral estimates are created, simply reported and digestible" (V.A.Somumlinsky).

2.2 The use of theatrical activity in the pedagogical process in the preschool educational organization

Theatrical activities in the DOU contributes to the development of imagination, all types of memory and types of children's creativity (artistic and speech, musical and gaming, dance, scenic).

In order to successfully solve these tasks, the presence of a teacher is desirable - the head of the Children's Theater (director), which would not only conduct special theatrical playing games with children, but also corrected the actions of all teachers who solve the tasks of theatrical activity.

The teacher of the Children's Theater helps educators to change the traditional approaches to the organization of theatrical activity, involve them to actively participate in work on theatrical games. His goal is not to be limited to scenario, directorial, producing work with children-actors, and through all types of activity to promote the formation of creative starts in children.

The teacher itself needs to be able to expressively read, tell, watch and see, listen and hear, be prepared for any transformation, i.e. To own the basics of acting skills and director skills. One of the main conditions is the emotional attitude of an adult to all that is happening, sincerity and genuineness of feelings. Pedagog's voice intonation is a role sample. Therefore, before you offer to children any task, you should repeatedly exercise yourself.

The educator must be extremely tacty. For example, the fixation of the child's emotional states should undergo naturally, with the maximum goodwill from the teacher and not to turn into the lessons of the facial expressions.

The correct organization of theatrical activity contributes to the selection of the main directions, forms and methods of working with children, the rational use of personnel potential.

During classes, it is necessary:

Carefully listen to the answers and suggestions of children;

If they do not respond, do not require explanations, move to action with the character;

When you meet children with the heroes of works, allocate the time that they can act or talk to them;

Ask who happened, it seems, and why, and not anyone is better;

In conclusion in various ways to cause children joy.

Basic requirements for the organization of theatrical games in kindergarten (I. Zimin):

2. Permanent, daily inclusion of theatrical games at all forms of the pedagogical process, which makes them the same necessary for children, like plot role-playing games.

3. Maximum activity of children at the preparation and games stages.

4. Collaboration of children with each other and with adults at all stages of the organization of the theatrical game.

1. In the theatrical activity in close cooperation with the development of creative abilities, all directions of the child are formed; The imagination enriches the interests and personal experience of the child, through the stimulation of emotions forms the consciousness of moral norms.

2. The mechanism of imagination in theatrical activity is actively affected by the development of the emotional sphere of the child, its feelings, the perception of the images created.

3. With systematic activities of theatrical activities in children develop the ability to actively use various types of iconic symbolic function, the ability to create images and effective imaging mechanisms that affect the development of creative imagination.

4. Theatrical games should be of a different functional orientation, contain educational educational tasks, act as a means of developing the mental processes of a child, feelings, moral concepts, the knowledge of the surrounding world.

5. Subject to the organization of theatrical activity is needed, taking into account the age and individual characteristics of children, in order for indecisive to cultivate courage, confidence, and in impulsive - the ability to reckon with the opinion of the team.

6. Theatrical games should be different in their content, carry information about the surrounding reality, requires a special selection of artistic works, based on the plots. Thus, an integrated approach to the organization of theatrical activity causes its effectiveness in the development of creative imagination in children. M. V. Yermolayeva is a complex of classes for the development of cognitive and affective imagination of a child with means of theatrical activity.

Special classes should not be carried out in isolation from educational and educational work, which the teachers of groups are carried out, a music director, a teacher in visual activities (L. V. Kutsakova, S. I. Merzlyakova).

At musical classes, children learn to hear different emotional state in music and transfer it by movements, gesture, faithful, listen to music to the play, noting a variekrastructure content, etc.

In speech classes, children develop a clear diction, work on articulation is underway with the help of patterners, cleaningors, flows; Children get acquainted with the literary work to formulate the performance.

In visual activities, get acquainted with the reproductions of paintings, with illustrations close to the content of the plot,

learn to draw various materials on the plot of fairy tales or its individual characters.

The theater studio is played by etudes for the transfer of feelings, emotional states, speech exercises, a rehearsal work is carried out.

Regulation of classes.

Theatrical classes are held with all the children of senior and preparatory groups without special selection. The optimal number of children is 12-16 people, at least 10 people should be in the subgroup. Classes are held 2 times a week in the morning or evening. The duration of each lesson: 15-20 minutes in the younger group, 20-25 minutes - in the middle and 25-30 minutes - in the eldest. Individual work and general rehearsals are held 1 time per week no more than 40 minutes.

It is advisable to conduct classes in a spacious, regularly ventilated room using soft, volumetric modules of various designs with musical instrument, audio equipment.

The form of clothing is lightweight, preferably sports, mandatory soft shoes or flakes.

The first theatrical games holds the teacher himself, involving children in them. Next, small exercises and games are used in classes, in which the teacher becomes a partner in the game and offers the child to show the initiative in the CE organization, and only in the senior groups, the teacher may sometimes be a participant in the game and encourages children to independence in choosing the plot and his playing.

for a week of three classes (two in the morning, one evening), on the other days of the week - one morning and one evening duration of 15 minutes, starting with the second youngest group.

For the right organization of theatrical classes with preschoolers, it is recommended to take into account the following principles (E. G. Churilov).

