Bogdanova Alesya
Work experience of the musical director "Theatrical activity"

Theater is a magical world... He gives beauty lessons

morality and ethics. And what are they richer,

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

B. M. Teplov

Modern preschool institutions are looking for new humanistic, student-centered approaches to education. Therefore, I, like many teachers, are busy looking for non-traditional ways in interacting with children, while solving a number of important questions:

- how to make each lesson with the child interesting and exciting, simply and unobtrusively tell him about the beauty and diversity of the world;

- how to teach a child everything that will be useful to him in this complex modern life; how interesting it is to live in this world;

- how to educate and develop its main capabilities: hear, see, feel, understand, fantasize and invent.

Based on the task at hand, I like music director attracted theatrical activity... Nature theatrical activity is diverse... It combines the means of architecture, painting, plastic organization of action with music, rhythm and word. During theatrical games, there is an integrated upbringing of children, they are taught expressive reading, plastic movement, singing, playing on musical instruments... A creative atmosphere is created that helps each child to open up, to apply their own capabilities and abilities.

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 introduce a little person to 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 the creative activities, one of which in kindergarten is theatricalization... To captivate children with art, teach them to understand the beautiful is the main mission music director.

« Theatrical activities is an inexhaustible source of development of feelings, experiences and emotional discoveries of the child, introduces him to spiritual wealth. Staging a fairy tale makes you worry, empathize with the character and events, and in the process of this empathy, certain attitudes and moral assessments are created, simply communicated and assimilated. " (V. A. Sukhomlinsky).

The relevance of the topic I have chosen at the present stage is determined by the Federal State Educational Standard (federal state educational standards) i.e. pedagogy from "Didactic becomes developmental", which means the use of elements theatricalization, development musical creativity, improvisation in the process of teaching and upbringing of children is becoming more and more noticeable, being one of the promising areas of pedagogical thought. Getting acquainted with the modern ideas of developing education, I understood their essence for myself, trying to adhere to its main principles: development, creativity, play. I support those pedagogical ideas, the essence of which is reduced to a single concepts: child development can be understood as an active process of self-awareness, active the creation of a little person's own personal biography. And an adult should help him - a teacher in in this case- I AM, music director associated with it by common bonds of assistance and cooperation.

In the process of writing experience was used the methodology for the development of children's creativity of elementary music-making by K. Orff, programs by N.A. Vetlugina, E.P. Kostina, E.A. Dubrovskaya, as well as methodological development A... I. Burenina, N. Sorokina, A. V. Shchetkina, G. P. Novikova.

The practical significance lies in the fact that the accumulated material (planning, classes on musical education, consultations for teachers and parents, etc.) can be used during holidays, entertainment, in the daily life of children, in the classroom in theater circles.

Scientific novelty and theoretical significance experience is to address the development problem musical creativity of preschoolers by means theatrical art, v development of forms and methods of work with children as in the classroom musical education, and outside the classroom, in the designation of the main directions of the organization musical and theatrical art.

Goal and tasks work experience you see on the screen.

Target: the formation of artistic and aesthetic development, a comprehensively developed creative personality of a preschooler by means, determining the meaning theatrical art as a means of development musical creative abilities of children, the emotional sphere, the formation of an emotional perception of life.

Tasks:

1. To awaken in the soul of every child a sense of beauty and to instill a love for art;

2. Use in this activities: theatrical games, musical performances and fairy tales, puppet show theater;

3. Form the need for children to spiritually enrich themselves through theatrical activities, music;

4. Develop the formation of simple creative imagination skills through various kinds theatrical activities, music.

The main idea of ​​my work is the introduction of children to art, through theatrical activities, ability to exercise musical creativity.

In its work I used various forms of organization theatrical activities... On musical in the classroom, I taught children to understand the language music: hear the beginning and ending musical phrases and whole musical constructions, analyze what was heard using a set of means musical expressiveness... In movements, when 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 tools I use for music lessons were aimed at helping the child better understand music, penetrate deeper into its content, and then music helped children to more expressively perform this or that image.

Theatricalization at work I have used with children from a young age. Kids happily portrayed the habits of animals in small scenes, imitating their movements and voices. In the reflection of the fabulous images of animals, they analyzed the nature of the movement, intonation: there is a hen or small chickens, funny and sad hares, leaves are spinning, falling to the ground, I also used exercises for psycho-gymnastics: poured rain, the wind is blowing, the sun and a cloud. I AM worked on so that the children convey the mood, change their facial expressions (in the song of the Bee "Do not interfere, I will bite"- an angry face; "The cheerful beetle sings"- joyful faces). With age, tasks for theatrical activities became more complex, children staged small fairy tales, poetic works. Staged fairy tales "Teremok", "Turnip", "Fly Tsokotukha", "Zayushkina hut" and etc.

In songwriting, I invite children to come up with melodies for separate the words: “What do you want, kitty? - a little milk! "... Senior preschoolers in GCD compose a melody in the genre of a lullaby for a bear, a doll; in the dance hall - "The frogs are dancing"... In dancing, I bring up interest and desire to move in various images - animals, snowflakes, parsley, gnomes, etc. I use various attributes: flowers, leaves, ribbons, salutes, handkerchiefs, cubes, balls, etc. Children imitated the game on musical instruments: balalaika, pipe, drums, piano. I support the initiative of improvisation on musical instruments: triangles, metallophone, ratchet, spoons. The children themselves came up with various ways to sound the appearance of one or another hero - the arrival of a horse - spoons, bells; independently selected musical tools for heroes fairy tales: a bunny - a drum, a bear - a tambourine. Working over acting, I give tasks: the bunny is afraid, the chanterelle listens, delicious candy, prickly hedgehog, the cat is ashamed, the bear is offended. At will, the guys chose roles for themselves, without any coercion. I use games for attention, imagination, I achieve a vivid transfer of a diverse image. I always pay great attention to the child's speech, the correct pronunciation of words, the construction of phrases, and 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 over the expressiveness of the characters' remarks, their own statements, the vocabulary of children is activated, the sound culture of speech is improved.

During musically-rhythmic education I use the program "Rhythmic Mosaic" AI 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 known music from films... My children have the opportunity to sing not only their favorite songs, such how: Antoshka, "Cheburashka" V. Shainsky, "Colorful game" B. Savelyeva, "Magic flower" Yu Chichkov, but also dance to them. It gives them great joy, and if children enjoy doing it, then you can always expect good results.

I teach in each age group once a week in the afternoon.

Work experience shows that children are looking forward to each lesson, they are engaged with desire and joy, which undoubtedly contributes to the disclosure of their creative manifestations.

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 and theatrical classes... Plays roles in performances, takes part in the decoration of the hall, making costumes and attributes. I recommend that educators conduct preliminary training children: thematic conversations, looking at pictures, reading a literary work. This helped to more efficiently use the time in the classroom, which solved the problem of lack of time. Also, creative interaction music director and a teacher enables children to get a lot of impressions and emotions.

Our team attaches great importance to work with parents... Parental involvement in theatrical performances, holidays, entertainment helps to improve the quality of the creative development of children. Work kindergarten and family is based on the principles of interaction, cooperation. The main achievement of teachers in work on musical education is skill to work together uniting the efforts of the head, methodologist, music director, educators and parents into a single creative team.

For self-realization activities in each group of preschool educational institutions there is a corner « Theatre» equipped with "Characters" for finger, puppet, tabletop, shadow theaters and other paraphernalia required for staging performances.

For me, as a teacher, it is very important 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, to create, expressing his attitude to good and evil, he could know the joy associated with overcoming the difficulties of communication, self-doubt.

Effectiveness experience

The value and benefits of classes theatrical activity is obvious, since it is closely related to other species activities - singing, movement under music, listening, drawing, etc. Developing musical creative abilities of children theatrical activities while observing, I drew attention to following:

In children, already after the first year of education, musical creativity has proven to be at a higher level across the board.

Improved ability to improvise significantly (song, instrumental, dance).

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.

Children have acquired the ability to express their understanding of the plot of the game and the character of the character (in motion, 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.

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.

2012 diagrams 2014 (on the screen).

It can be seen from the diagrams that prior to the experiment, children with high levels of musically-creative development in theatrical activities were 33, 5%, with a low level - 26%, with an average - 40.5%. After completing the experiment, the result increased significantly. The number of children with a high level increased significantly - 61%, with an average level - 30%, and with a low level it became only 9%. The supposed reason for the low level is the absence of children due to illness.

Taking into account the analysis of our own experience came to the conclusion that the system held work proved to be the most optimal, adequate and effective in my work with children... During these two years, children showed their achievements at parties and entertainment. Their performances were distinguished by bright, confident artistic performance. I, as a teacher, developing the creative abilities of children by means of theatrical activities, I get pleasure, joy from the very process of joint creative activities.

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.

Komleva Veronika Viktorovna

Candidate of Pedagogical Sciences, Researcher of the Federal State Budgetary Scientific Institution "Institute of Art Education and Cultural Studies" of the Russian Academy of Education.

Annotation:

The article deals with the creative development and participation of younger students in musical performance. This is a special field of activity in which a child can express and realize himself. Musical theater and the process of preparing a play or performance is one of the ways to identify talented and gifted children. A theatrical musical performance for a teacher is an opportunity to diagnose the creative level of development of children, to determine indicators on the scale of giftedness. The rehearsal period and musical performance is a way of testing and building indicators of the scale of talent and giftedness of the creative growth of a child and a teacher.

