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Classes of the circle “Puppet theater. Puppet theater program

Classes of the circle “Puppet theater. Puppet theater program

18.06.2019

Additional educational

Puppet Theater program

(modified)

for students from 7 to 11 years old

implementation period 1 year

Explanatory note

When developing the program, the requirements for additional education programs, social order, and recommendations of specialists in this field were taken into account. This program is modified (it was based on a standard program) and refers to programs of a humanitarian orientation. Based on a survey among primary school students, those who wish to engage in the Puppet Theater circle are enrolled in the circle. The program of the circle is designed for 1 year. The program includes one lesson per week. The duration of the lessons is 1 hour. 38 lessons per year.

Many younger students show great interest in puppet theater. They love to watch his performances. It is close, understandable and accessible to them. Puppet theater is a synthetic art, it influences younger schoolchildren with a whole range of educational tools. When showing performances, both an artistic word and a visual image - a doll, and picturesque - decorative design, and music - a song, musical accompaniment are used. As a result, the child learns the world with his mind and heart, expressing his attitude towards good and evil; learns the joy associated with overcoming the difficulties of communication, self-doubt. Classes in theatrical activities are of great help in this: this is a game, and every child can live and enjoy it. Puppet show- one of the most favorite shows of children. It attracts children with its brightness, colorfulness, dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they come to life, move, talk and become even more attractive and interesting. The unusualness of the spectacle captures children, transfers them to a completely special, fascinating world, where everything is unusually everything is possible. Puppet theater gives children pleasure and brings a lot of joy. However, the puppet show cannot be considered as entertainment: its educational value is much broader. Primary school age is a period when tastes, interests, a certain attitude to the environment begin to form in a child, therefore it is very important for children of this age to set an example of friendship, righteousness, responsiveness, resourcefulness, courage, etc. For the implementation of these goals, the puppet theater has great potential. The puppet theater affects the audience with a whole range of means: artistic images - characters, design and music - all this is taken together due to the figurative - concrete thinking of a younger student helps the child to understand the content of a literary work easier, brighter and more correctly, affects the development of his artistic taste. Younger students are very impressionable and quickly give in to emotional influence. They are actively involved in the action, answer the questions asked by the dolls, willingly carry out their instructions, give them advice, and warn them of danger. An emotionally experienced performance helps to determine the relationship of children to the characters and their actions, causes a desire to imitate the positive characters and be different from the negative ones. What they see in the theater expands the horizons of children and remains in their memory for a long time: they share their impressions with their comrades, tell their parents about the performance. Such conversations and stories contribute to the development of speech and the ability to express their feelings. Children convey various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes. But the most striking reflection of the puppet show is in creative games: children arrange a theater and themselves or with the help of toys act out what they saw. These games develop the creative powers and abilities of children. Thus, the puppet theater is of great importance for the education of the comprehensive development of children.

Circle goals:

To introduce children to the world of the theater, to give an initial idea of \u200b\u200b"transformation and reincarnation" as the main phenomenon of theatrical art,

Cultivate a creative, active personality,

Develop artistic abilities through theatrical activities

During the development of the program, the following educational and educational tasks are solved:

Know how to work with puppets

Be able to play roles, characterize characters by his speech and actions,

To form an aesthetic attitude to language and speech, to develop a linguistic flair and sense of the word;

Show examples of friendship, kindness, truthfulness, diligence in plays and skits.

The implementation of the tasks is carried out through:

Introducing children to fairy tales

Gradual mastering by children of types of theatrical creativity,

Improving artistic skills,

emancipation of the child,

Work on intonation, diction,

Collective actions, interactions,

Awakening the ability to vividly imagine what is happening, passionately sympathize, empathize.

Principles:

inprovisation,

Humanity,

Systematization of knowledge,

Accounting for the individual characteristics of each child.

Watch puppet shows and talk about them,

dramatization games,

Exercises for social-emotional development,

Correctional and educational games,

Diction exercises (articulatory gymnasium),

Tasks for the development of speech intonation expressiveness,

Transformation games, figurative exercises,

Exercises for the development of children's plasticity (hand movements),

Finger training for the development of hand motor skills necessary for free puppetry,

theatrical sketches,

Separate ethics exercises during dramatization,

Preparation (rehearsals) and acting out various fairy tales and dramatizations,

Acquaintance not only with the texts of a fairy tale, but also with the means of its dramatization: gesture, movement, costume, scenery (props), mise-en-scene, etc.

The psychological support of the program includes the following components:

Creating a comfortable, friendly atmosphere in the classroom,

Conducting psychological testing to study the individual qualities of the child,

Formation of students' knowledge on this type of activity,

Application of individual and group forms of education.

Technical support:

Special room with stage and auditorium,

Dolls, decorations and screen

musical accompaniment,

Various attributes for classes,

The presence of puppets for the theater.

Organization of the process

Everyone from the age of 7 who has a penchant for this type of art is accepted into the circle. The planned number of students in the circle is 12 people. This standard is based on sanitary and hygienic standards. This number allows the teacher to put into practice the principle of an individual - personal approach to students, which is very important. Classes start in September and end in May. Classes are held 1 hour per week. The schedule of classes is compiled taking into account the wishes of students, their parents, as well as the possibilities of the institution. From the proposed distribution of hours for various types, the teacher, at his discretion, can allocate hours for individual work. Students will gradually comprehend this art: they will study history, master the skill of working with a doll, the ability to make dolls and props on their own, and then start working on the chosen play. When organizing work, the teacher needs to remember and fulfill one of the most basic requirements for classes - it is necessary to take into account the influence of the puppet theater on children and be very demanding about the ideological content of the performances, their artistic design and conduct. Everything that is shown to children should be highly ideological and methodologically correct. When distributing classes, take into account the level of training and age of students. Wider use of individual forms of work. One of the important points and conditions for the fruitful work of the circle is summing up the results of the interim and annual. They are held openly in the presence of all members of the circle. The form of the event is different. At the same time, remember: the success of each is compared only with the previous level of his knowledge and skills. At each lesson, summarize the results of the work in the idea of a final briefing. Based on the interests and needs of the children, the order of the topics and the number of hours may vary.

Types of evaluation of the effectiveness of training sessions

To assess the effectiveness of training sessions, input, current and final control is used.

Input control is used to diagnose the existing knowledge and skills of students in the form of an oral survey.

Current control is used to assess the quality of assimilation of the material in the form of creative tasks.

Final control:

Staging puppet shows, dramatization of fairy tales,

Holding holidays (during the year), competitions.

Literature of the teacher:

The program of N.F. Sorokino, L.G. Milanovich, "Theater of Creativity".

Antipina A.E. "Theatrical activity in kindergarten" (Games, exercises, scenarios).

The manual "Comprehensive psychological and speech therapy work to prevent and correct school decapitation" under the general editorship of Doctor of Medical Sciences E.M. Mastyukova.

Karamanenko T.N., Karamanenko Yu.G., "Puppet theater - for preschoolers."

Introduction. Fairy tales (2 lessons)

Acquaintance with the main groups of fairy tales (tales about animals, fairy tales and everyday life)

Russian folktale. A hint, a beginning, an ending.

Russian folk tale "Turnip"

(6 lessons)

Reading a fairy tale play. Literary work of the text. Vocabulary work. Motives for the behavior of heroes. Voice, its color, volume, tempo. Diction. Expressive reading by roles. Working with puppets: posture, gestures. Individual work with students and joint reproduction. Compilation of creative retellings (from another person). Staging.

Organizational moments

(1 lesson)

A play according to traffic rules "Incident in the forest"

(7 lessons)

Literary correct pronunciation of the text. Establishing what is true, what is fictional. Opinion exchange. Immediate judgments about the play-tale. Work on the text. Retelling with the help of gestures, facial expressions, poses "Live Picture". Competition for the best reader of the role of "Star Factory". Individual work with puppets and collective reproduction of a fairy tale play. Drawing up a creative retelling (changing the end of a fairy tale).

Organizational moments

(2 lessons)

Results. Doll repair. Making decorations.

Fairy tale play "Gifts"

(5 lessons)

Reading the title, replacing it, how you can title it differently. Establishment of causal relationships. The main idea of the tale. Retelling what he heard with the help of gestures, poses of dolls. Oral portrait of heroes. Working with puppets General location and individual work. Immediate judgments about staging. Compilation of creative retellings (compilation of a fictional continuation).

creative work

Writing a script for a fairy tale play

in a new way "Gifts".

(4 lessons)

Writing a script for a story. Recording a fairy tale play, working on the text. Exchange of opinions about staging.

organizational moments.

(2 lessons)

Final lessons. Reports.

(6 lessons)

Puppet theater for preschoolers.

Staging (improvisation) of fairy tales: "Gingerbread Man", "Teremok", "Turnip", "Ryaba Hen", "Masha and the Bear", "Lesson in the Forest School".

Organizational moments

(3 lessons)

Final lesson (generalization of the knowledge, skills and abilities gained during the year, identification of the most active participants, the most successful roles, the best performers).

Repair of dolls, cleaning for summer storage.

Rules of conduct in classes and performances

mug "Puppet theater"

While waiting for the start of classes, you can talk, you can not shout, push, run.

Come to the performance taut, neatly combed. It is necessary to take your place calmly; not good, ahead of everyone, pushing, running to sit down before others.

As soon as the beginning of a lesson or performance is announced, you must stop all conversations, carefully watch and listen.

Do not laugh if something goes wrong on the stage, there is some kind of awkwardness (for example, the speaker forgot the text.)

Be hospitable to those who came to the performance as a guest.

