Introduction 3
Chapter 1 Psychological and pedagogical foundations of theatrical and gaming activities
1.1 The concept of play activity 6
1.2 History of the game 11
1.3 Types and classifications of games 15
1.4 Theatrical and gaming activities of preschoolers 21
Chapter 2 Organization of theatrical and gaming activities of children of senior preschool age in a preschool educational institution
2.1 Taking into account the age characteristics of older preschool children in the organization of theatrical and gaming activities in the conditions of preschool educational institution 31
2.2 The role and importance of theatrical and gaming activities of children of senior preschool age in a preschool educational institution 36
Conclusion 50
References 53
Introduction
In modern society, the social prestige of intellect and scientific knowledge has sharply increased. This is connected with the desire to give knowledge, teach them to read, write and count, and not the ability to feel, think and create. The pedagogical attitude, first of all, to the development of thinking, turns the emotional and spiritual essence of the child into a secondary value. Modern children know much more than their peers 10-15 years ago, they solve logical problems faster, but they are much less likely to admire and be surprised, indignant and empathize, more and more often they show indifference and callousness, their interests are limited, and games are monotonous. In addition, recently many preschoolers do not attend kindergartens, and Barbie dolls, computers, television are not able to compensate for the lack of a children's community, without which the full mental and social development of the child's personality is impossible.
The relevance of the work is that, noting the lack of observation, creative invention in some first-graders, psychologists often make a diagnosis: “underplayed”, i.e. did not train their imagination and imagination in the unpredictable and joyful process of “creating a game”, at preschool age, as a rule, such children do not know how to occupy themselves in their free time and look at the world around them without surprise and special interest, as consumers, and not as creators .
There is another important problem that worries educators and psychologists. According to research, during the period of psychological adaptation of a child to school, 67-69% of first-graders experience fears, breakdowns, lethargy, while others, on the contrary, swagger and fussiness. Children often lack the skills of voluntary behavior, memory and attention are not sufficiently developed. The shortest way of emotional liberation of a child, removal of tightness, learning to feel and artistic imagination is the way through the game, fantasizing, writing. All this can give theatrical activity. Being the most common type of children's creativity, it is dramatization, "based on the action performed by the child himself, that most closely, effectively and directly connects artistic creativity with personal experiences" (L.S. Vygotsky).
Since ancient times, various forms of theatrical performance have served as the most visual and emotional way to transfer knowledge and experience in human society.
Later, theater as an art form became not only a means of learning about life, but also a school of moral and aesthetic education of the younger generations. Overcoming space and time, combining the possibilities of several types of arts - music, painting, dance, literature and acting, the theater has a huge impact on the emotional world of the child. Performing arts not only introduce children to the world of beauty, but also develop the sphere of feelings, awaken complicity, compassion, develop the ability to put oneself in the place of another, rejoice and worry along with him.
The purpose of the course work: to identify pedagogical conditions for the organization and conduct of theatrical and gaming activities of children of senior preschool age in a preschool educational institution
Object of study: theatrical and gaming activities
Subject of study: theatrical and gaming activities of children of senior preschool age in a preschool educational institution
Based on the object and subject of research, the following tasks can be formulated:
1. Consider the essence of gaming activity;
2. Study the history of the game;
3. Consider the types and classification of games;
3. Consider the features of theatrical and gaming activities of preschoolers;
5. To identify the age characteristics of children of senior preschool age;
6. To identify the role and importance of theatrical and play activities of children of senior preschool age in a preschool educational institution;
Research methods:
Analysis of psychological and pedagogical literature on the research topic;
Observation
The structure of the work: This course work consists of an introduction, two chapters, a conclusion, a list of references.
Chapter 1 Psychological and pedagogical foundations of theatrical and gaming activities
1.1 The concept of gaming activity
The game occupies a very important, if not central, place in the life of a preschooler, being the predominant form of his activity. In domestic psychology and pedagogy, the game is considered as an activity that is of great importance for the development of a preschool child; it develops actions in representations, orientation between people, initial skills of cooperation (A.V. Zaporozhets, A.N. Leontiev, D.B. Elkonin, etc.).
A game is a form of activity in conditional situations aimed at recreating and assimilating social experience fixed in fixed ways of carrying out objective activity.
One of the provisions of the pedagogical theory of play is the recognition of play as a form of organizing the life and activities of preschool children. The first attempt to organize the life of children in the form of a game belonged to F. Frebel. In Russian pedagogy, the idea that the life of a kindergarten should be filled with various games was developed by N.Krupskaya. Noting the importance of games for preschool children, N.Krupskaya wrote: “... a game for them is study, a game for them is work, a game for them is a serious form of education.” Game for preschoolers is a way of learning about the environment. According to N.Krupskaya, the task of the teacher is to help children organize games, to unite them in the game.
The idea of the need to “saturate the whole life” of a small child with a game was expressed by Makarenko. Highly appreciating the play of children, A.S. Makarenko wrote: “Play is important in a child’s life, it has the same meaning as activity, work, service in adults. What a child is in play, such is in many respects he will be in work when he grows up. Therefore, the upbringing of the future figure takes place, first of all, in the game.