2. Daily inclusion of theatrical games in all forms of organization of the pedagogical process, which will make them the same necessary as didactic and plot-role.

3. Maximum activity of children at all stages of preparation and playing games.

4. Collaboration of children with each other and with adults.

5. Preparation and interest of educators. All games and exercises in the class are selected in such a way that we successfully combine movements, speech, facialy, pantomime in various variations.

The pedagogical basis of the organization of the process of theatrical activity in preschool institutions is the peculiarity of the perception of children of the pre-school age of the art of the theater. In order for this perception to be complete, children should be acquainted with various types of theatrical activities. All theatrical games can be divided into two main groups: directories and dramatization games.

The main purpose of the education of preschool children is the formation of a thinking and feeling, loving and active person, ready for creative activity in any field.

Such requirements are responsible for the program for the theatrical activities of the author of Churilova Elvina Gennadevna "Art - Fantasy". It does not imply literally. It focuses adults (teachers, parents) to create conditions for the development of the personality of the child, forming aesthetic installations as an integral characteristics of its worldview and behavior.

The program "Art - Fantasy" consists of five sections, work on which continues for two years, i.e. with children of senior (5-6 years) and preparatory (6-7 years) groups of the DOO.

The 1st section - the "Theatrical Game" - is directed not so much for the acquisition by the child of professional skills and skills, as to the development of game behavior, aesthetic feeling, the ability to creatively relate to any case, be able to communicate with peers and adults in various situations. All games of this section are conventionally divided into two types: general colors and special theater games.

The 2nd section is "rhythmoplasty" - includes complex rhythmic, musical, plastic games and exercises designed to ensure the development of natural psychomotor abilities of preschoolers, the gain of the feels of harmony of their body with the world, the development of freedom and expressions of the televitations.

The 3rd section - "Culture and Speech Technique" - combines games and exercises aimed at developing breathing and freedom of the speech apparatus, the ability to own the right articulation, clear diction, a variety of intonation, logic of speech and orthoepia. The same section includes games with a word, developing a coherent speech, creative fantasy, the ability to compose small stories and fairy tales, pick up the simplest rhymes.

Thus, conditionally, all exercises can be divided into 3 types:

1. Media and articular exercises.

2. Discount and intonation exercises.

3. Music Games with Word.

The 4th section - the "basics of theatrical culture" - is intended to provide conditions for mastering preschoolers with elementary knowledge and concepts, professional terminology of theatrical art. The following main topics are included in the section:

Features of theatrical art.

Types of theatrical art.

Birth of a performance.

Theater outside and from the inside.

Culture viewers.

The 5th section - "Work on performances" - is auxiliary, based on copyright scenarios and includes the following topics:

Familiarity with a play.

From etudes to the spectral.

General software tasks for all activities:

Intensify cognitive interest.

Develop visual and auditory attention, memory, observation, resourcefulness, fantasy, imagination, figurative thinking.

Remove pressure and stiffness.

Develop the ability to arbitrarily respond to a command or music signal.

Develop the ability to coordinate their actions with other children.

Educating goodwill and contact in relationships with peers.

Develop the ability to communicate with people in different situations.

Develop interest in scenic art.

Develop the ability to sincerely believe in any imaginary situation (turn and transform).

Develop the skills of action with imaginary objects.

Compose sketches for fairy tales.

Improvise the game-dramatization on the themes of familiar fairy tales.

Develop a sense of rhythm and coordination of movements.

Develop plastic expressiveness and musicality.

Develop the motor abilities of children, dexterity and mobility.

Exercise in alternate tension and relaxation The main muscle groups.

Develop the ability to evenly place and move along the stage platform, without facing each other.

Develop the ability to create images of living beings with expressive plastic movements.

Develop the ability to enjoy a variety of gestures.

Develop the ability to transmit in free plastic improvisations the nature and mood of musical works.

Develop speech breathing and correct articulation.

Develop diction on material tweighted and poems.

Training a clear pronunciation of consonants in the end of the word.

Replenish vocabulary.

Make a proposal with specified words.

Learning to build a dialogue, choosing a partner independently

Learning to select definitions for specified words.

Learning to select words corresponding to the specified significant features.

Teach use intonations expressing the main feelings.

To acquaint children with theatrical terminology.

Acquaint children with species of theatrical art and so on

2.4 Organization of theatrical activity in the senior group

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

Theater game.

Culture and technique of speech.

Basics of theatrical culture.

Work on the performance.

The division of the Art Fantasy program on sections, focusing on the psychological features of age, is very conditional, since it is not always possible to determine the boundaries of the transition from one to another.

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

Theater game.

Molding games.

The aesthetic education of children, including the means of the theater, is aimed primarily on the formation of readiness for creativity in the child. To achieve this goal, it is necessary to develop such qualities as attention and observation, without which the creative perception of the surrounding world, imagination and fantasy, which are the main condition for any creative activity. It is equally important to teach the child to the ability to focus in the environment, develop arbitrary memory and the speed of the reaction, to bring up courage and resourcefulness, the ability to coordinate their actions with partners, to intensify the thought process as a whole.

