Theatrical activity as a means of comprehensive development of children. Theatrical activity as a means of aesthetic education

Municipal budgetary preschool educational institution of a combined type Kindergarten No. 1 "Solnyshko" ZATO Vidyaevo

Project

"Theatrical activity as a means of developing creative abilities in preschool children"

DOWNLOAD (With photo)

Leader: Koroleva Svetlana Evgenievna,

educator MBDOU No. 1 ZATO Vidyaevo

ZATO Vidyaevo

INTRODUCTION

1. Theatrical activity as a means of developing creative abilities in preschool children .............................................................. ...2

MAIN PART

1. Objective of the project…............................................... ...............................................3
2. Project Objectives ............................................... ...............................3
3. Relevance................................................. ...............................................3
   1. Stages of project implementation…………………………………………4 -5
   2. Forms of work on the project………………………………………………6
   3. Scientific and methodological work ............................................... .................7
   4. Logistics……………………………..8
   5. Results of project activities…………………………………9

CONCLUSION…………………………………………………………….10

LITERATURE…………………………………………………………………11

INTRODUCTION

The childhood of any of us passes in the world of role-playing games that help the child learn the rules and laws of adults. Each child plays in his own way, but they all copy adults, favorite heroes in their games, try to be like them: mischievous Pinocchio, kind Thumbelina, gullible Hare. Children's games can be seen as impromptu theatrical performances. The child is given the opportunity to play the role of an actor, director, decorator, musician. Theatrical activity helps:

Form correct model behavior in modern world;
- to improve the general culture of the child, to introduce him to spiritual values;
- introduce him to children's literature, music, fine arts, rituals, traditions;
- to improve the skill to embody certain experiences in the game, to encourage the creation of new images, to encourage thinking.
In addition, theatrical activity is a source of development of feelings, deep experiences of the child, i.e. develops emotional sphere the child, forcing him to sympathize with the characters, empathize with the events being played out. Most short cut emotional liberation of the child is the way through the game, fantasizing, writing. Staging your favorite fairy tale makes you worry, empathize with the character, and in the process of this empathy, certain relationships are created. The improvement of speech is also closely connected with theatrical activity, since in the process of working on the expressiveness of the replicas of the characters and their own statements, the sound culture speech. Preschool age is a unique period of human development, which has a peculiar logic and specificity; it is a special world with its own language, way of thinking, actions.

PURPOSE AND OBJECTIVES OF THE PROJECT

Objective of the project:

Development of creative abilities of preschool children through theatrical activities.

Tasks:

1. To develop in children a steady interest in theatrical and gaming activities;
2. Improve the performance skills of children;
3. Enrich children's vocabulary, teach them to use direct and indirect speech in dramatizations of fairy tales and stories;
4. Improve the ability to coherently and expressively retell fairy tales, independently compose your own fairy tales, stories using dolls;
5. Develop memory, thinking, imagination, speech, attention of children.

Relevance

IN modern society social and economic changes are taking place. This also affects education, which is at the stage of modernization. With the introduction of the Federal State Educational Standard, one of the primary tasks modern education put forward the task of educating a comprehensively developed, creative personality. A special role in this is given to aesthetic education.

Aesthetic education is the process of forming a creative personality. It begins from the first years of children's lives and is achieved by various means, including theatrical activities. Today, many educators are concerned about finding ways to resolve issues of how to simply and unobtrusively tell a child about the most important thing - about the beauty and diversity of this world, how interesting it is to live in it? How to teach a child everything that is useful to him in this complex modern life? How to educate and develop his main abilities: to hear, see, feel, understand, fantasize? Theatrical activity will help in solving this problem.

Properly organized work in this area contributes to the fact that the theatrical game becomes a means of self-expression and self-realization of the child in various types of creativity, self-affirmation in a group of peers. Theatrical games provide an opportunity to use them as a powerful, but unobtrusive pedagogical tool.

This topic is relevant in that theatrical activity is a backbone in the integration of art into educational educational process. And therefore the importance of theatrical play is very great for educational activities preschooler.

Stages of project implementationthat

I. Preparatory stage:

1. Choice of the topic of the project (“Theatrical activity as a means of developing creative abilities in preschool children”).

3. Visiting children of the 1st junior group (Osadchaya A.E.), 1st junior group (Kostyrko N.N.) by our children to get to know future viewers.

4. Reading and learning the fairy tale "Teremok" by roles.

II. Practical stage:

During the month of January, I got acquainted with the methodological literature on the topic of the project. Works considered:

• L. Vygotsky,
• M. Kamenskaya,
• A. Bryansky,
• S. Rubinstein.
• O. Dyachenko,
• N. Vetlugina and others.

Children's creativity is one of actual problems preschool pedagogy and child psychology, it was also studied by A.N. Leontiev, L.I. Viner, B.M. Teplov, A.I. Volkov and many others.

Partial programs on theatrical activities of preschoolers: "Theatre-creativity-children: we play puppet show» N.F. Sorokina, L.G. Milanovich. "Theatrical performances in kindergarten» M.D. Makhaneva, "Theatrical activity in kindergarten" E.A. Antipina. "School of theater in kindergarten" L.P. Bochkareva and I.Yu. Pugacheva.

Hosting an event:

The following events took place in April:

Sports entertainment "Visiting a fairy tale"

For children of the 1st junior group (Kostyrko N.N.), children of the 2nd junior group (Gorshkova E.K.), the fairy tale "Teremok" was shown.

Under the guidance of musical director Zaitseva S.A. staged musical fairy tale"Turnip".

IIIPresentation stage:

Project defense at the project competition in our kindergarten.

Work formsyou are on a project

I began my work on the formation of the skills of theatrical activities of preschoolers with the accumulation of emotional and sensory experience by children, gradually developing interest and an emotionally positive attitude towards theatrical games.

In my work I use non-traditional forms, methods and means for the development of the child, including a theatrical game in all forms of organization pedagogical process.