K.D. Ushinsky is considered the founder of game theory in Russian science. He contrasts the preaching of spontaneity of play activity with the idea of using play in the general system of education, in preparing the child through play for work. The game, according to Ushinsky, is a kind of activity, moreover, a free and necessarily conscious activity, by which he understood the desire to live, feel, act. “We must not forget,” writes K.D. Ushinsky, “that the game in which the child’s soul works independently is also an activity for the child.” Ushinsky was one of the first to argue that in the game, aspiration, feeling and representation are combined at the same time.
Depriving a child of play as a conscious activity is the most terrible punishment for him.
I. And Comenius considered play as a child's natural need to move, to play, because every healthy child simply needs to move. “The more a child does, runs, works, the better he sleeps later, the better he digests food, the better he grows, the better his health and freshness of body and mind acquires: but you must always take care of him so that there are no injuries”
Games, according to J.A. Comenius, strengthen the health of the child, educate his feelings, improve movement, dexterity, spiritual freshness and vigilance.
“It is better to play than to be idle, because in the game one always thinks about something and is often polished.”
Comenius understood the game as a natural education of the will, character traits and the whole personality of the child.
S. L. Rubinshtein was the first to make an attempt to create a domestic game theory. According to Rubinstein, the essence of the game lies in the fact that it is a product of practice through which reality is transformed, the world changes: “In the game, the child’s need to influence the world is formed and manifested.” That is why it is a meaningful activity. The fact that the game is a meaningful activity was developed in his works by A.N. Leontiev. “The specific difference between the game of the pre-preschooler,” writes Leontiev, “from the game of animals is characterized by the fact that this is not an instinctive, but precisely objective activity, which, forming the basis of the child’s consciousness of the world, human objects, determines the content of the child’s play”
P.P. Blonsky believes that play is a common name for a wide variety of child activities. Blonsky probably takes this assertion to the extreme. He is inclined to think that "play in general" does not exist, there is no type of activity that would fit under this concept, because the very concept of play is the concept of adults, for the child is still serious. And this concept must be banished from psychology. Blonsky describes the next episode. When one of the psychologists had to be instructed to write an entry for the encyclopedia "Game", he declared that "game" is a word behind which nothing is hidden and which should be expelled from psychology.
The game always acts as if in two time dimensions: in the present and the future. On the one hand, it provides the individual with momentary joy, serves to satisfy urgent needs. On the other hand, the game is directed to the future, since it either predicts or simulates life situations, or consolidates the properties, qualities, skills, abilities necessary for the individual to perform social, professional, creative functions. V.L. Sukhomlinsky wrote: “Let's take a closer look at what place the game occupies in the life of a child ... For him, the game is the most serious thing. The game reveals the world to children, reveals the creative abilities of the individual. Without them, there is not, and cannot be, full-fledged mental development. The game is a huge bright window through which a life-giving stream of ideas and concepts about the world around flows into the spiritual world of the child. The game is a spark that ignites the flame of inquisitiveness and curiosity.
V.L. Sukhomlinsky also noted that "... the spiritual life of a child is full only when he lives in the world of games, fairy tales, music, fantasy, creativity"
The essence of the game lies in the fact that it is not the result that is important, but the process itself, the process of experiences associated with game actions. Although the situations played by the child are imaginary, the feelings experienced by him are real. “There are no people more serious in the game than small children. While playing, they not only laugh, but also deeply worry, sometimes suffer.”
This specific feature of the game carries great educational opportunities, since by controlling the content of the game, the teacher can program certain positive feelings of the children playing. “In the game, only actions are improved, the goals of which are significant for the individual in terms of their own internal content. This is the main feature of play activity and this is its main charm, and only with the charm of higher forms of creativity is a comparable charm. 2.1 Taking into account the age characteristics of children of senior preschool age in the organization of theatrical and gaming activities in the conditions of a preschool educational institution
2.2 The role and importance of theatrical and gaming activities of children of senior preschool age in a preschool educational institution 36
2.3 Guidelines for the organization of theatrical and gaming activities of children of senior preschool age in the conditions of preschool educational institution 40
Conclusion
Bibliography
Theatrical art, with its playful beginning, constantly attracts a child to itself. Since childhood, it has been for every child not only the most attractive, but also a little mysterious, bewitching. Introduction to the theater of preschool children is associated mainly with performances. Theatrical activity is considered to be the most expedient form of work in this direction.
The educational possibilities of theatrical activity are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations.
The expressiveness of the replicas of the characters, their own statements is closely connected with mental development, the child's vocabulary is imperceptibly activated, the sound culture of his speech, its intonational structure is improved. The role played, the spoken remarks put the baby in front of the need to speak clearly, clearly, understandably. He improves his speech, its grammatical structure.
It can be argued that theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values. This is a concrete, visible result. But no less important, theatrical classes develop the emotional sphere of the child, make him sympathize with the characters, empathize with the events being played out. “In the process of this empathy,” as academician V. M. Teplov (1896-1965), a psychologist and teacher, noted, “certain relationships and moral assessments are created that have an incomparably greater coercive force than assessments that are simply reported and assimilated.”
Thus, theatrical activity is the most important means of developing empathy in children, i.e. the ability to recognize the emotional state of a person by facial expressions, gestures, intonation, the ability to put oneself out of his place in various situations, to find adequate ways to help. “In order to have fun with someone else's fun and sympathize with someone else's grief, you need to be able to transfer yourself to the position of another person with the help of your imagination, mentally take his place,” B. M. Teplov argued.
Theatrical activity allows you to form the experience of social behavior skills due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, but also expresses its own attitude towards good and evil. Favorite characters become role models and It is the child's ability to identify with a favorite image that allows teachers through theatrical activities to have a positive impact on children.