Thematic planning

Chapter programs	If quality classes	n/a by section	Main questions of the section	the date
Introduction
			Acquaintance with the main groups of fairy tales. Tales about animals, domestic and magical.
			Russian folk tale Saying, means ending Exhibition of books.
Russian folk tale "Turnip"
			Fairy tale analysis. Characters' motives. Changing face of the narrator.
			Correction and developmental games "The Chanterelle overhears", "The Bear is coming", "Guess who you are". Distribution of roles, reading by roles.
			Work on intonation. Verbal description of characters. General rules of puppetry.
			Expressive reading by roles. Individual work. Competition "The best reciter of the role."
			Fairy tale dramatization. Working out individual moments of joint playback.
			Puppet theater for students in grades 1-4. Exchange of opinions about what they saw. Drawing up a creative retelling (changing the face of the narrator)
Organizational moments
			Preparation of a report on the work done (orally). Doll repair
A play according to traffic rules "Incident in the forest"
			Acquaintance with the play-tale "Teremok"Theatrical sketches.
			Work on the text. Establishment by reading causal relationships. How could the story be titled differently?
			Distribution of roles. Expressive reading. Retelling of what was read with the help of gestures, postures. "Live picture".
			Working with puppets Posture, gestures. Individual work with students.
			Stage play-fairy tale. Practicing individual moments of joint playback
			Puppet theater "Teremok" (environmental play)
Organizational moments
			Drawing up a creative retelling (changing the ending). Opinion exchange.
			Doll repair. Making decorations. Half year results.
Fairy tale play "Gifts"
			Introduction to the play. Work on the text. Establishing what is true, what is fictional. Finding a passage that reflects the main idea of the play-tale. Be able to distinguish the emotional states of the characters.
			Distribution of roles.
			Expressive reading by roles. Competition for the best reader of the year.
			Stage play-fairy tale. Working out individual moments of joint playback.
			Puppet theater for students in grades 1-4. Exchange of opinions about what they saw.
Creative group work. Drafting a script for a fairy tale play in a new way "Gifts"
			Story recording. Writing a script for a play. Work on the text.
			Distribution of roles. Role reading.
			A dramatization of a fairy tale play. Working with puppets.
			Puppet theater for students in grades 1-4. Opinion exchange.
Organizational moments
			Results of creative group work. Opinion exchange. Search for ways to improve.
			Puppet repair, decoration making
Final lessons. Creative reports. Fairy tales for preschoolers
			puppet theatres. Russian folk tales: "Ryaba Hen"

			"Kolobok"
			"Masha and the Bear"
			"Teremok"
			"Three Bears"
Final lessons
			Summarizing the knowledge, skills and abilities acquired during the year; identify the most active participants, the most successful roles, the best performers
			Doll repair.
			Cleaning for summer storage

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

Additional educational program "Puppet Theater"

Leleykina Svetlana Viktorovna

Teacher of additional education

Explanatory note

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

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

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

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

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

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

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

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

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

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

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

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

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

puppet theatrical art.

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

Educational:

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

mastering the technique of acting.

Developing:

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

Educational:

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

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

Educational:

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

Developing:

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

Educational:

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

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

Regulatory UUD:

The student will learn:

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

Cognitive UUD:

The student will learn:

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

Communicative UUD:

The student will learn:

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

Basic principles of work:

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

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

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

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

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

Pedagogical methods

Verbal

visual

Practical

reproductive

Problem-search

Forms of organization of the educational and creative process:

- group lessons: theoretical and practical;

Game training;

Rehearsals: group and individual;

Organization of performances;

dramatizations;

Watching and attending performances;

Creative displays.

Form of control:

Observation;

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

Open lessons for parents;

Creative report;

Participation in competitions.

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

Age of children: 7 - 11 years.

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

Distinctive features and relevance of this additional

educational program

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

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

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

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

Expected learning outcomes.

As a result of the implementation first year learners should

Know:

Fundamentals of stage speech;

Means of plastic expressiveness;

Basic components of the puppet theater and its features.

Be able to:

Show artistic courage;

manage your attention;

Development:

Initial ideas about the puppet theater;

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

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

Know:

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

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

Be able to:

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

Perform acting training exercises in the presence of a stranger;

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

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

Development:

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

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

ACADEMIC PLAN

1 year of study

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

EDUCATIONAL AND THEMATIC PLAN

1 year of study

No. p / p	TOPIC	Number of hours	Theory	Practice
	Chapter "Introductory Lesson"

	Section "ABC of the theater"

	Pulcinella, France - Polichinelle, Germany - Hanswurst, etc. Viewing a presentation on the topic: "Theatrical puppets of the world." Game - improvisation "I am a doll", "I am an actor".

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





	Section "Game speech training"





	Section "Working with a doll"
	Theatrical lesson "Puppet fairy tale"























	you imagined while reading.






















	Continuation of rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.

	Rehearsals.
	Rehearsals.
	Dress rehearsal.
	Final lesson

1. Introductory lesson.

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

2. The ABC of the theater.

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

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

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

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

3. Types of theatrical puppets and methods of puppetry.

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

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

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

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

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

4. Game speech training.

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

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

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

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

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

5. Working with the doll.

5.1 Theatrical lesson "Puppet fairy tale".

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. Staging a puppet show

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

you imagined while reading.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6.16 Work on character role. Rehearsals.

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

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

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

6.20 Group and individual rehearsals.

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

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

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

6.24 Continuation of rehearsals.

6.25 Rehearsals.

6.26 Rehearsals.

6.27 Rehearsals.

6.28 Rehearsals.

6.29 Rehearsals.

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

6.31 Rehearsals.

6.32 Rehearsals.

6.33 Dress rehearsal.

7. Final lesson.

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

ACADEMIC PLAN

2nd year of study

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

EDUCATIONAL AND THEMATIC PLAN

2nd year of study

No. p / p	TOPIC	Number of hours	Theory	Practice
	Chapter "Introductory Lesson"
	Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the 2nd year of study. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc.
	Section "History of the puppet theater"




	Section "Stage speech"

	Exercise on the correct pronunciation of words, sounds. Vowel sounds.


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








	Section "Working with a doll"















	Section "Making a doll"








	Section "Staging a puppet show"

























	Rehearsals.
	Rehearsals.
	Rehearsals.
	Run-through rehearsal.
	Dress rehearsal.
	Final lesson
	Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

1. Introductory lesson.

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

2. The history of the puppet theater.

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

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

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

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

3. Stage speech.

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

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

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

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

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

4. Stage Secrets

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

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

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

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

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

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

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

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

5. Working with the doll.

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

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

5.3 Creation of stage space, skill

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

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

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

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

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

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

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

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

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

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

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

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

5.15 Consolidation of the material on the passed section.

6. Making a doll

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

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

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

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

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

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

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

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

7. Staging a puppet show

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

7.22 Individual and group rehearsals of the puppet show.

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

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

7.25 Editing rehearsals, runs.

7.26 Rehearsals.

7.27 Rehearsals.

7.28 Rehearsals.

7.29 Run-through rehearsal.

7.30 Dress rehearsal.

8. Final lesson.

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

Technical equipment of classes

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

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

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

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

Theatrical screen;

Scenery for performances.

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

List of literature for the teacher:

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

List of literary works for children:

1. A. Barto poems

2. S. Mikhalkov poems

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

4. Russian folk tales

5. K. Chukovsky "Fedorino - grief"

List of musical compositions:

1. M. Glinka "Waltz - Fantasy"

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

3. D. Shostokovich "Waltz - a joke"

4. Songs by V. Shainsky

Organization of the process.

The circle is attended by students of grades 3-5 in the amount of 15 people. Classes begin on September 2 and end on May 26 and are held 2 hours a week, on Tuesday from 14-30 to 16-00.

Students comprehend this art gradually: they study history, master the skill of working with a doll, the ability to make a doll and props, then start working on the chosen play.

Requirements for classes: take into account the influence of the puppet theater on children and treat with great responsibility the ideological content of the performance, and the artistic design and conduct. Everything that is shown to children should be highly ideological and methodologically correct. When distributing classes, take into account the level of training and age of students. Wider use of individual forms of work. The success of each student is compared with the level of his knowledge and skills. At each lesson, summarize the results of the work in the idea of a final briefing.

	holding	Quantity
	holding		practice
Introductory lesson.
Conducting safety briefings.
Acquaintance with the history of the parsley theater, with theatrical vocabulary, the professions of people who work in the theater (director, decorator, props, actor).
Mysterious transformations. To introduce children to the world of the theater, to give an initial idea of \u200b\u200b"transformation" and "reincarnation", as the main phenomenon of theatrical art.
Etude exercise.
Etude exercise.
Etude exercise.
Etude exercise.
Etude exercise.
Etude exercise.
Etude exercise.
Selection for the performance of a play.
The distribution of roles and reading the work of students.
Handling the read of each role.
Practice reading each role.

Teaching how to drive a doll over a screen.

Making dolls and props.
General rehearsal of the play.
Showing the play to children.
Play selection. Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
Readings by roles, deep and detailed analysis of the play.
Play rehearsal.
Play rehearsal.
Play rehearsal.

Preparation of puppets and props for the performance.
General rehearsal of the play.
Showing the play to children.
Selection for the performance of a play. Expressive reading of the work of students. Determine how many characters are in the play. What is the emotional state of the character? What is his character?
Distribution of roles and reading of works by students.
Handling the read of each role.
Play rehearsal.
Play rehearsal. Distribution of technical responsibilities for the performance. Musical arrangement.
Showing the play to children.
Creative mug report.
Excursion of members of the circle to Volgograd, with a visit to the Puppet Theater.

MKOU Privolzhskaya secondary school

Reviewed on ped. Agreed: I approve

Council Deputy Director for Director MKOU

Protocol No. _______ educational work of the Volga secondary school

From "____" _________ 2014 ___________ (Kolesnikova A.V.) ___________ (Kozhina S.A.)

________________________ "____" ___________2014 "____" _____________2014

Educational program of the puppet circle

"Firefly"

for students in grades 3-5

Program creator: Lykova Svetlana Ivanovna

2014-2015 academic year

The program of the circle of the puppet theater "Firefly"

Explanatory note.

Puppet show - one of the most favorite shows of children. It attracts children with its brightness, colorfulness, dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they come to life, move, talk and become even more attractive and interesting. The unusualness of the spectacle captures children, transfers them to a completely special, fascinating world, where everything is unusually everything is possible.

Puppet theater gives children pleasure and brings a lot of joy. However, the puppet show cannot be considered as entertainment: its educational value is much broader. Primary school age is a period when tastes, interests, a certain attitude to the environment begin to form in a child, therefore it is very important for children of this age to set an example of friendship, righteousness, responsiveness, resourcefulness, courage, etc.

For the implementation of these goals, the puppet theater has great potential. The puppet theater affects the audience with a whole range of means: artistic images - characters, design and music - all this is taken together due to the figurative - concrete thinking of a younger student helps the child to understand the content of a literary work easier, brighter and more correctly, affects the development of his artistic taste. Younger students are very impressionable and quickly give in to emotional influence. They are actively involved in the action, answer the questions asked by the dolls, willingly carry out their instructions, give them advice, and warn them of danger. An emotionally experienced performance helps to determine the relationship of children to the characters and their actions, causes a desire to imitate the positive characters and be different from the negative ones. What they see in the theater expands the horizons of children and remains in their memory for a long time: they share their impressions with their comrades, tell their parents about the performance. Such conversations and stories contribute to the development of speech and the ability to express their feelings.

Children convey various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes.

