From puppet theater in kindergarten to understanding oneself in the world around us

From puppet theater in kindergarten to understanding oneself in the world around us

Bibliographic description:

Chekanova, O. L. From puppet theater in kindergarten to knowing oneself in the world around us / O. L. Chekanova.
— Text: direct // Theory and practice of education in the modern world: materials of the I International. scientific conf. (St. Petersburg, February 2012). - T. 1. - St. Petersburg: Renome, 2012. - P. 136-137. — URL: https://moluch.ru/conf/ped/archive/21/1514/ (access date: 11/21/2021). Puppet theater is the most common form of organizing children's leisure in kindergarten. Puppet shows enjoy the well-deserved love of children and bring great pleasure to the organizers of the productions. The doll itself is very close to children’s perception, because they have been familiar with this toy since early childhood, and therefore perceive it as a close friend. And if this hitherto silent friend unexpectedly comes to life before their eyes, tells stories, sings, laughs and cries - this spectacle turns into a real holiday for them.

However, puppet theater cannot be considered only as entertainment. Its educational and cognitive significance is very important. During the preschool period, the child begins to develop an attitude towards the environment, character, and interests. It is at this age that it is very useful to show children examples of friendship, kindness, truthfulness, and hard work.

Puppet theater is a synthetic art; it influences young spectators with a whole range of artistic means. When showing puppet theater performances, both the artistic word and a visual image - a doll, and picturesque and decorative design, and music - a song, musical accompaniment are used. The skillful use of puppet theater provides great assistance in the daily work of a kindergarten in the mental, moral, and aesthetic education of preschoolers.

The role of puppet theater in the development of a preschool child cannot be overestimated. First of all, a doll helps to establish contact with a child if he is “enslaved,” emotionally “stressed,” or afraid of strangers. A small doll causes less fear and apprehension, and a child, especially a younger one, makes contact with it faster than with an adult. Children who avoid touching are more likely to give a hand and say hello to a doll than to a teacher. By actively interacting with the doll, the child gradually becomes more open and courageous in direct contacts with the outside world, with people. This allows a preschool child to most painlessly go through the period of adaptation to school, new teachers, curriculum, and often to a new children's team.

Familiarization with playing dolls begins at an early age. Putting a doll on his hand - a kitten, a dog, a parsley, the adult sings (melodic sounds attract the baby's attention) a nursery rhyme, a song, a joke, imitates the voices of different animals, evokes a positive emotional reaction in the child, which in turn contributes to the early formation of aesthetic taste in the child, emotional creative needs.

In younger groups, poems, fairy tales, and songs familiar to children are acted out using a table theater. The fairy tale "Turnip", for example, is illustrated using plane dolls. And with the cheerful Petrushka, who is not even hiding behind a screen, the children willingly shake hands and answer his questions.

With children of the third and fourth year of life, they act out the simplest plots of familiar fairy tales, using elements of costumes and hats with silhouettes of characters. The children willingly join in the dramatization of the fairy tale using a flannelgraph, tabletop and finger theater.

Children of the fifth and sixth year of life, as a rule, already know and love puppet theater and participate with great desire in performances. The teacher is faced with the task of encouraging preschoolers to engage in independent theatrical games and to dramatize familiar literary works. Children of this age can already be taught to drive dolls - parsleys and puppets.

By mediating interaction with other people with dolls, timid children begin to understand the process of communicating with peers. By playing the roles of characters with different personalities, children “try on” different models of social behavior. By playing the role of a Wolf or a Bear, a child can express aggression, by playing the role of a Bunny - caution, by playing the role of a Cockerel - determination and courage. This experience allows the child to subsequently show tolerance, perseverance, and kindness in various life situations.

For a child, a puppet theater character is, first of all, a toy. The child sees how performances are performed with the help of dolls and begins to understand that they were created in order to “retell” the content of the fairy tale. Around middle preschool age, the child himself, without the help of dolls, tries to repeat and act out a familiar fairy tale. Active children always enjoy playing roles: putting on costumes, speaking and acting. But for many children, getting on stage is a serious test. It’s often the first time a child dares to speak words from the stage on behalf of a doll. He psychologically hides behind the doll.