The publication was prepared as part of the state assignment 2015 / P9

Why is theater classes so important for a child? Because subjects aimed at the artistic and aesthetic development of the child in the learning process force all the child's perception systems to be included. Classes on the subject "Musical theater" help to include the child's sensory systems in the learning process more effectively. V. Oaklander in his work "Windows into the world of a child" indicates that through sight, hearing, touch, taste and smell, we are aware of ourselves and are in contact with the world. In the future, we begin to act mechanically, moving away from emotions. Reason supplants emotions, but reason is just one of the constituent parts of our being that must be developed in a child and used in their entirety. Let's try to leave reason and return to feelings. By developing one of the child's sensory systems, the teacher, as it were, turns off the other. We draw and sculpt, in silence and in silence we listen to music with our hands folded on the desk, we experiment with the extraction of noise effects, sounds without conveying our feelings. N. Basina and O. Suslova argue that music is visible and invisible. Music creates movement, and the nature of the child instantly responds to the impulses coming from it. The child is able to touch, see, hear music, as a piece of music is abstract, but very sensual. The child is more open to the perception of music, color, words. In his hands, all this seeks to overcome its immateriality and incarnate, acquire flesh, become visible, alive. S. Kozhokhina describes in her work "A Journey to the World of Art" about the positive experience in the classroom with younger students about the development of taste skills and forms of smell. In a child, the smell and taste can be expressed by color, certain lines, sounds and choreographic impromptu. Many teachers use associative drawing, plastic fantasies, noise impromptu. This is the basis of relaxation, meditation in psychotherapeutic practice. Associative impromptu can be used for testing and as an adjunct to diagnostic tracking. Each theatrical lesson includes a training block, a rehearsal block and creative improvisation as a type of individual test survey. During the lessons, there are two relaxation breaks. These are collective choreographic mini-blocks that are aimed at changing the type of activity and exchanging information. At the end of the lesson, review and brainstorming. The lesson is divided into several stages: Psychological attitude - adaptation. Musical - game greeting. Homework check. Conversation, presentation, attitude to mastering new material. Cognitive block. Travel to the country "Theater". Learning block. Acquaintance with new material. Musical pause. Creative search, active development of new material, trial and experiment to create a new image. Practical block. Rehearsal moment. Discussion, viewing, collective finding of a single image. Demonstration block. Relax pause Musical and choreographic pause. Revealing creative and emotional activity. Discussion of individual and collective homework. Block test - completion of the lesson. Each of the blocks: cognitive, teaching, practical, demonstration, block test contains a lot of illustrative material. These are household items, media screening of excerpts from musical and theatrical performances, acquaintance with works of art, acquaintance with the life and traditions of the native land, the history and culture of different peoples. Musical pauses are a psycho-emotional rest for children on the themes of their favorite pieces of music from past classes, which returns with a refrain to past themes. The rehearsal moment is the most favorite part of the lesson, where children feel themselves to be creators and individual personalities. A creative search for the character of the hero being portrayed, trying oneself in the role of an artist, costume designer, musician of a noise orchestra, an actor raises the child to a new social level. He feels himself more needed, significant, grown up, useful. Theater-based teaching has the main advantageous feature, in comparison with other forms of education and types of extracurricular work, because it is completely based on the creative search of the teacher and the child, and then on the creation of a theatrical product. In classes on the subject "Musical theater" among schoolchildren of the St. George gymnasium in the city of Yegoryevsk, it develops as a collective nature of singing in general and as the most accessible form of familiarizing with beauty, thanks to the presence of a special musical instrument "voice" for each person. The most active and entertaining form of introducing students to art in school is the integration of vocal teaching with theater in the form of staging school musicals. Working on the musical turned out to be very exciting, interesting for teachers, children of different ages and for parents. That is why it was decided to deal with this work with children from the first grade. To solve this goal, the program of extracurricular activities "Children's Musical Theater" was chosen. Theatrical activity for children is a special world, let us recall an excerpt from the conversation between Konstantin Sergeevich Stanislavsky and Natalya Ilyinichna Sats: “Have you ever thought how good it would be to start creating a children's theater from childhood? After all, every child has the instinct to play with reincarnation. This passion for reincarnation in many children sometimes puzzles even us - professional artists. There is something in pedagogy that kills this childish courage of initiative, and only then, becoming adults, some of them begin to look for themselves on the stage. But if you close this gap, if you unite talented children in a children's theater in the prime of their children's creativity and since then develop their natural aspiration - just imagine what a holiday of creativity can be achieved by their mature years, what unity of aspirations. " For work with children, with the support of the staff of the integration laboratory of the Federal State Budgetary Scientific Institution of IHOiK RAO Nekrasova L.M. and Komleva V.V., the teacher of the Georgievskaya gymnasium Basova I.S. created a program for theatrical development of children. The educational area of ​​the Children's Musical Theater program is art. New educational standards place higher demands on the participants in the educational process. One of the most important pedagogical tasks is to increase the general cultural level of students, as well as the formation of aesthetic taste and the need for spiritual culture. Involvement in art contributes to the education of the child's beliefs and spiritual needs, forming his artistic taste. Since artistic experience is always a subjective, personal experience, the student must not only assimilate, learn, remember this or that information, but also process, evaluate, express his attitude towards it. That is, for the knowledge of art, it is not enough to master a certain set of skills, the knowledge of art is possible with the help of the language in which the art itself speaks. One of the forms of active involvement of children in the world of art is children's musical theater as a form of additional education. Theatrical form presupposes support and close relationship with the aesthetic cycle of school subjects; allows you to fully realize the creative potential of the child; promotes the development of a whole range of skills, active perception of different types of art. Education by means of the theater presupposes the development of a full-fledged perception of art, an understanding of the language of art and its specifics. NP Kuraptsev and LG Surin wrote about this in their work "Our friend-theater". The development of sensory perception, fantasy, emotions, thought in the process of the influence of art on a person occurs due to the holistic experience and comprehension of the phenomena of life in art. Through this holistic experience, art forms the personality as a whole, embracing the entire spiritual world of a person. By participating in theatrical performance, children receive an irreplaceable creative experience. In the course of the work, various exercises are used that contribute to the development of communication skills by children, such as establishing contact with each other, the ability to interact with peers, yield and restrain their urges, choose a partner for joint activities, perform certain assigned actions, and achieve expressiveness on stage. During the rehearsal period, children learn to purposefully memorize and reproduce words, concepts, monologues, the skill of establishing semantic connections between objects appears, the volume of memory and attention expands, and verbal memory is constantly developing. Working with musical works, singing, participating in a noise orchestra stimulate interaction, increase the level of attention, contribute to the emergence of feelings, the birth of new images. Plasticity and choreography enable the child to actively express himself non-verbally, to realize his individuality, and to reveal often hidden creative possibilities. The Creative Lab is the backbone of the Musical Theater class because it brings out something unique in every child. The expression of a child's individuality is manifested as a creative act. E.A. Yakovleva points out: “Creativity is nothing but the realization by a person of his own individuality. Depending on in what area and by what means this presentation is carried out, we can talk about specific types of creativity. A child is a social being, his unique individuality must be shown, presented to other people. " The lesson uses the method of identifying oneself with what the child is drawing, sounding the image and animating in movement. Children are struggling but don't give up. The search continues again and again until success, the approval of the teacher and peers, and the child's self-satisfaction come. Children often reinforce their subsequent sensations with drawings. The subject "Musical Theater" is a world of fairy tales and fantasy, a world of wonderful transformations for a child, therefore the entire teaching methodology should be built on impromptu moments of emotional and audience accents. The teacher himself must be a creator and make children create. What could be more amazing than the sounds of music and more magical than a performance in the theater. But this is an academic subject, and the teacher has certain tasks and educational goals - to acquaint children with theater and genres of musical theater. But the most important thing is to explain to the child what creativity is, to teach children to create, to make creativity for children as necessary as air, and the experience gained as a life compass. The theater combines all the arts, children can try themselves in different types of creativity. And it is the teacher who takes on the mission of the discoverer of the new for the child and the new in the child. The earlier a child's giftedness is revealed, the clearer the teacher is the individual creative path of development in the general direction of the educational process. There are many gifted children, even more talented ones, but they are not noticed, not involved, not understood, not fully disclosed. The main component of musical theater is theatrical performance. Theatrical games are of particular importance, they are simultaneously in the field of education and upbringing. The theme and content of these games usually reflect the phenomena of the surrounding reality that are understandable to children, reveal the habits, character, familiar images of animals, birds, the children themselves and their actions. Play is the closest form of activity for preschoolers and primary school children. Theatricalization and music determines the development of the game, deepens the images, creates the appropriate mood. Improvising in the classroom, the child plays and actively moves, listens to music, and gets involved in search activities. The accessibility of play images, interest in the game, the teacher's emotional story before the assignment, as a kind of methodological technique, expressive musical illustrations and theatrical studies allow children to give their individual shades in the performance of theatrical roles. Various games are especially widely used to identify images and find the characters of objects familiar to children. ... Games in various forms and variants are carried out at all stages of the preparation and creation of a creative product. At a more advanced stage of the child's figurative development, play stimulates the child's required arbitrary improvisational action. Non-plot games may not have a specific theme, but in such games there are elements of calling, dancing, fishing, competition, building and rebuilding the game with objects and toys. This is very helpful in finding the character of a hero. This is how the required brightness of the game appears. This passion for play contributes to the further development of creative activity and the development of children's ability. The expressiveness of the movement, soloing and recitation of children depends on the emotional coloring of the plot, which the teacher gives. Introducing children to a new plot game, a search task or a study, the teacher must first interest the children, tell the content, and characterize the images. It is necessary to direct the attention of children all the time to the perception of the work as a whole and the change in the assessment of the character of the hero. The Musical Theater program introduces the child to the world of theater and teaches him acting skills. This program was tested at the St. George Gymnasium in Yegoryevsk and at the Galeas School of Early Development. When drawing up any program, it must be borne in mind that children and parents are tuned in to long-term learning. This is a comprehensive educational process for children and adults, aimed at gaining new knowledge, skills and creative experience. The program should be mobile and modularly constructive, capable of including additional sections and new methods. Much attention should be paid to relaxation breaks, finish-relaxes, art therapy, individual educational routes, steps, creative and experimental levels. Any creative activity must be started with a game, with the child's most natural state, which will help to establish contact, determine the necessary comfortable climate, and help to captivate children. In the classroom on theatrical skills of the subject "Musical Theater", children get acquainted with drama theater and musical theater, learn about the professions involved in the theater, try to decide what they would like to do - try themselves as an actor or participate in an orchestra, take up lighting or decorations. As a result of pedagogical observation, questionnaires, diagnostics according to the talent test, three groups of children are identified: children with normal age-related artistic development; creatively active children with developed artistic abilities; gifted children. For each group, the teacher selects creative tasks in order to enhance the creative activity of children. Further, the step-by-step tasks are combined into a single route for solving educational problems, the result of which is a musical performance. Classes, a rehearsal period for the subject "Musical theater", game tasks during classes, creative homework done by children, help the teacher to consider the grain of creative giftedness in every child, to reveal his talent. A theatrical musical performance is a way to diagnose the creative level of development of children, to determine indicators on the scale of giftedness. The rehearsal period and musical performance is a way of testing and building indicators of the scale of talent and giftedness of the creative growth of a child and a teacher. This is a way of attracting parents and adults to the educational process and participation in creative contests for adults with children, one of which is the creative development of adults and independent participation in contests and shows for the creation of theatrical costumes, scenery, and make-up. Particularly popular among children and adults is participation in the competitions "Grandma's Chest", "Forgotten Object". In the process of the teacher's work on creating a creative product, objects of the artistic and aesthetic cycle are integrated at the level of intersubject connections, which allow to form, in unity, meaningful, operational and motivational components of educational activity. The spirituality of the individual, the creative abilities of the child, the ability to see and create beauty develops. Thus, the education of a harmonious versatile personality, the development of its creative potential and general cultural outlook, capable of actively perceiving art, takes place. The following tasks for the development of the child are carried out: a holistic view of art is formed; skills of creative activity are formed; expanding ideas about the concepts of general and special for different types of art; skills and abilities are formed in the field of acting, vocal and choral performance; continuation of work on improving the level of performing skills: to be able to apply the acquired knowledge in practice. Educational tasks are being fulfilled: There is a contribution to the upbringing of artistic and aesthetic taste, interest in art; Develop the ability to actively perceive art. Development tasks are being implemented: creation of conditions for the realization of creative abilities; memory, voluntary attention, creative thinking and imagination develops; individual creative abilities are identified and developed; the ability to independently master artistic values ​​is formed. Education in the subject "Musical theater" is carried out according to the following principles: - the unity of the emotional and the conscious; - comprehensive education and development of students. The leading methodological technique in the classroom is the method of artistic improvisation. All classes combine two main types of activity: a conversation about the specifics of theatrical art (this is viewing reproductions, paintings, photographs and video materials, with the help of which children form an idea of ​​the theater as an art form, theater features) and play (contact, plot - role games). In a playful way, acquaintance with new types of activities, the acquisition of skills of creative actions. play musical instruments, dance a dance, etc. ). This gives the child the opportunity to "tell" about himself, get to know him, teach action in a team. Improvisation was chosen as the main method of developing creative abilities: Choreographic improvisation (spontaneous dance - performance, composition of dance compositions on a given musical theme); imitation of movements (to convey an image through the plastic of the body); theatricalization (staging of individual episodes), improvisation on a given topic (creative tasks, studies for the development of creative imagination); Instrumental improvisation; Improvisation of accompaniment of a piece of music with sounding movements (claps, taps). Stage literacy classes begin with the education of the ability to organize, quietly, taking into account the presence of partners, to be distributed on the stage. The word on the stage should sound distinctly, clearly convey the idea, be emotionally saturated - this dictates the appropriate work on the word: classes in the technique and logic of speech, the practical mastery of verbal action. In the classroom, exercises for the development of articulation, diction (talking games, tongue twisters, phrases), games and exercises for speech breathing (exercises for lips, tongue), as well as breathing exercises are necessarily included. Exercises for the development of intonational expressiveness of speech are very important (tasks are to recite a poetic text on behalf of various fairy-tale heroes, recite to music, rhythmodeclamation. It is obligatory to include reading and playing fragments of fairy tales; sounding fairy tales with noise instruments that children can make themselves at home. Much attention is paid vocal - choral work (exercises for the development of singing breathing and voice, musical games, work with a song repertoire, work on the expressiveness of performance), as well as listening to a piece of music and creating its plastic image (musical rhythmic exercises), learning dance compositions with playing out the lyrics After completing the main tasks, young schoolchildren need a relaxation - a pause. With great pleasure, children perform exercises to achieve muscle freedom, with the help of which they acquire the skills of correct stage behavior; funny musical physical education minutes, where animation characters show dance movements for them. The main test task for the teacher and children is a theatrical performance. When working on staging a play, it is advisable to divide the participants into the following groups: - soloists: this group includes children with a sufficiently high level of development of musical abilities, as well as children with vocal abilities or the prospect of their development; - acting group: the main characters on the stage; - dance group: children with good plastic abilities - children's noise orchestra: this group may include children who, for various reasons, require a longer period of mastering the stage literacy. All these small groups are mobile, in the next performances children can be transferred from one group to another. The family of participants, friends and adults are with great attention and effective assistance to the creative process. Involving parents in the creative process of producing costumes and decorations with their children is one of the ways to bring family and school closer together. Classes in musical theater are not perceived by students as traditional lessons, for them it is a holiday, an opportunity to show their abilities, be creative, smile, laugh, joke. Thanks to the relaxed atmosphere prevailing in the classroom, children get a charge of excellent mood and are ready to create wonderful things again and again. In the course of the work, performances were prepared - musicals based on the Brothers Grimm fairy tale "Cinderella", N. Nosov "Dunno", A. Pushkin "The Tale of the Fisherman and the Fish", A. Filatov "About Fedot the Archer, the Young Daredevil", I. Basov “We are the children of the galaxy”, “Lilac of victory”. This is how theatrical performances are born, children receive creative development and gifted children are revealed. The subject "Musical Theater" was introduced into the additional education of the MOU "Georgievskaya Gymnasium" in Yegoryevsk. New theater-based techniques allow for more flexible unloading and reorganization of the oversaturated educational space in the school. Thus, one of the tasks of changing the oversaturated learning environment of a primary school child is being solved. New theatrical forms and types of activities with younger students are being developed. The teaching material uses techniques to acquire the creative skills of theatrical professions. Children and adults alike gain invaluable creative experience. The potential of the world musical, visual and theatrical arts is most fully revealed and used.

LITERATURE

1. Barkova A.M. Socio-pedagogical factors of raising children by means of folklore. - M., 2000. 2. Basova I.S. Musical theater --- performance at the conference "Development of additional education at school" E., 2013. 3. Bozhovich M.I. Personality and its formation in childhood. - M., 2002. 4. Vetlugina N.A. Musical development of the child. 5. Doronova T.A. The development of children in theatrical activities. - M., 2001. 6. Sorokina N.F. Theater - creativity - children. - M., Arkti, 2002. 7. Yakovleva E. Methodical recommendations for teachers on the development of the creative potential of students. - M., 1998. 8. Extracurricular activities of schoolchildren. Methodical constructor: a manual for the teacher. D.V. Grigoriev, P.S. Stepanov.-M .: Education, 2010. - 223p. - (Second generation standards). 9. Afanasenko E.Kh., Klyuneeva S.A. and etc. Children's musical theater. Programs, development of classes. Volgograd, "Teacher", 2009. 10. Vygotsky L.S. Imagination and creativity in childhood. M., 1991. 11. Questions of the direction of the children's theater. M., 1998 12. Griner V.A. Rhythm in the art of the actor. M., 1992 13. Dmitrieva L. Methods of musical education at school. M., 1987 14. Ershova A.P. Theater lessons in the classroom at school. M., 1992. 15. Klyueva N.V. We teach children to communicate. Yaroslavl, 1996. 16. Mikhailova M. Development of musical abilities of children. M., 1997 17. Mikheeva L. Musical dictionary in stories. Moscow: All-Union Publishing House "Soviet Composer", 1984. 18. Subbotina L.Yu. Development of imagination in children. Yaroslavl, 1996 19. Shilgavi V.P. Let's start with the game. L., 1980. 20. Journal "Bulletin of Education of Russia" No. 7/2006.

1.1 Formation of the child's creative personality by means of theatrical activity

The problem of the development of artistic creativity in the system of aesthetic education of the younger generation is now increasingly attracting the attention of philosophers, psychologists, and teachers.

Society constantly feels the need for creative individuals who are able to act actively, think outside the box, and find original solutions to any life problems.

Artistic and creative abilities are one of the components of the general structure of the personality. Their development contributes to the development of the child's personality as a whole. According to the outstanding psychologists L.S. Vygotsky, L.A. Wenger, B.M. Teplov, D.B. Elkonin and others, general abilities are the basis of artistic and creative abilities. If a child is able to analyze, compare, observe, reason, generalize, then, as a rule, he has a high level of intelligence. Such a child can be gifted in other spheres: artistic, musical, social relations (leadership), psychomotor (sports), creative, where he will be distinguished by a high ability to create new ideas.

Based on the analysis of the works of domestic and foreign psychologists who reveal the properties and qualities of a creative personality, general criteria for creative abilities were identified: readiness for improvisation, justified expressiveness, novelty, originality, ease of association, independence of opinions and assessments, special sensitivity.

In domestic pedagogy, the system of aesthetic education is considered as the development of the ability to perceive, feel and understand the beauty in life and art, as an introduction to artistic activity and the development of creative abilities (E.A.Flerina, N.P. Sakulin, N.A. Vetlugina, N.S. Karpinskaya, T.S.Komarova, T.G. Kazakova and others).

In the process of aesthetic perception of works of art, the child develops artistic associations; he begins to make assessments, comparisons, generalizations, which leads to an awareness of the connection between the content and means of artistic expression of works. The activity of preschoolers in that case becomes artistic when it relies on various types of art, clothed in forms that are unique and accessible to the child. These are visual, theatrical, musical and literary (artistic and speech) activities.

ON. Vetlugina singled out the following features in the artistic activity of preschoolers: the realization of the child's attitude to various types of art, the expression of his interests and emotional experiences, the active artistic development of the surrounding life. She considered artistic and creative abilities (processes of perception, creativity, performance and evaluation) in a complex.

All types of artistic activity that are formed in preschool childhood, according to N.A. Vetlugina, are distinguished by ease, emotionality and necessarily awareness. In the process of this activity, the child's creative imagination is vividly manifested, he consciously conveys the play image and brings his interpretation into it.

Art as a kind of reflection of life makes it possible to reveal life phenomena in an artistic form. Pedagogical research aimed at studying children's creativity in various types of artistic activity (literary, visual, musical, theatrical) invariably emphasizes the need to form an aesthetic attitude towards works of art (N.A. Vetlugina, N.P. Sakulina, T.G. Kazakova, A.E.Shibitskaya, O.S.Ushakova, T.I. Alieva, N.V. Gavrish, L.A. Kolunova, E.V. Savushkina).

The problem of the interaction of arts was considered in different aspects: as the influence of the relationship between music and painting on the creativity of children (S.P. Kozyreva, G.P. Novikova, R.M. Chumicheva); development of musical perception of preschoolers in the context of interaction of different arts (K.V. Tarasova, T.G. Ruban).

Most Russian psychologists emphasize the figurative nature of creative processes.

Children's creative abilities are manifested and developed on the basis of theatrical activity. This activity develops the child's personality, instills a steady interest in literature, music, theater, improves the skill of embodying certain experiences in play, encourages the creation of new images, and encourages thinking.

The influence of theatrical art on the formation of a person's spiritual culture is highlighted in the works of E.B. Vakhtangov, I. D. Glikman, B.E. Zakhavy, T.A. Kurysheva, A.V. Lunacharsky, V.I. Nemirovich-Danchenko, K.S. Stanislavsky, A. Ya. Tairova, G.A. Tovstonogov; the problems of the moral development of children by means of the theater are devoted to the works of the founders of the puppet theater in our country - A.A. Bryantseva, E.S. Demmeni, SV. Obraztsov, and musical theater for children - N.I. Sats.

This is explained by two main points: firstly, the drama, based on the action performed by the child himself, most closely, effectively and directly connects artistic creation with personal experience.

As noted by V.G. Petrova, theatrical activity is a form of living out the impressions of life lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of adults.

In a dramatic form, an integral circle of imagination is realized, in which the image, created from the elements of reality, embodies and realizes again into reality, albeit a conditional one. Thus, the desire for action, for embodiment, for realization, which is inherent in the very process of imagination, finds full realization in theatricalization.

Another reason for the closeness of the dramatic form for the child is the connection of any dramatization with play. Dramatization is closer than any other type of creativity, directly related to play, this root of all children's creativity, and therefore the most syncretic, that is, it contains elements of the most diverse types of creativity.

Pedagogical research (D.V. Mendzheritskaya, R.I. Zhukovskaya, N.S. Karpinskaya, N.A. games. At the same time, the role of play-dramatization in the transition to theatrical activity is emphasized (L.V. Artemova, L.V. Voroshnina, L. S. Furmina).

Analysis of children's creativity in the works of N.A. Vetlugina, L.A. Penievskaya, A.E. Shibitskaya, L.S. Furmina, O.S. Ushakova, as well as the statements of famous representatives of theatrical art convincingly prove the need for special training in theatrical activities. There can be two approaches to solving this problem: one of them assumes a reproductive (reproducing) type of education, the other is based on the organization of conditions for creative processing of material, the creation of new artistic images.

Various aspects of theatrical activity of children are the subject of a number of scientific studies. The organization and methods of teaching theatrical activities of children are reflected in the works of V.I. Ashikova, V.M. Bukatova, T.N. Doronova, A.P. Ershova, O.A. Lapina, V.I. Loginova, L.V. Makarenko, L.A. Nikolsky, T.G. Penalty, Yu.I. Rubina, N.F. Sorokina and others.

The possibilities of teaching theatrical activity in the development of various aspects of the child's personality are revealed in the studies of L.A. Tarasova (social relations), I.G. Andreeva (creative activity), D.A. Strelkova, M.A. Babakanova, E.A. Medvedeva, V.I. Kozlovsky (creative interests), T.N. Polyakova (humanitarian culture), G.F. Pokhmelkina (humanistic orientation), E.M. Kotikova (moral and aesthetic education).

In the field of music education, the problem of child development through theatrical activity was reflected in the works of L.L. Pilipenko (the formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (the formation of socio-cultural orientations), O.N. Sokolova-Naboichenko (musical and theatrical activity in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of the perception of a musical image in the process of staging a children's opera).

However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of special research.

Analysis of the literature made it possible to assume that musical development is facilitated by the special organization of conditions for the purposeful teaching of children in various types of artistic activity in their interconnection.

