Organization of theatrical activities with children of preschool age. Methods of organizing and conducting theatrical games with children in the preschool

Consider the principles - the main starting points that the teacher must be guided by in the process of organizing theatrical and gaming activities in kindergarten.

heuristic principle. A fundamental condition for the emergence and development of theatrical and gaming activities of preschool children is the presence of an educational environment that stimulates the development of children's creative abilities.

When creating such an environment, it is necessary to be guided by the principle of heuristics, since the central element of creativity is insight, which is associated with finding a new, original solution to the problem. The heuristic environment contains information that does not immediately reveal itself, but encourages the child to search. If the environment is inexhaustible, informative, it will provide an opportunity for discoveries (eureka - “I found!”), Satisfies the child’s need for novelty, which is discovered by him in the course of actions.

Unity principle processes of integration and differentiation joint activities. The foundation of this principle is the organization of joint activities of children and teachers on the basis of mutual understanding and mutual assistance. This principle also presupposes the development of the game initiative, the independence of children, the partial transfer of authority and responsibility to them.

The principle of non-coercion. It assumes that in the organization of theatrical and gaming activities and its management, any coercion of children that contradicts the essence of this activity is excluded.

The principle of maintaining a game atmosphere. It involves the creation of conditions for maintaining children's interest in theatrical and gaming activities through the use of a variety of methods and techniques.

The principle of the relationship between play and non-play activities. Guided by this principle, the teacher helps to ensure that the meaning of play actions is gradually transferred to the life experience of children and vice versa, the knowledge gained in everyday life, in the classroom, is transferred to the play activities of children, which contributes to the further education, training and development of children in school years. .

To implement the principles of organizing theatrical and gaming activities, the teacher uses many techniques. Reasonable, reasonable selection of methods of organization and leadership helps to effectively solve the problems of theatrical and gaming activities. Often the teacher uses a set of techniques. The selection of techniques depends on the purpose of the activity, on the level of knowledge and skills of children, their age, and on the creativity of the teacher.

In order to organize theatrical and gaming activities, the teacher uses both direct methods (explanation, question, figurative, gauging, indication, etc.) and indirect ones (hint, advice, replica, reminder, etc.). Verbal tricks teachers are combined with visual.

First of all, the teacher needs to take care of the emergence and maintenance of interest in the game. For this purpose, game techniques are used: the sudden appearance theatrical puppet or a teacher and a costume of a hero with an offer to play; game actions with finger puppets; singing songs, retelling poems, nursery rhymes; retelling the work with the help of a doll; gaming announcements on the "loudspeaker"; acceptance by the teacher of a playing role; game exercises, production of game tickets; talks about visiting the theater with a demonstration of the actions of the actor, etc. In order to maintain a playful atmosphere, the teacher also uses various techniques: introducing new toys, decorations; friendly remark, reminder, advice; repertoire enrichment; analysis of play activities with children; construction of a stage, theater using a module and its elements, from large building material; production of invitation cards for a performance for kids; viewing illustrations of magazines, books.

The distribution of roles also requires the teacher to use all kinds of techniques: assignment to a role at the request of children; the offer of a role to the child by the teacher based on which role is especially useful to him (with the consent of the child); choice for a role based on the results of game tasks (made a scenery; made a doll in collaboration with parents; tried to expressively tell a fairy tale, sing a song; came up with a dialogue of heroes; made a mask; masterfully controlled a doll, etc.); performing the role in turn, etc.

When organizing theatrical games, a practicing teacher needs to have an idea of ​​the main features, features that distinguish one game from others, i.e. about styles of theatrical play. In theatrical games of preschoolers, two styles of play can be distinguished: acting and directing.

acting style. If a child plays the role of one character, mainly using his means of expression - intonation, facial expressions, pantomime, then we are talking about acting style. The child uses various attributes that symbolize the typical properties of the character, his signs. He takes a doll or puts on a costume, elements of a costume, a mask and enters the image, transforms into it, lives his life.

Directing style. If the child does not take on a specific role indicated by the script, but operates with objects and toys, acts for all the characters, pronouncing the lines of all the characters, and evaluates what is happening from the point of view of each character, then we are talking about the director's style of play. The depicted world is inhabited by images for which various storylines are invented, scenes are created in which the child plays the role of toy characters, acting for them, depicting them with intonation, the movement of dolls. In this game, the child acts in several guises, combining in his person several positions at the same time - director, playwright, actor. Role bearers are toys and other items; their content is mediated social experience.

The child organizes game situation, regulates the relationship of characters and motivates their actions. At the same time, he learns to look at events from different positions, mentally putting himself in the place of each character. Although the plot of theatrical games is predetermined by the literary basis, and in the director's style it is more often subject to changes according to the child's own intention. Plot events in games can change as a result of the child's associative perception of the world around him: one or another attribute, a toy can lead to a change in the plot.

Children put on puppet concerts, perform poems for the puppet artists, sing songs, guess riddles in accordance with the game image (the bear speaks in a thick, low voice, the little hare sings a song in a thin voice, mosquitoes squeak). In older preschool age, in addition to the individual, there is also a joint form of directorial theatrical games. In joint games, the experience of coordinating joint actions is accumulated especially intensively.

Based on the foregoing, we come to the conclusion that knowledge of the main features of theatrical games, adherence to the principles and use of methods and techniques for organizing theatrical and gaming activities contribute to the successful development of this activity, which in turn stimulates the most complete development of the creative inclinations and abilities of the child; creates a pedagogically appropriate environment for education; in joint activities and communication organizes such interaction between educators and pupils, which contributes to the achievement of the goals set by the teacher in the development of the child's personality.

At present, a lot of theoretical and practical experience has been accumulated in organizing theatrical activities in kindergarten. The works of domestic teachers, scientists, methodologists are devoted to this: N. Karpinsky, A. Nikolaicheva, L. Furmina, L. Voroshnina, R. Sigutkina, I. Reutskaya, L. Bochkareva, I. Medvedeva, T. Shishova and others.

Theatrical activities should provide children with the opportunity not only to study and learn about the world around them through the comprehension of fairy tales, but to live in harmony with it, to receive satisfaction from classes, a variety of activities, and the successful completion of a task. From this point of view, the organization and space of the theater premises are of great importance.

The environment is one of the main means of development of the child's personality, the source of his individual knowledge and social experience. Moreover, the subject-spatial environment should not only ensure the joint theatrical activities of children, but also be the basis independent creativity each child, a peculiar form of his self-education. Therefore, when designing an object-spatial environment that provides theatrical activities of children, one should take into account:

• individual socio-psychological characteristics of the child;
• features of his emotional and personal development;
• interests, inclinations, preferences and needs;
• curiosity, research interest and creativity;
• age and sex characteristics.

The socio-psychological characteristics of preschool children suggest the desire of the child to participate in joint activities with peers and adults, as well as the need for solitude that arises from time to time. At the same time, in order to ensure the optimal balance of joint and independent theatrical activities of children in each age group, a theater zone or fairy tale corner should be equipped, as well as "quiet corner" , where the child can be alone and rehearse a role in front of a mirror or look at the illustrations for the play again, etc.

In order to realize the individual interests, inclinations and needs of preschoolers, the subject-spatial environment should ensure the right and freedom of choice for each child for any activity or for the theatricalization of a favorite work. Therefore, in the zone of theatrical activity there should be different types of puppet theater (finger, bi-ba-bo, puppet), children's drawings, etc. In addition, it is necessary to periodically update the material focused on the interests of different children.

The development of curiosity and research interest is based on the creation of a range of opportunities for modeling, searching and experimenting with various materials when preparing attributes, scenery and costumes for performances. To do this, in the zone of theatrical activity, it is necessary to have a variety of natural and waste materials, fabrics, costumes for dressing up.

Taking into account the gender-role characteristics of children, equipment and materials are placed in areas for theatrical activities that meet the interests of both boys and girls.

• watching puppet shows and talking about them;
• dramatization games;
• acting out various fairy tales and dramatizations;
• exercises for the formation of expressiveness of performance (verbal and non-verbal);
• exercises for the social and emotional development of children.

Of course, the educator plays a huge role in theatrical activities. The teacher himself needs to be able to expressively read, tell, look and see, listen and hear, be ready for any transformation, i.e. master the basics acting skills and directing skills. One of the main conditions is the emotional attitude of an adult to everything that happens, sincerity and genuineness of feelings. The intonation of the teacher's voice is a role model. Therefore, before offering children any task, you should repeatedly practice yourself.

During class you must:

• listen carefully to the answers and suggestions of the children;
• if they do not answer, do not require explanations, proceed to actions with the character;
• when introducing children to the heroes of works, allocate time for them to act or talk with them;
• ask who turned out similar and why, and not who did better;
• in conclusion, bring joy to children in various ways.

Basic requirements for organizing theatrical games in kindergarten:

• Content and variety of subjects.
• The constant, daily inclusion of theatrical games in all forms of the pedagogical process, which makes them as necessary for children as role-playing games.
• Maximum activity of children at the stages of preparation and conduct of games.
• Cooperation of children with each other and with adults at all stages of organizing a theatrical game.

Theatrical activities in kindergarten can be organized in the morning and evening hours at unscheduled times; organically incorporated into various other activities (musical, art, etc.), as well as planned specifically in the weekly schedule of classes in the native language and familiarization with the outside world. It is desirable that all organized forms of theatrical activity be carried out in small subgroups, which will ensure an individual approach to each child. Moreover, each time the subgroups should be formed differently, depending on the content of the classes.

In accordance with the inclinations and interests of children, various studios can be organized in the evening ("Puppet theater for kids" , "Theatre Salon" , "Visiting a fairy tale" and etc.)

The duration of each lesson: 15-20 minutes in the younger group, 20-25 minutes in the middle group and 25-30 minutes in the older group. Individual work and general rehearsals are held once a week for no more than 40 minutes. It is advisable to conduct classes in a spacious, regularly ventilated room using soft, voluminous modules of various designs with a musical instrument and audio equipment. The uniform is light, preferably sports, soft shoes or Czechs are required.

The first theatrical games are conducted by the teacher himself, involving children in them. Further, small exercises and games are used in the lessons, in which the teacher becomes a partner in the game and offers to take the initiative in organizing it, and only in older groups, the teacher can sometimes be a participant in the game and encourage children to be independent in choosing a plot and acting it out.

Particular attention in the organization of theatrical activities is paid to the interaction of the preschool educational institution with the family. This work implements the following tasks:

• Support the child's interest in theatrical activities. As far as possible, try to attend children's performances.
• Discuss with the child before the performance the features of the role that he will play, and after the performance - the result. Celebrate achievements and identify ways to improve.
• Offer to play your favorite role at home, help to play your favorite fairy tales, poems, etc.
• Tell friends in the presence of the child about his achievements.
• Tell the child about your own impressions received as a result of watching performances, movies, etc.
• Gradually develop in the child an understanding of theatrical art, a specific "theatrical experience" based on communication "living artist" and "live spectator" .
• Organize visits to theaters or screenings of video recordings of theatrical performances whenever possible.

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

Home > Methodical development

State preschool educational institution

"Child Development Center Kindergarten No. 81" SB RAS

Theatrical activities of preschoolers as a stimulus for the development of their creative imagination

in the conditions of the Waldorf group of the kindergarten

Methodical development

Fisher Tatyana Viktorovna

Tomsk 2008

Introduction p.3. Theoretical part p.5. 1 Organization of theatrical activities in kindergarten and its impact on the development of the child's personality p.5. 1.1 Features of theatrical activities in kindergarten p.5. 1.2 Methods of work on theatrical activities in different age groups p.8. 1.3 The influence of theatrical activities in kindergarten on the development of the child's personality p.12. 2 Features of the development of imagination in preschoolers p.16 2.1 The concept of imagination and its connection with other mental processes p.16. 2.2 The main directions of the development of imagination in preschoolers p.17. 2.3 Mechanism of creative imagination p.19. 2.4 The influence of theatrical activities on the development of the creative imagination of preschoolers p.20. 3 Features of the organization of theatrical activities in the conditions waldorf kindergarten group p.22. 3.1 Goals of education p.22. 3.2 Telling a fairy tale p.23. 3.3 Puppet show p.25. 3.4 Puppet show during free play p.26. 3.5. Musical Tales p.27. 3.6. Performances-improvisations p.27. 3.7. Daily music-rhythm game p.27. 3.8. Staging a performance with children 6-7 years old p.29. 3.9. Parent performance p.31. Empirical part p.32. Conclusion p.36. References p.38

Applications

INTRODUCTION

Sensitivity, susceptibility to beauty in childhood is incomparably deeper than in the later periods of personality development. The need for beauty affirms moral beauty, giving rise to intransigence towards everything vulgar and ugly.

V. A. Sukhomlinsky

The world of childhood, the inner world of a child is the key to many exciting problems of our life. The game helps to open the cherished door to the world of children's consciousness. The game connects children with each other, children with adults into a single magical whole. And if a child begins to trust you, to believe, then you can create, fantasize, imagine.

The outstanding director and actor K.S. Stanislavsky in his book “The work of an actor on himself”, characterizing the child's game, says that the child's game is distinguished by faith in the authenticity and truth of fiction. The child has only to say to himself "...as if", and the fiction already lives in him. At the same time, one more property is noticed in the child: children know what they can believe and what they should not notice. To protect from aesthetic deafness means to take a step towards harmony. In the game, the child not only learns about the world around him, the laws of society, human relations, but also learns to live in this world, and this requires creative activity personality (attention, imagination, logic, emotional memory, good developed speech, facial expressions), i.e. ability to behave in society. The whole life of children is full of play. Every child wants to play their part. But how to do that? How to teach a baby to play, take on a role and act? Theater will help. Theatrical games are always loved by children. The great and versatile influence of theatrical games on the personality of the child makes it possible to use them as a strong, but unobtrusive pedagogical tool, because the child feels more relaxed, free, natural during the game. The study of psychological, pedagogical and methodological literature, best practices shows that at the present time a lot of theoretical and practical experience has been accumulated in organizing theatrical and gaming activities in kindergarten. Issues related to the organization and methodology of theatrical activities are widely represented in the works of domestic teachers, scientists, methodologists: N. Karpinskaya, A. Nikolaicheva, L. Furmina, L. Voroshnina, R. Sigutkina, I. Reutskaya, L. Bochkareva, I. Medvedeva, T. Shishkova, etc. At present, thanks to the efforts of scientists, methodologists and practitioners, work with children on theatrical activities has received scientific justification and methodological study. Scientists are unanimous in their opinion that the theater is one of the brightest, most colorful and accessible areas of art for the perception of a child. It brings joy to children, develops imagination and fantasy, promotes creative development child and the formation of the basis of his personal culture. In terms of aesthetic significance and influence on the overall development of the child, theatrical activities rightfully have a place of honor next to music, drawing and modeling. Thus, theatrical activity is an effective means of the harmonious development of the child, including his creative abilities. Subject of study: the development of creative imagination by means of theatrical activities in the conditions of the Waldorf group of the kindergarten Hypothesis: the upbringing of children in the Waldorf group of the kindergarten creates the most favorable conditions for the development of creative imagination through theatricalization. These conditions include: daily musical and rhythmic play, daily storytelling and staging of puppet shows by educators, performances during free play by children and adults, preparation of performances for the holidays. Purpose of the study: to study the influence of theatrical activities on the development of the creative imagination of preschoolers Research objectives:

To study the psychological and pedagogical literature on the problems of theatrical activities and the development of imagination in preschoolers

To identify the role of theatrical activity in the development of creative imagination (after analyzing the psychological and pedagogical literature and the results of the experiment)

Describe the specifics of the methodology for organizing theatrical activities in the Waldorf group of kindergarten

Summarize the results of the study and draw conclusions

Scientific research methods: analysis of psychological and pedagogical literature, testing. 1 Organization of theatrical activities in kindergarten and its impact on the development of the child's personality.

Features of theatrical activities in kindergarten

Under theatrical games, scientists understand "theater games", "the plots of which are well-known fairy tales or theatrical performances according to ready-made scenarios." It was found that theatrical games differ from role-playing games not only in the plot, but also in the nature of the game activity. Theatrical games are performance games that have a fixed content in the form of a literary work played by children in faces. In them, as in real art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, specific images are created.

Classification of theatrical games

Artyomova L. V. proposes to divide all theatrical games into two main groups: director's games and dramatization games. The director's games include: tabletop, shadow theater, theater on flannelgraph. Where a child or an adult is not a protagonist, but only creates a scene, he plays the role of a toy character - voluminous or planar. The child acts for him, depicts him with intonation, facial expressions. Dramatization is based on the performer's own actions, who may use puppets. Theatrical games as a kind of plot-role-playing game retain their typical features: content, creative intent, role, plot, role-playing and organizational actions and relationships. But unlike the plot role playing, theatrical ones develop according to a pre-prepared scenario based on the content of a fairy tale, poem, story. Sorokina N.F. a method of working with children on theatrical activities in the classroom was proposed. This work is built in stages: 1) at the first stage, the children collectively reproduce the text of the fairy tale; 2) at the second stage, one child is invited to read for all the characters in the fairy tale; 3) at the third stage, children perform a number of creative tasks (express joy, fear, etc.); 4) at the fourth stage, the fairy tale is read by roles, etc.

Tasks of work on theatrical activities in kindergarten

Arouse interest in theatrical activities, the desire to perform together with a group of peers. Encourage improvisation using the means of expression available to each child (facial expressions, gestures, movements, etc.). Help in the creation of expressive means. To help ensure that the child's knowledge of life, his desires and interests are naturally woven into the content of theatrical activities. Learn to coordinate their actions with the actions of a partner (listen without interrupting; speak, referring to a partner). To learn to perform movements and actions according to the logic of the characters' actions and taking into account the place of action. Cause a desire to pronounce small monologues and extended dialogues (in accordance with the plot of the dramatization). To acquaint children with the history of puppet theater and shadow theater. Teach Management the simplest doll- a puppet with the use of various movements (turning the torso, walking), to coordinate their actions with the actions of partners.

An analysis of the methodological literature shows that when developing theatrical and gaming activities, scientists and practitioners paid special attention to the development of children's creativity. As a result, interesting methodological techniques were found, for example:

Invite the children to independently come up with a story with two imaginary toys and beat it; read a familiar fairy tale to children and invite them to come up with a new one, but with the same characters (O. Lagutkina);

To offer children an unconventional set of dolls for composing scenes and plays for different contrasting roles - Santa Claus and Frog, Snow Maiden and Petrushka (T. Nemenova); - give children the opportunity to play contrasting roles - an old bear and a little bear cub, an angry dog ​​and a defenseless puppy (G. Prima).

Classes in theatrical activities in kindergarten

According to M.N. Makhaneva (“Theatrical classes in kindergarten”), it is advisable to focus on the content of classes on theatrical activities in kindergarten. These may include: - Watching puppet shows and talking about them; - Dramatization Games; - Preparing and acting out various fairy tales and dramatizations; - Exercises for the formation of expressiveness of performance; - Individual exercises on ethics; - Exercises for the social and emotional development of children. Classes in theatrical activities should pursue the simultaneous fulfillment of three main goals: 1. Development of speech and skills in theatrical and performing activities; 2. Creating an atmosphere of creativity; 3. Socio-emotional development of children. Classes are mainly built according to a single scheme: - introduction to the topic, creating an emotional mood; - theatrical activities (in various forms), where the teacher and each child have the opportunity to realize their creative potential; - emotional conclusion, ensuring the success of theatrical activities. Thus, the development of self-confidence and social behavioral skills is facilitated by such an organization of theatrical activities of children, when each child has the opportunity to prove himself in some role. To do this, it is necessary to use a variety of techniques: - children's choice of a role at will; - assignment of the most timid, shy children to the main roles; - distribution of roles by cards (children take from the teacher's hands any card on which a character is schematically depicted); - playing roles in in pairs. During classes, it is necessary: ​​- listen carefully to the answers and suggestions of the children; - if they do not answer, do not demand explanations, but proceed to actions with the character; - when introducing children to the heroes of the works, allocate time so that they can act or talk with them; - in conclusion, in various ways to cause joy in children. 1.2 Methodology of work on theatrical activities in different age groups An analysis of domestic and foreign psychological and pedagogical literature allowed us to conclude that at each age stage, approaches to the methodology of working with children should be different. T.N. Doronova in the book "Playing the theater" offers the following methods and techniques:

Methods of working with children in the middle group

The teacher interests preschoolers in the content of the poetic work that will be used for staging, and expressively performs it. Then ask the children if they liked it or not. Having received a positive assessment, he offers to play him in roles in front of his parents and re-reads expressively to the children. Role work

The teacher briefly, but quite convincingly, gives an artistic description of the place where the staging will take place (forest, house, road, etc.), and again expressively reads the poetic work, involving the children in pronouncing the individual lines that they remember. Analyzes the events that are described in the poetic work. It forms in children an interest in them, faith in the reality of what is happening and a desire to participate in this, taking on a certain role. After the distribution and acceptance of roles, encourages children to fantasize about the appearance of the characters, their behavior, attitudes towards other characters, etc. At the same time, the characteristics can be presented much wider than those events that are included in the dramatization. The discussion ends with an expressive reading of the dramatization by the teacher with the participation of children. Leads the children to the fact that each image in which they have to act must be unique (“What is your kitten - cheerful or sad, what does it look like?” Etc.).

Methods of working with children in the senior group

Children have grown older, and now they are quite ready for volitional regulation of their behavior, so work on theatrical activities with them can be built in two stages. . According to the time of this stage, it is calculated for a whole week. The second stage is entirely devoted to the direct preparation for the performance itself and the performance on stage. At the first stage, the teacher: - interests the children in the content of the work that will be used for staging, and expressively performs it or invites the children to compose a play for their performance themselves; - asks if the children liked the work or not. Having received a positive assessment, the teacher offers to play it in roles in front of the parents and repeatedly reads it expressively to the children. If the children themselves come up with the content, invites each of them to choose a role for themselves. Role work Work on the role with children of this age is built in the same way as in a group environment.

The teacher briefly, but quite convincingly, gives an artistic description of the place where the staging will take place (forest, house, road, etc.), and again expressively reads the poetic work, involving the children in pronouncing the individual lines that they remember. Analyzes the events that are described in the poetic work. It forms in children an interest in them, faith in the reality of what is happening and a desire to participate in this, taking on a certain role. After the distribution and acceptance of roles, encourages children to fantasize about the appearance of the characters, their behavior, attitudes towards other characters, etc. At the same time, the characteristics can be presented much wider than those events that are included in the dramatization. The discussion ends with an expressive reading of the dramatization by the teacher with the participation of children. Leads the children to the fact that each image in which they have to act must be unique (“What is your puppy - happy or sad, what does he look like? And how will you be able to show the audience that he is in a good or bad mood?” And so on. .P.).

