Modified educational program on “theatrical art. Additional program for theatrical activities in kindergarten

Municipal institution of additional education for children
Center for Children's Art "Sodruzhestvo"
Krasnodar

APPROVE
Director of MUDOD CDT "Commonwealth"
__________________ M.V. chaton

Protocol of the pedagogical council from
_________________ № ______

ADDITIONAL EDUCATION PROGRAM
BY THE SKILL OF THE ACTOR
"A theater where children play"

Teacher of additional education
Garbuzova Svetlana Anatolievna
Type of program: author's
Age of children: 7-15 years old
Implementation period: 4 years

Krasnodar city
2010

EXPLANATORY NOTE

Theater where children play. What is this phenomenon? What kind of human activity can it be attributed to: art or education?
The theater in which children play, like most cultural phenomena, is rooted in a syncretic, in its essence, primitive culture. The prehistory of this phenomenon begins with the participation of children in various forms of theatrical and pratheatrical performances. The ancestors of modern directors and teachers of the theater in which children play should be recognized as the guardians of the cults of the most ancient pagan religions: elders, priests, leaders of tribal unions - in a word, all those who once led children through the trials of the initiation rite, helping them enter adulthood and discovering secrets of tribal culture. Summing up the data on the participation of children in the earliest forms of the development of theatrical art, we come to the conclusion that they performed primarily as a choir and as students.
The development and understanding of this phenomenon in history takes place in two main directions:
- the theater in which children play as a learning and developing environment;
- a theater in which children play, as a search for a new theatrical real aesthetics.
These two directions may seem fundamentally different. More recently, in the 80s of the twentieth century, at conferences dedicated to the children's theatrical movement, directors and teachers convincingly argued that the goals of art and pedagogy in children's theater groups are incompatible. However, real practice, with its persistence, often refutes the most convincing theory. Children's theater groups, following a variety of paths, again and again try to combine the solution of pedagogical and aesthetic problems and do not want to distinguish between them. Among the teams that have been working in this direction for 16 years, the Exemplary Children's and Youth Theater-Studio "Helios" continues its activities.
Over the long years of working with children of all ages, the teachers of the theater-studio "Helios" have formed a very clear and concrete idea of ​​​​what is the undoubted benefit of the theater in which children play - in the development of the child's personality:
It has long been universally unconditionally accepted that the theater contributes to the external and internal socialization of the child, i.e. helps him to easily enter into teamwork, develops a sense of partnership and comradeship, will, determination, patience and other qualities necessary for successful interaction with the surrounding social environment;
the theater activates and develops the intellectual and at the same time figurative and creative abilities of the child, he begins to fantasize freely both in the field of text, and in the field of space layout, and in the field of musical design;
the theater stimulates interest in literature, children begin to read with pleasure and more meaningfully than before;
when using the dramatization method in the classroom in any subject, children learn the material undeniably better for several reasons: it becomes personally significant for them, and, in addition, it is passed through motor skills, through the body, which perceives information much better than hearing separately.
Based on these, no doubt, important factors, this program was created, covering the educational and creative process of the middle-level pupils of the theater-studio "Helios".
This program is part of the comprehensive educational program of the Exemplary Children's and Youth Theater-Studio "Helios" and is the second stage of training. It is aimed at solving a number of pedagogical tasks related to the general processes of education, upbringing and development, and not only to the tasks of artistic pedagogy.
The program "Theater in which children play" is built, first of all, on teaching pupils self-regulation and the establishment of interpersonal processes. The activity of the teacher is aimed at developing voluntary attention, working mobilization, the ability to distribute responsibility, the ability to read the behavior of another person and choose the right type of behavior to solve life problems.
During the work on this program, a significant amount of creative work is carried out, but throughout the entire learning process, the teacher, first of all, faces educational, rather than artistic tasks.
The program involves the rapid adaptation of newly arrived children in groups with a permanent contingent, in any time period of the school year.
The specifics of theatrical art is such that the process of acquiring technical skills in speech and plasticity, the whole long and difficult path from creation to the embodiment of an actor's image in a performance, is simply unthinkable within the framework of exclusively collective, group classes. Working on a role is a complex, painstaking work that requires close creative contact between the pupil and the teacher. That is why the program on the skill of the actor "Theater in which children play" implies the presence of individual and small group classes on current topics. Individual work is an integral and obligatory form of work in the process of teaching a complex of theatrical disciplines. Each pupil has his own, purely personal characteristics of the physiological and mental structure, and the problems that arise at the stage of assimilation of the material may be different. It is impossible to slow down the learning process of the entire group as a whole due to the fact that one of the pupils does not master the topic immediately. It is also impossible to allow pupils to have white spots in the material covered, all emerging problems must be solved immediately, without wasting time. In this case, individual work remains the only possible solution to the problem. Classes are held once a week on those topics that caused particular difficulty for the pupils. As practice shows, most often individual work is required in the stage speech section, as well as at the stage of working on a role. The teacher selects exercises and tasks based on the specific problems and questions of a particular pupil.
Creating an image is a complex painstaking process that requires close contact between the teacher and the actor-pupil. Determining the nature of the character, his background, the through action of the hero, speech and plastic special elements, as a means of external expression of the inner essence - this is a long way towards creating a role. It is impossible to imagine this fragile process solely within the framework of group activities. The desire to bring all the work to a purely collective, is fraught with a lightweight, generalized, ostentatious attitude to the role. To do this, the curriculum provides for individual hours of work with pupils for a more painstaking, thoughtful analysis of role-playing material. It also requires individual work with pupils on stage speech, since the quality of the speech of studio students on stage and in life is one of the most pressing problematic issues in the field of theatrical education and training of children.

PROGRAM OBJECTIVES:
Raising a child through introduction to theatrical art;
Creation of a creative space in which children of different ages could coexist organically;
The development of the creative beginning of the individual.

PROGRAM OBJECTIVES:

In education:
To educate a socially adequate person capable of active creative cooperation;
To instill a culture of meaningful reading of literary and dramatic works;
To cultivate a team spirit, mutual assistance and support in the group;
Cultivate artistic taste;
Teach pupils to communicate correctly with each other in the process of rehearsals.

In development:
Develop the skill of a creative approach to working on a role;
Develop plastic and speech data of pupils;
Develop imagination, fantasy and memory.

In training:
To teach the whole complex of principles and techniques necessary to work on the role;
To captivate children with theatrical art;
To expand the knowledge of pupils in the field of dramaturgy.
Theater is a collective art. This is the written truth. And at the same time, theater is the art of individuals, an ensemble united by one common goal. This goal is usually staging a play. It is to achieve this goal that all efforts, all components of the creative learning process are directed. It is in this direction that the imagination and imagination of pupils is rapidly developing, both in the field of creating an image, and in the field of creating costumes, scenery, props, etc.
It should be noted that when entering the theater department of the Helios Theater-Studio, children are not selected according to any data or competition. To accept a child in a group, first of all, his interest in theatrical art and the desire to develop in this direction, to learn the many-sided, immense world of the theater is necessary. Admission is based on the application of the parents of the child. The program "Theater in which children play" is designed for 4 years of study. The age of children is from 7 to 15 years. In the group of the first year of study - 10-12 pupils, in the group of the second year of study the number of pupils can be 8-10 people, in the group of the third year of study - 6-8 people, the fourth year 5-6 people. Classes in groups of the 1st, 2nd and 3rd year of study are held 2 times a week for 3 hours (45 minutes lesson, 15 minutes break, etc.), this is 216 hours a year. In the group of the second year of study, individual lessons are 1 hour per week, in the group of the 3rd year - 2 hours per week. In the 4th year of study, more thorough individual work is required, so the number of hours increases - 3 times a week for 3 hours (individual lessons 3 hours a week).

1 YEAR
The basic law of artistic creativity says: art is a reflection and knowledge of life; without knowing life, it is impossible to create. As you know, knowledge is a two-way process. It begins with the sensory perception of concrete facts, with living contemplation. The main means of accumulation is direct observation. If personal impressions are not enough, similar experiences of other people, literature, cinema, painting, and other sources are brought to help. However, very soon another process joins the process of accumulating facts - the process of their internal comprehension, analysis and generalization. Both of them, interacting, gradually form a single two-way process of cognition, consisting, on the one hand, of the accumulation of material, on the other, of its creative comprehension. This process finds its expression in the form of artistic images that first appear in the creative mind of the actor (in his fantasy, imagination), and then are embodied on the stage. First of all, at the initial stage of training, these artistic images find their life in the simplest single sketches and sketch exercises.
In the first year of study, one of the most important criteria for assessing the work of pupils by a teacher is the natural and uninhibited well-being of young actors on the stage. All the efforts of the teacher are aimed at awakening their natural organics in the pupils.
The result of the creative work of the group in the first year of study is small thematic sketches, sketch miniatures, which can be used in events dedicated to a wide variety of events, or episodic participation in performances by groups of the second and third years of study.

 development of the initial natural talent of pupils;
 teaching elementary basics in the subjects of theatrical disciplines;
 education of a common culture of behavior and communication in a creative team.

In development:
o develop the ability to reincarnate through the creation of sketches;
o develop the skill of abstracting from the surrounding reality when performing a stage action through psychophysical training;
o develop observation and memory through acting exercises.

In training:
o teach the basics of psychophysical training;
o teach the basics of correct breathing;
o teach how to evaluate stage events;
o introduce the laws of building the simplest stage action.

In education:
o develop the skill of correctly assessing one's own actions and the actions of other students;
o instill respect for theater props, costumes, rehearsal space, etc.;
o to educate in students the creative need for continuous improvement of acting psychotechnics through individual training and self-education.

By the end of the first year of study, the student must
Know:
- concepts: "organic", "etude", "assessment", "organic silence", "props", "stage event", "scenery", "action", "suggested circumstances", "if I..." ;
- the individual characteristics of your body and be able to use your strengths;
- 5-10 exercises of psychophysical training;
- warm-up and body warm-up techniques;
- 5-7 new tongue twisters for problematic sounds;
- 5-10 speech training exercises.
Be able to:
- build on the basis of a given topic a simple plot story with
plot, event and denouement;
- it is advisable to perform a chain of simple physical actions in a single study;
- detect and independently remove muscle clamps;
- direct sound to the main resonators of three registers;
- create a sound image independently chosen or set by the teacher;
- to participate in the embodiment of the plastic image in the study;
- to connect the proposed circumstances given by the teacher to the creation of the sketch;
- to build the simplest stage action of your own character in a short period of stage time.

2 YEAR
The second year of study is devoted to a greater extent to the development of partner skills and abilities of the students. In an atmosphere of benevolent and patient attitude towards each other, pupils' sensitivity to a truthful, purposeful action, to its features, as features of facial expressions, gesture, gaze, movement, speech, is formed. The main emphasis is on working on pair and small-group studies (3-5 people).
At this stage, it is very important that the pupils acquire the skill of acting “attaching” to a partner, so that the actors who are on the stage in the given proposed circumstances do not exist separately, in different worlds, but, feeling each other, merge together in the process of creating an organic, logical and completed stage action. Work on any sketch may include the distribution of the functions of the writer, director, actors, decorators, prompters, etc.
It is also important to continue working on the psychophysical and speech apparatus of the students: trainings in these two areas do not stop, but, on the contrary, gravitate towards more and more complex exercises.
In the second year of study, it is necessary to consolidate and expand the experience of watching performances, both professional adult groups and youth groups.
Based on the results of the creative work of the groups of the second year of study, their repertoire should include a full-fledged, independent performance created by the efforts of the studio and the teacher.

 Development of acting psychotechnics of pupils;
 Learning the technique of reincarnation in the process of working on the role;
 Nurturing partnerships in the work of the students.

In development:
o to develop the physical capabilities of the body, freedom in handling their physical apparatus through plastic training and familiarization with the simplest acrobatic elements;
o develop the acting attention, imagination and fantasy of the students through psychophysical training exercises;
o develop the speech apparatus of pupils with the help of speech training and the study of tongue twisters.

In training:
o to teach students to get rid of uncertainty and fear of working in difficult conditions of the stage space;
o teach how to build a stage action, both for yourself and for a partner;
o to teach a sensitive attitude to the actions of a partner within the framework of a stage action;
o teach to analyze the character of your hero, his actions, words, motives;
o to teach the basics of the implementation of the plastic image of the character.

In education:
o develop a sense of responsibility for partners;
o to instill a culture of stage behavior on stage and behind the scenes;
o instill in the students a sense of mutual respect and mutual assistance.

By the end of the second year of study, the student must
Know:
- techniques for releasing muscles;
- the rules of orthoepy and be able to independently apply them in work
with text;
- laws of logical construction of speech;
- how to develop your psychophysical apparatus;
- a set of exercises for speech and plastic training;
- 5-7 new tongue twisters;
- text and outline of the stage action of his role;
- concepts: "pantomime", "plot", "stage action", "monologue", "dialogue", "extension", "stage task", "logic of behavior", "conflict".

Be able to:
- tactfully and adequately analyze the work of one's own and that of one's comrades;
- install and hold the respiratory sound support;
- organize collective work on sketches and implement your idea by involving partners in the work;
- find elements of the characteristic behavior of the character;
- give a brief verbal description of the external portrait and the main character traits of the character of the play;
- independently conduct a group warm-up;
- compose and embody a plastic image in a study;
- explain the conditions of the task to the group and organize its implementation;
- pronounce tongue twisters at different paces and under loads.

3 YEAR
In the third year, all the work of the team is focused on staging performances, it is to this goal that the efforts and all the creative aspirations of both the pupils and the teacher are directed. The selected play becomes the material for sketch samples for the role of each of those who wish, according to the invented collective interpretation.
Work on the role, its interpretation appear before the pupils as building a certain logic of the character's actions in the proposed circumstances. The process of creating an actor's image goes deeper and more extensively: the studio members compose stage biographies of their heroes in order to more authentically get used to their character; they are looking for means to embody the image in an episodic role, in a mass scene. Pupils are invited to think over the appearance of their hero, his inherent gestures, habits, details of clothing, objects, intonations, etc. Pupils should try themselves as directors of their own role.
Simultaneously with the staging of the performance, work is underway in another direction that is extremely important for acting - this is oratory. During the first two years of study, work in this area takes place with more emphasis on the technical area of ​​stage speech than on the artistic one. In the third year of study, work on the word moves to the stage of meaningfulness and assignment of the text to the role by the actor.
The result of the creative work of the third year of study should be the staging of one or two performances a year and one or two reading numbers in the repertoire of the studio students.

 Development of abstract creative thinking;
 Formation of professional skills and abilities;
 Unification of studio workers into a single, inseparable, interconnected and interdependent creative team.

In development:
o Develop an associative vision of reality through acting exercises;
o Develop the imagination and fantasy of pupils through the process of reincarnation;
o To develop the ability of the students to generate new ideas, creative way of thinking.

In training:
o To introduce the technique of impersonation in the process of an actor's work on roles of various genres;
o To teach how to use speech as an expressive means when creating an image;
o To teach students how to work with poetic, prose and dramatic text.

In education:
o instill a sense of responsibility for the common creative work;
o instill a culture of performing arts;
o instill interest in the culture of speech.

By the end of the third year of study, the student must
Know:
- concepts: "through action", "installation of the performance", "allegory", "metaphor", "hyperbole", "super task", "verbal action", "facts of life", "facts of art", "plastic image";
- the rules of orthoepy and the laws of the logical construction of speech, as well as ways of their practical application in working on the role;
- safety rules when working with a partner and in the stage structure;
- organize collective work on an episode of the performance, realize your idea by involving partners in the work;
- 5-10 new tongue twisters;
- 3-5 poetic and prose works or their excerpts.

Be able to:
- master the skills of spontaneous concentration and relaxation;
- to apply the knowledge, skills and abilities gained in the classes on stage speech in independent work on the role;
- describe the emotions experienced by the hero of an etude or dramatic work, and give an interpretation of these emotions;
- after analyzing your own role, find ways to embody the actor's image;
- to conduct in the classroom the entire complex of acting training (plastic, speech, psychophysical) independently;
- in the rehearsal process, organize collective work on an episode of the performance, realize your idea by involving partners in the work;
- define the through action of the role;
- decompose a through action into simple physical actions;
- pronounce tongue twisters at different tempos, with different combinations of movements and under loads.

4 YEAR
The fourth year of study is devoted not only to a thorough study of the acting line in the productions of the group, but also, to a greater extent, to the development of the director's vision and production skills of the studio members. Each pupil should try himself as a director, independently choosing the material (whether it be prose, poetry or sketch work), embody it on the stage.
Work continues on staging performances: pupils take part both in the work of younger groups and in the creative activities of senior studio members.
The study of diverse make-up for characters is introduced. Even more thorough work on reading works and staging of plastic sketches continues.
The result of the creative work of the fourth year of study should be the staging of one or two performances a year and one or two reading numbers in the repertoire, as well as showing independent directorial works of the studio.

 Formation of professional skills and abilities
 Career guidance work with students
 Practical acquaintance with the profession of "director"

In development:
o Develop the voice, body, psychophysical apparatus of the student to complete freedom of possession
o Develop student leadership skills through independent staging experience
o Develop associative vision, the ability to create metaphors and allegories in independent directorial works

In training:
o Introduce various techniques for applying make-up to diverse characters.
o Teach studio students the basics of creating the artistic concept of a stage work (etude, performance, performance, etc.)
o Introduce the basic laws of directing

In education:
o To instill interest in the profession of "director"
o Send students to further professional development in secondary and higher educational institutions
o Build a sense of responsibility for your work

By the end of the fourth year of study, the student should:
Know:
- concepts: "artistic idea", "director's explication", "allegory", "metaphor"
- stages of directorial development of a stage work (etude, excerpt, etc.)
- several different application techniques and types of makeup for diverse characters
- Stages of writing script development
- elementary laws of directing
- 2-3 monologues from tongue twisters
- 10-15 types of stretching
- safety precautions when performing acrobatic elements, balances

Be able to:
- to embody on the stage an independently developed director's idea of ​​​​an etude, excerpt, etc.
- apply a variety of make-up in different techniques
- apply in the work on a stage work (etude, excerpt) the techniques of allegorism and metaphor
- apply all the acquired skills and abilities in the field of plastic culture of the body, stage speech and acting skills in working on the role
- perform complex balances
- explain the technique of performing balances
- perform acrobatic elements in conjunction
- independently build the stage action of all the characters, according to everyone in the etude or excerpt
- independently conduct trainings on the skill of an actor, stage speech and stage movement
- explain to the performers the logic of behavior in the proposed circumstances, set acting tasks for them

Educational and thematic plan of the first year of study

No. Topic Total
hours Theory
(hour) Practice (hour)
1. Introductory lesson. 3 1 2
2. The skill of the actor:
60
13
47

3. Stage speech:
29
6
23

4. Staging work. 67 7 60
5 Plastic. 39 - 39
6 Group activities, excursions, theater visits. 18 - 18
Total: 216 27 179

Program content of the first year of study.

1. Introductory lesson.
Acquaintance games: "Business card", "Snowball", "Autograph", etc.
Introductory talk about theatrical art
The game "Improvised performance".
Safety briefing in the classroom in the theater studio.

2. The skill of the actor.

Psychophysical training exercises:
- warming up - associated, as a rule, with the dismemberment of the musculoskeletal system into biomechanical links and the warm-up of each link separately;
- basic - exercises in specific proposed circumstances, with a warm-up, both for individual links and for the entire biomechanical apparatus as a whole.
- exercises to turn on the imagination - "turning a room into a store, a pool, a spaceship, etc." Pupils transform themselves, animating, giving character to inanimate objects (teapot, tree, crystal vase, clock, etc.), connecting physical actions.
single etudes on topics:
- etudes for emotions,
- on the expressiveness of the gesture,
- for the development of organic matter.
The following theoretical concepts are studied:
actor's assessment is the ability to correct one's behavior in relation to an object, partner, event.
stage attention is an active cognitive process in which vision, hearing, touch, smell participate as a necessary condition for organic action. To train this important process in acting, there are many different exercises that help students learn to keep their attention in a continuously active phase in the process of stage action.

3. Stage speech.
Voice hygiene rules
Voice hardening methods
Hygienic and vibration facial massage
Exercises:
a) to strengthen the muscles involved in the speech process;
b) to relieve muscle and psychological clamps (exercises "Puppet", "Explosion", "Relaxing massage", "Iron body", "Humpty Dumpty", etc.).

Breath:
a) We train correct breathing (exercises "Ball", "Rubber doll", "Ball", etc.).
b) Acquaintance with the concept of "phonation" (sounding) breathing (exercises "Vest", "Mosquito", "Kitten").
c) Training of the muscles of the respiratory apparatus:
- preparation for breathing training (exercises for different muscle groups;
- breathing training.

Articulation gymnastics:
language exercises;
lip exercises;
jaw exercises.
Work on tongue twisters: learning simple tongue twisters with a gradual increase in tempo (“From the clatter of hooves”, “King-Eagle”, “Bull is stupid”, “Sasha walked”, “I ate, ate Klasha porridge with yogurt”, “Forty forty in short term ate cheese”, “Good pie, inside the curd”, etc.)
4. Staging work.
Preparation of miniatures, small thematic stage compositions that could freely become part of any concert program. The production work is divided into several stages. The choice of material should take place with close creative cooperation and the interest of the pupils. At the same time, the more lively and actively this first stage passes, the easier it will be to build further work on the material already approved by the collective decision. The easier it will be for the pupils to “appropriate” it for themselves.
In addition, a variant of episodic participation in the performances of groups of the second and third years of study is possible.

5. Plastic.
Acquaintance of pupils with their own body: with its anatomy, with its physical and psychophysical qualities, with its motor capabilities, with its problems and limitations.
Warm up:
- exercises for posture correction, gait correction.
- exercises for the development of flexibility and strength (various types of push-ups, pull-ups, squats, tilts, bends, turns; paired exercises with all kinds of partner resistance, locomotor exercises; exercises for the development of jumping ability; statistical exercises; volitional gymnastics).
- exercises that regulate muscle tone, allowing you to relieve excessive muscle tension, i.e. developing quality, which in theatrical practice is called muscle freedom.
- exercises that improve the coordination of movements, develop the ability to isolate individual movements, compare with each other, consciously control them and adapt them to obstacles (counter-rotation of various parts of the body, exercises of a cyclic nature, alternate exercises).

The plan of educational work provides for visits to theaters, both professional and children's. It also includes group activities aimed at improving the atmosphere in the group: birthday day - once every three months; New Year's light; Defender of the Fatherland Day; International Women's Day; celebration of International Theater Day; game program "Hello, summer!".

Educational and thematic plan of the second year of study

No. Topic Total
hours Theory
(hour) Practice
(hour) Form of work

group
individual
2. The skill of the actor:
52
10
42
42 10
3. Stage speech:
18
4
14
13 5
4. Staging work. 99 10 89 86 13
5 Plastic. 23 - 23 15 8
6 Visiting theaters, excursions, group events. 21 - 21 21 -
Total: 216 25 191 180 36

Program content of the second year of study.

1. Introductory lesson.
Pupils' impressions of the holidays in the form of a short public story. Studios are invited to create several summer-themed sketches from real or fictional life.
Acquaintance games: "The first letter of the name", "I never ...", etc.
Conversation-survey on theoretical concepts in the field of theatrical disciplines, which were completed during the first year of study.

