Theatrical games with attributes for children. Theatrical games: classification

The game is one of the most important species children's activities during which development and learning take place. Theater for children - fairy tale, holiday and positive emotions. Theatrical games are an activity that allows the teacher to form aesthetic education, creativity and love for art. An adult must understand the specifics of such a pastime and actively involve all children in it. In the article below you will find full information about this difficult

The concept of theatricalization in preschool institutions

Theatrical play is a powerful means of developing empathy in children (the ability to distinguish the emotions of other people by intonation, facial expressions, and gestures). On the basis of this skill, the ability to respond to a work of art and evaluate it is already formed. In general, such a game is children acting out fairy tales, stories and other works under the guidance of a teacher or independently.

Dramatic activities have the ability to have a positive impact on students through characters.

Children see friendship, honesty, kindness, and courage in the heroes of works. Most often, the themes of dramatizations are friendship, honesty, kindness, and courage. Getting used to the image, the child takes on its features and delves into the basics of moral education. And the variety of topics and ways of implementing children's theatrical games allows the teacher to use them for the purpose of comprehensive personal development.

How are dramatization games classified?

Children's theatrical performances are usually divided into two large groups: director's games and dramatizations.

Directing games are board and action with flannelgraph. In this case, the child is not a character, he only leads and voices the hero. In dramatization, the student already plays the role independently.

Directing games, in turn, are divided into:

• Tabletop toy theater - the characters can be any crafts and toys, the main thing is that they can be conveniently moved around the table.
• Tabletop - in this case, the characters are depicted in illustrations and their actions are limited. The main role is played by the child’s intonation.
• Flannelograph - characters are attached to a flannel-covered screen. The inner side of the carved characters is also covered with fabric.
• Shadow theater - in this case, a screen made of translucent paper, cut out characters from dark paper and a light source are used, which is installed behind the screen. You can also use your fingers.

Dramatization games are divided into:

• Finger - the child puts a doll on his finger and imitates actions with it. You can hide behind a screen or play openly.
• Bibabo dolls.
• Improvisation - without a specific plot and preparation. The game is completely intuitive.

This classification helps to expand the theatrical activities of children in all groups and enrich their knowledge in this area.

How to organize theatrical performances in a preschool educational institution?

The work of introducing children to the theater begins with their accumulation of emotional and sensory experience, that is, at the beginning they themselves must watch performances staged by professional adults. Over time, the students themselves become involved in the activity and are able to distinguish between genres, moods, and themes of works.

To successfully master the basics of theatrical performance, the teacher and parents must provide the child with freedom of creativity. In general, working with parents is an important part of teaching creativity. The teacher and parents must work together and be at one. This is facilitated by holding creative evenings, conversations and consultations.

Successful theatrical games also mean correctly selected works for staging. The teacher must choose them wisely, looking at the theme, artistic value, and appropriateness to the age and experience of the students.

What principles does a teacher rely on when organizing theatrical performances in a preschool educational institution?

1. The principle of humanistic orientation - humane relations must be established between the teacher and children.
2. The principle of integration - the game should combine different types of activities and arts.
3. The principle of creative interaction - a child and an adult must enter into a relationship of co-creation and discuss all possible ways of developing the game.

Only by following these principles can a teacher say that he is organizing theatrical games in accordance with the Federal State Educational Standard.

Methods for improving creative activity

In order for children's creative activity not to stand still, but to develop, the teacher must use specific methods. What is their essence? So:

• The method of modeling situations - the teacher, together with the children, creates model situations, plots and sketches in which they could master creative activities.
• Creative conversation method - the teacher asks the children a problematic question and through dialogue the pupils engage in creative activity.
• Association method - awakens children's imagination with the help of associative comparisons. The child then tries to create something new based on past experiences.

Theatrical play of preschoolers can be organized in any type of activity and in any lesson. To improve children's theatrical literacy, careful training of teachers is also important. They should become a model of creative behavior for their students. An excellent way to achieve what you want is to organize a pedagogical theater under the direction of a musician at a kindergarten. Such additional training will help to reveal the creative potential of teachers, and children, looking at them, learn the same transformation.

When children grow up to the opportunity to stage their own performances (these are theatrical games in the senior and preparatory groups), they need to be divided into groups: directors, costume designers, screenwriters, artists, and so on.

This method of work not only teaches you to work in a team, but also develops imagination. Parents should also be involved in the work; for example, they can help with decorations and costumes.

Requirements for organizing games in preschool educational institutions

Theatrical games are not only fun for children, but also serious preliminary training for educators. When organizing them, the teacher must rely on the basic requirements:

1. Variety of topics and its content.
2. The game is appropriate for the age of the children, gradually increasing in complexity.
3. The activity of children not only during the game itself, but also during preparation for it.
4. Cooperation of children with peers and the teacher at every stage of preparation.
5. Constant inclusion of theatrical games in all activities (along with role-playing games).

The development of the game begins with preparing a script based on a work, and only then comes the time for improvisation. Children must master the basic elements of transforming into other characters so that other participants can quickly recognize them. But there is no need to limit fantasies sharply; there should always be a place for imagination and non-standard presentation of a character.

Features of conducting theatrical games in different groups

Playing games with children different ages different from each other. It is important to gradually introduce children to the theater and its concepts, involving them in an already active transformation. It is recommended to start such games from the second youngest group (although less time will be devoted to them than in subsequent years). True, in the younger group such activities are called role-playing games. Children transform into animals or birds, but are not yet able to play out a full-fledged plot. They copy a fox, a bear or a hare only in appearance, without being able to reveal their character. That is why kids need to read works of fiction more often and organize games based on them.

Theatrical games in middle group They are already taught to combine movements and words, to use pantomime. With inactive children of this age, you can dramatize simple nursery rhymes. More active children are already capable of dramatizing simple fairy tales using puppet theater.

Theatrical games in the older group become more complex, children continue to improve their acting skills. Now they need to learn to find ways of figurative expression on their own. The game must have an acute situation and dramatic conflict, character development, rich emotions and not very complex dialogues. This game is more complex than simply imitating someone, since in it you need not only to learn the words, but also to feel the image of the character.

A theatrical game in a pre-school group often becomes a performance. Moreover, you can play it both for yourself in a group and for spectators (parents or younger children in the garden). Now it’s worth turning more often to director’s games, where the child chooses a toy and makes it speak and perform actions. This teaches regulation of behavior and speech.

Games with roles in the younger group

Games with roles for kids usually involve acting out situations, pantomimes, games with poetry, and with imaginary objects. The article above spoke only about the theoretical side of dramatization games; now it’s time to give examples of such activities with children. Each group should have a card index of theatrical games with goals. So, what kind of role-playing games take place in the younger group?

• playing out the situation “I don’t want porridge” - the purpose of such a game will be to teach children to pronounce phrases intonationally. Children are divided into pairs - children and parent. The parent asks, persuades, forces the child to eat porridge, but the child refuses, is capricious, and politely disagrees.
• pantomime “Getting ready for kindergarten” - the teacher teaches children to show without words how they wake up and stretch, wash themselves and do exercises, get dressed and run to kindergarten. The goal of the game is to develop imagination and expressiveness of gestures.
• Playing with an imaginary object helps develop skills in working with imaginary objects. For example, a teacher invites children to pet a kitten that is in his arms. The animal is “passed” from hand to hand, caressed and told good words. You can also play the game "Tasty Candies", where children are treated to an imaginary treat. They take it, holding out their hand, unwrap the candy wrapper and put the candy in their mouth, showing everyone how delicious it is. The exercise also trains chewing skills.

Theatrical games in the middle group

Games for children in the middle group become a little more complicated, and the imitations of movements become more varied. The teacher's arsenal also includes pantomime, role-playing poems, poetry games and games for muscle relaxation and tension.

• Imitation of walking - the teacher asks the children to show how they walked when they were little, how a grandmother, a wolf, a fox, a princess, and so on walk.
• Pantomime "Bear Cubs" - children, getting used to the role, come out of the den, squint in the bright sun, stretch and suck in air through their noses. The cubs disperse across the clearing, and here the teacher can involve improvisation. What will the animals do in the spring?
• Theatrical games in the middle group already engage the muscle corset. An example of a game - a girl walks in the forest and sees a butterfly. She is surprised, stretches her neck, bends her torso and throws her arms forward. Another game - the girl was given a new doll. She is very happy, spins, hugs the surprise and shows it to everyone around.

• Works such as “The Hare Had a Garden,” “Soap Bubbles,” and “The Angry Goose” are ideal for playing out poems in the younger group.

Theatrical games in the senior group

It is useful for children 5-6 years old to play riddles without words. This develops the expressiveness of gestures and facial expressions well. The group is divided into two parts. The first group looks at pictures with riddles and chooses those that they can show without words. The second subgroup guesses what their comrades offer them. Then the roles change.

The game "Telephone" develops imagination and dialogic speech very well. Children are divided into pairs and given tasks: invite a friend to a birthday party, apologize to a friend for a prank, and so on. To develop intonational speech, you should take a phrase and ask students to pronounce it sadly, cheerfully, angrily, with surprise.

To improve your acting skills, it is useful to practice in front of a mirror to see the results of your efforts. The teacher can ask the child to portray a dog, a princess, a punished boy, or a bee that lands on a flower. Having given children 5-6 years old a scarf, you can ask them to use the object to depict a grandmother, a wizard, a butterfly, or a person with a bad tooth.

The development of plastic expressiveness becomes important and new in the older group.

The goals of theatrical games of this kind are to teach how to control the body, how to move your arms and legs naturally and beautifully. Examples of these include:

• “The fox is eavesdropping” - the fox stands near the house of the cockerel and the cat and listens to what is being said inside. She puts one leg forward and tilts her body, puts her ear closer to the wall, opens her mouth and makes sly eyes.
• “Dance of the Rose” - the teacher turns on calm music and invites the children to perform a beautiful flower dance. Students improvise, inventing movements on their own. Suddenly the music stops and the wind freezes all the roses. Children freeze in arbitrary poses. The game is repeated several times.
• “Palm tree” - children depict the growth of a palm tree (arms and body stretch up, legs on toes) and its withering (arms fall down).

Dramatization games for pre-school groups

In the preparatory group, children continue to play pantomime, but the tasks become significantly more complicated. You can suggest depicting an ugly duckling, an angry lion, a horse rider, a snowball fight, or fishing. Sketch games also help develop imagination, as they teach you to reproduce individual character traits and emotions using facial expressions and gestures. Children can pretend greedy dog, a grumpy janitor or a nettle. This activity is accompanied by the reading of poems.

But the most important theatrical games in the preparatory group are those that result in the dramatization of a fairy tale. For example, the teacher reads the fairy tale “Puss in Boots” by C. Perrault. Then you can watch the cartoon and draw the scenery (field, river, castle) with the children. This is the preliminary work, the need for which was mentioned above. Then the teacher distributes roles between the children and dramatizes the fairy tale. With children 6-7 years old you can act out the works of Suteev, the fairy tale "Little Red Riding Hood", Russian folk tales and so on.

An interesting activity for children is remaking a fairy tale. For example, children, with the help of a puppet theater, remake the fairy tale “Kolobok” - the bun meets the fox at the very beginning of the story, only then with the hare, wolf, bear and cat. Then he meets the boy Sasha, who brings peace to all the characters in the play.

Play is the most accessible and interesting way for a child to process and express impressions, knowledge and emotions. Theatrical play, as one of its types, is an effective means of socializing a preschooler in the process of his understanding of the moral implications of a literary or folklore work.

In theatrical play, emotional development: children get acquainted with the feelings and moods of the characters, master the ways of their external expression, and understand the reasons for this or that mood. The importance of theatrical play is also great for speech development(improving dialogues and monologues, mastering the expressiveness of speech). Finally, theatrical play is a means of self-expression and self-realization for the child.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

So, theatrical activity integrative, Moreover, activity and creativity are manifested in three aspects.

