Organization of theatrical activities for preschool children. Features of organizing theatrical activities with preschool children

Introducing children to theatrical art begins by watching performances performed adults: first, puppet productions that are close to the child’s emotional mood, then dramatic performances. In the future, alternating viewings of puppet and dramatic performances theaters allows preschoolers to gradually master the rules of the genre. The accumulated impressions help them in playing the simplest roles and understanding the basics of transformation. By mastering methods of action, the child begins to feel more and more free in creative play. In the process of joint discussions, children evaluate each other's capabilities; this helps them realize their strengths in artistic creativity. Children notice successful discoveries in the art of transformation and in the development of a joint project (design, staging, etc.).

For the successful formation of children’s creative activity in theatrical activities must comply with a number of conditions.

Additional training for educators should be provided through theater pedagogy in order to so that they can be a model of creative behavior for their students. This can be achieved by creating a pedagogical center in a preschool institution theater- a team of like-minded people united by a common desire to introduce children to theater arts, educate the basics theatrical culture.

Additional teacher training using theatrical methods pedagogy should take place directly within the walls of the kindergarten. As a result of such training, carried out by the music director, who is a kind of coordinator of all musical and pedagogical work in kindergarten, the teacher’s creative capabilities are revealed, and children, imitating him, learn creative behavior.

Most often in preschool institutions we encounter disorganized theatrical activities adults: they have to stage children's plays without fully mastering the art theater. Single, spontaneous puppet shows theater, rare performances by the teacher in the role of a character or presenter at a holiday do not contribute to the development theatrical children's activities due to the lack of systematic perception of full-fledged performing arts. Thus, there is an obvious lack of preparation of the majority of teachers to lead creative theatrical activities for children. Moreover, today it turns out to be almost impossible organized trips for children to the theater. Pedagogical theater adults must take upon themselves to introduce children to theatrical art and nurturing their creative qualities under the influence of the charm of a creatively active, artistic personality of a teacher who masters the art of transformation.

To successfully master the methods of creative action in theatrical the game must provide children with the opportunity to express themselves in their creativity (in writing, acting and designing your own and the author’s stories). You can only learn creativity with the support of the adults around you, so systematic work with parents is an important point. Uniting teachers, children and parents in joint work and introduction to the world of creativity and theater allows you to improve the pedagogical preparedness of parents in raising their own children, contributes to the expansion of forms of cooperation between family and kindergarten ( leisure activities, theme evenings and conversations, consultations).

The teacher must consciously choose works of art for work. The selection criteria are the artistic value of the work, the pedagogical expediency of its use, compliance with the life and artistic and creative experience of the child, vivid imagery and expressiveness of intonation. (musical, verbal, visual).

In guiding the formation of children's creative activity in theatrical In the game, the teacher must rely on the principles of a humanistic orientation (truly humane relationships between adults and children) ; integration (merging into theatrical playing different types of art and activities); creative interaction between an adult and a child (co-creation in artistic and aesthetic activities).

The main specific methods work to improve the creative activity of children in theatrical play are:

- method modeling situations (involves creating, together with children of plot-models, situations-models, sketches in which they will master the methods of artistic and creative activity);

- creative conversation method(involves introducing children to an artistic image through a special formulation of a question, dialogue tactics);

- association method(makes it possible to awaken the child’s imagination and thinking through associative comparisons and then, based on emerging associations, create new images in the mind).

It should be noted that the general methods of directing theatrical the game is straight (the teacher shows the methods of action) and indirect (the teacher encourages the child to act independently) techniques.

Theatrical The game can be used by the teacher in any type of children’s activity, in any class. The game's greatest value comes from reflection. children in independent activity, impressions from watched performances, read program literary works (folk, author's, other artistic sources (paintings, musical plays, etc.).

To design children's performances, you should organize special work, as a result of which children unite in creative groups (“costume designers”, “directors”, “artists”, etc.). Parents need to be involved in activities that are not available to children (technical stage setup, costume making).

In the process of working on the role, researchers recommend:

Drawing up a verbal portrait of the hero;

Fantasizing about his home, relationships with parents, friends, inventing his favorite dishes, activities, games;

Composition various cases from the life of the hero, not included in the dramatization;

Analysis of invented actions;

Working on the stage expressiveness: determination of appropriate actions, movements, gestures of the character, place on the stage, facial expressions, intonation;

Preparation theatrical costume;

Using makeup to create an image.

For effective implementation theatrical activities as part of the adaptation of preschoolers to kindergarten, scientists formulated the following rules for dramatization.

The rule of individuality. Dramatization is not just a retelling of a fairy tale; it does not have strictly defined roles with pre-learned text. Children worry about their hero, act on his behalf, bringing their own personality to the character. That is why the hero played by one child will be completely different from the hero played by another child. And the same child, playing a second time, can be completely different. Playing out psycho-gymnastic exercises to depict emotions, character traits, discussing and answering questions from an adult is a necessary preparation for dramatization, for “living” for another, but in your own way.

Rule of all participation. All children participate in dramatization. If there are not enough roles to portray people and animals, then active participants in the performance can be trees, bushes, the wind, a hut, etc., which can help the heroes of the fairy tale, can interfere, or can convey and enhance the mood of the main characters.

Rule of freedom of choice. Each fairy tale is played out repeatedly. It is repeated (but it will be a different tale each time according to the rule of individuality) until each child has played all the roles he wants.

Rule of helping questions. To make it easier to play a particular role, after getting acquainted with the fairy tale and before playing it, it is necessary to discuss, “talk out” each role. They will help you with this questions: what do you want to do? What's stopping you from doing this? What will help you do this? How does your character feel? What is he like? What does he dream about? What is he trying to say?

Feedback rule. After playing the fairy tale, he goes through it discussion: What feelings did you experience during the performance? Whose behavior, whose actions did you like? Why? Who helped you the most in the game? Who do you want to play now? Why?

Attributes for dramatizations. Attributes (elements of costumes, masks, scenery) helps children immerse themselves in a fairy-tale world, better feel their characters, and convey their character. It creates a certain mood, prepares little artists to perceive and convey the changes that occur during the course of the plot. The paraphernalia does not have to be complicated; children make it themselves. Each character has several masks, because as the plot unfolds, the emotional state of the characters changes repeatedly (fear, fun, surprise, anger, etc.) When creating a mask, what is important is not its portrait resemblance to the character (how accurately, for example, the patch is drawn, but the conveyance of the hero’s mood and our attitude towards him.

The rule of a wise leader. Compliance and accompaniment teacher of all the listed rules of dramatization, an individual approach to each child.

Theatrical play is an unusually rich activity, which makes it attractive to children and brings joy to the child. Theatrical the game most fully embraces the child’s personality and meets the specifics of the development of his mental processes. All this speaks of its wide developmental potential, which makes it possible to use theatrical activities in the educational and educational process.

2. Basic requirements for organizing theatrical games

The main requirements for organizing theatrical games in a preschool educational institution, according to I. A. Zimina, are:

Constant, daily activation theatrical games in all forms of the pedagogical process, which makes them as necessary for children as role-playing games;

Maximum activity of children at the stages of both preparation and holding games;

Cooperation of children with each other and with adults at all stages organizing a theatrical game;

The sequence and complexity of the content of the themes and plots chosen for the games correspond to the age and skills of the children.

The creative development of the topic begins with preparing a game script based on the plot of literary works. It is further assumed improvisation children on a given topic. Participants theatrical games must master the elements of transformation so that the character’s character and his habits are easily recognized by everyone. At the same time, it is necessary to give children more freedom in action and imagination when depicting the theme and plot of the game.

Through theatrical game teacher introduces children to theatrical genres(dramatic theater, opera, operetta, ballet, puppet and animal theater, pantomime).

In the younger group, as a prototype theatrical games are games with a role. It is generally accepted that children, acting in accordance with their role, use their capabilities more fully and cope with many tasks much easier. Acting on behalf of cautious sparrows, brave mice or friendly geese, they learn, and unnoticed for themselves. In addition, role-playing games activate and develop children’s imagination, preparing them for independent creative play.

Children of the younger group are happy to transform into dogs, cats and other familiar animals, but they are not yet able to develop and play out the plot. They only imitate animals, copying them externally, without revealing the characteristics of their behavior, so it is important to teach children of the younger group some methods of play actions based on the model.

When developing an interest in dramatization games, it is necessary to read and tell fairy tales and other literary works to children as much as possible.

In the middle group, children can already be taught to combine movement and words in roles, and to use pantomime of two to four characters. It is possible to use educational exercises, for example “Imagine yourself as a little bunny and tell us about yourself.”

With a group of the most active children, it is advisable to dramatize the simplest fairy tales using a tabletop theater. By involving inactive children in games, you can dramatize works in which there is a small amount of action.

IN senior group children continue to improve their performing skills. The teacher teaches them to independently find ways of figurative expression. Dramatic conflict, the development of characters, the severity of situations, emotional intensity, short, expressive dialogues, simplicity and figurative language - all this creates favorable conditions for carrying out dramatization games based on fairy tales.

Watching the games of older preschoolers, O. N. Shishina noted: such a game is more difficult for a child than imitating events from life, because it requires understanding and feeling the images of the characters, their behavior, learning and remembering the text of the work.

The teacher’s activities should be aimed at stimulating interest in creativity and improvisation. Gradually they turn on and the process of playful communication with theater puppets, then jointly with an adult improvisations like “Getting Acquainted”, “Providing assistance”, “An animal talking to its baby”, etc. Children develop a desire to participate in playful dramatic miniatures on free topics. The teacher himself needs to be able to read expressively, tell, watch and see, listen and hear, be ready for any transformation, i.e. own basics of acting and directing skills. One of the main conditions is the adult’s emotional attitude to everything that happens, sincerity and genuineness of feelings. The intonation of the teacher’s voice is a role model. Therefore, before offering children any task, you should practice yourself several times. The teacher must be extremely tactful. For example, recording a child’s emotional states should occur naturally, with maximum goodwill on the part of the teacher, and should not turn into lessons in facial expressions.