Work on sketches Obviously, the question of the depth of stage reincarnation in the broad sense of this concept cannot be faced by children of the sixth year of life. But the life experience of the child, his knowledge and ideas about the surrounding reality allow him to create in his imagination the image of the character whose role he is to play. Therefore, when working with children, T.N. Doronova recommends the following techniques. You should start with the preparation of attributes for staging, costumes. Then you should move on. First, the teacher finds out from each child what the character of his hero is. Based general characteristics divides heroes into two, three or more subgroups. So, for example, the brave and resolute make up the first group, the kind, important, ordinary - the second, cowardly - the third. Then the children of each subgroup are invited to demonstrate the movement of their characters. After the entire subgroup, for example, bold and determined hares, demonstrate their movements, the teacher brings the children to generalized ideas about the nature of the movements of this image. It may sound like this: “Brave, determined hares quickly and confidently walked along the forest path. With their muzzles held high, they looked only up. Their shoulders were straightened, their chests were pushed forward, their paws were stuck in their pants pockets (or folded behind their backs, etc.).” From the characterization of the movements of each subgroup, the teacher proceeds to characterize the speech of the characters. Work is also carried out in subgroups. At the beginning, the teacher, depending on the image and character of the hero, suggests that each child choose the appropriate intonation, and then, just as in the development of movements, he leads the children to generalized ideas about the nature of the speech of this image as a whole. So, for example, if hares are bold and resolute, then they will probably speak loudly, accompanying their speech with paw gestures, looking directly into the eyes of the speaker, etc. at the end of work on the expressiveness of speech, a rehearsal of the performance is held. The teacher always praises the children.

Methods of working with children in the preparatory group

Work with children of six years in theatrical activities is carried out in two interrelated areas. The first direction involves work on the development of attention, imagination, movements of children, the removal of their stage excitement, etc. The second direction is entirely devoted to work on the role and includes the analysis of a work of art, staging, work on the text, discussion of the characteristics of the characters of the characters, selection of means of stage expressiveness, practicing mise-en-scenes, mastering makeup techniques, etc. Helping a young actor work on himself and on his role is quite a challenge. The teacher can effectively solve it, provided that he does not transfer the methods and techniques of schools - acting studios for adults to work with children. T.N. Doronova proposes to take the leading activity of preschoolers - the game as the basis of theatrical activity. Despite the fact that the child "plays the theater", and the professional actor acts according to the laws of acting, they have a lot in common. The poet and art critic Maximilian Voloshin argued on this subject in such a way that art is precious only insofar as it is a game. Artists are children who have not forgotten how to play. Geniuses are those who managed not to grow up. Anything that is not a game is not art. Therefore, when working with children, on the one hand, it is very important to preserve for the stage the richness of their imagination, the liveliness and immediacy of the transfer of various emotional states. On the other hand, it is necessary to equip preschoolers with elementary methods of acting technique. Exercises It is advisable to carry out the work of a small actor on himself in the form of special exercises (simulating certain actions), which, after learning with a teacher, must be introduced into the daily life of children in the game. Exercises for muscle tension: - chop wood; - drag a heavy box; - carry very heavy suitcase; - reach for a high-hanging apple, pick it and quickly hide it, etc. Muscle relaxation exercise: - fall asleep on a chair; - sitting on a chair, brush drops of water from your hands, etc. Exercises to develop imagination : - pass the rope to each other, imagining that it is a snake; - pass each other a cube with the words “frog” or “ice cream”; - pass an empty box to each other and take turns taking out something imaginary from there and beat it. Role work The work of small actors on the role under the guidance of a teacher is built as follows:

Acquaintance with the dramatization (what is it about, what are the main events in it). Acquaintance with the heroes of the dramatization (where they live, what their house looks like, what their appearance, clothes, behavior, relationships with each other, etc.) Distribution of roles Direct work on the role:

- drawing up a verbal portrait of the hero; - fantasizing about his home, relationships with parents, friends, inventing his favorite dishes, activities, games; - composition of various cases from the life of the hero, not provided for by the dramatization; - analysis of the fictional actions of the hero; - work on the text (why the hero says so, what he is talking about this moment thinks). The main task of the teacher is to help the child understand, feel everything that is hidden behind the words of the text; - work on stage expressiveness: determining the appropriate actions, movements, gestures of the character in the playing space, his position on the stage, the tempo of performance, facial expressions, intonations; - preparation of a theatrical costume; - creation of an image with the performance of skillfully applied makeup. Obviously, everything must be justified on the stage: every act, every look. All actions must have some reason, be expedient. The stage behavior of the child must be motivated, having an inner meaning within the framework of the role that he performs. Working on facial expressions, comprehending body language, movements, children gradually master the means of expression that will help them succeed on the stage of the children's theater, feel confident in themselves and their abilities. Thus, we see that each age stage requires its own approach to the methodology of working with children. The difference in approach is associated with understanding the capabilities of children at each age, with the presentation of requirements for the child and the expectation of certain results. 1.3 The impact of theatrical activities in kindergarten on development child's personality. Theatrical activity has a serious impact on the development of a child's personality. According to the famous psychologist A.N. Leontiev, the developed game of dramatization is already a kind of “pre-aesthetic” activity. Game-dramatization is thus one of the possible forms of transition to productive, namely to aesthetic activity with its characteristic motive of influencing other people. Playing a role, a child can not only imagine, but also emotionally experience the actions of his character. This, of course, affects the development of the sphere of feelings of a preschooler. Aesthetic experiences help the child to experience admiration for those manifestations of life that he had not noticed before, and convey them through movements, gestures, facial expressions and other means of expression. The collective nature of theatrical activity makes it possible to expand and enrich the experience of children's cooperation in both real and imaginary situations. When preparing a performance, they learn to identify the goal, the means to achieve it, plan and coordinate their actions, and much more. Acting in roles, children gain experience of various kinds of relationships, which is also important for their social development. In addition, theatrical activity is fraught with great opportunities for the correction of personal development. So, for example, V.G. Maralov and L.P. Frolova in her recommendations to teachers on the prevention of aggression and the formation of peacefulness in children write: “Games have ample opportunities - dramatization, when children play some situations, take on the roles of positive and negative characters; an aggressive child should often be placed in contrasting positions: either in the position of an aggressive hero, or in the position of a kind one - this makes it possible to fix different positions in the mind and subconscious, to accept the value of precisely non-aggressive, non-violent behavior. Theatrical activity is used by psychologists in working with socially impulsive and socially passive children, in preventing and overcoming a child's self-doubt and his abilities, anxiety and fears. According to T.I. Petrova, theater is a test of thinking, memory, speech, attention, communication skills. In the work "Theatrical games in kindergarten" Petrova T.I., Sergeeva E.A., Petrova E.S. note that in the process of theatrical activity, the development of the child's personality takes place, namely:

1. in the process of theatrical games, children's knowledge of the world around them expands and deepens; mental processes develop: attention, memory, perception, imagination; there is a development of various analyzers: visual, auditory, motor speech, kinesthetic; vocabulary, grammatical structure of speech, sound pronunciation, coherent speech skills, melodic-intonation side of speech, tempo and expressiveness of speech are activated and improved; motor skills, coordination, smoothness, switchability, purposefulness of movements are improved; the emotional-volitional sphere develops; behavior is corrected. a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed; the development of creative, search activity, independence is stimulated; participation in theatrical games gives children joy, arouses interest, captivates them.

Alexandra Petrovna Ershova (Head of the Theater Laboratory of the Institute of Art Education of the Russian Academy of Education) in her article “Is theater harmful to a preschooler?” offers a different look at the pros and cons of theatrical activities in kindergarten and school. “From my point of view,” Ershova says, “teachers and educators have certain and persistent stereotypes: it is generally accepted that theater at school or in kindergarten is always good. There is nowhere for bad and harmful to come from. The fact is that the professional theater and the kindergarten theater have completely different goals and objectives, although the means to achieve them are largely the same. Rather, what is a means in a professional theater (for example, the ability to memorize a text, improvisation, the ability to move, hear a partner, articulate correctly, the ability to work in a team, etc.), becomes an end in itself in a school-kindergarten theater. The aims of a professional theater are aesthetic, it must create a kind of spectacle that lives according to the laws of beauty. In kindergarten, there should be no spectacle at all. ” According to Ershova, the child's habit of being the object of general attention from an early age causes him significant psychological harm. Starting with the fact that for a kid, performing in front of the audience is a colossal psycho-emotional overload, trauma, and ending with the fact that this leads to various deviations not only in his behavior, but also in his mind. Imagine: here he is, so small, standing on the stage under the spotlight, all eyes are fixed on him. Who among us has not seen the eyes of preschool children before the performance! Yes, in addition to the fear that you need to say everything in time, not to forget where to stomp your foot, and where to sing, there is nothing else. The poetess L. Fadeeva very accurately conveyed this emotional state of the child in the poem "First Performance": I am standing on the stage. The hall is silent. And I am silent, I will not remember the verse! I stand and think about whether now to roar or later. Most children are afraid to go on stage. They only do so in anticipation of subsequent praise. But praise can also be harmful. The child, of course, should be encouraged, but one should not praise him for being a good actor. It implies that the other child is a bad artist. And if we want to praise a child, we must certainly remember that we should praise not for the fact that “the role played well and the performance turned out well”, but for the fact that I learned the words well, stamped my foot in time - well done! “In working with children as a director and actor, - says Yershova: there is an eternal problem - the problem of excessive pressure. There are always many adults. With this approach, the child is constantly explained what, how and for what needs to be done. An adult becomes unbearably large, he constantly puts pressure on the child with his superiority, erudition, and skill. We often underestimate what a strong partner, at least potentially, is the kid with whom we prefer to speak in an imperative mood. I often remind my students - teachers: "You are no longer Mozart, but your student may be!" We must not forget about it. You need to be more modest. Children should be given the opportunity to play Thumbelina, Cinderella, etc. as naturally as possible. The purpose of such an activity should be this: a theater in kindergarten should not be done so that the result is a kind of spectacle that is not ashamed to show, but so that children have a natural environment for the development of fantasy and imagination, the development of speech and behavioral skills. skills." Conclusion: Thus, theatrical activity is a purposeful process of formation creative personality, contributing to the development of the ability to perceive, evaluate, feel the beauty in the world around us and convey one's attitude towards it, the ability to perceive objects as they are, to adapt to a particular social environment. First of all, theatrical activity is joy, laughter, a bright flash of emotions, the pleasure of playing. This is an activity in which dreams, desires, phobias and much more are realized and played out. When working with children, theatrical activity should be given due attention, since it is it that provides unique opportunities for the harmonious development of the child's personality. 2 Features of the development of imagination in preschoolers 2.1 The concept of imagination and its connection with other mental processes Nemov R.S. in his book "Psychology" he says that considering the process of creating something new by a person, we are faced with one of several phenomena of the human psyche, the essence of which is that initially in his mind a person creates an image that does not yet exist in reality . The basis for creating such an image is the experience of a past life, which a person receives by interacting with objective reality. The process of creating new mental images is called imagination. Imagination is the process of transforming ideas that reflect reality and creating new ideas on this basis. It is generally accepted that the imagination was born in the process of labor - human activity associated with the transformation of objects in the real world. For example, a person uses some tool, notes or discovers some of its imperfection. Then he can imagine, in his mind, an image of a more perfect instrument. During historical development man, imagination began to manifest itself not only in labor, but also in the fantasies and dreams of man. Extremely complex forms of imagination appeared, which are necessary in scientific, technical and artistic creativity. The process of imagination always proceeds in close connection with two other mental processes - memory and thinking. If a person is faced with the task of reproducing the representation of things and events that were earlier in his experience, we are talking about memory processes. But if the same representations are reproduced in order to create a new combination of these representations or to create new representations from them, we speak of the activity of the imagination. Close links exist between imagination and thinking. This is especially evident in a problematic situation. Faced with the unknown, a person begins to analyze, synthesize, correlate the perceived with past experience, and on this basis tries to penetrate into the essence of the relevant facts and phenomena. And in this he is helped not only by thinking and memory, but also by imagination, which manifests itself in the reconstruction of a holistic image that reproduces the missing elements. Imagination is closely related to the processes of perception. It is included in perception, influences the creation of images of perceived objects, and at the same time itself depends on perception. Being included in the perception, the imagination enriches new images. For example, the perception of works of art becomes more meaningful, emotional, when imagination is involved in it. 2.2 The main directions for the development of imagination in preschoolers Venger I.A. and Mukhina V.S. ("Psychology"), like many other psychologists, believe that at the beginning of preschool childhood, imagination is mostly involuntary, passive. The child does not set himself the special task of imagining or imagining something and does not have the necessary actions for this. Imagination images arise in the course of games, drawing, construction, listening to stories and fairy tales as an additional result of the actions of perception and thinking performed by the child. In the middle preschool age, under the influence of the complication of the child's activity and the new requirements imposed on him by adults, he faces the task of pre-planning the game, drawing, remembering the material, and then reproducing it. In order to be able to solve these problems, the child begins to use methods that he learns from adults. Then the action of imagination begins to take shape, active imagination is born. In the first half of preschool childhood, as in early childhood, recreative imagination prevails, which consists in recreating the images described in poems, fairy tales, and adult stories. The features of these images depend on the experience of the child, the material accumulated in his memory, and the level of understanding or what he hears from adults, sees in the pictures. However, the experience of the child is poor, the level of understanding is still quite low, so the images that arise are often far from reality, contain a mixture of the most diverse elements drawn from different sources. In particular, they often mix the real and the fabulous, the fantastic. To adults, this often seems to be a manifestation of the power of the imagination, but in fact it is a manifestation of a lack of experience and criticality, an inability to distinguish the possible from the impossible. The child tries to understand, and adults believe that he fantasizes. A distinctive feature of the images of imagination in preschoolers is their brightness and emotionality, the ease of occurrence and change. They arise and change for any reason. The influence of the child's feelings on his imagination is reflected in the fact that the child involuntarily ascribes to himself the qualities that he would like to have, first of all, the qualities of an adult. One of the manifestations of the brightness of the images of the imagination that arise in the child is that the child believes in them almost as in a real event, a phenomenon. The constant emergence of images of the imagination helps the child to learn about the world around him, to move from the known to the unknown, but the lack of purposeful actions of the imagination leads to the fact that the emerging images are scattered. They do not combine into a coherent picture, but depend on changing external conditions, which each time serve as a pretext for the emergence of new images. The main acquisition in the development of the imagination of an older preschooler is the mastery of active imagination and arbitrary memorization. Senior preschool age is the age at which the child's active imagination acquires independence, separates from practical activity and begins to precede it, it unites with thinking and acts together with it in solving cognitive problems. Acquiring an active character, the recreating imagination of the child reproduces reality much more fully and more accurately than before. The child ceases to confuse the real and the fictitious when the imagination does not recreate the given description of the image, but directs it to build its own idea. It approaches the creative imagination of an adult. However, unlike him, the child's imagination does not participate in the creation of socially valuable products of labor. This creativity is “for oneself”, there are no requirements for realizability, productivity. At the same time, it is of great importance for the development of the very actions of the imagination, preparation for real creativity in the future. The main "school" of active imagination is a role-playing game. Children build the idea of ​​the game, coming up with a plot gradually, during the game. But over time, the construction of the concept of the game begins to precede the game itself. Now, before actually playing, children play it out in their minds, creating a coherent picture in their imagination. Of great importance in mastering the ability to build a game plan is its joint discussion by several children. At the same time, they complement each other, what one came up with becomes an impetus for the imagination of another. But the idea is not yet an unfolded picture of the game in the imagination. It outlines only the general scheme of the future game, while the details arise in the course of activities. The share of active imagination in inventing and deploying the game increases with the transition of the child to director's games, where the whole plan is built and implemented by him. Using toys only as external supports. Gradually, such a game begins to take place without real action, entirely in the imagination. From here, one step to the imagination, which does not need external supports at all, flows entirely in the mind. Born in the game, active imagination is transferred to other activities - drawing, designing. General features images of a preschooler's imagination - their brightness, emotionality, ease and speed of occurrence acquire a new meaning when the imagination begins to obey a single goal, to participate in the construction and implementation of ideas. These features lead to the originality of the ideas and results of children's creativity. 2.3 Mechanism of creative imagination According to domestic and foreign psychologists, including L.S. Vygotsky (“Imagination and creativity in childhood”), imagination is an extremely complex process in its composition. At the very beginning of the process, there are always external and internal perceptions that form the basis of our experience. What the child sees and hears is thus the first reference points for his future creativity. He accumulates material from which his fantasy will subsequently build. This is followed by a very complex process of processing this material. The most important components of this process are dissociation and association of perceived impressions. Every impression is a complex whole, consisting of many separate parts. Dissociation lies in the fact that this complex whole is, as it were, glued into parts, individual parts are distinguished predominantly in comparison with others, some are preserved, others are forgotten. Dissociation is thus necessary condition for future fantasy activities. The ability to highlight individual features of a complex whole is important for the whole creative work person over impression. The process of dissociation is followed by a process of change to which these dissociated elements undergo. This process of change or distortion is based on the dynamism of our internal nervous excitations and their corresponding images. Traces of external impressions do not pile up motionless in our brain like things at the bottom of a basket. These traces are processes, they move, change, die, and in this movement lies the guarantee of their change under the influence of internal factors that distort and process them. An example of such an internal change is the process of exaggeration and underestimation of individual elements of impressions, which is of great importance for the imagination. The impressions given in reality are modified, increasing or decreasing their natural dimensions. The passion of children for exaggeration, like the passion for exaggeration of adults, has very deep inner foundations. These grounds lie for the most part in the influence which our inner sense exerts on outer impressions. We exaggerate because we want to see things in an exaggerated way, because it suits our need, our internal state. The next moment in the composition of the processes of imagination is association, i.e. association of dissociated and changed elements. This association can take place on various basis and take various forms from a purely subjective association of images, to an objectively scientific one, corresponding, for example, to geographical representations. And finally, final and last moment The preliminary work of the imagination is the combination of individual images, bringing them into a system, building a complex picture. And the full circle of this activity will be completed when the imagination is embodied, or crystallized, in external images. Let us dwell on those basic psychological factors on which the course of all these separate processes depends. The first such factor is the human need to adapt to the environment. If the surrounding life does not set tasks for a person, then there is no basis for the emergence of creativity. The activity of the imagination depends on experience, on the needs and interests in which these needs are expressed. Of course, the fact that the imagination depends on combinatorial abilities and exercises in this activity depends on technical skills and traditions, i.e. from those patterns of creativity that affect a person.

2.4 The influence of theatrical activities on the development of the creative imagination of preschoolers.

The influence of theatrical activity on the development of creative abilities was studied by L.S. Vygotsky. His book "Imagination and Creativity in Childhood" is devoted to this problem. The creative activity of L.S. Vygotsky calls such human activity that creates something new, whether it is created by creative activity, some thing of the external world, or a well-known construction of the mind or feeling, which lives or is found only in the person himself. Any such activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images and actions, will belong to the range of creative or combining behavior. This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy. The closest thing to children's creativity is children's theatrical creativity or dramatization. Along with verbal creativity, dramatization or theatrical production is the purest and most common type of children's creativity. This is due to two main points: firstly, the drama based on action, on the action performed by the child himself, most closely, effectively and directly connects artistic creation with personal experience. The dramatic form of living out the impressions of life lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of an adult. External impressions from the environment are grasped and concretized by the child in imitation. For unconscious spiritual movements, by the power of instinct and imagination, the child creates those situations and conditions that life does not give him. Children's fantasies do not remain in the realm of dreams, as in adults. The child wants to translate any of his inventions, impressions into living images and actions. In dramatic form, a complete circle of imagination is formed, which was mentioned above. Here the image, created from the elements of reality, is embodied and realized again in reality, even if it is conditional. The desire for action, for embodiment, for realization, which is inherent in the very process of imagination, here finds its full realization. Another reason for the closeness of the dramatic form for the child is the connection between dramatization and play. Drama is closer than any other kind of creativity, is directly related to the game, and contains elements of the most diverse types of creativity. This is the greatest value of a children's theatrical production. The game is the life school of the child, educating him spiritually and physically. Its significance is enormous for the development of the character and outlook of the future man. We can consider play as the primary dramatic form, distinguished by the precious feature that the artist, spectator, playwright, decorator and technician are united in one person. In it, the child's creativity has the character of synthesis - his intellectual, emotional and volitional areas are excited with the direct force of life, without undue stress at the same time of his psyche. Thus, after analyzing the work of domestic psychologists, we can conclude that in preschool childhood, special attention should be paid to the development of creative imagination. An effective means of developing creative imagination is theatrical activity of preschoolers.

. Features of the organization of theatrical activities in the conditions of the Waldorf group of the kindergarten

3.1 Goals of education. Based on the methodological guide for educators of preschool educational institutions and groups of the Interregional Public Organization "Commonwealth of Waldorf Kindergarten Teachers" "Birch", the goal of education in a Waldorf kindergarten is creation of conditions in which the development of the individuality of a growing child leads to his formation as a free, moral and creative personality in the process of personality-oriented interaction between children and adults in a team of different ages based on the self-development of adults and in harmony with nature. Subgoal system:

Full living by a growing child of childhood as the most important stage of the life path, during which there is a deep penetration into the foundations of being through rhythmic life processes(rhythm of the day, week, year) and interaction with people of different ages. Support for the nature of childhood in a team of different ages. Introducing children to the basics of basic culture. Socialization of children in a group of children and adults of different ages, taking into account the traditions of family education. Widespread use of the ethno-cultural component in the holidays and in the daily life of the children's team and family. Formation of ecological consciousness on the basis of daily observation of the beauty of the natural world. Creation of a pedagogical community of teachers and parents.

