Musical and theatrical activities in kindergarten. The general level of development of the child. Respected by the people
Musical education
childrensenior preschool age
in musical and theatrical activities
in accordance with FGOS DO
For a number of years, I have been successfully working on the topic of including theatrical activity in the process of musical education for older preschoolers, where each child can express his feelings, emotions, desires and views, and not only alone with himself, but also publicly, without being embarrassed by the presence of the audience. Theatrical activity in kindergarten is a good opportunity to reveal the creative potential of the child, to bring up the creative orientation of the personality, and in combination with music, this process becomes a hundred times more interesting and effective.
The common features of musical and theatrical activities are means of expressiveness: intonational expressiveness and features of the development of an artistic image. Each of them has its own specific means of expression, which, in conditions of interconnection, make musical activity exciting, vivid, and expand the possibilities for creative manifestations.
Music education in kindergarten is
introduction to the world of beauty;
development of musical abilities;
mastering the alphabet of musical culture;
fostering emotional sensitivity;
strengthening the health of children;
disclosure of individual creative abilities.
But until recently, musical education was predominantly reproductive in nature, and the inclusion of elements of theatricalization in musical activity was limited only to teaching children elementary expressive skills and the formation of specific skills in performing skills. Theatrical activities will lead to an improvement in the quality of music education for preschoolers.
The organization and methods of teaching theatrical activities of children are reflected in the works of T.N. Doronova, A.P. Ershova, V.I. Loginova, L. Yu. Rubina, N.F. Sorokina and others. These studies show that the musical component of theatrical activities expands the developmental and educational capabilities of the theater, enhances the effect of emotional impact on both the mood and the outlook of the child, since the coded musical language of thoughts and feelings is added to the theatrical language of facial expressions and gestures. In this case, the number and volume of sensory-perceptual analyzers (visual, auditory, motor) in children increases.
All these provisions helped to formulate the purpose and objectives of the work.
Purpose: To improve the quality of music education in musical and theatrical activities of older preschool children.
1. To develop the ability of a holistic perception of a work of art (music, poetry, theatrical performance)
2. Promote the development of musical thinking (reproductive and creative)
3. To develop creative independence in the transfer of the image, the expressiveness of speech and pantomimic actions to music.
4. To form the ability to feel a partner, to play in a team of peers.
The leading pedagogical idea in the context of the Federal State Educational Standard is to raise the quality of music education to a new level through the optimization of interaction in the "Teacher - child" system.
Figure 1 shows a model of the musical education system for older preschool children in musical and theatrical activities, it reflects the methods of implementation, forms of organization, methods and techniques.
Musical and theatrical activity is a synthetic form of work with children in musical and artistic education. It includes:
Music perception;
Song and play creativity;
Plastic intonation;
Instrumental music making;
Artistic word;
Theatrical games;
Stage action with a single artistic concept.
To a large extent, musical education is facilitated by the forms of organizing musical activity, each of which has its own capabilities.
According to the provisions of the Federal State Educational Standard, the activities of children are carried out in the following blocks:
1. A block of organized (regulated) musical activities: musical activities and entertainment, holidays and other activities with the use of music.
2. A block of unregulated (joint with the teacher and independent) musical activity of children in a group outside of classes (in warm weather - in the fresh air).
3. Independent musical activity of children outside of classes (arises at the initiative of children, is represented by songs, musical games, exercises, dances, as well as song, musical - rhythmic, instrumental children's creativity).
The main areas of work with children on music education in musical and theatrical activities are:
Diction exercises (articulatory gymnastics);
Tasks for the development of speech intonation expressiveness;
Transformation games, figurative exercises;
Exercises for the development of children's plastic surgery;
Rhythmic minutes;
Finger game training;
Exercises for the development of expressive facial expressions, elements of pantomime;
Theatrical sketches;
Playing mini-dialogues, nursery rhymes, songs, poems;
Viewing puppet shows.
Performance staging.
To carry out this work, didactic material (manuals, attributes, elements of costumes, audio recordings) is thought out in advance to stimulate children's interest in the manifestation of creativity in musical and theatrical activities. The preparation work is carried out jointly with the group educators and with the involvement of parents. The invention and creativity of all participants in the process is manifested in the manufacture of decorations. An important direction in the organization of theatrical activities is work with parents, who are involved in creative interaction with children in various directions.
Parents participate in the creation of scenery for children's performances, together with the children make costumes, help in memorizing the texts of the roles. In such joint work, parents themselves master pedagogical skills and abilities.
For the implementation of these areas, the following are used:
conversations with parents;
advice for parents:
"Development of the creative abilities of preschool children through theatrical activities";
"Hello, theater!";
Theater at Home;
"Theater for Kids";
To implement the tasks of developing children's creative abilities by means of theatrical activity in the music education system of preschool educational institutions, it is necessary to create pedagogical conditions:
Application of the principles of developing the creative abilities of older preschoolers: humane interaction, co-creation, learning in action, improvisation;
Accumulation of impressions from the perception of art;
Accumulation of performance experience (singing, movement, playing musical instruments);
Development of basic musical abilities;
Equipping musical creativity, both in kindergarten and in the family, with musical accompaniment, various costumes and attributes,
Literature
1. E.P. Kostina "Tuning fork".
2. AI Burenin "Rhythmic Mosaic".
3. OP Radynova "Musical development of children".
4. AE Antipin "Theatrical performance in kindergarten".
5. EG Churilova "Methodology and organization of theatrical activities of preschoolers and younger students."
In the process of observing the activities of preschool children, I found out that children are not sufficiently familiar with the works of children's fiction, have a limited vocabulary, many do not have coherent speech skills, some do not know how to build relationships with peers and adults. Conversations with parents showed that in many families the traditions of family reading have been lost, and the reason for this, as a rule, is the busyness of the parents.
After conducting pedagogical diagnostics of children of the preparatory group for school to determine the level of development of theatrical skills and abilities of children, I found that:
- children do not have a steady interest in theatrical activities;
- they do not always know how to correctly assess the actions of the actors in theatrical activities;
- poorly master the expressiveness of speech;
- not fully able to empathize with the heroes of fairy tales, reacting to the actions of the characters;
- it is not always possible to get used to the created image, improving it, finding the most expressive means for embodiment, using facial expressions, gestures, movements.
After analyzing the results of the ascertaining diagnostics, I concluded that the children of my group show little interest in theatrical activity, have little command of the expressiveness of speech, the ability to understand the emotional state of another person and express their own, the ability to get used to the created image and use facial expressions and gestures.
I decided to turn my attention to musical fairy tale games.
Children of all ages love to play, play is a part of their life. At the same time, they really love to turn into someone or into something. Small children are wonderful actors - as soon as one of them put on at least part of a costume, he immediately enters the image.
Starting to engage in theatrical and play activities, I faced a number of difficulties:
- stiffness of children;
- lack of confidence in the correctness of the selected movements;
- children do not know how to portray this or that hero;
- find it difficult to convey various states of the characters;
- it is difficult for children to combine speech and movement, singing and movement;
- it is difficult to master facial expressions and pantomime.
So I set myself the following goal: create conditions for the disclosure of the creative and artistic potential of the child through the use of theatrical fairy tale games in music lessons.
To solve this goal, the following were formed tasks:
- introducing children to theatrical art;
- enrichment and activation of the vocabulary of children;
- stimulating the desire to look for expressive means for creating a game image (facial expressions, movements, gestures, intonation);
- development of moral, communicative and strong-willed qualities of a person: sociability, kindness, responsiveness, politeness, the ability to bring things to an end;
- maintaining the desire to participate in holidays and entertainment, to feel free and uninhibited in any environment.
I decided to implement these tasks through the educational area "Artistic and Aesthetic Development" and the integration of educational areas:
- "Cognitive development". Expansion of horizons in terms of theatrical activities (in the process of learning about the world around, attitude towards other people).
- "Speech development". The development of children's speech in the process of theatrical activity (the lexical side, the grammatical structure of speech, coherent speech, expansion of the vocabulary), the development of free communication with adults and children in the process of theatrical activity. Creation of a subject-developing environment: design of the theatrical zone; production of screens, masks; tailoring of suits; drawing masks, tickets and posters with children; making puppets for finger theater; table theater; production of a theater of soft, rubber toys, theater "B-ba-bo", production of scenery for various fairy tales; production of mnemonic tables (for effective memorization and reproduction of the storyline of the work).
I have identified the main principles, which formed the basis of the experience:
1. The principle of purposefulness.
2. The principle of systematicity and consistency.
3. The principle of accessibility.
4. The principle of visibility of teaching.
5. The principle of an integrated approach.
6. The principle of upbringing and developmental education.
7. The principle of strength.
- examination of illustrations, postcards dedicated to the theater, a story about the theater, about theatrical professions;
- watching puppet shows, staged by educators and talking about them; reflection of their impressions in independent artistic creation: drawing, modeling, acting out scenes in kindergarten and at home;
- performing various creative tasks for the development of children's plastic, speech intonational expressiveness, exercises for the development of diction, expressive facial expressions, rhythmic minutes (logo rhythmics); games with theatrical elements; games-studies; playing with poems, situational story games with elements of theatricalization; retelling of fairy tales using mnemonic tables.
I started by paying a lot of attention to play and theatrical activities in musical classes, where every child can try himself in the role: a cowardly bunny, an angry wolf, a sly fox, a cautious mouse, etc.
Gradually, musical games developed into fairy tale games. For example: "The wolf and the seven kids" (from the collection of AN Zimina "Figurative games and exercises"); "Toy shop" (from the collection of MA Mikhailova "Development of musical abilities of children"); "Kolobok" (from the collection of L.A. Blokhina "We are starting our concert"), etc.
ON. Metlov wrote: “Musical fairy tale games take an important place in the life of a kindergarten. They have a tremendous educational impact on children, contribute to the development of artistic taste, singing skills, cause joyful emotions, promote the development of the motor sphere, creative activity. "
Theatrical art requires the skills of transformation from the performer. And if we talk about the theatrical activity of a preschooler, then it has a special imprint - a free play character, which persists even when children play out a certain play plot. Reality provides rich food for the imagination. Children receive a huge mass of impressions from the world around them, which they strive to translate into vivid play images and actions.
Soviet psychologist L.S. Vygotsky wrote: “Theatricalization is a widespread type of children's creativity, which manifests itself in a wide variety of forms - both as compositions, improvisation of short scenes, and as dramatization of ready-made literary material. Children are attracted by the inner, emotional richness of literary plots, concrete active actions of the characters. "
When I began to introduce elements of fairy tale games and theatrical scenes into music lessons, I noticed that the children began to change. Stiffness, indecision, shyness began to disappear. During the theatrical games, I tried to give the children freedom in the choice of movements for improvisation. This freedom had a beneficial effect on the development of children's activity.
Gradually, I began to introduce musical fairy-tale games into matinees. For example: the scene "Which mom is better?" I included in the matinee dedicated to the day of March 8; the scene "Vegetable dispute" - on the autumn holiday and many others. Gradually, I began to complicate musical fairy-tale games and introduce them into matinees.
During the performance, we play out a real festive theatrical atmosphere - the invitees buy tickets at the box office, the child controllers check them, hand out prepared programs. Regular guests of our performances are children of younger groups, parents, and kindergarten staff. After the performance, we conduct a discussion where the children evaluate their successes and failures. During the condemnation, conversations can find out how critically they are able to relate to their own game. Directing the conversation in the right direction, I try to point out the main mistakes and shortcomings, but, at the same time, praise the children, highlight the most interesting moments of the speech. Repeatedly we became participants in regional competitions, in which we became diploma winners.
The educational possibilities of theatrical activity are enormous: its subject matter is not limited and can satisfy any interests and desires of the child. By participating in it, children get to know the world around him in all its diversity - through images, colors, sounds, music, and the questions skillfully posed by the teacher encourage them to think, analyze, draw conclusions and generalizations. I consider the work on theatrical activities in kindergarten successful, because in the soul of every child there is a desire for free theatrical play, in which he reproduces familiar literary plots, it is precisely the theatrical activities that help the child convey their emotions, feelings, desires and views, as in a regular conversation , and publicly, without hesitation of the audience. I consider it important in my work to deal with children every day - this is a game, and every child can live and enjoy in it.