The famous composer D. B. Kabalevsky in his book "Education of the Mind and Heart" wrote about the importance of art for children: "Leaving an indelible impression for life, it already in these early years gives us lessons not only of beauty, but also lessons of morality and morality . And the richer and more meaningful these lessons are, the easier and more successful the development of the spiritual world of children is. The quality and quantity of these lessons primarily depend on parents and kindergarten teachers. As a rule, young children are actively involved in what arouses their interest.
Theatrical activity allows the child to solve many problems of the situation indirectly on behalf of a character. It helps to overcome shyness, self-doubt, shyness. Thus, theatrical classes help to comprehensively develop the child.
Theatrical activity in preschool childhood is called theatrical-playing. Theatrical and gaming activity is a creative, synthetic type of activity aimed at recreating and mastering social experience by playing out a plot (a literary work or fantastic situations, fragments of a child's life), requiring the achievement of a goal, finding means, coordinating actions with partners, self-restraint in the name of achieving success, establishing good relations.
Theatrical and gaming activity as a synthetic (generalized) type of activity combines artistic and speech activities (composing a text, its transmission, practicing diction, etc.), visual (designing costumes, scenery, puppets), musical (singing songs, dancing, playing on musical instruments, etc.) and playing. Theatrical and gaming activity will be playful to the extent that children can freely, independently, in their own interpretation, convey the interaction and relationships of the characters, even in the literal reproduction of a fairy tale or poem by children.
Theatrical and game activity, embodying the attitude to the environment, social reality, has its own motives. Need is the main motivating factor. Children's activities are motivated by personal interest, communication needs and are purposeful. The goals of children's play activities may relate to play actions, role positions, may be associated with playing out the plot, with the process of the game task. The goal of teachers in theatrical and gaming activities is to develop the creative and personal qualities of children, their volitional, emotional, cognitive sphere, and aesthetic development. After the goal is set, the situation in which to act is analyzed, and the means to achieve the goal are selected, a sequence of future actions is outlined.
Means are everything with the help of which activity is carried out (word, image, tool, devices, etc.). The means of theatrical and gaming activities are:
the space in which all game actions take place;
The language that is dictated by the plot (the text of a work of art, the composition of the text, its transmission, conceptuality, speech dictionary);
accessories, attributes, costumes, game gestures, singing, dancing, facial expressions, etc.
The process in theatrical and gaming activities are gaming actions prompted by the motive of the activity and correlated with the purpose of the activity, i.e. theatrical performance itself. The main structural components of a theatrical game as a process are: plot, content, roles, imaginary situation, rules, game actions.
Due to the fact that in theatrical games the plot, content, game actions are determined by the plot and content of the work, the child needs to understand the course of events, the images of the heroes of the work, their behavior and present the characters with all their characteristic features, as they are given in a literary work. An important structural component of the game is the role that the child performs. The role can be correlated with a person and an animal, a natural phenomenon, their imaginary actions, deeds, relationships. The child, entering the image, becomes the one whom he imitates, i.e. acting. But the preschooler does not just play a role, thanks to his imagination he lives in the image and believes in its veracity.
Theatrical game involves the creation of an imaginary situation. The imaginary situation in the game is what is created by the imagination and fantasy of the child. It allows the child to become in a new position, to activate their spiritual forces. In order for the game to succeed, it is necessary to follow the rules that define and regulate the relationship of the players. They give the game organization, stability. During the game, various game actions are included.
The process of unfolding a play action in play initially contains an emotional, personally significant component, which manifests itself in the child's special attitude to the play image. If this is absent, then the child simply cannot enter the state of play, and the role will be performed purely mechanically, without experiencing the feelings of the hero. In the specific actions of the game, connected with the fulfillment of the role according to the scenario, the child has to reflect various aspects of life that he might not notice outside the role. Taking on this or that role, the child acts as it requires.
Despite the fact that game actions are determined by the content of the work, it does not give specific recommendations on how to perform these actions. The child approaches the task creatively, i.e., he does not just repeat the action, but chooses for himself the most successful, in his opinion, option, introducing his impressions of the surrounding reality into the action. The relationship of the image, play action and word is the core of theatrical and play activity.
Characteristic features of theatrical and gaming activities are the literary or folklore basis of their content and the presence of spectators. They can be divided into two main groups: dramatization and directing (each of them, in turn, is divided into several types).
In dramatization games, the child, playing the role as an "artist", independently creates an image with the help of a complex of means of verbal and non-verbal expressiveness. The types of dramatization are: games-imitation of images of animals, people, literary characters; role-playing dialogues with fingers based on the text; performances of works; staging performances based on one or more works; improvisation games with acting out a plot (or several plots) without prior preparation with bi-ba-bo dolls.
Finger theater is best used when you need to show several characters at the same time thanks to finger attributes. These can be fairy tales “Turnip”, “Geese-swans”, etc. Bi-ba-bo dolls usually act on a screen behind which the driver is hiding. The doll is put on the fingers of the hand, the movements of her head, arms, torso are carried out with the help of the movements of the fingers, hands. Improvisation - playing a theme, plot without prior preparation. Children play out themes themselves with the help of facial expressions, intonation and other means. The finished plot leads the game.
