Technology for organizing theatrical activities in preschool educational institutions material
“Working with preschoolers on staging a play”
Teacher Gorbatova N.G.
The methodological recommendations include the main stages of working with preschoolers on staging a play and developing scripts for performances.
Working with preschoolers on staging a play
In modern society, the social prestige of intelligence and scientific knowledge has increased. Associated with this is the desire to give children knowledge, to teach them to read, write and count, and not the ability to feel, think and create.
There is an important problem that worries teachers. According to data, during the period of a child’s psychological adaptation to school, 69% of first-graders experience fears, breakdowns, and lethargy, while others, on the contrary, become loose and fussy, lack voluntary behavior skills, and have insufficiently developed memory and attention. The shortest way to emotionally liberate a child, relieve tension, teach feelings and artistic imagination is the path through play, fantasy, and writing. Theatrical activities can provide all this.
It is dramatization “based on an action performed by the child himself that most closely, effectively and directly connects artistic creativity with personal experiences.” (L.S. Vygotsky).
Creating a play with children is a very exciting and rewarding activity. Joint creative activity involves even insufficiently active children in the production process, helping them overcome shyness and inhibition.
When preparing for a performance, try to follow a few basic rules:
- do not overload children;
- do not impose your opinion;
- provide all children with the opportunity to try themselves in different roles.
Children's first meeting with a play or dramatization should be emotionally rich in order to awaken interest in the work ahead. As a rule, the material for stage implementation is fairy tales, which provide “an unusually bright, broad, multi-valued image of the world.” The world of a fairy tale with its wonders and secrets, adventures and transformations is very close to a child. A fairy tale awakens in children compassion, a desire to understand another person, a sense of complicity, justice, a desire to do good and fight evil.
When choosing material for dramatization, take into account the age capabilities, knowledge and skills of children, but at the same time you need to enrich their life experience, awaken interest in new knowledge, and expand their creative capabilities.
The Kuklyandiya theater association has been open to boys and girls since 2003. At first these were teenagers and high school students. Since 2006, the team has been replenished with younger schoolchildren, and since 2009, the team has expanded with preschool children. In this methodological recommendation, I would like to pay attention to the main stages of working with preschoolers on staging a play or dramatization.
The main stages of working on the performance:
- Selecting a play and discussing it with children.
- Dividing the play into episodes and retelling them for children.
- Work on episodes in the form of sketches with improvised text.
- Search for an image (defining the character of the hero, manner of moving, speaking).
- Search for mise-en-scène (musical and plastic solutions for episodes, staging dances). You can create sketches of scenery and costumes with your children.
- Work on the text: proposed circumstances and motive for the characters’ behavior.
- Work on the expressiveness of speech and the authenticity of behavior in public conditions, consolidating individual mise-en-scenes.
- Rehearsals based on paintings with elements of scenery and props (possibly conditional), with musical accompaniment.
- Rehearsal of the entire play - run-through (scenery, props, costume).
- Premiere of the play. Discussion.
- Reruns. Preparing an album with photographs.
The first stage of working on a play is related to its selection. When preparing dramatizations based on folk and original fairy tales, you can have a conversation about the life and way of life of people of that time (what they dressed in, what they ate, how they communicated, what customs they observed). Listening to music, artistic illustration. You can watch films, they help you feel the atmosphere of fabulous events. And it broadens your horizons. Activates cognitive interest.
It is useful for the development of imagination, the ability to fantasize, to invite children to compose the lives of the characters before the play begins (i.e., a fragment of life), helping with a variety of leading questions. Thus, we unobtrusively lead children to the ability to analyze and search for a character’s image.
The second stage involves dividing the play into episodes (pieces). Children retell each episode, complementing each other, and come up with a name.
The third stage is working on individual episodes in the form of sketches with improvised text. At first, the most active children become participants, but we must strive, without forcing, to involve all members of the team in this process. From the beginning, children are hampered by a relatively small vocabulary, which makes it difficult to conduct a dialogue, but feeling the support (hint) of the teacher, children begin to act more naturally and confidently, and their speech becomes more varied and expressive.
The fourth stage is the search for an image, the work is first built as a conversation; discussion of the character of the hero, manner of speaking, moving, We listen to all the options, who thinks what? Why? For what? etc.
