Organization of theatrical activities in kindergarten. Features of organizing theatrical activities with preschool children

Consultation for educators

“Organization and methodology for conducting theatrical activities in kindergarten”

Prepared material

Musical director

MBDOU No. 57 “Thumbelina”

Beregvina Larisa Nikolaevna

Target: To introduce and develop the artistry, creativity, and activity of children, help teachers use various forms of organizing theatrical activities, methods and techniques.

Plan:

1.Opening remarks

3.Methodology of working with children of primary preschool age

4. Methods of working with children of middle preschool age

5.Methodology of working with children of senior preschool age

6.Methodology of working with children of preparatory age

7. Literature used.

The most favorite form of entertainment is theatrical performance. It takes the baby into the colorful, magical world of a fairy tale, where the real and the fictional are harmoniously combined. Children believe the characters and love to imitate the characters they liked the most.

Theatrical art has a huge impact on the emotional world of a child, develops his memory, attention, improves speech and plastic movements, and promotes the development of creative abilities.

Theatrical activities allow you to develop the experience of social behavior skills due to the fact that every literary work or fairy tale for preschool children has a moral orientation (friendship, kindness, honesty, courage, etc.) thanks to the fairy tale, the child learns about the world not only with his mind, but also with his heart . And he not only learns, but also expresses his own attitude towards good and evil.

Theatrical activities allow the child to solve many problematic situations indirectly on behalf of a character. This helps overcome timidity, self-doubt, and shyness.

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;
By participating in it, children develop mentally: think, analyze, draw conclusions and generalizations;
By participating in it, children’s vocabulary is activated, the sound culture of speech and its intonation structure are improved, dialogical speech and its grammatical structure are improved.

Thus, theatrical activities help to develop the child comprehensively.

Remember:

Our motto is “Long live joint creativity!” It is this that is the ideal, if not the main means of child development.

As a basis, you can take a dramatization game based on an author’s, folk tale or a fictional plot. It is this form that will allow every child to open up creatively. Some of the children will show themselves in a big role, and some in a very tiny one. Timid and shy children can say their words in chorus (2 or 3 people together). Adults – teachers, assistant teachers and parents – also participate with the children.
The most important thing is that preparation for the performance does not kill children’s originality, so that participation in the performance brings joy to every child. We must remember that the purpose of organizing a theater is to create a natural environment for the development of fantasy and imagination in children, and the development of speech and behavioral skills.

At each age stage, approaches to working with children should be different:

In the second junior group:

– imitation of the characteristic movements of fairy-tale characters, where the leading roles are played by adults, and toys are played out.

In the middle group:

– participation of children in dramatizations of songs, games and fairy tales where they learn the elements of artistic and figurative means of expression (intonation, facial expressions and pantomime).

In older preschool age:

At an older age, we improve our artistic and figurative performing skills.

In preparatory preschool age:

– dramatizations based on works of art in which children play roles;

Performances based on content invented by the children themselves;

Performances using dolls and flat figures.

We develop creative independence in conveying an image, expressiveness of speech and pantomime actions.

Methods of working with children of the second younger group.

Imitation movements(fairy-tale animals) can be taught in physical education and music classes, and in free activities. For example, after reading the fairy tale “The Fox, the Hare and the Rooster,” you can ask the children to show the image of a brave rooster in motion. You can listen to the Russian folk melody “The Hen and the Cockerel” and ask whether the music suits the image of the brave cockerel from the fairy tale. After this, you can invite the children to ask riddles to each other, imitating the movements of various animals. Moreover, when watching the performers with children, it is necessary to teach them to notice differences in the character of one image (“What is the difference between the fox Tanya and the fox Sveta?”, etc.).

Methods of working with children of middle preschool age.

When teaching children the means of speech expression, it is necessary to usefamiliar and favorite fairy tales,which concentrate the entire range of Russian expressive means and provide the child with the opportunity to naturally become acquainted with the rich linguistic culture of the Russian people. In addition, it is the acting out of fairy tales that makes it possible to teach children to use a variety of means in their combination (speech, chanting, facial expressions, pantomime, movements).

Stage 1

The teacher briefly but quite convincingly gives an artistic description of the place where the dramatization takes place (house, forest, road, etc.), reads an expressively poetic text, involving children in reciting individual lines that they remember.
Analysis of the events described in the fairy tale. It forms in children an interest in them, a belief in the reality of what is happening and a desire to participate in it by taking on a certain role.

Stage 2

Role distributions:

At first, fragments from fairy tales can be used as exercises.
For example, children are invited to ask to go to the tower, like a frog or a bear (the fairy tale “Teremok”), after which the teacher asks which of them was more similar in voice and manners to these characters.

Another time, you can complicate the task by inviting one child (optional) to act out a dialogue between two characters, pronouncing words and acting for each, etc.

After assigning roles and accepting roles, the teacher encourages children to fantasize about the appearance of the characters, their behavior, attitude towards other characters, etc. lead to the fact that each image should be unique.

Methods of working with children of senior preschool age.

Older children are quite ready for volitional regulation of their behavior, therefore work on theatrical activities is built in two stages:

Stage 1

The teacher interests the children in the content of the work that will be used for staging, performs it expressively or invites the children to compose a performance for their own performance;

He is interested in whether the children liked the work or not, and offers to role-play it;

Stage 2

Distribution of roles, preparation and conduct of the performance itself, and performance on stage.

Work on the role is structured as with children of middle preschool age:

The teacher briefly but quite convincingly gives an artistic description of the place where the dramatization takes place, expressively reads the text of the work, attracting children to pronounce the lines that they remember;
Analyzes the events described in the work. Forms children's interest in them, belief in the reality of what is happening and the desire to participate in this, taking on a certain role;
After distributing and accepting roles, the teacher encourages children to fantasize about the appearance of the characters, their behavior, attitude towards other characters, etc. the discussion ends with an expressive reading of the dramatization by the teacher with the participation of children;
The teacher leads the children to the fact that each image in which they have to act must be unique (“What kind of puppy is yours - cheerful or sad, what does he look like? How can you show the audience that he is in a good or bad mood?” and etc.)

Working on sketches:

First, with the help of leading questions, the teacher leads the children to understand that for a cape or costume, the child himself chooses the appropriate colors, corresponding to his point of view, his character. At the same time, it is very important to avoid color patterns (for example, an evil hero has black colors, a good hero has light colors).
Then we move from the visual image to movements (“How does your hero or doll move?”). The teacher asks each child what the character of his hero is. How can you convey this through movements (for example, brave and decisive hares move quickly and confidently with their faces raised high. Their shoulders are straightened, their paws are tucked into their pockets, etc.).
From characterizing the movements, the teacher moves on to characterizing the speech of the characters. Work can also be carried out in subgroups. First, the teacher, depending on the image, suggests choosing the appropriate intonation, as well as when developing movements, leads to generalized ideas about the nature of the speech of the image as a whole. So, for example, if hares are brave and decisive, then they will probably speak loudly, accompanying their speech with paw gestures, etc.
The participation of parents in this process of the child’s activity is desirable. Parents should know that at this age their children’s advice and recommendations are very important. Thanks to attractive theatrical activities, mutual understanding will arise between children and parents and will last for many years. They must discuss the upcoming performance with their child, improve movements, practice intonation, and finalize the costume.

Methods of working with children of preparatory preschool age.

Work with children of preparatory preschool age is carried out in two interrelated areas:

The first involves work on developing children’s attention, imagination, movements, relieving their stage anxiety, etc.;

The second direction is entirely devoted to working on the role and includes analysis of a work of art, staging, work on the text, discussion of the characteristics of the characters, selection of means of stage expression, development of mise-en-scène, etc.

The main approach to the development of children in theatrical activities is based on the child’s leading activity – play. Therefore, when working with children, on the one hand, it is important to preserve the richness of their imagination, liveliness and spontaneity of conveying various emotional states for the stage. On the other hand, it is necessary to equip children with basic acting techniques.

Exercises

It is advisable for the little hero to work on himself in the form of special exercises (simulating certain actions), which, after learning, can be introduced into the daily life of children in the form of a game.

Exercises for muscle tension:

Chopping wood;

Carry heavy boxes or suitcases;

Reach a high hanging apple tree, etc.

Muscle relaxation exercises:

- fall asleep on a chair;

- sitting on a chair, wipe droplets of water, etc. from your hands.

Exercises to develop imagination:

Pass the rope to each other, saying the word “snake”;

Pass an empty box to each other and take turns taking out something imaginary and playing with it;

In the form of a game “damaged phone”, convey emotions - anger, joy, sadness, etc.

Work on the role is structured as follows:

Introduction to the dramatization (what is it about; what are the main events in it);
Getting to know the characters of the dramatization (where they live; what their house looks like; what are their appearance, clothes, behavior, relationships with each other, etc.),
Distribution of roles
Direct work on the role:

Drawing up a verbal portrait of the hero;

Fantasizing about his home, relationships with parents, friends, inventing his favorite dishes, etc.

