Formation of a child’s creative personality through theatrical activities
Content:
1. The relevance of this problem.
2. Goals and objectives of the work on the formation of the child’s creative personality through theatrical activities.
My practical experience in performing these tasks:
a) Organization and design of a developing subject-spatial theatrical environment.
b) Acquaintance with the basics of theatrical culture, with the main types of theatrical art.
c) Work on sketches, rhythmoplastics, staging performances.
Conclusion.
List of used literature.
Appendix A Work plan for the Teremok theater group.
Appendix B Script for the play “Journey to the Autumn Forest.”
Appendix B Photo report “We and the theater.”
Appendix D General parent meeting "Let's save the planet together."
Appendix E Monitoring the effectiveness of using the methodology of theatrical activity in the preparatory group.
The current state of education in Russia is characterized by qualitative changes in the field of content, which are aimed at developing children's creative thinking and research abilities. Today, when the problem of preschool education is being widely and fundamentally solved and the tasks facing teachers of preschool educational institutions are becoming more complex, the task of developing the creative abilities of children, the idea of introducing them to fiction and theatrical activities remains very important.
Children's creativity is one of the pressing problems of preschool pedagogy and child psychology. She was examined by L.S. Vygotsky, A.N. Leontyev, L.I. Wenger, N.A. Vetlugina, B.M. Teplov, O.M. Dyachenko, A.I. Volkov and many others.
Theatrical activity is the most common type of children's creativity. It is close and understandable to the child, lies deeply in his nature and is reflected spontaneously, because it is connected with play. From a very early age, the child strives for creativity. Therefore, it is so important to create an atmosphere of free expression of feelings and thoughts in the children's team, to awaken the imagination of children, and to try to realize their abilities to the maximum.
Theatrical activities help develop the interests and abilities of the child, promote general development, the manifestation of curiosity, the desire to learn new things, the assimilation of new information and new ways of acting, the development of associative thinking, perseverance, determination, the manifestation of general intelligence, emotions when playing roles. In addition, theatrical activities require the child to be decisive, systematic in work, and hardworking, which contributes to the formation of strong-willed character traits. The child develops the ability to combine images, intuition, ingenuity and creativity, and the ability to improvise. Theatrical activities and frequent performances on stage in front of audiences contribute to the realization of the child’s creative powers and spiritual needs, emancipation and increased self-esteem.
Theatrical activity, like no other type of activity, contributes to the development of a child’s communication skills. Theatrical play presupposes, first of all, the acceptance of a situation of equal positions, positions of complicity and cooperation, partnership (dialogue) between an adult and a child.
The teacher’s task is to help the child master various methods of understanding natural science, art, and life reality, to be able to choose the appropriate tool (to configure himself) that allows him to act adequately to them, to change his role position: to contemplate these realities or act in them. This is facilitated by the alternation of the functions of performer and spectator, which the child constantly takes on in order to demonstrate his position, his skills, knowledge, and fantasies.
Theatrical activities should provide children with the opportunity not only to study and understand the world around them through comprehension of fairy tales, but to live in harmony with it, receive satisfaction from classes, variety of activities, and successful completion of tasks. Therefore, I strive to create such an atmosphere, an environment for children so that they can play with pleasure and comprehend the amazing magical world, the name of which is theater!
For four years I have been working on the topic “Formation of a child’s creative personality through theatrical activities.” The goal that I set when teaching theater arts to children is to make the lives of students interesting and meaningful, filled with the joy of creativity. Every child is talented from the very beginning, and our theater provides an opportunity to identify and develop in a child what is inherent in him from birth. The sooner you start working with children to develop their creative abilities through the means of theatrical art, the greater results can be achieved in song, dance and play creativity.
Working on this topic, I set the following tasks:
Study of theoretical and practical experience on this topic
Organization and design of a developing subject-spatial theatrical environment
Working on children’s speech culture and technique
Acquaintance with the basics of theatrical culture, with the main types of theatrical art
Work on sketches, rhythmoplasty, staging performances
The methodological foundations of my work are based on such essential aspects of theater as:
simulation game, creation and exploration of imaginary reality;
role-playing game;
games with objects;
a model of combining individual and collective creativity, with its own strict organization and self-regulation;
model of process deployment from concept to implementation;
interaction of ideas (or versions) and the birth of a new one on their basis;
consideration of the idea from different sides - from different language spaces (in kindergarten - this is the principle of studying one phenomenon through the prism of various educational activities).
actualization of the unfamiliar;
impact on the student’s feelings and involvement in the game process.
Having studied the theoretical and practical experience of N.D. Sorokina, A.V. Shchetkina, L.Ya. Polyak, L.G. Kireeva, I.V. Bodrachenko, T.N. Karamanenko and other authors of popular methodological literature in the field of theatrical activities for preschoolers, working on the “Program of Education and Training in Kindergarten” edited by M.A. Vasilyeva, I drew up a work plan for my theater group, starting with the second junior group (Appendix A).
Theater classes in the Teremok club I organized are designed for children from 3 to 7 years old. Classes are held once a week for 25 minutes. The number of children in the group is 15-20 people.
The main form of classes is group. The circle’s work plan also involves other forms of work - individual and subgroup classes, which are used to practice individual scenes of performances.
The work plan of the circle consists of five sections:
“Theater game” is aimed at developing children’s play behavior, developing the ability to communicate with peers and adults in various life situations.
“Transformers” - games that develop the ability to transform;
Theatrical games to develop imagination and fantasy;
“Living Fairy Tale” - dramatizations of poems, stories, fairy tales;
“Rhythmoplasty” includes complex rhythmic, musical, plastic games and exercises designed to ensure the development of natural psychomotor abilities of preschool children, their acquisition of a sense of harmony of their body with the outside world, the development of freedom and expressiveness of body movements.