Reasonable organization of theatrical children's games helps teachers choose the best directions, forms and methods. Classes during the day, conversations, looking at pictures and illustrations. Solution problem situations. Discussion and playback of situations, homework, use of music, holidays, individual work.

Theatrical games can be organized in the morning and evening hours, included in classes. It is advisable that all types theatrical activities were carried out in small subgroups, which ensures an individual approach to each child.

Content requirements and methods work and responsibilities of a teacher organization of theatrical games can be formulated as follows way:

Create conditions for the development of children’s creative activity in theatrical activities(behave freely and relaxed when performing in front of adults and peers (including giving leading roles to shy children, including children with speech difficulties in performances, ensuring the active participation of each child in performances); encourage improvisation using facial expressions, pantomime, expressive movements and intonations (when conveying the characteristic features of the characters, their emotional states, experiences; the choice of dramatization plots, roles, attributes, costumes, types theaters);

Introduce children to theatrical culture(introduce the device theater, with types of puppets theaters(bibabo, desktop, shadow, finger, etc., theatrical genres, etc..);

Ensure interconnection theatrical activities with other types (the use of dramatization games in classes on speech development, music, artistic work, when reading fiction, organizations role-playing game, etc.);

Create conditions for joint theatrical activities of children and adults (performances with the participation of children, parents, employees; organization performances of older children in front of children, etc.).

During classes it is necessary:

Listen carefully to children’s answers and suggestions;

If they do not answer, do not demand an explanation, proceed to actions with the character;

When introducing children to the heroes of works, set aside time so that they can act or talk with them;

Ask who did something similar and why, and not who did it better;

In conclusion, create joy in children in various ways.

N.V. Ivanova developed psychological practical recommendations for organizing children's theatrical activities:

IN theatrical activities in close interaction with the development of creative abilities form all aspects of the child’s personality; imagination enriches the interests and personal experience of the child, and through stimulation of emotions forms a consciousness of moral standards.

The mechanism of imagination theatrical activity actively influences the development of the child’s emotional sphere, his feelings, and the perception of created images.

With systematic training theatrical Through activities, children develop the ability to actively use various types of sign-symbolic functions, the ability to create images and effective imagination mechanisms that influence the development of creative imagination.

Theatrical Games should be of different functional orientations, contain educational tasks, and act as a means of developing the child’s mental processes, feelings, moral concepts, and knowledge of the world around him.

Approach organization of theatrical activities should take into account age and individual characteristics children, in order to instill courage and confidence in the indecisive, and the ability to take into account the opinion of the team in the impulsive.

Theatrical games must be different in their content, carry information about the surrounding reality, a special selection of works of art is necessary, on the basis of which plots are based.

In kindergarten groups it is recommended organize corners for theatrical performances games and performances. They provide space for directing games with finger, table, bench theater, theater on mittens, theater of balls and cubes, suits.

There should also be in the corner located:

Different kinds theaters(bibabo, desktop, shadow, finger, theater on flannelgraph, puppet, etc.);

Props for acting out skits and performances (set of dolls, screens for puppet theater, costumes, costume elements, masks);

Attributes for various playing positions ( theater props, makeup, scenery, director's chair, scripts, books, samples of musical works, seats for spectators, posters, programs, box office, tickets, binoculars, “money”, license plates, types of paper, fabrics, paints, felt-tip pens, glue, pencils, threads , buttons, boxes, jars, natural materials).

The literary corner should contain toy books, the pages of which are shaped like pillows and resemble rubber toys; flip books; panoramic books. The books, covered with fabric with embossed appliques and representing a screen for performing puppet shows, have 2-3 “glove” puppets as attachments. For older children - publications with audiovisual, optical effects, electronic parts and other game forms.

Thus, an integrated approach to organization of theatrical activity determines the success of adaptation in children early age to kindergarten.

Bibliography

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Introduction

I. Aesthetic development as one of the aspects of the versatile personality education of a child of senior preschool age.

1.1. Aesthetic education as a means of developing a child’s versatile personality.

1.2. Features of development of children of senior preschool age

II. Theatrical activities as a means of aesthetic education

2.1. The concept of theatrical activity.

2.3.Forms of theatrical activities used in preschool institutions

III. Organization of theatrical activities in high school preschool educational institution group

Conclusion

Literature

Application

Introduction

"Have you ever thought how good it would be to start

creating a children's theater from childhood?

After all, everyone has the instinct to play with transformation

child. Many children have this passion for reincarnation.

sounds bright, talented, sometimes causes bewilderment

among us, professional artists.”

K.S.Stanislavsky

In modern society, the social prestige of intelligence and scientific knowledge. Associated with this is the desire to give knowledge, teach them to read, write and count, and not the ability to feel, think and create. A pedagogical focus primarily on the development of thinking turns the child’s emotional and spiritual essence into a secondary value. Modern children know much more than their peers 10-15 years ago, they solve logical problems faster, but they are much less likely to admire and be surprised, be indignant and empathize, more and more often they show indifference and callousness, their interests are limited, and their games are monotonous. In addition, recently many preschoolers do not attend kindergartens, and Barbie dolls, Tamagotchis and computers are not able to compensate for the lack of a children's community, without which the full mental and social development of a child’s personality is impossible.

Noting the lack of observation and creativity in some first-graders, psychologists often make the diagnosis: “underplayed,” i.e. have not trained their fantasy and imagination in the unpredictable and joyful process of “creating a game”; in preschool age, as a rule, such children do not know how to occupy themselves in their free time and look at the world around them without surprise and special interest, as consumers, and not as creators .

There is another important problem that worries teachers and psychologists. According to research, during the period of a child’s psychological adaptation to school, 67-69% of first-graders experience fears, breakdowns, and lethargy, while others, on the contrary, experience swagger and fussiness. Children often lack voluntary behavior skills and have underdeveloped memory and attention. The shortest way to emotionally liberate a child, relieve tension, teach feeling and artistic imagination is the path through play, fantasy, and writing. Theatrical activities can provide all this. Being the most common type children's creativity, it is dramatization, “based on an action performed by the child himself, that most closely, effectively and directly connects artistic creativity with personal experiences” (L.S. Vygotsky).

Since ancient times, various forms of theatrical performance have served as the most visual and emotional way of transmitting knowledge and experience in human society.

Later, theater as an art form became not only a means of learning about life, but also a school of moral and aesthetic education for younger generations. Overcoming space and time, combining the capabilities of several types of arts - music, painting, dance, literature and acting, the theater has enormous power impact on the emotional world of the child. Performing arts classes not only introduce children to the world of beauty, but also develop the sphere of feelings, awaken complicity, compassion, and develop the ability to put oneself in the place of another, to rejoice and worry with him.

All of the above helps to formulate Objective:

to study the features of organizing theatrical activities in senior preschool age.

Object of study:children of senior preschool age.

Item: theatrical activities of children of senior preschool age.

Hypothesis: The organization of theatrical activities for children of senior preschool age has the following features:

Is purposeful;

Has certain forms of organization;

Has a certain content (in accordance with the “Art - Fantasy” program);

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

In accordance with this, one can formulateresearch objectives:

1. Analysis of pedagogical literature on the research problem;

2. Studying the features of organizing theatrical activities for children in the senior group;

3. Determining the importance of proper organization of theatrical activities in older age;

4. Determination of the most effective methods and techniques for managing theatrical activities of older people

5. Selection of notes on theatrical activities that contribute to solving certain problems in the development of the personality of preschool children.

Chapter 1. Aesthetic development as one of the aspects of the versatile personality education of a child of senior preschool age

1.1 Aesthetic education as a means of developing a child’s versatile personality

Aesthetic education is a purposeful process of forming a creative personality capable of perceiving, feeling, appreciating beauty and creating artistic values ​​(B.T. Likhachev). This definition relates to a mature personality. However, children in preschool and even at an early age are able to respond to the beautiful in their surroundings, music, poetry, objects of fine art, nature, and they themselves strive to draw, sculpt, sing, dance, and write poetry. These observations of children give reason to believe that aesthetic education is possible and necessary in relation to children of preschool age.

Aesthetic education is the most important aspect of raising a child. It contributes to the enrichment of sensory experience, the emotional sphere of the individual, affects the knowledge of the moral side of reality (it is known that for a preschooler the concepts of “beautiful” and “kind” are almost identical), increases cognitive activity, and even affects physical development. The result of aesthetic education is aesthetic development.

Modern pedagogy defines aesthetic education as the development of the ability to perceive, feel, and understand beauty in life and in art, as the cultivation of the desire to participate in the transformation of the surrounding world according to the laws of beauty, as introduction to artistic activity and the development of creative abilities.

Special role in aesthetic education is given to art. Exciting and delighting, it reveals to children the social meaning of life’s phenomena, makes them look more closely at the world around them, encourages them to empathize and condemn evil. Aesthetic education through the means of art is designated by the term “artistic education.”

The principle of comprehensive and harmonious personal development implies the cultivation of hard work, general culture, development of a sense of beauty. The aesthetic principle is included in the general system of education. Aesthetic education is not an isolated area of ​​pedagogy, but interacts with all its aspects.

Full mental and physical development, moral purity and an active attitude to life and art characterize a holistic, harmoniously developed personality, the moral improvement of which largely depends on aesthetic education.

Modern research by teachers and psychologists has shown that in last years The level of mental and aesthetic activity, moral and volitional qualities of children, which manifest themselves at an early age, has significantly increased.

The tasks of aesthetic education are directly related to the formation of the moral character of a preschool child. Teaching a child to distinguish between good and evil in human relationships, to perceive the beauty of forms, lines, sounds, colors - this means making him better, purer, more meaningful.

Most characteristic features moral orientation in aesthetic education are: the emotional response of children to phenomena accessible to their understanding social life; the desire to empathize with others' joy and sadness; active attempts to transform everyday life, even in play; the desire to participate in feasible artistic work that decorates life; the need for joint action, the ability to rejoice in the successes of others, etc.

The artistic impressions of early childhood are strong and remain in memory for a long time, sometimes for a lifetime. For the successful artistic development of a child, it is necessary to correctly use various forms and types of children's activities and entertainment in accordance with age.

