Theatrical activities as a means of children's development. Theatrical activities as a means of comprehensive development of children

Municipal budgetary preschool educational institution

"Kindergarten No. 26"

Master Class

subject:

"Theatrical activities as a means of developing creative abilities and creative thinking of preschool children"

Musical director

Malykhina Svetlana Vasilievna

2018

“Theater is Magic world .

He gives beauty lessons

morals and ethics.

And the richer they are, the more successful they are.

coming development spiritual world of children..."

(B. M. Teplov)

In childhood, the foundations of a person’s personality are laid, interests and hobbies are awakened, everything seen and heard is quickly absorbed and easily remembered for many years. The best condition for the development of children's creative activity is theatrical and creative activity.

Since ancient times, various forms of theatrical performance have served as the most visual and in an emotional way transfer of knowledge and experience in human society. Later, theater as an art form became not only a means of learning about life, but also a school of moral and aesthetic education younger generations. Overcoming space and time, combining the capabilities of several types of arts - music, painting, dance, literature and acting, theater has a tremendous power of influence on the emotional world of a child. Performing arts classes not only introduce children to the world of beauty, but also develop the sphere of feelings, awaken complicity, compassion, and develop the ability to put oneself in the place of another, to rejoice and worry with him.

For each child, theater can be presented in two forms: as a form of art, in the process of perceiving which the child acts as a spectator, and as a theatrical activity in which he himself participates. And both roles (both spectator and actor) are very significant for the development of the child.

The task of modern preschool educational institution is that pupils emerge from its walls not only with a certain stock of knowledge, skills and abilities, but also independent people with a certain set of moral qualities, necessary for later life, assimilation of social, ethical standards behavior, non-violent interaction with adults and peers.

In kindergarten - the opportunity to open up creative potential baby, education of creative orientation personalities.

Children learn to notice the world around them interesting ideas, embody them, create your own artistic image of the character, they have are developing creative imagination, associative thinking, the ability to see the unusual in the ordinary.

Theatrical activities is the source development of feelings, deep experiences and discoveries baby, introduces him to spiritual values. Thus, theatrical activities are the most important means of developing creativity in children.

Creativity is a complex process, associated with character, interests, abilities individuals, with conditionsthe surrounding world. These are individual characteristics that determine the success of their creative work. activities.

Erich Fromm (German psychologist) interprets concept creativity, as the ability to be surprised and learn, the ability to find solutions in non-standard situations, a focus on discovering new things and the ability to deeply understand one’s experience.

Theatrical Games are a constant favorite among children. Preschoolers enjoy participating in game: answer the dolls’ questions, fulfill their requests, give advice, transform into one or another image. Kids laugh when the characters laugh, feel sad with them, warn of danger, cry over the failures of their favorite hero, and are always ready to come to his aid. By participating in theatrical games, children get acquainted with the world around them through images, colors, sounds. It is known that the game is a serious matter, but also fun. While playing, we communicate with children "their territory".

In the context of the transition to Federal State Educational Standards for preschool education, one of the main principles preschool education, reflected in Standard:

“Implementation of the Program in forms specific to children of this age group, primarily in the form of games, educational and research activities, in the form of creative activity that provides artistic and aesthetic child development».

Theatrical activities kindergarten is a great opportunity to unleash creative potential baby, education of creative orientation personalities.

In the process of organizing theatrical play, children develop organizational skills and abilities, improve forms, types and means of communication, develop and understand the direct relationships of children with each other, and acquire communication skills. Theatrical activities are represented in preschool educational institutions by puppet theater and theatrical games, which are divided into two groups: director's games and dramatization games.

To organize a children's theater, we need puppets of various systems that develop in children certain skills and abilities, stimulate children's creativity (singing, dancing, playing), encouraging improvisation in children's rooms. musical instruments. According to the method of control, theatrical puppets are divided into two main types - riding and floor. The horse ones are those that the puppeteer controls from behind a screen. In turn, they come in glove and cane types.

Floor dolls “work” on the floor; the puppeteer controls them in front of the audience. Floor ones include puppets and big dolls.

Directing games in preschool educational institutions include tabletop theatrical games: tabletop toy theater, tabletop picture theater, shadow theater, flannelgraph theater.

Here the child or adult himself is not the actor, he creates scenes, plays the role of a toy character - three-dimensional or flat. He acts for him, portrays him with intonation and facial expressions. The child's pantomime is limited. After all, he acts as a motionless or sedentary figure, a toy.

Dramatization games are based on the actor's own actions, who may use bibabo dolls or characters worn on their fingers. In this case, the child plays himself, mainly using his own means of expressiveness: intonation, facial expressions, pantomime. By participating in dramatization games, the child, as it were, enters the image, transforms into it, lives its life.

In my work, I try to develop the creative independence of the child, highlight and encourage unusual improvisations, which sometimes become a kind of discovery for the child about his capabilities, which entails a more active movement of the child’s emancipation, setting him on the path - “I can!”. By participating in dramatization, the child, as it were, enters the image, transforms into it, lives its life. To fully reveal the image, I use music, which helps convey the character of the characters.

Before we talk about the stages of practical activities within the framework of children's theatrical performance, we will consider the issue of the types of children's theaters and puppets used in preschool educational institutions.

tabletop theater;

bench;

riding;

wrist;

floor;

living puppet theater

Tabletop theater:

Paper (cardboard). Often such a ready-made theater can be found in some children's magazine - you just need to cut out and assemble all the necessary parts and you can start the performance.

Magnetic is a metal board with magnets - characters from some fairy tale. A theater made of natural material, for example, cones, chestnuts, acorns, etc. It is convenient to place such characters in a box of sand.

Stand theater:

Theater on flannelgraph (board covered with fabric). Thus, as the plot develops, the child is invited to attach the necessary figures to the flannelgraph.

Magnetic is essentially the same as the previous type, only a metal board is used, and magnetic strips are attached to the figures instead of Velcro. The basis and, accordingly, the characters of such a theater come in very different sizes: from a small tabletop version to a full-fledged screen for visual or music hall.

Shadow theater in the gardens is the most mysterious and unusual for children to perceive; preschoolers enthusiastically participate in such a game. To organize this type of theater you will need a screen (stretched vertically white fabric), a lantern or table lamp (depending on the size of the screen), black cardboard figures. Instead of using toy characters, shadows can be created directly with your hand and fingers. This type is called “living shadow theater”.

Horse Theater

This term was introduced by Russian puppeteers back in the 16th century. Its peculiarity is that the dolls are taller than the person who controls them. There are the following types:

Reed theater uses puppets, which are mounted on a high cane, and the person who controls the characters is hidden behind a screen.

The Bi-ba-bo theater is becoming increasingly popular. In principle, this is the same “glove”, since the dolls are put on the hand. The only difference is that a high screen is used and, thus, the characters are shown to the audience at a level higher than the puppeteer's height.

No less interesting is the theater of spoons in kindergarten. Attributes for this play activity making your own is very easy. For this you will need a wooden spoon. The character’s face is drawn on its convex part, and the clothes of a fairy-tale hero are put on the handle. During production children's performance little puppeteers hold spoon characters by the handle.

Wrist Theater

This type includes theatrical activities, which require attributes such as finger puppets or “glove” toys. There are the following “wrist” types of theaters in kindergarten:

finger;

glove

What is needed to organize such theatrical activities? First of all, you need a screen. Its size depends directly on the size of the characters. In turn, dolls are most often made independently by the teacher. But students can also take an active part in creating characters. For example, you can make finger puppets from cardboard cones, fabric, tennis balls and other materials.

“Glove puppets” can be made, for example, from a mitten or sock, sewing the necessary elements (face, hands, clothes, etc.) to the base. Let’s consider one of the varieties of such Dolls - “Mitten talkers”. They are put on the hand, like a winter mitten - hence their name, and they are called “talkers” because they “talk” by opening and closing their mouth (mouth, beak) due to the active movements of the fingers and hands of the puppeteer, which contributes to the development of not only flexibility and mobility of the elbow joints, hands and fingers, but also diction, expressiveness and power of speech of the child.

While playing with the “Mitten Talkers,” children receive an emotional charge, develop imagination and the ability to improvise, while effectively training fine motor skills and rhetoric, which, in turn, directly affects the formation of children’s speech.

Continuing the topic of glove talkers, I would like to dwell on dolls, one of which you had the opportunity to see in class. These are paired mitten talkers. This type of mitten talkers is controlled by a pair of puppeteers. One controls the head and beak, the other controls the paws.
In the process of playing with “Paired Mitten Talkers,” children develop not only the flexibility of joints, hands and fingers, coordination of movements, diction, expressiveness and strength of the child’s speech, but also the ability to work in pairs, the ability to understand and feel a partner.

Floor theater

Floor theater uses puppets. Making them yourself is quite difficult, so most often they are purchased in specialized stores. Due to this feature, this type of theatrical activity is rarely carried out in kindergartens. But it is the puppet theater that evokes a storm of emotions and delight in preschoolers. Since children do not yet understand the mechanism of action of such dolls, children imagine that the toys themselves have “come to life”. It is this element of “miracle”, “fairy tale” that contributes to the emergence of positive emotions in preschoolers. But we are creative people, with creative thinking, so there are no limits to imagination for us. During the lesson, you had the opportunity to see one of the simple options for making a “Kapitoshka” puppet doll from a balloon.

Theater "Living Puppet".

This type of theater is most often organized in kindergartens. This activity can be done as an activity or during leisure time. In addition, a live theater production can be dedicated to a holiday, for example, Maslenitsa or New Year.

The following types of described gaming activities are distinguished:

giant puppet theater;

masque;

life-size puppet theater;

The giant puppet theater is most often performed as a leisure activity in preschool educational institutions. The roles of giant dolls are played by adults. Children can only act as spectators.

Theater masks will do for children of any age. Even the youngest pupils have the opportunity to “reincarnate” into the hero of a fairy tale.

I propose to focus on the “Living Puppet” variety of theater - these are life-size puppets. It was also presented in my direct educational activities - this is the “Bunny” doll. This type of doll is very convenient to use on simple activity, where a quick, unexpected transformation into some hero is necessary, it is a convenient means of costume element at matinees, entertainment, etc.

The life-size puppet theater can be presented in another aspect, where the important role will be played not by the doll, but by the screen. These are varieties of the Tamtamareska theater. It was originally a photography stand with a hole for the face. With the help of tantamareski, children practice facial expressions, emotional expressiveness of speech and gestures, and expressiveness of movements. This is a bright picture interesting image, several images. With its help, you can instantly transform into one or another fairy-tale hero. The Tantamoresk Theater promotes the development of imagination, communication and creative abilities in preschoolers. Children learn to improvise, practice facial expressions, show different emotions, and most importantly, train and build dialogue.

Already starting from the first junior group, I form children simple figurative and expressive skills, for example, imitating the movements of fairy-tale animals. And with this, various types of dolls that adults control during classes help me a lot. Seeing a doll in front of them that encourages children to perform certain actions with it, children, as if by magic, begin to dance, sing, etc. The use of puppet theater is very convenient for celebrating holidays and leisure activities.

Having matured a little, in the second younger group, children do not stop loving the dolls that come to them, but some children can already portray the heroes of fairy tales themselves, using costumes and masks.

In middle age, children learn the elements of figurative means of expression (intonation, facial expressions and pantomime). The work so far uses individual miniatures, small scenes, where the heroes can already be dolls, which the students themselves begin to control.

And now, I suggest you depict one of the theatrical and musical miniatures, which is called “Musical Worms”. Sock talkers will serve as our assistants.

The theatrical and musical miniature “Musical Worms” is performed

Further, in the senior and preparatory groups, I improve figurative performing skills, developingcreative independence in preparing dramatizations and performances, both by independent actors and using several types of puppets. These game moments I often insert holidays, entertainment, and leisure into the plot. And so as not to be unfounded, I suggest you watch a dramatization of the sketch “We welcome spring”, which was performed by older children at the holiday on March 8th.

