Integrated theater studio "Krug-I" for children with disabilities. Integral theater as a measure of experience
Over seven years of work on the subject of theater, some developments have emerged. Each individual lesson topic has 2-3 options for mastering it, elaborating it, and immersing yourself in the topic. The first 3-4 years of work on the subject, the topics were developed by me for a specific age group students. For the last 3 years I have been developing lessons and designing them so that the subject of conversation and the material being studied is close, accessible, and interesting to a wide variety of audiences. Practically, with this lesson I come to 2nd, 5th, 7th grades throughout the entire school week. I consider this experience successful.
1) The situation itself immerses me in the material deeply and comprehensively. The topic captivates me with new enthusiasm every time. My trembling burning is certainly transmitted to the audience. It is easier to “warm up” the audience’s interest.
2) The experience of each lesson is instantly, and not after a year, transferred and practiced in the next lesson. (The results are analyzed and adjusted on a mobile basis).
3) Playing through a topic with a large number of children, we plunge into the ocean of knowledge, skills, observations, taking into account personal experience each participant in the creative process. Getting to know the life experiences of children of different ages, temperaments, creativity, hard work, and attitude towards the subject, the topic of how a “box” is filled with jewelry becomes attractive and meaningful. The role of the student in the lesson becomes of key importance. Each participant in the process is a precious stone “for the box”. The lesson is created by everyone together. This approach to the lesson forms in students an understanding of the need and value of each individual in the history of mankind as a whole.
When preparing for a lesson in an integrative subject, I work through the eventual aspects of the topic, without which mastering the material is difficult. The topic is filled with content anew at each lesson. The driving force is events. They include different areas human knowledge, different experiences, issues, variability. Sometimes the “tempt” for creativity is a predicted “deadlock” situation.
Mastering the thematic space is thus exciting and productive. The product is developed in the process of overcoming and experiencing events. The most important fragment of creative developments is the analysis and generalization of difficulties: dangerous moments on the path to comprehending the integrativeness of teaching.
1) The teacher and students can get so carried away by the chintz-colored, multifaceted, versatile creation of the topic in the lesson that as a result the lesson may turn out to be “about nothing.” Our invaluable knowledge in the form of a salad with many ingredients will not be useful to students in life.
2) It is important not to talk with students about the value of a topic or other knowledge and skills, but to truly master them. You can talk endlessly and beautifully about music, painting, theater, literature, science, sports, politics, you can write on any occasion treatise and be quite convincing, but it is much more difficult to pick up a brush and paint a picture, play an instrument, compose a rhyme, etc. One can understand nature correctly and subtly acting art, but it’s much more difficult to go on stage and live a small episode in the life of a character in a literary or dramatic work.
3) Integrative subjects in the general educational process are a special view of the world. This is a different way of understanding reality. Parents of students must be made aware of these features.
Reflecting on some of my own developments, I dare to say: teaching the integrative subject “Theater” in secondary school- the opportunity to connect knowledge with the development of the personality itself, its spiritual world. This is the way to comprehend reality.
How to shade the silence?
2nd year of classes in the program, 2 lessons in the theater workshop.
We will have guests in class today. There is a reason to come up with new lesson. New, because my program in the subject “Theater” allows you to introduce any topic almost spontaneously, without logic and without compromising the educational line.
Stage 1. Immersion in the proposed circumstances.
I begin the lesson by introducing the children to the guests - teachers from their hometowns in the Chelyabinsk region. “What do teachers do at work? What products do they produce? - I’ll ask the guys. They teach, educate, help and participate in organizing and carrying out various good deeds, etc. I'll ask about other professions. They will list many of their moms and dads' works. Our communication begins to take shape. Now communication needs to be made productive. And I dare to puzzle the guys with an unusual profession or business that they were engaged in individuals in ancient times and are engaged now - this is philosophy. I’ll ask the guys if they know what exactly the philosopher does, what products he produces. I'll give you the simplest concept. A philosopher is a person who likes to have a wise attitude towards everything that exists in the life around us. I propose that in our lesson today we become sages. I give each person a badge - an image of an owl-bird, symbolizing wisdom.
It is important to note that everyone’s image of a bird should be different from the others (different moods, situations in which the owl is drawn, etc.).
Where to start thinking wisely? Trying to concentrate on simplest task. I'm handing out cards with different drawings. It is necessary to find as many differences in the drawings as possible in a given unit of time. After completing the exercise, I announce a topic for philosophizing. I gather the kids on a soft rug and “write” a sentence using cards - letters of the alphabet: how to highlight the silence.