2. The skill of the actor.
Psychophysical training
Learning concepts:
Stage communication is an active interaction of the performer with a partner and the environment, in which both the physical and mental side of organics participate. The themes of etudes are given by the teacher on the basis of simple and understandable examples for students.
Adaptation, extension - the ability to find the right attitude to a partner or object to change it, to influence a partner or object, depending on the task.
Stage action is a volitional act of human behavior aimed at achieving the set goal-super-task.
Conflict is a collision of contradictions, a process, a movement. The conflict is resolved through a concrete struggle in the stage action. In turn, stage action cannot exist without conflict.
Pair, collective etudes

3. Stage speech.
Breathing training
Articulation gymnastics
Acquaintance with the norms of orthoepy: the word sounding from the stage is subject to more stringent requirements than everyday speech, so actors need to pay great attention to the culture of their speech. The students get acquainted with the norms of pronunciation in Russian (stress, combination of different sounds, the law of reduction of pronunciation of unstressed vowels, pronunciation of consonants, pronunciation of borrowed words, etc.). Acquaintance with the concept of "orthoepy".
Work on tongue twisters at this stage is based on accelerating the pace of pronouncing the text of the tongue twister. Minimal physical activity is gradually added: slopes, squats, turns, jumps, etc. Pupils need to learn how to maintain the same sound level both without loads and with them.

4. Staging work.
The result of the creative work of the group of the second year of study is the staging of a full-fledged performance with the participation of the entire group.

5. Plastic.
In the second year of study, the main focus is on:
increasing the endurance of the students (exercises of anaerobic, aerobic and mixed nature);
speed training (exercises for simple and complex motor reactions, imitative reaction, exercises for the development of speed of movements, exercises for the development of slowness, exercises for changing the speed of movement, outdoor games of a competitive nature, exercises for the tempo-rhythmic organization of movements);
balance (exercises with a predominant effect on the semicircular canals: body rotations around the vertical axis by 360 degrees, jumping with revolutions, rolling, walking and running with accelerations and sudden stops, jumping in place with advances in various directions, exercises to increase body stability, paired exercises on the balance of a system of bodies);
the simplest elements of acrobatics (splits, bridges, racks, rolls, somersaults, wheels).
Work continues on the development of flexibility, strength and coordination of movements.

6. Visiting theaters, excursions, group events.
In terms of these events: birthday days (quarterly), celebration of the New Year, celebration of the International Theater Day, game program "Long live the holidays!" etc.
Along with this, great attention should be paid to the general cultural and civic development of pupils, which is why it is necessary from the very beginning of the school year to plan to watch performances of various kinds and topics, as well as visit exhibitions and other events dedicated to holidays held in the city and district.

Educational and thematic plan of the third year of study

No. Topic Total
hours Theory
(hour) Practice (hour) Form of work
group individual
1. Introductory lesson. 3 1 2 3 -
2. The skill of the actor.

30
26 8
3. Stage speech.
15

7 8
4. Staging work. 121 8 113 77 44
5 Plastic. 31 - 31 19 12
6 Visiting theaters, excursions, group events. 12 - 12 12 -
Total: 216 15 201 144 72

Program content of the third year of study.

1. Introductory lesson.
Blitz survey on the topics of the previous two years of study
Game trainings
The full text of the material The author's program on the skill of the actor "Theater in which children play", see the downloadable file.
The page contains a snippet.

MOU DO "House of Children's Creativity" MO Arsenevsky district of the Tula region

Additional educational program "Puppet Theater"

Leleykina Svetlana Viktorovna

Teacher of additional education

Explanatory note

Play is of great importance in a child's life. This is an unconscious desire to modify the surrounding world, bringing it closer to your own world, explaining it in your own way. Now is the time when no matter what they talk about, be it science, industry, education or art, everything is overgrown with a lot of problems. Our time, the time of stress, sharp rises and even sharper falls in the lives of people. The press, television, films, even children's cartoons carry a fairly large charge of aggression, the atmosphere is saturated with negative, disturbing and annoying phenomena. All this falls on the unprotected field of the child. And children involuntarily find themselves involved in the stormy pace of adult life, they are carried away by flows of unnecessary and harmful information, they are required in early development and early socialization. How to protect a child from such a terrible destructive force? Indeed, in fact, we dream of seeing our children and grandchildren healthy and cheerful, kind and loving, and not at all supermen, presidents and show stars. After all, neither a profession nor a career will make either you or your child a loved person around you with a pure heart and clear thoughts.

How can we, adults, learn how to live with a child, and not just coexist side by side, how to find a common language? We know that the main activity of a child before adolescence is play. It is the game that forms the child's life skills, which then remain with him for the rest of his life. And what kind of game can adults and children share with pleasure?

Of course, theater! Theater plays a big role in shaping the personality of a child. It brings a lot of joy, attracts with its brightness, colorfulness, dynamics. After all, this is not just entertainment, but a great way to get acquainted with the history, culture, customs, and customs of the peoples of the world. The theater will instill in the child a love of reading, observation and creativity. This is one of the best aids in the education of morality.

Theatrical activity helps the child to solve many problem situations indirectly from any character. This helps him overcome shyness, self-doubt, shyness. How much a child wants to be like his favorite heroes, to speak their words, to perform their exploits, to live their life at least a little. But how to transfer children's play to the stage? How to make a performance out of a game, and a game out of a performance? In theatrical classes, children play, create, create. Here they get acquainted with the surrounding world in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations.

It can be argued that theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values, develops artistic taste. And this is a concrete visible result. But it is no less important that theatrical classes develop the emotional sphere of the child, make him sympathize with the characters. Thus, theatrical activity is the most important means of developing empathy in children. (the ability to recognize the emotional state of a person by facial expressions, gestures, intonation, the ability to put oneself in his place in various situations, to find adequate ways to assist).

“In order to have fun with someone else's fun and sympathize with someone else's grief, you need to be able to transfer yourself to the position of another person with the help of your imagination, mentally take his place,” said the psychologist and teacher, academician B.M. Teplov.

All this contributes to the formation of the child's personality, developing a certain system of values, a sense of responsibility for a common cause, causing a desire to express themselves among peers and adults. Children acquire an additional opportunity to consolidate skills - the ability to express their thoughts, intentions, emotions, the ability to understand what others want from you. Theatrical activities stimulate the development of basic mental processes - attention, memory, speech, perception.

But children enjoy not only the game, but also the fact that they themselves make dolls - characters, create clothes for them, if necessary, think over and make the scenery necessary for the scenario. All this contributes to the development of creative imagination, introduces to theatrical culture.

The puppet theater contains great potential for the comprehensive development of the child's personality. However, these opportunities can only be realized when children feel joy and satisfaction from what they have created, if the creative process causes them a good mood. Puppet theater is also a whole world of new words, concepts that are not used in everyday life. This is the stage, backstage, curtain, puppets. Puppet theater classes combine all types of art, which also makes it possible to talk with children not only about its history, but also about painting, architecture, costume history and decorative and applied art.

The program provides for classes in the association in groups, subgroups, individually or as a whole, which is provided for by SanPiN 2.4.4.3172-14 dated 04.07.2014 No. 41 (Chapter VIII, clause 8.2).

In the classroom, the use of health-saving technologies (physical education) contributes to the preservation and strengthening of the physical and social health of the child.

Additional educational program "Puppet Theatre", developed on the basis of the author's program A.D. Krutenkova "Fairy-tale workshop "Magicians" - puppet theater". (Publishing house "Uchitel", 2008) - designed for 2 years of study, which allows you to create the most favorable conditions for the development of students.

Purpose of the program : development of children's creative abilities by means

puppet theatrical art.

Tasks of the educational process of the first stage of training:

Educational:

• acquaintance with the puppet theater;
• familiarity with the technique of driving puppets;

• mastering the technique of acting.

Developing:

• development of expressive speech;
• development of plastic expressiveness;
• development of imagination, fantasy;
• awakening the creative activity of the child.

Educational:

• fostering a sense of collectivity, interdependence;
• the formation of the moral qualities of the individual;
• the formation of volitional qualities of the individual.

Tasks of the educational process of the second stage of training:

Educational:

• improving stage skills;
• the acquisition of knowledge and skills to analyze the play, to characterize the characters.

Developing:

• development of creative independence;
• development of communicative qualities;
• development of figurative, associative thinking.

Educational:

• formation of aesthetic taste;
• fostering a creative attitude to activity.

Metasubject outcomes studying the course is the formation of the following universal learning activities (UUD).

Regulatory UUD:

The student will learn:

• understand and accept the learning task formulated by the teacher;
• plan your actions at individual stages of work on the play;
• exercise control, correction and evaluation of the results of its activities;
• to analyze the reasons for success / failure, to master with the help of a teacher positive attitudes such as: “I will succeed”, “I can still do a lot”.

Cognitive UUD:

The student will learn:

• use the techniques of analysis and synthesis when reading and watching videos, compare and analyze the behavior of the hero;
• understand and apply the information received in the performance of tasks;
• show individual creative abilities when composing stories, fairy tales, sketches, selecting the simplest rhymes, reading by roles and staging.

Communicative UUD:

The student will learn:

• engage in dialogue, collective discussion, show initiative and activity;
• work in a group, take into account the opinions of partners that are different from their own;
• ask for help;
• formulate your difficulties;
• offer help and cooperation;
• listen to the interlocutor;
• agree on the distribution of functions and roles in joint activities, come to a common decision;
• to formulate own opinion and position;
• exercise mutual control;
• adequately evaluate their own behavior and the behavior of others.

Basic principles of work:

- integrity content, which implies the development in the unity of the intellectual, emotional-volitional and behavioral spheres of the personality of children and adolescents;

- continuity forms and methods of education, taking into account the actual and potential needs and interests of children;

- creativity which involves the development of the needs and abilities of children for self-realization in selected activities;

- openness, internal mobility of content and technologies associated with personal orientation, taking into account the individual interests and needs of children;

- continuity education, allowing the child at any stage to choose the directions and levels of development of activities.

Pedagogical methods

Verbal

visual

Practical

reproductive

Problem-search

Forms of organization of the educational and creative process:

- group lessons: theoretical and practical;

Game training;

Rehearsals: group and individual;

Organization of performances;

dramatizations;

Watching and attending performances;

Creative displays.

Form of control:

Observation;

Monitoring of learning outcomes for an additional educational program (2 times a year);

Open lessons for parents;

Creative report;

Participation in competitions.

The Puppet Theatre's two-year program is designed for 288 hours (144 hours per year).

Age of children: 7 - 11 years.

Classes are held 2 times a week for 2 academic hours. The charter of the institution establishes: 1 academic hour is 45 minutes. Between classes there is a break of 10 minutes.

Distinctive features and relevance of this additional

educational program

Puppet theater is one of the ways that leads a child to success in life, because it is the way of self-conquest. By acquiring creative skills, communication skills, children become more liberated, self-confident, and all this happens naturally during an important type of child's activity - playing, playing with a doll. The formation of a creative, socially adapted personality proceeds naturally, on the basis of the principle of conformity to nature. The originality of the program lies in the fact that all the theoretical knowledge included in the content of the program is tested in creative practice, transformed into a cognitive, communicative, social experience of self-realization in various activities.

The additional educational program "Puppet Theatre" can be considered as integrated (by content), complex (by type of activity), level (by methods of development).

The possibilities of level development most fully characterize the potential of the educational program, on the one hand, ensuring continuity and continuity in the creative development of children and adolescents, and on the other hand, guaranteeing the choice of the content of education that corresponds to the cognitive abilities and interests of children.

The principle of constructing the program is concentric, the next year of study deepens, expands the content, complicates practical skills and technologies. The educational and thematic plan of each year of study is represented by topics that become more complicated during the period of study, and our students from the first year of study to the second become involved in productive creative activity.

Expected learning outcomes.

As a result of the implementation first year learners should

Know:

Fundamentals of stage speech;

Means of plastic expressiveness;

Basic components of the puppet theater and its features.

Be able to:

Show artistic courage;

manage your attention;

Development:

Initial ideas about the puppet theater;

Perseverance and patience in the process of working with the doll.

As a result of the implementation second year of study learners should

Know:

The main elements of the stage action of the puppet theater, their features;

Construction of the simplest plot, using key words denoting actions.

Be able to:

Perform the simplest tasks and build an etude in tandem with any partner;

Perform acting training exercises in the presence of a stranger;

Maintain a dialogue with a partner (arbitrary or on a given topic);

Describe the emotions experienced by the hero of an etude or work of art, give an approximate interpretation of these emotions.

Development:

Within 2-3 minutes, the topic proposed by the teacher;

Within 5-7 minutes a group story on the proposed topic.

ACADEMIC PLAN

1 year of study

No. p \ p	Program section	Number of hours
		Total	theory	practice
	Introductory lesson	2	1	1
	"ABC of the theater"	8	5	3
	"Types of theatrical puppets and methods of puppetry"	10	4	6
	"Game speech training"	10	2	8
	"Doll work"	46	10	36
		66	9	57
	Final lesson	2	1	1
		144	32	112

EDUCATIONAL AND THEMATIC PLAN

1 year of study

No. p / p	TOPIC	Number of hours	Theory		Practice
	Chapter "Introductory Lesson"
	Section "ABC of the theater"
	Pulcinella, France - Polichinelle, Germany - Hanswurst, etc. Viewing a presentation on the topic: "Theatrical puppets of the world." Game - improvisation "I am a doll", "I am an actor".
	Conversation: "The doll is an expressive means of the performance." Development of theatrical terminology. The first skills of working with a doll. Etude - fantasy "My home puppet theater".
	Section "Types of theatrical puppets and methods of puppetry"
	Section "Game speech training"
	Section "Working with a doll"
	Theatrical lesson "Puppet fairy tale"
	you imagined while reading.
	Continuation of rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Dress rehearsal.
	Final lesson

1. Introductory lesson.

1.1 Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the creative association. Acquaintance of the teacher with the students. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc. Game - improvisation "What I want to learn."

2. The ABC of the theater.

2.1 What is theater made of? Acquaintance with professions: actor, director, artist, sound engineer, lighting designer, props, costume designer, etc. Puppets and puppeteer. Role. Actors. Activation of cognitive interest in the puppet theater. View presentation: "Puppet theaters of Russia".

2.2 The study of puppet heroes from different countries of the world (appearance, character, image, structure of the puppet). Russia - Petrushka, England - Punch, Italy - Pulcinella, France - Polichinelle, Germany - Hanswurst, etc. Viewing a presentation on the topic: "Theatrical puppets of the world." Game - improvisation "I am a doll", "I am an actor".

2.3 Conversation: "What is stage clothing." Types of screens for the puppet theater and their device. Viewing the puppet show "Turnip" followed by a discussion. Game training "Pinocchio and Papa Carlo", "I will not take with me to the theater ...".

2.4 Conversation: "The doll is an expressive means of the performance." Development of theatrical terminology. The first skills of working with a doll. Etude - fantasy "My home puppet theater".

3. Types of theatrical puppets and methods of puppetry.

3.1 Activation of cognitive interest in the puppet theater: riding puppet theater, puppet theater, shadow theater, cane puppets, life-size puppets, etc. Viewing a presentation on the topic: “Types of theatrical puppets”. Warm-up "Finger game". The work of each child with the doll on the ground and behind the screen.

3.2 Watching the puppet show "The Wolf and the Seven Kids" with subsequent analysis (what types of puppets, what character of the characters, how words and actions are connected, etc.). Basic position of the glove puppet. Games - dramatization with a doll (optional).

3.3 Conversation: "The expressive possibilities of a certain type of dolls." Etudes and exercises with puppets “Come up with a voice for the hero”, “I can do it, but how are you?” and others. Dance improvisations with a doll (D. Shostokovich "Waltz-Joke", P. Tchaikovsky "Dance of Little Toys", M. Glinka "Waltz-Fantasy", etc.).

3.4 Conversation - dialogue "Communication with a partner through a doll, how is it ..." (with the formulation of problem situations). Strengthening the ability to work with a glove puppet. Etudes: "The Fox and the Hare", "The Hare - Bouncer", etc. Demonstration of studies on the chosen topic.

3.5 An impromptu exam (consolidating the material on the topic "Types of theatrical puppets") - "The world of the puppet and its possibilities."

4. Game speech training.

4.1 Concept: "Articulation gymnastics". Activation of the mobility of the lips and tongue. Warm-up "Boastful Camels", "Cheerful Piglet", "Proboscis", etc. (T. Budennaya). Dictionary exercises: "Cork", "Mower", "Telegram", "Echo" (according to N. Pikuleva), etc.

4.2 The development of speech breathing, exhalation training, through the pronunciation of tongue twisters. Game tasks and exercises (“Pump”, “Soap bubbles”, “Bees”, “Inflate the balloon”, “Egorka”, etc.).

4.3 Exercises to send sound to the hall. A game of tongue twisters (main word: stressed, strong, medium, weak). Exercises for the development of the voice range "Floors", "Malyar", "Bells", "Miracle Ladder", "I" (from E. Laskava's exercises), etc.

4.4 Conversation: "Dictation and its importance in creating an image." Exercise for the development of diction: a chain of letter combinations: ba-bo-bu-by-bi-be, etc. Playing tongue twisters and tongue twisters. Acquisition of the skill of sounding the voice in any position of the body, head, etc. Exercises for simultaneous training of sound and movement. Work with poetic works (A. Barto, S. Mikhalkov).

4.5 Work on intonational expressiveness of speech. "Clean tongue in the image" (from the exercises of E. Laskava). Exercises on the voice in motion "1, 2, 3, 4, 5 - we will play together." Exercise for the development of intonation expressiveness “I love my mother very much”, “Come up with a different ending to the fairy tale”.

5. Working with the doll.

5.1 Theatrical lesson "Puppet fairy tale".

5.2 The concept of "Game", the emergence of the game. The relevance and significance of the game in the puppet show. Games and exercises for the development of attention: “What do you hear”, “Radiogram”, exercise with objects, “Hands-legs”, “pass the pose”, “Photographer”.

Games for the development of coordination of actions: "Friendly animals", "Telepaths", "Live phone", "Typewriter". Sketches with glove puppets "In the theater of Karabas Barabas".

5.3 Detailed training on how to work on the screen. Doing exercises individually with each child. Help each other to manage the puppets. Showing how the doll “says” correctly, how it appears and leaves. Finger gymnastics.

5.4 Working with a doll on a task (dolls meet each other, greet each other, ask each other about health, say goodbye, etc.). Learning to listen to a partner, try to understand him, evaluate his words and behavior. The sequence of actions of one’s own and the partner’s (you to me, I to you, “loop-hook”).

5.5 Demonstration and explanation of work with the doll at the table and screen. Etudes and exercises with a doll to develop the expressiveness of a gesture: “The doll sings”, “The doll teases”, “The doll laughs”, “The doll hides”, “We do exercises together”. Sketches for the reproduction of individual character traits: “The bear is lazy”, “The hare is cowardly”, “The wolf is evil”, “The little squirrel is cheerful”, etc.

5.6 Sketches with a doll for the development of attention: “They called the fox”, “They frightened the fox”, “They took away the fox ...”, “Friendly animals”. Sketches for the development of fantasy and imagination: "Toy Store", "Birthday Gift", etc.

5.7 Showing and explaining exercises with an object (dolls drag a bag, build a house, wipe dust, pass a ball to each other, etc.) Finger gymnastics.

5.8 Workshop "Paper Masquerade" - making samples of dolls. Endowing the doll with character, voice, movement.

5.9 Conversation - dialogue: “Internal and external specificity of a character, image. The character and appearance of the doll, their connection and relationship.

Viewing the puppet show "The Three Little Pigs" (analysis of the movements and speech of the doll, determining the character's character by the intonation of the voice). Exercises with puppets on the ability to combine verbal action with physical (puppets meet, talk, evaluate each other's words and behavior, etc.). Transmission of character through voice and movement.

5.10 Conversation: "The proposed circumstances - what is it?". Creative tasks for endowing the doll with character and movement in the proposed circumstances. The game "Revival of the doll", "What would happen if ...". Composition and dramatization of fairy tales "Stories with those heroes who" came to life "".

5.11 Lesson - fantasy "Dollhouse", discussion about puppet images and scenes. Story of own composition. Playing puppet stories.

5.12 Conversation: "Gesture and its meaning in the work of an actor-puppeteer." Exercises for working out the expressiveness of gestures when working with a puppet: “Guess the gesture”, “Repeat the chain of gestures”, “Mirror”, etc. Finger gymnastics.

5.13 Conversation - reasoning: "What is the role and image in a puppet show." The game is a dramatization of the fairy tale "Teremok". Role-playing games behind the screen (puppet driving, gait, communication, stopping in motion, working with objects, etc.).

5.14 Musical room "Dolls dance and sing." Working with a doll for the task: "The dolls came for a birthday ...". Dance improvisations with puppets to the songs of V. Shainsky "The Grasshopper's Song", "It's fun to walk together", G. Gladky "Like a lion and a turtle sang a song", etc.

5.15 Demonstration of the presentation "Puppet Workshop". Practical activities, making dolls from improvised materials "The second life of things." Playing out situations with your dolls.

5.16 Conversation: "Features of speech in the character of the character." Theatrical games to determine the nature of the character: "Know me", "Catch the intonation." Working with a puppet behind a screen, the dialogue of puppets, taking into account the possibilities of intonation.

5.17 Conversation - dialogue "The expressive possibilities of a certain type of dolls." Practicing puppetry skills with puppets.

5.18 Exercises to practice the doll's speaking skills. Stop in motion.

5.19 Consolidation of the material on the topic: "Intonation and the character of the puppet show." Show sketches on the chosen topic.

5.20 Practicing the doll's gait, gesture, evaluation, communication. Exercises with imaginary objects. Etudes: "The Fox and the Hare", "The Hare - Bouncer", etc.

5.21 Teaching the technique of interaction of several puppets behind a screen on a short literary fragment. Using dialogues.

5.22 Lesson "Fairy-tale characters in the theater." Acting out a theme, plot without prior preparation.

5.23 Strengthening the skills of working with a doll on a screen individually with each child and in a group.

6. Staging a puppet show

6.1 Reading a fairy tale by a teacher. Reading conversation. - Did you like the plot? Which of her characters did you like? Would you like to play her? What is the main idea of ​​this tale? When does the action take place? Where does it take place? What pictures

you imagined while reading.

6.2 Distribution of roles for staging in a puppet show. Reading a fairy tale by roles. Rehearsals at the table.

6.3 Processing the reading of each role (the ability to get used to your role, intonation to convey the mood and character of the character).

6.4 Teaching children teamwork. Form a clear and competent speech. Improve the ability to find key words in a sentence and highlight them with your voice.

6.5 Training to work on the screen, behind the screen, each puppeteer reading his role, the actions of the role. The connection of verbal action (text) with the physical action of the characters.

6.6 Exercises and etudes for practicing the doll's speaking skills. Hero dialogue.

6.7 Table rehearsal of the performance. Memorizing the text by heart, connecting the action of the doll with the words of its role.

6.8 To improve the ability of children to create images using gestures, facial expressions (exercises and sketches with dolls based on the plot of a fairy tale).

6.9 Determination of the main mise-en-scenes according to the plot of the play. Rehearsals of mise-en-scene.

6.10 The material part of the performance: props, screen arrangement, scenery. Features of the puppets used in the play.

6.11 Acquaintance of children with musical works, excerpts that will sound in the performance.

Work on the expressiveness of speech and the authenticity of behavior in stage conditions.

6.12 Rehearsal of the prologue, 1st and 2nd episodes of the performance with scenery and props. Appointment of persons responsible for props, scenery, doll costumes.

6.13 Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.

6.14 Conversation: “The principle of the ratio of scenery and puppet: “dark” on “light” - “light” on “dark”. Episode rehearsal.

6.15 Conversation: "Music and movement of the doll." Rehearsals for episodes - working out the plasticity of the hands of the puppeteer, the communication of the character with the viewer.

6.16 Work on character role. Rehearsals.

6.17 rehearsal period. Production of scenery, props, props.

6.18 The physical and psychological well-being of the actor in the role through the puppet. Adaptation to props, scenery.