The sketch “We welcome spring” is performed by older pupils.

An excerpt from the script “In the Footsteps of the Snow Queen” is performed by preparatory-age pupils.

In conclusion, we note that theater can play a big role in the formation child's personality. It brings a lot of joy, attracts with its brightness, colorfulness, dynamics, and affects the audience. The life of preschool children in kindergarten will be enriched due to the integration of play in different types of art, which are embodied in theatrical and play activities. I would like to end my speech with the words of the Russian theater director, actor, teacher and reformer Theater K. S. Stanislavsky: “If there was meaning the theater was only an entertaining spectacle, perhaps it wouldn’t be worth putting so much work into it. But theater there is an art to reflect life.”

Municipal budgetary preschool educational institution of the municipal formation of the city of Krasnodar "Child Development Center - kindergarten No. 110 "Teremok" CONSULTATION ON THE TOPIC: "Theatrical activities as a means of developing speech activity of preschoolers" COMPLETED BY: teacher KHALAIMOVA T.N. 1 INTRODUCTION Currently, in connection with With the new tasks put forward by society to the public education system, the problem of developing the speech of children up to school age. In solving problems related to the development of speech of a preschool child, a special role belongs to theater and theatrical activities. An analysis of domestic and foreign literature shows that acquaintance with various types of theater, as well as theatrical performances for children and with their participation, played an important role in their development and introduced children to theatrical art. They not only brought the joy of understanding the art of theater, but also cultivated artistic taste, developed speech, and taught the child to better understand the world around him. Preschool children, as a rule, are always happy to see a puppet theater come to kindergarten, but they also love to act out themselves small performances with the help of dolls that are always at their disposal. Children, having joined the game, answer the dolls’ questions, fulfill their requests, give advice, and transform into one image or another. They laugh when the characters laugh, feel sad with them, warn of danger, cry over the failures of their favorite hero, and are always ready to come to his aid. By participating in theatrical performances, children get acquainted with the world around them through images, colors, sounds, enriching their inner world. Familiarization with various types of theater and theatrical activities allows you to solve many problems of the program kindergarten: one of the most important things for preschoolers is the development of speech and increased speech activity. The variety of different types of tetras, themes, means of representation, the emotionality of theatrical activities make it possible to use them for the purpose of comprehensive education of the individual. Dramatic activities jointly with peers and adults have a pronounced psychotherapeutic effect on the affective and cognitive spheres of the child, increases speech activity, provides correction of communication disorders. Children exhibit individual characteristics, which contributes to the formation of their inner world and overcoming communicative maladjustment. Thus, we can draw a CONCLUSION: that all of the above gives grounds to assert that familiarizing children with various types of theater and the direct participation of preschoolers in theatrical activities leads to an increase and effectiveness of children’s speech development preschool age due to complex affective and communicative influence. 2 1. Getting acquainted with various types of theater, as well as participating in theatrical activities, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions force them to think, analyze, draw conclusions and generalizations; 2. The improvement of speech is also closely related to theatrical activities, since in the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved. 3. Theatrical activities are a source of development of feelings, deep experiences of the child, and introduce him to spiritual values. It is equally important that theatrical activities develop emotional sphere child, make him sympathize with the characters, empathize with the events being played out. 4. Theatrical activities also allow you to develop the experience of social behavior skills due to the fact that every literary work or fairy tale for preschool children always has moral orientation. Favorite heroes become role models and identification. It is the child’s ability to identify with his favorite image that allows the teacher to have a positive influence on children. Goal: Familiarization with various types of theater to increase speech activity. Objectives and methods: consistent introduction to types of theater; children's gradual mastery of creative arts by age group; improving artistic skills; work on speech and intonation; collective interactions; the ability to sympathize and empathize. Principles: Some principles should be highlighted. 1. The principle of cognitive stimulation, research activities, child activity. There is a situation of choice, an unfinished image, its unexpectedness and problematic nature, and the setting of a long-term goal. 3 2. The principle of creative, humane orientation, characterized by the development of imagination and fantasy. pedagogical process, 3. The principle of freedom and independence, which allows you to imitate, combine, and independently choose motives and methods of action. create, 4. The principle of integrativeness, characterized by the connection: - theatrical with other types of activities (speech, artistic, musical, etc.), with various types of arts (dramatic, visual); children's and adult arts; - theatrical play and joint creative activity teacher and child.     improvisation; humanity; systematization of classes; taking into account the individual characteristics of children. Realization of goals and objectives: 1. Introducing children to the theatrical doll - bibabo, and theatrical games, starting from the younger group. Children watch dramatizations and performances performed by the teacher and children of older groups. 2. From the second youngest group, children are consistently introduced to types of theaters and the basics of acting. As a basis - sketch training, which helps develop attention and instills skills in displaying various emotions. 3. In the middle group, a puppet show is combined with a game. Children who are insecure most often prefer a puppet theater - there is a screen there and you can hide behind it. 4. In the older group, children actively participate in theatrical games and dramatizations. 5. Preparatory group - theatrical games are distinguished by more complex characters.  the comprehensive development of children’s artistic abilities is improved through the means of theatrical art;  creative independence develops: play, song, dance improvisation, as well as improvisation on children’s instruments;  knowledge about objects, dolls, decorations deepens;  children’s vocabulary expands and becomes more active; the culture of speech communication is brought up;  skills of improvising familiar fairy tales are consolidated, encouraging children to come up with new stories;  expressive means are sought to create an image,  using posture, facial expressions, gesture, speech intonation; 4    a negative attitude towards cruelty, cunning, cowardice is brought up, to form feelings of cooperation and mutual assistance; songcraft improves; creative independence develops, encouraging them to convey the mood and character of the music with the plasticity of their body, creating a vivid image of the hero 2. Various types of theater in the life of preschoolers Theatre, festive and joyful performance brings children enormous, incomparable joy. Preschoolers are very impressionable, they are especially susceptible to emotional influence. Due to the figurative and concrete thinking of children, the theatricalization of works of art helps them perceive the content of these works more clearly and correctly. However, they are interested not only in watching a performance in a real theater, but also in actively participating in their own performances: preparing scenery, puppets, creating and discussing scripts. Already the toy theater influences young spectators with a whole range of means: artistic images, bright design, precise words, and music. What they see and experience in a real theater and in their amateur theatrical performances broadens the children’s horizons, creates an environment that requires the children to engage in conversation and talk about the performance to their comrades and parents. All this undoubtedly contributes to the development of speech, the ability to conduct a dialogue and convey one’s impressions in a monologue. There are various types of children's theater. The most common is the toy theater. Already during the period of memorizing nursery rhymes and simple rhymes, miniature performances are performed on the table, a kind of stage, where the roles of the characters are “performed” by toys. If the toy theater does not require any crafts and children mainly act as spectators, then the theater of five fingers, or the theater of parsley, creates the atmosphere of a truly theatrical performance. Children's interest in such theater is enormous. Its overall miniature nature, the tiny stage on which the parsley dolls act, allows kids to take in the entire playground. The process of preparing puppets for the Five Fingers Theater captivates the kids, and they are engaged in creative activities until the “premiere.” The dolls in this portable theater make a strong and deep impression on children; the kids expansively empathize with all the events along with the characters of the play: they talk to the dolls, give advice, warn some and angrily denounce others. Even unsociable children do not remain indifferent. Preparing scenery and puppets for the Five Fingers Theater is a troublesome task, but possible in any kindergarten. But how close the doll is to children! Having put the doll on his hand, 5 the teacher can approach the kids with it, and this pig or bear can talk to the children, play around a little, cuddle, encourage and console the child, ask them to do something. How to make dolls, create scenery and prepare a performance is described in detail in the books by T. N. Karamanenko “Puppet Theater in Kindergarten” (M., 1960) and G. V. Genov “Theater for Kids” (M., 1968). Shadow theater is also of interest to children. Shadow theater is a common type of dramatization of fairy tales and plot poems. The display of shadows is accompanied by reading a story, fairy tale, fable. Since shadow theater has its own characteristics: the immobility of silhouettes, the lack of perspective, depth, the impossibility of placing one silhouette after another, this largely determines the choice of repertoire. Without any particular difficulties, it is possible to stage a production of the Russian folk tale “Teremok” in such a theater, where all the characters can proceed to the pitcher-teremok. It is possible to show such fairy tales as “Kolobok”, “The Fox and the Jug”, etc. If parts of a literary work that are difficult to show are important for understanding the content of the play, they can be read without silhouette accompaniment. To expand the possibilities of shadow theater, several silhouettes of the same character are made in different poses and positions. To emphasize that the character acts in different situations, this silhouette character has characteristic features (nose, scarf, hair, etc.). Showing a shadow theater performance initially requires the participation of three educators: one must sit in front of the screen and read the text, the other two must control the silhouettes behind the screen. Possible various options showing the performance: you can read the entire work, or you can limit yourself to just reading the author’s text; the characters’ lines will be spoken by the teachers behind the screen, etc. When the teachers gain experience in managing silhouettes, they can show the performance even one by one, involving them as assistants children. The teacher will have to read the text for several characters, so you need to learn to speak for each one so that the children can distinguish the characters by their voices. The narrator's reading of the author's words requires that the text be read expressively, clearly, and loudly enough. One of the options for shadow theater is when silhouettes are obtained from human figures. Just like shadow theater with flat figures, the light should be behind the screen and the audience sits in front of the screen. The light should be bright: in the air - the sun, and in the room - a very bright lamp, which is hung one and a half to two meters from the screen, at the level of the children's shoulders. Before inviting the audience to watch the performance, the teacher brings 6-8 children behind the screen and explains to them their responsibilities. He himself walks close to the screen and asks the children to say when the shadow is brighter and more distinct. First, children will act out improvisational skits, joke and have fun. To create a comic effect, you can give them funny hats, long noses, lush beards, etc. Then you can prepare small genre scenes. 6 Interesting literary material for shadow theater is given in the book by T. N. Karamanenko “Puppet Theater in Kindergarten.” The tabletop cardboard theater on the table is very popular among kids. Everything in it: stage, curtain, decorations, figures - are made of cardboard and painted. Due to the nature of the stage material, this theater is called the theater of pictures. Little children love to look at pictures in books, and, of course, they are happy to see moving pictures. The publishing house "Malysh" has published original toy books "Rock Hen" and "Swan Geese", which are unique miniature picture theaters. Inventively executed scenes can serve as models for picture theater. Homemade picture theaters create an action effect: when showing a performance, teachers try to move the figures. As a rule, they are made on stands, which are pulled by small hooks attached to sticks. Recently, the movement of figures in picture theaters is carried out using magnets, and it is even possible to make the figures dance funny. An elementary form of presentation in a picture theater is moving pictures on a table without creating the effect of sudden appearance. It’s just that first, for example, they put on a big turnip, then they put forward the grandma and all the other characters in the play sequentially. With such a display, the teacher’s hands attract too much attention. To protect children's hands, a beautiful barrier is made from cardboard (40-50 cm long and 8 cm wide). To create the atmosphere for a theatrical performance, teachers make a curtain and backstage. In such a theater, various figures can be on the stage and move in different directions. T. N. and Yu. G. Karamanenko talk about how to make figures and decorations in the book “Puppet Theater for Preschoolers” (M., 1973). The repertoire of picture theater on flannelgraph is very diverse: you can stage many fairy tales and plot poems. The development of the aesthetic taste of preschoolers will be more successful the more thoughtfully the work on studying works of art accessible to children is organized. Already in an early age group, when telling nursery rhymes and small poems, in order to enhance the emotional impact of the literary word, one should practice staging short scenes in tabletop theater . As children's horizons broaden, stage performances become more complex: the number of characters increases, and the plots of the performances become more complex. Almost the majority of works of art that make up the required literary minimum or are included for additional study can be dramatized in one of the indicated ways.       7 Bibabo Theater. Puppet theater Living puppet. Mitten Theater. Spoon Theater Horse Theater.  