The development of the theory and practice of educating preschoolers by means of music took place under the influence of the views of B.V. Asafieva, T.S. Babadzhanyan, V.M. Bekhterev, P.P. Blonsky, L.S. Vygotsky, P.F. Kaptereva, B.M. Teplova, V.N. Shatskaya, B.L. Yavorsky and others, who emphasized the need for this work, starting from an early age for the moral and intellectual development of the personality of children.

The system of domestic musical education of preschoolers, which took shape in the 60s - 70s. XX century, relied on pedagogical and psychological studies of the problems of the development of musical perception of preschoolers (SM Belyaeva-Eksemplyarskaya, I.A. Vetlugina, I.L.Dzerzhinskaya, M. Nilsson, M. Vikat, A.I. Radynova, SM Sholomovich) and the possibilities of children in assessing music (II.A. Vetlupsha, L.N. Komissarova, ІІ. A. Chicherin, A.I. Shelepenko).

II.A. Vetlugina, who developed many of the most important problems of children's musical activity, proposed to combine the methods of traditional and innovative pedagogy in the practice of musical education and upbringing. This approach is adhered to by A.D. Artobolevskaya, A.II. Zimin, A.I. Katinene, L.N. Komisarova, L.E. Kostryukova, M.L. Palandishvili, O. P. Radynova, T.I. Smirnova and others.

In most of the technologies created, the upbringing of a harmoniously developed personality is carried out in the process of combining different types of artistic activity, each of which (singing, movement, recitation, playing noise, percussion instruments, arts and crafts and visual arts) is organic for the child, but in practice the priority is often is given to one kind of musical activity.

The paradox of many methodological studies and developments lies in the emphasis on the process of creative activity and underestimation of the pedagogical significance of its product (the system of mastered knowledge, skills and abilities often replaces the product of children's musical creativity).

It should also be noted that most of the existing concepts and author's methods, as a rule, are focused on short time periods (3-4 years, 5-7 years, primary school age), that is, they are limited by the framework of educational institutions of various types. Such "age-related" fragmentation leads to the need for special efforts aimed at realizing the continuity of the child's musical development.

In overcoming the aforementioned negative tendencies, musical and stage works written for children are of particular importance. A prominent role in the formation of the integrated principles of the creative musical development of children was played by foreign composers (B. Britten, K. Orff, Z. Koday, P. Hindemith) and domestic (C. Cui, A. Grechaninov, M. Krasev, M. Koval , D. Kabalevsky, M. Minkov and others).

In recent decades, many new musical and stage works have appeared, which, being material that are accessible and fascinating for the perception of modern children, can raise their creative development to a new level. It is in these works that the child is able to manifest, realize himself in various types of creative activity. Singing, plastic art, acting skills, the development of an artistic solution for the performance - all these are components that cannot be dispensed with when working on stage works.

1.2 Creative games for preschoolers

In domestic preschool pedagogy, a classification of children's games has developed, based on the degree of independence and creativity of children in the game. Initially, P.F. Lesgaft, later his idea was developed in the works of N.K. Krupskaya.

She divides all children's games into 2 groups. The first N.K. Krupskaya called creative; emphasizing their main feature - independent character. This name has also been preserved in the traditional Russian preschool pedagogy of classifying children's games. Another group of games in this classification is made up of games with rules.

Modern domestic pedagogy classifies role-playing, construction and theatrical games as creative games. The group of games with rules includes didactic and outdoor games.

Theatrical play is very closely related to the role-playing game and is a kind of it. Role-playing game appears in a child at about 3 years of age and reaches its prime at 5-6 years old, theatrical play reaches its peak at 6-7 years old.

As a child grows up, he goes through a number of stages, and his play also develops in stages: from experimenting with objects, acquaintance with them to displaying actions with toys and objects, then the first plots appear, then the entry into the role is added and, finally, the dramatization of the plots.

D.B. Elkonin calls the role-playing game an activity of a creative nature, in which children take on themselves and in a generalized form reproduce the activities and relationships of adults, using substitute objects. The theatrical play appears in a certain period and, as it were, grows out of a plot-based role-playing game. This happens at a time when, at an older age, children are not satisfied with only reproducing the plots of real relationships between adults. It becomes interesting for children to base the game on literary works, to reveal their feelings in it, to make dreams come true, to perform desired actions, to play fantastic plots, to come up with stories.

The difference between role-playing and theatrical games is that in a role-playing game, children reflect life phenomena, and in a theatrical play they take plots from literary works. In a plot-based role-playing game, there is no final product, the result of a game, but in a theatrical game there can be such a product - a staged performance, a staging.

Due to the fact that both types of play, plot-role-playing and theatrical, belong to creative types, the concept of creativity should be defined. According to the encyclopedic literature, creativity is new, never before. Thus, creativity is characterized by 2 main criteria: novelty and originality of the product. Can children's creativity products meet these criteria? Of course not. N.A. Vetlugina, a prominent researcher of children's artistic creativity, believes that in his work a child discovers something new for himself, and tells others about himself.

Consequently, the product of children's creativity has not objective, but subjective novelty. The remarkable scientist teacher T.S.Komarova understands the child's artistic creativity as “the creation by the child of a subjectively new (first of all meaningful for the child) product (drawing, modeling, story, dance, songs, games, invented by the child), inventing new ones for the unknown, previously unused details that characterize the image being created in a new way (in a drawing, in a story, etc.), inventing one's own beginning, the end of new actions, characteristics of heroes, etc., using previously mastered methods of depiction or means of expression in a new situation (for depicting objects of a familiar shape - based on the mastery of facial expressions, gestures, variations of voices, etc.), the child's manifestation of initiative in everything, coming up with different options for images, situations, movements, as well as the process of creating images of a fairy tale, story, game - dramatization, drawing, etc., searches in the process of activity for methods, ways of solving the problem (visual, play, musical).

Indeed, in play, the child invents a lot himself. He comes up with an idea, the content of the game, selects pictorial and expressive means, organizes the game. In the game, the child manifests himself as an artist, acting out the plot, and as a screenwriter, building its outline, and as a decorator, equipping a place for the game, and as a constructor, embodying a technical project.

The creative combining activity of a preschooler is based on imagination. It is with the help of imagination that a child's play is created. They serve as an echo of the events that he saw, which he heard from adults.

L.S. Vygotsky believes that the imagination of a child is much poorer than the imagination of an adult, therefore, in order to develop children's creativity, you need to take care of the development of imagination. Imagination develops in the process of accumulating impressions, imaginative representations, for this it is necessary to give as much food as possible for perception. In his play, the child will combine what he saw and heard, transforming it into images taken from life and from books.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is best to start by clarifying the connection that exists between fantasy and reality in human behavior.

The first form of connection between imagination and reality is that every creation of the imagination is always built from elements taken from reality and contained in the previous experience of man.

Thus, imagination always consists of materials given by reality. True, when this can be seen from the above passage, the imagination can create more and more new systems of combination, combining first the primary elements of reality (a cat, a goal, an oak), then again combining images of fantasy (a mermaid, a goblin), etc. But the last elements, from which the most distant from reality, a fantastic representation is created. These last elements will always be impressions of reality.

Here we find the first and most important law that obeys the activity of the imagination. This law can be formulated as follows: the creative activity of the imagination is directly dependent on the richness and diversity of the previous human experience, because this experience is the material from which the constructions of fantasy are created. The richer a person's experience, the more material his imagination has at his disposal. This is why a child has a poorer imagination than an adult, and this is due to the greater poverty of his experience.

The second form of connection between fantasy and reality is another, more complex connection, this time not between the elements of a fantastic construction and reality, but between the finished product of fantasy and some complex phenomenon of reality. It does not reproduce what was perceived in the previous experience, but creates new combinations from this experience.

The third form of connection between the activities of the imagination and reality is the emotional connection. This connection manifests itself in a double way. On the one hand, every feeling, every emotion strives to be embodied in certain images corresponding to this feeling.

Fear, for example, is expressed not only in pallor, trembling, dry throat, altered breathing and heartbeat, but also in the fact that all impressions perceived at this time by a person, all thoughts that come into his head are usually surrounded by a feeling that owns him. Fantasy images provide an internal language for our feelings. This feeling selects individual elements of reality and combines them into a connection that is conditioned from within by our mood, and not from outside, by the logic of our images.

However, there is also an inverse relationship between imagination and emotion. If in the first case we have described, feelings affect the imagination, then in the other case, the opposite, imagination affects the feeling. This phenomenon could be called the law of the emotional reality of the imagination.

Ribot formulates the essence of this law as follows: "All forms of creative imagination," he says, "contain affective elements." This means that any construction of fantasy influences our feelings in reverse, and if this construction does not correspond in itself to reality, the feeling that is actually experienced by a person that grips a person.

It remains to say about the fourth, final form of connection between fantasy and reality. This last form, on the one hand, is closely related to the one just described, but on the other, it differs significantly from it.

The essence of this last form lies in the fact that the construction of a fantasy can be essentially new, which has not been in the experience of a person and does not correspond to any really existing object, however, being embodied outside, having taken a material embodiment, this "crystallized" imagination, having become thing, begins to really exist in the world and affect other things. This imagination becomes reality.

Examples of such crystallized or embodied imagination can be any technical device, machine or tool, etc. They are created by the combining imagination of man, they do not correspond to any pattern existing in nature, but they reveal the most convincing effective, practical connection with reality, because, having incarnated, they became as real as other things.

L.S. Vygotsky says that the child's play "is not a simple recollection of the experience, but the creative processing of the experienced impressions, combining them and building out of them a new reality that meets the needs and attraction of the child himself."

Is it possible to develop the creative qualities of children? It is possible, since learning and creativity, scientists say (TS Komarova, DV Mendzheritskaya, NM Sokolnikova, EA Flerina, etc.). Creative learning is the way of development of children's creativity, E.A. Fleerina, that is, creativity should permeate the entire learning process. Scientists believe that it is important to create the necessary conditions for the development of children's creativity; provide a place for creative games for children; create an atmosphere of insatiation, freedom; activate, stimulate children's imagination; provide competent pedagogical guidance.

In pedagogical literature, the concept of "dramatized play" closely merges with the concept of "play-dramatization". Some scientists equate these concepts, others consider dramatization games a kind of plot-based role-playing games. So, according to L.S. Furmina, theatrical games are games - performances in which a literary work is played out in faces using such expressive means as intonation, facial expressions, gesture, posture and gait, that is, concrete images are recreated. Theatrical and play activities of preschool children, according to L.S. Furmina, takes two forms: when the actors are objects (toys, dolls) and when children themselves, in the form of a character, play their role. The first games (subject) are various types of puppet theater; the second (non-objective) games are dramatization games. A somewhat different approach in the works of L.V. Artemova. According to her research, theatrical games differ depending on the leading ways of emotional expressiveness, through which the theme, the plot is played out. All theatrical games in this case are divided into two main groups: director's games and dramatization games. Director's games include tabletop, shadow theater, flannelgraph theater. In these games, a child or an adult acts for all the characters.

The table theater traditionally uses theater, toys, picture theater. Now there are other types of table theater: can theater, knitted theater, box theater, etc.

To the games-dramatizations of L.V. Artemova refers to games based on the actions of the performer of the role (an adult and a child), who, at the same time, can use bibabo or finger theater dolls worn on his hand, as well as costume elements.

Play-dramatization in science is defined as “pre-aesthetic activity” (AN Leontiev) and is one of the forms of transition to productive, aesthetic activity with a characteristic motive of influencing other people. Play-dramatization is considered as a type of artistic activity of preschoolers and meets their needs for something unusual, in the desire to transform themselves into the images of fairy-tale characters, to imagine, to feel like someone else.

NS. Karpinskaya notes that the results of the activity of preschoolers in the play of dramatization are not yet art; however, reproducing the content, children convey the images of the heroes to the extent that it is accessible to them, therefore, there is an achievement that gives the right to consider the game-dramatization as an approximation to artistic activity, especially in older preschool age.

Conclusions

Theatrical activity creates conditions for the development of creative abilities. This type of activity requires from children: attention, intelligence, quick reaction, organization, the ability to act, obeying a certain image, transforming into it, living its life. Therefore, along with verbal creativity, dramatization or theatrical performance is the most frequent and widespread type of children's creativity.

In the field of music education, the problem of child development through theatrical activity was reflected in the works of L.L. Pilipenko (formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (the formation of sociocultural orientations), O.N. Sokolova-Naboichenko (musical and theatrical activity in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of the perception of a musical image in the process of staging a children's opera).

However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of special research.

Let's consider the theatrical activity of preschoolers in the aspect of theatrical games.

Theatrical play is very closely related to the role-playing game and is a kind of it.

Role-playing game and theatrical game have a common structure (structure). They include substitutions, plot, content, game situation, role, role-playing actions.

Creativity is manifested in these types of games in the fact that children creatively produce everything that they see around: the child conveys his feelings in the depicted phenomenon, creatively implements the idea, varies his behavior in the role, uses objects and substitutes in the game in his own way.

In pedagogical literature, the concept of "dramatized play" closely merges with the concept of "play-dramatization". Some scientists equate these concepts, others consider dramatization games a kind of plot-based role-playing games.

2. Musical development of preschoolers in the process of theatrical activities

2.1 Musical development of preschool children

Music, like other forms of art, is a specific form of artistic reflection of reality. Deeply and diversely influencing the feelings, will of people, music is able to have a beneficial effect on their social activities, to influence the formation of personality.

The effect of the educational role of music, as well as the direction and nature of its social impact, seem to be the most important criteria that determine the social significance of music, its place in the system of spiritual and cultural values.

Today, when the world of music is represented by an extremely wide range of different styles and trends, the problem of educating the listener to good taste, able to distinguish highly artistic samples of musical art from low-grade ones, becomes especially urgent. Therefore, it is very important to form high spiritual needs and versatile artistic abilities in the young generation. For this, it is necessary in the daily practice of musical education and upbringing of children to use highly artistic samples of the music of various cultures and, of course, the music of their own people.

Music plays a special role in the upbringing of a child. A person comes into contact with this art from birth, and he receives purposeful musical education in kindergarten - and subsequently at school. Musical education is one of the means of forming a child's personality. In musical education, the perception of music by children is the leading activity. Both the performance and creativity of children are based on vivid musical impressions. Information about music is also given based on its "live" sound. Developed perception enriches all the musical abilities of children, all types of musical activities contribute to the development of the child's abilities.

According to experts, preschool age is a synesthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember about this. It depends on him and only on him what the child will become in the future, how he will be able to dispose of his natural gift. "Music of childhood is a good educator and a reliable friend for life."

The early manifestation of musical ability speaks of the need to start musical education of the child as early as possible. The time lost as an opportunity to form the intellect, creative and musical-sensory abilities of the child will go away irreparably. Therefore, the area of ​​research is the methodology of musical education for older preschool children.

Preschool age is the period when the initial abilities are laid, which make it possible for the child to familiarize himself with various types of activity. As for the field of musical development, it is here that there are examples of early manifestation of musicality, and the task of the teacher is to develop the child's musical abilities, to familiarize the child with music. Music has the ability to induce active actions in the child. He distinguishes music from all sounds and focuses his attention on it. Therefore, if music has such a positive effect on a child already in the first years of his life, then it is necessary to use it as a means of pedagogical influence. In addition, music provides rich opportunities for communication between an adult and a child, creates the basis for emotional contact between them.

A child, imitating an adult, sings along with individual sounds, the ends of phrases, and then simple songs and backing songs, later the formation of the actual singing activity begins. And here the teacher's task is to strive to develop children's singing sound, to increase the volume of vocal and choral skills available for this age. Children can be led to the fact that they would convey in singing their attitude to the work being performed. For example, some songs should be sung cheerfully and cheerfully, while others should be sweet and sweet.

To remember something, passive listening is not enough, you need an active analysis of the music. Visual aids in the musical lessons of preschoolers are necessary not only for a more complete disclosure of the musical image, but also for maintaining attention. Without visual aids, children become distracted very quickly. VA Sukhomlinsky wrote: “the attention of a small child is a capricious“ creature ”. It seems to me like a shy bird that flies away from the nest as soon as you strive to approach it. When you finally managed to catch the bird, you can only keep it in your hands or in a cage. Do not expect songs from the bird if it feels like a prisoner. So is the attention of a small child: "if you hold him like a bird, then she is your bad helper."

In the development of all types of musical activity of preschool children, the formation of musical and sensory abilities is especially important. The basis of this formation is the child's listening, discrimination and reproduction of the four properties of musical sound (pitch, duration, timbre and strength).

Understanding the problem of developing musical perception in such a broad sense, the teacher encourages children to listen to the sounding music throughout the lesson. Only when the music in the class ceases to be a sound background, when the constantly changing character, the mood expressed in it, the children will feel and realize, express in their performing and creative activities, the acquired skills and abilities will benefit musical development. This will contribute to the main task of musical education - the development of emotional responsiveness, instilling interest and love for music.

Modern approaches to the musical education of preschoolers.

Currently, little attention is paid to the formation of children's musical and sensory abilities. Meanwhile, the studies of such famous scientists and teachers as Vygotsky L.S., Teplov B.M., Radynova O.P. prove the possibility and necessity of forming memory, imagination, thinking, abilities in all children, without exception. The subject of the research was specially organized musical classes, in which musical-didactic games and manuals were the leading type of activity. Based on this, the object of the study is the use of visual-auditory and visual-visual methods in combination with verbal ones, as the most effective in the musical-sensory development of preschoolers.