All children take part in the discussion, but the teacher’s task is to easily lead to the right decision, explaining why and how. Next, we come up with plastic sketches (gait, manner) and demonstrate them. At this stage, you have to talk a lot about the actor's work and the role. That there are no bad roles. Very often children do not want to play negative characters, so it is necessary to explain to children that the actor’s task is to show these negative character traits and behavior of the hero for moral purposes. And one more technique that you can use is to look for positive qualities in a negative character, and negative qualities in a positive one.
The fifth stage is the search for mise-en-scène. Creation of sketches of scenery and costumes.
Mise-en-scene is the placement of actors, things, various things (props, decoration elements) on the stage at certain moments of the performance. At this stage, young (already) actors learn to act. The teacher’s task is to help find the necessary (according to the logic of the action) gesture, movement, action and lead the child to this action, so that he can really live through some moment so that the movement, action is alive and justified, and not imposed by an adult. We lead the child to this, based specifically on his life experience, analyzing his life situations, and what would you do..., if...? and how would you say... if...?). So, as you can see, at this stage children are faced with Stanislavsky’s “magical: if…”, and this leads to the ability to transform.
Also at this stage, children are introduced to the musical works that will be performed in the performance. And bright musical images help children find the appropriate plastic solution; at first they simply improvise to the music, then move, turning into a specific character.
At the same time, they learn to create sketches, make drawings of individual paintings, images according to a creative plan, selecting colors in accordance with their imagination.
The sixth stage is a gradual transition to the text of the play. During rehearsals, the same passage is repeated by different performers many times, which allows children to quickly learn almost all the roles. During this period, the proposed circumstances of each episode are clarified (where? when? at what time? why? why?) and the motives for the behavior of each character are emphasized (for what? for what purpose?)
The seventh stage begins work on the role. Already knowing that, based on personal emotional experience and memory, the child remembers a situation in his life when he experienced feelings similar to those of the characters in the play. Do not impose the logic of another person’s actions on young actors. Children can propose the most successful, in their opinion, invented mise-en-scène and we consolidate them.
At this stage, achieve expressiveness and clarity of speech, identify the speech characteristics of the characters. Each has their own style (smoothly, drawing out words, another - very quickly, emotionally, a third - slowly, confidently, etc.)
The eighth stage is rehearsal for paintings in different compositions. During rehearsal, make sure that children do not repeat the poses, gestures, and intonations of other performers, but look for their own variations. Learn to place yourself on the stage (logically), without getting confused, without overlapping each other (the law of the stage). Any discovery, a new successful solution should be celebrated and encouraged, taught not to be afraid, but to skillfully work with props, play with the scenery, because the main thing on stage is the action.
The ninth stage is the shortest in time. During this period, rehearsals of the entire play take place. If before at rehearsals some of the scenery and props were conventional, now we use props, scenery, and costumes prepared for the performance, which help in creating the image.
Rehearsals are accompanied by musical accompaniment, the tempo of the performance is specified, the length of individual scenes or, conversely, excessive haste and crumpledness. Assign responsibilities in preparing props and changing scenery.
The tenth stage - the premiere of the performance, is also a dress rehearsal because The first viewer comes to the premiere.
A premiere is always excitement, bustle, and, of course, an upbeat, festive mood. In practice, children begin to understand what the collective nature of theatrical art is, how the success of the performance depends on the attention and responsibility of each performer (prop master, sound engineer, prop man, costume designer, etc.). Applause!
There is no point in holding a discussion immediately after the presentation. Young actors are still too excited and will not be able to evaluate their successes and failures. But the next day, in a conversation, you can find out how critically they are able to treat their own performance by answering questions about what was good and what was not, children learn to evaluate sincerity and truthfulness on stage, note the expressiveness and resourcefulness of behavior on stage, noting expressiveness and resourcefulness of individual performers.
And the teacher’s task is to direct the conversation in the right direction with his questions, trying to point out the main mistakes and shortcomings, but at the same time praise and note the successful and interesting moments of the speech.
And the final stage is reruns of the performance. The statement that children get tired of playing the same thing over and over again is incorrect. This will get boring if everything in the play is programmed and the young actors only blindly carry out the director’s will. And if children understand what they should do on stage, then try to act differently each time, then this is already an element of creative improvisation. And this is the most precious thing for a teacher, as for the leader of a theater group, i.e. The task that I set for myself has been completed - to reveal a creative individuality (to teach me to look for my own expressive means, and not to imitate others), capable of authentically, organically acting in public conditions (stage).
Below are the developments of scripts for various performances.