Flat theater.  Theater of miniatures. Formation of speech and communicative manifestations of children. The formation of speech and communicative manifestations of children of early and primary school age affects some studies (A. M. Leushina, E. I. Kaverina, G. M. Lyamina, N. M. Aksarina) in the field of solving problems of speech development. A diverse analysis of the works of these authors is widely presented in the domestic literature, so we will present only the main provisions on the problem of changing the speech activity of children. 1. The formation of speech in early childhood is determined by the development of new types of activities and new forms of communication with adults about these types of activities. D. B. Elkonin emphasizes that the emergence of new types of activity of the child and his new relationships with peers and with adults leads to further differentiation of the functions and forms of his speech. The leading activity during this period is object-tool activity, so the marker of changes in children’s speech activity is the ratio of units in the “verbs - nouns” pair. Research by A. S. Vygotsky, A. M. Arkin, A. M. Gvozdev has established that changes in the volume of speech lead to changes in the ratio between nouns and verbs: in the nursery group - 100/170, in the kindergarten group - 100/120. New needs for activity and communication lead to further intensive mastery of the language, its vocabulary and grammatical structure. As a result of this, the child’s speech becomes more and more coherent and ultimately turns into the most important means of conveying social experience to the child and managing his activities on the part of adults. An adult (teacher or parent) sets a system for dividing reality, which is necessary for the formation of a concept, when he shows and names the signs of objects to a child in the process of joint object-based or object-game activity with him; generalization system - when teaching the use of sensory standards, it helps to accumulate experience in designating any objects with their images, symbols or substitute objects 2. Higher mental functions are internally related to the development of speech activity and language ability. As children's speech activity increases, their mental activity also increases. Under the influence of speech, the child’s mental processes are restructured - his perception, thinking, memory. However, the process of mastering speech, in turn, depends on the development of the child’s activity, on his perception and thinking. At the initial stages of speech acquisition, the meaning that a child attaches to the words he hears and pronounces differs significantly from the meaning that these same words have for an adult. Throughout early childhood, the meanings of words change, which is one of the most important aspects of a child’s mental development. According to the views of L. S. Vygotsky, the “crossover” in the development of speech and thinking, linguistic and intellectual abilities of a child occurs up to 2-3 years. The condition for the development of cognitive activity during this period is the child’s communication with an adult partner, during which the child learns interested attitude to objects and phenomena, methods of research actions and managing one’s behavior. The structuring of the Image of the world and the Image of oneself, ideas about one’s skills and capabilities occurs thanks to the Word. 3. The social environment and the role of an adult in the development of a child’s speech activity are important factors in the social and general development of a child in early childhood and early childhood, therefore, special requirements are placed on the teacher’s speech and his ability to model pedagogical situations that allow solving the problems of stimulating speech activity, 8 the formation of speech skills and abilities of pupils. Researchers call the set of speech skills and abilities developed in a child that allow him to understand and construct new statements in accordance with the communicative situation and the laws of his native language. Solving the problems of stimulating speech activity and developing the language ability of children involves: 1. Development of the ability to imitate the speech and object actions of an adult, correlate them and construct new ones according to learned models. 2. Development in children of understanding the speech of others and the accumulation of speech means, a gradual increase in vocabulary, clarification and development of the meanings of words, distinguishing grammatical forms. These tasks are closely related to each other. At the same time, passive speech is ahead of the development of active speech and leads to its development. The dynamics of the ratio of passive to active speech characterizes changes in children’s needs to communicate with peers and adults during the transition from the level of passive to active adaptation. Children are increasingly involved in verbal interactions with teachers and peers, learning to solve problems of verbal communication. The first stage in the development of children’s speech is the teacher’s use of the technique of verbalizing actions throughout the entire educational process : dressing, undressing, washing, feeding, etc. At the same time, the teacher’s speech should not be stereotypical. Thus, the phrase “Let's go wash our hands” can be replaced with “Let's wash our hands”, “Now we'll go wash our hands”, “Let's go wash our hands”, “It's time to wash our hands”, etc. At the same time, attention is paid to the implementation of different functions of speech: naming, commenting, generalizing, planning, controlling - in the process of organizing all forms of children's life activities in the garden. In this case, speech becomes a means of activating children’s speech activity and organizing their own behavior. At the same time, the teacher’s speech, in its form and meaning, can both limit the children’s actions (“You can’t”) and encourage them to take actions, combine them with actions and complete them (“Let’s get dressed” - “Get dressed” - “Get dressed”). Adequate performance of actions by children indicates the correct perception and understanding of the addressed speech. In this way, the teacher leads children to master the more complex functions of speech - regulating and planning. The teacher’s verbal commentary on the organization of children’s life activities contributes to the fact that children are encouraged to cooperate with adults in order to obtain from him new information about the world around them and new ways of acting. At the same time, the need to communicate with an adult is seen as cooperation and a desire to gain new knowledge about the environment. Therefore, at this stage, one should maintain an ever-increasing interest in surrounding phenomena, objects, toys, paintings, and adults themselves. Based on familiarization with objects and phenomena of the surrounding reality, the perception of more complex speech patterns, various variants of sentences is improved, the vocabulary is enriched, the lexical and grammatical meanings of words are clarified and mastered. This leads to the development of the need to communicate with adults on educational topics and to active cognitive actions. Communication takes on an initiative character, the child feels the need for active independent actions. By the end, children in kindergarten, using developed verbal communication skills, should be able to consciously perceive the speech of adults, that is, be able to listen attentively to the speech of others, correctly follow verbal instructions, actively use onomatopoeia, use situational speech in communication, both at the prompting of the teacher and and on your own initiative. The most important achievement is the emergence of active speech in children, a desire to speak, when children in communication begin to answer the teacher’s questions in class, and on their own initiative enter into communication with adults and peers. By this time, pupils have mastered the basic syntactic units that they use in communication - word - phrase - sentence. Specific techniques in speech development classes are: 1. Showing and examining an object. What an adult shows and names acquires special interest for the child, evokes joyful emotions that he transfers to the adult, thereby this technique helps to establish contact with the child and build positive relationships. 2. Performing actions with an object. Having performed a number of actions with an object together with the teacher, the child transfers this into independent play activities, which contributes to the development of children’s play and, as a result, the development of children’s relationships, since pupils enter into communication with peers about joint activities that interest them, and the most attractive activities preschoolers throughout the entire preschool period play. 3. Requests, instructions. This technique helps children develop orientation in their surroundings and teaches them how to correctly make requests to a peer or adult. This leads to the formation of the ability to independently express a request, which, first of all, is necessary in children’s communication with each other in play and other joint activities. During middle preschool age, children experience intensive learning about the world around them. One of the striking characteristics of children 4-5 summer age is the appearance of a large number of children's questions of a cognitive nature, the emergence of increased interest in words and surrounding things, phenomena, objects, which gave the name to this period of “children's whys”. Scientists (A.M. Bogush, I.A. Zimnyaya, A.N. Leontiev and others) agree that the speech activity of children should be understood as the following skills that a child should have: - listen and understand speech addressed to him; - enter into a conversation and maintain it; - answer questions and ask yourself; - be able to explain - use a variety of language means; 10 The main indicators of speech activity in children of middle preschool age are: - the presence of initiative in speech activity; - maintaining and reinforcing initiative, in the presence of significant “reinforcement” (vivid visibility, play motivation, etc.) - the presence of “mental surprise” (curiosity, interest, etc.) - high ability to work in speech activity Activation of speech activity contributes mental development of the child, enrichment of vocabulary, speech development, assimilation of lexical units of the native language, promotes the development of imagination and thinking. Model of the development of speech activity of preschool children Thus, we can draw a CONCLUSION: that all of the above gives grounds to assert that familiarizing children with various types of theater and the direct participation of preschool children in theatrical activities leads to an increase and effectiveness of the speech development of preschool children due to complex affective-communicative influence. 11 The purpose of this work: to consistently introduce children to various types of theater, increase speech activity, develop initiative, independence in playing with dolls, and develop the desire to perform in front of children, parents, and preschool employees. Product of joint activity: Practical work is carried out on the basis of the middle group of kindergarten No. 61 for the second year in three areas: 1 “Developmental environment”, 2 “Children”, 3 “Adults”. The first direction is the formation of a development environment. This is the creation of a theater corner in a group, including: Table theater Rubber toy theater Soft toy theater Spoon theater Plane theater Puppet theater Finger theater Costumes Scenery Cone toy theater Bibabo dolls Shadow theater “Mitten” theater, etc. The second direction is working with children. 12 It includes children’s creative activities, both jointly with the teacher (2 times a week) and independently. These are: Game creativity Song creativity Dance creativity Improvisation on children's musical instruments. When working with children, the following methods are used: writing fairy tales, modifying fairy tales, accompanying the movements of dolls with a song, interest and desire to play musical instruments, interest and desire to dance. The third direction is “Adults”. This is work with parents and preschool specialists. It includes: Joint visits to theaters by families and groups Exhibition of various types of theaters Creation of a mini museum of hand-made toys Joint performance of children and their parents Puppet theater performance Family mini-performances Making photo albums, etc. Practical developments. Theater games. Exercises and studies. To be natural, you need to find answers to the questions why, why, why am I doing this? This ability is developed through exercises and studies on stage justification (the ability to explain, justify any of your poses or actions with fantasized reasons - proposed circumstances). Thus, the child’s speech activity increases during the work process. The themes for such small performances (studies) are close and understandable to children (Quarrel, Resentment, Meeting). The ability to communicate with people in various situations is developed by studies on polite behavior 13 (Introduction, Request, Gratitude, Treats, Talking on the phone, Consolation, Congratulations and wishes). With the help of facial expressions and gestures, sketches for basic emotions (Joy, Anger, Sadness, Surprise, Disgust, Fear) are played out. If sketches are played out based on fairy tales, it is first necessary to determine the character of the hero (lazy or cowardly, good or evil, stupid or smart) and formulate his speech characteristics. Each fairy-tale character has his own manner of speaking, which manifests itself in the dialogues and makes them lively and natural. Working on sketches develops many qualities, including the ability to act in a fictional environment and communicate in response to a partner’s behavior. Speech games and exercises This section combines games and exercises aimed at developing breathing and freedom of the speech apparatus, the ability to master correct articulation, clear diction, varied intonation, logic and spelling. This also includes games with words that develop coherent speech, creative imagination, the ability to compose short stories and fairy tales, and select simple rhymes. Thus, these exercises are divided into three types: - breathing and articulation; - diction and intonation; - creative (with words). Working on a play Creating a play with preschoolers is a very exciting and useful activity. Joint creative activity involves even insufficiently active children in the production process, helping them increase speech activity and overcome communication difficulties. As a rule, fairy tales serve as material for stage implementation. Russian folk tales have an activating effect on both speech activity and the emotional sphere of the child. - lexical-figurative, since it forms the linguistic culture of the individual, activates and develops the child’s internal auditory-verbal memory. When listening and reading fairy tales, the verbal-sign forms of fairy tales are internalized, and when retelling and dramatizing, the formation of speech culture occurs. The main language functions develop - expressive (verbal-figurative component of speech) and communicative (ability to communicate, understand, dialogue); Puppet theater 14 The child happily picks up a puppet theater character and talks about his thoughts on his behalf. With the help of a doll, he can express and regulate his own experiences. The doll provokes children to engage in dialogue, which serves as a stimulating factor for the development of dialogic speech. By mediating interaction with other people with dolls, children comprehend the process of communication with peers. Playing characters with different characters, they try on different models of social behavior. 15 16

From work experience

“Theatrical activities as a means of developing coherent speech in preschoolers”

Chekunova Elena Alexandrovna,

teacher of MBDOU No. 61,

Apatity, Murmansk region.