Unfortunately, work on musical and sensory education in preschool institutions is not always organized at the proper level. Obviously, this is due to the lack of material resources, the lack of ready-made musical and didactic manuals in the trading network.

Of course, the very organization of the use of musical-didactic games requires the teacher to understand the significance and value of the musical-sensory development of children, great creativity and skill, the ability and desire to aesthetically produce and design material, and not every music director has such abilities.

In pedagogy, there are various approaches to the characterization and classification of teaching methods, the most common are: visual, verbal and practical methods.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical educational activity. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity is carried out in singing, musical rhythmic movements and playing musical instruments. Musical educational activity includes information of a general nature in music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about the methods of performing. Each type of musical activity, having its own characteristics, presupposes the mastery by children of those modes of activity, without which it is not feasible, and has a specific effect on the musical development of preschoolers. Therefore, it is important to use all kinds of musical activities.

The perception of a child and an adult is not the same due to different musical and life experiences. The perception of music by young children is characterized by an involuntary character, emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. For older preschool children, with the enrichment of their life experience, the experience of listening to music, the perception of music gives rise to more diverse impressions.

The difference in the nuances of music develops in children from an early age. At each age stage, the child distinguishes the most vivid means of expression with the help of the possibilities that he possesses - movement, word, play, etc. Therefore, the development of musical perception should be carried out through all types of activities. In the first place, you can put listening to music. Before performing a song or dance, the child listens to music. Receiving various musical impressions from childhood, the child gets used to the language of intonations of folk classical and modern music, accumulates experience of perceiving music, different in style, comprehends the "intonation vocabulary" of different eras. The famous violinist S. Stadler once remarked: "To understand a beautiful fairy tale in Japanese, you need to know at least a little." The acquisition of any language begins in early childhood and musical language is no exception. Observations indicate that young children enjoy listening to the early music of J.S.Bach, A. Vivaldi, W.A. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the beginnings of musical taste and musical culture as a whole are formed.

The perception of music is carried out not only through listening, but also through musical performance - singing, musical rhythmic movements, playing musical instruments.

For the formation of musical and auditory representations, it is important to know that musical sounds have different heights, that a melody consists of sounds that move up, down or are repeated at the same pitch. The development of a sense of rhythm requires the knowledge that musical sounds have different lengths - they are long and short, that they move and their alternation can be measured or more active, that the rhythm affects the nature of the music, its emotional coloring, makes different genres more recognizable. The formation of a motivated assessment of musical works, in addition to the accumulation of auditory experience, presupposes certain knowledge about music, its types, composers, musical instruments, means of musical expression, musical genres, forms, mastering some musical terms (register, tempo, phrase, part, etc.)

Musical educational activity does not exist in isolation from other types. Knowledge, information about music is not given to children by themselves, but in the process of perceiving music, performing, creativity, along the way, to the place. Each type of musical activity requires certain knowledge. For the development of performing, creativity, special knowledge is needed about the methods, techniques of performing, means of expression. Learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical and rhythmic activity, preschoolers master various movements and methods of their performance, which also requires special knowledge: about the fusion of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expression (tempo, dynamics, accents, register, pauses). Children learn the names of dance steps, learn the names of dances, round dances. Learning to play musical instruments, children also acquire certain knowledge about timbres, methods, techniques of playing different instruments.

Children are inclined towards certain types of musical activities. It is important to notice and develop in every child the desire to communicate with music, in the form of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by them. However, one cannot but take into account the position of psychology on the leading types of activities that affect the development of personality. If these leading types of activity manifested themselves in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, to orient the process of musical education to the development of his abilities, inclinations, interests. Otherwise, as we have already noted, the learning process is reduced to “coaching”. If training is carried out without an individually - differentiated approach, it ceases to be developmental.

In connection with the ongoing changes in the cultural and moral sphere of the life of Russian society, the role of raising children from a very early age is increasing. According to many authors, one of the ways to overcome negative phenomena in the spiritual sphere can be the musical education of children at the earliest stages.

Music "lessons" not only introduce children to musical instruments, but also allow them to master the basics of vocal breathing, develop voice and hearing, and broaden their horizons.

The guys listen to classical music, put on theatrical sketches aimed at developing the emotional-figurative sphere. Musical development of young children encourages kids to be creative, and helps parents and teachers to quickly reveal the talents and aspirations of the child.

Such scientists and teachers as Asafiev, Vinogradov, Gusev, Novitskaya and many others single out folk musical creativity as the basis for musical education and upbringing of children. Folk art is the highest manifestation of historical accuracy, lofty ideals and developed aesthetic taste.

The moral and aesthetic content of folk music and poetry, the enduring value of its pedagogical and psychotherapeutic capabilities, convince of the need to preserve and widely use folklore in the modern practice of upbringing and education. Turning to folk culture as a source of upbringing, one can find fertile ground for the formation and development of various qualities in children: intellectual, moral, aesthetic.

The use of folklore material in musical education inevitably leads to the search for new forms and methods of working with children, where the child is not just an object of education, but becomes a participant in a creative act, which in turn activates the development of his musical and creative abilities.

2.2 Specificity of theatrical activities in the process of musical development of children

Modern psychological and pedagogical science has data that all types of art develop in children not only artistic abilities, but also “a universal universal human ability, which, being developed, is realized in any sphere of human activity” (E.I. Ilyenkov) - ability to be creative. And the sooner the child meets art, the more effective the process of developing this ability will be.

As you know, theater is one of the most vivid forms of artistic reflection of life, based on the perception of the world through images. A specific means of expressing meaning and content in the theater is a stage performance that arises in the process of game interaction between actors. However, in the field of primary musical education of children, musical and theatrical activity seems to be the least developed direction, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

Musical education is a synthesis of various activities. The process of musical education includes all types of musical activities, including theatricalization. In music lessons, theatricalization should take a significant place, along with other types of activity, theatricalization has a great influence on the development of a child's creative abilities, figurative thinking.

In the process of theatrical games, an integrated upbringing of children takes place, they learn expressive reading, plastic movement, singing, playing 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, 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.

Depending on the methods of teaching music used, the teacher can take theatricalization as the basis for the lessons. Elements of theatricalization can be used both for entertainment events and holidays, and in basic classes, starting with the younger group. In the process of 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, 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.

By its nature, theatrical art is most closely related to children's role-playing game, which develops as the basis for the relatively independent functioning of the children's community and by the age of 5 takes the position of the leading activity of children. 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 one. 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 to do, since it does not rely on any materialized pattern.

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.

Introducing children 5-8 years old to musical and theatrical creativity in the conditions of groups of musical and aesthetic development.

Theatricalization in work with children must be applied from a very young age. Kids happily depict the habits of animals in small scenes, imitating their movements and voices. With age, the tasks of theatrical activity become more complicated, children stage small fairy tales, poetic works. It is necessary to involve teachers in theatricalization, who, like children, will take on the roles of the heroes of fairy tales. It is also important to involve parents in the preparation of performances, thereby bringing the family closer to the life of children in kindergarten. Joint activities of adults, older children and our pupils create mutual interest in theatrical activity.

The perception of musical art is impossible without the subjective and creative acceptance of the musical image, then there is a need to expand the content of familiarizing preschoolers with musical art and, above all, to revise the attitude towards sensory standards associated with the world of sounds.

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 gurgles, etc.). etc.).

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 of children includes several sections: the basics of puppetry, acting, game creativity, imitation on musical instruments, singing and dancing creativity of children, holding holidays and entertainment.

For classes, entertainment and performances, together with educators and parents, it is necessary to make decorations, attributes, masks, costumes of fairy-tale characters, emblems, noise musical instruments (jars of cereals, pebbles; boxes with chopsticks, etc.)

With kids, you can pay attention to the reflection of fabulous images of animals, I analyze the nature of the movement, intonation: a big and small bird is flying, funny and sad hares, snowflakes are spinning, falling to the ground. Use psycho-gymnastics exercises: it poured rain, the wind blows, the sun, a cloud.

In general, it is necessary to ensure that children convey their mood, change their facial expressions, when they work with children, an important aspect is to encourage the participation of children in dramatization, the desire to play a role. In the process of learning, children learn to correctly name theatrical equipment, treat it with care, navigate the space of the hall, and monitor the development of the action. Much attention should be paid to the child's speech, the correct pronunciation of words, the construction of phrases, trying to enrich the speech. Together with children, you can compose small stories, all together come up with dialogues of heroes. Children can independently compose and play a story.

Older preschoolers can compose melodies in the genre of a lullaby for a bear, a doll, etc. In dance creativity, attention should be paid to fostering interest and desire to move in various images - animals, snowflakes, parsley. In the classroom, various attributes should be used: flowers, leaves, ribbons, salutes, handkerchiefs, cubes, balls, etc.

An important stage in theatrical activity is the work on the acting skills of children. As an example, you can invite a child to show the image of a delicious candy, a cowardly bunny, etc.

In older groups, it is necessary to achieve expressive speech, the development of an idea of ​​moral qualities, the rules of behavior of spectators at the play. With the help of theatrical activities, children learn to express their attitude to what is happening more accurately, learn to be polite, attentive, get used to the image, be able to analyze their play and the performance of other heroes, learn new techniques for playing musical instruments.

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.

It is possible to use games for attention, imagination, I achieve a vivid transfer of a diverse image. In dance creativity, the child gets the opportunity to get a cheerful self-asserting self-confidence, which becomes an excellent background for the development of his intellectual sphere.

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.

The following musical equipment can be used:

Musical instruments for the work of a music director;

Children's musical instruments;

Musical toy;

Musical and didactic aids: educational and visual material, board musical and didactic games;

Audiovisual aids and special equipment for them; equipment for artistic and theatrical activities;

Attributes and costumes.

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.

Musical and theatrical activity is a source of the development of feelings, deep experiences and discoveries of the child, introduces him to spiritual values. This is a concrete visible result.

Musical and theatrical activity makes it possible to form the experience of social skills of behavior due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, etc.)

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.

The most effective when listening to music are the following methodological techniques:

- "Listen and Tell"

- "Listen and Dance"

- "Listen and Play"

- "Listen and Sing", etc.

In addition to listening and singing, great attention in musical and theatrical work is paid to such an activity as rhythmic movements, plastic, dance improvisation. In the performances of fairy tales or musicals, the figurative dances of the heroes occupy one of the brightest and most interesting places.

Theatrical activity includes the following points of musical development:

1. Dramatization of songs;

2. Theatrical sketches;

3. Entertainment;

4. Folklore holidays;

5. Fairy tales, musicals, vaudeville, theatrical performances.

ON. Vetlugina, in her research, comprehensively analyzed the capabilities of children in performing creative tasks, the origins of children's creativity, the ways of its development, substantiated the idea of ​​interconnection, interdependence of learning and creativity of children, theoretically and experimentally proving in her works that these processes do not oppose, but closely touch, mutually enrich each other. It was found that a necessary condition for the emergence of children's creativity is the accumulation of impressions from the perception of art, which is a model for creativity, its source. Another condition for children's musical creativity is the accumulation of performance experience. In improvisations, the child emotionally, directly applies everything that he has learned in the learning process. In turn, learning is enriched by the creative manifestations of children, acquires a developing character.

Children's musical creativity, like children's performance, usually has no artistic value for the people around them. It is important for the child himself. The criteria for its success is not the artistic value of the musical image created by the child, but the presence of emotional content, the expressiveness of the image itself and its embodiment, variability, originality.

In order for a child to compose and sing a melody, he needs to develop basic musical abilities. In addition, for the manifestation of creativity, imagination, fantasy, free orientation in unusual situations are required.

Children's musical creativity by its nature is a synthetic activity. It can manifest itself in all types of musical activity: in singing, rhythm, playing children's musical instruments. It is important to form songwriting, starting from early preschool age, using creative tasks that are feasible for children. The success of children's creative manifestations depends on the strength of their singing skills, the ability to express certain feelings, moods in singing, and to sing purely and expressively. To guide preschoolers in the songwriting of N.A. Vetlugina offers exercises for the accumulation of auditory experience, the development of musical and auditory representations. It is important to draw the attention of children to the expressiveness of their improvisation, even in the simplest exercises. In addition to singing, children's creativity can be manifested in rhythm and playing musical instruments. The creative activity of children in rhythm largely depends on the organization of teaching musical-rhythmic movements. A child's full-fledged creativity in rhythm is possible only if his life experience, in particular musical and aesthetic representations, is constantly enriched, if there is an opportunity to show independence.

Increased attention should be paid to the selection of pieces of music that serve as a scenario for the independent actions of children. Programmed music occupies a leading place in creative tasks, since the poetic text, the figurative word help the child to better understand its content.

Instrumental creativity of children, as a rule, manifests itself in improvisations, i.e. composition while playing the instrument, direct, momentary expression of impressions. It also arises on the basis of children's life and musical experience.

One of the conditions that ensures successful instrumental creativity is the possession of elementary skills in playing musical instruments, various methods of sound production, which make it possible to convey the simplest musical images (clatter of hooves, magic falling snowflakes). It is important for children to understand that when creating an image, it is necessary to express the mood and character of the music. Depending on the nature of the image to be conveyed, children choose certain expressive means, this helps children to feel more deeply and realize the features of the expressive language of music, encourages independent improvisation.

All of the above conditions are met in theatrical performance. Thus, we can conclude that the process of theatrical activity is inextricably linked with the musical development of the child.

2.3 Analysis of programs combining theatrical activities and musical education

When analyzing training programs that combine theatrical action and musical education, he showed that almost all of the programs used are based on the updated "Program of education and training in kindergarten", ed. M.A. Vasilyeva.

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina's Theatrical Steps. Let's consider them in more detail.

1. Creative group edited by K.V. Tarasova, M.L. Petrova, T.G. Ruban "Synthesis".

"Synthesis" is a program for the development of musical perception in children based on the synthesis of art. This is a music listening program. The group of authors of the program based their work on the fact that initially, in the early stages of development, human art history was syncretic in nature and included the rudiments of verbal and musical art, early forms of choreography and pantomime. The authors use the principle of syncretic art in musical lessons with children: "synthesis makes it possible to combine various arts in the interests of their mutual enrichment, enhancing figurative expressiveness."

"The upbringing of this kind of" artistic polyglots "should begin in childhood, since a syncretic orientation in the world and the syncretic nature of artistic and creative activity are natural for a child." The most fruitful, according to the authors, is the synthesis of music, painting, literature, which gives great opportunities for the development of a child's artistic culture.

This program is based on the interaction of several principles of organizing music lessons with children:

Special selection of musical repertoire;

Using the synthesis of arts;

The use of other types of children's musical activities in the classroom for listening to music as auxiliary ones: singing, playing in the orchestra, conducting.

Development of some blocks of the content of musical lessons and their plot outline.

The musical repertoire of the program includes works of different eras and styles that meet two leading principles - high artistry and accessibility. Proceeding from the fact that the program is based on the synthesis of arts, its authors also turned to musical genres, which are based on the organic synthesis of several arts - to opera and ballet. In an effort to make them accessible to children, preference is given to a fairy tale - a fairy tale in opera and a fairy tale in ballet.

The musical pieces of the program are grouped into thematic blocks and given in them in ascending order of difficulty. Themes of blocks for 5 year old children "Nature in Music", "My Day", "Russian Folk Images", "Fairy Tale in Music", "I Learn Notes", etc.

The works of visual arts offered in the program are not limited to the task of giving only knowledge about those objects, events, characters that are reflected in the sounds. Both pictorial and sculptural works are offered as a variant of the figurative understanding of music at the level of associative links. This awakens the child's creative imagination, stimulates his imaginative thinking. The landscapes of A. Savrasov, I. Levitan, I. Grabar help to create a poetic atmosphere and serve as a kind of overture that tunes in to the perception of music dedicated to paintings of Russian nature (P. Tchaikovsky, S. Prokofiev, G. Sviridov).

The work on the program assumes a variety of classes. The authors recommend separating listening to music into an independent activity, and conducts it in the afternoon. The package of materials along with the program includes: "Music Repertoire Repertoire", "Methodological Recommendations", a cassette with a studio recording of musical works, a set of slides, videotapes and filmstrips.

The SYNTHESIS program for children of the 6th year of life is built on the same scientific foundations and methodological principles and solves the same set of problems of musical and general artistic development of a child as the SYNTHESIS program for children of the 5th year of life. At the same time, its content and the forms of its presentation are distinguished by greater depth and complexity, which is associated with the increased capabilities of older preschoolers.

The program includes two large sections: "Chamber and Symphonic Music" and "Opera and Ballet". In the first of them, children get acquainted with the works of I.S. Bach, J. Haydn, V.A. Mozart, S. Prokofiev. In the second section of the program, children are offered two musical fairy tales - P.I. Tchaikovsky's The Nutcracker and the opera by M.I. Glinka "Ruslan and Lyudmila". In order for children to get a more complete impression of such complex genres of art as ballet and opera, they are offered fragments of the ballet The Nutcracker and the opera Ruslan and Lyudmila in the video.