Aesthetic education is closely related to modernity and is largely determined by it. Aesthetic mastery of reality presupposes closeness to life, the desire to transform the world around us, society, nature, and the objective environment.

The more closely the cognitive process is connected with aesthetic experiences, the deeper its perception and the more complete the results.

In modern conditions, the following tasks of aesthetic education are put forward in kindergarten:

1. Systematically develop the perception of beauty, aesthetic feelings, and ideas of children. All types of art, nature and everyday life contribute to this, causing immediate emotional responsiveness, joy, excitement, admiration, passion.

2. Involve children in activities in the field of art, teaching them basic artistic knowledge, practical skills, cultivating in them the need and habit of introducing elements of beauty into the environment and social relations as much as possible.

3. To form the foundations of children’s aesthetic taste and the ability to independently evaluate works of art and life phenomena.

4. Develop the artistic and creative abilities of children. Their activities related to art should always be relaxed, full of joyful aspiration, creative imagination, and initiative. The more aesthetically developed a child is, the stronger his artistic skills and abilities, the more fully his creative activity develops.

In middle preschool age, a significant development of children's perception, its accuracy and differentiation occurs. At the same time, aesthetic perception continues to be characterized by fragmentation; it is closely related to personal experience child, his interests.

Children are capable of a basic aesthetic assessment of an artistic image, an awareness of certain aesthetic means, and a gradual penetration into the inner essence of what is depicted, for example, into the mood of a work of art. Preschoolers notice the connection between the content of a work and its expressive and visual means. They develop a preference for specific works and certain genres, there is a desire to compare works, compare what they have just heard with what they know, and come to some generalizations. Children are good at distinguishing poetry from prose, distinguishing between certain types and genres of literary, musical and visual works (a fairy tale from a story, a march from a dance, a lullaby from a dance song, etc.). They clearly demonstrate a desire for creativity, independent solution of a given task in visual, musical, and theatrical activities. Children become able to consciously achieve expressiveness of the image in dancing, singing, and dramatization.

By the end of the senior preschool age, the child can listen more intently to musical and literary works, look at works of fine art, and also perceive them more deeply, empathize, sympathize with the positive, the good, and condemn the evil. The child develops a musical and poetic ear. He not only notices expressive and visual means in various works of art, but also knows how to explain their necessity in a given genre, consciously perceiving the genre uniqueness of various types of art. Children develop strong preferences for certain genres of musical, literary and visual works.

Artistic and creative abilities are actively developing, children themselves come up with riddles, fairy tales, songs, compose poems, create appliqué, and draw. They develop an evaluative attitude towards the creative manifestations of both their peers and their own.

Gradually, thanks to training, children develop emotional responsiveness to various means of expression in their combination, into the simplest artistic images. Children begin not only to see, but also to realize the original aesthetic qualities in works of art. They are able to notice more subtle differences, make more subtle comparisons, find expressive words. Children remember poetic images from works of art and use them in their speech.

They develop an interest in the beautiful in life and art, in various types of artistic and play activities. Children exhibit strong expressions of emotional sensitivity to behavior literary hero, although the hidden motives of his behavior are not yet realized by children. Artistic creativity continues to develop, but children's ideas are still characterized by insufficient stability and clarity. Further aesthetic development of the child is carried out at school.

Thus, preschool age is a period characterized by the formation of aesthetic development, which is improved under the influence of education, which is aimed at solving specific problems arising from the purpose of aesthetic education and its significance in the development of the individual.

The tasks of aesthetic education of preschool children are determined by the general goal of education and the age-related capabilities of the children. They can be combined into four groups aimed at:

For the development of aesthetic sensitivity, the aesthetic stock of images, for the formation of aesthetic emotions, feelings, relationships, interests;

2. On the formation of elementary aesthetic consciousness;

3. To master aesthetic activities;

4. To develop aesthetic and artistic and creative abilities.

The first group includes tasks that ensure the development of aesthetic sensitivity, an aesthetic stock of images of the surrounding reality and works of art, and emotional responsiveness to them; formation of aesthetic feelings, needs, tastes and relationships.

The second group of tasks includes the formation of elements of children’s aesthetic consciousness (amount of ideas and knowledge, aesthetic judgments and evaluations). For this, children are introduced to various standards for the correct definition of beautiful or ugly, comic or tragic in reality and art, equipping them with the correct attitude to the environment and understanding of beauty. These are various standards: sensory (properties and qualities of objects of reality - shape, color, sounds), emotional (joy, sadness, grief, surprise, sadness), art history (types and genres of art, their means of expression, knowledge of the names of some artists, composers), aesthetic (beautiful, ugly, funny, heroic).

Solving the third group of problems will help to introduce children to active aesthetic and artistic activities: a) develop aesthetic and artistic perception; b) to form primary skills and abilities of performing artistic activity; c) to develop in children creative skills and abilities to actively introduce elements of beauty into everyday life, nature, their own appearance, and into relationships with people around them.

The fourth group of tasks includes the development of each child’s general and special artistic and creative abilities. General abilities are sensorimotor development, the ability to be emotionally responsive, creative imagination etc. Special abilities in the field, for example, visual arts include special activity of creative imagination, special visual sensitivity, which gives ease and completeness of perception of spatial and color relationships, eye, good visual memory, special manual skill, emotional sensitivity, creating an emotional mood, etc. .d.

The development of aesthetic perception, aesthetic and artistic abilities, aesthetic and artistic activity is based on the timely development of sensory systems, the activity of various analyzers, providing the necessary accuracy and subtlety of differentiation.

Solving the problems of aesthetic education is closely related to the formation in children of such qualities as initiative, the ability to foresee certain results, strive for them, and the ability to dream.

These tasks of aesthetic education of children are mutually determined and closely intertwined. Based on the tasks specified for different age groups, the content and methodology of aesthetic education of preschoolers are developed.

1.2 Features of the development of children of senior preschool age

Mental development of a child in preschool childhood studied in sufficient detail. However, it is very difficult to reveal the dynamics of the development of mental processes (perception, memory, thinking, imagination, etc.), improvement of basic activities (work, play, learning) or personality formation over the years of a child’s life. These changes are not always noticeable and sometimes cover only certain aspects of the overall process. Consider, for example, the development of the process of imagination.

The age of five is characterized by the flowering of fantasy. The child’s imagination is especially vivid in play, where he acts with enthusiasm. At the same time, imagining something intentionally, involving the will (for example, that one of two identical balls is larger (heavier than the other)) is not easy for pupils of both the senior and preparatory school groups.

But some indicators of imagination development, for example, the coefficient of originality (the number of non-repeating solutions when completing the drawing of a standard figure) differ markedly in children of different groups. The originality coefficient is high among children, gradually decreases in the middle and older groups and increases again in preparatory school. Greater individuality in children of the younger group is explained by the lack of common story-based games and extensive practice of communicating with each other. In the middle and senior groups, the commonality of practice in various types of activities leads to a commonality of plots and, accordingly, to a decrease in the coefficient of originality. In the preschool group, children for the first time begin to use a type of solution where the reference figure simply serves as an external impetus for an arbitrarily constructed image, being included in it as a secondary detail. (Data from O. M. Dyachenko and A. I. Kirillov.)

Personal development in older preschool age is characterized by the acquisition of new knowledge, the emergence of new qualities and needs. In other words, all aspects of the child’s personality are formed: intellectual, moral, emotional and strong-willed, effective and practical. Children’s knowledge of areas of social, useful activity of adults not directly related to serving the child is expanding. Ideas about things and their properties are easily combined in the child’s mind with new knowledge about the work of adults in making objects. Children learn that the choice of material, shape and color of a thing is determined by the desire to make it as comfortable and pleasant as possible for others.

Russian psychologists L.S. Vygotsky and A.V. Zaporozhets have repeatedly emphasized that in older preschool age the child moves from situational behavior to activities subordinate to social norms and requirements, and is very emotional about the latter. During this period, instead of a cognitive type of communication between a child and an adult (questions “What is this? What is it made of? What is this thing for?”), a personal one comes to the fore, centered on an interest in human relationships.

The personal type of communication does not replace the cognitive one; it must be combined with the latter. Tasks that activate children's mental activity are still needed. What attracts a five-year-old child to his activities is the opportunity to reveal his skills and awareness to others. When choosing a neighbor at the work table or a playmate, children are also often guided by motives of information content, i.e. the fact that the partner knows and can do a lot.

Self-service skills acquired by the age of five, experience of working in nature, and making crafts allow children to participate more in the affairs of adults.

And finally, children in the older group can and want to reflect their attitude towards the environment in games. In role-playing games and actions, self-esteem mechanisms are formed most of all, and norms of behavior and collective relations are more easily acquired.

With all this, different manifestations of each side of the personality do not develop synchronously, for example, moral ideas, feelings, actions. Thus, after listening to a literary work, a story about an event that is understandable to them, and looking at illustrations, five- to six-year-old children correctly and emotionally evaluate the actions and actions of the characters, which indicates a fairly high level of development of moral ideas and feelings. But not everyone does the right thing in life. Most of all, moral actions (that is, performed unselfishly, in the absence of control, rewards, punishments) are activated by the involvement of children in the affairs of adults with whom they sympathize. Other techniques, even relying on the personal example of others, are less effective.

The given brief description of the personal development of an older preschooler indicates that it is carried out in the process of various activities of the child with adults and in a group of peers. But teachers should take into account that with the general tendency towards improvement as children age, their behavior in each type of activity (in classes, in play, work, everyday life, i.e. routine processes), as well as the skills they have mastered, are not durable.

Thus, children of five years old may temporarily lose what positively characterized their behavior in classes in the second half of the year in the middle group: from September to December, relatively low performance, easy distractibility, superficiality and stereotyped judgments are sometimes noted. One of the reasons for the described phenomenon is that educators begin to use predominantly direct teaching methods, reducing the number of game techniques. It is apparently too early to do this, since as a result, students’ interest in learning decreases.

The games of children in the older group are poor in content, because sometimes the child’s ability to select toys and attributes in accordance with the game plan is overestimated. Toys are often stored in closets and out of sight of children. In such cases, students select only what they need at first, and then, not having the necessary attributes at hand, they find it difficult to develop the plot of the game.