“... Not only the intellectual development of the child,

but also the formation of his character,

emotions of the individual as a whole,

is directly dependent on speech"

(Lev Semenovich Vygotsky)

A person spends his entire life perfecting his personal speech, mastering the riches of language, and any age brings something new into his speech development. Thanks to his native language, the baby enters our world and receives ample opportunities to communicate with other people. Speech helps to understand each other, shapes views and beliefs, and also provides a great service in understanding the world in which we live.

The development of coherent speech is the central task of children's speech education. This is due, first of all, to its social significance and role in the formation of personality. It is in coherent speech that the main, communicative, function of language and speech is realized. Connected speech - highest form speech mental activity, which determines the level of speech and mental development of the child. Adequate perception and reproduction of textual educational materials, the ability to give detailed answers to questions, independently express one’s opinions - all these and other educational activities require a sufficient level of development of coherent communication. (monologue and dialogic) speech. This is explained by the fact that, in fact, speech is considered a method of forming and formulating an idea, a means of communication and influence on others.

According to the Federal State Educational Standard for preschool education, speech development is one of the cross-cutting mechanisms of child development. Full mastery of speech in middle preschool age is a necessary condition for solving problems of mental, aesthetic and moral education children. The earlier language acquisition begins, the more freely the child will communicate in the future.

Research by psychologists and teachers (L.S. Vygotsky, A.N. Leontiev, D.B. Elkonin) created the prerequisites for an integrated approach to solving problems of speech development in preschool children. Speech development is carried out in various types of children’s activities: familiarization with fiction, phenomena of the surrounding reality, as well as in play (dramatization games) and artistic activities, in everyday life.

Having analyzed the literature and program requirements on this topic, I concluded that effective means for the development of coherent speech in children is creative theatrical activity. My observations show that theatrical activity is one of the most effective ways influence on children, in which the principle of learning is most clearly and fully manifested: to learn by playing. Theatrical games enjoy constant love among children. Books, fairy tales, and performances are for a child an inexhaustible source of the development of feelings and imagination, and in turn, the development of feelings and imagination engages him to the spiritual wealth accumulated by humanity. Theatrical activities develop the speech sphere of preschool children, help the development of communication abilities, assimilation of new requirements and rules for correcting children’s traits.

Work on the topic " Theatrical activities as a means of developing coherent speech» I carry out in accordance with the main educational Program of preschool education of MBDOU No. 61 of Apatity, which was developed on the basis of the content of the general educational program of preschool education “From birth to school”, ed. NOT. Veraksy, T.S. Komarova, M.A. Vasilyeva.

I did not choose this topic by chance, since recently the number of children with impaired coherent speech and lack of vocabulary has increased. A survey was conducted among the parents of the group's pupils, as a result of which socio-pedagogical problems of upbringing and development were noted. Also, a group of children was examined in the field of “Socio-communicative development” and “Speech development”, as a result of which problems were identified in resolving conflicts with the help of beliefs and explanations; children do not always take responsibility and independence in carrying out assignments; They rarely know how to agree on the theme of the game and conduct role-playing dialogue. Observations of children showed that children experienced difficulties in performing various tasks:

• in the ability to aesthetically perceive the art of artistic expression;
• the ability to listen to the text;
• catch intonation;
• features of speech patterns;
• express ideas clearly and consistently;
• independently retell the text;
• while performing the role, the child did not master a variety of visual means(facial expressions, body movements, gestures, speech expressive in vocabulary and intonation).

The objectives of work on theatrical activities are:

— to develop children’s ability to express their thoughts coherently and consistently;

- form the grammatical and lexical structure of speech;

— develop skills of active, conversational, figurative speech;

- continue to develop dialogic, monologue speech;

— continue to improve the artistic and speech performing skills of children in various types of theatrical activities;

- continue to develop the expressive and intonation aspects of speech.

To solve the assigned tasks, the group has created a subject-specific development—spatial environment, ensuring joint theatrical activities of children and the teacher, as well as independent creativity of each child. For this purpose, the group operates centers that promote self-realization and self-expression of the child. Their equipment is periodically replenished.

Occupancy of the environment (centers) within this topic:

"Game Center"

This center contains: story toys; transport toys of various types; toys depicting objects of labor and everyday life; role-playing attributes for simulation and role-playing games, reflecting simple life situations and actions (“Doll Corner”, “Kitchen”, “Hairdresser”, “Shop”, Hospital”, “Workshop”, “Garage”, “Post Office”, “Travel”, “Atelier”); animal toys; dolls; sets of different types of dishes; delimited zones (doll corner, beauty salon, store, hospital, post office, etc.).

"Theatre Center"

The group has a theatrical corner with different types of theater (tabletop, bi-ba-bo, flat, shadow, disk, finger); masks, caps, wigs, costume elements, props (noses, glasses, mustaches, etc.); theatrical makeup; pictures and illustrations for fairy tales; flannelograph, screen; attributes for the fair (scarves, ribbons, hats, wreaths, etc.); visual and didactic games and manuals (“Heroes of fairy tales”, “What fairy tale is this?”, etc.). Designed by long-term plan works on the topic, a card index of theatrical and role-playing games has been created.

"Speech Development Center"

This center has: didactic visual materials; subject and subject pictures, etc.; books on topics, educational magazines on the development of speech skills; “Wonderful bag” with various items; visual didactic aids and games: “Stories from pictures”, “What happened first and what then”, “Add a word”, “Sequences”, “Tell me why?”; files of communicative and speech games.

To achieve the assigned tasks I used main areas of work:

1. Work with children, which included:

— diagnostics of emotional and personal development (2 times a year);

— practice-oriented orientation in the implementation of tasks.

Carried out this work through the following forms of work:

• viewing puppet shows and conversations on them;
• dramatization games (preparing and acting out various fairy tales and dramatizations);
• speech games and exercises (for the development of monologue and dialogic speech);
• exercise “Interview from a fairy tale” (developing the ability to answer questions);
• inventing fairy tales and stories based on children's drawings;
• compiling stories using pictures from fairy tales and diagrams;
• tasks for the development of speech intonation expressiveness;
• transformation games, imaginative exercises;
• exercises for the development of expressive facial expressions, elements of the art of pantomime;
• theatrical sketches;
• individual ethics exercises during dramatizations;
• familiarity not only with the text of the fairy tale, but also with the means of its dramatization - gesture, facial expressions, movement, costume, scenery, mise-en-scène, etc.;
• screening of theatrical performances and performances.

Children's artistic creativity is gradual in nature

At the first stage— perception is enriched due to the life experience of children and familiarization with literary works.

I introduce children to works of different genres (fairy tales, short stories, poems), their content, artistic form, and the expressive, wise language of folk tales.

I get to know the world around me in accordance with the content of a literary work. Children develop attention, observation, independence and activity.

Second phase- the actual process of children's creativity, which is directly related to the emergence of an idea, the search for artistic means, and the development of word intonation, facial expressions, and gait. Speech develops from all sides: the vocabulary is enriched with figurative vocabulary, the sound side of speech is improved (intonation expressiveness, diction, voice strength), children learn the skills of dialogical speech (the ability to ask, answer, give a remark, listen).

I work with my students to develop stage skills to recreate the images of fairy-tale characters using intonation, facial expressions, gestures, and movements; plastic studies.

Third stage- characterized by the emergence of new products.

With the children I play dramatization games and performances based on the literary works I have read.

Thus, important condition the success of dramatization is a deep understanding of a literary work at the level of emotional experiences and feelings. It is in the process of perceiving works of different genres that children develop creative abilities and their behavior changes.

They learn from fairy tales the peculiarities of the behavior of certain characters, imagine their actions, and they have a need to show certain movements themselves. At first, not all children develop the ability to combine words and movements. For such an understanding, it is necessary to use exercises and plastic studies more widely.

When children begin to perform plastic sketches, I accompany their actions with words characterizing the habits of animals. Then I complicate the task. Already from middle age, preschoolers are able to conduct sketches without speech accompaniment.

In children 5-6 years old, it is characterized by the formation of contextual (connected) speech. The child is attracted to storytelling-improvisation, he shows interest in creative storytelling, composing different types phrases.

At the same time, I try to use word formation games. I set a goal for the children - to formulate their thoughts in the form of a story, then I help them needed help, I suggest plot moves, logical connections, and sometimes even the beginning of a sentence.

In my work I use the method of composing a story. "Blurred Letter" This grammar exercise. When composing stories, coherent speech, understanding of the semantic side of a word and especially the syntactic structure of sentences are improved.

I organize theatrical games through such types of activities as theatrical games in the organization of educational activities, in the joint activities of the teacher with children and in independent activity children.

1. Organization of theatrical play.

1) During continuous educational activities. I try to include theatricalization as a gaming technique (characters are introduced that help children learn certain knowledge, skills and abilities).

For example: Foxy comes to visit and confuses the colors, and the children tell her about them.

2) Joint activities of the teacher and children. In my work I use game situations during walks, organize dramatization games, reading fiction followed by acting out plot episodes during the day, drawing games on

free topic. All this is an impetus for creative thought, an idea that requires implementation.

3) Theatrical play in children’s independent activities. In the evening, I watch how, after reading fairy tales, the characters and plots that excited the children are reflected in theatrical games, how they let the characters’ characters pass through them. And I see the result of my work. How complexness gradually “dissolves” and children overcome their fears.

I also include games and speech exercises. Exercises not only increase mental activity, but also improve speech skills, promote the development of mental processes, and increase emotional activity. Children learn about the world around them, become participants in events from the lives of people, animals, and plants. I correctly formulate questions to help children isolate the main thing - the actions of the main characters, their relationships and actions. A correctly posed question forces a child to think, reflect, come to the necessary conclusions and at the same time notice and feel the artistic form of the work. We borrow figurative expressions, apt words, figures of speech, proverbs and sayings from fairy tales, children enrich their speech, making it interesting and expressive.

After answering the questions, I invite the children to “show” the fairy tale in a dramatization game. Dramatization games are especially important for children of middle preschool age, i.e. fifth year of life. When re-telling a fairy tale, I use a tabletop theater. Then the children listen to the audio recording of the fairy tale and watch the presentation. Each new reading of a fairy tale evokes new feelings in children; they have a desire to listen again and see a well-known fairy tale in new forms.

Observations of children have shown that with this approach, it is easier for even the most timid children to cope with anxiety by participating in dramatization games.

1. Working with parents

Formation of a sustainable interest in preschoolers theatrical and gaming activities impossible without close contact with the families of the pupils. Parents are the main helpers. In order to involve parents in solving this problem, I use various forms of interaction:

— Parent meetings(traditional and non-traditional forms).

— Questionnaire: “Your attitude towards theatrical activities.”

— Design of a folder — shifts: “How to play theater with children at home?”, “What toys should a child buy?”

— “Labor landing” - production and selection of attributes for the holidays.

— Consultations: “Puppet theater at home”, “The importance of theatrical activities in the development of speech of a preschooler”, “Development of coherent speech of children in theatrical activities.”

- "Parents' gatherings."

— Development of leaflets “Home Theater”, “Developing Children’s Speech through Theatrical Games”.

— Days open doors“We are always glad to see you!”

— Participation in the psychological and pedagogical project on fairy tale therapy with children and parents “Better Together” (together with an educational psychologist).

1. Working with teachers

Achieving the planned results involves joint interaction teacher with other preschool teachers.

During the work the following were carried out:

— demonstration of OD: “Intellectual cafe “Wild Animals” for children of the senior group (NGO “Speech Development”).

— display of theatrical games, fairy tales: “Turnip in a new way”, “English songs”, “Carousel of Fairy Tales”.

— demonstration of the role-playing game “Train” for children of the middle group.

— Consultations for educators: “Puppet theater”, “Holiday for everyone”.