Composing various incidents from the hero’s life that were not included in the dramatization;

Analysis of the hero’s fictitious actions;

Work on the text (why the hero speaks this way; what he is talking about and thinking at this moment). The teacher must help the child understand and feel everything that is hidden behind the words of the text;

Work on stage expressiveness: determining the appropriate actions, movements, gestures of the character in the playing space, his position on the stage, the tempo of performance, facial expressions, intonation;

Preparation of theatrical costume;

Creating an image using makeup.

By working on facial expression, comprehending body language and movements, children gradually master the means of expression that will help them achieve success and feel confident in themselves and their capabilities.

Puppet show.

Work on the performance consists of two parts:

Preparation of dolls, screens and decorations;
Performers learning the play and rehearsing.

The teacher needs to take into account the individual capabilities of each child and his interests. When talking about a play or a fairy tale, an adult involves all the children in the conversation, even those who are little talkative. First, the teacher invites the children to remember how they talked to their dolls when they played school, kindergarten, family, hospital. Then move on from analyzing life situations to learning how to work with dolls.

The teacher must remember the following rules:

When assigning roles, pay attention to the voices of the performers who should fit the role;
The same adult performer can play one or two roles, and a child only one;
The first two or three rehearsals are held with children without dolls, the play is simply read by role;
The play must be rehearsed in separate scenes, even in separate episodes or parts of the play; it should be remembered that the doll must live on stage;
In order to help children understand which doll is speaking at a given moment, the teacher explains to them that each doll “speaks”; it moves slightly, accompanying the words with hand gestures, tilting the head, even the entire body.

References:

1. “We play the theater” for children 4-6 years old T. N. Doronova. Moscow “Enlightenment” 2004;

2. “Theater for kids” Genov G.V., Moscow, 1968;

3. “Theatrical games in kindergarten.” T.I.Petrova, E.L.Sergeeva. Moscow, 2000;

4. Artemova L.V. Theatrical games for preschoolers. - M., 1990

Yurina.N.N. Theatrical activities in kindergarten // Aesthetic education and development of preschool children / Ed. E.A. Dubrovskaya, S.A. Kozlova. – M., 2002.- P.60-89.

Our life is essentially a puppet

performance. You just need to hold the threads

in your hands, do not tangle them, move them

them of their own free will and by themselves

decide when to walk and when to stand, don't let

pull them for others.

Hong Zichn.

Aphorisms of old China.

Methodological development includes:

Mastering basic theatrical actions (Acting).
Stage speech (mastering elementary means of image expressiveness: speech, plasticity, facial expressions).
Acquaintance with various theatrical puppets (tabletop, finger, jumpers, etc.), mastering basic actions with them.
Making puppet theater attributes and actors, mastering the actions of puppeteering.
Cognitive development (development of attention, memory, speech).
Social-emotional development, development of personal qualities and communication skills.
Development of children's creative abilities (development of imagination and fantasy).

Relevance

Puppet theater - how many memories come to mind at once, when parents took puppets to the theater for the first time, how captivated by the magical world of fairy tales, the movement of puppets on the screen. Coming home, I wanted to invent my own theater, realizing my dreams and fantasies, because a fairy tale teaches the necessary life skills and communication with oneself, with family and the outside world.

The proposed project will teach children and teachers how to set up their own fairy-tale theater at home, and open the door to the world of puppets and puppet theater characters. Participation in our project will shape interests and attitudes towards the environment, introduce the child to the world of beauty, awaken the ability to empathize and compassion, and help with socio-psychological adaptation. Handmade toys can come to life in the hands of a child and an adult. Positive emotions, interest, and the child’s involvement in the fairy-tale world activate thinking and cognitive interest, stimulate active attention, speech development, and reveal his creative potential. By the end of the year, having gained some experience, children will be able to take part in a puppet show or theatrical staging of a fairy tale or skit.

“It is necessary to expand the child’s experience if we want to create sufficiently strong foundations for his creative activity.” (V. Vysotsky.)

Introduction

The importance of puppet theater and theatrical activities is enormous for the comprehensive development of a child’s personality, and a doll is a necessary link connecting play with creativity.

Theatrical activity develops the child’s personality, instills a sustainable interest in literature and theater, improves the skill of translating certain experiences into play, and encourages the creation of new images. (N.F. Sorokina). Theatrical activities can be considered as a simulation of people's life experiences, as a powerful Game training that develops its participants holistically: emotionally, intellectually, spiritually and physically. (A.I. Burenina.)

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

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

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

The theatrical - playful style of pedagogical activity is a style of interaction between the teacher and children, which not only makes the work itself easier for preschoolers, but allows them, having become interested, to voluntarily get involved in it.

Theatrical play brings great joy and surprise to the child. It contains the origins of creativity: children accept the guidance of an adult without noticing it. Being a syncretic activity, it most fully embraces the child’s personality and meets the specifics of the development of his mental processes: integrity and simultaneity of perception, figurative and logical thinking, motor activity, etc. (L.V. Artemova, L.S. Vygotsky, N.F. Sorokina, L.G. Milanovich, D.B. Elkonin, etc.).

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

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

development of communicative culture, social behavior and communication skills;
development of the emotional sphere (the ability to feel, understand, empathize);
acquaintance with various theatrical puppets and their substitutes (attributes);
formation of puppeteering skills and culture of behavior on stage, expressiveness of movements, facial expressions, plasticity;
development of cognitive interest and skills (attention, memory, thinking, motor skills and speech);
development of imagination, fantasy, creative abilities;
development of children's personal qualities that contribute to psychological adaptation.

The program of play classes in the theater group consists of 107 lessons and is designed for three years of study: junior group "Dwarves" (children aged 3 to 4, 5 years), middle group "Wizards" (from 4 to 5.5 years), senior group "Storytellers" (from 5 to 6.5 years); 39 lessons per year. The lesson is held once a week, lasting from 15 to 45 minutes, depending on the age and individual characteristics of the children.

The implementation of our theater and play program is based on an individual approach, respect for the child’s personality, and faith in his abilities and capabilities. The process of theater classes is based on developmental techniques and is a system of creative games and exercises. Since play for a child is a way of existence, a way of knowing and mastering the world around him, then theatrical play is a step towards art, the beginning of the creative development of the individual. Classes are conducted in an entertaining, interesting way for children, based, if possible, on a plot structure; to help children and the teacher, there is a common doll “Little Dwarf” (a doll for the teacher), which introduces children to the world of theater and fairy tales, helps in making theater characters, and gives tasks , fabulous situations, helps and supports everyone.

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

Techniques for making artist dolls : origami, applique, using natural materials, from fabric, dough, papier-mâché technique, socks, gloves, mittens, from boxes (cones, cylinders), air dolls (balloons), dolls from scrap material (threads, elastic bands, braid, etc.).

Playing with a manufactured artist doll helps solve the following problems (A. Yu. Tatarintseva, I. Ya. Shishova, I. Ya. Medvedeva):

improving fine motor skills and coordination of movements;
increasing responsibility for the result of managing the doll;
development of ways of expressing emotions, feelings, states, movements through a doll;
awareness of cause-and-effect relationships between one’s actions and changes in the state of the dolls;
formation of adequate ways of expressing various emotions, feelings, states;
development of voluntary attention;
formation of communication skills and abilities, communication culture.

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

The following equipment and types of dolls are used in the classes:

Table and floor screens;

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

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

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

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

Dolls are amulets;

Toy characters (rubber and soft jumping toys);

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

Structure of game communication:

Greeting, game exercise to develop communication and social skills. interaction

We'll all gather in a circle,

We will smile at each other

And let's turn to each other,

Let's say hello like this... (nose, palm, etc.).

Showing a fairy tale, staging a poem, nursery rhymes.

Speech exercises (art gymnastics, tongue twisters, exercises for developing intonation expression, breathing exercises, etc.).

Theatrical game.

Creative games and exercises.

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

The game is a performance by a doll artist.

Motor game for communicative interaction and correction.

End of class ritual.

Age characteristics and capabilities of children

In early preschool age Children can already be more independent in dramatizing small poems and songs. At 3-4 years of age, the child’s development is characterized by developed coherent speech, his movements are more varied and expressive, but actions are often involuntary and spontaneous. The child willingly imitates his elders, and will be able to play a role that boils down to performing expressive movements, including individual words and onomatopoeia, or one or two short remarks.

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

In older preschool age children strive for independence of judgment, evaluation, and creative activity, while maintaining a desire to copy and imitate. Games with elements of fantasy appear: children not only generalize play actions in words, but also transfer them to the internal imaginary plane.

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

Variety in theatrical games (role-playing dramatization, table theater, puppet theater on a screen); the use of theatrical puppets, homemade toys, attributes, costume elements, and scenery when preparing a performance. Improving children’s artistic and figurative performing skills, intonation expressiveness and emotional state corresponding to the image (sad, cheerful, etc.), the emergence of a desire in children to show play-game to the spectators.

