Educators: Kapralova Natalia Vasilievna, Andreicheva Natalia Nikolaevna, MBDOU DS No. 65 “Spikelet” of the Stary Oskol urban district

The project is dedicated to an urgent problem - teaching preschool children the rules of the road. We all live in a society where certain norms and rules of behavior in a traffic situation must be observed. Often the culprits of road traffic accidents are the children themselves, who play near the roads, cross the street in the wrong places, enter and exit vehicles incorrectly. Elementary ignorance of the basics of traffic rules and the indifferent attitude of adults to the behavior of children on the roadway lead to this. Children do not have a protective psychological reaction to the traffic situation, which is characteristic of adults. They still do not know how to properly manage their behavior. The desire to constantly discover something new, immediacy often puts them in front of real dangers in a rapidly changing traffic environment. That is why from a very early age it is necessary to teach children safe behavior on the streets, roads, in transport and the rules of the road. Both parents and preschool institutions should be involved in this.

Therefore, the main task of parents and teachers is to explain the rules to the child in an accessible way, and when choosing forms of education, to convey to the children the meaning, the danger of non-compliance with the rules, while not distorting their content.

The importance of preschool acquisition of skills is justified by the fact that it is during the transition from kindergarten to school that the child can easily navigate in the immediate spatial environment, be able to observe and correctly assess traffic situations, and possess the skills of safe behavior in these situations.

Target of our work is the formation and development of the skills of conscious safe behavior on the road in children.

Hypothesis consists in the assumption that positive effectiveness in the formation of safe behavior skills in the street in older preschool children can be achieved if traffic safety information is included in theatrical activities.

Based on the goal and the hypothesis put forward, we solve the following tasks:

1. To acquaint children with the meaning of road signs, to teach them to understand their schematic representation for the correct orientation on the streets and roads.

2. To form the skills of safe behavior in the road environment.

5. Expand the vocabulary of children according to the road alphabet.

6. Develop the skills of a culture of communication with adults and peers in various situations.

7. To cultivate discipline and conscious compliance with the rules of the road, a culture of pedestrian behavior.

8. Intensify work to promote the rules of the road and a safe lifestyle among parents.

9. Contribute to the self-realization of each child and the creation of a favorable microclimate, develop creative abilities.

The educational possibilities of theatrical activity are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, skillfully posed questions make them think, analyze, draw conclusions and generalizations. Improving speech is closely related to mental development. In the process of working on the expressiveness of the characters’ replicas, their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of speech and its intonational structure are being improved. The role played, the spoken remarks put the baby in front of the need to express himself clearly, clearly, understandably. He improves dialogic speech, its grammatical structure.

Understanding the importance of theatrical games in the upbringing and education of a preschool child, we use this in our work to familiarize preschoolers with the rules of the road.

Our experience is based on the following principles:

1. The principle of an individual and differentiated approach, i.e., taking into account the personal, age characteristics of children and the level of their mental and physical development.

2. The principle of interaction "children - road environment". The younger the child, the easier it is to form social feelings and stable habits of safe behavior. The plasticity of the child's nervous system makes it possible to successfully solve many educational problems.

3. The principle of the relationship between the causes of dangerous behavior and its consequences: a traffic accident. Preschoolers should be aware of the consequences that may lie in wait for them in the road environment.

4. The principle of age safety. From early childhood, one should constantly explain to children the essence of phenomena in the road environment, the danger of moving objects. It is necessary to form, develop and improve the perception of a dangerous road environment, to show specific safe actions to get out of a dangerous situation.

5. The principle of social security. Preschoolers must understand that they live in a society where certain norms and rules of behavior must be observed. Compliance with these rules on the roads is controlled by the State traffic inspectorate.

6. The principle of self-organization, self-regulation and self-education. This principle is realized when children realize the rules of safe behavior. To reinforce self-education, a positive example of adults is needed, therefore it is necessary to educate the parents of children.

Novelty of experience lies in the fact that the formation of skills of safe behavior on the road among preschoolers in the process of theatrical activity is solved on the basis of a combination of elements of known methods.

pedagogical technologies, used in work:

1. Simulation (modeling) technology of training

Analysis of a specific situation. A real situation is set, which had certain consequences (positive or negative). Pupils must isolate the problem, formulate it, determine what the conditions were, what means of solving the problem were chosen, whether they were adequate and why, etc. In this case, an action that has already taken place is analyzed.

Situation resolution. An unresolved situation is modeled. Pupils should not only formulate the problem, but, divided into groups, develop options for solving it. Then the “protection” of decisions, collective discussion is organized.

2. Information and communication technologies

Multimedia presentations make it possible to present educational and developmental material as a system of vivid reference images filled with comprehensive structured information in an algorithmic manner. In this case, various channels of perception are involved, which makes it possible to store information not only in factographic, but also in associative form in the memory of children. The use of multimedia presentations for teaching preschoolers the rules of the road makes it possible to provide visibility that contributes to a comprehensive perception and better memorization of the material.

Advantages of a computer: presenting information on a computer screen in a playful way is of great interest to children; carries a figurative type of information understandable to preschoolers; movements, sound, animation attracts the attention of the child for a long time; has a stimulus for the cognitive activity of children; provides an opportunity for individualization of training; allows you to simulate life situations that cannot be seen in Everyday life.

3. Problem-dialogical technology

Educational activity is built on the basis of cognitive-search activity. At the beginning, the children are given a goal in the form of a problem. Then a chain of questions and tasks is built, leading the children to the “discovery” of new knowledge.

Types of questions: questions to establish cause-and-effect relationships (Why? What will happen if? ..); questions that require the choice of a specific answer (What type of transport can a raft be classified as? Is it a freight or passenger mode of transport?); problematic situation (You need to cross the road, but there is no traffic light. What to do?); questions that require awareness of the mode of action (how did you know?).

The use of theatrical activities in the educational process in a preschool institution is one of the newest and most pressing issues in domestic preschool pedagogy. Dramatization games, staging performances by older preschoolers for younger children provide visibility that contributes to a comprehensive perception and better memorization of the material.

Meeting with the heroes of fairy tales carries a charge of positive emotions, which enhances the effectiveness of educational activities. In addition, the introduction of elements of theatrical play into the structure of organized educational activities helps to reduce the part with explanation and demonstration, thereby prolonging the duration of the child's independent creative activity. The use of theatrical activities in the system of teaching children in preschool educational institutions allows teachers to solve a set of interrelated tasks related to the development of safe actions on the road.

In our work on the formation of knowledge about the rules of the road among preschoolers, we use various types of theater: puppet, table, finger, toy theater, picture theater.

To generalize children's knowledge of the rules of the road, starting from the older group, we use the following forms of work: conversation-dialogue, play-dramatization, performance, staging, puppet theater, pantomime and others.

The director's games in the preschool educational institution include tabletop theatrical games: a tabletop toy theater, a tabletop picture theater, a shadow theater, a theater on a flannelograph, and on this topic, a variety of conditions have been created for children in the preschool educational institution to live the entire depth of the topic. Here, a child or an adult is not himself a protagonist, he creates scenes, plays the role of a toy character - voluminous or planar. He acts for him, portrays him with intonation, facial expressions and independently solves problem situations. The child's pantomime is limited. After all, he acts as a fixed or inactive figure, a toy. Dramatization games are based on the role player's own actions, which may use bibabo puppets or characters worn on fingers. In this case, the child plays himself, mainly uses his means of expression: intonation, facial expressions, pantomime. By participating in dramatization games, the child, as it were, enters into the character, transforms into it, lives its life, thereby analyzing various situations on the roads of the city. Dramatization games with fingers - the child puts attributes on his fingers, but, as in dramatization, he himself acts for the character.

Improvisation - playing a theme, a plot without prior preparation, a very complex, but also an interesting game. The education of future pedestrians as part of a common culture is laid down in childhood.

Theatrical activity allows the child to solve many problem situations indirectly on behalf of a character.

The children consolidated the knowledge gained in theatrical games: “Visiting the traffic police inspector”, “Pedestrians”, “Traffic light is the best friend”, “Driving school”; performances: “School of traffic light sciences”, “Children are supposed to know the rules of the road”; staging fairy tales "in a new way" "Kolobok", "Teremok", "Turnip", etc. using elements of traffic rules; also in game trainings on various topics, for example, “If you got lost on the street”, “You got on the bus with your mother. There was only one empty seat. How will you do it? " etc.

The implementation of this project allowed children to form the necessary ideas and skills of safe behavior on the streets and roads:

1. Enriched vocabulary of children on lexical topics: "Road safety", "Transport in the city", "Professions in transport".

2. Systematized ideas about different modes of transport, traffic rules and road signs.

3. Models of road signs for independent games, attributes for theatrical games were made.

4. Increased competence of parents in matters relating to the rules of the road and the safe behavior of the child on the streets of the city.

simulation game

Scenario of the theatrical performance "Rules of the road" (based on the Russian folk tale "Teremok").

Purpose: to form children's knowledge about the rules of the road, road signs of warning and prohibition values.

To consolidate children's knowledge of road signs;

Develop oral connected speech;

Develop acting skills, fantasy in children;

To develop skills for the conscious use of traffic knowledge in everyday life.

Material: hats with the image of animals, a desktop model according to traffic rules. Toys: car, bus, bicycle, teremok.

The teacher shows hats with the image of the heroes of the fairy tale.

- Children, what do you think these animals are from? (children's answers)

- Correctly. We know this story. And let's come up with a new fairy tale "Teremok" in a new way. Why do you think we need a road with houses and streets? (children's answers)

- Well done! We will come up with a fairy tale "Teremok" with the rules of the road. And so help me. Children, together with the teacher, begin a fairy tale.

Stands in the field Teremok, Teremok. He's not low, he's not high, he's not high

Suddenly, the Mouse runs along the road, saw a road sign and stands (road sign "Pedestrian crossing")

Educator: “Tell me, guys, what needs to be done to the Mouse? » (to cross the road at the pedestrian crossing)

- Correctly. Well done! The Mouse crossed the road along the pedestrian crossing and came to Teremka. Knocks on the door.

Nobody answered the Mouse. She went to Teremok and began to live and live.