The stability of the skills and forms of behavior developed in children largely depends on whether the teacher knows what level of formation the main components that make up any type of activity reach. It is generally accepted that any activity begins with defining a goal and motive. Then it needs to be planned, and only after that comes the performing part. The final stage is assessment and self-assessment of the results.

By the time they enter the senior group, most children in classes, work and other activities, listening carefully to the teacher, accept the purpose and motive of the activity explained by him. This ensures the child’s interest and positive attitude towards the upcoming work, and allows him to improve his memory and imagination. Children perform the task better, the more significant the motive for the upcoming activity is for them. So, gaming motivation is very effective. For example, larger number Children memorize new words not in class, but while playing “shop”, having received the task of making the necessary purchases. In the game, all children of the sixth year have a significant (up to 40-70 minutes) duration of retention of the goal in memory. Pupils of the middle group are already setting goals in individual games on their own. But in the senior years, the number of those who know how to set goals in the overall game increases from 80 to 92%.

Concluding the psychological characteristics of a child of the sixth year of life, let us recall the need to take into account some pedagogical recommendations when preparing children for the transition to the preparatory group of a kindergarten or preparatory class of a school.

It is important to ensure that children are interested in their activities and love them. What could interfere with this task?

Practice shows that a child does not like classes where he cannot actively express himself, show good results, where the material is difficult, since the ability to overcome difficulties is still imperfect. You can often hear from children: “I like to draw with a pencil, but not with paints - everything blends together for me”; “I like to draw, but I don’t like to sculpt, because my little people’s arms fall off”; “I like to sculpt, but I don’t like to cut, it doesn’t work,” etc. Therefore, the teacher needs to ensure that the requirements for the child increase gradually, so that he masters everything provided by the Program. It happens that children do not like an activity for reasons not related to its content. For example, a child does not like physical education because he has not mastered dressing and undressing. Then we need to help children master the skills that accompany organizing classes.

Children can show activity and intelligence in classes, provided that the issue of class density is correctly resolved: the teacher’s explanations are not drawn out (last no more than 5-6 minutes); the majority of those who wish can speak; thoughtful selection of materials allows children to use their skills; There is enough time to complete the task. It is equally important to combine tasks that appeal to children’s memory with those that are designed for ingenuity and the involvement of personal and collective experience.

It is necessary for children to gradually understand that “studying well” means not only listening to the teacher and answering his questions, but also preparing everything necessary for classes; act according to the plan proposed by the teacher; clean up after work; do not disturb your comrades. This is helped by the correct organization of educational activities, when the teacher, having determined the purpose of the task and the motive for the actions, teaches children to work according to the plan and uses various forms of assessment, including those characterizing the mutual assistance of students and friendly joint activities.

In the preschool institution and at home there are all conditions for a variety of independent activities of the child. Naturally, by the age of six he begins to develop selective interests. The teacher improves the knowledge and skills acquired by the child and draws his attention to what he has not yet mastered. Thus, the teacher needs to ensure that the pupils’ games reflect all the topics of the program to familiarize themselves with the environment, and not just the everyday life of people. Only then will children master the personal type of communication with the teacher and norms of behavior.

Children's independent artistic activities should be varied and include not only visual creativity, but also dramatization and staging games. When preparing entertainment, organizing pupils for independent “theatrical performances”, the teacher must first teach the child how to drive a doll, then lead him to master the text in the process of acting with it, then teach the “artists” to listen to each other and only then unite everyone for a common action. (Children can act out scenes with the characters of the bibabo theater on their own, teaming up with several people.) It should also be taken into account that children do not always know how to portray a particular character. Their intonations are inexpressive, their actions are monotonous. Because of this, the audience also experiences dissatisfaction and sometimes loses interest in games - dramatizations. The teacher’s task is to show children means of expression that would stimulate their creative activity.

For these purposes, the teacher can invite children to act out skits on certain topics in class or in independent activities. For example: “Sasha got lost in the forest and fell behind his comrades. He calls them"; “Kostya found a hole in the forest and calls his comrades to look at the find.” Having given these themes, the teacher explains how they need to be played: the boys call their comrades differently - Sasha is scared, he is afraid that they will not hear him; Kostya is happy and surprised by the find. Then he invites two or three children to depict (in turns) these scenes.

Let's list a few more similar tasks: a) look for an imaginary kitten, calling it by name (the teacher invites the children to note the difference in how their friends perform the task: some do it affectionately, and some do it very angrily); b) the puppy (toy) is cold, you need to caress it; c) pronounce the phrase several times, changing the logical stress; d) ask a friend for a toy (the teacher asks the children to determine how the request sounded: polite, impatient, etc.); e) perform a song from the fairy tale “The Wolf and the Seven Little Goats” on behalf of the goat and on behalf of the wolf; f) depict the walk of three bears from the fairy tale of the same name by L. Tolstoy, but in such a way that they behave and act differently; g) cross an imaginary stream using imaginary pebbles, etc.

By the end of their stay in the senior group, children should develop an interest in those types of activities that are especially useful to them as future schoolchildren: board and board-printed games, looking at books and pictures, as well as making homemade books, albums, and designing , modeling, as it prepares the child's hand for writing. In kindergarten and at home, it is necessary to create all the conditions for varied work.

The relationships with others that children develop in the process of one activity or another are characterized by the following. If a child’s curiosity and his need for personal communication and joint activities with adults are satisfied, he develops a sense of trust in others and a certain breadth of social contacts. Children, for example, say that in case of difficulties they will turn to their mother and father for help at home, and to teachers and friends in kindergarten. If the need for communication is not sufficiently satisfied, the child develops a feeling of distrust towards adults and peers, narrowness, selectivity of contacts (“I only play with Seryozha, he is the only one who helps me...”, etc.).

Growing up in the middle group, a child acquires the ability to watch peers play, ask them for something, and thank them. But he still needs to master forms of polite address. Children use them mainly in activities organized by adults, or when they play a particular role in a game. Not everyone knows how to help each other in a timely manner or coordinate their actions. Very few people show organizational skills. Preschoolers should learn all this in the older group.

A five or six year old child needs peers and comrades. He spends 50-70% of his time communicating with them in kindergarten. Every day he comes into contact many times, freely choosing a partner. This choice depends on the nature of the activity. For joint work, children try to choose organized partners (“He is on duty well”), for games and activities - those who “know a lot, draw well, count.” Often, a child is guided by the moral qualities of a peer (“We are friends. We always play together, he protects me. He is kind, fair, and does not fight. I would like to sit with Valya in class, otherwise Sasha bothers me,” etc.). d.). The listed motives indicate the desire of children for moral and business comfort during activities that are interesting or difficult for them, and that their peers who are aggressive, restless, and distracted do not enjoy their favor.

According to psychologists, the desire to play together is more pronounced in older children. As the child ages, especially during school, “business ties” become stronger (at work, in the classroom).

All children strive to communicate: they approach their peers, watch them play or draw, make a request, hand over a fallen item, or listen to people talking. But it is not always possible for a child, especially one who is inactive, to come into contact with whoever he wants. Relationships with peers are also difficult for those who came to the senior group from family and do not have the skills to communicate in a team. They behave insecurely and rarely participate in games. Peers avoid contact with them (“He doesn’t know how to play. She doesn’t know anything”). This kind of situation should be prevented, since, unable to realize the desire to communicate, the child becomes withdrawn and develops negative character traits.

Observations have shown that older preschoolers have better communication in a number of parameters than first-graders. Thus, older groups are characterized by associations of two to eight. Sometimes games involve up to eleven or thirteen children. The duration of communication in the senior group is from 2-3 to 30-35 minutes, and in the preparatory group – up to 40-60 minutes. The duration of communication is influenced by the type of activity: in interesting games, children communicate for 30-45 minutes, and together they carry out a work assignment for only 5-6 minutes. In the first grade, groups consist of two to six children, and the duration of communication is from 1.5 to 15-20 minutes.

V.A. Sukhomlinsky considered the foundation of education to be the child’s desire to be good, the willingness to be educated, to actively “appropriate” moral ideal, from which the teacher comes. In other words, education should be carried out as self-education.

In adult society, relationships are regulated by rules created on the basis of moral principles. They reflect the requirements of society and the collective for an individual. In our society, they are associated with the social nature of work and the collective way of life. At preschool age, children master the initial rules of behavior that make up the ABC of morality.

There is a certain sequence in a child’s acquisition of rules of behavior. It has been established, for example, that the rules of relationships in preschool age are more difficult for children to master than everyday rules, because the implementation of the former requires volitional efforts, and they must be applied flexibly, in accordance with the frequently changing situation. Research has shown that early and middle preschool age is favorable for learning rules of behavior. But only at an older age do children master their meaning and therefore perform them consciously. However, this understanding is still imperfect.

How to instill in a child the ability to follow the rules of behavior?

It is necessary not only to tell children about the need to follow this or that rule, but also to clearly explain why this should be done. Otherwise, the child views the rule solely as the teacher’s personal requirement. And if you ask him, for example, why you can’t make noise in the bedroom when everyone is still sleeping, he answers: “Because the teacher will scold you.” Each rule is specified, as if broken down (for example, you must greet politely at the entrance to the kindergarten and in all its premises, in the doctor’s office, when meeting you on the street, etc.). The scope of requirements is gradually expanding. For example, already in the middle group, children know that they cannot call their peers by half names (“Tanka, Sashka”), that adults must be addressed as “You”, called by their first name and patronymic; They know how to politely greet and say goodbye, make a request, and thank them for a service. In the older group, it is necessary to teach preschoolers to apologize for awkwardness, politely ask permission to pass, politely refuse the offered dish, etc. The teacher must ensure that the child follows the rules both at home and in kindergarten; systematically remind, advise how to behave in a particular case, and express confidence that the student will not forget to act properly.

To form generalized ideas in children, it is necessary to use ethical conversations and conversations about phenomena public life; conduct conversations about read stories, fairy tales, watched filmstrips, the plots of which contain moral conflicts. They do this without excessive moralizing, but in such a way that the child has a need to perform similar, moral actions.