One of the most important ways of realizing these goals of the Waldorf educational system is theatrical activity, which is based on such components as daily telling and staging of fairy tales by the educator and children, daily musical and rhythmic games, staging performances for the holidays of the year with children 5-7 years old. Tasks of theatrical activities in the Waldorf kindergarten:

Raise a steady interest in theatrical gaming activities; To expand the children's understanding of the surrounding reality, to clarify the children's understanding of the objects and phenomena surrounding them; Develop dialogic speech in the process of theatrical gaming activities; To teach to use different forms of interaction between children in a theatrical game; Stimulate the development of attention, memory, thinking, imagination; Expand elementary mathematical, ecological, moral ideas through theatrical activities; Encourage children to improvise on the theme of familiar fairy tales, poems and stories, to invent new ones; Develop an idea of ​​the moral qualities of a person, emotional awareness of oneself; Cultivate initiatives and imagination in making puppets for your own performances;

3.2 Telling a fairy tale. important place in the pedagogical process of the Waldorf kindergarten, a fairy tale is given. It becomes one of the main means of moral education, has a therapeutic aspect, since its images are addressed to the very soul of the child. The significance of the fairy tale is also great in the development of children's imagination, the ability to imagine, in enriching the child's speech, in the development of his emotional life, in helping to overcome the difficulties that are characteristic of personality development. After all, everything that children hear from adults, first of all, they associate with their lives. Each fairy tale gives you the opportunity to visit anyone in your fantasy, and a prince, and an evil dragon, and a wizard and a fairy, and a poor stepdaughter, etc., which in turn cultivates in the soul of a child the forces of goodness, justice, nobility and love. The story is told to children every day. She has her own specific time in the rhythm of the day, place and ritual of storytelling. The same tale is told over the course of one week. This gives the child a sense of inner peace, and also provides an opportunity for children to get used to various fairy-tale images quite strongly. Such elements of language as sound, imagery, rhythm, melody are the means that directly and emotionally connect the child with the world of folk culture. There are a number of methodological requirements for the narrator. For example, it is important that a fairy tale be told orally, and not read from a book. It is important to preserve the folk text, and not to tell fairy tales in a free way. The process of organizing listening is important, in which the child's hearing is concentrated on the speech of the narrator. The teacher must be fluent in expressive literate speech, since children, after or while listening to a fairy tale, pronounce individual sounds and words, focusing on what was heard. big meaning lies in the special calmly - chanting manner of the narrator, in the clear, distinct sound of the word. This creates the most favorable opportunities for the ancient wisdom stored in tales, since the personality of the narrator himself recedes into the background. The fairy tale with children is not analyzed, the educator does not comment on its plot, does not analyze it, does not ask children to memorize or specifically retell the fairy tale. At the same time, children can use fairy tales in their games. Reincarnating in different characters, they once again experience the meaning of the fairy tale. Thanks to repeated repetition, the texts of fairy tales are remembered by children almost verbatim. Before the fairy tale, the children, together with the teacher, sing a short song: "" Fairy tale come, we want to hear you "". This naturally focuses the attention of children. There is a certain ritual after the fairy tale: the teacher distributes treats to the children (a piece of apple, peanut or candy) and sings a song: "" A little boy in a small sea in a small boat floats. A small sail on a small mast drives the boat forward. To a little bay in small city The boy has finally arrived. A small sail is lowered on the mast, a small fairy tale is over. 3.3 Puppet show. Listening to a fairy tale, children internally draw pictures, images for themselves, which contributes to the development of fantasy. At the same time, from time to time the life of these internal images should be enriched at the expense of external images. It is this important function that the puppet theater performs in the Waldorf kindergarten. Acting, moving dolls evoke in the child ""ideas about the living"", evoke inner mobility. The attraction of the puppet theater for the viewer is directly related to the fact that the three-dimensional image, which is in a motionless state, the picture begins to move before our eyes. And the movement is not mechanical, random. But internally expedient and, therefore, one might say, alive. The picture does not just move, but "comes to life" before the viewer's eyes, which has an unusually strong effect on the child's inner life. A rich children's imagination plays a large role in such experiences. The content basis of the puppet show shown by educators to children is usually a folk tale, and the puppet theater turns out to be a peculiar form of its presentation. At the same time, children experience fairy-tale images in a slightly different way than with normal daily listening to a fairy tale. Shows a puppet show teacher. At the same time, considerable preparatory work is required, in particular, to develop the scene on which the fabulous action will unfold. As a rule, the stage is organized on one or two tables, and the main material for creating the landscape on which the fairy tale will unfold is fabrics of different colors and various natural materials. Much attention should be paid to the puppets, the characters of the performance, the expressiveness of their images. As a rule, all puppets for the theater in the Waldorf kindergarten are made by hand. An important condition when creating a theatrical puppet, it is its prototype, the avoidance of external detailed elaboration, but, at the same time, the good thoughtfulness of the internal character. A similar requirement applies to the theatrical landscape. Its simplicity and expressiveness, as well as the characteristic color scheme, understandable to the child, awaken his imagination, allow him to unconsciously penetrate into the moral essence of the tale. The prototype dolls also leave a fairly large field for the activity of the child's imagination. For puppet shows, Waldorf groups use figurines, puppets, hand puppets, and finger puppets. The teacher can involve children 6-7 years old in the performance of individual roles, after several performances, when the children are already able to imitate an adult and know the text of the fairy tale well. When the week ends, the children are allowed to show the story themselves in the afternoon or next week. Children aged 5-7 distribute roles themselves, include younger children as spectators or performers of simple roles. The puppet show usually lasts 10-15 minutes. It takes place traditionally for each group at a certain time of the day and in a certain place in the children's room. It is important to show a puppet show at least once a month. 3.4. Puppet show during free play. This type of performance is played independently by children. The impulse for such a game, a kind of children's artistic and creative activity, the child receives from a number of joint activities with the teacher and, first of all, from puppet shows shown by adults. A small performance is held before the free game. One performance is shown during the week, the text is usually a rhythmic fairy tale or poem, the stage is a table, the teacher's knees, or a play landscape is built on the floor. The first days the teacher shows and tells himself, then one of the children wants to help. Children, thanks to their developed ability to imitate, as well as the simplicity of the expressive theatrical means used by the educators themselves, learn a lot from the puppet shows they have watched. So, often, the fairy tale plot itself is adopted. At the same time, children often and willingly improvise, easily writing their own stories. Thanks to this, the vocabulary is enriched, the child masters various speech forms, uses both prose and poetic speech. Often, in children's fairy tales, the state of mind of the child is reflected, which helps educators to understand the reasons for his behavior, personal manifestations. Children "lose" family conflicts, grievances, this is a kind of therapy for them. Such performances are arranged by children during free play, that is, when the child is given a large space for self-expression in those activities that he chooses of his own free will. In order for a puppet show of this kind to take place, children must have at their disposal a sufficient number of natural material, shreds of fabric of various colors and textures and, of course, theatrical puppets themselves. 3.5. musical tales. have great therapeutic value and musical tales when the storytelling is accompanied by musical sounds. In them, children do not rely on their usual visual image. Sounds build a different image, each character or action is accompanied by his characteristic musical sound. Working on this fairy tale, I also gradually include children. This requires not only great concentration, but also responsibility, since the musical noise instrument in the hands of a child wants to sound all the time, and if it sounds all the time, the fairy tale will not work, and the image will collapse. Therefore, it is important to do everything on time. It is very interesting that even small children (4 years old) can participate in this, especially if the tale is not very long. Watching children, you can see how interesting the sound becomes for them, how they extract it, look for it in the world around them and nature, which becomes important for modern life oversaturated with loud mechanical sounds. Since the sounds of nature are always more harmonious. They act on a person relaxing, restore strength. It is not for nothing that quiet music accompanied by the sounds of nature is selected for relaxation. And children begin to look for these sounds, listen and hear them. They notice what used to pass by, remaining unheard. For example, drops, birdsong, wind noise, rustling leaves. 3.6. Performances-improvisations. You can not only listen and show fairy tales, but also compose yourself. small improvisation performances after modeling, needlework with what the children themselves did, it helps to revive the image, fill their work with meaning. Children become more confident in life, as they understand that everything they need to play, they can create themselves. In the future, in their work they try to more carefully convey the image, work on the details. For example, in modeling, they began to sculpt not only the character, but also the attributes surrounding him. Children began to combine their efforts, creating collective compositions, agreeing on what everyone would sculpt. This indicates a higher level of social and moral development of children. And in a group where there are children of different ages, it is always more complicated relationship.

3.7. Daily musical and rhythmic game.

The daily musical-rhythmic game is a kind of activity with children. The teacher as an actor, using poems, melodies, depicting the movements of people, animals, features of other characters in the plot, plays a small performance in front of the children, and the children repeat, sing along, reproduce it through imitation. Such a “round dance” in the Waldorf kindergarten includes songs, poems, finger, gesture, folk outdoor games, united by a common plot. The content of the game becomes a fairy tale, processes occurring in nature, or events from people's lives. In the methodology of working with children in the Waldorf kindergarten, there are no special requirements for the performance of songs, poems and movements. Children move and repeat the text of the game due to their desires, capabilities and age characteristics. It was said above that each child can carry in his performance of the role a content that is much richer than what an adult shows him. That is why in a musical-rhythmic game the main burden falls on the leading educator, on the expressiveness of his performance, but only spontaneous imitation is required from children. In the process of forming a motor image, imagination is activated. The child, imitating the movement of an adult, actively works on creating an internal image and creatively expresses it in his own movement. The need to form the expressiveness of movements is also associated with this task. With the help of imagination, the child not only builds a new image, penetrates into it, but also conveys meaning to another person. For any object, phenomenon and character, there are gestures and words that children, together with teachers, play, pronounce, sing. This helps shy, withdrawn children feel included in the overall game, and slows down active, impatient children, helps them move along with everyone. The theme of musical rhythm game always in tune with what is happening in the surrounding world, nature, contributes to the preparation for the upcoming holidays, creating a certain mood. While playing, children learn many concepts and conceptual connections. And the daily pronunciation of the same verses for a month allows even the smallest to remember a rather large text in volume. In addition to the round dance in the rhythm of the day, there are games in the circle of less motor intensity, but no less interesting for children in terms of their content. This is a morning circle and a daily complex of finger and gesture games, where the heroes of the performance are the finger, the hand of the child. In these games, the gesture of the child is animated, he becomes a speaker. And you can observe how older children, pronouncing any words, come up with their own gestures, which helps them remember the poem and makes it more visible, filling it with an image. There are a lot of such games in our group - from the simplest ones, but loved by all children, to quite complex ones, which are accessible only to the elders, which they are very proud of, and for kids this is always an example that you want to imitate. Gestures in games range from very small, which are made only with the fingers, to large movements with the whole body. The teacher always tries to select these gestures very carefully, to think through each of them, since a successfully found gesture is always an attractive game. Playing a musical-rhythm game can take place at home or during free play. Then it is often seen how deeply the images presented by the educator enter the child, or how the child himself is ready to fulfill them. The duration of this peculiar game is from 10 to 30 minutes. Usually a certain kind of such a performance is played by a group during a certain era, and the next new era, as a rule, has its own daily musical - rhythmic game. Playing every day in such a round dance, children easily and joyfully imitate the simple artistic movements of the educator, naturally learn, memorize poems, songs, movements without special memorization. Such a daily musical and rhythmic game provides a variety of opportunities for speech development, has a beneficial effect on the sphere of feelings of the child, the rhythmic system of the body, helps to revive fantasy, and develops social abilities. 3.8. Staging performances with children 6-7 years old in the Waldorf group. The last year before school in children passes in Waldorf groups differently than 3-4 years before. The acquisition of new abilities, the development of motor skills, the ability to play for a long time and purposefully, sociality, the ability to build performances, take over in a musical-rhythmic game leading role, the ability to help adults and complete tasks - all this requires educators to have a special approach to this group of children. And one of the most important directions in this work is staging performances for some holidays of the year. The tasks of working with children of six years in the production of performances are: the development of attention, imagination, movements of children, what plays important role in the formation of school readiness. - work on the role, analysis of a work of art, staging, work on the text, discussion of the characteristics of the characters of the characters, selection of means of stage expressiveness, working out mise-en-scenes, etc. The basis of theatrical activity is the leading activity of preschoolers - the game. The game manifests imagination, the immediacy of the transfer of various emotional states. Exercises with elements of theatricalization in the Waldorf group are performed in numerous musical and rhythmic games throughout the entire time the child is in the group. Due to the fact that in musical rhythmic games there is a change of mood, tempo, rhythm, etc., during the performance, the readiness of six-year-old children for such activities is manifested, the children naturally enter the role, creatively relate to it. The task of the educator is to help preserve the child's individuality in the performance. The work of small actors on the role is structured as follows:

Acquaintance with the staging (what is it about, what are the main events in it, what characters, their appearance, relationships). Distribution of roles Direct work on the role:

- work on text. The main task of the teacher is to help the child understand, feel everything that is hidden behind the words of the text; - work on stage expressiveness: determining the appropriate actions, movements, gestures of the character, facial expressions, intonation, his position on the stage. - preparation of theatrical suit. Everything must be justified on the stage: every act, every look. The stage behavior of the child must be motivated, having an inner meaning within the framework of the role that he performs. The choice of performance is special. The performance is selected by educators based on the qualities inherent in the children of this issue. Each person has his own Kashchei the Immortal and his own Ivan Tsarevich, each has good and evil, darkness and light. The child encounters both good and bad in the world. We are unable to protect him from evil, cruelty and violence, but we can help him grow in his soul his Ivan Tsarevich or the Beautiful Princess, who would be able to overcome the Serpent Gorynych, and the evil giant - both in the world around him and in himself. Grow a good hardworking stepdaughter and defeat the evil stepmother. Invaluable assistance in this is provided by participation in the production of a fairy tale. Living the role helps the development of the child's soul, his personal qualities, contributes to the development of understanding of other people, motivation of actions, emotional flexibility. 3.9. parent performance. Parents were also very interested in working on this topic. Elements of theatricalization enter the life of some families. Parents together with their children prepare festive home performances. For example, a performance-gift for a birthday or for the arrival of a grandmother. Traditional steel parent performances to Knights, Christmas and Easter group holidays. Parents are actively involved in the work of workshops, where we, mastering various crafts and needlework, make new attributes and puppets for home and group theater.

Empirical part

To confirm or refute the research hypothesis, we examined the level of development of the creative imagination of children in two groups of kindergarten No. 81 (working according to the traditional program: group No. 7 and according to the program of the Waldorf kindergarten: No. 4) at the beginning (stating experiment) and at the end of the school year (control experiment). The study involved children aged 6-7 in the Waldorf group and children in the preparatory group for school. To diagnose creative imagination, we used the technique of T.D. Martsinkovskaya: test "Blotography". During the year, in the experimental group No. 4, work was actively carried out aimed at the development of theatrical activities of children. The results of the experiment are:

Test "Blotography"

(T. D. Martsinkovskaya "" Diagnostics mental development children"")

Purpose: to study the level of creative imagination

Material: landscape sheet of paper, brush, paint Conduct: the child is offered a drawing: a blot, which is obtained after folding a sheet with paint that has not dried on it in half. The child carefully looks at the drawing and tries to see what the resulting image looks like: “Look what happened? What do you see in this image? What did the artist want to draw? Analysis of the results: depending on the number of solutions found, three levels of imagination development are distinguished: 1-2 solutions - low level 3-4 - medium level 5 and more - high level

The results of the test carried out in the Waldorf group No. 4 on 10/4/2007.

Danil K., 6 years old: In the image (No. 1) I saw: a carpet, fallen trees, apples, the sun - 4 objects - the average level of development of creative imagination Anton K., 6 years old: In the image (No. 2) I saw: a swamp, a forest, a carpet - 3 objects - the average level of development of creative imagination Katya S., 6 years old: In the image (No. 3) I saw: a butterfly, a sunny meadow, Baba Yaga's house (blue), a yellow field with people, tall grass on it (in the middle of the leaf); blue bridge; sunrise in the forest - 7 objects - a high level of development of creative imagination Lena R., 6 years old: In the image (No. 4) I saw: the sea, the island, the sunset - 3 objects - the average level of development of the creative image Tolik T., 6 years old: In the image (No. 5) I saw: the sun, the letter “H”, two wheels from a large car, dumbbells, sand with blood - 5 objects - a high level of development of creative imagination Dasha P ., 5 years: In the image (No. 6) I saw: a candle burns in the dark, a fire, a sunset - 3 objects - the average level of development of a creative image Conclusion:- 2 children with high level- 33.3% -4 children with an average level - 66.6%

Formative experiment plan:

Work plan for the development of theatrical activities of children

in the Waldorf group of GDOU No. 81 in the 2007-2008 academic year.

September 3-7 "Turnip", finger performance. September 10-14 "Puff" performance with figurines. September 17-21 "How the worm found a house" performance with real vegetables. September 24-28 "Pot of porridge" performance with figurine dolls. October 8-12 "Danila and the Serpent" performance with figurines. October 22-26 "Nikita Kozhemyaka" puppet performance. November 5-10 “Here is a mountain and there is a mountain…” performance on knees with felted dolls. November 12-16 "Little Men" performance with figurine dolls. November 19-23 "Dwarf and Giant" puppet performance. December 17-21 S.Cherny "Christmas" stained glass performance. December 29 "The Nutcracker" drama performance. January 14-18 "Wolf Song" performance with puppets-figurines. February 4-8 "Frost Red Nose" musical performance with puppet figurines. February 10-15 "Mrs. Metelitsa" March 3-7 "Bast and Ice Hut" drama performance. March 17-21 "Snegurochka" performance with figurine dolls. April 7-11 "Three goats and a troll" performance with wooden toys. April 14-18 "Vorobishko" musical performance with figurine dolls. April 28-30 "Stream and Stone" performance on the table with knitted animals. May 22 "Cinderella" drama performance. June 2-7 “About a caterpillar that always wanted to sleep” performance on knees with felted toys. September 24-28 "Pot of porridge" performance with figurine dolls.

Plan for showing children 6-7 years of performances.

September 28th. Harvest Festival - "Pot of porridge" performance with puppets-figurines. December 29th. New Year's holiday - "The Nutcracker" drama performance. February 8th. Open class"Learning to play musical instruments" - "Frost Red Nose" musical performance with puppet figurines. March 7 "Bast and ice hut" dramatic performance. April 18 "Vorobishko" musical performance with figurine puppets. May 22 "Cinderella" drama performance at the graduation party.

The results of the test conducted in the Waldorf group No. 4 on May 17, 2008.

Danil K., 7 years old: In the image (No. 1) I saw: a forest, a sun, a clearing, a man with a long nose and a hat, a crooked tree, a mitten - 6 objects - a high level of development of creative imagination Anton K., 7 years old: In the image (No. 2) I saw: an airplane, a hand, in the lower right corner - the number “6” - 3 objects - the average level of development of creative imagination Katya S., 6 years old: In the image (No. 3) I saw: sunset, river, sun, bridge, spools on paper - these are tiny people, the sea, a ship with a sail and a flag, clouds, a mushroom, a dragonfly, a stone - 11 objects - a high level of creative imagination Lena R., 6 years old: In the image (No. 4) I saw: a butterfly, a gate, a sea, a sky, a rocket - 5 objects - a high level of development of creative imagination Tolya T., 6 years old: In the image (No. 5) I saw: the sky, fog near the mountains, smoke in the sky from a flying plane, colored cubes, a bouquet of flowers, an airplane at a festival, a color package - 7 objects - a high level of development of creative imagination Dasha P., 6 years old: In the image (No. 6) I saw: the princess looks out the window, the pipe, the palace - 3 objects - the average level of development of creative imagination Conclusion:- 4 children with a high level - 66.6% - 2 children with an average level - 33.3%

The results of the test carried out in the traditional group No. 8 on 19.05.2005.

Ilya S., 6 years old: In the image (No. 1) I saw: a hare, clouds, the sun - 3 objects - the average level of development of creative imagination Marina K., 6 years old: In the image (No. 2) I saw: a heart, a road, the sun's rays - 3 objects - the average level of development of creative imagination Vera K., 6 years old: In the image (No. 3) I saw: the sky, a girl, a ship, the sun in the clouds, a submarine - 5 objects - a high level of development of creative imagination Margarita T., 6 years old: In the image (No. 4) I saw: a Christmas tree, a road, a clearing, a forest, a small fox and a hare in the forest - 6 objects - a high level of development of creative imagination Nikita Sh., 6 years old: In the image (No. 5) I saw: mountain, fog, ice - 3 objects - the average level of development of creative imagination Vova V., 6 years old: In the image (No. 6) I saw: a hurricane, a TV, a black hole - 3 objects - the average level of development of creative imagination Conclusion:- 2 children with a high level -33.3% - 4 children with an average level - 66.6% Outcome: The results of the experiments indicate that this system of work (regular showing of puppet shows, theatrical activities during the musical and rhythmic game, the organization of performances by children during free play, children's performances at holidays) is an effective means of developing creative imagination. So, during the year of regular and purposeful work, the indicators of the level of development of creative imagination have increased. The number of children in the experimental group with a high level of development of creative imagination increased from 33.3% to 66.6%. While in the control group, the indicators remained at the same level.

CONCLUSION

As a result of the analysis of psychological and pedagogical literature and the practical part of the study, we came to the conclusion that for the harmonious development of the personality of a preschooler, systematic, purposeful work is needed to establish theatrical activity, which is an effective means of developing creative imagination. In the course of the study, the psychological and pedagogical literature on the problems of theatrical activity and the development of the imagination of preschoolers was studied, the significance of theatrical activity in the development of the creative imagination of preschoolers was revealed (judging by the psychological and pedagogical literature and the results of the experiment), the specifics of the method of organizing theatrical activity in the Waldorf group of children were described. garden. In the theoretical part, the following were identified: the features of theatrical activity in kindergarten, the methodology of work on theatrical activity in different age groups, the influence of theatrical activity on the development of the child's personality, the features of the development of imagination in preschoolers, its connection with other mental processes, the main directions of development of imagination in preschoolers, the mechanisms of creative imagination, the influence of theatrical activity on the development of creative imagination, the features of the organization of theatrical activity in the Waldorf group of the kindergarten are described. The environment of the Waldorf group of the kindergarten creates unique conditions for the harmonious upbringing of the child's personality, the conditions for effectively solving the problems of developing theatrical activities among preschoolers. In the process of studying according to the Waldorf method

expand and deepen children's knowledge of the world around them; attention, memory, perception, imagination develop; there is a development of the basic feelings of children; vocabulary, grammatical structure of speech, sound pronunciation, coherent speech skills, melodic-intonation side of speech, its tempo and expressiveness are activated and expanded; motor skills, coordination, smoothness, switchability, purposefulness of movements are improved; the emotional-volitional sphere develops; behavior is corrected. a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed; the development of creative activity, independence is stimulated;

participation in the classes "Musical and rhythmic game", "Fairy tale", staging performances by older preschoolers gives children joy, arouses interest, captivates them.

Thus, the great importance of theatrical activity in the development of creative imagination has been revealed. In the practical part, the results of the study of creative imagination (at the beginning and at the end of the year, in the experimental and control groups) by the method of T.D. Martsinkovsky: test "Blotography". A system of work on theatrical activities was developed: a calendar plan, a plan for showing puppet shows (monthly), a plan for preparing and holding holidays. So, in the course of the study, a direct dependence of the development of creative imagination on systematic, systematic, purposeful work on theatrical activities was revealed. The value of this work lies in the fact that it presents quite complete, versatile material on the problem of the development of creative imagination and theatrical activity, presents modern methods of organizing work in these areas, describes the specifics of the work of the Waldorf group of the kindergarten, developed a calendar plan for this type of activity, the application offers scripts for performances, texts of fairy tales. Thus, the tasks of the study have been solved, the goal has been achieved, the hypothesis has been confirmed, indeed: the upbringing of children in the Waldorf group of the kindergarten creates the most favorable conditions for the development of creative imagination through theatricalization. So the tasks of the development of preschoolers can be solved within the framework of non-traditional educational systems, by means of Waldorf pedagogy.