In the hands of an adult, a doll is an assistant in solving many pedagogical problems. With the help of a doll, you can create playful motivation for the productive activities of children, give an adequate assessment on behalf of the doll of the product of the child’s activity without the risk of causing his resentment or resistance. This use of characters is most effective when working with children of middle and primary preschool age.

Both adults and children can participate in the puppet show. Such activities enrich children with new impressions, knowledge and skills, develop interest in literature, music, theatrical art, and form aesthetic taste. This is a great opportunity for teachers to carry out various educational, educational, and moral tasks not in an edifying way, but directly, unnoticeably for children, who, as a rule, are captivated by theatrical performances.

Music in puppet shows sounds during the plot, when the characters sing, dance or simply listen to the playing of the violin, piano, harmonica, pipe, etc. Music is introduced to create a certain mood, as a musical setting. However, in a puppet show it is not always of an auxiliary nature. Music often plays a very important role. How long will the attention of a preschool child last if he sits motionless on a chair during a theatrical performance? No more than 10 minutes. What if he takes an active part in the performance, for example, performing as a spectator some piece of music that is especially important for the successful continuation of the performance? This number doubles (sometimes triples)! At the same time, children’s emotional responsiveness, choral singing and children’s performance skills are formed (it’s one thing to sing for the audience, and quite another for the artists themselves!).

The musical repertoire for such performances is prepared with the children in advance during music classes, and the children do not necessarily know where they will use it. This will help maintain the moment of surprise.

The saturation of the performances with emotional and entertaining moments also increases the interest of children. The collective empathy of children forms in them the rudiments of social feelings and relationships.

Performances involving a puppet theater will occupy a certain place in the kindergarten system, provided:

— the presence and development of children’s ideas and interest in various types of theater;

— children mastering the rules and techniques of theatrical activities;

- a serious, sincere, emotionally positive attitude of the teacher towards children’s theater games.

Staging a puppet show with the participation of children is a very labor-intensive task, requiring great emotional investment and creative energy of both the directors and the actors themselves - the children. It is very important to take into account several psychological factors. The process of identifying, detecting the emotions of some children, when it occurs in the presence of the whole group, is necessary not only for the teacher, who uses it as a condition for changing the inappropriate position of the child; This process helps preschoolers understand each other, focus on the strengths and weaknesses of their peers’ character, and understand their experiences. An atmosphere of deep mutual understanding is a fertile ground for eliminating unethical, selfish tendencies in children, cultivating responsiveness, sensitivity to good and intransigence to evil. The means of influencing children’s feelings are: purposeful interaction with morally contradictory characters, the sincere, emotionally expressed attitude of the teacher himself to all moments of a fairy tale or role-playing game, and, finally, the active position of sensitive, responsive children, of whom there are always many in the group.

At first, it is very difficult for a teacher to organize such performances; the ability to quickly and creatively respond to the emotional responses of both actors and spectators, to clearly navigate difficult moments and to direct the entire performance absolutely imperceptibly does not immediately develop. But when this skill comes, working on staging the play gives great pleasure not only to the children, but also to the adults participating in it.

Key terms
(automatically generated)
: puppet theater, child, kindergarten, doll, puppet show, doll face, music, teacher, puppet help, aesthetic taste.

Relevance, purpose and objectives of theatrical activities in preschool education.

Theatrical activity is a source of development of feelings, deep experiences of the child, and introduces him to spiritual values. It is equally important that theatrical games develop the emotional sphere and make one sympathize with the characters. Theatrical activities permeate all routine and educational moments.

The basis of this work lies in the use of nursery rhymes, sayings, jokes, and lullabies. Oral folk art, presented in the form of skits and dramatization games, creates an atmosphere of warmth, kindness, attention, and contributes to the formation of an emotionally positive attitude of children to the world around them and their cognitive development.

Theatrical activities develop the child’s personality, instill a sustainable interest in literature and theater, improve children’s artistic skills in terms of experiencing and embodying an image, and encourage them to create new images.

Thanks to this form of work, communication with children becomes more interesting and meaningful. It is no secret that young children perceive speech addressed to them better if it is supported by visual objects (pictures, toys).

During development, changes occur in the emotional sphere of the child. His views on the world and relationships with others change. The child's ability to recognize and control his emotions increases. But the emotional sphere itself does not develop qualitatively. It needs to be developed.