1. Firstly, in creating dramatic content, i.e. in the interpretation, rethinking of the plot given by the literary text or the composition of a variable or one’s own plot.
2. Secondly, in the fulfillment of one’s own plan, i.e. in the ability to adequately implement artistic image using different means of expressiveness: intonation, facial expressions, pantomime, movement, chanting.
3. Third, 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, it is more often used in relation to it. the term “theater and play activity”. In the “Childhood” program, children’s theatrical and play activities are considered in two interrelated aspects:

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

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

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

Main directions The development of theatrical play consists of the child’s gradual transition:

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

Objectives and content of the work

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

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

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

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

Enriching the gaming experience is only possible if development of special gaming skills.

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

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

Main directions The development of theatrical play consists of:

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

Objectives and content work

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

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

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

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

Significantly more complicated theatrical and acting skills preschoolers.

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

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

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

Main directions The development of theatrical play consists of the child’s gradual transition:

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

Objectives and content of the work

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

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

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

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

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

Children develop special skills, ensuring the development of a complex of playing positions .

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

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

Principles of organizing theatrical play

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

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

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

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

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

Test

Theatrical game

Introduction

Preschool childhood is a short but important period of personality development. During these years, the child acquires initial knowledge about the life around him, he begins to form a certain attitude towards people, towards work, and develops skills and habits. correct behavior, character develops.

The main activity of preschool children is play, during which spiritual and physical strength child; his attention, memory, imagination, discipline, dexterity. In addition, play is a unique way of learning social experience, characteristic of preschool age.

In the game, all aspects of the child’s personality are formed, significant changes occur in his psyche, preparing the transition to a new, higher stage of development. This explains the enormous educational potential of play, which psychologists consider the leading activity of a preschooler.

In the works of psychologists and teachers devoted to identifying opportunities for developing the creative abilities of preschool children, the following is highlighted: special role theatrical activities. This is due to its relationship with theater - a synthetic art form that combines word, image, music, dance, visual activity (L.S. Vygotsky, B.M. Teplov, D.V. Mendzheritskaya, L.V. Artemova, E L. Trusova, R. I. Zhukovskaya, N. S. Karpinskaya, etc.)

The relevance of this topic is due to the fact that the effective organization of theatrical play represents a rich field for children's creativity and all-round development.

Goal of the workis to study the features of organizing theatrical play in children in preschool age.

To achieve the goal, the following are defined tasks:

· analysis of literary sources on this topic;

· characterize the main approaches to the methods of organizing theatrical activities for preschool children;

· determine the basic principles in organizing theatrical play in kindergarten.

1. Theatrical games in preschool age. Definition and classification

An important place in the play activities of preschool children is occupied by theatrical play, i.e. role-playing a certain literary work and displaying specific images using expressive methods (intonation, facial expressions, gestures).

The characteristic features of theatrical games are the literary or folklore basis of their content and the presence of spectators (L.V. Artemova, L.V. Voroshnina, L.S. Furmina, etc.).

L.S. Furmina believes that theatrical games are performance games in which a literary work is acted out in faces using such expressive means as intonation, facial expressions, gesture, posture and gait, i.e. specific images are recreated.

There is a multiplicity of points of view on the classification of games that make up theatrical gaming activities. Namely, objective and non-objective games in the classification of L.S. Furmina, differentiation of theatrical games according to design, according to literary text, according to the circumstances proposed by adults E.L. Trusovoy. In a number of studies, theatrical games are classified by means of depiction, depending on the leading methods of emotional expressiveness of the plot. Theatrical play by L.V. Artemova divides them into two groups: dramatizations and directorial ones.

According to most researchers, in a preschool institution, children’s theatrical and play activities take two forms (each of them, in turn, is divided into several types):

.Games where the characters are certain objects (toys, dolls). These are games with dolls in various types of puppet theater, i.e. director's games.

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

Let's consider a more detailed classification of director's games according to L.V. Artemova in accordance with the variety of theaters:

· Tabletop toy theater. Toys and crafts are used that stand steadily on the table and do not interfere with movement.

· Tabletop picture theater. Characters and scenery - 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.

· 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.

· 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.

· 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 show is accompanied by appropriate sound.

2.Theatrical games, when children themselves, in the image of a character, play the role they have taken on, i.e. dramatization games.

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

Dramatization games can be performed without spectators or have the nature of a concert performance. If they are performed in the usual theatrical form (stage, curtain, scenery, costumes, etc.) or in the form of a mass plot spectacle, they are called theatricalizations. Types of dramatization: games imitating images of animals, people, literary characters; role-playing dialogues based on text; staging of works; staging performances based on one or more works; Improvisation games where the plot is played out without prior preparation.

Dramatizations are based on the actions of the performer, who

can use dolls. L.V. Artemova identifies several types of dramatization games for preschoolers:

· Dramatization games with fingers. The child puts the attributes on his fingers. He “plays” the character whose image is on his hand. As the plot unfolds, it acts in one or more

fingers, pronouncing the text. You can depict actions while behind a screen or moving freely around the room.

· Dramatization games with bibabo dolls. In these games, bibabo dolls are placed on the fingers. They usually operate on a screen behind which the driver stands. You can make such dolls yourself using old toys.

· Improvisation. This is acting out a plot without prior preparation.

In traditional pedagogy, dramatization games are classified as creative games, included in the structure of plot-role-playing games.

According to the theory of E.V. Migunova (1) the theatrical activities of preschoolers are based on the principles of developmental education, the methods and organization of which are based on the patterns of child development, while taking into account psychological comfort, which presupposes:

) removal, if possible, of all stress-forming factors;

) emancipation, stimulating the development of spiritual potential and creative activity;

) development of real motives:

· play and learning should not be forced;

· internal, personal motives should prevail over external, situational ones, emanating from the authority of an adult;

· internal motives must necessarily include motivation for success and advancement (“You will definitely succeed”).

With the development of the public preschool education system, theater has firmly entered the lives of preschool children. T.N. and Yu.G. Karamanenko developed one of the first and most popular manuals for educators on the use of different types of puppet theater. Thanks to the publication of this manual, and then the work of G. Genev, the arsenal of means of pedagogical influence on preschool children was enriched with different types of theaters, which increased the activity of involving children themselves in theatrical activities. The study of psychological, pedagogical and methodological literature, best practices shows that a large theoretical and practical experience on organizing theatrical and play activities in kindergarten. Issues related to the organization and methodology of theatrical activities are widely represented in the works of domestic teachers, scientists, and methodologists - N. Karpinskaya, A. Nikolaicheva, L. Furmina, L. Voroshnina, R. Sigutkina, I. Reutskaya, L. Bochkareva, I. Medvedeva and T. Shishova and others.

By theatrical games, scientists understand “theater games”, “the plots of which are well-known fairy tales or theatrical performances based on ready-made scripts.” (2)

2. Methodology for organizing theatrical games for preschoolers

Effective development of children's theatrical play certainly requires targeted pedagogical support. It should be noted that the general methods of directing theatrical play are direct (the teacher shows the methods of action) and indirect (the teacher encourages the child to act independently) techniques.

But, according to O. Akulova (3), at present, in preschool institutions, the developmental potential of theatrical performance is not used enough, which can be explained by the presence of two contradictory trends in the methods of organization.

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

The second trend in organizing theatrical play can be called non-interference by an adult. In practice, it often develops into a complete lack of attention on the part of the teacher to this type of play activity: children are left to their own devices, the teacher only prepares the attributes for the “theater”.

The contradiction between the developmental potential of theatrical play and its insufficient use in a preschool institution can only be resolved if scientifically grounded and practice-oriented pedagogical technology is developed. We analyzed the experience of domestic teachers in organizing theatrical and gaming activities in kindergarten, namely:

· Program for organizing theatrical activities for preschoolers and junior schoolchildren“Art Fantasy” by E. G. Churilova,

· Program “Theatre-creativity-children: playing puppet show» N.F. Sorokina, L. G. Milanovich,

· Program “Theater classes in kindergarten” by M. D. Makhaneva,

· Theatrical games in kindergarten - the author's pedagogical technology for the development of a preschool child in theatrical activities by T.I. Petrova, E.L. Sergeeva, E.S. Petrova,

· Program “Theatrical activities in kindergarten” E.A. Antipina,

· “Rosinka” L.V. Kutsakova, S.I. Merzlyakova - a modular pedagogical system for the education and development of preschool children from 3 to 7 years old,

· Program "Childhood"

The system of work for the development of theatrical activities is divided into three stages:

.artistic perception of literary and folklore works;

2.mastering special skills for developing basic (“actor”, “director”) and additional positions (“screenwriter”, “designer”, “costume designer”);

.independent creative activity.

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

Thus, we see that theatrical activity is integrative, and activity and creativity are manifested in three aspects:

Firstly, in creating dramatic content, i.e. in the interpretation, rethinking of the plot given by the literary text or the composition of a variable or one’s own plot.

Secondly, in the fulfillment of one’s own plan, i.e. in the ability to adequately embody an artistic image using various means of expressiveness: intonation, facial expressions, pantomime, movement, chanting.

Thirdly, in the design of the performance - in the creation (selection, production, non-standard use) of scenery, costumes, musical accompaniment, posters, programs.

These features of theatrical activity cause certain difficulties in pedagogical work, since they contain a number of contradictions: between the child’s freedom in play and the mandatory content basis of theatricalization; between the improvisational nature of the game and the stages of preparation for theatrical performance; between the emphasis in the game on the process itself, and in theatricalization on its result. These contradictions are resolved provided that theatrical and play activities are organized as an intrinsically valuable free and creative activity of the preschooler.

It should be noted that all the considered programs and technologies are aimed at revealing the child’s creative potential, developing his communication abilities, mental processes, ensuring the expression of the individual’s individuality, understanding the inner world through theatrical activities, and are successfully used in various preschool institutions.

In our opinion, the following are of great interest to practitioners: guidelines on theatrical and play activities of preschool children, developed by L.P. Bochkareva (2).

Based on an analysis of scientific and methodological literature, the author describes the types of theatrical subject games and gives a detailed description of each, confirming the variety of types of theatrical games. They complement each other and can take their rightful place in the educational work of a kindergarten and make the child’s life brighter, richer and more diverse.

These recommendations touch upon another very important aspect in working with children, related to the manufacture of toys for theatrical activities and the creation of an object-based play environment in the group and on the site. Approximate forward planning this work, starting from the fourth year of life.

An analysis of methodological literature and pedagogical experience shows that when developing theatrical and play activities, scientists and practitioners pay great attention to the development of children's creativity and find interesting methodological techniques. Here are some of them:

independently come up with a plot for two imaginary toys and play it out; reading a familiar fairy tale and asking the children to come up with a new fairy tale, but with the same characters (O. Lagutkina);

offer children an unconventional set of dolls for composing sketches and plays for different contextual roles - Father Frost and the Frog, the Snow Maiden and the Cockerel (T. Nemenova);

provide the opportunity to perform contrasting roles - the old bear and little bear, an angry dog ​​and a defenseless puppy and much more (G.Prima).

In her methodological manual (4) Dronova T.N. offers teachers such content, such forms of guiding children's theatrical play, which, first of all, would bring joy to children and would contribute to their general and artistic development. Let's look at them in more detail:

.Organization of theatrical activities for preschool children:

It is recommended that teachers begin working with children on theatrical activities in October-November, i.e. after most children have completed their adaptation period.

To conduct theatrical activities in the class schedule, special time should be allocated in two forms:

as a specially organized form of teacher work with children;

as an unregulated activity at the request of the child.

Dronova T.N. suggests Friday (afternoon) as the optimal time for specially organized teacher work with children. The teacher must first agree with the parents of the group about a time for the children to go home, which will be convenient for most of them, and to hold a weekly performance with the children and coincide with this time. Thus, each parent will have to spend no more than 20 minutes participating in the performance as a spectator, and with their presence will have a positive impact on the effectiveness of children’s development in theatrical activities.

Unregulated theatrical activities can be carried out by children daily (in the morning and evening hours) in the process of free independent activity of children.

Weekly performances on Fridays for children aged five years should take place in a group room. If there is such a possibility, then the group can create a stationary stage with a curtain or a portable mini-stage that can be easily stored and used as needed.