But the most striking reflection of the puppet show is in creative games: children arrange a theater and themselves or with the help of toys act out what they saw. These games develop the creative powers and abilities of children. Thus, the puppet theater is of great importance for the education of the comprehensive development of children.

Purpose and objectives of the educational program.

Target:

to introduce children into the world of the theater, to give an initial idea of “transformation and reincarnation” as the main phenomenon of theatrical art, in other words, to reveal the secret of the theater to children.

Tasks:

Educational:

Introduce the history of puppet theater;

Awaken interest in reading, feel the poetry of folk tales, songs, love and understand art;

Teach children to make their own dolls;

To ensure that the skills acquired in theatrical games can be used by children in everyday life.

Developing:

develop individual creative abilities of children;

Develop imagination, spatial thinking of children;

Encourage the development of fine motor skills.

Educational:

To cultivate a respectful attitude to the labor activity of a person;

To develop an artistic and aesthetic taste and a creative approach to completing tasks of varying complexity;

Cultivate communication skills.

Conditions for the implementation of the educational program.

The program is addressed to elementary school students, aimed at the development and correction of higher mental functions.

Main Components	Recognition methods
Motives and values	Interest in theatrical art, the desire to improve their skills in working with a doll.
	Knowledge: about the history of the puppet theater, theatrical vocabulary, professions of people who work in the theater (director, artist, decorator, props, actor).
	Making puppets, working with a puppet on a screen.
Dominant personality traits	Acquiring the necessary personal qualities.

Recruitment of students in the team is carried out at will.

Classes are held for 2 hours a week. Tuesday from 14.30-16.00

Total for the academic year - 76 hours.

Expected results of the implementation of the educational program.

The learning outcomes of the program can be determined by the following parameters:

1. They are able to design and make a doll and props of varying complexity.

2. They know how to work with a doll, with a screen.

3. They know how to competently and reasonably evaluate their creative abilities, see and correct mistakes.

4. They know how to independently select, learn and play a role with a doll.

5. They know how to set themselves certain goals and objectives.

6. Develop needs and habits for self-improvement, both knowledge and creativity.

The practical result in the manufacture of dolls and props is the creation by the child of his own works, at first simple (finger puppet, papier-mâché props), then more complex (frame doll, decoration elements, etc.)

The practical result of working with a doll is the child's creation of simple images at first (heroes of fairy tales, poems, jokes), then more complex ones (heroes of stories, plays, etc.).

At the end of the year, exhibitions of works and performances of the play are held in schools and kindergartens.

Ways to track and control results.

Children with different characters and different degrees of giftedness come to the creative team. The attitude of an adult should be extremely friendly. It is necessary to celebrate every, even small, achievement of the child. It is extremely important to correctly relate to inability, failure, mistakes, so that the child does not transfer the mistake noticed by an adult, his inability, to assess his abilities in general, but learns, together with the teacher, to analyze, understand what his difficulties are.

Children are united by the creative process itself, discussion of the results, holding exhibitions, shows. Relationships in the team change noticeably: children become more tolerant and kind.

Each created work clearly shows the possibilities and degree of mastery of the skill of each student. Gradually creating works of both small and large forms, the children themselves, teachers see a qualitative and creative growth from work to work.

All good luck is encouraged, all shortcomings are gently corrected in practice.

Analyzing the creative process of each child and the works created by him, the teacher develops a differentiated and individual approach to students.

The element of creative competition is very important in the team. The results of each lesson are taken into account. Twice a year, in December and May, the results are summed up and the winners are awarded.

Educational and thematic plan.

Topics	Number of hours
	Total	Theory	Practice
Introductory lesson
Mysterious transformations
Work on the play chosen for the performance
Making dolls and props
Selection for the performance of a play
Showing a play to children
Doll repair

Forms and methods of work.

Working with a doll is a laborious process that requires a developed imagination, fantasy, systematic actions, the ability to analyze and predict the result. Not all children have these qualities. Therefore, all stages are thought out and the most rational rhythm of learning is chosen.

The learning process is built from simple to complex. On simple and small forms, techniques for working with a doll are practiced, which allows you to gradually encourage children to be creative, give

the opportunity to believe in yourself, love this type of creativity and awaken the desire to do more. It is necessary to develop the personality of the child, confidence in his abilities, to provide him with the opportunity to show the best, most successful work at exhibitions and shows. At the end of the year, the guys participate in the reporting show at school. This builds a readiness for solving more complex problems in children.

The form of conducting classes can be different:

training session;

creative workshop;

Master Class;

visiting and participating in exhibitions, shows;

visiting museums, theaters.

Classes are structured in such a way that theoretical and practical lessons are given to the whole group. Further work is carried out with each student individually, taking into account his capabilities, age and personality characteristics. Theoretical questions are included in practical classes and are a channel for the child's creative initiative.

Educational and methodological support:

methodological developments;

information material;

visual aids;

Photo;

video materials;

product samples;

Handout.

The theoretical part of the lesson includes:

setting goals and explaining tasks;

creation of conditions for the development of cognitive independence of students (it is desirable to ensure that children themselves determine goals, methods, choose control);

presentation of new material (carried out in the form of a conversation based on the material already covered and previously acquired knowledge, with a demonstration of new techniques).

The practical part of the classes is based on the following principles:

accessibility “from simple to complex”;

visibility;

individual approach to each student;

organization of mutual assistance in the performance of work;

repeated repetition.

Depending on the ability of the student , various forms of work are used: imitative, partially search, creative.

For each completed work, all members of the team express their opinion: they analyze the advantages and disadvantages, which helps all students once again consolidate their knowledge and take into account possible errors.

Requirements for the quality of work are increasing slowly and gradually. This allows you to achieve good learning outcomes.

At the end of each lesson, the work is analyzed and evaluated.

Logistics support of the educational program.

Puppet lessons are held in the classroom.

The office has technical equipment: a music center.

Dolls, props, decorations, screens are stored in the cabinets. The bookcase contains works by children's writers. There is an album with drawings of product samples, the best creative works also become samples, with the obligatory indication of the author.

The office has tools: scissors, pencils, rulers, pens, templates and everything you need to make dolls, props and decorations.

Materials for making dolls, props and decorations are provided by the teacher.

Used Books

Newspaper: "Primary School", No. 30. 1999;

Magazine: Primary School No. 7, 1999;

Karamanenko T.N. "Puppet Theatre", Moscow 2001;

Kochetkova N.V. “We make toys ourselves”, Volgograd: Uitel, 2010

Sorokina N.F. "We play puppet theater", "Arkti", Moscow, 2001;

Magazines: "Pedagogical Council", "Last Call", "Read, study, play", "ABVGDeyka".

Charter of the circle .

Rights of members of the circle:

every student who loves puppetry and wants to take part in staging performances can become a member of the circle;

a member of the circle has the right to independently make the simplest glove puppets;

members of the circle have the right to show their performances to their peers, kindergarten kids, high school students, parents.

Club Member Responsibilities:

a member of the circle is obliged to strictly observe discipline, regularly attend classes;

conscientiously perform all tasks;

treat dolls and decorations with care;

expand your horizons in the field of theatrical art.

Photo report

puppet theater"Firefly"

Puppet show based on a Russian fairy tale

"Gingerbread man in a modern way"

puppet show"Masha and the Bear"

puppet show"Visiting the Sun"

puppet show actors

"Gingerbread man in a modern way"

Cast: grandmother - Mikhailova N., kolobok - Pakhomenko A., grandfather - Demina K., wolf and fox - Lyashenko M., hare and bear - Kolomeytseva N.

PROGRAM

Additional education in theatrical activities

Puppet theater "Kid"

The program is designed for elementary school students. Implementation period -4 years

teacher: Bykova N.N.

PEACE 2011

Explanatory note

Theatrical activity is the most common type of activity of children's creativity. It is close and understandable to the child, lies deep in his nature and is reflected spontaneously, because it is connected with the game. The child wants to translate any of his inventions, impressions from the life around him into living images and actions. Entering the character, he plays any role, trying to imitate what he saw and what interested him, receiving great emotional pleasure.

Puppet show - one of the most favorite shows of children. It attracts children with its brightness, colorfulness, dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they come to life, move, talk and become even more attractive and interesting. The unusualness of the spectacle captures children, transfers them to a completely special, fascinating world, where everything is unusually everything is possible.

Children convey various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes. But the most striking reflection of the puppet show is in creative games: children arrange a theater and themselves or with the help of toys act out what they saw. These games develop the creative powers and abilities of children. Thus, the puppet theater is of great importance for the education of the comprehensive development of children.

Program focusadditional education "Puppet theater "Kid"

Development of creative abilities of students,mastering the skills of collective interaction and communication;

Program novelty

activity an approach to the upbringing and development of a child by means of the theater, where the student acts as either an actor, or a musician, or an artist, in practice he learns that an actor is at the same time a creator, material, and instrument;

- principle of interdisciplinary integration– applicable to related sciences (lessons of literature and music, literature and painting, fine arts and technology, vocals and rhythm);

- principle of creativity- implies a maximum orientation on the child's creativity, on the development of his psychophysical sensations, the emancipation of the personality.

Target:

To introduce children into the world of the theater, to give an initial idea of \u200b\u200b"transformation and reincarnation" as the main phenomenon of theatrical art, in other words, to open the secret of the theater for children;

Education and development of an understanding, intelligent, educated theatrical spectator with artistic taste, the necessary knowledge, and his own opinion.

Tasks:

Reveal the specifics of the theater as an art: introduce the history of the puppet theater, arouse interest in reading, teach to see the beauty of the native land, man and his work, feel the poetry of folk tales, songs, love and understand art; to make the life of children interesting and meaningful, to fill it with vivid impressions, interesting things, the joy of creativity;
teach children to make their own dolls; to ensure that the skills acquired in theatrical games can be used by children in everyday life;
help to master the skills of collective interaction and communication;
through the theater to instill interest in world artistic culture and provide primary information about it;
to teach creatively, with imagination and fantasy, to relate to any work.

Formation of Universal Training Activities

Personal UUD: formation of a motive that realizes the need for a socially significant and socially valued activity. Development of readiness for cooperation and friendship. Formation of a healthy lifestyle.

Cognitive UUD: the ability to establish cause-and-effect relationships, focus on a variety of ways to solve problems. The ability to search for the necessary information to perform creative tasks, the ability to build reasoning in the form of a connection of simple judgments about an object.