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

Little storytellers

Acquaintance with the world of theater, arousing interest in upcoming activities, creating a warm, friendly atmosphere of interaction between the teacher and children. Showing puppet shows, staging children's poems, nursery rhymes, etc., where the teacher is an artist and the children are spectators. Formation of rules of conduct in classes and in the theater (listen carefully to the artists, show interest, mutual assistance, if you want to say or ask something, wave a ribbon or ring a bell), introduce rituals for the beginning and end of classes (the first bell - the child calls, the second the bell rings, the kids are waiting, and the third bell starts a fairy tale); formation of the position of an active spectator (clapping at the beginning and end of the lesson, as praise to yourself both as artists and as spectators). Familiarization with theater equipment: screen, bell, stage. Mastering basic theatrical actions and puppeteering: going on stage, performing, bowing. Conducting games and exercises aimed at developing coordination, dexterity and accuracy of hand movements and to unlock the creative potential of children.

"Gnomes" leading children to understand theatrical play as a performance for the audience; acquaintance with theatrical puppets and their substitutes.

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

"Storytellers" During this period, tasks are added to self-discovery, introducing yourself and your favorite toy, fairy tale, book, cartoon character, and developing the ability to improvise. Development of expressiveness of speech, facial expressions and plasticity. Development of a conscious attitude towards playing a role in a puppet show. Expanding the vocabulary and concepts of theater, becoming familiar with theatrical terminology, the meaning of some theatrical concepts. Foster a spectator culture.

World of emotions

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

"Gnomes" familiarity with the emotions of sadness and joy. The ability to name and recognize their causes, understand their changes. "Fear", the possibility of overcoming it by fairy-tale characters. Introduce the names of basic emotions: joy, surprise, fear, anger, grief, interest. Recognizing good and bad moods using feelings.

"Wizards" not only introduce you to the basic emotional states, but also realize, experience for yourself through the organization of the same situation, compare with your mood at the moment, with the opposite state of emotions overcome by the heroes of fairy tales. Distinguish emotions according to pictograms, convey a given emotional state using toys, pantomime, and intonation.

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

Basics of magic

This section of the program is aimed at developing play behavior, artistic and aesthetic sense, the ability to be creative in any task, and developing communication skills with peers and adults in various situations. Arranging a “theater of all possible things” (Ya. A. Komensky) in any situation. Develop the ability to see the unusual in seemingly ordinary objects. (A.I. Burenina.) Inventing, speculating, changing the end of a fairy tale, completing images, etc., everything that contributes to the development of creative imagination and fantasy (the work experience of J. Rodari, A. Rogovin, M. Stul and other authors). Playing a variety of creative tasks that develop attention, creative imagination, speech, and expressiveness of movements. Creation of game fairy-tale situations that require independent solutions. To reveal to the child his own capabilities and abilities, to help him see and hear all the variety of colors and sounds that surround us. Transforming objects such as furniture, dishes, pebbles and leaves into any fairy-tale elements. Imagine that you are wearing an invisible hat, or that you have a magic wand in your hands. Activate cognitive interest, conduct travel games.

"Gnomes" creating interest and passion for theatrical play, improvised performances with jumping dolls; acting out poems that correspond to the age capabilities of children. “Magic wand” or “Magic lantern” (from the good Fairy, in a “mysterious package”, with their help reviving toys, objects, various transformations; “Magic book”, meeting with fairy-tale characters.

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

"Storytellers" development of children's creative abilities (creativity, cognitive activity, responsibility). Develop the ability to convey the character and mood of musical works in free playful improvisations. Games for improvising dialogues of fairy-tale characters using game cards based on fairy tales. Games with household items (napkins, pencils, leaves, paper, etc.), figure out what it looks like, how it can be used, act out a dialogue between objects. The creation of the “Theater of Everything” (A.I. Burenina), each object with its inherent character and behavior “plays” in a small scene that everyone came up with together. Traveling on a “carpet plane”, “hot air balloon”, “time machine” through fairy tales, parts of the world, and different eras. For children entering school, it is possible to travel on a magic ship to the land of knowledge with Captain Vrungel. Along the way, visit the islands of Toys, Fairy Tales, Laughter, Bad Luck, etc.

Family world

Reveal for the child the world of interaction between mother and child: sayings, pestle, affectionate addresses, lullabies, etc. Exercises aimed at gaining experience in the skills of expressive speech and expressive movements. Implementation of experience in theatrical activities. Using dramatization, creating a communication situation in the family, plot-role interaction. Develop social behavior and proper communication skills in children. Show the caring attitude of parents towards their children. Create a positive emotional mood.

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

"Wizards" children’s understanding of their role in the family, to express attention and sympathy for mother’s care for all family members. The ability to maintain good relationships with family, show mutual assistance and attention. Correctly accept your role in the family.

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

In the world of people

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

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

"Wizards" to form ways to solve problem situations among the characters of the dramatization, to promote the mastery of communication skills. Familiarity with the rules of etiquette, providing mutual assistance to each other in games and joint activities, which behavioral features help when communicating with others, and which hinder.

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

Natural world

Tell and show children the world of living nature, pay attention to the phenomena of inanimate nature, the interaction of living beings. How many new sensations and knowledge the singing of birds, the smell of a flower, and floating clouds can give. An idea of life in the natural world. Along with knowledge of the surrounding world, a culture of attitude towards nature is formed. The idea that we are all, each of us a piece of the Universe, living on planet Earth. This is our common home. Using the example of works of art, reveal the relationships in nature. Formation of a culture of behavior in nature, so as not to harm yourself and your friend, the world around you. Give free rein to the development of the child’s imagination during our stories about nature, including the cognitive aspect. Through characters depicting living beings (soft toys - bunnies, dogs, etc.), you can develop a sympathetic attitude towards them, as if they were really alive. This attitude creates feelings of care, compassion, pity, desire to help, etc. Toys that reflect various man-made objects of labor and everyday life (cubes, dishes, cars, furniture), handmade toys help to develop neatness in a child - the basis of careful behavior. relationship with them, involve them in caring for toys. This is the basis of humane behavior and kind deeds towards people and living things. The main content of the work on developing in children a caring and kind attitude towards the man-made world also includes solving, together with children, small “problems” that arise with toys (settlement, arrangement, joyful events and sorrows, etc.), making gifts and surprises from scrap materials.

"Gnomes" activate cognitive interest. Developing the ability to depict natural phenomena using various means of expression: to walk like a clumsy bear, like a sly fox, etc. Imagine yourself as a small cloud, or using a mitten “fish” doll, swim in the sea ocean, find yourself a home, food, etc. Formation of a caring and educational attitude towards the surrounding reality, laying the foundations for a careful attitude towards your crafts and friends. Acquaintance with folk ways of describing and depicting the world around us, spiritually enriching the world of children.

"Wizards" We develop the ability to imitate characteristic movements in posture, emotional expression, reactions of animals, and relate them to human behavior. To instill in children a sympathetic attitude, to help any characters in the surrounding world, for example, a blueberry bush, or a small bug, Ant, to help a little hare take a house from a fox, etc. To develop an unquenchable cognitive interest in natural phenomena, a box of secrets (sticks, leaves, twigs, etc.) etc.).

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

World of Theater (self-presentation)

The opportunity for children to show the experience of theatrical activities gained over the year. Preparing a performance in front of peers and parents, this includes sewing costumes together with an adult, making attributes, etc. Involving children in the process of improvisation, presenting themselves on stage, creative self-expression. Involving children in the composing process, imagining themselves in the chosen role, stimulates creative activity. Support of adequate self-esteem, faith in the child’s abilities and capabilities, development of his creative activity.

"Gnomes" improvised actions of children on stage, either by yourself or with the help of a toy. Dramatization of previously learned scenes on stage. Help children find an expressive gesture, pose, facial expression. Acting out dialogues, combining them into a single action. The very presentation of oneself on stage, the selection of the necessary attributes.

"Wizards" arouse interest in the staging, awaken the motive for developing creative activity. Continue to instill in children confidence in themselves and their capabilities, and develop creativity. Independent performance of roles in dramatization games. Theatrical performance for children, manifestation of creativity and independence. Organizing rehearsals through fun creative games, where the child is given the opportunity to try himself in different roles. Collaboration on the creation of theater posters, tickets and programs, theater attributes. Individual performances by children on stage for each other. Preparation and performance of the performance (optional).

"Storytellers"

Development of creativity and independence in children. Organizing and conducting rehearsals through fun theatrical games, where the child is given the opportunity to try himself in any role. Collaboration on the creation of theater posters, tickets, programs, and theatrical attributes. Individual performances by children on stage in front of each other. Preparing for a performance of your choice.

Long-term work plan

(repertoire and lesson content)

"Gnomes" ( younger age)

1st quarter

(September October November)

Tabletop theater (toy theater)

Show performance based on fairy tales. Improvisation shows. Improvisation games with dolls. Exercises “Naughty Toys”, “Doll, Doll Walk”, improvisation game “Fairy Tales on the Floor” (9). Sketches with tabletop dolls (10, p.16). An exercise in puppeteering, performing simple movements “back and forth”, “turn around”, bow”, etc., an exercise in creating a game image.