In senior preschool age, every Friday, in the afternoon, the teacher works with children on theatrical activities, but performances for parents are staged once every two weeks - on Fridays, and can also be timed to coincide with certain holidays.

At each age stage, approaches to methods of working with children should be different.

Thus, for the development of children of the fifth year of life in theatrical activities, it is necessary to provide all children with equal opportunities to participate in the dramatization. This means that children should act in the same or equal roles, regardless of their abilities.

On initial stage work on theatrical activities, we suggest teachers include exercises to develop memory, attention and others in the dramatization mental functions. The need for this is related to the peculiarities of the methodology aimed at developing in children the ability to overcome stage anxiety.

The selection of repertoire for a theatrical production is very important, because Not every work of art is suitable for solving problems related to the characteristics of age and the specifics of theatrical activity. The best option to start with is the folklore of the peoples of the world, Russian and world classical poetry, poems by modern domestic and foreign authors.

In older preschool age, approaches to children's development in theatrical activities change. For the development and emotional well-being of children, it is necessary that theatrical activities be creative in nature, and the child’s knowledge about life, his desires and interests must naturally enter into its content. To do this, every child must have the opportunity to realize in his own creative work content that is close and interesting to him, and teachers provide him with freedom of action.

Therefore, when working with children of senior preschool age, Dronova T.N. strongly recommends that teachers create performances based on content created by the children themselves. And he invites teachers to build the second theater season on a repertoire that, along with traditional productions, will include performances for which the children themselves will come up with content. theatrical play director's children's

In addition, when working with children of senior preschool age, she recommends using:

performances based on works of art in which children play different roles;

performances based on content invented by the children themselves (“New Year’s Tale”, “As a gift to Santa Claus” and mothers for March 8th);

performances using puppets and flat figures, which are set in motion with the help of a daddy attached to their lower part.

But changes occur not only in the content of work with children from 4 to 7 years old. The methods of working with children are also changing.

To properly organize theater classes with preschoolers, it is recommended to take into account the following principles (E.G. Churilova).

Daily inclusion of theatrical games in all forms of organization pedagogical process, which will make them as necessary as didactic and role-playing ones.

Maximum activity of children at all stages of preparation and conduct of games.

Cooperation of children with each other and with adults.

Preparedness and interest of educators. All games and exercises in the lesson are selected in such a way that they successfully combine movements, speech, facial expressions, pantomime in various variations.

Theater work in kindergarten, organized taking into account the above principles and methods, it contributes to the fact that theatrical play will become a means of self-expression and self-realization of the child in various types of creativity, self-affirmation in a peer group, and enrichment of one’s life experience.

Let's consider the development of theatrical play for preschoolers based on a rough plan for organizing theatrical activities for children aged 4-5 years. The work plan lasts 6 weeks and includes examples various types theatrical games, their goals and objectives and short description.

Work on the text Work on the formation of creative abilities (performing skills) Types of theatrical activities recalling and sequential telling of the fairy tale “Kolobok”; - retelling of the fairy tale “Turnip” based on the plot pictures. Game “Play it out”; performing dance movements characteristic of the characters; encourage children to pronounce the character’s words by changing their voice; displaying the plot of a fairy tale on a flannelgraph; finger theater (house and Christmas trees from the plane theater; reading the fairy tale “Winter House”; - storytelling along the chain. - game “Guess who it is?” goal: to teach children to convey the movements of the characters from the fairy tale, to be attentive and patient; - drawing a book; - production of a cone theater; during production, use the exercise of how characters greet each other in different moods; modeling a fairy tale; cone theater (use of substitute objects: stage - bricks from floor building material; reading the fairy tale “Thumbelina”; conversation on the content; drawing; encourage children to perform exercises: how Thumbelina met her friends, how everyone greeted her; showing pictures with emotional state, an image of this state; - drawing a memorable fairy tale plot; production of box theater; - help children convey the characteristic movements of the characters to music (a beetle flies, a frog jumps); - staging a fairy tale using a box theater; -use of substitute objects; reading an excerpt from the fairy tale “The Golden Comb Cockerel”; telling a fairy tale by role; inventing another beginning; - introduction of a new hero; - outdoor game “Guess who the child is portraying?” goal: to develop the ability to portray heroes; making attributes for a fairy tale (Christmas tree, axe, beads, harp, house); drawing (photographic film); - staging a fairy tale with the help of bibabo dolls - showing a cartoon; reading the fairy tale “Little Red Riding Hood”; story based on pictures; introduction of several heroes; inventing - the other end of the fairy tale - the outdoor game “The Sea is Troubled” goal: to teach how to stand at the end of the music, to portray the hero conceived by the teacher; encourage, in the process of making a shadow theater, to pronounce the roles of the characters, change intonation, and develop imagination; improve children's improvisational abilities; - staging a fairy tale using shadow theater (using substitute objects); asking riddles about heroes; reading the fairy tale “Tar Barrel Bull”; sculpting of heroes; inventing a different plot; Encourage children to consistently present the plot of a fairy tale during the modeling process; outdoor game “The Storyteller and the Guys”; goal: to teach children to portray heroes from fairy tales; be dexterous - involve children in making attributes for the heroes of the fairy tale. - dramatization game.

In modern methodological literature there is a large number of games that promote the development of theatrical activities in preschool children. Let's give some examples of such games.

1. Performing theatrical games:

· A dramatization game based on the Russian folk tale “Turnip”.

Target.To develop expressiveness of intonation and facial expressions in children. Foster a sense of collectivism and mutual assistance.

Progress of the game. When organizing the first game, the teacher tells the children that they are visiting a Russian folk tale today. Which? Let them guess for themselves using the presented attributes. The teacher begins to tell a fairy tale, the children join in as the game progresses. Performers of the roles can be selected using counting rhymes, riddles, or by assessing the expressiveness of the child’s imitation of the character. As the game progresses, the children pronounce the chain: granddaughter for grandma, grandma for grandpa, grandpa for the turnip, etc. If there are too many people who want to pull the turnip, you can offer them hats with images of other animals that came to the rescue. At the end of the game, when the elongated turnip lies on the ground, dance around it and arrange a harvest festival.

· Game "What has changed?"

Target. Develop visual memory, attention, endurance.

Progress of the game. Children - "artists" show the mise-en-scène from a performance, the rest of the children - spectators, memorize it, then close their eyes. Changes are taking place on the stage. The audience must reconstruct the mise-en-scène.

· Game "The same thing in different ways."

Target: develop imagination, fantasy, memory.

Progress of the game. Children are divided into groups and asked to come up with and show several versions of different well-known fairy tales.

· Game “Fantasies about...”.

Target. Develop imagination, fantasy, coherent figurative speech.

Progress of the game. Children, turning into something or someone, tell what the thing feels, what surrounds it, cares, where and how it lives. For example: “I am an iron”, “I am a cat”, “I am a doll”, etc.

· Game "Variations on a Theme..."

Target. To develop artistic expressiveness and imagination in children.

Progress of the game. The teacher, together with the children, chooses a work with a well-known text. Children are divided into groups. Each group must show the work using different theatrical performances (puppet theater, child actors, etc.)

2. Creative theatrical games:

· Game "How to behave on the street."

Target. Introduce children to the rules of behavior on the street. Develop imagination, imagination, learn to use personal experience in game situations.

Characters. Presenter, traffic light, drivers, passers-by, Dunno, bunny, clown.

Progress of the game. Children agree on who will act as which characters. The presenter (in the first game this is an adult, and in the second game - a child) reads poetry about the rules of the street. Children move the figures according to the text. First, you can ask riddles. Following the answer, a car appears. When all the cars are on display, we create the illusion of movement (you can give the drivers steering wheels in their hands). Children quietly imitate the roar of cars, driving in a circle around the table on which the action is being played out. The presenter begins to read O. Bekarev’s poem “The ABCs of Security.” Children solve problem situations on the road. Children repeat the rules of the road.

·Games - sketches.

Goals: develop imagination, expressiveness of conveying emotions through different means; ability to act together.

Sketches can be suggested by the teacher or composed by the children. Writing sketches based on fairy tales, poem plots, musical excerpts (“Kolobok and the Fox”, “Tanya and the Ball”, “Girl and Doll”, etc.).

· Game "Little Red Riding Hood", based on the fairy tale by Charles Perrault

Target. To instill in children respect for elders, obedience, friendliness, politeness; teach to appreciate good, condemn evil, find the right way out in unforeseen situations, prepare attributes for dramatization, creatively approach the depiction of its plot, vividly and expressively display the moral essence of the characters.

Progress of the game. We inform the children that a fairy tale has come to visit them, and distribute roles. To do this, you can invite them to depict trees, flowers, mushrooms, berries in the forest, or birds, butterflies, beetles, dragonflies, etc. Anyone who has chosen the role of a forest dweller learns by heart a riddle or poem about this animal or plant at home. We role-play a fairy tale based on a familiar plot. When preparing for repeated games, think over and discuss with the guys new options for playing out all the scenes. Be sure to take into account children's creativity when assigning roles.

· Game "Verbal Portrait".

Target.Develop imagination, train memory, communication skills.

Progress of the game. The driving child stands in the center of the circle. Children dressed in costumes of fairy-tale characters walk in a circle, holding hands, and say the words: “Stand in the center of the circle, and don’t open your eyes. Give me an answer quickly - Describe the portrait of Masha.” The children stop. The driver closes his eyes and describes the portrait (what it looks like, what is the name of the character he portrays) of the named child.

· “Working with emotional circuits.”

Target. Develop fantasy, imagination, logical thinking.

Progress of the game. Emotion schemes are several sequentially depicted models of emotions, connected by arrow transitions. Children are put into subgroups and asked to come up with a story. In this story, events happen to the hero during which he shows the indicated emotions. For example, the scheme: sadness - surprise - joy. “A sad chicken was walking, saw his brother floating along the river on a leaf, and was very surprised. His brother invited him to swim with him. The chicken was happy and went swimming with his brother.”

3. Theatrical games aimed at working on the text of works:

· Game “Children in a Cage” based on the poems of S. Marshak.

Target. Introduce children to the life of animals in a zoo. Cultivate interest and love for nature.

Progress of the game. We invite children on an “excursion” to the zoo. Questions for children: Has anyone been to the zoo yet? Do the guys remember stories about animals? Someone shares their impressions of visiting the zoo. The beginning of the excursion, children-helpers place toys (pictures) in pre-prepared places. The rest of the children are visitors. And the guide is the poet Samuil Yakovlevich Marshak.

Together with the children, we change the location of the animals in accordance with the verses. In the second and third games, the children must not only drive the toys, but also read familiar fragments of text after you.

· Game “Dirty Girl” based on poems by A. Barto and P. Barto.

Target.Teach children to create a plot from simple actions and involve them in active participation in the game. Cultivate the desire to always be clean.

Progress of the game. We show the children a dirty doll and form an emotional attitude towards it. When the game is played for the first time, all roles are played by the teacher. In the repeated game, we ask children to speak for the doll and wash it. Gradually, the guys, having memorized the words, conduct the dialogue themselves.

· Game "Snowball".

Target. Develop auditory attention, memory, group cohesion.

Progress of the game. Children sit in a circle. The teacher suggests “rolling a big snowball” on the topic of my favorite fairy tales. The first child names his favorite fairy tale, the next one names one of the heroes, etc.

· Game "Draw a fairy tale Thumbelina."

Target. Develop Creative skills, consolidate the text of the fairy tale.

Progress of the game. Reading a fairy tale. Conversation with children on content. Invite children to draw a cartoon based on a fairy tale, having previously distributed the plots. And then show the cartoon (each child describes his drawing in chronological order).

· Game “Telephone” based on a poem by K. Chukovsky.

Target. Teach children to engage in a collective dramatization of a work in a timely manner, to express the state of the character using facial expressions, voice, intonation, to understand the humor of the work, to cultivate interest and respect for animals.