Communicative UUD: the ability to enter into a dialogue, understanding the possibility of different positions and points of view on any subject and issue. Ability to negotiate, find a common solution, work in groups. The ability to argue your proposal, to convince and yield, the ability to control the actions of a partner in activities. The ability to ask questions necessary for the organization of their own activities and cooperation with a partner. To form the ability to adequately use speech means for the effective solution of various communicative tasks. Be able to exercise mutual control and provide necessary mutual assistance in cooperation.

Regulatory UUD: Simulation of various situations of behavior in school and other public places. Distinguish between acceptable and unacceptable forms of behavior. Ability to adequately accept the assessment of the teacher and classmates. The ability to exercise ascertaining and anticipatory control by the result and by the method of action, actual control at the level of voluntary attention.

Distinctive features:

There are no programs for additional education "Puppet theater in elementary school".

The program I developed is designed for a full course of children's education and adapted for elementary school students

Age of children: 7-10 years old

Implementation timeline:4 years, 34 hours per academic year, 1 hour per week

Expected results

First year of study

The ability to simply analyze a literary work: the meaning of the phenomena depicted, the artistic significance of individual details, a description of figurative comparisons and expressions, to determine the main idea of the work and its individual parts.

Pupils master the ability to logically correctly and clearly convey the thoughts of the author when reading. Understand the meaning of the depicted phenomena, emotional attitude towards them and active striving; to reveal this meaning to the listeners - a source of various intonations, tempo and timbre of the voice. This is achieved in the classroom on the technique of speech.

Pupils must have basic skills in making glove puppets.

Pupils should have elementary ideas about the theatrical professions and the special terms of the theatrical world.

Second year of study:

The ability to logically correctly and clearly convey the thoughts of the author in his reading, to reveal the meaning of the text.

Third and fourth years of study:

Children should have an initial knowledge of the traditions of the theater of different systems and the traditional Russian puppet theater.

Understanding the meaning of the phenomena depicted in the work, emotional attitude towards them, the ability to convey this to the audience.

The ability to convey the character of the character with voice and action.

Ability to work with puppets of various systems

Ability to work with a doll on a screen and without it.

Mastering practical skills in making dolls and decorations.

Take into account the features of works when choosing them for staging.

Mastering elementary knowledge about theatrical professions and terms of the theatrical world.

Forms of conducting classes:

the game
conversation
illustration
learning the basics of stagecraft
image workshop
costume workshop
dramatization of the read
staging a play
attending a performance
work in small groups
acting training
excursion
performance

Organization of the process

Everyone from the age of 7 who has a penchant for this type of art is accepted into the circle. The planned number of students in the circle is 15 people. This standard is based on sanitary and hygienic standards. This number allows the teacher to put into practice the principle of an individual - personal approach to students. Classes start on October 1st and end on May 25th. Classes are held 1 hour per week, 34 hours per academic year. The schedule of classes is compiled taking into account the wishes of students, their parents, as well as the possibilities of the institution. Students will gradually comprehend this art: they will study history, master the skill of working with a doll, the ability to make dolls and props on their own, and then start working on the chosen play. When distributing classes, the level of training and age of students are taken into account, individual forms of work are used. One of the important points and conditions for the fruitful work of the circle is summing up: performances in front of the audience - parents, classmates, participation in city and regional festivals. Based on the interests and needs of the children, the order of the topics and the number of hours may vary.

Educational - thematic plan

	Main blocks	Number of hours
		Total	Theory	Practice
	Introductory lesson
	Acting Basics:Diction. Intonation. The pace of speech. Rhyme. Rhythm. The art of declamation. Improvisation. Dialog. Monologue.
	Choice of plays for the performance, reading by roles.

	Work on a play chosen for the performance, work on expressive means of speech
	Play show.
	Visiting theater performances
Total

1 year of study (34 hours)

	the date	Topic
		Introductory lesson. Theatre. Its origins. Acquaintance with the history of the appearance of the parsley theater, with theatrical vocabulary, the professions of people who work in the theater (director, decorator, props, actor).
		Mysterious transformations. To introduce children to the world of theater, to give an initial idea of “transformation and reincarnation”, as the main phenomenon of theatrical art. Exercises and games for attention
		Selection for the performance of a play. Expressive reading of plays by the teacher:r.n. fairy tale "Mitten"Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading .


10-11
12-13
14-18
		Making dolls and props. Conversation on labor protection
		General rehearsal of the play.
		Showing the play to children, parents
		Choice of play: p. researcher "Spikelet" Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
23-24
25-26
27-28
29-30

		Showing the play to children.
		Showing the play to parents.

2 year of study (34 hours)

	the date	Topic

		Acting Basics:
		"Health Tips" (a play based on LIFE SAFETY FUNDAMENTALS) . Exercises and games for the development of imagination
		The distribution of roles and reading the work of students: Determine how many characters are in the play? What is the emotional state of the character? What is his character? Development of speech breathing and articulation
		Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is. Exercises and games for attention
10-11		Processing the reading of each role, rehearsal at the table (to teach children the ability to get used to their role, to teach their intonation to convey mood, feelings, character). Development of diction based on tongue twisters
12-13		Learning to work on the screen: put the doll on the hand: head on the index finger, doll hands on the thumb and middle fingers; hold the doll over the screen on an outstretched arm, trying to do it smoothly, without jumps; do the suggested exercises with each child. Development of diction based on tongue twisters
14-18		Training to work on the screen, reading by each puppeteer of his role, the actions of the role. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing puppets, sound design of the performance.
		Making dolls and props. Conversation on labor protection
		General rehearsal of the play.
		Showing the play to children, parents
		How snowmen searched for the sun". Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
23-24		Readings by roles, deep and detailed analysis of the play.
25-26		Play rehearsal. Production of props and puppets for the play.
27-28		Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.
29-30		Play rehearsal. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.
		General rehearsal, sound design of the performance.
		Showing the play to children.
		Showing the play to parents.
		Visiting a theatrical professional performance

3 year of study (34 hours)

	the date	Topic
		Introductory lesson. Diagnosis of student learning.
		Acting Basics: diction, intonation, rate of speech, rhyme, rhythm. The art of declamation. Improvisation. Dialog. Monologue. Mysterious transformations. Exercises and games for attention
		Selection for the performance of a play. Expressive reading of the play: script for a puppet showTheater "Red Book"Reading conversation. Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading . Exercises and games for the development of imagination
		The distribution of roles and reading the work of students: Determine how many characters are in the play? What is the emotional state of the character? What is his character? Development of speech breathing and articulation
		Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is. Exercises and games for attention
10-11		Processing the reading of each role, rehearsal at the table (to teach children the ability to get used to their role, to teach their intonation to convey mood, feelings, character). Development of diction based on tongue twisters
12-13		Learning to work on the screen: put the doll on the hand: head on the index finger, doll hands on the thumb and middle fingers; hold the doll over the screen on an outstretched arm, trying to do it smoothly, without jumps; do the suggested exercises with each child. Development of diction based on tongue twisters
14-18		Training to work on the screen, reading by each puppeteer of his role, the actions of the role. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing puppets, sound design of the performance.
		Making dolls and props. Conversation on labor protection
		General rehearsal of the play.
		Showing the play to children, parents
		Choice of play: T.N. Karamanenko"healing herb"»Conversation about reading. - Did you like the play? Which of her characters did you like? Would you like to play her? Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
23-24		Readings by roles, deep and detailed analysis of the play.
25-26		Play rehearsal. Production of props and puppets for the play.
27-28		Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.
29-30		Play rehearsal. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.
		General rehearsal, sound design of the performance.
		Showing the play to children.
		Showing the play to parents.
		Visiting a theatrical professional performance

4 year of study (34 hours)

	the date	Topic
		Introductory lesson. Diagnosis of student learning.
		Acting Basics: diction, intonation, rate of speech, rhyme, rhythm. The art of declamation. Improvisation. Dialog. Monologue. Mysterious transformations. Exercises and games for attention
		Selection for the performance of a play. Expressive reading of the play"Kolobok" Reading conversation. Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading . Exercises and games for the development of imagination
		The distribution of roles and reading the work of students: Determine how many characters are in the play? What is the emotional state of the character? What is his character? Development of speech breathing and articulation
		Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is. Exercises and games for attention
10-11		Processing the reading of each role, rehearsal at the table (to teach children the ability to get used to their role, to teach their intonation to convey mood, feelings, character). Development of diction based on tongue twisters
12-13		Learning to work on the screen: put the doll on the hand: head on the index finger, doll hands on the thumb and middle fingers; hold the doll over the screen on an outstretched arm, trying to do it smoothly, without jumps; do the suggested exercises with each child. Development of diction based on tongue twisters
14-18		Training to work on the screen, reading by each puppeteer of his role, the actions of the role. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing puppets, sound design of the performance.
		Making dolls and props. Conversation on labor protection
		General rehearsal of the play.
		Showing the play to children, parents
		Choice of play: "Teremok » Conversation about reading. - Did you like the play? Which of her characters did you like? Would you like to play her? Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
23-24		Readings by roles, deep and detailed analysis of the play.
25-26		Play rehearsal. Production of props and puppets for the play.
27-28		Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.
29-30		Play rehearsal. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.
		General rehearsal, sound design of the performance.
		Showing the play to children.
		Showing the play to parents.
		Visiting a theatrical professional performance

Methodical literature:

T.N. Karamanenko "Puppet Theatre" M. 2001;

newspaper: “Primary School”, No. 30, 1999;

Magazine: "Primary School" No. 7, 1999;.

N.F. Sorokin "Playing puppet theater" (a manual for practitioners of preschool educational institutions) M., 1999

» I.A. Generalova"Theatre" (a manual for additional education) M: "Ballas" 2010

Attachment 1

"Health Tips"

Acting characters: fox, bear, hedgehog, wolf, Dr. Aibolit.

(Music sounds, Fox appears and sings a song)

Lisa: I work as a nurse in our first-aid post.

I like the work, kids, I won't hide it.

I brush my teeth and I wash my paws.

Who can match my purity.

With me, with me, with me?!

Finally these germs escaped. Thank you guys for kicking them out!

Did you know that the best germ killer is soap and water! You need to wash your hands with soap more often. I'm going to wash my paws. (Walks off to the music)

(A bear comes out of the forest and growls)

Bear: Rrr!

(A hedgehog with a basket runs out into the clearing, and vegetables in the basket)

Hedgehog: Hello, Mishenka!

Bear: Hello, Hedgehog no head, no legs.

Hedgehog: Why are you growling like that?

Bear: I really want to eat!

Hedgehog: Come on, eat some vegetables. I have vegetables here in the basket. Yes, just look

Wash your feet with soap.