Solving all these tasks, generalizing games included in theatrical classes, not only prepare the child to artistic activities, but also contributes to a faster and easy adaptation of children in school conditions, and create prerequisites for successful study in primary classes - primarily due to the actualization Intellectual, emotional and social and psychological components of psychological readiness for school education.

Conducting collective educational games, I had to create a cheerful and relaxed atmosphere, encourage clad and cured children, not to focus on misses and errors.

To give children the opportunity to appreciate the actions of others and compare them with their own, in almost all games we shared children for several teams or performers and spectators. Moreover, the role of the host in many games was performed by a child.

Special theatrical games.

Acquaintance with the specifics and types of theatrical arts, overseas and rhythmoplastic games and exercises, classes on culture and speech techniques are useful for all children, since they develop qualities and form the skills necessary to any cultural and creative thinking person, contribute to the development of intelligence, intensify cognitive interest, knowledge A child about the world, prepare him to the subtle perception of various types of art. In order to move from the theater games to work on Etudes and performances, we are needed, as we called them conditionally, special theater games that develop mainly imagination and fantasy. They prepare children to action in the scenic conditions, where everything is fiction. Imagination and faith in this fiction is a distinctive feature of scenic creativity. K.S. Stanislavsky called on actors to learn the faith and truth of the game in children, as children are very serious and sincerely able to believe in any imaginary situation, it is easy to change their attitude to subjects, a place of action and partners in the game. The chairs set into a row can turn into a lounge of the bus or aircraft, Mamino's dress - in a ball outfit princesses, and the room becomes a fabulous forest, then the royal castle. But for some reason, going to the scene in front of the audience, children seem to lose their abilities, turning into wooden dolls with baked gestures, inexpressive speech, unjustified curvature.

Thus, there is a difficult task before the teacher - to preserve the children's naivety, the immediacy, faith, which manifest itself in the game when speaking on the stage in front of the audience. For this, it is necessary, first of all, to rely on the personal practical experience of the child and provide it as much independence as possible, intensifying the work of the imagination. We introduced children with a scenic action with exercises and etudes built on the material of well-known small fairy tales. First of all, these are games, exercises and etudes aimed at the authenticity and feasibility of action in the proposed circumstances, i.e. In the invented situation. Any actions in life are performed naturally and justified. The child does not think about how he does it, for example, when he raises the fallen pencil or puts the toy in place. Do the same on the stage when viewers follow you, not so simple. "You know by experience," said K.S. Stanislavsky, - What is for the actor a naked, smooth, desert floor of the scene, how difficult it is to focus on it, find yourself even in a small exercise or a simple etude. " In order for children naturally and purposefully, they needed to find or think of answers to our questions: why, why, why does he do it? Help to develop this ability to exercise and etudes on the stage justification, i.e. the ability to explain, justify any position or action by naphantasized reasons (proposed circumstances)

The games for imaginary objects or the memory of physical actions contribute to the development of the feeling of truth and faith in fiction. The child of the imagination is, as it happens in life, it makes the necessary physical actions. Offering such tasks, it should be borne in mind that children must remember and imagine how they acted with these subjects in life, what sensations they experienced. So, playing with an imaginary ball, one must imagine what it is: big or small, lightweight or heavy, clean or dirty. Different sensations we are experiencing when we raise a crystal vase or a bucket with water, tear the flowers of chamomile or rosehip. When it is possible, children are invited to first act with a real object, and then repeat the same action with imaginary. For example, we offered children to look for a lost bead on the carpet, which really was there. And then offered to look for an imaginary bead.

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Rezeda Yusupova, primary school teacher of the highest qualifying category of gymnasium № 125

Zuhra Khabibullina, fine art teacher of the highest qualifying category of gymnasium № 125

Great and inexhaustible force of the impact of artistic and decorative works per person. Moral purity and attractiveness of folk ideals, embodied in the images of the heroes of many fairy tales, ethnocultural flavor, folk wisdom, cheerful humor - all this opens the way to the heart of a small listener, reader, actor, affects the formation of his views, habits and behavior.

Children of younger school age love fairy tales. They listen to them with pleasure, and with pleasure they tell them themselves, and even insistence. By putting the love of reading, visual and decorative arts, you need to instill love and folk creativity, and working with a fairy tale, it is easy to achieve. It is necessary to set up children to emotional swallow, explain that there are no identical Russian and Tatar fairy tales. Each of them is interesting in its own way.

In our gymnasium, for many years, the theater circle "Ole Lukae" has been created and operated. During this time, in close collaboration on the basis of our class, we prepared and conducted a number of puppet performances in Russian and Tatar fairy tales: "Teremok", "Kolobok", "Scarlet Flower", "Hare Tears", "talking duck". In decorating art, children get acquainted with the painting of people's masters, make their own hands using the national flavor, theatrical dolls and scenery to performances.

Theatrical activity in elementary school helps us quickly and successfully rally a children's team, combining a common matter, psychologically helping coward, closed children; develops speech, memory, imagination; Gives a wide range for the development of schoolchildren's creative abilities, introduces them with painting features in decorative art; Promotes the formation of patriotism, instills love for his native land.