Progress of the game. The first reading of a fairy tale with elements of dramatization for children is not carried out in full, but by selecting passages with the characters most known to children. To play the roles of animals, we choose those children who know poetry well and can read them expressively. Place several children near the fairy phone, and sit among the rest of the children. There is also a telephone on the table in front of you, and it rings. Pick up the phone yourself and invite the children to listen. Your task is to convey to the child all the charm and humor of K. Chukovsky’s poems. Therefore, while reading them expressively, do not deviate from the text. But don’t demand this from kids. They can express the animals' requests in their own words. As if asking again, repeat the request in the author’s verses. When answering a request, do not forget about those who are close to you. As if you didn’t hear or understand the request, let the children listen too, asking the animals to repeat the request again and again. Now all the guys participate in the game, and even those who don’t know the text. Children may hear it from you for the first time, but learn it through repeated games.

Conclusion

In this test work The features of theatrical play of preschool children were considered, the assigned tasks were completed, as a result of the analysis of information sources on this issue, the theoretical content of the issue under study was determined and methodological recommendations for organizing theatrical activities of children in preschool age were systematized.

The enormous importance of theatrical play activities for the development of the child’s psyche and personality gives grounds to assert that this type of play activity should be given special attention in the preschool educational process . Scientists are unanimous in the opinion that theater is one of the brightest, most colorful and accessible spheres of art for a child. It brings joy to children, develops imagination and fantasy, contributes to the creative development of the child and the formation of the basis of his personal culture.

The role of the teacher in organizing and conducting theatrical games is very great. It consists of setting fairly clear tasks for children and transferring the initiative to children. It is important to skillfully organize their joint activities and direct them in the right direction, not to leave without attention a single issue, both organizational plan and issues relating to each child personally (his emotions, experiences, reactions to what is happening), to the difficulties that children face collide. It is very important for the teacher to take an individual approach to each child.

Thus, theatrical play should be a school of activity in which the subordination of necessity appears not as imposed from the outside, but as responding to the child’s own initiative, as desired. Theatrical play, in its psychological structure, is a prototype of future serious activity - life.

Bibliography

1. E.V., Migunova. Organization of theatrical activities in kindergarten. Veliky Novgorod: b.n., 2006.

Bochkareva, L.P. Theatrical and play activities of preschool children. Toolkit for specialists in preschool education. Ulyanovsk: IPKPRO, 1993.

Theatrical games. O., Akulova. No. 24, b.m. : Preschool education, 2005.

T.N., Dronova. We play in the theater. Theatrical activities for children aged 4-6 years. M: Education, 2005.

5. Churilova E.G. Methods and organization of theatrical activities for preschoolers and primary schoolchildren. - M.: Vlados, 2001.

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

Petrova T.I., Sergeeva E.L., Petrova E.S. Theatrical games in kindergarten. - M.: School press, 2000.

Guiding children's games in preschool institutions / Ed. M.A. Vasilyeva.-M.: Education, 1986.

Yurina N.N. Theatrical activities in kindergarten // Aesthetic education and development of preschool children / Ed. E.A. Dubrovskaya, S.A. Kozlova. - M., 2002.

This work contains theoretical material about theatrical games, a type of games. Starting from the second junior preparatory group, interesting theatrical games are given.

Theatrical games are a constant favorite among children. Preschoolers are happy to join in the game, answer the dolls’ questions, fulfill their requests, give advice, and transform into one image or another.

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"Theatrical games in kindergarten"

Compiled by: teacher 1st qualification. category

Farkhutdinova Siren Ildusovna.

Theatrical games are a constant favorite among children. Preschoolers are happy to join in the game: answer the dolls’ questions, fulfill their requests, give advice, and transform into one image or another. Kids laugh when the characters laugh, feel sad with them, warn of danger, cry over the failures of their favorite hero, and are always ready to come to his aid.

By participating in theatrical games, children get acquainted with the world around them through images, colors, and sounds. The great and varied influence of theatrical games on a child’s personality allows them to be used as a strong but unobtrusive pedagogical tool, because the child feels relaxed and free during the game.

What do we know about theatrical games? Apparently, they are so named for their closeness to theatrical performance. Entertainment always brings joy, and the fabulousness of the images enhances the attractiveness of the game.

Theatrical games.

Known classifications of theatrical games do not take them into account main point– visual aids used by game participants. All theatrical games are divided into two main groups: director's games and dramatization games.

Director's games include: tabletop, shadow theatre, theater on a flannelgraph. Here the child or adult himself is not actor, he creates scenes, plays the role of a toy character - three-dimensional or planar. He acts for him, portrays him with intonation and facial expressions. The child's pantomime is limited. After all, he acts as a motionless or sedentary figure, a toy.

Dramatizations are based on the actor's own actions, who may use bibabo dolls or characters worn on their fingers. In this case, the child or adult plays himself, mainly using his own means of expression - intonation, facial expressions, pantomime.

Types of director's games

Tabletop theatrical games

Tabletop toy theater. This theater uses a wide variety of toys - factory-made and homemade, from natural and any other material. Here the imagination is not limited, the main thing is that the toys and crafts stand steadily on the table and do not interfere with movement.

Tabletop picture theater.All pictures - characters and decorations - are double-sided, since turns are inevitable, and in order for the figures not to fall, supports are needed, which can be very diverse, but always quite stable. This is ensured by the correct ratio of the weight or support area to the height of the picture. The higher the picture, the larger or weightier the support area is needed.

The actions of toys and pictures in the tabletop theater are limited. But you should not lift them and move them from place to place. It is important to imitate the desired movement: running, jumping, walking and at the same time pronounce the text. The state of the character, his mood is conveyed by the intonation of the presenter - joyful, sad, plaintive.

It is best to hide characters before the game starts. Their appearance during the action creates an element of surprise and arouses the interest of children.

In order to create an idea of ​​the location of the action, use decorative elements: two or three trees are a forest, green cloth or paper on a table is a lawn, a blue ribbon is a stream.

Stand theatrical games

Stand – book The dynamics and sequence of events are easy to depict with the help of alternating illustrations. For games such as traveling, it is convenient to use a stand - a book. Secure it to the bottom of the board. On the top place the transport on which the trip will take place. As the trip progresses, the presenter (first the teacher, and then the child), turning over the sheets of the book stand, demonstrates various scenes depicting events and meetings that take place along the way. You can also illustrate episodes from the life of a kindergarten if each page depicts a new routine process.

Flannelograph Pictures are also good to show on the screen. They are held in place by the adhesion of the flannel that covers the screen and the back of the picture. Instead of flannel, you can stick pieces of sandpaper or velvet paper on the pictures. Children can select drawings from old books and magazines, and the missing ones can be completed. You can also use natural material.

Screens of various shapes allow you to create “living” pictures that are convenient to demonstrate to the whole group of children.

Shadow theater What is needed is a screen of translucent paper, expressively cut out black flat characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. Very interesting images are obtained using your fingers. For example, you can make a goose, a hare, a barking dog, etc. Just remember to accompany the show with the appropriate sound.

Types of games - dramatizations

By participating in games - dramatization, the child, as it were, enters the image, transforms into it, lives its life. This is perhaps the most complex execution, since it does not rely on any materialized model.

Attribute is a sign of a character that symbolizes its typical properties. For example, the child puts on a characteristic animal mask cut out of paper, a hat, an apron (elements of work clothes), a kokoshnik, a wreath, a belt (elements of national dress), etc. He must create the image himself - with the help of intonation, facial expressions, gestures, movements.

Games – dramatizations with fingersThe child puts the attributes on his fingers, but, as in dramatization, he himself acts for the character whose image is on his hand. As the action progresses, the child moves one or all fingers, pronouncing the text, moving his hand behind the screen. You can do without a screen and depict actions by moving freely around the room.

Finger theater is good when you need to show several characters at the same time. For example, in the fairy tale “Turnip” new characters appear one after another. Such a performance can be performed by one child using his fingers. The display of such fairy tales with crowd scenes is possible thanks to finger attributes.

Games – dramatizations with bibabo dollsIn these games, a doll is placed on the fingers. The movements of her head, arms, and torso are carried out using movements of the fingers of the hand.

Bibabo dolls usually operate on a screen behind which the driver is hidden. But when the game is familiar or the children themselves are driving the doll, that is, the moment of mystery has disappeared, then the drivers can go out to the audience, communicate with them, give them something, take someone by the hand, involve them in the game, etc. Such “exposure” does not reduce, but rather increases the interest and activity of the children.

When children see an adult playing with bibabo dolls, they will most likely also want to learn how to drive them themselves. Show the children how the doll should move, how to move it across the screen.

Improvisation – playing out a theme or plot without prior preparation is perhaps the most difficult, but also the most interesting game. All previous types of theater prepare for it. And all the children will be at a loss if you suddenly invite them to act out this or that scene. Prepare them for this - come up with a theme together, discuss how to portray it, what the roles and characteristic episodes will be.

The next step is to have each participant in the game depict the theme in their own way. And an even more difficult task: the child chooses a theme and acts it out himself. Next time the guys will ask each other topics themselves. And finally, with the help of facial expressions, intonation, and attribute, you can make a riddle. The answer is the theme, which is also played out.

Theatrical games as a type of plot - role playing games retain their typical features: content, creative concept, role, plot, role and organizational actions and relationships. The source of all these components is the surrounding world. It is also a support for the creativity of the teacher and children. Each theme can be played out in several versions.

However, unlike role-playing games, theatrical games develop according to a pre-prepared scenario, which is based on the content of a fairy tale, poem, or story. The finished plot seems to lead the game. But, while facilitating the development of the topic, it at the same time reduces the creative solution of it by the teacher and children. All currently existing practical recommendations Theatrical games come down mainly to the development of scenarios based on literary works, most of which are acted out by adults. Older preschoolers are sometimes involved in performances, but their creativity consists only in their own emotional expression of the role being played.

Children rarely participate in the preparation of attributes and scenery for the performance. Most often they are offered ready-made costumes, which, of course, pleases the children, but at the same time constrains their independence and creativity.

All listed species theatrical games require directing and speaking lines. This also requires expressive intonations, typical for a certain image, facial expressions that complement the play of the voice. The depiction of the characters' behavior becomes more complicated in a dramatization game. Pantomime becomes the leading visual medium here. The image is born from the character’s actions, facial expressions, intonation and the content of the lines. All this gives room for creative transformation of a familiar plot.

How to develop and educate children in play?

To do this, first of all, proper organization of theatrical games is necessary. Its main requirements are:

The constant, daily inclusion of theatrical games in all forms of organization of the pedagogical process, which makes them as necessary for children as role-playing games;

Maximum activity of children at all stages of preparation and conduct of games;

Cooperation of children with each other and with adults at all stages of organizing a theatrical game.

The sequence and complexity of the content of the themes and plots chosen for the games is determined by the requirements of the education program for each age group of the kindergarten. The creative development of the topic begins with preparing a game script based on the plot of a literary work: a fairy tale, a story, a poem. Next, children are expected to improvise on a given or chosen topic.

The independence of children's play largely depends on whether they know the content of the fairy tale or script. It is very important to preserve the original text in its entirety at the stage of listening to it by children. Do not distort it under any circumstances. But you shouldn’t learn the text with the guys before the game starts. Such preparation would take away time intended for other equally important matters and activities. Moreover, the result will be a performance, not a game.

Questions may arise: how and when to introduce the children to the content of the script? How independent and creative will the game be if the children know the text of the work well? Maybe it's better to offer them unfamiliar text? The well-known and, in general, completely justified recommendation - reading the work before the games - requires discussion and clarification. What you read becomes clear if it is sufficiently well illustrated. For this purpose, it is best to display “live” pictures on a flannelgraph or on a table, but you can also use a theater of toys or bibabo dolls. In this way, visual images are simultaneously created and ways of their emotional expressiveness and play are demonstrated.

At first, it is better for the teacher-leader to read the text himself, involving the children in pronouncing its individual fragments. In repeated games, the children’s activity increases as they master the content of the text. Never ask for it to be literally reproduced. If necessary, naturally correct the child and, without delay, continue playing. In the future, when the text is well understood, encourage its accuracy of presentation. This is important so as not to lose the author's findings. When reading poetic texts, involve children in the game if possible. Let them actively participate in the dialogue with you, play along with the main storyline, imitate the movements, voices, and intonations of the game characters.