Bear: I have no time to wash my paws here, I want to eat! (With greed pounces on the vegetables in the basket, wipes his face with his paw) Thank you hedgehog! (Slaps his stomach) Ow! Oh oh! Oh oh oh!

Hedgehog: What's wrong with you, Mishenka?

Bear: Oh! Ouch! What happened with me! I'm really sick now!

My stomach hurts, what did I eat?

Hedgehog: I told you not to eat with dirty paws, but you didn't listen! Let's go to the doctor soon!

Bear: Oh! Not! I'm afraid! I'd rather lie under the tree.

Hedgehog: (to the audience) Let him lie down, and I'll run for the nurse. (Runs away)

(The bear lies, groans, a wolf comes out with a bandage on his teeth and howls)

Wolf: Wow!

Bear: What's the matter with you, wolf?

Wolf: I suddenly began to live badly, my tooth ached badly.

There is no urine, it is necessary to treat a sick tooth.

Bear: My stomach hurts! (Both lie and moan)

(The hedgehog comes out and leads the Fox)

Lisa: So, what happened here?
Wolf: My tooth hurts, and the bear has a stomach!

Lisa: Do you brush your teeth?

Wolf: No. What for?

Fox: Guys, tell the wolf why do we need to brush our teeth? (Answers) Yes, you will

Call Dr. Aibolit. Dr. Aibolit! (Doctor Aibolit exits)

Dr. Aibolit: Hello, animals, what happened to you?

Fox: Here the bear ate with dirty paws and his stomach ached, and the wolf never brushes his teeth, so they ached with him.

D.A: I will help you, animals, but promise me that you will observe the rules of hygiene.

Any well-mannered person or animal must follow all the rules of hygiene.

Wolf and Bear: We promise.

D.A: Here is a potion for you, drink (drink) For Mishka - soap, do not forget to wash your paws.

And you, Wolf - a toothbrush. Brush your teeth twice a day.

Wolf and Bear: Thank you!

D.A: And I wish you guys to always be healthy,

But achieving results is not possible without difficulty.

Try not to be lazy, every time before eating,

Before you sit down at the table, wash your hands with water!

Don't forget to brush your teeth in the morning and before bed.

And you be neat, clean the house!

Do you exercise daily in the morning,

And, of course, temper yourself - it will help you so much!

Bear: Bye guys!

Hedgehog: Come visit us

Wolf: Together with us all the animals

Fox: You will be very welcome!

All: Goodbye!

(All animals wave their paws and leave)

Script for puppet theater

"Red Book"

Characters: Parsley, grandfather, woman, Gingerbread man, hare, wolf, bear, fox.

Vedas: And our fairy tale is not simple,

Although known to all

Grandfather: Look, is there smoke coming from the chimney?

That old woman kolobok

I'll bake today.

Baba: Everything, Done, Baked.

Cool now need.

Let him sit on the window

And cool down a bit.

Vedas: Gingerbread Man is tired of sitting

Ran along the path.

Kolobok: (sings) I left my grandmother, I left my grandfather,

I left my grandparents!

Vedas: Through the field and woods

The bun rolled.

And by the forest in the clearing

I met with a gray hare.

Bunny: Bunny, what happened to you?

Hare: trouble suddenly happened to me.

I can't lift my paw.

I hurt my heel badly.

Someone didn't pick up the trash

Scattered across the meadow.

I stepped on the glass.

I hurt my toe.

Warn everyone around.

I'll go home soon

I'll add a plantain.

Vedas: Ride without looking back

Our ruddy bun,

And the wolf is facing him.

Kolobok: Hello, Gray!

Al not happy?

Ate you drag your feet.

Made you anxious

Wolf: That's right, bun.

Round and ruddy side.

I am in my native forest

Almost burned down, brother, alive.

There was a mushroom picker, he threw a cigarette butt.

There is no mind to extinguish!

The forest broke out, the fire between the pines

Where will the animals live?

Well, happy, Kolobok!

Do not be bored and be healthy!

Vedas: The bun rolled

And towards the bun

Bear from the den.

Gingerbread man: Hello, General Mishka!

Also, did he fall ill?

Bear: I gained a lot of fat, and I was almost asleep.

There are hunters, dogs, guns, sticks and slingshots.

Well, let's wake me up and wake me up in the lair.

What kind of people don't understand? They sow only one misfortune.

Kolobok: Lie down, bear, and sleep.

Sleep and don't be sad.

Vedas: The bun rolled.

The wind is blowing in the back.

Well, roll, if you can't sit,

Look, a fox is running here.

Kolobok: Ba! Fox! That's so amazing!

Where are you rushing to?

Are you not looking at me?

Didn't you recognize me?

Fox: I don't eat baked goods

I'm completely on a diet.

You haven't been to the meadow

Did you see the partridge?

There were no birds in the forest at all.

And I got a little hungry.

Gingerbread man: I visited the clearing

There are fragments, bottles, cans

Lisa: It's getting worse in the forest every day

They even cleared puddles.

It's scary to drink water in the river -

Life is not a beast anywhere

(Hare, wolf, bear come out)

Hare: Everyone urgently needs to save the world,

in which we live.

Wolf: And how many animals disappeared from the planet,

Plants, and this cannot be replenished.

Bear: And if now we do not save the remnants,

We'll wake up in the Sahara tomorrow, guys!

(The Red Book appears on the screen. To the song of O. Gazmanov “The Red Book”, all animals cry and enter the book)

Kolobok: Do not destroy this world,

Girls and boys

Otherwise these miracles

Remain only in the book.

Script for puppet theater

"Spikelet"

Characters: Parsley, mice - Turn and Turn, Rooster,

Vedas: Once upon a time there were Petya-cockerel-golden comb and mice Krut and Vert.

(Mice run out and a cockerel comes out, he carries a spikelet on his shoulder)

Petya: Cool, Vert!

Mice: We're here!

Petya: Look what a spikelet I found!

Cool: And what kind of spikelet?

Vert: And what is special about it?

Petya: Do you know how much people worked to grow this and other spikelets?

Mice: No-o-o.

Petya: People plowed the field, sowed seeds, watered all summer, and then mowed everything

Spikelets. Spikelet does not like lazy people. Clear?

Mice: Yes!

Petya: And now we need to thresh the spikelet. And who will thresh?

Petya: Oh, you lazybones! I will go. (The cock leaves)

I can spin all day!

Vert: Yes, we are not lazy! I'm not lazy

I can spin all day.

(The cockerel returns, he has a bag, the mice run up to the cockerel)

Petya: Look, little mice, how much grain I have threshed!

Cool: Oh, how much grain! Vert: Oh, how much grain!

Petya: And now this grain needs to be ground. Who will go with me to the mill?

Cool: Not me! Vert: Not me!

Petya: What are you lazy. Okay, I dare myself. (leaves)

Cool: We are not lazy! I'm not lazy

I can spin all day!

Vert: Yes, we are not lazy! I'm not lazy

I can spin all day!

(There is a cockerel with a bag)

Petya: Mice! Look how much flour I grinded!

Cool: Oh, how much flour! Vert: Oh, how much flour!

Petya: Well, now you can bake pies!

Cool: Wow! You can bake pies! Vert: Hurrah! You can bake!

Petya: And who will eat pies?

Vert: Chur, I'm the first!

Cool: No, I'm the first!

Petya: And who found the spikelet?

Mice: You, Petya!

Petya: And who threshed him?

Mice: You, Petya.

Petya: And who ground the grain?

Mice: (quietly) You, Petya...

Petya: What did you do?

Mice: (crying)

Cool: Forgive us, Petya. Vert: We will help you.

Petya: Well, guys, let's believe the mice?

Okay, bring water, firewood, heat the stove!

And I'll bake pies.

(Music sounds, and the Mice and the cockerel work.)

Cool: We are not lazy, I'm not lazy

I can work all day!

Vert: We are not lazy, I'm not lazy,

I can work all day.

(singing): What a wonderful day.

We are lazy to work.

My friends are with me

And my song!

Petya: Mice, pies are ready!

Cool: Here it is - fragrant bread,

With a crisp twisted crust;

Here it is - warm, golden,

Like sun-filled.

Vert: Guys, bread is the head of everything. Save your bread!

Bast hut

Script for a puppet show

Characters; leader, fox, hare, dog, goat, rooster.

Vedas: Once upon a time there was a fox and a bunny. They decided to build a hut for themselves. The fox built the ice one from snow and ice, and the bunny built the bast one from strong twigs and boards. They began to live each in their own hut. But now the spring has come. The sun began to warm, and the fox's hut melted.

Fox: Oh, oh, oh, here, oblique!
How to be? Where is my house?

Hare: Your whole hut with a porch
She ran into the river.
Don't worry too much
You move to me.

Fox: ... (says to the side):
Lucky, I’ll say, oblique
I'll kick him out of the house.
I don't want to live with him
Divide the crust of bread ... (refers to the hare):
Hey, listen, dear Zaya!
There is news!

Hare: Yes! Which?

Fox: There is a garden behind the forest,
Cabbage is there all year round!

Hare: Is it already ripe?
Come on, come on, let's run
And look for cabbage!

Vedas: The hare ran to look for cabbage, and the fox sniffed - and occupied his house. A bunny came running, and the brother-in-law was locked.

Hare: What is this? The door is closed.

Fox: (looks out of the house)
I live in a hut now.

Hare: Why, this is my house!

Fox: I won't let you in, oblique!

(the hare moves away, sits next to him crying)

Vedas: The hare built himself a very strong house,
Yes, the evil fox settled in it.
Who is not afraid to help a hare?
cunning fox
Who will drive away?

(dog appears)

Dog: Woof, woof, woof!
I have a hot temper!
I'm not afraid of quarrels or fights!
Show me where is your enemy?

Here are the ears sticking out the window.

Dog: Hey fox, do you hear the barking?
Woof, woof, woof, go away!

Fox: As I wave my tail,
I will burn with fire, beware!

Dog: (cowardly)
Oh, I completely forgot, oblique!
I need to get home soon!

(dog runs away)

Vedas: Sitting on a stump again
Poor hare, sad.
What to do, he does not know
He wipes tears away with his paw.

(goat jumps)

Goat: Me-ee! Me-ee!
I have horns.
I gore, I gore.
I'm not afraid of quarrels or fights!
Show me where your enemy is!

Hare: Here he sits in my hut,
Here are the ears sticking out the window.

Goat: Me-e! Who is there in the hut?
Here you get it!

Fox: As I wave my tail,
I will burn with fire, beware!

Goat: (cowardly)
Oh, I completely forgot, oblique!
I need to get home soon!

