Now we perceive it as childish, but it began to be considered as such only in the twentieth century. The exact time of the birth of this art form has not been established, but the first mention of the puppet theater is associated with the holidays of ancient Egypt. The scenes from the life of the God Osiris and Isis, played with the help of statuettes, gathered crowds of people. Puppets then served as huge figures, which were lavishly decorated with precious stones and set in motion on special holidays.
The first news about the existence of a puppet theater in Russia dates back to 1636, and in 1700 the first tour of puppeteers took place in Russia.
History of the Bolshoi Puppet Theater
The BTK building was built in 1912 for a wealthy merchant, banker Yevgeny Burtsev. He planned to open a museum of modern art here, which was supposed to be located in a hall with a high glass ceiling. After the revolution, the building was nationalized, mobile theaters gave performances in it, and for 40 years in a row there were various Jewish communities.BTK itself moved into this building in 1941. Up to this point, the theater wandered around the various venues of the city since founding it in 1931. five enthusiasts. Only in 1956, director BTK Korolev M.M. opened the corresponding department at the Institute of Theatrical Arts (RGISI), which was the second in the world.
Now BTK gives not only puppet shows, but also dramatic, musical and plastic performances.
Three types of puppet theater
1) Riding puppet theater(glove, gape-cane and dolls of other designs), controlled from below. Actors-puppeteers in theaters of this type are usually hidden from the audience by a screen, but it also happens that they are not hidden and are visible to the audience in their entirety or half of their height.2) Grassroots puppet theater(puppet puppets), controlled from above with the help of threads, rods or wires. Actors-puppeteers in theaters of this type are most often also hidden from the audience, but not with a screen, but with an upper curtain or a hedge. In some cases, puppeteers, as in riding puppet theaters, are visible to the audience in their entirety or half of their height.
3) Middle Puppet Theater(not riding and not grassroots) puppets controlled at the level of puppeteers.
Nativity theater
This performance is played strictly before Christmas. It arose because of the seminarians who went from house to house and showed skits about the life of Jesus Christ in a cave where he was hidden from King Herod.
The nativity scene was a large box, inside of which there was a stage, usually two-tiered, sometimes three-tiered. On the upper stage they showed the worship of the newborn baby Jesus, on the lower stage - episodes with Herod. The second part of the performance was usually on topical issues, where the main role was assigned to Petrushka.
The dolls were set in motion with the help of small slots.
Shadow play
He came from the East from the rituals of Indonesia and China. Perhaps this is the most ancient type of theater. In the 17th century, the shadow theater migrated to Europe.
Masque
The theater of masks came from ancient Greece. In an ancient theater that could seat 10,000 spectators, no one would have seen the faces of the actors if there were no masks. Therefore, the faces of the artists were visually enlarged.
In the photo on the left is panochka's father.
Panochka. At night, it's probably scary to stumble upon such props.)
Types of dolls
Puppet
The first type of puppet is a puppet suspended on strings attached to a vaga. The length of these threads can be a maximum of one and a half meters. The word thread etymologically goes back to the word nerve and therefore it is the most humanized doll, because even if it is a horse, it is still the closest to physiology. One such puppet costs from 200,000 to 600,000 rubles.
Previously, the threads were dyed with special paint to hide them, or a special net was hung up so that the viewer's attention was scattered and it seemed that the doll was walking by itself.
The repertoire of puppets represented the indifference of everyday reality, turned to eternal themes: biblical, ancient stories, alterations of chivalric novels. The classics of the repertoire are Don Juan and Faust.
Parsley
Every country has favorite traditional characters. In Russia it is Petrushka.
In France, it's open, he has huge eyes and rosy cheeks. The secret of the doll's mood depends on the turn of her head.
In Italy, Pulcinella, which translates as a cockerel, is very cocky and funny
The favorite of the German people is Casperle. He is a mischievous and rogue, plays in plays for adults and children.
Dolls Punch and Judy are heroes in Britain.
In England, there is an invincible Punch who fights courtiers, policemen, officers and executioners. He always wins, and the audience rejoices.
The fate of the Russian Petrushka is also happy. The people have always loved a merry fellow who easily copes with priests, devils and other evil.
These are traditional fairground heroes. The ordinary puppeteer had a four-sided screen. There were no more than two characters in the scenes, because a person has only two hands.
There are two ways to control the doll - Moscow and St. Petersburg.
Moscow - with the index finger they control the head of the doll, and with the thumb and middle fingers - her hands.
Petersburg - the doll's head is put on the middle finger, and her hands - on the thumb and little finger.
Puppet theater has been around for a very long time. The ancient peoples believed that different gods, evil and good spirits, supernatural beings live in heaven, on earth, and underground, and even in water. To pray to these gods, people made their images: large and small dolls made of stone, clay, bone or wood. They danced around such dolls, carried them on a stretcher, drove them on chariots or on the backs of elephants, and sometimes arranged all sorts of cunning devices and forced the dolls depicting gods, devils or dragons to open their eyes, nod their heads, bare their teeth ... Gradually, such spectacles all more and more like theatrical performances. For thousands of years in all countries of the world, legends about gods, demons, werewolves, genies were played with the help of dolls, and in the Middle Ages in European countries, dolls showed heaven and hell, the creation of the world, Adam and Eve, devils and angels, played folk tales and satirical scenes that ridiculed human vices: stupidity, greed, cowardice, cruelty.
There were no state puppet theaters in old Russia. At fairs, on boulevards, in city courtyards, itinerant magicians, acrobats, puppeteers gave small performances. Usually one of them twisted the handle of the music box, which was called the hurdy-gurdy. Under the loud sounds of music, the puppeteer showed from behind a small screen how the funny, long-nosed, noisy Petrushka beats the tsarist officer with a stick, who wants to take him as a soldier. From the clever Petrushka, both the ignorant doctor, who did not know how to heal, and the deceitful merchant, got it.
The life of folk puppeteers - wandering actors was very hard and differed little from the life of a beggar. After the performance, the actor-puppeteer took off his hat and handed it to the audience. Whoever wanted to threw copper kopecks into the cap.
In other countries, there were also dolls similar to our Petrushka. The same long-nosed and noisy bullies. These dolls were called differently: in England - Punch, in France - Polichinel, in Italy - Pulcinello, in Germany - Kasperle and Hansvurst, in Czechoslovakia - Kashparek, in Turkey - Karagöz.