Theater is a collective art. Children comprehend here something that cannot always achieve the standard general education process at school. Classes in the theater disciplined, develop a sense of responsibility to partners and the audience, instill a sense of collectivism, love for work, courage. Theatrical activity unites labor and artistic education. Classes in the theatrical circle help to solve many tasks: this is a work on the text of the literary work, the formation of literary ideas, enrichment of the spiritual world and the emotional sphere of the child, the relationship of all types of speech activities. In addition, the child's identity is developing significantly, the intellect and the level of general culture is formed, the development of memory is being developed, the reading skills are being improved, an idea of \u200b\u200bthe diversity of world and domestic literature is being made.

Thus, theatrical art contributes to:

The formation of the personality as a native speaker with its ethnic features capable of feeling the language as the highest gift, the national and universal value of the language;

The development of the ability of perception, understanding, interpretation of the spiritual content of ethnocultural text as a condition for the formation of national self-consciousness and decorative art;

Study of the system of the native language as a means of developing the ethnocultural competence of schoolchildren;

Joint work of children and parents;

Introduces students to the spiritual wealth and beauty of a native word captured in exemplary texts of oral and written speech in the works of people's decorative and applied art;

Railing children on the traditional culture of the Russian and Tatar people.

The puppet theater gives a greater opportunity to develop the creative abilities of children, develops speech, the skills of collective work and introduces to the culture of the people.

The main task was to involve as many students as possible in creative activities. By education, I am a professional actress and I did not make much difficulty to make a performance. The first experience was successful. The performance at the school competition of theatrical works took first place. I was offered to work at school as an additional education teacher.

From 2002 to 2005 school years have been performing:

• by verses B. Nodokh,
• according to the fairy tale A. Pushkin "On the dead princess and seven heroes",
• russian folk fairy tale "Lubyany hut",
• by verses D. Harms "Circus Printipram",
• the play on the stories of E. Klyuev "Fairy Tales of a simple pencil", which became the laureate of the district festival of school theaters.

Gradually, I got carried away and pulled into school life. In parallel with the rehearsals, I began to train the children acting technique, the etudes were played on impreit actions, plastic studied, passed classes on stage speech. The class teacher became surprised to note that the children engaged in the theater began to read better, speaking and even to think to think, the performance and discipline in these children were significantly different from their peers. I was offered to create a school theatrical studio. The studio has new performances and new student actors like younger school and the main, and older.

Interesting was the experience of working with 9 "a" class. A group of students came to me and asked to accept all of them in the studio. They were ready to participate in any formulation, anyway, as if only together, just now. I had to explain that for a start I needed to know them, understand their individuality, and for this you need to start with etudes. I ask the proposed circumstances, and I ask the guys to exist in them, not inventing anything, behave as they would lead themselves in real situations. And then it turned out that the children to the ninth grade hurt complexes, lost sincerity and the naiveness of perception, could not behave naturally, and not to speak about fantasy. In a short time, they had to familiarize them with theatrical vocabulation, to comprehend and discuss a number of theatrical works of famous scene masters, introduce them to the world of theater, reincarnation, the fulfillment of the tasks assigned by the director. Meanwhile, I looked at him and was looking for a play so that everyone had a role in his abilities and as they say in the theater "on his individuality."

Unfortunately, the theater in most want to engage in girls, and the plays are designed for the male body of troupe, and I persuaded them to form a fairy tale A. Usacheva "Passion in Nastya", where everyone had a suitable role. The genre we defined as "Balagan with parsley", and work began.

It was necessary to maintain the genre and style of existence on the stage in the costumes. Something guys sewed themselves, something was selected from the "grandmother's chests", the guys got acquainted with books on the history of the costume, listened to folk music, learned to understand what matches our spectral, and what is not quite suitable, I was looking for music topics for the line of lovers, To support the comicness of funny characters, long and painfully searched for a tragic musical theme.

The rehearsing performance, we continued to work on the etudes, were engaged in stage training (plastic and speech), gradually my actors began to make the first steps on stage and have already played almost as professionals. The performance was released by the end of the school year and was played 11 times. To the last spectral guys admitted that they ceased to be compounded, think about hands, legs, and everyone had the feeling that they had these characters, and the pleasure of playing the stage was finally came. Surprisingly, none of them is going to link their lives with the actor profession, but with enviable persistence, they come every new school year to the studio meeting and are waiting for new works.

With this group, the play "Play the Classic" included scenes from the Pieces A. Griboyedov "Mount from Wit", N. Gogol "Auditor" and "Marriage", the staging of the story A. Chekhov "Chorister ». By the way, and this performance was given 10 times. This year, with this group, 3rd performances on the plays of A.P. Chekhov . The guys admitted to me that after working on performances, they became more interesting to read the program works, and they began to understand them better. "We seemed to have grown," my studiors told me, and the parents reported that a long time ago, children did not read the children given in literature.

Today the Theater Studio has 90 people, and this is 6 groups of 15 people aged 7 to 17 years. Each group is a small team with its schedule and touch (as a rule, everyone learn in the classes of one parallel). Many children discover new professions for themselves, learn to work with their hands, with pleasure work with decorators, grimers, sound engineers, work scenes.