It is important that the child can explain his attitude to the event and put himself in the position of its participant. This is helped by looking at pictures with children that depict their peers in various (often conflicting) life situations. Children are asked questions about what they think the characters should do, and they read literary works of similar content.

When developing communication skills, it is necessary to raise the authority of the newcomer in the eyes of children: provide the child with additional information unknown to children in order to arouse their interest in communicating with the newcomer; teach him to play; help in case of difficulties and gradually involve them in participation in group games.

Chapter 2. Theatrical activities as a means of aesthetic education

2.1 The concept of theatrical activity

At any age, fairy tales can reveal something intimate and exciting. Listening to them in childhood, a person unconsciously accumulates a whole “bank of life situations”, so it is very important that the awareness of “fairy tale lessons” begins from an early age, with the answer to the question: “What does a fairy tale teach us?”

The introduction of preschool children to the theater is mainly associated with fairy tale performances. Children’s interest in this genre, accessibility to children’s perception, as well as public importance fairy tales for the moral and aesthetic education of children. The most appropriate form of work in this direction is considered to be theatrical activity.

The educational possibilities of theatrical activities are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions force them to think, analyze, draw conclusions and generalizations. Closely related to mental development is the expressiveness of characters’ remarks and one’s own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved. The role played and the spoken lines put the child in front of the need to express himself clearly, distinctly, and intelligibly. His speech and its grammatical structure are improving.

It can be argued that theatrical activity is a source of development of feelings, deep experiences and discoveries of a child, and introduces him to spiritual values. This is a concrete, visible result. But no less important, theatrical activities develop the emotional sphere of the child, make him sympathize with the characters and empathize with the events being played out. “In the process of this empathy,” as noted by psychologist and teacher, academician V. M. Teplov (1896-1965), “certain relationships and moral assessments are created that have incomparably greater coercive force than assessments simply communicated and assimilated.” Thus, theatrical activities are the most important means of developing empathy in children, i.e. the ability to recognize a person’s emotional state by facial expressions, gestures, intonation, the ability to put oneself out of place in various situations, and find adequate ways to assist. “In order to have fun with someone else’s fun and sympathize with someone else’s grief, you need to be able to, with the help of your imagination, transfer yourself to the position of another person, mentally put yourself in his place,” argued B. M. Teplov.

Theatrical activities make it possible to form the experience of social behavior skills due to the fact that every literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, but also expresses one’s own attitude towards good and evil. Favorite characters become role models and It is the child’s ability to identify with his favorite image that allows teachers to have a positive influence on children through theatrical activities. Famous composer D. B. Kabalevsky in his book “Education of the Mind and Heart” wrote about the importance of art for children: “Leaving an indelible impression for a lifetime, it is already in these early years gives us lessons not only of beauty, but also lessons of morality and ethics. And the richer and more meaningful these lessons are, the easier and more successful the development of the spiritual world of children is. The quality and quantity of these lessons primarily depend on parents and kindergarten teachers. As a rule, young children are active in things that pique their interest.”

Theatrical activity allows the child to solve many problems of the situation indirectly on behalf of a character. This helps overcome timidity, self-doubt, and shyness. Thus, theatrical activities help to develop the child comprehensively. Therefore, it is no coincidence that in the temporary (approximate) requirements for the content and methods of work in a preschool educational institution, a special section “Child development in theatrical activities” is highlighted, the criteria of which emphasize that the teacher is obliged to:

Create conditions for the development of children's creative activity in theatrical activities (encourage performing creativity, develop the ability to act freely and relaxed when performing, encourage improvisation through facial expressions, expressive movements and intonation, etc.);

Introduce children to theatrical culture (introduce them to the structure of the theater, theatrical genres, different types of puppet theaters);

Ensure the relationship between theatrical and other activities in a single pedagogical process;

Create conditions for joint theatrical activities of children and adults.

To fulfill these criteria, it is necessary to create certain conditions. This is, first of all, the appropriate organization of work. Why “organization” first and not “content”? In our opinion, only a reasonable organization of children’s theatrical activities will help the teaching staff choose the best directions, forms and methods of work on this issue, and rationally use personnel potential. This will contribute to the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interaction with the family, etc., and, ultimately, the integrity of the pedagogical process and the forms of its implementation, acting as a unified system for organizing the joint life of children and adults.

The main goal of raising preschool children is to form a thinking and feeling, loving and active person, ready for creative activity in any field.

The program for theatrical activities of the author Elvina Gennadievna Churilova “Art - Fantasy” meets these requirements. It does not involve literal execution. It guides adults (teachers, parents) to create conditions for the activation of aesthetic attitudes in a child as an integral characteristic of his worldview and behavior.

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

Section 1 - “Theatrical Play” - is aimed not so much at the child’s acquisition of professional skills and abilities, but at the development of play behavior, aesthetic sense, the ability to be creative in any task, and be able to communicate with peers and adults in various situations. All games in this section are conditionally divided into two types: general educational games and special theatrical games.

The 2nd section - “Rhythmoplasty” - includes complex rhythmic, musical, plastic games and exercises designed to ensure the development of natural psychomotor abilities of preschoolers, their acquisition of a sense of harmony of their body with the world around them, the development of freedom and expressiveness of body movements.

Section 3 - “Culture and technique of speech” - combines games and exercises aimed at developing breathing and freedom of the speech apparatus, the ability to master correct articulation, clear diction, varied intonation, speech logic and orthoepy. This section also includes word games that develop coherent figurative speech, creative imagination, the ability to compose short stories and fairy tales, and select simple rhymes.

Thus, all exercises can be divided into 3 types:

1. Breathing and articular exercises.

2.Diction and intonation exercises.

3.Creative games with words.

The 4th section - “Fundamentals of theatrical culture” - is intended to provide conditions for preschoolers to master basic knowledge and concepts, professional terminology of theatrical art. The section includes the following main topics:

Features of theatrical art.

Types of theatrical art.

The birth of the performance.

Theater outside and inside.

Culture spectators.

Section 5 – “Work on performances” – is auxiliary, based on the author’s scripts and includes the following topics:

Introduction to the play.

From sketches to performance.

General program tasks for all types of activities:

Activate cognitive interest.

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

Relieve tightness and stiffness.

Develop the ability to voluntarily respond to a command or musical signal.

Develop the ability to coordinate your actions with other children.

Cultivate goodwill and contact in relationships with peers.

Develop the ability to communicate with people in different situations.

Develop an interest in performing arts.

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

Develop skills in working with imaginary objects.

Write sketches based on fairy tales.

Improvise dramatization games based on familiar fairy tales.

Develop a sense of rhythm and coordination of movements.

Develop plastic expressiveness and musicality.

Develop children's motor abilities, dexterity and mobility.

Exercise alternating tension and relaxation of the main muscle groups.

Develop the ability to position themselves evenly and move around the stage without colliding with each other.

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

Develop the ability to use a variety of gestures.

Develop the ability to convey the character and mood of musical works in free plastic improvisations.

Develop speech breathing and correct articulation.

Develop diction using tongue twisters and poetry.

Practice clear pronunciation of consonants at the end of a word.

Replenish your vocabulary.

Make up a sentence with the given words.

Learn to build a dialogue by choosing your own partner

Learn to select definitions for given words.

Learn to select words that correspond to given essential features.

Learn to use intonations that express basic feelings.

Introduce children to theatrical terminology.

Introduce children to types of theatrical art.

Introduce the main creators of the stage miracle (the main creators of the performance).

Familiarize yourself with the structure of the auditorium and stage.

Foster a culture of behavior in the theater.

Suggested skills and abilities:

Willingness to act in a coordinated manner, engaging simultaneously or sequentially.

Be able to relieve tension from individual muscle groups.

Remember the given poses.

Remember and describe appearance any child.

Know 5-8 articulation exercises.

Be able to exhale long while inhaling imperceptibly, and do not interrupt your breathing in the middle of a sentence.

Be able to pronounce tongue twisters at different rates, in a whisper and silently.

Be able to pronounce the same phrase or tongue twister with different intonations.

Be able to form sentences with given words.

Be able to build a simple dialogue.

Be able to write sketches based on fairy tales.

Preparatory group:

Develop sensitivity to performing arts.

To cultivate a child's readiness for creativity.

To develop voluntary attention, memory, observation, resourcefulness, imagination, speed of reaction, initiative and endurance, the ability to coordinate one’s actions with partners.

Activate the thought process and cognitive interest.

Strengthen the ability to respond to a command or musical signal.

Instill polite behavior skills.

Cultivate goodwill and contact with peers.

Evaluate the actions of other children and compare them with your own.

Develop communication skills and the ability to communicate with adults in different situations.

Activate associative and figurative thinking.

Develop imagination and faith in stage fiction.

Develop the ability to change your attitude towards objects, places of action and play partners; transform and transform.

Learning to act on stage is natural.

Develop the ability to justify your actions with imaginary reasons.

Improve skills in working with imaginary objects.

Develop the ability to perform the same actions in different circumstances and situations in different ways.

Improvise dramatization games on the themes of familiar fairy tales such as drama, ballet, opera.

Teach children to independently compose sketches with given or fantasized plots, suggested circumstances, and emotions.

Learn to respond appropriately to partners’ behavior, including unplanned ones.

Develop the ability to control your body.

Improve children's motor abilities, flexibility and endurance.

Develop the ability to tense and relax various muscle groups, up to complete relaxation.

2.3 Forms of theatrical activities used in preschool institutions

Theatrical activities in kindergarten can be organized in the morning and evening hours - at unregulated times; organically included in other classes (musical, visual arts, etc.), and also specially planned in the weekly schedule of classes in the native language and familiarization with the outside world.

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

Classes

Classes should simultaneously perform a cognitive, educational and developmental function and in no way be limited to preparing speeches. Their content, forms and methods of implementation should simultaneously contribute to the achievement of three main goals: the development of speech and theatrical and performing skills; creating an atmosphere of creativity, social and emotional development of children. Therefore, the content of such classes is not only familiarity with the text of any literary work or fairy tale, but also familiarization with gestures, facial expressions, movement, costumes, mise-en-scène, i.e. with the “signs” of visual language. Also, the content of theatrical classes includes: watching puppet shows and conversations about them; games - dramatization; acting out various fairy tales and dramatizations; exercises to develop expressiveness of performance (verbal and non-verbal); exercises for the social and emotional development of children.