In modern theaters, puppets are different: they are made in different ways and set in motion in different ways.
Some of the simplest dolls are called glove dolls because they are worn on the hand like gloves. Usually the doll's head is worn on the index finger, one handle on the middle finger, and the other on the thumb.
Parsley refers to glove puppets.
Dolls "on sticks" are even simpler. In Poland, they are called puppets “on the poke”: the legs and arms of such a puppet are not controlled, but rotate in different directions.
There are dolls that can only be moved. They are used in special puppet theaters, called "nativity scenes" in Ukraine, and "shopkas" in Poland. These are two- or three-story boxes with an open front wall. Between the floors at the back, you can stick your hand and with this hand drive the doll through the cracks in the floor of each floor. And the doll, as already mentioned, can only move with the help of the puppeteer and wave its hand if you pull the thread.
There are dolls that are called cane. Such a doll is also held by a puppeteer, but her hands are controlled by canes, sticks, or wires attached to the puppet's hands, wrists, or elbows. The canes are most often hidden in the doll's sleeves or clothes. Reed dolls appeared a very long time ago, in the East - in Indochina. In European puppet theaters, they began to be used only in the 20th century. In the 20s. Soviet puppeteers Efimovs played with the help of cane puppets an excerpt from Shakespeare's tragedy "Macbeth". And later, the Central Puppet Theater in Moscow staged the highly successful play "Aladin's Magic Lamp", which the actors play with puppets on canes.
Glove and cane puppets are also called "rider puppets" because they are always taller than the puppeteer. The puppeteer behind the screen, he is not visible. You can see only the doll, which he raised above the screen.
And there are puppets that the actor-puppeteer controls not from below, but from above. He stands on a raised platform at the back of the stage and holds a vaga in his hands - a special device consisting of levers and slats from which threads extend. At the bottom, the threads are attached to the shoulders of the doll, to the forehead, so that she can raise and lower her head, to the temples, so that she turns her head to the right and left, to the back, so that she can bow, to the elbows and palms, so that she can make all kinds of movements with her hands. , to her knees, so that she, raising either her right or left leg, could walk or dance. There are many threads. And ten, and twenty, and even thirty. After all, the doll has to do many different movements in the performance: open its mouth, move its eyes, hands.
Puppets on strings are sometimes called puppets. But this is not entirely correct, since any theatrical puppet is called a puppet.
There is another type of puppet controlled from above. They have few threads, one or two, to wave the puppet hand. There is a stick in the doll's head. The legs dangle on their own, but you can swing the doll with a stick so that her legs begin to walk. The dolls are large, heavy, dressed in shiny armor, with shields and swords.
This is a Sicilian heroic theater that has been preserved since the Middle Ages. Wars and fights are always depicted on the stage. The puppeteers stand behind the backdrop (behind the stage) and swing the puppets, holding them by the sticks. The dolls hit each other with noise and crackling, and those “killed” in the battle fall. For all the dolls, one person speaks in a terrible, hoarse voice.
There is a similar theater in Brussels, Belgium. This is the theater "Tone", it has existed for many years. Its owners, who play the main role, the "screaming storyteller", replace each other over time, but each next one receives the name Ton. This theater is especially popular with tourists.
And there are puppets that cannot be called either glove puppets, or puppets on strings or canes, or puppets on pins, as in the Sicilian theater. They are flat, cut out of cardboard or leather. Very intricately and delicately carved and beautifully painted. These are shadow theater puppets that have existed for a long time in China, Korea, Japan, Indonesia, and India. The puppeteer sits behind a stretched canvas. Above the puppeteer's head is a large oil, kerosene, and sometimes electric lamp. With thin bone sticks sewn to the body, arms and legs of a flat doll, the puppeteer presses the doll tightly to the canvas, and then a colored carved shadow of the doll appears on the canvas in front of the audience. In such theaters, religious, mythical stories are most often shown. During the performance, the musicians beat drums, play musical instruments and sing.
There are a lot of different theatrical puppets in the world. In Vietnam, for example, they even arrange puppet shows on the water - on a river or lake. Under water, at a shallow depth, a long bamboo stick. At one end is a wooden doll, the other is held by a puppeteer. He stands knee-deep in water, fenced off by a wicker screen from spectators on the shore. Inside the hollow bamboo stick, strings are stretched, going to the hands of the doll, head, torso. The doll can emerge from the water or dive into the water, walk, bow, wave its arms.
Theater on the water originated sometime in ancient China, and it depicted water spirits and gods, a turtle, a dragon. And in Vietnam, scenes from folk life are now presented in such a theater.
There are also dolls participating in festive processions and carnivals. So, in China, on the streets of Beijing or Canton, a dragon may appear - a huge doll, 15 meters long. It is carried on large sticks by several people. The dragon is made of bamboo frames covered with painted fabric. It turns out, as it were, cylinders, between them the same cylinders are made of matter, only already soft, and not hard. At the front frame, a huge horned dragon head holds a red ball in its mouth. Gradually, the thickness of the cylinders decreases, and everything ends with the last rigid frame - the tail. Each leader of this dragon can raise his stick higher or lower, move it to the right or left. As a result, the dragon wriggles, twists, unwinds. Now it is only a street spectacle, but once upon a time, the peasants staged a procession with a dragon, asking the sky to end the drought and start to rain.
During the holiday in China, lions may also appear. Each lion has two human acrobats. Lions run, jump, somersault, climb onto several tables placed on top of each other. Together with lions cubs. They are boys in disguise. Lions have huge muzzles with opening mouths, and the skin is made of long dry grass - red, green, yellow.
And in Italy or South America during carnivals you can see huge, up to 10 m in height, inflatable rubber dolls.
So, puppets, puppet theaters help in a metaphorical, allegorical form to convey the thoughts and feelings of people. All fables and fairy tales of the peoples of the world are allegorical, but there is a lot of truth in them. They have wisdom, humor, the talent of the people. Not only folk tales are metaphorical, but also many works of great writers and poets - Homer, Dante, Shakespeare, Pushkin, Gogol, Mayakovsky ... All this provides great opportunities for the development and improvement of the puppet theater.