Training according to the program is carried out taking into account the basic principles of developmental education: emotional stimulation of educational and cognitive activities, the development of a child's cognitive interest, the development of his mental functions, creative abilities and personal qualities. In the classroom, developmental teaching methods are widely used, with the help of which the teacher solves the educational task facing him - ensuring the appearance in children of positive motivation for their actions in mastering the musical and theatrical art.

The creation of situations of success in the classroom according to the program is one of the main methods of emotional stimulation and is a chain of situations specially created by the teacher in which the child achieves good results, which leads to the emergence of a sense of self-confidence and “ease” of the learning process. Emotional arousal activates the processes of attention, memorization, comprehension, makes these processes more intense and thereby increases the effectiveness of the goals achieved.

The method of forming the readiness of the perception of educational material using the zone of proximal development and the method of stimulating with entertaining content in the selection of bright, figurative texts are the main methods of developing the cognitive interest of children in the theater.

The method of creating problem situations is to present the material of the lesson in the form of an accessible, figurative and vivid problem. Children, due to their age characteristics, are very curious, and therefore any clearly and easily stated problem immediately "ignites" them. The method of creating a creative field (or a method for solving problems of a divergent nature) is key to providing a creative atmosphere in the team. Working “in a creative field” creates the possibility of searching for various ways of solving problems, searching for new artistic means of embodying the stage image. Each new find of one

A valuable method of stimulating interest in musical and theatrical activities is also the method of using various forms of play in organizing the activities of children. The method of transferring play activity to a creative level is the introduction of new elements into a well-known and familiar play for children: an additional rule, a new external circumstance, another task with a creative component, or other conditions.

The main form of teaching the Theater Steps program is a game. Game training as a special form of communication in the process of musical and theatrical activity of preschoolers is a set of specially selected tasks and exercises aimed at developing their basic mental processes (attention, memory, imagination, speech), which, in the opinion of theater teachers (K.S. Stanislavsky, L.A. Volkov), the fundamental components of acting, as well as the development of musicality, vocal-auditory and musical-motor skills and abilities.

The program has a certain logic of mastering the educational material: the initial orientation of children in the means of acting expressiveness and their mastery of elementary skills of musical and stage transformation (improvisation, fantasizing, etudes), the development and consolidation of these skills in productive activity, namely in musical and theatrical performances; the formation of basic knowledge about the emergence and formation of theatrical art, including musical theater.

The content of the lessons is aimed at the mastering by children of individual and collective actions of perception of the surrounding reality, its analysis and control; on the orientation of children in the means of acting expressiveness based on pantomimic and verbal-emotional improvisations, as well as on the development of vocal-choral and musical-rhythmic components of musical-stage activity by children; on their mastery of the skills of verbal actions and stage speech; on the inclusion of children in active productive and creative activity.

In accordance with the logic of mastering the material, the program is designed for three years of study, classes are built on the principle of increasing the volume of actions of children, depending on the year of study.

I. “Theatrical primer”, the so-called “first step”, is a cycle of integrated lessons, including games for the development of attention, imagination, development and differentiation of vocal-auditory and musical-motor coordination, as well as musical-auditory sensations.

Mastering theatrical creativity begins with the propaedeutic stage - specially organized communication of preschoolers within the framework of theatrical creativity, which gradually introduces the child into the most entertaining world of theater. This communication is carried out in the form of game training, which is a way of adapting a child to a new team; a means of developing purposeful actions for him to master the surrounding reality; a condition for the personal development and creative growth of the child.

This type of activity helps children live and become aware of a particular situation, activates the desire of children to act, develops a willingness to positively accept the positions of another person, and contributes to the development of qualities necessary for later life in society.

In the course of the first year of schooling, children develop:

Collective action skills (control and assessment of one's own actions and the actions of comrades, comparing one's actions with the actions of other children, interaction);

The skills to perceive and control objects of the surrounding reality are developed through visual, auditory and tactile analyzers and the skills of psychophysical and emotional liberation by activating the muscles of the face and body;

Initial generalized ideas about the concepts of "artistic image", "means of creating an artistic image" are formed

Concrete elementary skills of creating this image are formed by various artistic, stage and musical means (pantomime, speech-intonation, timbres of children's musical instruments);

The foundations of stage speech are laid;

Vocal-choral skills and skills of musical-rhythmic movements are formed.

II. "Musical theater", the so-called "second step", is a class where children are involved in creative work to stage a musical performance. The skills acquired in the course of classes on the “first step” are developed and consolidated by children in a productive musical and stage activity.

Thus, this stage is reproductive and creative. Classes in the “Musical Theater” section of the program are designed to combine all the child's abilities and acquired skills and abilities to maximize his creative potential when creating a musical performance as a creative product of a large group of small actors.

In the process of training on this “step”, children carry out:

Rethinking the previously acquired skills and abilities on a new specific musical and stage material;

There is a further clarification of the concepts of "artistic image" and "means of creating an artistic image";

Initial ideas about the concepts of “play”, “role”, “stage of the play”, “acting ensemble” are formed;

There is a further development of stage speech, the formation of skills of verbal actions (emotional immersion in the spoken words);

Development of vocal and choral skills and skills of musical rhythmic movements;

A steady interest in theatrical art in general and in musical theater in particular is being formed.

At this stage, the use of such forms of organizing musical and theatrical activities as drama theater and staging of musicals is characteristic. An example of a piece of music is L. Polyak's play "The Turnip" (see appendix).

III. “Conversations about theater”, the so-called “third step”, is the third year of classes, where, together with the continuation of training and staging classes, children acquire basic knowledge about the history of the emergence and development of theatrical art.

“Conversations about the Theater” is a systematized cycle of studies of a problem-seeking nature, in which, satisfying their interest, children are engaged in research activities to study the nature of theater in general, and musical, in particular. The solution of educational tasks put forward by the program is provided by a certain logic of presentation of educational material, presented below.

In the course of classes in this section, children are assimilating already known concepts at a new level through the use of new theatrical terminology and further development of the basic elements of musical and stage activities in new theatrical performances.

The methodological support of the Theatrical Steps program includes a set of specially designed manuals and practical materials (“Theatrical Steps: the ABC of Games”, “Theatrical Steps: Musical Theater”, “Theatrical Steps: Conversations about the Theater”). Educational developments for children (“Guide to Musical Theater”) provide for the child to independently complete some tasks at home in order to consolidate the impressions of the information received in the classroom.

The practice of working on this program shows that by the end of the third year of study, children adequately perceive, analyze the images of the surrounding reality and creatively reflect them, embodying ideas and fantasies by means of acting expressiveness. They acquire the necessary elementary knowledge, skills and abilities of a young actor of musical theater, which include pantomime, artistic words, singing and musical movements, and apply the acquired knowledge, skills and abilities in practice in the process of staging a musical performance as a performer of a specific role.

Children show a steady interest in musical and theatrical art and an age-appropriate level of musical and theatrical literacy, erudition and audience culture, which is ensured by a conscious perception of works of musical and theatrical genres (opera, ballet, operetta, musical, etc.).

conclusions

Music plays a special role in the upbringing of a child. Preschool age is the period when the initial abilities are laid, which determine the possibility of introducing a child to various types of activity, including music.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical educational activity.

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.

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.

When analyzing training programs that combine theatrical action and musical education, he showed that almost all of the programs used are based on the updated "Program of education and training in kindergarten", ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and primary schoolchildren", A.E. Antipina "Theatrical activities in kindergarten" and S.I. Merzlyakova "The Magic World of Theater".

Conclusion

From an early age, a child needs to be enriched with vivid artistic impressions, knowledge, and the ability to express his emotions. This promotes the manifestation of creativity in various activities. Therefore, it is very important to introduce children to music, painting, literature and, of course, theater.

Artistic and creative abilities are one of the components of the general structure of the personality. Their development contributes to the development of the child's personality as a whole.

In the psychological and pedagogical literature, both musical development and theatrical activity of preschoolers are widely considered. However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of special research.

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.

Theatrical activity includes the following points of musical development: dramatization of songs; theatrical sketches; folklore holidays; fairy tales, musicals, vaudeville, theatrical performances.

When analyzing training programs that combine theatrical action and musical education, he showed that almost all of the programs used are based on the updated "Program of education and training in kindergarten", ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and primary schoolchildren", A.E. Antipina "Theatrical activities in kindergarten" and S.I. Merzlyakova "The Magic World of Theater".

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina's Theatrical Steps.

Based on the results of the analysis of psychological and pedagogical literature, the following conclusion can be drawn: the process of theatrical activity of a preschooler is inextricably linked with the musical development of the child.

Bibliography:

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2. Bekina S.I. Music and movement - M .: Education, 1984 - 146 p.

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10. Vygotsky LN, Imagination and creativity in preschool age. - SPb .: Soyuz, 1997.92 p.

11. Godefroy J., Psychology, ed. in 2 volumes, volume 1. - M. Mir, 1992. p. 435-442.

12. Golovashchenko O.A. Development of the creative potential of a developing personality through project activities in music and choral theater lessons. // Preschool education. - No. 11. - 2002. - P. 12

13. Dyachenko OM, What does not happen in the world. - M .: Knowledge, 1994.157 p.

14. Endovitskaya T. About the development of creative abilities. - Preschool education. - 1967 No. 12. pp. 73-75.

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17. Ilyenkov E.I. About the "specificity" of art. // Questions of philosophy. - 2005. - No. 5. - P.132-144.

18. Kartamysheva A.I. Musical and theatrical activity as a means of developing artistic and performing skills in preschool children. - Minsk: MGI, 2008 .-- 67 p.

19. Kolenchuk I.V. The development of musical abilities of preschool children through theatrical activities // Art in school. - 2007. - N 11. - P. 64-66.

20. Krylov E. School of creative personality. - Preschool education. -1992 No. 7.8. pp. 11-20.

21. Kudryavtsev V., Child - preschooler: a new approach to the diagnosis of creative abilities. -1995 No. 9 p. 52-59, No. 10 p. 62-69.

22. L.V. Lebedeva Formation of the foundations of the musical culture of preschoolers through the world of musical fairy tales // Preschool education. - No. 10. - 2007. - P. 21

23. Levin V.A., Education of creativity. - Tomsk: Peleng, 1993.56 p.

24. Bow AN, Psychology of creativity. - Science, 1978.125 p.

25. Methods of musical education in kindergarten / under. Ed. N.A. Vetlugina. - M, 1982

26. Migunova E.V. Organization of theatrical activities in kindergarten: Teaching aid. - Veliky Novgorod: NovSU im. Yaroslav the Wise, 2006 .-- 126 p.

27. Murashkovskaya IN, When I become a wizard. - Riga: Experiment, 1994.62 pp.

28. Nesterenko A. A., Land of fairy tales. - Rostov-on-Don: Rostov University Publishing House. - 1993.32 p.

29. Nikitin B., We, our children and grandchildren, - M .: Molodaya gvardiya, 1989. pp. 255-299.

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43. L. V. Tanina Development of creativity in the artistic activity of preschoolers // Materials of the All-Russian scientific and practical conference: Problems of preschool education at the present stage. - Togliatti, 2003 .-- S. 5 - 7

You shouldn't contradict me,

You made me angry!

Eat porridge! Well, there is no turnip!

If you want a turnip - so go

Well, I guess I'll go

And I'll plant a turnip.

In fact, I go -

I will plant a sweet turnip.

The turnip has grown to glory ...

(The woman goes to the hut. The grandfather plants a turnip in the garden: imitates digging with a shovel, sows seeds.)

Turnip (rising slowly, humming).

Respected by the people,

I grow in a vegetable garden.

(She straightens up to her full height.)

So the big one has grown.

(Examines himself, admiring.)

How good I am!

(Turns, dancing.)

Sweet and strong

I am called Turnip!

Grandfather (admiringly).

The turnip has grown to glory ...

I haven't seen one, really!

What a miracle of miracles ?!

Turnip - almost to heaven!

(He comes up, grabs the turnip with his hands, tries to pull it out.)

Sod-ka ... It was not there -

One is not strong enough.

What should I do? How to be here?

I will click Grandma to help.

Come on, Grandma, come here,

(Grandma comes up, Grandfather points to the turnip.)

I really want a turnip,

Yes, you see, the roots are strong

The turnip clung to the ground ...

Help me, do me mercy!

GRANNY (shakes her head in surprise).

I have lived for many years

But I haven’t seen this.

(Pointing to the turnip, he says admiringly.)

Truth is a miracle of miracles:

Turnip almost to heaven!

I'll catch hold of Grandpa,

Together we will pull the turnip together.

(Grandfather and Baba are trying to pull out the turnip together.)

Granny (commanding loudly).

Once - that's a commercial!

Once - like this!

(Wiping sweat from his face, he laments.)

Oh! .. There is no way to pull it out ...

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip!

To you with such a beauty

Can't handle it for anything !!!

Grandma (showing her palms to Grandfather).

You know, my hands are loose.

I will call my granddaughter for help,

Come on, Masha, run

Help me to pull the turnip!

Granddaughter (jumps out, humming merrily).

I'm running, rushing to help.

Where is he, the naughty vegetable ?!

My little hands are not weak.

I'll grab Baba's sweater.

No matter how tightly it clung,

We will master you, Turnip!

(Grandfather, Baba, and Granddaughter are trying to pull out the turnip.)

Granddaughter (commanding loudly).

Once - that's a commercial!

Two - like this!

(She throws up her hands in surprise.)

No! Can't pull it out ...

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip.

With a turnip-beauty

And three of us can't cope !!!

That's a turnip! What a vegetable!

Know, you have to call for help ...

(Calls the dog.)

Bug! Zhuchenka!

Run, help me pull the turnip!

(Bug runs out.)

Woof woof woof! I heard:

Turnip's grandfather wants to go to dinner.

Woof! Bug is ready to help!

I will cling, woof, woof, to the Granddaughter.

(Grandfather, Baba, Granddaughter and Bug are trying to pull out the turnip).

Bug (commanding loudly).

Woof-woof - got it!

Woof-woof - together!

(Surprised.)

Woof !!! And the turnip is in place!

Woof - one more time, like this!

(Sorry.)

Woof-not to pull out in any way ...

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip.

With a turnip beauty

Four of us can't cope !!!

Woof! We'll have to click the Cat,

To help a little.

(Calls the cat.)

Murka! Kitty! Run!

Help me to pull the turnip!

(Goes out, stepping softly, Murka.)

Murka (affectionately, in a slightly singsong voice).

Ooh! Moo-u-r! I will help you.

What, tell me, to do na-a-do?

Po-nya-la-a, the answer here is pro-o-st:

I will grab hold of Zhuchkin hvo-o-st.

(All together are trying to pull out the turnip.)

Murka (in command).

Meow - they took it together!

(Surprised.)

Mu-u-rr, and the turnip is all in place!

Meow! Moore! More! .. That's it! ..

(Sorry.)

Mu-r-r-r. Can't pull it out ...

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip.

To you with such a beauty

Five of us can't do it !!!

Mu-rr. Without a Mouse, we see

You can't cope with Repko.

Perhaps I'll look for a Mouse ...

Hiding somewhere, coward!

(The Mouse appears, looks around cautiously, squeaks, and stops in fright in front of Murka.)

CAT (affectionately).

Don't be afraid of me, baby.

I am a neighbor, Murka the cat.

Meow! Moore! Run after me

Help me to pull the turnip!

Mouse (joyfully).

Pee-pee-pee! How cute!

I will help you if you have enough strength.

(He addresses the audience.)

If so - I'm not afraid

And I will cling to Murka.

I'm not afraid of cats

And I'll cling to the tail!

(The mouse grabs at Murkin's tail, commands: "Pee pee!"

Grandfather (addresses the audience).

Is the Mouse's strength great ?!

Well, friendship won!

Together they pulled a turnip

That she sat firmly in the ground.

Grandma (addresses to Grandfather).

Eat to health, Grandfather,

Your long-awaited lunch!

Granddaughter (turns to Grandfather).

Treat and Grandma and Granddaughter.

Bug (turns to Grandfather).

Treat the Bug with a bone.

Murka (addresses to Grandfather).

Independent artistic activity of preschoolers / Ed. N.A. Vetlugina. - M .: Pedagogika, 1980 .-- P. 4 (37) Savina E.G. The program of theatrical steps in the practice of the development groups of children's music schools and children's schools. // Yekaterinburg: Methodological Center for Art Education - P. 3 - 4 (36)

Chapter 1. Review of literature on the problem of the impact of theatrical activities on the musical development of children

1.1 Formation of the child's creative personality by means of theatrical activity

conclusions

conclusions

Conclusion

Bibliography

All types of artistic activity that are formed in preschool childhood, according to N.A. Vetlugina, are distinguished by ease, emotionality and necessarily awareness. In the process of this activity, the child's creative imagination is vividly manifested, he consciously conveys the play image and brings his interpretation into it.

Art as a kind of reflection of life makes it possible to reveal life phenomena in an artistic form. Pedagogical research aimed at studying children's creativity in various types of artistic activity (literary, visual, musical, theatrical) invariably emphasizes the need to form an aesthetic attitude towards works of art (N.A. Vetlugina, N.P. Sakulina, T.G. Kazakova, A.E.Shibitskaya, O.S.Ushakova, T.I. Alieva, N.V. Gavrish, L.A. Kolunova, E.V. Savushkina).