Suddenly, the Hare runs along the road, saw a road sign and stands ... (road sign "Bus stop")

Educator: “Tell me, guys, what should Bunny do? "(get up at the bus stop, wait for the bus and take it to Teremka)

- Correctly. Well done! The Hare got on the bus and came to Teremka. Knocks on the door.

Who, who lives in Teremochka? Who, who lives in the low?

And the Mouse answers him: “I am the Mouse-norushka. And who are you? »

Hare: "And I'm a jumping bunny"

Mouse: Come on! Let's live together."

Zaika went to Teremok and they began to live and live. And we continue the tale longer.

Stands in the field Teremok, Teremok. He is not low, not high, not high.

Suddenly, Chanterelle runs along the road, saw a road sign and stands ... (road sign "Bicycle path")

Educator: “Tell me, guys, what should Chanterelle do? "(children's answers)

Correctly. Lisichka got on her bicycle and rode to Teremka. Knocks on the door.

Who, who lives in Teremochka? Who, who lives in the low?

The mouse answers her: "I am the Mouse-norushka"

Bunny: "I'm a jumping Bunny. And who are you? »

Fox: “And I'm Fox-sister. Let's live together"

Chanterelle went to Teremok and they began to live and live together. And we continue the story.

Stands in the field Teremok, Teremok. He is not low, not high, not high.

Suddenly, the Wolf runs along the road, saw a three-eyed miracle and stands ... (traffic light)

Educator: “Help, guys, the Wolf. Tell me what should he do? (children's answers).

Correctly. Wolf crossed the road to the green traffic light and came to Teremka. Knocks at the door.

Who, who lives in Teremochka? Who, who lives in the low?

The mouse answers him: "I am the Mouse-norushka"

Hare: "I'm a Bunny - a jumper"

Fox: “And I'm Fox-sister. And who are you? »

Wolf: “And I'm a Wolf - click teeth. Let's live together."

The Wolf entered Teremok and they began to live and live. And we will continue to tell the story.

Stands in the field Teremok, Teremok. He is not low, low, low.

Suddenly, on the road, the Bear rushes in a car. I saw a sign...

- What sign did the Bear see? (traffic sign "No entry")

What is this sign guys? (forbidding).

- But the Bear did not pay attention to the prohibitory road sign "No entry" and rushed on. Yes, so fast that he crashed into Teremok from all over. Teremok staggered and fell apart, and frightened animals jumped out of it. They began to scold the Bear that he did not comply with traffic rules. Ashamed became Kosolapom. The Bear asked everyone for forgiveness. He proposed to build a new Teremok.

Beasts: “Although the Bear is to blame, we will help him.

Rather than regretting Teremka, we'd better build a new one! »

Educator: “And they began to live, live and follow road signs and rules. That's the end of the tale, and who listened well done!

Modeling

Purpose: to organize independent work of students for their assimilation effective ways learning.

Task: to compose from a set of words the end of the fairy tale "Gingerbread Man" in a "new way".

Along the path Kolobok

At random, and even sideways

Drove away from grandma

And guess what, you got lost.

How can he get home

To avoid meeting a fox?

On the way, his road

And a little more home...

But the crosswalk

Only a hundred meters ahead,

And the house was opposite

Here our Kolobok was confused.

1) The hero decided not to risk

And run to the transition.

After all, everyone knows, and even children,

That life is more important than anything in the world!

(To take risks, decided, not, hero, transition, and, run, to, everyone, and, they know, children, after all, even, more important, on, of everything, life, that, light)

2) I thought: “I will pass here easily,

It's dangerous, to be honest.

(It's easy, I thought, I'll pass, here, far, transition, before, it was, unknown, further, which, honestly, let's say, is dangerous, this)

3) Your option.

Reflection

Purpose: discussion of the results of joint work, as well as what was seen and heard at the master class.

There are sad and funny emoticons on the tables, participants are invited to evaluate the proposed work.

Lozhkina Tamara Nikolaevna
Job title: educator
Educational institution: MDOU "Kindergarten No. 231"
Locality: Yaroslavl
Material name: From work experience
Topic:"Development of children's creative abilities through theatrical activities."
Publication date: 08.12.2017
Chapter: preschool education

Municipal preschool educational institution

"Kindergarten No. 231"

FROM WORK EXPERIENCE

Development of children's creative abilities

through theatrical activities.

Educator: Lozhkina Tamara Nikolaevna

Yaroslavl 2017

Theater is a magical world. He gives beauty lessons

morality and ethics. How richer are they?

the more successful is the development of the spiritual world of children ...

B.N. Teplov

Introduction

Modern preschool institutions are looking for new approaches to education.

I, like many educators, am busy looking for non-traditional ways to

interaction with children, while solving a number of important issues:

How to make every activity with your child interesting and exciting, simple and

unobtrusively tell him about the beauty and diversity of the world;

How to teach a child everything that is useful to him in this complex modern

life, how interesting it is to live in this world;

How to educate and develop his basic abilities: to hear, see,

feel, understand, fantasize and invent.

Based on the task, me, as a creative educator,

attracted theatrical activities. This is probably one of the most

effective ways of influencing children, in which the most complete and vivid

the principle of learning is manifested: to teach by playing. Theatrical games enjoy

children with unchanging love. Theatrical activity is

a source of development of feelings, deep experiences and discoveries of the child,

introduces him to spiritual values. “In the process of this empathy, - as

noted psychologist and teacher, academician B.M. Teplov, - certain

attitudes and moral values, which have an incomparably greater

coercive force than assessments that are simply communicated and assimilated."

Having studied modern methodological literature, I chose the material for

introducing it into the practice of her group, and also came to the conclusion that using

this material, you can increase interest in theatrical and gaming activities.

Relevance of work experience.

In accordance with the targets, which are indicated in the GEF DO

“A child at the stage of completion of preschool education must have

developed imagination, show initiative and independence in different

activities, actively interact with adults and peers.

All these personal characteristics are especially pronounced in

theatrical activities.

Theatrical activity in kindergarten is a great opportunity

revealing the creative potential of the child, the education of all-round development

personality. In the theater, the child reveals all his possibilities, he feels

not by himself, but by the character he plays. Therefore, he disappears

shyness, stiffness of movements, existing complexes disappear.

Practical significance is that the accumulated material (complex

scenarios, leisure activities with children, theatrical performances, development

theatrical games) can be used during holidays,

entertainment, in the daily life of children and in the work of a preschool institution.

Scientific novelty and theoretical significance of experience is to consider

problems of development of creative abilities of preschoolers by means of

theatrical art, in the development of forms and methods of working with children, as in

classes, and in joint activities, in the designation of the main

directions.

Target: Creating an atmosphere of creativity, social and emotional development

children through theatrical activities.

Tasks:

1. Create conditions for the development of creative activity of children in theatrical

activities.

2. Introduce children to theatrical culture (introduce the device of the theater,

theatrical genres, with different types of puppet theatres).

3. Provide conditions for the relationship of theatrical with other types

activities in a single pedagogical process (music classes,

sports activities, excursions, etc.).

4. Create conditions for joint theatrical activities of children and

adults (staging joint performances with the participation of children, parents,

employees, organization of performances by children of older groups in front of younger ones).

5. Contribute to the self-realization of each child and the creation of a favorable

microclimate, respect for the personality of a small person.

Leading pedagogical idea of ​​work experience: all-round development of personality

child through theatrical activities.

The educational possibilities of theatrical activity are enormous: it

the subject is not limited and can satisfy any interests and desires

child. Their speech becomes more expressive, competent.

Received a positive emotional charge from the show,

acquired self-confidence increases children's self-esteem. Their game

activity is activated, acquires a creative character, emotional

saturation. It is the theatrical game that develops thinking,

imagination, trains memory and figurative perception, improves speech.

I have been working in this area for several years. In my work I used

various forms organization of theatrical activities.

Forms of organization of theatrical activities:

1. Joint organized theatrical activities of adults and children.

2. Independent theatrical and artistic activities, theatrical

games in everyday life.

3. Mini-games, mini-skits in the course of another directly educational

activities.

4. Visiting theaters in preschool or outside kindergarten with parents.

I started dramatization in my work with children from a young age. In a group

equipped a theater corner, as well as a "quiet corner" where a child can

be alone and rehearse some role or watch

illustrations for theatricalization. In the zone of theatrical activity placed

different types of puppet theater - finger, b-ba-bo, plane, theater

shadows, theater on spoons, masks, palm theater, shawl theater, props and

Scenery. The next stage of work was: the selection of games for the development of hearing,

onomatopoeia, finger, articulation and breathing exercises,

scenarios of fairy tales, theatrical games, etudes. I have also developed

a promising plan for theatrical games and entertainment, leisure activities with

parents. Prepared and conducted parent meetings, questionnaires for

parents, memos, consultations.

literary work or fairy tale, but also with gestures, facial expressions, movements,

suits. The development of children's creative activity was promoted as classes

on theatrical activities, as well as individual work with each

child.

Watching puppet shows

Dramatization games

Exercises for the social and emotional development of children

Diction exercises

Exercises for the development of children's plasticity

Finger game training

Exercises for the development of expressive facial expressions, elements of art

pantomime

Didactic games based on fairy tales using an interactive

Multimedia

In my work I use Internet resources:

maam - International educational portal of MAAM. EN

htth://o –detstve – About childhood

htth://solnet.ee/ - Children's Portal Sunshine

dohcolonoc - Everything for Kindergarten Teachers

Today, one of the brightest, developing, interesting,

significant methods, both for adults and children, is the design

activity. Participation in the project helps the child to feel his

significance, to feel like a full participant in events, contributes to

strengthening the positions of “I myself”, “I will do it”, “I can do it”. In my work I often

I use the method of projects, and theatrical activities are no exception.

The development of theatrical activity and the accumulation of emotional and sensual

experience in children is a long work that requires the participation of parents. Important them

performance in themed evenings, where children together with their parents become

equal participants. They play roles, are the authors of texts,

they make scenery, sew costumes, etc. In any case, joint

the work of teachers and parents contributes to the intellectual, emotional

and aesthetic development of children.

Theater in our garden "lives" for a long time. It has become a good tradition

matinees with the inclusion of a theatrical performance. We use performances

parental

assembly.

Quantity

parents

meetings

increased many times. Performances are also entertainment for younger children.

Work experience shows that children with great desire participate in the production

fairy tales. Looking forward to the next rehearsal.