Theatrical games always delight kids, they enjoy big love. Children see the world through images, colors, sounds.

I enter such games as constituent part in cognitive cycle classes, music classes, I widely use them when reading fiction, in design classes, and, of course, they decorate every holiday. Theatricalization develops the imagination and fantasy of children, replenishes lexicon, teaches to conduct a dialogue with a partner, make sentences and short plot stories.

Theatrical games are one of the effective ways of corrective influence on children, in which the principle of learning is clearly manifested - to teach by playing.

In the classes of both the artistic and cognitive cycles, as a game motivation, I include various types of theater: puppet, finger, table, theater-dramatization and others.

When organizing classes with the help of a doll, I create a game motivation productive activity children, on behalf of the doll, I give an adequate assessment of the product of the child’s activity without the risk of causing offense or resistance. I often spend classes in the cognitive cycle as a puppet show, when the characters talk about something, help stimulate thinking, encourage consistent reasoning and proving their point of view.

With the help of a doll (Wolf, Fox,) I correct real situations where violations of moral standards have occurred, show "from the side" consequences and experiences of the participants. The doll helps to establish contact with a child, especially a enslaved, emotionally restrained one.

Work experience has shown that a small doll causes less fear and apprehension in a child, he makes contact with it faster than with an adult

and consider the doll as an assistant in solving many pedagogical problems.

Theatrical classes are based on developing techniques and represent a system of creative games and sketches. The content of theatrical classes include:

Watching puppet shows and talking about them;

Dramatization games;

Playing a variety of fairy tales and dramatizations;

Exercises for the formation of expressiveness of performance;

Exercises for the development of emotionality in children.

If a game for a child is a way of existence, a way of knowing and mastering the world around, then a theatrical game is a step towards art, the beginning of artistic activity. Theatrical games are designed for Active participation a child who is not just a passive executor of the instructions of the teacher, but an accomplice in the pedagogical process. New knowledge in the game is presented in the form of problem situations that require joint active searches from children and adults.

Classes are held in an entertaining and interesting form for children, based on the plot and simultaneously perform educational, cognitive and developmental functions. Their content, forms and methods of conducting contribute to the following tasks:

1) Development of speech and skills of theatrical performance

2) Creation of an atmosphere of creativity;

3) Development of creative abilities;

4) Socio-emotional development.

Scientific and methodological work

The study of psychological and pedagogical and methodical literature, best practices shows that at present a lot of theoretical and practical experience has been accumulated in organizing theatrical activities in kindergarten. Issues related to the organization and methodology of this activity are widely represented in the works of domestic teachers, scientists - N. Karpinskaya, L. Furmina, and others.

Of interest to practitioners are also methodological

In works modern educators L. V. Artemova "Theatrical games for preschoolers", T. N. Doronova "Playing theater", M. D. Makhaneva "Theatrical classes in kindergarten" the features of the organization of theatrical activities of children in preschool age, the content and tasks of work in different age groups are determined, the principles of organizing theatrical activities are highlighted, the methodology of work is proposed, scenarios, manuals, class notes are developed.

Scientific research and pedagogical practice prove that the beginning of the development of creative abilities falls on the preschool age. At this age, children are extremely inquisitive, they have a great desire to learn about the world around them. The thinking of preschoolers is more free and independent than the thinking of adult children. And these qualities need to be developed. Involving children in the world of art, we have determined the following goal: to develop the emotional sphere of preschoolers by means of theatrical activities, to ensure the formation of partnerships between the family and kindergarten (or to make the life of our children interesting and meaningful, fill it with vivid impressions, interesting things, the joy of creativity).

Logisticse

Logistics involves the production of costumes for scenes and equipment for games. All funds were allocated by me and the parents of the children.

Results of project activities

Research methods: conversation, observation and diagnosis. (Criteria for evaluating the results theatrical and gaming activities. F. Sorokina)

Program Performance Observation Map

№ pp	Targets	Criteria for evaluation	Quality manifests itself
			often	rarely	Doesn't show up
	The child has initial ideas about the genre of a fairy tale, the features of a fairy tale.	He has an idea about the features of a fairy tale as a genre of folklore: the presence of fiction and compositional originality: beginnings, repetitions, ending.
	Shows initiative and independence in speech creativity, speaks well enough, can express his thoughts, feelings, emotions in the process of composing a fairy tale	Can independently compose a fairy tale, without deviating from the topic, observing the logic of presentation, using expressive means: synonymous replacement, dialogues of characters, descriptions of the place of events, appearance of characters.
	The child can use speech to build a speech statement in a communication situation in a collective composition of a fairy tale	Able to use diagrams that model the content and structure of a future statement.
	It has a developed imagination, which is realized in speech creativity.	Able to independently analyze the work in terms of content and artistic means; developed fantasy and imagination, literary creativity.

Sorokina N.F. a method of working with children on theatrical activities in the classroom was proposed. This work is built in stages:

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

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

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

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

Studies have shown the following results:

• Having done comparative analysis introductory and intermediate diagnostics, I came to the conclusion that the percentage of children who showed good and satisfactory results increased, and low result decreased. Of the group (4 people) showed a low result, these children did not attend kindergarten much due to illness and family reasons.
• Based on the diagnostic data, the indicator of the level of development of creative abilities through theatrical activities in children increased significantly. High level showed 17% of children, the average level - 61%, a low level was shown by children who attend kindergarten little - 22% (compared to the previous diagnosis - % less by 67%).
• The high level of knowledge increased by 17%.

My pupils took part in the municipal competition "Creativity without Borders" and in regional competition readers “We are growing, we are getting stronger, we are magnifying our land!”.