Bibliography

Artemova L.V. theatrical activity. M: Enlightenment, 1996. Birch: Methodological guide for teachers of preschool educational institutions and groups of the Interregional public organization "Commonwealth of Waldorf Kindergarten Teachers". - M., evidentis, 2001. Team of authors: Arinina O.N., Boyko N.V., Varnikova S.V. and etc. Bochkareva L.P. Theatrical and gaming activities of preschoolers: Method. manual for specialists in preschool education. - Ulyanovsk: IPKPRO, 1993. Venger I. A., Mukhina V. S. Psychology. M.: Enlightenment, 1988. Vygotsky L.S. Imagination and creativity in childhood. St. Petersburg: SOYUZ, 1997. Doronova T.N. Playing theater: Theatrical activities of children 4-6 years old. M.: Education, 2004. Ershova A.P. Is theater harmful to a preschooler? // Hoop// No. 4, 1999. Leonntiev A. N. Problems of the development of the psyche. - M .: Publishing house of the Moscow State University, 1981. Maralov V.G., Frolova L.P. Psychological bases for the correction of personal development of preschool children. - Cherepovets, 1995. Martsinkovskaya T. D. Diagnostics of the mental development of children. – M.: Linka-Press, 1997. Makhaneva M.D. Theatrical classes in kindergarten: A guide for employees of preschool institutions. - M .: TC Sphere, 2004. Melicheva M.V. Culture of health of a preschooler. A.I. Herzen, 2005. Nemov R.S. Psychology. – M.: Vlados, 1998. Petrova T.I., Sergeeva E.A., Petrova E.S. Theatrical games in kindergarten. - M .: School press, 2000 Sorokina N.F. Scenarios of theatrical puppet classes. Calendar planning: A guide for educators, teachers of additional education and music directors kindergartens. – M.: ARKTI, 2004.

Applications Application No. 1. Game lessons with elements of theatricalization C.41 Appendix No. 2. The emergence of the puppet theater. P.57 Appendix No. 3. Fairy tale for puppet theater "There once was a boy" from "Harmonious child" L. Dykman. St. Petersburg 1997 S. 59 Appendix No. 4. Fairy tale for the puppet theater "Wolf Song" from Sat. Russian folk tales, ed. Afanasiev S.60 Appendix No. 5. The Tale of the Zucchini Gnome P.61 Appendix No. 6 by E. Shmelev "Spring". poem with musical accompaniment P.62 Appendix No. 7 Spring round dance "Stream" P.63 Appendix No. 8. Round dance "Visiting" P.67 Appendix No. 9. Musical-rhythmic game "Little musician" P.69 Appendix No. 10. Scenario "The Road to the Mill" by V. Stepanova P.71 Appendix No. 11. "Cinderella" dramatization based on the fairy tale by Ch. Perrault and ballet by S. Prokofiev P. 81 Appendix No. 12. The rhythm of the week of the Waldorf group. P.88 Appendix No. 13. Indicators of the dynamics of the development of pupils by years of study in the inter-certification period. P.89

APPS

Application No. 1.

Game classes with elements of theatricalization

2007 – 2008 academic year

Materials for classes are distributed according to the time of year. Each session should be repeated 4-6 times once a week.

September

We wandered through the fields

They wandered through the forests And divided in half Everything that they found. You are a flower! And me - a flower! You're a fungus! And me a fungus! We did not divide the river, We did not divide the clouds, We did not divide the islands, Like a tiny nut! After all, forests, fields and gave - Everything for everyone!

(N. Bromley)

Movement in a circle, gestures show what we see (L). In a standing position, alternate gestures to to other children and to yourself. three spaces- above, below, in the middle. Ends with a sweeping gesture (E).

2. Improvisation game

In the blue dome of heaven, Full of fairy tales and miracles, The sun shone, Rays descended Both on the field and on the forest. Flowers bloom in the meadow, And above them butterflies (moths, bugs, bees) fly. (Poems by Melicheva) 3. Rhythmic leg exercise begins with a rhythmic light
stomping, then the rhythm speeds up. At the end, a stop and a grand gesture
hands (L) and a gesture of calm - arms are crossed on the chest (E). There was silence, silence, silence ... Suddenly, with a roar of thunder (bounce) she woke up! And the rain, do you hear, do you hear, do you hear? Dripped, dripped, dripped on the roof... But the sky lit up, And everything calmed down. (Unknown author) 4. The alternation of the general movement of the entire group of children inside the circle and
out. A contraction is experienced inside, we ask the question: “What to do after
rain?" The expansion of the circle is experienced as liberation. Compression and
opening - a process related to breathing, alternating inhalation and exhalation. -What to do after the rain?

Jump through the puddles!

What to do after the rain?

- Launch ships.

What to do after the rain?

Ride on the rainbow

What to do after the rain?

Yes, just smile!

(V. Danko) 5. Alternating rhythm with hands and feet, clapping and stomping. Tepiki-tepiki, Claps for some water, Claps with palms Yes, bare feet. (G. Lagzdyn)6. The children looked at the sky - a golden sparkling rain is pouring from above! Protective, shell-creating gestures (T, B)."Gold, gold falls from the sky" - Children scream and run after the rain. Fullness, children, we will collect it, Only we will collect it with golden grain In full barns of fragrant bread! (A. Maikov)

October

1. The artist Autumn came to the forest. I took a long thin brush and
began to draw. This leaf will be red, and this one will be yellow. We imitate ri-
sticking, hands like a brush (S, L): Autumn is long fine brush Repaints the leaves: Red, yellow, gold - How good are you, colored sheet! The intensity of hand movement increases (increasing sounds L). And the wind blew thick cheeks, blew, blew And on the motley trees blew, blew, blew ..: We start moving in a circle, like leaves. Red, yellow, gold - Flew around the whole sheet of color! Standing, we express annoyance and look at the sky (K, B) How insulting, how insulting - There are no leaves, only branches can be seen! (I. Mikhailova) 2. Different trees grow in the forest (we show with hands-branches different
tree characters):

linden with a spreading crown;

herringbone with dark paws;

cheerful birch;

willow lowered branches over the water

and strong oak.

Quiet in the forest, only you can hear the breeze shaking the branches:

The forest is like a painted tower Lilac, golden, crimson Stands over a bright glade Enchanted by silence. Birches with yellow carvings Shine in blue azure. Like towers, the fir-trees darken, And between the maples they turn blue Here and there in the foliage through the gaps of the sky, like a window ... Small windows and big ones, and huge windows (Oh). The forest smells of oak and pine. Over the summer it dried up from the sun, Today in an empty clearing Among the wide courtyard of the Aerial web of fabrics Shine like a net of silver ... A spider on a cobweb descends down and hides (U). Today, all day long, the last moth plays in the foliage, And like a white petal, It freezes in the web, Warmed by the warmth of the sun ... Moth folds and spreads its wings (Ah, y) FROM Today it's so light all around, Such a dead silence, What is possible in this silence Movement of the foot as if rustling in dry fallen leaves (C) Hear the rustle of leaves... (I. Bunin) 4. A little fairy lives in the forest. She lives in a small house on
forest edge, looks out of the window and laughs. Funny jumps, hands
over your head. And at the other end of the forest, where it is dark, lives a witch. She wants everything in the forest to become dark, cold, and angry, and noisy, and raging... Spiral-shaped movements of the arms, the body is bent and tilted forward (W). And then a knight came into the forest and said: "I'm not afraid of a witch!" Confident steps and hand movements next to the body. The body is held vertically (A, B). 5. The fairy runs out of the house and sees moths and dragonflies. Quiet in the forest
only you can hear the breeze shaking the twigs ... Next, alternate movement
in a circle (P) and calm (P): In the gaps of the branches, as in the windows, The sun looked, smiling. The air was infused with flowers And all the trees were sleeping standing up. Dragonflies congratulating on the morning. Spinning, sparkling mother-of-pearl. They were celebrating a housewarming party, Where the stumps squatted down, In the gap of the branches, as if in a window, From the heights the sun looked at them. (N. Berendhof) 6. Hand movement from top to bottom (B, O, I). In the blue dome of heaven, Full of fairy tales and miracles, The sun shone, Rays descended Both on the field and on the forest. And in the stream there are pebbles, And between them the fish are in a hurry. (Poems by the author) Repeat several times for different fish: crucians, ruffs, perches ... 7. Sitting, hand gestures from top to bottom from heaven to earth. The sun is walking across the sky. Looking down at the ground. Sees grain lying down and shivering from the cold. Let's make a bed for it, Cover it with earth, So that it can sleep And wait for spring... (Poems by the author) Repeat several times for a seed, a worm, a bug ... 8. In a small nest, the chicks have grown over the summer, their wings have grown stronger and now they are going to winter in warm countries Hand movement as if birds are flying up (L). Swifts flew away today... And where did they fly, tell me? And they flew there, Where the days bask in the sun, Where there is no winter at all, But we are still dearer to them! And they will arrive in the spring And again they will whistle in the sky! (E. Blaginina)

November – December

1. Stars in the sky light up and go out... And hide... Asterisks- these are palms. Fingers open and close. All children fall to the floor and close their eyes with their palms. A melody on a lyre sounds above the head of each child. You can use the fifth interval. Stars shine in the sky and hide behind a cloud, shine and hide ... A cloud flies across the sky, and stars peek out from behind it like children from under a blanket. The kids sleep in their beds, and in the morning the sun will stretch out a ray and wake everyone affectionately. (Pat each child on the head.) 2.- Stars, stars, where are you, where are you? - High, far, We shine in the blue sky, We send Light to the earth. Slowly we rise to our feet, we grow. And inaudibly to the heavens The forest grows at night. At night the children rest, At night the Angel flies. (Translated from the Norwegian author) 3. The children woke up in the morning, stretched and went outside for a walk! Here is my village; Here is my home; Here I am rolling in a sled On a steep mountain; Here the sled is curled up, And I'm on my side - bang! You will over-chill, - You won’t bend your arms, - And you’ll quietly wander home. (I. Surikov) 4. And today is such a fairy tale ... B. Zakhoder "Grey Star".
Once upon a time there was a toad - clumsy, ugly, but she did not know that she was so ugly and about that. that she is a toad because she was small. She lived in a garden where Trees, Bushes and Flowers grew. When the toad appeared in the garden, the Flowers asked her name, and when she replied that she did not know, they were very happy. (Divide the children into four groups: Pansies, Daisies, Roses and Asters. One child will be a toad, and everyone will speak the speech of the Learned Starling together.)“We will call you Anyutka,” said Pansies. “Better Margarita!” said the Daisies. "We'd better call you Rose!" Roses said. “Let her be called Astra,” said the Asters, “Or better, Asterisk is the same as Astra. In addition, she really resembles an asterisk, because she has radiant eyes! And since she is grey, we can call her Gray Star!” Since then, everyone began to call the toad Gray Star. And the Flowers loved her very much, and every morning they could only hear: “Asterisk, come to us! Asterisk, to us! Flowers spoke kind words to her and thanked her for that. that she protects them, and the Gray Star-daughter was modestly silent, and only her eyes shone. And then one day a very Stupid Man came into the garden. He saw the Gray Star, shouted "Toad, toad!" and threw a stone at her. Gray Star did not realize that she was in danger. But when a rock slapped beside her, she jumped under the Rose Bush. The Stupid Man scratched himself on the thorns and left. And Gray Star began to cry, and everyone consoled her as best they could. And the Learned Starling said: “It's not about the name, it doesn't matter! For all your friends, you were and will be a cute Gray Star! And Gray Star stopped crying. Only she decided to come to the garden at night. And since then, not only she, but all her brothers and sisters, children and grandchildren also come to the garden at night and do useful things.5. And the children listened to the fairy tale, and fell asleep. And they had a dream, like zi-
under my bark, a butterfly chrysalis sleeps, and in spring it turns into a motley
butterfly. Children join hands, and the host gradually turns everyone on
inside the circle. A spatial form of a spiral is formed. Then every
Each child takes turns leaving the center of the spiral into a common circle. Arms-
like the wings of a butterfly. The movement is accompanied by music.

January

1. Hand gesture that opens up space: move the curtains apart (D). Then we imitate the movements of a cat- small gestures with palms near the face (M). Then the hands emphasize surprise and admiration (L).- Mom, look out the window, Know that yesterday it was not without reason that the cat Washed her nose! There is no dirt, the whole yard is dressed, Turned white, brightened, It can be seen that there is a frost. Next, the hands show snow on the branches, as if we are drawing a picture outside the window with our palms (C, B). Not prickly, light blue Frost is hung on the branches - Look at least you! As if someone with a thorny Fresh, white, plump cotton wool All the bushes have been removed! An energetic gesture with hands up (P) and jumping in a circle with joy (A). Well, now there will be no dispute: On the sled, and up the mountain It's fun to run! We make a request- open hand gesture (A, L). True, mom, you won’t refuse, And you yourself will probably say: “Well. take a walk!” (A. Fet) 2. The movement of the entire group of children inside the circle- there was a snowdrift. On the-
ruzhu children move scatter (compression-disclosure). Oh, white-white-white! Here is a snowdrift! A breeze came up - fluffed up the snow! (Unknown author) 3. It is so beautiful in the forest, the wizard Frost decorated the trees. Him
long thick beard (P) to the ground. He first snowy wind on
let them loose, and then said the magic words: “Krible, krable, boom!”
We accompany the text with magical gestures (K, I, A, C). 4. All the trees are dressed in silver dresses (L). In the forest, the trees stand, grow up, And the breeze plays with the branches ... All the trees in the forest are birches (oaks, poplars, Christmas trees). (Poems by the author)5. With one foot, and then with the other, they fluffed the snow (B), and we show the hand
kami on trees (L, M). An air carpet crunches underfoot, Trees are dressed in a crystal dress. And I look at them with admiration, Trying to think of a silver verse. Hands high above head- it's the stars that twinkle (compression- disclosure). How the stars twinkle in the night sky! The Queen Moon shines in the rays. We circle in place (P) and stop, listening (M). All this in winter I see around And I hear the sound of a transparent melody. Joyful jumps in a circle, then we stop and warm our cheeks. Oh, how the winter air is both fresh and vigorous! He is gifted with cool moisture! The frost blushes my cheeks, The palm draws patterns like a brush (C). Nightingales sing in patterns on glass. (A. Aminova)6. And the Snow Maiden lives in the forest, a cheerful girl. At the Snow Maiden
long blond braid to the ground. She loves to jump, and on the right knife-
ke, and on the left. And he twirls with his right hand, and with his left ... Jumping and clapping. Clapping his hands - clap, clap, clap, Stomping his feet - top, top, top. Repeat several times as a rhythmic exercise. Then we look for and call the Snow Maiden. Snow Maiden, ay, ay! I'm looking for you, I'm calling! Are you hiding under the tree? Hiding in the snow? A spruce branch with a prickly beckons me to itself. Next, we touch different parts of the body.-arms, legs, chest, head (P, D). Showered with snowflakes, Embroidered a fur coat with ice - All of it sparkles! Suddenly the branches swayed, it sparkled... (Unknown author) While we were rubbing our eyes, there was no Snow Maiden, only a hill of snow in a clearing. Rhythmic exercise for different steps- slow, fast
ryh, galloping, then slowing down and stopping. And the children are not afraid of the snow - Let's go sledding! Sledges slowly at first - Not afraid of the kids! (Unknown author) 8. Imitate ice skating. And the children are not afraid of snow - They began to skate. I'm sliding, sliding, sliding, I'm pirouettes...9. We simulate a game of snowballs. And children are not afraid of snow - Throw snow into the clouds: My snow will be strong - He could fly high! It shines in the sun - It will fly straight to the sun! (Poems by the author) 10.We tiptoe up, and then we kneel down and collect
let's roll into a ball: If I were very tall, I could reach the tops of the trees... And if I were very small, I could sleep like an acorn all winter... (Translated from English, author) You can whisper to the grains, Wish something good... First, keep your palms on the floor, and then turn them up. The grain sleeps underground. It is very strong! We must wait patiently - Dream about Spring-Red ... (Poems by the author) 11. And there was snow in the forest ... A snowflake in the air circled and fell
on a hat, on a fur coat, on a knee, on a palm ... We rise to our feet and touch
we eat different parts of the body with index fingers- as if falling
snowflakes (C). Further, the alternation of gestures below and above, calmly
structure. Small fir-trees And big fir-trees Something have become silent, Something have subdued. Snow from morning to night Everyone wants to fall asleep. And everything is quieter in the forest, And the snow is getting higher! We stretch our hands to each other (U), Fir-trees-girlfriends They say to each other: "Too much snow, It's hard on the top." (Non-Swedish author) 12.Change of mood to cheerful, the text is accompanied by jumps
and whirling. Snowflakes are flying.
Looking out of my hand:
Spinning, dancing in the air
Airy and light!
The street got brighter
Pretty village.
Snowflakes are flying, spinning,
All around white and white... (Unknown author) 13. The kids came home, sat down by the stove and began to warm themselves. The hands of the enemy
huddle one around the other. Spin, spin, up, up. Spin, spin down, down. We turn, we turn into the distance, into the distance. We're spinning, we're spinning around. near. We spin very slowly, Very, very close... And fast, fast, fast! (Translated from English, author)

February

1. Vigorous circular movements of the arms in front of you (P). Then we show how snowflakes fall from the skySfiguratively. Wind cloud-mill Spins at full speed. And snow-white fluff spreads on the ground. The movement of the hands below (L) is replaced by an energetic swing up (R). Then collect the snow in the palm of your hand (L) and sniff it like flour (M). That blizzard will subside. That will boil the river. And the snows seem to us Light flour. (Unknown author) 2. We will bake pies from snow flour. We imitate the modeling of round
lumps with rhythmic gestures and easily throw them into the center of the circle (B), "in
stove "(U). The dough will be magnificent, There will be a place in the oven. Wow! (Poems by the author) 3. The breeze flew in, lifted the snow. Figure-of-eight movements
hands along the ground and then feet. Then the movement along the eight in pro-
the space of the room, when all the children follow the adult. The winds blow in February, Howling loudly in the chimneys, A white snow drift winds like a snake on the ground... (S.Ya. Marshak)We show with our hands how clouds float across the sky (B),we represent the blizzard by moving in a circle with the whole group.small snowballs- these are snowflakes falling from the sky to the ground (C). Clouds float across the sky, Snowstorms and snowstorms are carried. And little clouds are floating, Little snowballs are. (Poems by the author) 4. Trees stand in the forest, swaying with branches. Stormy movement
rests (A, U) Winter sings, calls out, The shaggy forest cradles With the ringing of a pine forest. All around with deep longing Float to a distant country Gray clouds. We are spinning, our hands are tilted to the ground, like a blowing snow. A blizzard in the yard A silk carpet spreads, Yes, it is painfully cold. We sit in a tight circle on the floor (compression, E).

Sparrows are playful, like orphan children,

Huddled at the window. The little birds are chilled, Hungry, tired, And huddle tighter. We stomp strongly with our feet and make the circle wider (disclosure). And the blizzard, with a furious roar, Knocks on the shutters hung down And gets more and more angry. Again we sit in the middle of the circle (compression), dreamy movements of the hands above the head (M, C, A). But gentle birds doze Under these snow whirlwinds By the very window. And they dream of a beautiful, In the smiles of the sun, a clear Beauty of spring. (S. Yesenin) 5. The sun warmed up and woke up the first icicle. We show on-
icicle on top (C). The icicle laughed and cried with joy: drip-drip ...
By evening she was tired and fell asleep. The sky darkened (rounded gesture of hands above the head (B)), the stars shone (palms open, and fingers like rays), the young moon sailed on a small silver boat (the right palm floats up from the bottom up like a month (M)), the snow was falling softly. Lightly bouncing on toesindex fingers crossed above head- this is a star (E). Curl, silver White snowflakes. Next, spread our arms above the ground, as if straighteningsnow blanket (L). In a grove of deserted paths. The movement of the hands diagonally from top to bottom- the branch leans (C). Sloping from the snow Bough gray-haired, shaggy. fun jumping- legs apart and together, arms like ears (A, U). Rides in a white fur coat Zayinka shaggy.6. We imitate the movements of a bunny. Hare is playing at the Christmas tree. He beats sweetheart on sweetheart: “What fierce frosts stand, Christmas trees crackle from the cold under frost, Christmas trees crackle from the cold, Sweets are completely cramped from the cold. Confident movements, hands on the belt, foot on the heel (K). If only I, a bunny, could be a peasant! If only I, a stutterer, could walk in lapotochki! We wrap our arms around the body, as if wrapping a coat (B). I would like to live and bask in a hut Joyful greeting, arms open (X). His mistress with gray hair! Chop the cabbage for the pie with your palms (K). Pies would eat everything with cabbage, Enjoy the smell, palms move to the face (M) Cakes with sweet carrots. Further, the general movement in a circle (P). Roll through the frost in sleds, We stop and fit on the barrel (G). To spend the winter in the wards. (S. Yesenin) Bunny coat is soft (stroking the chest from top to bottom (M)), Bunny's legs are agile (circular movement of the foot (L)), behind funny ponytail (round palms behind the back (O)), Bunny's nose is completely frozen (finger lightly touch the tip of the nose (H)). The cowardly bunny heard that the twig was cracked, ran through the forest, hid (everyone runs in a circle and squats (P)). Bunny needs to warm up: top-top-top, clap-clap-clap! (Alternate clapping and stomping several times-rhythm exercise). And under the bush. Only ears tor-chat yes tremble. (Ears- are palms). Hare wiggled his left ear, wiggled his right ear (Circular movement of the palms (L)). 1. The bunny hears how blades of grass live under the snow, how gnomes cherish warmth ... I put my palms on the floor. Light movements close to the floor, as if covering the plants with a blanket (C) and then waking them up with a light touch (H). Sleep, sleep, don't be sad! Soon the sun will come, It will bring warmth to everyone. Herbalists will touch - A blade of grass will wake up. (Poems by the author) 8. In the forest, the trees stand, grow up, And the breeze (bunnies, chanterelles, squirrels) plays with the branches. sedation- standing alternating movements of arms and legs. The Moon shines merrily over the village. The white snow sparkles With a blue light. Empty, lonely Sleepy village, Blizzards are deep in the Huts. Silent silence In the empty streets, And you can not hear the barking of watchdogs. Movement from top to bottom. Only in the sky the stars Shine and ring. “Sleep, sleep, children,” they say quietly.

March

1. The movement starts high above the head, then the hands go down to the chest (E, D BUT). There is snow, snow, snow all around, But on the hill there is no, no, no! They saw the rooks, everyone shouts, Like a sailor from a ship: "Land!". (Unknown author)2. Movement of the whole group in a circle, then stop and active gestures
you hand. Snow is still whitening in the fields, And the waters are already rustling in spring, They run and wake up the sleepy shore, They run and shine, and they say ... They say in all directions: “Spring is coming! Spring is coming! We are the messengers of young spring, She sent us forward!” Spring is coming, spring is coming! (F. Tyutchev) 3. Alternating movements to the center of the circle with stomping, back- lung,
on tiptoe (compression-disclosure). Winter is not without reason angry - Its time has passed. Spring is knocking on the window And driving out of the yard. , capturing the snow, Let it run away, Into a beautiful child. Spring and grief are few: Washed in the snow And only became blush In defiance of the enemy.