Work in the theater group helps each participant is better to understand their capabilities, to realize their own potential, realize itself in various forms of activity. The process of preparing and released the performance with each theatrical group is developed as a project. Each group chooses dramaturgy, determine the stages of work, distribute duties, and the performance itself acts as a presentation of the project.

If earlier the whole process of training theatrical art of preparing performances lay on my shoulders, today, despite the great employment of study, the guys are pleased to be additionally engaged in the teachers of plastics and vocals, scenic speech.

The main condition of the set in the studio is the motivation of the child - "I really want to do it." Therefore, neither the selection, nor preliminary auditions upon admission to the studio. Yes, and who can say in advance what can happen with a lot of effort and creating conditions for identifying their creative opportunities. Yes, and I do not put your task to turn them into actors. It is important that the guys, acquiring skills in the process of acting trainings and scenic experience, significantly different from most of their peers with the ability to speak, hold on to the public, and even logically think and argue.

My main task is to upbringing a harmonious personality, who knows how to creatively live and think, knowing the ethics of behavior that can exit the conflict situation, and the main thing that can distinguish good from evil, which teaches great Russian literature, dramaturgy and theater. The theater teaches working in the team, to unite for the idea of \u200b\u200bthe performance, the ability to manage his will, see and hear another, to understand the nature of the act and behavior, manage their emotions and most importantly understand yourself and evaluate their capabilities.

The first performance we play for parents and friends, and after viewing the parents with surprise and admiration say that they learned about their children a lot of new things, the new faces of their personality unexpectedly revealed. It turned out that all those engaged in the play in the performance of children have a talent for scenic creativity. These meetings and discussions are delayed late, nobody wants to diverge, everyone unites the warm friendly atmosphere inside the studio and joy.

Almost all children entering the studio are distinguished by uncertainty, pressure, sensually emotional immaturity

The studio has created the parent committee, which is going to meetings once a month. The work of the Committee includes parental care for the design of performances and the manufacture of suits, as well as a discussion after the performance of children's works - a small idles. It is necessary for children and parents, now everyone has a common cause, which unites the interests of children and the interest of parents to their children. Nowadays, a lot of entertainment and little cases and who can combine children and parents, and the time that parents can devote to their children and their own example of a serious attitude to the matter in raising a responsible personality. Then we play for school where teachers and students are present, after inviting schools and neighbors, and finally, we present the performance to residents of our district

The experience of my work shows the huge opportunities for school theatrical activities in the education of young people and solving complex problems of their adaptation to life in modern society.

Almost all children entering the studio are distinguished by uncertainty, pressure, sensually emotional immaturity. You have to spend a lot of effort to teach the child to speak correctly, to stay freely, reveal its individual and creative abilities. In working with newly arrived in the studio, I put the task of liberating them, remove psychological and physical clamps, for this, the material approached clowernade, where children in joy and freedom are creating inspired, putting on ridiculous costumes and coming, respectively, the image of a clown, forget timidity and uncertainty .

Theater allows you to align the starting opportunities for the development of the child's personality, contributes to the selection of its individual educational path; provide each student; Promotes the person's self-realization of the child and the teacher. The theater helps strengthen the relationship in the team. Elements of coincidence in artistic work accelerate the development of empathy and positive feelings; Enhances the feeling of own personal value, increases artistic and social competence.

The theater is a valuable tool when providing psychological assistance to children with various emotional and behavioral disorders, problems in development, since the child is much easier to establish contact with the help of games.

Classes in the theater studio make it possible to successfully overcome the alarm, irritability, fear, uncertainty, reduced self-esteem, difficulties in communication, help to settle conflicts in the family and overcome the fear of the development of the new field of activity.

The theater allows you to play any psychotrambulating situations: misunderstanding of loved ones, their coldness or hyperex, betrayal, grief, loss of confidence in the world, and also helps to understand their inner world, realize their own potential and evaluate the possibility of change. The atmosphere of the theater is safe and encouraging, so it acts for viewers and actors healing.

Over the past years, I began to understand the significance of the theater in the life of the school and every student separately. My observations opened me the huge opportunities of the theater in the upbringing and formation of the personality of students, and experience showed the need for theater for children.

The activities of the teacher of additional education, as well as pedagogical activities, is a managerial, regulating interaction between students and parents, students and teachers, integrating and coordinating educational impacts of various social spheres. The amount of additional education becomes an open search zone in the process of updating the main formation content, a kind of reserve and an experimental laboratory of the latter.

The organic combination in educational complexes of basic education with additional creates a real basis for the formation of a completely new type of educational space - a humanistic socio-pedagogical environment that contributes to the versatile personal development of each child, the search for ways of its self-determination, the emergence of a favorable social and psychological climate as in individual children's teams and at the level of the school team as a whole.

Extracurricular half of the day has a significant impact on the first employment lessons. First, additional education has an impact. on educational process Schools. Additional educational programs make school learning personally significant for many students; deepen and expand the knowledge of students on the main subjects; stimulate schoolchildren's educational and research activity; Enhance motivation to learning for a number of general education courses.