She summarized and disseminated her teaching experience at different levels:

— Participation in the city festival of environmental theaters in Apatity " Sun Ray" With ecological fairy tale"Forest Special Forces"

— Speech with experience on the topic of self-education at the teachers’ council of MBDOU No. 61.

— international competition"A teacher by vocation." Nomination: “Creative works and methodological developments of teachers.” Work: synopsis of the OD “Crystal Winter” for children of the senior group (OO “Speech Development”, “Social and Communicative Development”).

— International competition “You are a genius.” Nomination: “Best public lesson" Title of the work: synopsis of the OD “In Search of Buryonka” (OO “Speech Development”).

— Speech at a regional workshop: “Creating conditions for the development of a child’s social capabilities within pedagogical activity"on the basis of the State Budgetary Institution of Health in Apatity with a report from work experience on the topic: "Organization of communicative games in the social and personal development of pupils."

— Demonstration of an educational activity on the educational organization “Speech Development” on the topic: “Lost Letters” with children of the senior group (preschool level).

— Speech with work experience on the topic “Theatrical activities as a means of developing coherent speech” at the teaching council No. 3 of MBDOU No. 61.

While carrying out this work, I observed a positive dynamics in the development of speech skills in the development of children in the middle group of the educational program in the educational field “Speech Development”. 10 children (47.7%) have a high level in this area; the average level is 11 children (52.3%). Low level not identified. The overall dynamics compared to the beginning of the year amounted to an increase of 20%.

At the beginning of 2016-2017 school year analysis of the diagnostics of the OO “Speech Development” in the senior group showed an average level of development of students’ skills and abilities. 10 children (50%) have a high level in this area; average level – 10 children (50%). No low level detected. The prognosis is positive.

Based on the results of the school year, observations showed that children’s interest in theatrical and play activities increased, their vocabulary was enriched and activated, and their intonation expressiveness of speech improved.

The results are visible: children are able to conduct sketches with speech accompaniment, their performing skills in creating artistic images have increased, they can show a short familiar fairy tale, and they are able to evaluate the actions of heroes

Thus, mastery of all aspects of speech, development of linguistic abilities, through theater, is considered as the core of the full formation of the personality of a preschool child, which provides great opportunities for solving many problems in the mental, aesthetic and moral education of children.

Artemyeva I. V.

methodologist MBOU DPO (PC) Central Educational Institution of the city. Samara

Preschool age is a bright, unique page in the life of every person. During this period, the process of socialization of the child begins, familiarization with culture, universal norms and values ​​occurs, and the foundation of health is laid. Preschool childhood is important stage in raising an attentive, sensitive reader who loves books.

Today the whole world is faced with the problem of maintaining interest in books, in reading as a process and leading human activity. Modern children are increasingly spending their free time playing computer games, watching TV shows, especially cartoons, and reading books less and less. But fiction plays a big role in the personal development of every person. We, adults, need to understand: reading for a preschooler is the most natural and calm, psychologically comfortable way to learn about the world and people. A book should enter a child’s world as early as possible, enrich his world, make it interesting, full of unusual discoveries.

Reading fiction is one of the forms of joint partnership between an adult and children. This activity cannot be continued by preschoolers independently or become their free activity, since they do not know how to read fluently and depend on an adult.

In order to raise a reader in a child, the adult himself must show interest in the book, understand its role in a person’s life, know the range of children’s reading, follow the latest in children’s literature, be able to have an interesting conversation with the child about what he read, and be sincere in expressing his feelings.

Theatrical activities have special potential for introducing preschoolers to reading fiction. It will help to form the correct model of behavior in the modern world, improve the child’s general culture, introduce him to children’s literature, music, fine arts, etiquette rules, rituals, and traditions.

Theatrical activity is a child’s creative activity associated with the modeling of images, relationships, and the use of various expressive means: facial expressions, gestures, pantomimes. Theatrical games are an interesting, understandable and accessible activity for children. Therefore, even the most timid, insecure children usually take part in them.

Theatrical games in preschool age involve acting out literary works (fairy tales, short stories, specially written dramatizations). The heroes of literary works become characters, and their adventures and life events become the plot of the game.

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

Based on the works of Antipina E. A. and Churilova E. G., several stages can be distinguished in introducing preschool children to theatrical activities.

The first stage of work is related to the selection of a work of fiction. Next, the teacher reads the work to the children and conducts a conversation on its content, paying attention to small details.

The second stage includes: dividing the play into episodes, discussing candidates for the roles of characters in the work, and retelling them by role.

At the third stage, work is carried out on individual episodes in the form of sketches with improvised text. First, the participants in the etudes are the most active children, then everyone else is attracted. You can improvise the actions and dialogues of the characters with dolls.

At the fourth stage, children are introduced to musical works that will be played in whole or in fragments during the theatrical performance. Vivid musical images help children find the appropriate plastic solution. At first, children simply improvise movements to the music. Then they move, turning into some character, changing their gait, postures, gestures, watching each other.

The fifth stage involves a gradual transition to the text of the work. During rehearsals, the same passage is repeated by different performers, which allows children to quickly learn almost all the roles. At this stage, the proposed circumstances of each episode are clarified (where, when, at what time, why, why) and the motives for the behavior of each are emphasized actor(for what? for what purpose?). Children, watching the actions of different performers in the same role, are able to evaluate who does it more naturally and truthfully.

The sixth stage is related to working on the role. Child in effect age characteristics always plays himself, he is not yet able to transform, play the feelings of another person. Under no circumstances should you impose on preschoolers the logic of another person’s actions or your own specific patterns of behavior. It’s better to give a hint and help the child remember some life episode when he had to experience feelings similar to those of the characters in the work. Only in this case will the children’s behavior on stage be natural and genuine. It is very important to achieve interaction with partners, the ability to hear and listen to each other and, accordingly, change your behavior. When working on the expressiveness and clarity of speech, it is necessary to identify the speech characteristics of the characters in the work. Different casts of performers can offer their own options; it is advisable to consolidate some of the most successful mise-en-scène for further work on the performance.

At the seventh stage, a rehearsal of individual paintings is carried out in different compositions. We must ensure that children do not repeat the poses, gestures, and intonations of other performers, but look for their own variations. It is necessary to teach children to place themselves on stage without crowding together or blocking each other. Any discovery, a new successful solution must be encouraged, this is successfully done by the audience, children who are not currently busy in rehearsal.

The eighth stage is the shortest in time. Rehearsals of the entire play. The scenery, props and props prepared for the performance are used, as well as costume elements that help in creating the image. The rehearsal is accompanied by musical accompaniment, and the tempo of the performance is specified. At this stage, children's responsibilities in preparing props and changing scenery are assigned. The number of general rehearsals for the entire performance can be from one to three.

The ninth stage - the premiere of the performance - is also a dress rehearsal, since until this moment the children have never acted in costumes. The next day after the performance, a conversation is held. The teacher, together with the children, tries to point out the main mistakes and shortcomings in the performance. But, at the same time, the teacher tries to praise the children and note the most successful and interesting moments of the performance.

The final stage is reruns of the performance. It is advisable to record the work on the production and each performance (stands with photographs, exhibitions of children's drawings, video recordings). It is very interesting to compare video recordings of several performances.

Performances can be performed in different casts. The same role, when performed by different children, completely changes, acquiring new colors and sound. The teacher’s task is to reveal the child’s individuality, teach him to look for his own means of expression, and not to imitate other performers (E. G. Churilova).

Based on the foregoing, we can conclude that theatrical play is closely related to literary and artistic creativity. Constant communication with a book actively develops reading interest, as well as creative abilities and inclinations, which are successfully realized under the guidance and with the help of a teacher. role playing games, based on the plots of literary works, in dramatizations and dramatizations, expressive reading of poetry.

We must understand that by caring about nurturing reader interest, we care about the intellectual, moral, spiritual potential of our country, about its cultural and creative development, economic and political well-being, and national security.

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6. Klimenkova, O. Game as the ABC of communication // Preschool education, 2002. – No. 4. – P. 7 – 19.

7. Makhaneva, M. D. Theatrical classes in kindergarten: A manual for preschool workers. institutions. – Moscow: Sphere shopping center, 2001. – 128 p.

8. Migunova, E. V. Organization of theatrical activities in kindergarten: Educational method. allowance. – Veliky Novgorod: NovSU named after. Yaroslav the Wise, 2006.

9. Petrova, E. Theatrical games // Preschool education, 2001. – No. 4. – P. 32 – 39.

10. Sorokina, N. F. Playing puppet theater: Program “Theater-creativity-children”. – Moscow: ARKTI, 2004.

11. Chistyakova, M. I. Psychogymnastics / Ed. M. I. Buyanova. – 2nd ed. – Moscow: Education: VLADOS, 1995. – 160 p.

12. Churilova, E. G. Methods and organization of theatrical activities for preschoolers and junior schoolchildren. – Moscow: Vlados, 2001.

1. These ideas served as the impetus for the use of theatrical games to develop children’s speech. In my teaching activities, I strive to ensure that children feel comfortable in any environment, in any speech situation. So that they can easily enter into dialogue, can argue their point of view with dignity and respect for others, and be attentive listeners and friendly interlocutors. Theatrical games always delight children and are very popular among them. Children see the world around them through images, colors, and sounds. The guys laugh when the characters in the play laugh, they feel sad and upset with them, they can cry over the failures of their favorite fairy-tale hero, and they are always ready to come to his aid. In the process of theatrical activities with children, I try to pay attention to developing interest in the creativity of improvisation in the process of inventing the content of the game and embodying the intended image using various means of expression. I bring children to the idea that the same character, the same situation, can be shown in different ways. In theatrical games, I encourage the desire to come up with your own ways of realizing your plans, to act depending on your understanding of the content of the text. Thus, in fiction classes, children enjoy participating in the dramatization of such fairy tales as “Kolobok”, “Teremok”, “Turnip” and others. They act out fairy tales with theatrical dolls. This allows them to better understand the content of their favorite work and gives them the opportunity to show creativity. I also suggest composing short fairy tales and songs. Most children complete the task quite easily. I gradually introduce noise instruments (tambourine, drum, rattles, bells), which give a new sound to the song composed by the child, creating festive atmosphere, develop a sense of rhythm. During class, I include a theatrical game like gaming technique and the form of education for children. The playful form of the lesson helps to emancipate the child and create an atmosphere of freedom. So, in literacy classes, with the help of theatrical games, I teach children the correct pronunciation of sounds. So, I can say with confidence that the use of theatrical games in the classroom increases the effectiveness pedagogical process. They also contribute to the development of speech, memory, thinking, and have a huge impact on mental development child. Conducting classes with elements of theater pedagogy helps each child demonstrate their skills, creative tendencies, and learn the material faster and better.

2. Theatrical games are an interesting, understandable and accessible activity for children. Therefore, even the most timid, insecure children began to take part in them.

3. Analyzing my work, I can say that theatrical and play activities enriched children with new impressions, knowledge, developed an interest in literature, and also activated their vocabulary, improved coherent speech, the sound side of speech and its expressiveness. And most importantly, thanks to theatrical games, children became more liberated.

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Ministry of Education and Science of the Russian Federation

State budgetary educational institution

secondary vocational education

"Novorossiysk Social Pedagogical College"

TOursovayaJob

Theatrical activities

as a means of developing creativity in preschool children

Scientific supervisor: Shvedchikova L.A.

Novorossiysk, 2013

Introduction

Chapter 1. Theatrical activities as a means of developing creativity in preschool children

1.1 History of the emergence of children's theater

1.2 Children's creativity

1.3 The influence of theatrical activities on development creative personality baby

1.4 Types of theaters in preschool educational institutions

1.5 Theatrical games in preschool educational institutions

Conclusion

Bibliography

Application

Introduction

Area of ​​study is a methodology for the musical development of preschool children.