2. Stage. Productive activity.
The most difficult word to understand is shade. We analyze the word according to its composition and come up with other words with the prefix “from”, explaining to ourselves their meaning. Jump away (find yourself in another place, opposite), iron it (there was wrinkled, unironed linen, clothes, but they became something else - pleasant, neat), thaw (there was ice, now there is water), etc. These clearer words bring us closer to understanding the difficult word. A traditional part of many of our lessons is the game of Home theater. Today with the help of heroes finger theater(bear cub and hedgehog) I tell S. Kozlov’s fairy tale “How to shade the silence.” After the presentation, an exchange of views between the sages. To highlight stillness, you need to move; to highlight silence, you need to sing, chatter, scream. To see, hear and understand about one thing, you need to see, hear and understand something else, not like this, but different, even opposite. And this is an important wise thought that we, together with the guys, are trying to understand.
Let’s play through and reinforce this idea with a series of exercises.
1 exercise: "Find your group." All the wise men walk around the site to the music, figuring out what they can do in a given mood. But, having heard a signal (ringing a bell, clapping), they are divided into two groups:
a) in one there are wise men whose clothes are of darker shades, in the other - light;
b) in one group there are wise men whose birthdays are closer to winter, in the other - to summer, etc.
Exercise 2: “Track the movement of the sound.” The sages close their eyes. The outstretched right hand will follow the movement of one quiet sound across the court, which will be reproduced by one player using any musical-sounding or noisy object or instrument. At that time, left hand will follow a whole choir of sounds reproduced by another playing student, using several, for example, metal plates from a metallophone. After the exercise, the sages briefly analyze the result. What was the subject of highlighting, emphasizing, enhancing the sound. The guys note the peculiarity of the second exercise: There are several tint pairs: one - many, quiet - loud, dull - voiced.
Exercise 3: “Replay the situation.” The circumstances are given. Relaxing by the pond under the scorching sun. I propose to play a situation that can highlight the circumstances I have given. Two other students will try to play another pair of circumstances: Noisy classroom. Everyone and everything is restlessly moving and having fun and something else sets off these circumstances.
Exercise 4: "At the opening of the exhibition." The guys are divided into 2-3 groups. Each is given a set of postcards of paintings by different artists. It is proposed to organize the exhibition in such a way that a shading element appears in the theme of the exhibition. For example, in the topic “Portraits” - elderly people and children, in the topic “Landscape” - summer and winter, etc.
Exercise 5: “Complete the drawing.” A beautiful peacock is drawn on a large sheet of whatman paper. But the artist did not paint the most important part of the drawing - the tail. This task is for the wise. The tail should be bright, shimmering with all colors. The difficulty lies in each time taking a paint that shades the previous one. Every wise man tries to work with color. So with blue the feather will appear blue, with black - red color of the pen, with white - brown, etc. As a result of the exercise, the sages will once again exchange their valuable thoughts. They come to a wise awareness of the lost, proposed circumstances. What you want to understand, comprehend, evaluate, shade, must be placed side by side, brought closer to each other. After all, all color diversity exists in unity in our world.
3. Stage. Climax lesson
Every minute in our diverse and colorful life one can find a reason for those who like to philosophize. “Is it easy to be wise men,” I ask the guys. The answers will be different: difficult, not very easy, easy.
4. Stage. A lesson in the big world.
Every sage collects his valuable thoughts not to get fat or rich, but to share them with others. The sages of Ancient Greece were great at this, because they were fluent in the art of oratory. I briefly tell the story of the great Demosthenes, who trained his speech with the help of pebbles. And we can train with the help of beans. In summer, use directly from the garden, and in winter, dried. I suggest speech exercise. With the help of pebbles - beans, pronounce your favorite simple sayings in three tempo rhythms: slowly, quickly, very quickly.
In the final part of the lesson, I once again want to emphasize the unity and diversity of opposites in the world around us. I pick up the globe. Addressing the globe in theater lessons is a traditional moment. I focus the attention of the sages on the shape of our common earth - the shape of a ball - a universe of unity and at the same time the diversity and brightness of all its parts. Today we will look at where the country of China is located with ancient culture and great wisdom. U Chinese people I have a favorite symbol. This yin And yang I I show the guys what it looks like. They briefly exchange wise thoughts, pondering what this might mean. In a single circle there is a world of opposites: black shades white, day from night, good from evil, easy from difficult, male from female, etc. It's great that we were able to understand and read these symbols.