(goat runs away)

Hare: Who is not afraid
Zainka help?
cunning fox
Who will drive away?

(rooster appears)

Rooster: Ku-ka-re-ku, ku-ka-re-ku!
I will help, I will help!
Don't cry, don't cry, oblique,
Let's deal with the fox!

Fox: As I wave my tail,
I will burn with fire, beware!

Rooster: How to shake a comb -
And the whole house will fall apart!
I have a braid
Come on out, fox!

(the fox runs out of the house and runs into the forest)

Hare: Well, thank you, Cockerel!
Helped with the fox!
Let's live in the house together
Live together and not grieve!

MITT

Characters:

mouse
Bunny
Chanterelle
Wolf
Boar
Bear
Dog
Narrator

In the foreground on the left and right are several snow-covered trees. Near the trees on the left lies a mitten. In the background is a winter forest.

Narrator

Lyuli-lyuli, tili-tili!
Hares walked on water
And from the river, like ladles,
They scooped water with their ears,
And then they took it home.
The dough for noodles was kneaded.
Hung on the ears -
It was very fun!
But they happen in the woods
More interesting miracles!
This fairy tale is small
About animals and a mitten.
The old man walked through the forest
Lost a mitten
new mitten,
Warm, fluffy.

Mouse appears from behind the trees on the right.

mouse

I'm sitting under a bush
And I'm shivering from the cold.
The mitten is a mink!
I will run to her from the hillock -
This is a new mink
Warm, fluffy!

The mouse runs to the mitten and hides in it. In the clearing, a Bunny appears from behind the trees on the right.

Bunny

The bunny jumped along the edge,
His ears are frozen.
And where do I go now
Where unfortunate warm?

The bunny runs up to the mitten.

Bunny

Who is inside - an animal or a bird?
Is there anyone in this mitten?

The mouse peeks out of the mitten.

mouse

It's a Scratch Mouse!

Bunny

You let me go, norushka!
Bunny is very cold
Runaway Bunny!

mouse

We both have enough space.
Softer here than on the bed
new glove,
Warm, fluffy!

The mouse and the Bunny hide in a mitten. Chanterelle appears in the clearing from behind the trees on the right.

Chanterelle

Oh, save Santa Claus
Bit me on the nose
Running after me -
The tail is trembling from the cold!
Answer the fox
Who huddles in a mitten?

mouse

I'm a scratching mouse,
Long-tailed mink!

Bunny

I'm a runaway bunny
Climb into the mitten!

Chanterelle

Have pity on the fox
And put in a mitten!

Bunny

There's enough room for the three of us.
Softer here than on the bed
new glove,
Warm, fluffy!

Bunny and Chanterelle hide in a mitten. In the clearing, a wolf appears from behind the trees on the right.

Wolf

I howled at the moon at night
And got cold from the cold.
Loud gray wolf sneezes -
Tooth does not fit.
Hey, honest forest people,
Who, tell me, lives here?

A mouse peeks out of a mitten.

mouse

I'm a scratching mouse,
Long-tailed mink!

The mouse hides, the Bunny looks out of the mitten.

Bunny

I'm a runaway bunny
Climb into the mitten!

Chanterelle

I am a fluffy fox
In a mitten to all sister!

Wolf

You let me live
I will watch over you!

Chanterelle

There is enough room for four.
Softer here than on the bed
new glove,
Warm, fluffy!

Wolf and Chanterelle hide in a mitten. In the clearing, a Boar appears from behind the trees on the right.

Boar

Oink! The barrel is completely frozen
Freeze tail and piglet!
This mitten is handy!

A mouse peeks out of a mitten.

mouse

There is not enough room for you!

Boar

I'll get in somehow!

The mouse and the Boar are hiding in a mitten. A fox peeps out of a mitten.

Chanterelle

It's tight here! Well, just creepy!

The fox is again hiding in the mitten. From behind the trees on the right comes the Bear.

Bear

Cold bear bear
Cold nose and cold paws.
I don't have a den!
What's in the middle of the road?
The mitt fits!
Who, tell me, lives in it?

A mouse peeks out of a mitten.

mouse

I'm a scratching mouse,
Long-tailed mink!

The mouse hides, the Bunny looks out of the mitten.

Bunny

I'm a runaway bunny
Climb into the mitten!

The bunny hides, the Chanterelle looks out of the mitten.

Chanterelle

I am a fluffy fox
In a mitten to all sister!

The fox is hiding, the Wolf is looking out of the mitten.

Wolf

The wolf still lives here
Warm gray barrel!

The wolf hides, the Boar peeps out of the mitten.

Boar

Well, I'm a fang boar,
The mitten is stuck!

Bear

There are too many of you here
Am I coming to you guys?

Boar

Not!

Bear (conciliatory)

Yes, I do anyway!

Boar and Bear hide in a mitten. A fox peeps out of it.

Chanterelle

There is nowhere to sneeze!

The fox is again hiding in the mitten. A mouse peeks out of it.

Mouse (angrily)

Fat, but still there!

The mouse hides in a mitten.

Narrator

Then the grandfather missed the loss -
The dog ordered to run back,
Find a glove!

A dog appears from behind the trees on the right and runs to the mitten.

Dog

Woof woof woof! So here she is!
She is visible from a mile away!
Hey you, animals there or birds,
Quickly get out of the mitt!
If I find anyone in it,
I will bark very loudly.
Here grandfather will come with a gun,
Take away the mitt!

Animals jump out of the mitten one by one and hide in the forest. The dog takes the mitten and leaves the stage.

Narrator

The animals were very scared
They fled in scattering,
Who buried where
And lost forever
Mittens new
Warm and fluffy!

Annex 2

Games for the development of attention and imagination to the section

(fromprograms for teaching children the basics of performing arts "School Theater" E.R. Ganelin)

Pictures from matches

The exercise is built like a competition for children. Pupils make pictures of matches according to their taste and explain them. In addition to the competitive element, which is important for the students themselves, it should be noted that this game perfectly develops a sense of artistic taste, imagination, and, thanks to the uniformity of the “building material”, a sense of proportion. It is best to do the exercise on the floor (carpet), as children are not bound by the size of the tables and feel more relaxed.

I'll draw on your back...

An exercise in sensory imagination. They play in pairs. The one who draws with a finger reproduces an image on the back of the driver. The driver's task is to guess what was "painted" on his back.

It is worth giving the person who draws the task of “not wanting” the driver to guess the drawing, the behavior of both players changes dramatically: the driver concentrates their attention as much as possible, bringing it to the maximum sharpness, and the person who draws, “deceiving”, tries to bring down the intensity of the partner’s attention with deliberate relaxation. This is one of the most exciting tasks, but the teacher must carefully control the progress of its implementation, avoiding resentment and grief inherent in kids, emotional overload and fatigue. In the end, it doesn’t matter if the driver fails to determine exactly what kind of image the person drawing drew with his finger on his back - a conscious attempt to imagine this drawing and express it in words is important.

Drawings on the fence

The teacher invites each participant to draw an imaginary drawing on the “fence” (class wall), that is, draw it with a finger. The observers must tell about what they saw, and it is necessary to ensure that the “drawing” of the participant does not “fit” on the previous one. The most valuable didactic point is the absence of the possibility of a negative assessment on the part of the group, since the conventionality of the image does not give rise to criticism and a real comparison of artistic merits. Here "everyone is a genius", which is very important in raising not only confidence in one's creative abilities and strengths, but also "collective imagination", trust in the abilities of a partner.

circus poster

Each student, having composed his own “circus number”, draws his own poster, in which he tries to express his idea of the genre, complexity, brightness and other features of his “number” as fully as possible. The invention of pseudonyms and brief announcements to numbers is encouraged. The brighter the child imagines his number, what he does “in the arena”, the brighter his artistic fantasy works.

Robots

Two are playing. The first is a participant who gives commands to the “robot”. The second is a "robot" performing them blindfolded. The methodological goals facing the players can be grouped into two areas:

1. The ability to set a precisely formulated task for the "robot".

2. The ability to implement a verbal order in physical action.

The teacher must make sure that the commands are given not “in general”, but are aimed at the implementation of a simple, but quite productive action, for example, to find, pick up and bring some object. Speaking about the control over the actions of the "robot" itself, it is important to emphasize that they must strictly comply with the commands. The robot must trust the commands, execute them in strict order.

Annex 3

Exercises for developing good diction(fromprogram of the course "Theater" for elementary school I.A. Generalova)

Vowel training

Pronounce a series of vowels, stressing one of the sounds.

I E A O U S I E A O U S

With the help of a series of vowels, try to ask questions, stressing each sound in turn.

Question	Answer
And E A O U S?	I E A O W Y.
And E A O U S?	I E A O W Y.
And E A O U S?	I E A O W Y.
And E A O U S?	I E A O W Y.
And E A O U S?	I E A O W Y.
And E A O U S?	I E A O W Y.

Consonant training

Warm-up: a) the host makes sounds, the players perform movements; b) the leader performs movements, the players make sounds.

[l] - hands are raised up, as if screwing a light bulb;

[p] - hands below, as if closing an imaginary tap;

[b] - [p] - clapping;

[e] - [t] - alternate tapping of the fist on the palms;

[g] - [k] - clicks;

[h] - [s] - we alternately connect fingers with the thumb;

[c] - [f] - repulsive hand movements;

[g] - [w] - we climb with both hands along an imaginary rope.

Read and then voice the text. What do you think happened to his characters?

AND

F F F F F F F F F

F F F F F

F F F F F F

BAM!

F F F F
F…F…

F F F F F F F F F

BAM! BAM!

F F F F F F F

BAM! BOOM! JING!

F F F F F F F

TOP.

F F F F

TOP - TOP.

F F F F F F F F F F

SLAP!!! SHMYAK.

AND IT WAS QUIET.

Appendix 4

Tongue Twisters(from a collection of tongue twisters,http://littlehuman.ru/393/)

As you know, beavers are kind,

Beavers are full of kindness

If you want good for yourself

You just need to call the beaver.

If you are kind without a beaver,

So you yourself are a beaver at heart!

Zhenya became friends with Zhanna.

Friendship with Zhanna did not work out.

To live together with friends,

You don't need to hurt your friends.

The crumbs of the matryoshka lost their earrings,

Earrings Earring found on the path.

They stomp and stomp

They stomped to the poplar

Yes, the feet are stomped.

The rook says to the rook:

"Fly with the rooks to the doctor,

It's time for them to get vaccinated

To strengthen the pen!