It is difficult for a teacher to learn many poems and texts of various theatrical games. You can burn them to disk. Recording allows you to save money artistic expression text, figurative expressions of the author. But don't rely entirely on the recording. Learn the texts yourself as much as you can. After all, reading a work must be combined with facial expressions. In addition, you can use poetry every day when communicating with children.

Participants in theatrical games must master the elements of transformation so that the character’s character and his habits are easily recognized by everyone. At the same time, give children more freedom in action and imagination when depicting the theme and plot of the game.

Every child wants to play a role. But almost no one knows how to do this in order to experience satisfaction yourself and gain approval from peers. Unexpressive intonations and monotonous movements generate dissatisfaction with oneself, lead to disappointment, loss of interest in the game, and, consequently, a decrease in its emotional impact on children.

Among the variety of means of expression, the kindergarten program recommends the following: in the second junior group, to develop in children the simplest figurative and expressive skills (for example, to imitate the characteristic movements of fairy-tale characters - animals); in the middle group use artistic and figurative means of expression– intonation, facial expressions and pantomime (gestures, posture, gait); in the senior group, improve artistic and figurative performing skills; in the preparatory group for school, to develop creative independence in conveying an image, the expressiveness of speech and pantomime actions.

So, your speech in everyday communication, reading, recitation, theatrical games, which you initially lead yourself, serve as the first role models.

Further - small exercises with kids. They need to start with the younger group. It is better to conduct it immediately after the end of the theatrical game. Children are delighted with the way you drove the characters, how they spoke, and acted for them. It's time to invite them to play the same way. For exercises, use the statements of the characters who just spoke. For example, in the fairy tale “The Mitten,” you need to ask to wear a mitten, like a mouse and like a wolf. As a rule, there are many people who want to speak out and listen. Make the exercise more difficult - let several mice ask to come into the house one by one. Who will say more plaintively? And then they are for the wolf. Who is more similar? The rest, of course, are burning with impatience, wanting to perform. Let everyone do this. But first, announce a competition - who is better? The winner receives applause.

Children find it more interesting when they not only speak, but also act like the heroes of fairy tales. Point out some of the character's driving techniques and let them try it themselves. The rest will also imitate role-playing movements. Draw children's attention to perform better. Ten minutes of such exercises will satisfy the children’s desire to participate in the game and will bring them joy. In addition, the necessary skills will be developed.

Next time, invite the students to act out a dialogue between two characters: pronounce the words and act for each. This is an exercise in intonation of dialogue. An example is the requests of animals to let them into the mitten and the responses of those who settled in it.

Children feel well and repeat intonations based on contrasts. For example, how the stepdaughter and stepmother's daughter refer to the months; how three bears talk. The exercise can be done like this. Name a fairy tale. And let the children guess which girl or which bear you were talking about. Then they themselves, using intonation, ask each other similar riddles. It is useful to use all appropriate cases in everyday communication and play to train children in the varied intonation of the most common words: “hello” (joyfully, affably, benevolently, casually, gloomily); “goodbye” (with regret, grief or hope of meeting soon), etc.

Choose a quatrain and read it to the children with different intonations. Ask them to repeat, and maybe find new intonation options, for example: surprised, mocking, bewildered, sad, cheerful, compassionate. Say the phrase, placing emphasis on a new word each time. For example: “Don’t forget to feed the fish”, “I love my sister”, etc. Draw the children’s attention to how the meaning of the phrase changes depending on the stressed word. Be sure to continue practicing them on fragments from theatrical games, for example, “Grandfather planted a turnip,” “And Fedora became kinder,” etc.

While watching performers with children, teach the children to notice differences in the characteristics of the images. It’s good if you give everyone the opportunity to portray in their own way.

Music helps convey the character's character. For example, in music classes, you can use melody to encourage children to imitate the movements of various characters. For example, after listening to the song “Cockerel” V, Vitlin depict how the cockerel sings when he was sick and when he recovered.

The child, rhythmically striking the tambourine, shows how the bear walks and the hares jump. Other children guess which movements correspond to the movements of the bear and hares. Together with musical accompaniment, you can imitate the movements of a frolicking or tired horse.

And here are the musical riddles: “Show how the bunny jumps” (V. Agafonnikov. “Little, little white”); “Show me how silently and softly the cat moves” (V. Agafonnikov. “All furry”); “Show how a cockerel walks” (V. Agafonnikov “Not a rider, but with spurs”).

While the children are completing the task, you and the rest of the children carefully watch and note the features of each “actor’s” performance, involve the children in finding their own ways of showing. In the future, be sure to include these kinds of fragments in theatrical games to find practical use for them.

Each game requires its own means of expression and creativity.

Theatrical games

Second junior group

"Mitten"

(Based on a Ukrainian folk tale)

Theater of toys or pictures on the table

Target. Teach children to actively participate in joint games, to depict the characteristic behavior of the characters. To foster friendship, camaraderie, and the ability to act in concert.

Characters. Presenter, grandfather, mouse, frog, hare, fox, wolf, boar, bear, dog.

Preparing for the game.Watching the cartoon "Teremok".

For the toy theater, select characters from ready-made toys and complement them with homemade products made from natural materials. Glue flat characters onto their corresponding silhouettes made of thick cardboard, plastic or plywood on both sides.

On the grandfather’s hands are colorful, bright mittens with Ukrainian embroidery; make the one he drops so large that all the animals can fit in it.

The place for playing out the action can be 2-3 shifted tables. Place a simple decoration depicting an autumn forest on them: cover the tables with orange-green fabric, attach trees and bushes in the corners.

Progress of the game. For the first time, involve your assistant in the game. He will play the role of grandfather. Take on the role of the leader. The animal roles will be played by children who can expressively portray the characters.

Children-spectators are placed in a wide circle around an improvised stage, and the “artists” with characters in their hands are located in the “forest” (in different places of the room). Grandfather and his dog (it could be a child) are outside the door. Agree in advance that the characters will appear on the “stage” and act only when the presenter calls them. So the game begins.

Presenter ( shows the hand on which the mitten is worn, reads N. Sakonskaya’s poem “Where is my finger?”).

Masha put on her mitten. Masha took off her mitten.

Oh, where am I going? - Look, I found it!

The finger is missing, it’s gone, You search and search and you will find it.

I didn’t get to my little house! Hello, little finger!

How are you?

What a warm little house for your fingers! Show me how many of them you have? So many, and they all fit into a small mitten. And if a finger, like Masha’s, gets lost, it will still end up in a mitten with the rest of your friend fingers. Children, what do we put the mitten on? That's right, on hand. Therefore, it can also be called a “mitten”. This is what they call a mitten in Ukraine. It was they who sent us their Ukrainian folk tale “The Mitten”. This tale is very similar to the Russian folk tale "Teremok". Remember her? And today we will get acquainted with the gift of Ukrainian children - the fairy tale “Rukavichka”.

Grandfather was walking through the forest. And the dog ran after him.

The grandfather appears, walks slowly, inspects the trees, takes off his mittens, and accidentally loses one. The dog happily caresses the children. The children try to pet her and invite her to visit. Grandfather calls the dog and leaves.

Leading. Children, look, what is this? (Raises the mitten.)Whose mitten? Yours? Maybe yours? No? So whose is it?

Children. Grandpa must have lost it!

Leading. That's right, a big mitten! Now his hands are frozen. What to do?

Children. Call grandpa! ( Name.).

Leading. Grandfather must have gone far away and can’t hear. Well, let's put the mitten in a visible place. (Leaves it on the stage table.)If grandpa remembers, he’ll come back and immediately find what’s missing. How quiet it is in the forest. Chu! Someone is close... the leaves are rustling... Yes, it’s a mouse running! (He gestures to the mouse.).

The mouse sniffs the mitten and squeaks.

Leading. What, did you like the mitten?

Mouse. Yes, this is where I will live.

Leading. Here's a clever girl, she hid from the cold. Shall we let her live in a mitten, children?

With the consent of the children, the mouse gets into the mitten and looks out.

Leading. Children, who is this who slaps his belly on the ground? (Gives a signal for the frog to come out.)

Children. This is a frog jumping.

Leading. Let's ask together with the frog: who is sitting in the mitten?

Together. Who lives in a mitten?

Mouse. I'm a scratching mouse, and who are you?

Frog. I'm a frog-croak, qua-qua-qua.

Leading. Ask for a mouse!

Frog. Let me into the house, little mouse.

Mouse. Go! ( Both look out of their mittens cheerfully.)

Leading. How many are there?

Children. Two!

Leading. It's more fun with two, right? Now whose jumping can you hear in the forest?

Children. Yes, this is the Bunny running!

Leading. He also saw the mitten and asked...

Bunny. Who's wearing a mitten?

Leading. Why are you hiding, little animals? Respond!

Frog. I am the frog-croak. And who are you?

Hare. And I'm a runaway bunny. Let me in too.

The leader encourages the animals and children to say with a gesture: “Go!”

Leading. How many are there now?

Children. Three!

Leading. Three is even more fun than two. And who is it that runs so lightly, covering its tracks with its tail?

Children. Little fox-sister is running.

Leading. I noticed the mitten, sly fox!

Fox. Who's wearing this mitten?

Animals (look out). There is a scratching mouse, a croaking frog, and a running bunny. And who are you?

Fox. I'm a little fox sister. Let me in too!

Leading. Shall we let the fox in? Won't you harm the animals?

Fox. I won't, I won't.

Animals. No!

Leading. Why are there a lot of animals, but they are not crowded? Because they are friendly and do not interfere with each other. Who else is running there? ( Summons a wolf.) That's right, the children are a wolf, he also found a mitten. Do you want to know who's wearing the mitten?

Wolf. Who lives in a mitten?

Mouse. I am a scratching mouse.

Frog. I am the frog-croak.

Bunny. I am a runaway bunny.

Fox. I am a fox-sister. And who are you?

Wolf. Yes, I’m a gray top, rrr! Let me in too!

Leading. And indeed, the side is gray, but it growls not angrily, but pitifully, and its teeth are sharp. Children, won’t he offend our friends – the animals?

The wolf makes a promise not to offend the animals.

Leading. Let's believe him. He was very cold, it’s a pity for him, let him warm up.

The wolf hides in his mitten.

Leading. There are so many of you! Let's all try to count you together: one, two, three, four, five. And how stretched the mitten was! It was small, and now, children... Big. Listen, someone heavy is running, and how he grunts! That’s right, he also wants to find a house for the winter.

Boar. Chro-chro-chro. Who's wearing this mitten?

Animals. (one at a time). A scratching mouse, a croaking frog, a runaway bunny, a little sister fox, and a gray barrel top. And who are you?

Boar. I'm a tusker boar, hro-hro-hro. I dig the ground with my heel, I look for tasty roots, I feed everyone.

Leading. This is not bad for winter. How are you going to get in here? Will it fit? Children, ask the animals.

Animals. Come on, let's make room.

Leading. A lot of them. In cramped conditions, but not offended. Look, everyone is cheerful, no one complains. Listen: the bushes are cracking, someone is stepping heavily and someone is roaring. What to do? Whoever is in the forest, everyone rushes to the mitten.

A bear appears.

Leading. What, Misha, should you warm up too?

Bear. Who lives in a mitten?

Leading. Children, help the animals, otherwise Misha is old and a little deaf.

Children and animals. I am a scratching mouse, I am a frog-frog, I am a bunny-runner, I am a little fox-sister, I am a top-gray barrel, I am a boar-tusker. And who are you?

Bear. Gu-gu-gu! There are so many of you! And I am a bear - father. Let me in too.

Animals. Where will we let you in when it’s already too crowded?

Leading. What should we do, children? What should we do with Misha? Maybe we should at least let him in from the edge? A bear got in - there were seven. Will the mitten burst?

A dog is heard barking and the grandfather returns.

Grandfather. Where's my mitten? ( Looking for). Look for it, Gavkusha! Children, help me find a mitten, my hands are frozen. Yes, here she is, still moving. Oh, who's that in it?