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

children’s choice of role at will;

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

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

playing all roles by all children in turn.

Even the thought of dividing children into “artists and spectators” is unacceptable, i.e. on “constantly performing” and “constantly watching” how others play. Fear of making mistakes should not be allowed in the classroom atmosphere so that children are not afraid to go “on stage.” Therefore, when offering to “play” or “show” something, the teacher must proceed from the real capabilities of specific children. That is why the teacher faces two main tasks:

Understand, figure out what the baby feels, what his experiences are aimed at, how deep and serious they are;

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

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

Individual work

Another form of organizing theatrical activities is pair work between a teacher and a child - one on one. This type of training is often called individual training. In the process of individual work there is close contact between the teacher and the child. This allows the teacher to study the child’s feelings more deeply, to understand what his experiences are aimed at, how deep and serious they are; helps the teacher identify gaps in knowledge and eliminate them through systematic work. Also, individual work helps prepare the child for the upcoming activity (class, game - dramatization, work in a play). In the process of this work, knowledge, abilities, and skills are consolidated, generalized, supplemented, and systematized in further activities.

Independent activities of children -theatrical games.

Theatrical games are a constant favorite among children. The wide-ranging influence of theatrical games on a child’s personality allows them to be used as a strong, but not intrusive pedagogical tool, because the child feels relaxed, free, and natural while playing. Thus, in the process of playing, children develop skills of independent action, which consist of being able to think through a plan without outside help, finding visual and expressive means for its implementation, consistently implementing what was planned, controlling their actions in various types of theatrical activities, and being able to act. in various situations.

The outstanding director and actor K. S. Stanislavsky, in his book “The Actor’s Work on Oneself,” characterizing children’s play, says that a child’s play is distinguished by faith in the authenticity and truth of fiction. As soon as a child says to himself “... as if”, fiction already lives within him. At the same time, one more property is noticed in the child: children know what they can believe and what they should not notice.

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

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

Entertainment

In kindergarten, much attention is paid to the harmonious upbringing of each child. It is carried out in classes in fine arts, speech development, and music classes. Entertainment, as it were, unites all types of art, provides an opportunity to use them creatively, and evokes an emotional response in children when perceiving the poetic word, melody, visual and artistic images. There are many types of entertainment. One type is theatrical entertainment. It includes theatrical performances, concerts, performances with the participation of professional artists, as well as those prepared by kindergarten workers, students, and parents.

Thus, theatrical activities contribute to the self-realization of each child and the mutual enrichment of all, because both adults and children act here as equal partners of interaction. It is in general, a play or concert, that a child naturally and easily assimilates the rich experience of adults, adopting patterns of behavior. In addition, through entertainment and celebrations, educators get to know children better, the characteristics of their character, temperament, dreams and desires. A microclimate is created, which is based on respect for the personality of the little person, care for him, and trusting relationships between adults and children.

Holidays

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

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

The teacher should remember that the holiday matinee is, first of all, joy for children. This is a source of impressions that a child can retain for a long time. This is a strong means of forming moral and aesthetic feelings. Therefore, good preparation, a thoughtful scenario, clear organization - all this determines the behavior and mood of each child at the holiday, the effectiveness of the influence of various types of art. Children should be joyful, cheerful, and behave freely and at ease. However, one should not allow unbridled fun, which excites children too much.

Club work

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

In a preschool institution there is a teacher-director of a children's theater who not only implements these tasks, but also corrects the actions of all teachers who solve all problems, according to the basic program, including theatrical activities, and attracts them to actively participate in working on games – performances (up to participation in them as “actors”).

The director of theatrical activities works with children who want to go to the club. The head of the circle sets a goal - not to limit himself to scriptwriting, directing and staging work with children - “actors”, but as a red thread through the entire life of the kindergarten, through all types of children’s activities, to carry out the solution of problems aimed at developing in children’s activities, to carry out the solution of problems, aimed at developing creativity in children.

The content of the course includes mainly work on the play: analysis of the content of the work, distribution of roles, game exercises, sketches that contribute to the practical and emotional development of actions in the plot, and staging work on the entire performance is carried out in special classes, which are held at least once once a week for thirty to forty minutes, either in the first half of the day or in the second. But such work is not carried out in isolation from the educational work carried out by group teachers, music director, and visual arts teacher.

So, for example, in music classes, children learn to hear different emotional states in music and convey them through movements, gestures, facial expressions, listen to music for the next performance, noting its varied content, etc.; in speech classes, children develop clear, clear diction, work is done on articulation with the help of tongue twisters, pure sayings, nursery rhymes, etc., children get acquainted with a literary work for staging a play, etc., in visual arts classes, children get acquainted with reproductions of paintings, With illustrations that are close to the content of the plot, they learn to draw with various materials based on the plot of a fairy tale or its individual characters. All children’s play activities in their free time from classes, under the guidance of a teacher and in independent children’s activities, should acquire a special content and mood. Children play in the theater. They act either as actors or spectators, controllers, ticket takers, hall attendants, and tour guides around the exhibition hall. Children draw posters and invitations to performances and prepare an exhibition of their works.

In the theater studio, under the guidance of a specialist, various sketches to convey different feelings and speech exercises are performed. This could be outright rehearsal work on another game- staging, performance. In this case, it is more expedient to use the technique of acting out one plot (or individual scenes to it) with the help of various theatrical games (board, bench dolls, bi-ba-bo, etc.). For example, work is underway on the musical fairy tale “Cat House” (music by V. Zolotarev), some children act out the next scene using bi-ba-bo dolls on a screen, others use a table theater, and others dramatize.

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

Chapter 3. Organization of theatrical activities in the senior group of preschool educational institution No. 108

To confirm the theoretical presentation, we present materials obtained during pre-graduation practice during the periodfrom 01/26/05. to 02.22.05. at preschool educational institution No. 108, in the senior group.

Practical work on the topic of graduation qualifying work was carried out in accordance with the “Art Fantasy” program 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.

Fundamentals of theatrical culture.

Working on the play.

Dividing the “Art Fantasy” program into sections, focusing on the psychological characteristics of age, is very arbitrary, since it is not always possible to determine the boundaries of the transition from one to another.

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

Theater game.

General educational games.

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

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

When conducting collective educational games, I had to create a fun and relaxed atmosphere, encourage tense and constrained children, and not focus on mistakes and mistakes.

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

Special theater games.

Acquaintance with the specifics and types of theatrical art, general developmental and rhythmic games and exercises, classes in culture and speech techniques are useful for all children, as they develop qualities and form skills necessary for any cultural and creatively thinking person, contribute to the development of intelligence, activate cognitive interest, and expand knowledge teaching the child about the world around him, preparing him for a subtle perception of various types of art. In order to move from theatrical games to work on sketches and performances, we need, as we conventionally called them, special theatrical games that develop mainly imagination and fantasy. They prepare children for action in stage conditions, where everyoneis a fiction. Imagination and faith in this fiction are a distinctive feature of stage creativity. K.S. Stanislavsky encouraged actors to learn the faith and truth of play from children, since children are very seriously and sincerely capable of believing in any imaginary situation and easily changing their attitude towards objects, the scene and partners in the game. Chairs placed in a row can turn into the interior of a bus or plane, mom's dress can turn into a princess's ball gown, and the room becomes either a fairytale forest or a royal castle. But for some reason, when they go on stage in front of the audience, children seem to lose their abilities, turning into wooden dolls with memorized gestures, inexpressive speech, and unjustified antics.

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

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

Well-known folk and specially selected games help prepare children for actions with imaginary objects (Appendix No. 2).

We also offered children the following tasks for actions with imaginary objects: washing hands, drawing, winding a ball, washing a scarf, making pies, hammering a nail.carry a bucket of water or sand, sweep the floor, eat an apple, embroider, water flowers, play a musical instrument, rock a doll, etc. And also perform paired and group exercises: play ball, pull a rope, carry a bucket, play snowballs, badminton, pass a bowl of fruit or a tray with dishes, look for a needle, bead or part from a small machine.

Having fantasized the proposed circumstances for certain actions, the children move on to acting out sketches. The word "etude" is of French origin and is translated as "teaching." The concept of “sketch” is used in painting, music, chess and serves as preliminary, training work. In theatrical art, a sketch is small performance, in which a certain event should occur in the proposed circumstances, conditions, situation. They can be proposed by the teacher or composed by the children. Moreover, the proposed circumstances can be supplemented by the teacher and included by the children in the sketch as the performance progresses.

For the sketches, we proposed topics that were close and understandable to children (“Quarrel”, “Resentment”, “Meeting”). The ability to communicate with people in various situations is developed by sketches of polite behavior (“Introduction”, “Request”, “Gratitude”, “Treat”, “Talking on the phone”, “Consolation”, “Congratulations and wishes”, “Buying a theater ticket” and so on.).

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

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

The next stage is writing sketches based on fairy tales. The children chose an episode from a fairy tale and composed a sketch based on it. For example: “Kolobok and the Fox”, “Little Red Riding Hood at Grandma’s”, “Thumbelina - Bride of the Beetle”, “Return of the Bears” (fairy tale “The Three Bears”).

Having gained some experience in working on plot sketches, we moved on to improvisational dramatization games based on well-known fairy tales. Children were divided into 2-3 creative groups and were given the task of playing first the same fairy tale, and then different fairy tales. Participants in the mini-play had to independently assign roles, clarify the development of the plot and imagine the proposed circumstances. We encouraged children's attempts to move away from traditional stereotypes, awaken creative imagination and imagination, helping with questions, for example: what hero? (Lazy or hardworking, kind or evil, hungry or well-fed, stupid or smart.)

Working on sketches and improvisation games develops many of the qualities necessary for participation in performances, including the ability to act in a fictional environment and communicate and respond to the behavior of partners.

Culture and technique of speech.