Exercises to develop motor abilities, dexterity and mobility;
Games to develop a sense of rhythm and coordination of movements, plastic expressiveness and musicality;
Musical and plastic improvisations;
“Culture and technique of speech” - combines games and exercises aimed at improving speech breathing, developing correct articulation, intonation expressiveness and speech logic, and preserving the Russian language.
Exercises to develop speech breathing, diction, articulatory gymnastics;
Games that allow you to develop intonational expressiveness of speech (learn to use different intonations), expand the figurative structure of speech;
“Let’s make up a fairy tale together”;
Games and exercises aimed at improving speech logic.
“Fundamentals of Theatrical Culture” is designed to provide conditions for preschoolers to acquire basic knowledge about theatrical art. Children receive answers to questions:
What is theater, theatrical art;
What kind of performances are there in the theater?
Who are the actors;
What transformations take place on stage;
How to behave in the theater;
“Work on a play” is based on the author’s scripts and includes the topics “Getting to know the play” (joint reading) and “From sketches to performance” (choosing a play or dramatization and discussing it with children; working on individual episodes in the form of sketches with improvised text; searching for a musical and plastic solution to individual episodes, staging dances; creating sketches and scenery; rehearsing individual paintings and the entire play; premiere of the play; discussing it with children). Parents are widely involved in working on the play (helping with learning the text, preparing scenery and costumes).
Participation in skits, performances and theatrical events.
Preparation of scenery, props, posters (we design, draw, glue ourselves!).
Work on the sections of the circle plan continues throughout the entire education of children. The content of the sections expands and deepens depending on the stage of training.
To implement the plan, it was necessary to create and design a subject-development environment for the theater studio. My colleagues and parents gave me a lot of help in this. With the help of parents, we made large-sized construction kits that were appropriate for the child’s height (Appendix B), sewed a mini-screen, made various masks, costumes, and attributes for children’s performances, and purchased audio recordings of fairy tales and musical works.
The first type of theatrical activity in our circle that I introduced the children to was puppet theater. The conventions of puppet theater are close to children, they are accustomed to it in their games, which is why the children so quickly joined the performance: they answered the puppets’ questions, warned about danger, carried out their instructions, and gave advice.
My students enjoyed watching puppet theater performances performed by me (“Turnip”, “Teremok”, “Kolobok”, etc.), as well as performed by second-grade students of our school.
Then we started the next stage - working on sketches. Children of the second youngest group acted out the well-known Russian folk tales “Masha and the Bear”, “Zayushkina’s Hut” and others with tabletop dolls (toy theater), with pictures on cardboard, on flannelgraph (picture theater). She also successfully used elements of theatrical activity in educational classes. For example, in mathematics classes, the children’s favorite Dunno (a toy of the Bi-ba-bo theater) was a frequent guest; in classes on speech development, he learned pure sayings and physical exercises, Bunny (spoon theater); in classes on getting to know the outside world, I used a shadow theater (hare, dog, goose). Subsequently, the children's favorite toys, brought from home, were frequent guests in our classes.
The next stage of my work was theatrical acting and rhythmoplasty. Rhythmoplasty includes complex, rhythmic, musical, plastic games and exercises that ensure the development of children’s natural psychomotor abilities, freedom and expressiveness of body movements. For this purpose, the games “Vanechka”, “Loaf”, “Guess the Animal”, “Sea Figure” and others were used in physical education and music classes. These games teach you to hear rhythm, develop coordination of movements, speech breathing, varied intonation, teach you to remember various poses and convey them, and create the image of an animal using expressive plastic movements.
Very little time passed, and from spectators my students turned into actors. By the age of four, the children began to actively take part in theatrical productions for the holidays. At the New Year's party they successfully debuted in the roles: Hare - Styopa Popov, Fox - Vika Zaichikova, Bear - Andrey Karelin. At the matinee dedicated to the holiday of March 8, loud applause and smiles were awarded to the dramatization of the poems: “Caprice” - Nastya Lavrentyeva and Artyom Alexandrov, “Naughty” - Nikita Lebedev and Maxim Semyonov, “Mom’s Labor” - Misha Gudz and Alisa Bessonova, “Today Mother's Day" - Katya Korovkina and Vika Nikolaeva, "Tea Party" - Liza Ledashcheva, Katya Korovkina, Nikita Lebedev, Vika Nikolaeva and Katya Veretennikova.
Achieving good results in the performance of poetry, mini-skits, dramatization of fairy tales, and musical performances was facilitated by systematic work on the development of culture and speech technique in theater classes, during which children learned:
Change the pitch and strength of the voice according to the teacher’s instructions
Pronounce tongue twisters and tongue twisters clearly at different rates
Read a poetic text by heart, pronouncing the words correctly and placing logical emphasis
Build a dialogue with a partner on a given topic
Say a long phrase or quatrain in one breath
Choose a rhyme for a given word
Saying the same phrase with different intonations
Compose a dialogue between fairy-tale characters
All these exercises for the development of speech, breathing and voice improve the child’s speech apparatus. Completing game tasks in the images of animals and characters from fairy tales helps you better master your body and understand the plastic possibilities of movements. Theatrical games and performances allow children to immerse themselves in the world of fantasy with great interest and ease, and teach them to notice and evaluate their own and others’ mistakes. Children become more relaxed, sociable, learn to clearly formulate their thoughts and express them publicly, feel and understand the world around them more subtly.
Before starting to stage performances, I decided to introduce the children to the structure of the theater from the outside and inside. To do this, we went to the Teremok puppet theater on an excursion. The guide told the children about theatrical professions: make-up artist, costume designer, lighting designer, sound engineer, and took them behind the scenes of the theater, where she told and showed how dolls are created and who restores them. The children were especially delighted by the doll storage room, where a huge number of dolls of different types were collected (life-size, puppets, on a puppet, and others), with which the children not only met, but also took photographs as a souvenir (Appendix B).
My children and I repeatedly went to the Teremok Theater to see the performances “Fun School,” “Little Red Riding Hood,” and “The Little Goose.” The children watched the performances with great pleasure, discussed them, but with even greater delight they began to participate in the theatrical game.