The dog barks into his mitten. The animals scatter in different directions. The children catch them, laugh, and invite them to come visit again. Grandfather quietly takes the mitten and leaves.

Leading. Where's the mitten? Come, little animals, to visit us again, or even for the whole winter. Shall we make room, children? Is there enough room for everyone? Our children are friendly guys. They know: “Always help your comrade.”

To interest children, in the second game - dramatization, use the following technique: discreetly place the mitten in a place where the children can see it. For example, when going for a walk, children find a mitten on the path. The question arises: “Whose is it?” Maybe this is a grandfather's mitten from a fairy tale? If only you had a mitten, there will always be animals - after all, you didn’t forget to take hats or medallions with their images. Now the animals will be different. You will again play the roles of grandfather and presenter. You can change and change your clothes by going outside the veranda for a minute.

In the third game, the role of grandfather can be offered to one of the children. The role of leader in the younger group is played only by the teacher.

Each time it is advisable to start and end the game in a new way, to activate all its participants more, thereby developing creativity, independence, and satisfying the activity of children.

Middle group

"Turnip"

Game - dramatization

Target. To develop expressiveness of intonation and facial expressions in children. Foster a sense of collectivism and mutual assistance.

Characters. Presenter, grandfather, woman, granddaughter, dog Zhuchka, cat Murka, mouse.

Preparing for the game.Showing the cartoon "Turnip".

Material. Headdress or other Russian elements folk costume; a hat for grandfather, a stick (maybe a beard); scarf, apron for a woman; sundress, scarf for granddaughter; attributes for the image of animals. There may be other characters at the request of the children.

Progress of the game. When organizing the first game, tell the children that they are visiting a Russian folk tale today. Which? Let them figure it out for themselves. Show them the attributes, maybe they will tell the children what fairy tale they will encounter. By trying on hats for different children, make them want to play. There will be many of them. But for the first game, choose those who can best fulfill the role and will be a model for others. The rest of the guys are still spectators. Together with them, decide where the grandparent’s family will live and where to place their vegetable garden. Remind the children - the “artists” - that they will be included in the game as the story progresses, and begin to tell it, since the role of the presenter belongs to you.

Presenter. Grandfather planted a turnip. (With the help of facial expressions and gestures, he expresses approval of his grandfather’s diligence and hard work.)The turnip grew big - very big. (Amazed by its size.)The grandfather began to pull a turnip from the ground.

All. He pulls, he pulls, but he can’t pull it out.

Leading. This is how my grandfather raised a turnip, and he can’t handle it! But he has many helpers. Who should we call?

Grandfather. Grandma, help!

Leading. Grandma doesn't come, she doesn't hear. He is busy with housework. Shall we call grandma?

All. Grandma, help!

Grandma. I'm coming!

Leading. Grandmother for grandfather, grandfather for turnip - they pull, they pull, they cannot pull it out. (Expresses surprise at how firmly the turnip sits in the ground.)The grandmother called her granddaughter.

Grandma. Granddaughter help!

Leading. The granddaughter hurries to help the old people.

Granddaughter. I'm coming!

Leading. Granddaughter for grandmother, grandmother for grandfather, grandfather for turnip...

All. They pull and pull, but they cannot pull. ( Surprised.)

Leading. The granddaughter called the dog Zhuchka. The bug didn't stay long.

Bug. Woof-woof-woof, I'm running!

All. The bug for the granddaughter, the granddaughter for the grandmother, the grandmother for the grandfather, the grandfather for the turnip - they pull, they pull, they cannot pull. ( Very upset.)

Leading. Bug called the cat.

Bug. Murka, help!

Leading. The cat does not come, lies basking, does not listen to the Bug. Let's call everyone together.

All. Murka, go! They can't cope without you!

Murka. I'm coming!

All. The cat for the Bug, the Bug for the granddaughter, the granddaughter for the grandmother, the grandmother for the grandfather, the grandfather for the turnip - they pull, they pull, they cannot pull.(The patience of the audience and the “actors” is running out, despair from endless failures is on their faces.)

Leading. The cat called the mouse. The mouse squeaks in fear, but still rushes to help.(Encourages the mouse, calms it down.)

All. Mouse for the cat, cat for the Bug, Bug for the granddaughter, granddaughter for the grandmother, grandmother for the grandfather, grandfather for the turnip - they pull and pull, they pulled out the turnip! ( They are happy.)

If children want to continue playing on their own, help them put on the attributes. Observe what they can do on their own and what they need your help with.

Kolobok

Based on a Russian folk tale

Shadow play

Target. To cultivate in children an interest in folk art and a desire to join it. Learn to distinguish and convey the intonations and characters of fairy-tale characters: disobedience, arrogance, gullibility of the bun, the cunning of the fox, the innocence of other animals, to cultivate sympathy for old grandparents. Improve children's ability to act as shadow theater characters.

Characters. Grandfather, woman, bun, hare, wolf, bear, fox, presenter.

Preparing for the game.Show the children the cartoon "Kolobok".

Material. Elements of Russian folk costume for children playing the roles of grandfather and woman. Several koloboks - the first one made from a ball painted in accordance with the image(you can use a flashing night light “Kolobok”);the second is a small, dark silhouette(he will cool down on the window, he will jump on the fox’s tongue);the third is a larger dark silhouette that can roll along a forest road due to a movable fastening on a wire; dark silhouettes of other fairy-tale characters.

A dark silhouette of a house with an openwork roof ridge and a large window opening that can accommodate a bun. Device for showing shadow theater, lighting.

Progress of the game. In the middle group, all roles can be distributed among the children. They place equipment for showing the theater and invite those who want to watch the performance. The presenter sits in front of the screen.

Presenter (fun) We invited the Russian folk tale “Kolobok” to visit(Includes a tape recording of a Russian folk melody.)

Grandfather and woman come out to the music.

Presenter (thoughtfully). Once upon a time there lived an old man and an old woman. So the old man asks...

Grandfather (politely). Granny, bake me a bun for tea.

Baba (confused). What should I bake it from? There is no flour.

Grandfather (reasonably). Yes, grandma, mark the barn, scratch the bottom of the tree and you’ll get enough.

The woman begins to fuss, saying: “I’ll sweep, scrape together two handfuls of flour, knead the dough with sour cream, roll it into a bun, fry it in oil and put it on the window.” Exhibits a round, ruddy bun. Everyone admires him.

Grandfather and woman go behind the screen, and the shadow theater begins. Now only silhouettes will act on the screen.

Woman (puts the bun on the window).Let him catch a cold!

Presenter (sadly). The little bun got tired of lying: he rolled from the window onto the grass, from the grass onto the grass, from the grass onto the path - and rolled along the path...

The scenery changes: instead of the silhouette of a house, silhouettes of Christmas trees appear along the edges of the screen.

Leading. A bun is rolling along the road, and a hare meets it.

The hare runs out skipping.

Hare (boastfully) .

Kolobok (surprised). Don't eat me, little bunny! I'll sing you a song:

I'm scraping the bones, I left my grandmother.

Mixed with sour cream, It’s not smart to get away from you, the hare.

Sat in the oven,

Presenter (cheerfully). And the bun rolled on - only the hare saw it.

The gingerbread man rolls past the hare, who is trying to catch up with him, then disappears.

Leading. The bun is rolling, and towards it...(lowers his voice) the wolf is running.

A wolf and a bun appear in the middle of the screen.

Wolf (confidently). Kolobok, Kolobok, I will eat you!

Kolobok (carelessly). Don't eat me, wolf, I'll sing you a song.

The children sing along to the kolobok, as if teasing the wolf.

Kolobok.

I am a bun, a bun! It's cold at the window.

It's sweeping through the barn, I left my grandfather,

Sat in the stove, It’s not smart to get away from you, the wolf.

Leading. And the bun rolled, only the wolf saw it. The bun is rolling, and towards it...(lowers his voice) bear.

The bear comes out, waddles, and stops in front of the kolobok.

Bear (menacingly). Kolobok, Kolobok, I will eat you!

Kolobok (confidently). Where can you, clubfoot, eat me!(Sings with the children.)

I am a bun, a bun! It's cold at the window.

It's sweeping through the barn, I left my grandfather,

I'm scraping by the bones, I left my grandmother,

Mixed with sour cream, I left the hare,

Sat in the stove, I left the wolf,

It would be a pain to leave you, bear.

Leading. And the bun rolled again, only the bear saw it. The bun rolls and rolls, and a fox meets it.

With a dancing, light gait, the fox approaches the kolobok.

Fox (touchingly). Hello, bun! How beautiful you are!

Presenter (joyfully). And the bun smiled and sang.

Kolobok (showing off).

I am a bun, a bun! I left my grandfather

It's sweeping through the barn, I left my grandmother,

I'm scraping the tree trunks, I left the hare,

Mixed with sour cream, I left the wolf,

Sat in the stove, I left the bear,

It's cold at the window. It’s not smart to get away from you, fox.

Fox (enthusiastically). What a beautiful song! But I'm old, oh-ho-ho(pityingly) I can't hear well. Sit on my nose and sing the song louder again.

Presenter (with regret). The bun sat on the fox's face and sang its song.

The bun appears on the fox's nose (the wire on which it is raised must be hidden behind the fox's figure).

Fox (admiringly). Thank you, bun, good song, I’d like to listen to it again... Sit down(cunningly) darling, on my tongue and sing to me one more time!

The bun rolls onto the fox's tongue.

Presenter (upset). The gingerbread man jumped on the fox's tongue, and the fox - ah - and ate it.(Quickly hides the bun behind the fox.)

Grandfather and woman come out from behind the screen and complain to the children about the stupid, disobedient bun. Baba reports that she baked a new bun to replace the fugitive and shows it.

Leading. And which of you, children, does not listen to your elders? Who's bragging? Who behaves thoughtlessly when they should be especially careful?

If you have agreed in advance with the cook or the parents who baked a real kolobok, then it’s time to treat the artists and spectators: “After all, koloboks are baked for this purpose, so that children eat, grow and become smarter. Tasty? What was the bun made from? You'll find out about this in the next game."

In the second game, you can pay more attention to what and how the bun is kneaded and baked.

Depending on the children’s preparedness, regulate your participation and their activity in showing the silhouettes and speaking the text with the characters. In the first game, speak and act more yourself, but with the help of children. In the second, help children play the game independently.

Senior group

"Telephone"

(Based on a poem by K. Chukovsky)

Expressive reading by a teacher with elements of dramatization for children.

Target. Teach children to participate in a collective dramatization of a work in a timely manner; express the character’s state using facial expressions, voice, intonation; understand the humor of the work; cultivate interest and respect for animals.

Characters. Presenter, elephant, crocodile, hares, monkeys, bear, herons, pig, kangaroo, rhinoceros, gazelles, hippopotamus.

Preparing for the game. Showing the cartoon "Telephone". Discussing with children the characters' personalities, which cannot but cause a smile and laughter.

Material. Two phones: one with the teacher, the second - a fabulous one - in the forest with the animals. Colorful images of characters (on large medallions, or on aprons, or on headbands). A huge “chocolate bar”, gloves, books, galoshes, swings – carousels.

Progress of the game. The first reading of a fairy tale with elements of dramatization for children should not be done in its entirety, but by selecting passages with the characters most familiar to children. They can be, for example, an elephant, hares, a bear, monkeys.

To play the roles, choose those children who know poetry well and can read them expressively. Take on the role of leader.

Place a few children near the fairy phone, and sit among the rest of the children. There is also a phone on the table in front of you. Review it with your children and invite them to call. But the phones are silent. Suddenly the phone rings (figure out how to do this). Pick up the phone yourself and invite the children to listen. Can not hear anything. “Probably someone can’t get through to them,” you say (if you want, you can repeat the intriguing situation). - It seems to me that they are calling from the forest, on a fairy phone. Let’s wait a little longer, something serious probably happened and they’ll call us back.”