5. Stage. Formation of the environment.
It is worth noting that the topic for today's lesson is not the most theatrical and not the easiest. But understanding the surrounding reality and oneself in it is a fascinating and most important thing, in demand by our modern students.
"Children's Theater" - Puppet show- special game uniform interaction between child and adult. Mixed type theater - an adult-child community is a viable type of theatrical activity for children and adults. Types and types of theaters: Topic: Play and theater. Consultation for parents. IN kindergarten There are two types of theater: puppet and dramatic.
"Russian Drama Theater"- It’s cold in the theater, the audience, mostly women, are sitting in coats, padded jackets, and felt boots. The geography of the theater's tours is expanding. Pride of the Russian Drama Theater... From his first appearances, the actor established himself as a social hero. Loseva Natalia Sergeevna -. THEATER DEVELOPMENT IN THE 50-80s...
"Pedagogical teaching technologies"- Tasks. Hierarchical range of different technologies. Political and social. V.A. Pyatin, I.Ya. Yatsukova. Component analysis of paradigms. The essence and main aspects of the concept of “educational technology”. “Education - teaching” “education - creation”. Historical reference Stages of development of the concept of “technology” in education.
"The latest pedagogical technologies"- Main directions of innovative transformations in pedagogy: Signs of pedagogical technology: Properties of pedagogical technology. Pedagogical technologies. Built pedagogical process, which should guarantee the achievement of the set goals. Project of technology of educational activities.
"Psychological and pedagogical support"- Children (correctional developmental work). Educators ( round tables, seminars, consultations). Parents (Club for parents "Sparkle". Psychological and pedagogical support for the activities of the preschool educational institution in spiritual and moral education. Organization and conduct of developmental and correctional work with kids. Providing assistance to teachers and educators in certification.
"Theater Day"- Just don’t step behind the scenes of the truth And don’t go deaf from the applause. Don't believe in life, but on stage - believe in the happy smile of the epilogue. Getting to know the theater. A stage designed to maximize the use of scenery is usually framed by a portal. March 27 is World Theater Day. Opera houses begin to emerge.
List of additional general education programs
and paid additional educational services implemented
in 2016-2017
Classes are taught by teachers additional education: Popova Natalya Timofeevna, Egorova Vera Anatolyevna.
Educational services on a budget basis
1. “The ABC of plastic expression. Corrective and developmental classes", age 10-18 years, implementation period - 2 years, social and pedagogical orientation, basic level.
2. "Integrated" theatre studio“Circle I” (basic level), teacher Popova N.T., age 10-18 years, implementation period - 2 years, social and pedagogical orientation;
3. “Integrated theater studio “Circle I” (advanced level), teacher Popova N.T., age 12-18 years, implementation period - 3 years, social and pedagogical orientation.
4. " Musical development"(classes in an integrated group), teacher Egorova V.A., age 8-18 years, implementation period - 3 years, social and pedagogical orientation, basic level.
Paid additional educational services
1. “Creative workshop” Theater projects“Circle I”, teacher Popova N.T.,
age from 18 years, implementation period - 1 year;
2. “Improvisation Workshop”, teacher Popova N.T., age from 18 years, implementation period -
1 year;
3. “We play and sing” (musical and rhythmic games for youth
With disabilities health), brief and full courses, teacher Egorova V.A., age from 18 years, implementation period - 1 year.
The groups of the Krug-I theater studio include children and youth (11-18 years old) with severe psychophysical development disorders (cerebral palsy, autism, schizophrenia, somatic, genetic diseases and others), as well as children from single-parent and large families, poor health, having psychotraumatic experience.
The purpose of the educational program: personal development in the process creative activity in a theater group; creating modern, beautiful performances; promoting the formation positive image person with disabilities in culture.
The activities of the integrated theater studio are aimed at solving rehabilitation, educational and aesthetic problems. It includes the following types of activities: 
Corrective and developmental exercises
Mastering the language of autocommunication
Stage movement
Scenic speech
Acting
"The ABCs of Improvisation"
Dance improvisation
Development of visual and other types of perception
Mastering the Basics dynamic composition in collective improvisation
Getting to know the history of the theater
Choir
Vocal trainings
Musical improvisation
Distinctive features of the program are: the presence of a correctional and formative aspect pedagogical activity-- focus on correction of the sensorimotor level as basic level development of higher mental functions; the use of musical and plastic improvisational language (the language of movement and sound of the body - “a language understandable to everyone”, its use as a means of creating stage image allows you to combine into theatrical action actors different levels psychophysical development - create conditions for their integration; activity-based approach to training, development, education: participants in a theater studio in the learning process find themselves involved in creative activities, allowing them, on the one hand, to act as a performer, and on the other, as an author-creator, which requires independence and internal freedom from them , originality of thinking.