Secondly, the School Theater as an additional education has a significant educational impact on students: it contributes to the child's need for self-development, forms his readiness and habit of creative activity, increases his own self-esteem and its status in the eyes of peers, teachers, parents. Student employment in extracurricular time contributes to the strengthening of self-discipline, the development of self-organization and self-control of schoolchildren, the emergence of signatory leisure skills, allows you to form practical skills of a healthy lifestyle in children, the ability to resist the negative impact of the environment. The mass participation of children in the work of the theater studio contributes to the cohesion of the school team, strengthening the traditions of the school, approval of a favorable social and psychological climate in it.

It is a pity that the educational opportunities of the school theater as additional education are still not realized by teachers sufficiently. As experience shows, school teachers then begin to truly appreciate the extra-current activities of children, when it positively affects their academic achievements.

Thus, the school theater is able to solve a whole range of tasks aimed at humanize the entire life of the school. This is only the first step towards creating a holistic additional education system at school. The main thing is to make it. Further will depend on our desire, perseverance and the ability to entail all those who are not indifferent to what development will receive our children in modern school and which we prepared them for future professional self-determination.

Summing up, I would like to note that the use of theatrical techniques in aggregate with joint activities focused on obtaining a socio-oriented theater product certainly contributes to the formation of a collective and, as a result, the development of social competencies of adolescents.

November 2009

About the author:Kolchugina Elena Konstantinovna, Pedagogue of additional education, GBOU SOSH No. 648 SAO Moscow graduated from Gitis. A.V. Lunacharsky, Director, Faculty, course A.V. Epros and A.A. Vasilyeva.

Theoretical basis of this course It is the program A.P. Hershova "Theater Lessons in Legs in Elementary School."

Relevance of the topic: Many years of experience proves that most schoolchildren have a lot of schoolchildren: a violation of the pronunciation side of speech, a low level of oral speech culture, the emotional poverty of the language.

Program Yershova A.P. It is called for not only to form a high level of culture of speech, but also to instill specific skills in mastering this culture. Theatrical activity allows us to solve many pedagogical tasks regarding the formation of expressiveness of speech, intellectual and artistic education, the organization of joint activities of children, comes to spiritual wealth.

The purpose of the experiment It is that each student to train meaningful intonation expressive speech and reading and turning these skills to the norm of communication; develop the cognitive and creative abilities of students through the art of the artistic word.

Experimental design: It will be embodied through the lessons of reading and Russian, through the circle system, group individual work. A large role is given to theatricalization, concert activity, practical classes on stage skill.

Experimentation object: The possibilities of younger students in mastering speech technique, its intonation expressiveness, in mastering the terminology of theatrical art, are also investigated by the same degree of influence of such a change in almost the overall level of children's development.

Thing: Students receive knowledge of the scenic art, about the ways of mastering acting skills. During the experiment, it is planned to influence the intuition of children, the emotional side of perception.

Pedagogical goals:

• The development of expressive speech and skills of theatrical performance activities;
• Creating an atmosphere of creativity;
• Socio-emotional development of children.

The purpose of the experiment:Testing the program A.P. Hershova "Lessons of the theater in elementary school", the development of methodological recommendations for teachers, planning lessons and classes with students (group, circle, individual).

Tasks:

• Create conditions for the implementation of the creative abilities of students
• Promote the formation of speech activities of students, skills and skills of correct speech.

Hypothesis. If according to this program, to teach expressive reading and technique of speech, it will contribute to the development of linguistic faintness, interest in the art of speech, activity and communicativeness.

Diagnostic tools. Questionnaires, interviews with students and parents, results of scenic activities, competitions of readers and theatrical skill.

Criteria for evaluating results.

Evaluation of the effectiveness of the experimental program will be carried out according to the following parameters:

• Student reading technician
• Speech level of oral responses of students
• Student activity in scenic activities

Terms: September 1998 - May 2002

Stages:

I - stateing (1998-1999). Analysis of psychological and pedagogical and methodical literature.
II - forms (1999-2001). Approbation of the program of the Yershova "Lessons Theater in elementary school"
III - Final (2001-2002).

Forecast negative consequences. In the course of the experiment, it is necessary to adjust the norms of the speech of children, formed at an early age, and this always complicates the result. The difficulty lies in the fact that training is carried out comprehensively: from sounds and backgrounds to the expressiveness of speech at the same time, which makes it difficult to achieve the learning process, does not allow each student to achieve the desired results.

Methods for correction.

• Organization of classes with speechop
• Individual work (student teacher)
• Work teacher over their own speech culture
• Educational work with parents

Structureparticipantsexperiment

• Gladysheva T.N. - primary school teacher, executive experiment
• Alekseeva L.K. - Teacher of Literature and Russian, Consultant
• Students of the class.

Distribution of functions.

• Artist of the experiment Gladysheva T.N. Engaged in experimental and experienced work.
• Consultant Experiment Alekseeva L.K. Provides assistance to the experimenter at all stages, monitors,

Base of experiment. Municipal institution "High School No. 91" Kotlas.

Type of experiment. Forming.

Status. Intraschool. Individual.

The form of representation of the results of the experiment. The results of the experiment will be presented in the form of a program, guidelines and conclusions, a creative report on the school methodological association.

Scientific and methodological security of the experiment is The theory of developing learning L.S. Vigotsky, works of Yazovitsky E.V., T.A. Nizhenskaya, work K.S. Stanislavsky, G.V. Artobolevsky, etc.