The creative interaction of the music director and teacher gives

the opportunity for children to get a lot of impressions and emotions. Engaged in development

creative abilities of children by means of theatrical activities in

As I watched, I noticed the following:

After the first year of training, children's ability to improvise improved,

especially when reading works of art;

Children began to actively use the means of expression (facial expressions, gestures,

movement);

Increased emotional responsiveness;

Children began to show more activity, initiative;

Children develop moral, communicative and volitional qualities

personalities (sociability, politeness, sensitivity, kindness, the ability to bring the case

or role to the end);

The children had a desire to invent, compose, tell a fairy tale;

Children began to show a strong interest in theatrical activities.

For 3 years of work, the number of children with a high level creative development in

theatrical activities increased by 44%. When doing creative

creativity, showed the high quality of the work performed.

Based on the analysis of my own experience, I came to the conclusion that the system

of the work done turned out to be the most optimal, adequate and effective.

During these three years, children showed their achievements at the holidays,

competitions, entertainment. Their performances were bright, artistic

execution. I, as a teacher, am engaged in the development of creative abilities of children

by means of theatrical activities, I enjoy, joy from

the process of joint creative activity.

Municipal budgetary educational institution

"Kindergarten of a compensating type№ 49"

municipality of the city of Bratsk.

From work experience

"Correcting speech disorders

through

theatrical activities"

Prepared by the teacher

Boreyko Ludmila Vladimirovna

2018

Theatrical activities - This is the most common type of children's creativity. It is close and understandable to the child, lies deep in his nature and is reflected spontaneously, because it is connected with the game. Any fiction, impressions from the surrounding life, the child wants to translate into living images and actions. Entering the character, he plays his favorite roles, trying to imitate what he saw, what interested him, receiving great emotional pleasure. Theatrical activity contributes to the development of hidden opportunities and individual abilities in children. The most popular and exciting direction in preschool education is theatrical activity.

We know thatthe game is the leading activity of a preschool child. In the game, the child overcomes difficulties. And correcting the shortcomings of speech is a huge job. Therefore, by joining forces with a teacher - a psychologist - to surround the child with a game so that he does not notice that he is doing hard work. The means of theatrical activity help us with this. Theatrical games are very popular among the children of our group. Children are happy to join the game, answer the dolls' questions, fulfill their requests, give advice, transform into one or another image. They laugh merrily when the characters laugh, feel sad with them, warn of danger, cry over the failures of their beloved hero, are always ready to help him. Participating in theatrical games, children get acquainted with the world around them through images, colors, sounds. The great and versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool, because children feel relaxed and free during the game.

Thus, the idea arose - to create a system of activities for the development of speech of preschool children through theatrical activities

I have set myself the following tasks

To teach children to act out simple performances based on familiar literary works, using expressive means (intonation, facial expressions, gestures);

Maintain children's interest in a theatrical game by acquiring game skills, help to perceive an artistic image, monitor the development and interaction of characters;

Develop emotionality and expressiveness of speech, artistic abilities through a theatrical game;

Raise a steady interest in the theater in children by organizing their own theatrical game;

Enrich the corner of theatrical activities;

To interest parents in acquiring, making different types of theater and give information about how children play at home.

In my work, I pay great attention to the use of theatrical games in sensitive moments. It can be a fairy-tale hero or character that helps children learn certain skills, the use of folklore, nursery rhymes, jokes, poems. We also use the voice of the character voiced in the multimedia manual. The use of theatrical activities in regime moments allows us to solve many pedagogical problems relating to all areas. Participating in these games, children become participants in various life events, which gives them the opportunity to better understand the world around them

The underdevelopment of speech means reduces the level of communication, contributes to the emergence of psychological characteristics, and gives rise to specific features of general and speech behavior. Some children have such psychological features as isolation, timidity, indecisiveness, such specific features of general and speech behavior as limited contact, slow inclusion in a communication situation, inability to maintain a conversation, listen to sounding speech are generated. Speech disorders make it difficult, and sometimes even impossible, to develop the communicative competence of children.

According to the new requirements of the state standard of education in Russian Federation mastering by preschool children the means of communication and ways of interacting with adults and peers is defined as the most important integrative quality. A person without communication cannot live among people, develop and create.

The development of speech by means of theatrical activities in our group significantly increases the effectiveness of the development of cognitive, motor and emotional abilities of preschoolers with disabilities.

Therefore, together with the teacher as a psychologist we include in our workhealth-saving technologies;

Articulation, breathing exercises, dynamic pauses;

Rhythmoplasty, logorhythmics, finger games,

Relaxation, art therapy - music therapy, sound therapy, fairy tale therapy, origami therapy;

Mimic gymnastics;

Personally-oriented interaction between the teacher and children,

Differentiation and individualization - creating conditions for children with different abilities based on individual capabilities;

Gaming technologies;

Integrated learning;

Interaction with family;

Use of ICT;

In my work, I strive to use any abilities and opportunities of children. Passive children overcome their fears, excitable, experiencing the emotions of their heroes, become more calm and balanced. Each child, feeling the support of an adult and other children, feels the joy and desire to participate in the following productions. Most children, under the influence of a specially organized joint theatrical activity, develop the best speech capabilities, form arbitrary perception, knowledge about the world around them, immersion in the meaning of a fairy tale, arbitrariness of memory, and develop elements of imagination.

The combination of various activities in the process of a theatrical game contributes to the development of emotional, speech, motor, and cognitive spheres. Through theatrical activity, the comprehensive development of the child takes place, his socialization and adaptation to the conditions of life in society are greatly facilitated.

In my work on the development of speech through theatrical activities, I use the following types of theater:

- Theatrical scenes with masks.

-Shadow play.

- Finger theater promotes the development of speech, attention, memory; forms spatial representations; develops dexterity, accuracy, expressiveness, coordination of movements; increases efficiency, tone of the cerebral cortex, stimulates the fingertips, movement of the hands, playing with fingers accelerates the process of speech and mental development.

- Picture theatre, flannelgraph and magnetic board develop creative abilities, promote aesthetic education, develop dexterity, the ability to control their movements, focus on one type of activity.

Cone, table theater helps teach children to coordinate hand and eye movements, accompany finger movements with speech, encourages them to express their emotions through facial expressions and speech.

Theater on the glove has an amazing therapeutic effect: it helps to fight speech disorders, neurosis, helps to cope with feelings, fears, the glove doll conveys the whole range of emotions that children experience.

ThroughBi-ba-bo dolls , dressed on a hand, children talk about their experiences, anxieties and joys, because they completely identify themselves with the doll. When playing Bi-ba-bo, it is impossible to play silently, so these are the dolls we most often use in our work.

Dramatization game the most "conversational" type of theatrical activity. In this game, there is a holistic impact on the personality of the child, his emancipation, independent creativity, development of leading mental processes. No other type of theatrical activity contributes to the development of artistry, expressiveness of movements and speech as much as dramatization.

Thanks to the work done, we see the result.

1. Increases emotional expressiveness.

2. The vocabulary is expanding.

3. The level of speech development improves.

4. Monologue and dialogic speech is formed.

5. Children learn the elements of verbal communication.

6. Improved coordination of speech and movement.

Conclusion.

Thanks to our joint work, children began to use language means more consciously when conveying their thoughts in various situations of verbal communication, speech activity increased, vocabulary replenished, and a keen interest in independent cognition and reflection appeared.

With the help of theatrical classes, you can solve almost all the tasks of the speech development program. And along with the basic methods and techniques of the speech development of children, it is possible and necessary to use the richest material of the verbal creativity of the people.

Fascinated by the attractive concept of theatrical production, the child learns a lot, learns how the skills acquired in theatrical play can be used in everyday life.

perspective . I plan to continue working in this direction together with the teachers of our children's institution.

Bibliography :

1. Grigoryeva T. S. Program"Little Actor" : for children 5-7 years old.

Toolkit. - M.: Creative Center"Sphere" , 2012.

2. Doronova T. N. Adults and children play. -M.: LINKA-PRESS, 2006.

3. Ushakova O. S. Development of speech and creativity of preschoolers: Games, exercises, lesson notes / Ed. O. S. Ushakova. - M.

4. Makhaneva M. D. Theatrical classes in the children'sgarden : A manual for employees of preschool institutions. – M.: TC"Sphere" , 2001.

5. Migunova E. V. Theatrical pedagogy in kindergarten. - M .: TC Sphere, 2009.

6. Filicheva T. B., Tumanova T. V. Improving connected speech: Proc. -method. allowance. - M.: Sots. - polit. journal, 1994.

Currently, the question is increasingly being raised that it is necessary to use all available pedagogical resources for the effective development of the child. Modern pedagogical science, looking at education as a reproduction of the spiritual potential of a person, has a variety of areas of educational impact on the child. The sphere of art is considered as a space that contributes to the formation of the socio-aesthetic activity of the individual. According to modern scientists who study the problems, the synthesis of the arts contributes to the disclosure of the internal qualities of the personality and the self-realization of its creative potential to the greatest extent.

This view of the upbringing of the child made the problem of educating and educating preschoolers by means of theatrical art, as a powerful synthetic means of developing their creative abilities, relevant. (, and etc.)

Theater is a game, a miracle, magic, a fairy tale!

The childhood of each of us passes in the world of role-playing games that help the child learn the rules and laws of adults. Each child plays in his own way, but they all copy adults, favorite heroes in their games, try to be like them: the beautiful Zabava, the mischievous Pinocchio, the kind Thumbelina. Children's games can be seen as impromptu theatrical performances. The child is given the opportunity to play the role of an actor, director, decorator, musician. The production of props, scenery, costumes gives rise to the fine and technical creativity of children. Children draw, sculpt, sew, and all these activities acquire meaning and purpose as part of a common idea that excites children. Particular importance in children's educational institutions can and should be given to theatrical activities, all types of children's theater, because they help:

form the right behavior in modern world; to improve the general culture of the child, to attach to spiritual values; introduce him to music, fine arts, etiquette, rituals, traditions, instill a steady interest; to improve the skill to embody certain experiences in the game, encourage the creation of new images, encourage thinking.

In addition, theatrical activity is a source of development of feelings, deep feelings of the child, that is, it develops the emotional sphere of the child, forcing him to sympathize with the characters, empathize with the events being played out. The shortest way of emotional liberation of a child, removal of contraction, learning to feel and artistic imagination is the way through the game, fantasizing, writing.