In the process of work, children literally transform before our eyes, become free, liberated, and if they skillfully pose questions, they learn to think, analyze, and offer their ideas. My task as a teacher-practitioner is to encourage the child to “See, be surprised, tell”.
I believe that the theatrical activity of children helps me to solve many pedagogical problems related to the formation of the expressiveness of a child's speech of intellectual and artistic and aesthetic education. Any fairy tale, theatrical play is an inexhaustible source of the development of feelings, experiences and emotional discoveries, a way of acquiring spiritual wealth.
As a teacher, it is very important for me that in a world saturated with information, new technologies, a child does not lose the ability to learn the world with his mind and heart, expressing his attitude to good and evil, he can learn the joy associated with overcoming the difficulties of communication, self-doubt. The value and benefit of practicing theatrical activity is obvious, since closely related to other activities - singing, moving to music, listening, drawing, etc. The need for contact and systematizing it in a single pedagogical process is obvious.
While engaging in theatrical activities with children in the process of observation, I drew attention to the following:
1. Children have expanded and deepened their knowledge of the world around them.
2. The vocabulary has expanded.
3. Children became more relaxed, there was a desire to participate in dramatization games, theatrical performances, to show activity and initiative.
4. The children began to develop moral, communicative and strong-willed personality traits (sociability, politeness, sensitivity, kindness, the ability to bring a common cause or role to the end), relations of cooperation and mutual assistance were established, and a sense of collectivism appeared.
5. Children became more emotional and expressive in performing songs, dances, and poems.
6. The ability to express their understanding of the plot of the game and the character of the character (in movement, videography, speech) has appeared.
7. The children had a desire to invent, tell a fairy tale, story, compose a dance, etc.
8. Involvement of parents in the creation of attributes, costumes, decorations also played a positive role: adults and children began to feel like a single team, carried away by an important matter.
The children showed positive changes that can be compared according to the results of the initial characteristics of the child and the characteristics by the end of the training period. Moreover, such a characteristic can be given by both parents and educators. I find work on the development of creative abilities in theatrical activity interesting and exciting, it opens up the creative possibilities of children.
Olga Kravchenko
"Musical and theatrical activities". Consultation for educators
Every child has a need for creative activities... In childhood, a child seeks opportunities to realize his potential and it is through creativity that he can most fully reveal himself as a person. Creative activity is activity giving birth to something new; free reflection of personal "I AM"... Any creativity for a child is more a process than a result. In the course of this process, he better expands his experience, enjoys communication, begins to trust himself more. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, find connections and dependencies - all that together make up creative abilities.
Children's creativity is one of the urgent problems of preschool pedagogy and child psychology. It was studied by L. S. Vygotsky, A. N. Leontiev, L. I. Venger, N. A. Vetlunina, B. M. Teplov and many others.
Theatrical activity- This is the most common type of children's creativity. It is close and understandable to the child, lies deeply in his nature and is reflected spontaneously because it is associated with the game. The child wants to embody any of his inventions, impressions from the surrounding life into living images and actions. It is through the pageant activity every child can show their feelings, emotions, desires and views, and not only alone with themselves, but also publicly, without being embarrassed by the presence of listeners. Therefore, in their work on musical education I include a variety of theatrical games, game exercises, sketches and theatrical performances.
In my opinion, the systematic involvement of preschoolers in the theater activity leads to significant developmental shifts musical creativity in children.
Specificity of theatrical activities in the process of musical development of children
Musical education is a synthesis of various types activities... Process musical education includes all types musical activities and including theatricalization. During GCD, theatricalization should take a significant place, since along with other types activities theatricalization has a great impact on the development of a child musical creativity, imaginative thinking.
In the process of theatrical games, an integrated parenting, they learn expressive reading, plastic movement, singing, playing on musical instruments... A creative atmosphere is created that helps each child to open up as a person, to apply their own capabilities and abilities. In the process of creating theatrical performances based on musical works for the child, another side of art opens up, another way of self-expression, with the help of which he can become a direct creator.
Elements of theatricalization can be used both during entertainment events and holidays, and in basic classes. During musical education of children, the exercises performed by the child are gradually becoming more complicated, and at the same time, his self-realization in the creative sphere also increases.
Theatrical performances, acting out musical works occupy an important place in the whole musical education of the child... Theatricalization allows a child of any age and gender to discover the opportunity "play" and learn at the same time. Similar view activities accessible to everyone and has a beneficial effect on the creative development of the preschooler, his openness, emancipation, allows you to save the child from unnecessary shyness and complexes.
As a rule, fairy tales that give "An unusually bright, wide, ambiguous image of the world"... By participating in the dramatization, the child, as it were, enters the image, reincarnates into it, lives its life. This is perhaps the most difficult action to perform, since it does not rely on any materialized sample.
Musical theatrical component expands the developmental and educational opportunities of the theater, enhances the effect of emotional impact on both the mood and the outlook of the child, since a coded language is added to the theatrical language of facial expressions and gestures. musical language of thoughts and feelings. In this case, the number and volume of analyzers in children increases. (visual, auditory, motor) .
However, the process musical activities is based mainly on artificially created images that do not have a sound and rhythmic analogy in the surrounding reality (dolls sing, hares dance, etc., all this can be played out with the help of theatricalization.
Theatrical activity children includes several sections:
Puppetry Basics,
Acting skills,
Game creativity,
Imitation on musical instruments,
Song and dance creativity of children,
Holidays and entertainment.
Main goals
1. Step-by-step mastering by children of various types of creativity by age group
2. To consistently acquaint children of all age groups with various types of theater (puppet, drama, opera, ballet, musical comedies)
3. Improving the artistic skills of children in terms of experiencing and embodying the image. Modeling the skills of social behavior in the given conditions.
Types of theater in the nursery garden:
Table theater
Book theater
Theater of five fingers
Masque
Hand shadow theater
Finger Shadow Theater
Theatre "Alive" shadows
Magnetic theater
The main areas of work with children
Theatrical play
Tasks: Teach children to navigate in space, evenly place themselves on the site, build a dialogue with a partner on a given topic. To develop the ability to voluntarily strain and relax individual muscle groups, memorize the words of the heroes of the performances, develop visual auditory attention, memory, observation, figurative thinking, fantasy, imagination, interest in performing arts.
Rhythmoplasty
Tasks: Develop the ability to arbitrarily respond to a command or music signal, readiness to act in concert, develop coordination of movement, learn to memorize given poses and convey them figuratively.
Culture and technique of speech
Tasks: To develop speech breathing and correct articulation, clear diction, a variety of intonation, the logic of speech; teach to compose short stories and fairy tales, to select the simplest rhymes; pronounce tongue twisters and poems, replenish vocabulary.
Fundamentals of theatrical culture
Tasks: To acquaint children with theatrical terminology, with the main types of theatrical art, bring up culture of behavior in the theater.
Work on the play
Tasks: Learn to compose sketches based on fairy tales; develop skills of action with imaginary objects; develop the ability to use intonations that express a variety of emotional states (sad, joyful, angry, surprised, delighted, plaintive, etc.).
Organization of a theatrical corner activities
In the kindergarten groups, corners for theatrical performances and performances are organized. There is a place for director's games with finger, table theater.
In the corner are located:
- various types of theaters: bibabo, tabletop, flannelgraph theater, etc.;
Props for acting out scenes and performances: a set of dolls, screens for a puppet theater, costumes, costume elements, masks;
Attributes for various game positions: theater props, scenery, scripts, books, samples musical works, posters, box office, tickets, pencils, paints, glue, types of paper, natural material.
Forms of organization of theatrical activities
Choosing material for staging, you need to build on the age-related capabilities, knowledge and skills of children, enrich their life experience, stimulate interest in new knowledge, expand creative potential:
1. Joint dramatized activities of adults and children, theatrical activity, theatrical play at parties and entertainment.
2. Independent theatrical and artistic activity, a theatrical play in everyday life.
3. Mini-games in other classes, theatrical performances, children visiting theaters together with their parents, mini-scenes with dolls in the course of studying the regional component with children, involving the main doll, Petrushka, in solving cognitive
activity in 1 ml... group
Stimulate interest in theater and play activities, encourage the participation of children in this kind activities
To teach how to navigate in the group room and in the hall.
To form the ability and convey facial expressions, gestures, movements, basic emotions
You can start acquainting children with the theater from 1 ml. group
Finger games are a great opportunity to play with your child. Games with finger puppets help the baby to better control the movements of his own fingers. By playing with adults, the child learns valuable communication skills, plays out various situations with dolls that behave like people, developing the child's imagination
In the middle group - go to a more complex theater: We introduce children to the theater screen and riding puppets. But before the children start working behind the screen, they must be allowed to play with the toy.
In the older group, children should be introduced to puppets Puppets are called puppets, which are most often controlled with the help of threads. (i.e. wooden cross) Bring up sustained interest in theater and play activities Lead children to create an expressive playful image in sketches.
The main tasks of organizing a theater activities in the senior and preparatory group
Expand children's understanding of the world around them
Replenish and activate the dictionary
Maintain initiative in improvisation
Strengthen children's ideas about different types of theaters, be able to distinguish them and name them
Improve the ability to retell coherently and expressively
By the way of control - dolls are divided into two of the kind:
Horsemen are dolls that are run from behind screens: glove and reed
Floor standing - working on the floor - in front of children
Also fit "Performers" fashioned from clay like a Dymkovo toy, as well as wooden ones made like a Bogorodskaya toy. Interesting dolls can be made from paper cones, boxes of various heights.
Everyone who is engaged in this joyful and useful business will be convinced of the beneficial effect of the puppet theater on preschool children.
Municipal autonomous preschool educational institution kindergarten No. 10 "Berezka"
« Musical and theatrical activities in kindergarten »
Prepared by: S. I. Ermakova educator
general development groups
from 3 to 4 years old №6 "Bee"
city of Raduzhny
Musical and theatrical activities in kindergarten.
Everything is new, once forgotten, old, says popular wisdom. "Live century, century
learn. "
So what, in our rapidly developing time, helps the development of the child's personality?
It is musical and theatrical activity, instilling a steady interest in music, theater,
literature, improves the artistic skills of children in terms of experiencing and embodying the image, encourages them to create new images.
Promotes mental and physical development, develops an active attitude to life, art brings up an integral, harmoniously developed personality, whose moral improvement largely depends on aesthetic education.
Musical and theatrical activity of children includes several sections: the basics of puppetry, acting, game creativity, imitation on musical instruments, song and dance creativity of children, celebrations and entertainment.
Musical and theatrical activity includes the following points of musical development:
1.Dramatization of songs;
2. Entertainment;
3. Folklore holidays;
4. Fairy tales, musicals, vaudeville, theatrical performances.
The main goal that I set when doing musical and theatrical activities with children is the development of creative abilities by means of theatrical art, by the age of 5 it takes the position of the leading activity in children.
Preschoolers are happy to join the game: they answer the puppets' questions, fulfill their requests, give advice, transform into one image or another. Kids laugh when the characters laugh, feel sad with them, warn of danger, cry over the failures of their beloved hero, are always ready to come to his aid.
By participating in theatrical games, children get to know the world around them.
The large and versatile influence of theatrical games on the personality of the child allows them to be used as a powerful, pedagogical tool, because the child feels relaxed and free during the game. The richer the experience of the kid, the brighter the creative manifestations will be. Therefore, it is so important from early childhood to introduce a child to music, theater, literature, music, painting. I introduce children to the theatrical play. Kids watch small puppet shows and dramatizations that are shown. ("Ryaba Chicken", "Gingerbread Man", "Little Mury Little Kitty" and so on)
Preschoolers have involuntary attention, the entire learning process is organized so that it affects the feelings and interests of children. Using play techniques and accessible material for theatrical creativity, children show emotional responsiveness. Theatrical and role-playing games with dolls, performances with toys, which make it possible to teach children in a playful way and consolidate artistic and aesthetic techniques.