Being confined to televisions and computers, children began to communicate less with adults and peers, but communication greatly enriches the sensory sphere. Children today have become less responsive to the feelings of others

Theatrical activities in kindergarten can organizationally permeate all routine moments: be included in all classes, in the joint activities of children and adults in their free time, and carried out in children’s independent activities. Theatrical activities can be organically included in the work of various studios and clubs; products of theatrical activities (stage plays, dramatizations, performances, concerts, etc.) can be included in the content of holidays and entertainment.

Thus, theatrical activity is the most important means of developing in children the ability to recognize a person’s emotional state by facial expressions, gestures, intonation, the ability to put oneself in his place in various situations, and find adequate ways to help. Theatrical activities make it possible to develop the experience of social behavioral skills due to the fact that every literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, and others). Theatrical activities are a source of development of feelings, deep experiences and discoveries of the child, introducing him to spiritual values. Theater reveals the spiritual and creative potential of the child and provides a real opportunity to adapt to the social environment.

MAGAZINE Preschooler.RF

The world of theater is a path to the inner feelings of a child, his soul. L.S. Wygodsky

What is theater?

This is the best, according to K.S. Stanislavsky, a means for communication between people, for understanding their innermost feelings. This miracle is capable of developing creative inclinations in a child, stimulating the development of mental processes, improving bodily plasticity, and forming creative activity; help reduce the spiritual gap between adults and children

Theater is a collective theatrical activity, and it is aimed at a holistic impact on the child’s personality. The child becomes liberated, begins to create independently, through the theater the child gets to know himself and begins to grow as a person. Theater creates conditions for the socialization of a child in society, strengthens adaptive abilities, corrects communication skills, and helps to realize a sense of satisfaction, joy, and success.

The prosperity and development of theatrical activities in kindergarten is not possible without the use of puppet theater. It is the main link in the development and improvement of children’s knowledge in the field of theatrical art. Puppet theater is one of the most favorite shows for children. It attracts with its brightness, colorfulness, and dynamics. In the puppet theater, children see toys that are familiar and close to them, which come to life and move, speak and become even more attractive and interesting. Puppet theater brings a lot of pleasure and joy. It is one of the most accessible forms of art for children.

Types of puppet theaters

1. Tabletop puppet theater.
2. Stand theater.
3. Theater on hand.
4. Horse dolls.
5. Floor dolls.
6. Living puppet theater.
7. Tabletop puppet theater. Toys for a tabletop theater can be made of paper, foam rubber, boxes, wire, natural materials, etc.

• Theater on a flat picture
• Theater on circles
• Conical
• Toy Theater
• Flat toys

Draw two sides of the character on the cardboard and cut them out; at the bottom you need to leave a small part of the cardboard on both halves. Then bend these parts and glue a circle to them - a stand. You can also use the following as a stand: caps from plastic bottles, halves of Kinder eggs, etc.

• theater on a flat picture
• Theater on circles
• Cut out a picture of the character and stick it on a mug or glass.
• Cone Theater

Toys made from cones and cylinders.

To get a cone, you need to cut out a circle, fold it in half and cut along the fold line. Glue cones from semicircles, turning them into figures, and glue the parts.

To get a cylinder, glue them together from rectangular sheets of thick paper. Decorate with applique by gluing character details

Toy theater

Ready-made and homemade from different materials: kinder eggs, flour salt, plasticine, etc.

Tabletop theater

Tabletop theater may also include: theaters of knitted toys, theaters from boxes, on disks, on cubes and many others.

2. Stand theater

• Flannelograph
• Shadow play
• Magnetic
• Stand book

Flannelograph Draw figures on thin cardboard, cut them out, and stick pieces of flannel on the reverse sides. Screen – thick cardboard or plywood covered with a piece of flannel

Shadow theater

1. Finger.

Cut out the character's head from cardboard and glue a paper tube to it for the performer's index finger. The performer's hand is the character's torso, and the middle and thumb are the legs.

2. Theater of “live” hand shadows.

Using the fingers, various animals, birds, objects, etc. are depicted.

3. . Cut out silhouettes.

Cut out different silhouettes from cardboard and stick them on long sticks. During the show, the silhouette must be held by the stick and moved as necessary.

Shadow screen device.