CONCLUSION

Thus, theatrical activity is purposeful process the formation of a creative personality, contributing to the development of the ability to perceive, evaluate, feel the beauty in the world around us and convey one's attitude towards it, the ability to perceive objects

as they are, to adapt to a particular social environment. First of all, theatrical activity is joy, laughter, a bright flash of emotions, pleasure from the game. This is an activity in which dreams, desires, phobias and much more are realized and played out. In working with children, theatrical activities should be given due attention, since it is precisely this that provides unique opportunities for the harmonious development of the personality of the child.

I decided to continue working on the project in the next academic year.

LITERATURE:

1. Artemova L.V. Theatrical games for preschoolers. -M., 1991.

2. Bochkareva L.P. Theatrical and gaming activities of preschoolers. Methodical manual for specialists in preschool education. - Ulyanovsk, IPKPRO, 1993.

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

4. Makhaneva M. D. Theatrical classes in kindergarten: A manual for workers preschool institutions. - M.: TC Sphere, 2004.

5. Nemenova T. Development of creative manifestations of children in the process of theatrical games // preschool education. - 1989. - №1.

6. Petrova T. I., Sergeeva E. L., Petrova E. S. Theatrical games in kindergarten. - M.: School press, 2004. - 128 p.

Theatrical games are acting out in faces literary works(fairy tales, stories, specially written dramatizations). The peculiarity of theatrical games is that they have a ready-made plot, which means that the child's activity is largely predetermined by the text of the work. A real theatrical game is a rich field for children's creativity. The text of the work is only a canvas into which new storylines are woven, new characters are introduced, etc. The creativity of the child is manifested in the truthful portrayal of the character. To do this, you need to understand what the character is like, why he does it, to imagine his state, feelings, that is, to penetrate into his inner world. And you need to do this in the process of listening to the work. So, full participation in the game requires special preparedness from children, which manifests itself in the ability to aesthetic perception of the art of the artistic word, the ability to listen to the text, catch intonations, and features of speech turns. To understand what a hero is like, one must learn how to simply analyze his actions. Evaluate them. Understand the moral of the piece. The ability to imagine the hero of the work, his experiences, the specific environment in which events develop, largely depends on the personal experience of the child: the more diverse his impressions of the environment, the richer his imagination, feelings, ability to think. To play the role, the child must master a variety of visual means(facial expressions, body movements, gestures, expressive speech in terms of vocabulary and intonation, etc.). Therefore, preparedness for a theatrical game can be defined as the level of general cultural development, on the basis of which the understanding of a work of art is facilitated, emotional response on him, mastery takes place artistic means image transfer. All this does not develop spontaneously, but is formed in the course of upbringing and educational work.

According to the classification of L.V. Artemova, theatrical games are divided into two main groups: director's games and dramatization games. The author refers to the director's games: table and shadow theaters, theater on a flannelograph. In these types of theatrical games, a child or an adult is not acting characters, but creates scenes and plays the role of a toy character - three-dimensional or flat. The character is depicted with the help of intonational expressiveness of the voice, partly - facial expressions. Dramatization games include: finger dramatization games, with bibabo dolls, improvisations. Dramatizations are based on the performer's own actions, in which all means of expression are involved - intonation, facial expressions, pantomime. The most difficult type of dramatization game is improvisation. It provides for playing a theme, a plot without prior preparation. All previous types of theater are being prepared for it. Improvisation requires joint thinking and pronunciation of the topic, discussion of the means of its image, characteristic episodes. By the older preschool age, children can offer their own options for depicting a theme, or independently choose and play out a theme. Creative and independent search for the development of the plot will be facilitated by the active participation of older preschoolers in the preparation of elements of costumes and scenery.

Having considered the characteristics of theatrical games, we can draw the following conclusions:

This type games allow a preschooler to see and learn the world around him through emotions, images, colors, sounds;

The theme and content of theatrical games have a moral orientation, which is contained in every fairy tale, every literary work and should find a place in impromptu productions;

The ability to identify oneself with a literary character allows one to have a great influence on the development and upbringing of a child;

Full participation in the game requires special preparedness from children, which manifests itself in the ability to aesthetic perception of the art of the artistic word, the ability to listen to the text, catch intonations, features of speech turns;

Consequently, preparedness for a theatrical game can be defined as a level of general cultural development, on the basis of which the understanding of a work of art is facilitated, an emotional response to it arises, and artistic means of conveying an image are mastered. All this does not develop spontaneously, but is formed in the course of upbringing and educational work.

A person is formed in activity, the more diverse it is, the more diverse his personality. Play, communication, learning, work - these are the main steps that are fundamental for the development of the child.

Exist various games. Some develop the thinking and horizons of children, others - dexterity, strength, and others - design skills. There are games aimed at developing creativity in a child, in which the child shows his invention, initiative, and independence. The creative manifestations of children in games are diverse: from inventing the plot and content of the game, finding ways to implement the idea to reincarnation in the roles given by a literary work. One of the types of such creative games is a theatrical game. Theatrical games are acting out literary works (fairy tales, stories, specially written dramatizations) in the faces. The heroes of literary works become actors, and their adventures, life events, changed by children's imagination, become the plot of the game. The peculiarity of theatrical games is that they have a ready-made plot, which means that the child's activity is largely predetermined by the text of the work.

A real creative game is the richest field for children's creativity. After all, the text of the work is like a canvas into which the children themselves weave new storylines, introduce additional roles, change the ending, etc. In a theatrical game, the image of the hero, his main features, actions, experiences are determined by the content of the work. The creativity of the child is manifested in the truthful portrayal of the character. To do this, you need to understand what the character is like, why he does this, imagine the state, feelings, that is, penetrate into his inner world. And you need to do this in the process of listening to the work.