6.19 Completion of the production of props, scenery for the performance.

6.20 Group and individual rehearsals.

6.21 Practicing the work of puppets with objects. Group and individual rehearsals.

6.22 Improving the expressiveness of movements, intonational expressiveness. The behavior of the hero in certain proposed circumstances.

6.23 Rehearsal of all episodes of the performance using scenery, costumes, musical accompaniment, light. Teaching children to evaluate the actions of others and compare them with their own actions.

6.24 Continuation of rehearsals.

6.25 Rehearsals.

6.26 Rehearsals.

6.27 Rehearsals.

6.28 Rehearsals.

6.29 Rehearsals.

6.30 Inspection of dolls, scenery, props used in the show. Doll clothes repair. Preparing the missing props and puppets.

6.31 Rehearsals.

6.32 Rehearsals.

6.33 Dress rehearsal.

7. Final lesson.

7.1 Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

ACADEMIC PLAN

2nd year of study

No. p \ p	Program section	Number of hours
		Total	theory	practice
	Introductory lesson	2	1	1
	"History of the Puppet Theatre"	8	5	3
	"Scenic speech"	10	4	6
	"Staging Secrets"	16	2	14
	"Doll work"	30	4	26
	"Doll Making"	16	4	12
	"Staging a puppet show"	60	6	54
	Final lesson	2	1	1
		144	27	117

EDUCATIONAL AND THEMATIC PLAN

2nd year of study

No. p / p	TOPIC	Number of hours	Theory		Practice
	Chapter "Introductory Lesson"
	Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the 2nd year of study. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc.
	Section "History of the puppet theater"
	Section "Stage speech"
	Exercise on the correct pronunciation of words, sounds. Vowel sounds.
	Dramatization games with puppets on the theme of familiar fairy tales (“Ignorant Bear” by A. Barto.) Learn to use intonations, pronouncing phrases sad, joyful, angry, surprised.
	Section "Secrets of stagecraft"
	Section "Working with a doll"
	Section "Making a doll"
	Section "Staging a puppet show"
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Run-through rehearsal.
	Dress rehearsal.
	Final lesson
	Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

1. Introductory lesson.

1.1 Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the 2nd year of study. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc.

2. The history of the puppet theater.

2.1 Puppet theater in ancient Greece. Viewing a presentation on the topic "The History of the Puppet Theatre". Collective review analysis. Conversation-reasoning "The most modern dolls."

2.2 Italy is the most puppet country in Europe. Types of dolls. Glove puppet - the story of Pulicinella, Polichinelle, Punch, Petrushka and others. Quiz "In the world of puppets".

2.3 The box of Bethlehem is the legacy of a generation. Christmas custom. Exhibition of drawings "My favorite doll".

2.4 Conversation: "Puppet theater is one of the forms of artistic education." S.V. Obraztsov "State Central Puppet Theater" - its importance in the development of puppet theaters in Russia. Petersburg Puppet Theater named after Evgeny Demenni. Theatrical game "Journey with a theater ticket."

3. Stage speech.

3.1 The concept of sound culture, diction, articulation. Fundamentals of correct breathing in pronunciation. orthoepic norms. Exercises with tongue twisters, tongue twisters. Exercises for the development of breathing "Ball", "Candle", "Airplane", etc.

3.2 Exercise on the correct pronunciation of words, sounds. Vowel sounds. Exercises for the melodiousness of the voice. Exercises for the installation of diction.

3.3 Acquisition of the skill of sounding the voice in any position of the body, head, etc. Exercises for simultaneous training of sound and movement. Work with poetry. Articulation gymnastics. Exercises for the correct pronunciation of sounds.

3.4 Development of the ability to build dialogues between the characters in invented proposed circumstances. The game is a dramatization according to the plot of the verse. "Fedorino grief" (K. Chukovsky)

3.5 Dramatization games with puppets on the theme of familiar fairy tales (“Ignorant Bear” by A. Barto.) Learn to use intonations, pronouncing phrases sad, joyful, angry, surprised.

4. Stage Secrets

4.1 Conversation: Gesture is the language of puppet action. Work behind the screen, individual approach to the image. Practicing gestures behind the screen through the action of the hero. The physical action of the hands of the puppeteer is combined with the plastic action of the puppet.

4.2 The concept of "image". Creation of a stage image. Doll - as an emotional image and its impact on the viewer. Creating an image by means of fine arts (children's drawings).

4.3 The concept of "Character", "Physical action", "Rhythm", "Artistic doll", "Improvisation". Exercises and sketches with a doll to create a free individual image "Guess who I am", "The emotional state of the characters."

4.4 Conversation - dialogue "Creative qualities - an actor-puppeteer." Exercises to develop communication skills with the viewer through the doll.

4.5 Development of acting courage with the help of game tasks and exercises with a doll. Etude exercise: development of attention, memory, emotions. Creative tasks to consolidate knowledge.

4.6 Transfer to the stage of life observations (recognizability of the image), an accurate idea of ​​what I am doing? what do I do it for? how do i do it?

4.7 The role of the personality of the actor and the puppet. Sketches for the education of the qualities necessary for truthful action on stage. Etudes for practicing gait, gesture, assessment, communication.

4.8 Actor's Workshop. The development of children's ability to independently make attributes for the puppet show "Mitten". To cultivate accuracy in working with fabric, cardboard. Develop creativity and imagination.

5. Working with the doll.

5.1 Viewing the puppet show "Kolobok". Practicing expressive reading of the words of each hero of the fairy tale, sketches with puppets based on the material viewed.

5.2 Basic rules for driving a doll behind a screen. Work on the basic position of the glove puppet. Games, exercises and sketches with dolls and animated objects.

5.3 Creation of stage space, skill

navigate behind the screen, determine the main place. Work with the hand. Work on the movement behind the screen. Hand movement exercises. Exercises in the transfer of the character of the hero in motion.

5.4 Making finger puppets from gloves, mittens. Scenes with made puppets.

5.5 Exercises and studies with puppets for the simplest types of communication without words. Educational game "My character". Speech features of the hero. Watching movie clips and analyzing the actions of the hero. Exercises “walking doll”, “crying doll”, “laughing doll”, etc.

5.6 Viewing the puppet show "Snow Maiden". Analysis of what he saw (suggested circumstances, the nature of the characters, the physical and verbal action of the puppets, etc.). Playing out individual scenes behind a screen based on fairy tale materials. Cultivating a sense of collective creativity.

5.7 Collective writing (what would happen if ...). Games - dramatizations with puppets for fictional stories.

5.8 Practicing puppetry with objects (take, give, pass, throw, catch, etc.). Working with a puppet according to the principle: "The body of an actor - a tool - a puppet."

5.9 Exercises behind the screen, practicing gait, stopping in motion. Exercises with imaginary objects.

5.10 Theatrical games for the development of plasticity of hands: "Tulip", "Octopus", "Snakes", "Sculptor", "Butterflies". Exercises for the removal of muscle clamps "Pinocchio and Pierrot", "Rostok", "Mercury ball", "Spring", etc.

5.11 Lesson - fantasy "Dollhouse", discussion about puppet images and scenes. Stories of own composition. Improvisations behind a screen with a doll on fictitious stories.

5.12 Exercises to practice the doll's speaking skills. Hero dialogue. Character and image in the transmission of intonation.

5.13 Exercises and sketches with a doll for solving acting problems, taking into account the specific features of the character (appearance of the doll, its device and capabilities).

5.14 Group exercises with a doll - etudes. Evaluation of what is happening through the doll.

5.15 Consolidation of the material on the passed section.

6. Making a doll

6.1 Acquaintance with the technology of making puppets and decorations from various materials (knitted puppets-gloves, pop puppets made of foam rubber, etc.). View illustrations and videos. Making puppets from hand-made material.

6.2 The development of motor skills of the fingers. Practical private lessons.

6.3 Explanation of the manufacture of the head of dolls using the papier-mâché method. Working with plasticine - a sketch of the head of the future character.

6.4 Pasting the workpiece, several layers of paper, drying.

6.5 Extraction of plasticine from the workpiece, gluing the shape of the head. Individual work on painting the head.

6.6 Completion of work on the manufacture of the head of the doll using the papier-mâché method. Making a wig. An idea for making clothes for a glove puppet.

6.7 Cutting and sewing clothes for a glove doll. Making a cartridge, gluing the cartridge and the doll's head.

6.8 Gluing head and costume. Completion of work on the manufacture of a glove puppet.

7. Staging a puppet show

7.1 Choosing a fairy tale to stage. Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? Determination of time and place of action. Characteristics of the actors, their relationship.

7.2 Determination of the topic, idea, super-task, conflict. Distribution of roles. Readings on roles at the table.

7.3 Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is. Exercises and games with a doll for a sense of partnership.

7.4 Learning words (stress, emotional intonation, pauses, tempo).

Learning to connect the actions of the puppets with the words of the play.

7.5 Role work. Formation of the skill of independent work on director's remarks, actively use the acquired skills on the role.

7.6 Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.

7.7 Work behind the screen. The distribution of forces within each scene, the performance as a whole.

7.8 The concept of expressive means. Search and discussion of expressive means on the plot of the play. Individual work on the role.

7.9 The search for the expressive possibilities of puppets in the proposed circumstances of the play, studies with puppets based on the material of the play. Developing a sense of partnership behind the screen.

7.10 Classes in the stage movement of puppets, the definition of mise-en-scenes, plastic and speech behavior of the heroes of a fairy tale.

7.11 Interaction on the screen of all the heroes of the play, connecting the actions of the puppet with the words of their role.

7.12 Mis-en-scene based on the plot of the play. Rehearsals with musical accompaniment.

7.13 Making a sketch of a poster, scenery. Production of decorative elements. Distribution of technical responsibilities for the performance. Installation clearance, decorative details.

7.14 Working with puppets (appearance and disappearance of a puppet, tilts and gestures, puppets addressing each other and a specific object). Puppet work with objects.

7.15 Individual work on the character of the role. Development of the internal and external characteristics of the characters and their stage tasks.

7.16 Working behind a screen with a puppet, working out the consistency of the words and actions of the puppeteer. Disclosure of the conflict, an individual approach to achieving the goal.

7.17 Group and individual rehearsals. Improving the ability to convey the images of the characters of the play through the emotional state of the characters.

7.18 Rehearsals. Improving the ability of children to create images using gestures, facial expressions.

7.19 Rehearsal of all episodes of the performance using scenery, costume elements, musical accompaniment, light.

7.20 Group and individual rehearsals. Teaching skills to achieve expressive action of puppets.

7.21 Working behind a screen with a puppet, working out the coordination of the words and actions of the puppeteer according to the plot of the production.

7.22 Individual and group rehearsals of the puppet show.

7.23 Checking and making the missing props for the play. Repair of dolls and making parts of a doll costume.

7.24 Rehearsals. Practicing the basic rhythm of the movement of dolls, dance movements of the doll.

7.25 Editing rehearsals, runs.

7.26 Rehearsals.

7.27 Rehearsals.

7.28 Rehearsals.

7.29 Run-through rehearsal.

7.30 Dress rehearsal.

8. Final lesson.

8.1 Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

Technical equipment of classes

To organize a puppet theater, glove puppets are used, starting with the easiest to manage.

Music is an integral part of the puppet show, it enhances its emotional

perception. The choice of song and music is determined by the content of the performance.

Puppet classes are held in an office or other room adapted for this purpose. To organize a puppet theater, the following equipment is required:

Theatrical screen;

Scenery for performances.

All the necessary equipment can be made independently. Under the guidance of a teacher, children can sew the necessary puppet actors. Parents of students can provide all possible assistance in making dolls, decorations and screens.

List of literature for the teacher:

• "Dali Theater Studio", A.V. Lutsenko, Moscow, 1997.
• "Theatrical classes in kindergarten", N. Trifonova, Moscow, 2001.
• "Origami Theatre", S. Sokolova, Moscow, 201.
• "Development of children's speech", N. Novotvortser, Moscow, 1998.
• "Smile of Fate", T. Shishova, Moscow, 2002.
• “Funny and sad on the school stage”, G.G. Ovdienko, Moscow, 2000.
• “Fairy-tale workshop “wizards” - puppet theater” A.D. Krutenkova, Teacher, 2008.
• "Methodology and organization of theatrical activities of preschoolers and younger schoolchildren", E.G. Churilova, Moscow, 2001.
• "Theatrical games - classes", L. Baryaeva, St. Petersburg, 201.
• "Theatrical activity in kindergarten", A.E. Antipina, Moscow, 2003.
• “We play puppet theater”, N.F. Sorokina, Moscow, 2001.
• "Puppet theater - for preschoolers", T.N. Karmanenko, Moscow, 1982.
• "Theater of fairy tales", L. Polyak, St. Petersburg, 2001.
• “We play theater”, V.I. Miryasova, Moscow, 2001.
• "Our cool theater", A.M. Nakhimovsky, Moscow, 2003.
• "Let's arrange a theater", G. Kalinina, Moscow, 2007.
• “Home Puppet Theatre”, M.O. Rakhno, Rostov-on-Don, 2008.
• Video presentation.

List of literary works for children:

1. A. Barto poems

2. S. Mikhalkov poems

3. E. Uspensky "We are going to the theater"

4. Russian folk tales

5. K. Chukovsky "Fedorino - grief"

List of musical compositions:

1. M. Glinka "Waltz - Fantasy"

2. P. Tchaikovsky "Dance of little toys."

3. D. Shostokovich "Waltz - a joke"

4. Songs by V. Shainsky

For children, adolescents 8-15 years old. The implementation period is 4 years.

Annotation:

Additional educational theater-studio is aimed at meeting the aesthetic needs of the individual, contributes to the formation of his consciousness, expands life experience, contributes to the spiritual, social and professional development of the child's personality.

The program is intended for teachers of additional education.
The program was developed in 2000 and finalized in 2007, 2010.

Program content
1. Explanatory note ………………………………………………………5
2. Curriculum…………..……………………………………….….….…15
3. Content of the program.
4. Methodological support of the additional educational program………………………………………………………….….……….51
5. Literature for teachers…………………………………………………...56
Literature for children……………….…………………………………....57
6. Applications………………………………………………………………..58

1. EXPLANATORY NOTE

Regulatory and legal aspect

The additional educational program of the theater-studio is compiled in accordance with the requirements of the following regulatory documents:
Law of the Russian Federation of July 10, 1992 No. 3266-1 "On Education" (as amended on June 16, 2010 No. 121-FZ).
Law of the Orenburg region "On education in the Orenburg region" dated October 18, 2006 No. 117 (as amended on April 23, 2009).
Model Regulations on the educational institution of additional education for children dated 07.03.1995. No. 233 (as amended by Decrees of the Government of the Russian Federation of March 10, 2009 No. 216).
Letter of the Ministry of Education of the Russian Federation dated May 20, 2003 No. 28-51-396 / 16 "On the implementation of additional educational programs in institutions of additional education for children."
Letter of the Ministry of Education and Science of the Russian Federation dated December 11, 2006 No. 06-1844 “On approximate requirements for additional education programs for children”
Letter from the Department of Youth Policy and Social Support for Children of the Ministry of Education and Science of the Russian Federation dated 11.12. 2006 No. 06-1844 "Requirements for the content and design of educational programs for additional education of children."
The charter of UDOD "TsVR", 01.09.2008 Orenburg
An additional educational program - the studio was compiled taking into account the recommendations of the luminaries of the national theater K.S. Stanislavsky and Vl. I. Nemirovich-Danchenko, M. Chekhov, P.M. Yakobson, A. Messerer, M. Meyerhold.

The focus of the additional educational program.

The additional educational program of the theater-studio has a socio-pedagogical and artistic-aesthetic orientation.
An important role in the spiritual development of the individual belongs to theatrical art, which, by satisfying the aesthetic needs of the individual, has the ability to shape its consciousness, expand life experience and enrich the sensory-emotional sphere. “The significance of works of art lies in the fact that they allow you to “live through a piece of life” through the awareness and experience of a certain worldview, than “create certain relationships and moral assessments that are incomparably more powerful than assessments that are simply communicated and assimilated” (B.V. Teplov ).
Improvement of the "apparatus of experience" (K.Stanislavsky) and the "apparatus of comprehension" through the development of theatrical abilities, creative thinking and creative activity on the basis of classical theatrical culture contributes to the spiritual, social and professional development of the child's personality.
The relevance of the theater-studio program is determined by the need for successful socialization of the child in modern society, his life and professional self-determination, productive development of social roles in a wide range and creative implementation. The program combines various aspects of theatrical and creative activity, which are necessary both for professional development and for practical application in life.

Novelty

As part of the modernization of Russian education (in particular, additional education), the conceptual approaches and methodological guidelines for the educational process have been changed due to limitations, scholasticism and inefficiency:

Emphasis has been shifted from the development of fundamental knowledge in the subject to the socialization and professionalization of the individual by means of modern knowledge and technologies in the field of activity;
approaches to the structure and content of the educational process have been changed, taking into account the integration of general and additional education;
the content of the program has been modified in the context of professional continuing education (institutions of preschool educational institutions - colleges - universities);
the structure of the educational process has been improved through the introduction of a complex of integrated academic disciplines: acting, stage speech, stage movement, ;
approaches to the implementation of the long-term program have been changed (in stages, taking into account age characteristics);
innovative technologies and effective methodological developments were introduced adaptive technology of the learning system of A.S. I.P. Ivanova.

Pedagogical expediency of the program

The implementation of the program allows you to turn on the mechanism of education of each member of the team and achieve comfortable conditions for creative self-realization.
A comprehensive, professionally oriented program in the context of a given goal, integrates the efforts of professional and social pedagogy. It provides an opportunity, in addition to obtaining basic knowledge, to effectively prepare pupils for the development of the socio-cultural experience accumulated by mankind, painless adaptation in the environment, and positive self-determination. Education of teenagers is distinguished by practical and humanitarian orientation.

This program is based on the following pedagogical principles:

The principle of humanization;
- the principle of natural conformity and cultural conformity;
- the principle of self-worth of the individual;
- the principle of fascination;
- the principle of creativity.

Personally-oriented, integrated and cultural approaches to education make it possible to implement the concept of this program in full and achieve stable positive results.
A comprehensive-targeted approach to the educational process, involving:

Differentiated selection of the main means of training and education;
- democratic style of communication and creative cooperation between the teacher and the student;
- Achieving the desired results at different levels will intensify the receipt of high-quality results for young actors.

Program goal:

The development of a creatively active personality of the pupil by means of theatrical activity, the promotion of their life and professional self-determination.

Program objectives:

Teach pupils the basics of theatrical activity;
- develop acting skills;
- to develop the creative artistic abilities of children;
- to develop the communicative and organizational skills of the pupil;
- to form an artistic and aesthetic taste;
- to educate the social activity of the personality of the pupil.

Distinctive features of the additional educational program

1. Integration of theory and practice, due to the specifics of the subject; the integration of social, professional and general pedagogy allows students, in the process of implementing this program, to simultaneously acquire comprehensive knowledge, develop synthetic abilities and improve social interaction skills through rehearsals, theatrical activities (reporting performances, competitions, festivals), creative meetings and a master class of professional artists. Such a complex-targeted approach to learning intensifies the development of children and adolescents, forms a stable motivation for learning, activates their creative activity, and contributes to successful socialization.

2. This program, being an alternative to the standard one, is designed taking into account the flexible and mobile specifics of additional education.

3. The concept and content of this program materializes the idea of ​​the creative development of each child and contributes to their further professional growth in specialized (theatrical) educational institutions.

4. The implementation of the program in the mode of cooperation and democratic style of communication makes it possible to create an individual or collective spiritual product (in the form of a performance) that is personally significant for each pupil.

5. A student-centered approach to education using health-saving technologies contributes to the preservation and strengthening of the physical and social health of the pupil.
Theatrical art classes are very organic for children of this age, since play and communication are leading in psychological activity. The huge cognitive and moral role of theatrical education, the development of fantasy and observation, memory and attention, associative thinking, the culture of feelings, plasticity and speech, modeling life situations in the game contribute to the intensive formation of the mental activity of children and adolescents.

Program characteristics

The program is designed to work with children and adolescents (8-15 years old), designed for a four-year implementation period, in the amount of 864 hours.
1st year 144 hours, 2nd year 216 hours, 3rd year 216 hours, 4th year 288 hours.
Practice mode.
1st year: 2 times a week for 2 hours;
2.3rd year: 3 times a week for 2 hours;
4 years: 3 times a week for 3 hours.

The main form of organization of the educational process is a group lesson. The program provides for the variable use of other forms of organization: classes in small groups to work on the role, rehearsals and theatrical performances.

The work on the theater-studio program consists of three stages.

The first stage is preparatory (1 year of study).

The main goal of working with students at the first stage is to activate cognitive interests, expand the horizons of knowledge.
Main goals:
- to acquaint with the variety of different types of theatrical art, to introduce to the theatrical culture in the system of arts;
- to assist in mastering the skills of interpersonal communication and joint activities in a group;
- to identify the individual characteristics, creative possibilities of the students.

The second stage is the main one (2, 3 years of study).

The main goal is to assist students in the process of self-knowledge and self-development.
Accordingly, the main tasks of the activity at the second stage are:
- to form the internal motivation of the students to develop their own creative potential;
- focus on professional self-determination.

The third stage is the final one (4th year of study).

The main goal is to improve at the level of creativity in the process of self-realization of the student's personality.
Tasks:
- to form a socially adapted, creatively active personality;
- focus on life and professional self-determination.

Program disciplines:

Theatrical game (1st year of study);
- acting skills (2-4 years of study);
- stage speech (2-4 years of study);
- stage movement (1-4 years of study);
- make-up (3rd year of study).

The main discipline of the program in the first year of study is theatrical acting, from the second year of study - acting.

Related disciplines: stage speech, stage movement, make-up.

Expected results and how to check them.

As a result of the implementation of the program, each student must:

- theoretical foundations of acting skills;
- stages of work on the performance;
- history and types of make-up;
- basic make-up techniques;
- principles of building a literary composition;
- etiquette and manners in different eras;
- stage combat techniques.

- independently work on the stage image and role;
- independently analyze the production plan;
- create accurate and convincing images;
- self-apply makeup according to the image;
- perform articulation and breathing exercises;
- perform stage falls.

Own:

Elements of internal and external technique of the actor;
- methods of auto-training and relaxation;
- verbal action in the performance;
- stunt technique;
- scenic plasticity;
- verbal communication;
- sculptural and voluminous make-up techniques.

At the end of the course, pupils should have the ability to self-determine (make a choice); take the initiative in organizing holidays, concerts, performances and other forms of theatrical activity; be indifferent to people, the world of art and nature.
As a result of the implementation of the program, students become real theater lovers - active participants in school amateur performances, realize the value of their theatrical and creative activities for others.
Pedagogical monitoring allows you to track the effectiveness of the educational process in the system. Pedagogical monitoring includes traditional forms of control (current, thematic, final), diagnostics of creative abilities; characterization of the level of creative activity of the pupil. Applications.
The main forms of summing up the results of the program is the participation of pupils of the theater-studio in theatrical competitions, reviews, festivals of the local, regional, Russian level.
Upon completion of the course, students receive certificates of the established form.

2. CURRICULUM

Discipline 1. Theatrical game

The discipline "Theatrical game" is aimed at the formation of the spiritual culture of the child. According to the given goal, it is able to solve several problems at the same time:
- through play and communicative activity - to promote the socialization of children, develop their creative abilities and empathy, reveal their individuality, teach them to be in harmony with themselves;
- through reading and analysis of fiction - to contribute to the formation of spiritual culture, to develop an attitude towards true values ​​(including the artistic word), to cultivate an aesthetic taste. The implementation of the program allows the teacher to see the child in vigorous activity, form an individual plan for his development and timely adjust the costs.