In the process of theatrical games, an integrated upbringing of children takes place, they learn expressive reading, plastic movement, singing, playing musical instruments. I create a creative atmosphere that helps each child to open up as a person, to apply their own capabilities and abilities. In the process of creating theatrical performances based on musical works, another side of art opens up for the child, another way of self-expression, with the help of which he can become a direct creator. Theatrical performances, playing with musical pieces take an important place in the integral musical education of a child. Theatricalization allows a child of any age and gender to discover the opportunity to “play” and learn at the same time. This type of activity is available to everyone and has a beneficial effect on the creative development of the child, his openness, emancipation, allows you to save the child from unnecessary shyness and complexes.
The most important component of children's play and theater is the role of mastering and cognizing the surrounding reality, as its artistic reflection. In play activity, the role is mediated through the play image,and in the theater - through the stage. The forms of organization of these processes are also similar: - play - role-playing and acting. Thus, theatrical activity meets the nature of this age, satisfies the basic need of the child - the need for play and creates conditions for the manifestation of his creative activity. As a rule, fairy tales, which give "an extremely bright, wide, multi-valued image of the world," serve as material for theatrical embodiment. By participating in the dramatization, the child, as it were, enters the image, reincarnates into it, lives its life. This is perhaps the most difficult implementation, since it does not rely on any substance sample.
The musical component of theatrical activities expands the developmental and educational capabilities of the theater, enhances the effect of emotional impact on both the mood and the outlook of the child, since the coded musical language of thoughts and feelings is added to the theatrical language of facial expressions and gestures. In this case, the number and volume of sensory-perceptual analyzers (visual, auditory, motor) in children increases. The natural predisposition of preschoolers to “singing” and “dancing” explains their keen interest in the perception of musical and theatrical performance and participation in it. Satisfaction of these age-related needs in musical and theatrical creativity frees the child from complexes, gives him a sense of his own peculiarity, brings the child a lot of joyful minutes and great pleasure. The perception of “singing words” in a musical performance becomes more conscious and sensual due to the connection of sensory systems, and his own involvement in the action allows the child to look not only at the stage, but also in “himself”, to catch his experience, fix it and evaluate it. The purpose of work in the direction of musical and theatrical activity is to make the life of pupils interesting and meaningful, filled with vivid impressions, interesting things, the joy of creativity, to strive so that the skills gained in theatrical games can be applied by children in everyday life. From the variety of means of expressiveness, the kindergarten program recommends the following: to form in children the simplest figurative and expressive skills (for example, to imitate the characteristic movements of fairy tale characters - animals); In the classroom, during games and entertainment, I gradually give children various materials, musical instruments, toys, and so on, so that, under the guidance of a teacher, they master them. For example, in theatrical activities, children master the techniques of finger puppets, bibabo, while playing music - various techniques of playing the metallophone, tambourine, spoons, etc. Musical and theatrical activity is a synthetic form of work with children in musical and artistic education. It includes the perception of music, song and play creativity, plastic intonation, instrumental music making, artistic word, theatrical games, stage action with a single artistic concept. It is known that the basis of a musical image is the sounding image of the real world. Therefore, for the musical development of a child, it is important to have a rich sensory experience, which is based on a system of sensory standards (height, duration, strength, timbre of sound), which are actually represented in the sounding images of the surrounding world (for example, a woodpecker knocks, a door creaks, a stream babbles, and so on. ). At the same time, the process of musical activity is based mainly on artificially created images, which have no sound and rhythmic analogy in the surrounding reality (dolls sing, hares dance, etc.), all this can be played out with the help of theatricalization. Theatrical activity leaves a lot of scope for the creativity of the child himself, allows him to come up with this or that dubbing of actions, to select musical instruments for performance, the image of his hero. If desired, children should be able to choose their own roles, without any coercion.
Supporting the initiative to improvise on musical instruments, singing, dance and theatrical activities allows children to develop a "live" interest in music lessons, turning them from a boring duty into a fun performance. Theatrical activity contributes to the mental and physical development of the child, allows, within the framework of theatrical play, to learn about the norms, rules and traditions of the society in which he lives. Thus, theatrical activity, in the process of musical education of children, performs a socializing function and thereby gives an impetus to the further development of the child's abilities.
From the experience of the pedagogical work of the music director
MBOU - Pervomaiskaya secondary school
(preschool department)
Filimonenko Natalia Evgenievna
"Musical - theatrical activity - as a factor in the development of creative abilities of preschool children"
Klintsy
2014 year.
Plan:
Introduction ………………………………………………………………………… 3
I. Theoretical part ……………………………………………………… .. 6
1.1 The experience of domestic teachers in musical and theatrical activities in kindergarten 6
1.2 Classification of theatrical games .. …………………………… 15
1.3 Making theatrical puppets and decorations …………………… ..20
II. Practical part (from personal experience) …………………………………… .31
2.1 Management of musical and theatrical activities. ... ... 31
2.2 The role of music in creating the image of a performance ..................... ................ 44
2.3 The role of the caregiver and parents ...................... 45
2.4 Development of singing abilities in musical and theatrical activities ..................... ... ... 46
2.5 Development of dancing abilities in musical and theatrical activities ... 50
2.6 Puppetry rules …………………………………………… .51
2.7 Diagnostics of the examination of the level of development of children in musical and theatrical activities ... 53
The effectiveness of the experiment ……………………………………………………… 57
Conclusion …………………………………………………………. …………… 59
References ……………………………………………………………… 60
Appendix …………………………………………………………. ……… ... 62
« None of the arts possesses
such an effective educational
by force, as musically - theatrical
activity that is a means
spiritual self-awareness of a person ... "
G.V. Kuznetsova.
“Theater is a magical world.
He gives lessons in beauty, morality
and morality.
And the richer they are, the more successful
the development of the spiritual world is in progress
children ... "
B.M. Teplov
Introduction
Preschool age is one of the most crucial periods in the life of every person. It was during these years that the foundations of health, harmonious mental, moral and physical development of the child were laid, and the personality of a person was formed. In the period from three to seven years, the child intensively grows and develops. Therefore, it is so important from early childhood to attach the interest of a little person to their native culture, theater, literature, painting, music. The sooner you start it, the more results you can achieve.
The unique capabilities of each child are most fully manifested and developed in creative activity, one of which in kindergarten is theatricalization. To captivate children with art, to teach them to understand the beautiful is the main mission of the music director. Musical and theatrical activity in kindergarten is the most common type of children's creativity and a form of entertainment in kindergarten, which is closely related to the musical development of children. She is the most popular and fun destination. In this activity, children become participants in various events from the life of people, animals, plants, learn to notice good and bad deeds, show curiosity, they become more relaxed and sociable, learn to clearly formulate and express their thoughts.
Musically - theatrical activity turns for them into
a real holiday. Music helps to convey the character of the characters in motion, the characters sing, dance. Enrichment with musical impressions occurs, creative activity, determination, perseverance awakens, forms emotional responsiveness to music, modal feeling, musical and auditory performance, a sense of rhythm. Children like to play songs themselves, act out the actions of fairy tales, familiar literary plots. Music evokes joyful emotions, develops memory, children's speech, aesthetic taste, promotes the manifestation of creative initiative, the formation of a child's personality, the formation of moral ideas in him, relieves stiffness and stiffness, develops a sense of rhythm and coordination of movements, plastic expressiveness and musicality, the ability to use intonation, expressing basic feelings, a respectful attitude towards each other is formed.
It is obvious that musical theatrical activity teaches children to be creative personalities, capable of perceiving novelty, the ability to improvise.
The current stage of development of the preschool education system is characterized by the search and development of new technologies for teaching and upbringing of children. Theatrical activities contribute to the implementation of new forms of communication with children, an individual approach to each child.
Target: Development of creative abilities in children in musical and theatrical activities.
Tasks:
1. To awaken in the soul of every child a sense of beauty and to instill a love for art, to activate the cognitive interest of children;
2. To develop visual and auditory attention, memory, observation, resourcefulness, fantasy, imagination, imaginative thinking;
3. To form the need for children to spiritually enrich themselves through theatrical activities, music;
4. To form in children theatrical - creative abilities, skills of theatrical culture.
5. To develop children's communication skills: the ability to communicate with adults and children, based on the rules of verbal communication, to encourage the ability to build role-based dialogues in the process of playing out a fairy tale.
6. Remove pinching and stiffness;
7. Create conditions for the development of creative activity of children.
8. Develop the ability to arbitrarily respond to a command or a musical signal.
9. To replenish and activate the vocabulary of children, to acquaint children with the basic theatrical terms (Appendix # 15).
7. To get parents interested in making costumes and attributes for the performance, creating joint creative works with children.
8. Increasing trust in educators.
9. To teach the child self-expression in musical and theatrical activities.
8. Formation of children's interest in the play of dramatization, to promote the development of the communicative qualities of preschool children by means of theatrical, play and musical activities. Promote the harmonization of relationships between children and adults.
9. Use in this activity: theatrical games, musical performances, fairy tales, scenes, puppet theater performances;
I. Theoretical part
1.1. The experience of domestic teachers in organizing musical and theatrical activities in kindergarten
An analysis of the practice of preschool education allows us to conclude that more and more attention is paid by teachers to the disclosure of the potential of the child, his hidden talent by means of theatrical art.
Currently, there are many programs for the education and training of preschoolers in the process of theatrical activity, which is extremely relevant from the point of view of a creative approach to personality development. Let's take a look at some of them.
The program for the organization of theatrical activities of preschoolers and younger schoolchildren "Art - Fantasy" by E. G. Churilova.
The program directs the teacher to create conditions for activating the child's aesthetic attitudes as an integral characteristic of his world perception and behavior. The content of the program allows to stimulate the ability of children to imaginative and free perception of the world around (people, cultural values, nature), which, developing in parallel with traditional rational perception, expands and enriches it.
Purpose of the program: the development of aesthetic abilities by means of theatrical art consists in harmonizing the child's relationship with the world around him, which in the future would serve as his protection from social and interpersonal confrontations.
The main objectives of the program: development of aesthetic abilities; development of the sphere of feelings, complicity, empathy; activation of the thought process and cognitive interest; mastering the skills of communication and collective creativity.
The program consists of five sections of work with children of the senior and preparatory groups of kindergarten:
1. Theatrical play. Not so much the child's acquisition of professional skills and abilities, but the development of play behavior, aesthetic feeling, the ability to be creative in any business, the ability to communicate with peers and adults in any life situations. Games in this section are conventionally divided into developmental, special, theatrical.
2. Rhythmoplasty. It includes complex rhythmic, musical, plastic games and exercises that ensure the development of the child's natural psychomotor abilities, gaining a sense of harmony between his body and the world around him, and the development of freedom and expressiveness of body movements.
3. Culture and technique of speech. It combines games and exercises aimed at developing breathing and freedom of the speech apparatus, the ability to master correct articulation, clear diction, varied intonation, speech logic and orthoepy. The section includes word games that develop figurative speech, creative imagination, the ability to compose short stories and fairy tales, and select the simplest rhymes. Exercises are divided into three types: breathing and articulation; diction and intonation; creative word games.
4. Fundamentals of theatrical culture. Mastering by children of elementary knowledge and concepts, professional terminology of theatrical art. The main topics of the section: features of theatrical art; types of theatrical art; the birth of the performance; theater outside and inside; the culture of the viewer.
5. Work on the play- an auxiliary section, based on the author's scripts, includes topics: acquaintance with the play; from sketches to performance.
Program "Theater - Creativity - Children: Playing Puppet Theater" N. F. Sorokina, L. G. Milanovich.
The program is focused on the all-round development of the child's personality, his individuality. It systematizes the means and methods of theatrical and play activities, substantiates their distribution in accordance with the psychological and pedagogical characteristics of the stages of preschool childhood.
Main goals: consistently acquaint children of all age groups with various types of theater (puppet, drama, opera, ballet, musical comedy, folk show); gradual mastering by children of various types of creativity by age group; improving artistic skills in terms of experiencing and embodying the image, modeling the skills of social behavior in given conditions.