All this suggests that the full participation of children in the game requires special preparedness, which manifests itself in the ability to aesthetic perception of the art of the artistic word, the ability to listen to the text, catch intonations, and features of speech turns. To understand what kind of hero, you need to learn how to simply analyze his actions, evaluate them, understand the moral of the work. The ability to imagine the hero of the work, his experiences, the specific environment in which events develop, largely depends on the personal experience of the child: the more diverse his impressions of the life around him, the richer his imagination, feelings, and ability to think. To play the role, the child must master a variety of visual means (facial expressions, body movements, gestures, expressive speech in terms of vocabulary and intonation, etc.). Consequently, preparedness for a theatrical game can be defined as such a level of general cultural development, on the basis of which the understanding of a work of art is facilitated, an emotional response to it arises, and artistic means of conveying an image are mastered. All these indicators do not add up spontaneously, but are formed in the course of educational work.

themselves theatrical creative games are part of such educational work. She has great importance for the development of the personality of a preschool child, not only because individual mental processes are exercised in it, but also because these processes rise to a higher level of development due to the fact that the entire personality of the child, his consciousness develops in the game. The child becomes aware of himself, learns to desire and to subordinate his fleeting affective strivings to desire; learns to act, subordinating his actions to a certain pattern, a rule of behavior, learns to live, living the lives of his heroes, loving or not loving and trying to understand the essence and reasons for their actions and learning from their mistakes. There are many varieties of theatrical games that differ in artistic design, and the main thing is the specifics of children's theatrical activities. In some, the children present the performance themselves, as artists; every child has a role to play. In others, children act as in a director's game: they act out a literary work, the characters of which are portrayed with the help of toys, voicing their roles. Similar performances using table theater with voluminous and planar figures or the so-called poster theatrical games, in which children on a flannelograph, screen using pictures (often cut out along the contour) show a fairy tale, story, etc. The most common type of poster theatrical games is shadow theater.

Sometimes children act as real puppeteers, in such a game two types of theatrical toys are usually used. The first - parsley type - parsley theater (in practice it is often called the bibabo theater), where glove-type puppets are used: the puppet, hollow inside, is put on the hand, while the puppet's head is placed forefinger, into the sleeves of the suit - large and medium, the remaining fingers are pressed to the palm. A performance is shown from behind a screen: the puppeteers hold the puppets over their heads.

In theatrical games, various types of children's creativity develop: art and speech, music and games, dance, stage, singing. With an experienced teacher, children strive for the artistic depiction of a literary work not only as "artists" who play roles, but also as "artists" who design the performance, as "musicians" who provide sound accompaniment. Each type of activity helps to reveal individual characteristics, child's ability, develop talent, captivate children.

Particularly noteworthy is the role of theatrical games in introducing children to art: literary, dramatic, theatrical. Preschoolers get acquainted with various types of theatrical art. With competent guidance, children form ideas about the work of artists, directors, a theater designer, and a conductor. Children of older preschool age can understand that the performance is being prepared by the creative team (all together they are doing one thing - the performance). By analogy with the experience of their own theatrical games, children feel and realize that the theater gives joy to both creators and spectators.

Theatrical play poses many very important tasks for the child. Children should be able, with a little help from the educator, to organize themselves in game groups, agree on what will be played out, determine and implement the main preparatory actions(pick up the necessary attributes, costumes, scenery, arrange the scene, select the performers of the roles and the presenter, perform a trial act several times); be able to invite the audience and show them the performance. At the same time, the speech and pantomimic actions of the performers of the roles should be quite expressive (intelligible, intonationally diverse, emotionally colored, purposeful, figuratively truthful).

In the process of organizing a theatrical game, children develop organizational skills and abilities, improve the forms, types and means of communication, develop and realize the direct relationship of children with each other, acquire communication skills and skills. At preschool age, for the first time, the need for a good attitude towards oneself from the surrounding people, the desire to be understood and accepted by them, is manifested. Children in the game look at each other, evaluate each other and, depending on such assessments, show or do not show mutual sympathy. The personality traits they discover in play determine the relationships that form. With children who do not comply with the established rules in the game, demonstrating negative character traits in communication, peers refuse to deal with. Personality arises in communication, built on a conscious, motivated basis. In the process of playing and preparing for it, relations of cooperation, mutual assistance, division and cooperation of labor, care and attention to each other develop between children. In this kind of games, children learn to perceive and transmit information, focus on the reactions of interlocutors, viewers and take them into account in their own actions. This is especially important in order to be able to quickly orient oneself, to master oneself in a difficult situation that may arise during a performance, for example: one of the participants forgot his words, mixed up the order, etc. Therefore, mutual understanding between the children-participants and mutual assistance, which develop in the process of playing and preparing for it, are very important.

The role of the teacher in organizing and conducting such games is very large. It consists in setting sufficiently clear tasks for the children and imperceptibly transferring the initiative to the children, skillfully organizing their joint activities and directing it to right direction; do not leave without attention a single issue, both of an organizational plan and issues relating to each child personally (his emotions, experiences, reactions to what is happening); the difficulties children face. It is very important for the teacher to carry out an individual approach to each child.

At any age in fairy tales you can discover something secret and exciting. Listening to them in childhood, a person unconsciously accumulates a whole "bank life situations”, therefore it is very important that the awareness of the “fairy tale lessons” begins from an early age, with the answer to the question: “What does a fairy tale teach us?”

Introduction to the theater of preschool children is mainly associated with performances-fairy tales. Children's interest in this genre, accessibility to children's perception, as well as the social significance of a fairy tale for moral and aesthetic education children. Theatrical activity is considered to be the most expedient form of work in this direction.

The educational possibilities of theatrical activity are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations. The expressiveness of the replicas of the characters, their own statements is closely connected with mental development, the child's vocabulary is imperceptibly activated, the sound culture of his speech, its intonational structure is improved. The role played, the spoken remarks put the baby in front of the need to speak clearly, clearly, understandably. He improves his speech, its grammatical structure.