(F. Tyutchev)

The sun shone, the ray dropped, the Brook woke up, murmured ... (Brook and snowdrifts) 5. The sun shone, the bird woke up. The bird fluttered and flew
la. Movement in a circle, the arms either rise high above the head, or
descend to the ground: It rises high into the sky, It descends low to the ground.6. We imitate the movements of a bird. We alternate the movements of the arms and legs.

A bird under my window, a nest for children,

That straw drags in the legs. That bunch in the nose carries. The bird wants to make a house: The sun will rise, set. All day she bustles, But all day she sings. Children sit down inside the circle, calm. The cold night will come, The fog will go from the river, The darling bird will get tired, Sleeps and stops singing. Awakening-joyful jumps in a circle. But, a little morning - the bird will start the song loudly again; Cheerful, full, healthy, And she sings to herself, she sings! Why is she happy? Why so cheerful? Because she was troublesome And she was not lazy. We must pray in the morning, - For this she gets up Very early to work And sings, sings in her labors! (E. Elgen)1. Movements of joy (A, R) are replaced by small gentle gestures (B, N). Spring is knocking on the windows Singing in every way. Glasses are burning in the sun And in puddles of water. I'll bring a little white snowdrop For my mother. (E. Blaginina) 8. Snowdrops bloom, Snowdrops bloom, So fresh, So tender. Further movement of the legs- as if rustling in the grass (C). Dry grass, dry deadwood, Again joyful movements of the hands above the head and in the chest area.

But changing everything, the snowdrop blooms.

He is the first herald of warmth and light, the same age as spring, a sign of spring. (Unknown author)

April

1. rhythmic exercise- first slow steps in a circle,
then the movement speeds up and slows down again. Spring is walking towards us With quick steps, And the snowdrifts are melting Under her feet. (I. Tokmakova)2. Rhythmic claps, then the children break into pairs and rest
palms at each other, fighting. Then clapping again. On repeat
clapping is replaced by stomping. What's that noise? What is thunder? Ice drift, icebreaker! Ice floe collided with ice floe Twisted, turned! What's that noise? What is thunder? Ice drift, icebreaker! (Unknown author)

The sun shone and the stream woke up:

Alternating an active canter in a circle and calm stops with a squat:

The stream ran over the rocks.

Ran, ran, ran.

Then in a deep puddle

He lay, lay, lay. Then again he rushed at a gallop, Then he seemed to fall asleep ...

I saw a river - jump there

And drowned again. (Unknown author) 4. The sun shone and woke up the fish in the stream. (Karask, ruffs, perches) The sun shone, the blade of grass woke up. Children sit in a circle and imitate the movement of a blade of grass with their hands (C, D). The sun warms, the blade of grass comes to life, She stuck out her nose, looked out from under the ground - Is spring far ... (Poems by the author) 6. Exercise for body geography- stroking. The children went out into the yard, the sun is hot, stroking the arms, legs, cheeks and eyes. Look: the sand in the sandbox has thawed, you can build. We imitate the game in the sandbox (C, D, R, P): A river flows in the sandy country. A tall house was built Of yellow sand. And on the right near the river, Where the bank is steeper. They bake in a sand oven Sand pie! (A. Usanova) 1. Children played enough, walked up and took paints. We imitate drawing with a brush with large hand movements (C, L, B).I I draw a blue sea. The sky is light-light blue, The mountains are dark-dark blue, And the boat is golden. Above the waves, the crests are white, And above them, the seagulls are white, The clouds above them are white, And the boat is golden. (Unknown author) 8. Soon the children will grow up, build a real ship, big strong and reliable, and set sail. Imitate waves, move in a circle (B). Over the seas-oceans, Yes, to distant lands, Along the high waves, Yes, along the blue ramparts... (Poems by the author) 9.Phase of calm. In the meantime, you need to return home, wash and rest a little.

May

1. Alternating movements to the center of the circle and out (compression- disclosure). Gestures up above the head, then down to the grass, then in the chest area.

Bird cherry, bird cherry,
Are you standing white?

I am for a spring day,
Bloomed for May.

And you, grass-ant,
What are you doing, soft?

For the spring holiday.
For May Day!

And you, thin birches,
What is green now?

For a holiday, for joy,
For May, for spring!

(E. Blaginina) 2. Alternation of small and large gestures (P, L). Here is a kidney - Vetochka's daughter. And here is a leaf - The son of the whole tree. (N. Orlova) 3. Here is a horse sticking its nose out of the stable - what smells so delicious?
Movements at the level of the face- sniffing (X). And it smells like young grass
young foliage. The horse beats with its hoof: hurry, hurry, open
Door! Circular movements of the leg, as if the horse beats with a hoof (P).
We will harness the horse and quickly run to the meadows. Alternating fast and
calm movement in a circle. The horse is galloping down the hill, The horse is climbing up the hill. On the hill he stops and beats with his hoof. 4. They rode to the pasture: “Whoa!” There is a cow grazing. Movements acquire a slow character, not high above the ground (R, M, L). The cow is chewing grass In the meadow, The cow is giving milk to the children: - Mu-mu, I love children, Mu-mu, pour milk. (Poems by the author) 5. Near the river runs, Near the river murmurs. ( different fish play in the river. 6. Dance moves for different characters. The last snail
it slowly moves in a circle and stops (M). Children sit on
floor. In the meadow a merry ball Was opened in the spring. A mosquito played on the trumpet. And the hairy bumblebee danced, The fat beetle went to dance With a joyful beetle... And the snail crawled, It crawls slowly, And under the green bush She lay down to rest. (Unknown author) 7. With gestures of the palms, we imitate the growth of a flower and the opening of a bud (C, B, L). A blade of grass grew and grew from under the ground, The bud blossomed - a flower appeared! Which one then? (Poems by the author) Characteristic movements for different colors- white snowdrop, yellow dandelion, bluebell, red tulip. 8. We rise to our feet, imitate the movements of spring with wide movements
hand gestures (L, P), dance. As spring entered, creaking gates, All to the feet strewn with white flowers. Ay-yes, paradise-yes, beautiful is worth it. The maiden entered, creaking gates, All up to her feet strewn with white flowers. Ai-yes, paradise-yes, beautiful is worth it. (V. Pludon) 9. And near the gate a flower blossomed. Small hand movements alternate, these are gestures of care, warmth (L, B). Movements, as if a bell is ringing, and this sound spreads widely around (H, W). At the end, the children extend their hands to each other (U), A lily of the valley was born on a summer day And the forest keeps it. It seems to me that he is behind - He will ring softly. And this ringing will be heard by the meadow, And the birds, and the flowers... Let's listen, and what if I hear you too?.. (E. Serova)

June

1. Alternating Listening and Observing States- close our eyes
palms and open them. Night has come, brought darkness. The cockerel fell silent, the cricket sang. The night passed, the darkness was carried away, The cricket fell silent, the cockerel sang. We opened the window: "Hello, sun!"2. Wide joyful hand movements (L), then surprise-
converge to the center of the circle. After that, light fun jumps and movement
in a circle, as if poplar fluff is flying. Summer! Summer! Snow in summer? Is it snow? Just laugh! Snow is flying around the city, Why doesn't it melt? The wind blows at full speed - Poplar fluff drives! (E Aedienko)3. Joyful jumps in place (I), then imitate movement,
as if blowing on a dandelion (U), and the fluffs scatter (L)."June, June, June has come!" - Birds are chirping in the garden. Just blow on a dandelion - And all of it will fly apart! (Unknown author) Further, the movement in a circle is replaced by stops - the children freeze on their haunches, like seeds. Then jump, arms and legs to the sides (A) - a new flower has blossomed. From fluffy balls Above the motley summer meadow Skydivers are flying In pursuit of each other. As soon as they touch the ground, They fall asleep like on a sofa, And in the spring they wake up And there will be dandelions. (I. Tokmakova) 4. As in the morning, on a high mountain, an apple tree blooms! With hands we show a high mountain (E) and a crown of a flowering tree (L). An apple tree blossomed In a young garden. I won’t take my eyes off this apple tree. The petals are crumbling- slight movement of the palms from top to bottom (P),and the apple tree is standing- open hand gesture (A). Then the palms form a sphere (B)- there a seed is tied, and the apple tree holds out the fruits to people (A). Our apple tree will become Simpler and poorer. But on the other hand, Apples will be tied on it. (E. Blaginina) 5. As in the morning, on a high mountain, the children played ball, threw the ball into the sky! (Poems by the author) We imitate a ball game- throw high and catch. 6. As in the morning on a high mountain, the clouds lay, gloriously dozed off! (Poems by the author)We show large round clouds above our heads with our hands (B). Next, we make interrogative movements with our hands (O, M, V, L).

Clouds, clouds, lush and white,
Tell me, clouds, what are you made of?

Maybe the clouds made you out of milk?
Maybe chalk? Maybe from cotton?

- Maybe from white, from crumpled paper?
Negative gestures are accompanied by a confident step. Never, never, - answered the clouds, Never made us out of milk, Never out of chalk, never out of cotton, Never out of white, out of crumpled paper! We show with our hands how clouds float across the sky (M), how the snow winds above the ground (P), how lightning flashes (D).- We are rain, we are snow!
If we sail in winter, We carry a blizzard with us. If we sail in the summer, We carry a thunderstorm with us! (I. Mazin) 1. As in the morning, on a high mountain, the Rain hid and went down the mountain: We start with joyful jumps in a circle (A), stretch our hands forward (RU), stroke the grass (L). At the end, the arms are crossed over the chest.-feeling of confidence (E). The rain is running on the grass With a rainbow on my head. I'm not afraid of the rain, I feel good, I'm laughing. I touch the rain with my hand: "Hello, so that's what you are!" (R. Rozhdestvensky)

And after the rain everything smells so strong!

Children form 5 groups. In the middle are flowers, along the edges are dragonflies, butterflies, ladybugs and bees. Dragonflies ButterfliesFlowersLadybugs Bees Groups take turns flying around the flowers and smelling their fragrance. Flowers open their petals at this time.- open hand gesture. Sounds like a xylophone.9. As in the morning, on a high mountain, Summer rises early, weaves a colorful blanket! We imitate the movement of the weaver (B). Next, alternate movements to the center of the circle- ask a question and come back.

What are you, flier, fussing
On your high mountain?

Weave a colored blanket,
To warm the earth.

Weaving silk patterns
With a thin gilded thread,
Let it scurry without getting tired
Your silver shuttle.

Vytky all surprisingly Painted bedspread, Weaving the sun into threads, To warm the earth. (V. Pludon) Calming, small gentle movements of the palms, as if protecting a ladybug (B, N). Then we show with the hand how it flies away (L), with the foot- how it crawls in the grass (3). We end with a caring gesture of protection(B). Dress with polka dots At the ladybug. Ladybug Bad in the box. Don't touch the ladybug with your finger - Let it crawl away on the Green Road! Let it fly away on the Blue Road! Ladybug Don't, don't touch: (Unknown author) Application number 2. The emergence of the puppet theater Little is known about how dolls were used in ancient times. In most cultures, the doll played a certain role in religious ceremonies. Wishing to turn to the world of spirits, a person created images - mediators. The dolls were worshipped. They were hung as amulets around the neck and placed in the grave of the dead. A legend came from ancient India about how the puppet theater arose: "" God Shiva and his wife Parvati once passed by a carpenter's shop and noticed small figures, like puppets with movable limbs. They became so interested in these creatures that, to the surprise of the carpenter, they let their spirit enter into them and they came to life and began to dance. However, after a while, Parvati got tired. And the gods moved on. The dolls stopped moving and froze again. The carpenter rushed after him and asked: "Don't leave my dolls, let them stay alive." But Parvati replied: "After all, it was you who made them, therefore, not me, but you must give them life." The carpenter returned to his room and thought for a long time what to do. Finally, the idea came to him to revive them with the help of threads "". The early puppet theater of India is a shadow theater performance that lasted for weeks. Usually dramatizations of individual plots from sacred Sanskrit texts were made. Today India is a country with diverse puppet schools and traditions. For example, Indian puppeteers do not speak during the performance. Instead, they make many different sounds that symbolize certain actions and feelings. In Europe, with the fall of the Roman Empire, theaters ceased to exist, puppeteers dispersed all over the world, taking their traditions with them. For centuries, there is no documentary evidence of their fate. In the XV century. performances appeared on biblical stories, the lives of saints, stories about the creation of the world, which were often played out with the help of puppets. Perhaps this is where the word "puppet" originates ("puppet" - little Mary, but there are other versions of the etymology of this word). The modern world cannot be imagined without a puppet theater.

Application No.

Application No.

CINDERELLA

Dramatization based on the fairy tale by Ch. Perrot and the ballet by S. Prokofiev

Actors and performers:

Her daughters: Elder and Younger.

Minister of Entertainment

Servants of the King

Asterisks

fairy godmother

Spanish beauty

Oriental beauty

Prologue

An excerpt from No. 18 (1) "Clock Scene" (act 1 of the ballet "Cinderella") sounds

7 gnomes appear, sit in a semicircle. Sounds number 1 Introduction.

1st gnome:

We are from the land of magical gnomes,

We've come to tell you a story

As for the heir to the crown,

The king decided to look for his wife.

2nd gnome:

In the ancient castle was appointed

A fun ball for the subjects.

And the minister himself to young girls

Send out invitations to everyone.

3rd gnome:

In that good old kingdom

The forester's family lived.

The owner of the house is ill

And leaving her daughter, she died.

4th dwarf:

Unable to forget his wife, the forester grieved for a long time,

And often pitying the girl,

He called me an orphan.

5th dwarf:

Years passed. He decided to marry

To ease your fate;

Married with two daughters

A very respectable widow.

6th dwarf:

The widow actually turned out to be

Rude, envious and evil.

Disliked another daughter

And called Cinderella.

7th dwarf:

housework menial work

She charged her:

Stoke the hearth, clean the pots,

Prepare and wash clothes.

1st gnome:

Alas, in my father's home

Cinderella was a servant.

I secretly only dreamed of happiness,

Always kind and cheerful.

Picture one

A room in Cinderella's house. Sounds No. 3 "Cinderella" (act 1)

Cinderella does housework, cleans the pot by the hearth. Stepmother enters.

Stepmother:

Cinderella! Nothing to do again?

The floor hasn't been swept yet.

Didn't have time to dig up the beds

And the fire did not lit!

They enter in their daughter's pajamas and caps. They stretch and yawn.

Stepmother:

My little birds, wake up!

How did you sleep, darlings?

Eldest daughter (stroking belly)

Haven't called for breakfast yet?

Stepmother:

I'll give you pies now.

Cinderella runs up with a tray. The sisters take a pie. Are eating.

There is a knock on the door. Cinderella opens. A messenger enters, bowing.

Messenger:

Good afternoon! Let me give

Ball invitation.

All girls should be there

The king himself ordered it.

Stepmother:

Oh thank you very much

We will definitely come

(Messenger leaves)

Stepmother:

Cinderella, get ready

We are going to the ball together!

Hugs daughters. Cinderella goes out for dresses. Capricious sits down to the mirror and preens.

Youngest daughter.

Give the beads, Capricious,

She took Mommy's.

Eldest daughter:

Oh, back off, Imagination

And stay out of my business!

Youngest daughter:

All right, sister

I ask. When I get angry...

Older:

Junior:

Then a tigress

I'll grab your hair.

They stand in front of each other. They get angry. Sounds No. 4 "Father" (act 1)?

Stepmother:

My girls, do not quarrel!

Cinderella, hurry up!

Little time left

Learn to be quicker!

Elder daughter:

Will you iron my ribbons now?

What are you doing in the morning?

Youngest daughter:

Cinderella, what are you up to?

Is it time to brush me?

Cinderella runs from one sister to another, following orders. Helps to put on ballroom skirts. Sounds like #6 "Suppliers and Sisters Dressing Up" (act 1)?

Cinderella:

All is ready. Ah, sisters!

How I want to go to the ball!

Youngest daughter:

Yes, the king would be surprised.

Elder daughter:

He did not call the zamarashki.

The sisters blow kisses to Cinderella and leave with their stepmother.

Cinderella, dreaming, dances a waltz with a broom. Cinderella sings the song "They tease me with Cinderella ...) (Sounds No. 9 "Cinderella's Dreams of a Ball" (act 1). ?

Cinderella:

Oh how fun it must be

All the lights in the castle are on.

The prince dances with the girls.

He's handsome, they say!

(Godmother enters.)

Cinderella:

Hello godmother! I'm glad!

How did you arrive on time?

Godmother:

Remember baby, there's a reward waiting

your good deeds.

I know that you are dreaming

Have fun at the ball.

Cinderella:

Godmother, well, you know everything!

Sounds like No. 11 "The second appearance of the Beggar Fairy" (act 1)?

Godmother:

Yes. And I can do a lot!

(The song sounds: “The stars lead a round dance ...)?

Cinderella:

Godmother, what a delight!

I am grateful to fate.

How can I go to the ball?

I'm wearing an old dress...

Fairy godmother:

Shine of stars and moonlight

Take it with you on the road.

The secret in the magic wand

The stars will help us.

The stars dance a waltz and give Cinderella blue ball gown. Sounds like No. 19 "Cinderella's Departure for the Ball" (act 1)?

Fairy godmother:

Here are the crystal shoes,

They brought their stars.

Under your ball gown

We better not find.

Cinderella:

Magical dream come true

It's like I'm in a wonderful dream.

Fairy godmother:

Listen, Cinderella, what am I

I have to tell you.

Remember goddaughter

When 12 starts to beat,

You must return home

And the magic will pass.

Cinderella:

As midnight begins to beat,

I must leave the castle...

And the magic will pass!

Fairy godmother:

Forward! The card is waiting!

Sounds No. 17 "Interrupted Departure" (act 1)

Picture two

Hall in royal castle. Guests enter in pairs. The king sits on the throne, the prince and the minister of entertainment stand nearby. No. 22 “Dance of the Cavaliers” sounds (Burre, ? act 2).

King:

My son, how many brides are here

From all over the country.

Minister:

From neighboring kingdoms

They are invited.

King:

I want you to choose

Decent wife.

Minister:

Allow me, prince, to introduce you

One beauty.

Star of Spain for you

Ready to dance. ?

King:

My son, please don't close your eyes

And stop yawning.

Sounds number 41 "Temptation" (act 3). Spanish dance is performed.

Minister:

And this girl, my prince,

Pearl of the East.

King:

How lovely! Here's a surprise

Slender as, black-eyed!

Sounds number 43 "Orientalia" (act 3). An oriental dance is being performed.

Minister:

Well, now I'm glad to present

You have two sisters, my prince.

Prince:

They are marching towards the parade.

King:

Oh son, take your time!

The sisters dance the gavotte. Fragment No. 7 "Dance Lesson" (act 1) The prince waves his arms in horror.

All guests dance Mazurka No. 26 "Mazurka and the Entry of the Prince" (act 2)

Servants enter, fanfares sound.

King:

What happened? Explain!

Minister(to the side):

Unknown princess.

Who? Where? What's up?

Cinderella approaches the throne, makes a bow. The prince gets up. Sounds No. 29 "Cinderella's arrival at the ball" (act 2)

Prince:

I'm glad you decided

The ball is our modest visit.

Allow me stranger

Invite you to dance.

Sounds No. 30 "Big Waltz" (d.2) The Prince and Cinderella are dancing. The guests disperse, leaving them alone.

Prince:

I want this castle

You stayed forever.

Cinderella:

I won't forget this ball

But you must leave.

The clock starts to strike midnight. No. 38 "Midnight" (d.2)

Cinderella:

Prince, farewell! Ah, terrible!

It's time for me to hurry.

Prince:

Well, stay a while!

Cinderella:

No, sorry, I can't.

Gnomes appear from the clock, they help Cinderella to hide. The king and the minister of entertainment appear.

King:

Where is the princess?

Prince(sad) :

King:

Servants, all here! Catch up!

What did she say to you?

What is the name and where to look?

Cinderella in a simple old dress runs past, no one pays attention to her.

Minister(with shoe) :

Oh king, she's gone

Just found a shoe...

King:

Search the whole kingdom

And get it out of the ground!

On the proscenium, the minister and the servant with the shoe are riding horses, then trying on the shoe for six beauties.

Picture three

Cinderella's house. Sounds number 46. Cinderella sits by the hearth and admires a glass slipper. Stepmother and her two daughters enter. Frightened, Cinderella hides the shoe in her apron pocket.Youngest daughter: How I feel sorry for you, poor thing! It was such a wonderful ball! Elder daughter: If only you could see: The prince danced with the princess. Youngest daughter: How beautiful she is! Stepmother: And what an outfit she has on! Older: The prince fell in love, that's clear. Junior: Everyone in the castle says so. Stepmother: Exactly at midnight she ran away, And no one could catch up. Older: I just lost my shoe. Junior: The prince ordered to look for her. Stepmother: To all the girls of the kingdom, - The king himself issued a decree, - We must try on a shoe. Older: If it is just right, That will become the bride of the prince ... Junior: Someone is knocking on our door! Enter the Minister of Entertainment, carrying a glass slipper on a small pillow.Minister: Are there girls in your house? Stepmother: Oh sure! My joy! (Turns to the eldest daughter) Sit down quickly, try on! So pull harder, come on! And now, you, dear! (Turns to the youngest daughter) Better bend your fingers. Well, pull, pull! Minister: What kind of girl is sitting on the sidelines next to the hearth? How lovely she is!

But what a sad sight.

Stepmother:(to Cinderella) Your grace, messy! Get out of sight as soon as possible! Minister: No, I ask you to stay. You need to follow the order. Cinderella tries on a shoe.Minister: My God, she fits her! Stepmother: Silly, it can't be! Minister:

Don't get into arguments with me! (To the side) I can get an order.

Cinderella takes out of her pocket and puts on the second shoe.

Minister:

Hurry to the prince with joy,

Report to the king!

And bring them here.

I'll take care of the bride.

Music sounds, the Fairy Godmother appears. (Sings again the song “The Stars Dance” 1 verse) (No. 11 “Second appearance of the Beggar Fairy” act 1)?. She waves magic wand. The stars run in and put a ball gown on Cinderella. (Sounds No. 37 "Waltz-Code", act 2)

Enter King and Prince. (No. 50, Amoroso, 3)

Prince:

Oh, father, what happiness!

(Cinderella)

I will love you forever.

Allow you not to delay

Offer a hand with a heart!?

Sounds music "Amorozo", d. 3.

All participants go to bow. The song is being played.

Application No.

Application No.

Application No.

Application No.

Application No.