In the director's game, "actors are toys or their substitutes, and the child, organizing the activity as a" screenwriter and director ", controls the" artists ". "Voicing" the characters and commenting on the plot, he uses different means of verbal expression. The types of directing games are determined in accordance with the variety of theaters used in kindergarten: desktop, planar and volumetric, puppet (bibabo, finger, puppets), etc. 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 for the participants, but also for the audience. It can be considered as a kind of artistic activity, which means that the development of theatrical activity should be carried out 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, performance and creativity.
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 becoming 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 manifest themselves 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. First, in creating dramatic content, i.e. in the interpretation, rethinking of the plot given by the literary text or composing a variable or own plot.
2. Secondly, in the execution of one's own plan, i.e. in the ability to adequately embody an artistic image with the help of various means of expression: intonation, facial expressions, pantomime, movement, melody.
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 and gaming activity” is more often used in relation to it. Theatrical and gaming activities of children are considered in two interrelated aspects:
as a kind of artistic activity;
as a creative plot game (dramatization game), which exists in the child's independent play experience.
These are the initial theoretical positions. Let us now reveal the specifics of the goals, objectives and content of the work of the educator with children of different age groups.
theatrical play literature preschooler
Elena Durnova
Master class "Theatrical and gaming activities in work with children of senior preschool age"
Master class on the topic« Theatrical and gaming activities in work with children of senior preschool age»
Brief annotation.
The relevance of my master-class is that theatrical activity is one of the most popular and exciting destinations in preschool education. From the point of view of pedagogical attractiveness, we can talk about universality, playful nature and social orientation, as well as about correctional opportunities theater.
The practical significance of my master-class consists in the fact that I will present to the audience not only the educational possibilities of using it, but also I will teach how to make dolls for theater from non-traditional materials.
Innovation focus master-class is a creative approach to theatricalization. I will introduce you to new species theaters.
Target master class: increasing the competence of teachers in the application, the development of imagination and creative abilities.
Tasks: Introduce educators to different types theaters.
Encourage widespread use theater activities in kindergarten.
Teach educators to make some types theatrical puppets.
Draw the attention of teachers to theatrical game.
Members: caregivers
Result: students learning how to use theatrical activities in kindergarten, the formation of the ability to make dolls.
Theater- this is a magical land in which the child enjoys playing, and in the game he learns the world!
S. I. Merzlyakova
capabilities: hear, see, feel, understand, fantasize and logically develop your thought?
How to make every lesson with a child interesting and exciting, simply and unobtrusively tell him about the most important thing - about the beauty and diversity of this world, how interesting it is to live in it?
How to teach a child everything that is useful to him in this complex modern life? How to educate and develop its basic capabilities: hear, see, feel, understand, fantasize and invent?
A large and varied influence on the personality of the child makes it possible to use them as a strong, but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy. educational opportunities theatrical activities are enhanced by the that their subject matter is practically unlimited. It can meet the diverse interests of children.
Theatrical activities- an inexhaustible source of development of feelings, experiences and emotional discoveries, a way of familiarization with spiritual wealth. As a result, the child learns the world with his mind and heart, expressing his attitude towards good and evil; learns the joy associated with overcoming the difficulties of communication, self-doubt.
WITH theatrical activities the improvement of speech is closely related, since in the process work over the expressiveness of the replicas of the characters, their own statements, the child's vocabulary is imperceptibly activated, the sound culture of his speech, its intonational structure is improved, dialogic speech and its grammatical structure are improved.
The greatest value of the nursery theatrical activity is that dramatization is directly related to the game (L. S. Vygotsky N. Ya. Mikhailenko, therefore, it is the most syncretic, that is, it contains elements of the most diverse types of creativity. Children themselves compose, improvise roles, stage nursery rhymes, poems, songs and fairy tales.
Huge educational opportunities theatrical game: its subject is not limited and can satisfy any interests and desires of the child. Participating in theatrical games, children become participants in various events from the life of people, animals, plants, which gives them the opportunity to better understand the world around them. Simultaneously theatrical the game instills in the child a steady interest in their native culture, literature, theater. Children get acquainted with the world around them in all its diversity - through images, colors, sounds, music.
Under theatrical scientists understand games "games in theater» , "the plots of which are well-known fairy tales or theatrical performances according to ready-made scenarios»
Theatrical games differ from role-playing games not only in the plot, but also in the nature of the game activities. Theatrical games are performance games that have a fixed content in the form of a literary work played out children in the faces. In them, as in the present theatrical art, with the help of such expressive means as intonation, facial expressions, gesture, posture and gait, specific images are created. Theatrical games for preschoolers can be divided into two main groups: director's games and dramatization games.
The director's games include tabletop, shadow theater and theater on flannelgraph, magnetic boards: a child or an adult is not a character, but creates scenes, plays the role of a toy character, acts for him, portrays him with intonation, facial expressions.
Dramatizations are based on the performer's own actions, using puppets or characters put on fingers. In this case, the child plays himself, using his means of expression - intonation, facial expressions, pantomime.
Desktop toy theater. A wide variety of toys and crafts are used. The main thing is that they stand steadily on the table and do not interfere with movement.
Desktop picture theater. Characters and scenery - pictures. Their activities are limited. The state of the character, his mood is conveyed by the intonation of the player. Characters appear in the course of action, which creates an element of surprise, arouses the interest of children.
Book stand. The dynamics, the sequence of events is depicted with the help of successive illustrations. Turning over the sheets of the book stand, the presenter demonstrates personal stories depicting events, meetings.