The next stage of our work with children was the actual production of performances.
It is during the staging of performances that one can very clearly see how previously vulnerable and insecure children become bolder, more decisive, and take a more active position in life. Successful experience on stage contributes to successful communication in life.
I believe that in order to create a magical theatrical world, it is not at all necessary to have a large stage, exquisite scenery, or an abundance of costumes. For us, this is a spacious room in our own kindergarten, decorations invented and drawn together with the children, costumes made together with the parents (Appendix B). For us, this is a place where children study with pleasure, in an atmosphere of creativity, play and art.
The main thing, in my opinion, is the joint desire to play a fairy tale, first for ourselves and then for the audience. And we have such a desire! And the result of our work is wonderful productions.
Without setting out to examine in detail the lesson notes for preparing and staging the performance, I will only touch on its main stages.
Lesson 1. Work on the play “Journey to the Autumn Forest”
Purpose: To introduce children to the text of the play and discuss it; awaken the ability to compassion, a sense of justice, strive to do good.
Progress of the lesson:
Familiarization with the text of the play.
After reading the play, the teacher talks with the children: “Who did you like in this play? Which character did you like best and why? Why were the forest inhabitants alarmed? etc."
Game "Associations". The teacher invites the children themselves to assign roles, based on associations. (Who can play a hedgehog? Which of the guys is associated with him? Who can best portray him? Etc.)
Preliminary distribution of roles at the request of the children. Summing up the lesson.
Lesson 2. Rhythmoplasty
Goal: To develop a sense of rhythm, speed of reaction, coordination of movements, learn to create images of animals using expressive plastic movements.
Progress of the lesson:
Organizing time.
Exercise “Don’t make a mistake” (The teacher alternates clapping, tapping the foot and clapping on the knees in different combinations, changing the rhythm and tempo).
Creation of animal images. (The teacher invites all the children, to the music, to portray the image of a hedgehog, hare, squirrel, bear, fox, wolf using plastic movements. Then only those children who are approved for these roles portray, and the rest evaluate.)
Summing up the lesson.
Lessons 2-4. Working on the play. Learning songs.
Goal: To learn songs and musical parts of the characters in the play, to develop attention, a sense of rhythm, facial expressions and gestures.
Progress of the lesson:
Organizing time.
Listening to and learning musical pieces used in the play (the song “Oh, what an autumn”, “Autumn”, “Autumn the Artist”, “Goodbye to the Autumn Forest”, ditties).
Individual learning of the musical parts of the characters in the play (squirrel song, fox romance, hedgehog waltz, wolf song, bear song).
Summing up the lesson.
Lessons 5-6. Working on the play.
Goal: To learn the text of the play with children, paying attention to the work of the articulatory apparatus, breathing, and voice. Improve children's attention, imagination, memory, and communication.
Progress of the lesson:
Exercises for lips, tongue, facial muscles, neck.
Work on text and speech technique.
Improvisation of performance episodes.
Summing up the lesson.
Lessons 7-8. Working on the play. Making decorations.
Goal: Make the scenery for the play, decide what costumes each of the characters will wear. Assign responsibility for props, scenery, and costumes.
Progress of the lesson:
Organizing time.
Making decorations. (Together with me, the guys made trees from colored paper and self-adhesive film. During the lesson, animal headdresses were also made, and the kids prepared costumes with their parents at home.)
Individual rehearsal of the words of the main characters of the play.
Summing up the lesson.
Lessons 9-10. Working on the play. Learning dances.
Goal: To learn the dances and musical parts of the characters in the play, to develop attention, a sense of rhythm, facial expressions and gestures.
Progress of the lesson:
Organizing time.
Learning the dance with autumn leaves and “Polka”.
Rehearsal of musical works. Rhythmoplasty.
Summarizing.
Lessons 11-16. Working on the play.
Goal: To rehearse all episodes of the performance using scenery, costumes, musical accompaniment, and lighting.
Progress of the lesson:
Organizing time.
Rehearsal of the play.
Summing up the lesson.
Premiere of the play “Journey to the Autumn Forest”
Conclusion
I consider the result of my work to be the fact that thanks to the theater club, children learned to listen and hear each other, formulate and express their thoughts publicly. Frequent performances on stage in front of audiences contributed to emancipation and increased self-esteem in children. The guys became friendlier and more united. This was noted not only by teachers, but also by parents, who repeatedly expressed words of gratitude to us.
Summarizing all of the above, I believe that working on the topic “Formation of a child’s creative personality through theatrical activities” gave me the opportunity to create an atmosphere of free expression of feelings and thoughts in a children’s group, to awaken the imagination of children, to fully realize their creative abilities, when every child is able to progressed from level to level of his capabilities, and eventually achieved certain heights. This can be confirmed by the results of monitoring carried out at all stages of application of this technique, which makes it possible to track the positive dynamics of the development of the child’s creative personality (Appendix E).
I consider the best evidence of the effectiveness of my work: the successful admission of students to educational institutions of various types (schools, gymnasiums, lyceum classes), the reduction of the adaptation period at the first stage of education and the sincere gratitude of parents.
And I firmly believe that the expended strength of my soul will return to me through the successes and victories of my students!
Content
Introduction
.
THEORETICAL FOUNDATIONS FOR STUDYING THE DEVELOPMENT OF INTONATIONAL EXPRESSIVENESS OF SPEECH THROUGH THEATER ACTIVITIES IN PRESCHOOL CHILDREN
1.1
Scientists' views on the development of intonation expressiveness of speech
1.2
Characteristics of the intonation-expressive side of speech
.3
Features of the development of intonational expressiveness of speech in preschoolers in ontogenesis
1.4
Characteristics of theatrical activities in working with preschoolers
.5
Features of working with literary material in theatrical activities
2.