Program for extracurricular activities "Puppet Theater" - page number 1/1

Municipal educational institution

"Krasnoselsk secondary school"

2011

Explanatory note

Personal development is a modern requirement of society for the education system and additional education as well. Knowledge, skills and abilities retain their exceptional importance, but not as a goal, but as a means to achieve the goal - the development of the student's personality.

All children are creators, each child has abilities and talents. Some are inclined to fine art, others to design, others to writing, and still others to something else. But all of them, so different, love puppet theater. Children always look forward to meeting with the puppet theater, because puppets can do everything or almost everything, puppets work wonders: they amuse, educate, develop the creative abilities of children, and correct their behavior. That is why the guys are so quickly included in the performance: they answer questions from puppets, play puppet roles.

Puppet theater is a synthetic art, it affects children with a whole complex of artistic means. When showing performances of the puppet theater, both the artistic word, and the visual image - the puppet, and the picturesque and decorative design, and music - the song, musical accompaniment are used.

Theatrical activity develops the personality of the child, instills a steady interest in literature, theater, improves the skill to embody certain experiences in the game, and encourages the creation of new images. Thanks to classes in the puppet theater, the life of the children becomes more interesting and meaningful, filled with vivid impressions, interesting things, and the joy of creativity.

It is more expedient to start puppet theater classes in elementary school. Younger students, playing or speaking to the public, unlike students in grades 5-11, almost never think about how they look from the outside, and what others will think of them. In elementary school, certain stereotypes of relations between children and peers and adults, which take place at an older age, have not yet developed. In grades 5-7, unpleasant words “always” and “never” appear (“He is always so absent-minded!”, “I will never succeed!”, etc.) Such negative reactions towards oneself and other people as as a rule, are absent in schoolchildren aged 7-10, and theater classes help prevent them in the future. Therefore, it is so important, starting from the first grade, to introduce a little person to the theater, including puppet theater.

Target classes in the puppet theater: the development of the creative abilities of children by means of

puppet theatrical art.

This goal is realized through the solution of the following tasks :

realization of the creative potential of the personality of a younger student;
acquaintance of students with the basics of puppet theatricalization (theatrical play and acting, puppetry techniques, stage movement, stage speech, musical arrangement of a play, scenery, history of puppet theater);
systematic and purposeful development of visual perception, spatial thinking, fantasy, speech of children;
development of artistic and associative thinking of younger students;
enrichment of the emotional-figurative sphere of schoolchildren;
the formation of artistic preferences, ethical, aesthetic assessments of art, nature, the surrounding world;
the formation of moral qualities, a humanistic personal position, a positive and optimistic attitude to life;
development of communicative culture of children

The course is based on:

the thematic principle of planning educational material, which meets the objectives of the moral, labor and aesthetic education of schoolchildren, takes into account the interests of children, their age characteristics;
learning in order of gradual complication - from performing individual training exercises in puppetry to playing a role, from exercises with the most easy-to-use puppets to complex staged compositions, for example, using puppets, as well as the theater "people-dolls". Thus, the child rises up the steps of knowledge, starting from what he has already learned.

building classes according to the logic of creativity - from setting a creative task to achieving a creative result. Such a result can be a theatrical sketch, a tiny poem, a fairy tale, a mini-performance, the discovery of something new for each child - depending on what the lesson is about. But there must be a creative result.
the relationship between the development of creative and cognitive abilities of students. The implementation of this principle involves the correction and development of memory, attention, speech, perception, imagination, thinking of children along with the development of their creative abilities. A huge role in the development of the cognitive sphere is played by the etude exercise, which is carried out at every lesson of the puppet theater. Work on the performance (puppetry, work on the expressiveness of speech, the characters of the characters, speaking to the audience, etc.) contributes to the development of vocabulary, phonetic and phonemic perception, voluntary attention, memory, perception, thinking, imagination of schoolchildren.
designing classes in such a way that all students can participate in active work. This is achieved in several ways: the work of the group as a single organism, the division of all children into small creative groups, the performance of individual tasks.
building classes in such a way that children have the opportunity to change the types and rhythms of work, i.e. rest and movement, silence and revival, intellectual and physical activity alternated, because a person is a unity of the physical and mental. Ignoring one or another component in the learning process leads to deformation of the entire organic development of the child's personality.
the use of puppets of different systems: drawn puppets (theater on a flannelograph), glove puppets, reed puppets, marionette puppets, human puppets. "Actors" and "actresses" in the puppet theater should be bright, light and easy to manage. It is absolutely not necessary to use ready-made dolls, you can make them yourself, involve children and their parents in this work.
creating an emotionally comfortable environment in the classroom through:

- learning based on the ideas of pedagogical cooperation: parity

relationships with children, learning without coercion, personal approach;

Reorientation of the style of pedagogical communication with children in the direction

saturation with warmth, tolerance, evenness;

The technique of emotionally expressive and tactful manifestation of negative

and positive emotions, feelings, moods of the teacher himself;

Eliminate the causes of the child's emotional discomfort in the classroom;

Saturation of the learning process and the educational environment with emotional

stimuli: play, intellectual emotions of surprise, unusualness,

positive emotions of confidence, success, achievement;

creation of an artistic environment. School age is the most productive period in the formation of a child as a person. The spiritual life of schoolchildren is inextricably linked with the "world of things". An aesthetically organized environment has a huge impact on a person's worldview. The artistic environment in the puppet theater is:

- a room where it is beautiful and cozy, where the walls are moderately decorated with panels, paintings,

where are the scenery, screen, dolls on display;

Musical arrangement of classes, plays. Music is an integral part

puppet show, it enhances his emotional perception. The children are very

love when dolls sing and dance. The choice of songs, music is determined

correspond to the action taking place on the screen.

Repertoire selection. Puppet theater is not only a means of entertainment, it

has a great educational impact on children. Concerning

You need to take the selection of the repertoire seriously. Primary school students

love performances with a simple, clear and funny plot, familiar characters

and happy ending. Plays should be exciting, they should

"wake up" and develop the child's imagination, contribute to the formation

positive character traits. It's good if the performance shows what it is

true friendship, honesty, courage, responsiveness, etc.

When developing the program of additional education for junior schoolchildren "Puppet Theater", teaching aids by N.F. Sorokina, I.B. Karamanenko, S.M. Alkhimovich, Yu.L. Alyansky, L.B. Baryaeva, I.B. Belyushkina, which discusses the organization of the theater, including the puppet theater, in a secondary school.

The Puppet Theater program is intended for children of primary school age

and is designed for 4 years of study:

first year of study - first grade students;

the second year of study - students of the second grade;

the third year of study - students of the third grade;

the fourth year of study - students of the fourth grade.

The composition of the group members is constant for four years, they are all students of the same class. Every four years a new group of children is recruited to take part in the puppet theater.

Number of teaching hours per week - 1 hour, per year - 34 hours

Stages of the puppet theater

1 year of study

The basics of stagecraft (movements of puppets, features of speech, character of the hero). Work on small scale performances. Working with picture theater and glove puppets. Making dolls. Creation of scenery and props for performances.

2nd year of study

Expansion of the repertoire. Increasing the volume of plays. Work with glove, cane puppets. Making dolls. Creation of scenery and props for performances.

3 year of study

Free possession of a doll (glove, cane). The complexity of the repertoire. Work on performances. Independent development and staging of mini-plays by children. Working with glove puppets, cane puppets and puppets. Making dolls. Creation of scenery and props for performances.

4 year of study

Free possession of a puppet (glove, cane, puppet puppet). The complexity of the repertoire. Work on performances. Independent development and staging of mini-plays by children. Working with glove puppets, cane puppets, puppets and human puppets. Making dolls. Creation of scenery and props for performances.

Educational and thematic plan
1 year of study

№	Topic of the lesson	Number of hours
№	Topic of the lesson	on the topic	theory	practice
1 2 3 4 5 6 7 8 9	What is a puppet theater Puppet theater on flannelgraph Parsley Dolls and How to Control Them The play "Turnip" Making dolls Performances in front of the audience	2 5 6 4 4 5 4 3	1 2 2 1 1 1 1 1	1 3 4 3 3 4 3 2
	Total hours	34	10	24

Contents of Stage 1

What is a puppet theater made of?

Introductory lesson. Doll and puppeteer. Suits. Scenery. Role. Producer. Actors.

Etude exercise for the development of memory, attention, thinking, imagination. Development of skills in expressing various emotions, moods, individual character traits.

Introduction to different types of dolls. Learning how to puppeteer.

Puppet theater on flannelgraph.

Acquaintance with the features of the theater on the flannelgraph. Etude exercise. Learning how to work with picture puppets. Work on the play.

Parsley dolls and ways to control them.

Acquaintance with the history of the emergence of the Petrushka Theater. Acquaintance with Petrushka dolls. Learning how to control Petrushka puppets. Etude exercise. Work on episodes of plays. Work on the play: reading and analyzing the play; etude training, learning roles, puppetry techniques, performance rehearsal, improvisation, performance in front of the audience

2nd year of study

№	Topic of the lesson	Number of hours
№	Topic of the lesson	on the topic	theory	practice
1 2 3 4 5 6 7 11 12	ABC of theater Types of puppets and how to control them Stage Secrets Petrushka Theater The play "Ryaba Hen" Making dolls Production of scenery and props for performances Performances in front of the audience Cane puppet theater The play "Fox, Hare, Rooster" Making dolls Production of scenery and props for performances Performances in front of the audience	2 3 4 2 5 2 2 2 2	1 1 1 1 1 1 1 1	1 2 3 1 4 1 1 1 1
	Total hours	34	11	23

Contents Stage 2

ABC of the theatre.

Features of the puppet theater. The role of the puppeteer. Decorating. Scene. Spectators.

Types of puppets and how to control them.

Stage Secrets.

Etude exercise. Role. The soundtrack of the play.

Petrushka Theatre.

Expansion of knowledge about the Petrushka theater. Repair and production of dolls. Etude exercise. Puppetry over the screen. The role of scenery in the production. Reading the play and analyzing it. Work on characters. Puppetry techniques. Role learning. Rehearsals. Improvisation. Performance in front of the audience. Collective analysis of performances.