The problem of the interaction of arts was considered in different aspects: as the influence of the relationship between music and painting on the creativity of children (S.P. Kozyreva, G.P. Novikova, R.M. Chumicheva); development of musical perception of preschoolers in the context of interaction of different arts (K.V. Tarasova, T.G. Ruban).

Most Russian psychologists emphasize the figurative nature of creative processes.

Children's creative abilities are manifested and developed on the basis of theatrical activity. This activity develops the child's personality, instills a steady interest in literature, music, theater, improves the skill of embodying certain experiences in play, encourages the creation of new images, and encourages thinking.

The influence of theatrical art on the formation of a person's spiritual culture is highlighted in the works of E.B. Vakhtangov, I. D. Glikman, B.E. Zakhavy, T.A. Kurysheva, A.V. Lunacharsky, V.I. Nemirovich-Danchenko, K.S. Stanislavsky, A. Ya. Tairova, G.A. Tovstonogov; the problems of the moral development of children by means of the theater are devoted to the works of the founders of the puppet theater in our country - A.A. Bryantseva, E.S. Demmeni, SV. Obraztsov, and musical theater for children - N.I. Sats.

This is explained by two main points: firstly, the drama, based on the action performed by the child himself, most closely, effectively and directly connects artistic creation with personal experience.

As noted by V.G. Petrova, theatrical activity is a form of living out the impressions of life lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of adults.

In a dramatic form, an integral circle of imagination is realized, in which the image, created from the elements of reality, embodies and realizes again into reality, albeit a conditional one. Thus, the desire for action, for embodiment, for realization, which is inherent in the very process of imagination, finds full realization in theatricalization.

Another reason for the closeness of the dramatic form for the child is the connection of any dramatization with play. Dramatization is closer than any other type of creativity, directly related to play, this root of all children's creativity, and therefore the most syncretic, that is, it contains elements of the most diverse types of creativity.

Pedagogical research (D.V. Mendzheritskaya, R.I. Zhukovskaya, N.S. Karpinskaya, N.A. games. At the same time, the role of play-dramatization in the transition to theatrical activity is emphasized (L.V. Artemova, L.V. Voroshnina, L. S. Furmina).

Analysis of children's creativity in the works of N.A. Vetlugina, L.A. Penievskaya, A.E. Shibitskaya, L.S. Furmina, O.S. Ushakova, as well as the statements of famous representatives of theatrical art convincingly prove the need for special training in theatrical activities. There can be two approaches to solving this problem: one of them assumes a reproductive (reproducing) type of education, the other is based on the organization of conditions for creative processing of material, the creation of new artistic images.

Various aspects of theatrical activity of children are the subject of a number of scientific studies. The organization and methods of teaching theatrical activities of children are reflected in the works of V.I. Ashikova, V.M. Bukatova, T.N. Doronova, A.P. Ershova, O.A. Lapina, V.I. Loginova, L.V. Makarenko, L.A. Nikolsky, T.G. Penalty, Yu.I. Rubina, N.F. Sorokina and others.

The possibilities of teaching theatrical activity in the development of various aspects of the child's personality are revealed in the studies of L.A. Tarasova (social relations), I.G. Andreeva (creative activity), D.A. Strelkova, M.A. Babakanova, E.A. Medvedeva, V.I. Kozlovsky (creative interests), T.N. Polyakova (humanitarian culture), G.F. Pokhmelkina (humanistic orientation), E.M. Kotikova (moral and aesthetic education).

In the field of music education, the problem of child development through theatrical activity was reflected in the works of L.L. Pilipenko (the formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (the formation of socio-cultural orientations), O.N. Sokolova-Naboichenko (musical and theatrical activity in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of the perception of a musical image in the process of staging a children's opera).

Analysis of the literature made it possible to assume that musical development is facilitated by the special organization of conditions for the purposeful teaching of children in various types of artistic activity in their interconnection.

The development of the theory and practice of educating preschoolers by means of music took place under the influence of the views of B.V. Asafieva, T.S. Babadzhanyan, V.M. Bekhterev, P.P. Blonsky, L.S. Vygotsky, P.F. Kaptereva, B.M. Teplova, V.N. Shatskaya, B.L. Yavorsky and others, who emphasized the need for this work, starting from an early age for the moral and intellectual development of the personality of children.

The system of domestic musical education of preschoolers, which took shape in the 60s - 70s. XX century, relied on pedagogical and psychological studies of the problems of the development of musical perception of preschoolers (SM Belyaeva-Eksemplyarskaya, I.A. Vetlugina, I.L.Dzerzhinskaya, M. Nilsson, M. Vikat, A.I. Radynova, SM Sholomovich) and the possibilities of children in assessing music (II.A. Vetlupsha, L.N. Komissarova, ІІ. A. Chicherin, A.I. Shelepenko).

II.A. Vetlugina, who developed many of the most important problems of children's musical activity, proposed to combine the methods of traditional and innovative pedagogy in the practice of musical education and upbringing. This approach is adhered to by A.D. Artobolevskaya, A.II. Zimin, A.I. Katinene, L.N. Komisarova, L.E. Kostryukova, M.L. Palandishvili, O. P. Radynova, T.I. Smirnova and others.

In most of the technologies created, the upbringing of a harmoniously developed personality is carried out in the process of combining different types of artistic activity, each of which (singing, movement, recitation, playing noise, percussion instruments, arts and crafts and visual arts) is organic for the child, but in practice the priority is often is given to one kind of musical activity.

The paradox of many methodological studies and developments lies in the emphasis on the process of creative activity and underestimation of the pedagogical significance of its product (the system of mastered knowledge, skills and abilities often replaces the product of children's musical creativity).

It should also be noted that most of the existing concepts and author's methods, as a rule, are focused on short time periods (3-4 years, 5-7 years, primary school age), that is, they are limited by the framework of educational institutions of various types. Such "age-related" fragmentation leads to the need for special efforts aimed at realizing the continuity of the child's musical development.

In overcoming the aforementioned negative tendencies, musical and stage works written for children are of particular importance. Composers from abroad (B. Britten, K. Orff, Z. Koday, P. Hindemith) and domestic (C. Cui, A. Grechaninov, M. Krasev, M. Koval , D. Kabalevsky, M. Minkov and others).

In recent decades, many new musical and stage works have appeared, which, being material that are accessible and fascinating for the perception of modern children, can raise their creative development to a new level. It is in these works that the child is able to manifest, realize himself in various types of creative activity. Singing, plastic art, acting skills, the development of an artistic solution for the performance - all these are components that cannot be dispensed with when working on stage works.

1.2 Creative games for preschoolers

In domestic preschool pedagogy, a classification of children's games has developed, based on the degree of independence and creativity of children in the game. Initially, P.F. Lesgaft, later his idea was developed in the works of N.K. Krupskaya.

She divides all children's games into 2 groups. The first N.K. Krupskaya called creative; emphasizing their main feature - independent character. This name has also been preserved in the traditional Russian preschool pedagogy of classifying children's games. Another group of games in this classification is made up of games with rules.

Modern domestic pedagogy classifies role-playing, construction and theatrical games as creative games. The group of games with rules includes didactic and outdoor games.

Theatrical play is very closely related to the role-playing game and is a kind of it. Role-playing game appears in a child at about 3 years of age and reaches its prime at 5-6 years old, theatrical play reaches its peak at 6-7 years old.

As a child grows up, he goes through a number of stages, and his play also develops in stages: from experimenting with objects, acquaintance with them to displaying actions with toys and objects, then the first plots appear, then the entry into the role is added and, finally, the dramatization of the plots.

D.B. Elkonin calls the role-playing game an activity of a creative nature, in which children take on themselves and in a generalized form reproduce the activities and relationships of adults, using substitute objects. The theatrical play appears in a certain period and, as it were, grows out of a plot-based role-playing game. This happens at a time when, at an older age, children are not satisfied with only reproducing the plots of real relationships between adults. It becomes interesting for children to base the game on literary works, to reveal their feelings in it, to make dreams come true, to perform desired actions, to play fantastic plots, to come up with stories.

The difference between role-playing and theatrical games is that in a role-playing game, children reflect life phenomena, and in a theatrical play they take plots from literary works. In a plot-based role-playing game, there is no final product, the result of a game, but in a theatrical game there can be such a product - a staged performance, a staging.

Due to the fact that both types of play, plot-role-playing and theatrical, belong to creative types, the concept of creativity should be defined. According to the encyclopedic literature, creativity is new, never before. Thus, creativity is characterized by 2 main criteria: novelty and originality of the product. Can children's creativity products meet these criteria? Of course not. N.A. Vetlugina, a prominent researcher of children's artistic creativity, believes that in his work a child discovers something new for himself, and tells others about himself.

Consequently, the product of children's creativity has not objective, but subjective novelty. The remarkable scientist teacher T.S.Komarova understands the child's artistic creativity as “the creation by the child of a subjectively new (first of all meaningful for the child) product (drawing, modeling, story, dance, songs, games, invented by the child), inventing new ones for the unknown, previously unused details that characterize the image being created in a new way (in a drawing, in a story, etc.), inventing one's own beginning, the end of new actions, characteristics of heroes, etc., using previously mastered methods of depiction or means of expression in a new situation (for depicting objects of a familiar shape - based on the mastery of facial expressions, gestures, variations of voices, etc.), the child's manifestation of initiative in everything, coming up with different options for images, situations, movements, as well as the process of creating images of a fairy tale, story, game - dramatization, drawing, etc., searches in the process of activity for methods, ways of solving the problem (visual, play, musical).

Indeed, in play, the child invents a lot himself. He comes up with an idea, the content of the game, selects pictorial and expressive means, organizes the game. In the game, the child manifests himself as an artist, acting out the plot, and as a screenwriter, building its outline, and as a decorator, equipping a place for the game, and as a constructor, embodying a technical project.

The creative combining activity of a preschooler is based on imagination. It is with the help of imagination that a child's play is created. They serve as an echo of the events that he saw, which he heard from adults.

L.S. Vygotsky believes that the imagination of a child is much poorer than the imagination of an adult, therefore, in order to develop children's creativity, you need to take care of the development of imagination. Imagination develops in the process of accumulating impressions, imaginative representations, for this it is necessary to give as much food as possible for perception. In his play, the child will combine what he saw and heard, transforming it into images taken from life and from books.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is best to start by clarifying the connection that exists between fantasy and reality in human behavior.

The first form of connection between imagination and reality is that every creation of the imagination is always built from elements taken from reality and contained in the previous experience of man.

Thus, imagination always consists of materials given by reality. True, when this can be seen from the above passage, the imagination can create more and more new systems of combination, combining first the primary elements of reality (a cat, a goal, an oak), then again combining images of fantasy (a mermaid, a goblin), etc. But the last elements, from which the most distant from reality, a fantastic representation is created. These last elements will always be impressions of reality.

Here we find the first and most important law that obeys the activity of the imagination. This law can be formulated as follows: the creative activity of the imagination is directly dependent on the richness and diversity of the previous human experience, because this experience is the material from which the constructions of fantasy are created. The richer a person's experience, the more material his imagination has at his disposal. This is why a child has a poorer imagination than an adult, and this is due to the greater poverty of his experience.

The second form of connection between fantasy and reality is another, more complex connection, this time not between the elements of a fantastic construction and reality, but between the finished product of fantasy and some complex phenomenon of reality. It does not reproduce what was perceived in the previous experience, but creates new combinations from this experience.

The third form of connection between the activities of the imagination and reality is the emotional connection. This connection manifests itself in a double way. On the one hand, every feeling, every emotion strives to be embodied in certain images corresponding to this feeling.

Fear, for example, is expressed not only in pallor, trembling, dry throat, altered breathing and heartbeat, but also in the fact that all impressions perceived at this time by a person, all thoughts that come into his head are usually surrounded by a feeling that owns him. Fantasy images provide an internal language for our feelings. This feeling selects individual elements of reality and combines them into a connection that is conditioned from within by our mood, and not from outside, by the logic of our images.

However, there is also an inverse relationship between imagination and emotion. If in the first case we have described, feelings affect the imagination, then in the other case, the opposite, imagination affects the feeling. This phenomenon could be called the law of the emotional reality of the imagination.

Ribot formulates the essence of this law as follows: "All forms of creative imagination," he says, "contain affective elements." This means that any construction of fantasy influences our feelings in reverse, and if this construction does not correspond in itself to reality, the feeling that is actually experienced by a person that grips a person.

It remains to say about the fourth, final form of connection between fantasy and reality. This last form, on the one hand, is closely related to the one just described, but on the other, it differs significantly from it.

The essence of this last form lies in the fact that the construction of a fantasy can be essentially new, which has not been in the experience of a person and does not correspond to any really existing object, however, being embodied outside, having taken a material embodiment, this "crystallized" imagination, having become thing, begins to really exist in the world and affect other things. This imagination becomes reality.

Examples of such crystallized or embodied imagination can be any technical device, machine or tool, etc. They are created by the combining imagination of man, they do not correspond to any pattern existing in nature, but they reveal the most convincing effective, practical connection with reality, because, having incarnated, they became as real as other things.

L.S. Vygotsky says that the child's play "is not a simple recollection of the experience, but the creative processing of the experienced impressions, combining them and building out of them a new reality that meets the needs and attraction of the child himself."

Is it possible to develop the creative qualities of children? It is possible, since learning and creativity, scientists say (TS Komarova, DV Mendzheritskaya, NM Sokolnikova, EA Flerina, etc.). Creative learning is the way of development of children's creativity, E.A. Fleerina, that is, creativity should permeate the entire learning process. Scientists believe that it is important to create the necessary conditions for the development of children's creativity; provide a place for creative games for children; create an atmosphere of insatiation, freedom; activate, stimulate children's imagination; provide competent pedagogical guidance.

In pedagogical literature, the concept of "dramatized play" closely merges with the concept of "play-dramatization". Some scientists equate these concepts, others consider dramatization games a kind of plot-based role-playing games. So, according to L.S. Furmina, theatrical games are games - performances in which a literary work is played out in faces using such expressive means as intonation, facial expressions, gesture, posture and gait, that is, concrete images are recreated. Theatrical and play activities of preschool children, according to L.S. Furmina, takes two forms: when the actors are objects (toys, dolls) and when children themselves, in the form of a character, play their role. The first games (subject) are various types of puppet theater; the second (non-objective) games are dramatization games. A somewhat different approach in the works of L.V. Artemova. According to her research, theatrical games differ depending on the leading ways of emotional expressiveness, through which the theme, the plot is played out. All theatrical games in this case are divided into two main groups: director's games and dramatization games. Director's games include tabletop, shadow theater, flannelgraph theater. In these games, a child or an adult acts for all the characters.

The table theater traditionally uses theater, toys, picture theater. Now there are other types of table theater: can theater, knitted theater, box theater, etc.

To the games-dramatizations of L.V. Artemova refers to games based on the actions of the performer of the role (an adult and a child), who, at the same time, can use bibabo or finger theater dolls worn on his hand, as well as costume elements.

Play-dramatization in science is defined as “pre-aesthetic activity” (AN Leontiev) and is one of the forms of transition to productive, aesthetic activity with a characteristic motive of influencing other people. Play-dramatization is considered as a type of artistic activity of preschoolers and meets their needs for something unusual, in the desire to transform themselves into the images of fairy-tale characters, to imagine, to feel like someone else.

NS. Karpinskaya notes that the results of the activity of preschoolers in the play of dramatization are not yet art; however, reproducing the content, children convey the images of the heroes to the extent that it is accessible to them, therefore, there is an achievement that gives the right to consider the game-dramatization as an approximation to artistic activity, especially in older preschool age.

conclusions

Theatrical activity creates conditions for the development of creative abilities. This type of activity requires from children: attention, intelligence, quick reaction, organization, the ability to act, obeying a certain image, transforming into it, living its life. Therefore, along with verbal creativity, dramatization or theatrical performance is the most frequent and widespread type of children's creativity.

In the field of music education, the problem of child development through theatrical activity was reflected in the works of L.L. Pilipenko (formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (the formation of sociocultural orientations), O.N. Sokolova-Naboichenko (musical and theatrical activity in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of the perception of a musical image in the process of staging a children's opera).

However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of special research.

Let's consider the theatrical activity of preschoolers in the aspect of theatrical games.

Theatrical play is very closely related to the role-playing game and is a kind of it.

Role-playing game and theatrical game have a common structure (structure). They include substitutions, plot, content, game situation, role, role-playing actions.

Creativity is manifested in these types of games in the fact that children creatively produce everything that they see around: the child conveys his feelings in the depicted phenomenon, creatively implements the idea, varies his behavior in the role, uses objects and substitutes in the game in his own way.

In pedagogical literature, the concept of "dramatized play" closely merges with the concept of "play-dramatization". Some scientists equate these concepts, others consider dramatization games a kind of plot-based role-playing games.

2. Musical development of preschoolers in the process of theatrical activities

2.1 Musical development of preschool children

Music, like other forms of art, is a specific form of artistic reflection of reality. Deeply and diversely influencing the feelings, will of people, music is able to have a beneficial effect on their social activities, to influence the formation of personality.