EXPERIMENTAL STUDY OF THE DEVELOPMENT OF INTONATIONAL EXPRESSIVE SPEECH IN PRESCHOOL CHILDREN
2.1
Purpose, objectives, research methods. Ascertaining experiment
2.2
Analysis of the results of the ascertaining experiment
2.3
Experiential learning. Analysis and processing of experimental results
Conclusion
List of used literature
Application
Introduction
intonation theatrical speech preschooler
Relevance
Our research is due to the fact that intonation is an important meaning-distinguishing means of language, thanks to which we express various communicative goals, which must be formed in preschool age. A delay in the formation of intonation expressiveness of speech at the time of schooling makes it difficult to master the program in the native language and can lead to a violation of the communicative function of the language.
One of the little-studied areas is the use of theatrical activities in order to develop intonational expressiveness of speech in preschool children.
With the help of means of intonation expressiveness, clarification of thoughts and expressions, as well as emotional-volitional relationships, is carried out in the process of communication. the thought acquires a complete character, the statement may be given additional meaning without changing its basic meaning, and the meaning of the statement may also change [1].
In normal children, just like their peers, violations of intonation expressiveness of speech are detected. In this regard, the object, subject, hypothesis, purpose and objectives of the study were identified.
An object
research - the process of developing intonation expressiveness of speech in preschoolers through theatrical activities.
Item
research - means of theatrical activities for the development of intonation expressiveness of speech in preschool children.
Hypothesis.
We hypothesized that the development of intonation expressiveness of speech in preschoolers will be successful if:
·classes in theatrical activities will include a set of exercises, games and sketches for the development of intonation, timbre, pitch and strength of voice, tempo, pause, rhythm, logical stress, speech breathing;
·selected and compiled artistic speech material for the development of intonational expressiveness of speech;
· an artistic and aesthetic developmental environment has been created that allows the child to independently realize his creative potential in theatrical activities.
Purpose of the study
— to develop and test the use of theatrical activities in the development of intonational expressiveness of speech in preschool children.
The following tasks
:
1) Study psychological, pedagogical, methodological literature devoted to the development of intonational expressiveness of speech in children 6-7 years old through theatrical activities;
2) To study the nature of the impact of theatrical activities on the development of intonational expressiveness of children’s speech;
3) To study the state of intonation expressiveness of speech in preschool children;
4) Experimentally test the effectiveness of improving the development of intonation expressiveness of preschoolers’ speech using theatrical activities.
Methods
conducting research:
1) Organizational methods (comprehensive and comparative);
2) Imperial methods (conversation, ascertaining and formative experiments);
)Qualitative and quantitative analysis of the data obtained;
)Graphical methods (presentation of results).
Practical significance
consists in the complex of artistic speech means we have developed for mastering the skills of intonation expressiveness of speech through the method of artistic reading. This complex can be useful for speech therapists, special teachers and educators in the system of general, special and additional education of preschool children.
Scientific novelty
determined by the fact that the features of the development of intonation expressiveness of speech of preschoolers aged 6-7 years have been identified; The content and methods of developmental work on the formation of intonation expressiveness of preschoolers have been determined and tested.
Methodological basis
research amounted to:
general didactic provisions on the formation of skills (L.S. Vygotsky, L.A. Leontiev)
works of scientists in the field of speech disorders ();
research on the problem of studying intonation-expressive means in preschool children (E.E. Artemova, E.F. Arkhipova, L.R. Zabrodina, L.A. Kopachevskaya, L.A. Pozdnyakova, A.N. Polozova, E.E. Shevtsova);
technology, the use of theatrical activities for the development of speech culture in preschool children (A.I. Burenina, O.V. Goncharova, E.V. Migunova, E.G. Churilova).
The defense is based on the proposition that the complex of speech means of theatrical activities influences the formation of intonational expressiveness of speech in preschool children.
The structure of the final qualifying work includes an introduction, two chapters, a conclusion, a bibliography of 40 sources and 6 appendices.
1. THEORETICAL FOUNDATIONS FOR STUDYING THE DEVELOPMENT OF INTONATIONAL EXPRESSIVE SPEECH THROUGH THEATER ACTIVITIES IN PRESCHOOL CHILDREN
.1 Views of scientists on the development of intonation expressiveness of speech
The history of the development of special studies of intonational expressiveness in linguistics can be divided into two periods. The first - from the end of the 19th to the beginning of the 20th century - is characterized by the search for an object of study and methods for its analysis. In the second period, from the 40s of the 20th century to the present day, there was an expansion of intonation research associated with the development of both linguistic theory and the technique of instrumental phonetics. [26p]. In addition to studying intonational expressiveness as a set of suprasegmental units, researchers analyze its individual components. The works of L.V. are of greatest importance for the theory of intonation. Bondarko, E.A. Bryzgunova, V.V. Vinogradova, A.M. Gvozdeva, L.R. Zindera, L.V. Zlatoustova, T.M. Nikolaeva, N.D. Svetozarova, I.T. Torsueva, L.K. Tseplitis, N.V. Cheremisina, L.V. Shcherby.
As a phonetic phenomenon, intonation expressiveness is considered in various aspects: articulatory, acoustic, perceptual, linguistic [26].
The study of intonation expressiveness in the articulatory aspect involves identifying the work of the speech organs.
The study of intonational expressiveness in the acoustic aspect considers speech as the oscillatory movements of an air stream affecting the human hearing system, which manifests the objective characteristics of intonation: fundamental frequency, spectrum, intensity and duration (Ya.P. Altman, A.V. Ventsov, G. V. Gershuni, L.A. Chistovich)
The study of intonational expressiveness in the perceptual aspect involves the study of those correspondences to the objective characteristics of intonation, thanks to which a person perceives this or that meaning conveyed by intonation. Sound sensations that correlate with the objective characteristics of intonation expressiveness are height, duration, volume, timbre (Vakhtina N.Yu.) [2].