Flannelgraph. Pictures or characters are displayed on the screen. The flannel that covers the screen and the reverse side of the picture holds them back. Instead of flannel, pieces of velvet or sandpaper can be glued to the pictures. Drawings are selected together children from old books, magazines are created independently.
Shadow theater. It requires a screen of translucent paper, flat black characters, and a bright light source behind them that makes the characters bounce onto the screen. The image can also be obtained with the help of fingers. The display is accompanied by the corresponding sound.
L. V. Artemova also identifies how many types of dramatization games preschoolers.
Dramatization games with fingers. Attributes the child puts on his fingers. He "plays" for the character whose image is on the hand. In the course of unfolding the plot, he acts with one or more fingers, pronouncing the text. You can depict actions while being behind a screen or moving freely around the room.
Dramatization games with bibabo dolls. In these games, bibabo dolls are put on the fingers. They usually operate on a screen behind which the driver stands. Such dolls can be made independently using old toys.
Improvisation. This is acting out the plot without prior preparation.
Dramatization also includes games that imitate images of animals, people, literary characters; role-playing dialogues based on the text; performances of works; staging performances based on one or more works.
Basic requirements for the organization theatrical games
Permanent, daily inclusion theatrical games in all forms of the pedagogical process, which makes them as necessary for children as role-playing games.
The maximum activity of children at the stages of both preparation and conduct of games.
Cooperation of children with each other and with adults at all stages of the organization theatrical game.
The sequence and complication of the content of themes and plots chosen for the games correspond to age and ability of children.
Theatrical the game is universal - it can be used in a joint activities with children, at any regime moments and in the classroom.
In my classes I use theatrical game as a game technique and a form of teaching children. Characters are introduced into the lesson that help children learn certain knowledge, skills and abilities. The game form of the lesson helps to emancipate the child, create an atmosphere of freedom and play. In the hands of adults, the doll is an assistant in solving many pedagogical problems. With the help of a doll, you can create a game motivation for a productive children's activities, give an adequate assessment of the product on behalf of the doll activities child without the risk of causing resentment or resistance.
Practical part
Dear audience, you have listened to the theoretical part of my master class. Now let's move on to the practical.
In a modern kindergarten, as you have seen, there are many types of dolls for theatrical activities. It is necessary to create and constantly update the development environment in theatrical corners of the kindergarten. "Actors" And "actresses" they should be bright, light, easy to manage. To organize a children's theater we need dolls of various systems that form certain skills and abilities in children that stimulate children's creativity. Many dolls are easy to make.
Dear Colleagues! I now want you to forget all your problems for a short time, at least for a few minutes.
I suggest you learn how to create spoon dolls. spoon theater, being a simplified version of the performance with the participation of riding puppets, helps children master the techniques of puppetry.
Spoon making theater
So, let's take each a spoon, a patch and ribbons, plasticine. Let's dress our spoon in clothes. We wrap the spoon in a shred. We also need glue and small parts. You need to glue the eyes cut out of paper, you can use special shifting eyes bought at the store. Hair - trimmings of woolen threads. Let's complement the image - you can make a certain hairstyle, make a mouth and nose. The doll is ready!
Homemade toys have great pedagogical possibilities. They develop imagination and creativity, constructive thinking and ingenuity, expand the gaming experience, give knowledge about the world around them, enrich the vocabulary of children, form the ability to communicate with each other.
A toy made by hand, even with the help of an adult, is not only the result of labor, but also a creative expression of the creator's individuality. A homemade toy is very dear to a child, it is much more fun to portray the heroes of fairy tales, songs and short stories with it.
I suggest you to play the role of children and make the hero popular and loved by many cartoon kids, and whom you will recognize by carefully examining their images.
Here we know all the animals,
Round like balls
And tell us in the final
Calling them. Smeshariki!
Now let's get puppet masters.
So we will need:
ice cream stick
Colored self-adhesive paper
We take the Disc and glue an ice cream stick to the disc on double-sided tape (this "holder" for which the doll is attached);
Then we take self-adhesive paper of a certain color, cut out a circle and glue it to the disk. Next, you need to cut out the eyes and mouth, nose.
Final part.
Reflection
Now tell me, in what way did you experience difficulties in making this doll? What emotions did you experience? What abilities develop in children in the process of making a doll?
Exercise "Creative Box"
In front of you is a box in which to lie ordinary items. Your task is to bring these objects to life, come up with a story and play with them.
"Fairy Tales Inside Out"- puppet or tabletop fairy tale theater. I propose to come up with a version of the fairy tale, where the characteristics of the characters are changed (Example: the gingerbread man is evil, and the fox is kind).
"Funny Poems"- I propose to tell a poem or an excerpt from a fairy tale on behalf of the proposed puppet hero (Puss in Boots, Cow, Crocodile Gena, Duckling.)
Blitz game “Who will call faster) see the book by I. Agapov p. 115
Develop speech, figurative and logical thinking, motor skills of pens. Improve vocabulary and sing songs. Put on real performances!
Thanks everyone for participating!