Cane puppet theater

Introduction to cane puppets. Repair and production of dolls. Etude exercise. Puppetry over the screen. The role of scenery in the production. Reading the play and analyzing it. Work on characters. Puppetry techniques. Role learning. Rehearsals. Improvisation. Performance in front of the audience. Collective performance analysis
3 year of study

№	Topic of the lesson	Number of hours
№	Topic of the lesson	on the topic	theory	practice
4 5 6 7 8 11 12 13 16 17 18	Puppet Theatre. ABC of the theatre. Types of puppets and how to control them. Stage Secrets. Petrushka Theatre. The play "By the Pike's Command". Making dolls Production of scenery and props for performances Performances in front of the audience Reed puppet theatre. The play "The Defeated Whale". Making dolls Production of scenery and props for performances Performances in front of the audience Puppet Theatre. The play "The Spider and the Firefly" Making dolls Production of scenery and props for performances Performances in front of the audience	2 2 2 1 1 1 1 2 2	1 1 1 1 1 1 1 1 1	1 1 1 1 1 1 1 1 1
	Total hours	34	12	22

Content 3 steps

Puppet Theatre.

ABC of the theatre.

Actor, director, decorator. Types of stage speech. Viewer. Theatrical poster.

Types of puppets and how to control them.

Expansion of knowledge about the types of dolls. Development of puppetry skills.

Stage Secrets.

Petrushka Theatre.

Cane puppet theater

Puppet Theatre.

4 year of study

№	Topic of the lesson	Number of hours
№	Topic of the lesson	on the topic	theory	practice
4 5 6 7 8 11 12 13 16 17 18 21 22 23	Puppet Theatre ABC of theater Dolls and their management Stage Secrets Petrushka Theater The play "Moroz Ivanovich" Making dolls Production of scenery and props for performances Performances in front of the audience Cane puppet theater The play "The Snow Queen" Making dolls Production of scenery and props for performances Performances in front of the audience puppet theater The play "Snow White and the Seven Dwarfs" Making dolls Production of scenery and props for performances Performances in front of the audience Theater "People-Puppets" The play "The Adventures of Pinocchio" Making dolls Production of scenery and props for performances Performances in front of the audience	2 1 2 1 1 1 1 1 1 1 1	1 1	1 1 1 1 1 1 1 1 1 1 1 1 1 1
	Total hours	34	9	25

Content 4 steps

Puppet Theatre.

Expansion of knowledge about the puppet theater. Historical information.

ABC of the theatre.

Actor, director, decorator. Repertoire. Props. Types of stage speech. Viewer. Theatrical poster. Mini-plays.

Dolls and their management

Expansion of knowledge about the types of dolls. Making dolls. Development of puppetry skills.

Stage Secrets

Etude exercise. Role. "voicing" the role.

Petrushka Theater

Expansion of knowledge about the Petrushka theater. Repair and production of dolls. Etude exercise. Puppetry over the screen. The role of scenery in the production. Props. Reading the play and analyzing it. Work on characters. Puppetry techniques. Role learning. Rehearsals. Improvisation. Performance in front of the audience. Collective analysis of performances.

Reed puppet theatre.

Puppet Theatre.

Puppets. Puppetry techniques. Repair and production of dolls. Reading the play and analyzing it. Work on characters. Role learning. Rehearsals. Improvisation. Performance in front of the audience. Collective analysis of performances.

Theater "People-Dolls".

Plasticity in the movement of actors. Making costumes and scenery. Props selection. Etude exercise. Reading the play and analyzing it. Work on characters. Role learning. Rehearsals. Improvisation. Performance in front of the audience. Collective analysis of performances.
By the end of training in the puppet theater, students should have basic knowledge of:

about the types of dolls studied, the features of working with dolls of different systems;
about methods of puppetry of puppets of different systems;
about stage speech;
about the scenery for the play;
about the selection of musical accompaniment for the performance.

By the end of training in the puppet theater, children should have the ability to:

work with puppets of the studied systems during the performance;
improvisation;
the ability to work in a group, in a team.
ability to speak in front of an audience.

Forms of summing up the results of classes of younger students in the puppet theater:

performances in front of the audience at school and kindergartens;
participation in competitions and festivals of theater groups.

The results of the survey of the participants of the puppet theater, their parents, as well as the audience will also help to evaluate the effectiveness of the work.
Methodological support of the program

One of the indispensable conditions for the successful implementation of the course is a variety of forms and types of work that contribute to the development of students' creative abilities, putting them in the position of active participants. In order to create conditions for the self-realization of children, the following is used:

inclusion in the lessons of game elements that stimulate the initiative and activity of children;
creation of favorable interactive socio-psychological conditions for free interpersonal communication;
moral encouragement of initiative and creativity;
thoughtful combination of individual, group and collective forms of activity;
regulation of activity and rest (relaxation).

In the classroom are widely used:

verbal teaching methods (story, conversation, inciting or leading dialogue);
the method of observing the "language" of the theater, the secrets of creating an image, stage speech, etc.;
visual teaching methods (working with drawings, paintings, watching a play, showing a pattern of doll movement, etc.);
work with a book (reading a literary work, obtaining the necessary information on a specific topic).

The children are happy to participate in competitions for the best essay, riddle, fairy tale, drawing, pantomime, mini-play, etc. Everyone is active here, he is not a listener, not an outside observer, but a direct participant delving into all the details of the work. Competitions are usually held in an entertaining way, which is much more effective at this age than simply indicating the conditions of the competition.

A significant place in the conduct of classes is occupied by theatrical games that contribute to the development of fantasy, imagination, thinking, attention of children, helping to eliminate bodily and psychological clamps that may arise during performances in front of the audience.

Most game exercises are performed collectively, often in a circle. All of them are built according to several principles:

gaming well-being;
from simple to complex;
from elementary fantasy to image creation.

There is a wide variety of theatrical game exercises, thanks to which the teacher can select and vary them at his discretion.

Examples of theatrical games.

"Noun, adjective". The group is divided in half. Participants sit opposite each other, at some distance. The members of the first team take turns throwing a small ball to the opponents. On the roll, each name any noun. The child who caught the ball throws it to a member of the other team, while naming an appropriate adjective. For example: "The sun is crystal." It is important not to answer correctly, but to come up with the first image that arises. The game gets more difficult as the game progresses. Literary material, literary images are used, which helps children to understand their attitude to the characters, to “reveal” their inner world. For example: "Moomin mom is warm."
"Sounding Toys" All participants in the game are evenly distributed throughout the space of the room, choose an imaginary sounding toy for themselves: a rattle, a typewriter, a squeaker, etc., sit on the floor. Each toy has its own sound. At the command of the leader, the players "turn" into small children. Their task is to, reproducing the sound of their instrument, crawl, as babies do, to the nearest neighbor and exchange toys with him. The main task of this exercise is the development of acting courage.
Staged Song Contest. Children are divided into teams. Each team chooses a song on a certain topic and, against the background of the music and words of the song, dramatizes it. It turns out a small musical-plastic performance.

An obligatory element of each lesson is an etude exercise. Etude training is a kind of school in which children learn the basics of stagecraft, the basics of puppetry. This is the work of an actor on himself. It helps to develop memory, attention, imagination of children, their ability to move on the stage (screen), communicate with partners. Before starting work on the sketch, the children are invited to play with the doll, hold it in their hands, try to "revive".

Etude training includes:

etudes (exercises) for the development of attention;
sketches for the development of memory;
sketches for the development of the imagination;
sketches for the development of thinking;
studies on the expression of emotions;
sketches for the development of stage speech (“warming up the joints”; respiratory complexes; articulatory gymnastics; exercises for the active use of interjections, words, phrases, poems, sayings; exercises for the development of the voice range);
studies on the expressiveness of gesture;
sketches for the reproduction of individual character traits;
sketches for practicing the movements of dolls of various types.

The theater cannot exist without creativity, therefore improvisation plays a big role in the classes of the puppet circle. Improvisation allows you to get away from routine work, from cramming, from the need to memorize cues, postures, movements. A creative approach to working with younger students makes it possible to develop all children at the same time, regardless of their level of preparedness. Each child has the opportunity to improvise individually, as he knows how. For example, when creating the dance characteristics of the Snow Queen, some girls' dance turned out to be brighter, more expressive, less prepared children tried to imitate them, using what they liked in their improvisation. With such common efforts, the dance characterization of the character was born.
To organize a puppet theater, puppets of different systems are used, starting with the easiest to manage:

pictures - puppets on flannelgraph;
parsley dolls;
cane dolls;
puppet dolls;
puppet people.

The repertoire of the puppet theater includes:

dramatization of literary works for children of primary school age;
ready-made plays adapted to the conditions of the school puppet theater;
new, independently developed, plays.

When choosing the repertoire of the puppet theater, the interests, age characteristics of children, and their development are taken into account. Plays should be exciting, develop the imagination and creativity of the child, contribute to the formation of positive character traits of the student. The repertoire offered in the program for each year of study may change. Any teacher has the opportunity to vary it at his own discretion, while relying on the interests and capabilities of a particular group of children.

Music is an integral part of the puppet show, it enhances its emotional perception. The choice of song and music is determined by the content of the performance.

Technical equipment of classes

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

flannelgraph theater:
- picture dolls;
- flannelograph;
- drawings for mini-decorations.
theater of riding puppets (Petrushka dolls, cane puppets):
- dolls;
- theatrical screen;
- scenery for performances.
puppet theatre:
- dolls;
- theatrical screen for the puppet theater;
- scenery for performances.
Theater "people-dolls":
- special costumes for children;
- scenery for performances.

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

Used Books

Alkhimovich S.M. Petrushka Theater visiting kids. - Minsk, 1969.
Alyansky Yu.L. ABC of the theatre. - Leningrad, 1990.
Baryaeva L.B. and others. Theatrical games-classes with children with problems in intellectual development. - S-P., 2001.
Bashaeva T.V. The development of perception in children. - Yaroslavl, 1998.
Belyushkina I.B. etc. Theater where children play. - M., 2001.
Vinokurova N.K. Development of creative abilities of students. - M., 1999.
Karamanenko T.N., Karamanenko Yu.G. Puppet theater - for preschoolers. - M., 1982.
Savenkov A.I. Children's giftedness: development by means of art. - M., 1999.
Sorokina N.F. We play puppet theatre. - M., 2000.
Simanovsky A.E. Development of creative thinking of children. - Yaroslavl, 1997.
Sinitsina E.I. Smart notebook. - M., 1999.
Subbotina A.Yu. The development of imagination in children. - Yaroslavl, 1997.
Tikhomirova L.F., Basov A.V. Development of logical thinking of children. - Yaroslavl, 1998.
Tikhomirova L.F. Development of cognitive abilities of children. - Yaroslavl, 1996.
Fling H. Puppets. S-P., 2000.
Cheremoshkina L.V. Development of children's attention. - Yaroslavl, 1997.
Cheremoshkina L.V. Development of children's memory. - Yaroslavl, 1997.