In the linguistic aspect, intonation expressiveness is understood as a complex unity of melodic, dynamic and temporal characteristics of speech. Each of these parameters has its own specific units - carriers of meaning: tonemes, chronemes, accentemes (Nikolaeva T.M.) [3].
The independence of intonation from the specific lexical and grammatical composition of the utterance allows us to talk about its relative autonomy. The works of L.V. are of great importance for the theory of intonation. Bondarko, E.A. Bryzgunova, L.P. Blokhina, L.R. Zindera, L.V. Zlatousova, T.M. Nikolaeva, N.D. Svetozarova, N.S. Trubetskoy, L.D. Shcherba, who developed the concept of supersegmental organization of speech as a system. The prosodic organization of speech is understood as a set of sound means that form sequences of segmental units (phonemes) and serve to combine them into meaningful linguistic units: words, syntagms, statements. The use of such obligatory sound features as duration, intensity and frequency of the fundamental tone as prosodic characteristics of speech is one of the universal properties of human speech (N.D. Svetozarova) [5l].
N.I. Zhinkin, considering the prosodic organization of language, Fr. The researcher calls the control of these parameters during speech prosody. And the realized set of these parameters is intonation [18].
E.A. Bryzgunova, analyzing the relationship between the components of intonation, argues that logical stress is formed in speech by a combination of these components, since at logical centers the voice changes in pitch, strength, tempo, and timbre [7].
The question of the nature of the units involved in the intonational design of an utterance was examined in detail by L.V. Shcherba, who noted that the connection between the semantic and sound aspects of speech is carried out within the simplest syntactic whole - syntagma, a single semantic whole in the process of speech - thought.
I.G. Torsueva, using a semantic approach to identify rhea units, identifies statements. The main characteristics of an utterance are its communicative orientation, targeting, the possibility of semantic division, emotional richness, and the presence of subtext. Unlike a sentence that has meaning, a statement, in addition to meaning, has a specific holistic meaning, it has authorship and an expressive side [5].
The intonation of each phrase is the result of the interaction of many factors, the most important being: the communicative attitude of the speaker, his reflection of the communication situation, the universal physiological foundations of speech production.
The most emotional phrases are such as “exclamation”, “command”, “implication”, phrases like “general and special question” have a lower degree of emotionality, and a weak degree of emotional intensity is characteristic of simple statements and phrases.
L.V. Bondarko identifies several factors that determine the behavior of all components of intonation: “... the place of the main stress in the syntagm is important: it is in this place that the most significant change in melody occurs - a decrease or increase. The direction of change itself is determined by the type of intonation (narration, question, unfinished intonation, exclamation). Changes in tempo and volume are also associated with the place of the main stress: if it is close to the end of the syntagma, then the tempo slows down more significantly, and the volume is weakened less than in the case when the syntagmatic stress is close to the beginning of the syntagma [9].
1.2 Features of the development of intonation expressiveness of speech in preschoolers in ontogenesis
Intonation expressiveness of speech represents the totality of rhythmic and intonation properties of speech. The intonation-expressive side of speech is realized through such qualities of speech as timbre, pitch and strength of voice, tempo, pause, rhythm, logical stress, speech breathing, diction. Prosodic components determine the expressiveness, intelligibility of speech, its emotional impact in the process of communication, carry a certain semantic load, etc.
The concept of intonation includes the rate of speech (the degree of speed of pronunciation of speech elements), pauses (breaks in the pronunciation of speech elements), the timbre of speech (the color of the human voice), the tone of speech (the degree of pitch), melody (alternating raising and lowering of the voice, logical stress and word stress) [32].
Rate of speech is the most important component of intonation. Tempo is the speed of pronunciation of speech elements. The pace of speech may vary. This depends on the content of the statement and the emotional mood of the speaker [38].
Pathologically fast speech (tachylalia) requires increased attention, which causes fatigue. Pathologically slow speech (bradylalia), on the contrary, weakens attention, which also leads to fatigue.
The rate of speech depends on the age of the speaker. The pace of speech is determined by the content of the text.
The individual component of intonation is the timbre and color of the voice. Each person has their own timbre. The timbre of the voice can change, depending on the emotional state of the person and the time of day. The timbre of the voice can be varied, and its perception is always subjective.
Pauses occupy a special place in intonation - this is a “non-sound” intonation device. Pauses are necessary because they break the flow of speech, making speech easier to perceive. Intonation-logical pauses separate one speech beat from another and help clarify their meaning. If you do not make a logical pause, you will end up with a continuous text in which it is difficult to make out which words in a sentence are closely related in meaning and combined intonationally. There is a semantic pause (logical), determined entirely by syntax, and a rhythmic pause, independent of syntax and determined by a rhythmic impulse. The first is present in every speech, the second - only in poetry. The duration of pauses and the nature of their distribution in the speech stream largely determine the rhythmic and melodic side of intonation.
The strength of the voice depends on how the sounds of the voice are directed into the resonators and what state they are in. Loudness is ensured by good functioning of the breathing apparatus, active articulation, and the absence of unnecessary muscle tension. When the strength of the voice is impaired, it becomes dry, weak, or too loud. Voice strength is an objective quantity; it is the real energy of sound, measured in decibels. The strength of the sound depends on the amplitude (span) of vibration of the vocal cords, the degree of their tension, as well as on the activity of the resonators (oral and nasal cavity). The volume of a voice depends on its strength. But if the strength of the voice is an objective value, then loudness is a subjective concept associated with our perception of sound. Volume is the controlled quality of the voice. It can and should be changed depending on various circumstances of communication. Flexible change in voice volume is a means of achieving expressiveness of speech, its diversity, and adequacy of the communication situation [17].
Voice pitch is a physiological property of the speaking voice, controlled by the tension of the vocal folds and the frequency of their vibrations. It is characterized by organizational breathing and the active work of resonators that amplify sound. If the pitch of the voice is impaired, it becomes monotonous, tremulous, tremulous, inexpressive, unmodulated, and sometimes falsetto-like [31].