The relevance of research. Theatrical activities play an important role in the education of preschool children, since it is during these years that the foundations of personality, its tastes and preferences are laid. One of the main aspects in raising a child is theatrical activities. It is theatrical activities that make it possible to solve many pedagogical problems related to the formation of the expressiveness of a child’s speech, intellectual and artistic-aesthetic education. By participating in theatrical games, children become participants in various events from the lives of people, animals, and plants, which gives them the opportunity to better understand the world around them. At the same time, theatrical play instills in the child a sustainable interest in his native culture, literature, and theater. The educational value of theatrical games is also enormous. Children develop a respectful attitude towards each other. They learn the joy associated with overcoming communication difficulties and self-doubt. Children’s enthusiasm for theatrical play, their inner comfort, relaxedness, easy, non-authoritarian communication between an adult and a child, the “I can’t do it” complex disappears almost immediately - all this surprises and attracts. Children's whole life is filled with play. Every child wants to play their role. Teaching a child to play, take on a role and act, while at the same time helping him gain life experience - theater helps to achieve all this.

Theater is a means of emotional and aesthetic education of children in kindergarten. Theatrical activities allow you to develop the experience of social behavior skills due to the fact that every fairy tale or literary work for preschool children always has a moral orientation (kindness, courage, friendship, etc.) Thanks to the theater, the child learns about the world not only with his mind, but also with his heart and expresses his own attitude towards good and evil. Theatrical activities help the child overcome timidity, self-doubt, and shyness. Theater in kindergarten will teach the child to see the beautiful in life and in people, and will give rise to the desire to bring the beautiful and good into life. Thus, theater helps the child develop comprehensively.

The transformations taking place in society give rise to new requirements in education for preparing children for school. One of them is the development of creative abilities in preschool children.

Creativity is one of the components general structure personality. Their development contributes to the development of the child’s personality as a whole. According to outstanding psychologists L.S. Vygotsky, L.A. Wenger, B.M. Teplov, D.B. Elkonin et al., the basis of creative abilities is general abilities. If a child knows how to analyze, compare, observe, reason, generalize, then, as a rule, he has a high level of intelligence. Such a child may be gifted in other areas: artistic, musical, social relations(leadership), psychomotor (sports), creative, where he will be distinguished by a high ability to create new ideas. Based on the analysis of the works of domestic and foreign psychologists, who reveal the properties and qualities of a creative personality, general criteria of creative abilities were identified: readiness for improvisation, justified expressiveness, novelty, originality, ease of association, independence of opinions and assessments, special sensitivity.

It is theatrical activities that are a unique means of developing the artistic and creative abilities of children. Solving problems aimed at developing artistic and creative abilities requires the definition of a different technology, the use of theatrical techniques and their combinations in an integral pedagogical process.

Object of study- the process of creative development of preschool children.

Subject of study- organization of theatrical activities as a means of developing creativity in preschool children.

Purpose of the study- identifying the features of organizing theatrical activities for the development of creative abilities of preschool children.

Tasksresearch:

studying the degree of development of the problem under study;

clarification and adjustment of concepts on the problem under study;

identification of psychological conditions for the development of creativity in theatrical activities.

Research methods:

Analysis of scientific literature on the problem under study;

Generalization of technology for organizing theatrical activities and developing children's creativity.

Chapter 1. Theatrical activities as a means of developing creativity in preschool children

1.1 History of the emergence of children's theater

The idea of ​​​​creating a children's theater began to be discussed in circles of creative people and intellectuals only in the middle of the 18th century, but the performances for children themselves appeared only in the 19th century. Until this time, professional theatrical art was inaccessible to children.

In the 15th century in Europe and from the 17th century in Russia, school theaters were created, which were located at educational institutions. They had theoretically developed principles and rules. School theaters mostly had a political orientation and were far from the idea of ​​children's theater in which we know it now.

In Russia, children's theaters appeared much later, only after the revolution. This happened mainly due to the support of Lunacharsky. Children's theaters began to appear during the Civil War in Moscow, Petrograd, and Saratov. But they didn't last long. But in the 20s, many children's theaters (Youth Theaters) and puppet theaters for children appeared in different cities Russia. Theaters gave performances both in Russian and in national languages.

The emergence of children's puppet theaters in Russia can be dated back to 1918-19, when the first theaters of this type appeared. These are the Shaporina-Yakovleva Puppet Theater in St. Petersburg, and the Efimov Theater of Parsleys and Chinese Shadows in Moscow.

At first, the repertoires of children's theaters consisted of works included in the children's reading range: "Mowgli", "The Little Humpbacked Horse", "The Prince and the Pauper", "Tom Sawyer". In the mid-20s, children's plays on modern themes began to appear: “Timoshkin Mine”, “Black Yar”, “Rifle 492116”. The heroes of these plays were modern teenagers, and their roles were played by drag queen actresses, many of whom later became very famous, for example, Okhitina, Sperantova, Koreneva.

By 1930, theaters for children in Russia had reached a highly professional level and began to stage plays, taking into account the age characteristics of children and adolescents. For senior preschool and primary school age, mainly fairy-tale performances were staged, combining fantasy and reality: “The Snow Queen”, “12 Months”, “Visiting Koshchei”. Theatrical plays began to contribute to the education of pioneers and schoolchildren. In this regard, a wide range of authors were involved who wrote children's works, among them well-known to all of us - S. Mikhalkov, E. Schwartz, L. Kassil. The focus is on the moral and social image of a teenager, the education of heroism, and the ability to accomplish a feat. Performances: "The Hero's Brother" by Kassil, "Seryozha Streltsov" by Lyubimova, "Treasure" by Schwartz, "Hlopchik" by Daniel. Also, adventure, comedy, historical and revolutionary plays by Soviet and foreign authors began to appear for teenagers, with an emphasis on studying the school curriculum in literature.

During the Great Patriotic War, many children's theaters were evacuated to the rear, where they began to stage performances not only for children, but also for adults. A special place in the repertoire was occupied by performances on a patriotic theme: “Son of the Regiment”, “City of Masters”, “Two Captains”.

In the 70s in the USSR there were already more than 100 puppet theaters, 46 drama theaters and 1 musical children's theater. Also, performances for children began to be staged in adult theaters.

In 1965, the International Association of Theaters for Children and Youth (ASSITEZH) appeared, whose president since 1968 was K.Ya. Shah-Azizov (head of the Central Children's Theater, Moscow), general secretary - R.M. Baudoues (France).

Currently in Russia there is a huge number of all kinds of children's theaters, for any, even the most sophisticated taste.

1.2 Children's creativity

Children's creativity is one of the forms of independent activity of a child, during which he deviates from the usual and familiar ways of manifesting the world around him, experiments and creates something new for himself and others.

Analysis of research by T.G. Kazakova, N.A. Vetlugina, N.P. Sakulina, B.M. Teplova, E.A. Flerina, dedicated to the problems of children's creativity, allows us to define the concept of "children's creativity". Children's creativity means the creation of a subjectively new (meaningful, primarily for the child) product (drawing, modeling, song, fairy tale, dance sketch, etc.); creation of previously unused images and different image options; the use of previously learned methods of representation or means of expression in a new situation; showing initiative.

Thus, we will consider children's creativity to be the creation by a child of a subjectively new product as a result of children's activity, which is significant, first of all, for the child.

Children's artistic creativity is the activity of a child, manifested in the form of improvisations, artistic compositions, literary works, etc. Children's creativity in the field of art contributes to art education and the development of aesthetic taste in a child. At an early age, children's artistic creativity is characterized by an improvised nature. However, this does not exclude the participation and control of adults in this process. According to L.S. Vygotsky and B.G. Ananyev, various types of children's artistic creativity have a close relationship, therefore, with age, the child's predisposition to one or another type of artistic creativity changes.

Children's fine arts are the most widespread among young children. At 4-5 years old, a child begins to depict recognizable objects; at 9-10 years old, the drawing is a meaningful story with a playful plot. According to V.S. Shcherbakova, fine children's creativity in adolescence reaches the peak of development and forms a teenager’s full perception of the world artistic heritage and professional art.

The first elements of children's literary creativity appear in a child aged 1-3 years, when he learns to speak, manipulate sounds and use words in different combinations. During this period, children's literary creativity is part of the game and it is difficult to separate it from other types of children's creativity: the child simultaneously draws, composes the depicted story, sings and dances. Gradually, children's literary creativity acquires a distinct direction (poetry, prose), and an understanding of the social value of a literary work comes, as well as the significance of the process of its creation.

Children's technical creativity is one of the important ways to form children's professional orientation, promotes the development of a sustainable interest in technology and science, and also stimulates rationalization and inventive abilities. Technical children's creativity is the design of devices, models, mechanisms and other technical objects in labor lessons and in extracurricular activities (clubs, courses, centers for children's and youth creativity).

Children's musical creativity is one of the methods of musical education of children and is manifested in the study of musical works of composers. B.V. Asafiev and B.L. Yavorsky believed that children's musical creativity is of great importance in the child's perception of the world around him. Children's musical creativity, as a rule, has no value for others, but it is important for the child himself. Children's musical creativity is a synthetic activity that manifests itself in different forms: playing musical instruments, rhythm, singing. Elements of children's musical creativity are among the first to appear when a child develops the ability to move to music. Thanks to this, the child develops visual-spatial coordination, ear for music and motor skills. The child learns to control the body and master dance movements.

Theatrical and gaming creativity of preschoolers is free in nature. L.S. Vygotsky notes that “along with verbal creativity, dramatization, or theatrical production, represents the most frequent and widespread type of children’s creativity.” The dramatic form of experiencing life's impressions lies deep in the child's nature and finds its expression spontaneously, regardless of the wishes of adults. As a rule, children's fantasies do not remain in dreams, but are embodied in living images and actions. theater preschool creativity aesthetic

Dramatization is closer than any other type of creativity to play, which is an integral part of childhood, and contains elements of different types of creativity. Children themselves can compose, improvise roles, and dramatize ready-made literary material. This is creativity, understandable and necessary, especially for the children themselves. By taking part in the production of scenery and costume elements, children develop visual and technical abilities. The activities of drawing, cutting, and modeling acquire meaning and purpose as part of the overall design that excites the children, and the play itself, which consists of the performance of child actors, completes this work and is the complete and final expression.

The functioning of the mechanism of creative imagination depends on several factors that take different kind at different age periods of a child’s development: accumulated experience, habitat and interests. There is an opinion that children's imagination is much richer than that of adults, and as the child develops, his imagination decreases. However, the child’s life experience, his interests and relationships with environment are more elementary and do not have the same subtlety and complexity as that of an adult, therefore the imagination of children is poorer than that of adults.

There are three main stages in a child’s creative activity:

1. Formation of the plan. At this stage, the child has an idea (either independently or suggested by a parent/educator) to create something new. The younger the child, the more value has the influence of an adult on the process of his creativity. At a young age, only in 30% of cases are children able to realize their idea; in the rest, the original idea undergoes changes due to the instability of desires. The older a child gets, the more experience he gains in creative activity and learns to turn his original idea into reality.

2. Implementation of the plan. Using imagination, experience and various tools, the child begins to implement the idea. This stage requires the child to be able to master expressive means and various methods of creativity (drawing, appliqué, crafts, mechanism, singing, rhythm, music).

3. Analysis creative work. It is the logical conclusion of the first stages. After finishing the work, the child analyzes the result, involving adults and peers in this.

An important feature of children's creativity is that the main attention is paid to the process itself, and not to its result. That is, creative activity itself and the creation of something new are important. The question of the value of a work of art created by a child recedes into the background. However, children experience a great uplift if adults note the originality and originality of the child’s creative work. Children's creativity is inextricably linked with play, and sometimes there is no boundary between the process of creativity and play. Creativity is a must harmonious development the child’s personality, which at a young age is necessary, first of all, for self-development. As a child grows up, creativity can become the main activity of a child.