Finger Theater

Showing fairy tales, encouraging children to pronounce the simplest words and phrases. Exercises for the theater of stompers (4, p. 77). Exercise “Ay-yay-yay”, “Come here”, “Grandma has arrived” (9, p. 25). Development of manual skill and dexterity, the ability to play with fingers during the performance “Finger’s Birthday”, “Hello, doll, how are you”, etc.

Introduction to small forms of folklore, development of hand movements: “Ladushki” (14, p. 18).

Plane theater

Game "Who's after whom" (sequence of characters' appearance, tests of self-presentation of a fairy tale). Exercise on the fairy tale "Kolobok", "Teremok", "Ladder" (6, p. 11).

Social development

The game “Who is good with us”, “Guess who I’ll tell you about”, “Find your palm”, etc.

Games for cognitive development “Magic bag”, “Which toy is gone”, “Write a fairy tale about toys”.

Sketches for the expressiveness of gestures, for the expression of basic emotional states. (10, p. 22.)

Jumping dolls

Exercise “Bouncing ball” (9, p. 30), “Take a walk with my toy.” Impromptu performances on stage accompanied by music. Imitating the gaits and habits of animals, developing a caring attitude towards the toy as a partner.

Consolidation of acquired skills and abilities, exit and impromptu performance of the toy on the “Puppet Concert” stage (9).

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

2nd quarter

(December January February)

Stock dolls

Mastering the gait of dolls, playing children's nursery rhymes. “Cat”, “Mice dance in circles” (10, p. 14).

Performance "Cockerel". Scenes "Mouse", "Sonya the Cockerel" (9). Exercise “Sticks”, “Legs” for the development of manual skill and mobility of the hand. Imitating the gaits and mannerisms of animals.

Masque

Introduction to the national holiday Maslenitsa. Selecting and making a mask, acting out a fairy tale (teacher as a storyteller), developing creative imagination. Impromptu actions of children on stage.

Spoon dolls

Acting out a fairy tale (at the choice of teachers and the age capabilities of the children). Impromptu dialogues and monologues with dolls, Dramatization of poems and fairy tales familiar to children. Learning new poems in order to teach expressiveness of intonation. (2, p. 47.)

Dramatization of previously learned scenes on stage. Listening to and guessing theatrical noises (development of attention, creative imagination). Depict with movements and facial expressions who you heard. Improvisation with objects (ribbons, scarves, etc.) to the music “Living Shreds” (2, p. 8). Demonstration and story by the teacher “Magic in a fairy tale” (a set of objects: a wand, a hat, a shoe; in which fairy tale does it appear, what do the heroes of fairy tales need, etc.).

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

Glove and mitten dolls

Staging of children's nursery rhymes “My Family”, “Shadow-Shadow-Shadow”, “The White-sided Magpie”, etc. We develop an interest in playing with fingers, the ability to bring your palm to life. Exercises to develop hand mobility "Fishes", playing with "Talkers" dolls. Games with beads, laying out with a string.

Round dance and outdoor games “Zainka”, “Shadow-shadow”, “We’ll build a big house”, “Oh, what kind of people are coming after the frost”, etc.

Exercise to develop imagination “Let’s compose a fairy tale” (10, p. 19).

3rd quarter

(March April May)

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

Theatrical game "Journey to the Spring Forest" (10, p. 34); “Visiting the forest animals”, etc.

Game "We met", "Let's change." Games to develop orientation in space and on stage: “Hide and Seek”, “Find the Same One”, “Put the Toy in Its Place”.

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

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

"Wizards" ( average age)

1st quarter

(September October November)

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

Consolidating ways to control tabletop dolls.

Mitten and glove dolls

Familiarity with the theatrical screen, the ability to show a puppet on a screen, consolidation of puppeteering skills on a screen. Exercise “Talkers”, “Fish swim in the pond”, “Unusual gloves”.

Jumping dolls

Showing puppet skits using previously acquired skills. Development of spatial orientation on stage, the ability to move without bumping into each other, the ability to wait for one’s exit. Exercises “Walk, dance”, “Let’s change”, “Jumping”, “Narrow path”, etc.

Stock dolls

Self-presentation using previously acquired skills “Puppet Concert” (9, p. 23).

Acting out simple dialogues, expressiveness of speech, intonation. The ability to move a doll across a screen without showing your hand, the ability to move several children on a screen at the same time. Pronunciation, performance of characteristic movements, onomatopoeia, inclusion of creative imagination.

Hanging dolls

(Jellyfish, crabs, octopuses.)

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

Playing sketches to demonstrate basic emotional states.

2nd quarter

(December January February)

Improvisation of dialogues and monologues, skits or small fairy tales that correspond to the age capabilities of children. Formation of puppeteering skills on a large screen.

Spoon Theater

Teaching children how to drive dolls on a screen, we “animate” spoons with movements, sometimes smoothly, like a grandmother walks, sometimes quickly, like a granddaughter runs. Exercises to help you practice movements on a screen. “The mouse saw the cheese, sniffed it, was surprised, ran away, etc.”, “Looking at and bringing to life any object” (10, p. 43).

Masque

Playing out emotional states, conveying them through facial expressions. The game “Recognize the emotion”, “Pass the anger”, “Give goodness”, etc. Etude training for the development of mental processes (10, p. 45).

Development of attention and memory “Let's dance”, “Test yourself”, “Who came”.

Finger Theater

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

Dialogues on comparison of different emotions and emotional states. A dramatization of familiar poems about family.

Visiting Petrushka

Concert improvisation. Exercises to develop imagination “Magic carpet” (10, p. 47), “Walk in the forest.” Moving and round dancing games “House”, “Loaf”, “Centipedes”, etc. Games with beads and objects for laying out and developing creativity. Improvisation games with attributes accompanied by musical accompaniment. We develop ways and skills for actors to communicate with each other behind a screen, without the help of a teacher, and the ability to show themselves.

3rd quarter

(March April May)

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

Games to develop the ability to depict the movements of dolls and the habits of animals. Exercises to develop imagination “Listen to sounds”, “We are sad”, “Hold the atmosphere” (10, p. 122).

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

"Storytellers" ( older age )

1st quarter

(September October November)

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

Finger puppets

Performing finger games and exercises, poems, nursery rhymes. Dramatization of short fairy tales, dialogues and monologues. Coming up with your own skits when solving problematic situations by artists.

Mitten dolls

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

Stock dolls

Introduce new dolls. Exercises “Snitch”, “Worms on the screen”. Acting out simple dialogues and fairy tales, dramatizing and learning new poems. Exercises to develop facial expressions “My mood”, “Let’s laugh”, games with a set of dolls “The ABC of mood” (A. Tatarintseva).

Tactile games “Giving Good”, “Good Train”.

Exercises to develop memory and attention “Come up with a fairy tale”, “Remember the pose”, etc. (10, p. 93).

Make and compose, development of thinking. Sketches for the expression of basic emotions, harmonization of emotional states “Magic colors” (E. Belinskaya, p. 37).

2nd quarter

(December January February)

“Puppet Concert”, using previously acquired skills and knowledge Exercises to develop attention and memory “Let’s not get bored”, “Zoo”, “Be attentive”, etc.

Glove puppets

Introducing children to new dolls. Games "Unusual creatures", "Clouds and a bird" (9). Scene "Unusual Planet". Exercise to develop creative imagination (10, p. 91), “Bring objects to life”, “Dreamers”, “Write a fairy tale”.

Puppets and half-marionettes

(Belinskaya E., p. 57)

Exercises “Bring the doll to life”, “Walk with my toy”, “Let’s get acquainted”.

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

Shadow play

Exercise "Live Pictures", "Dancing Shadows", "Stars" (M. Rodina). Exercises to improvise movements on stage to the music “I am in character”; on the development of thinking "Film film"; "Our orchestra" (10, p. 123).

Speech and motor games (tongue twisters). Musical and rhythmic exercises with attributes. Plasticine country. (Belinskaya E.). Acquaintance with living hand dolls.

3rd quarter

(March April May)

Role-playing and theatrical games "Costume designer-make-up artist-actor". Exercise “I am in character” (monologues, poems for future production).

Independent dramatization of poems, skits, inventing continuations of fairy tales, situations of communication between characters. “What would have happened if the bun had not met the fox”, or “How to help the beavers build a dam”, “Meeting the hare and the fox”, etc. Finding new non-standard solutions. Practicing movements, intonation expressiveness of speech, reproduction of individual character traits. (10, p. 93).

Acting out dialogues and skits for a future production. Active participation in theatrical performances for adults, performing several roles, ranging from natural objects to fairy tale characters.