“Theatrical activity is an inexhaustible source of development of feelings, experiences and emotional discoveries of the child, introduces him to spiritual wealth. The staging of a fairy tale makes you worry, empathize with the character and events, and in the process of this empathy, certain relationships and moral assessments are created that are simply communicated and assimilated ”().

The improvement of speech is also closely connected with theatrical activity, since in the process of working on the expressiveness of the characters' replicas, their own statements, the child's vocabulary is imperceptibly activated, the sound culture of his speech and its intonational structure are improved.

A new role, especially the dialogue of characters, puts the child in front of the need to express himself clearly, clearly, and understandably. His dialogical speech is improving, her, he begins to actively use the dictionary, which, in turn, is also replenished. By participating in theatrical activities, children get acquainted with the world around them in all its diversity through images, colors, sounds, and correctly posed questions make them think, analyze, draw conclusions and generalizations, and contribute to the development of mental abilities. Love for the theater becomes a vivid childhood memory, a feeling of a holiday spent together with peers, parents and teachers in an unusual magical world. Theatrical activity creates conditions for the development of creative abilities. This requires from children: attention, ingenuity, speed of reaction, organization, the ability to act, obeying a certain image, reincarnating into it, living its life. Therefore, along with verbal creativity, dramatization or theatrical production is the most frequent and widespread type of children's creativity. notes that theatrical activity is a form of living out the impressions of life, lies deep in the nature of children and finds its expression spontaneously, regardless of the desire of adults. The greatest value of children's theatrical activity lies in the fact that dramatization is directly related to the game (), therefore, it is the most syncretic, that is, it contains elements of the most diverse types of creativity. Children themselves compose, improvise roles, stage some ready-made literary material.

In theatrical activities, actions are not given in finished form. A literary work only suggests these actions, but they still need to be recreated with the help of movements, gestures, facial expressions. The child himself chooses expressive means, adopts them from the elders. The great and varied influence of theatrical activities on the personality of the child makes it possible to use them as a strong, but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy. The educational possibilities of theatrical activities are enhanced by the fact that their subject matter is practically unlimited. It can meet the diverse interests of children.

It is theatrical activity that is a unique means of developing the artistic and creative abilities of children. The solution of problems aimed at the development of artistic and creative abilities requires the definition of a different technology, the use of theatrical techniques and their combinations in a holistic pedagogical process.

speech culture

through theatrical games

I. Every year, different children come to kindergarten: smart and not very smart, contact and closed. But they all have one thing in common - they are surprised and admired less and less, their interests are the same: cars, Barbie dolls, some have. How to wake up their souls? In this, I think, the game should help. The game connects each other with each other, children with adults into a single whole. Reflecting on this, I came to the conclusion that dramatized games can help. The whole life of children is full of play. In the game, the child not only receives information about the world around him, the laws of society, the beauty of human relations, but also learns to live in this world, build his relationships, and this requires the creative activity of the individual (attention, imagination, memory, well-developed speech, facial expressions) , that is, the ability to behave in society. And our society now especially needs active and creative people. And this is more relevant than ever. I decided to work on the topic “artistic and speech activity through theatrical games”. It is impossible to overestimate the role of the native language, which helps children to consciously perceive the world around them and is a means of communication. The process of speech development involves the development of both the content and the figurative, emotional side of the language. The use by children of various means of expressiveness of speech is an indispensable condition for the comprehensive development of the child. Theatrical games are of great help in this. The educational possibilities of theatrical activity are wide. By participating in it, children get acquainted with the world around them through images, colors, sounds, and questions to them make children think, analyze, draw conclusions and generalizations. Improving speech is also associated with mental development. In the process of working on the expressiveness of the characters’ replicas, their own statements, the child’s vocabulary is activated, the sound culture of his speech and its intonation system are improved. The role played makes the baby speak clearly, clearly, understandably. He improves dialogic speech, its grammatical structure. Theatrical games make the child sympathize with the characters, empathize with them, put themselves in the place of the characters and find ways to help. Theatrical activity also forms moral qualities, since any work or fairy tale has a moral orientation. The child expresses his own attitude towards good and evil. Theatrical games also help to overcome shyness, self-doubt, shyness, shyness. That is, games develop the child comprehensively.

II. I started with the middle group. After analyzing the games, diagnostics on the formation of the artistic and speech activity of children in this group, she began work with drawing up a work plan. For myself, she outlined two directions for activity: aesthetic through theatrical games and artistic and speech activity through theatrical games. She set herself the following tasks:

Arouse interest in theatrical activities and the desire to perform with a group of peers. Encourage improvisation using the means of expression available to each child (facial expressions, gestures, movements). Help in the creation of expressive means. To help ensure that the child's knowledge of life, his desires and interests are naturally woven into the content of theatrical activities. Learn to coordinate your actions with the actions of a partner (listen without interrupting, speak, referring to a partner). Develop colloquial, dialogic speech in accordance with the plot of the dramatization. To cultivate humane feelings: responsiveness, the ability to rejoice at the success of comrades and be upset by their failures. Arouse the desire to participate in holidays and entertainment. Feel free and relaxed in any environment.

III. I studied a lot of literature, used a variety of techniques, applied many interesting forms of theatrical games and determined for myself a system for further work on the topic "Formation of a child's speech culture through theatrical activities" in accordance with the tasks set:

1) According to the age characteristics of the children, she made annual long-term planning, which included learning poems, working on sketches, dramatization games, dramatizations, making homemade puppets with parents, getting acquainted with various types of puppet theater based on improvisation.

2) Creation of a systematically changing subject-developing environment in a theatrical corner.

3) The systematic inclusion of theatrical games in all activities of the pedagogical process.

4) Attracting parents to participate in our holidays and leisure activities.

5) Joint production by parents and children of attributes, various types of theaters.

6) Holding exhibitions and competitions among parents of crafts made from non-traditional materials: boxes, ropes, threads, corks, plastic bottles, mittens, socks.

7) Use of music, dances, songs in theatrical games

8) Annual examination of knowledge, skills, skills of theatrical and gaming activities.

9) At the beginning and end of the year, conducting a pedagogical assessment for all types of activities, which was reflected in the table of indicators of the level and quality of knowledge on the development of speech, the formation of elementary mathematical concepts, and cognitive development.

IV. I needed to create a relationship of kindness, warmth and love between adults and children. At the parent meeting, I told my parents about our theatrical activities, the children showed a staging of the fairy tale “Teremok”. Explained why it was needed, asked parents to help. And they got involved in the work, helped in the manufacture of props, attributes and costumes. Parents also began to support the interest of children in theatrical activities. At each holiday, parents took an active part in the role of artists. We showed the fairy tale "Teremok" to all the children of our kindergarten. A start was made. Then, with the children, I began to conduct various exercises for attention, for the development of the imagination: imagine yourself as a refrigerator, a kettle, and so on. The children got interested. I noticed that they became more active in communication, more talkative. For greater interest, she began to use the characters of the puppet theater, conversations on works, exercises on the formation of expressiveness of performance - facial expressions, gestures, posture, intonation, table theater, toy theater. I used some theatrical techniques in the classroom, which invariably aroused interest.

I used a lot of folklore material in this group, which helped to establish emotional contact with the children, this material helped in routine moments: washing, dressing, eating. I chose a lot of illustrative material. The speech of the children was still poorly developed, the vocabulary was small, so I knew all the texts by heart and pronounced them with a certain intonation. She prepared table theaters based on the fairy tales “Turnip”, “Kolobok”, “Ryaba Hen”, “Teremok”. She often showed and depicted fabulous animals with onomatopoeia. Many games were held with the performance of movements, for example: “Horned Goat”, “Paladushki”, “Pussy”, “Vodichka-vodichka”. In the group, she prepared a dressing area, in which there were skirts, scarves, aprons. She herself constantly dressed up in various costumes and conducted classes in them, which invariably aroused delight in the children. The children came to the kindergarten with pleasure, they enjoyed any theatrical activity and did not get bored.

Every Monday we have a “Day of Joyful Meetings”, which always hosts various types of theaters: parsley theater, tabletop, flat, toy theater, finger theater, flannelograph, shadow theater, picture theater, board games, puppet theater, bi-ba-bo doll. All this arouses constant interest, and the children began to reflect their impressions in independent artistic creativity: they drew, sculpted. The children had a desire to be active themselves. The group has created a theatrical corner, where the design changes regularly. For parents, I designed a stand with photographs, which depicts children in one role or another. The parents of our children actively help me: they took part in the meeting of the “Theatre Living Room” circle, where we were engaged in the manufacture of attributes for the games. Children were present at the same time and offered all possible assistance to their mothers. Parents also made a screen for the table theater, some items for decorating our dramatizations, mothers took part in an exhibition of toys made with their own hands from waste material. The second teacher from the group gives me great help in organizing theatrical games. Without it, there would not be that interesting work that is being done with children.

V. The development of theatrical activity is a long work that requires my participation, the participation of children, parents and a second teacher. It requires the use of various techniques, various interesting forms of entertainment, holidays, leisure, where everyone is an equal participant, the creation of certain conditions, the use of various types of theaters, riddles, poems, television programs, videos, films, audio cassettes. The daily inclusion of theatrical games in all forms of organization of the pedagogical process, which will make them as necessary as didactic and plot-role-playing ones.

Experience has shown that the participation of children in theatrical games has a positive effect on the enrichment of the vocabulary of children, on the development of speech abilities.

Ministry of Education and Science of the Astrakhan Region

Astrakhan Pedagogical College

GRADUATION

QUALIFYING WORK

Features of the organization of theatrical activities in senior preschool age.

Performed by Matveeva N.P. student 4 "B" gr.

Specialty: 0313 "Preschool education"

Qualification: "Educator of preschool children

age with additional training in

areas of theatrical activity "

Full-time form of education

Leader: L.S. Klepchinov

Reviewer: Koroleva Marina Vadimovna -

teacher-organizer of kindergarten-school No. 106.

Astrakhan, 2006

Introduction

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

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

1.2. Features of the development of children of senior preschool age

II. Theatrical activity as a means of aesthetic education

2.1. The concept of theatrical activity.

2.3. Forms of theatrical activities used in a preschool institution

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

Conclusion

Literature

Application

Introduction

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

creating a children's theater from childhood?