1. The main educational program of the MDO "Kindergarten of a general developmental type with priority implementation of the physical development of children of the second category No. 13 "Semitsvetik" for the 2011 2012 academic year

   Main educational program

   The main educational program of the MDOU "Kindergarten of a general developmental type with priority implementation physical development children of the second category No. 13 "Semitsvetik"

2. DPP discipline program. F. 11 Theory and methodology for the development of speech of preschoolers Goals and objectives of the discipline Purpose

   discipline program

   The purpose of teaching is to acquaint students with theoretical and didactic-methodological approaches to the problem of a child's speech development in modern psychological and pedagogical research and create conditions for their use in educational practice.

3. Curriculum 21 The work of the teaching staff on a single methodological theme 34 Analysis of methodological work in areas of activity 36

   Report

   The public report of the GOU Center for Education No. 1989 is an important means of ensuring information openness and transparency of the state educational institution, a form of broad public information, primarily parental,

4. The concept of an inclusive kindergarten by T. P. Medvedev. Integration opportunities for children of different ages. M. M. Prochukhaeva O. N. Lisyutenko "We are all alike": the first steps towards tolerance Part 2 Psychological and pedagogical work in an inclusive kindergarten

   abstract

   Egupova O.V. The system of work on the development of lexical and grammatical representations and the development of coherent speech of a teacher - a speech therapist of an inclusive group of a kindergarten.

5. Technique of ascertaining experiment 53 2Features of the emotional sphere of children with mental retardation. Conducting a stating experiment 57 > 3 Correction work methodology

   abstract

   1.1 The concept of "emotions" in various concepts. Review of research on the study of emotions. Psychological and pedagogical model of the emotional sphere of personality 9

Content

Introduction………………………………………………………………………….3

1. The development of children in theatrical activities………5

5

1.2. Introducing children to theatrical activities……………………6

1.3. The influence of theatrical play on the development of the general abilities of the child……………………………………………………………………………..... 9
1.4. Characteristics of theatrical games……………………………………….13

1.5. Classification of theatrical games…………………………………… 15

2. Organization of theatrical activities of preschoolers at different age stages……………….20

2.1. Junior group……………………………………………………………..21

2.2. Middle group………………………………………………………………22
2.3 Senior group……………………………………………………………………25

2.4. Forms of organization of theatrical activities…………………….28

2.5. Methods and techniques for the development of theatrical activities in children of senior preschool age…………………………………………………..33
3. Puppet theater………………………………………………………...37

3.1. Types of theaters……………………………………………………………………37

3.2. Types of dolls…………………………………………………………………...38

3.3. Organization of a corner of theatrical activities…………………….41

4. The role of the teacher in the organization of theatrical activities…………………………………………………………………..44

4.1. Skills and skills of the teacher in organizing theatrical activities………………………………………………………………………..44

4.2. The main areas of work with children………………………………….46

Conclusion………………………………………………………………….49

……………………………..51

Introduction

The relevance of the work lies in the fact that in pre-school educational institutions theatrical activity is one of the most accessible forms of art for children. Theater is a means of emotional and aesthetic education of children. Theatrical activity is close and understandable to the child, it is an inexhaustible source of emotional discoveries. Any invention, impressions from the surrounding life, the child wants to translate into living images and actions. Entering the image, he plays any role, trying to imitate what he saw and what interested him, and getting great pleasure. Thanks to the theater, the child learns the world not only with his mind, but also with his heart and expresses his own attitude towards good and evil. Theatrical activity helps the child overcome shyness, self-doubt, shyness. Theatricalization is a means of self-expression and self-realization of the child.

Theatrical activity allows you to form the experience of social behavior skills due to the fact that each fairy tale or literary work for preschool children always has a moral orientation (kindness, courage). Thanks to the theater, the child learns the world not only with his mind, but also with his heart and expresses his own attitude towards good and evil. Theatrical activity helps the child overcome shyness, self-doubt, shyness. Theater in kindergarten will teach the child to see the beautiful in life and in people, it will give rise to the desire to bring beauty and kindness into life. Thus, the theater helps the child to develop comprehensively.

The whole life of children is full of play. Every child wants to play their part. Teaching a child to play, take on a role and act, at the same time helping him to gain life experience - all this helps to carry out theatrical activity.

Theatrical games allow solving many pedagogical tasks related to the formation of expressiveness of speech - the ability to communicate with other people, defend one's point of view, as well as intellectual, communicative, artistic and aesthetic education, the development of musical and creative abilities.

The emotional impact of works of theatrical art stimulates the acquisition of the language, causes a desire to share impressions, which contributes to the development of the child's speech. Carrying such a positive impulse, theatrical activity should be widely used in work with children.

The purpose of the work is to study the features of the organization of theatrical activities with preschool children.

The object of the research is the organization of theatrical activities with preschool children.

Subject of study: theatrical activitypreschool children.

Research objectives: 1) to study the development of children in theatrical activities; 2) to explore the organization of theatrical activities of preschoolers at different age stages; 3) consider the role of the puppet theater in theatrical activities; 4) to identify the role of the teacher in the organization of theatrical activities.

Research hypothesis: the process of upbringing and comprehensive development of children in a preschool educational institution will be effective if the method of organizing theater activities based on theater games is used in the classroom.

The work consists of an introduction, the spirit of the chapters, a list of references, a conclusion, an application.

1. The development of children in theatrical activities

1.1. What is theater and its origins

What is theater? This is the best, according to K.S. Stanislavsky, a means for people to communicate, to understand their innermost feelings. This is a miracle that can develop creative inclinations in a child, stimulate the development of mental processes, improve bodily plasticity, and form creative activity; help to reduce the spiritual gap between adults and children. The whole life of a child is full of play, each child wants to play his part in it. In the game, the child not only receives information about the world around him, the laws of society, the beauty of human relations, but also learns to live in this world, build relationships with others, and this, in turn, requires the creative activity of the individual, the ability to behave in society.

Antique theater - theatrical art Ancient Greece, ancient rome, the countries of the Middle East (VI century BC, IV-V centuries AD) At this time, European theatrical art arose. All the peoples of the world since ancient times have holidays associated with the annual cycles of dying and rebirth of nature, with the harvest. These rituals gave life to the drama and theater of Greece and Rome. In Greece, they were dedicated to the god Dionysus. The choir of mummers and the singer did not just sing a song, a dialogue arose between them, which means active facial expressions, action.

In Rome, at the harvest festivals, cheerful, amusing songs were sung, in which actual topics and social motives were rarely heard; dances were performed (plastic culture of movement, gesture). Thus, at the origins of the theater is folk art, which arose as necessary element in the social and spiritual life of people, as a mass spectacle.

In ancient Greece, the theater consisted of an orchestra (a round platform on which the actors performed, and a choir around which the audience was located), visual places, skene (the place for changing clothes and the exit of the actors to the audience, which was outside the circle of the orchestra). Later, paraskenia, where the property of the theater was kept, began to be attached to the skene; parody - passageways between the stage and seats for spectators. The ancient Greek actor (could only be a man) could play several roles during the performance, changing masks.

The Greeks came up with the idea of ​​presenting stories about their gods and heroes in living faces, they realized how instructive and entertaining a theatrical spectacle can be. where instead of a narrator, the very people who are described in a fairy tale (myth) spoke before the audience. From the Greeks, we borrowed the very word "theater", which in Greek is pronounced theatron and means "spectacle".

In Russia, the school theater was the source of the theater, the home theater was popular. It was the educational theater, the amateur stage, that played a certain role in the emergence of a professional theater. School theaters that appeared in the XVI - XVII centuries. in educational institutions, for the first time they put on plays about Russian history and modern Russia. In the 19th century a huge role in the upbringing and education of children is played by theaters created in gymnasiums, cadet corps, and educational homes. The peasant theater for children was also popular. In European countries, the tradition of theater for children is associated with Christmas performances of play actions based on biblical and folklore stories.

1. 2. Involving children in theatrical activities

Theatrical activity is an inexhaustible source of development of feelings, experiences, emotional discoveries of the child, attaches him to spiritual wealth, is the most important means of developing empathy - a condition necessary for organizing joint activities of children.

Conditions for the development of theatrical games and introducing children to theatrical activities(S.A. Kozlova, T.A. Kulikova):

from an early age to teach children to listen to the artistic word, emotionally respond to it, more often turn to nursery rhymes, pestles, chants, jokes, poems, including those that encourage dialogue;

to educate children's interest in theatrical activities, create situations in which the characters of the puppet theater enter into a dialogue with children, play scenes;

take care of equipping theatrical games: the purchase of theatrical toys, the manufacture of homemade toys, costumes, scenery, attributes, stands with photographs reflecting the theatrical games of the pupils;

pay close attention to the selection literary works for theatrical games: with a moral idea understandable for children, with dynamic events, with characters endowed with expressive characteristics.

The participation of children in theatrical games and performances becomes possible whentheir readiness for this kind of activity: knowledge of theater as an art form; an emotionally positive attitude towards him and a certain experience of his own theatrical and gaming activities.

At different stages of introducing children to the theater and educating a positive-emotional attitude towards it, the following tasks are solved:

Formation of ideas about the theater, an emotionally positive attitude towards it with the help of observations, excursions; it is necessary to highlight the features of the theater as a cultural institution with the specifics of work, social significance, the building itself and the interior;

Introduction to understanding the specifics of acting. On the basis of viewing performances, to form children's understanding of the means of figurative expression, with the help of which the artists convey the image;

Formation of ideas about theatrical professions(main and auxiliary) by observing the work of a make-up artist, decorator, costume designer, etc., which activates interest in theatrical art, contributes to the expansion of vocabulary (make-up artist, wig, illuminator, etc.). Children learn what the direct participants in the theater action are doing (actors, musicians, conductor), who prepares the play for staging (director, artist, choreographer), who provides the conditions for its implementation (make-up artist, costume designer, cloakroom attendant);

Acquaintance with the rules of conduct in a cultural institution. A system of conversations, game dialogues that form the moral side of interaction with an art institution. The spectator experience of visiting theaters and museums contributes to the expansion and systematization of knowledge, strengthens the culture of behavior in the theater. This aspect should permeate the entire work: precede direct acquaintance with the theater, accompany conversations, games, visual activities, etc. It is necessary to repeatedly discuss the following problems with children: “What are the rules of conduct in the theater?”; “Who should follow them and why?”; “How to get to your seat if other spectators are already seated?”; “Is it possible to talk during the action, eat, rustle candy wrappers?”; "What is the intermission for?" .

After talking on these topics, it is desirable that the children act out skits to reinforce the rules of behavior in the theater. For example: children draw tickets, choose a "cashier", "ticketman". Having bought a ticket, they enter the "hall" (the chairs are pre-arranged as in the auditorium). "Ticketer" helps "spectators" to find their seats. “Spectators” ask for help finding a place, thank you for your help, apologize when walking along the row, etc. You can suggest acting out situations in which they might find themselves: “Imagine that the performance has already begun, but you cannot find a place. How would you do it?

When getting acquainted with different types of theatrical art, you can try to put on a well-known fairy tale (“Turnip”, “Teremok”) in the genre of puppet, dramatic, musical (opera, ballet, operetta) performances. It is also better to get acquainted with the device of the theater by taking an excursion to the "backstage" theater, where you can walk around the real stage, sit in the dressing room, try on costumes, take pictures in them, listen to the stories of theater workers.

It is better to acquaint preschool children with the basic concepts and terminology of theatrical art practically: during games, work on a play, visits to theaters, museums, exhibitions. It is not necessary to strictly require the assimilation of concepts, it is enough that children understand the basic theatrical terms replenished their vocabulary. For this, theatrical games are offered in the form of questions and answers, rebuses, crossword puzzles, puzzles that always evoke positive emotions in children.

1.3. The influence of theatrical play on the development of the general abilities of the child

Theatrical play, as one of the types of gaming activities , has a significant effect on thechild's personality development.

Theatrical activity is a source of development of feelings, deep feelings of the child, introduces him to spiritual values. It is equally important that theatrical games develop the emotional sphere of the child, make him sympathize with the characters. It is the child's ability for such identification with a favorite image that has a positive impact on the formation of personality traits.

In the field of cognitive development: development of versatile ideas about reality, observation of natural phenomena, animal behavior, ensuring the relationship of design with a theatrical game for the development of spatial representations, creativity, intellectual initiative, memory development, learning the ability to plan one's actions to achieve results.

In the field of social development: the formation of positive relationships between children in the process of joint activities, the education of a culture of knowledge of adults and children, the education of aesthetically valuable ways of communication in accordance with the norms and rules of life in society, the development of emotions. This allows you to usetheatricalgame in moral education children when heteropolar standards become significant for a child not only when relating himself to a positive character, but also to a negative, unattractive character(L. G. Lysyuk, S. G. Yakobson). Thanks to this, social feelings are born, an emotional attitude to events and actions that are important not only for the child personally, but also for others.

AT theatricalIn games, the child discovers the norms of moral behavior, and in real relationships, their actual assimilation takes place, noted A. V. Zaporozhets.

In the field of speech development: promoting the development of monologue and dialogic speech, enriching the dictionary, figurative expressions, comparisons, epithets, synonyms, antonyms, mastering expressive means of communication.

In the field of aesthetic development: familiarization with highly artistic literature, the development of such forms of imagination, which are based on interpretation literary image, involvement in joint design activities for modeling costume elements, scenery, attributes, creating an expressive artistic image, developing spatial imagination as the basis of design thinking, creative design, predicting the result, organizing teamwork when creating multi-figure plot compositions, learning to independently find image techniques, materials .

In the field of movement development: coordination of actions and accompanying speech, development of the ability to embody mood, character, and the process of image development in a creative movement, support for the formation of musical and motor improvisation in sketches, expressive performance of the main types of movements.

Theatrical activities not only introduce children to the world of beauty, but also awaken in them the ability to compassion, empathy, activate thinking, imagination, and most importantly, help the child's psychological adaptation in the team.

Theatrical game - activityunusually emotionally rich, which makes it attractive tochildren. It brings great joy and surprise to the child. It contains the origins of creativity, children take the guidance of an adult, not noticing him.Theatrical activitiesmost fully covers the personality of the child and meets the specificsdevelopmenthis mentalprocesses : integrity and simultaneous perception, ease of imagination and faith in transformation, emotional susceptibility, not only figurative, but also logical thinking, physical activity, etc.(L. S. Vygotsky, D. B. Elkonin, etc.). This speaks of a widedeveloping potential of theatrical play.

For a child- preschooler main path of development- an empirical generalization, which relies primarily on his ideas. Such generalizations are carried out in the process of symbolic-modeling types activities with the help of figurativefunds : characters, conditional substitutes and models(L. A. Wenger, V. V. Davydov and others).

Basic ways development empirical generalization children - observation and experimentation, says N. N. Poddyakov. An adult helps to analyze and generalize this experience, establish objective dependencies, determine its importance, and then fix the results in the form of conventional signs. Another way development generalizations in a child is"accommodation" to them various situations when an adult invites a child to express the impression of music in the language of movements.Theatricalthe game looks like this"residence" , although during the game there is an opportunity to observe the objective laws of reality highlighted by the author in the scenario and to experiment with the author on the reality described in the scenario.

Some researchers(L. A. Wenger, O. M. Dyachenko, etc.)distinguish two groups of abilities that are important for child development : modeling and symbolization. At the core development cognitive abilitiespreschool childrenlie the actions of visual modeling. The first type of such actions are substitution actions. The playful use of objects - substitution is the most important characteristic of the plot-role-playing, and consequently,theatrical play.

In theatrical games, various types of children's creativity develop: art and speech, music and games, dance, stage, singing. Theatrical activities in kindergarten contribute to the development of imagination, all types of memory and types of children's creativity (artistic and speech, musical and gaming, dance, stage).

With experienced teachers, children strive for the artistic depiction of a literary work not only as "artists" who play roles, but also as "artists" who design the performance, as "musicians" who provide sound accompaniment, etc. Opportunities for introducing preschoolers to creative artistic activities in the process of preparing a theatrical game and its progress are extremely high. Moreover, the higher, the more capable the teacher, because in the activities that he does well, which helps to reveal his individual characteristics, it is easier to captivate children, develop their talents.

Theatricalgames are recommended to be used primarily inspeech development work. Game-dramatization is considered as an effective means of consolidating children's knowledge of the content of literary works. Dramatization games provide children with a better understanding of the meaning of arithmetic problems.

Theatricalgames can be included in other types of nurseryactivities. The mutual influence of pictorial andtheatrical and gaming activitiesfor aesthetic educationchildren: firstly, when designing the scenery, and secondly, when images appear inchildren.

In this way,theatricalthe game has a significant impact on the coursechild's personality development.

1.4. Characteristics of theatrical games

Under theatrical games, scientists understand "theater games", "the plots of which are well-known fairy tales or theatrical performances according to ready-made scenarios" .

Theatrical games are games - performances that have a fixed content in the form of a literary work played by children in their faces. In them, as in real theatrical art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, specific images are created.

The theatrical game as one of its types is an effective means of socialization of a preschooler in the process of understanding the moral implication of a literary or folk work. In a theatrical game, emotional development is carried out: children get acquainted with the feelings, moods of the characters, master the ways of their external expression, realize the reasons for this or that mood. The importance of theatrical play is also great for speech development (improving dialogues and monologues, mastering the expressiveness of speech). Finally, the theatrical game is a means of self-expression and self-realization of the child.

A typical basis for artistic creativity is a theatrical game. P. Blonsky spoke about this, believing that all types of games are essentially the art of the child, his creativity. Therefore, a theatrical game can be called a creative game.

According to S. N. Tomchikova, theatrical activity of preschoolers is a specific type of artistic and creative activity, during which its participants master the available means of performing arts, and according to the chosen role (actor, screenwriter, graphic designer, spectator, etc.) ), participate in the preparation and playing of various types of theatrical performances, join the theatrical culture.

Theatrical games were named so, apparently, for their proximity to theatrical performance. Spectacle always causes joy, and fabulousness enhances the attractiveness of the game. Under theatrical games, scientists understand "theater games", "the plots of which are well-known fairy tales or theatrical performances according to ready-made scenarios" .

It is known that theatrical and gaming activity is of great importance for the comprehensive education of children: they develop artistic taste, creative and declamatory abilities, a sense of collectivism is formed, and memory develops. A feature of theatrical games is a ready-made plot, which means that the child’s activity is predetermined by the text of the work. A real theatrical game is the richest field for children's creativity: the text of a work for children is only a canvas into which they weave new storylines, introduce additional roles, change the ending, etc. An analysis of the literature showed that theatrical games differ from role-playing games not only in the plot, but also in the nature of the game activity. Theatrical games are performance games that have a fixed content in the form of a literary work, played by children in faces. In them, as in real theatrical art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, specific images are created. The pedagogical basis for organizing the process of theatrical activity in preschool institutions is the peculiarity of the perception of theater art by children of preschool age. In order for this perception to be complete, children should be introduced to various types of theatrical activities.

1.5. Classification of theatrical games

There are many points of view on the classification of games that make up theatrical and gaming activities.

Objective and non-objective games in the classification of L.S. Furmina. Differentiation of theatrical games according to the plan, according to the literary text, according to the circumstances suggested by adults E.L. Trusova.

In a number of studies, theatrical games are classified by means of representation, depending on the leading ways of emotional expressiveness of the plot. Theatrical game L.V. Artemova divides into two groups: directing and dramatization.

The first group - director's games in kindergarten include table, shadow theater, theater on flannelgraph. A child or an adult is not a character, he creates a scene, plays the role of a toy character - voluminous or planar. He acts for him, depicts him with facial expressions, intonation, gestures. The pantomime of the child is limited, since he acts as a fixed or inactive figure, a toy. Speech, its themes, intonation, expressiveness, diction come to the fore here.

In the life of a child, directorial play occurs earlier than role-playing. But both of them common roots: a plot-display game, during which a young child learns ways to act with objects, masters a sequence of game actions when depicting some event familiar to him from personal experience (feeding a doll, putting to bed, bathing, examining a doctor, etc.) . With the help of adults, the child is enriched with the simplest game plots, begins to reflect not only actions with objects, but also those that are associated with the performance of a role. Thus, prerequisites are created for the transition to a role-playing game with peers. But the child is not yet fully “ripe” for such an activity, since his communication skills are not sufficiently developed. That is why directorial games arise, in which the child moves from acting with a separate toy to playing according to his own plan, including in his canvas several characters connected by certain relationships.

Thus, in the director's game, the child begins to use the previously acquired social experience, attracts partners. A feature of the director's play is that partners (toys, their deputies) are inanimate objects and do not have their own desires, interests, claims.

In children of middle and older preschool age, directorial games undergo changes of a different nature. First of all, the content is changing. In children 4-5 years old, the content of director's games is more diverse than that of toddlers. They reflect familiar fairy tales, cartoons, but the events of personal life are used less often. Children easily combine knowledge and information obtained from different sources in one game. New characters (cartoon characters) appear, their number increases, the main and secondary characters stand out more clearly. In children aged 6–7 years, the content of games is dynamic, with a predominance of their own literary creativity. Children love to play with familiar fairy tales and cartoons changed by their own imagination, they bring a lot of fiction into the content of the game.

As E. M. Gasparova emphasizes, throughout the preschool age, the development of the plot occurs on the basis of emerging associations. Directing games arise as individual activity and remain so in early and younger preschool age. Directing games alone are also observed among older preschoolers, especially when the child has little contact with peers (often sick, does not attend preschool) or has difficulty communicating with other pupils of the group due to individual characteristics(closed, shy, has speech defects, etc.). On average, and especially at the senior preschool age, joint directorial games arise. Associations of children are usually not numerous - 2-3 people. Children come up with a plot together, select or make the necessary toys, objects, play roles (each for his character). In other words, the role-playing character is clearly expressed in the joint director's game. Thus, director's games create real prerequisites for the emergence of a role-playing game. But with the advent of the latter, directorial games do not disappear: mutually enriching, complementing each other, both games are present in the life of a child and abroad of preschool age.

The second group is dramatization games, which are based on one's own actions of playing the role. In this case, they can be used on their own actions of the execution of the role. In this case, dolls can be used - bi-ba-bo, hats. In this case, the child plays himself, mainly using his means of expression - intonation, pantomime. By participating in these games, the child, as it were, enters into the image, reincarnates into it, lives its life. This is perhaps the most difficult performance, as it does not rely on any public image.

Game-dramatization contributes to the education and development of an interesting independent, creative personality and ensures the manifestation of the individual inclinations of each child, changes the behavior of children: shy children become more active, liberated, and mobile, unrestrained children learn to subordinate their desires, will to the interests of the team, that is, mutual assistance is brought up. , respect for a friend, mutual assistance.