Your task is to convey to the child all the charm and humor of K. Chukovsky’s poems. Therefore, while reading them expressively, do not deviate from the text. But don’t demand this from kids. They can express the animals' requests in their own words. As if asking again, repeat the request in the author’s verses. Avoid prodding, demands for intonation expressiveness such as: “Not like that, say plaintively; listen to what I said.” Such direct techniques interrupt the game and destroy the illusion of a fairy-tale image.

Depending on which character called, use the appropriate part of the poem to support who is next to you. As if you didn’t hear or understand the request, let the children listen too, asking the animals to repeat the request again and again. Now all the guys participate in the game, and even those who don’t know the text. Children may hear it from you for the first time, but learn it through repeated games.

Presenter ( surprised and joyful).My phone rang(picks up the phone). Who's speaking? ( Having not heard an answer, he invites the children to listen).

All. Who's speaking? ( They are perplexed.)

Leading. Elephant?

Elephant. Elephant.

Leading. Where?

Elephant. From a camel.

All. What do you need?

Presenter (having guessed). Chocolate?

Elephant. (pleadingly) Chocolate.

All. For whom? (Listening.) For my son?..my? And, for your son?

Elephant (pleadingly). Chocolate.

Elephant ( nodding his head affirmatively). For my son.

Leading. Should I send too much? (Repeats the question. Hearing the answer on the phone, he looks at the guys in confusion. Conveys the elephant's request.)

Yes, about five pounds

Or six (shakes his head, expressing surprise):

He can't eat anymore

He has it ( points to the elephant) still small! ( He outlines the contours of the “baby” with his hands, causing the children to laugh.)

The presenter hangs up. The children laugh merrily. Bunnies run up to the fairy phone. They get excited and snatch the phone from each other. One of them manages to dial the number. The presenter's phone rings.

Leading. And then the bunnies called.

All. What do you need?

Bunnies. Can you send me some gloves?

Presenter (to children). Shall we send it?

All. We'll send it!

Leading. And then the monkeys called.(Looks questioningly at the children, as if asking: what else might be needed?).

Monkeys. Please send me books!

Presenter (To children). Shall we send it?

All. We'll send it.

A bear approaches the fairy phone and dials the number. The host's bell rings again.

Leading. And then the bear called

Yes, how he began, how he began to roar!

(Gestures encourage the bear to roar. When it growls, it continues.)

Wait, don't roar the bear(He helplessly spreads his hands, evoking sympathy from the children.)

The bear continues to roar.

Leading. But he is only “mu” and “mu”,

And why, why -

I don't understand!

Everything (very strictly.) Please hang up!

For the first time, these three fragments are enough. Children, of course, will want to continue telephone conversations. Let them act out other parts of the poem in their own way or come up with something new.

If you suggest individual stanzas of the poem while the children are playing independently, they will soon begin to use them themselves.

The second game, with elements of dramatization of these fragments, will be more lively and with greater activity and independence of children, if you use new fragments of the poem in it and increase the number of characters, say, introduce a crocodile, a kangaroo. Prepare everything they need.

Distribute the roles of the animals among those who have not yet participated in the performance using a counting rhyme.

And finally, everything is ready for the game. The children are already eagerly awaiting the call. Animals crowd around the phone - everyone wants to call first! In the end, the crocodile succeeds. The host's bell rings. But since someone else can call, the presenter quickly finds his bearings and reads the corresponding passage.

Leading. And then I called

Crocodile

And with tears he asked...

The presenter shows a picture of galoshes, and the crocodile, as best he can, asks to send him galoshes.

Leading. Listen up kids(Hands the phone to someone.)

Crocodile (with the help of the presenter).

My dear, good one,

Send me galoshes.

For me, my wife, and Totosha.

Presenter (surprised).

Wait, isn't it for you?

Last week

I sent two pairs

Excellent galoshes?

Crocodile (with the help of children and the leader).

Ah, the ones you sent

Last week,

We ate a long time ago

And we can't wait,

When will you send again

For our dinner

A dozen

New and sweet galoshes!

The presenter and the children are surprised at the crocodile’s gluttony, but still want him a bunch of galoshes. The phone rings again.

Leading. And again the bear...

What? Save the walrus?!

(To children, confidentially.)

Yesterday he swallowed a sea urchin!

The phone rings.

Leading. And yesterday morning

Kangaroo…

Listen up kids(hands the phone to the guys).

Kangaroo. Isn't this an apartment?

Moidodyra?

Leading. I got angry and started yelling:

No! This is someone else's apartment!!!

Kangaroo. Where is Moidodyr?

Leading. I can't tell you...

Call number one hundred twenty-five.

And such rubbish

All day…

All. Ding-dee-lazy,

Ding-dee-lazy.

Ding-dee-lazy.

The presenter hands the phone to the children for independent play.

In the third game, use the entire poem. Give the roles of the animals to those who did not participate in previous games. Figure out how to show the drowning hippopotamus scene.

After a short preparation, take a break. The children, dying of impatience, wait for the call. But the call is not heard. Then ask them a riddle: “I’ll turn the magic circle and a friend will hear me.”(Telephone.)

Finally the bell rang. You pick up the phone and put it to your ear.

Leading. And recently two gazelles

They called and sang...

Presenter and gazelles. Really

Indeed

Everyone got burned

Carousels?

All. Oh, are you sane, gazelles?

The carousels didn't burn down,

And the swing survived!

You gazelles should not make a noise,

And next week

They would gallop and sit down

On the swing carousel!

Leading. But they didn't listen to the ghazals

And they were still making noise...

Gazelles. Really

Indeed

All swings

Got burned?

All. What stupid gazelles!

The presenter shows the children how dolls swing on swings and animals spin on carousels.

Leading. I didn't sleep for three nights.

I'm tired.

I would like to fall asleep

Relax…

But as soon as I lay down -

Call! (Ring.)

Who's speaking?

Rhinoceros?

What's happened?

Rhinoceros. Trouble! Trouble!

Run here quickly!

Leading. What's the matter?

All. Save!

Leading. Whom?

All. Hippopotamus!

Our hippopotamus fell into the swamp...

Presenter and rhinoceros(to children).

Oh, if you don't come, -

He will drown, drown in the swamp.

Will die, disappear

Hippopotamus!!!

Presenter and children. OK! I'm running! I'm running!

If I can, I will help!

All ( pulling out the hippopotamus).

Oh, this is not an easy job -

Drag a hippopotamus out of the swamp!

Two greedy bear cubs.

(based on a Hungarian fairy tale, adapted by A. Krasnov and V. Vazhdaev)

Shadow play.

Target. Continue to develop interest in fiction. Learn to notice and understand various means of expression - epithets, comparisons, etc.; recognize characteristic images of characters in silhouettes and shadows; evaluate heroes - cunning, greedy, stupid, gullible; empathize with the characters, tell them how to behave in difficult situations.

Characters. Presenter, she-bear, two bear cubs, fox.

Material. Screen and lighting, silhouettes of characters and scenery for the theater: tall spruce trees, a mother bear, bear cubs - small, slightly grown (in two versions - separately and fighting over a head of cheese), a fox with a large and a small piece of cheese (they can be cut out of paper, you need to make several flat pieces of different sizes).

For musical arrangement the following recordings are needed: “Hungarian folk melody”, arrangement by L. Vishkarev; “In the Forest”, “Bear” by E. Tilicheeva; “Bunnies and the Fox” (fox part) by G. Finarovsky.

Progress of the game. For the first time, use riddles and poems to interest children in the upcoming performance and at the same time remind them of the typical features of familiar images: foxes, she-bears, bear cubs.

Where does he live? Most often,

The most real one.

He walks there, he sleeps there,

She raises her children there.

(Bear)

Look at this one, it’s all burning like gold,

He walks around in an expensive fur coat, his tail is fluffy and large.

She's a master at subterfuge. What is her name?...

(Fox)

Tell the children that now they will watch a fairy tale about simple-minded bears and sly fox. It's a Hungarian folk tale called "The Two Greedy Little Bears."

In the beginning, take on all the roles. When reading the text, highlight epithets and figurative expressions, accompanying it with a shadow theater show.

Leading. On the other side of the glass mountains, behind the silk meadow, there was an untrodden, unprecedented dense forest; in the thicket itself lived an old bear.(Shows it on the screen and simultaneously turns on a music recording corresponding to the image.)She had two sons.(Shows the kids, accompanied by other music.)When the cubs grew up(shows new figures of bear cubs),they decided to go around the world to seek happiness. At first they went to their mother and, as expected, said goodbye to her. The old bear hugged her sons and punished them...

Ursa. Don't offend each other and never break up.

Leading. The cubs promised to fulfill their mother’s orders and set off on their way. They walked and walked. And the day went by, and the next went. Finally, all their supplies ran out. And the cubs are hungry. They wandered side by side dejectedly. The younger bear cub complained:

Eh, brother, how hungry I am!

The elder bear cub answered... What did he answer, children?

Children: And I want to!

Leading. So they kept walking and walking and suddenly they found a round head of cheese. They wanted to divide it equally, but failed. Greed overcame the cubs: each was afraid that the other would get more. They argued and growled, and suddenly a fox approached them.(Includes her musical part.)

Fox (ingratiatingly). What are you arguing about, young people?

Leading. The cubs told her about their trouble. Children, what did they say to the fox?(Listen to the children's answers.)

Fox (joyfully, but cunningly).What a disaster! Let me divide the cheese equally for you: it doesn’t matter to me whether you’re younger or older.

Leading. The cubs were delighted: “That’s good, share!” The fox took the cheese and broke it into two parts. But she split the head so that one piece was larger than the other.(Shows and asks the children which piece is larger and which is smaller. He praises them for their powers of observation and says that the bear cubs also noticed different pieces.)

Bear cubs (vying with each other). This one is bigger!

Leading. The fox reassured them.

Fox. Quiet, young people! And this trouble is not a problem. I'll sort everything out now.

Leading. She took a good bite of most of it and swallowed it. That's a cunning one! Now the smaller piece has become larger...(Rotates the fox image so as to swap the pieces, for example if in right hand If there was a larger piece, then after turning it will be in the place of the smaller piece. And in your right hand the cheese will seem smaller. You can change the size of the cheese by attaching pieces of velvet paper.)

The cubs became worried: “And it’s not exactly right!” “The fox calmed them down.

Fox. Well, that's it, I know my stuff!

Leading. And she bit off most of it. Now big piece became smaller. (Turns the image of the fox again and again asks the children to compare the pieces.)

Bear cubs. And it’s not exactly the same!

Leading. “So be it for you!” “- said the fox, moving her tongue with difficulty, since her mouth was full of delicious cheese.

Fox. Just a little more and it will be equal.

Leading. The fox continued to divide the cheese(turns the fox so that you can see which hand now has more and which has less cheese),and the cubs only led their black noses back and forth - from a larger piece to a smaller one, from a smaller one to a larger one. Until the fox had eaten her fill, she divided and divided everything. But then the pieces became equal, and the cubs had almost no cheese left: two tiny pieces.

Fox. Well, at least little by little, but equally! Bon appetit, cubs!(Giggles, wags his tail and runs away.)

Leading. This is what happens to those who are greedy! How would you divide the cheese among yourselves? What would you say to the fox?(Listen to the children's answers.)

But the stupid cubs need to be fed.(reads a poem by G. Boyko.)

Leading. I took the teddy bears

She sat me down at the table.

Children. Help yourself, little bears,

Eat honey, good, sweet!

All. And they sit there

And they don’t eat a drop.

Even though they love honey,

But they cannot open their mouth.

At the beginning of the second game, you can use other poems and riddles.

This time, encourage children to speak up for the characters in their own words. Invite them to name the bear cubs, and if they want, let them give names to both the bear and the fox. Help them choose names that express the characteristics of the characters.

If the guys don’t want to play the roles of cunning and greedy characters, come up with new adventures of bear cubs and foxes with them. For example, the cubs found honey in a hollow, met a hungry little hare, saw a sick fox, returned to the she-bear who was worried about them, etc.

Preparatory group for school

Malvina teaches Pinocchio.

(Based on the fairy tale by A. Tolstoy “The Golden Key, or the Adventures of Pinocchio”)

Bibabo puppet theater, finger theater, dramatization.