The screen is made from any translucent material (fabric, tracing paper), stretched over a frame made of plywood, cardboard, installed like an ordinary screen, and a light source - a lamp - is installed behind it.

The theatrical performance is also shown from the reverse side. Only the silhouettes of the characters are visible in front

Magnetic Theater

Glue a piece of magnet onto the cardboard with the image of the character on the back side. The theater is ready for use

Stand – book

3. Theater on hand

The characters are placed on the hand of a child or an adult; when the fingers move, the impression of the character’s movement is created.

• Finger
• Mittens
• Glove
• Theater on hand

1Finger

Characters for finger theater can be made from different materials: knitted from threads, sewn from fabric, from foam rubber, etc.

22. Mitten Theater.

Characters are sewn from

fabrics in the form of mittens. It can represent a doll's head, with the thumb serving as the character's nose. It can also be turned into a whole animal, then the thumb will be the tail, and the mitten itself will be the body, the head and other details are sewn to it. You can use old unnecessary mittens.

3 Glove.

The head, clothes, and necessary details of the character are sewn onto the glove.

4. Horse dolls

Puppets that are necessary when showing theatrical action using a screen.

On spoons

Bibabo

Cane puppets

1 Theater on spoons - The oval or round part of the spoon is shaped like a head (thread hair, eyes, mouth, etc.), then the body is attached to the head in the form of a dress, a shirt - a piece of fabric.

2 cane dolls - Cane dolls can be made in the form of a toy on a stick - a cane or in the form of a cardboard toy, which is also glued to a stick.

3Bibabo -The doll's head is placed on the index finger, and the thumb and middle finger serve as hands. Dresses are sewn for them, decorated with details (pocket, apron, belt). The heads can be made of foam rubber, fabric, papier-mâché. For the head, you need to make a circle from any fabric, gather it around the perimeter with a thread, and stuff it with cotton wool. Sew on nose, hair, etc.

5Floor dolls

Puppets.

Puppet theater characters are also made from different materials. The parts can be sewn according to the principle of making a soft toy using a template - a pattern, which is applied to the fabric, outlined with chalk, cut out, and simple parts are sewn together. The principle of operation of such toys is thanks to a fishing line tied to the cross.

6 Living Puppet Theater

• Puppets
• People dolls
• Masque

Puppet theater is a wonderful journey into the land of a fairy tale come to life! Not only every child, but also an adult who has retained a living perception of life in their hearts, crosses the theater threshold with a justified expectation of miracles and magic! It is here, seeing the heroes of books and fairy tales come to life, that the child begins to learn the joy of co-creation, empathy, and love of art in the broadest sense of the word!

I wish everyone creative success in mastering theatrical art.

Theatrical games in preschool educational institutions

• August 24, 2009

Play is the most accessible and interesting way for a child to process and express impressions, knowledge and emotions.
Theatrical play, as one of its types, is an effective means of socializing a preschooler in the process of his understanding of the moral implications of a literary or folklore work. In theatrical play, emotional development occurs: children get acquainted with the feelings and moods of the characters, master the ways of their external expression, and understand the reasons for this or that mood. Theatrical play is also of great importance for speech development (improving dialogues and monologues, mastering the expressiveness of speech). Finally, theatrical play is a means of self-expression and self-realization for the child.

At the same time, today in preschool institutions the developmental potential of the theatrical is not used enough, which can be explained by the presence of two contradictory trends in the methods of organization.

1. According to the first trend (let’s call it training), theatrical games are used mainly as a kind of “spectacle” during holidays. The desire to achieve good results forces teachers to memorize with children not only the text, but also intonation and movements during a justifiably large number of individual and collective rehearsals. The child is trained to be a “good artist.” And, as a result, the spectacle took place, the audience liked the performance. However, the skills mastered in this way are not transferred by children to free play activities. Of course, the preparation for the performance and the performance itself are so similar to a game!

2. The second trend in organizing theatrical play can be called non-interference by an adult: children are left to their own devices, the teacher only prepares the attributes for the “theater”. From group to group, the child is accompanied by the same type of caps-masks, costume elements and figurines of heroes... Younger preschoolers are attracted to this, first of all, because of the opportunity to change clothes, and therefore change, but this no longer satisfies the older preschooler, since it corresponds to his cognitive interests and level development of mental processes, increased opportunities for self-realization in creative activity. The consequence is the almost complete absence of theatricality in the play experience of children 5-7 years old, even if they have an interest in this activity and a need for it. Meanwhile, the musical director brought a new script for the play to the group... The circle was closed, and there was no place left for independent creative theatrical acting...