In our country, state puppet theaters were created only after the October Revolution. Now there are 135 of them, they play in 25 languages of the peoples of the USSR. Wonderful actors, artists, puppet masters take part in the performances. The largest puppet theater in the world is the Central Puppet Theater in Moscow. It employs 300 people. This theater gives performances every day - for children and every evening - for adults. He often goes on tour, traveled to 400 cities of our country, performed in 40 countries of the world.
State puppet theaters are also successfully operating in other socialist countries.
There is a worldwide organization of puppeteers UNIMA. It includes 5 thousand members. Congresses, conferences, festivals of this organization are held in Europe (including the USSR), and in America, and in Africa, and in Australia.
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Introduction
4. The magic of the puppet theater
5. Puppet theater and school
Conclusion
Application
Introduction
Puppet theater can play a big role in shaping a child's personality. It brings a lot of joy, attracts with its brightness, colorfulness, dynamics, affects the audience. It early begins to attract the attention of children and is fraught with great opportunities for their comprehensive development.
The puppet theater has a whole range of means: artistic images-characters, design, word and music - all this taken together, by virtue of the figurative-specific thinking of the child, helps the child to understand the content of a literary work easier, brighter and more correctly, to learn foreign languages, affects the development his artistic taste. A doll playing on stage does not live conditionally for a child, it is a reality, a fairy tale come to life.
Unlike television programs and animated films, it is really visible in three-dimensional space and materially perceptible, present nearby, you can touch it.
Preschoolers and younger students are very impressionable and quickly give in to emotional influence. They are actively involved in the action, answer the questions asked by the puppets, willingly carry out their instructions.
An emotionally experienced performance helps to determine the attitude of children to what is happening, to the characters and their actions, causes a desire to imitate positive characters and be different from negative ones.
1. A little bit about the history of tetra dolls
The art of reviving dolls is very ancient, its history is huge, its geography is very wide. Puppet theater, a type of theatrical performance in which puppets (volumetric and flat) act, set in motion by puppeteers, most often hidden from the audience by a screen. Many forms of performances are determined by the difference in the types of puppets, their control systems: puppets (puppets on strings), the so-called riding puppets (glove puppets), cane puppets, mechanical ones, etc. Sometimes puppets are replaced by a conditional object (cube, ball, wand, etc.), metaphorically depicting a living being.
Dolls range in size from a few centimeters to double human height. The difference in the forms and nature of representations is most often determined by national tradition, the specifics of staging and dramatic tasks, and the relationship with other types of art (graphics, folk toys, sculpture, mask theater, and cinema). The origins of the Puppet Theater are in pagan rituals, games with materialized symbols of the gods, personifying the unknown forces of nature. Historically, it is associated with the development of the most ancient forms of stage culture. As a rule, this theater was distinguished by traditional plots, performance techniques, and the presence of constant heroes.
Performances The puppet theater in most countries consisted of religious and mystical spectacles. In ancient Egypt (16th century BC) it was a mystery about Osiris and Isis, in ancient India and China it was cult performances. Theatrical puppets are mentioned by Herodotus, Xenophon, Aristotle, Horace, Marcus Aurelius, Apuleius, and others. performances were held in churches and monasteries in which dolls were used as a means of staging gospel scenes, the Virgin Mary became their main character. The name Marion (Marion, Marionett) remained in the Romano-Germanic languages as a designation for a theatrical puppet in general, in the Slavic languages - puppets on strings.
The performances of the Puppet Theater were increasingly saturated with topical, "earthly" content, which caused persecution from the medieval church.
Expelled from the interior of the church to the porch.
The puppet theater then settled in the squares and fairs, being persecuted by the Inquisition. Despite the prohibitions, the anti-church, anti-feudal element intensified in his ideas. By the end of the 16th century in Italy, the folk-satirical Puppet Theater with the main character Pulcinella was finally formed. Inheriting the traditions of the Atellanic comedy (see Atellana), close in spirit to the comedy dell'arte, it spread to Europe.
In the 17th century a similar uncensored Puppet Theater established itself in France (the main character is Polichinelle), England (Punch), Germany (Ganswurst, later Kasperle), Holland (Pikelgering), Belgium (Voltier), Poland (Koplenyak), Romania (Vasilak), Czechoslovakia (Kashparek), in Russia (Petrushka).
Among the peoples of Asia and the Middle East, the Puppet Theater developed in a special way. Its traditional national forms have existed here since ancient times. Presumably, the progenitor of Pulcinella, Petrushka and others was the comedic hero of the classical Indian theater, the big-headed hunchbacked jester Vidushak (Turkish Karagyoz is close to him).
In the Indian Puppet Theater, the puppet is led by two puppeteers (one behind the screen, the other in front of the screen). The emergence of the Puppet Theater in China dates back to the 1st century. BC e.
In the Japanese Puppet Theater (known since the 11th century), large human-sized puppets are used, which are controlled by 4-5 puppeteers in black clothes (a black mask on the face - a stocking) that are simultaneously visible to the audience. It, like the Chinese Puppet Theater, is associated with classical theater.
Until the 19th century in the European Puppet Theater, traditional, often satirical, review plays about those in power, officials, and the church were played; There were also wandering stories about Dr. Faust (JW Goethe borrowed him from puppeteers), Don Giovanni, the king and his three daughters, and others. attempts are being made to create a professional puppet theater. G. Kleist, E. T. A. Hoffmann (Germany), George Sand, A. France (France), M. Maeterlinck (Belgium), B. Shaw (Great Britain) and others wrote for it. In the 20th century many well-known theatrical figures turned to the creation of the Puppet Theater as the most perfect type of theatrical spectacle (director G. Craig propagated the idea of abandoning the actor in his article "The Actor and the Superpuppet").
In the 1st quarter of the 20th century. created professional puppet theater for children and adults.
Russian professional puppet theater began to take shape after the October Revolution of 1917. E.S. Demmeni, artists N.Ya. and I.S. The Efimovs and others attracted leading writers, artists, and composers to create a Puppet Theater for Children, which would set broad social and pedagogical tasks and promote new socialist forms of relations between people.
The Soviet Puppet Theater reflects the bright, characteristic features and psychology of a person in their most general manifestation, strives for typicality, brought to the figurative common noun.