The program allows you to unite actors of different levels of psychophysical development in a theatrical performance - (create conditions for their integration); the use of techniques from various cultural and historical forms (types and genres) of theater for the development theatrical activities students; the formation of a reflexive type of behavior in students, regardless of the level of their psychophysical development, while reflection is understood as an indicator of personality development, which is manifested in the ability to integrate life experience, to give a holistic and aesthetic response to life or stage event, as well as the ability to relate to it.
ITS "Krug-I" performs at theater venues in Moscow and other cities, and is a participant in various Russian and international festivals, including: International festival“Solar Wave” (Kyiv, 2003), International Festival “Untrodden Path” (Lublin, Poland, 2006, 2010); International Biennale theaters with the participation of people with disabilities (Lodz, Poland, 2008); Festival of Special Theaters "Capacitarte" (Almeria, Spain, 2008); The first Moscow festival of creativity for people with special needs mental development“Ariadne’s Thread” (Moscow, 2010); As part of the cross-year events “France - Russia 2010”, the play “The View” was presented in Paris on the stage of the Les Chapiteaux Turbulents theater.
Productions
“The Deer King” - a play based on the play by C. Gozzi, 1996
“Boat” - folklore performance, 1997
“Wandering Theater” - project, 2002-2003.
“Concert mosaic” - concert program, 2005
"Magical flute" - musical performance based on the opera by V.A. Mozart, 2001-2006 
"Performance in a museum space" -- a joint project from the State Tretyakov Gallery on Krymsky Val. The goal of the project is to make museum space accessible for children with disabilities. This educational project carried out in the form interactive excursions- performances, from 2007 to the present.
“Do flies have personality?” -- a performance-reflection, compiled from sketches and improvisations of participants in the theater studio, 2007-2009.
“Look” - musical and plastic performance, 2009-2012.
Currently, work is underway on the performances "Lessons foreign languages", "In the animal world", "Slash".
MUNICIPAL EDUCATIONAL INSTITUTION FOR ADDITIONAL CHILDREN'S EDUCATION
CHILDREN'S CREATIVITY CENTER "TORCH" IN THE WORKING VILLAGE OF KOLTSOVO
NOVOSIBIRSK REGION
PEDAGOGICAL PROJECT
« Integrative theater as a means of socialization and rehabilitation of children with special needs"
Aleftina Pavlovna Tikhonova
Koltsovo–2009
Project abstract
The project is being implemented by the Municipal Educational Establishment of Children's Educational Institutions CDT "Fakel" r. Koltsovo village as part of the work of the integrative theater for disabled children “Koltsobinchik”. Presenter idea project - to make the lives of disabled children not about survival, but about development. Purpose The same is the social adaptation of children with developmental disabilities through the means of integrative theatrical art, the formation of an adequate attitude in society towards people with developmental disabilities.
The idea of implementing this project arose due to the political and social situation that has developed in our society, therefore positive results the implementation of this project can have much greater benefits for society higher value than for disabled children themselves. The mission of disabled children on Earth is to make this world a kinder place, and through the implementation of this project the author makes his modest contribution to the great cause of humanizing society. The essence of this project is to prepare disabled children for life in society through their theater classes, introducing society to original art disabled people through the participation of the Koltsobinchik theater in concert programs and non-disabled festivals through co-productions. As a result of the implementation of this project, disabled children should not grow up to be “socially disabled,” and society should be ready to accept them.
Formulation of the problem
The problem of including people with developmental disabilities in the microsocial environment, as world experience shows, is universal. Social politics in Russia, aimed at disabled people, adults and children, is built today on the basis of the medical model of disability. Based on this model, disability is considered as an ailment, disease, pathology. This model, wittingly or unwittingly, weakens the social position of a child with a disability, weakens him social significance, separating him from the normal healthy children's community, aggravates his unequal social status, dooming them to admit their inequality and lack of competitiveness compared to other children. The consequence of the orientation of society and the State towards this model is the isolation of a child with disabilities from society in a specialized educational institution, the development of passive-dependent orientations. However, the problems of social adaptation and rehabilitation, due to their relevance, are widely and diversified, mainly by defectologists and social workers.