A developed game-dramatization is already a kind of pre-aesthetic activity. Its main features are, firstly, that, unlike role-playing games and early dramatizations, it generally does not reflect the actions of an imaginary character, but reproduces what is typical of him. On the other hand, this is not direct imitation, not direct imitation: on the contrary, we are dealing here with an arbitrary creative construction, guided by this or that initial creative construction, guided by this or that initial representation of the child. The second main sign of true dramatization play is that the child portrays the character whose role he takes on himself, but the way he does this reveals how perfect the transfer of the objective content expressed in this role is. Game-dramatization is, therefore, one of the possible forms of transition to productive, namely, to aesthetic activity with its characteristic motive of influencing other people. Characteristic for dramatization games is the presence of two types of relationships between children: imaginary, corresponding to the role, plot and real relationships of the participants in the joint game. Research and pedagogical experience convincingly show that these two types of child relationships are not identical. With a completely prosperous or, as they say, positive plot, very dysfunctional relationships can appear (both clearly and openly). Already in early childhood, the child has the greatest opportunity in a theatrical game, and not in any other activity, to be independent, to study with peers at his own discretion, to choose toys and use miscellaneous items, to overcome certain difficulties logically related to the plot of the game, its rules. The older the children become, the higher the level of their general development, the more valuable the theatrical game (especially pedagogically directed) is for the development of amateur forms of behavior; children have the opportunity to plan the plot themselves or organize games with rules, find partners, choose means for realizing their ideas.

Conclusions on the first chapter

Theatrical and gaming activitiesessential for a comprehensive educationchildren: they haveartistic taste develops, creative and declamatory abilities, a sense of collectivism is formed,memory develops.

Alltheatricalgames can be divided into two maingroups : director games and dramatization games.Directing games create real prerequisites for the emergence of a role-playing game. Dramatization game contributes to the education anddevelopmentinteresting independent, creative personality and ensures the manifestation of the individual inclinations of each child, changes the behaviorchildren.

2. Organization of theatrical activities of preschoolers at different age stages

2.1. Junior group

Tasks and content of the work.First of all, it is necessary to form an interest in theatrical games, which develops in the process of watching small puppet shows that the teacher shows, taking as a basis the content of nursery rhymes, poems and fairy tales familiar to the child. In the future, it is important to stimulate his desire to be included in the performance, supplementing individual phrases in the dialogues of the characters, stable turns of the beginning and ending of the tale. The attention of the children is fixed on the fact that at the end the dolls bow and ask to thank them, clap their hands. Glove and other theatrical puppets are used in the classroom, in everyday communication. On their behalf, an adult thanks and praises the children, greets and says goodbye. In the course of classes, evenings of entertainment, he includes fragments of dramatization, dressing in a special suit, changing his voice and intonation.

An important aspect of the educator's activity is the gradual expansion of the gaming experience through the development of varieties of dramatization games. The implementation of this task is achieved by successive complication of game tasks and dramatization games, in which the child is included. The work steps are as follows.

A game-imitation of individual actions of a person, animals and birds (children woke up, stretched, sparrows flap their wings) and imitation of basic human emotions (the sun came out - the children were delighted: they smiled, clapped their hands, jumped in place).

A game-imitation of a chain of successive actions in combination with the transfer of the main emotions of the hero (merry nesting dolls clapped their hands and began to dance; the bunny saw a fox, got scared and jumped behind a tree).

A game-imitation of well-known fairy-tale characters (a clumsy bear goes to the house, a brave cockerel walks along the path).

An improvisation game to the music (“Merry rain”, “Leaves fly in the wind and fall on the path”, “Round dance around the Christmas tree”).

A single-dark wordless improvisation game with one character based on the texts of poems and jokes that the teacher reads (“Katya, Katya is small ...”, “Hare, dance ...”, V. Berestov “Sick doll”, A. Barto “Snow , snow").

An improvisation game based on the texts of short fairy tales, stories and poems that the teacher tells (3. Alexandrova "Herringbone"; K. Ushinsky "Cockerel with the family", "Vaska"; N. Pavlova "In the car", "Strawberry"; E. Charushin "Duck with ducklings").

Role dialogue of the heroes of fairy tales ("Mitten", "Zayushkina hut", "Three bears").

Staging fragments of fairy tales about animals ("Teremok", "Cat, Rooster and Fox").

A single-dark game-dramatization with several characters based on folk tales ("Gingerbread Man", "Turnip") and author's texts (V. Suteev "Under the Mushroom", K. Chukovsky "Chicken").

In children of this age, the primary development of the director's theatrical game is noted - a table toy theater, a table plane theater, a plane theater on a flannelograph, a finger theater. The development process includes mini-staging based on the texts of folk and author's poems, fairy tales, stories (“This finger is a grandfather ...”, “Tilibom”, K. Ushinsky “Cockerel with a family”, A. Barto “Toys”, V. Suteev “Chicken and Duckling”) The child begins to use finger theater figures in joint improvisations with adults on given topics.

Enrichment of gaming experience is possible only if special gaming skills are developed.

The first group of skills is associated with mastering the position of "spectator" (the ability to be a benevolent spectator, watch and listen to the end, clap your hands, say thanks to the "artists").

The second group of skills provides the primary formation of the “artist” position, which includes the ability to use some means of expression (facial expressions, gestures, movements, strength and timbre of voice, speech rate) to convey the image of the hero, his emotions and experiences and correctly hold and “lead” the doll or a hero figure in a director's theatrical play.

The third group of skills is the ability to interact with other participants in the game: play together, not quarrel, take turns playing attractive roles, etc.

The activities of the educator should be aimed at stimulating interest in creativity and improvisation, which is an important part of working with children. Gradually, they are included in the process of playing communication with theatrical puppets, and then in joint improvisations with an adult, such as “Getting to know”, “Helping”, “An animal talking with its cub”, etc. Children develop a desire to participate in play dramatic miniatures on free topics (“Sun and Rain”, “In the Forest”, “Funny Monkeys”, “Kittens Play”, etc.).

2.2 Middle group

The main directions in the development of theatrical play consist in the gradual transition of the child from the game "for himself" to the game oriented to the viewer; from a game in which the main thing is the process itself, to a game where both the process and the result are significant, from playing in a small group of peers performing similar ("parallel") roles, to playing in a group of five to seven peers, whose role positions different (equality, subordination, control); from creating a simple “typical” image in a dramatization game to the embodiment of a holistic image that combines emotions, moods, states of the hero, and their change.

At this age, there is a deepening of interest in theatrical games. The work of a teacher with children 4-5 years old should consist in maintaining their interest in a theatrical game, in its differentiation, which consists in preferring a certain type of game (dramatization or directing), becoming a motivation for interest in the game as a means of self-expression.

The expansion of the theatrical and gaming experience of children is carried out through the development of dramatization games. Almost all types of game tasks and dramatization games that a younger preschooler has mastered are useful and interesting for a child of middle preschool age. The complication concerns texts, which from now on are distinguished by more complex content, the presence of semantic and emotional overtones, interesting images heroes, original language means. In addition to the games mentioned above, the following are used in working with children: 1) multi-character games-dramatizations based on the texts of two-three-part fairy tales about animals and fairy tales (“Winter hut for animals”, “The Fox and the Wolf”, “Geese-swans”, “Little Red Riding Hood” ); 2) dramatization games based on the texts of stories on the topics “Children and their games”, “Guys and animals”, “Adult labor”; 3) staging a play based on the work.

The content is based on figurative and game studies of a reproductive and improvisational nature (for example, "Guess what I'm doing", "Guess what just happened to me", "Show without naming a literary hero", etc.).

The expansion of the children's gaming experience also occurs through the development of theatrical play. At the age of 4 - 5 years, the child masters different types of table theater: soft toys, knitted theater, cone theater, theater of folk toys and planar figures. Actions with gape puppets become new content. The theater of riding puppets is also available to children (without a screen, and by the end of the school year - with a screen), the theater of spoons, etc. Children show performances based on poetic and prose texts(S. Marshak "The Tale of the Stupid Mouse"; K. Chukovsky "Confusion"), Finger theater is more often used in independent activities, when a child improvises on the basis of familiar poems and nursery rhymes, accompanying his speech with simple actions ("We lived with a grandmother"; C Mikhalkov "Kittens", L. Zubkova "We shared an orange").

Theatrical and gaming skills of preschoolers are significantly more complicated.

The first group of skills ensures the further development of the “spectator” position (be an attentive and benevolent spectator; show elements of spectator culture: do not leave your seat during the performance, adequately respond to what is happening “on the stage”, respond to the appeal of the “artists”, thank them with the help of applause; positively evaluate the game of peers-"artists").

The second group of skills is related to the improvement of the "artist" position. This mainly implies the ability to use the means of non-verbal (facial expressions, gestures, postures, movements) and intonational expressiveness to convey the image of the hero, his emotions, their development and change (Mashenka got lost in the forest - got scared, saw a hut - was surprised, figured out how to deceive the bear , - rejoiced), to convey the physical characteristics of the character, some traits of his character (the old grandfather pulls the turnip with difficulty, but the granddaughter does not pull very diligently, wants to run away and play with her girlfriends; the mouse is so afraid of the cat that he pulls with all his might). The ability to "manage" the puppet is also developing: to keep it unnoticed by the audience, to correctly "lead" the puppet or figure of the hero in the director's theatrical game, imitating walking, running, jumping, gestures and movements, symbolizing greetings and farewell, agreement and disagreement.

The third group of skills provides the primary development of the position of "director" in the director's theatrical game, i.e. the ability to create a play space on the plane of the table, fill it with toys and figurines at your discretion.

The fourth group allows the child to master the basic skills of a “performance designer”, which implies the ability to determine a place for a game, select attributes, use materials and elements of costumes in a variety of ways, and be included in the process of making the missing attributes for the game by the educator.

The fifth group of skills, aimed at positive interaction with other game participants, includes the ability to negotiate, establish role-playing relationships, master elementary ways of resolving conflict situations during the game.

The teacher should pay attention to the development of interest in creativity and improvisation in the process of inventing the content of the game and embodying the intended image using various means of expression. Improvisation becomes the basis of work at the stage of discussing ways to embody the images of heroes and at the stage of analyzing the results of a theatrical game. Children are led to the idea that the same character, situation, plot can be shown in different ways. It is necessary to encourage the desire to come up with their own ways of implementing the plan, to act not on the basis of copying an adult or imitation of another child, but depending on their understanding of the content of the text.

2.3 Senior group

The main directions in the development of theatrical play consist in the gradual transition of the child from playing according to one literary or folklore text to a contamination game, which implies the child’s free construction of a plot, in which the literary basis is combined with its free interpretation by the child or several works are combined; from the game, where means of expression are used to convey the characteristics of the character, to the game as a means of self-expression through the image of the hero; from a game in which the “artist” is the center to a game in which a complex of positions “artist”, “director”, “screenwriter”, “designer”, “costume designer” is presented, but at the same time, the preferences of each child are associated with some one of them, depending on individual abilities and interests; from a theatrical game to theatrical game activity as a means of personal self-expression and self-realization of abilities.

The first is the formation of a positive attitude of children to theatrical games. This implies a deepening of their interest in a certain type of theatrical game, the image of the hero, the plot, the presence of interest in theatrical culture, awareness of the reasons for a positive or indifferent attitude to the game, associated with the presence or absence of interest and the ability to express themselves in theatrical activities.

A new aspect of the joint activity of an adult and children is the introduction of children to theatrical culture, i.e. acquaintance with the purpose of the theater, the history of its emergence in Russia, the arrangement of the theater building, the activities of people working in the theater, prominent representatives profession data, types and genres of theatrical art (dramatic, musical, puppet, animal theater, clownery, etc.)

At the senior preschool age, theatrical and gaming experience is deepened by mastering different types of dramatization games and directorial theatrical games. The deepening of the experience of play-dramatization lies in the fact that children become more active and independent in choosing the content of games, they are creative in their choice. The older preschooler, along with figurative-play studies, improvisation games, staging, becomes available to independent performances, including those based on a “collage” of several literary works. For example, “Journey through the fairy tales of A.S. Pushkin", "New Adventures of the Heroes of Ch. Perrault's fairy tales", etc. The experience of the director's game is enriched by puppets, puppets with a "living hand", cane puppets.

The texts for performances are becoming more complicated. They are distinguished by a deeper moral sense and hidden subtext, including humorous. Russian folk tales-fables about animals (“The Fox and the Crane”, “The Hare and the Hedgehog”), works by L. Tolstoy, I. Krylov, G.Kh. Andersen, M. Zoshchenko, N. Nosov.

A striking feature of the games of children after 6 years is their partial transition to the speech plane. This is due to the tendency to combine different types of story games, including fantasy games. It becomes the basis or an important part of the theatrical game, in which real, literary and fantasy plans complement each other. For older preschoolers, games "with continuation" are characteristic. They also master the new game “To the Theater”, which involves a combination of role-playing and theatrical play, based on acquaintance with the theater, the activities of people participating in the production of the play.

Children develop special skills that ensure the development of a complex of game positions.

The first group of skills is connected with the improvement of the viewer's position as a "smart, kind adviser".

The second group involves the deepening of the position of "artist", the development of the ability to express one's attitude to the idea of ​​the performance, the hero and express oneself using a set of means of non-verbal, intonational and linguistic expressiveness.

The third group ensures the formation of the position of "director-screenwriter", which implies the ability to realize their ideas not only on their own, but also by organizing the activities of other children.

The fourth group allows the child to master some of the skills of a costume designer, i.e. the ability to designate the place of the "stage" and "auditorium", to select, creatively use substitute objects and independently made attributes and costume elements, to make posters, invitations, etc.

The fifth group of skills involves the use of positive methods of communication with peers in the process of planning a game, along its course (transition from a game plan to a plan of real relationships) and when analyzing the results of a theatrical production.

Children show their independence and subjective position in a theatrical game more vividly and in a variety of ways. This is achieved, among other things, by means of stimulating their interest in creativity and improvisation in the process of inventing the content of the game and embodying the intended image with the help of expressive means. With specific examples, it is necessary to help the child understand that "the best improvisation is always prepared." Preparation is achieved by the presence of previous experience, the ability to interpret the content of the text and comprehend the images of the characters, a certain level of development of various means of realizing one's ideas, etc. The solution to this problem requires giving children the right to choose the means for improvisation and self-expression.

The implementation of these tasks and the content of work with children of all age groups requires taking into account the basic principles of organizing a theatrical game.

2.4. Forms of organization of theatrical activities

Based on the tasks for the development of theatrical activities with preschoolers, its content of work in kindergarten is determined. In this case, the forms of organization can be different. For example, L.V. Kutsakov and S.I. Merzlyakov distinguish: classes (frontal, subgroup and individual), holidays, entertainment, performances, theatrical performances). The main form is an occupation, along with which other equally important forms of organizing theatrical activities are possible.

L.V. Kutsakov and S.I. Merzlyakov identified the following types of theater classes: fragmentary (in other classes), typical, dominant, thematic, integrative, rehearsal.

Standard,which include the following activities: theatrical and gaming, rhythmoplasty, artistic speech, theatrical alphabet (elementary knowledge of theatrical art).Dominant -dominated by one of these activities.Thematic,on which all the above activities are united by one topic, for example: “What is good and what is bad?”, “About dogs and cats”, etc.

Complex -used as a synthesis of the arts. An idea is given about the specifics of art forms (theater, choreography, poetry, music, painting), about modern technical means (audio and video materials). All types of artistic activity are combined, they alternate, there are features of similarity and differences in the works, means of expression of each type of art, which convey the image in their own way.

integrated whereas a core type of activity is not only artistic, but also any other activity.

Rehearsals are thoseon which the “run” of the performance being prepared for staging or its individual fragments is carried out. When organizing classes, it must be remembered that knowledge and skills acquired without desire and interest do not stimulate the cognitive activity of preschoolers.

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

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

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

Thus, theatrical activities will contribute to the development of self-confidence in children, the formation of social behavioral skills when each child will have the opportunity to express themselves in the role of a particular character. To do this, it is necessary to use a variety of techniques: the choice of roles by children at will; the appointment of not only courageous, but also timid, shy children to the main roles; distribution of roles on cards (children take from the hands of the educator any card on which the character is schematically depicted); playing all roles by all children in turn.

Even the idea of ​​dividing children into "artists and spectators" is unacceptable; on "constantly performing" and "constantly watching" how others play. It is impossible to allow fear of a mistake in the atmosphere of classes so that children are not afraid to go “on stage”. Therefore, when offering to "play" or "show" something, the teacher must proceed from the real possibilities of specific children. That is why the teacher faces two main tasks: 1) to understand, to understand what the baby feels, what his experiences are aimed at, how deep and serious they are; 2) help him express his feelings more fully, create special conditions for him in which his activity will manifest itself, his assistance to those about whom he heard.

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

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

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

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

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

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

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

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

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

2.5. Methods and techniques for the development of theatrical activities in children of senior preschool age

N. Karpinskaya proposed a methodology for working with children in theatrical activities in the classroom. This work is built in stages: 1) at the first stage, the children collectively reproduce the text of the fairy tale; 2) at the second stage, one child is invited to read for all the characters in the fairy tale; 3) at the third stage, children perform a number of creative tasks (express joy, fear, etc.); 4) at the fourth stage, the fairy tale is read by roles, etc. .

The effectiveness of theatrical activity largely depends on its integration with children's visual art classes. In the process of decorative and design creativity, children have the opportunity to think, reflect, remember and dream up, which also positively affects the expressiveness of the created images.

Of undoubted interest for practitioners is the methodological recommendations on theatrical and gaming activities of preschoolers developed by L.P. Bochkareva.

Based on the analysis of scientific and methodological literature, the author describes the types of theatrical object games and gives a detailed description of each of them. Naturally, the types of theatrical games are diverse. They complement each other and can take a worthy place in the educational work of the kindergarten and make the child's life brighter, richer and more diverse.

These recommendations will touch upon another very important aspect of working with children related to the manufacture of toys for theatrical activities and the creation of an object-play environment in a group and on a site. An approximate long-term planning of this work is given, starting from the fourth year of life.

The author of the recommendations, of course, is well aware of the real difficulties faced by practitioners in organizing and conducting theatrical activities. First of all, this is due to the lack of study time, which is why work with children in this direction is carried out in close connection with classes in the development of speech, familiarization with the outside world and fine arts.

An analysis of the methodological literature and work experience shows that when developing theatrical and gaming activities, scientists and practitioners paid special attention to the development of children's creativity. As a result, interesting methodological techniques were found, for example:

Invite the children to independently come up with a story with two imaginary toys and beat it; read a familiar fairy tale to children and invite them to come up with a new one, but with the same characters (O. Lagutkina);

To offer children an unconventional set of dolls for composing scenes and plays for roles of different contexts - Santa Claus and Frog, Snow Maiden and Petrushka (T. Nemenova);

Give children the opportunity to play contrasting roles - a strictly bear and a little bear cub, an angry dog ​​and a defenseless puppy (G. Prima).

An analysis of the modern practice of preschool education allows us to conclude that more and more attention is paid by teachers to revealing the potential of the child, his hidden talent through theatrical art.

Methods of work on the organization of games - dramatizations:1) the method of modeling situations - involves the creation of plot-models, situations-models, sketches together with children; 2)creative conversation method- involves the introduction of children into artistic image through a special formulation of the question, tactics of dialogue; 3) the method of associations - makes it possible to awaken the child's imagination and thinking through associative comparisons and then, on the basis of emerging associations, create new images in the mind.

The general methods of leading the game - dramatization are direct (the teacher shows the methods of action) and indirect (the teacher encourages the child to act independently) methods.

Conclusions on the second chapter

In the process of theatrical games: children's knowledge of the world around them expands and deepens; mental processes develop: attention, memory, perception, imagination; mental operations are stimulated; there is a development of various analyzers: visual, auditory, motor speech; vocabulary, grammatical structure of speech, sound pronunciation, coherent speech skills, melodic-intonational side of speech, tempo, expressiveness of speech are activated and improved; motor skills, coordination, smoothness, switchability, purposefulness of movements are improved; the emotional-volitional sphere develops; behavior is corrected. a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed; the development of creative, search activity, independence is stimulated; participation in theatrical games gives children joy, arouses active interest, captivates them.

3. Puppet theater

Puppet theater is the most common form of organizing children's leisure in kindergarten. The doll itself is very close to children's perception, because they are familiar with this toy from early childhood, and therefore perceive it as a close friend.

Puppet theater has been around for a very long time. Ancient peoples believed that different gods, evil and good spirits, supernatural beings live in heaven, on earth, underground, in water. To pray to them, people made images of large and small dolls from stone, clay, bone or wood. They danced around such dolls, carried them on a stretcher, drove them on chariots, on the backs of elephants, arranged cunning devices for opening their eyes, nodding their heads, baring their teeth at the dolls. Gradually, such spectacles began to resemble theatrical performances more and more. For a thousand years in all countries of the world, with the help of dolls, legends about gods, demons, genies, angels were played out, human vices were ridiculed: stupidity, greed, cowardice, cruelty. in Russia in the 17th century. The most popular puppet theater was the Petrushka Theatre. Parsley is a favorite character from the buffoons who gave a performance for the audience. This is a daring daredevil and a bully, who in any situation retained a sense of humor and optimism. In the XVIII century. Petrushka appeared in Russia - a glove puppet, which was controlled by a wandering puppeteer. Puppet theater is a type of theatrical performance in which puppets act, set in motion by puppeteer actors, most often hidden from the audience.

3.1. Types of theaters

There are several classifications of puppet theater games for preschool children. For example, teachers L.V. Kutsakova, S.I. Merzlyakov consider: 1) a table puppet theater (a theater on a flat picture, on circles, a magnetic table, a cone, a toy theater (ready-made, home-made); 2) a poster theater (flannelograph, shadow, magnetic poster, stand-book); 3) theater on the hand (finger, pictures on the hand, mittens, gloves, shadows); 4) riding puppets (on gapit, on spoons, bibabo, cane); 5) floor puppets (puppets, cone theatre); 6) theater of a living puppet (theater with a "living puppet", life-size, puppet people, mask theater, tanta-moreski).

For example, G.V. Genov classifies the types of theaters for preschoolers as follows: cardboard; magnetic; desktop; five fingers; masks; hand shadows; "living shadows"; finger shadow; theater book; puppet theater for one performer.

T.N. Karamanenko, Yu.G. Karamanenko, one of the types of theatrical games - the puppet theater is characterized as a synthetic art, with a whole range of artistic means of influencing children. The authors divide them into the following types: 1) the theater of pictures, represented by planar images: flannelograph; pictures on cardboard, represented by cardboard decorations that move around the table with the help of stands; 2) toy theater using ordinary children's dolls and toys; 3) parsley theater, where the puppeteer puts a parsley doll on his hand, controls the puppet, speaks for it.

3.2. Types of dolls

1) riding puppet theatre; 2)ttheater of middle dolls; 3)tTheater of Grassroots Puppets.

riding puppets- i.e., those that are above the screen during the performance, above the puppeteer working with it. The term was introduced into circulation by Russian folk puppeteers, who contrast riding puppets with a puppet. Riding dolls, in turn, are divided into several types.

Glovethe puppet is put on the hand of the puppeteer and is controlled by fingers and a hand. Glove puppets are worn on the actor's hand like gloves. The basis of such a doll is a case to which the handles and head are attached. The suit is sewn to the cover.