THEMATIC LESSON PLAN
ON THEATER ACTIVITIES
Speech therapy group "MOTYLEK"
2012-2013
Chapter | Topic | Number of lessons |
Psycho gymnastics |
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TOTAL: |
THEME PLAN
On the formation of the arbitrariness of mental processes
Chapter | Topic | Number of lessons |
Development of arbitrariness of mental processes |
a) stability of attention; b) distribution of attention; c) switching attention; d) expanding the scope of attention. | |
a) mechanical (visual and auditory) b) mediated | ||
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TOTAL: |
THEME PLAN
On the correction and development of cognitive processes
Chapter | Topic | Number of lessons |
| 1. Development of arbitrariness of attention 2. Development of the distribution of attention 3. Development of attention span | |
| 1. Development of integrity and activity of perception | |
| 1.Develop visual memory 2. Development of auditory memory 3. Development of logical memory | |
| 1. Recognition of objects according to given characteristics. | |
2. Formation of the ability to highlight the essential features of objects. | ||
3. Classification of objects and phenomena: a) verbal description of the class; b) division into classes on a given basis; c) assigning an object to a class; | ||
4. Establishment of a logical sequence and patterns: a) at a visual level; b) at the verbal-logical level. | ||
TOTAL: |
THEME PLAN
On the formation of communication skills
Chapter | Topic | Number of lessons |
1. Diagnostics | 1. Identification of the level of development of communication skills in children; sociometric survey of the group. | |
2. "Language of communication" (formation of communication skills with the outside world) | 1. Perception of the world (development in children of the ability to see the interdependence of man and nature, to show the importance of the senses in communication). | |
2. Formation of the ability to master expressive movements and gestures. | ||
3. The secret of my "I" (formation of the ability to realize and understand oneself. Positivity of the “image of I”) | 1. The language of feelings (mimic and pantomimic studies for the expression of basic emotions). 2. "Me and my body" (exercises aimed at overcoming isolation, passivity, Motor emancipation, voluntary relaxation). | |
1. "I and I" (games and exercises aimed at developing the child's attention to himself, his feelings, experiences). | ||
2. "My mood" (development of the ability to recognize, express and change your mood). | ||
3. “I am good” (creating and maintaining a positive self-image, increasing self-esteem and self-esteem) | ||
4. For-nie communicative. competence | 1. “Know how to listen to others!” | |
2. "Know how to make contact!" | ||
3. "Know how to cooperate!" (games and exercises that contribute to the development of children's skills of joint activity, a sense of belonging to a group). | ||
4. Games and exercises aimed at developing empathy, understanding the individual characteristics of other people, trust in people. | ||
5. Solving problems and conflicts (skills of behavior in difficult situations). | ||
6. "Friendship" (to form the principles of friendly relations). | ||
TOTAL: |
Diagnostics of the study of playing positions of preschool children in dramatization games
Surname Name child | Structural components of a dramatization game | Game mot leader | ||||||||
PURPOSE | ROLE | PERCEPTION | ||||||||
interpretation | combination | planning | Adoption | conveying the meaning of the image | improvisation | attention | empathy | reproduction of impressions | ||
First part
Purpose of observation : the study of acting, directing, spectator skills of older preschoolers in dramatization games.
Observation is carried out in natural conditions for independent play-dramatization of children. The results of the observation are recorded in the table with the signs "+" and "-", the skills that are most characteristically manifested in the child in the process of playing activity are recorded.
Column "Intention" is related to children of the "director's" type.
The idea manifests itself in the presence of such skills as:
Column "Role" allows you to identify children of the "acting" type, in which:
Count "Perception"focused on children belonging to the "spectator" type. Their main characteristics:
"The Leading Motif of the Dramatization Game".If it arises because of the idea, then it is obvious that the child is a “director”, if because of the role, then the child is an “actor”, if the leading motive is perception, then the child is more like a “spectator”.
It is possible to combine positions.
"Purpose" and "Role".Children who can conditionally be attributed to the position of "designer" appear through the columns "Concept" and "Role". The key in this case would be:
Using the table, you can determine what position the child occupies in dramatization games.
Second part
Purpose: the second part of the diagnosisassociated with the study of the child's playing positions in theatrical activities using sketches and exercises.
Sketches and exercises to identify acting skills:
1. The child is invited to convey the content of the phrase, "reading" the intonation with which this text sounds:
Miracle island!
Our Tanya is crying loudly...
Karabas-Barabas will have lunch now!
First snow! Wind! Cold!
2. Children are invited to read the text with different intonations (surprised, joyful, inquiring, angry, affectionate, calm, indifferent):
"Two puppies, cheek to cheek, pinching the brush in the corner."
3. Pantomimic studies.
Kittens:
sleep sweetly;
wake up, wash their hands with their paws;
mother's name;
trying to steal a sausage;
afraid of dogs
hunt.
Show:
how the good fairy dances at Cinderella's ball;
how angry the terrible witch is at the Sleeping Beauty's ball;
how surprised the ninja turtle is;
how does the Snow Queen greet;
how offended Winnie the Pooh is;
how happy Batman is.
4. Etudes for changes in the timbre of the voice.
Teacher. Kitty, what's your name?
Child. Meow! (Gently)
Teacher. Are you guarding the mouse here?
Child. Meow! (Affirmatively) Teacher. Pussy, do you want some milk?
Child. Meow! (with satisfaction)
Teacher. And in the companions of the puppy?
Child. Meow! Fff-rrr! (Depict: cowardly, shy ...)
5. Intonation reading of verse-dialogues.
6. Speaking tongue twisters.
Rubber Zina bought in a store,
Rubber Zina was brought in a basket,
Rubber Zina fell from the basket,
Rubber Zina was smeared with mud.