At all times and among all peoples, music, singing, dance, drawing, sculpture, theater and rituals, mysteries and much more have been used as a “means of healing” for various diseases and conditions. Modern psychologists and speech pathologists are increasingly using art therapy as a natural and gentle method of healing and developing the soul and body through artistic creativity. The author of the project’s many years of experience in working with disabled children has shown that one of the most effective ways social adaptation is integrative theater. Integration here means joint creativity disabled children and healthy children and adults. In addition, integrative theater turned out to be effective means rehabilitation, including medical. Howard Boutin, writer, physician, psychiatrist, international famous clown Buffo, one of the directors of the French integrative theater "Turbules" said: "The results are so amazing that after several years of classes for disabled children in such a theater, parents generally begin to doubt whether the diagnosis was made correctly, whether the child was sick."
Collaborative creativity gives a lot of benefits: healthy schoolchildren, and children with developmental disorders. Integration contributes to the formation in healthy children of tolerance to physical and mental disabilities, a sense of mutual assistance and a desire for cooperation. In children with special needs, joint creativity leads to the formation of a positive attitude towards their peers, adequate social behavior, more fully realizing the potential of development and learning.
In the fall of 2001 and 2004, the I and II All-Russian festivals of “Special” theaters of Russia were held in Moscow. (“Special” means with the participation of people with special needs). These festivals showed that the movement of “Special” theaters in our country mainly covers disabled children from boarding schools and specialized schools, and the so-called “home” “disorganized” disabled children are in social isolation, which is also a pressing problem.
The implementation of the project “Integrative Theater as a Means of Socialization and Rehabilitation of People with Developmental Disabilities” allows us to solve such problems. Relevance similar work(integrative theater organization) within the framework settlement was determined, on the one hand, by the need for it on the part of families with disabled children, and on the other hand, by the lack of specialized institutions on the territory of the village for working with disabled children. The project is focused mainly on working with disabled children who do not attend institutions general education, because children attending schools, as a rule, with with great difficulty master basic educational programs. All their efforts are mainly aimed at studying and treatment, and there is no time or energy left for additional education. For “disorganized” children creative work – the only way realize yourself.
As distinctive features The following aspects of this project can be noted:
· Inclusion of theatrical activities (from work experience) into the system of work with disabled children within the Novosibirsk region;
· The focus of the activities of the integrative theater is on working with the public;
· Uniting in a theater group disabled children with various diagnoses without age restrictions and healthy children and adults (relatives of disabled children, professional and amateur theater groups, dance groups, creative groups, Sunday school students, etc.);
· Adaptation of theatrical repertoire for productions by a group of disabled children, as well as author’s development of scripts and participation of students in the development of scripts;
In December 2007 - “Koltsobinchik” - winner in the category “ acting"at the XI Omsk festival of creativity of children with disabilities "Overcoming".
In May 2008 – finalist VII international theater festival“Untrodden path”, Lvov (Ukraine).
In August 2008, the Koltsobinchik Theater represented the Novosibirsk region at All-Russian festival“Together we can do more”, dedicated to the 20th anniversary of the All-Russian Society of Disabled People (Moscow).
In October 2008, the Koltsobinchik Theater was awarded a diploma “For the feat of service to the theater” of the experimental festival of mini and mono performances « Small Academy– 8" (Novosibirsk).
In November 2008 – laureate of the regional festival children's creativity“Creation of my soul and hands” and laureate of the 15th City Festival of Children’s Creativity “We are Talented” (Novosibirsk).
In December 2008 - “Koltsobinchik” - laureate of the 2nd degree in the category “ performing arts» XII Omsk festival of creativity of children with disabilities “Overcoming”.
In 2007, the director of the theater, Aleftina Pavlovna Tikhonova, was awarded a diploma of III degree VII All-Russian competition teachers of additional education for children “I give my heart to children.”
In 2007, disabled children - artists of the Koltsobinchik Theater Alexey Skvortsov, Mikhail Semenov, Olga Kiryanova, were awarded personalized prizes science city Koltsovo for achievements in the field of culture, Sasha Lityagin was awarded a governor's scholarship to disabled children gifted in the field of culture and art, and Dima Tutov was awarded a scholarship from the Our Day charitable public foundation. In 2008, Dima Tutov was awarded the governor's scholarship for gifted disabled children.
On average, the Koltsobinchik Theater performs 15 to 20 times during the year.