It can be argued that theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values. This is a concrete, visible result. But no less important, theatrical classes develop the emotional sphere of the child, make him sympathize with the characters, empathize with the events being played out. “In the process of this empathy,” as academician V. M. Teplov (1896-1965), a psychologist and teacher, noted, “certain relationships and moral assessments are created that have an incomparably greater coercive force than assessments that are simply reported and assimilated.” Thus, theatrical activity - essential tool development of empathy in children, i.e. the ability to recognize the emotional state of a person by facial expressions, gestures, intonation, the ability to put oneself out of his place in various situations, to find adequate ways to help. “In order to have fun with someone else's fun and sympathize with someone else's grief, you need to be able to transfer yourself to the position of another person with the help of your imagination, mentally take his place,” B. M. Teplov argued.

Theatrical activity allows you to form the experience of social behavior skills due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, but also expresses its own attitude towards good and evil. Favorite characters become role models and It is the child's ability to identify with a favorite image that allows teachers through theatrical activities to provide positive influence on children. The famous composer D. B. Kabalevsky in his book “Education of the Mind and Heart” wrote about the importance of art for children: “Leaving an indelible impression for life, it is already in these early years gives us lessons not only of beauty, but also lessons of morality and morality. And the richer and more meaningful these lessons are, the easier and more successful the development is. spiritual world children. The quality and quantity of these lessons primarily depend on parents and kindergarten teachers. As a rule, young children are actively involved in what arouses their interest.

Theatrical activity allows the child to solve many problems of the situation indirectly on behalf of a character. It helps to overcome shyness, self-doubt, shyness. Thus, theatrical classes help to comprehensively develop the child. Therefore, it is no coincidence that in the temporary (exemplary) requirements for the content and methods of work in preschool educational institution a special section "Development of the child in theatrical activities" has been allocated, in the criteria of which it is emphasized that the teacher is obliged:

Create conditions for the development of children's creative activity in theatrical activities (encourage performing creativity, develop the ability to freely and liberatedly hold on during a performance, encourage improvisation by means of facial expressions, expressive movements and intonation, etc.);

To introduce children to theatrical culture (to introduce the device of the theater, theatrical genres, with different types of puppet theaters);

To ensure the relationship of theatrical with other activities in a single pedagogical process;

To create conditions for joint theatrical activities of children and adults.

To fulfill these criteria, it is necessary to create certain conditions. This is, first of all, the appropriate organization of work. Why first of all "organization" and not "content"? In our opinion, only a reasonable organization of theatrical activities of children will help the teaching staff to choose the best directions, forms and methods of work on this issue rational use of human resources. This will contribute to the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interacting with the family, etc., and, ultimately, the integrity of the pedagogical process and the forms of its implementation, acting as a single system of organization life together children and adults.

Artemyeva I. V.

methodologist MBOU DPO (PC) CRO g. 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 ​​takes place, and the foundation of health is laid. Preschool childhood is milestone in the education of an attentive, sensitive reader who loves the book.

Today the whole world faces the problem of maintaining interest in the book, in reading as a process and leading human activity. Modern children more and more often they spend their free time playing computer games, watching TV shows, especially cartoons, and reading books less and less. Literature plays an important role in personal development each person. We, adults, need to understand that reading for a preschooler is the most natural and calm, psychologically comfortable way to get to know the world and a person. The book should enter the world of the child as early as possible, enrich his world, make it interesting, full of unusual discoveries.

Reading fiction is one of the forms of joint partner activity of an adult with children. This activity cannot be continued by preschoolers on their own or go into their free activity, as they do not know how to read freely and depend on an adult.

In order to educate a reader in a child, an adult himself must show interest in a 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 a child about what they read, and be sincere in expressing their feelings.

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

Theatrical activity is creative activity child, associated with the modeling of images, relationships, using various expressive means: facial expressions, gestures, pantomime. 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 at preschool age are acting out literary works (fairy tales, stories, specially written performances). The heroes of literary works become characters, and their adventures, life events become the plot of the game.

The first theatrical games are conducted by the teacher himself, involving children in them. Further, small exercises and games are used in the lessons, in which the teacher becomes a partner in the game and 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 acting it out.

On the basis of the works of Antipina E. A. and Churilova E. G., several stages can be distinguished for introducing preschoolers to theatrical activities.

The first stage of work is connected with the choice 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 the characters in the work, retelling by roles.

At the third stage, work is underway on individual episodes in the form of etudes with improvised text. First, the participants in the etudes are the most active kids, then all the others are involved. You can improvise the actions and dialogues of the characters with puppets.

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

The fifth stage involves a gradual transition to the text of the work. At 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 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 more truthfully.

The sixth stage is related to the work on the role. child force age features always plays himself, he is not yet able to reincarnate, to play the feelings of another person. In no case should you impose on preschoolers the logic of another person's actions or your specific patterns of behavior. It is better to prompt, to help the child remember some life episode when he had to experience feelings similar to the feelings of the heroes of the work. Only in this case, the behavior of children on stage will be natural, genuine. It is very important to achieve interaction with partners, the ability to hear and listen to each other and, accordingly, change your behavior. Working on the expressiveness and clarity of speech, it is necessary to identify the speech characteristics of the heroes of the work. Different compositions of performers can offer their own options, it is advisable to fix some of the most successful mise-en-scene for further work on the performance.

At the seventh stage, a rehearsal of individual paintings is carried out in different compositions. It is necessary to ensure that the children do not repeat the poses, gestures, intonations of other performers, but look for their own own options. It is necessary to teach children to place themselves on the stage without straying, without blocking each other. Every find, new good decision needs to be encouraged, this is done successfully by spectators, children who are not involved in this moment in rehearsal.

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

The ninth stage - the premiere of the performance - is also a dress rehearsal, since up to this point 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 re-runs of the play. It is advisable to record the work on the production and each performance (stands with photographs, exhibitions of children's drawings, video recording). It is very interesting to compare videos of several performances.