The Central Puppet Theater under the direction of S. V. Obraztsov is the spokesman for these ideas. His performances "By the Pike" by Tarakhovskaya (1936), "Aladin's Magic Lamp" by Gernet (1940), "The Stag King" by Gozzi (1943), "An Extraordinary Concerto" (1946) and many others laid the foundation for the director's method and systems of work of actors-puppeteers on stage images, which allows creating an evolutionarily complex, psychologically justified score of the role, truthfully showing the fate, character, and features of the stage image.
Puppet theaters turn to the language of stage pantomime (“Hand with five fingers” - Romanian theater “Tsenderike”), stage musical works (“Peter and the Wolf” by Prokofiev - Central Puppet Theater of Bulgaria; “Petrushka” by Stravinsky, “Wooden Prince” by Bartok - The Central Puppet Theater of Hungary; "The Story of a Soldier" by Stravinsky - the Central Puppet Theater of Bulgaria and the Riga Puppet Theater; "The Firebird" by Stravinsky, "The Sorcerer's Apprentice" by Duke - the Minsk Puppet Theater).
The figurativeness of the performances is achieved by using the whole variety of stage techniques (a live actor, a played object, a radio recording and lighting effects are involved in the action). The desire to pose social, moral and ethical problems, to the art of bright and catchy theatricality forms a new type of puppet theater (The Clockmaker, Kralí Marko by Teofilova in the Central Puppet Theater in Bulgaria, Don Cristobal by Garcia Lorca and The Little Prince by St. Exupery to the Puppet Theater "Tsenderike", "The Adventures of the Good Soldier Schweik" by Chapek at the Leningrad Bolshoi Puppet Theater, etc.).
Since 1958, within the framework of the International Union of Puppeteers (UNIMA, founded in 1929), international festivals and competitions have been regularly held, which facilitates the exchange of experience between artists. Puppet Theater In 1976, the 12th UNIMA Congress was held in Moscow (SV Obraztsov was elected president). In the USSR in 1975 there were more than 100 Puppet Theaters that staged performances in 25 languages of the peoples of the USSR. The training of creative personnel is carried out at a special department of the Leningrad Institute of Theater, Music and Cinematography, at the State Institute of Theatrical Art. Lunacharsky (directors and artists), the school. Gnesins and in the studios at the Puppet Theater Material on the history of the Puppet Theater is collected and systematized by the Theatrical Puppet Museum at the Central Puppet Theater (founded in 1937). In amateur performances, especially in schools, palaces of pioneers, etc., the puppet theater is very popular.
2. Batleyka - folk puppet theater in Belarus
Batleyka (Betleyka) is a folk puppet theater in Belarus (16th - early 20th centuries). The theater "Batleyka" appeared in Belarus at the beginning of the 16th century. Its name comes from the word Betleem - Bethlehem. According to the Gospel, this is the birthplace of Christ. The history of the theater is connected with the Christmas holidays. Initially, all stories were shown exclusively on biblical topics. And the heroes were the Virgin Mary, the Infant Jesus, the saints. By the way, the word "puppet" comes from the name of small figurines of Mary participating in medieval mysteries. Later, interludes appeared - comedy-everyday episodes, alternating with canonical scenes.
To display batleikas, a house of arbitrary size was made of wood, usually in the form of a dwelling or a church. It had horizontal tiered scenes with slots for puppets. The design was decorated with multi-colored paper, fabric, as well as thin laths, which from a distance resembled a balcony.
Icons, stars, windows, crosses were painted in the background. The puppet was attached to a wooden or metal rod, with which it was possible to drive the character along the slots in the floors of the stage. Shows were always accompanied by music, songs; the stage and puppets were lit by candles.
Batleynik often was not only the only performer, but also a playwright, director, composer, entertainer.
There were batleikas with changing transparent decorations (in Dokshitsy), as well as those arranged according to the principle of a shadow theater (in Vitebsk).
They used string puppets and glove figurines in performances. Shows were held not only in large cities, but also in remote villages.
Batleyka could be the size of a small nightstand. The wandering actor came with her to the village, gathered the whole district around him, and puppet passions boiled. It turned out such a kind of TV.
The performance consisted of two parts: religious and secular. Each was played on its own tier, upper and lower.
The secular repertoire with comical, sharp scenes enjoyed the greatest popularity. And since the audience was ordinary people, then the characters, characters, events were familiar, understandable, recognizable.
The satirical images of a charlatan doctor, an evil landowner, a greedy merchant were contrasted with a quick-witted and cheerful hero from the people. Quite often performances were organized by the city authorities together with handicraft workshops on the days of major fairs and holidays.
In the batleika, religious mysticism and everyday realism, piety and blasphemy constantly collided and, meanwhile, organically combined. Therefore, the performances soon began to provoke attacks from spiritual and secular authorities.
After the October Revolution, such folk puppet theaters began to decline altogether. This was facilitated by the persecution of the Communist Party against the church and any dissent.
The last recorded shows took place in the Slutsk region in the early sixties. Batleyka puppet theater
Today, the national puppet theater "Batleyka" is being carefully and diligently revived by a few enthusiasts. In 1989, Galina Zharovina created a museum and theater-studio "Batleyka" in the urban village of Mir, Grodno region. Together with her students, she staged the performance "King Herod", "Anna Radziwill" and many others there.
3. Classifications of puppet theaters
3.1 Classification according to the principles of social functioning
Within this classification, the following main areas of puppet theater can be distinguished.
Ritual and ceremonial is the most ancient form of puppet theater. Back in the 16th century. BC. in Egypt there were puppet mysteries about Osiris and Isis. Mentions of play dolls are found in Herodotus, Aristotle, Horace, Marcus Aurelius, Apuleius and others.
Most often ritual and ceremonial puppet theaters are the most traditional theatres, strongly connected with national traditions.
A number of puppet theaters of the East developed in this direction:
Indonesian wayang;
Japanese joruri;
Indian;
Chinese, etc.
A number of theaters of the Christian tradition also belong to ritual and ritual ones.
The doll participated in European mysteries of the 11th-16th centuries. (The term puppet, denoting a type of play dolls, arose from the name of the figurines depicting the Virgin Mary in the mysteries). Later European ritual and ritual puppet theaters (mainly Christmas ones) have survived to the present: El Pastorets (Catalonia); Nativity scene (Ukraine and Russia); Batleyka (Belarus), Malanka (Moldova); Shopka (Poland) and others.