The program consists of four sections corresponding to the age periods of preschool childhood (3-4 years old, 4-5 years old, 5-6 years old, 6-7 years old). It highlights two types of tasks:- educational, aimed at the development of emotionality, intelligence, communication skills of the child by means of children's theater;
Educational, directly related to the development of artistry and the skills of stage incarnations necessary for participation in children's theater.
The program "Theatrical activities in kindergarten" by M. D. Makhaneva.
The program promotes the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interacting with the family.
In accordance with the inclinations and interests of children, the following studios are organized: "Puppet Theater for Kids", "Theater Salon", "In
visiting a fairy tale ", etc.
Subject-spatial environment provides joint theatrical activity of children, is the basis for independent creativity of each child, a peculiar form of his self-education, while the program takes into account: individual socio-psychological characteristics of the child; features of his emotional and personal development; interests, inclinations, preferences and needs; curiosity, research interest, and creativity.
Designing a zone of theatrical activity of children assumes compliance with the basic principles of building a subject-spatial environment: ensuring a balance between joint and individual activities of children; organization of "privacy zones"; provision of the right and freedom of choice; creating conditions for modeling, searching and experimenting; functionality of the use of premises and equipment.
Theatrical activities include acting out fairy tales, scenes, role-playing dialogues based on illustrations, independent improvisations on themes taken from life (funny incident, interesting event, etc.); watching puppet shows and talking about them; dramatization games; acting out fairy tales and dramatizations; exercises to form the expressiveness of performance (verbal and non-verbal); exercises for the social and emotional development of children.
Program "Theatrical activities in kindergarten" EA Antipina.
Purpose of the program: development of children's artistic abilities through theatrical activities.
Tasks and methods: consistent acquaintance with the types of theater; stage-by-stage mastering by children of types of creativity by age groups; improving the artistic skills of children; liberation of the child; work on speech, intonations; collective actions, interactions; awakening in children the ability to vividly imagine what is happening, sympathize, empathize.
Principles: improvisation, humanity, systematization of knowledge, taking into account individual abilities.
The content of theatrical activities includes: watching puppet shows and talking about them; dramatization games; exercises for the social and emotional development of children; correctional and educational games; diction exercises (articulatory gymnastics); tasks for the development of speech intonation expressiveness); transformation games, figurative exercises; exercises for the development of plastics; rhythmic minutes (logo rhythm); finger game training for the development of hand motor skills; exercises for the development of expressive facial expressions, elements of the art of pantomime; theatrical sketches; separate ethics exercises during dramatizations; preparation and performance of fairy tales and dramatizations; acquaintance with the text of a fairy tale, the means of its dramatization - gesture, facial expressions, movement, costume, decorations, mise-en-scène.
Childhood program.
Theatrical activity is integrative, in it perception, thinking, imagination, speech appear in close interconnection with each other, are manifested in different types of children's activity (speech, motor, musical, etc.) and creativity in three aspects (O. Akulova):
Creation of dramatic content (interpretation, rethinking of the plot given by the literary text or composition of a variable or own plot);
Execution of one's own idea (the ability to embody an artistic image using means of expressiveness: intonation, facial expressions, pantomime, movement, melody);
Performance design - in the creation (selection, production, non-standard use) of scenery, costumes, musical accompaniment, posters, programs.
Theatrical and playful activity of a preschooler should become self-valuable, free, creative in order to resolve the contradictions: between the child's freedom to play and the obligatory substantive basis of theatricalization; improvisation of the game and stage-by-stage preparation of theatricalization; the emphasis in the game on the process itself, and in theatricalization on its result.
Theatrical and playful activity of children is considered in two interrelated aspects: as a kind of artistic activity, integrating with literary, musical and pictorial; as a creative story game based on the child's independent play experience.
Children's musical creativity is an important factor in the development of a child's personality. It can manifest itself in all types of musical activity: singing, dancing, playing children's musical instruments. According to O. P. Radynova "Children's musical creativity by its nature is a synthetic activity." Children usually improvise spontaneously in various games. They sing a lullaby to the dolls, hum a march for the soldiers, willingly compose songs, invent melodies for a given text.
Children love to stage songs, come up with movements for round dances. In this they are helped by the literary text and the nature of the music. If an adult does not show ready-made movements during performances, then children can create original, distinctive images expressed in movements.
The study of the problem of abilities was engaged B. M. Teplov, noting that abilities are always the result of development. They only exist in development. It follows from this that abilities are not innate. They develop in the corresponding concrete activity. But natural inclinations are innate, which influence the manifestation of certain abilities of the child.
Creativity may be different for each child, depending on natural dispositions and the development of basic musical abilities. Therefore, it is necessary to approach the issue of developing the creative abilities of children individually, taking into account the characteristics of each child.
Children's abilities to perform creative tasks in musical activity have been thoroughly analyzed in studies. N.A. Vetlugina. It was found that a necessary condition for the emergence of children's musical creativity is the accumulation of impressions from the perception of art, which are the source of creativity, its model. Therefore, it is necessary to use works of art to enrich the creative experience of children. This is listening to classical music, looking at a piece of painting, reading fiction, watching performances.
L. S. Khodonovich notes that for the development of songwriting, a child needs to develop basic musical abilities: modal feeling, musical and auditory representations, a sense of rhythm.
The success of children's creative manifestations depends on the strength of their singing skills, on the ability to express certain feelings and moods in singing, as well as to sing cleanly and expressively.
The creative manifestations of children in rhythm, dancing are an important indicator of musical development. A child begins to improvise, create his own musical and playful image, dance, if he has a developed perception of music, its character, expressive means and if he has motor skills. The activity of children in dance creativity largely depends on the teaching of musical and rhythmic movements.
In the opinion E. Gorshkova - it is necessary to prepare children for musical creativity when teaching dances with separate movements. She suggests teaching children the simplest techniques of dance composition, which are variants of specific ways of embodying a particular content. A plot dance can help in solving this problem.
L.S.Khodanovich notes the importance of equipping dance creativity, both in kindergarten and in the family: musical accompaniment, various costumes and attributes, space for dancing.
L.S.Khodanovich for the development of children's instrumental creativity, it offers not only to teach children certain skills, but also to use a variety of creative tasks.
She recommends giving such tasks in an emotional, figurative form, as well as awakening the imagination and fantasy of children with poetic comparisons, using fairy tales, which helps to liberate children, motivates them and helps to color children's improvisations with various feelings.
Thus, for the successful development of children's creative abilities in musical activity, the following conditions are necessary:
Compliance with the principle of freedom;
Accumulation of impressions from the perception of art;
Accumulation of performance experience (singing, movement, playing musical instruments);
Development of basic musical abilities;
Equipping musical creativity, both in kindergarten and in the family, with musical accompaniment, a variety of costumes and attributes, a space for dancing, children's musical instruments.
According to modern scientists who study the problems of preschool education, the disclosure of the inner qualities of the individual and the self-realization of her creative potential is most promoted by artistic and aesthetic education, part of which is the development of children in theatrical activities.
Thus, all the programs and technologies we have considered are aimed at revealing the creative potential of the child, developing his communicative abilities, mental processes, provide the expression of the personality of the individual, understanding the inner world through theatrical activity.
1.2 Classification of theatrical games
There are many points of view on the classification of puppet theater games for preschool children, which constitute musical and theatrical activity.
For example, teachers L. V. Kutsakova, S. I. Merzlyakova (program "Dewdrop") consider:
- tabletop puppet theater (theater on a flat picture, on circles, magnetic tabletop, cone, toy theater (ready-made, home-made));
- poster theater (flannelegraph, shadow, magnetic poster, stand - book);
- theater on the hand (finger, pictures on the hand, mitten, glove, shadows);
- riding dolls (on hapita, on spoons, bibabo, reed);
floor puppets (puppets, cone theater);
- theater of a living puppet (theater with a "live hand", life-size, people-puppets, theater of masks, tanta - moreski).
For example, G.V. Genov This is how he classifies the types of theaters for preschoolers:
- cardboard;
- magnetic;
- desktop;
- five fingers;
- masks;
- hand shadows;
- "live" shadows;
- finger shadow;
- a book-theater;
- puppet theater for one performer.
L. V. Artyomova proposes a classification director's games in accordance with the variety of theaters (tabletop, flat, bibabo, finger, puppet, shadow, flannelegraph, etc.).
Tabletop toy theater... Used toys, crafts that stand firmly on the table and do not interfere with movement.
Tabletop picture theater... Characters and decorations - pictures. Their actions are limited. The state of the character, his mood is conveyed by the intonation of the player. Characters appear in the course of the action, which creates an element of surprise, arouses the interest of children.
Stand-book. The dynamics, the sequence of events are depicted using illustrations that replace each other. Turning over the sheets of the stand-book, the presenter demonstrates various stories depicting events and meetings.
Flanenelegraph... Pictures or characters are displayed on the screen. They are held by a flannel, which tightens the screen and the reverse side of the picture. Instead of flannel, you can glue pieces of velvet or sandpaper to the pictures. Drawings are selected together with children from old books, magazines or created independently.
Shadow theater. It requires a translucent paper screen, black plane characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. The image can also be obtained using the fingers. The display is accompanied by a corresponding sound.
Games - dramatizations can be performed without spectators or have the character of a concert performance. If they are performed in the usual theatrical form (stage, curtain, scenery, costumes, etc.) or in the form of a mass storyline spectacle, they are called theatricalizations.
L. V. Artyomova proposes a classification dramatization games: games - imitation of images of animals, people, literary characters; role-based dialogues based on text; dramatization of works and songs; staging performances based on one or several works; games - improvisation with plotting without preliminary preparation. Dramatizations are based on the actions of the performer who can use the puppets.
Theatrical play can be divided into two groups: directorial and dramatization.
In the director's game the child is not an actor, acts for a toy character, he himself acts as a screenwriter and director, controls toys or their substitutes. This independence in coming up with a plot is considered especially important for the further formation of play and imagination. (E. E. Kravtsova). While “voicing” the characters and commenting on the plot, he uses different means of expression. The predominant means of expression in these games are intonation and facial expressions, pantomime is limited, since the child acts with a motionless figure or toy.
An important feature of these games is the transfer of function from one reality object to another. Their similarity with director's work is that the child comes up with mise-en-scenes, i.e. organizes the space, performs all the roles himself or simply accompanies the game with a "speaker" text.
In these games, the child-director acquires the ability to “see the whole before the parts”, which, according to the concept V. V. Davydova, is the main feature of the imagination as a neoplasm of preschool age.
Director's games can be group games: everyone leads toys in the general plot or acts as a director of an impromptu concert or performance. At the same time, experience of communication, coordination of ideas and plot actions is accumulated.
Types of games - dramatizations:
Finger drama games... The child puts the attributes on his fingers. He "plays" for the character whose image is on his hand. As the plot unfolds, he acts with one or more fingers, pronouncing the text. You can depict actions, being behind a screen or freely moving around the room.
Dramatization games with bibabo dolls... In these games, bibabo dolls are put on the fingers. They usually act on a screen behind which the driver is standing. You can make such dolls yourself using old
Improvisation- this is playing out the plot without preliminary preparation.
In traditional pedagogy games - dramatizations referred to as creative, included in the structure role-playing game.
Game-dramatization is considered within the framework of theatrical games as included, along with the director's game, in the structure of the role-playing game. However, the director's game, including such components as an imaginary situation, the distribution of roles between toys, simulation of real social relations in a playful way. Its organization does not require a high level of game generalization, which is necessary for a plot - role-playing game. (S. A. Kozlova, E. E. Kravtsova).
In the process of theatrical games:
· the knowledge of children about the world around them is expanding and deepening;
· mental processes develop: attention, memory, perception, imagination;
· mental operations are stimulated;
· there is a development of various analyzers: visual, auditory, speech and motor;
· vocabulary, grammatical structure of speech, sound pronunciation, skills of coherent speech, melodic and intonational side of speech, tempo, expressiveness of speech are activated and improved;
· motor skills, coordination, fluency, switchability, purposefulness of movements are improved;
· the emotional and volitional sphere develops;
· behavior correction occurs;
· a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed;
· the development of creative, search activity, independence is stimulated;
· participation in theatrical games brings children joy, arouses active interest, and captivates them.