Educational and thematic plan

The content of the discipline
Section I. me and the world
Topic 1. I watch the world.
Theory: Explanation of the theme "I observe the world." The concept of a game. The emergence of the game. Game relevance.
Practice: Exercises: "Fairy Tale", "Association", "Struggle of the Elements", "Palm", "Photography", "Three Points", etc.
Theme 2. I hear the world.
Theory: Explanation of the theme "I hear the world".
Significance in the theatrical art of the game.
Practice: Exercises: “Circles of attention”, “Guess”, “artificial noises”, “radio”, “Hear one”, etc.
Theme 3. I touch and smell the world.
Theory: Explanation of the topic "I touch and smell the world." The concept of theatrical play. The meaning of theatrical play.
Practice: Exercises: "Recognize smells", "Sensations of smell", "Taste sensations", "Photography", etc.
Topic 4. Language of gestures, movements and feelings (emotions).
Theory: The concept of gestures, movements, feelings. Their significance in theatrical art.
Practice: Exercises: “Information through glass. Long distance”, exercises on the proposed circumstances, “Emotional memory”, “Blossoming and withering”, “And I am a teapot”, “Forest”, etc.
II Section. Me and the world of objects
Topic 5. Items that belong to me.
Theory: Explanation of the topic "I and the world of objects."
Practice: Exercises: “Studying the room”, “First letter”, “Favorite place in the world”, “I am an object”, etc.
Topic 6. Items in my house.
Theory: A conversation about objects in my house.
Practice: Exercises: “Images of objects”, “Internal monologue”, etc.
Topic 7. Objects of streets, cities.
Theory: A conversation about the objects of cities, streets.
Practice: Exercises: "Image of objects of streets, cities", "Internal monologue", "Etudes on the proposed circumstances", etc.
Section III. Me and the world of literary creativity
Topic 8. The world of ritual.
Theory: Explanation of the topic "I and the world of literary creativity." The concept of ritual. The emergence of the rite.
Practice: Preparing and conducting the rite of "Shrovetide".
Topic 9. World of folklore.
Theory: The concept of folklore. The emergence of folklore. varieties of folklore.
Practice: Etudes for sayings, proverbs, nursery rhymes, lullabies, folk tales, etc.
Topic 10. The world of works of art.
Theory: The concept of a work of art.
Practice: Etudes from fairy tales, poems. Dramatization of short poems, fairy tales.
Theory: Reading. Distribution of roles.
Practice: Rehearsals of the reporting demonstration program (demonstration classes, game program. Staging of poems, sketches, etc.)
Expected results
Pupils should
know:
- 7-10 works of Russian folklore (sayings, proverbs, nursery rhymes, lullabies, etc.);
- 5-8 Russian folk tales;
- 5-10 poems, fables by Russian authors;
be able to:
- perform acting training exercises in the presence of a stranger;
- come up with the simplest everyday plot, using key words denoting actions;
- show an individual etude based on key words, a collective etude with 1-3 partners;
- find an excuse for any arbitrary pose (everyday and within the plot);
- describe the pictures that appear before the inner eye;
- develop within 2-3 minutes the topic proposed by the teacher;
- talk about how today is different from yesterday;
- talk about your observations of the world of people, nature;
- perform individual tasks without responding to signals from the audience;
- be distributed over the site without overlapping each other;
- recall and describe real incidents and the real state on the topic given by the teacher;
- reproduce their actions in a given situation;
- connect the circumstances proposed by the teacher to the implementation of this study;
- retell 3-4 stories from the folklore of foreign countries.
own:
- elements of the internal technique of the actor;
- imagine movements in the imagination and think in images;
- methods of auto-training and relaxation.

Discipline 2. "Acting"

The program of this course allows you to educate a young actor in a "natural environment", i.e. at, rehearsals, in the process of working on the role. The effectiveness of a child's learning and development is achieved through the integration of theory and practice. This approach provides the pupil of the theater studio with the necessary experience and technical skills for further self-improvement.
This course organically follows from the academic discipline "Theatrical Game" and is designed for children of 2, 3, 4 years of study.
The course "Acting skills" is aimed at:
- to reveal the creative individuality of the pupil through the development of the technique of working on oneself;
- on the development of psychotechnics through the process of working on the image;
- to master the technique of embodiment and experience through the artistic method in art.
The course "Acting skills" is based on the aesthetic and pedagogical principles of K. Stanislavsky, M. Chekhov and E. Grotovsky.
Efficiency is achieved with the help of teaching methods of the above luminaries of theatrical pedagogy.
The methods of "exclusion" and "total" expression" by E. Grotovsky allow solving the problems of the first section. The first method helps to detect and eliminate internal obstacles and clamps on the way to creating and embodying the image. Subsequent - includes a holistic psychophysical apparatus of the actor for the same purposes.
The second section of the educational process is based on the method of "physical actions" by K. Stanislavsky. Its essence lies in building the score of the role on the basis of simple physical actions aimed at achieving a psychological result. It is with him that the work of the actor on the role begins.
The third section is devoted to the method of "psychological gesture" (author M. Chekhov) and is aimed at searching for external characteristics.
All methods are adapted for teaching children theatrical craft and are built on the principle: from practical experience to conscious theory.
The primary task of the actor's organic existence in the conditions of the stage is solved under the condition:
- application of the method of individual-group training;
- the constant presence of a spectator watching his game (any person in the hall).
Collective improvisation, the theme of which is set by the teacher, is a prerequisite for the implementation of the program and at the same time a “diagnostic” method for each training session. Reflection of the results of individual and collective activities helps the teacher to intensify not only the educational process, but also the mental one, successfully developing the child's creative imagination, active attention, memory, rhythm, logic, stage well-being.
In the theater-studio, the "instructor" method is widely used, according to which more experienced guys teach less prepared ones (of course, under the supervision of a teacher). The methods used contribute to the development of social skills: social interaction and social relationships (collectivism and responsibility).
The optimal size of the group is 12-18 people. Lessons are practiced in small groups (2-5 people), group and individual rehearsals. The dress code is loose and sporty.

The content of the discipline
Section I. Introduction to Acting
Topic 1. The specifics of theatrical (acting) art.
Give an idea of ​​the theatre. The emergence and significance of the theater. Theater as a collective art, uniting a number of arts. The performance as a union, a synthesis of the creative activity of many artists. Actor. His role in the theater
Section II. An actor's work on himself. training
Topic 1. Techniques of relaxation, concentration of attention, breathing.
Theory: The concept of attention, the object of attention. Features of stage attention. The importance of breathing in acting.
Practice: Trainings and exercises with relaxation techniques. Practical exercises for the development of stage attention. Practicing breathing exercises. Exercises: "Icicle", "Snowflakes", "Cold Hot", "Rag - Soldier", "Humpty Dumpty", "Barbell", "Ant", "Sleeping Kitten", "Pump and Ball", "Grain", Typewriter, etc.
Topic 2. Muscular freedom. Removal of muscle clamps.
Theory: The concept of muscular freedom. Muscular freedom as an expedient distribution and expenditure of muscle energy. The laws of the internal technique of acting. The "clamp" phenomenon.
Practice: Practical exercises aimed at removing muscle clamps. Exercises: “Sleep-waking”, “Relaxation on a count up to 10”, “Relaxation and clamping”, “Relaxation of the body except for one part of the body”, “Perform certain actions on a count”, etc.
Topic 3. Creative justification and fantasy.
Theory: The concept of stage justification. Stage justification as a motivation for an actor's stage behavior. The concept of applied circumstances (circumstances that the actor himself creates to justify the intended actions). The path to justification through the creative imagination of the actor. The value of fantasy in the work of an actor.
Practice: Exercises: “Story from a photo”, “Journey”, “Compose a fairy tale”, Fantastic creature, etc.
Topic 4. Stage attitude and assessment of the fact.
Theory: Explanation of the topic. The stage attitude is the way to the image. Attitude is the basis of action. 2 types of stage attitude. The origin of stage action. Stage faith as a serious attitude towards stage falsehood, given by the role.
Practice: Exercises "Don't get confused", "The object is an animal", "Balls and words", "Semaphore", etc.
Topic 5. Evaluation and rhythm.
Theory: The concept of evaluation. Evaluation as an attitude to the image that arose on the stage. The concept of rhythm as the ratio of the strength of energy and speed. Practice: Exercises: “Box of speeds”, “Bridge”, “Rhythmic movements on claps”, “Find”, “Sits, reads, but someone interferes”, etc.
Topic 6. Feeling of truth and control.
Theory: Explanation of the topic. A sense of truth as an actor's ability to compare stage behavior with the truth of life.
Practice: Exercises: "Wait", "Cut the log", "Pianist", "Hairdresser", "Enter the door", "Artist", "Mirror", etc.
Topic 7. Stage task and feeling. Stage action.
Theory: Explanation of the topic: Stage task as a series of actions of the image, directed towards one specific goal. Three elements of the stage task. Feelings and forms of their expression, arising from the collision of the task and opposition.
Practice: Exercises with different tasks: “Writing a letter”, “Resting”, “Observing”, “Conveyor”, “Road”, “This is not a book”, etc.
Topic 8. Thought and subtext.
Theory: Explanation of the topic. The concept of subtext (the meaning that the actor wants to put into this or that phrase).
Practice: Exercises: “Words, phrases in different intonations”, “Read a poem (sad, joyful, surprised, offended, solemn, etc.), etc.
Topic 9. Stage image as a "complex of relations".
Theory: Explanation of the topic. Three points of communication: assessment of the partner's intentions and actions; extension to the partner ”self-influence on the partner in the desired direction.
Practice: Exercises: "Gift", "Conducting a Feeling", "Swing", "Shadow", "Siamese Twins", "Pose Justification", "Guess", "Extension", etc.
II Section. The work of the actor on the image. Action Logic
Topic 1. I am an object.
Theory: Explanation of the topic "I am an object." The concept of stage image. Creation of a stage image. Actual score of the role. The concept of psychotechnics of experience. Psychotechnics of experience, which allows to master various forms of embodiment of the theatrical image.
Practice: Sketches on the theme: “I am an object” (depict a floor lamp, a refrigerator, a vacuum cleaner, a kettle, a washing machine).
Topic 2. I am the elements.
Theory: Explanation of the topic I am an element.
Practice: Exercises: "Earth, air, water." Sketches on the theme “I am the element” (depict the sea, wind, fire, volcano, etc.).
Topic 3. I am an animal.
Theory: Explanation of the topic I am an animal.
Practice: Etudes on the theme "I am an animal." (depict any animal of your choice).
Topic 4. I am a fantasy animal
Theory: Explanation of the topic I am a fantasy animal.
Practice: Etudes on the theme "I am a fantastic animal." (depict a non-existent animal.)
Topic 5. Stanislavsky about sketches.
Theory: The concept of etude. Types of sketches.
Practice: Etudes for the memory of physical actions (cleaning the room, catching fish, doing laundry, etc.), studies for attention, studies for fantasy, studies for the relationship of objects (playing with objects), studies for movement, studies for public loneliness. Pair studies.
Section III. Rehearsal and production work.
Practice:
Rehearsals of the reporting and demonstration program (demonstration lesson, game program, staging of poems, sketches, etc.).
Expected results
Pupils should
know:
- the history of theater and theatrical art;
- the work of the actor on the role;
- 10-15 works of Russian poets;
be able to:
- master the elements of the internal technique of the actor;
- correctly perform acting training exercises and conduct trainings in a group;
- independently compose and stage acting sketches;
- work on small theatrical forms.

The content of the discipline
Section I. The work of the actor on the image. Action Logic
Topic 1. Fables. Fable dramatization.
Theory: The concept of a fable. The study of the material (genre, idea, style, etc.). Events and events in the fable. Search for expressive means. Fabulists: I.A. Krylov, S. Mikhalkov.
Practice: Reading fables. Selection of fables for dramatization. Staged rehearsals of fables.
Topic 2. Layout, rehearsal and display of fables.
Practice: Arranging fables by theme, rehearsing and showing fables.
II Section. I'm in the circumstances
Topic 1: Work on the image according to the method of physical actions.
Theory: Explanation of the topic. Stages of the evaluation process: collecting signs, the moment of establishing a new relationship, the manifestation of the character's character.
Practice: Etude improvisations (I am in the forest, on an island, under water, in an unfamiliar city, in the desert, etc.).
Topic 2. Layout, rehearsals and performance of the performance based on prose passages.
Theory: Introduction to the topic. The concept of artistic prose.
Practice: Selecting a prose piece for dramatization. Reading of prose works. Rehearsals, arranging and showing the performance based on prose passages.
Section III. Role work
Topic 1. The study of life.
Theory: Explanation of the topic. K.S.Stanislavsky about the actor's work on the role.
Practice: Accumulation of stocks of creative food for the subsequent work of acting fantasy. Observation of life, generalization of their observations. Studying the character's life. Acquaintance with the era in which the character lived.
Topic 2. Fantasizing about the role.
Theory: Explanation of the topic.
Practice: The actor composes life circumstances that are not provided for by the plot, mentally puts himself in these circumstances as a given character and tries to find a convincing answer to questions. Fantasizing about the hero's past.
Topic 3. Revealing the subtext.
Theory: Explanation of the term subtext.
Practice: Analysis of the text in order to reveal the deep meaning of its subtext.
Topic 4. Explanation of the concept: external specificity.
Practice: Character selection. Appearance. Development of habits, professional habits of the proposed character. Development of elements of the highest characteristics.
Topic 5. Home sketches "on the image."
Theory: Explanation of the concept of image.
Practice: Finding a convincing version of the stage image for the spiritual and physical transformation.
Topic 6. One-act play.
Theory: A play as a dramatic material. Genre. types of plays.
Practice: Choosing a one-act play to stage. Rehearsals. Performance show.
IV Section. Rehearsal and production work.
Theory: Reading the script. Distribution of roles.
Practice: Rehearsal of the program for Teacher's Day, rehearsals of the New Year's performance of the program, rehearsals of a one-act play.
Expected results
Pupils must:
Know:
- stages of the actor's work on the role and script;
- laws of stage action;
be able to:
- find the correct organic behavior in the proposed circumstances;
- reveal the effective nature of the word in action;
- independently analyze the staged material;
- work on the role;
- create accurate acting images.

The content of the discipline
Section I. Work on the play
Topic 1. First impression.
Topic 2. The drinking period.
Topic 3. Rehearsals in the enclosure.
Practice: Sketchy work on a role in space with elements of props, scenery and stage costume. Search for mise-en-scenes.
II Section. Work on the role during the performance of the performance
Topic 1 Staging and showing performances by genre (tragedy, comedy).
Theory: Explanation of the topic. theatrical genres.
Practice: Work in the mode of the present moment. Regular showing of performances of different genres as they are staged. The production material is selected in such a way that each of the pupils plays several diverse roles, thus demonstrating the entire range of skills.
Topic 2. First impression;
Theory: Acquaintance with a literary work. General information about the author. The creative style of the playwright.
Topic 3. The drinking period;
Theory: Disclosure of the main idea of ​​the future performance, the choice of methods to achieve the goal. Ideological and thematic analysis of the play. Characteristics of images. The study of the reality of literary material.
Practice: Work on the image. Role reading.
Topic 4. Rehearsals in enclosures.
Theory: Sketchy work on a role in space with elements of props, scenery and stage costume. Search for mise-en-scenes.

Section III. Theater visits
Visiting rehearsals of theatrical productions in theaters and theater groups in order to replenish practical knowledge.
View rehearsals.
IV Section. Rehearsal and production work.
Theory: Reading the script. Distribution of roles.
Practice: Rehearsal of the program of the day of knowledge, teacher's day, layout, run-through and general rehearsals of the performance, layout, run-through and general rehearsals of the New Year's program, rehearsals in small groups and summary rehearsals of the school festival, layout, run-through and general rehearsals of the genre performance, last call.
Expected results.
Pupils must:
Know:
- theoretical foundations of acting skills;
- stages of work on the performance.
Be able to:
- independently work on the stage image and role (analyze, be able to interpret artistic material);
- create sketches according to the circumstances of the play;
- master the verbal action in the performance;
- find the correct organic behavior in the proposed circumstances;
- reveal the score of the performance and own the text;
- create accurate and convincing images.

Discipline 3. Stage speech

Purpose: development of psychotechnical skills of a young actor for a convincing transfer of the author's thoughts to the viewer.
Tasks:
- to improve the "apparatus of experience" and "apparatus of embodiment" to convey the author's thoughts to the viewer.
- follow the recommendations of narrow specialists (actors-practitioners, actors-teachers, phoniators, etc.) working with the vocal apparatus, in order to preserve its physical safety.
This section includes work on the technique of speech and literary literary text.
The work on the technique of speech includes the development of techniques, the removal of muscle clamps of the vocal apparatus, work on diction, correct orthoepy and building a logical-into-national structure of speech.
The work on a literary and artistic text includes mastering the general foundations of working on a word in the skill of an actor, finding ways, translating a verbal action beyond the task, mastering the circumstances proposed by the text, developing the ability to master the style of the author's text and learning to apply the skills acquired in working on the technique of speech and literary text.

Educational and thematic plan 2nd year of study

The content of the discipline
Section 1. Orthoepy
Topic 1. The content and concept of orthoepy.
Theory: The content and concept of orthoepy. Brief history of Russian orthoepy. Literary norm and dialect.
Practice: exercises to eliminate rhinolalia.
Bippy… Pibby… etc., clear pronunciation of simple tongue twisters, reading little nursery rhymes.
Section 2 Breathing
Topic 1. Types of breathing.
Theory: The concept of breathing. Rules for performing breathing exercises.

Practice: Breathing exercises.
Topic 2 Respiratory systems.
Theory: Three respiratory systems. The structure of the vocal apparatus. Two sections of the speech apparatus. Hygiene of the speech apparatus.
Practice: Exercises: candle, locomotive, wasp, pumps, ball, etc.
Section 3. Sounds
Topic 1. Vowel sounds.
Theory: The concept of vowel sounds. Vowel soundtrack.
Practice:. Voice exercises for vowels
A, O, U, I, E, S To begin with, sounds are articulated without a voice in front of a mirror, and then move on to a loud sound. Gradually increasing the number of repetitions: A ... E AO AOE ...
Topic 2. Consonant sounds.
Theory: Sonorant consonants. Consonants whistling and hissing.
Practice: Using poetic texts to work on sounds. Not complicated phrases.
Expected results
Pupils must:
know:
- theoretical foundations of stage speech;
- Fundamentals of Russian versification.
be able to:
- independently perform exercises to strengthen the acquired skills in breathing, voice (development of the voice range, its flexibility, sonority, endurance);
- clearly analyze the poetic form, carry the logic of thought without breaking the rhythm and form.

Educational and thematic plan 3rd year of study

The content of the discipline
In any theatrical system, speech is one of the most important means of reflecting the environment, the reality in which a person lives and acts.
The training course consists of exercises on the technique of speech, breathing, development of the vocal apparatus. The content of the course is based on the material of the modules.
Section 1. Speech technique
Topic.1 Speech technique and its meaning.
Theory: Resonators. Resonance value. The role of hearing in the development of speech voice.
Practice: Breathing and diction exercises.
Topic 2. Diction.
Theory: The concept of diction. The concept of articulation and characteristics of vowel sounds. Consonant sounds, their meaning for word formation. Practice: Types of articulation exercises, gymnastics.
Topic 3. Breath and voice.
Theory: The concept of breath and voice. Types and type of breathing. The role of breathing in the development of speech voice. Mixed diaphragmatic type of breathing as the basis for staging a speech voice. Practice: Types of breathing exercises, gymnastics.
Topic 4. Breath and sound.
Theory: The concept of breathing. The concept of sound. Types of sounds.

Practice: Breathing practice. Sound delivery exercises, sound control.
Topic 5. Voice and diction.
Theory: Voice and diction. Muscular freedom of the speech apparatus. The concept of speech apparatus.
Practice: singing and speech production of voice. Proverbs, proverbs.
Expected results
Pupils must:
know:
- the laws of live speech on the stage, discovered by K. Stanislavsky and Vl. Nemirovich-Danchenko;
- principles of building a literary composition, requirements for literary editing;
- follow the rules of oral hygiene in order to maintain a "healthy voice"
be able to:
- master verbal communication;
- work on the text, achieving all the requirements for working on the technique of speech and voice.

Educational and thematic plan 4 year of study

The content of the discipline
Section 1. K.Stanislavsky on the logic of speech
Topic 1. The logic of speech.
Theory: Logic of speech. The laws of logic in speech action. The laws of logic in speech communication: verbal action, super-task, context, through action, perspective of a new concept, comparison, comparison of the subtext of creating a line of vision.
Section 2. Work on the text.
Topic 1. Tempo-rhythm of speech.
Theory: The concept of speech tact (link), logical stress, logical pause. Phrase skeletonization.
Practice: reading semantic passages.
Topic 2. Logical analysis as the first stage in the development of the author's text.
Theory: Logical analysis as the first stage in the development of the author's text. Criteria for choosing art material. Compositional construction, the role of the culmination in the composition. Supertask and through action. Ways of implementation.
Practice: reading semantic passages.
Expected results.
Pupils must:
know:
- principles of building a literary composition, requirements for literary composition and literary montage.
be able to:
- penetrating deeply into the text of the author, logically accurately and fully analyze the text;
- work on the creation and implementation of a literary composition, editing, concert.
Discipline 4. Stage movement
Purpose: formation of a plastic culture among future actors, i.e. external acting technique skills and abilities.
The expressive means of acting is a psychophysical process in which the mental and physical exist in an inseparable connection.
The section "Stage movement" is aimed at developing the special qualities of the actor (the apparatus of embodiment), which, manifesting themselves in connection with motor activity, expand figurative thinking in general, sharpen sensitivity and susceptibility to all manifestations of the stage environment, allow capturing and responding to them with precise meaning. and reactions of various colors.

Educational and thematic plan 1 year of study

The content of the discipline
I section. Introduction to the subject
Topic 1. Development of mental and psychophysical qualities.
Theory: Introduction to the subject "Stage movement". Explanation of the topic.
Practice: General motor skills. Introductory exercises. Introductory composition. Exercises for attention, memory, strength, endurance, speed, agility, etc.
Topic 2. The general development of the musculoskeletal system of the actor through exercises.
Theory: The concept of the musculoskeletal system. Explanation of the topic.

Practice: Complex exercises for the development of muscle groups of the back, abdomen and legs: single exercises in statics; single exercises in dynamics; pair exercises.
Section 2 Balance exercises
Topic 1. Different types of single balancing.
Theory: Explanation of the topic. A story about different types of single balancing.
Practice: Exercises: "Crocodile", "Video camera", "Walking on a tightrope", etc.
Topic 2. Pair and group exercises.
Theory: Explanation of the topic. A story about the different types of paired and group exercises.
Practice: Exercises: “Swing”, “Boat”, “Bridge”, “Ferry”, etc.
Expected results.
Pupils should
be able to:
- to represent the movements in the imagination.
own:
- technique for removing muscle and psychological complexes of "tightness".

Educational and thematic plan 2nd year of study

The content of the discipline
Section I. Acrobatic exercises
Topic 1. Single exercises.
Theory: The concept of acrobatics.
Practice: somersaults, somersaults back and forth, candle stand, bridge, cascade; exercises for interaction with the ball, rope, raincoat, chair, table, etc. Single exercises. Pair balance exercises. Interaction with a partner (acrobatic, gymnastic exercises, wrestling improvisation).
Topic 2. Pair balance exercises.
Theory: Explanation of the topic.
Practice: Exercises: "Crocodile", "Video camera", "Walking on a tightrope", etc., pair and group exercises.
Topic 3. Game exercises (performing exercises during the game).
Theory: Explanation of the rules for performing exercises.
Practice: exercises in lunges, in a squat, on the development of attention, training run, etc.
II Section. Trainings
Topic 1. Developmental training.
Theory: Explanation of the topic. Preparation of the musculoskeletal system of the actor and determination of the degree of readiness for active work in the lesson.
Practice: Trainings: developing (exercises for flexibility and stretching; coordination and reaction, etc.).
Topic 2. Plastic training.
Theory: Explanation of the topic. The concept of "plastic".
Practice: Relaxation and tension exercises; mobility and expression.
Topic 3. Special training.
Theory: : Explanation of the concept of the psycho-physical qualities of an actor.
Practice: Exercises to develop a sense of space, form, a sense of a partner, inertia of movements.
Expected results
Pupils should
be able to:
- imagine movements in the imagination and think in images;
own:
- all parts of the body;
- techniques of auto-training and relaxation.