After all, everyone has the instinct to play with reincarnation.

child. This passion to reincarnate in many children

sounds bright, talented, sometimes puzzling

with us professional artists.

K.S.Stanislavsky

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

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

There is another important problem that worries educators and psychologists. According to research, during the period of psychological adaptation of a child to school, 67-69% of first-graders experience fears, breakdowns, lethargy, while others, on the contrary, swagger and fussiness. Children often lack the skills of voluntary behavior, memory and attention are not sufficiently developed. The shortest way of emotional liberation of a child, removal of tightness, learning to feel and artistic imagination is the way through the game, fantasizing, writing. All this can give theatrical activity. Being the most common type of children's creativity, it is dramatization, "based on the action performed by the child himself, that most closely, effectively and directly connects artistic creativity with personal experiences" (L.S. Vygotsky).

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

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

All of the above helps to formulate purpose of the work:

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

Object of study: children of preschool age.

Subject: theatrical activities of children of senior preschool age.

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

Is targeted;

Has certain forms of organization;

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

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

Accordingly, one can formulate research objectives:

1. Analysis of pedagogical literature on the research problem;

2. Studying the features of the organization of theatrical activities of children in the older group;

3. Determination of the importance of the correct organization of theatrical activities at an older age;

4. Determining the most effective methods and techniques for leading theatrical activities of older age

5. Selection of abstracts of theatrical activities that contribute to the solution of certain tasks of the development of the personality of preschool children.

Chapter 1

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

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

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

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

A special role in aesthetic education is given to art. Exciting and delighting, it reveals to children the social meaning of life phenomena, makes them look more closely at the world around them, encourages them to empathize, to condemn evil. Aesthetic education by means of art is denoted by the term "artistic education".

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

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

Modern studies of teachers and psychologists have shown that in recent years the level of mental and aesthetic activity, moral and volitional qualities of children, which are already manifested at an early age, have significantly increased.

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

The most characteristic signs of a moral orientation in aesthetic education are: the emotional response of children to phenomena that are accessible to their understanding social life; the desire to empathize with someone else's joy and sorrow; active attempts to transform life, even in the game; the desire to participate in feasible artistic work that adorns life; the need for joint action, the ability to rejoice in the success of others, etc.

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

Aesthetic education is closely connected with modernity and is largely determined by it. Aesthetic assimilation of reality presupposes proximity to life, the desire to transform the world around us, society, nature, and the objective environment.

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

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

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

2. Involve children in activities in the field of art, teaching them initial, artistic knowledge, practical skills, educating them in the need and habit to bring elements of beauty into the environment, social relations.

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

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

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

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

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

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

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

They develop an interest in the beautiful in the surrounding life and in art, in various types of artistic and gaming activities. In children, there is a vivid expression of emotional susceptibility to the behavior of a literary hero, although the hidden motives of his behavior are not yet recognized by children. Artistic creativity continues to develop, but children's ideas are still characterized by insufficient stability and distinctness. Further aesthetic development of the child is carried out at school.

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

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

On the development of aesthetic susceptibility, aesthetic stock of images, on the formation of aesthetic emotions, feelings, relationships, interests;

2. On the formation of an elementary aesthetic consciousness;

3. For the development of aesthetic activities;

4. On the development of aesthetic and artistic - creative abilities.

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

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

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

The fourth group of tasks includes the development of general and special artistic and creative abilities in each child. General abilities are sensorimotor development, the ability for emotional responsiveness, creative imagination, etc. Special abilities in the field, for example, pictorial include a special activity of creative imagination, special visual sensitivity, which gives ease and completeness of perception of spatial and color relationships, an eye, a good visual memory, special skill of the hand, emotional sensitivity that creates an emotional mood, etc.

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

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

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

1.2 Features of the development of children of senior preschool age

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

The age of five is characterized by the flowering of fantasy. The child's imagination is especially vividly manifested in the game, where he acts enthusiastically. At the same time, it is not easy for pupils of both the senior and preparatory groups to imagine something intentionally, connecting the will (for example, the fact that one of two identical balls is larger (heavier than the other).

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

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

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

The personal type of communication does not replace the cognitive one, it must be combined with the latter. There is still a need for tasks that activate the mental activity of children. In the lessons of a five-year-old child, he is attracted by the opportunity to show his skills and awareness to others. When choosing a desktop neighbor, a playmate, children are also often guided by the motives of informativeness, i.e. the fact that the partner knows and can do a lot.

The self-service skills acquired by the age of five, the experience of working in nature, making handicrafts allow children to participate more in the affairs of adults.

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

With all this, different manifestations of each of the sides of the personality do not develop synchronously, for example, moral ideas, feelings, actions. So, after listening to a literary work, a story about an event accessible to their understanding, looking at illustrations, children of five or six years old correctly and emotionally evaluate the actions and actions of the characters, which indicates a fairly high level of development of moral ideas and feelings. But not everyone does the right thing in life. Most of all, it activates moral actions (that is, those performed disinterestedly, in the absence of control, rewards, punishments) by involving children in the affairs of adults with whom they sympathize. Other techniques, even relying on the personal example of others, are less effective.

The above brief description of the personal development of an older preschooler indicates that it is carried out in the process of various activities of the child with adults and in a group of peers. But teachers should take into account that, with a general tendency for children to improve with age, their behavior in each type of activity (in the classroom, in play, work, everyday life, i.e. regime processes), as well as the skills they have mastered, do not differ in strength.

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

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

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

By the time they enter the senior group, most children in the classroom, in work and other activities, listening carefully to the teacher, accept the goal and motive of the activity explained by him. This ensures the interest and positive attitude of the child to the upcoming work, allows you to improve his memory, imagination. Children perform the task the better, the more significant the motive for the upcoming activity is for them. So, game motivation is very effective. For example, children memorize a greater number of new words not in the classroom, but while playing the "shop", having received the task to make the necessary purchases. In the game, all children of the sixth year have a significant (up to 40-70 minutes) duration of keeping the goal in memory. Pupils of the middle group already set a goal in an individual game on their own. But in the eldest, the number of those who know how to set a goal in the general game increases from 80 to 92%.

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

It is important to ensure that children are interested in classes, love them. What can interfere with this task?

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

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

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

In the preschool institution and at home there are all conditions for a variety of independent activities of the child. Naturally, by the age of six, he has electoral interests. The teacher improves the knowledge and skills acquired by the child and draws his attention to what he has not yet mastered. So, the teacher needs to pay attention to the fact that in the games of the pupils all the topics of the program for getting to know the environment are reflected, and not just the life of people. Only then will children master the personal type of communication with the teacher and the norms of behavior.

The independent artistic activity of children should be varied and include not only fine art, but also dramatization games and dramatizations. When preparing entertainment, organizing pupils for independent "theatrical performances", the teacher must first teach the child how to drive a doll, then lead to mastering the text in the process of acting with it, then teach the "artists" to listen to each other and only then unite everyone for a common action. (Children can also act out scenes with the characters of the bibabo theater on their own, uniting several people.) It should also be borne in mind that children do not always know how to portray this or that character. Their intonations are inexpressive, their actions are monotonous. From this, the audience is also dissatisfied and sometimes loses interest in games - dramatizations. The task of the teacher is to show children the means of expression that would stimulate their creative activity.

For these purposes, the teacher may offer the children to play skits on certain topics in class or in independent activities. For example: “Sasha got lost in the forest, lagged behind his comrades. He calls them"; "Kostya found a hole in the forest and calls his comrades to see the find." Having given these topics, the teacher explains how they should be played: the boys call their comrades in different ways - Sasha is scared, he is afraid that they will not hear him; Kostya has joy, surprise from the find. Then he invites two or three children to portray (in turn) these scenes.

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

By the end of their stay in the senior group, children should be interested in those activities that are especially useful to them as future students: board and board-printed games, looking at books and pictures, as well as making home-made books, albums, designing , sculpting, as she prepares the child's hand for writing. In kindergarten and at home, you need to create all the conditions for a variety of work.

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

Growing up in the middle group, the child acquires the ability to observe the game of peers, ask them for something, thank. But he still needs to learn the forms of polite treatment. Children use them mainly in activities organized by adults, or when they play a particular role in the game. Not everyone knows how to help each other in time, to coordinate their actions. Very few show organizational skills. All this preschoolers should learn in the senior group.

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

According to psychologists, the desire to play together is more pronounced in older children. With the age of the child, especially during the school period, “business ties” are strengthened (in work, in the classroom).

All children strive for communication: they approach their peers, watch how they play or draw, make a request, serve a fallen thing, or listen to people who are talking. But not always a child, especially an inactive one, manages to make contact with anyone he wants. Relationships with peers are also difficult for those who came to the older group from the family and do not have the skills to communicate in a team. They are insecure, rarely participate in games. Peers avoid contact with them ("He can't play. She doesn't know anything"). Such situations should be prevented, because, not being able to realize the desire for communication, the child becomes withdrawn, negative character traits are formed in him.

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

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

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

A certain sequence is observed in the development of the rules of behavior by the child. It has been established, for example, that it is more difficult for children to master the rules of relationships at preschool age than the rules of everyday life, because the implementation of the former requires strong-willed efforts, and they must be applied flexibly, in accordance with the frequently changing situation. Studies have shown that younger and middle preschool age is favorable for mastering the rules of behavior. But only at an older age do children master their meaning and therefore perform them consciously. However, this understanding is still imperfect.

How to teach a child to follow the rules of behavior?

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

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

It is important that the child could explain his attitude to the event, put himself in the position of its participant. This is helped by looking at pictures with children, which depict their peers in various (often conflict) life situations. Children are asked questions about how, in their opinion, the characters should act, they read literary works of a similar content.

Forming communication skills, it is necessary to raise the authority of a beginner in the eyes of children: to provide the child with additional information unknown to children in order to arouse their interest in communicating with a beginner; teach him to play; help with difficulties and gradually involve in participation in collective games.

Chapter 2. Theatrical activity as a means of aesthetic education

2.1 The concept of theatrical activity

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

Introduction to the theater of preschool children is mainly associated with performances-fairy tales. Children's interest in this genre, accessibility to children's perception, as well as the social significance of a fairy tale for the moral and aesthetic education of children are taken into account. Theatrical activity is considered to be the most expedient form of work in this direction.