Children's creativity has a number of features that must be taken into account when developing children's creative abilities. It usually does not have great artistic value for the people around it in terms of quality, scale of coverage of events, or solution of problems, but is important for the child himself. Children's creativity is significant in the world of children's play. As noted by O.P. Radynov, the criteria for the success of children's creativity should be considered not the artistic value of the image created by the child, but the presence of emotional content, expressiveness of the image itself and its embodiment, originality and variability.

L.S. Vygotsky considered play to be the basis, the source of any creativity, its preparatory stage. The peculiarity of children's creativity is that it is associated with play. Of all the types of artistic activity of children, the researcher singled out dramatization as the most unique to the motor nature of children's imagination and the closest to play.

Psychological characteristics childhood determine the spontaneity of children’s creativity, its emotionality, truthfulness and meaningfulness, and courage. By writing, inventing, depicting, the child takes on any topic.

ON THE. Vetlugina defines children's creativity as "the initial stage in the development of creative activity." It indicates that the child, through creative activity, reveals his understanding of the environment and his attitude towards it. He discovers new things for himself, and for the people around him - new things about himself. Through the product of children's creativity there is an opportunity to reveal the inner world of a child.

Children's creativity is characterized by such qualities as humanism and optimism. The child does not yet know about the complex pattern of events and relationships between people, so his heroes are simple and clear in their positive actions, he loves them and strives for their unconditional well-being.

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

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

In order for a child to compose and sing a melody, he needs to develop basic musical abilities. In addition, creativity requires imagination, imagination, and free orientation in unusual situations.

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

Increased attention should be paid to the selection of musical works that serve as a kind of scenario for children’s independent actions. Program music takes a leading place in creative tasks, since poetic text and figurative words help the child better understand its content.

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

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

1.3 The influence of theatrical activities on the development of a child’s creative personality

The theater develops the creative abilities of preschool children, corrects their behavior, promotes emotional disclosure, develops children's speech and oratory abilities, gives them self-confidence, and helps them acquire the skill of public speaking.

Over the past years, teachers have been working in depth on the topic “The influence of theatrical activities on the development of a child’s creative personality,” because theatrical art contributes to the comprehensive development of a child’s harmonious personality. Communicating day after day with the art of theater, children learn to be more tolerant of each other, restrained, and collected. Theater has a great emotional impact on the feelings and moods of preschool children, broadens the horizons of children, enriches and develops speech, forms moral ideas, develops mental capacity children.

All children love performances. They like not only to watch the performance, but also to be artists themselves. To make the joy of interacting with the theater everyday, you need to create a theater corner in kindergarten.

Theatrical art is close and understandable to children, because the basis of theater is play. Theatrical play and the play of the child proceed from the same convention, and focus reality in themselves to the very extent to which everyone sees it and to which he is able to express it.

The need for play in children is undoubtedly great and manifests itself very early. Already at two or three years old, children willingly imitate jumping bunnies and chicks running after their mother hen. They happily transform into kittens and dogs, small goats. Their actions are imitative and imitative, always one-dimensional, but extremely intense and therefore carry a large positive charge.

Dramatization is the most common type of children's creativity, which manifests itself in a wide variety of forms - both in composition, improvising short scenes, and as dramatization of finished literary material.

Children are attracted by the inner emotional richness of literary plots and the specific actions of the characters.

The forms of theatrical and gaming activities are varied - and they are all interesting in their own way.

By acting out little scenes and transforming themselves, children polish their speech, develop self-confidence and resourcefulness, and open up space for creativity.

Theatrical activity is an inexhaustible well for the development of children's speech. Acting out poems and scenes where children must speak competently, revealing the character of the characters, combine words with stage actions, which is difficult, especially for children with complexes. During classes, dolls and bears come to life. A tabletop theater comes, a finger theater, and most importantly, children play, put on masks, transform - they are not at a lesson, but in the forest. And around us there are not tables and chairs, but a fairyland. Children are transported from everyday life to the theater and so on for at least 5 minutes. Thus, the child cannot speak much, he is placed in unusual circumstances, he involuntarily speaks expressively, which is what we strive for. As usual, the tasks are: teach, consolidate, form.

During classes, the teacher turns into a magical fairy, holding Magic wand and we all go together to the land of toys, where we divide words into syllables, determine the number of syllables, find short and long words, finding a specific sound in a word, and then the children magically perform the movements of magic dolls.

The same thing happens in math classes. Mathematics provides inexhaustible opportunities for the development of a child’s vivid imagination and mathematical thinking.

If you think about it, at first glance, mathematics and theatrical activity are two little components of each other. The teacher reincarnated as a “hare” - a magical mathematician. The result of the lesson was much better than the usual, simple one. There were also children from whom you couldn’t even get a word, they were very inactive. But here, on the contrary, these children showed themselves, showed themselves. They communicated not with the teacher, but with the hero. The hare gave them prizes in return. And those children who were silent gave him an answer, they wanted to get prizes. And it became clear that mathematics goes better in theatrical activities. But what won’t interest you is a fairy tale, because children believe that a fairy tale works miracles and it does. It is better and more interesting to count fairy-tale caskets and jugs than simple sticks and balls. Children find it more interesting to talk with a fairy-tale hero. Incorporating theater into work results in better assimilation, memorization, and activity. No passive ones. The most important thing is to teach children to create and compose. Through theatrical activities I get the best answers from children. Theater and mathematics are inseparable components. The thinking process goes through them, because thinking is the highest level of cognition - the process of reflecting objective reality in ideas, judgments, and concepts.

Naturally, an important point is that in the work on theatrical activities there is a summary - this integrated lesson in the development of speech and mathematics takes place together with music and dancing. Children dress up in costumes and are in a fairy tale. Children receive important assignments, and the solution itself takes place in class. All this is used with music and the result is a performance where children show their mental and creative abilities. In the younger group this is complex, and in the older and preparatory group- integrated.

1.4 Types of theaters in preschool educational institutions

1. Tabletop toy theater. This theater uses a wide variety of toys - factory-made and homemade, from natural and any other material. Here the imagination is not limited, the main thing is that the toys and crafts stand steadily on the table and do not interfere with movement.

2. Tabletop picture theater. All pictures - characters and decorations - must be double-sided, since turns are inevitable, and to prevent the figures from falling, supports are needed, which can be very diverse, but must be quite stable. This is ensured the right ratio weight or support area with the height of the picture. The higher the picture, the larger or weightier the support area is needed.

The actions of toys and pictures in the tabletop theater are limited. But you should not lift them and move them from place to place. It is important to imitate the desired movement: running, jumping, walking and at the same time pronounce the text. The state of the character, his mood is conveyed by the intonation of the presenter - joyful, sad, plaintive.

It is best to hide characters before the game starts. Their appearance during the action creates an element of surprise and arouses the interest of children.

In order to create an idea of ​​the scene, use decorative elements: two or three trees are a forest, green cloth or paper on a table is a lawn, blue ribbon- a trickle. Don’t spend a lot of time on such preparations and involve children in them, teach them to fantasize, come up with new original details for the decoration - and then everyone will be interested.

3. Stand-book. The dynamics and sequence of events are easy to depict using successive illustrations. For travel type games it is convenient to use a stand book. Secure it to the bottom of the board. On the top - place the transport on which the trip will take place. As the trip progresses, the presenter (first the teacher, and then the child), turning over the sheets of the book stand, demonstrates various scenes depicting events and meetings that take place along the way. You can also illustrate episodes from the life of a kindergarten if each page depicts a new routine process.

4. Flannelograph. Pictures are also good to show on the screen. They are held in place by the adhesion of the flannel that covers the screen and the back of the picture. Instead of flannel, you can stick pieces of sandpaper or velvet paper on the pictures. Together with the children, select drawings from old books and magazines, and the missing ones can be completed. This gives the guys pleasure. Use natural materials too.

Screens of various shapes allow you to create “living” pictures that are convenient to demonstrate to the whole group of children. All children can work on prism screens in pairs at the same time during classes. The scenes on the screens are different, and children will be able to see the variety of options for depicting the same topic.

This type of game allows you to easily depict crowd scenes, for example, "Air Parade", "Bird Flight", "Launch space rocket" and etc.

5. Shadow theater. What is needed is a screen of translucent paper, expressively cut out black flat characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. Very interesting images are obtained using your fingers. For example, you can make a goose, a hare, a barking dog, an angry turkey, fighting boxers, etc. Just remember to accompany the show with the appropriate sound.

To show a scene with several characters at the same time, install a bar at the bottom of the screen on which you can strengthen the figure. For example, the grandfather pulls the turnip first. Strengthen his figure on the bar and display the headstock, etc. Place the figures close to the screen so that the shadows are clear. Position yourself below or to the side of the screen so that your shadow does not fall on it.

Shadow theater is good to use during leisure hours.

6. Finger Theater. The child puts the attributes on his fingers, but, as in dramatization, he himself acts for the character whose image is on his hand. As the action progresses, the child moves one or all fingers, pronouncing the text, moving his hand behind the screen. You can do without a screen and depict actions by moving freely around the room.

Finger theater is good when you need to show several characters at the same time. For example, in the fairy tale "Turnip" new characters appear one after another. Such a performance can be performed by one child using his fingers. Fairy tales “The Goat and the Seven Little Kids”, “Twelve Months”, “Boy-Ki-Balchish”, “Geese-Swans” and others with many characters can be shown by two or three children who are located behind the screen. The display of such fairy tales with crowd scenes is possible thanks to finger attributes.

7. Bibabo.

In these games, a doll is placed on the fingers of the hand. The movements of her head, arms, and torso are carried out using movements of the fingers and hand.

Bibabo dolls usually operate on a screen behind which the driver is hidden. But when the game is familiar or the dolls are driven by the children themselves, i.e. the moment of mystery has disappeared, then the drivers can go out to the audience, communicate with them, give them something, take someone by the hand, involve them in the game, etc. Such “exposure” does not reduce, but rather increases the interest and activity of the children.

When children see an adult playing with bibabo dolls, they will most likely also want to learn how to drive them themselves. If the doll turns out to be too big for a child’s hand, then you can insert two fingers into the head instead of one. Shorten the doll's sleeves so that the children's fingers fit into the sleeves of the hands. You can also make dolls for children's hands. Well-preserved parts from old broken toys and soft animals will be useful for this. Dress them up and make them up for the desired role. Show the children how the doll should move, how to move it across the screen.

8. Improvisation - acting out a theme, a plot without preliminary preparation - is perhaps the most difficult, but also the most interesting game. All previous types of theater prepare for it. And yet children will be at a loss if you suddenly invite them to act out this or that scene. Prepare them for this - come up with a theme together, discuss how to portray it, what the roles and characteristic episodes will be.

The next step is to let each participant in the game depict the theme in their own way. And an even more difficult task: the child chooses a theme and acts it out himself. Next time the guys will ask each other topics themselves. And finally, with the help of facial expressions, intonation, and attribute, you can make a riddle. The answer is the theme, which is also played out.

1.5 Theatricalpreschool games

Play is the most accessible and interesting way for a child to process and express impressions, knowledge and emotions.

Theatricalization is, first of all, improvisation, the animation of objects and sounds.

Theatrical play, as one of its types, is effective means socialization of a preschooler in the process of his understanding of the moral implications of a literary or folklore work.

In theatrical play, emotional development occurs:

* children get acquainted with the feelings and moods of the characters,

* master ways of their external expression,

* realize the reasons for this or that mood.

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

In dramatization games, the child, playing a role as an “artist,” independently creates an image using a set of means of verbal and nonverbal expressiveness.

Types of dramatization are:

Games that imitate images of animals, people, literary characters;

Role-playing dialogues based on text;

Staging of works;

Staging performances based on one or more works;

Improvisation games with the acting out of a plot (or several plots) without prior preparation.