Educational and thematic plan 3rd year of study

The content of the discipline
Section I. Trick plastic
Topic 1. Techniques of falls.
Theory: Explanation of the topic. Explanation of the rules for performing falls.
Practice: Jumps with a landing on 1 and 2 feet, jumps with a fall on the side, jumps with obstacles, falls forward, side, back; fall from above, etc.
Topic 2. Slap in the face (stage)
Theory: The concept of a stage slap. Stage Slap Techniques
Practice: Practicing a slap.
Topic 3. Juggling.
Theory: Explanation of the topic. juggling technique.
Practice: Exercises for training rhythm, dexterity, coordination of movement. Juggling two, and as you master it, three balls the size of a tennis ball, throwing 2 balls in a cascade, with one hand, throwing 3 balls from hand to hand, etc.

Expected results.
Pupils should
own:
- all parts of the body;
- stunt technique;
- juggling technique;
- scenic plasticity.

Educational and thematic plan 4 year of study

The content of the discipline
Section I. Historical plastic
Topic 1. Etiquette and manners in different eras.
Theory: The study of the peculiarities of stylistic behavior and the rules of etiquette (circumventions adopted in European and Russian society in the 16th - 19th and early 20th centuries.
Practice: Walking. Handling raincoats, canes, fans, umbrellas, hats, etc.
Topic 2. Bows.
Theory: Explanation of the topic of bows and types of bows.
Practice: Practicing bows adopted in European and Russian society in the 16th-19th and early 20th centuries.
Topic 3. Stage fight.
Theory: Explanation of the topic. Mastering the skills of stage fighting and fighting. Practice: Learn the fighting stance technique. Movement in combat stance. Straight punches with different hands. Side kicks. Body protection. Throat grip. Throw through yourself, etc.
Expected results.
Pupils must:
know:
- stage combat techniques.
Be able to:
Perform stage falls;
- independently perform stunt etudes and compositions;
- independently stage sketches of stage combat without weapons, with a stick, a sword.
Discipline 5. Theatrical makeup
Purpose: the use of makeup by young actors to create a stage image.
Tasks:
1. Teach basic makeup skills
2. Form the need for children to observe the rules of personal hygiene.

Educational and thematic plan

The content of the discipline
Section I. Theatrical make-up technique
Topic 1. About the art of makeup. Make-up hygiene and make-up equipment.
Theory: K.S.Stanislavsky about the meaning of makeup in the theater. Influence on the makeup of the distance and depth of the auditorium, as well as stage lighting.
Origin of makeup Images of religious festivities of primitive man "magical" coloring of the body. Conditional masks and ancient theaters (Malay, Siamese, Indian). Chinese classical theater and Japanese theater "Kabuki". The organic connection of make-up with the nature of the performance, genre, style.
Harmlessness of paints, their composition. Control of the Ministry of Health over all products manufactured in our country for make-up.
Preparing the face for makeup. Workplace hygiene. The sequence of applying makeup on the face. Technical rules for face makeup. Properties and quality of make-up accessories, their production characteristics.
Topic 2. Anatomical foundations in makeup. Techniques for applying a general tone. Skull makeup.
Theory: Knowledge of facial anatomy. The structure of the skull. Major bulges: frontal cusps, brow ridges, zygomatic bones, nasal bulge, chin cusp, and two oval mandibular angles. Main cavities: frontal, temporal, ocular, nasal, zygomatic, submandibular and chin depressions.
Practice: Skull makeup.
Topic3. Chiaroscuro.
Warm and cold tones. Penumbra.
Theory: The concept of chiaroscuro. The concept of penumbra.
Practice: Applying a general tone and emphasizing the depressions, applying highlights to convex places. Shading borders.
Topic 4. About the shape and proportions of the body and face. Blush. Eyeliner. Grima young and young thin face.
Theory: Explanation of the topic. The difference between the make-up of a young woman's face and a young man's face.
Practice: Blush. Eyeliner. Techniques for applying blush and eyeliner. Grima young and young thin face.
Topic 5. Analysis of facial expressions of one's face Make-up of a full face.
Theory: Explanation of the topic. The concept of basic mimic wrinkles. The dependence of facial expression on the state of the muscles. Chewing and mimic muscles. Their meaning. Basic facial expressions: anger, sadness, joy. Identification of elements of physiological changes under the influence of obesity, reflected in the plastic forms of the face. General puffiness and roundness of the cheeks, neck, chin, swollen eyes. Explanation of the sequence of applying make-up of a full face.
Practice: Mimic make-up. Selection and distribution of the general tone for the main facial expressions. Application of basic facial expressions. Highlights, make-up of a full face, powdering.
Identification of elements of physiological changes under the influence of obesity, reflected in the plastic forms of the face. General puffiness and roundness of the cheeks, neck, chin, swollen eyes. Explanation of the sequence of applying make-up of a full face.
Topic 6. Scheme of make-up of an old face.
Theory: Explanation of the topic. Identification of elements of age make-up. Basic Rules. Basic wrinkles.
Practice: Make-up of an old face.
Topic 7. Sculptural and voluminous make-up techniques. . Invoice and applications.
Theory: Explanation of the topic. The limited means of pictorial makeup. Sculptural-volume make-up techniques and their application. Stickers, stickers, pull-ups. Features of their use. . Features and basic qualities of application techniques.
Practice: Gummosa moldings. Pulling up the eyes of the nose with the use of gas chiffon. Texture techniques and applications: the image of scars, freckles, unshaven, missing teeth, bruises.
Topic 8. Hairstyles and wigs. Make-up techniques using hair products.
Theory: Explanation of the topic. The importance of hairstyles and wigs in creating an image. Make-up techniques using hair products. Types of wigs, putting on and fixing them.
Practice: Putting on and sealing wigs and wigs. Gluing the finished vegetation of mustaches, sideburns, beards, eyebrows, eyelashes. Fixing braids, curls

II Section. Work on the image
Topic 1. Costume and makeup.
Theory: Explanation of the topic. The history of the creation of costumes: Old Slavonic, Russian costumes of the regions of Russia; epochs: Antiquity, Middle Ages, Renaissance, Enlightenment.
Practice: Selection of a costume according to the nature of a fairy-tale character. Selection of a costume for makeup and selection of makeup for a costume.
Topic2. Typical makeup.
Theory: Definition of the concept of "characteristic make-up". The face and its character. The main factors that determine the characteristic make-up: age, climate, racial characteristics, the influence of working conditions, health status, characteristic facial expressions, the influence of the conditions of the historical environment, the vagaries of fashion, etc. Leading character trait. Preservation of mimic mobility of the face.
Practice: Drawing a characteristic make-up according to the sketch. The characteristic make-up of a young man, an old man.
Theme 3. Racial, national make-up.
Theory: Explanation of the topic. Makeup. Emphasizing racial and national characteristics. Types. Features of the national make-up.
Practice: Make-up of a European face. Grim of the Mongoloid type. Negroid makeup.
Topic 4. Fairy make-up.
Theory: Explanation of the topic. The specifics of fabulous makeup. Exaggeration of forms and brightness of colors. The unusual and fantastic appearance of fairy-tale characters. Fantasy in working on fabulous make-up and a variety of make-up tools.
Practice: Grim of Baba Yaga, Kikimora, Goblin, Brownie, Koshchei the Immortal, Vampire.
Topic 5. Grimes of animals (fox, dog, cat).
Theory: Explanation of the topic. The specificity of the make-up of animals. The previously studied make-up techniques, fantasy, sense of proportion and taste will help to create animal make-ups without the use of half masks and hair products.
Practice: Sketches, art reproductions, illustrations from children's books will help to complete practical tasks; cartoons, margins. Grim Fox, Dog, Hare, Cat, Monkey.
Topic 6. Concert make-up
Theory: Explanation of the topic. Means and techniques of theatrical make-up and decorative cosmetics. Finding style, image. Advantages and disadvantages of a person. The ability to emphasize the former and disguise the latter. Thinking through the hairstyle and the whole appearance. Compliance of make-up with the genre of the concert.
Practice: Concert make-up in accordance with the genre of the concert. Clown makeup.
Expected results
Pupils should
know:
- history and types of make-up;
- basic make-up techniques.
Be able to:
- self-apply corrective makeup;
- use sculptural and volumetric makeup techniques;
- use wigs and semi-wigs.

4. METHODOLOGICAL SUPPORT OF THE PROGRAM

The educational process includes various teaching methods: reproductive (reproducing), problematic (the teacher poses a problem and, together with the pupils, looks for ways to solve it), heuristic (the problem is formulated by the children, they offer ways to solve it).
Teaching methods in the theater-studio carry out four main functions: the function of communicating information; the function of teaching pupils practical skills and abilities; the function of teaching, which ensures the cognitive activity of the pupils themselves; the function of guiding the cognitive activity of students.
The constant search for new forms and methods of organizing the educational process in the studio theater makes it possible to work with children, making it more diverse, emotionally and informationally saturated.
Work on the vocal apparatus is built according to the plan of the current moment. Training takes place in every class. The set of exercises is designed taking into account age characteristics. Technical skills are worked out on the didactic material of the modules included in the comprehensive program. (A set of exercises and techniques for breathing, vibration, articulation, orthoepy, vocals are given in the methodological accompaniment to the section)

The main forms of conducting classes with junior students:
- the game;
- dialog;
- various types of trainings (breathing, psychological, etc.)
- hearing;
- contemplation;
- improvisation.

Classes in the middle and senior groups are held in a wide variety of forms:
- lectures;
- trainings;
- rehearsals;
- individual sessions;
- lessons in small groups (3-5 people each).

All the work of the senior group is built around a holistic work of art:
- performance;
- show;
- creative evening;
- holiday.

Classes are based on the use of theater pedagogy, acting technology adapted for children, using game elements. In order for the interest in the classes not to weaken, children take part in theatrical performances. This serves as motivation and gives the prospect of showing the acquired skills in front of the audience.
During the academic year, each group puts on at least two performances. In the process of preparation, everyone tries himself in different roles, plays what he wants. In older groups, the guys themselves choose roles.
From the second year of study, in order to monitor the level of assimilation of the program material, rehearsals are held in each group once a week in the presence of all teachers in the disciplines (acting, stage speech, stage movement).
It is quite obvious that the theater, with its multidimensionality and diversity, helps the child to comprehend the world around him. It infects children with kindness, the desire to share their thoughts and the ability to hear others, develop, create and play. It is the game that is an indispensable attribute of theatrical art. The game and game exercises act as a way of adapting the child to the environment.

In the classroom, a friendly atmosphere is created, assistance is provided to the child in revealing himself in communication and creativity.
An important role in the formation of the creative abilities of students is given to training, which is carried out taking into account the age characteristics of children.
The task of the training is to awaken the creative imagination of the children, to develop the plastic qualities of the psyche and the responsiveness of the nervous system to any conditioned stimulus.
Classes are best done in a spacious, theater hall, where there would be enough space needed for outdoor games.

Pedagogical monitoring.

Monitoring methods are questioning, interviewing, testing, observation, sociometry.
The program provides for monitoring and control over the development of the personality of pupils, carried out in the course of questioning and diagnostics (recommendations on the use of diagnostic methods, questionnaires are given in the appendix). The results of diagnostics, personal data allow teachers of the theater-studio to get to know children better, analyze interpersonal relationships in the group, choose effective areas of activity for uniting the team of pupils, and awaken in children the desire to help each other.
At the initial stage of training, the program provides for the mandatory identification of interests, inclinations, needs of pupils, the level of motivation, as well as the level of creative activity.
At the end of each academic year, a re-diagnosis is carried out using the above methods in order to track the dynamics of the development of the personality of pupils.

One of the forms of constant annual fixation of the level of creative achievements of each pupil is the execution of a personal observation diary, which is designed for the entire period of study in the studio theater and includes:

General information about the child (date of birth, state of health, information about parents, class teacher, home address);
- a page filled in by the child with answers to the questions proposed in the questionnaire to identify interests, favorite activities, subjects, general outlook);
- indicators of the presence or absence of dynamics of growth in the level of knowledge, skills and abilities for each of the subjects of the theater-studio, designed graphically.

Conditions for the implementation of the program.

Theater-studio is a structural subdivision of the center of extracurricular activities. The recruitment of pupils is carried out with a preliminary identification of the inclinations and inclinations of children to the theatrical type of activity.

Logistics

For the organization and implementation of the educational process with pupils of the theater-studio, a number of components are needed to ensure its effectiveness:
- availability of educational and service premises (a hall for rehearsal classes, a stage, a wardrobe, sanitary rooms);
- chairs;
- mats, mattresses;
- cubes of various shapes;
- searchlights;
- mirrors, make-up;
- props, costumes;
- screens (stationary, mobile);
- tape recorder, audio cassettes;
- video fund of recordings of tetra-studio productions.

Staffing

Classes in the academic disciplines of the theater-studio, provided for by the program, are conducted:
- theater teacher
- Acting teacher
- stage speech teacher;
- stage movement teacher;
- make-up teacher

5. LITERATURE FOR TEACHERS

1. Andrachnikov S.G. Theory and practice of stage school. - M., 2006.
2. Anikeeva N.P. Game education. The book for the teacher. - M .: Education, 2004.
3. Bondareva V. Pomrezh's Notes. - M.: Art, 1985.
4. Bryantsev A.A. Memoirs / Articles. - M., 1979.
5. Gorchakov N.M. Stanislavsky's lessons. - M., 2001.
6. Gippnus S.V. Gymnastics of the senses. Creative psychotechnics training. - L.-M.: Art, 2002.
7. Zakhava B. E. The skill of the actor and director. - M.: Enlightenment, 1978.
8. Kogtev G. V. Grim and stage image. - M.: Soviet Russia, 2006.
9. Korogodsky Z.Ya. Beginning, St. Petersburg, 2005.
10. Kosaretsky S. G. P.P.M.S. - Centers of Russia: current situation and trends. // School of health. – 2007.- No. 3.- p. 52-57.
11. Kurbatov M. A few words about the psychotechnics of the actor. M., 2004.
12. Loginova V. Notes of a make-up artist. - M.: Art, 1994.
13. Novitskaya L.P. Training and drill. - M., 2002.
14. Polamishev A. M. Mastery of the director. Actual analysis of the play. -
M.: Education, 2006.
15. Stanislavsky K. S. Collected works (I - II volume). - M.: Art, 1988.
16. Stanislavsky K. The work of an actor on himself. M., 1989, p. 151.
17. Smirnov NV Philosophy and education. Problems of philosophical culture of the teacher. - M .: Socium, 2000.
18. Surkova M. Yu. Game articulation-diction training. Methodical development. - S.: SGAKI, 2009.
19. Tovstonogov T.A. Stage mirror. - T.1-2.-L., 1980.
20. Shchurkova N.E. Education: A new look from the standpoint of culture. - M.: Pedagogical search, 2005.
21. Chistyakova M.I. Psycho-gymnastics.-M: Education, 2004.
22. Efros A.V. Profession: director. - M., 2000.

LITERATURE FOR CHILDREN

1. Varkholov F. M. Grim. - M.: 2005.
2. Vasilyeva T. I. Exercises in diction (consonant sounds). Textbook for the course "Stage speech". - M.: GITIS, 2004.
3. Generalova I.A. Workshop of the senses. - M., 2006.
4. Kozlyaninova I. P. Orthoepy at the theater school. Textbook for theatrical and cultural-educational schools. - M.: Enlightenment, 2003.
5. Nevsky L. A. Steps of mastery. - M.: Art, 2005.
6. Petrova A. N. Stage speech. - M.: 2002.
7. Rubina Yu. Theatrical amateur performance of schoolchildren. - M .: Education, 1994.
8. Shilgavi V.P. Let's start with the game. - M.: Enlightenment, 1994.
9. Shkolnikov S. Fundamentals of stage make-up. - Minsk: Higher School, 2004.
10. Efros A.V. Rehearsal - My love. - M.: 2001.

6. APPS

Application No. 1.

Diagnostics of the effectiveness of the upbringing and educational process according to the theater-studio program.
In the upbringing of the artistic culture of a child, five main indicators are distinguished as:

1. The quality of knowledge, skills and abilities.
2. Features of motivation for classes.
3. Creative activity.
4. Emotional and artistic mood.
5. Achievements.
Teachers can add to the list of indicators.
To characterize each indicator, criteria have been developed for four levels of additional education in accordance with the following model:
the first level is preparatory;
the second level is the initial one;
the third level - development;
the fourth level is improvement.

Criteria for evaluation.

Table of results of the final diagnostics of the educational level of pupils of children's associations of the cultural and aesthetic department
Association name _________________________________________________
Full name of the teacher _____________________________________________________
Date of diagnosis _____________________________

No. 1. GRAPHIC DIAGNOSIS.

The vertical indicates the level of knowledge, skills and abilities of the students, assessed on a ten-point scale, in the following areas:
- acting skills;
- scenic speech;
- scenic movement;
as well as the regularity of attending classes.
For convenience, each item on the graph is highlighted in a different color.
A period of time (a month) is marked horizontally, starting from September and ending with the last academic month.
Rating scale:
1-3 points - low level;
4-7 points - average level;
8-10 points - high level.

Application number 2.

Methodology for studying the motives for the participation of schoolchildren in theatrical activities.

Purpose: to identify the motives for participation in theatrical activities.
Progress:
Students are asked to identify what and to what extent attracts them to joint activities.
The following scale is used to answer the question:
3 - attracts very much;
2 - attracts to a large extent;
1 - attracts weakly;
0 - not attractive at all.
What attracts you to the theater?
1. An interesting case.
2. Communication.
3. Help comrades.
4. An opportunity to show your abilities.
5. Creativity.
6. Acquisition of new knowledge and skills.
7. Opportunity to show organizational qualities.
8. Participation in the affairs of your team.
9. Probability to earn respect.
10. Do a good deed for others.
11. Stand out from others.
12. Develop certain character traits.
Processing and interpretation of results:
To determine the prevailing motives, the following blocks should be distinguished:
a) collective motives (points 3, 4, 8, 10);
b) personal motives (points 1, 2, 5, 6, 12);
c) prestige motives (points 7, 9, 11).
Comparison of average grades for each block makes it possible to determine the prevailing motives for the participation of schoolchildren in activities.

Application number 3.

Methodology for identifying the communicative inclinations of students
(compiled on the basis of materials from the manual R.V. Ovcharova
Reference book of the school psychologist
Purpose: to identify the communicative inclinations of students.
Progress. Students are offered the following instruction: "You need to answer 20 questions. Freely express your opinion on each of them and answer them only" yes "or" no ". If your answer to the question is positive, then put a sign" + ", if negative, then "-". Imagine typical situations and do not think about the details, do not spend a lot of time thinking, answer quickly."
Questions:
1. Do you often manage to persuade the majority of your comrades to accept your opinion?
2. Do you always find it difficult to navigate in a critical situation?
3. Do you enjoy social work?
4. If there are some obstacles in the implementation of your intentions, do you easily deviate from what was planned?
5. Do you like to invent or organize various games and entertainments with your friends?
6. Do you often put off for other days those things that needed to be done today?
7. Do you strive to ensure that your comrades act in accordance with your opinion?
8. Is it true that you do not have conflicts with your comrades because of their failure to fulfill their promises, obligations, duties?
9. Do you often take the initiative in solving important matters?
10. Is it true that you usually find your way around in unfamiliar surroundings?
11. Do you get irritated if you fail to finish what you started?
12. Is it true that you get tired from frequent communication with your comrades?
13. Do you often show initiative in resolving issues that affect the interests of your comrades?
14. Is it true that you sharply strive to prove your case?
15. Do you take part in social work at school (class)?
16. Is it true that you do not seek to defend your opinion or decision if it was not immediately accepted by your comrades?
17. Are you willing to start organizing various events for your comrades?
18. Are you often late for business meetings, dates?
19. Do you often find yourself in the center of attention of your comrades?
20. Is it true that you do not feel very confident surrounded by a large group of your comrades?
Answer sheet:

1 6 11 16
2 7 12 17
3 8 13 18
4 9 14 19
5 10 15 20

Processing of the received results. The indicator of the severity of communicative inclinations is determined by the sum of positive answers to all odd questions and negative answers to all even questions, divided by 20. According to the indicator obtained in this way, one can judge the level of development of the child's communicative abilities:
? low level - 0.1 - 0.45;
? below average - 0.46 - 0.55;
? average level - 0.56 - 0.65;
? above average - 0.66 - 0.75;
? high level - 0.76 - 1.

Annex No. 4.

Methodology for diagnosing the level of creative activity of students (prepared by M.I., Rozhkov, Yu.S. Tyunnikov, B.S. Alishev, L.A. Volovich)

Purpose: based on the identification of criteria and empirical indicators, to conduct a comparative analysis of changes in the formation of students' creative activity.
Progress. Measurements are carried out according to four criteria: a sense of novelty; criticality; the ability to transform the structure of an object; focus on creativity.
A control survey is also provided, offering a comparison of the assessment of answers and self-assessment of qualities carried out by the subjects.
Evaluation of the criterion is carried out according to the average score received by students for each criterion. At the same time, it is important to compare the obtained results with self-assessment, which is revealed in the last section of the questionnaire. Self-assessment according to the criterion "sense of novelty" is determined by the average score of answers to questions 41-44; on the criterion of "criticality" - to questions 45-48; according to the criterion "the ability to transform the structure of an object" - to questions 49-52; according to the criterion "focus on creativity" - to questions 53-56. for example, on the criterion "sense of novelty", the average score was 1.45, and self-esteem - 0.9. in this case, we adjust the score by calculating the average result between the score and the self-rating.
Three levels of creative activity of a schoolchild and its individual aspects can be distinguished: low - from 0 to 1; medium - from 1 to 1.5; high - from 1.5 to 2.