Program and methodological recommendations for theatricallearning younger schoolchildren.

This program relies on the collection of programs of general education institutions "Theater I-XI Class" (1995) in this collection contains programs for universal theatrical education, in particular the program A.P. Hershova "Theater Lessons in Elementary School", which is taken for The basis of the program "Theatricalthe activity of younger schoolchildren. "

I class. Educational games (34 hours)

The main task of theatrical lessons in I class - educational games.

The purpose of the introduction of theatrical educational games is to help children and teacher in creating a psychologically comfortable atmosphere of classes; Immerse children in the element of the game inherent in them, smoothing the lesson's frame; Develop in children memory, attention, will, thinking, imagination.

Recommended in one of the lessons at the beginning of the week to include theatrical task-game, repeat it every day, adding games-tasks from the past experience of children to him, so that during the week the children was mastered by one new game.

Work on the development of the speech apparatus is in literacy learning lessons during dating with letters:

• Work on articulation. Gymnastics for lips, language, jaws (exercise type: "Clean your teeth", "hide candy", "shovel", "smile", "tube", "horse");
• Breathing exercise;
• Exercise "And, a, o, y, s"; The sound of simple and yoted vowels: "Uh, ah, oh, u, y,"; Solid and soft consonants: "PE-PA, PA-PA, PO, PU-PU, P PI"; In various combinations, for example,

• An image of voice gestures in the letters about, y, and, e;
• Associations for the sound of letters (wind, howl, wolf, buzz of bee, etc.);
• Images of letters (what does it look like)
• Acquaintance with Russian children's folklore through work on
  Species type:

Bobras kind to Bobryat. Senya was driving a hay.
Three forty tarators taratorated on a hill.
Four black chumazines drawled black ink drawing.
Six mice in the slash rustle.

Work on the development of diction begins in a dobocvar period, when children study individual sounds, while at the same time watching the method of their pronunciation. During this period, it is necessary to follow the articulation of each vowel and consonant sound, paying special attention to the vowels E, I, Yu, E and the consonants of L, G, K, X, whose pronunciation is great difficulties for children. Fix the shortcomings of speech is necessary with the help of a speech therapist.

In class of scenic art in grade 1, theatrical terms are mastered: Dramatic Theater, Puppet Theater, Radote Theater, Music Theater, Actor, Premiere, Performance, Acting Persons, Opera, Ballet.

Theatrical and performance activities in grade 1 are considered as a preparatory period forming a collective game skills with elements of theatrical activity. It is proposed, at the end of the first class I stage, to draw small works of children's poets. For example,

• K. Chukovsky "Phone", "Mug-Codochuha", "Putanaca", etc.
• Mikhalkov "And what do you have?", "About a girl who is badly kushal", etc.

Acquaintance of children with the theater involves viewing telecons, departure to the dramatic theater, listening to fairy tales in gramzapsy.

II. Class. Acquaintance with the components of performing activities (34h.)

1. Formation of stage speech (7h.)
2. Plastic expressiveness (4 h)
3. Creative activity (10h.)
4. Theater around us (8 h)
5. Formation of the skill of collective work (7h.)

The first three topics are not studied sequentially, and included in the form of exercise-tasks in each lesson. The main is the third topic.

The main task of the program in grade 2 is the formation of a child's idea of \u200b\u200bthe components of the stage image. Of great importance at this stage of classes acquires attention to the plastic solution of one or another image, the role of a costume or its details, etc. Exercise for music at this stage involves the transfer of fabulous images that differ in particular nature.

One of the tasks of the second stage is the formation of aesthetic assessment skills in the younger students. To this end, all exercises performed in class exercises are discussed (while children are conventionally divided into two groups, each of which alternately performs the functions of actors, then the audience). The main criterion by which children's work at this stage is estimated is the accuracy (truthfulness of execution).

Theatrical and performing activities are based on the development and calculation of the language of actions as a particularly expressive material of theatrical art. Children are getting used to paying attention to the features of the actions performed by people: features plastics, view, speech, costume and facial expressions. Learn to grab and do some kind of one specified action differently - ask, console, listen, find out, etc. Pupils acquire the skill, having received the executive task and going on the stage, act in truth. The criterion of "believe" is formed - "do not believe", "curves" - "truth".

It is necessary to choose exercises to train arbitrary auditory and visual attention. The subject of attention should be the differences, features of the execution of the same task with different children.

Training of external behavior should also develop a benevolent attitude to the work of his classmates, which is especially important to this age period (maintain, inspire confidence, interest, and not drowning the emerging need to try, do).

Thus, in the 2nd grade, the work of the teacher is to create an organized creative atmosphere when "you are interested in everything, everyone is interesting to you."

Work continues on the development of the speech apparatus:

• Work on a clear articulation. Gymnastics for lips, language, jaws of a clear pronunciation of sounds (see: for grade 1). Tongue Twisters;
• Respiratory statement, muscle massage involved in the respiratory process (Candle exercise, "repay the candle", "pump", etc.);
• Correction of the shortcomings of speech using the speech therapist.

It is assumed that at the end of grade 2, children will include concepts: theater (as a building and as a phenomenon of public life), visual hall, scene, theater ticket, performance, game, etude, performer, viewer, poster.