In director's play, “the actors are toys or their substitutes, and the child, organizing the activity as a “scriptwriter and director,” controls the “artists.” “Voicing” the characters and commenting on the plot, he uses different means of verbal expression. Types of director’s games are determined in accordance with variety of theaters used in kindergarten.

Games - performances are characterized by a shift in emphasis from the process of the game to its result, which is interesting not only to the participants, but also to the audience. They can be considered as a type of artistic activity:

Games - performances

Dramatic performance

Musical and dramatic performance

Children's opera

Performance based on choreography

Rhythmoplasty performance

Pantomime

The large and diverse influence of theatrical games on a child’s personality allows them to be used as a strong, unobtrusive pedagogical tool, since he himself experiences pleasure from it.

Requirements for theatrical play:

Constant, daily inclusion of theatrical games in all forms of organization of the pedagogical process.

Maximum activity of children at all stages of preparation and conduct of games.

Cooperation of children with each other and with adults at all stages of organizing theatrical games.

Requirements for classes that include theatrical play:

Development of speech and theatrical performance skills.

Creating an atmosphere of creativity.

Development of musical abilities.

Social-emotional development.

Theatrical lesson includes:

Watching puppet scenes.

Theatrical game.

Acting out various fairy tales and dramatizations.

Conversations about the theater.

Exercises to develop the expressiveness of song and dance performances.

Exercises for children's social-emotional development

The main directions of development of theatrical play consist in the child’s gradual transition:

From observing a theatrical performance by an adult to independent play activities;

From individual game and “playing side by side” to playing in a group of three to five peers playing roles;

From imitation of actions of folklore and literary characters to imitation of actions in combination with the transfer of the main emotions of the hero and mastering the role as the creation of a simple “typical” image in a dramatization game

When implementing the objectives of the program, first of all, it is necessary to form an interest in theatrical games, which develops in the process of watching small puppet shows that the teacher shows, taking as a basis the content of nursery rhymes, poems and fairy tales familiar to the child.

In the future, it is important to stimulate his desire to join the performance by complementing individual phrases in the characters’ dialogues, stable turns of the beginning and ending of the fairy tale. On their behalf, the adult thanks and praises the children, says hello and goodbye.

The implementation of the task is achieved by successively complicating game tasks and dramatization games in which the child is involved.

The steps of work are as follows:

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

* A game simulating a chain of sequential actions combined with the transfer of the main emotions of the hero (cheerful nesting dolls clapped their hands and began to dance; the bunny saw a fox, got scared and jumped onto a tree).

* A game that imitates the images of well-known fairy-tale characters (a clumsy bear walks towards the house, a brave cockerel walks along the path).

* Improvisation game to music (“Happy Rain”, “Leaves fly in the wind and fall on the path”, “Round dance around the Christmas tree”).

* A wordless improvisation game with one character, but the texts of poems and jokes read by the teacher (“Katya, little Katya.”, “Baby, dance.”, V. Berestov “Sick Doll”, A. Barto “Snow, Snow” ).

* Improvisation game based on texts short tales, stories and poems told by the teacher (3. Aleksandrova “Christmas tree”; K. Ushinsky “Cockerel with his family”, “Vaska”; N. Pavlova “By the car”, “Strawberry”; V. Charushin “Duck with ducklings”) .

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

* Dramatization game with multiple characters folk tales(“Kolobok”, “Turnip”) and original texts (V. Suteev “Under the Mushroom”, K. Chukovsky “Chicken”).

The main directions of development of theatrical play consist in the child’s gradual transition from:

Games “for yourself” to games aimed at the viewer;

From a game in which the most important thing is the process itself, to a game where both the process and the result are significant;

From playing in a small group of peers playing similar (“parallel”) roles to playing in a group of five to seven peers whose role positions are different (equality, subordination, control);

From creating a simple “typical” image in a dramatization game to the embodiment of a holistic image that combines emotions, moods, states of the hero, and their changes.

A new aspect of the joint activity of adults and children is the introduction of children to theatrical culture, that is, familiarization with the purpose of the theater, the history of its origin in Russia, the structure of the theater building, the activities of people working in the theater, prominent representatives of these professions, types and genres of theatrical art (drama, musical, puppet, animal theater, clownery, etc.).

There is a deepening of theatrical gaming experience through the development of different types of dramatization games and director's theatrical games. Along with figurative play sketches, improvisation games, and staging, older preschoolers have access to independent productions of performances, including those based on a “collage” of several literary works.

Texts for productions are becoming more complex. They are distinguished by a deeper moral meaning and hidden subtext, including humorous ones. In theatrical play, Russian folk tales and fables about animals begin to be used ("The Fox and the Crane", "The Hare and the Hedgehog", works by L. Tolstoy, I. Krylov, G.H. Andersen, M. Zoshchenko, N. Nosov.

A striking feature of children’s games is their partial transition to speech. This is explained by the tendency to combine different types of story-based games, including fantasy games. It becomes the basis or an important part of a theatrical play in which real, literary and fantasy plans complement each other. Games with continuations appear. They also master a new game for themselves, “To the Theater,” which involves a combination of role-playing and theatrical play, based on familiarity with the theater and the activities of the people participating in the production of the play.

Children demonstrate independence and subjective position in theatrical play more vividly and variedly. On specific examples It is necessary to help the child understand that “the best improvisation is always prepared.” Preparation is achieved by having previous experience, the ability to interpret the content of the text and comprehend the images of the characters, a certain level of mastery of various means of realizing their ideas, etc. The solution to this problem requires giving children the right to choose means for improvisation and self-expression.

Methodology for organizing theatrical play

For the development and upbringing of children, first of all, it is necessary proper organization theatrical games. The sequence and complexity of the content of the themes and plots chosen for the games are determined by the requirements of the education program for each age group of the kindergarten. The creative development of the topic begins with preparing a game script based on the plot of a literary work: a fairy tale, a story, a poem. Next, children are expected to improvise on a given or chosen topic.

The independence of children's play largely depends on whether they know the content of the fairy tale or script. It is very important to preserve the original text in its entirety at the stage of listening to it by children. Do not distort it under any circumstances. But you shouldn’t learn the text with the guys before the game starts. Such preparation would take away time intended for other equally important matters and activities. Moreover, the result will be a performance, not a game. We offer the development of games that do not require long-term painstaking preparation of the teacher and children.

Questions may arise: how and when to introduce the guys to the content of the script? How independent and creative will the game be if the children know the text of the work well? Maybe it's better to offer them unfamiliar text? The well-known and, in general, completely justified recommendation - reading the work before starting the game - requires discussion and clarification. What you read becomes clear if it is sufficiently well illustrated. For this purpose, it is best to display “live” pictures on a flannelgraph or on a table, but you can also use a theater of toys or bibabo dolls. In this way, visual images are simultaneously created and ways of their emotional expressiveness and play are demonstrated.

At first, it is better for the teacher-leader to read the text himself, involving the children in pronouncing its individual fragments. In repeated games, the children’s activity increases as they master the content of the text. Never ask for it to be literally reproduced. If necessary, correct the child casually and, without delay, continue playing. In the future, when the text is well understood, encourage the accuracy of its presentation. This is important so as not to lose the author's findings. When reading poetic texts, involve children in the game if possible. Let them actively participate in the dialogue with you, play along with the main storyline, imitate the movements, voices, and intonations of the game characters.

It is difficult for a teacher to learn many poems and texts of various theatrical games. You can make a recording; it allows you to preserve the means of artistic expression of the text, the figurative expressions of the author. But don't rely entirely on the recording. Learn the texts yourself as much as you can. After all, reading a work must be combined with facial expressions. In addition, you can use poetry every day when communicating with children. For example, while washing toys - “She washed and caressed them for a long, long time.”

Participants in theatrical games must master the elements of transformation so that the character’s character and his habits are easily recognized by everyone. At the same time, give children more freedom in action and imagination when depicting the theme and plot of the game.

Every child wants to play a role. But almost no one knows how to do this in order to experience satisfaction yourself and gain approval from peers. Unexpressive intonations and monotonous movements generate dissatisfaction with oneself, lead to disappointment, loss of interest in the game, and, consequently, a decrease in its emotional impact on children.

Among the variety of means of expression, the kindergarten program recommends the following: in the second junior group, to develop in children the simplest figurative and expressive skills (for example, to imitate the characteristic movements of fairy-tale characters - animals); in the middle group, use artistic and figurative means of expression - intonation, facial expressions and pantomime (gestures, posture, gait); in the senior group, improve artistic and figurative performing skills; in the preparatory group for school, to develop creative independence in conveying an image, the expressiveness of speech and pantomime actions.

Before teaching children the means of expression, check whether you yourself are ready for this. For example, with how many different intonations can you say the words “hello”, “help”, “take”, “listen”, etc. that are so familiar to everyone? Try changing the meaning of the phrase several times by rearranging the logical stress (each time on a different word): “Here is my doll,” “Give me the ball.” Well, you certainly know how to read a fairy tale, changing your voice depending on the character, say, speaking either as Little Red Riding Hood or as the wolf. You will be able to convincingly express fear, compassion, complaint, request while reading K. Chukovsky’s poem “Doctor Aibolit” or any other. Challenge yourself before you speak in front of children. Don't forget that the intonation of your voice is a model for them. The understanding of a fairy tale, poem, story, its emotional and moral impact on children, and the expressiveness of their statements depends on how flexibly and consciously you emphasize the meaning of the work with intonation and characterize the images.

So, your speech in everyday communication, reading, recitation, theatrical games, which you initially lead yourself, serve as the first role models.

Next - some small exercises with children. They need to start with the younger group. It is better to conduct it immediately after the end of the theatrical game. Children are delighted with the way you drove the characters, how they spoke, and acted for them. It's time to invite them to play the same way. For exercises, use the statements of the characters who just spoke. For example, in the fairy tale "The Mitten" you need to ask to wear a mitten, like a mouse and like a wolf. As a rule, there are many people who want to speak out and listen. Make the exercise more difficult - let several mice ask to come into the house one by one. Who will say more plaintively? And then they are for the wolf. Who is more similar? The rest, of course, are burning with impatience, wanting to perform. Let everyone do this. But first, announce a competition - who is better? The winner receives applause.

Children find it more interesting when they not only speak, but also act like the heroes of fairy tales. Point out some of the character's driving techniques and let them try it themselves. The rest will also imitate role-playing movements. Draw children's attention to perform better. Ten minutes of such exercises will satisfy the children’s desire to participate in the game and will bring them joy. In addition, the necessary skills will be developed.

Next time, invite the students to act out a dialogue between two characters: pronounce the words and act for each. This is an exercise in intonation of dialogue. An example is the requests of animals to let them into the mitten and the responses of those who settled in it.

Children feel well and repeat intonations based on contrasts. For example, how the stepdaughter and stepmother's daughter refer to the months; how three bears talk. The exercise can be done like this. Name a fairy tale. And let the children guess which girl or which bear you were talking about. Then they themselves, using intonation, ask each other similar riddles. It is useful to use all suitable cases in everyday communication and play to train children in the varied intonation of the most common words: “hello” (joyfully, affably, benevolently, casually, gloomily); “goodbye” (with regret, grief or hope of meeting soon); “give” (confident, polite, impatient, offended, begging); “take it” (casually, reluctantly, affably, with a desire to please), etc.

Choose a quatrain and read it to the children with different intonations. Ask them to repeat, and maybe find new intonation options, for example: surprised/mocking, bewildered, sad, cheerful, compassionate. Say the phrase, placing emphasis on a new word each time. For example: “Don’t forget to feed the fish,” “I love my sister,” etc. Draw the children’s attention to how the meaning of the phrase changes depending on the stressed word. Be sure to continue to practice them on fragments from theatrical games, for example, “Grandfather planted a turnip,” “And Fedora became kinder,” etc.

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