The contradiction between the developmental potential of theatrical play and its insufficient use in a preschool institution can only be resolved if scientifically grounded and practice-oriented pedagogical technology is developed. The Childhood program offers just such technology. To understand it, it is necessary, first of all, to reveal the basic theoretical ideas underlying the concept of the development of theatrical play and to define the concepts.

The characteristic features of theatrical games are the literary or folklore basis of their content and the presence of spectators. They can be divided into two main groups : dramatizations and directorial ones (each of them, in turn, is divided into several types).

In dramatization games, the child, playing a role as an “artist,” independently creates an image using a set of means of verbal and nonverbal expressiveness. Types of dramatization are games that imitate images of animals, people, and literary characters; role-playing dialogues based on text; staging of works; staging performances based on one or more works; improvisation games with the acting out of a plot (or several plots) without prior preparation

In director's play, “the actors are the toys or their substitutes, and the child, organizing the activity as a “scriptwriter and director,” controls the “artists.” “Voicing” the characters and commenting on the plot, he uses different means of verbal expression. The types of director's games are determined in accordance with the variety of theaters used in kindergarten: tabletop, flat and three-dimensional, puppet (bibabo, finger, puppets), etc.

A variety of theatrical games is presented in the section “In play, a child develops, learns the world, communicates” of the “Childhood” program (author - Candidate of Pedagogical Sciences, Professor T.N. Babaeva). What they all have in common is the presence of spectators. In addition, they represent a “frontier” type of activity, closely related to literary and artistic creativity. A theatrical game (especially a dramatization game) is characterized by a shift in emphasis from the process of the game to its result, which is interesting not only to the participants, but also to the audience. It can be considered as a type of artistic activity, which means that it is advisable to develop theatrical activity in the context of artistic activity.

The genesis of the formation of the latter is revealed by N.A. Vetlugina. From her point of view, artistic activity consists of three stages: perception, execution and creativity. It is this concept that forms the basis of the technology for implementing the content of the “Child in the World of Fiction, Fine Arts and Music” section of the “Childhood” program.

There is no doubt that the development of visual, literary, and musical activities of preschool children occurs in the general context of the formation of artistic activity. However, this approach to theatrical activities has not been sufficiently developed.

At the same time, an analysis of psychological and pedagogical literature and scientific research proves the feasibility of its use for the targeted development of theatrical activities in preschool age.

So, the system of work on the development of theatrical activities is divided into three stages:

• artistic perception of literary and folklore works;
• mastering special skills for developing basic (“actor”, “director”) and additional positions (“screenwriter”, “designer”, “costume designer”);
• independent creative activity.

The pedagogical task is complicated by the synthetic nature of theatrical activity, in which perception, thinking, imagination, speech are in close relationship with each other and are manifested in different types of children's activity (speech, motor, musical, etc.).

This means that theatrical activity is integrative, and activity and creativity are manifested in three aspects.

1. Firstly, in creating dramatic content, i.e. in the interpretation, rethinking of the plot given by the literary text or the composition of a variable or one’s own plot.
2. Secondly, in the fulfillment of one’s own plan, i.e. in the ability to adequately embody an artistic image using various means of expressiveness: intonation, facial expressions, pantomime, movement, chanting.
3. Thirdly, in the design of the performance - in the creation (selection, production, non-standard use) of scenery, costumes, musical accompaniment, posters, programs.

Because of these features of theatrical activity, the term “theatrical play activity” . In the “Childhood” program, children’s theatrical and play activities are considered in two interrelated aspects:

• as a type of artistic activity , it is included in the section “Child in the world of fiction, visual arts and music”, where it is integrated with the following types of activities: literary, musical and visual;
• As a creative story game that exists in a child’s independent play experience, it is presented in the section “In play, the child develops, learns about the world, and communicates.”

These are the initial theoretical positions. Let us now reveal the specifics of the goals, objectives and content of the teacher’s work with children of different age groups.