Rhythm is a natural repetition of commensurate and sensually perceptible units. Rhythm in a broad sense is inherent directly in a number of natural phenomena and the human body (rhythmic breathing, heart function, blood circulation, etc.) [19].
The basis of the rhythmic organization of human speech is that natural, primary rhythm that characterizes the activity of the human body and, in particular, human breathing. Since the breathing process is relatively rhythmic, human speech is also rhythmic to a certain extent: the need for periodic inhalation and exhalation causes corresponding stops in the voice - pauses, which break speech into units called speech beats. Thus, the unit of speech rhythm becomes a word or a group of words, limited from subsequent ones by a pause.
Logical stress is the selection of the most important word among the others to convey the exact meaning of the sentence. Logical is recognized as a semantic stress that is emphasized as strongly as possible, clearly highlighted intonation (by strength and a significant interval of pitch compared to ordinary verbal stress). The specificity of logical stress is in the special semantics and in the degree of emphasis of the accented word. Consequently, the means of expressing logical stress are: strengthening verbal stress, raising or lowering the tone on the stressed syllable of the highlighted word, increasing the duration, which is achieved by increasing the tension of the articulation of the stressed syllable [27].
Speech breathing is the basis of sounding speech, the source of the formation of sounds and voices. It ensures normal voice formation, correct assimilation of sounds, can change the strength of their sound, helps to observe pauses correctly, maintain fluency of speech, change volume, and use speech melody. The correct use of breathing in speech consists, firstly, in the economical and uniform consumption of air, and secondly, in the timely and imperceptible filling of its supply (during pauses).
In normal speech, fluency is organically combined with pauses, which are a necessary component of a speech utterance [8].
Diction - The basis of clarity and intelligibility of speech. Clarity and purity of pronunciation depend on the active and correct functioning of the articulatory apparatus: tongue, lips, palate, lower jaw and pharynx.
1.3 Features of the development of intonation expressiveness of speech in preschoolers in ontogenesis
According to Zhinkin, intonational expressiveness of speech is the highest level of language development. Prosodic manifestations can be noted already in children during infancy [20].
The initial stage of pre-speech development is considered to be the child’s reflexive cry, which by 2-3 months of life becomes increasingly modulated and reflects various shades of dissatisfaction, thereby being a means of communication with others. Up to two months, vocal expressions are differentiated due to different voice intonations (screaming, crying), but crying no longer receives more detailed differentiation, since after two months the sounds are differentiated. In combination with expressive facial movements, an intoned cry and modulated sounds are a means of expressing the child’s state. R.V. Tonkova-Yampolskaya points out that during a child’s cry, specific areas of the cortex are activated. The child hears his cry, impulses reach the auditory-speech and speech-motor zones of the cortex, and from here they are transmitted to the organs of articulation, gradually giving them an impetus for development.
At 2-4 months, the baby begins to make short sounds - hooting, and then humming. The sounds do not carry any semantic content, but have a certain intonation, with their help the child attracts the attention of an adult. First of all, children learn and convey the types of intonation that are most often used by adults. The sounds of humming become a means of communication with adults due to their intonation expressiveness, starting from the end of the third month of life, when the sounds of humming become quite distinct in intonation [35].
The most intense process of accumulation of babbling sounds occurs after the sixth month during the seventh month, then the process of accumulation of sounds slows down and few new sounds appear. The process of intensive accumulation of sounds in babbling coincides with the period of myelination, the significance of which lies in the fact that its onset is associated with a transition from generalized movements to more differentiated ones. From 7-8 months to one year, articulation does not expand particularly, but speech understanding appears. During this period, semantic load is received not by phonemes, but by intonation, rhythm, and then the general outline of the word. Communication is carried out using emotional intonation. At about 11 months, active babbling chains of syllables appear. In this case, any syllable is distinguished by its duration, volume, and pitch. Most likely, this is the initial stage of stress formation.
Ontogenesis data indicate that intonational means are perceived and assimilated by children much earlier than the formation of verbal speech begins. Tonkova-Yampolskaya's research showed that the process of mastering the intonation system of a language begins in a child already at the humming stage. Gvozdev notes that the child uses lowering intonation to express a calm statement already during the period of a one-word sentence. Around the same time, varieties of exclamatory intonation appear, and in the second year of life, interrogative intonations appear [5].
Manifestations of intonational expressiveness of speech, expressed in the form of emotionally expressive vocalizations, are a prerequisite for the child’s language development.
The intonation expressiveness of speech includes several acoustic components: tone of voice, its timbre, intensity or strength of voice sound, melody, pauses, verbal logical stress, tempo of speech. These acoustic characteristics of intonation expressiveness of speech depend on the frequency and amplitude of vibration of the vocal cords, on the degree of muscular tension of the speech organs, on the different speed of change of articulations, and on emotional tone.
The intonation expressiveness of speech increases the volume of the message, communicating not only what is contained in the text, but also what is in the subtext. The anatomical and physiological nature of the intonation expressiveness of speech consists of speech movements, which are based on modulations of the pharyngeal tube, affecting the power of sound speech (Zhinkin) [19].
The intonation expressiveness of speech clarifies the semantic side of speech, reveals its emotional content and has a strong impact on the listener. Intonation organizes the semantic side of speech with the help of logical intonations - narration, enumeration, highlighting stressed words, changing the tempo of speech.
The baby's reactions to the tone of voice appear quite early: at 4 months the child listens to the voice of an adult, reacts with a smile, laughter, humming, may become wary and cry, that is, adequately reacts to the tone of an adult.
The perception of intonation is noted in children earlier than reproduction. This is due to the fact that the intonation field of the speech-auditory analyzer (perception of intonation) ends its formation by the end of the babbling period, while the formation of the intonation field in the speech-motor analyzer (reproduction of intonation) ends only during the formation of oral speech.