The effect of the educational role of music, as well as the direction and nature of its social impact, seem to be the most important criteria that determine the social significance of music, its place in the system of spiritual and cultural values.

Today, when the world of music is represented by an extremely wide range of different styles and trends, the problem of educating the listener to good taste, able to distinguish highly artistic samples of musical art from low-grade ones, becomes especially urgent. Therefore, it is very important to form high spiritual needs and versatile artistic abilities in the young generation. For this, it is necessary in the daily practice of musical education and upbringing of children to use highly artistic samples of the music of various cultures and, of course, the music of their own people.

Music plays a special role in the upbringing of a child. A person comes into contact with this art from birth, and he receives purposeful musical education in kindergarten - and subsequently at school. Musical education is one of the means of forming a child's personality. In musical education, the perception of music by children is the leading activity. Both the performance and creativity of children are based on vivid musical impressions. Information about music is also given based on its "live" sound. Developed perception enriches all the musical abilities of children, all types of musical activities contribute to the development of the child's abilities.

According to experts, preschool age is a synesthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember about this. It depends on him and only on him what the child will become in the future, how he will be able to dispose of his natural gift. "Music of childhood is a good educator and a reliable friend for life."

The early manifestation of musical ability speaks of the need to start musical education of the child as early as possible. The time lost as an opportunity to form the intellect, creative and musical-sensory abilities of the child will go away irreparably. Therefore, the area of ​​research is the methodology of musical education for older preschool children.

Preschool age is the period when the initial abilities are laid, which make it possible for the child to familiarize himself with various types of activity. As for the field of musical development, it is here that there are examples of early manifestation of musicality, and the task of the teacher is to develop the child's musical abilities, to familiarize the child with music. Music has the ability to induce active actions in the child. He distinguishes music from all sounds and focuses his attention on it. Therefore, if music has such a positive effect on a child already in the first years of his life, then it is necessary to use it as a means of pedagogical influence. In addition, music provides rich opportunities for communication between an adult and a child, creates the basis for emotional contact between them.

A child, imitating an adult, sings along with individual sounds, the ends of phrases, and then simple songs and backing songs, later the formation of the actual singing activity begins. And here the teacher's task is to strive to develop children's singing sound, to increase the volume of vocal and choral skills available for this age. Children can be led to the fact that they would convey in singing their attitude to the work being performed. For example, some songs should be sung cheerfully and cheerfully, while others should be sweet and sweet.

To remember something, passive listening is not enough, you need an active analysis of the music. Visual aids in the musical lessons of preschoolers are necessary not only for a more complete disclosure of the musical image, but also for maintaining attention. Without visual aids, children become distracted very quickly. VA Sukhomlinsky wrote: “the attention of a small child is a capricious“ creature ”. It seems to me like a shy bird that flies away from the nest as soon as you strive to approach it. When you finally managed to catch the bird, you can only keep it in your hands or in a cage. Do not expect songs from the bird if it feels like a prisoner. So is the attention of a small child: "if you hold him like a bird, then she is your bad helper."

In the development of all types of musical activity of preschool children, the formation of musical and sensory abilities is especially important. The basis of this formation is the child's listening, discrimination and reproduction of the four properties of musical sound (pitch, duration, timbre and strength).

Understanding the problem of developing musical perception in such a broad sense, the teacher encourages children to listen to the sounding music throughout the lesson. Only when the music in the class ceases to be a sound background, when the constantly changing character, the mood expressed in it, the children will feel and realize, express in their performing and creative activities, the acquired skills and abilities will benefit musical development. This will contribute to the main task of musical education - the development of emotional responsiveness, instilling interest and love for music.

Modern approaches to the musical education of preschoolers.

Currently, little attention is paid to the formation of children's musical and sensory abilities. Meanwhile, the studies of such famous scientists and teachers as Vygotsky L.S., Teplov B.M., Radynova O.P. prove the possibility and necessity of forming memory, imagination, thinking, abilities in all children, without exception. The subject of the research was specially organized musical classes, in which musical-didactic games and manuals were the leading type of activity. Based on this, the object of the study is the use of visual-auditory and visual-visual methods in combination with verbal ones, as the most effective in the musical-sensory development of preschoolers.

Unfortunately, work on musical and sensory education in preschool institutions is not always organized at the proper level. Obviously, this is due to the lack of material resources, the lack of ready-made musical and didactic manuals in the trading network.

Of course, the very organization of the use of musical-didactic games requires the teacher to understand the significance and value of the musical-sensory development of children, great creativity and skill, the ability and desire to aesthetically produce and design material, and not every music director has such abilities.

In pedagogy, there are various approaches to the characterization and classification of teaching methods, the most common are: visual, verbal and practical methods.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical educational activity. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity is carried out in singing, musical rhythmic movements and playing musical instruments. Musical educational activity includes information of a general nature in music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about the methods of performing. Each type of musical activity, having its own characteristics, presupposes the mastery by children of those modes of activity, without which it is not feasible, and has a specific effect on the musical development of preschoolers. Therefore, it is important to use all kinds of musical activities.

The perception of a child and an adult is not the same due to different musical and life experiences. The perception of music by young children is characterized by an involuntary character, emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. For older preschool children, with the enrichment of their life experience, the experience of listening to music, the perception of music gives rise to more diverse impressions.

The difference in the nuances of music develops in children from an early age. At each age stage, the child distinguishes the most vivid means of expression with the help of the possibilities that he possesses - movement, word, play, etc. Therefore, the development of musical perception should be carried out through all types of activities. In the first place, you can put listening to music. Before performing a song or dance, the child listens to music. Receiving various musical impressions from childhood, the child gets used to the language of intonations of folk classical and modern music, accumulates experience of perceiving music, different in style, comprehends the "intonation vocabulary" of different eras. The famous violinist S. Stadler once remarked: "To understand a beautiful fairy tale in Japanese, you need to know at least a little." The acquisition of any language begins in early childhood and musical language is no exception. Observations indicate that young children enjoy listening to the early music of J.S.Bach, A. Vivaldi, W.A. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the beginnings of musical taste and musical culture as a whole are formed.

The perception of music is carried out not only through listening, but also through musical performance - singing, musical rhythmic movements, playing musical instruments.

For the formation of musical and auditory representations, it is important to know that musical sounds have different heights, that a melody consists of sounds that move up, down or are repeated at the same pitch. The development of a sense of rhythm requires the knowledge that musical sounds have different lengths - they are long and short, that they move and their alternation can be measured or more active, that the rhythm affects the nature of the music, its emotional coloring, makes different genres more recognizable. The formation of a motivated assessment of musical works, in addition to the accumulation of auditory experience, presupposes certain knowledge about music, its types, composers, musical instruments, means of musical expression, musical genres, forms, mastering some musical terms (register, tempo, phrase, part, etc.)

Musical educational activity does not exist in isolation from other types. Knowledge, information about music is not given to children by themselves, but in the process of perceiving music, performing, creativity, along the way, to the place. Each type of musical activity requires certain knowledge. For the development of performing, creativity, special knowledge is needed about the methods, techniques of performing, means of expression. Learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical and rhythmic activity, preschoolers master various movements and methods of their performance, which also requires special knowledge: about the fusion of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expression (tempo, dynamics, accents, register, pauses). Children learn the names of dance steps, learn the names of dances, round dances. Learning to play musical instruments, children also acquire certain knowledge about timbres, methods, techniques of playing different instruments.

Children are inclined towards certain types of musical activities. It is important to notice and develop in every child the desire to communicate with music, in the form of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by them. However, one cannot but take into account the position of psychology on the leading types of activities that affect the development of personality. If these leading types of activity manifested themselves in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, to orient the process of musical education to the development of his abilities, inclinations, interests. Otherwise, as we have already noted, the learning process is reduced to “coaching”. If training is carried out without an individually - differentiated approach, it ceases to be developmental.

In connection with the ongoing changes in the cultural and moral sphere of the life of Russian society, the role of raising children from a very early age is increasing. According to many authors, one of the ways to overcome negative phenomena in the spiritual sphere can be the musical education of children at the earliest stages.

Music "lessons" not only introduce children to musical instruments, but also allow them to master the basics of vocal breathing, develop voice and hearing, and broaden their horizons.

The guys listen to classical music, put on theatrical sketches aimed at developing the emotional-figurative sphere. Musical development of young children encourages kids to be creative, and helps parents and teachers to quickly reveal the talents and aspirations of the child.

Such scientists and teachers as Asafiev, Vinogradov, Gusev, Novitskaya and many others single out folk musical creativity as the basis for musical education and upbringing of children. Folk art is the highest manifestation of historical accuracy, lofty ideals and developed aesthetic taste.

The moral and aesthetic content of folk music and poetry, the enduring value of its pedagogical and psychotherapeutic capabilities, convince of the need to preserve and widely use folklore in the modern practice of upbringing and education. Turning to folk culture as a source of upbringing, one can find fertile ground for the formation and development of various qualities in children: intellectual, moral, aesthetic.

The use of folklore material in musical education inevitably leads to the search for new forms and methods of working with children, where the child is not just an object of education, but becomes a participant in a creative act, which in turn activates the development of his musical and creative abilities.

2.2 Specificity of theatrical activities in the process of musical development of children

Modern psychological and pedagogical science has data that all types of art develop in children not only artistic abilities, but also "a universal universal human ability, which, being developed, is realized in any sphere of human activity" (E.I. Ilyenkov) - the ability to be creative. And the sooner the child meets art, the more effective the process of developing this ability will be.

As you know, theater is one of the most vivid forms of artistic reflection of life, based on the perception of the world through images. A specific means of expressing meaning and content in the theater is a stage performance that arises in the process of game interaction between actors. However, in the field of primary musical education of children, musical and theatrical activity seems to be the least developed direction, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

Musical education is a synthesis of various activities. The process of musical education includes all types of musical activities, including theatricalization. In music lessons, theatricalization should take a significant place, along with other types of activity, theatricalization has a great influence on the development of a child's creative abilities, figurative thinking.

In the process of theatrical games, an integrated upbringing of children takes place, they learn expressive reading, plastic movement, singing, playing 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, 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.

Depending on the methods of teaching music used, the teacher can take theatricalization as the basis for the lessons. Elements of theatricalization can be used both for entertainment events and holidays, and in basic classes, starting with the younger group. In the process of 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, 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.

By its nature, theatrical art is most closely related to children's role-playing game, which develops as the basis for the relatively independent functioning of the children's community and by the age of 5 takes the position of the leading activity of children. 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 one. 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 to do, since it does not rely on any materialized pattern.

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.

Introducing children 5-8 years old to musical and theatrical creativity in the conditions of groups of musical and aesthetic development.

Theatricalization in work with children must be applied from a very young age. Kids happily depict the habits of animals in small scenes, imitating their movements and voices. With age, the tasks of theatrical activity become more complicated, children stage small fairy tales, poetic works. It is necessary to involve teachers in theatricalization, who, like children, will take on the roles of the heroes of fairy tales. It is also important to involve parents in the preparation of performances, thereby bringing the family closer to the life of children in kindergarten. Joint activities of adults, older children and our pupils create mutual interest in theatrical activity.

The perception of musical art is impossible without the subjective and creative acceptance of the musical image, then there is a need to expand the content of familiarizing preschoolers with musical art and, above all, to revise the attitude towards sensory standards associated with the world of sounds.

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 gurgles, etc.). etc.).

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 of children includes several sections: the basics of puppetry, acting, game creativity, imitation on musical instruments, singing and dancing creativity of children, holding holidays and entertainment.

For classes, entertainment and performances, together with educators and parents, it is necessary to make decorations, attributes, masks, costumes of fairy-tale characters, emblems, noise musical instruments (jars of cereals, pebbles; boxes with chopsticks, etc.)

With kids, you can pay attention to the reflection of fabulous images of animals, I analyze the nature of the movement, intonation: a big and small bird is flying, funny and sad hares, snowflakes are spinning, falling to the ground. Use psycho-gymnastics exercises: it poured rain, the wind blows, the sun, a cloud.

In general, it is necessary to ensure that children convey their mood, change their facial expressions, when they work with children, an important aspect is to encourage the participation of children in dramatization, the desire to play a role. In the process of learning, children learn to correctly name theatrical equipment, treat it with care, navigate the space of the hall, and monitor the development of the action. Much attention should be paid to the child's speech, the correct pronunciation of words, the construction of phrases, trying to enrich the speech. Together with children, you can compose small stories, all together come up with dialogues of heroes. Children can independently compose and play a story.

Older preschoolers can compose melodies in the genre of a lullaby for a bear, a doll, etc. In dance creativity, attention should be paid to fostering interest and desire to move in various images - animals, snowflakes, parsley. In the classroom, various attributes should be used: flowers, leaves, ribbons, salutes, handkerchiefs, cubes, balls, etc.

An important stage in theatrical activity is the work on the acting skills of children. As an example, you can invite a child to show the image of a delicious candy, a cowardly bunny, etc.

In older groups, it is necessary to achieve expressive speech, the development of an idea of ​​moral qualities, the rules of behavior of spectators at the play. With the help of theatrical activities, children learn to express their attitude to what is happening more accurately, learn to be polite, attentive, get used to the image, be able to analyze their play and the performance of other heroes, learn new techniques for playing musical instruments.

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.

It is possible to use games for attention, imagination, I achieve a vivid transfer of a diverse image. In dance creativity, the child gets the opportunity to get a cheerful self-asserting self-confidence, which becomes an excellent background for the development of his intellectual sphere.

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.

The following musical equipment can be used:

- musical instruments for the work of a music director;

- children's musical instruments;

- musical toy;

Musical and didactic aids: educational and visual material, board musical and didactic games;

Audiovisual aids and special equipment for them; equipment for artistic and theatrical activities;

- attributes and costumes.

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.

Musical and theatrical activity is a source of the development of feelings, deep experiences and discoveries of the child, introduces him to spiritual values. This is a concrete visible result.

Musical and theatrical activity makes it possible to form the experience of social skills of behavior due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, 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.

The most effective when listening to music are the following methodological techniques:

- "Listen and Tell"

- "Listen and Dance"

- "Listen and Play"

- "Listen and Sing", etc.

In addition to listening and singing, great attention in musical and theatrical work is paid to such an activity as rhythmic movements, plastic, dance improvisation. In the performances of fairy tales or musicals, the figurative dances of the heroes occupy one of the brightest and most interesting places.

Theatrical activity includes the following points of musical development:

1. Dramatization of songs;

2. Theatrical sketches;

3. Entertainment;

4. Folklore holidays;

5. Fairy tales, musicals, vaudeville, theatrical performances.

ON. Vetlugina, in her research, comprehensively analyzed the capabilities of children in performing creative tasks, the origins of children's creativity, the ways of its development, substantiated the idea of ​​interconnection, interdependence of learning and creativity of children, theoretically and experimentally proving in her works that these processes do not oppose, but closely touch, mutually enrich each other. It was found that a necessary condition for the emergence of children's creativity is the accumulation of impressions from the perception of art, which is a model for creativity, its source. Another condition for children's musical creativity is the accumulation of performance experience. In improvisations, the child emotionally, directly applies everything that he has learned in the learning process. In turn, learning is enriched by the creative manifestations of children, acquires a developing character.

Children's musical creativity, like children's performance, usually has no artistic value for the people around them. It is important for the child himself. The criteria for its success is not the artistic value of the musical image created by the child, but the presence of emotional content, the expressiveness of the image itself and its embodiment, variability, originality.

In order for a child to compose and sing a melody, he needs to develop basic musical abilities. In addition, for the manifestation of creativity, imagination, fantasy, free orientation in unusual situations are required.

Children's musical creativity by its nature is a synthetic activity. It can manifest itself in all types of musical activity: in singing, rhythm, playing children's musical instruments. It is important to form songwriting, starting from early preschool age, using creative tasks that are feasible for children. The success of children's creative manifestations depends on the strength of their singing skills, the ability to express certain feelings, moods in singing, and to sing purely and expressively. To guide preschoolers in the songwriting of N.A. Vetlugina offers exercises for the accumulation of auditory experience, the development of musical and auditory representations. It is important to draw the attention of children to the expressiveness of their improvisation, even in the simplest exercises. In addition to singing, children's creativity can be manifested in rhythm and playing musical instruments. The creative activity of children in rhythm largely depends on the organization of teaching musical-rhythmic movements. A child's full-fledged creativity in rhythm is possible only if his life experience, in particular musical and aesthetic representations, is constantly enriched, if there is an opportunity to show independence.

Increased attention should be paid to the selection of pieces of music that serve as a scenario for the independent actions of children. Programmed music occupies a leading place in creative tasks, since the poetic text, the figurative word help the child to better understand its content.

Instrumental creativity of children, as a rule, manifests itself in improvisations, i.e. composition while playing the instrument, direct, momentary expression of impressions. It also arises on the basis of children's life and musical experience.

One of the conditions that ensures successful instrumental creativity is the possession of elementary skills in playing musical instruments, various methods of sound production, which make it possible to convey the simplest musical images (clatter of hooves, magic falling snowflakes). It is important for children to understand that when creating an image, it is necessary to express the mood and character of the music. Depending on the nature of the image to be conveyed, children choose certain expressive means, this helps children to feel more deeply and realize the features of the expressive language of music, encourages independent improvisation.