Goals, objectives and content of work with children of primary preschool age

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

• from observing a theatrical performance by an adult to independent play activity;
• from individual play and “side-by-side play” to play in a group of three to five peers playing roles;
• from imitation of the actions of folklore and literary characters to imitation of actions in combination with the transfer of the main emotions of the hero and mastering the role as the creation of a simple “typical” image in a dramatization game.

Objectives and content of the work

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

In the future, it is important to stimulate his desire to join the play , complementing individual phrases in the characters’ dialogues, stable turns of the beginning and ending of the fairy tale. The children's attention is fixed on the fact that at the end the dolls bow and ask to thank them and clap their hands. Glove and other theatrical puppets are used in classes and in everyday communication. On their behalf, the adult thanks and praises the children, says hello and goodbye. The implementation of this task is achieved by successively complicating game tasks and dramatization games in which the child is involved. The steps of work are as follows:

• The game is an imitation of individual actions of humans, animals and birds (the children woke up and stretched, the sparrows are flapping their wings) and the imitation of the basic emotions of a person (the sun came out - the children were happy: they smiled, clapped their hands, jumped in place).
• The game is an imitation of a chain of sequential actions combined with the transfer of the main emotions of the hero (the cheerful nesting dolls clapped their hands and began to dance; the bunny saw a fox, got scared and jumped onto a tree).
• The game imitates the images of well-known fairy-tale characters (a clumsy bear walks towards the house, a brave cockerel walks along the path).
• Improvisation game to music (“Cheerful Rain”, “Leaves fly in the wind and fall on the path”, “Round dance around the Christmas tree”).
• Wordless improvisation with one character based on the texts of poems and jokes that the teacher reads (“Katya, little Katya...”, “Baby, dance...”, V. Berestov “Sick Doll”, A. Barto “Snow, Snow”).
• An improvisation game based on the texts of short fairy tales, stories and poems told by the teacher (3. Aleksandrova “Christmas tree”; K. Ushinsky “Cockerel with his family”, “Vaska”; N. Pavlova “By the car”, “Strawberry”; V. Charushin "Duck with ducklings").
• Role-playing dialogue between fairy tale heroes (“Rukavichka”, “Zayushkina’s Hut”, “Three Bears”).
• Dramatization of fragments of fairy tales about animals (“Teremok”, “Cat, Rooster and Fox”).
• A dramatization game with several characters based on folk tales (“Kolobok”, “Turnip”) and author’s texts (V. Suteev “Under the Mushroom”, K. Chukovsky “Chicken”).

In children of this age, primary development of director's theatrical games - tabletop toy theater, tabletop plane theater, plane theater on a flannelgraph, finger theater. The process of mastering includes mini-productions based on the texts of folk and original poems, fairy tales, stories (“This finger is a grandfather ...”, “Tili-bom”, K. Ushinsky “Cockerel with his family”, A. Barto “Toys”, V. Suteev “Chicken and Duckling.”) The child begins to use finger theater figures in joint improvisations with an adult on given topics.

Enriching the gaming experience is possible only if special gaming skills are developed.

1. The first group of skills is associated with mastering the “spectator” position (the ability to be a friendly spectator, watch and listen to the end, clap your hands, say thank you to the “artists”).
2. The second group of skills ensures the primary formation of the “artist” position, including the ability to use certain means of expressiveness (facial expressions, gestures, movements, strength and timbre of voice, tempo of speech) to convey the image of the hero, his emotions and experiences and correctly hold and “lead” the doll or a figurine of the hero in the director's theatrical play.
3. The third group of skills is the ability to interact with other participants in the game: play friendly, not quarrel, take turns playing attractive roles, etc.

Goals, objectives and content of work with children of middle preschool age

The main directions of development of theatrical play are:

• in the child’s gradual transition from play “for himself” to play focused on the viewer;
• from a game in which the most important thing is the process itself, to a game where both the process and the result are significant;
• from playing in a small group of peers playing similar (“parallel”) roles to playing in a group of five to seven peers whose role positions are different (equality, subordination, control);
• from creating a simple “typical” image in a dramatization game to the embodiment of a holistic image that combines emotions, moods, states of the hero, and their changes.

Objectives and content of the work

At this age, interest in theatrical games deepens. The work of a teacher with children 4-5 years old should be to maintain interest in theatrical play, to differentiate it, which consists in preferring a certain type of game (dramatization or directorial), and to develop motivation for interest in the game as a means of self-expression.