7. Rhythmic exercise.
Tap, slam, stomp your name:
"Ta-nya, Ta-not-chka, Ta-nyu-sha, Ta-nyu-shen-ka."
8. Figurative exercises to music.
Vivaldi "The Seasons", "In the Cave of the Mountain King", "March of the Tin Soldiers", etc.
9. Sketches and exercises to identify directing skills:
1. Children are invited to write a script on the basis of a literary plot or on the basis of children's songs, organize a performance (distribute roles among children, justify their choice, conduct a rehearsal).
2. Modeling by a child of literary plots from pictures for staging a performance, discussing the idea, ideas of staging by a preschooler.
10. Sketches and exercises to identify the skills of a decorator:
1. Children are invited to design scenery, costumes for the performance based on a literary plot or on the basis of children's songs, to offer the necessary game props.
2. Discussion of the idea, the idea of staging in the context of the scenery proposed by him.
11. Conversation-game to identify spectator skills:
After watching the play, dramatization game, have a conversation:
What was the play about? What did you understand?
Which character did you like the most? Why? What is his character? (To understand the nature of the characters.)
What did you feel when... events happened to the hero? (Specifically in action.)
Would you like to change something in the performance? What exactly?
Who do you like the most from the actors in the play? Why?
Tell in the picture (suggest other means of conveying the impressions received) about the performance, about what you saw now.
Analysis of children's knowledge and skills in accordance with the criteria.
Acting skills- understanding the emotional state of the character and, in accordance with this, the choice of adequate expressive means to convey the image of the character - voice, facial expressions, pantomime;
The nature of the expressiveness of motor skills: in pantomime - naturalness, stiffness, slowness, impulsiveness of movements;
In facial expressions - wealth, poverty, lethargy, liveliness of manifestations;
In speech - a change in intonation, tone, tempo of speech; independence of the task, the absence of stereotyped actions.
Directing Skills:
Understanding the motives of the actions of heroes;
Following the storyline (establishing a causal relationship, understanding the sequence of events);
Distribution of roles, preparation of the game environment;
Ability to manage multiple players at once.
Decorating Skills:
Artistic and visual vision of the storyline of the literary basis of the play;
Adequate reflection of the storyline of the performance in the scenery, costumes, game attributes, theatrical props;
Preparation, creation, discussion, implementation of the game environment.
Visual Skills:
The ability to understand other people's emotional states and show empathy for the characters of the work;
The presence of an active spectator position: an expression of opinion about what he saw, the presence of an attitude to what he saw (liked, disliked, indifferent); expression of opinion about the performance of the actors.
The third part
The purpose of the test: to study the opinion of parents, educators about the preferences of the child when choosing playing positions.
The third part of the diagnostics consists of the ZARD test, intended for teachers and parents.
ZARD test
Dear teachers, parents, answer a series of statements using the answer options "yes" or "no". Statements:
YES | NO |
|
1. More often the child pays attention to the idea of a literary work, its artistic idea. | ||
2. More often the child reacts to the heroes of a literary work | ||
3. More often the child pays attention to the situation, place and time of the development of the events of the work | ||
4. The child holistically perceives a literary work | ||
5. The child understands the emotional state of the characters well and interprets the images in an interesting way. | ||
6. The child likes to ask questions about the read work. | ||
7. The child loves to draw literary plots, “fantasy on paper | ||
8. The child can organize play with other children | ||
9. It is easier for a child to appreciate the game of another than to play himself. | ||
10. The child easily creates images of literary characters with the help of declaration, facial expressions and pantomime | ||
11. The child easily selects the necessary attributes and scenery for a dramatization game. | ||
12. The child can express his opinion about the characters he liked or disliked. | ||
13. The child has a well-developed creative imagination, he gravitates towards improvisation | ||
14. The child has leadership qualities | ||
15. The child has a good sense of color, shape, seeks to express his impressions of a literary work, the characters of the work on paper with their help. | ||
16. A child knows how to tell and show other children how and what to portray in a dramatization game. | ||
17. A child can empathize with game characters. | ||
18. The child has inherent qualities - perseverance, determination, the ability to overcome failures, resolve conflicts | ||
19. The child has developed elements of self-control in theatrical activities (can follow the storyline, brings the theatrical performance to the end) | ||
20. The child has developed artistic and visual skills, he draws well, prefers drawing to other types of children's artistic activities |
Evaluation of results.
The answer "yes" is worth 1 point.
Points are summed up for each position (actor, director, spectator):
position "director" - answers "yes" to questions 1, 8, 14, 1, 18;
position "decorator" - answers "yes" to questions 3, 7, 11, 15, 20;
position "actor" - answers "yes" to questions 2, 5, 10, 13, 19;
position "viewer" - answers "yes" to questions 4, 6, 9, 12, 17.
In which position the most points were obtained, the child has the greatest tendency to that.
Compare these results with the results of the interview with the child.
Today, the problem of preschool education and upbringing is being widely solved, the tasks facing teachers of preschool educational institutions are becoming more complicated. The task of introducing children to theatrical activities from early childhood, to all types of children's theater, remains very important, which, of course, will help to improve the culture of the child, to form spiritually. developed personality, will help to activate the creative potential.