Performances can be played in different compositions. The same role in the performance of different children completely changes, acquiring new colors and sounds. The task of the teacher is to reveal the individuality of the child, to 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 the theatrical game is closely related to literary and artistic creativity. Constant communication with the book actively develops the reader's interest, as well as creative abilities and inclinations, which are successfully realized under the guidance and with the help of a teacher. role playing, according to the plots of literary works, in dramatizations and dramatizations, expressive reading of poetry.

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

Bibliography

1. Akulova, O. Theatrical games // Preschool education, 2005. - No. 4. - P. 24 - 26.

2. Antipina, E. A. Theatrical activity in kindergarten. - Moscow, 2003.

3. Balakireva, T. Emotions and children // Preschool education, 2005. - No. 1. - P. 65 - 68.

4. Gorshkova, E. V. About "talking" movements and miraculous transformations. - Moscow: Drofa, 2007. - 79 p.

5. Zimbardo, F. shy child. - Moscow: ACT Astrel, 2005. - 294 p.

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 guide for preschool workers. institutions. - Moscow: TC "Sphere", 2001. - 128 p.

8. Migunova, E. V. Organization of theatrical activities in kindergarten: Textbook.-method. allowance. Veliky Novgorod: Novgorod State University im. Yaroslav the Wise, 2006.

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

10. Sorokina, N. F. We play puppet theater: The program "Theatre-creativity-children". - Moscow: ARKTI, 2004.

11. Chistyakova, M. I. Psycho-gymnastics / Ed. M. I. Buyanova. - 2nd ed. - Moscow: Education: VLADOS, 1995. - 160 p.

12. Churilova, E. G. Methods and organization of theatrical activities of preschoolers and younger schoolchildren. - Moscow: Vlados, 2001.

1. These ideas served as an impetus for the use of theatrical games for the development of children's speech. In his pedagogical activity I strive to ensure that children feel comfortable in any environment, in any speech situation. So that they could easily enter into a dialogue, could argue their point of view with dignity and respect for another, be attentive listeners and friendly interlocutors. Theatrical games always delight children, they are very fond of them. Children see the world around them through images, colors, sounds. The guys laugh when the characters of the play laugh, they are sad, upset with them, they can cry over the failures of their favorite fairy-tale hero, they are always ready to help him. In the process of theatrical activities with children, I try to pay attention to the development of interest in the creativity of improvisation in the process of inventing the content of the game and embodying the conceived image with the help of different means expressiveness. I bring children to the idea that the same hero, situation, can be shown in different ways. In theatrical games, I encourage the desire to come up with their own ways to implement their plans, to act depending on their understanding of the content of the text. So, in the classroom fiction children are happy to participate in the dramatization of such fairy tales as "Kolobok", "Teremok", "Turnip" and others. They act out fairy tales with theatrical puppets. This allows them to better understand the content of their favorite work, gives them the opportunity to show creativity. I also suggest composing short fairy tales, songs. Most children are fairly easy to complete the task. Gradually I introduce noise instruments (tambourine, drum, rattles, bells) into action, which give the song composed by the child a new sound, create festive atmosphere, develop a sense of rhythm. During the lesson, I turn on a theatrical game as game reception and form of education for children. game form conducting classes contributes to the emancipation of the child, creating 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 of the pedagogical process. And also contribute to the development of speech, memory, thinking, have a huge impact on mental development child. Conducting classes with elements of theatrical pedagogy helps each child to show their skills, inclinations for creativity, to 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 gaming activities enriched the children with new impressions, knowledge, developed an interest in literature, and also activated the vocabulary, improved coherent speech, the sound side of speech and its expressiveness. And most importantly, thanks to the theatrical games, the children became more liberated.

Theatrical activity, inherently synthetic, naturally combines almost all types of artistic creativity, all kinds of human activity. For the teacher, this opens up the opportunity to realize any content in this form, only you need to be able to build an "architecture" variety of options classes, conversations, excursions, observations, entertainment in such a way that all these “building blocks” ensure the harmony and stability of the entire building, that is, they would ensure the “quality of education”. The space of our “architectural” structure is three-dimensional, voluminous, and it is necessary to single out these main “bearing” sides in it:

• - vertical direction - ensuring the continuity of the content of work with children from the previous age level to the present and subsequent;
• -horizontal direction - ensuring the relationship between the content of the work of different teachers (educator, music director, speech therapist, etc.) and internal connections in various activities), that is, ensuring integration;
• - the third component is the development of internal, mental processes in children in accordance with the individual and age capabilities of each child (subject to the provision of personality-oriented, individual approach).

Naturally, any project requires development and coordination, that is, all specialists of the preschool educational institution take part. The speech therapist selects the necessary speech material, the educator develops the topics of classes in fine arts, ecology and mathematics, etc., the music director - the topics of music classes, etc.

When working on a performance, it is first of all important to determine the main repertoire and the necessary supporting material.

It is necessary to include the repertoire in various forms work with children - both frontal and individual. It is advisable to consider the distribution of pedagogical guidance between educators and the music director. It is necessary to coordinate all the actions of the team, to integrate various kinds activities and forms of work with children.

Theatrical activity is a rather complex phenomenon of human activity. If we analyze our state when we are “inside” it as performers of certain roles, and not just as spectators, we get, perhaps, a feeling of living a different reality, a different experience.

This is the enormous power of the impact of theatrical play, which can develop and educate many positive qualities of a person. But at the same time, we must not forget that it can be not only a “medicine”, but also a “poison”, like a drug.

For example, it is dangerous to vaccinate little child"star disease", to instill in him the desire to demonstrate his talents to everyone, to wait for praise and rewards for the game. It is also dangerous when a child enters the image so much that he remains in it. long time and sometimes begins to confuse his "I" with the role (this is already one of the symptoms of schizophrenia).

On the other hand, theatrical activity can be considered as a powerful tool for discovering and polishing many human abilities, and first of all, the ability to know oneself, the world around, develop skills of interacting with other people, as well as correcting some negative states and manifestations.