Bibliography:

Artemova L.V. Theatrical games for preschoolers: A book for kindergarten teachers. - M.: Education, 1991.
Burenina A.I. From game to performance.: Educational manual.: St. Petersburg, 1995.
"Let's get to know each other!" Training development and correction of the emotional world of preschoolers 4-6 years old: A manual for educators. Author-compiler I. A. Pazukhina. - St. Petersburg. Childhood-Press, 2008.
Home theater. Series "Through play - to perfection." - M.: "List", 2000.
Zinkevich T. D., Mikhailov A. M. Theory and practice of Fairytale Therapy (experience of psychodiagnostics and psychocorrection). Publishing house "Smart", St. Petersburg, 1996.
Karamanenko T. N., Karamanenko Yu. G. Puppet theater - for preschoolers. - M., Education, 1998 (methods of making dolls).
Orlova F. M., Sokovnina E. N. We are having fun. -M., Education, 1973 (methods of making a shadow theater).
Development of the emotional sphere of a preschooler. Educational and methodological manual / ed. Agafonova I.N./SPb.: APPO, 2006.
Rodina M.I., Burenina A.I. Kuklyandiya: Educational and methodological manual on theatre. activities. -SPb.: Publishing house "Musical palette", 2008.
Sorokina N. F. Playing puppet theater: A manual for educators and additional teachers. education and music directors for children. gardens.-M.: ARKTI, 2001.
Samukina N.V. Games at school and at home: psychotechnical exercises and correctional programs. - M., 1995.
Sokolova S.V. Origami for the little ones.: A manual for educators. - St. Petersburg: Childhood - Press, 2008.
Tatarintseva A. Yu. Puppet therapy in the work of a psychologist and speech therapist. - St. Petersburg: Rech, 2007.
Fedorova G.P. They sat on the golden porch. Games, activities, ditties, songs, nursery rhymes for pre-school children. age. -SPb."Childhood-Press", 2000.
DIY crafts./author-composition. V. Fedorova, M.: “My World”, 2008.
Churilova E. G. Methods and organization of theatrical activities for preschoolers and younger children. schoolchildren: Program and repertoire. -M.: Humanitarian. ed. VLADOS center, 2001.
Chistyakova M.I. Psychogymnastics. -M., 1995.
I-you-we. Program for social-emotional development of preschool children/comp. O. L. Knyazeva. -M.: Mozaika-Sintez, 2003.

A huge role in organizing theatrical activities is played by the teacher, who skillfully guides this process. It is necessary that the teacher not only read expressively or tell something, be able to look and see, listen and hear, but also be ready for any “transformation”, that is, master the basics of acting, as well as the basics of directing skills. This is what leads to an increase in his creative potential and helps to improve the theatrical activities of children.

Under no circumstances should any pressure, comparison, evaluation, or condemnation be applied. On the contrary, it is necessary to provide children with the opportunity to speak out and show inner activity. The teacher must strictly ensure that with his acting activity and looseness he does not suppress a timid child and does not turn him only into a spectator. We must not allow children to be afraid to go “on stage” or to be afraid of making mistakes. It is unacceptable to divide into “artists” and “spectators,” that is, those who constantly perform and those who constantly stay to watch others “play.”

Joint theatrical activities can include both acting out fairy tales and skits, as well as role-playing dialogues based on illustrations, and independent improvisations on topics taken from life.

In the process of implementing a complex of joint theatrical activities, the following tasks are solved:

Development of creative abilities and creative independence of a preschooler;

Cultivating interest in various types of creative activities;

Mastering improvisational skills;

Development of all components, functions and forms of speech activity;

Improving cognitive processes.

Joint theatrical activities are mainly built according to a single scheme:

Introduction to the topic, creating an emotional mood;

Theatrical activities (in various forms), where the teacher and each child have the opportunity to realize their creative potential;

An emotional conclusion that ensures the success of theatrical performances.

In order for all children to be involved in the work, it is recommended to use a variety of techniques: children choosing a role at will; assigning the most timid, 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 roles in pairs.

During joint activities, it is necessary to: listen to the children’s answers and suggestions; if the children do not answer, do not demand an explanation, but move on to action with the character; when children meet the heroes of the works, allocate time so that they can act or talk with them; in conclusion, in various ways cause joy in the children.

The greatest effect is achieved by such methods of developing creativity as: a creative task, posing a problem or creating a problem situation; creating a creative field, moving the game to another, more complex creative level, exercises, sketches.

The theatrical and creative activity of children, of course, will not appear by itself. The teacher plays a huge role in this, skillfully guiding this process.

It is necessary that the teacher not only read or tell something expressively, be able to look and see, listen and hear, but also be ready for any “transformation”, that is, master the basics of acting, as well as the basics of directing skills. This is what leads to an increase in his creative potential and helps to improve the theatrical activities of children. One of the main conditions is the emotional attitude of an adult to what is being read. When reading, children need not so much artistry as the sincerity and genuineness of the teacher’s feelings, which are for them a model of emotional attitude to certain situations. The intonation of the teacher’s voice is a role model. Therefore, before offering children any task, you should practice yourself several times.

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

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

It is unacceptable to divide into “artists” and “spectators,” that is, those who constantly perform and those who constantly stay to watch others “play.”

Preschool children have a need for privacy from time to time. To do this, each age group should be equipped with a theater area or a fairy tale corner, as well as a “quiet corner” in which the child can be alone and “rehearse” a role or look again at the illustrations for the play, etc.

The subject-spatial environment must ensure the right and freedom of choice. Therefore, in the area of theatrical activities there should be different types of puppet theater and a screen for its display, children's drawings, etc. In addition, it is necessary to periodically update material focused on the interests of different children. This creates conditions for the teacher to communicate with each child, for the development of children’s creative activity in theatrical activities (to act 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, providing active participation of each child in performances); encourage improvisation by means of 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 of theaters) The role of the teacher is great in introducing children to theatrical culture (introduce them to the structure of the theater, types of theaters (bi-ba-bo, tabletop, shadow, finger, etc.), theatrical genres, etc.);
The teacher also ensures the relationship between theatrical activities and other types (the use of dramatization games in classes on speech development, music, artistic work, when reading fiction, organizing role-playing games, etc.); creates conditions for joint theatrical activities of children and adults (performances with the participation of children, parents, employees; organization of performances for older children in front of children, etc.).

The success and effectiveness of theater classes depends on the cooperation of the teacher with the music director,

However, without developing musical abilities, the ability to move rhythmically and expressively, and certain vocal skills, it is impossible to achieve significant results in theatrical creativity.

Thus, classes in theatrical activities should not be limited only to preparing performances, but should ensure the simultaneous fulfillment of cognitive, educational and developmental functions. They may include acting out fairy tales, skits, theatrical games and dramatization games, dancing, role-playing dialogues based on illustrations, independent improvisations on topics taken from life (a funny incident, an interesting event, etc.), watching and acting out puppet shows, and also exercises aimed at developing various qualities of preschoolers.

In modern conditions, it depends only on teachers whether theatrical and creative activity “will be” in a child’s life or “not be.”

Thus, in theatrical activities, initiative, flexibility and independence of thinking, and creativity of children are encouraged. The development of creative abilities in the context of theatrical activities contributes to general psychological development, opportunities for moral and aesthetic influence on children by teachers. Theatrical activity is a variable system that allows you to develop abilities for analysis and synthesis, emotional experiences, and the development of children's creative activity. Theatrical activities make it possible to comprehensively influence children verbally and non-verbally, effectively solve the problems of moral and aesthetic education, enrich the emotional sphere, activate speech activity and correct deviations in various spheres of mental activity. One of the conditions for the development of children’s creative abilities is the appropriate organization of work.

Conclusion (by task)

It is obvious that theatrical activities teach children to be creative individuals, capable of perceiving novelty and the ability to improvise. Our society needs a person of such quality who could boldly enter into a modern situation, be able to handle a problem creatively, without prior preparation, and have the courage to try and make mistakes until the right solution is found.

Children's whole life is filled with play. Every child wants to play their role. But how to do that? How to teach a child to play, take on a role and act? The theater will help with this.

Theatrical games are a constant favorite among children. The large and diverse 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 more relaxed, free and natural during the game.

Theatrical activity is an inexhaustible source of development of feelings, experiences and emotional discoveries, a way of becoming familiar with spiritual wealth. As a result, the child learns about the world with his mind and heart, expressing his attitude towards good and evil; learns the joy associated with overcoming communication difficulties and self-doubt.

In our world, saturated with information and stress, the soul asks for fairy tales, miracles, a feeling of carefree childhood

Theatrical play teaches the child to take responsibility for his actions, to show emotions, feelings, states, movements that in ordinary life, for some reason, the child cannot or does not allow himself to show.

It teaches you to find adequate bodily expression of various emotions, feelings, states, and allows you to improve communication skills and culture.

Theatrical play, in its psychological structure, is a prototype of future serious activity - life. It promotes knowledge of the real world, introducing the child to the norms and requirements of society; full-fledged, diverse development of the child’s personality, is (if properly organized and carried out) a useful and interesting pastime for children.

Result, conclusion on course work

Conclusion.

Based on activity distinguish between passive, contemplative imagination with its involuntary forms (daydreams, daydreams, daydreams) and active, practically active imagination.

There are two main functions of the imagination - cognitive (reproduction and variation of real events) and affective (“protective”). The cognitive imagination of a preschooler is associated with the rapid development of role-playing, drawing, and design. However, it is often reproducing in nature, when the child acts according to models. Affective imagination at this stage is aimed at overcoming the resulting psychotraumatic effects by repeatedly varying them in play, drawing and other creative activities. Both functions have their own line of development in preschool age.