"Dramateshka" is the largest archive of children's plays in RuNet
Based on the tasks for the development of theatrical activities with preschoolers, its content of work in kindergarten is determined (Appendix 3). However, the forms of organization can be different. For example, L.V. Kutsakova and S.I. Merzlyakova distinguish: classes (frontal, subgroup and individual), holidays, entertainment, performances, theatrical actions (Scheme 6). The main form is occupation. Forms of organizing theatrical activities (Diagram 6)
L.V. Kutsakova and S.I. Merzlyakova identified the following types of theater classes (Diagram 7)
Typical ones, which include the following types of activities: theatrical gaming, rhythmoplasty, artistic speech, theatrical alphabet (elementary knowledge of theatrical art). Dominant - one of the specified types of activity dominates. Thematic, in which all the named types of activities are united by one topic, for example: “What is good and what is bad?”, “About dogs and cats,” etc. Complex - a synthesis of arts is used, an idea is given about the specifics of the arts (theater , choreography, poetry, music, painting), about modern technical means (audio, video materials). All types of artistic activity are united, alternate, there are similarities and differences in works, means of expression of each type of art, conveying the image in their own way. Integrated, where the core activity is not only artistic, but also any other activity. Rehearsal rooms, where a “run-through” of the performance being prepared for production or its individual fragments is carried out. When organizing classes, it is necessary to remember that knowledge and skills acquired without desire and interest do not stimulate the cognitive activity of preschoolers. Questions: 1. List the main forms of organizing theatrical activities with preschoolers. 2. Name the types of theater classes in preschool educational institutions. Assignment for independent work: Prepare a summary of one type of theater lesson with children of senior preschool age. Literature 1. Antipina E.A. Theatrical activities in kindergarten.-M., 2003. 2. Botnar V.D., Suslova E.K. Dramatization games are the basis for acquaintance with the culture of other peoples // Preschool education. – 1994. – No. 3. 3. Konovich A.A. Theatrical celebration and rituals. – M., 1990. 4. Kutsakova L.V., Merzlyakova S.I. Raising a preschool child: developed, educated, independent, proactive, unique, cultural, active and creative. - M.: Vlados, 2004. 5. Makhaneva M. Theatrical activities of preschoolers // Preschool education. – 1999. – No. 11. 6. Sorokina N.F. Playing puppet theater: Program “Theatre-creativity-children.”-M.: ARKTI, 2004. 7. Churilova E.G. Methods and organization of theatrical activities for preschoolers and primary schoolchildren. - M.: Vlados, 2001.
Article:
Drama classes are of great importance for the all-round development of a child.
That is why, in the temporary (approximate) requirements for the content and methods of work in a preschool educational institution, a special section “Child development in theatrical activities” is highlighted. It emphasizes that the teacher is obliged to: • create conditions for the development of children’s creative activity in theatrical activities (encourage performing creativity, develop the ability to act freely and relaxed when performing, encourage improvisation through facial expressions, expressive movements and intonation, etc.);
- introduce children to theatrical culture (introduce them to the structure of the theater, theatrical genres, different types of puppet theaters);
- ensure the relationship between theatrical and other types of activities in a single pedagogical process.
This requires certain conditions. First of all, work organization. Why, first of all, organization and not content? In our opinion, only a reasonable organization of theatrical activities will help to choose the main directions, form and methods of work on this issue, and to rationally use personnel potential. This will contribute to the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interaction with the family, etc., ultimately - the integrity of the pedagogical process and the forms of its implementation, acting as a single well-thought-out system for organizing the joint life of children and adults.
Theatrical activities for children can be organized in the morning and evening hours at unregulated times; is presented as part of classes on various types of activities (musical education, artistic activities, etc.), and is also planned as a special lesson within the framework of classes on the native language and familiarization with the outside world. Preferably. So that small subgroups of children participate in all forms of theatrical activities (this allows for an individual approach to the child), and each time the subgroups should be formed differently - depending on the content of the classes.
In accordance with the inclinations and interests of children, classes in various studios on theatrical activities can be organized in the evening (“Puppet theater for kids”, “Theater salon”, “Visiting a fairy tale”, etc.), conducted by a teacher or specialist . It is useful when the results of the work of studios (in manual labor, artistic activities, musical education, theatrical activities) are ultimately combined into a single “product” - a concert, performance or holiday; In such common activities, each child becomes a member of a team united by a common goal.