A classification of types of intonation expressiveness of speech was proposed by A.K. Tseplitis and identified the following [36]:
. Intelligent
. Voluntary
a) narrative
b) incentive
. Emotive
. Fine
The meaning of intellectual types of intonational expressiveness of speech represents the moments of mental activity reflected in the language associated with the generation of statements: a statement (transmission of information) or a question (expression of a desire to receive information).
Voluntary meanings of intonation expressiveness of speech belong to the sphere of human speech activity. There are two groups of voluntary intonation:
a) narrative - the intonation of a statement in statements of fact or judgment, but not intonationally expressing the will or emotional state of the speaker; the intonation of advice, but without compulsion to carry it out;
b) incentive types of intonation: intonation of an order; intonation of request.
Emotive intonation is the expression of emotions by intonation means: anger, fear, tenderness, sadness, indifference, shame, surprise.
Fine types of intonation expressiveness of speech serve to reproduce the physical properties of a phenomenon or object. The semantics of these types of intonation expressiveness is associated with such mental processes as perception, sensation, imagination. For example, to communicate something big, a low range of voice is used, i.e. low frequencies and a slow tempo, and the high range of the voice is used to characterize something small.
Melody is the main component of intonation expressiveness of speech and provides a rise and fall in the tone of the voice. Phonetic melody, combined with stress and pauses, forms the semantic relationships between parts of the phrase. Russian speech is characterized by four types of melody according to the direction of tone movement: descending melody, ascending melody, ascending-descending melody, even melody.
.4 Characteristics of theatrical activities in working with preschoolers
Theatrical activity is an activity that is unusually emotionally rich, which makes it attractive to children. It brings great joy and surprise to the child. It contains the origins of creativity; children accept the guidance of an adult without noticing it. Being a syncretic activity in nature, it most fully embraces the child’s personality and meets the specifics of the development of his mental processes: integrity and simultaneity of perception, ease of imagination and faith in transformations, emotional sensitivity, not only figurative, but also logical thinking, motor activity, etc. P. (L.V. Artemova, L.S. Vygotsky, N.F. Sorokina, L.G. Milanovich, D.B. Elkonin, etc.). This indicates the broad developmental potential of theatrical activities.
There are many types of theatrical activities, differing in artistic design, and most importantly, in the specifics of children's theatrical activities. According to the classification of L.S. Furmina are objective (the characters are objects: toys, dolls) and non-objective (children in the image of the character perform the role they have taken on) [18].
Theatrical activity researcher L.V. Artyomova divides into two groups: dramatization and directorial activity [5].
Goncharova O.V. identifies the following forms of theatrical activity:
performances;
theatrical games;
dramatization;
musical and dramatic performances.
At the heart of a dramatic performance
lies a literary work - a play
Methodology for using expressive means in a theatrical festival
This article examines the problem of using expressive means in a mass theatrical festival. The specificity of mass representation lies in the special, often minimalist use of words. Modern mass performance can often include such types of arts as fragments of performances, songs, dances, etc.
Key words: holiday, mass, script, art, illustration, theatricalization, ideological and emotional impact
A mass holiday has a variety of means of ideological and emotional influence. Thanks to them, an emotional presentation and assessment of what is happening on the festive site is built. However, “not all holiday organizers manage to achieve high emotional and meaningful results of the holidays. Namely, emotions and content constitute, according to theorists, the basis of creative performance.” [1,181].
They primarily determine the screenwriter's palette. This is, first of all, a living word that creates images that can directly embody and convey the actions, feelings, moods and experiences of people. It is the living word that creates an atmosphere of communication between the stage and any audience. In addition, it carries specific material. An oral presentation in a series of festive events can cover a large period of time, introduce those gathered into an atmosphere of struggle, and convey what cannot be expressed through the means of art.
The specifics of mass representation require extremely economical use of words. This specificity is such that it is permissible to resort to a word with particular rigor and exactingness, to try to find a visual equivalent for it, and if you use it, then as diversely as possible. It is also very important that the participants in the action are emotionally prepared to perceive the speech; a kind of exposure to the appearance of the speaker and his speech is necessary. This is the difference between performing in a theatrical performance and other types of performances. The word of an interesting hero, an honored guest, a participant in certain events is often an obligatory component of a mass action.
Another common type of use of the living word in a mass performance is the speech of the presenter, which contains an important idea and connects episodes. The course of a theatrical festival is more spectacular and emotional when the leader makes a figurative decision, who carries a semantic load and becomes a full-fledged actor, a theatrical character. The basis for creating the image of the presenter is taken from the characters of the story, the characters of the collective image: the earth, the book, the teacher, warriors, young people, etc. The poetic word is also an effective tool for the screenwriter.
Thus, speaking about the word as an expressive means of a mass holiday, we consider it both as a documentary, journalistic word, and as an artistic one.
Other expressive means of theatrical mass performance are various types of art, which are used as dramatizations, fragments from plays and films, songs, music, dance and individual artistic performances. These types of art influence with the power of artistic images, allow you to reproduce events in their movement and development, convey the historical and everyday situation, transfer participants from one place of action to another, show social processes in a matter of minutes, and reveal the intensity of the conflict. “The means of art used in a mass celebration emotionally attune its participants, enhance the impact of the events taking place on the stage, convey the feelings of the characters, complement and move forward the action” [2, 52]. they are used as a continuation of thought or action, as a “background” to an oral presentation, as a visual image.
Art, as an expressive means of a theatrical mass performance, can act in it both as an illustration, and as a driving force of the plot, and as an association. When illustrating a thought, they most often use a methodical technique of continuing this thought through the means of art.
There is also another, less common method of using art in mass action - association, i.e. the desire, with the help of already existing, familiar images, to enhance the sound of certain components of the plot, to make the real image of a contemporary brighter, deeper, more understandable.