The educational possibilities of theatrical activity are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations. The expressiveness of the replicas of the characters, their own statements is closely connected with mental development, the child's vocabulary is imperceptibly activated, the sound culture of his speech, its intonational structure is improved. The role played, the spoken remarks put the baby in front of the need to speak clearly, clearly, understandably. He improves his speech, its grammatical structure.

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

Theatrical activity allows you to form the experience of social behavior skills due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, but also expresses its own attitude towards good and evil. Favorite characters become role models and It is the ability of the child to such identification with a favorite image that allows teachers through theatrical activities to have a positive impact on children.The famous composer D. B. Kabalevsky in his book "Education of the Mind and Heart" wrote about the importance of art for children: "Leaving an indelible impression on children throughout life, it already in these early years gives us lessons not only of beauty, but also lessons of morality and morality. And the richer and more meaningful these lessons, the easier and more successful the development of the spiritual world of children. The quality and quantity of these lessons primarily depend from parents and kindergarten teachers dov. As a rule, young children are actively involved in what arouses their interest.

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

Create conditions for the development of children's creative activity in theatrical activities (encourage performance creativity, develop the ability to freely and liberatedly hold on during a performance, encourage improvisation by means of facial expressions, expressive movements and intonation, etc.);

To introduce children to theatrical culture (to introduce the device of the theater, theatrical genres, with different types of puppet theaters);

To ensure the relationship of theatrical with other activities in a single pedagogical process;

To create conditions for joint theatrical activities of children and adults.

To meet these criteria, certain conditions must be created. This is, first of all, the appropriate organization of work. Why first of all "organization" and not "content"? In our opinion, only a reasonable organization of theatrical activities of children will help the teaching staff to choose the best directions, forms and methods of work on this issue, to rationally use the human resources. This will contribute to the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interacting with the family, etc., and, ultimately, the integrity of the pedagogical process and the forms of its implementation, acting as a single system for organizing the joint life of children and adults.

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

Such requirements are met by the program for theatrical activities of the author Churilova Elvina Gennadievna "Art - Fantasy". It does not imply literal implementation. It directs adults (teachers, parents) to create conditions for the activation of aesthetic attitudes in the child as an integral characteristic of his worldview and behavior.

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

The 1st section - "Theatrical game" - is aimed not so much at acquiring professional skills and abilities as a child, but at developing play behavior, aesthetic sense, the ability to be creative in any business, to be able to communicate with peers and adults in various situations. All games in this section are conditionally divided into two types: general educational games and special theatrical games.

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

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

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

1. Breathing and articular exercises.

2. Dictionary and intonation exercises.

3.Creative games with the word.

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

Features of theatrical art.

Types of theatrical art.

The birth of the play.

Theater outside and inside.

The culture of the audience.

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

Introduction to the play.

From sketches to performances.

General program objectives for all types of activities:

Activate curiosity.

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

Remove tightness and stiffness.

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

Develop the ability to coordinate their actions with other children.

Cultivate kindness and contact in relationships with peers.

Develop the ability to communicate with people in different situations.

Develop an interest in performing arts.

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

Develop skills of action with imaginary objects.

Write essays based on fairy tales.

Improvise dramatization games on the themes of familiar fairy tales.

Develop a sense of rhythm and coordination of movements.

Develop plastic expressiveness and musicality.

Develop children's motor skills, dexterity and mobility.

Exercise in alternating tension and relaxation of the main muscle groups.

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

To develop the ability to create images of living beings with the help of expressive plastic movements.

Develop the ability to use a variety of gestures.

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

Develop speech breathing and correct articulation.

Develop diction on the material of tongue twisters and poems.

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

Replenish vocabulary.

Make up sentences with the given words.

Learn to build a dialogue by choosing a partner yourself

Learn to choose definitions for given words.

Learn to select words that correspond to given essential features.

Learn to use intonations that express basic feelings.

To acquaint children with theatrical terminology.

To acquaint children with the types of theatrical art.

To acquaint with the main creators of the stage miracle (the main creators of the performance).

To acquaint with the device of the auditorium and the stage.

Cultivate a culture of behavior in the theater.

Suggested Skills and Skills:

Willingness to act in concert, including simultaneously or sequentially.

To be able to relieve tension from individual muscle groups.

Memorize the given poses.

Memorize and describe the appearance of any child.

Know 5-8 articulation exercises.

To be able to make a long exhalation with an imperceptible short inhalation, not to interrupt the breath in the middle of a phrase.

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

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

Be able to make sentences with the given words.

Be able to build a simple dialogue.

Be able to compose etudes based on fairy tales.

Preparatory group:

Develop sensitivity to performing arts.

Raise a child to be creative.

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

Activate the thought process and cognitive interest.

To consolidate the ability to respond to a command or a musical signal.

Teach good behavior skills.

Cultivate kindness and contact with peers.

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

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

Activate associative and figurative thinking.

Develop imagination and faith in stage fiction.

Develop the ability to change your attitude towards objects, the scene of action and partners in the game; transform and transform.

Learning to act on stage is natural.

Develop the ability to justify your actions with fantasized reasons.

Improve the skills of action with imaginary objects.

To develop the ability to perform the same actions in different circumstances, situations in different ways.

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

To teach children to independently compose sketches with given or fantasized plots, suggested circumstances, emotions.

Learn to adequately respond to the behavior of partners, including unplanned ones.

Develop the ability to control your body.

Improve children's motor skills, flexibility and endurance.

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

2.3 Forms of theatrical activities used in preschool institutions

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

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

Classes should simultaneously perform a cognitive, educational and developmental function and in no way be reduced only to the preparation of performances. Their content, forms and methods of conducting should simultaneously contribute to the achievement of three main goals: the development of speech and skills in theatrical and performing activities; creating an atmosphere of creativity, social and emotional development of children. Therefore, the content of such classes is not only acquaintance with the text, any literary work or fairy tale, but also acquaintance with gestures, facial expressions, movement, costumes, mise-en-scene, i.e. with the "signs" of the visual language. Also, the content of theatrical classes includes: watching puppet shows and talking about them; games - dramatization; acting out various fairy tales and dramatizations; exercises on the formation of expressiveness of performance (verbally and non-verbally); exercises on the social and emotional development of children.

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

children's choice of a role at will;

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

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

playing all roles by all children in turn.

Even the idea of ​​dividing children into "artists and spectators" is unacceptable; on "constantly performing" and "constantly watching" how others play. It is impossible to allow fear of a mistake in the atmosphere of classes so that children are not afraid to go “on stage”. Therefore, when offering to "play" or "show" something, the teacher must proceed from the real possibilities of specific children. That is why the teacher faces two main tasks:

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

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

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

Individual work

Another form of organization of theatrical activities is the pair work of the educator with the child - one on one. Such training is often referred to as individual learning. In the process of individual work, there is a close contact between the teacher and the child. This gives the educator a deeper understanding of the child's feelings, to understand what his experiences are aimed at, how deep and serious they are; helps the educator to identify gaps in knowledge, eliminate them with the help of systematic work. Also, individual work helps to prepare the child for the upcoming activities (class, game - dramatization, work in the play). In the process of this work, knowledge, skills and abilities are consolidated, generalized, supplemented, systematized in further activities.

Independent activities of children - theatrical games.

Theatrical games are always loved by children. The great versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but not intrusive pedagogical tool, because the baby feels relaxed, free, natural during the game. Thus, in the process of playing, children develop the skills of independent actions, which consist in being able to think through an idea without outside help, find visual and expressive means for its implementation, consistently implement the plan, control their actions in various types of theatrical activities, be able to act in various situations.

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

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

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

Entertainment

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

Thus, theatrical activity contributes to the self-realization of each child and the mutual enrichment of all, because both adults and children act here as equal partners of interaction. It is in a general performance or concert that a child naturally and naturally learns the richest experience of adults, adopting patterns of behavior. In addition, in entertainment and holidays, educators get to know children better, their character traits, temperament, dreams and desires. A microclimate is being created, based on respect for the personality of a small person, care for him, trusting relationships between adults and children.

Holidays

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

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

The educator should remember that a festive matinee is, first of all, a joy for children. This is a source of impressions that a child can keep for a long time. This is a powerful means of forming moral and aesthetic feelings. Therefore, good preparation, a well-thought-out scenario, a clear organization - all this determines the behavior and mood of each child at the holiday, the effectiveness of the impact of various types of art. Children should be joyful, cheerful, be free and at ease. However, one should not allow unbridled fun, which excites children too much.

Circle work

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

The preschool institution has a teacher-leader of the children's theater, who not only implements these tasks, but also corrects the actions of all teachers who carry out the solution of all tasks, according to the basic program, including theatrical activities, involves them in active participation in the work on games - performances (up to participation in them as "actors").

The head of theatrical activities works with children who want to go to the circle. The head of the circle sets a goal - not to be limited to screenwriting, directing and staging work with children - "actors", but as a red thread through the whole life of the kindergarten, through all types of children's activities, to solve problems aimed at shaping children's activities to solve problems, aimed at developing creativity in children.

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

So, for example, in music lessons, children learn to hear different emotional states in music and convey it with movements, gestures, facial expressions, listen to music for the next performance, noting its diverse content, etc.; in speech classes, children develop clear, clear diction, work is underway on articulation with the help of tongue twisters, purely tongue twisters, nursery rhymes, etc., children get acquainted with a literary work for staging a play, etc., in visual activity classes, children get acquainted with reproductions of paintings, with illustrations that are similar in content to the plot, they learn to draw with various materials on the plot of a fairy tale or its individual characters. All play activities of children in their free time under the guidance of an educator and in independent children's activities should acquire a special content and mood. Children play in the theater. They act either as actors, or as spectators, controllers, ushers, hall attendants, guides around the exhibition hall. Children draw posters and invitation cards for performances, prepare an exhibition of their work.

In the theater studio, under the guidance of a specialist, various sketches are played to convey various feelings, speech exercises. It can be frank rehearsal work on the next game - staging, performance. At the same time, it is more expedient to use the technique as playing out one plot (or separate scenes for it) with the help of various theatrical games (board, poster puppets, bi-ba-bo, etc.). For example, work is underway on the musical fairy tale "Cat's House" (music by V. Zolotarev), some children act out another scene using bi-ba-bo dolls on a screen, others use a table theater, others dramatize.