Teachers and parents can participate in the work of theatrical studios. This is very important: the joint creative activity of children and adults makes it possible to overcome the traditional approach to the regime of life in a preschool educational institution, which is characterized by regulation, artificial isolation of children of different ages, and limited opportunities for their communication with each other and adults. Such an organization of theatrical activities not only creates conditions for children to acquire new knowledge, abilities and skills, develop abilities and creativity, but also allows them to come into contact with children from other groups, with different adults. Expanding the circle of communication helps to create a full-fledged development environment, each child to find his own, special place and at the same time become a full-fledged member of the community; promotes the self-realization of everyone and the mutual enrichment of everyone: adults and children act here as equal partners of interaction . By participating in a play or concert, a child assimilates the experience of adults naturally and naturally, just as an adult naturally sets by his own example patterns of behavior and methods of activity. In addition, in joint activities, educators get to know children better, the characteristics of their character, temperament, dreams and desires. A microclimate is created, which is based on respect for the personality of the little person, care for him, and trusting relationships between adults and children.
The environment is one of the main means of developing a child’s personality in theatrical activities, the source of his individual knowledge and social experience. At the same time, the object-spatial environment should not only ensure joint theatrical activities of children, but also be the basis for the independent creativity of each child, a unique form of his self-education. Therefore, when designing a subject-spatial environment that provides theatrical activities for children, the following should be taken into account:
- Individual social and psychological characteristics of the child;
- Features of his emotional and personal development;
- Individual interests, inclinations, preferences and needs;
- Curiosity, research interest and creativity;
• Age and gender - role characteristics. The social and psychological characteristics of preschool children include the desire to participate in joint activities with peers and adults, as well as the occasional need for solitude. To ensure an optimal balance of joint and independent theatrical activities of children, each age group should be equipped with a theater area or a fairy tale corner, as well as a “quiet corner” in which the child can be alone and “rehearse” a role in front of the mirror or look again illustrations for the play, etc.
Taking into account the individual characteristics of the emotional and personal development of a child requires the design of unique privacy zones - special places in which each child stores his personal property: his favorite home toy, decoration, some kind of costume, etc., which he can use in theatrical activities.
In order to realize the individual interests, inclinations and needs of preschoolers, the subject-spatial environment must ensure the right and freedom of choice. Therefore, in the area of theatrical activities there should be various types of puppet theaters and screens for its display, children's drawings, etc. In addition, periodic updating of material focused on the interests of different children is necessary. This creates conditions for personalized communication between the teacher and each child.
The development of curiosity and research interest is based on creating opportunities for modeling, searching and experimenting with various materials when preparing attributes, scenery and costumes for performances - in the area of theatrical activities it is necessary to have a variety of natural and waste materials, fabric, and costumes for dressing up.
Special multifunctional rooms (music and theater halls, dressing rooms, fairy tale rooms, etc.) also contribute to the development of children’s creative abilities, in which special classes in children’s theatrical activities, studio work and a variety of holidays and entertainment can be held. In the “School of Development” of V. A. Sukhomlinsky, a special fairy tale room was equipped: “Every picture, every visual image sharpened the receptivity to the artistic word, and revealed the idea of the fairy tale more deeply. Even the lighting in the fairy tale room played a very important role.”
Taking into account the age characteristics of a child as a facet of his individual characteristics requires, when designing a theater area in a group, to provide for the age-appropriateness of equipment and materials. So, for example, in a group for children 2-4 years old in this area there should be a dressing area and toys - animals for the theatricalization of familiar fairy tales . In the group for children 5-7 years old, types of theaters should be more widely represented, as well as a variety of materials for making attributes for performances, etc.
In order to take into account the gender and role characteristics of children, the equipment of the area for theatrical activities should meet the interests of both boys and girls.
Thus, designing a zone for children’s theatrical activities presupposes compliance with the basic principles of constructing a subject-spatial environment:
- Ensuring a balance between joint and individual activities of children;
- Organization of privacy zones;
- Providing the right and freedom of choice;
- Creating conditions for modeling, searching and experimentation;
- Multifunctional use of premises and equipment;
- Age and gender - role targeting of equipment and materials.
CHILDHOOD GUIDE
Master class for educators
“Use of gaming methods and techniques
in organizing theatrical activities"
Ustinova Olga Viktorovna,
teacher of MKDOU No. 16,
Novosibirsk city
Goal: developing the competence of teachers in the use of gaming methods and techniques in organizing theatrical activities. Objectives: 1. Determine the importance of the creative development of preschool children.