Often performances of ritual and ritual puppet theaters are organized by non-professional actors, because the main meaning of such spectacles is not a performance, but an action, a mystery. In this mystical direction, the unique theater “Vgeayo apo Rirre!” (“Bread and Doll”) by Peter Schumann (Vermont), which has no analogues in world history.
National satirical puppet theater. The origins of this species are considered to be the ancient Roman improvised sketches of atellan (from the city of Atella in ancient Campania).
Topical satirical scenes were built on the participation of typed characters, one of which - Mack - became the prototype of the main comic puppet character of the folk theater.
In various countries, this jester character had a similar appearance: big-headed, hook-nosed, with one or two humps - in front and behind.
In Indian theatre, this is Vidushaka; in Turkish (and Armenian that came out of it) - Karagyoz; in Central Asian - Palvan Kachal (Bald Hero); in Italian - Pulcinella; in English - Punch; in German - Hanswurst; in French - open; in Belgian - Voltier; in Russian - Petrushka (Petr Ivanovich Uksusov, Vanka Ratatouy and); etc. This character to a large extent retains the most ancient features of the archaic pratheater - both in its character as a trickster's double-shifter, and in the puppeteer's devices (for example, a squeaker, a tool for changing the voice, which came from shamans' rituals).
This direction was practiced mainly by itinerant actors.
Popular satirical puppet theater is characterized by conventionality, minimalism of design and other visual means; a simple standard plot scheme, within which there is improvisation on topical topics.
Puppet theater for children. Mostly built on fairy-tale material. As a rule, it combines two functions - educational and entertaining.
Due to its specificity, it has a high degree of didacticism - explicit or implicit.
Within the framework of the same classification, a number of additional areas of puppet theater can be distinguished. For example: - allegorical-symbolist theater (performances are addressed to an adult audience); - theater of mass and collective holidays (giant puppets work in direct contact with the audience, involving them in a joint action); - medical theater (the doll is used in the treatment of certain mental illnesses and for the development of fine motor skills).
3.2 Classification of puppet theater by types of puppets and methods of their control
It is more of an auxiliary professional character, because often in one performance different types of theatrical puppets are used.
The most famous types of dolls are: glove (finger variety); cane; puppets; flat (used in the shadow theater); machines (mechanical). In the modern puppet theater, the so-called puppet theater is also widespread. "live plan", when the actor controls the puppet openly, in front of the audience, sometimes interacting with it.
In such a theater, a technique is especially common when any object acts as a puppet - from a household item to a specially made object - which depicts an animated character and is controlled by an actor.
These types of puppet theater classifications are quite conventional and exist in constant flexible interaction.
So, for example, the ritual-ritual Indonesian theater of wayang includes varieties of wayang-kulit (shadow theater of leather flat puppets), wayang-kelitik (theater of flat cane puppets), wayang-golek (theater of three-dimensional puppets). Puppet theater for children constantly uses all kinds of puppets. Puppets are used in satirical folk theatre; etc.
4. The magic of the puppet theater
What child has not dreamed at least once that his favorite toys, which have become best friends, come to life and speak? So that they can open the dungeon of their static nature, tell about themselves, become real partners in games? And even robot dolls are not able to fulfill this dream, because their movements are mechanistic and, perhaps, even more distant from the desired "revival" that a child desires. But it turns out that the miracle of a "live" toy is still possible!
About a soft rag doll that can be "revived" with the help of a hand and "animated" by the power of one's emotional experiences. Have you ever introduced your child to a soft toy - a glove? If so, remember his first reaction. He is already accustomed to the ordinary dolls surrounding him, frozen in one pose and expressing only one emotion, or even completely indifferent. And then suddenly he sees a doll that reaches out to him with its hands, nods its head, bows naturally and greets him as if by itself ... Amazement, curiosity, the desire to touch and unravel the mystery of the "living and talking" toy - everything is simultaneously expressed on the face. The first indelible impression is followed by mastering the possibilities of the doll, which turn out to be almost limitless.
What are the advantages of such a toy?
First, by putting the doll on his hand, the child "merges" with her, is identified with the character he will play.
With its help, he can not only practice behavior patterns, as he does with an ordinary doll. With her, he is able to emotionally express everything that disturbs and excites him, speaking not on his own behalf, but on behalf of a fairy-tale character living in an imaginary world. By the way, that is why the glove puppets are used by child psychologists in psycho-correctional work.
At the lesson, the psychologist invites the child to play out a scenario specially invented for him. In the process of presenting, in one form or another, recreating a traumatic situation for the child, the baby, using a glove doll, expresses his feelings and aggression. Thus, children get rid of the fears and negative emotions that tormented them.
Secondly, the glove doll itself carries some emotional image. As a rule, a doll - cheerful or sad - depicts a positive or negative hero of a fairy tale, cartoon or TV movie.
Playing with a doll, the child psychologically experiences the role. This means that he acquires the much-needed emotional experience of going through polar states.
Several different character dolls-gloves will help the child answer the question of what it is like to be evil or kind, deceitful or truthful, smart or stupid, gullible or suspicious, courageous or cowardly, open or withdrawn, irritable or calm.
And finally, most importantly, what is it like to be an adult? In the game, he is no longer a child, he is an adult: he solves adult problems, copes with life situations on his own, makes his own choices.
The advantage of puppet theaters is that, as a rule, they are all based on fairy tales known and loved by children. We all know that without fairy tales, the full development of the child is impossible.
The fairy tale touches the deepest layers of the human psyche and reveals fundamental human values. The beneficial effect of fairy tales even on the psyche of an adult is obvious.
For a child, a fairy tale is an opportunity to learn how to think, evaluate the actions of heroes, learn ethical standards, develop memory and speech.
The rhythmic, simple and melodious language of fairy tales, full of repetitions and steady turns (“once upon a time”, “live and live and make good”, “runaway bunny”, “sister fox”), greatly facilitates the understanding of fairy tales and trains the child’s speech apparatus when telling a story aloud.
The whole family can participate in the theatrical production, and to make it more interesting for the child, invite his peers to play. Have each child choose a character they like.
Teach children to name their role aloud and explain their actions in the game, voice the character.