Thus, in the mass holiday dedicated to Victory Day, the episode “No One is Forgotten.” The appearance on stage of real heroes - search engines who visited the battlefields, with the participation of their relatives who died near Leningrad. Participants walked across the entire stage area with bouquets of carnations in a very large vase. The screens showed photo slides of visiting mass graves, burial places of relatives, reading the Koran and sprinkling graves with earth from the Mausoleum of Khozha Akhmet Yassaui in Turkestan. This episode created the association of personal presence at the long-awaited meeting of the unknown past and the real today. All spectators from the hall became participants in the moment of the meeting of war and peace, the selfless feat of soldiers, whose portraits were shown during the procession and the story of the soldiers - heroes.
These actions can be replaced by other methods of association. The scarlet banner was slowly unfurled on the site with the soldiers' helmets being taken out and kneeling in front of them.
Associativity is an important method of using art as one of the components in dramaturgy and directing a theatrical mass performance.
Let's take a closer look at the use of music. It can be very appropriately used in a theatrical concert, holiday, rally, procession as a more or less independent whole, even specially created for a specific holiday date. But most often we are talking about a kind of musical dramaturgy of the script, which is based on the synthesis of ready-made musical works belonging to different composers. This is a difficult task, it requires the ability to skillfully edit musical excerpts and a certain musical erudition.
It is appropriate to use the choir as a character at the holiday. Expressing the main idea of the holiday of the 68th anniversary of the Victory of the Soviet troops in the Great Patriotic War, the choir performed three songs sequentially throughout the entire action: “Buchenwald Alarm” by V. Muradeli, “We are all for peace” by S. Tulikov. “Beibit kun ushin” by Sh. Kaldayakov .The technique, used like an ancient choir, turned into a participant in mass action, expressing the grief and protest of the people against the war. Music can become the leitmotif of the entire action, a way to enhance the emotional support of what is happening, and emphasize the associative nature of perception.
Like music and song, a director of mass action can make extensive use of feature and documentary films. It is used especially successfully in the prologue, helping to transport the participants to the era of certain historical events, preparing them for a subsequent meeting with the heroes of these events. These are the numerous film prologues dedicated to the history of our native land, the military path of the army, and the working people.
This was the film prologue that opened the solemn festive performance at SKSU, dedicated to the 70th anniversary of the university. Documentary footage is projected onto the full screen, reviving in memory the stages of the formation and development of the university since 1943 - the year the institute opened. At the end of this film prologue we see students running out of the classroom. As if continuing the film montage, student choreographers run from the depths of the stage, starting the festive performance.
Film material allows you to enhance the sound of an episode in the right direction and enlarge it into a mass action. In a theatrical concert dedicated to the anniversary of SKSU named after. M. Auezov’s dance number “Friendship of Peoples” was “accompanied” by film footage about the unity of the people of Kazakhstan, that the small Assembly of students studying at the university is a particle, a symbol of the peacefulness of the people of Kazakhstan. The dance was shown simultaneously on three screens and seemed to expand the boundaries of dance, turning it into a kind of symbol of unity.
A widespread technique is to use fragments from feature films in constructing a festive event, when the characters seem to come to life and leave the screen. This writing and directing technique is especially popular in corporate performances, where it is possible to show the holiday hero in close-up.
Reveal the biography of the hero, revive the pages of his youth. The possibilities of using cinema or video as an expressive means in a theatrical mass performance are extremely diverse.
Modern holidays are hard to imagine without dancing. At one of the holidays in Shymkent, dedicated to the Day of Victory over Fascism, the dance, symbolizing a fierce battle with enemies, organically smoothly turned into a “broken circle”, built from frozen monuments of mothers and children hugging, different nationalities with candles in their hands. This mise-en-scène decision was read as an image of the Motherland mourning its lost sons. This figurative mise-en-scène of “Grieving Mothers” not only became part of the plot, but also gave the action an associative character. The circle in the Kazakh worldview is the continuity, unity, and inviolability of the connections included in this circle. The war destroyed this connection.
In a mass celebration, the role of visual means, a visual solution, which acts as one of the most important components of theatrical action, is very important. Imaginative design, thoughtfulness of individual symbolic details that carry a special semantic and emotional load - everything is important in the ability to emphasize the main idea. Thus, to celebrate the anniversary of the region, the artist (Honored Worker of Culture of the Republic of Kazakhstan Zhumakulov K.) conceived an interesting image of the stage area in the form of the attire of an old man, whose head rose above the cloth-clothing at the grate. From his shoulders to the red line, the entire area was covered with his cape robe. On the surface of which the performers appeared and hid, i.e., actions took place about seventy years of the region, in facts, performances of heroes, artists, etc. The Earth remained a witness to everything that was happening and led a commentary along with “its children” - the presenters.
Thus, it is clear that a specific scene of action can suggest to the production designer an interesting decorative and artistic image of the holiday.
The work of a director and screenwriter in the genre of a mass festive spectacle requires the ability to use the effects of light and sound, the importance of which is especially significant now, when the latest technical means - light sources, projection and sound recording equipment limitlessly expand the possibilities of light and sound effects.
Sound recordings also allow the director and screenwriter to recall any historical event, “transport” the participants in the action either to Independence Square or to the site of the cosmodrome, and listen to speeches by prominent figures of the country.
In addition to the scripted expressive means of a theatrical holiday, there are also specific independent possibilities for enhancing the emotional impact of the holidays. These are the expressive means of theater art. They are built on the creation of symbolic and allegorical actions used in stage actions - mise-en-scène; material objects that carry a spiritual-sign effect of external and meaningful influence. [3,461] They are reflected in attributes, clothing, props, and stage design. The following article should be devoted to the types, contents and technologies of their use.
Literature:
- Bordovskaya N.V., Rean A.A. Pedagogy - S.P.b., 2001.
- Sharoev I.G. Directing variety shows and mass performances. - Moscow: Education, 2000. - 2nd ed. — 461 S.
- Konovich A. A. Theatrical holidays. M. Higher school, 1999. - 206C.