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

Many of the children we worked with were characterized by general muscle tightness, includingincluding the speech apparatus, inexpressiveness and monotony of speech, lack of semantic pauses and logical stress, swallowing the beginning and end of words. When working to emancipate a child, it is impossible to do without special games and exercises that develop breathing, free up the muscles of the speech apparatus, and form clear diction and vocal mobility.

In older preschool age, the respiratory and vocal apparatus is not yet fully formed, but it is necessary to strive to ensure that children understand that an actor’s speech should be clearer, more sonorous and expressive than in life. We included speech exercises and games in each lesson, combining them with rhythmic and theatrical games (Appendix No. 3).

First of all, we taught children to dosilently inhale through the nose, without raising your shoulders, and exhale smoothly, evenly, without tension or jolts (exercises “Playing with a candle” and “Soap bubbles”). In the future, in each task, not only breathing is trained, but also other components of speech in combination. Depending on the tasks assigned in the lesson, the emphasis was either on breathing (exercises “Bad Tooth”, “Caprisy”, “Bells”, “Lullaby”), or on articulation (games “Summer Day”, “At the Zoo”, “In the Forest” "), then on diction (exercises "Trained dogs", " Poultry yard"), then on intonation (the game "Create a Dialogue", where the characters can be the Ogre and Puss in Boots or the Elephant and the Mouse) or the pitch of the sound ("Airplane", "Miracle Ladder").

All these components of speech can be perfectly trained using tongue twisters and poems, without the use of special acting training.

Tongue twisters help develop correct pronunciation and articulation, train diction, and help children learn to quickly and clearly pronounce difficult to pronounce words and phrases. Tongue twisters is a fun word game that we offered children in various versions: “damaged telephone”, “snake with collar”, “hand ball” andetc. (Appendix No. 4).

We learned tongue twisters with the children collectively, starting to pronounce each syllable slowly, clearly, actively, as if bouncing a “ball” off the floor. Gradually the pace increased. They also pronounced tongue twisters exaggeratedly clearly, in a loud whisper, so that they could be heard at a distance. To activate the speech apparatus, children were asked to pronounce tongue twisters silently, vigorously moving their lips.

We used the learned tongue twisters, especially dialogical ones, in various theatrical games, in working on intonation, in improvisations, inventing a plot and characters (“Tall Tales”, “Two Friends Met”, “Fair”).

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

From the point of view of the performing activity of preschoolers, we tried to teach them to use intonations, with the help of which various feelings can be expressed. The same word or phrase can be pronounced sadly, joyfully, angry, surprised, mysteriously, admiringly, pitifully, anxiously, contemptuously, condemningly, etc. While working on intonation, we did not simply ask the children to pronounce a phrase, for example, plaintively or admiringly, but encouraged the children to strive to improvise the proposed situations. By offering children the game “Phrase in a Circle,” we strived to ensure that each child could explain where, to whom, and under what circumstances he pronounces this phrase with a certain intonation.

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

Also working on the culture and speech technique of children, we included in our work creative games with words (“Magic basket”, “Tasty words”, “Question and answer”).They develop children's imagination and fantasy, expand their vocabulary, teach them to conduct a dialogue with a partner, write sentences and short stories.

Fundamentals of theatrical culture.

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

The implementation of this task was of a practical nature, i.e. occurred during theatrical games, exercises, work on sketches, and visits to the theater in the form of dialogue in the form of questions and answers. It makes no sense to strictly demand that each child master all the material; it is enough that the children understand the teacher using theatrical terms and gradually expand their vocabulary (Appendix No. 5).

During theater classes and rehearsals, the teacher expands and systematizes children’s knowledge about theater on the following topics:

Features of theatrical art,

Types of theatrical art,

The birth of the performance

Theater outside and inside,

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

Working on the play.

In the evening, we conducted group work with the children, the purpose of which was to prepare for the performance of the play based on the fairy tales of H. H. Andersen “Fairytale Dreams” (Appendix No. 7).

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

1) do not overload children;

2) do not impose your opinion;

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

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

As a result, the children looked forward to each rehearsal and worked with desire and joy.

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

1.Choose a play or dramatization and discuss it with the children.

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

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

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

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

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

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

props (possibly conditional), with musical accompaniment.

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

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

First stage working on a play is related to its choice. As a rule, the material for stage implementation is fairy tales, which provide “an unusually bright, broad, multi-valued image of the world.” The world of a fairy tale with its wonders and secrets, adventures and transformations is very close to a preschool child. In order to arouse children's interest in the upcoming work, the children's first meeting with the play was emotionally intense: telling fairy tales included in the script, showing artistic illustrations in books, listening to musical works used in the future performance, watching feature films based on fairy tales. All this helped to feel the atmosphere of fairy-tale events, broaden the children’s horizons, and intensify their cognitive interest.

Second phase involves dividing the play into episodes. After reading the script to the children, the children retold each episode, complementing each other, and came up with names for them. For example:"The Return of the Prince", "Meeting the Princess", "The Prince's Journey" etc.

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

Fourth stage - introducing children to musical works, which will be heard in whole or in fragments in the performance.

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

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

Fifth stage - This is a gradual transition to the text of the play itself. During rehearsals, the same passage was repeated by different performers, i.e. the same text was heard many times, this allowed the children to quickly learn almost all the roles. In addition, in preschool educational institutions, teachers participate in this work, who, in their free time from classes, repeated individual episodes with subgroups of children. During this period, the proposed circumstances of each episode were clarified(where, when, at what time, why, why)and the motives for the behavior of each character were emphasized(For what? For what purpose?). Children, watching the actions of different performers in the same role, they assessed who could do it more naturally and truthfully.

For our part, taking into account the speech, plastic, and acting capabilities of the children, we have identified 2-3 performers who can cope with a specific role.

Sixth stage begins actual work on the role. Due to age-related psychological characteristics, a child always plays himself; he is not yet able to transform, play the feelings of another person. Based on personal emotional experience and memory, he can remember a situation in his life when he had to experience feelings similar to those of the characters in the play. Under no circumstances should you impose on young performers the logic of another person’s actions or your specific patterns of behavior.

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

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

Seventh stage - rehearsal of individual paintings in different compositions. At this stage of work, we made sure that the children did not repeat the poses, gestures, and intonations of other performers, but looked for their own variations. We taught the children to place themselves around the stage without crowding together or blocking each other. Any discovery or new successful solution was noted and encouraged by the children who were not currently involved in the rehearsal.

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

Rehearsals took place with musical accompaniment, at which point the tempo of the performance was clarified. The lengthiness of individual scenes or, conversely, excessive haste and crumpledness make the performance uninteresting for the audience. At this stage, the children’s responsibilities in preparing props and changing scenery were assigned.

Ninth stage - premiere of the play- is also a dress rehearsal, since until this moment the children had never acted in costumes. The first spectators were teachers, who very strictly but objectively assessed the children’s performance.

Premiere - it is always excitement, bustle and, of course, an upbeat, festive mood. Children begin to understand in practice what the collective nature of theatrical art is, how the success of the performance depends on the attention and responsibility of each performer. There is no point in holding a discussion immediately after the presentation. The guys are too excited and are unlikely to be able to evaluate their successes and failures. But the very next day in a conversation you can find out how critically they are able to think about their own game.

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

For children, the most important and useful period is the period of preparation for the performance, and then the opportunity to play it as long and often as possible. It is probably true that children get tired of playing the same thing over and over again. It's possibleonly if everything in the performance is programmed and the young performers blindly carry out the will of the director.But if the guys understand what they should do on stage, but try to act differently each time, then this is already an element of creative improvisation. In addition, performances can be performed in different casts. The same role, when performed by different children, completely changes, acquiring new colors and sound. Everyone puts their little experience, their emotions and sensations into it. And here the teacher’s task is to reveal the child’s individuality, teach him to look for his own means of expression, and not to imitate other performers.

Conclusion

Many teachers and psychologists often think about what determines the success or failure of a performance, theatrical game, or holiday. The result is not always better where more effort is spent. Various experiments and studies have shown that success is guaranteed when the teacher takes an individual approach, shows respect for the personality of each child, and believes in the abilities and capabilities of all his students.

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

The theatrical activities of children are purposeful, that isallows you to successfully solve many educational problems preschool.

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

It has a certain content - in accordance with the program under which the teacher-director of TID works in a preschool educational institution (we worked under the “Art - Fantasy” program).

He has specific methods of work as a teacher-leader of a TID: an individual approach, respect for the child’s personality, faith in his abilities and capabilities.

As you know, theater provides very great opportunities for children to live in a given situation. A constant state of play maintains children's interest in in-depth study of the proposed material. Allows you to experience the culminating moments in the cultural history of mankind in a diverse and colorful way.

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

The synthetic nature of theatrical activities makes it possible to successfully solve many educational tasks of a preschool institution: to cultivate artistic taste, develop creative potential, and form a sustainable interest in theatrical art, which in the future will determine the need of each child to turn to the theater as a source of emotional empathy and creative participation.

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

Taking into account the results of the work done, we have made the following recommendations for teachers and specialists of preschool educational institutions:

Create conditions for children's creative activity. Encourage performing creativity in theatrical activities, develop the ability to behave freely and relaxed during a performance, encourage improvisation through facial expressions, expressive movements and intonation.

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

To ensure the relationship between theatrical activities and other types of children's activities in a single pedagogical process.