The puppeteer's hand can be positioned in different ways. The handles are made longer, sticks or wire-canes are attached to them. With this design, the doll moves more naturally and smoothly.

The glove puppet is small in size, its handles are small and stick up. The doll most often lacks legs, but they can be attached and set in motion with the second hand in the performance. The doll's handles are sewn like mittens, the fingers are stuffed and stitched, glued to the cartridges (in the form of a ring, a thimble according to the size of the puppeteer's fingers). Handles with cartridges are attached to the doll's case. A cartridge is also inserted into the head of the doll.

Petrushka doll. Glove puppets, regardless of who they represent, are called the parsley doll, since the famous Petrushka became the first character of this type of puppet. By this type they make animals - "parsley" and birds.

Bibabo dolls. The way they work is that they are put on the hand. On the index finger - the head of the doll, and thumb and middle serve as hands. Dresses are sewn for them, decorated with details (pocket, apron, belt). Heads can be made from foam rubber, paper pulp, fabric, papier-mâché.

canea doll that takes its name from the canes with which the actor controls its movements. The puppet on canes has the following device: its head is mounted on a rod, which the puppeteer holds in his right hand. Thin, long, but rigid cane rods are attached to the doll's wrists. With his left hand, the artist controls the hands of the puppet.

The cane puppet has long arms, the movements are more graceful than those of the glove puppet. But the parsley doll has more opportunities to wield various objects: it can pick up any object, put it down, take it away - of course, it is the artist's fingers that help the doll.

The cane puppet is larger than the glove puppet, it is much more difficult to work with it. For puppet shows, quite complex puppets are made, the canes are masked with hidden mechanisms so that they do not distract the audience.

Fingerdolls are the smallest "artists", usually their height is only 7-9 cm. These are dolls - thimbles, hats, rings, dolls that are worn on the entire finger, cone dolls and cylinders. These dolls are very easy to make. They are based on two felt or drape plates, sewn along the edges but the size of a finger. These dolls are perfect for home performance. It is not necessary to make decorations, but a draped chair back can become a screen.

A finger puppet can be made from a table tennis ball, a baby rattle ball, a Kinder surprise egg case. We make a hole for the finger and decorate the toy. On the hand we put on an ordinary glove or a cone from a flap of fabric.

Middle puppets are voluminous, controlled by actors-puppeteers either from the side or from the inside of large-sized puppets, inside of which there is an actor-puppeteer.

Shadow theatersthere are in many countries of the world, but the countries of the East are especially famous for them - Indonesia, Korea, China, Japan, India. A feature of the shadow theater is that all the puppets used are flat. The doll has a clear, pronounced silhouette, so it is usually shown in profile. The presentation will require good lighting and a flat screen.

life puppetis a character that is equal in size to human growth, is used as a specialized costume for various events and holidays. Such dolls are a very important part of promotions, children's parties, recreational activities, various theme parties, as well as corporate events

In the theater of grassroots puppets, puppets are used; they move with the help of threads, wire or rods made of metal and wood. All puppets are controlled from above. As in the theater of riding puppets, in the theater of grassroots puppets the viewer does not see the puppeteers - they are covered with an upper curtain or a hedge. In some performances, actors may appear in front of the audience at half their height or even completely.

Puppet(from Italian. marionetta) - a kind of controlled theatrical puppet, which the puppeteer sets in motion with the help of threads or a metal rod.

The doll is usually almost entirely made of fabric, but some parts are made from other materials. The most commonly used material is clay. Ropes are attached to the arms, legs, torso and head of the doll, threaded through the holes of the so-called "cross", through which the doll makes human movements.

3.3. Organization of a corner of theatrical activities

In the kindergarten group, it is recommended to organize corners for theatrical games and performances. They allocate space for directorial games with finger, table, poster theater, theater on mittens, theater of balls and cubes, costumes (N.V. Miklyaeva).

In the corner are located (V.A. Derkunskaya):

various types of theaters (bibabo, table, shadow, finger, flannelograph theater, puppet, etc.);

props for acting out scenes and performances (a set of puppets, puppet theater screens, costumes, costume elements, masks);

attributes for various game positions (theatrical props, makeup, scenery, director's chair, , books, samples of musical works, places for spectators, posters, programs, cash desk, tickets, binoculars, "money", numbers, types of paper, fabrics, paints, felt-tip pens, glue, pencils, threads, buttons, boxes, cans, natural material ).

The Literary Corner contains toy books whose pages are cushion-shaped and resemble rubber toys; folding books; panorama books. Books sheathed with fabric with embossed applications and representing a screen for playing puppet shows have 2-3 "glove" puppets as an appendix. For older children - publications with audiovisual, optical effects, electronic parts and other game forms.

Conclusions on the third chapter

There are three main types of puppet theaters:

Theater of riding puppets (glove, large-cane and puppets of other designs), controlled from below. Actors-puppeteers in theaters of this type are usually hidden from the audience by a screen, but it also happens that they are not hidden and are visible to the audience in their entirety or half of their height.

Theater of grassroots puppets (puppet puppets), controlled from above with the help of threads, rods or wires. Actors-puppeteers in theaters of this type are most often also hidden from the audience, but not with a screen, but with an upper curtain or a hedge. In some cases, puppeteers, as in riding puppet theaters, are visible to the audience in their entirety or half of their height.

Puppet theater of middle (not riding and not grassroots) puppets controlled at the level of puppeteers. Middle puppets are voluminous, controlled by actors-puppeteers either from the side or from the inside of large-sized puppets, inside of which there is an actor-puppeteer. Among the middle puppets are, in particular, puppets of the Shadow Theater. In such theaters, puppeteers are not visible to the audience, as they are behind a screen onto which shadows from flat or non-flat puppets are projected. Puppet puppets are used as middle puppet actors, controlled from behind the puppets by puppeteers, visible or not visible to the audience. Either glove puppets or actor puppets of other designs.

4. The role of the teacher in the organization of theatrical activities

4.1. Skills and skills of the teacher in the organization of theatrical activities

Probably, there is no such kindergarten where teachers would not use theatrical activities in their work. It has become a good tradition. Theatrical and creative activity of children, of course, will not appear by itself. In this, the teacher plays a huge role, skillfully directing this process.

It is necessary that the educator not only expressively read or tell something, be able to look and see, listen and hear, but also be ready for any “transformation”, i.e., master the basics of acting, as well as the basics of directing skills. This is what leads to an increase in his creative potential and helps to improve the theatrical activities of children. One of the main conditions is the emotional attitude of an adult to what is being read. When reading, children need not so much artistry as the sincerity and genuineness of the teacher's feelings, which are for them a model of emotional attitude to certain situations. The intonation of the teacher's voice is a role model. Therefore, before offering children any task, you should repeatedly practice yourself.

A great role of the teacher is in the moment of transferring the situation in which the action takes place. The verbal description awakens children's fantasy, imagination. Therefore, it is necessary to discuss future scenarios with children as often as possible and in more detail.

Thus, the work of the teachers themselves requires from them the necessary artistic qualities, the desire to professionally engage in the development of stage plasticity and speech, musical ability. With the help of theatrical practice, the teacher accumulates the knowledge, skills and abilities necessary for him in educational work. He becomes stress-resistant, artistic, acquires directorial qualities, the ability to interest children in an expressive embodiment in a role, his speech is figurative, “speaking” gestures, facial expressions, movement, intonation are used. The teacher must be able to expressively read, tell, look and see, listen and hear, be ready for any transformation, i.e. possess the basics of acting and directing skills.

The main conditions are the emotional attitude of an adult to everything that happens, sincerity and genuineness of feelings. The intonation of the teacher's voice is a role model. Pedagogical guidance of gaming activities in kindergarten includes: 1) educating the child in the basics of a general culture; 2) introducing children to the art of the theater; 3) development of creative activity and game skills of children.

The teacher must be extremely tactful. For example, the fixation of a child's emotional states should take place naturally, with maximum benevolence on the part of the teacher, and not turn into facial expressions lessons.

We need to remember that a preschool child is not a professional actor, he always "plays the theater." Theatrical activity by its nature is creative and should be carried out in a free, easy form. It is not always necessary to follow the text exactly, on the contrary, it is possible and necessary to deviate from it, resort to improvisation. The task of the teacher is to encourage the "actor" to experiment, dream up, use knowledge about life. The teacher must provide the child with freedom of action and skillfully combine his fantasies into a coherent plot.

In no case should you apply any pressure, comparison, evaluation, condemnation. On the contrary, it is necessary to give children the opportunity to speak out, to show inner activity. The teacher must strictly ensure that by his acting activity and looseness he does not suppress the timid child, does not turn him only into a spectator.

It is unacceptable to divide into "artists" and "spectators", that is, into constantly performing and constantly remaining to watch how others "play".

The teacher himself needs to be able to expressively read, tell, look and see, listen and hear, be ready for any transformation, i.e. master the basics of acting and directing skills. One of the main conditions is the emotional attitude of an adult to everything that happens, sincerity and genuineness of feelings. The intonation of the teacher's voice is a role model. Therefore, before offering children any task, you should repeatedly practice yourself.

4.2. Main areas of work with children

Theatrical game.The tasks of a theatrical game are to teach children to navigate in space, to be evenly placed on the site, to build a dialogue with a partner on a given topic.

Develop the ability to voluntarily strain and relax individual muscle groups, memorize the words of the heroes of the performances, develop visual auditory attention, memory, observation, imaginative thinking, fantasy, imagination, interest in theatrical art.

Theatrical games are based on acting out fairy tales. The Russian folk tale pleases children with its optimism, kindness, love for all living things, wise clarity in understanding life, sympathy for the weak, cunning and humor, while the experience of social behavior skills is formed, and favorite characters become role models.

Rhythmoplasty. The tasks of rhythmoplasty are to develop the ability to arbitrarily respond to a command or a musical signal, the willingness to act in concert, develop coordination of movement, learn to remember the given poses and figuratively convey them.

Culture and technique of speech.Tasks: to develop speech breathing and correct articulation, clear diction, varied intonation, logic of speech; learn to compose short stories and fairy tales, select the simplest rhymes; pronounce tongue twisters and poems, replenish vocabulary.

Fundamentals of theatrical culture.The role of the teacher in educating the foundations of a general culture is to educate the child in the needs of a spiritual nature, which are the main motivating force behind the behavior of the individual, the source of its activity, the basis of the entire complexity of the motivation system that constitutes the core of the personality. This is facilitated by the instillation of moral norms, the moral and value orientation of children to highly artistic examples (in music, fine arts, choreography, theatrical art, architecture, literature), the inculcation of communication skills and interaction with a partner in various activities.

Tasks: To acquaint children with theatrical terminology, with the main types of theatrical art, to educate a culture of behavior in the theater.

Work on the play.Tasks: to teach to compose etudes based on fairy tales; develop skills of action with imaginary objects; develop the ability to use intonations expressing a variety of emotional states (sad, joyful, angry, surprised, delighted, plaintive, etc.).

Conclusions on the fourth chapter

A huge role in the organization of theatrical activities is played by the educator, who skillfully directs this process. It is necessary that the educator not only expressively read or tell something, be able to look and see, listen and hear, but also be ready for any “transformation”, that is, possess the basics of acting, as well as the basics of directing skills.In progressa set of classesin theatrical activities, the following tasks are solved: the development of creative abilities and creative independence of a preschooler; fostering interest in various types creative activity; mastering improvisational skills; development of all components, functions and forms of speech activity; improvement of cognitive processes.

Conclusion

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

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

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

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

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

Theatrical games are acting out in the faces of literary works (fairy tales, stories, specially written dramatizations).

All-round development children through theatrical games will be effective only if it is a purposeful process, during which a number of private pedagogical tasks are solved, aimed at achieving the ultimate goal.

Theatrical activities in kindergarten organizationally can permeate all security moments: be included in all classes, in the joint activities of children and adults in their free time, and be carried out in the independent activities of children. Theatrical activity can be organically included in the work of various studios and circles; products of theatrical activity (staging, dramatization, performances, concerts, etc.) can be included in the content of holidays and entertainment. Theatrical activities contribute to making the life of children in a group more exciting and diverse.

Thus, theatrical activity in kindergarten is aimed at developing sensations, feelings and emotions, thinking, imagination, fantasy, attention, memory, will, as well as skills and abilities (speech, communication, organizational, design, motor).

The role of the teacher in organizing and conducting theatrical games is very great. It consists in setting sufficiently clear tasks for the children and transferring the initiative to the children. It is important to skillfully organize their joint activities and direct it in the right direction, not to ignore a single issue, both the organizational plan and issues relating to each child personally (his emotions, experiences, reactions to what is happening), to the difficulties with which children face. It is very important for the teacher to carry out an individual approach to each child.

Thus, theatrical play should be a school of such activity in which the subordination of necessity appears not as imposed from outside, but as answering to the child's own initiative, as desired. Theatrical play in its psychological structure is the prototype of the future serious activity - life.

List of used literature

Akulova O. A. Theatrical games // Preschool education. - 2005. - No. 4.- pp. 57–64

Antipina E. A. Theatrical activity of children in kindergarten: games, exercises, scenarios. - M., TC Sphere, 2013. - 235c.

Artyomova L.V. Theatrical games for preschoolers. - M., Education, 2014. - 301 p.

Bochkareva L.P. Theatrical and gaming activities of preschoolers. Methodical manual for specialists in preschool education. - Ulyanovsk, IPKPRO, 2013. - 213 p.

Vygotsky L.S. Imagination and creativity in childhood. - M., 1991. - 194 p.

Doronova T.N. The development of children from 4 to 7 years in theatrical activities / / Child in kindergarten. - 2001. - No. 2.

Zakharova B.E. The skill of the actor and director. - M.: Enlightenment, 1973. - 320 p.

Zimina I. Theater and theatrical games in kindergarten // Preschool education. - 2005. - No. 4.

Playing theater: Theatrical activities of children 4-6 years old: Method. manual for educators of preschool educational institutions / T.N. Doronova. - M.: Enlightenment, 2014.- 127 p.

Egorova T. A. Complex lessons on fairy tales for children 4-6 years old. - Volgograd: Teacher, 2013. - 67 p.

Ivantsova L. Korzhova O. World of puppet theater. - Rostov-on-Don, Phoenix. - 2013. - 160 p.

Karpinskaya N.S. Drama games in the development of children's creative abilities // Artistic word in the education of preschoolers. - M., 1972. - 132 p.

Kozlova S. A. Preschool pedagogy [Text]: textbook. allowance for students of secondary ped. textbook establishments /S. A. Kozlova, T. A. Kulikova. - M.: Publishing Center "Academy", 2014–432 p.

Lykova I. A. shadow theater yesterday and today - S.P.b., 2012. - 234 p.

Lykova I. A. Theater on fingers - M. 2012. - 231 p.

Makhaneva M. D. Theatrical classes in kindergarten. - M., Creative Center Sphere, 2011. - 321 p.

Makhaneva M.D. Theatrical activity of a preschooler // Preschool education. - 1999. - No. 11. - P.6–14.

Migunova E.V. Theatrical pedagogy in kindergarten. - M.: TC Sphere, 2015. - 128 p.

Migunova E.V.Organization of theatrical activities in kindergarten:Teaching method. allowance; NovSU named after Yaroslav the Wise. - Veliky Novgorod, 2016. - 126 p.

Miklyaeva N.V. Game pedagogical situations in the experience of the preschool educational institution.-M .: Iris-press, 2015. - 342 p.

Okhlopkova M. V. Psychological and pedagogical approaches to theatrical activities of children of senior preschool age // Pedagogical excellence: materials of the III Intern. scientific conf. (Moscow, June 2013). - M.: Buki-Vedi, 2013. - S. 48-52.

Petrova T. I., Sergeeva E. L., Petrova E. S. Theatrical games in kindergarten. M., School press, 2011. - 128 p.

Sorokina N. F. We play puppet theater. - M., ARKTI, 2011, 162 p.

Tomchikova S. N. Preparation of students for the creative development of preschoolers in theatrical activities: Educational manual / S. N. Tomchikova. - Magnitogorsk: MaSU, 2012. - 90 p.

Furmina Ya. S. Possibilities of creative manifestations of older preschoolers in theatrical games: Artistic creativity and a child / ed. N. A. Vetlugina. - M.: Pedagogy, 1972. - S.87–99.

Churilova EG Methodology and organization of theatrical activities of preschoolers and younger schoolchildren. - M., VLADOS, 2013. - 160 p.

Shchetkin A.V. Theatrical activity in kindergarten. - M.: Mosaic - Synthesis, 2013. - 356 p.

Yurina N.N. Theatrical activity in kindergarten // Aesthetic education and development of preschool children / Ed. E.A. Dubrovskaya, S.A. Kozlova. - M., 2012.

Ministry of General and Vocational Education

Sverdlovsk region

District Department of Education GO Bogdanovich

Municipal preschool educational institution

"Kindergarten No. 18" of a general developmental type with priority implementation

artistic and aesthetic development of pupils

SPEECH AT THE PEDAGOGICAL COUNCIL.

"METHODS AND TECHNIQUES

THEATER ACTIVITIES

IN KINDERGARTEN.

Compiled by: Dolgaya M.V.

caregiver

Bogdanovich, 2013

The theater teaches

how not to make a thick book.

Voltaire

Theater is one of the brightest emotional means that shape the taste of children. It affects the child's imagination by various means: by word, action, fine arts, music, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations.

Theatrical activity allowsprotect the child from aesthetic deafness.

allows you to solve many pedagogical problems related to the formation of expressiveness of speech, intellectual and artistic - aesthetic education. It is also a source of development of feelings, experiences and emotional discoveries of the child, introduces him to spiritual wealth. Works of art make you feel excited, empathize with characters and events, and in the process of this empathy, moral assessments determined by relationships are created, which are simply communicated and assimilated.

The main methods are the following:

1. Reading the educator from a book or by heart. This is a literal translation of the text. The reader, preserving the author's language, conveys all shades of the writer's thoughts, affects the mind and feelings of the listeners. A significant part of literary works is read from the book.

2. The teacher's story. This is a relatively free transmission of the text (permutation of words, their replacement, interpretation are possible). Storytelling provides great opportunities to attract the attention of children.

3. Staging. This method can be considered as a means of secondary acquaintance with a work of art.

4. Learning by heart. The choice of the method of transmitting a work (reading or storytelling) depends on the genre of the work and the age of the listeners.

Methodical methods:

1. 1. Reading a fairy tale with focusing the attention of children on precisely those character traits with which they need to be introduced.

      Analysis of the fairy tale based on the leading questions of the teacher in order to single out heroes with different character traits by children.

      Fulfillment by children of tasks according to the verbal description of the appearance of the heroes of the fairy tale, their clothes.

      The performance by children of tasks for the transmission of speech (manner of conversation and pronunciation) of the heroes of a fairy tale using the example of individual replicas.

      Children performing tasks to create "suggested circumstances" to describe the environment and situations in which events develop.

      Performing exercises to depict various emotional states based on the existing expressive repertoire of children in order to further expand it (surprise, joy, fear, anger, fatigue, care, etc.).

      Playing excerpts from fairy tales, conveying various character traits of the heroes of the fairy tale.

      Playing sketches (scenes from life), conveying the character traits of various familiar people.

      Playing etudes with an indefinite ending ("What would you do in this situation?")

      Playing out improvisations that convey various life situations (cleaning the room, getting ready to visit, saying goodbye before parting, caring for the sick, etc.).

Classes in theatrical activities in kindergarten

According to M.N. Makhaneva (“Theatrical classes in kindergarten”), it is advisable to focus on the content of classes on theatrical activities in kindergarten. They may include:

Watching puppet shows and talking about them;

Dramatization games;

Preparing and acting out various fairy tales and dramatizations;

Exercises for the formation of expressiveness of performance;

Separate ethics exercises;

Exercises for the socio-emotional development of children.

The methodology for working with children in theatrical activities in the classroom is built in stages:

1) at the first stage, children collectively reproduce the text of the fairy tale;

2) at the second stage, one child is invited to read for all the characters in the fairy tale;

3) at the third stage, children perform a number of creative tasks (express joy, fear, etc.);

4) at the fourth stage, the fairy tale is read by roles, etc.

Classification of theatrical games

Theatrical games can be divided into two main groups: dramatization and directorial (each of them, in turn, is divided into several types).

In dramatization games, the child, playing the role as an "artist", independently creates an image with the help of a complex of means of verbal and non-verbal expressiveness.

The types of dramatization are:

games imitating images of animals, people, literary characters;

role-playing dialogues based on the text;

performances of works;

staging performances based on one or more works;

improvisational games with acting out a plot (or several plots) without prior preparation.

In the director's game, "actors are toys or their substitutes, and the child, organizing the activity as a" screenwriter and director ", controls the" artists ". "Voicing" the characters and commenting on the plot, he uses different means of verbal expression. The types of director's games are determined in accordance with the variety of theaters used in kindergarten:

desktop, planar and volumetric,

puppet (bibabo, finger, puppets).

Tasks of theatrical activities in kindergarten:

Raise a steady interest in theatrical gaming activities;

To expand the children's understanding of the surrounding reality, to clarify the children's understanding of the objects and phenomena surrounding them;

Develop dialogic speech in the process of theatrical gaming activities;

To teach to use different forms of interaction between children in a theatrical game;

Stimulate the development of attention, memory, thinking, imagination;

Expand elementary mathematical, ecological, moral ideas through theatrical activities;

Encourage children to improvise on the theme of familiar fairy tales, poems and stories, to invent new fairy tales;

Develop an idea of ​​the moral qualities of a person, emotional awareness of oneself;

Cultivate initiative and imagination in making puppets for your own performances.

Special theatrical sketches and exercises;

Games for transformations;

Action games with imaginary objects or memory of physical actions;

Rhythmoplasty;

Games for the development of motor abilities;

Rhythmic study;

Musical and plastic improvisations;

Gestures;

Articulation gymnastics;

- lip charger,

neck charger,

Charging for the language.

Breathing exercises;

Write a fairy tale;

Come up with a dialogue;

Tell the story on behalf of the hero or on your own behalf;

Tongue Twisters.

Theatrical activities is the most important means of developing empathy - a condition necessary for the organization of joint activities of children.

Theatrical activities allows you to form the experience of social behavior skills due to the fact that each interactive work or fairy tale has a moral orientation. As a result, the child learns the world with his mind and heart and expresses his attitude towards good and evil.

Theatrical activities allows you to solve many problem situations indirectly on behalf of any character. This allows you to overcome shyness associated with difficult communications, self-doubt.

List of used literature.

Artemova L.V. Theatrical games for preschoolers: A book for a kindergarten teacher. - M.: Enlightenment, 1991. -127 p.

Makarenko L. On the problem of introducing children of senior preschool age to theatrical art // Preschool education. - 1994. - No. 4. - P.32-33.

Makhaneva M.D. Theatrical classes in kindergarten: A guide for employees of preschool institutions. - M .: TC "Sphere", 2001. - 128 p.