Each of the characters must speak with a special intonation, expressing only his characteristic character.
And remember, the theater is a magical act, for which you need to provide an appropriate "magic" environment: twilight, backstage, with the help of candles or multi-colored lighting, you can create a mysterious play of light and shadow.
But back to talking about usefulness. What else gives a child playing puppet theater?
Recall that the doll is completely subject to the child, depends on him. This gives the baby the opportunity to model their own world, which will be a reflection of the "real" world, the world of adults. In this simulation, two very important developmental processes take place in parallel.
On the one hand, this is imitation of adults, which is one of the key factors in child development. Over and over again, the child repeats the movement, situation, phrase, story, while monitoring the reaction of others. Through this imitation, the child learns self-determination.
The second process is opposite in its essence, but internally closely related to the first. This is the process of creating one's own, new world, i.e. creation.
The plot of the story is only a support for the child, only an impetus to independent creativity. Ideally, a child needs a puppet theater as an opportunity for endless experiments, modulations.
What is creativity?
This is the ability to create your own ideas, not to act on patterns and prompts. Creative abilities are laid down in childhood and develop on the basis of one's own activity, interest in the real world. Therefore, it is so important to give the child the opportunity to freely cognize the surrounding reality. Encourage him not only to learn, remember and "correctly" play this or that role, but also to develop his plots, free play in which he can realize his fantasies. This is how the basis of the future creative perception of the world is formed.
The opportunity to form this basis, and gives children the game of puppet theater.
All children love performances. They like not only to watch the performance, but also to be artists themselves. The desire to play is inherent in the child, everyone wants to play his role. But how to do that? How to teach a baby to play, take on a role and act? This is exactly what the puppet theater will help.
Theater is one of the most democratic and accessible forms of art for children.
It allows you to solve many urgent problems of modern pedagogy and psychology related to artistic and moral education, the development of communicative qualities of the individual, the development of memory, imagination, fantasy, initiative and emancipation.
Because it is closer to our children. Playing with dolls, a shy child feels freer and begins to speak freely. Puppets will help teach important lessons.
Puppet theater, which children can get acquainted with in classes or in special circles, contributes to the development of fine motor skills and hand coordination, stimulates visual and auditory perception, attention, memory, coherent speech, and increases vocabulary. Scientists have proven that the development of the hands is in close connection with the development of the human brain, therefore, the speech and thinking of the child.
In the classroom, children can also get acquainted with the history of puppet theater.
Classes also contribute to the development of facial expressions, imitative skills, improvisation skills, stimulate emotional perception, develop initiative, fantasy. These activities contribute to the emancipation of children through play, imitation, freedom of choice, the development of speech, and fine motor skills.
Schoolchildren, under the guidance of teachers or parents, can also make dolls, be not only listeners, but also full-fledged participants in the performance.
5. Puppet theater and school
The puppet theater can come to the rescue in learning foreign languages, as well as in getting acquainted with literary works.
Dramatization using puppets is very popular among students in grades 2-5.
The organization of a puppet theater does not require complex costumes and scenery.
Theatrical performances are an important and necessary element in the process of learning a foreign language. Such a serious obstacle as the "language barrier" becomes easily overcome as soon as students get into the situation of the game, role-playing interaction, are involved in the overall creative process. The theater turns the “eternal C student” who is unsure of himself, stuttering at every word, into an inspired Romeo, uttering monologues in one breath.
It is also important that joint work on a performance or preparation for a holiday develops the participants' ability to listen to a partner, creates conditions for mutual understanding and mutual assistance (strong students help the weak), strengthens responsibility for the success of a common cause.
At the same time, for the teacher, work on the script, rehearsals, in addition to additional time for practicing pronunciation, introducing and reinforcing lexical units, provide a unique opportunity to communicate with students, and in a context that is new for both parties.
The usual roles of teacher - students are transformed into a different model of relations - director and actors.
The scenario of performances should be built on the studied lexical units, grammar and speech structures. Possessing all the advantages of a role-playing game, dramatization using puppets has specific features. Depending on the desire of the students, the doll acts as a friend with whom they have a conversation on an equal footing, a child who needs to be taught everything, a partner in some kind of activity. In the form of a game, the child models his behavior as the behavior of dolls. He is passionate about this activity, as he feels like an authoritative person who knows everything and can do everything.
As a result of the increased level of language proficiency, students can be offered to engage in staging or staging of any literary work.
Staging is a more active and complex process of embodying an image than dramatization, since it is based on a deep intellectual and emotional comprehension of the author's intention, the nature of the images and the ability to embody them on stage.
In staging, the sequence of creative stages is more clearly traced: “the period of knowledge”, “the period of experience” and the “period of incarnation”. The implementation of these stages contributes to the improvement of communicative activity, the development of emotionality, the solution of problems of aesthetic and moral perception, the development of creative abilities, skills and abilities in their organic unity.
It is advisable from the very beginning of work on staging to provide students with a choice of work, to help them understand and feel the behavior and speech of the characters, to work out the expressive reading of the chosen role.
In order to increase interest in theatrical business on a school scale, I recommend staging real performances once or twice a year
The management of such an activity as dramatization makes special demands on a foreign language teacher in terms of increasing the level of intonation, voice range, facial expressions, and gestures.
In an effort to develop stage qualities in students, the ability to impromptu, he must also be constantly ready to demonstrate to them possible options for embodying the role, constructing mise-en-scenes, and decoration. In staging dramatizations, not a single even the most perfect technical means is able to replace the influence of the teacher's personality on the formation of young talents and the development of their ability to communicate.
In the modern methodology of school education, puppet shows are given serious attention, so you should thoroughly master the methods and techniques for using puppet shows.
As mentioned earlier, the puppet theater will help the child listen to the literary text more consciously, present the characters more vividly, and more actively follow the development of the action.
In addition to these methods of work on the formation of a literary taste in children, an adult must master the techniques that allow the inclusion of a literary word in the daily life of a child.
Conclusion
Adults do not play with toys for one, quite reasonable reason: they do not have enough time and energy for this. To play as children play is the most serious occupation in the world; and as soon as the vanity of petty duties and troubles falls upon us, we have to give up such a huge, daring undertaking. We have enough strength for politics and business, for the arts and sciences; but for the game we are weak.