2. Clarify the stages of working on the role.
3. Determine methods and techniques for organizing theatrical activities.
4. Apply gaming theatrical methods and techniques in other educational areas in practice.
Progress of the master class:
Dear Colleagues! We all know that childhood is a time of continuous exploration of the world, and theatrical activities provide an opportunity to explore it more easily and naturally. Properly selected methods and techniques help in this. Our master class is devoted to gaming methods and techniques of theatrical performance.
“ The first stage is defining the image . Its task is to teach children to recognize a specific image, highlighting the characteristic features unique to it. Let's consider the method - “ reading contrasting passages .” Let us choose for demonstration a well-known fairy-tale character - a fox. It is necessary to recognize which particular image of a fox is inherent in a particular scene and characterize it.
- The grandfather caught a fish, went home, and saw: the fox had curled up and was lying on the road, lying motionless, as if dead. Grandfather threw her into the sleigh and drove home, and the fox threw fish after fish onto the road.
- Fox-Alice is the companion of her friend the cat Basilio; in order to make money, she and Basilio tried to get 5 gold coins that Pinocchio received from Karabas-Barabas.
After reading, the teacher-listeners characterize the images they heard in accordance with the questions posed:
- How do you imagine the fox Alice? (Suggested answers: persistent, assertive, extravagant, etc.)
- What kind of little fox-sister did you see? (cautious, cunning, predatory, etc.)
So, using the method of “reading contrasting passages,” two different images of the fox appeared before you.
The second stage is working on facial expressions. His task is to teach children to convey the emotional state of characters using facial expressions. You can use the game - Guess who I am?
The hero of the work is spoken into the children's ears; the child must show the hero without words so that others can guess.
4 people come out, I say heroes, the teachers must show, and the rest must guess (sister fox, cowardly hare, Mikhailo Potapych, angry wolf).
mirror technique is also used to work on facial expressions (especially when the child is shy, you can do it individually, the child takes a mirror, looks in it and imagines himself as a hero, for example: I am a gray wolf, I am not afraid of anyone!!! Or - I am a brave hare, I I'm not afraid of the wolf!!! I am a little fox-sister, the most beautiful in this forest!!!
The third stage is working on the voice . Its task is to develop children’s speech apparatus and improve intonation expressiveness. Let's consider the technique - “ intonation expressiveness ”.
The task for one half of the teachers is to say the phrase of the little fox-sister: “I am a fox, I am a little sister, I walk quietly.”
The task for the second one is to say the phrase of Alice the Fox: “Oh, there you are, Pinocchio... I’ll explain everything to you now.”
Phrases must be pronounced with different intonations inherent in a certain image of a fox.
Now let's get 4 people out and practice.
1. Bear - Fox:
The bear went to the hut and growled: “Get out, fox!” And she said to him from the stove: “As soon as I jump out, as soon as I jump out, the scraps will go down the back streets!”
2. Rooster - Fox:
Ku-ka-re-ku! I'm walking on my feet in red boots. I carry the scythe on my shoulders, I want to whip the fox - the fox gets out of the oven! - Oh oh oh! I'm getting ready and putting on my fur coat. Petenka, I'm running away!
While completing the task, each participant pronounces the proposed phrase with a different emotional coloring.
Thus, using the technique of “intonation expressiveness” you can give emotional coloring to speech.
To work on the voice, the technique of “voice improvisation ” is used to expand the range and timbre of the voice in accordance with the character proposed; Text.
In a clearing, in a meadow, three bears lived,
Three bears lived and loved to eat raspberries. As soon as they find a raspberry, they will sing a song. Papa Bear sang low: “la-la-la-la-la-la.” Mom sang a tender song: “la-la-la-la-la-la.” And Mishutka the bear sang a song loudly, Yes, he finished eating raspberries: “ La la la la la la".
Teachers (3 people) choose a picture with a certain instrument that matches the sound of the voice timbre of the proposed characters. Next, they imitate the character’s voice, singing and playing the text.
To improve the skill of clear pronunciation, tongue twisters and training in clear pronunciation of vowels and consonants in different parts of the word are used.
To develop diction, imitation of sounds :
-Snorting horses, grunting piglets, meowing kittens, barking dogs...
The fourth stage is working on gesture and movement . Its task is to teach children to move in accordance with a given topic. Let's get acquainted with the game method for memorizing various actions using the "Repeat" game.
To carry it out, I call four people from the teachers.
Q: Rules of the game:
— jointly choose a specific image of a fox (fox-sister);
- the first participant shows one movement inherent in the chosen image;
- the task of each subsequent participant in the game is to reproduce the movement or gesture of the previous participant and add their own element that complements the image.