Conclusion

Based on the results of the study, we made the following conclusions. Theatrical activities in kindergarten are an opportunity to reveal the creative potential of the child and nurture the creative orientation of the individual. The meaning and specificity of theatrical art lie in empathy, cognition, emotionality, communication, and the impact of the artistic image on the individual. Theater is one of the most accessible forms of art for children, helping to solve many pressing problems of modern pedagogy and psychology.

As a result of the work, the goal of the study was achieved - the use of methods for organizing theatrical activities for the comprehensive development of the personality of a preschooler. It was noted that the theatrical activities of preschoolers are based on the principles of developmental education, the methods and organization of which are based on the patterns of child development, while taking into account psychological comfort. Based on the study of methodological literature, we examined the types of partial programs for the upbringing and training of preschoolers in the process of theatrical activities, which are sources of a creative approach to personality development. These are:

program for organizing theatrical activities for preschoolers and primary schoolchildren “Art - Fantasy” E.G. Churilova;

program “Theater - creativity - children: playing puppet theater” N.F. Sorokina, L.G. Milanovic;

program “Theater classes in kindergarten” M.D. Makhaneva;

“Theatrical games in kindergarten” - the author’s pedagogical technology for the development of a preschool child in theatrical activities by T.I. Petrova, E.L. Sergeeva, E.S. Petrova;

program “Theatrical activities in kindergarten” E.A. Antipina;

“Rosinka” L.V. Kutsakova, S.I. Merzlyakova - a modular pedagogical system for the education and development of preschoolers from 3 to 7 years old;

program “Theatrical games in habilitation of preschool children with intellectual disabilities” I.G. Vechkanova.

It was noted that theatrical activity is integrative, in which perception, thinking, imagination, and speech appear in close relationship with each other and are manifested in different types of children's activity (speech, motor, musical, etc.). Theatrical and play activities of children are considered in two interrelated aspects. As a type of artistic activity that integrates with literary, musical and visual arts and as a creative story game based on the child’s independent play experience.

We examined the principles of organizing theatrical activities:

the specificity of this activity, combining play (free, involuntary) and artistic (prepared, meaningfully experienced) components;

complexity, suggesting the relationship of theatrical play with different types of art and different types of artistic activity of the child;

improvisation, according to which theatrical play is considered as a creative activity, which determines special interaction between an adult and a child, children among themselves based on a free atmosphere, encouraging children's initiative, the absence of a role model, the presence of their own point of view, the desire for originality;

integrativeness, according to which purposeful work on the development of theatrical and gaming activities is included in the holistic pedagogical process, which involves organizing work on theatricalization taking into account the stages of artistic activity.

We studied the organization, content and methodology of work on theatrical and play activities with preschoolers. They noted the basic requirements and principles and forms of organizing theatrical games and theatrical activities in kindergarten, psychological practical recommendations for organizing children's theatrical activities, types and regulation of special classes in theatrical activities.

We organized and carried out experimental work on theatrical and play activities in a preschool educational institution based on MBDOU No. 1 “Swallow” in Zelenodolsk.

The obtained results of experimental work were disclosed, i.e. technologies of correctional speech development through theatrical activities.

Thus, the research hypothesis found confirmation that the process of upbringing and all-round development of children in a preschool educational institution will be effective if the methods of organizing theatrical activities based on theatrical games are used in the classroom.

education theatrical speech preschooler

independent activities, theatrical activities, etc.

Conclusion.

As a result of the analysis of psychological and pedagogical literature on the research problem, we can draw the following conclusions:

Imagination can be defined as the ability to recombine and create new images. The main material for imagination is only a person’s own experience and knowledge. Since a child has much less such material than an adult, his imagination is not richer, but poorer. At the same time, imagination plays a much larger role in the life of a child than in the life of an adult - it manifests itself much more often and allows for a much easier “departure” from reality. The specificity of a preschooler's imagination lies in its increased emotionality: the child experiences imaginary events as acutely as real ones.

Based on activity, a distinction is made between passive, contemplative imagination with its involuntary forms (daydreams, daydreams, daydreams) and active, practically active imagination.

With active imagination, images are always formed consciously in accordance with the set goal.

There are two main functions of imagination - cognitive (reproduction and variation of real events) and affective (“protective”). The cognitive imagination of a preschooler is associated with the rapid development of role-playing games, drawing, and design. However, it is often reproducing in nature, when the child acts according to models. Affective imagination at this stage is aimed at overcoming the resulting psychotraumatic effects by repeatedly varying them in play, drawing and other creative activities. Both functions have their own line of development in preschool age.

The basis for imagination is created by diverse, rich ideas and the preschooler’s own experience. The adult’s task is to teach the child the ways and means of transformation and to develop his combinatorial abilities. Mastering the methods of creating images occurs when real connections are broken, by including objects in unusual situations, endowing them with unusual functions and connecting dissimilar objects into a new image.

Increased emotionality is an important distinguishing feature of a preschooler’s imagination. Invented characters acquire personal significance for the child and begin to live in his mind as completely real.

Theatrical play promotes the development of creative abilities and cognitive activity of children, the moral development of a preschooler, the formation of cognitive imagination (manifested primarily in the development of the child’s logical-symbolic function) and effective imagination (promoting the child’s understanding of the meaning of human relationships, adequate emotional response, the formation of emotional control and such higher social feelings as empathy, sympathy, compassion).

Used Books

Akulova O. Theatrical games // Preschool education, 2005. -No. 4.

Antipina E.A. Theatrical activities in kindergarten. -M., 2003.

Artemova L.V. Theatrical games for preschoolers. - M., 1990.

Vechkanova I.G. Theatrical games in the habilitation of preschool children with intellectual disabilities. - St. Petersburg: KARO, 2006.

Vygotsky L.S. Imagination and creativity in childhood. – M., 1991.

Davydov V.G. From children's games to creative games and dramatizations // Theater and education: Sat. scientific works. -M. 1992.

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

Erofeeva T.I. Zvereva O.L. Dramatization game // Raising children through play. – M., 1994. Game-dramatization // Raising children in the game. - M., 1994.

Ershova A.P. The relationship between the processes of training and education in theater education // Aesthetic education. - M., 2002.

Dramatization games // Emotional development of a preschooler / Ed. A.D.Kosheleva. – M., 1983.

Karpinskaya N.S. Dramatization games in the development of children’s creative abilities // Artistic word in the education of preschool children. - M., 1972.

Makhaneva M. D. “Theater classes in kindergarten.”

Makhaneva M. Theatrical activities of preschoolers // Preschool education. – 1999. - No. 11.

Migunova E.V. Theater pedagogy in kindergarten, Sfera shopping center, 2009.

Nemenova T. Development of creative manifestations of children in the process of theatrical games // Preschool education. – 1989. - No. 1.

Novoselova S.L. Preschooler's game / - M., 1989.

Petrova T.I. Theatrical games in kindergarten. – M., 2000.

Petrova T.I., Sergeeva E.L., Petrova E.S. “Theatrical games” // teaching aids

Reutskaya N.A. Theatrical games of preschoolers // Game of a preschooler / Ed. S.L. Novoselova. - M., 1989. .

Rubenok E. Dramatization games in the education of preschoolers // Preschool education. – 1983. - No. 12.

Furmina L.S. Possibilities of creative manifestations of older preschool children in theatrical games // Artistic creativity and the child / Ed. N.A. Vetlugina. – M., 1972.

Churilova E.G. “Methodology and organization of theatrical activities for preschool children.”

Shchetkin A.V. Theatrical activities in kindergarten Mosaic - Synthesis, 2008.

Natalia Kononenko
Organization of theatrical activities in kindergarten

Forms of organizing theatrical activities:

Theatrical activity;

Joint theatrical activities of adults and children;

Independent theatrical and artistic activity;

Theatrical games and performances;

Theatrical play at holidays and entertainment;

Theatrical games in everyday life;

Mini-games in music classes;

Mini-games in other classes;

Children visiting theaters together with their parents;

Puppet Museum.

Classification of theatrical games

There is a multiplicity of points of view on the classification of games that make up theatrical gaming activities.

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

IN dramatization games a child artist independently creates an image using a set of means of expression (intonation, facial expressions, pantomime, and performs his own actions in performing the role.

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

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

Methodology for directing theatrical games

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

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

1. artistic perception of literary and folklore works;

2. mastering special skills for developing basic (“actor”, “director”) and additional positions (“screenwriter”, “designer”, “costume designer”);

3. independent creative activity.

The basis for directing theatrical games is working on the text of a literary work. R.I. Zhukovskaya advises presenting the text of the work expressively, artistically, and when reading it again, involve children in a simple analysis of the content, leading them to an awareness of the motives of the characters’ actions.

Enriching children with artistic means of conveying an image is facilitated by sketches from a read work or by choosing any event from a fairy tale and drawing it (the audience guesses). Interesting sketches in which children move to fragments of musical works.