This truth is recognized by everyone who has ever played anything - built a house out of cubes, nursed a doll, arranged tin soldiers.
Adults do not play like children, not because they are not interested, but because they have no time. They cannot spend time and energy on such a great cause.
The philosophy of puppet theaters is worthy of all attention. Everything that modern people need to understand can be deduced from this toy.
Now it is impossible to say exactly when the first doll appeared in the world. From archaeological excavations and historical sources that have come down to us, we can conclude that at all times dolls have been constant companions of man.
Here is a primitive man putting on a ritual mask. The ancient Egyptians made stone statues for festivities dedicated to the gods Osiris and Isis.
Ancient Greek actors put on masks of evil and good heroes, gods and mere mortals. Giant ancient Roman statues turn their heads and nod. Catholic Madonnas shed tears. And the people's Petrushki, Panchi, Polichineli, Hansvursts vilify the clergy...
The art of puppet theater is by nature folk. Puppet theaters now exist in professional puppet theaters, at schools, kindergartens and simply in large friendly families.
Remember that each of us in childhood probably had his own puppet theater. It did not have a screen, scenery, lighting equipment, specially made dolls. He existed simply in the world around us and a little bit in our imagination. But how rich and varied it was! Here in the sandbox fortresses are erected. Their steep walls are stormed by tin soldiers. And when there are no soldiers, their place is taken by wooden matches with the commander Box. Small pieces of wood and the simplest paper boats float in fast, cheerful streams, but black grouse are already high-speed frigates, schooners, caravels.
Puppet theater begins with these games. Playing with the subject is its origins.
Theatrical games are always loved by children. Children are happy to join the game: they answer the dolls' questions, fulfill their requests, give advice, transform into one or another image. They laugh and cry with the dolls, warn them of dangers, and are always ready to help their heroes.
It is useful to have a puppet theater wherever children are: at school, in kindergarten, at home, in a summer children's camp, in a children's hospital, etc.
Children's classes in the puppet theater develop children's imagination, memory, thinking, artistic abilities, introduce them to many children's fairy tales, contribute to the development of sociability, sociability of the child, develop the motor skills of the child's hands and fingers, and the child's motor activity.
Participating in theatrical games, children get acquainted with the world around them. The great and versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool.
Children love to play, especially with peers. The game for them is a serious matter, but at the same time, fun.
It is always a great pleasure for parents and teachers to watch how children at home or in kindergarten or at school talk on behalf of their dolls.
Children feel the need to try themselves in a variety of roles. And when an adult asks in the voice of Petrushka: "Well, what is everyone gathered for?" or jokes with a clown on his arm, then all the children immediately pick up the game willingly. Such communication develops much better than television.
Puppet theater is a common phenomenon in our life. The childhood of every child, his aesthetic education begins, as a rule, with puppet shows.
Applications
Fig.1 "Parsley"
Fig.2. "Glove Doll"
Fig.3. "Batleika".
Fig.4 "Puppet"
List of used literature
1. On the theory and practice of children's artistic creativity. Vetlugina N.A. Moscow Ed. - "Neva". 1991
2. Puppet theater. Rostov-on-Don: "Phoenix", 1999
3. Batleika. Mn.: “Youth”. 2000
4. The history of the development of the puppet theater. Moscow. Ed. - "Neva". 2000
5. Aesthetic education of younger students. Tsvetkova I.V. - M.: Pedagogical Society of Russia, 2003.
6. Pedagogy (lecture notes) - M .: ”Prior-izdat”, 2004
7. Gnutikova S.S. History of the Museum of Theater Puppets SATTK named after S.V. Obraztsova: creation of a catalog-guide to the museum// Preservation of the cultural heritage of the peoples of the world. Tez. report - M., 2005.
8. Gnutikova S.S. Museum of theatrical puppets SATTK named after S.V. Obraztsova// Dolls of the world/ Ved. ed. E. Ananyeva; resp. ed. T. Evseeva. - M., 2003.
9. Gnutikova S.S. Museum of theatrical puppets SATTK named after S.V. Obraztsova// Museums of Russia/ ed. group: M. Shinkaruk, N. Ivanova, E. Evlakhovich and others - M., 2008.
10. Gnutikova S. Birth of the Museum// Theater of Miracles. - M. 2002.
11. Gnutikova S.S. Theatrical puppets// Museum of theatrical puppets S.V. Obraztsova. - M., 2005.
12. Gnutikova S. Keepers of puppet treasures// Theater of Miracles. - M.2002.
13. Soviets V.M. Theatrical puppets (manufacturing technology).-- SPb., 2003.
14. Quoted. Quoted from: Moskalev I.M. Lenora Shpet: life and theater lessons. - M., 2005.
15. Solomonik I.N. Man on the Stage of Traditional and New Puppet Theatre// International Symposium of Historians and Theorists of the Puppet Theatre. - M., 2009.
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What does a puppet theater give a child?
In the current conditions of the development of society, the use of theater art for educational purposes makes it possible to include a person in the process of cognition. Theatrical play activity, organically included in the educational process, is a universal means of developing a person's personal abilities. Therefore, the inclusion of theater art in the educational process is a real need for the development of a modern education system and one of the conditions for the implementation of new standards. This ensures the transition from the episodic presence of the theater in the lives of children to the systemic modeling of its functions as an integration of basic and additional education.
The life of every person is literally permeated with contacts with other people. The need for communication is one of the most important human needs. Psychologists consider the need for communication to be one of the most important conditions for the formation of personality.
Relationships with other people are born and develop most intensively in childhood. Without full communication, the child will not be able to socially adapt in society, and this will also affect the intellectual development and formation of the personality as a whole. Theatrical activity can be effectively used to develop communicative skills and abilities. However, a certain part of children, to varying degrees, experience difficulties in mastering communicative activity (in communication). This is revealed when the child interacts with adults and peers, in a partner role-playing game, in situations of unregulated communication (in free activity). Difficulties in joining a children's team, insufficient ability to take into account the partner's business and gaming interests in joint activities leads to impoverishment of the child's communication abilities, have a negative impact on the nature and content of play activities, interpersonal relationships, and determine a low social status in the peer group. Such children, despite the desire to play together with others, hardly establish friendly and playful relations with them, are forced to play alone.