Also, to work on gesture and movements, the method of acting with imaginary objects ( 3 people ) is used:
One has a birthday, guests come to him and bring imaginary gifts. With the help of expressive movements they show, and the birthday person must guess what they are giving him.
You can also use the method of displaying what has been read (1 person):
The cat sat down on the window and began to wash her ears with her paw. Then she thought a little - I decided to wash the little breast. She remained pleased with herself and played around with her fluffy tail.
Thus, memory games for various actions contribute to the development of children’s motor activity through gesture-image coordination.
The fifth stage is learning the role. His task is to learn the text of a specific role.
“The “Little Book ” technique is used directly while reading the text. Children are asked to cover their faces with their palms and remember as many sentences from the text as possible. Then, with a gesture, the palms “turn” into an open book. Children, without being distracted from the “imaginary book,” take turns, as it were, “reading” from it those sentences that they remember. To build a previously read text from these sentences, children take turns reproducing the text sentence by sentence. The teacher asks who remembered the very first sentence, the second, the third sentence, and so gradually, with the help of the teacher, the text is built.
For example: Mom and dad bought me a kitten. The kitten was small. I gave him milk. The kitten slept often. And when he woke up, he played with me.
The phrase in a circle method is also used to develop speech . Children stand in a circle, start with one word and, in turn, each child repeats the previous one, adding one word to make a sentence.
Bottom line: In addition to the methods shown today, there are many different techniques for organizing theatrical activities .
Theatrical activities have not exhausted their potential and continue to actively involve children in the creative process.
It is very important to look for new methods and techniques, to create a specific subject-environment environment that contributes to the development of the child’s creative personality. Program for organizing theatrical activities Using theatrical activities in kindergarten The role of theatrical activities in kindergarten Using various techniques in teaching children to draw different types of landscapes >
Forms of organizing theatrical play activities in kindergarten
L.V. Artemova uses synonyms for the concepts of “theatrical play,” “theatrical play activity and creativity,” and “dramatization play.” The author believes that theatrical play retains all the structural components of the plot-role-playing game identified by D.B. Elkonin:
role (defining component);
game actions;
playful use of objects;
real relationships[3].
In theatrical games, the play action and the play object, a costume or a doll, are of greater importance, as they facilitate the child’s acceptance of the role that determines the choice of play actions. The characteristic features of theatrical play are the literary or folklore basis of the content and the presence of spectators (L.V. Artemova, L.V. Voroshina, L.S. Furmina, etc.). They can be divided into two main groups : dramatizations and directorial ones (each of them, in turn, is divided into several types).
Types of theaters:
1) Tabletop toy theater. Toys and crafts are used that stand steadily on the table and do not interfere with movement.
2) Tabletop picture theater. Characters and settings – pictures. Their actions are limited. The state of the character, his mood is conveyed by the intonation of the player. Characters appear as the action progresses, which creates an element of surprise and arouses the interest of children.
3) Stand-book. The dynamics and sequence of events are depicted using alternating illustrations. Turning over the sheets of the book stand, the presenter demonstrates various scenes depicting events and meetings.
4) Flannelograph. Pictures or characters are displayed on the screen. They are held in place by flannel, which covers the screen and the back of the picture. Instead of flannel, you can glue pieces of velvet or sandpaper to the pictures. Drawings are selected together with children from old books, magazines or created independently.
5) Shadow theater. It requires a screen made of translucent paper, black flat characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. The image can also be obtained using your fingers. The display is accompanied by appropriate sound [3].
In a theatrical play, the image of the hero, his main features, actions, and experiences are determined by the content of the work. The child’s creativity is manifested in a truthful portrayal of the character [2]. To do this, you need to understand what the character is like, why he acts this way, imagine his state, feelings, and be able to analyze and evaluate his actions. This largely depends on the child’s experience: the more diverse his impressions of the life around him, the richer his imagination, feelings, and ability to think. Therefore, it is very important, T. Nemenova believes, to introduce a child to music and theater from a very early age. To captivate children with art and teach them to understand beauty is the main mission of the educator and music director [6]. It is art (theater) that awakens in a child the ability to think about the world, about himself, about responsibility for his actions. The very nature of theatrical play (showing a play) lies in its connections with a role-playing game (playing theatre), which makes it possible to unite children with a common idea, experiences, and unite them on the basis of interesting activities that allow everyone to show activity, creativity and individuality.