1.3 Making theater puppets and decorations
To organize theatrical activities, you can use toys and dolls produced by industry (table theaters, bibabo). But toys made by the children themselves have the greatest educational value, which develops visual skills, manual skills, and creativity.
Tabletop toys can be made of paper, cardboard, foam rubber, boxes, wire, natural material, etc.
The easiest to manufacture is a flannelgraph. Draw figures on thin cardboard, cut them out, stick pieces of flannel on the backs. Screen: cover thick cardboard with a piece of flannel (35x30 cm).
Flat toys.
The characters are drawn on thin cardboard, cut out, the image is placed on the cardboard, the second part is outlined and cut out. Glue both parts by passing a thin stick or paper tube between them (screw the paper smeared with glue onto the used rod from the handle, remove the rod). Figures are installed in spools of thread (it is better if the spools are cut in half), on plastic plugs with holes.
You can cut out the drawn figure, leaving a small piece of cardboard on both halves of the image below, so that, by bending these parts and smearing them with glue, you can glue them to the cardboard circle-stand.
The stands can be wooden, cardboard, but you can do without them - the figure is bent at right angles in some place. Such a theater can be painted with paints, felt-tip pens, and decorated with paper and fabric appliqués.
Toys from cones and cylinders.
Using a compass or stencils, circles of different diameters are cut out, folded in half, cut along the fold lines, cones are glued from semicircles, turning them into a figurine, and parts are glued. To make toys from cylinders, glue them from rectangular sheets of thick paper. It is better to decorate with an applique made of paper, fabric, lace, braid, threads, buttons, beads, beads, sewn or glued to the craft. It is convenient to glue paper, thin fabrics with starch glue, and it is better to glue cardboard, buttons, beads, braid with PVA glue.
Puppets can be made from paper, cardboard, fabric, the heads of characters can be molded to put them on cones. Newsprint is torn into small pieces, filled with water. After the paper is soaked, allow the water to drain, add a handful of flour and knead the dough (3/4 pulp and one part flour). Put the ball rolled from the mass onto a cardboard cone and sculpt the head directly on it.
The heads dry on a cone. Then the details are removed, painted and glued (hair, scarf, etc.). The appropriate fabrics are selected for pasting the cones. On the cones, slots are made into which paws, tails, and hands are inserted. With several of these cones, you can quickly design any toy.
Foam toys.
Children are given pre-painted pieces of foam rubber. Coloring is done by the teacher. Aniline dye, diluted in water, must be dipped entirely into a piece of foam rubber.
To make it better painted over, dip the foam rubber into the dye several times and wring it out. Cuts are made, constrictions are made, parts are sewn, unnecessary parts are cut off, the foam is given the necessary shape.
Magnetic theater.
Toys made by children from paper cones, cylinders, and foam rubber can also be adapted for magnetic theater. Pieces of metal are attached to the bottom of the cones and cylinders with strips of paper. You can put metal pieces into the holes of the coils. Then a stand is made. A piece of cloth is glued to the thin plywood to move the magnet underneath a stand mounted on the edges of two adjacent tables.
Toys from boxes.
Select boxes of various shapes and sizes (from food products, perfumery products, bulk medicines, etc.), glue them, glue them with pieces of paper, cloth and decorate with cut-out elements.
Any box can be adapted for the doll's head (cardboard packaging from sour cream, paper, plastic, cubic, cylindrical, etc.). It is only important that the child's hand can fit freely in it. There are two options for making: either the box depicts the whole figure, or only the head is made. In this case, a kind of a skirt made of fabric is first put on the hand. At the same time, the hand is hidden in a box, and a skirt with an elastic band hides the hand from wrist to elbow.
Such a doll can be made into a talker toy by cutting a hole in the place of the mouth. Moving your index finger inside the box near the hole creates the illusion that the doll is speaking.
Toys made from natural materials.
Used cones, acorns, chestnuts, bark, seeds, bones, etc., which are not held together by plasticine, you need PVA glue, casein or carpentry.
It is better to cover natural materials with colorless varnish. Do not use material that can harm the health of children (burdock, thorns, poisonous plants, fruits and seeds, etc.).
It is more convenient to show the theater of toys made from natural materials on the sand. To do this, planks 10 cm high are nailed to the table top from all sides, sand is poured, decoration is made using roots, bark, pebbles, twigs of plants. You can dig a container with water into the sand, then the characters can swim on rafts and boats made of bark.
Finger theater.
Characters are created from paper, small boxes in which holes are made for fingers. These are miniature figurines made of cones and cylinders that are worn on fingers. Figures or just heads are drawn, glued to cardboard rings and put on the fingers.
An interesting finger theater made of foam rubber, from which the heads of the characters are cut. In the place where the head should have a neck, a groove is made for the finger. It is better to sew the details using multi-colored foam rubber, pieces of fabric.
Finger characters can be made from a variety of fabrics. If the fabrics are not loose, the details must be sewn with a needle-forward seam from the front side, overcasting, or the details must be sewn from the wrong side, then turned out to the front side. Buttons, woolen threads, braid, lace are used.
Finger theater made of paper pulp. Small cardboard cylinders are glued together and put on a finger. A lump of paper pulp is pushed onto a cylinder and the required shape is molded. After drying, paint the heads with paints. You can glue parts to them - ears, eyes; hair is obtained from fabric, threads, tow, bast.
Dolls made of gloves.
Characters can be made from old gloves. If you sew a piece of stocking or tights to a glove, make eyes from buttons and put such a glove on your hand, you get a snake. She can bend with the movement of her hand and wrist, open her mouth and talk. You can make toys from two old gloves. In one, tie the index finger with the middle one in pairs, the ring finger with the little finger, cut off the thumb from the glove - this is the tail. Fold the glove in half across, hide the excess parts in the middle of the folded glove. Pull off the ears - the ends of the middle and ring fingers and sew the part at the junction of the ears. You will get a head, you need to sew it to the middle finger of another glove. Then the tail is sewn - the finger that was previously cut off from the first glove, and this is done in the place where the hand ends. It remains to sew on the eyes-buttons, a bead-nose, and the figure is ready. By changing the shape of the heads and tails, you can make any animal.
When a toy is put on a hand, all its parts (head, four legs) become mobile.
The base of the glove doll can be a four-finger glove. With your ring finger tucked in, place your hand on a piece of paper and circle it with a pencil - this is a pattern. A glove is sewn from two pieces of cloth cut from it. An elastic band is threaded into its upper layer. Thimbles or plastic perfume caps can be used for the feet. You will get a doll - a trample.
A doll made of cardboard.
A cardboard doll is fixed on the hand with an elastic band. The upper half of the figure is drawn on paper, glued to thick cardboard and cut out.
Dolls made of mittens.
The mitten can represent the head of a doll, while the thumb of the mitten serves as a nose for the character. The mitten can be turned into a whole animal, then the thumb of the mitten will be the tail, and the mitten itself will be the body, the head and other details are sewn to it. Such a doll has an active tail (thumb). If you don’t find unnecessary mittens, you can sew them from old knits or fabric. In this case, you do not have to carve out a place for the thumb. Various details are sewn to such a mitten.
Dancer dolls.
They are made of cardboard or plastic. The torso, arms, legs are cut out separately. Then they are attached to the body on strings, and at the back of the figure is a strong wire. For such dolls, you need a special stage with a thin horizontal slit on the back wall, which is made of cardboard and attached to the table with buttons. On the sides there are wide wings, behind which they put the figurine, pass the wire into the slot, bring the doll onto the stage with it and control the dance movements.
Puppet puppets.
Puppet theater characters are also made from different materials. Details can be sewn according to the principle of making a soft toy according to a pattern-pattern, which is superimposed on the fabric, outlined with chalk, cut, simple details are sewn. The principle of operation of such toys is thanks to the fishing line tied to the cross.
Jumping toys.
To make the characters of such a theater, you will need a thin rubber band (hat). Roll a lump of paper pulp so that the elastic is inside it, and the tip with the knot remains on the bottom outside. This is the character's head or torso. The rest of the parts can be glued. In this case, paper, fabrics, foam rubber, wire, oilcloth are used.
Turntable dolls.
They are made by analogy with jumping toys, but the details are attached to sticks. When moving with a stick, the dolls actively move, waving their arms and tails.
Bibabo dolls.
Their mode of action is that they are put on the hand. The index finger is the head of the doll, and the thumb and middle finger serve as hands. Dresses decorated with details (pocket, apron, belt) are sewn for them. Heads can be made of foam rubber, paper pulp, fabric, papier-mâché.
Any kind of jersey is suitable for the production of fabric heads: old stockings, tights; unnecessary waffle towels, dyed with aniline dye or gouache diluted in water. For the head, cut a circle, collect it around the perimeter on a thread, pull it slightly, stuff with cotton wool and pull it off completely. A nose in the form of a small ball is made according to the same principle as the head; hair from a washcloth, thread, different fabrics.
Interesting toys that combine a spinning toy and a bibabo. They are made like this: the head is attached to the stick, the strip of fabric is assembled and attached to the stick (neck), and two round holes are cut on the fabric (dress), where the thumb and forefinger are inserted. The peculiarity of the toy is that both hands are involved in the work. The left holds the wand, and the fingers of the right hand are inserted into the holes. In such a doll, the head can turn, and the hands can act more freely (hold an object, clap, etc.).
Balloon dolls.
The head is made from an inflated ball. The nose can be done like this: separate part of the weakly inflated ball and pull it with a thread, you get a small one on a large ball. The ball is tied to a stick (20-25 cm long), the fabric is sewn with large stitches with a needle forward seam, assembled, pulled together and attached to the neck (put on like on a hanger). Hands are sewn to the doll's shoulders - strips of fabric gathered at the end in an elastic band. Elastic bands are worn on the wrist. The doll is controlled together. One with the left hand holds the wand in the place where the neck is, the other uses the right hand.
Big dolls.
Large dolls (according to the height of the child) are flat and voluminous, preferably made of foam. The child ties the ribbons on the back of his neck, which are attached to the doll's head, the ribbons on the belt behind the back (like an apron) - at the doll's belt. The child attaches the doll's legs and arms to the wrists and ankles, wearing rubber bands sewn to the doll's arms and legs.
Large reed dolls.
The head is attached to a stick, the hands operate with canes (thick wire, sticks). The heads are made of papier-mâché, fabric. Dresses are decorated with braid, lace, ribbons that are glued or sewn on.
Flat reed dolls are made of cardboard. The principle of manufacturing is the same as for shadow theater dolls, only they are made in large sizes, painted with paints, and decorated with appliqué.
Shadow theater.
Figurines for finger shadow theater are very easy to make. According to the figure, cut out the head from thin cardboard and attach a paper tube to it (with glue, thread, paper clip) for the performer's index finger. The performer's hand is the character's torso, and the middle and thumb are the legs.
It is better if the figures have moving heads, limbs, tails. Punctures are made in the details, a piece of wire in a sheath is threaded in and twisted in a spiral on both sides. Eyes: make punctures, widen the holes with a pointed object, stick a piece of colored transparent film on the hole, cover the parts with black paint.
"Living" shadows.
"Living" shadows can be created with the help of your hands - a theater of hand-held shadows, cut-out silhouettes, costumes, false wigs, beards, mustaches. At the same time, the movements should be expressive and clear, the performers do not overshadow each other. Gloves or socks can be pulled over your hands to make them look like the legs of animals. Claws can be easily made from soft wire or cocktail tubes (sew, tie, thread gloves into the fabric).
"Living" dolls (tanta - moreski).
The "living" dolls have real, living heads, and the bodies, arms and legs are dolls. We make two wooden frames 60x90 cm in size. Pull a black cloth onto one frame (the back wall of the stage), sew on a suit that can be filled with cotton wool or crumpled paper. Cut a narrow hole for the performer's head above the suit (at the collar).
Cut out two pairs of legs and two pairs of handles from soft wood. Insert the handles into the sleeves. Stick an awl into the back of each hand, piercing it through the dark matter. Turn the awl - and the doll will wave its handle, grab the upper ends of the legs - they are in motion. Attach a sliding curtain to the second frame.