Questionnaire. "Sense of novelty"
Choose the answer that would correspond to your action in the situations proposed below (the answer symbol in the cards is filled in):
1. If I were building a house for myself, then:
a) would build it according to a standard project 0
b) would build one that I saw
in a picture in a magazine or in a movie 1
c) would build one that no one else has 2
2. If I need to entertain guests, then I:
a) I spend the evening like my parents spend
with my friends 0
b) I compose a surprise for guests 2
c) I try to spend the evening
like your favorite movie characters
3. Among the proposed tasks on the control, I choose:
a) original 2
b) difficult 1
c) simple 0
4. If I painted a picture, I would choose a title for it:
a) beautiful 1
b) exact 0
c) unusual 2
5. When I write an essay, then:
a) I choose words as simply as possible 0
b) I try to use those words
which are familiar to the ear and well
reflect my thoughts 1
c) I try to use the original,
new words for me 2
6. I want the lessons to:
a) everyone worked 1
b) it was fun 0
c) there was a lot of new 2
7. For me, the most important thing in communication is:
a) good attitude of comrades 0
b) the opportunity to learn something new ("kinship of souls") 2
c) mutual assistance 1
8. If I were an actor, then:
a) would like to
everyone liked my hero 0
b) would come up with new character traits for the hero 2
c) would try to masterfully play the role 1
9. Of the three television programs on different programs, I would choose:
a) "The Seventh Sense" 0
b) "Field of Miracles" 1
c) "Obvious - incredible" 2
10. If I went on a trip, I would choose:
a) the most convenient route 0
b) unknown route 2
c) the route that my friends praised 1
2. Questionnaire "Criticality"
Do you agree with the following statements of the greats? Mark your answers on the card with the following symbols:
a) fully agree - 0;
b) disagree - 2;
c) not ready to evaluate this statement - 1.
11. Knowledge and only knowledge make a person free and great (D.I. Pisarev).
12. The face is a mirror of the soul (M. Gorky).
13. The only real value is human labor (A. France).
14. The human mind is stronger than his fists (F. Rabelais).
15. Mind is undoubtedly the first condition for happiness (Sophocles).
16. The road to glory is paved by labor (Publimius Sir).
17. Only the one who deserves it is afraid of contempt (Francois de La Rochefoucauld).
18. We are comforted by any trifle, because any trifle leads us to despair (Blaise Pascal).
19. Abilities, like muscles, grow with training (K.A. Timiryazev).
20. Only fools and the dead never change their minds (D.L. Orwell).
3. Test "Ability to transform the structure of an object"
21-23 (for high school students)

In each paragraph there is a pair of words between which there is some connection or some kind of relationship. You must determine what relationship or relationship exists between these two words, and choose from the four answers provided a pair of words between which there is the same relationship or the same relationship. Write down the answer number on the card.
21. EXILE - THE CONQUEROR
a) a thief
b) accused
c) judge
d) lawyer

22. LAKE - BATH
a) puddle
b) pipe
c) water
d) shower

23. VOLCANO - LAVA
1) source - spring
2) eye - tear
3) fire - fire
4) storm - flood

21-23 (for middle age)

The original pair of words are presented that are in a certain relationship, and five other words, of which only one is in the same relationship to the original word (the correct choice is scored 2).

21. SCHOOL - EDUCATION
a) doctor
b) student
c) institution
d) treatment
e) sick

22. SONG - DEAF
a) lame
b) blind
Painting c) artist
d) drawing
e) sick

23. FISH - NET
a) sieve
b) mosquito
Fly c) room
d) buzz
e) web
24-27. Find a way out of the situations suggested below (write your answer on the back of the card).
24. Having fallen asleep in your bed, in the morning you woke up in the desert. Your actions?
25. In the car you were driving, two wheels were punctured, and only one spare. It is urgent to go further - what are your actions?
26. You ended up in a foreign city without documents and money. You need to find a way out.
27. You ended up in a city where they speak a language you don't know. How will you express yourself?
You have 30 seconds to answer each of the four questions. The experimenter evaluates the answer as follows:
no response - 0;
trivial answer - 1;
original answer is 2.
28-30. On the back of the card, list as many uses as you can for each item listed below.
28. Tin can.
29. Metal ruler.
30. Bicycle wheel.
4. "Orientation on creativity"
31-40. If you had a choice, which would you prefer?
31. a) read a book; 0
b) write a book; 2
c) retell the contents of the book to friends 1
32. a) act as an actor 2
b) act as a spectator 0
c) act as a critic 1
33. a) tell everyone the local news 0
b) do not retell what you heard 1
c) comment on what you heard 2
34. a) come up with new ways of doing work 2
b) work using proven techniques 0
c) seek in the experience of others the best way to work 1
35. a) follow instructions 0
b) organize people 2
c) be assistant manager 1
36. a) play games where everyone acts for himself 2
b) play games where you can prove yourself 1
c) play in a team 0
37. a) watch an interesting movie at home 1
b) read book 2
c) spend time with friends 0
38. a) think about how to improve the world 2
b) discuss with friends how to improve the world 1
c) watch a play about a beautiful life 0
39. a) sing in a choir 0
b) sing the song solo or duet 1
c) sing your song 2
40. a) relax at the best resort 0
b) go on a trip on a ship 1
c) go on an expedition with scientists 2
5. Self-assessment (quiz)
Yes - 2; hard to say - 1; no - 0
41. I like to create fantastic projects.
42. I can imagine something that does not exist in the world.
43. I will participate in the business that is new to me.
44. I quickly find solutions in difficult situations.
45. Basically, I try to have my own opinion about everything.
46. ​​I manage to find the reasons for my failures.
47. I try to evaluate actions and events based on my convictions.
48. I can justify why I like or dislike something.
49. It is not difficult for me to single out the main and the secondary in any task.
50. I can convincingly prove my case.
51. I can divide a complex task into several simple ones.
52. I often come up with interesting ideas.
53. I find it more interesting to work creatively than otherwise.
54. I always strive to find a job in which I can show creativity.
55. I like to organize my comrades for interesting things.
56. It is very important for me how people around me evaluate my work.

Map of answers to the questions of the questionnaire

Last name, first name _______________________________
Date of completion________________________

* On the question number card, write the letter or number that represents your answer.

Application No. 5

Diagnostic support for basic
educational minimum
Elementary knowledge about the nature of theater

Questions:
1. What does the word "Theatre" mean?
The word "theater" is translated from Greek as "a place for spectacle." "Theater" means:
- kind of art;
- performance, performance;
- a building where a theatrical performance takes place.
2. What is collectivity?
On the one hand, collectivity is the responsibility of each for the work of the entire team, respect for partners, dependence on each other. On the other hand, theater by its nature is a social art that requires collective perception. The theater cannot exist without spectators who create a certain social environment around the performance.
3. What is synthetic?
Syntheticity is the interaction of theatrical art with other types of art (painting). The founders of the synthetic theater - V.I. Meyerhold, E.B. Vakhtangov, K.S. Stanislavsky, V.I. Nemirovich-Danchenko, B. Brecht.
4. What is relevance?
Relevance, on the one hand, is the demand for a performance at a certain time in a certain place. On the other hand, it is momentary. The theater affects the viewer by introducing him to what is happening on the stage and to which the viewer becomes a direct witness.
5. What kinds of art do you know?
Music, painting, sculpture, architecture, dance, cinema, theater.
6. What types of theaters do you know:
Drama, opera, ballet, theater intermediate forms.

Introduction to theater history
Questions for an oral survey.
1. When did the theater appear in ancient Greece and in ancient Rome?
Greek theater reached its peak in the 5th century. BC, Roman - from the second half of the III century. and in the II century. AD.
2. What Greek playwrights do you know? What did they write?
Aeschylus - "Persians", "Oresteia"; Sophocles - "Antigone"; Euripides - "Medea"; Aristophanes - "Horsemen"; Aristotle - Poetics.
3. Name the Roman playwrights and their works.
Plautus "Gemini", "Treasure"; Terence "Brothers".
4. Name the world-famous playwrights who wrote during the Renaissance, Classicism, Enlightenment.
The Renaissance of the XV - XVII centuries: Lope de Vega "Dog in the Manger" (Spain); Shakespeare "Hamlet", "Romeo and Juliet", "King Lear" (England).
Classicism (XVII century): Corneille "Sid", Racine "Fred", Molière "The tradesman in the nobility" (France).
Age of Enlightenment (XVIII century): Voltaire "Zaire", Beaumarchais "The Marriage of Figaro" (France); Goldoni "Servant of two masters" (Italy); Schiller "Robbers", Goethe "Faust" (Germany).
5. When and where did the first professional theater appear in Russia? Who is its creator?
XVIII century, Yaroslavl, Fyodor Volkov.
6. Name the outstanding actors of the past and present.
K.S. Stanislavsky, B. Shchukin, V. Kachalov, N. Cherkasov, M. Ulyanov, I. Smoktunovsky, A. Mironov, A. Raikin.
7. List the theaters of the past and present with world fame?
"Globe" - Shakespeare Theatre, "Comedy Francaise" - France, Moscow Art Theater, Theater. Vakhtangov, etc.

Knowledge of basic theater terminology

CROSSWORD "DO YOU KNOW..."

Horizontally: 1. one of the characters of the Italian comedy, originally a simpleton, a goof, later - a servant, a sly man in a suit of multi-colored triangles. 2. A lighting device with an optical device that concentrates light rays from a light source into a directed beam. 3. The entrance to the building on the stage, architecturally distinguished on the facade, is a cutout in the front wall of the stage that separates it from the auditorium. 4. Flat parts of theatrical scenery located on the sides of the stage parallel or at an angle to the ramp. 5. The location of the actors on the stage in certain combinations with each other and with the surrounding material environment at certain moments of the performance.

Vertical: 6. Theatrical lighting equipment installed on the floor of the stage along its front edge, designed to illuminate the stage from the front and back. 7. Part of the stage, slightly extended into the auditorium (in front of the curtain). 8. Objection, answer, remark on the words of the speaking interlocutor. A phrase that an actor utters in response to a partner's words.

Answers:
horizontal: 1. Harlequin. 2. Searchlight. 3. Portal. 4. Backstage. 5. Mise-en-scene.
vertical: 6. Ramp. 7. Proscenium. 8. Replica.

Understanding the basics of acting

Questions for an oral survey.
1. What is an etude?
An etude is an exercise in which there is the content of life, a segment of the life process.
2. What qualities does an actor need to be expressive on stage?
Will, activity, attention, memory, dexterity, rhythm, coordination, mobility.
3. List the studies that help in improving acting skills.
Sketch for any homework; etude for three given words; sketch "People, animals, birds"; sketch "Silently together"; sketch from school life; sketch with a musical moment; study on a reproduction of a painting; sketch on the theme "I love and hate"; study on an interesting fact; sketch on a public theme; sketch on a fable (fairy tale); sketch on a free theme.
Stage Makeup Skills:
- Technique of imposing a simple make-up;
- The imposition of a characteristic make-up.

Questions for the interview.
1. What are the hygiene rules for applying makeup.
The face and hands must be clean; lubricate the face with Vaseline before make-up; apply makeup on the face easily and in one direction.
2. Name the technical rules of makeup.
Make-up artist should sit directly in front of the mirror. The face should be well lit. Hair must be pulled back, i.e. combed.
3. Name the sequence of applying a simple make-up.
First, a general tone paint is applied. Then they apply a blush, draw cavities, bulges, make up eyes, eyebrows, wrinkles, lips.
4. What is a characteristic make-up? What are its features?
Characteristic make-up is the make-up of the characters of the performance, which significantly changes the appearance of the actor (senile make-up, clown make-up, make-up of animal images).

Team competitive game "Theatre Ring"
Two teams take part in the game.
The purpose of the game: in a competitive form to reveal the creative abilities of children, their knowledge and skills in stage speech, stage movement, acting.
The jury evaluates the teams according to the examination sheets (sheets are attached).
The game is held in three rounds (round 1 - stage speech, round 2 - stage movement, round 3 - acting).
I round - Stage speech.
Task number 1. Tongue Twisters.
One representative from each team is called. Within 30 sec. it is necessary to say several times the tongue twister "Sasha sewed a hat to Sashka, Sasha knocked a bump off with a hat."
Task number 2. Auction of tongue twisters.
Teams take turns saying tongue twisters. The one who names the most wins.
Task number 3. Air football.
You need to blow on the balloon so that it flies to the desired territory.
The jury sums up the results of three competitions.
II round - Stage movement.
Task number 1. With facial expressions and gestures, make a proverb to your opponent:
- Put the pig at the table, she and her feet on the table;
- Seven do not wait for one;
- Do not open your mouth at someone else's loaf;
- Moscow does not believe in tears.
Task number 2. Use facial expressions and gestures to show the opponent objects:
- alarm;
- iron;
- fan;
- meat grinder.
Task number 3. Guess what profession the opponent represents:
- dentist;
- nurse;
- cook;
- a carpenter.
Task number 4. Show your opponent the situation:
- I got a deuce;
- I lost the key to the apartment.
The jury sums up the results after each competition.
III round - Acting skills.
Task number 1. Homework "Aliens"
You are aliens. You need to decide what you will do: prepare a concert, hold a meeting for the election of the president, organize a meeting of guests, hold a discussion, etc. But you have “your own language”, your own manners, rituals, roles. There are no set rules, no framework - everything is based on fantasy and improvisation.
Task number 2. "Playing a story"
Teams need to put a fairy tale in 3-5. each team chooses its own director, actors, extras, etc. You can put a small excerpt from a fairy tale (“Ryaba Hen”, “Gingerbread Man”, etc.).
Task number 3. Put on the fairy tale "Three Bears". The first team puts on a horror film, the second - a comedy. Preparation time 3-5 minutes.
At the end, the results of the third round and the entire competition are summed up. The jury evaluates the teams according to the examination sheets.
Test "Determination of communication and organizational skills"
Purpose: Change in the severity of communicative and organizational skills.
Instructions: Put "+" for positive answers, "-" for negative answers.
1. Do you have many friends with whom you constantly communicate?
2. How often do you manage to persuade the majority of your comrades to accept your decision?
3. How long have you been bothered by resentment?
4. Do you always find it difficult to navigate in a critical situation?
5. Do you have a desire to establish new acquaintances?
6. Do you enjoy social work?
7. Is it true that you enjoy spending time with books than with people?
8. If there are obstacles in the implementation of your intentions, do you easily retreat from them?
9. Do you easily connect with people who are older than you?
10. Do you like to invent or organize games and entertainment?
11. Do you find it difficult to enter new companies?
12. How often do you put off things that need to be done today?
13. Do you easily manage to establish contacts with strangers?
14. Do you strive to get your comrades to act in accordance with your opinion?
15. Is it difficult for you to get used to a new team?
16. Is it true that you do not have conflicts with friends because of their failure to fulfill their promises, obligations, duties?
17. Are you eager to meet and talk with a new person?
18. How often do you take the initiative in dealing with important matters?
19. Do people around you annoy you and do you want to be alone?
20. Is it true that you have poor orientation in an unfamiliar stop?
21. Do you enjoy being around people all the time?
22. Do you get annoyed if you fail to finish what you started?
23. Do you find it difficult to take the initiative to meet a new person?
24. Do you get tired from frequent communication with friends?
25. Do you like to participate in collective entertainment?
26. Do you often take the initiative in dealing with issues that affect the interests of your friends?
27. Is it true that you feel insecure around strangers?
28. Is it true that you rarely seek proof that you are right?
29. Do you think that it is not difficult for you to bring animation to an unfamiliar company?
30. Do you take part in community work at school?
31. Do you limit the circle of your acquaintances?
32. Do you defend your opinion or decision if it was not immediately accepted by your comrades?
33. Once in a strange company, do you feel at ease?
34. Are you willing to start organizing various events for your comrades?
35. Is it true that you don't feel confident enough when you have to say something to a large group of people?
36. Are you often late for school?
37. Do you have many friends?
38. Are you often the center of attention?
39. Are you embarrassed when talking to strangers?
40. Is it true that you do not feel very confident around a large group of your friends?
Results:
Compare your answers with the values ​​of decoders #1, #2. The number of matching answers will allow you to find the coefficient of organizational or communicative inclinations.

Communicative tendencies

Application No. 6

I. The basis of the author's school of K.S. Stanislavsky, which was called the psychotechnical school, the principle "the subconscious - through the conscious, the involuntary - through the arbitrary"; "the subconscious creativity of nature - through the conscious psychotechnics of the artist."
Even at the end of the last century, in a very interesting pamphlet, the music master M. Kurbatova wrote: “It is quite clear the desire, ... however, the matter is extremely complicated by the fact that artistic techniques should be used unconsciously ... one has only to focus on the technique being performed, as it becomes done, deliberate ". Stanislavsky himself notes in the book "The work of an actor on himself" "all efforts are in vain to artificially turn into a conscious process everything that happens unconsciously according to natural laws." Therefore, in the context of theatrical pedagogy, one should look for roundabout approaches to the goal, roundabout ways of conscious control of subconscious processes. The most important tool that helps the performer of the role to find convincing techniques is the purposefulness and purposefulness of the action. Technical improvement requires less physical exercise and much more mental clarity about the task. The upbringing of striving for the goal instead of teaching movements is a psychotechnical principle that should be the basis of the methodology for teaching acting skills of every teacher.
Stanislavsky is known as a supporter of the "art of experiencing". Therefore, in his works, I occupy so much space with recommendations on cultivating creative imagination, creative attention and stage well-being. Helping the growing actor to assimilate the author's thought and make it his personal property is one of the main tasks of the teacher. It is necessary to bring up in the child "a sense of faith and truth" ("The sincerity of performance gives strength and vitality to a work of art").
The efforts of the teacher and pupil should be directed, first of all, to the ability to focus on the object. "Achieving complete concentration ... is extremely difficult," but "this ability is certainly amenable to development."
The author of the psychotechnical school believes that the area of ​​training in performing arts should be expanded, which should include the education of a "culture of attention", "strength and will of character", high ethics ... The education of these qualities concerns the area of ​​a teacher-psychologist, but Stanislavsky advises to boldly approach involuntary psychological processes and teach the ward to manage them. The teacher should be extremely observant of his students, be able to capture his individuality and influence it to develop the child's abilities. Stanislavsky advises that it is necessary to subdue to the will not only the "apparatus of incarnation", but first of all the "creative apparatus of experience." The teacher should try to find methods that would make it possible to influence "stage feelings", concentration, imagination, self-control and stage well-being.
II. The value of the pedagogical school of an actor is determined by the value and progressiveness of the artistic goal to which it leads the student, and corresponds between this goal, on the one hand, and pedagogical principles, techniques, methods of teaching and education, on the other. The pedagogical ideas of Stanislavsky are closely connected with artistic principles and are distinguished by the harmonious consistency of the goal and the path, the ideal and the method of leading to it. Views on the tasks of teaching, on the relationship between the teacher and the pupil, are important for theatrical pedagogy. Artistic truth and sincerity should underlie the aesthetic and pedagogical concept of the educator and student. Only having felt and internally agreed with the author's thought, the performer will begin to speak on his own behalf. "You can not do what you yourself do not believe, what you consider not true." You cannot convince another of what you yourself are not convinced of."
III. The main task of the teacher is to introduce the child into the world of art, awaken his creative abilities and equip him with the technique of the game. This goal is feasible through exercises for the development of the "apparatus of experience" and the "apparatus of incarnation." If the teacher is busy only showing the game, he will never lead the pupil to creativity. Working on a role cannot be the goal. Each assigned task should help the young actor acquire some new quality.
It is known that creativity cannot be taught, it is possible to work creatively. Managing this process competently is a mandatory job for the teacher. This is facilitated by the high culture and professional skills of the teacher, which are improved daily through tireless search and work on oneself.
According to Stanislavsky, it is necessary to condemn such pedagogical methods as training, imitation and copying, which are deadly for the upbringing of "a sense of truth and faith" and, consequently, for art. Coaching entails meaningless, and therefore harmful copying. The teacher, seeking to shorten the process of development, without noticing it, turns this process into a long and often the worst path.
When dragging, copying is used, which should not be identified with the first. Showing and using imitation at the beginning of the work is possible, because. is one of the characteristic forms of behavior for children. At this moment, they allow and adapt to the outside world, which contributes to their development. For example, we can recall the life of great people in the period of their formation. They were influenced by creative individuals and often imitated them. Showing does not always entail "passive copying": copying well is not at all easy, because it requires active reflection.
At the moment, the question may arise about the individuality of the object being formed. According to Martinsen, starting to study with a child, the teacher must find in the chaotic formlessness of the individuality of his pupil the features of his natural aesthetic aspiration. How to do it? - constantly experiment and try. In this way, it is possible to identify which of the three types the student belongs to: static (classical), ecstatic (romantic) and expansive (expressionistic). When "individuality" is defined, you can begin to form a self-concept. "Individuality" is not only natural inclinations, it is a complex changing category. And therefore, the development of creative abilities not only does not interfere with "individuality", on the contrary, it will paint it with lush color.
The system of creative education is opposed to the authoritarian one - to educate in the image and likeness of a teacher; it also opposes the methods of "free cultivation" of the student. It requires individualization of the ways of working with the pupil, timeliness in development, i.e. its nature. It involves the teacher's understanding of a well-known truth: to instill in the child the desire and ability to acquire knowledge and skills.
An important role in acting pedagogy is given not only to the education of sensual and creative abilities, but also technical ones - the whole "body" - organic and inorganic, should express meaning.
The system of creative education makes great demands on the teacher's personality, because he not only teaches the basics of theatrical art, but also educates the "mental apparatus", is the artistic and aesthetic leader of the object of training and education.
The system of creative education calls for a fight against groundlessness and lack of system, for a scientific verification of practical methods.
IV. The program for the formation of a performer "in the Stanislavsky way" is based on three psychological principles that helped to find the key to cultivating creative passion, imagination, performing will and stage self-control.
1. "Subconscious - through the conscious." This principle directs to the search for the most "accessible and accommodating" elements of the psyche, subject to the will of man. Such is the mind, and all sensitive modalities = sight, hearing, smell, etc.; they are subject to pedagogical influence and at the same time are able to arouse feelings.
2. "Closely connected with the first and follows from it" - the use of the relationship between the various aspects of the student's psyche. Developing each ability, she, in turn, becomes a "decoy", an exciter for a number of others. For example, imagination awakens attention and "raises the degree of creativity." Creative heating, which arose spontaneously, in the process of enthusiasm, "pulls" concentration and creative imagination.
3. It consists in the fact that individual mental abilities become "beckons" for each other and, at the same time, stimulants of creative well-being only under one condition: if each work carried out and each exercise, each creative action is brought to the limit. To learn "ultimacy" is the basis of practical methods for educating the "mental apparatus of experience."
V. Education of creative imagination aims to develop initiative, flexibility, clarity and relief.
Cultivating the acting abilities of the student, the education of the imagination must be given a leading place. The productivity of creative imagination depends on the experience and cultural level of the student. Working with imaginary objects is important for a young actor because "with real objects, many actions instinctively, according to life's mechanics, slip by themselves, so that the player does not have time to keep track of them ... with a non-objective action" attention is involuntarily drawn to the smallest component of a large action . Comparisons and comparisons can play an important role in the development of creative imagination; in work, they become stimulants of fantasy. The input comparisons help to creatively comprehend the image. With the help of leading questions (method), comparison and comparison (method) help to bring up creative) initiative. Here, once again, Stanislavsky's advice should be recalled - do nothing formally and mechanically. Senseless work has a detrimental effect on creative imagination and dulls it. That is why it is worth prohibiting the playing of exercises aimlessly.
Concentrated attention, i.e. directing and concentrating mental activity on something for a long time is a necessary prerequisite for creative work. Stanislavsky repeated that "attention is the center of human creativity," moreover, "the owner of long-term attention is a talented person." He suggested a special training of the actor's attention, which effectively falls on the process of educating a young actor.
1. Focus on drawing simple shapes: a circle, a square.
2. From the mass of sounds, focus on one.
3. Two people read aloud; shift attention from one to the other.
4. Focus on some calculation, get distracted, and then continue the thought.
5. Focus on reading and abstract from the outside world.
These exercises for concentration, switching and redistribution of attention require daily and systematic repetition.
Among the abilities that are crucial to the success of an actor is creative stage awareness. "When an actor enters the stage, he can lose his temper from fear, embarrassment, shyness, responsibility, difficulties." Stanislavsky recommended focusing on the action itself at the time of the speech. It is appropriate at this moment to recall the muscular tension, which can disorganize the "apparatus of incarnation", thus causing technical problems. Bodily "clamps" fetter emotional experiences and creative imagination. Stanislavsky proposes to develop a "muscle controller" in oneself through special training. “He must tirelessly, both in life and on the stage, ensure that no muscle clamps and spasms appear anywhere. The process of relieving tension must be brought to mechanical unconscious habituation.
Guided by the recommendations of K.S. Stanislavsky, a set of exercises has been developed in the theater-studio "Maska", which has been tested and successfully implemented in the educational process.
Run-through and general rehearsals are held with the participation of all teachers of the theater-studio, at which each teacher evaluates the level of preparation of the student in his subject, and also corrects his work.
Appendix No. 7 Conceptual commentary to the program
children's theater group
(educational aspect)
The theater, with its multidimensionality, its many-sidedness and synthetic nature, is able to help the child expand the horizons of the world around him, infect him with goodness, teach him to hear others, develop through creativity and play.
Institutions of additional education make it possible to expand the circle of communication of the child, create an atmosphere of equal cooperation, create conditions for social interaction and social relations.
The specifics of the upbringing of a children's theater artist implies the need to activate all the qualities of a social, professional and personal orientation.
Having taken the position of an actor-creator, the pupil accumulates emotional, intellectual, moral, social, labor experience, and, as a result, improves his creative and acting culture.
The program is based on the basic principles of the Stanislavsky system, the achievements of modern pedagogy and developmental psychology and consists of 3 interrelated parts: stage theory, artistic technique, which together make up a holistic doctrine of acting and an educational module aimed at educating a competent performer, a competent spectator and human cultural program of education of a young actor is based on the ideas of Harmony, Goodness, Beauty.
The idea of ​​the ennobling influence of the theater on pupils and spectators is an appeal to classical and modern literary, poetic and musical works, folk art. The synthesis of theatrical action allows us to convey to children the humanistic and aesthetic ideas of the theater.
The idea of ​​creating a theatrical image that is different from real life is the basis for the life of the children's theater. The art of the theater is a complex process of internal and external transformation of an actor into the image of another person, characterized by the individuality of its creation and disclosure.
According to Stanislavsky, this is a unique opportunity “not to present yourself in a role and not even to imitate it in front of the viewer, but to be reflected in it, as in the image of expressing yourself, your feelings, attitudes, personal social and moral meanings in a different role, in a different fate. , and, most importantly, in a different system of life motivations and goals.
Hence, the upbringing of the personality is formed in activity, and only it creates the conditions for self-realization.
The idea of ​​socialization of the child is carried out through the creation of a learning environment close to the real society.
The idea of ​​the ascent of pupils to universal values: Beauty. Harmony. Spirituality. Cognition.
The implementation of all these ideas makes it possible to educate, first of all, a person, and this is the most important task facing the teacher, director and head of the children's creative association.
To educate an artist, it is not enough to equip him only with the technique of art, you need to help your pupil form as a person and establish himself in aesthetic positions.
The methods and forms of education in the children's theater are completely different than in the family or school, they are determined by the specifics of the activity, but the tasks are the same: to educate honest, smart, kind people; contribute to the development of positive moral assessments and principles.
And this means that the family, together with the school and institutions of additional education, creates the most important set of factors in the educational environment, which determines the success or slowness of the entire educational process.
One productive way to engage parents is to showcase their child's progress. When parents see the interest of the teacher in the result of their child, they are ready to cooperate.
In the theater there are various forms of work with parents:
- interview;
- "Open Day";
- Parent meeting;
- invitation to performances;
- direct and indirect participation of parents in the release of the play and other public performances of children: festivals, competitions and other cultural events;
- organization of trips, tours, presentations outside of OTDDM.
In the practice of interaction between the leaders of the children's studio - theater with parents, some functions of this area of ​​work have developed that determine the content of educational work with the family:
- familiarization of parents with the content and methodology of the educational process, due to the need to develop uniform requirements, general principles, determine the goals and objectives, content and organizational forms of education;
- integration of the efforts of teachers and parents in order to increase the positive impact on the child;
- interaction with the parent asset to solve local problems of the children's theater.
The idea of ​​A.S. Makarenko about the team is aimed at educating social qualities and skills: responsibility, tolerance, a sense of duty, camaraderie, etc., and requires a deep understanding of these concepts.
The decisive condition for the effectiveness of the educational process is the complexity, systematic, consistent, logical and purposeful.
The success in educating the team and each of its members especially depends on the pedagogical tact and skill, caution and sensitivity of the teacher, so new approaches to training and education in additional education require increasing pedagogical professionalism. The teacher, first of all, must foresee the results of his work, have theoretical training, and constantly improve himself. This allows us to predictively design the pedagogical process, to look for the best options for pedagogical interaction with students and colleagues, to consciously obtain new quantitative and qualitative characteristics of educational activities.
Particular attention is paid to the techniques and methods of communication between an adult and a child through understanding, recognition and acceptance of the child's personality, the ability of an adult to take the position of the child, take into account his point of view, and respect the child's dignity.
The complexity of the process of the impact of theatrical art on the moral qualities of pupils and, at the same time, the formation of these qualities in their own aesthetic assimilation of reality require a meaningful selection of forms and methods of teaching and upbringing, ranging from ways to organize the creative activity of children to the development of the theatrical culture of the teacher himself, determining his personal freedom in choosing and interpretation of this or that performance, forms of its discussion.
Children should be prepared for the perception of theatrical art directly in the process of their own activities, subject to the formation of criteria for evaluating the final result. For the full implementation of this pedagogical setting, certain conditions are necessary: ​​the possibility of using elements of theatrical costume, props, scenery in the classroom; it is also desirable to have a stage area, remote lighting and a theatrical audio and media installation.
No one is born with ready-made ideas about life, a worldview is not inherited, like facial features or character, it is formed in the mind over the years, and its foundation is laid in childhood and adolescence.
What will the person be - good or evil? What values ​​will be elevated to the rank of fundamental ones? Will he love art? Will he satisfy his intellectual, professional and social ambitions? How to educate a citizen? Such problems are set by the children's theater team, continuing its path to the goal.