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

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

To confirm the theoretical presentation, we present materials obtained in pre-diploma practice in the period from 26.01.05. to 22.02.05. in preschool educational institution No. 108, in the senior group.

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

Theatrical game.

Culture and technique of speech.

Fundamentals of theatrical culture.

Work on the play.

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

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

Theatrical game.

Educational games.

The aesthetic education of children, including the means of the theater, is aimed primarily at developing a child's readiness for creativity. To achieve this goal, it is necessary to develop such qualities as attention and observation, without which it is impossible to creatively perceive the world around us, imagination and fantasy, which are the main condition for any creative activity. It is equally important to teach the child the ability to navigate in the environment, develop arbitrary memory and quick reaction, cultivate courage and resourcefulness, the ability to coordinate their actions with partners, and activate the thought process as a whole.

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

Conducting collective educational games, I had to create a fun and relaxed atmosphere, cheer up the squeezed and constrained children, and not focus on mistakes and mistakes.

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

Special theatrical games.

Acquaintance with the specifics and types of theatrical art, general developmental and rhythmic-plastic games and exercises, classes in the culture and technique of speech are useful for all children, as they develop qualities and form the skills necessary for any cultural and creatively thinking person, contribute to the development of intelligence, activate cognitive interest, expand knowledge the child about the world around him, prepare him for a subtle perception of various types of art. In order to move from theatrical games to work on sketches and performances, special theatrical games are needed, as we conditionally called them, developing mainly imagination and fantasy. They prepare children for action in a stage setting where everything is fiction. Imagination and faith in this fiction - distinguishing feature stage creativity. K.S. Stanislavsky urged actors to learn the faith and truth of play from children, since children are very seriously and sincerely capable of believing in any imaginary situation, easily changing their attitude towards objects, scenes and partners in the game. Chairs placed in a row can turn into a bus or plane cabin, a mother's dress can turn into a princess ball gown, and the room becomes either a fairy forest or a royal castle. But for some reason, going on stage in front of the audience, the children seem to lose their abilities, turning into wooden puppets with learned gestures, inexpressive speech, and unjustified antics.

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

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

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

We also offered the children the following tasks for actions with imaginary objects: washing hands, drawing, winding a ball, washing a scarf, making pies, nailing a bucket of water or sand, sweeping the floor, eating an apple, embroidering, watering flowers, playing a musical instrument, rock the doll, etc. And also perform pair and collective exercises: play ball, pull a rope, carry a bucket, play snowballs, badminton, pass a bowl of fruit or a tray of dishes, look for a needle, bead or part from a small car.

Having fantasized the proposed circumstances for certain actions, the children proceed to acting out sketches. The word "etude" is of French origin and is translated as "teaching". The concept of "etude" is used in painting, music, chess and serves as a preliminary, training work. In theatrical art, an etude is a small performance in which a certain event must take place under the proposed circumstances, conditions, situations. They can be suggested by the teacher or composed by the children. Moreover, the proposed circumstances can be supplemented by the teacher and included by the children in the etude in the course of performance.

For sketches, we offered themes close and understandable to children (“Quarrel”, “Resentment”, “Meeting”). The ability to communicate with people in various situations is developed by etudes for polite behavior (“Introduction”, “Request”, “Gratitude”, “Treat”, “Talking on the phone”, “Consolation”, “Congratulations and wishes”, “Purchasing a theater ticket” etc.).

When composing an etude, children must answer many questions: where am I, where did I come from, when, why, who, why?

We also offered the children to come up with sketches for the main emotions: "Joy", "Anger", "Sadness", "Surprise", "Disgust", "Fear". Such sketches develop the ability to convey an emotional state with the help of facial expressions and gestures. The same abilities, as well as the logic of behavior, develop etudes for the five senses (hearing, sight, taste, smell, touch). The work of each of the sense organs makes us act differently. The behavior of a person looking and listening, tasting and smelling is different. In addition, a person who tastes candy or bitter medicine, smells paint or a baking pie, will behave differently. The children both on their own and with our help came up with the place and circumstances of the action, the situation, and then played out their sketches.

The next stage is the composition of etudes based on fairy tales. Children chose an episode from a fairy tale and composed an etude based on it. For example: “Gingerbread Man and the Fox”, “Little Red Riding Hood with Grandmother”, “Thumbelina - Beetle's Bride”, “Return of the Bears” (fairy tale “Three Bears”).

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

Working on etudes and improvisation games develops many of the qualities necessary for participation in performances, including the ability to act in conditions of fiction and communicate, respond to the behavior of partners.

Culture and technique of speech.

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

Many of the children we worked with are characterized by general stiffness of the muscles, including the speech apparatus, inexpressiveness and monotony of speech, the absence of semantic pauses and logical stress, swallowing the beginning and end of words. Working on the emancipation of the child, it is impossible to do without special games and exercises that develop breathing, free the muscles of the speech apparatus, form a clear diction and mobility of the voice.

At the senior preschool age, the respiratory and vocal apparatus is still incompletely formed, but it is necessary to strive for children to understand that the actor’s speech should be clearer, more sonorous and expressive than in life. We included speech exercises and games in each lesson, combining them with rhythmoplastic and theatrical games (Appendix No. 3).

First of all, we taught children to take a silent breath through the nose, without raising their shoulders, and a smooth, even, without tension and shocks, exhalation (exercises "Playing with a Candle" and "Soap Bubbles"). In the future, in each task, not only breathing is trained, but also other components of speech in the complex. Depending on the tasks set in the lesson, the emphasis was either on breathing (exercises “Sore Tooth”, “Caprizul”, “Bells”, “Lullaby”), then on articulation (games “Summer Day”, “At the Zoo”, “In the Forest ”), then on diction (exercises “Trained dogs”, “Birdyard”), then on intonation (“Think up a dialogue” game, where the characters can be an Ogre and Puss in Boots or an Elephant and a Mouse) or pitch (“Airplane” , "Miracle Ladder").

All these components of speech are perfectly trained on tongue twisters and poems, without the use of special acting training.

Tongue twisters help to form the correct pronunciation, articulation, train diction, help children learn to pronounce difficult words and phrases quickly and clearly. Tongue twisters are a fun word game that we offered children in various versions: “broken phone”, “snake with collars”, “handball”, etc. (Appendix No. 4).

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

We used the learned tongue twisters, especially dialogic ones, in various theatrical games, in working on intonation, in improvisations, inventing a plot and characters (“Fables”, “Two friends met”, “Fair”).

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

From the point of view of the performing activity of preschoolers, we tried to teach them to use intonations with which various feelings can be expressed. One and the same word or phrase can be pronounced sadly, joyfully, angrily, surprised, mysteriously, admiringly, plaintively, anxiously, contemptuously, condemningly, etc. Working on intonation, we did not just ask the children to say a phrase, for example, plaintively or admiringly, but encouraged the children to improvise the proposed situations. Offering the children the game "Phrase in a circle", we tried to ensure that each child could explain where, to whom, under what circumstances he pronounces this phrase with a certain intonation.

Speaking with children about logical stress, it should be noted that by it we mean the selection of individual words in a phrase that determine its meaning and expressiveness. For example, they were asked to pronounce the tongue twister learned by the children, highlighting different words in it: “ Engraver Gavrila engraved the engraving. "Engraver Gavrila engraved engraving”, etc. after such exercises, it was easier for children to single out the main (key) words in larger poetic texts.

Also working on the culture and technique of children's speech, in our work we included creative games with words (“Magic Basket”, “Tasty Words”, “Question - Answer”). They develop the imagination and fantasy of children, replenish vocabulary, teach dialogue with a partner, make sentences and short plot stories.

Fundamentals of theatrical culture.

As a rule, preschoolers in our time rarely go to theaters. Their experience is limited to 1-2 visits to the main puppet theater. But children from the age of 3 can be very sensitive and grateful spectators. They are ready to watch the same play several times with unflagging interest. The main task of introducing children to the basics of theatrical culture is to introduce children to some basic concepts and terminology of theatrical art.

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

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

Features of theatrical art,

Types of theatrical art,

The birth of the play

Theater inside and out

The culture of behavior in the theater. (Appendix No. 6).

Work on the play.

In the evening, we carried out circle work with the children, the purpose of which was to prepare for the performance of the performance based on the fairy tales of G. Kh. Andersen “Fairy Dreams” (Appendix No. 7).

Creating a performance with children is a very exciting and useful activity. Joint creative activity involves even insufficiently active children in the process of staging, helping them overcome shyness and stiffness. In preparing for the performance, we tried to follow a few basic rules:

1) do not overload children;

2) do not impose your opinion;

3) do not allow one child to interfere in the actions of others;

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

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

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

1. Selecting a play or dramatization and discussing it with the children.

2. Dividing the play into episodes and retelling them by 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. Creation of sketches of scenery and costumes with children.

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

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

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

props (can be conditional), with musical accompaniment.

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

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

First stage work on the play is connected with her choice. As a rule, fairy tales serve as material for the stage embodiment, which give "an extremely bright, wide, ambiguous image of the world." The world of a fairy tale with its wonders and mysteries, adventures and transformations is very close to a child of preschool age. In order to arouse children's interest in the upcoming work, the first meeting of children with the play was emotionally rich: telling fairy tales that were the basis of the script, showing artistic illustrations in books, listening to musical works used in the future performance, watching feature films based on fairy tales. All this helped to feel the atmosphere of fairy-tale events, broaden the horizons of children, and activate cognitive interest.

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

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

Fourth stage- acquaintance of children with musical works that will be played in whole or in fragments in the performance.

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

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

Fifth stage- this is a gradual transition to the actual text of the play. At rehearsals, the same passage was repeated by different performers, i.e. the same text sounded many times, this allowed the children to quickly learn almost all the roles. In addition, educators participate in this work in the preschool educational institution, who, in their free time, repeated individual episodes with subgroups of children. During this period, the proposed circumstances of each episode were clarified. (where, when, at what time, why, what for) and emphasized the motives for the behavior of each actor (For what? For what purpose?). Children, observing the actions of different performers in the same role, evaluated who did it more naturally and more truthfully.