The table on which the stage is set is covered with a tablecloth to the floor so that the performer's feet are not visible.
The smallest artist.
Cover the table with a tablecloth to the floor. One performer stands at the table and puts on his boots or boots and a jacket or jacket stitching (from back to front). He controls the movements of the little artist's legs; his head is the head of an artist. The second performer stands behind the first and puts his hands in the sleeves of his jacket. He gestures for the little artist.
Masque.
Masks-caps or masks-hoods are made according to the size of the performer's head, to which the corresponding details are sewn.
Scenery.
Children can independently craft trees, benches, a Russian stove from boxes, or make blocks for the palace from several boxes of different size and shape, glue them with paper, and decorate the front with an applique; flat roofs for the tower, glue them to the boxes.
Table theater productions require frequent set changes. To do this, the scenery needed for the play must be glued onto pieces of cardboard, bound into a kind of book. Place it behind the screen and, flipping through the cardboard pages, instantly change the scenery.
You can make a universal construction of cardboard or plywood for all types of figures. An arch (similar to a trellis) is carved in the front part - a mirror of the stage. The curtain is made of cardboard or cloth (then a thin round stick is attached behind the "mirror" at a distance of 2-3 cm from it). The dotted line indicates a bar that can be easily removed for figures walking on the floor and to hide the hands of the performers.
With this design of the scene, the scenery can be in the form of a multi-leaf screen or be located on a cardboard circle. This circle rotates on a thin nail or pin, changes the scenery and shows them in motion.
For a quick change of scenery, they are fixed on a turntable, similar to a stationery tattoo; it is a thick wire driven into a round piece of wood - the base. At the back of the turntable is a screen of three stretchers covered with gauze painted in blue or blue. Through such a transparent backdrop, performers will be able to see the entire stage and confidently control the figures.
Decorations for the shadow theater are cut, like the figures of the characters, from thin cardboard or thick paper. For light moving parts (curtains, flames, clouds, etc.), it is better to use colored film or wrapping paper. It is important to make the upper decoration - the paduga, which throughout the entire performance hangs on the working frame as the main artistic frame. Paduga sets the theme and color (reflects the time of the year, the place of action). Transparencies, filmstrips, slide programs can serve as an original decoration for a performance (colored landscapes, interiors).
Lighting plays an important role in table theater. The bulbs should be positioned so that they illuminate the stage well, but block them from the front side - the light should not fall on the audience.
For lighting effects (moonlight, sunrise, etc.) that decorate any theatrical performance, you must have colored glass, cellophane, painted papyrus paper, etc.
For the lighting effects of the shadow performance, a set of colored glasses or films is selected (I.A.Lykova). The easiest way is to bring a piece of colored film or tinted glass to the lamp at the right time.
It is more convenient to use pull-out frames on a box with a light source and insert film or glass into them.
Lightning flashes can be shown using the backlight. Insert a piece of black paper with a crescent moon cut out on it, direct the backlight to the screen and slowly move the film with the moon. Viewers see a moon floating across a dark sky on the screen.
If you put several strips of film together and turn it from side to side in front of the light source, colored rays run across the screen, like a fireworks or a spotlight in a circus. The rain can be shown by pouring powder (tooth powder, semolina, fine salt) in front of the lamp from a box with small holes.
Glass decorations - "transparencies" - are easy to make yourself. Cut pieces of glass to fit standard transparencies. Wash the glasses in water with soda, wipe thoroughly with a dry cloth and cover with an emulsion that you can prepare yourself: one part of powdered sugar is mixed with five parts of raw egg white; a small amount of wood glue is diluted in a glass of hot water and brought to a boil (until the mixture becomes transparent); whip the white of one egg, stand for 5-6 minutes and mix with two teaspoons of hot water.
Making puppets for theaters with children, first of all, make those characters that are often found in folk tales, works recommended for different age groups. Independent artistic activities of children will be more interesting if children are invited to make and play with different dolls themselves. Playing with them, children create their own fairy tales, fantasize, create. For them, it is a school of communication, self-expression, knowledge, creativity.
II... Practical part (from personal experience)
2.1 Management of musical and theatrical activities
The theme I have chosen at the present stage is obvious: the use of elements of theatricalization, the development of musical creative abilities, improvisation in the process of teaching and upbringing of children is becoming more and more noticeable, being one of the promising directions of pedagogical thought.
In my work with children, I pay great attention to musical and theatrical activities.
Estimated skills of children:
1. Know how to act in concert;
2. Know how to relieve tension from certain muscle groups;
3. Memorize posture data;
4. Memorize and describe the appearance of any child;
5. Know articulation exercises (Appendix # 16) ;
6. They are able to build the simplest dialogue.
Expected results:
1. Children will learn to stage a familiar fairy tale with the help of a teacher.
2. Preschoolers will get an introduction to theater and theater culture.
3. Children will develop a stable interest in theatrical and play activities, a desire to participate in a play based on a familiar fairy tale.
4. Learn to improvise images of fairytale characters using various means of expression (facial expressions, gestures, movements, intonation).
5. Ability to build role-based dialogues and coordinate their actions with other children during the performance.
6. Ability to freely stand on stage.
7. Children will become more friendly, a sense of partnership will arise.
8. Parents' interest in the life of children in preschool educational institutions will increase
Getting acquainted with the modern ideas of developmental education, I understood their essence for myself, trying to adhere to it main principles: development, creativity, play.
I have determined basic principles that formed the basis of the experience:
The principle of purposefulness . I take into account that the goals and objectives of my work are based on a unified concept of state policy in the field of preschool education.
Accessibility principle . Based on it, I take into account age characteristics, needs, interests, levels of preparedness of children, their little life experience.
The principle of visibility of teaching . I am thinking:
Didactic objectives of the study of visualization,
Display methodology,
The amount of visibility and the sequence of the demonstration,
The combination of certain types of visibility,
Inclusion of children in the analysis of observed objects,
Compliance with the requirements of the culture of the display and for the design of visibility.
The principle of upbringing and developmental education. I define the leading learning goals: cognitive, educational, developmental. In the process of work, I encourage children to independently search for improvisation.
The principle of strength. I apply all formed skills and abilities in practice; carrying out an individually - differentiated approach in the process of each lesson.
I use various forms of organization of theatrical activities. In music lessons, I taught children to understand the language of music: to hear the beginning and end of musical phrases and whole musical constructions, to analyze what has been heard using a set of means of musical expression. In movements , while performing plastic sketches and dance compositions, she taught to convey the moods and feelings of the heroes, to create a holistic musical image. All the means I used in music lessons were aimed at helping the child to better understand music, to penetrate deeper into its content, and then the music helped the children to more expressively perform this or that image.
In my work, I have applied musical and theatrical activity for many years, but I began to study in more depth last year with children of the older group.
In the process of preparation, K. Orff's methodology for the development of children's creativity of elementary music-making was used. (Appendix # 26 "b") , programs by N. A. Vetlugina, E. P. Kostina, E. A. Dubrovskaya, as well as methodological developments by A. I. Burenina, N. Sorokina, A. V. Shchetkina, G. P. Novikova.
I have made an attempt to prove that one of the most effective ways to develop the musical and creative abilities of preschool children is theatrical activity. She is close and understandable to a child, lies deeply in his nature and is reflected spontaneously, because it is associated with play. The child wants to embody any of his inventions, impressions from the surrounding life into living images and actions. It is through musical theatrical activity that each child can express his feelings, emotions, desires and views, and not only alone with himself, but also in public, without hesitating the presence of the audience. Therefore, in my work on musical education, I include a variety of theatrical games, game exercises, sketches and theatrical performances.
In my opinion, the systematic involvement of preschoolers in theatrical activity leads to significant shifts in the development of musical creativity in children.
I selected, analyzed and compiled a musical, play, literary repertoire, developed the theme of each musical lesson , consulted for teachers (Appendix # 18) and parents (Appendix # 12).
The first introduction of preschoolers to the theater occurs through acquaintance with the puppet theater.
Puppet show Is a fun and accessible type of activity for preschoolers, where a child can show their creative abilities of self-expression and self-knowledge.
When showing performances of the puppet theater, both an artistic word and a visual image - a doll, parsley, and picturesque - decorative design are used (Appendix No. 21 "d") , and the music is song, musical accompaniment. The skillful use of the puppet theater is of great help in the daily work of the kindergarten in the mental, moral, ideological and aesthetic education of preschoolers.
Preschoolers are very fond of watching puppet theater performances. He is close to them, understandable, accessible. Children see familiar and favorite dolls: a fox, a wolf, a grandmother, a grandfather, which came to life, moved, spoke, became even more attractive and interesting. However, the puppet theater should not be considered only as entertainment. Its educational value is very important. In the preschool period, the child begins to form an attitude towards the environment, character, interests. It is at this age that it is useful to show children examples of friendship, kindness, truthfulness, and hard work.
The conventionality of the puppet theater is close and accessible to children, they are accustomed to it in their games. That is why children are so quickly involved in the play: they answer the puppets' questions, carry out their instructions, give advice, warn of danger and help the heroes of the play. The unusual nature of the spectacle captures them and transfers them to a fabulous, fascinating world. The puppet theater brings great joy to preschoolers.
Of all types of theater, we are very popular: the theater of pictures, divided by us into pictures on a flannelgraph (Appendix No. 22 "1") and pictures on cardboard, bibabo theater (Appendix No. 22 "2"), toy theater, table top cone theater (Appendix No. 22 "3"), finger theater.
In older preschool age the children themselves show puppet shows. This form of work is very interesting and useful. Such shows develop children's artistic abilities more deeply, teach them to understand and experience the content of literary works. Prepared and showed with the children the fairy tale "Turnip" (Appendix No. 17) , "Teremok", etc. Children played up the arrival of different fairy-tale characters according to the plot of the script (Appendix # 1, # 2), prepared a play in 3 acts (Appendix # 4).
The effectiveness of the impact of puppet theater performances on young spectators depends on how high the requirements for the choice of a play, decoration, preparation and conduct of a puppet show are. I try to do this work efficiently, and I never forget that puppet show- this is the first introduction of preschoolers to the theater.
There is no doubt that the introduction of preschool children to theatrical activity requires purposeful guidance from the music director and educator. I began my work to introduce older children to theater with conversations, the purpose of which is to form an emotional level of the idea of theater as an art form. This conversation can be roughly called: "Hello, theater!" In the course of conversations, I invite the children to discuss the following questions: "What are the spectators doing in the theater?", "Who is involved in the play?", "Who assigns roles to the actors?", "How do you know where and when the action takes place?" draws the scenery? "," How should one behave in the theater? " Then I invite the children to complete creative tasks: acting out the fairy tale "Fox - little sister and the Gray wolf", create a play based on the fairy tale "Hare's hut", compose a script and play a fairy tale (Appendix No. 14).
Naturally, children do not immediately master the ability to properly behave themselves on stage: they are constrained, their speech is not expressive, careless. To help children reveal their potential, to realize the need to work on the role, to behave at ease on stage, to be able to convey the essence of their character, special acting training is needed in the games - classes. Their goal is to help you master the following means of figurative expressiveness :
Intonation- I propose to pronounce to children individual words and sentences with different intonations (question, request, surprise, sadness, fear, etc.) on their own, without prompting from an adult.
The purpose of working on intonation- to achieve expressiveness and naturalness.
Poses- first, I invite children to play familiar games such as "The sea is worried"; then depict a pose of someone or something (for example: a karateka, a spider, a birch) and explain why they chose this or that pose. It is useful to give an assignment on how to find one, but the most striking movement that would make the image (Baba Yaga, fat man, tree ...) easily recognizable.
By gestures- I start with simple stage tasks: how to show the state or sensation of a person with a gesture (very hot, I am frozen, I am cold, I am in pain, etc.); the following exercises already include several actions (sewing on a button, washing dishes, drawing with paints, etc.).
Mimicry - I teach children by facial expression (eyes and eyebrows, lips) to determine the mood of a person (Appendix # 11) , and then with the help of facial expressions to express their emotional state or reaction to an imaginary event (ate a sweet candy, sour lemon, hot pepper, etc.).