municipal budget institution

additional education

The House for arts and crafts for children

P. KYSYL-Syr

minicipal district "Vilyuysky ulus (district)" of the Republic of Sakha (Yakutia)

Approved:

Director of MBU DO DDT

A.N. Prokopiev

Order No. ___ "__" ____________ 2015

Modified

EDUCATIONAL PROGRAM

ON THEATER ARTS

(the program is designed for three years, the age of students is 7-18 years old)

additional education teacher

Mikulyanich Natalia Vasilievna

Kysyl-Syr

Target section.

Explanatory note ………………………………………………………………7p.

The focus of the program………………………………………………………………………………………………………….

The novelty of the program……………………………………………………………7p.

Relevance of the program…………………………………………………...8p.

Pedagogical expediency of the program…………………………….8str.

Pedagogical principles……………………………………………….…8p.

The purpose of the program………………………………………………………….….9p.

Objectives of the program………………………………………………………………9p.

Distinctive features of the program………………………………….9p.

Characteristics of the program……………………………………………………..10p.

Forms of work…………………………………………………………….10p.

Expected results and ways to check them………………………..11p.

The main directions of UUD…………… …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

Modern information and educational environment…………...……13p.

Creation of educational situations

Methods of detection, diagnostics of x results and evaluation…………..15str.

Educational and thematic plans…………………………………………………… 16p.

2.1 Educational and thematic plan for the first year of study…………………….16p.

2.3 Curriculum and thematic plan for the second year of study…………………….18str.

2.5 Curriculum and thematic plan for the third year of study……………………..21p.

Organization section

3.1 Methodological support of the program………………………………………….23p.

3.2. Working with parents………………………………………………………………24p.

3.3 Graduate Model………………………………………………………………….25p.

3.4 References………………………………………………………………………………………………….

3.5 Applications………………………………………………………………………..28p.

Program Passport

Full name of the program	Modified educational program of additional education "Theatrical Art"
Reasons for program development	Federal Law "On Education in the Russian Federation" dated December 29, 2012 No. №273-FZ Order of the Ministry of Education and Science of Russia "Procedure for the organization and implementation of educational activities for additional general education programs" dated 29.08.2013 №1008 Sanitary and epidemiological requirements for the device, content and organization of the working hours of educational institutions of additional education for children. SanPiN 2.4.4.3172-14 dated July 4, 2014 #41 Letter of the Ministry of Education and Science of the Russian Federation "Approximate requirements for educational programs of additional education for children" dated 11.12.2006. №06-1844FGOS
Program Focus	Artistic and aesthetic
Type of educational program	Modified
Implementation period
Age of students
Purpose of the program	formation of students' interest in the theater as a means of learning about life, spiritual enrichment and aesthetic education of participants
Program objectives	Tutorials: To form a moral and aesthetic responsiveness to the beautiful and the ugly in life and in art. Help students overcome psychological and speech "tightness". Develop practical skills in expressive reading of works of different genres Developing: To develop fantasy, imagination, visual and auditory attention, memory, observation by means of theatrical art. Development of the ability to act with a word, evoke a response from the viewer, influence their emotional state, learn to use words expressing basic feelings; To reveal the creative possibilities of children, to give the opportunity to realize these opportunities Develop the ability to coordinate their actions with other children; cultivate goodwill and contact in relationships with peers; Develop a sense of rhythm and coordination of movement; Develop speech breathing and articulation; develop diction on the material of the tongue twister of poetry; Educational: To educate in children kindness, love for neighbors, attention to people, native land, indifferent attitude to the world around. To acquaint children with theatrical terminology; with types of theatrical art; with the arrangement of the auditorium and stage; To cultivate a culture of behavior in the theater; Regulatory UUD: Cognitive UUD: show individual creative abilities when composing stories, fairy tales, sketches, selecting the simplest rhymes, reading by roles and staging Communicative UUD: ask for help; listen to the interlocutor; to formulate own opinion and position;
Program structure and table of contents	Explanatory note The educational and thematic plan and the content of the course being studied First year of study Second year of study Third year of study Methodological support Working with parents Graduate Model Bibliography Applications
Expected results	Tutorials: engage in dialogue, collective discussion, show initiative and activity; work in a group, take into account the opinions of partners that are different from their own; offer help and cooperation; listen to the interlocutor; agree on the distribution of functions and roles in joint activities, come to a common decision; exercise mutual control; adequately evaluate their own behavior and the behavior of others. Personal: the need for cooperation with peers, a friendly attitude towards peers, conflict-free behavior, the desire to listen to the opinions of classmates; the integrity of the view of the world by means of literary works; ethical feelings, aesthetic needs, values ​​and feelings based on the experience of listening to and memorizing works of fiction; awareness of the importance of theater arts for personal development. Communicative: engage in dialogue, collective discussion, show initiative and activity work in a group, take into account the opinions of partners that are different from their own; ask for help; formulate your difficulties; offer help and cooperation; listen to the interlocutor; Cognitive: use the techniques of analysis and synthesis when reading and watching videos, compare and analyze the behavior of the hero; understand and apply the information received in the performance of tasks; show individual creative abilities when composing stories, fairy tales, sketches, selecting the simplest rhymes, reading by roles and staging. Regulatory: understand and accept the learning task formulated by the teacher; plan your actions at individual stages of work on the play; exercise control, correction and evaluation of the results of its activities; to analyze the reasons for success / failure, to master with the help of a teacher positive attitudes such as: “I will succeed”, “I can still do a lot”.

EXPLANATORY NOTE

Orientation of the educational program.
An important role in the spiritual development of the individual belongs to theatrical art, which, by satisfying the aesthetic needs of the individual, has the ability to shape its consciousness, expand life experience and enrich the sensory-emotional sphere. “The significance of works of art lies in the fact that they allow you to “live through a piece of life” through the awareness and experience of a certain worldview, than “create certain relationships and moral assessments that are incomparably more powerful than assessments that are simply communicated and assimilated” (B.V. Teplov ).
The improvement of the “apparatus of experiencing” (K. Stanislavsky) and the “apparatus of comprehension” through the development of theatrical abilities, creative thinking and creative activity on the basis of classical theatrical culture contributes to the spiritual, social and professional development of the child's personality.
The relevance of the program is determined by the need for successful socialization of the child in modern society, his life and professional self-determination, productive development of social roles in a wide range and creative implementation. The program combines various aspects of theatrical and creative activity, which are necessary both for professional development and for practical application in life.

This modified educational program for additional education of children was developed in accordance with the requirements of: Federal Law "On Education in the Russian Federation" dated December 29, 2012. No. 273-FZ, Order of the Ministry of Education and Science of the Russian Federation "Procedure for the organization and implementation of educational activities for additional general education programs" dated 08.29.2013. No. 1008, sanitary and epidemiological requirements for the device, content and organization of the working hours of educational institutions of additional education for children. SanPiN 2.4.4.3172-14 dated July 4, 2014 No. 41, letters of the Ministry of Education and Science of Russia "Approximate requirements for educational programs of additional education for children" dated 11.12.2006. No. 06-1844 FGOS.

Novelty

As part of the modernization of Russian education (in particular, additional education), the conceptual approaches and methodological guidelines for the educational process have been changed due to limitations, scholasticism and inefficiency:

Emphasis has been shifted from the development of fundamental knowledge in the subject to the socialization and professionalization of the individual by means of modern knowledge and technologies in the field of activity;
approaches to the structure and content of the educational process have been changed, taking into account the integration of general and additional education;
the structure of the educational process has been improved through the introduction of a complex of integrated academic disciplines: acting, stage speech, stage movement;
approaches to the implementation of the long-term program have been changed (in stages, taking into account age characteristics)

Relevance

The program is based on the idea of ​​using the potential of theater pedagogy, which allows developing the child's personality, optimizing the development of speech, voice, sense of rhythm, plasticity of movements.

The novelty of the educational program lies in the fact that the educational process is carried out through various areas of work: education of the foundations of spectator culture, development of performing skills, accumulation of knowledge about the theater, which are intertwined, complemented in each other, mutually reflected, which contributes to the formation of moral qualities in alumni of the association.

The program contributes to the rise of spiritual and moral culture and meets the needs of various social groups in our society, ensures the improvement of the process of development and education of children. The choice of a profession is not the final result of the program, but it makes it possible to teach children professional skills, provides conditions for the teacher to carry out career guidance work.

The acquired knowledge will allow pupils to overcome psychological inertia, will allow them to develop their creative activity, the ability to compare, analyze, plan, set internal goals, and strive for them.

Pedagogical expediency of the program

The implementation of the program allows you to turn on the mechanism of education of each member of the team and achieve comfortable conditions for creative self-realization.
A comprehensive, professionally oriented program in the context of a given goal, integrates the efforts of professional and social pedagogy. It provides an opportunity, in addition to obtaining basic knowledge, to effectively prepare pupils for the development of the socio-cultural experience accumulated by mankind, painless adaptation in the environment, and positive self-determination. Education of teenagers is distinguished by practical and humanitarian orientation.

This program is based on the following pedagogical principles:

The principle of humanization;
- the principle of natural conformity and cultural conformity;
- the principle of self-worth of the individual;
- the principle of fascination;
- the principle of creativity.

Personally-oriented, integrated and cultural approaches to education make it possible to implement the concept of this program in full and achieve stable positive results.
A comprehensive-targeted approach to the educational process, involving:

Differentiated selection of the main means of training and education; - democratic style of communication and creative cooperation between the teacher and the student;
- Achieving the desired results at different levels will intensify the receipt of high-quality results for young actors.

Program goal:

The development of a creatively active personality of the pupil by means of theatrical activity, the promotion of their life and professional self-determination.

Program objectives:

Teach pupils the basics of theatrical activity;
- develop acting skills;
- to develop the creative artistic abilities of children;
- to develop the communicative and organizational skills of the pupil;
- to form an artistic and aesthetic taste;
- to educate the social activity of the personality of the pupil.

Acquaintance of children with various types of theater (puppet, drama, opera, ballet theater, musical comedy).

Step-by-step development by children of various types of creativity.

Improving the artistic skills of children in terms of experiencing and embodying the image, modeling the skills of social behavior in given conditions.

Development of speech culture;

Development of aesthetic taste.

Education of the creative activity of the child, appreciating in himself and others such qualities as benevolence, diligence, respect for the creativity of others.

Distinctive features of the educational program

1. Integration of theory and practice, due to the specifics of the subject; the integration of social, professional and general pedagogy allows students, in the process of implementing this program, to simultaneously acquire comprehensive knowledge, develop synthetic abilities and improve social interaction skills through rehearsals, theatrical activities (reporting performances, competitions, festivals), creative meetings and a master class of professional artists. Such a complex-targeted approach to learning intensifies the development of children and adolescents, forms a stable motivation for learning, activates their creative activity, and contributes to successful socialization.

2. This program, being an alternative to the standard one, is designed taking into account the flexible and mobile specifics of additional education.

3. The concept and content of this program materializes the idea of ​​the creative development of each child and contributes to their further professional growth in specialized (theatrical) educational institutions.

4. The implementation of the program in the mode of cooperation and democratic style of communication makes it possible to create an individual or collective spiritual product (in the form of a performance) that is personally significant for each pupil.

Program characteristics
The main form of organization of the educational process is a group lesson. The program provides for the variable use of other forms of organization: classes in small groups to work on the role, rehearsals and theatrical performances.

Program disciplines:

Theatrical play;
- acting skills;
- scenic speech;
- scenic movement;
The main discipline of the program in the first year of study is theatrical acting, from the second year of study - acting.

Forms of work:

Forms of classes - group and individual classes for practicing diction, mise-en-scene.

The main forms of conducting classes are:

theatrical games, contests, quizzes, talks, performances,

holidays.

Staging scenes for specific events, staging scenarios for school holidays, theatrical performances of fairy tales, episodes from literary works, all this is aimed at introducing children to theatrical art and skill.

Training of students is carried out according to the approved calendar-thematic plan. (Appendix No. 1)

Depending on the abilities and achievements of the children, individual work is planned. (Appendix No. 2)

Expected results and how to check them.

As a result of the implementation of the program, each student must:

-Know:

History of theater and theatrical art;
- theoretical foundations of acting skills;
- stages of work on the performance;
- laws of stage action;
- theoretical foundations of stage speech;
- principles of building a literary composition;
-Be able to:

Reproduce your actions in a given situation;
- imagine movements in the imagination and think in images;
- find the correct organic behavior in the proposed circumstances;
- independently work on the stage image and role;
- create accurate and convincing images;
- perform articulation and breathing exercises;
-Own:

Elements of internal and external technique of the actor;
- verbal action in the performance;
- scenic plasticity;
- verbal communication;

personal results.

Students will have:

The need for cooperation with peers, a friendly attitude towards peers, conflict-free behavior, the desire to listen to the opinions of classmates;

The integrity of the view of the world by means of literary works;

· ethical feelings, aesthetic needs, values ​​and feelings based on the experience of listening and memorizing works of fiction;

awareness of the importance of classes for personal development.

Metasubject outcomes studying the course is the formation of the following universal learning activities (UUD).

Regulatory UUD:

The student will learn:

understand and accept the learning task formulated by the teacher;

plan your actions at individual stages of work on the play;

· carry out control, correction and evaluation of the results of their activities;

Analyze the reasons for success / failure, learn with the help of a teacher positive attitudes such as: “I will succeed”, “I can still do a lot”.

Cognitive UUD:

The student will learn:

Use the methods of analysis and synthesis when reading and watching videos, compare and analyze the behavior of the hero;

understand and apply the information received in the performance of tasks;

· show individual creative abilities when composing stories, fairy tales, sketches, selecting the simplest rhymes, reading by roles and staging.

Communicative UUD:

The student will learn:

Engage in dialogue, collective discussion, take initiative and be active

work in a group, take into account the opinions of partners that are different from their own;

· ask for help;

articulate your concerns

offer help and cooperation;

listen to the interlocutor;

agree on the distribution of functions and roles in joint activities, come to a common decision;

· to formulate own opinion and position;

exercise mutual control;

Appraisal of one's own behavior and the behavior of others.

expressive reading;

develop speech breathing and correct articulation;

types of theatrical art, the basics of acting;

· compose etudes based on fairy tales;

the ability to express a variety of emotional states (sadness, joy, anger, surprise, admiration)

Personal UUD: the readiness and ability of students for self-development, the formation of motivation for learning and cognition, the value-semantic attitudes of primary school graduates, reflecting their individual and personal positions, social competencies, personal qualities

The main directions of development of UUD include:

A modern information and educational environment that contributes to the formation of ICT competencies;

Creation of educational situations of a subject and over-subject nature;

The use of educational - cognitive and educational - practical tasks, individual or group educational tasks in classroom and extracurricular activities;

Development of semantic reading skills and methods of working with text;

Classes within the framework of over-subject programs of courses and disciplines (electives, circles);

Educational research and project activities;

Educational technologies of "School 2100": problem-dialogic technology, technology of productive reading, technology of evaluation of educational results.

Modern information - educational environment.

The development of UUD in the main school is expedient within the framework of using such opportunities modern information educational environment, how:

Means of training that increase the efficiency and quality of training of schoolchildren, organizing operational consulting assistance in order to form a culture of educational activities in educational institutions;

A tool for cognition through the formation of research skills based on the organization of joint educational and research work of students and teachers, the possibility of prompt and independent processing of the results of experimental activities;

Means of telecommunications, forming the skills and abilities to obtain the necessary information from a variety of sources;

Means of personal development through the formation of communication culture skills;

An effective tool for monitoring and correcting the results of educational activities.

Creation of educational situations of subject and supra-subject character.

Among the technologies, methods and techniques for the development of UUD in the main school, a special place is occupied by learning situations , which are specialized for the development of certain UUDs. They can be built on the subject content and be of a supra-subject nature. The typology of learning situations in basic school can be represented by such situations as:

situation-problem- a prototype of a real problem that requires a prompt solution (with the help of such a situation, one can develop skills to find the optimal solution);

illustration situation- a prototype of a real situation, which is included as a fact in the lecture material (a visual figurative situation, presented by means of ICT, develops the ability to visualize information in order to find a simpler way to solve it);

situation-assessment- a prototype of a real situation with a ready-made proposed solution, which should be evaluated and an adequate solution offered;

situation-training- a prototype of a standard or other situation (training can be carried out both by describing the situation and by solving it).

The use of educational and cognitive and educational and practical tasks, individual or group training tasks in classroom and extracurricular activities.

Along with educational situations for the development of UUD in the main school, it is possible to use the following types of educational-cognitive and educational-practical tasks.

Personal universal learning activities:

on personal self-determination;

on the development of self-concept;

on meaning formation;

for motivation;

for moral and ethical assessment.

Communicative universal learning activities:

taking into account the position of the partner;

organization and implementation of cooperation;

on the transfer of information and the display of subject content;

communication skills training;

role-playing games;

group games.

Cognitive universal learning activities:

tasks and projects for building a strategy for finding solutions to problems;

tasks and projects for comparison, evaluation;

tasks and projects for conducting empirical research;

tasks and projects for conducting theoretical research;

semantic reading tasks.

Regulatory universal learning activities:

for planning;

for reflection;

for orientation in the situation;

for forecasting;

for goal setting;

for evaluation;

to make a decision;

for self-control;

for a correction.

Methods of identification, diagnostics of educational results and evaluation.

Identification of the level of development of educational material, as well as the degree of development of personal qualities, occurs through monitoring on the basis of the regulation on certification. To determine the quality of assimilation of the educational program by students, to identify the area of ​​knowledge to be corrected, planned diagnostics are carried out and the teacher fills in diagnostic sections twice a year (December, May), according to the methodology developed by Klenova N.V., candidate of philosophical sciences, deputy. head Department of Development of Human Resources of the Moscow City Palace of Children's (Youth) Creativity and Buylova L.N., Candidate of Pedagogical Sciences, Associate Professor of the Department of Pedagogy of the Moscow Institute of Open Education (Appendix No. 3). That gives a complete picture of the progress of students during the school year, their development of educational material. Based on diagnostic profiles, monitoring is carried out for three years (the duration of the program).