All of the above conditions are met in theatrical performance. Thus, we can conclude that the process of theatrical activity is inextricably linked with the musical development of the child.

2.3 Analysis of programs combining theatrical activities and musical education

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina's Theatrical Steps. Let's consider them in more detail.

1. Creative group edited by K.V. Tarasova, M.L. Petrova, T.G. Ruban "Synthesis".

"Synthesis" is a program for the development of musical perception in children based on the synthesis of art. This is a music listening program. The group of authors of the program based their work on the fact that initially, in the early stages of development, human art history was syncretic in nature and included the rudiments of verbal and musical art, early forms of choreography and pantomime. The authors use the principle of syncretic art in musical lessons with children: "synthesis makes it possible to combine various arts in the interests of their mutual enrichment, enhancing figurative expressiveness."

"The upbringing of this kind of" artistic polyglots "should begin in childhood, since a syncretic orientation in the world and the syncretic nature of artistic and creative activity are natural for a child." The most fruitful, according to the authors, is the synthesis of music, painting, literature, which gives great opportunities for the development of a child's artistic culture.

This program is based on the interaction of several principles of organizing music lessons with children:

- Special selection of musical repertoire;

- Using the synthesis of arts;

- The use of other types of children's musical activities in the classroom for listening to music as auxiliary ones: singing, playing in the orchestra, conducting.

- Development of some blocks of the content of musical lessons and their plot outline.

The musical repertoire of the program includes works of different eras and styles that meet two leading principles - high artistry and accessibility. Proceeding from the fact that the program is based on the synthesis of arts, its authors also turned to musical genres, which are based on the organic synthesis of several arts - to opera and ballet. In an effort to make them accessible to children, preference is given to a fairy tale - a fairy tale in opera and a fairy tale in ballet.

The musical pieces of the program are grouped into thematic blocks and given in them in ascending order of difficulty. Themes of blocks for 5 year old children "Nature in Music", "My Day", "Russian Folk Images", "Fairy Tale in Music", "I Learn Notes", etc.

The works of visual arts offered in the program are not limited to the task of giving only knowledge about those objects, events, characters that are reflected in the sounds. Both pictorial and sculptural works are offered as a variant of the figurative understanding of music at the level of associative links. This awakens the child's creative imagination, stimulates his imaginative thinking. The landscapes of A. Savrasov, I. Levitan, I. Grabar help to create a poetic atmosphere and serve as a kind of overture that tunes in to the perception of music dedicated to paintings of Russian nature (P. Tchaikovsky, S. Prokofiev, G. Sviridov).

The work on the program assumes a variety of classes. The authors recommend separating listening to music into an independent activity, and conducts it in the afternoon. The package of materials along with the program includes: "Music Repertoire Repertoire", "Methodological Recommendations", a cassette with a studio recording of musical works, a set of slides, videotapes and filmstrips.

The SYNTHESIS program for children of the 6th year of life is built on the same scientific foundations and methodological principles and solves the same set of problems of musical and general artistic development of a child as the SYNTHESIS program for children of the 5th year of life. At the same time, its content and the forms of its presentation are distinguished by greater depth and complexity, which is associated with the increased capabilities of older preschoolers.

The program includes two large sections: "Chamber and Symphonic Music" and "Opera and Ballet". In the first of them, children get acquainted with the works of I.S. Bach, J. Haydn, V.A. Mozart, S. Prokofiev. In the second section of the program, children are offered two musical fairy tales - P.I. Tchaikovsky's The Nutcracker and the opera by M.I. Glinka "Ruslan and Lyudmila". In order for children to get a more complete impression of such complex genres of art as ballet and opera, they are offered fragments of the ballet The Nutcracker and the opera Ruslan and Lyudmila in the video.

Training according to the program is carried out taking into account the basic principles of developmental education: emotional stimulation of educational and cognitive activities, the development of a child's cognitive interest, the development of his mental functions, creative abilities and personal qualities. In the classroom, developmental teaching methods are widely used, with the help of which the teacher solves the educational task facing him - ensuring the appearance in children of positive motivation for their actions in mastering the musical and theatrical art.

The creation of situations of success in the classroom according to the program is one of the main methods of emotional stimulation and is a chain of situations specially created by the teacher in which the child achieves good results, which leads to the emergence of a sense of self-confidence and “ease” of the learning process. Emotional arousal activates the processes of attention, memorization, comprehension, makes these processes more intense and thereby increases the effectiveness of the goals achieved.

The method of forming the readiness of the perception of educational material using the zone of proximal development and the method of stimulating with entertaining content in the selection of bright, figurative texts are the main methods of developing the cognitive interest of children in the theater.

The method of creating problem situations is to present the material of the lesson in the form of an accessible, figurative and vivid problem. Children, due to their age characteristics, are very curious, and therefore any clearly and easily stated problem immediately "ignites" them. The method of creating a creative field (or a method for solving problems of a divergent nature) is key to providing a creative atmosphere in the team. Working “in a creative field” creates the possibility of searching for various ways of solving problems, searching for new artistic means of embodying the stage image. Each new find of one

A valuable method of stimulating interest in musical and theatrical activities is also the method of using various forms of play in organizing the activities of children. The method of transferring play activity to a creative level is the introduction of new elements into a well-known and familiar play for children: an additional rule, a new external circumstance, another task with a creative component, or other conditions.

The main form of teaching the Theater Steps program is a game. Game training as a special form of communication in the process of musical and theatrical activity of preschoolers is a set of specially selected tasks and exercises aimed at developing their basic mental processes (attention, memory, imagination, speech), which, in the opinion of theater teachers (K.S. Stanislavsky, L.A. Volkov), the fundamental components of acting, as well as the development of musicality, vocal-auditory and musical-motor skills and abilities.

The program has a certain logic of mastering the educational material: the initial orientation of children in the means of acting expressiveness and their mastery of elementary skills of musical and stage transformation (improvisation, fantasizing, etudes), the development and consolidation of these skills in productive activity, namely in musical and theatrical performances; the formation of basic knowledge about the emergence and formation of theatrical art, including musical theater.

The content of the lessons is aimed at the mastering by children of individual and collective actions of perception of the surrounding reality, its analysis and control; on the orientation of children in the means of acting expressiveness based on pantomimic and verbal-emotional improvisations, as well as on the development of vocal-choral and musical-rhythmic components of musical-stage activity by children; on their mastery of the skills of verbal actions and stage speech; on the inclusion of children in active productive and creative activity.

In accordance with the logic of mastering the material, the program is designed for three years of study, classes are built on the principle of increasing the volume of actions of children, depending on the year of study.

I. “Theatrical primer”, the so-called “first step”, is a cycle of integrated lessons, including games for the development of attention, imagination, development and differentiation of vocal-auditory and musical-motor coordination, as well as musical-auditory sensations.

Mastering theatrical creativity begins with the propaedeutic stage - specially organized communication of preschoolers within the framework of theatrical creativity, which gradually introduces the child into the most entertaining world of theater. This communication is carried out in the form of game training, which is a way of adapting a child to a new team; a means of developing purposeful actions for him to master the surrounding reality; a condition for the personal development and creative growth of the child.

This type of activity helps children live and become aware of a particular situation, activates the desire of children to act, develops a willingness to positively accept the positions of another person, and contributes to the development of qualities necessary for later life in society.

In the course of the first year of schooling, children develop:

- skills of collective action (control and assessment of one's own actions and the actions of comrades, comparing one's actions with the actions of other children, interaction);

- developing the ability to perceive and control objects of the surrounding reality through visual, auditory and tactile analyzers and the skills of psychophysical and emotional liberation by activating the muscles of the face and body;

- the initial generalized ideas about the concepts of “artistic image”, “means of creating an artistic image” are formed

- specific elementary skills of creating this image are formed by various artistic, stage and musical means (pantomime, speech-intonation, timbres of children's musical instruments);

- the foundations of stage speech are laid;

- vocal-choral skills and skills of musical-rhythmic movements are formed.

II. "Musical theater", the so-called "second step", is a class where children are involved in creative work to stage a musical performance. The skills acquired in the course of classes on the “first step” are developed and consolidated by children in a productive musical and stage activity.

Thus, this stage is reproductive and creative. Classes in the “Musical Theater” section of the program are designed to combine all the child's abilities and acquired skills and abilities to maximize his creative potential when creating a musical performance as a creative product of a large group of small actors.

In the process of training on this “step”, children carry out:

- rethinking the previously acquired skills and abilities on a new specific musical and stage material;

- there is a further clarification of the concepts of "artistic image" and "means of creating an artistic image";

- the initial ideas about the concepts of “play”, “role”, “stage of the play”, “acting ensemble” are formed;

- there is a further development of stage speech, the formation of skills of verbal actions (emotional immersion in the spoken words);

- development of vocal and choral skills and skills of musical and rhythmic movements;

- a steady interest in theatrical art in general and in musical theater in particular is being formed.

At this stage, the use of such forms of organizing musical and theatrical activities as drama theater and staging of musicals is characteristic. An example of a piece of music is L. Polyak's play "The Turnip" (see appendix).

III. “Conversations about theater”, the so-called “third step”, is the third year of classes, where, together with the continuation of training and staging classes, children acquire basic knowledge about the history of the emergence and development of theatrical art.

“Conversations about the theater ”is a systematized cycle of studies of a problem-seeking nature, in which, satisfying their interest, children are engaged in research activities to study the nature of theater in general, and musical, in particular. The solution of educational tasks put forward by the program is provided by a certain logic of presentation of educational material, presented below.

In the course of classes in this section, children are assimilating already known concepts at a new level through the use of new theatrical terminology and further development of the basic elements of musical and stage activities in new theatrical performances.

The methodological support of the Theatrical Steps program includes a set of specially designed manuals and practical materials (“Theatrical Steps: the ABC of Games”, “Theatrical Steps: Musical Theater”, “Theatrical Steps: Conversations about the Theater”). Educational developments for children (“Guide to Musical Theater”) provide for the child to independently complete some tasks at home in order to consolidate the impressions of the information received in the classroom.

The practice of working on this program shows that by the end of the third year of study, children adequately perceive, analyze the images of the surrounding reality and creatively reflect them, embodying ideas and fantasies by means of acting expressiveness. They acquire the necessary elementary knowledge, skills and abilities of a young actor of musical theater, which include pantomime, artistic words, singing and musical movements, and apply the acquired knowledge, skills and abilities in practice in the process of staging a musical performance as a performer of a specific role.

Children show a steady interest in musical and theatrical art and an age-appropriate level of musical and theatrical literacy, erudition and audience culture, which is ensured by a conscious perception of works of musical and theatrical genres (opera, ballet, operetta, musical, etc.).

conclusions

Music plays a special role in the upbringing of a child. Preschool age is the period when the initial abilities are laid, which determine the possibility of introducing a child to various types of activity, including music.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical educational activity.

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.

When analyzing training programs that combine theatrical action and musical education, he showed that almost all of the programs used are based on the updated "Program of education and training in kindergarten", ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and primary schoolchildren", A.E. Antipina "Theatrical activities in kindergarten" and S.I. Merzlyakova "The Magic World of Theater".

Conclusion

From an early age, a child needs to be enriched with vivid artistic impressions, knowledge, and the ability to express his emotions. This promotes the manifestation of creativity in various activities. Therefore, it is very important to introduce children to music, painting, literature and, of course, theater.

Artistic and creative abilities are one of the components of the general structure of the personality. Their development contributes to the development of the child's personality as a whole.

In the psychological and pedagogical literature, both musical development and theatrical activity of preschoolers are widely considered. However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of special research.

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.

Theatrical activity includes the following points of musical development: dramatization of songs; theatrical sketches; folklore holidays; fairy tales, musicals, vaudeville, theatrical performances.

When analyzing training programs that combine theatrical action and musical education, he showed that almost all of the programs used are based on the updated "Program of education and training in kindergarten", ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and primary schoolchildren", A.E. Antipina "Theatrical activities in kindergarten" and S.I. Merzlyakova "The Magic World of Theater".

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina's Theatrical Steps.

Based on the results of the analysis of psychological and pedagogical literature, the following conclusion can be drawn: the process of theatrical activity of a preschooler is inextricably linked with the musical development of the child.

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And I'll plant a turnip.

In fact, I go -

I will plant a sweet turnip.

The turnip has grown wonderfully well ...

(The woman goes to the hut. The grandfather plants a turnip in the garden: imitates digging with a shovel, sows seeds.)

Turnip (rises slowly, humming).

Respected by the people,

I grow in a vegetable garden.

(She straightens up to her full height.)

So the big one has grown.

(Examines himself, admiring.)

How good I am!

(Turns, dancing.)

Sweet and strong

I am called Turnip!

Grandfather (admiringly).

The turnip has grown wonderfully well ...

I haven't seen one, really!

What a miracle of miracles ?!

Turnip - almost to heaven!

(He comes up, grabs the turnip with his hands, tries to pull it out.)

Sod-ka ... It was not there -

One is not strong enough.

What should I do? How to be here?

I will click Grandma to help.

Come on, Grandma, come here,

Look at the miracle turnip!

(Grandma comes up, Grandfather points to the turnip.)

Grandfather.

I really want a turnip,

Yes, you see, the roots are strong

The turnip clung to the ground ...

Help me, do me mercy!

Grandma (shakes his head in surprise).

I have lived for many years

But I haven’t seen this.

(Pointing to the turnip, he says admiringly.)

Truth is a miracle of miracles:

Turnip almost to heaven!

I'll catch hold of Grandpa,

Together we will pull the turnip together.

(Grandfather and Baba are trying to pull out the turnip together.)

Grandma (commands loudly).

Once - that's a commercial!

Once - like this!

(Wiping sweat from his face, he laments.)

Oh! .. There is no way to pull it out ...

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip!

To you with such a beauty

Can't handle it for anything !!!

Grandma (showing his palms to Grandfather).

You know, my hands are loose.

I will call my granddaughter for help,

Come on, Masha, run

Help me to pull the turnip!

Granddaughter (jumps out, humming merrily).

I'm running, rushing to help.

Where is he, the naughty vegetable ?!

My little hands are not weak.

I'll grab Baba's sweater.

No matter how tightly it clung,

We will master you, Turnip!

(Grandfather, Baba, and Granddaughter are trying to pull out the turnip.)

Granddaughter (commands loudly).

Once - that's a commercial!

Two - like this!

(She throws up her hands in surprise.)

No! Do not pull out in any way ...

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip.

With a turnip-beauty

And three of us can't cope !!!

Granddaughter.

That's a turnip! What a vegetable!

Know, you have to call for help ...

(Calls the dog.)

Bug! Zhuchenka!

Run, help me pull the turnip!

(Bug runs out.)

The bug.

Woof woof woof! I heard:

Turnip's grandfather wants to go to dinner.

Woof! Bug is ready to help!

I will cling, woof, woof, to the Granddaughter.

(Grandfather, Baba, Granddaughter and Bug are trying to pull out the turnip).

Bug (commands loudly).

Woof-woof - got it!

Woof-woof - together!

(Surprised.)

Woof !!! And the turnip is in place!

Woof - one more time, like this!

(Sorry.)

Woof-not to pull out in any way….

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip.

With a turnip beauty

Four of us can't cope !!!

The bug.

Woof! We'll have to click the Cat,

To help a little.

(Calls the cat.)

Murka! Kitty! Run!

Help me to pull the turnip!

(Goes out, stepping softly, Murka.)

Murka (affectionately, slightly singsong).

Ooh! Moo-u-r! I will help you.

What, tell me, to do na-a-do?

Po-nya-la-a, the answer here is pro-o-st:

I will grab hold of Zhuchkin hvo-o-st.

(All together are trying to pull out the turnip.)

Murka (in command).

Meow - they took it together!

(Surprised.)

Mu-u-rr, and the turnip is all in place!

Meow! Moore! More! .. That's it! ..

(Sorry.)

Mu-r-r-r. Do not pull out in any way ...

Turnip (sings and dances).

Respected by the people,

I grow in a vegetable garden.

That's how big I am!

How good I am!

Sweet and strong

I am called Turnip.

To you with such a beauty

Five of us can't do it !!!

Murka.

Mu-rr. Without a Mouse, we see

You can't cope with Repko.

Perhaps I'll look for a Mouse ...

Hiding somewhere, coward!

(The Mouse appears, looks around cautiously, squeaks, and stops in fright in front of Murka.)

CAT (affectionately).

Don't be afraid of me, baby.

I am a neighbor, Murka the cat.

Meow! Moore! Run after me

Help me to pull the turnip!

Mouse (joyfully).

Pee-pee-pee! How cute!

I will help you if you have enough strength.

(He addresses the audience.)

If so - I'm not afraid

And I will cling to Murka.

I'm not afraid of cats

And I'll cling to the tail!

(The mouse grabs at Murkin's tail, commands: "Pee pee!"

Scene two

Grandfather (addresses the audience).

Is the Mouse's strength great ?!

Well, friendship won!

Together they pulled a turnip

That she sat firmly in the ground.

Grandma (turns to Grandfather).

Eat to health, Grandfather,

Your long-awaited lunch!

Granddaughter (turns to Grandfather).