Drawing up a verbal portrait of the hero;

Fantasizing about his home, relationships with his

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

Composition of various incidents from the hero’s life that were not provided for

staging;

Analysis of invented actions;

Working on stage expressiveness: defining goals

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

stage, facial expressions, intonation;

Preparation of theatrical costume;

Using makeup to create an image

Rules of dramatization (R. Kalinina):

Rule of individuality;

Rule of all participation;

Rule of freedom of choice;

Rule of helping questions;

Feedback rule;

Attributes for dramatizations;

The rule of a wise leader.

basic rules (E. G. Churilova):

Do not overload children;

Do not impose your opinion;

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

Give all children the opportunity to try themselves in different roles, without distributing them

among the most capable.

E. G. Churilova highlights ten main stages of working with preschoolers on a play:

1. Selecting a play or dramatization and discussing 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 a musical and plastic solution for individual episodes, staging dances (if necessary). 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 films in different compositions with details of scenery and props (possibly conventional, 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 spectators and children.

10. Reruns of the play. Preparing an exhibition of children’s drawings based on the performance, a stand or an album with photographs.

Plan for working on a fairy tale (E. A. Antipina):

I. 1. Reading a fairy tale. 2. Showing musical numbers. 3. Conversation based on content.

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

III. 1. Work with the leading child. 2. Introduction to the introduction.

IV. 1. Work with artists: a) expressive reading; b) game movements; c) facial expressions. 2. Getting to know dance patterns.

V. 1. Individual work on roles with a soundtrack. 2. Learning dances. 3. Consolidation.

VI. 1. Work on dancing. 2. Working with a phonogram.

VII. 1. Joint rehearsal for all participants in the performance. 2. Consolidation.

VIII. Dress rehearsal.

IX. Premiere.

Organization of a corner for theatrical performances

When designing a subject-spatial environment that provides theatrical activities for children, the following should be taken into account:

Individual socio-psychological characteristics of the child;

Features of his emotional and personal development;

Interests, inclinations, preferences and needs;

Curiosity, research interest and creativity;

Age and gender-role characteristics.

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

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

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

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

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

Z. M. Boguslavskaya and E. O. Smirnova believe that children, acting in accordance with their role, use their capabilities more fully and cope with many tasks more easily, and learn without their noticing. Role-playing games activate children's imagination and prepare them for independent creative play. Children of the younger group are happy to transform into familiar animals, but they are not yet able to develop and play out the plot. It is important to teach them some methods of game actions based on the model. The teacher shows the example. O. S. Laputina recommends for this purpose playing games “The Mother Hen and the Chicks”, acting out scenes based on the literary works “Toys” by A. Barto, “The Cat and the Goat” by V. Zhukovsky, and using nursery rhymes: “Cat’s House”, “Grow the Spit to belts”, etc. To create a reason for independent play, you can distribute toys and objects to children. The teacher shows the example.

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

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

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

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

Improvisation game to music (“Cheerful Rain”).

A wordless improvisation game with one character based on the texts of poems and jokes read by the teacher (“Zainka, dance.”).

An improvisation game based on the texts of short fairy tales, stories and poems told by the teacher (3. Alexandrova “Herringbone”).

Role-playing dialogue between fairy tale heroes (“Rukavichka”, “Zayushkina’s hut”).

Dramatization of fragments of fairy tales about animals (“Teremok”).

A dramatization game with several characters based on folk tales (“Turnip”) and author’s texts (V. Suteev “Under the Mushroom”).

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

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

dramatization of a simple “typical” image to the embodiment of a holistic image that combines the emotions, moods of the hero, and their changes.

At this age, there is a deepening of interest in theatrical games, its differentiation, which consists in the preference for a certain type of game (dramatization or directorial, the formation of motivation for interest in the game as a means of self-expression. Children learn to combine movement and text in roles, develop a sense of partnership, combine movement in roles and the word, use pantomime of two to four characters. It is possible to use educational exercises like “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; with low-active ones - dramatize works with a small amount of action.

The methods and techniques used in the younger group become more complex: telling a story in the first person, accompanying the text and movements: “I am a cockerel. Look at what a bright comb I have, what a beard I have, how important I walk, how loudly I sing: ku-ka-re-ku!”; tabletop theater For independent display, the following works are recommended: “Turnip”, “Teremok”, “Kolobok”. For demonstration by the teacher - “Two Greedy Bears”, “Fox”

and geese", "Fox, hare and rooster". To dramatize, use excerpts from fairy tales, where there are repetitions, and then the entire fairy tale.

Expansion of children's theatrical and gaming experience is carried out through the development of dramatization games. When working with children we use:

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

Dramatization games based on the texts of stories on the theme “Adult Labor”;

Staging a performance based on the work.

The expansion of children's gaming experience also occurs through the development of theatrical play. At the age of 5 years, a child masters different types of table theater: soft toys, knitted theater, cone theater, folk toy theater and flat figures. Actions with dolls on the gapite become new content. A horse puppet theater is available to children (without a screen, and by the end of the school year - with a screen, a theater of spoons, etc. Finger theater is more often used in independent activities, when a child improvises based on familiar poems and nursery rhymes, accompanying his speech with simple actions (“Zhili at grandma's).

Senior group. Children continue to improve their performing skills. The teacher teaches students to independently find ways of figurative expression and develops a sense of partnership. There are special excursions, walks, observations of the environment (the behavior of animals, people, their intonations, movements). To develop their imagination, children are offered tasks like: “Imagine a sea, a sandy shore. We are all lying on the warm sand, sunbathing. We have good mood. They dangled their legs and lowered them. They raked the warm sand with their hands,” etc. Mimic sketches, sketches for the memory of physical actions, and pantomimic sketches are used. Children are involved in inventing the design of fairy tales and reflecting them in visual activities. The child’s gradual transition from playing based on one literary or folklore text to a contamination game, which implies the child’s free construction of a plot in which the literary basis is combined with the child’s free interpretation of it or several works are combined; from a game where expressive means are used to convey the characteristics of a character, to a game as a means of self-expression through the image of a hero; from a game in which the center is the “artist”, to a game in which a complex of positions “artist”, “director”, “screenwriter”, “designer”, “costume designer” is presented, but at the same time the preferences of each child are associated with one of them , depending on individual abilities and interests.

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

A new aspect of the joint activity of adults and children is the introduction of children to theatrical culture, i.e. familiarization with the purpose of the theater, the history of its origin in Russia, the structure of the theater building, the activities of theater workers, types and genres of theatrical art (musical, puppetry, animal theater, clowning, etc.). The theatrical and gaming experience is deepened by mastering different types of games - dramatization and director's theatrical play (activity and independence in choosing the content of games, creativity). The child becomes able to independently stage performances, including those based on a “collage” of several literary works. The experience of directing is enriched by the use of puppets, live hand puppets, and cane puppets.

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

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

To better understand a literary work, D. V. Mendzheritskaya suggests using the “moral ladder” technique. Children must arrange the characters on the ladder according to their degree of personal sympathy. This

the technique is a more accurate indicator of children’s emotional attitude towards the characters compared to answers to an adult’s questions. When looking at the illustrations in the book, it is recommended to pay attention to the analysis of the emotional states of the characters. Sketches for acting out plots are offered: “Bad Dream”, “Thunderstorm”, “Puppy”, along with exercises for developing imagination, tasks for tension and relaxation are recommended.

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

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

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

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

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

When teaching children the means of expressive speech, it is recommended to use familiar and favorite fairy tales, which are rich in dialogues, dynamics of replicas and provide the child with the opportunity to directly become familiar with the rich linguistic culture of the Russian people. Acting out fairy tales allows you to teach children to use a variety of expressive means in their combination (speech, chanting, facial expressions, pantomime, movements).

First, fragments from fairy tales are used as exercises: ask to enter the mansion on behalf of a mouse, a frog, a bear, and then ask who was more similar in voice and manners to this character. Next, complicate the task: offer to act out a dialogue between two characters, pronouncing the text and acting for each. Thus, children learn verbal transformation, striving for the character’s character, voice, and behavior to be easily recognized by everyone.

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

Organization of independent theatrical activities

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

Pedagogical support should be built taking into account the gradual increase in independence and creativity of the child;

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

Bibliography

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

2. Antipina E. A. Theatrical activities in kindergarten. -M., 2003.

3. Dronova T. N. Playing at the theater. Theatrical activities for children aged 4-6 years. M: Education, 2005.

4. Makhaneva M.D. Theatrical classes in kindergarten. -M. : Sfera, 2001.

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

6. Sorokina N. F. Playing puppet theater: Program “Theatre-creativity-children”.-M. : ARKTI, 2004.

7. Churilova E. G. Methods and organization of theatrical activities for preschoolers and junior schoolchildren. - M.: Vlados, 2001.

Theatrical activities of preschool children.

Description: this material is interesting and useful for parents, educators, music directors of kindergartens, and for teachers of additional education.
Target: the importance of theater in a child’s life, the guiding assistance of an adult.
Tasks:
1. To acquaint parents and teachers with theatrical activities and its importance for the development of the child.
2. Show what a huge impact theatrical activities have on unlocking a child’s creative potential.
3. To teach how to navigate the directions of work in theatrical activities.