Pantomime, which combines plastic postures, gestures and facial expressions. I invite the children to use these figurative means to imagine the following situations: "I was washing dishes and accidentally breaking a cup", "I was sewing on a button and pricking my finger with a needle." Then we ask the children to "depict" a blossoming flower, a jumping frog, a child falling asleep, a tree swaying in the wind, etc.
After the children have already sufficiently practiced the acting technique, we arrange theatrical entertainment in the kindergarten - we prepare the dramatization of famous fairy tales, during work we make sure that our pupils use all the means of acting expressiveness that they have learned in the classroom (Appendix # 7) , as well as modern fairy tales based on the plot (Appendix No. 8, No. 9, 29)
Rules for preparing for the show:
· do not overload children;
· do not impose your opinion;
· provide all children with the opportunity to try themselves in different roles.
The preparation of the performance is usually built according to the following approximate scheme:
1. Choice of a play or performance, reading, discussion.
2. Division into episodes and retelling them by children.
3. Work on episodes in the form of sketches with improvised text.
4. Listening to music for different scenes of the performance. We are engaged in staging dances, songs, creating sketches of scenery and costumes with children and parents, decorate the room, prepare gifts for guests.
5. Transition to the text of the play: work on episodes (expressiveness of speech, authenticity of behavior in stage conditions).
6. Rehearsal of individual paintings in different compositions with details of scenery and props (can be conditional), with musical accompaniment.
7. Rehearsal of the whole play with costumes, props, decorations. Clarification of the tempo of the performance.
8. Premiere of the play. Discussion with children, spectators.
9. Preparation of an exhibition of children's drawings based on the play.
The most important thing in children's creative theater is the process of rehearsals, the process of creative experience and embodiment, and not the final result. Since it is in the process of working on the image that the child's personality develops, his ability to create new images. In the process of work, symbolic thinking, motor, emotional control develops. The assimilation of social norms of behavior takes place. Thus, work on sketches is no less important than the performance itself.
Being engaged with theatrical activities with children, we solve two types of problems:
Type 1 is educational tasks that are aimed at the development of emotionality, intellectuality, as well as the development of the child's communicative characteristics, by means of the theater.
Type 2 is educational tasks that are directly related to the development of artistry and skills of stage incarnations necessary for participation in children's theater.
In solving these two types of problems, parents are of great help to us. They are involved in the production of decorations, and I am engaged in the decoration. (Appendix No. 21 "b", "c"). I make dolls, attributes and decorations for fairy tales and scenes (Appendix No. 20, No. 21 "a", "e") , design and make stage costumes (Appendix # 29) – girl - "Yolochka", girls "Mermaids", Koschey the Immortal. Educators, also participate in performances, most often, we take on the roles of negative characters (Santa Claus, Baba Yaga, Kikimora, Scarecrow, Water, etc.) (Appendix No. 24) , but we play Autumn, Zimushka - winter, Granny, Fox Alice, Cat Basilio, Bunny, Clowns (Appendix No. 29) etc. In a word, any performance staged together with children, any holiday with elements of theatrical and playful creativity is, first of all, a game that we, adults, help the child to organize, decorate, give it a special kind of fabulous action, and we play this game together ...
Children of the senior and preparatory groups showed A. Suteev's fairy tales "Under the Mushroom" and "A Sack of Apples" for kids, where they themselves were heroes and performed actions in the transfer of one or another image (Appendix # 30). Children play sketches (Appendix No. 3, No. 6, No. 27) and the arrival of fabulous animals (Appendix # 10).
How did we prepare for the fairy tale "Geese - Swans". We have been preparing the play for 2 months. We started by choosing a fairy tale. I wanted all the children to be busy in the fairy tale. The teacher read it to the children, discussed each character, tried to understand the motives of their behavior, experiences and feelings, retelling individual fragments of the tale with the children. From practice it is clear that it is much easier for children to work with a poetic text, and therefore I have compiled a poetic text of a fairy tale, which supplemented the musical component of the fairy tale. In order for the children of the whole group to be involved in the fairy tale, and not only those who played the main characters, I turned on the round dance game "Burn it is clear", the Russian folk song "Treacle with ginger" and the round dance "And I am in the meadow", dance " Let's go to the garden by raspberries. " So that in the fairy tale not only individual singing sounded, but also choral singing.
In parallel with this, we prepared the scenery for the performance, selected additional musical material, developed costumes for each hero of the fairy tale (Yablonka, Rechka, Stove, Baba Yaga, and others).
There are children who do everything well at once, while others must acquire certain knowledge and skills, observe their peers. Since the role of Baba - Yaga is negative - she invited the whole group to play Baba - Yaga. Everyone decided that Polina was ideally suited for the role of Baba-Yaga - “such a cheerful Baba-Yaga with Polina, like a real one”. And so gradually, from small sketches, a large beautiful performance turned out - a children's opera, which both adults and children fell in love with in our kindergarten. The premiere was a success! It was a real holiday!
In the process of creative work on the play, the children became more sociable, benevolent, attentive, and often came to each other's aid. The self-esteem of children with average abilities increased, and the relationships in the group changed. So we also solved the problem of moral education of the younger generation.
In the preparatory group- theatrical games, fairy tales, scenes are distinguished by more complex characters of the heroes.
· the all-round development of the artistic abilities of children is being improved by means of theatrical art;
· creative independence develops: play, song, dance improvisation, as well as improvisation on children's instruments;
· knowledge about objects, dolls, decorations is deepening;
· the children's vocabulary is expanding, becoming more active; a culture of verbal communication is brought up;
· the skills of improvisation of familiar fairy tales are consolidated, to encourage children to come up with new plots;
· they are looking for expressive means to create an image using posture, facial expressions, gesture, speech intonation;
· a negative attitude towards cruelty, cunning, cowardice is brought up, to form feelings of cooperation and mutual assistance;
· singing skills are being improved;
· creative independence develops, prompting to convey the mood, the nature of the music with the plasticity of his body, creating a vivid image of the hero.
I use the elements of theatricalization in music lessons, entertainment, holidays. I would like to note that not only educators and preschool children, but also parents are actively involved in the work. (Appendix No. 23) , there is an interaction with the school - participation in the holidays of school-age children (Appendix No. 9, No. 28) and this is very important. The joint creative activity of children and adults helps to overcome the traditional approach to the regime of a preschool educational institution, contributes to the self-realization of each child and the mutual enrichment of all, since adults and children here act as equal partners of interaction. The teaching room is equipped with various types of puppet theater , necessary for theatricalization: finger (Appendix No. 22) , shadow, bi-ba-bo, dolls-people, picture theater, table theater, masks .
I periodically update the material, focusing on the interests of children. There is a wardrobe room where I show my creativity in making and sewing costumes.
I believe that every child is talented from the very beginning and the earlier work with children on the development of abilities by means of musical and theatrical art begins, the more results can be achieved in song, dance and play creativity. While doing theater, I stage in front of goal- to make the life of our children interesting and meaningful, fill it with vivid impressions, interesting things, the joy of creativity. So that the skills learned in theatrical activities can be used by children in everyday life.
Attributes to dramatizations... Attributes (elements of costumes, masks, decorations) help children immerse themselves in the fairy-tale world, better feel their characters, convey their character. It creates a certain mood, prepares young artists to perceive and convey the changes that occur during the plot. Attributes don't have to be complicated. When creating a mask, it is not the portrait resemblance to the character that is important (how accurately, for example, the patch is drawn), but the transfer of the hero's mood and our attitude towards him.
Starting this year, in the second younger group, I attach great importance to the corner of the dress. Small children are wonderful actors: as soon as one of them puts on at least part of a costume, he immediately enters into the image. My task is to entice the child to play further, together, to lead him in the game, giving him the opportunity to do something his own way, to give freedom of choice. Only then can the game take place and gradually turn into a whole performance.
Introducing children this year second youngest group with a theatrical puppet - bibabo, and theatrical games. Children watch dramatizations, performances performed by the teacher (Appendix No. 5). Kids happily depict the habits of animals in small scenes, imitating their movements and voices. I develop attention.
Reflecting fabulous images of animals, they analyzed the nature of movement, intonation: a hen or small chickens are walking, funny and sad hares, leaves are spinning, falling to the ground, I also used psycho-gymnastics exercises: it poured rain, the wind was blowing, the sun and a cloud.
I worked to ensure that the children convey the mood, expressiveness of the performance of imitation movements, were able to coordinate movements with music and the lyrics of the song, develop a small motorboat, change their facial expressions (in the exercise “Ladies - palms by E. Karganova, music by M. Iordansky).
While working on acting, I give assignments: the bunny is afraid, the chanterelle listens, a delicious candy, a prickly hedgehog, the cat is ashamed, the bear is offended. I use games for attention, imagination, I achieve a vivid transfer of a diverse image.
Great attention I always devote to the child's speech, the correct pronunciation of words, the construction of phrases, the enrichment of speech. Together with the children, we composed small stories, came up with dialogues of heroes. Children could independently compose and play a story. Working on the expressiveness of the characters' replicas, their own statements, the vocabulary of children is activated, the sound culture of speech is being improved.
The main purpose of pedagogical guidance- to awaken the imagination of the child, to create conditions for the inventiveness, creativity of children.
2.2 The role of music in creating the image of the performance
Music is one of the basic elements of all theatrical performances, performances, one might say the character. It is diverse. When showing puppet theaters, I must use musical accompaniment and sound design. It accompanies the action or fills in the pause, emphasizes the feelings of the hero, or accompanies the dance. Before decorating the performance with music, it is necessary to select music for the performances, let the children listen to it, ask them to move, conveying the image, if the child cannot show it to the adult.
As a rule, performances begin with a musical introduction, a small overture. Music combined with sound and light effects helps to create a complete artistic picture. She, of course, should be simple and accessible to children.
Children love to play and imitate playing musical instruments: balalaika, violin, piano. I support the initiative of improvisation on musical instruments: triangles, metallophone, xylophone, rattle, rattles, spoons, pipe, drums, tambourine, noise instruments, bells. The children themselves came up with various ways to sound the appearance of one or another hero - arrival of a horse- spoons, bells, castanets or wooden spoons; telephone- bicycle bell, alarm clock; sounds of the rain- the slopes of a long flat plywood box with rolling peas. We independently selected musical instruments for the heroes of the fairy tale.
I record musical accompaniment on discs. I use audio cassette recordings.
2.3 Role of caregiver and parents
I believe that an educator plays an important role in conducting classes. He becomes my first and foremost assistant. The teacher is actively involved in the process of preparing and conducting musical theatrical classes. Plays roles in performances, takes part in the decoration of the hall, making costumes and attributes. I recommend educators to carry out preliminary training of children: thematic conversations, viewing pictures, reading a literary work. This helped to more efficiently use the time in the classroom, which solved the problem of lack of time. In addition, the creative interaction between the music director and the teacher enables children to receive a lot of impressions and emotions.
Our team attaches great importance to working with parents (Appendix # 19) ... The participation of parents in theatrical performances, holidays, entertainment helps to improve the quality of the creative development of children. The work of the kindergarten and the family is based on the principles of interaction and cooperation.
The main achievement of teachers in music education is the ability to work together: the music director, educators and parents in a single creative team.
As a music director, it is very important for me that in a world saturated with information, new technologies, the child does not lose the ability to know the world with his mind and heart, he knows how to listen and hear music, create, expressing his attitude to good and evil, can learn the joy associated with overcoming communication difficulties, self-doubt.
2.4 Development of singing abilities in musical and theatrical activities
- emotional responsiveness to music,
- fret feeling,
- musical and auditory performance,
- sense of rhythm.
Musical abilities are necessary for the child to be able to compose and sing a melody, that is, to express himself creatively in song improvisation. Thus, in the process of songwriting, children develop musical and creative abilities. Children acquire the necessary knowledge, skills, and abilities in order to be able to express their own musical impressions in songwriting. All this suggests the idea of deeply engaging in singing.
Performing songs, children perceive music more deeply, actively express their feelings, moods; comprehending the world of musical sounds, they learn to hear the world around them, to express their impressions, their attitude to it. Singing, as an active performing musical activity, it greatly contributes to this. "It is the most important basis for the development of 'musical - auditory ideas', which determine the development of all musical abilities." (Berkman T.L.).