Create conditions for joint theatrical activities of children and adults

Literature

1. Artyomova L.V. Theatrical games for preschoolers. M., Education, 1991.

1. Antipina E. A. Theatrical activities of children in kindergarten: games, exercises, scenarios. M., Sfera shopping center, 2003.
2. Antropova M.V. Psychological, pedagogical and hygienic approaches to organizing developmental activities for preschool children. // Preschool education No. 24 (96), 2002.
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6. Ivantsova L. Korzhova O. The world of puppet theater. Rostov-on-Don, Phoenix, 2003, 160 p.
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9. Merzlyakova S.I. The Magic World of Theater. M., Institute for Advanced Training of Education Workers, 1995.
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11. Mikhailova A. Ya. Theater in the aesthetic education of primary schoolchildren. M., 1975.
12. Orlova F. M., Sokovnina E. N. We are having fun. M., Education, 1973, 207 pp.
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14. Educational games for children of primary preschool age. M., 1991.
15. Semyonova S.I. Lessons of goodness. M., ARKTI. 2002, 80 p.
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17. Smirnova S. A. Pedagogy. M., Academy, 2001, 512 p.
18. Sorokina N. F. Playing puppet theater. M., ARKTI, 2001, 162 p.
19. Tufkreo R., Kudeiko M. Collection of ideas. M., Linka-Press, 2004, 200 p.
20. Furmina L. S., Shibitskaya A. E., Panteleeva L. V. Entertainment in kindergarten. M., Education, 1975, 243 p.
21. Churilova E. G. Methodology and organization of theatrical activities for preschoolers and junior schoolchildren. M., VLADOS, 2003, 160 p.
22. Shorygina T. A. Beautiful fairy tales. M., Knigolyub, 2003, 136 p.

24. Artistic creativity and the child. Ed. N. A. Vetlugina, M., Pedagogy, 1972, 286 p.

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Appendix No. 1

Relay race.

Target. Develop attention, endurance, consistency actions.

Progress of the game. Children sit on chairs in a semicircle. When starting the game, they stand up and sit down in turns, maintaining the tempo and not interfering with each other’s actions. This exercise can be done in different options, inventing interesting games with children situations.

a) ACQUAINTANCE. From behind the screen, a favorite hero from children's fairy tales appears (Carlson, Little Red Riding Hood, Pinocchio, etc.). He wants to get to know the children and offers to stand up and say his name clearly after the previous one.

b) RADIOGRAM. Game situation: a ship is sinking at sea, the radio operator transmits a radiogram asking for help. The child sitting on the first chair is the “radio operator”; he transmits a certain rhythmic pattern along the chain by clapping or patting the shoulder. All children take turns repeating it. passing on further. If the task is completed correctly and the last child, the “captain” of the rescue ship, accurately repeats the rhythm, then the ship is saved.

What do you hear?

Target. Train auditory attention.

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

Appendix No. 2

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

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

Progress of the game. The room is divided in half by a cord or line. On one side are those selected using the rhyme “Grandfather and three to five grandchildren”, on the other side are the rest of the children and the teacher who will ask riddles. Having agreed on what the riddle will be about, the children go to their “grandfather” and “grandchildren.”

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

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

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

Children show an invented riddle. If “grandfather” and “grandchildren” give the correct answer, the children return to their half and come up with a new riddle. If the answer is given incorrectly, the children say the correct answer and after the words “One, two, three - catch up!” they run across the line, into their home, and “grandfather” and “grandchildren” try to catch up with them before they cross the lifelines. After two riddles, new “grandfathers” and “grandsons” are chosen.

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

Appendix No. 3

GAMES AND EXERCISES ON SPEECH BREATHING

GAME WITH A CANDLE

Target. Develop proper speech breathing.

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

BUBBLE

Target. Is the same.

Progress of the game. Children are divided into two teams. The first team, using imaginary straws, blows out “soap bubbles” while exhaling evenly. We must try so that they do not burst immediately, but become as large as possible and, tearing away from the straw, fly away. Children of the second group follow their actions and at the same time, in chorus or in roles, read E. Fargen’s poem “Soap Bubbles”:

Be careful - bubbles!

Oh, what!

Oh look! They're getting bloated!

They sparkle!

They're having a blast!

They're flying!

Mine is plum!

Mine is the size of a nut!

Mine didn't burst for the longest time.

ARTICULATIVE GYMNASTICS

LIP CHARGER

1. Merry Piglet:

a) on the count of “one”, the closed lips are extended forward, like a pig’s snout; on the count of “two,” the lips stretch into a smile without exposing the teeth;

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

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

When finishing the exercises, children are asked to completely release their lip muscles by snorting like a horse.

CHARGING FOR THE NECK AND JAW

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

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

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

Yawning Panther:press with both hands both cheeks in the middle part and say “wow, wow, wow...”, imitating the voice of a panther, sharply lowering the lower jaw wide: opening the mouth, then yawn and stretch.

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

GAMES AND EXERCISESFOR FREEDOM OF SOUND WITH SOFT ATTACK

SICK TOOTH

Move. Children are asked to imagine that their tooth hurts very much, and they begin to moan at the sound “m”. The lips are slightly closed, all muscles are free. The sound is monotonous and drawn out.

CAPRIZULA

Move. Children portray a capricious child who whines, demanding to be held. Whine on the sound “n”, without raising or lowering the sound, looking for a tone in which the voice sounds evenly and freely.

BELLS

Move. Children are divided into two groups, and each takes turns depicting the ringing of bells: blow - bang! And the echo - mmm... BOOMMM - BOOMMM! BOOMMM - BOOMMM! BOOMMM - BOOMMM! DING - DONNN! DING - DONNN! DING - DONNN!

LULLABY

Move. Children imagine that they are rocking a toy and hum a lullaby, first with closed mouth to the sound “m”, and then the same musical phrase of a lullaby to the vowel sounds “a”, “o”, “u”.

Appendix No. 4

Games with tongue twisters can be offered in different versions.

"Broken phone"- two teams play. Each captain gets his own tongue twister. The winner is the team that, at the leader’s signal, quickly transmits the tongue twister along the chain and last representative which will pronounce it out loud better and more accurately;

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

Handball option - children stand in a circle, in the center is the leader with the ball. He throws the ball to any child, he must catch it and quickly say a tongue twister. If a child fails to catch the ball or cannot clearly pronounce a tongue twister, he receives a penalty point or is eliminated from the game;

"Snake with a Gate"- children move in a chain behind the leader and pass through the gates formed by the last two children. The child in front of whom the gates are slammed must pronounce any tongue twister. If he does this well, the gates open and the game continues, otherwise the child repeats the tongue twister;

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

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

TONGUE TWISTERS

Sasha sewed a hat for Sasha.

Sasha walked along the highway and sucked on a dryer.

Senka is carrying Sanka and Sonya on a sled

Six little mice rustle in the reeds.

Whey from yogurt.

The wasp settled on the nose, I will take the wasp to the branch.

Forty mice walked, carrying forty pennies; two smaller mice carried two pennies each.

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

The bristles are on a pig, the scales are on a pike.

Cuckoo bought a hood.

Centipedes have too many legs.

The hedgehog bear, the hedgehog and the hedgehog were scared.

The beetle, buzzing over the puddle, waited until dinner for the snake.

A beetle is buzzing over a honeysuckle, the beetle has a green casing.

The lazy red cat lay on his stomach.

Our Polkan fell into a trap.

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

A weaver weaves fabric onto a Tane scarf.

The bull was blunt-lipped, the bull was blunt-lipped, the bull's white lip was dull.

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

The cap is not sewn in the Kolpakov style, the bell is not poured in the Kolokolov style. It is necessary to re-cap, re-cap; the bell must be re-belled, re-belled.

Clara put the onion on the shelf and called Nikolka to her.

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

Grass in the yard, firewood on the grass.

Three magpies chattered on the slide.

Three magpies, three ratchets, lost three brushes.

There are daisies at the gate, three snails crawled up to them.

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

The wet weather turned soggy.

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

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

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

Kondrat's jacket is a little short.

Valerik ate the dumplings, and Valyushka ate the cheesecake.

Appendix No. 5

Glossary of theatrical terms

Proscenium - the space of the stage between the curtain and the orchestra or auditorium.

Actor - active, active (act - action).

Amphitheater - seats located behind the stalls.

Intermission - the interval between the actions of the play.

Applause - approving claps.

Artist - artist (skill, mastery).

Poster - announcement of the performance.

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

Mezzanine - 1st floor above the stalls and amphitheater.

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

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

Makeup - face painting, the art of giving the face (through special paints, gluing a mustache, beard, etc.) the appearance required by the actor for a given role.

Decoration (lat.) - decoration; artistic design of the action theater stage(forest, room).

Dialogue - a conversation between two or more persons.

Drama - composition for the stage.

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

Backdrop - a painted or smooth background made of soft fabric, suspended at the back of the stage.

Pocket - the side of the stage, hidden from the audience.

Backstage - vertical stripes of fabric framing the stage on the sides.

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

Facial expressions - thoughts and feelings conveyed not by words, but by face, body movement, facial expression reflecting an emotional state.

Monologue - speech of one person, thoughts out loud.

Opera - a musical and dramatic performance in which the actors do not talk, but sing.

Operetta - a cheerful musical performance in which singing alternates with conversation.

Padugi - horizontal strips of fabric limiting the height of the stage.

Pantomime - expressive body movement, conveying feelings and thoughts with the face and whole body.

Wig - false hair.

Parterre -seats for spectators below stage level.

Director - managing actors, distributing roles; the person directing the production of the play.

Props - things, genuine or fake, necessary for the actors during the course of the play.

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

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

Rehearsal - repetition, preliminary performance of the performance.

Replica - a phrase of a character followed by another actor or some stage action is taking place.

Theater - a place for spectacles.

Barbell - a metal pipe on cables to which the scenes and scenery parts are attached.

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

Appendix No. 6

I. Features of theatrical art

All questions in this subsection can be considered during a discussion of the performance, while working on the play. It is not necessary to use the word “synthesis”; it is enough to find out with children that theater uses and combines other forms of art - literature, painting, music, choreography. But the main thing in the theater is the acting. You can use the statement of V.I. Nemirovich-Danchenko: “You can build a wonderful building, install excellent directors and administrators, invite musicians, and still there will be no theater; But three actors will come out onto the square, lay out a rug and start playing a play, even without makeup and decor - and the theater already exists. For the actor is the king of the stage.”

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

II. Types of theatrical art

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

III. The birth of the performance

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

There are many concepts and words here that are easier to assimilate during games and sketches. You can start getting acquainted with such concepts by offering the game “Let’s go to the theater” or “What the theater program told about.”

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

IV. Theater outside and inside

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

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

What is the world behind the scenes, children should feel the tick, walk around the stage, stand behind the scenes.

V. Culture of behavior in the theater

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