For our part, taking into account the speech, plastic, acting abilities of children, we have identified 2-3 performers who are able to cope with a specific role.

Sixth stage begins to actually work on the role. The child, due to age-related psychological characteristics, always plays himself, he is not yet able to reincarnate, to play the feelings of another person. Based on personal emotional experience and memory, he can recall a situation in his life when he had to experience feelings similar to those of the characters in the play. In no case should you impose on young performers the logic of another person's actions or your specific patterns of behavior.

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

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

seventh stage- rehearsal of individual paintings in different compositions. At this stage of work, we made sure that the children did not repeat the poses, gestures, intonations of other performers, but looked for their own options. We taught the children to place themselves on the stage, not getting lost, not blocking each other. Any discovery, a new successful solution, we noted and encouraged with those children who were not currently engaged in rehearsal.

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

Rehearsals were held with musical accompaniment, at this moment the tempo of the performance was refined. The protractedness of individual scenes or, on the contrary, excessive haste, crumpledness make the performance uninteresting for the audience. At this stage, the responsibilities of children in preparing props and changing scenery were fixed.

The ninth stage - the premiere of the play- is at the same time a dress rehearsal, since up to this point the children have never acted in costumes. The first spectators were the teachers, who, very strictly, but objectively assessed the performance of the children.

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

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

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

Conclusion

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

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

Theatrical activity of children is purposeful, that is, it allows you to successfully solve many educational and educational tasks of a preschool institution.

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

It has a certain content - in accordance with the program according to which the teacher-head of the TID in the preschool educational institution works (we worked on the Art - Fantasy program).

Has specific methods of work of the educator-head of the TID: an individual approach, respect for the personality of the child, faith in his abilities and capabilities.

As you know, the theater provides very great opportunities for children to live in a given situation. The constant state of the game supports the interest of children in the deep study of the proposed material. Allows you to diversify and colorfully experience the culminating moments in the cultural history of mankind.

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

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

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

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

To create conditions for the creative activity of children. Encourage performing creativity in theatrical activities, develop the ability to freely and liberatedly hold on during a performance, encourage improvisation through facial expressions, expressive movements and intonation.

Introduce children to theatrical culture (introduce the device of the theater, theatrical genres, with different types of puppet theaters).

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

Create conditions for joint theatrical activities of children and adults

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Application No. 1

Relay race.

Target. Develop attention, endurance, coordination of actions.

move games. Children sit on chairs in a semicircle. Starting the game, they get up and sit down in turn, keeping the pace and not interfering with each other's actions. This exercise can be done in different options x, inventing interesting game situations with children.

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

b) RADIO GRAM. Game situation: a ship is sinking in the sea, a radio operator sends a radiogram asking for help. The child sitting on the first chair is a "radio operator", he transmits a certain rhythmic pattern along the chain with claps or a pat on the shoulder. All the children take turns repeating it. passing on. If the task is completed correctly and the last child - the "captain" of the rescue ship exactly repeats the rhythm, then the ship is saved.

What do you hear?

Target. Train your listening skills.

Game progress. Sit quietly and listen to the sounds that will be played in the study room for a certain amount of time. Option: listen to sounds in the hallway or outside the window.

Application No. 2

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

Target. Develop imagination, initiative, attention, the ability to act in concert, beat imaginary objects.

Game progress. The room is divided in half by a cord or a dash. On the one hand, there are “Grandfather and three or five grandchildren” chosen with the help of a counting rhyme, on the other hand, the rest of the children and the teacher who will make riddles. Having agreed on what the riddle will be about, the children go to the “grandfather” and “grandchildren”.

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

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

Children. We visited the forest, there we saw a fox. What we did, we will not say, but we will show you!

Children show the riddle they made up. If "grandfather" and "grandchildren" give the correct answer, the children return to their half and come up with a new riddle. If the answer is given incorrectly, the children say the correct answer and after the words "One, two, three - catch up!" run over the line, to their house, and the "grandfather" and "grandchildren" try to catch up with them until they crossed the lifelines. After two riddles, new "grandfathers" and "grandchildren" are selected.

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

Application No. 3

GAMES AND EXERCISES FOR SPEECH BREATHING

CANDLE GAME

Target. Develop proper speech breathing.

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

BUBBLE

Target. Same.

Game progress. Children are divided into two teams. The first team blows “soap bubbles” with the help of imaginary straws on an even exhalation. We must try so that they do not burst immediately, but become as large as possible and, breaking away from the straw, fly away. The children of the second group follow their actions and at the same time read the poem “Soap Bubbles” by E. Fargen in chorus or in roles:

Beware of bubbles!

Oh what!

Oh look! Are bloated!

Come off!

Mine is plum!

Mine is walnut!

Mine didn't burst the longest.

ARTICULATION GYMNASTICS

CHARGING FOR LIPS

1. Cheerful piglet:

a) at the expense of “times”, closed lips are pulled forward, like a piglet’s snout; at the expense of "two" the lips stretch into a smile, without exposing the teeth;

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

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

Finishing the exercises, the children are invited to completely release the muscles of the lips, snorting like a horse.

CHARGING FOR THE NECK AND JAW

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

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

Surprised Hippo: drop the lower jaw sharply down, while the mouth opens wide and freedom:.

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

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

GAMES AND EXERCISES FOR FREEDOM OF SOUND WITH SOFT ATTACK

SICK TOOTH

Move. Children are invited to imagine that they have a very painful tooth, and they begin to moan at the sound "m". The lips are slightly closed, all muscles are free. The sound is monotonous, stretching.

CAPRIZULA

move . Children portray a capricious child who whines, demanding to be picked up. Whine on the sound “n”, without raising or lowering the sound, looking for a tone in which the voice sounds even and free.

BELLS

Move. Children are divided into two groups, and each in turn depicts the ringing of bells: blow - bang! And the echo - mmm ... BOMM - BOMM! BOMM - BOMM! BOMM - BOMM! Ding - Donn! Ding - Donn! Ding - Donn!

LULLABY

Move. Children imagine that they are rocking a toy and sing a lullaby, first with their mouths closed to the sound "m", and then the same musical phrase of the lullaby to the vowels "a", "o", "u".

Application No. 4

Games with tongue twisters can be offered in different versions.

"Broken phone"- two teams play. The captain of each gets his tongue twister. The team wins, which, at the signal of the leader, will quickly pass the tongue twister along the chain and the last representative of which will pronounce it out loud better and more accurately;

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

Option "handball"- children stand in a circle, in the center - the leader with the ball. He throws the ball to any child, he must catch it and quickly say a tongue twister. If the child failed to catch the ball or could not clearly pronounce the tongue twister, he receives a penalty point or is out of the game;

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

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

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

TONGUE TWISTERS

Sasha sewed a hat for Sasha.

Sasha walked along the highway and sucked dry.

Senka is carrying Sanka and Sonya on a sled

Six mice rustle in the reeds.

Serum from yogurt.

The wasp sat on the nose, I'll take the wasp to the branch.

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

Drying mice dried, mice invited mice, drying mice began to eat, mice broke their teeth!

The bristle is at the ingot, the scales are at the pike.

Cuckoo cuckoo bought a hood.

Centipedes have too many legs.

The hedgehog bear cub with the hedgehog and the hedgehog got scared.

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

A beetle buzzes over the honeysuckle, a green casing on the beetle.

A sluggish red cat rested his stomach.

Our Polkan fell into a trap.

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

The weaver weaves fabric for Tanya's handkerchief.

The bull is stupid, stupid bull, the bull's white lip was stupid.

Quail quail and quail in the woods hid from the guys.

The cap was not sewn in the style of a bell, the bell was poured not in the style of a bell. It is necessary to recap, recap; the bell must be re-belled, re-belled.

Clara put the bow on the shelf, called Nikolka to her.

Carl stole the corals from Clara, and Clara stole the clarinet from Carl.

Grass in the yard, firewood on the grass.

Three chattering magpies chattered on the hill.

Three magpies, three clappers, lost three brushes.

At the gate - daisies, three snails crawled up to them.

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

Wet weather softened up.

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

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

Polycarp's catch is three crucians, three carps.

Kondrat has a short jacket.

Valerik ate a dumpling, and Valyushka ate a cheesecake.

Application No. 5

Dictionary of theatrical terms

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

Actor- active, acting (act - action).

Amphitheater- places located behind the stalls.

Intermission- the interval between the performance.

Applause- approving claps.

Artist- artist (skill, craftsmanship).

Poster- announcement of the presentation.

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

Mezzanine- 1st floor above the stalls and the amphitheater.

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

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

Makeup- tinting the face, the art of giving the face (by means of special paints, gluing mustaches, beards, etc.) the appearance necessary for the actor for a given role.

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

Dialog- a conversation between two or more persons.

Drama- composition for the stage.

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

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

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

backstage- vertical strips of fabric framing the stage on the sides.

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

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

Monologue- the speech of one person, thinking aloud.

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

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

Paduga- horizontal stripes of fabric that limit the height of the stage.

Pantomime- expressive body movement, the transfer of feelings and thoughts by the face and the whole body.

Wig- false hair.

Parterre- Seats for spectators below stage level.

Producer- managing actors, distributing roles; the person in charge of the performance.

Props- things that are genuine or fake, necessary for the actors in the course of the performance.

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

Repertoire- plays running in the theater at a certain period of time.

Rehearsal- repetition, preliminary performance of the performance.

Replica- a phrase of a character, followed by another character or some kind of stage action.

Theatre- a place for entertainment.

Shtanket- a metal pipe on cables, to which the scenes, details of the scenery are attached.

Foyer- a room in the theater that serves as a place of rest for the audience during the intermission.

Application No. 6

I . Features of theatrical art

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

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

II . Types of theatrical art

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

III . The birth of the play

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

There are many concepts and words here that are easier to assimilate in the process of games and studies. Acquaintance with such concepts can be started by offering the game "Let's go to the theater" or "What the theater program told about."

You can consolidate knowledge of theatrical terminology on the topic "Performance and Actor" using the game "Magic Basket" and other games. (Exercises and games for the chapter "Culture and Technique of Speech", creative games with the word).

IV . Theater outside and inside

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

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

What backstage world, children should feel on the tick, walk around the stage, stand backstage.

V . Culture of behavior in the theater

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