The use of theatrical and creative activities in working with children requires the educator to have developed professional thinking, a meaningful life position, which includes awareness of himself, children and the work he does. It is important that the teacher understands the deep meaning of his activity and can answer the questions for himself: why, for what purpose am I doing this? What can I give a child? What can children teach me?

• 1. Classes in theatrical activities are impossible without sincere interest, enthusiasm from both adults and children.
• 2. Theatrical game is primarily aimed at the development of the child.
• 3. It is necessary to give the child the opportunity to show initiative, independence.
• 4. The upbringing of children includes the upbringing of their parents, which requires special tact, knowledge and patience from the teacher.
• 5. Theatrical and creative activity (like any other) should be aimed not only at experiencing positive emotions, satisfaction of desires. You should not be afraid of failure - these situations perfectly temper the character of the child, teach you to experience your loss, bring up the ability to give in to another, which is very important in our life.
• 6. Theatrical games can be considered as a simulation of people's life experience, as a powerful psycho-training that develops its participants holistically: emotionally, intellectually, spiritually and physically.

Theatrical activities of children can be organized:

• - in the morning and evening hours at non-scheduled times;
• - in the form of lessons different types activities ( musical education, visual activity, etc.);
• - as special classes within the framework of classes in the native language and familiarization with the outside world.

It is desirable that small subgroups of children participate in all forms of theatrical activity, which allows for an individual approach to the child. It is useful when the results of the work of studios (in terms of manual labor, visual activity, musical education, theatrical activity) are eventually combined into a single “product” - a concert, performance or holiday; such general events each child becomes a member of a team united by a common goal.

IN joint activities educators get to know children better, especially their character, temperament, dreams and desires.

For the perception and creation of an artistic image, the manifestation of such abilities as imagination, the ability to live the joy and sadness of the heroes of theatrical performances is required.

To ensure the optimal balance of joint and independent theatrical activities of children in each age group a theater zone or a corner of a fairy tale should be equipped, as well as a “quiet corner” in which the child can be alone and “rehearse” any role in front of a mirror or once again look at the illustrations for the play, etc.

In the zone of theatrical activity, it is necessary to have a variety of natural and waste material, fabric, costumes for disguise.

So, for example, in a group for children 2 - 4 years old in this zone there should be a dressing up corner and animal toys for theatricalization of familiar fairy tales. In the group for children 5-7 years old, types of theaters should be more widely represented, as well as a variety of materials for making attributes for performances, etc.

Classes in theatrical activities, which simultaneously perform cognitive, educational and developmental functions, are by no means limited to the preparation of performances. Their content, forms and methods of conducting should pursue the simultaneous fulfillment of three main tasks:

• -development of speech and skills of theatrical and performing activities;
• - creating an atmosphere of creativity;
• -socio-emotional development of children.

When reading, children need not so much artistry as the sincerity and genuineness of the teacher's feelings, which are a model for them. emotional attitude to certain situations.

Older preschoolers can read more restrainedly, less emotionally, so as not to interfere with the independent assimilation of new content. In no case should you apply any pressure, comparison, evaluation, condemnation. On the contrary, it is necessary to give children the opportunity to speak out, to show inner activity. The teacher must strictly ensure that by his acting activity and looseness he does not suppress the timid child, does not turn him only into a spectator.

We must not allow children to be afraid to go “on stage”, afraid to make a mistake. It is unacceptable to divide into "artists" and "spectators", that is, into constantly performing and constantly remaining to watch how others "play".

When preparing for a theatrical activity, the educator needs to expressively read the work, and then conduct a conversation on it, explaining and clarifying the understanding of not only the content, but also individual funds expressiveness.

To develop the ability to listen carefully to a work, memorize the sequence of events, freely navigate in the text, and imagine the images of characters, you can use problem situations like “Do you agree with this?” Answering questions and explaining why they think this way, children are “forced” to remember the text and present a certain image.

After a conversation about what was read (or told), it is necessary to return to the text again, involving children in pronouncing its individual fragments.

• -in the second junior group to form the simplest figurative and expressive skills (to be able to imitate the characteristic movements of fabulous animals);
• - in the middle group to teach the elements of artistic and figurative expressive means (intonation, facial expressions and pantomime);
• -V senior group improve artistic and figurative performing skills;
• - in the preparatory school group to develop creative independence in the transfer of the image, the expressiveness of speech and pantomime actions.

Imitation movements (fabulous animals) can be taught to children in physical education and music classes, in free activities. The music helps convey the character of the characters in motion.

When teaching children the means of speech expressiveness, it is necessary to use familiar and favorite fairy tales.

At the initial stage of work on theatrical activities, teachers are encouraged to include exercises for the development of memory, attention and other mental functions in the staging. The need for this is connected with the peculiarities of the methodology aimed at developing in children the ability to overcome stage excitement.

One of the main indicators of acting skills is sincerity, the ability to be truthful in the stage manifestation of one's feelings.

The development of self-confidence and social behavioral skills is facilitated by such an organization of theatrical activities of children, when each child has the opportunity to prove himself in some role. To do this, you need to use a variety of methods:

• -Children's choice of a role at will;
• -appointment of the most timid, shy children to the main roles;
• - the distribution of roles by cards (children take from the hands of the educator any card on which the character is schematically depicted);
• - playing roles in pairs.

This raises two main problems:

• - what to do if there are not enough roles for all children;
• - who will play the negative characters.

The first problem is helped by the subgroup organization of classes (10-12 children in a subgroup), paired role playing. In addition, the educator, in order to cover all children, can come up with additional roles.

The second problem - playing the roles of negative characters - is somewhat more complicated and requires deep, thoughtful observation of specific children, an individual approach to each child. Since positive qualities are encouraged and negative ones are condemned, children - in most cases - want to play the roles of kind, strong and resourceful characters and do not want to play evil, cruel, dishonest. Therefore, it should be emphasized that in theatrical activities everyone: both children and adults are artists who must be able to play both positive and negative roles, and it is often much more difficult to play the role of a negative hero.