Educational and thematic plan for 1 year of study

	Chapter	total hours	theory	practice
	Introductory lesson
	Theatrical play				The ability to analyze and compare, generalize, draw conclusions, persevere in achieving the goal. Comply with the rules of the game and discipline; Interact correctly with teammates (tolerant, having mutual assistance, etc.). Express yourself in various types of creative and playful activities that are accessible and most attractive to the child.
	Acting				Planning for learning collaboration with teacher and peers and how to interact
	Scenic speech				Learn to clearly repeat the sounds, words, phrases of the statement after the teacher; Learn to build statements and sentences that are understandable to others.
	stage movement				Understand and apply the information received in the performance of tasks;
	Educational work
	Contests

By the end of the first year, students should be able to:

What is theater

How is theater different from other arts?

Who creates theatrical canvases (performances)

On the elementary technical means of the stage

About stage design

On the norms of behavior on stage and in the auditorium

Students should be able to:

Express your attitude to phenomena in life and on stage

to think figuratively

Concentrate attention

Feel yourself in the stage space

Chat with a partner

Focus on the implementation of an individual task, excluding interference from the outside world from the field of attention.

Be able to act in a coordinated way, collectively carry out the tasks of the teacher.

Be kind to the creativity of peers.

Theatrical play

The discipline "Theatrical game" is endowed with the formation of the spiritual culture of the child.

Section I I and the world.

From the first lessons, it is necessary to instill in students the need to perform exercises to develop attention, fantasy, imagination, and observation. They captivate children and need to develop them in logical action. The task of the teacher is to ensure that during these exercises they are always brought to the end, so that the children listen and hear, look and see. Exercises can be both group and individual.

Section II. Me and the world of objects.

Individual and group exercises on the ability to determine the essence and value of creativity, creation

Section III. Me and the world of literary creativity.

Reading fairy tales, poems in the classroom by a teacher, children by roles. The ability to briefly retell the plot, understand the "hint". Etudes from fairy tales, poems. Know the famous actors of storytellers and the name of their works. Begin to develop an artistic taste. The first acquaintance with dramatic works.

Stage movement.

Target : the formation of plastic culture in future actors, i.e., the external acting technique of skills and abilities.

The expressive means of acting is a psychophysical process in which the mental and physical exist in an inseparable connection.

The section "Stage movement" is aimed at developing the special qualities of the actor (apparatus of incarnation), which, manifesting themselves in connection with motor activity, expand figurative thinking as a whole, sharpen sensitivity and susceptibility to all manifestations of the stage environment, allow capturing and responding to them with precise meaning and reactions of various colors.

Section I. Introduction to the subject.

Classes in stage movement bring up psychophysical qualities - muscle freedom, attention, memory, dexterity; develop skills - plasticity, coordination of movement; they teach the peculiarities of stylistic behavior, wrestling techniques.

Section II. Balance exercises.

Movement coordination exercises require students to concentrate. Exercises improve the sense of the body in time and space, develop students' attention. Coordination training starts with simple exercises, gradually complicating them.

Educational and thematic plan for the 2nd year of study

	Chapter	total hours	theory	practice
	Introductory lesson				Desire to acquire new knowledge; comply with safety regulations; accept a learning task; conduct a dialogue with the teacher and comrades; To acquaint students with knowledge related to the stage, with the history of the theater
	Theatrical play				The ability to understand the characters of the characters and identify with them. Understand aesthetic values ​​and build aesthetic criteria; moral and ethical assessment of the actions of the characters.
	Acting
	Scenic speech
	stage movement
	creative workshop
	Educational work
	Cognitive and leisure activities
	Contests

By the end of the second year, students should be able to:

How did the Russian folk theater appear, its features.

Basic theatrical terms.

Rules of spectator etiquette.

7-10 tongue twisters.

2-3 poems by domestic or foreign authors.

What is an etude.

Students should be able to:

Perform speech exercises.

Perform individual tasks without responding to signals from the outside world.

Perform exercises on the memory of physical actions of the choice of students.

To convey the plastic form of wildlife, an object through the plasticity of one's own body.

Use the necessary acting skills: freely interact with a partner, act in the proposed circumstances, improvise, focus attention, “turn on” emotional memory.

Write a simple dialogue

Acting

The course of practical basics of acting is inextricably linked with the whole complex of special, training and general aesthetic disciplines. This complex as a whole forms the acting abilities of children and creates the prerequisites for the improvement of individual, personal qualities in stage practice.

Section I. Introduction to Acting.

The ability to look and see, listen and hear, think on stage, the ability to check yourself during the action - is there any excessive tension.

Section II. The work of an actor on himself. Training.

Development of skills of working well-being, creative perceptions, artistic courage, elements of character.

Section III. The work of the actor on the image. Action logic.

The performing art of the actor is the core of theatrical art.

The main direction of acting art.

The system of K. S. Stanislavsky as a system of scientifically based laws of the organic nature of acting.

The internal and external technique of the actor.

Scenic speech.

The subject "Stage speech" contains a range of issues related to the problem of the word in the art of the actor.

Section I. Orthoepy.

Correct literary pronunciation.

Section II. Breath.

Education of proper breathing skills and education and development of children's speech voice. Nasal breathing exercises.

Section III. Sounds.

Articulation gymnastics. The choice of exercises involves moving from simple to complex: simply repeating letters, alternating voiced and deaf, combining with vowels, etc.

Stage movement.

Section I. Acrobatic exercises.

Perfection of the body in time and space.

Section II. Trainings.

The main goal is the ability of the student to focus on himself, to achieve plastically expressive actions, to reveal his inner world.

Development of plasticity.

creative workshop

Section I. Etude.

The concept of etude. Studies on the proposed circumstances. Plastic sketches. Mass studies.

Section I1. Rehearsal production work.

Stage work with one character.

Educational and thematic plan for the 3rd year of study

	Chapter	total hours	theory	practice
	Introductory lesson				Desire to acquire new knowledge; comply with safety regulations; accept a learning task; conduct a dialogue with the teacher and comrades;
	Acting				Ability to establish a logical cause-and-effect sequence of events and actions, build a plan with the allocation of essential information
	Scenic speech				The ability to understand contextual speech - the ability to arbitrarily and expressively build contextual speech, taking into account the goals of communication
	stage movement				Ability to work in a group, take into account the opinions of partners
	creative workshop				The ability to engage in dialogue, in a collective discussion, to show initiative and activity, to work in a group, to take into account the opinions of partners; offer help and cooperation; agree on the distribution of functions and roles in joint activities, formulate their own opinion and position, adequately assess their own behavior and the behavior of others.
	Educational work
	Cognitive and leisure activities
	Contests

By the end of the third year, students should be able to:

Types of theatrical art.

Theatrical terminology: “proposed circumstances”, “etude”, “action”, “event”, “plot”.

The laws of the logical construction of the study.

By heart 10-15 tongue twisters.

By heart 2-3 poems.

Students should be able to:

Own plastic training.

Act in the "proposed circumstances".

Distinguish the components of acting expressiveness.

Build an event series in a sketch.

Apply the acquired skills in the work on the image.

Communicate freely with a partner on stage and an audience in the hall.

Acting skills.

Section I. The work of the actor on the image. Action logic.

Reading fables. Selection of fables for dramatization. Staged rehearsals.

Section II. I am in the circumstances.

Etude improvisations (I am in the forest, on an island, under water, in an unfamiliar city, etc.)

Section III. Role work.

Accumulation of reserves of creative food for the subsequent work of acting fantasy.

Scenic speech.

Section I. Speech technique.

Exercises for training breathing and diction.

Stage movement.

Section I. Trick plastique.

Exercises for training rhythm, dexterity, coordination of movement.

creative workshop

Section I. Composition

Work on the image, on the role. Stage communication.

Section I1. Rehearsal and production work

mise-en-scene. Etude tests. Rehearsals in the enclosure.

Methodological support of the program

The educational process includes various teaching methods: reproductive (reproducing), problematic (the teacher poses a problem and, together with the pupils, looks for ways to solve it), heuristic (the problem is formulated by the children, they offer ways to solve it).
Teaching methods in the theater association carry out four main functions: the function of communicating information; the function of teaching pupils practical skills and abilities; the function of teaching, which ensures the cognitive activity of the pupils themselves; the function of guiding the cognitive activity of students.
The constant search for new forms and methods of organizing the educational process in the studio theater makes it possible to work with children, making it more diverse, emotionally and informationally saturated.
Work on the vocal apparatus is built according to the plan of the current moment. Training takes place in every class. The set of exercises is designed taking into account age characteristics. Technical skills are worked out on the didactic material of the modules included in the comprehensive program. (A set of exercises and techniques for breathing, vibration, articulation, orthoepy, vocals are given in the methodological accompaniment to the section)

Forms of control.

Poll in the classroom, checking the learned roles, dance movements, musical parts, summing up, current (end of the quarter) and final (end of the academic year) certification. Participation in school concerts, competitions.
Pedagogical methods and techniques.
Explanatory-illustrative: story, explanation, illustration, display of visual aids.
Verbal: conversation, discussion, consultations, teacher's comments, students' performances.
Partial search: search for information.
Practical: performance of tasks, acting skills (individually and in groups).
Critical analysis. Self-esteem.

Working with parents:

At school age, it is extremely important for a child to continuously accumulate cultural communication in the process of active interaction with the outside world, other children and adults in solving problems and problems (cognitive, physical, artistic and aesthetic, etc.) in accordance with age and individual characteristics.

The educational interaction of the older generation of the family with school-age children becomes effective in raising a child under the following pedagogical conditions:

Formation of value orientations in the process of expanding the pedagogical competence of members of a multigenerational family;

Definition and coordination with parents and the older generation of the family of functions aimed at raising a child;

Enrichment of the emotional experience of children in communication with representatives of the older generation of the family.

When creating the above pedagogical conditions, the effective interaction of all participants in the pedagogical process requires the diversity and variability of the content and forms of work used in preschool and family.

The interaction model of the older generation of the family includes three components:

The cognitive component is a system of concepts, rules, norms, assessments, value orientations that form ideas about harmonious intergenerational relations in the family and ethically coordinated impact on the child;

The emotional-motivational component is a system of motives and feelings that determine the positive attitude of the older generation towards the child, his needs and interests;

The activity component is a set of ways, methods and techniques for organizing life and raising a child.

It is important to change the parental educational position in such a way that parents understand the value of educating in children qualities that contribute to the harmonization of relations with the older generation of the family; awaken children's interest in the knowledge and life experience of grandparents, forming a kind and respectful attitude towards the older generation; to involve grandparents in the educational process not only in the family, but also in preschool. By participating in various events specifically dedicated to the formation of respect for the older generation, held on the basis of an educational institution of additional education.

Working with parents is an important condition for the successful implementation of this program. The creative interaction of the family, school and institutions of additional education allows the teacher and parents to better understand the psychophysical state of the child and harmonize child-parent relationships, which in turn helps to identify talent and develop creative abilities. The cooperation of the teacher with parents includes such forms of work as

Parent meetings, in which the teacher introduces parents to the goals, objectives and methods of implementing the program. And also informs about further plans for classes and creative successes of children;

Individual conversations with parents necessary to obtain information about the psychophysical and personal characteristics of each student (character traits, type of central nervous system, fatigue, etc.)

Attendance by parents of open classes, exhibitions, participation in holidays and excursions, during which parents are given the opportunity to observe the creative process of children, as well as participate in it themselves.

Contact between the teacher, children and parents ensures the optimization of the solution of pedagogical problems and problems associated with training and education.

Working with parents according to the Educational plan:

Graduate Model

Life Readiness Components	Personally Significant Qualities of a CDT Pupil
worldview	Patriotism, citizenship, humanism, internationalism
Moral	Assimilation of the norms of universal morality, culture of communication, values ​​of a material and spiritual nature. Compliance with the norms of collective life, based on respect for the law, for the rights of the surrounding people. Tolerance, tolerance and open attitude to each other, to different social groups.
Psychophysical	Creative potential. Self-regulation of behavior. Motivation for a healthy lifestyle. Healthy self esteem. Communicative competence.
Self-determination in society	civic maturity. Social responsibility, manifested in caring for the well-being of one's country, region, surrounding people. Willingness to implement the tasks of their own professional and moral development. Belief in the necessity and importance of work. The ability to build one's behavior in accordance with general cultural, civil and social behavioral norms. Readiness for positive activity in society.
Citizen, humanist, person with social and intercultural competencies	Possessing the norms of universal morality, culture of communication, values ​​of a material and spiritual nature. Observing the norms of collective life, based on respect for the law, for the rights of the surrounding people. Possessing tolerance, tolerance and an open attitude towards each other, towards various social groups.
Adapted and independent, successful, self-development competencies	Possessing high moral qualities, creative adaptability, social maturity. Able to improve himself, leading a healthy lifestyle.
Educated, creative, possessing pre-professional competence.	Freely oriented in the flow of information. Possessing a wide range of methods of practice-oriented activity. Ready for independent search, for further education. Capable of self-determination. Hardworking.

LITERATURE

1 Andrachnikov S.G. Theory and practice of stage school. - M., 2006.
2. Anikeeva N.P. Game education. The book for the teacher. - M .: Education, 2004.
3. Bondareva V. Pomrezh's Notes. - M.: Art, 1985.
4. Bryantsev A.A. Memoirs / Articles. - M., 1979.
5. Gorchakov N.M. Directing lessons of Stanislavsky. - M., 2001.
6. Gippnus S.V. Gymnastics of the senses. Creative psychotechnics training. - L.-M.: Art, 2002.
7. Zakhava B. E. The skill of the actor and director. - M.: Enlightenment, 1978.
8. Kogtev G. V. Grim and stage image. - M.: Soviet Russia, 2006.
9. Korogodsky Z.Ya. Beginning, St. Petersburg, 2005.
10. Kosaretsky S. G. P.P.M.S. - Centers of Russia: current situation and trends. // School of health. - 2007. - No. 3. - p. 52-57.
11. Kurbatov M. A few words about the psychotechnics of the actor. M., 2004.
12. Loginova V. Notes of a make-up artist. - M.: Art, 1994.
13. Novitskaya L.P. Training and drill. - M., 2002.
14. Polamishev A. M. Mastery of the director. Actual analysis of the play. -
M.: Education, 2006.
15. Stanislavsky K. S. Collected works (I - II volume). - M.: Art, 1988.

LITERATURE FOR CHILDREN

Varkholov F. M. Grim. - M.: 2005.
2. Vasilyeva T. I. Exercises in diction (consonant sounds). Textbook for the course "Stage speech". - M.: GITIS, 2004.
3. Generalova I.A. Workshop of the senses. - M., 2006.
4. Kozlyaninova I. P. Orthoepy at the theater school. Textbook for theatrical and cultural-educational schools. - M.: Enlightenment, 2003.
5. Nevsky L. A. Steps of mastery. - M.: Art, 2005.
6. Petrova A. N. Stage speech. - M.: 2002.
7. Rubina Yu. Theatrical amateur performance of schoolchildren. - M .: Education, 1994.
8. Shilgavi V.P. Let's start with the game. - M.: Enlightenment, 1994.
9. Shkolnikov S. Fundamentals of stage make-up. - Minsk: Higher School, 2004.
10. Efros A.V. Rehearsal - My love. - M.: 2001.

TATYANA KUDRYASHOVA
The program of additional education "Theatre"

ADDITIONAL EDUCATION PROGRAM

« THEATRE»

EXPLANATORY NOTE

Theatre- one of the most democratic forms of art for children. Theatre reveals the spiritual and creative potential of the child and gives him a real opportunity to adapt to the social environment. Theatrical activity is enjoyed by children with unfailing love. Great and versatile influence theatrical games on the personality of the child allows them to be used as a strong, but not intrusive pedagogical tool, since during the game the children feel relaxed, free and natural.

Relevance

Lessons theatrical activities are focused on the comprehensive development of the personality of the child, his unique individuality, are aimed at the humanization of educational and educational work with children, are based on the psychological characteristics of the development of younger students.

AT theatrical activity, the child not only receives information about the world around him, the laws of society, the beauty of human relations, but also learns to live in this world, build his relationships, and this requires the creative activity of the individual, the ability to keep himself in society. Theatre teaches the child to see the beautiful in people's lives, gives rise to the desire to bring beautiful and good things into life.

In the classroom, children get acquainted not only with the content of the work, recreates images, but also learns to deeply feel the events, the relationship between the characters.

Theatrical activity contributes to the development of imagination, imagination, memory, speech and all types of children's creativity, develops a desire to participate in joint work on the play, convey the characters of the characters, exercise in expressiveness, emotional reading and storytelling, strengthens a sense of self-confidence as a person, endows oneself with ways of knowing, means of communication.

Targets and goals programs

Goals: Enrich the artistic and aesthetic children's education;

solve many problems of modern pedagogy and psychology.

Tasks: 1. Cultivate and improve children's creativity through theatrical art;

2. Develop creative independence in creating artistic image using improvisation (gaming, theatrical) ;

3. Form an aesthetic taste;

4. Improve memory, attention, observation, thinking, imagination, initiative and endurance, fantasy;

5. Develop the communicative qualities of the individual. To cultivate goodwill, contact in relation to peers;

6. Activate and refine the dictionary, expand vocabulary, the ability to use words exactly in the sense;

7. Work out diction, intonation, expressiveness of speech, culture of speech communication;

8. Develop the ability to control your body, the ability to create images heroes through the plastic possibilities of their bodies, with the help of gestures and facial expressions;

9. To form the ability to compose, compose short stories, fairy tales, poems, riddles;

10. Create a positive emotional mood, relieve tension and conflict through the game, form relationships, cooperation and mutual assistance, cultivate humane feelings;

11. Form the idea of ​​honesty, justice, kindness;

12. Develop the ability to analyze their actions, the actions of peers, heroes of fiction;

13. To educate the audience culture.

Main areas of work with children

1. Basics theater culture

Get to know the concept « Theatre» - as a historically established social phenomenon, an independent type of activity characteristic of a person; professional terminology theatrical art; types theaters, the basics of acting, the culture of the viewer.

2. Culture, technique and expressiveness of speech

Play pantomime, imitation of movements; games; exercises; tongue twisters, tongue twisters. Learn to compose short stories, fairy tales, riddles, poems. Pronounce them expressively, with different voice power, tempo, different intonation, expressing feelings; replenish vocabulary; feel the beauty of the Russian language.

3. Theatrical play

Play small fairy tales, sketches, scenes from fables, poems, fairy tales, nursery rhymes. To learn to navigate in space, to be evenly placed in accordance with the action of the performance, to build a dialogue with a partner on a given topic, to memorize the words of the characters, to develop visual, auditory attention, memory, observation, creative thinking, fantasy, imagination, interest in specific art, to educate moral and ethical qualities.

4. Work on the performance

To acquaint with the play, fairy tale, work on the content, understand the characters of the characters, starting with sketches to the birth of the play. Encourage active creative participation, find your individual image to express the emotional state of the characters. Cultivate kindness. Communication with peers.

Educational and thematic plan

"Hello, theatre!»

Topic name

Practice

1. Introductory lesson. Creation story theatrical circle, plans, schedules, requirements. Acquaintance of children. Games aimed at bringing the team together ( "Say the Name", "Merry Steps", "Who is next", "Travel")

2. History theater, concept « Theatre» . Recall and dramatize a fairy tale "Teremok"

3. Get acquainted with the creative possibilities of children, explore life experience. Reading fables, poems. Work on diction:

Clean tongues

Tongue Twisters

Speech rate

4. Learn improvisation techniques

By condition "Create image»

With the help of music.

Playing out a fairy tale "Turnip", etudes

5."The Spectator's Law" (location on site). Warm up "Crocodile"- make up a word using gestures and facial expressions. The game "A photo"-one participant sits in a pose, the second photographer. "Funny Photo"

Working on a new performance of a fairy tale "Morozko"

6 Familiarization and discussion of the scenario of the fairy tale "Morozko". Distribution of roles. To activate the attention of children when they get acquainted with a new fairy tale.

7 Learning roles. Develop the ability to characterize image.

8 Work on diction, intonation (cast)

9 Learn improvisation techniques

10. Acting. Role work. Learning to build a dialogue.

11. The ability to convey the emotional state of the characters.

Topic name

Practice

11. Development of memory, attention, imagination. Work on speech technique.

12. Develop children's ability to sincerely believe in imaginary, the skill of reincarnation.

13. Cultivate initiative and endurance. Work on the coordination of children's actions, work on the expressiveness and authenticity of behavior in stage conditions.

Premiere theatrical performance

14. Recall and discuss the play "Morozko", analyze the game by roles. To develop a vision of oneself from the outside, to give an objective assessment, to cultivate goodwill, communication with peers. Play your favorite passages.

15. The art of reincarnation "if"- the greatest skill. (Actors and role) "Great, beautiful aquarium", we are fish (sketch, animals, birds. Game "Mirror"-feign surprise, fear, contempt, rage, anger, joy. Etude "I got an A on my test"-

(pantomime)

16. Improve the ability of children to logically and expressively convey a fairy tale. We learn to collectively compose a fairy tale, adding our sentence in turn. Exercises: "Petrified", "In the clearing we collect berries in a basket, mosquitoes, it's hot, it's windy, it starts to rain, it's raining." The game "Hunter"- pass the ball behind the back, leading He speaks: "Hands up-

have time to transfer quickly, carefully.

Topic name

Practice

17. Compose etudes with invented circumstances. An exercise "Contact"- draw with a finger on the back - guess what. Convince everyone that the room is dark." Etude. Movement of fish, birds, animals. The game "Broken phone"

18. Games and exercise "Clockwork Doll", "Recognize the character of the fairy tale", "Japanese machine"- everyone jumps like columns, write numbers from 10 to 1.

19. Game "Mystery ball"-quickly and carefully pass behind the back guesses "-he leads, who has a ball - the development of associative thinking. Tongue twisters - vocabulary enrichment.

Work on a new play "Turnip"

We recall the content, discuss the script, distribute roles, discuss the characters of the characters

To acquaint children with musical works, excerpts that will be heard in the performance in the discussion. Text check.

Work on the expressiveness of speech and the authenticity of the behavior of the characters in the plot

Continue to form pronunciation, expressiveness, emotionality of speech. Rehearsal of sketches of a fairy tale.

Theatrical play: "Hypnotist"". An exercise « picture the mood» .Tongue twisters, proverbs "Continue the sentence" etc

The foundation theater culture

Talk about types theatrical art

Continue rehearsing scenes from the play

Games and exercises "Echo", "Give me a word". Games- transformation: Pinocchio, "Dunno" etc.

Rehearsal of the entire performance with costumes, scenery, music. escort

Performance premiere "Turnip" (in a new way)

Final conversation

Discussing the show, playing favorite places

Total for program per year: 79 hours

Organization Features educational process

This additional education program designed for implementation within a year, was created and adjusted within 2 years.

The group for classes in the circle consists of 10-12 people.

The educational-thematic plan is 72 hours, 2 hours per week.

Theatrical classes are not limited to preparing speeches, but perform a cognitive, developmental and educational function.

At the end of each semester, a final lesson is held in the form of staging a fairy tale. The final lessons allow children to identify the skills that they have achieved over a certain period of work, to receive an assessment from the audience, parents, teachers.

Bibliography:

1. Games for the development of emotions and creative abilities. Theatrical classes for children 5-9 years old. Lapteva G. V., Creative Center, St. Petersburg 2011, "Sphere"

2. Theatrical palette Program artistic and aesthetic education Goncharova O. V., Kartashova M. G., Kraseva A. R., Mirochinenko S. A., Nabokova V. V., Shakhina Yu. A., Yushkova N. A., T. Ts. "Sphere" Moscow 2010

4. Intellectual and educational activities « Theater drawing room grades 1-4»

5. Theatre-studio in the modern school, S. Yu. Kidin, ed. "Teacher"

6. Acting training for children (4-14 years old), Moscow AST, Astrel, Polygraph publishing house, 2011, I. Feofanova

7. A fairy tale is coming to visit us. Academy of Development, Yaroslavl, V. M. Pashina 2005