Children develop the skills of practical possession of expressive movements (facial expressions, gestures, pantomime) - the means of human communication. Children develop their organizational skills, strengthen their possible leadership qualities and reach for the leader. Thus, the formation of the child's communicative competence is an urgent problem of modern pedagogy, the solution of which is important both for each individual and for society as a whole.
Very often, the puppet theater becomes the first theater of the child - an art that is understandable and close to child psychology. The theater, where toys and dolls come to life, turning into fairy tales, has a great emotional impact on children. The puppet theater, embodying kindness, magic, to which the child's heart strives so much, gives the child a real, tangible idea of \u200b\u200b"what is good and what is bad."
What kid has not dreamed at least once that his favorite toys, which have become best friends, come to life and speak? So that they can open the dungeon of their static nature, tell about themselves, become real partners in games? And even robot dolls are not able to fulfill this dream, because their movements are mechanistic and, perhaps, even more far from the desired"revitalization", which the child teas. But it turns out that the miracle of a "live" toy is still possible! The revival of the doll, its transformation from inanimate, motionless to living, moving, seems to the audience a miracle. The miracle of bringing the puppet to life distinguishes the art of puppet theater from any other spectacle. Dolls can cause laughter and tears, they can be beautiful and ugly. A doll can be gentle and trusting or vicious and treacherous. We are talking about an amazing creation of human hands - a glove doll. About a soft rag doll that can be "revived" with the help of a hand and "animate" with the power of one's emotional experiences. Have you ever introduced your baby to this toy? If so, remember his first reaction. The child is already accustomed to the ordinary dolls surrounding him, frozen in one pose and expressing only one emotion, or even completely indifferent. And then suddenly he sees a doll that reaches out to him with her hands, nods her head, bows naturally and greets him ... Amazement, curiosity, the desire to touch and unravel the mystery of the "living and talking" toy - all at the same time is expressed on the face of the child. The first indelible impression is followed by mastering the possibilities of the doll, which turn out to be almost limitless.
What are the advantages of such a toy?
First, by putting the doll on his hand, the child “merges” with it, is identified with the character we will play. With its help, he can not only practice behavior patterns, as he does with an ordinary doll. With her, he is able to emotionally express everything that disturbs and excites him, speaking not on his own behalf, but on behalf of a fairy-tale character living in an imaginary world. By the way, that is why glove dolls are used by child psychologists in psycho-correctional work. In class, the psychologist offers the child to play
script specially designed for him. In the process of presenting in one form or another
recreating a situation that is traumatic for a child, the child, using a glove doll, expresses
their emotions and aggression. Thus, children get rid of the fears that tormented them and
negative emotions. Secondly, the doll-glove, in itself carries some emotional image. As a rule, a doll - cheerful or sad - depicts a positive or negative hero of a fairy tale, cartoon or TV movie. Playing with a doll, the child psychologically experiences the role. This means that he acquires the much-needed emotional experience of going through polar states. Several different character dolls-gloves will help the kid answer the question of what it is like to be evil or kind, deceitful or truthful, smart or stupid, trusting or suspicious, brave or cowardly, open or withdrawn, irritable or calm ... And finally, the main thing is what it is like - be an adult?
In the game, he is no longer a kid, he is an adult: he solves adult problems, copes with life situations on his own, makes his own choices. Do not get lost speaking in front of an audience, being able to control your voice is a very important element in the process of a child's communication with the outside world. Playing with glove puppets helps the child gain confidence in their abilities and abilities.
The advantage of puppet theaters is that, as a rule, they are all based on fairy tales known and loved by children. We all know that without fairy tales, the full development of the child is impossible. The fairy tale touches the deepest layers of the human psyche and reveals fundamental human values. The beneficial effect of fairy tales even on the psyche of an adult is obvious. For a child, a fairy tale is an opportunity to learn how to think, evaluate the actions of heroes, learn ethical standards, develop memory and speech. The rhythmic, simple and melodious language of fairy tales, full of repetitions and steady turns (“once upon a time”, “live to live and make good”, “runaway bunny”, “sister fox”, “beat-beat, did not break”), greatly facilitates the understanding of fairy tales and trains the child's speech apparatus when saying a fairy tale aloud.
With special pleasure, children participate in musical fairy tales, where the word, song, music, dance are combined in a limited way. Movement to music, singing brings children incomparable pleasure and joy. Young artists show such performances to children, thereby giving joy to others. Theatrical art has irreplaceable opportunities for spiritual and moral influence. It is by means of theatrical activity that it is possible to form a socially active creative personality, capable of understanding universal human values, being proud of the achievements of national culture and art, capable of creative work, writing, fantasizing. Puppet theater occupies a special place among other arts in terms of its emotional impact. The child does not even suspect what a complex work of the soul has to be done in the theater. In the theater, the little spectator is trusted to learn life on his own. Children themselves must make a choice: to be happy for one of the heroes, for whom to be upset. Of course, independence here is far from complete, and the thoughts and feelings of the viewer, and the possibility of moral choice directs the theater.
Practical classes on making a doll and its costume provide an opportunity to get acquainted with various materials and technologies for their processing, to gain certain skills and abilities in working with them. Working on making a doll, the child creates his own unique artistic image, where his fantasy and imagination develop. In practical classes on driving a doll, stage speech, creating a performance, the children master the skills of acting, learn to relax, feel free, learn the behavioral characteristics of verbal and physical actions. In the classroom for stage speech, the child acquires the skills of proper mastery of breathing, voice, diction; creative attitude to the word; skills of independent figurative thinking, creative initiative; is released from psychophysical clamps; develops free verbal communication in everyday life and in front of an audience (answers in lessons, messages, reports).
These classes develop imaginative thinking, provide an opportunity to master the necessary skills and abilities.
Stage art has a huge impact on the consciousness, feelings, tastes, and actions of children. The theater is able to shape the character of the young spectator, his attitude to reality. To captivate children with art, to teach them to understand beauty is the primary significance of theater for children, its main mission as a spiritual mentor, educator. Theater is able to awaken in a person the ability to think about the world and himself, about responsibility and his actions.
Obviously, the theater, with its multidimensionality and diversity, is able to help the child to comprehend the reality of the world, infect him with goodness, the desire to share his thoughts and the ability to hear others, develop, create and play (of course, at first with the help of a teacher).