Expansion of children's theatrical and gaming experience is carried out through the development of dramatization games. Almost all types of game tasks and dramatization games that a younger preschooler has mastered are useful and interesting for a child of middle preschool age. In addition to the games mentioned above, the following are used when working with children:

• multi-character games-dramatizations based on the texts of two-three-part fairy tales about animals and fairy tales (“Winter Lodge of Animals”, “The Fox and the Wolf”, “Geese-Swans”, “Little Red Riding Hood”);
• games-dramatization based on the texts of stories on the topics “Children and their games”, “Guys and animals”, “The work of adults”;
• staging a performance based on the work.

The expansion of children's gaming experience also occurs through the development of theatrical play. At the age of 4-5 years, the child masters different types of table theater: soft toys, wooden theater, cone theater, folk toy theater and plane figures. Also available to children is a horse puppet theater (without a screen, and by the end of the school year - with a screen), a spoon theater, etc. Children show performances based on poetic and prose texts (S. Marshak “The Tale of a Stupid Mouse”; K. Chukovsky “Confusion” "). Finger theater is more often used in independent activities, when a child improvises based on familiar poems and nursery rhymes, accompanying his speech with simple actions (“We lived with grandma”; S. Mikhalkov “Kittens”, 3ubkova “We shared an orange”).

The theatrical and play skills become significantly more complex .

1. The first group of skills ensures the further development of the “spectator” position: to be an attentive and friendly viewer; demonstrate elements of spectator culture: do not leave your seat during the performance, respond adequately to what is happening “on stage,” respond to the “artists’” appeal, thank them with applause; positively evaluate the play of peers - “artists”).
2. The second group of skills is associated with improving the “artist” position, mainly this implies the ability to use non-verbal means (facial expressions, gestures, postures, movements) and intonational expressiveness to convey the image of the hero, his emotions, their development and change (Masha got lost in the forest - she got scared , saw a hut - I was surprised, figured out how to deceive the bear - I was delighted), to convey the physical characteristics of the character, some of his character traits (the old grandfather pulls the turnip with difficulty, but the granddaughter does not pull very diligently, wants to run away and play with her friends; the mouse He is so afraid of the cat that he pulls with all his might). The ability to “control” a doll also develops: holding it unnoticed by the audience, correctly “leading” a doll or a hero figurine in a director’s theatrical play, imitating walking, running, jumping, gestures and movements symbolizing greetings and farewells, agreement and disagreement.
3. The third group of skills ensures the initial development of the “director” position in the director’s theatrical play, i.e. the ability to create a play space on the table plane, fill it with toys and figures at your discretion.
4. The fourth group allows the child to master the basic skills of a “performance designer,” which implies the ability to determine the place for the game, select attributes, variably use materials and costume elements, and be involved in the process of the teacher making the missing attributes for the game.
5. The fifth group of skills, aimed at positive interaction with other participants in the game, includes the ability to negotiate, establish role relationships, and master basic methods of resolving conflict situations during the game.

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

Goals, objectives and content of work with children of senior preschool age

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

• from a game based on one literary or folklore text to a contamination game, in which the literary basis is combined with its free interpretation by the child or several works are combined;
• from a game where expressive means are used to convey the characteristics of a character, to a game as a means of self-expression through the image of a hero;
• from a game in which , to a game in which a complex of positions is presented: “artist”, “director”, “screenwriter”, “designer”, “costume designer”;
• from theatrical play to theatrical play activity as a means of personal self-expression and self-realization of abilities.

Objectives and content of the work

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

A new aspect of the joint activity of adults and children is the introduction of children to theatrical culture, i.e. acquaintance with the purpose of the theater, the history of its origin in Russia, the structure of the theater building, the activities of people working in the theater, prominent representatives of these professions, types and genres of theatrical art (dramatic, musical, puppetry, animal theater, clowning, etc.).

In older preschool age, the theatrical gaming experience is deepened through the development of different types of dramatization games and director's theatrical games. Along with figurative play sketches, improvisation games, and staging, older preschoolers have access to independent productions of performances, including those based on a “collage” of several literary works. For example, “A Journey through the Tales of A.S. Pushkin”, “New adventures of the heroes of Charles Perrault’s fairy tales”, etc. The experience of director’s acting is enriched by puppets, puppets with a “living hand”, and cane puppets.