However, sometimes it happens like this: the desire to actively participate in theatrical activities and draw attention to oneself pushes the child to constant performance. negative roles. Gradually, the image seems to “stick” to him, and in the end, a certain attitude begins to take shape towards this child. Therefore, it is advisable that each of the children play both negative and positive roles.

It is advisable to carry out the work of a small actor on himself in the form special exercises, which, after learning with the teacher, must be entered into everyday life children as a game.

Muscle tension exercises:

• -"chopping wood;
• - carry a very "heavy" suitcase.

Muscle relaxation exercises:

• - "fall asleep" on a chair;
• Sitting on a chair, brush off drops of water from the hands.
• - repeat the movement.

All children stand in a circle. Take turns touching your neighbor's shoulder. Lay your head on your neighbor's shoulder. Stroke your neighbor.

Imagination exercise:

Pass each other a cube with the words "frog".

Exercises for the development of thinking and memory:

- "Let's go to the grandmother's village":

All actions join one at a time, gradually.

We go to the grandmother in the village of choo-choo (they show the train with their hands)

Stop sh-sh-sh

They went down the stairs, they go up the chop-chop stairs (clap their hands on their knees)

Far to the grandmother to go woo (visor).

But we have to. Top-top (clapping on the knees)

They knocked. Knock knock (knock)

The door is open at-and (creak, open the door)

Come in. Top top. (clapping on the knees)

Grandma met. Kisses. Mts-mts. (Kiss right, left).

- "Reviews":

Children stand in a circle. Looking for someone who looks at them. They nod to each other and change places. Important: do not knock each other down, give in; patiently wait until they look at you; play in silence.

- "Our scarlet flowers":

Our scarlet flowers (Connect the palms of the "Snake" up)

The petals are unfolding. (open palms)

The breeze breathes a little (Blow on fingers)

Petals sway (Wiggle your fingers)

Our scarlet flowers (Bending fingers one at a time)

Close the petals.

Head shake (2 fists)

Quietly fall asleep. (1 cam)

Early in the morning all the flowers

The petals will bloom again.

Exercises for the development of intonational expressiveness:

- “We will put a pie in the oven”;

We'll put the cake in the oven. (Stretch your hands forward.)

And take it out of the oven. (Remove your hands).

Smoke comes out of labor Roundabout Circulation hand from bottom to top).

So pleasant. (Palms up).

There behind the forest, (show the roof with your hands) by the river (wave-like hand movement).

Baker Bun lives. (Show big belly).

In the morning she bakes a pie (bake pies), it is fragrant. (Inhale. Hands to the sides.).

To say like an old woman Babka-hedgehogs. (Hunch over, hands tremble, voice tremble, sly look).

Say like a fox. (Showing paws, wagging his tail, moving his shoulders, build sly eyes).

Say with different intonation (friendly, casually, asking, demanding, etc.) the words: take, bring, help, hello, etc.

Creative exercises:

Play with my toy;

Children are given toys. Who did not have enough - clap.

To the music, children walk and dance with toys.

The music is over.

Children: "Walk with my toy" - give to children who do not have a toy.

- "On the clearings and on the bumps."

To the music, toys jump over bumps; from bump to bump; over the bump, around the bump

-"Multi-storey building".

Hello mouse (flapping wings)

Hello birdie (show mouse paws)

At your place big house(flapping wings)

No small (paws)

No big (waving)

No small (paws)

You have a basement. (speaking softly)

Ground floor (reinforce sound)

Second (even stronger)

Third (louder)

Fourth (even louder)

Etc. up to the tenth floor, amplifying the sound.

Attic (very loud)

Then back to the basement. (Slowly fade away)

Cellar (in a whisper)

Exercises development of children's plastics:

- "Once upon a time there was a snake."

Once upon a time there was a snake (Smooth movement right hand down up)

Looked in one direction (turn the brush to the right)

There is no one. (wiggle brush)

On the other side. (turn brush to the left)

There is no one. (shake the brush)

She crawled away. (lower hand)

Another snake crawled out. (Smooth movement of the left hand from the bottom up)

She looked to one side. (turn brush to the left)

There is no one. (wiggle brush)

On the other side. (turn the brush to the right)

There is no one. (wiggle brush)

She crawled away. (lower hand)

Both snakes crawled out. (Smooth movements with both hands)

Looked in one direction (turn the brushes in different directions)

There is no one. (wiggle brush)

Looked the other way. (Rotate brushes to center)

“Hello, snake, how are you” (snakes open their mouths - close, open fingers)

“The head is still intact” (says the other hand)

"Let's sing a song?"

And now low.

"Are you eating something bad?"

"No you!"

"No you!"

Who offended whom first?

"You me"

"No you me"

Who hit whom first?

"You me"

"No you me"

Have you been friends like this before?

"I was friends"

"And I was friends"

What didn't you share?

"I forgot"

"And I forgot"

Dramatization games:

Guess we make snowballs; my tooth hurts; the old grandmother is lame; cold feet are cold.

Theatrical games:

"We'll build a big house."

Form a circle.

We'll build a big house

Let's all live in it together.

The children are gathering, the doors are closing.

The doors open and the story begins.

Knock-knock-knock (knock fists at the right ear)

Knock-knock-knock (knock at the left ear)

Who is knocking on a visit all of a sudden?

Maybe a bunny came to us?

Jumping gallop. (Jumping like bunnies)

Jumping gallop.

Maybe a teddy bear?

Top-top, top-top. (Walking around)

Maybe a red fox?

Chop chop, chop chop. (show paws, tail)

What miracles! (Spread your arms to the sides).

The most important part of the methodology of working with children is the final part of the performance. The teacher says: “In our performance, the roles were played by wonderful, honored artists of our group: lists ...” and parents should reward each performer with thunderous applause.