"The magical world of theater!" Theatrical activities of preschool children.

Theater is a magical world! He gives lessons in beauty, morality and ethics. And the richer they are, the more successful the development of the spiritual world of children is.
B. M. Teplov

Theatrical activities in kindergarten

This is a good opportunity to reveal a child’s creative potential and nurture a creative personality. Children learn to notice interesting ideas in the world around them, embody them, create their own artistic image of a character, they develop creative imagination, associative thinking, speech, and the ability to see unusual moments in the ordinary.
-Theatrical activities help the child overcome timidity, self-doubt, and shyness.
-Thus, theater helps the child develop comprehensively.

The importance of theatrical activities

In children's educational institutions, all types of children's theater can and should be given attention, because they help:
- form the correct model of behavior in the modern world;
- improve the child’s general culture, introduce him to spiritual values;
- improve the child’s speech, activate the vocabulary, improve the sound culture of speech, its intonation structure; improve dialogic speech and its grammatical structure;
-introduce the child to children's literature, music, fine arts, etiquette rules, rituals, traditions, and instill a sustainable interest;
- gives basic ideas about the types of theater;
- improve the skill of embodying certain experiences in the game, encouraging the creation of new images, encouraging thinking;
- have a creative attitude towards any task, the ability to communicate with peers and adults, the development of stage creativity, musical and artistic abilities of children;
- develops public speaking and creative collaboration skills.

Main areas of work with children

Theater game
Theatrical acting is a historically established social phenomenon, an independent type of activity characteristic of humans.
Tasks: teach children to navigate in space, evenly space themselves around the playground, and build a dialogue with a partner on a given topic. Develop the ability to voluntarily tense and relax individual muscle groups, remember the words of the characters in performances, develop visual auditory attention, memory, observation, imaginative thinking, fantasy, imagination, interest in the performing arts.
Rhythmoplasty
Rhythmoplasty includes complex rhythmic, musical, plastic games and exercises designed to ensure the development of natural psychomotor abilities of preschool children, freedom and expressiveness of body movements, and the acquisition of a sense of harmony of one’s body with the outside world.
Tasks: develop the ability to voluntarily respond to a command or musical signal, the willingness to act in a coordinated manner, develop coordination of movement, learn to remember given poses and convey them figuratively.
Culture and technique of speech
This section of the work combines games and exercises aimed at developing breathing and freedom of the speech apparatus.
Tasks: develop speech breathing and correct articulation, clear diction, varied intonation and logic of speech; learn to write short stories and fairy tales, select simple rhymes; pronounce tongue twisters and poems, expand your vocabulary.
Fundamentals of theatrical culture
This section of the work is intended to introduce children to the elementary concepts and professional terminology of theatrical art, its features and types of theatrical art; with the basics of acting; with the culture of the viewer.

Tasks: introduce children to theatrical terminology, the main types of theatrical art, and cultivate a culture of behavior in the theater.
Work on the play
Work on the performance is based on the author's plays and includes familiarization with the play, fairy tale, as well as work on the performance - from sketches to the birth of the performance.
Tasks: Learn to write sketches based on fairy tales; develop skills in working with imaginary objects; develop the ability to use intonations that express various emotional states (sad, happy, angry, surprised, admiring, pitiful, etc.).

Organization of theatrical activities for preschool children at different age stages

Junior group

At the age of 2 - 3 years, children are keenly interested in playing with a doll, they are impressed by small stories shown by the teacher, and they are happy to express their emotions in motor images-improvisations to music. Theatrical play is closely related to role-playing play, so most games reflect the range of children’s everyday interests: playing with dolls, with cars, at a construction site, going to the hospital, etc. Familiar poems and songs are good playing material. By showing mini-plays in a tabletop theater, with the help of individual toys and dolls, the teacher conveys a palette of experiences through intonation, and, if possible, through the external actions of the hero. All words and movements of the characters must be clearly defined, vary in character and mood, must be followed at a slow pace and the action must be short. In order to liberate and eliminate the internal constraint of children, special studies and exercises for the development of emotions are carried out. Using children's tendency to imitate, it is possible to achieve expressive imitation of various sounds of animate and inanimate nature by voice. For example, children, pretending to be the wind, puff out their cheeks, doing it diligently and carefree. Theatrical play allows the child to enter into a special relationship with the world around him, which he cannot enter into on his own due to his limited capabilities.

Middle group

The child gradually moves to:
- from a game “for oneself” to a game focused on the viewer;
- from a game in which the main thing is the process itself, to a game where both the process and the result are significant;
- from playing in a small group of peers playing similar roles to playing in a group of five to seven peers whose role positions are different (equality, subordination, control);
- from creating a simple image in a dramatization game to the embodiment of a holistic image that combines the emotions, moods of the hero, and their changes.
Interest in theatrical games is deepening. Children learn to combine movement and text, movement and word in roles, develop a sense of partnership, and use pantomime of two to four characters. Children's theatrical and gaming experience is expanded by mastering the dramatization game. When working with children we use:
- multi-character games - dramatizations based on the texts of two - three - private fairy tales about animals and fairy tales (“Geese-Swans”);
- games - dramatizations based on stories on the topic “Adult Labor”;
- staging a performance based on the work.
The content is based on playful sketches of a reproductive and improvisational nature (“Guess what I’m doing”).

Senior group

Children continue to improve their performing skills, and a sense of partnership develops. Walks are carried out, observations of the surrounding (the behavior of animals, people, their intonations, movements.) To develop the imagination, tasks such as: “Imagine ...”, etc. are carried out. By creating an atmosphere of freedom and relaxedness, it is necessary to encourage children to fantasize, modify, combine , compose, improvise based on existing experience. Thus, they can reinterpret the beginning and ending of familiar plots, invent new circumstances in which the hero finds himself, and introduce new characters into the action. Mimic and pantomic sketches and studies for memorizing physical actions are used. Children are involved in inventing the design of fairy tales and reflecting them in visual activities. In dramatization, children express themselves very emotionally and directly; the process of dramatization itself captures the child much more than the result. Children's artistic abilities develop from performance to performance. In the process of theatrical activity, a special, aesthetic attitude to the surrounding world develops, general mental processes develop: perception, imaginative thinking, imagination, attention, memory, etc.

Preparatory group

Children in the pre-school group are keenly interested in theater as an art form. Preschoolers already know the basic rules of behavior in the theater. Special games - conversations, quizzes - will help prepare them for visiting the theater. Acquaintance with various types of theater contributes to the accumulation of live theatrical impressions, mastering the skill of understanding them and aesthetic perception.
A dramatization game often becomes a performance in which children play for the audience, and not for themselves; they have access to director's games, where the characters are dolls obedient to the child. This requires him to be able to regulate his behavior, movements, and think about his words. Children continue to act out small stories using different types of theater: tabletop, bibabo, bench, finger; invent and act out dialogues, expressing intonation the characteristics of the character and mood of the hero.
In the preparatory group, an important place is occupied not only by the preparation and performance of the performance, but also by subsequent work. The degree of assimilation of the content of the perceived and acted performance is determined in a special conversation with children, during which opinions are expressed about the content of the play, characteristics of the acting characters are given, and means of expression are analyzed. At this age, children are no longer satisfied with ready-made stories - they want to come up with their own and for this the necessary conditions must be provided:
- encourage children to create their own crafts for the director’s theatrical board game;
- introduce them to interesting stories and fairy tales that will help them create their own ideas;
- give children the opportunity to reflect ideas in movement, singing, drawing;
- show initiative and creativity as a role model.

Forms of organizing theatrical activities
When choosing material for dramatization, you need to take into account the age capabilities, knowledge and skills of children, enrich their life experience, stimulate interest in new knowledge, and expand their creative potential.
-Joint theatrical activities of adults and children, theatrical activities, theatrical games at holidays and entertainment.
-Independent theatrical and artistic activities, theatrical games in everyday life.
-Mini-games in other classes, theatrical games-performances, children visiting theaters together with their parents, mini-scenes with dolls during the study of the regional component with children, involving the main doll - Parsley - in solving cognitive problems.

Forms of work
- Theater games
- Speech games
- Rhythmoplasty
- Dramatization of songs, chants, round dances
- Use of different types of theater
- Dramatization of fairy tales
- Visiting theaters;
- Interaction with parents

Types of theater in kindergarten
- bibabo
- table theater
- theater book
- five finger theater
- mask theater
- hand shadow theater
- finger shadow theater
- theater of “living” shadows
- magnetic theater
- puppet theater
- theater on flannelgraph

Organization of a corner for theatrical activities
In kindergarten groups, corners for theatrical performances and performances are organized. They provide space for director's games with finger and table theater.
In the corner are located:
-various types of theaters: bibabo, tabletop, flannelgraph theater, etc.;
- props for acting out skits and performances: a set of dolls, screens for a puppet theater, costumes, costume elements, masks;
- attributes for various playing positions: theatrical props, scenery, scripts, books, samples of musical works, posters, cash register, tickets, pencils, paints, glue, types of paper, natural material.