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

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

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

1. The first group of skills is related to improving the viewer’s position as a “smart, kind advisor.”
2. The second group involves deepening the “artist” position, developing the ability to express one’s attitude to the idea of ​​the performance, the hero and to express oneself using a set of means of non-verbal, intonation and linguistic expressiveness.
3. The third group ensures the formation of the position of “director-screenwriter,” which implies the ability to realize their ideas not only on their own, but also by organizing the activities of other children.
4. The fourth group allows the child to master some of the skills of a costume designer, i.e. the ability to designate the location of the “stage” and “auditorium”, select and creatively use substitute items and independently made attributes and costume elements, make posters, invitations, etc.
5. The fifth group of skills involves the use of positive methods of communication with peers in the process of planning the game, during its course (transition from the game plan to the plan of real relationships) and when analyzing the results of a theatrical production.

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

Principles of organizing theatrical play

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

1. The most important principle is the specificity of this activity, combining play (free, involuntary) and artistic (prepared, meaningfully experienced) components

2. The principle of complexity presupposes the relationship of theatrical play with different types of art and different types of artistic activity of the child.

3. According to the principle of improvisation, theatrical play is considered as a creative activity, which determines the special interaction between an adult and a child, children among themselves, the basis of which is a free atmosphere, encouragement of children's initiative, the absence of a role model, the child having his own point of view, the desire for originality and self-expression.

4. All the above principles find their expression in the principle of integrativeness, according to which purposeful work on the development of theatrical and play activities is included in the holistic pedagogical process.

Author: O. Akulova, Associate Professor of the Department of Preschool Pedagogy, Candidate of Pedagogical Sciences, Russian State Pedagogical University named after. A.I. Herzen

https://www.pedlib.ru/

Pedagogical project “Puppet Theater”

Elena Ugolnikova

Pedagogical project “Puppet Theater”

Problem: parents have insufficient understanding of the role of theatrical activities in the development of children’s speech and difficulty in children using puppet theater in independent creative activities.

Justification of the problem:

1. Insufficient attention of parents and children to puppet theater .

2. Children’s skills in “acting”

puppeteers.

Type of project : educational - creative, gaming.

Project participants : children of the middle group (4 – 5 years old)
“Fireflies”
, teachers, parents of group pupils.

By number - the whole group

Duration: November 2021, short-term.

Project goal : To introduce children to theatrical art and puppet theater . To promote the formation of a creative personality in a child; develop speech and communication skills in children. Create conditions for the development of children's creative activity in theatrical activities , provide conditions for interconnection with other types of activities in the holistic pedagogical process .

Project objectives :

1. Expand children's understanding of puppet theater , its types, attributes, costumes, and decorations.

2. Create conditions for organizing joint theatrical activities between children and adults, aimed at bringing children, parents and teachers .

3. To create an artistic and aesthetic, creatively developing subject environment in the preschool educational institution.

4. Teach children to establish and regulate contacts in joint and independent activities.

5. Develop emotionality and expressiveness of speech in preschoolers.

6. Instill in children primary skills in the field of theatrical art

(puppeteering, character dialogue)

.

7. Contribute to the formation of aesthetic taste.

8. Ensure interconnection with other types of activities: visual, musical, fiction, design.

9. Involve adults and children in theatrical and performing activities .

10. Involve parents in the theatrical and cultural life of preschool educational institutions .

Relevance of the project :

Theater , as one of the most accessible forms of art, helps to improve the general culture of the child and the formation of correct behavior in the modern world. At the same time, preschoolers can be both spectators of theatrical action and its participants. Theatrical activities , through performances - fairy tales, holidays, puppet shows or activities with elements of dramatization, allow children to build communication with each other. Children learn to look at themselves from the outside, depicting different characters, actions, and reveal the meaning of such concepts as friendship, kindness, honesty, courage, etc.

In theatrical activities, the child liberates himself, conveys his creative ideas, and receives satisfaction from the activity. Theatrical activities help to reveal the child’s personality, his individuality, and creative potential. The child has the opportunity to express his feelings, experiences, emotions, and resolve his internal conflicts.