The word "creativity" means - the creation of something new, the ability to search for and depict something of one's own. Theatrical activity is the most common type of children's creativity, it is understandable and close to the child. By participating in it, children get acquainted with the world around them through music, images, sounds, colors, and correctly posed questions make children think, analyze, draw conclusions and generalizations. Creativity helps to improve oneself in the spiritual sphere, one's speech, develop one's feelings and emotions. The preschooler has access to the inner activity of empathy, understanding the inner world of the character, this opens up prospects for using the theatrical game in the moral development of children, the ability to relate themselves to positive and negative characters. Thanks to this, social feelings, an emotional attitude to actions and events are born.
Theatrical activities help to develop the interests and abilities of the child, contribute to the manifestation of curiosity, the assimilation of new information and new ways of acting, the development of associative thinking, require strong-willed character traits from the child: dedication and determination, diligence, systematic work.
A theatrical game introduces children to literary, dramatic and theatrical art, children form an idea about the work of artists, director, theater artist, children begin to understand that the whole team works on any performance, and it brings joy to both creators and spectators. The theatrical game is also close to the story game. They have a common structure: concept, plot, content, game situation, role. But in a theatrical game, the plot is taken from works of art and a performance or dramatization is staged. The main feature of the theatrical game is the literary content and the presence of spectators. The creativity of children is manifested in the truthful portrayal of the character. To do this, you need to understand the character, his actions, feel his state, be able to analyze and evaluate the actions. And of course, the child cares about the result (how he played, the reaction of the audience). Cooperation with parents is very important here. It is necessary, as often as possible, to talk about the successes of the child, about his theatrical abilities. Involve parents in making decorations and costumes. The closer this cooperation is, the more parents get to know their children, their character traits, temperament, dreams and desires.
A special place in the development of children's creativity belongs to the game of dramatization. The role-playing behavior carried out by the child in the dramatization game gives him the opportunity to acquire the ability to control himself, self-confidence, directs the imagination into a creative direction. In the dramatization game, the child, using means of expression: intonation, facial expressions, pantomime, creates an image, performs his own actions of playing the role.
Naturally, the development of theatrical and gaming activities in different age groups has its own characteristics.
IN junior groups children do not reproduce the text, but perform certain actions according to the model shown by the teacher. For example: Show how the fox walks. Like a bunny scared of a fox. Such imitation games activate the imagination of children, prepare them for an independent creative game. They are happy to transform into familiar animals, but they cannot yet develop and beat the plot. Interest in theatrical games develops in the process of watching the performances shown by the teacher. Children joyfully and emotionally accept them. The artistry and emotionality of the teacher is very important here. How smaller child, the more expressive the game should be. Theatrical puppets are used in the classroom, in everyday communication, on their behalf, an adult praises, thanks the children, greets and says goodbye.
Thus, due to the wordless game - improvisation to music, the game - improvisation according to the texts of short fairy tales, nursery rhymes and poems, role-playing dialogues of fairy tale heroes, dramatization of fragments of fairy tales about animals and play - dramatization with several characters, the game experience of children expands. In children of this age, the primary development of the director's theatrical game is noted. Such as, desktop toy theater, planar on flannelograph, finger. Gradually, children are included in the process of playful communication with theatrical puppets, children develop a desire to participate in playful dramatic miniatures.
In middle age, the child moves to a viewer-oriented game, where not only the game is important, but also the result is important. The game becomes a means of self-expression, children learn to combine text and movement in the role, a sense of partnership develops. The most active children begin to dramatize the simplest fairy tales together with the teacher using a table theater, and with inactive children it is necessary to try to dramatize works with a small number of actions. First-person narratives are introduced with accompaniment of text, movements and music. Theatrical and gaming experience of children is expanded through games - dramatizations using several characters, games where children get acquainted with the work of adults, performances based on the works of domestic and foreign authors, table, puppet, finger theater. The content is based on game studies of a reproductive and improvised nature. Particular attention is paid to improvisation and creativity in the process of inventing a game.
At an older age, children continue to improve their performing skills. To do this, it is necessary to organize excursions, observe the surroundings, conduct game exercises for the imagination, use mimic and pantomime studies in the work, include children in inventing and designing fairy tales and displaying all their emotions and experiences in visual activity. The center of the game is not only the "artist", but also the "director", "designer", "costume designer". In a new way, children are introduced to theatrical culture: acquaintance with the purpose of the theater, the activities of theater workers, types and genres of theatrical art. The theatrical and game experience is enriched even more. The texts for performances are becoming more complicated. Game - fantasy becomes the basis of the theatrical game, where literary and fantasy characters coexist.
IN preparatory group
a game - dramatization becomes spectacle. Children play for the audience. This requires the entire stock of knowledge, skills and abilities acquired at different ages. For a better understanding of a literary work, it is necessary to consider illustrations for it and pay attention to the emotional state of the characters; select exercises for the development of attention and imagination; emotionally express the state of the character with the help of intonation, facial expressions, gestures and posing. To be able to tune yourself with the help of special exercises to perform upcoming actions, change facial expressions and posture when switching from one action to another. For this, it is necessary to use fairy tales rich in dialogues and dynamic replicas. This will enrich the speech of children with new expressive means. It is important to give children more freedom in actions, fantasies when imitating movements. Exercises with the use of pictograms, role-playing dialogues based on illustrations, films are very effective, fairy tales invented in a new way are effective. Children feel free, uninhibited. Such joint creative activity involves even insufficiently active children in the process of staging performances, thereby helping them overcome shyness and constraint.