III Class. Mastering means of expressiveness. (34h.) (performancespecified nature of action)

1. Elements of speech expressiveness (5h.)
2. Formation of the idea of \u200b\u200bthe character as a special behavior. (12h.)
3. Development of working terman acting art (6h.)
4. Plastic expressive (6h.)
5. Formation of the skill of collective work (5h.)

In grade 3, theoretically is almost mastered understanding that behavior, action is an expressive language of the actor. And then, that actor -Furning miracle of the theater.

In the atmosphere of a benevolent and patient relationship to each other, the sensitivity of children to the truthful targeted action is formed, to its peculiarities in facial expressions, gestures, glance, movement, speech. Children get used to fantasize the possibility of different behavior in similar circumstances and the implementation of the same actions in different proposed circumstances. This training session is the exercises with voice and speech: speak slowly, quietly, quickly, bass, there can be highly different people in different circumstances. Speech exercises perform an important role of working on artistic reading.

In grade 3, you should consolidate and expand the experience of viewing performances. It is useful for the second time to go to the already familiar performance, give children the opportunity to notice all different and the same. Here you can use Etudes on the "polite", good viewer and the viewer is bad. All sketching work allows you to introduce an aesthetic evaluation criterion for them when "bad" behavior has been played, for example, well, and "good" is bad. So the quality of execution is "how" - begins to decay from the content of Etude - "What" plays actor. Work on any etude may include the distribution of writer functions, director, actors, artist.

The main directions in working in the third class are the reliability, the veracity of execution, expressed in targeted actions in the proposed circumstances. To this end, children give a number of exercises that develop these skills:

• Speculation of the circumstances proposed;
• The story of the hero from his own person;
• On behalf of a character who has entered with him to conflict;
• Inventing events to Etude and after it;
• Characteristics of the hero on his own speech, etc.

Thus, schoolchildren gradually the idea of \u200b\u200bthe character as a special behavior. At this stage, the child should be able to consider act as an action through which the character of the hero is manifested.

The development of theatrical education in the III class is based on the deepening and expansion of schoolchildren's dating with drama and theatrical terminology, its specific and genre features: action, act, dialogue, monologue, director, playwright, artist, costume, decorator, gesture, facial expressions, pose.

At the final speech, the stages of poems, folklore holidays, "Rustic sites" are shown. Schoolchildren participate in the performance as in collective work, using acting working terminology.

IV.class. Formation of ideas about the image of the hero in the theater. (34h.)

1. Elements of speech expressiveness (4h.)
2. The image of the hero. Character and selection of actions (10h.)
3. Theatrical education (6h.)
4. Gesture, Mimic, Movement, Speech, -Ged Actions (4h.)
5. Creative report (10h.).

In the fourth year of training, the main criterion of perception is the ability of the child to assess the expressiveness and originality of each task. To this end, schoolchildren are offered the same task to perform various compositions, while detecting the difference difference. Theatrical performance of schoolchildren in the IV class unfolds on the material of the role of the role of a dramatic task. The relationship of the image, text, tasks, actions is mastered. The value of improvisation-game in theatrical art is revealed, without which it does not exist, but which can be estimated. Pupils get acquainted with the influence of history, environment, character, situations, on the logic of the character's behavior.

The work is based on the exercises associated with the game embodiment of the dramaturgical task:

• Remarks noises
• Monologues,
• The logic of action in the dialogue,
• Foaming of costume elements,
• Logic behavior and costume
• Sketches on the play,
• Improvisation under specified circumstances.

In the fourth grade, practical skills are laid for the preparation of children to the perception of a holistic image of a performance as collective creativity; Equity participation in all stages of preparation, including registration. Children pick up and create a suit, scenery, props, noisy design to the spectral, to their sketch formulations.

Creative discipline skills are formed: the feeling of "pain" for collective labor and awareness of the need to participate in it; Knowledge of the text of the role (not only of its own, but also partners), readiness at any time to help your friend, and if necessary, and replace it.

In the 4th grade, the exercises are successfully held: "Turning the room", "turned out", "illustration", sounding illustrations, diameters, reading fables on roles, "Say the same", "Keys", fabulous characters.

At the end of the 4th grade, children acquire the opportunity to enjoy in speech terms: verbal actions, subtext, association, event, stage task, intent, character, role, circulation, tragedy, comedy, drama.

The final stages of classes is the preparation of a whole performance in which children demonstrate the surveyed skills.

According to the results of theatrical education in elementary school, an exam-expression concert will be negotiated.

The class is divided into groups (according to the principle of chance) in the presence of the Commission, examiners. The preparation of the concert includes the selection of rooms (their writing) and the design of the concert, starting from montization, costume, lighting and decorative design from undergraduate funds (which is evaluated especially). Performing achievements are recorded by the assessment "Excellent". A group assessment for the writing and the organization is set to all participants the same.

For four years of training on the theater program, the psychological characteristics of the personality (character, abilities), the formation of emotional-volitional qualities and cognitive processes (memory, perception, thinking, imagination).

At the end of each class diagnosis, it is diagnosed to obtain a general characteristic of a particular quality among students of the whole class and identify individual differences.