Dealing with the problem of developing singing abilities with children, you are convinced that children of senior preschool age have a desire not only to sing in a choir, in an ensemble, but also to solo, and a true passion for singing appears. Children have a great desire to act out small musical dialogues, scenes, dramatizations, performances. Children are passionate about dance and play creativity, theater, the desire to play different roles. The skill of aesthetic assessment is being formed.
In a song, a child can actively express his / her attitude to music. She plays an important role in the musical and personal development of the child. The song brings up, educates, gives confidence in their abilities, reveals the spiritual and creative potential of children. It provides a real opportunity to adapt in a social environment.
The expected results are fostering a love of music and a desire to develop their singing abilities.
From all of the above, the following conclusions can be drawn:
In the process of singing, the knowledge of children about the world around them expands and deepens, children gain experience, learn to know themselves and others, to evaluate actions, actions;
Mental processes develop and improve: perception, memory, thinking, imagination, sensations, new needs, interests, emotions arise, abilities develop;
The aesthetic attitude to life, to music is successfully developing, the experiences of the child are enriched;
Musical-sensory abilities and especially musical-auditory representations of pitch relations, specific knowledge about music are actively formed;
Improve: coordination, fluency, expressiveness of movements, imagination, fantasy in the musical creativity of children;
A sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed;
The development of creative - search activity, independence is stimulated;
Singing lessons bring joy to children, arouse active interest, and captivate them.
So, singing lessons are of great importance for the all-round development of the child, therefore, they are the basis for the development of the creative abilities of children. Therefore, the music director is obliged to:
1. To create conditions for the realization of the artistic and creative experience of the child.
2. Introduce the child to the independent creative embodiment of the musical image in the forms accessible to him: song, dance and play improvisations, musical and didactic games, in theatrical activities.
Fairy tales and performances are always loved by children. They are happy to be included in what is happening as actors - performers, and as spectators. Transforming into one image or another, preschoolers laugh when their characters laugh, feel sad with them, they feel and think the same way as their fairy-tale heroes.
It is important that the teacher understands the meaning of his activity and can answer the questions for himself: why, for what purpose am I doing this, what can I give to the child, what can children teach me? It is also important that in the process of creative interaction with a child, the teacher is primarily concerned with the process of upbringing, not teaching. It should be noted that performing musical parts in fairy tales, operettas, operas, children have a desire to sing better and better. Here we solve the next problem - the development of singing skills.
Singing skills can be successfully developed only where work is carried out systematically and systematically to develop pitch and rhythmic perception in children.
Theatrical play should be aimed not only at gaining positive experience, but one should not be afraid of failure. They perfectly temper the child's character, teach them to experience and educate the ability to yield to another, and this is so important in life. An adult must definitely identify and emphasize the positive qualities of the characters in a fairy tale and condemn the negative ones. A negative image will lose its appeal if it is presented in a way that provokes general laughter and condemnation. And these roles are best assigned to an adult in performances.
Since I am engaged in theatrical activities in kindergarten, I decided in my work to pay attention to the development of singing abilities. Due to the fact that children are very fond of fairy tales and love to sing, the idea arose to stage musical performances, fairy tales, etc.
This is not to say that this type of activity was new for our kindergarten. Teachers in their work traditionally use theatrical games, dramatization of fairy tales, puppet shows.
2.5 Development of dancing abilities in musical and theatrical activities
In dance creativity I bring up interest and desire to move in various ways - animals, snowflakes, parsley, gnomes, etc. I use various attributes: flowers, leaves, ribbons, sultans, handkerchiefs, cubes, balls, Christmas trees, fur toys, etc.
In the process of musical and rhythmic education, I use the program "Rhythmic Mosaic" by A.I.Burenina, since it is aimed at developing the artistic and creative foundations of the personality, which contributes to the psychological liberation of each child. The program assumes a wide selection of dance and rhythmic compositions. Here are children's songs and melodies, famous music from films. My children have the opportunity to sing not only their favorite songs, such as: "Antoshka", "Cheburashka" by V. Shainsky, "Colorful Game" by B. Savelyev, "Magic Flower" by Y. Chichkov, but also to dance to them. It gives them great joy, and if children enjoy doing it, then you can always expect good results.
2.6 Puppetry rules
It is better to start learning puppetry techniques with the theater of spoons. The doll, made from wooden spoons, is easy to operate. The child takes the spoon by the handle and lifts it up. The child's hand is hidden under a skirt worn on a spoon.
Working with the screen, the child should feel that the doll is "walking" without falling through and not too high. It is necessary to teach how to convey the gait, the image of a given character (easily, waddling, fidgeting, etc.). The doll should leave gradually - just as it should enter. When the dolls "talk", the doll that is "talking" at the moment moves slightly. The other at this moment attentively "listens", temporarily stops any movement. This technique allows the audience to determine which of the dolls is delivering its line. During the conversation, the dolls should "look" at each other, standing one against the other. It is important that the child's speech coincides with the movement of the doll, the sketches will help "revive" the doll, master the basics of puppetry.
General rules for puppetry
The doll should be held at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise three-quarters of its height.
When the doll performs the movements, its arms should be pressed to the body.
Keep the doll straight. The tilt of the doll is carried out by tilting the hand. The doll's waist fits right on the wrist. Taking the doll to the background, you need to raise it higher. To place the doll, you first need to tilt it, bending it at the wrist, then rest your wrist on the place where the doll is seated. When the previously seated doll gets up, it first leans forward, straightens and at the same time rises to a straightened position.
If the doll has no legs, putting it on the edge of the screen, put a free hand from below in place of the imaginary knees, covering it with the doll's clothes.
The movements of the doll and words should be directed towards a specific object of attention.
The speaking doll should emphasize the most important words with movements of the head or hands.
When one doll speaks, the rest should be motionless: otherwise it is not clear to whom the words belong.
The character of the actor is transferred to the doll.
2.7 Diagnostic examination of the level of development of children in musical and theatrical activities
Senior group for September 2013 and May 2014 academic year G.
P / p No. | Name, surname of the child | Development level (B, C, H) | |||||||||||||||||
High emotion naya responsive | Ability is free and liberating but hold on to the lead niyah | Ability iprovisiro | Fast and durable memory text | Intensive new language development | Extensive vocabulary | ||||||||||||||
1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice |
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Anastasia A. | |||||||||||||||||||
Tatiana K. | |||||||||||||||||||
Yaroslav K. | |||||||||||||||||||
Anastasia L. | |||||||||||||||||||
Dmitry P. | |||||||||||||||||||
Polina S. | |||||||||||||||||||
Nikita Ch. | |||||||||||||||||||
High - 3 (the child independently, without mistakes, copes with the task) high level at the beginning of the year - 21.5%, at the end of the year 58.3%
Average - 2 (the child performs tasks with the help of an adult) average level at the beginning of the year - 56.2%, at the end of the year 31.3%
Low - 1 (a child, even with the help of an adult, makes mistakes in completing the task) low level at the beginning of the year - 22.3%, at the end of the year 10.4%
Diagram of the level of development of children of the senior group in musical and theatrical activities for September 2013 and May 2014 academic year. G.
High level at the beginning of the year - 21.5%, at the end of the year - 58.3%;
average level at the beginning of the year - 56.2%, at the end of the year - 31.3%;
low level at the beginning of the year - 22.3%, at the end of the year - 10.4%
From the diagram of the level of development of children of the older group in musical and theatrical activity for September 2013, it can be seen that before the start of the experiment, children with a high level at the beginning of the year - 21.5%, with an average level - 56.2%, with a low level - 22.3 %.
After completing the experiment, the result increased significantly. For May 2014 academic year The number of children with a high level increased significantly - 58.3%, with an average level - 31.3%, and with a low level it became only 10.4%.
DIAGNOSTICS
the level of development of children of the preparatory group for musical and theatrical activities as of September 2014
P / p No. | Name, surname of the child | Development level (B, C, H) | The general level of development of the child |
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High emotion naya responsive voice to music, good orientation in space | The ability to distinguish the mood, feelings, emotional state of characters. | Ability is free and liberating but hold on to the lead niyah | Ability iprovisiro to use means of facial expressions, pantomime, expressive movements and intonation | Fast and durable memory text | Intensive new language development | Extensive vocabulary | Ability to play a role independently. |
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1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice | 1st slice | slice |
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Daniel B. | |||||||||||||||||||
Kirill M. | |||||||||||||||||||
Tatiana M. | |||||||||||||||||||
Polina S. | |||||||||||||||||||
Anastasia S. | |||||||||||||||||||
Darina H. | |||||||||||||||||||
Valeria Ch. | |||||||||||||||||||
Alexander Ch. | |||||||||||||||||||
Arseny Sh. | |||||||||||||||||||
Andrey D. | |||||||||||||||||||
high level - 3 (the child independently, without mistakes, copes with the task) high level at the beginning of the year - 50%,
average level - 2 (the child completes tasks with the help of an adult) average level at the beginning of the year - 36.25%,
low level - 1 (a child, even with the help of an adult, makes mistakes in completing the assignment) low level at the beginning of the year - 13.75%.
Diagram of the level of development of children of the preparatory group for musical and theatrical activities for the September 2014 academic year
High level at the beginning of the year - 50%;
The average level at the beginning of the year is 36.25%;
Low level at the beginning of the year - 13.75%.
Let us analyze the diagram of the level of development of children of the preparatory group for musical and theatrical activities for the September 2014 academic year. With a high level at the beginning of the year - 50%, with an average level - 36.25%, with a low level - 13.75%. The alleged reason for the significant changes is related to the fact that children did not attend preschool in the summer.
Taking into account the analysis of my own experience, I came to the conclusion that the system of the work carried out turned out to be the most optimal, adequate and effective in my work with children. Children showed their achievements at parties and entertainment. Their performances were distinguished by bright, confident artistic performance. I, as a musical director, engaged in the development of children's creative abilities by means of musical and theatrical activities, get pleasure, joy from the very process of joint creative activity.
The effectiveness of the experience
The value and benefit of practicing musical and theatrical activities is obvious, since it is closely related to other activities - singing, moving to music, listening, drawing, etc. Being engaged in the development of the creative abilities of children by means of musical and theatrical activities in the process of observation, I drew attention to the following:
In children, already after the first year of study, the formation of musical creative abilities turned out to be at a higher level in all areas.
The ability to improvise (song, instrumental, dance) has significantly improved.
Children began to actively use means of expression (facial expressions, gestures, movements).
Emotional responsiveness has increased, an orientation in emotional content has developed, which is based on the ability to distinguish feelings, moods and compare them with the corresponding acting manifestations.
Children began to show more activity, initiative, participating in the game.
Children develop moral, communicative and strong-willed personality traits (sociability, politeness, sensitivity, kindness, ability to complete a task or role to the end).
Children became more emotional and expressive in performing songs, dances, and poems.
The children acquired the ability to express their understanding of the plot of the game and the character of the character (in movement, speech).
The children had a desire to invent, tell a fairy tale, compose a dance, etc.
Children began to show a strong interest in theatrical activities.
Thus, musical and theatrical activity comprehensively develops the child.
Conclusion
The art of theater represents the interaction of music, dance, painting, acting, introduces them to the world around them, improves movements, finger motor skills, acquire skills in song and dance creativity, contributes to the implementation of the goal of modern education. Theatrical games always delight children,
They are very popular with them.
Children take part with great pleasure in various types of theatrical activities, these are director's games and dramatization games. They allow you to create a favorable emotional base for the development of positive emotions and ethical feelings.
The individual performance of various creative tasks in a playful way leads to the simplest conclusions, helps children independently analyze the work performed, compare and contrast plots and productions.
My work experience has shown that musical and theatrical activities can be used both in the classroom and in independent artistic activities, in preliminary and individual work with children, etc. Children look forward to each lesson with impatience, study with desire and joy, that, promotes the disclosure of their creative manifestations.
In the future, I plan to replenish the teaching room and use other types of puppet theater in my work.
After all, theater is a game, a miracle, magic, a fairy tale!
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