Target. To give an idea of ​​the school, the work of a teacher, the responsibilities of students, to ridicule the ineptitude, helplessness of Malvina and the carelessness of Pinocchio, to contrast them with the diligence of children, a respectful attitude towards the teacher, and on his part a friendly and demanding attitude towards children, to strengthen the desire to learn. Play roles expressively and with humor, actively participate in the preparation of the game, and creatively play out the plot.

Characters. Presenter, Malvina, Pinocchio, poodle Artemon, moths, birds, etc.

Preparing for the game.Preliminary reading in parts of A. Tolstoy’s fairy tale “The Golden Key, or the Adventures of Pinocchio” in kindergarten or at home.

Material. For puppet theater: characters made of paper, with devices for putting on fingers or bibabo dolls. Objects commensurate with the characters: desk, inkwell, notebook, table, dishes, apple. Moths, birds on long vibrating wire rods. Decoration: bushes and flower beds blooming in the garden. (The children will draw them, and you will help them stick the decorations on gauze. The garden will serve in the background as a backdrop when acting out the breakfast and study scenes.)

For dramatization: a cap and a long nose (Paper Cone) for Pinocchio, blue hair with a bow for Malvina.

Progress of the game. When conducting the first game, it will be better if you take on all the roles, thereby showing examples of their performance. You can also hire helpers. Surely there will be people who want it among the children. In the future, the children will successfully play the roles of their favorite characters.

During the performance, the audience should not be passive observers. All of them are active participants in the game: they constantly communicate with the characters, give them advice and can even influence the course of events. The presenter creates the atmosphere of the performance: either he speaks sternly to Pinocchio, then he causes general fun, then he makes the children think by asking them for advice, then he himself explains the rules of behavior. For example, seeing the confused Malvina and Pinocchio sitting untied, he calmly and seriously explains to him how to sit at the table correctly. You can ask the child whom you are helping to improve his posture to do this (“Petya, explain to Pinocchio how to sit at the table”).

In the episode where Pinocchio greedily swallows whole cakes, also ask one of the guys to explain the rules of behavior at the table. It is very important that this scene makes children laugh cheerfully. This largely depends on the skill of the performer of the role.

Since Malvina’s method of upbringing should not always be perceived as a role model leading to necessary cases appears from behind the screen and talks kindly and sympathetically with this “obnoxious boy” so that it becomes clear to everyone how to succeed in education.

So, the puppet theater begins.

The curtain opens and the audience sees a blooming garden. Carefree music sounds, birds chirp, butterflies flutter.

Leading. A girl with blue hair sat in the garden, at a small table covered with doll dishes, and waved away the annoying butterflies.

Malvina (with annoyance). Come on, really!

The poodle Artemon, helping Malvina, barks at the butterflies, chases them, causing a cheerful fuss. Pinocchio appears. He is so awkward that it is impossible not to laugh. Pinocchio sits down at the table. His movements are untied: a pointedly incorrect posture, his leg tucked under him.

Malvina throws up her hands in bewilderment, as if turning to the children for advice: what to do? The presenter explains to him how they sit at the table. Pinocchio sits down correctly, but soon begins to spin.

Malvina pours cocoa into a tiny cup.

Presenter (reproachfully). Pinocchio stuffed the almond cakes whole into his mouth and swallowed them without chewing. He climbed right into the vase of jam with his fingers and sucked them with pleasure, smacking his lips.

Pinocchio's actions make children laugh. Malvina is upset. The presenter patiently explains to Pinocchio how to eat cakes and jam.

Presenter (with regret). When Malvina turned away to throw a few crumbs to the elderly ground beetle, Pinocchio grabbed the coffee pot and drank all the cocoa from the spout. I choked and spilled cocoa on the tablecloth.

Malvina (sternly). Pull your leg out from under you and lower it under the table. Children, he has already forgotten your advice.(Further sharply.) Don't eat with your hands, that's what spoons and forks are for, right, kids?(Claps his eyelashes in indignation, speaks very irritably, unkindly.)Who is raising you, please tell me?

Pinocchio. When Papa Carlo raises, and when no one does.

Malvina (threateningly). Now I will take care of your upbringing, rest assured.

Pinocchio (in despair). That's how I got there.

Leading. Children, think, maybe we can invite Bkratino to visit our kindergarten? Your teacher is kind and loves you? Do you feel sorry for Pinocchio? Where could he learn everything that Malvina requires? After all, he hasn’t gone to school yet!

On the grass around the house, the poodle Artemon runs after small birds.

Pinocchio watches him with envy: he's great at chasing birds! Makes an attempt to get out from behind the table.

Presenter (sympathetically). Sitting decently at the table gave him goosebumps all over his body. Finally the painful breakfast was over.

Malvina. And now we will engage in education.(Clears the tea table, puts down the board and desk.)Now sit down and place your hands in front of you. Don't hunch over.(Takes a piece of chalk.)We'll do some arithmetic. You have two apples in your pocket.

Pinocchio. You're lying, not a single one.

Malvina (patiently). I say, let's say that you have two apples in your pocket.

Pinocchio (foolishly). Ha ha!

Malvina. Someone took one apple from you. How many apples do you have left?

Pinocchio (confident). Two.

Malvina (pleadingly). Think carefully.

Pinocchio (without hesitation). Two.

Malvina (with surprise). Why?

Pinocchio (decisively). I won’t give apples to anyone, even if he fights!

Malvina (upset). You have no aptitude for mathematics.

Leading. Children why Pinocchio couldn’t solve this simple task? Right. He was thinking about apples, not subtraction. After all, he never ate them. What did poor dad Carlo give his wooden son for breakfast? Bitter onion. Maybe we can treat Pinocchio to apples?

Pinocchio thanks the guys and cunningly eats the apple.

Leading. Now come up with a task for him.

Children come up with ideas, Pinocchio decides.

Malvina is amazed by his success.

Malvina. Let's do dictation. Write: “And the rose fell on Azor’s paw.” Have you written? Now read this magic phrase backwards.

Leading. But Pinocchio has never seen a pen and an inkwell!

Malvina. Write.

Pinocchio immediately puts his nose into the inkwell and is terribly frightened when an ink blot falls from his nose onto the paper.

Malvina throws up her hands and even begins to cry. She's desperate.

Malvina (sharply). You are a nasty naughty boy, you must be punished! Artemon, take Pinocchio to the dark closet!

Leading. Noble Artemon appeared, showing white teeth. He grabbed Pinocchio by the jacket and, backing away, dragged him into the closet, where large spiders hung in the cobwebs in the corners.

Children, you probably feel sorry for Pinocchio? And Malvina? Why can’t she teach him, but he willingly learns from you?(Children's answers.)

And Malvina herself was upset, because she is not an evil girl. (Points to a crying doll.)Calm down, Malvina, call Pinocchio from the closet with the children.

Malvina calls Pinocchio. An angry Pinocchio appears.

Pinocchio. A teacher was found, big deal. She herself has a porcelain head, her body is stuffed with cotton wool.

Leading. Calm down, Pinocchio, no need to quarrel. It’s better to come with Malvina to the children’s literacy and math classes. Our teacher will quickly teach you everything!

It is better to repeat the game as a dramatization. Be sure to use new situations in them so that children apply their knowledge of cultural behavior in practice. You can offer them a variety of tasks in mathematics and their native language.

Play is the most accessible and interesting way for a child to process and express impressions, knowledge and emotions.

Theatricalization is, first of all, improvisation, the animation of objects and sounds.

Theatrical play, as one of its types, is an effective means of socializing a preschooler in the process of his understanding of the moral implications of a literary or folklore work.

In theatrical play, emotional development occurs:

• * children get acquainted with the feelings and moods of the characters,
• * master ways of their external expression,
• * realize the reasons for this or that mood.

Theatrical games can be divided into two main groups: dramatization and director's (each of them, in turn, is divided into several types).

In dramatization games, the child, playing a role as an “artist,” independently creates an image using a set of means of verbal and nonverbal expressiveness.

Types of dramatization are:

• - games that imitate images of animals, people, and literary characters;
• - role-playing dialogues based on text;
• - staging of works;
• - staging performances based on one or more works;
• - improvisation games with the playing out of a plot (or several plots) without prior preparation.

In director's play, “the actors are toys or their substitutes, and the child, organizing the activity as a “scriptwriter and director,” controls the “artists.” “Voicing” the characters and commenting on the plot, he uses different means of verbal expression. Types of director’s games are determined in accordance with variety of theaters used in kindergarten.

Games - performances are characterized by a shift in emphasis from the process of the game to its result, which is interesting not only to the participants, but also to the audience. They can be considered as a type of artistic activity:

• - Games - performances
• - Dramatic performance
• - Musical and dramatic performance
• - Children's Opera
• - Performance based on choreography
• - Rhythmoplasty performance
• - Pantomime
• - Musical

The large and diverse influence of theatrical games on a child’s personality allows them to be used as a strong, unobtrusive pedagogical tool, since he himself experiences pleasure from it.

Requirements for theatrical play:

• - Constant, daily inclusion of theatrical games in all forms of organization of the pedagogical process.
• - Maximum activity of children at all stages of preparation and conduct of games.
• - Cooperation of children with each other and with adults at all stages of organizing theatrical games.

Requirements for classes that include theatrical play:

• - Development of speech and theatrical performance skills.
• - Creating an atmosphere of creativity.
• - Development of musical abilities.
• - Social-emotional development.

Theatrical lesson includes:

• - Viewing puppet scenes.
• - Theatrical game.
• - Acting out various fairy tales and dramatizations.
• - Conversations about the theater.
• - Exercises to develop the expressiveness of song and dance performances.
• - Exercises for the social and emotional development of children

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

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

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

In the future, it is important to stimulate his desire to join the performance by complementing individual phrases in the characters’ dialogues, stable turns of the beginning and ending of the fairy tale. On their behalf, the adult thanks and praises the children, says hello and goodbye.

The implementation of the task is achieved by successively complicating game tasks and dramatization games in which the child is involved.

The steps of work are as follows:

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

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

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

A new aspect of the joint activity of adults and children is the introduction of children to theatrical culture, that is, familiarization with the purpose of the theater, the history of its origin in Russia, the structure of the theater building, the activities of people working in the theater, prominent representatives of these professions, types and genres of theatrical art (drama, musical, puppet, animal theater, clownery, etc.).

There is a deepening of theatrical gaming experience through the development of different types of dramatization games and director's theatrical games. Along with figurative play sketches, improvisation games, and staging, older preschoolers have access to independent productions of performances, including those based on a “collage” of several literary works.

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

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

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

Methodology for organizing theatrical play

For the development and upbringing of children, first of all, proper organization of theatrical games is necessary. The sequence and complexity of the content of the themes and plots chosen for the games are determined by the requirements of the education program for each age group of the kindergarten. The creative development of the topic begins with preparing a game script based on the plot of a literary work: a fairy tale, a story, a poem. Next, children are expected to improvise on a given or chosen topic.

The independence of children's play largely depends on whether they know the content of the fairy tale or script. It is very important to preserve the original text in its entirety at the stage of listening to it by children. Do not distort it under any circumstances. But you shouldn’t learn the text with the guys before the game starts. Such preparation would take away time intended for other equally important matters and activities. Moreover, the result will be a performance, not a game. We offer the development of games that do not require long-term painstaking preparation of the teacher and children.

Questions may arise: how and when to introduce the guys to the content of the script? How independent and creative will the game be if the children know the text of the work well? Maybe it's better to offer them unfamiliar text? The well-known and, in general, completely justified recommendation - reading the work before starting the game - requires discussion and clarification. What you read becomes clear if it is sufficiently well illustrated. For this purpose, it is best to display “live” pictures on a flannelgraph or on a table, but you can also use a theater of toys or bibabo dolls. In this way, visual images are simultaneously created and ways of their emotional expressiveness and play are demonstrated.

At first, it is better for the teacher-leader to read the text himself, involving the children in pronouncing its individual fragments. In repeated games, the children's activity increases as they master the content of the text. Never ask for it to be literally reproduced. If necessary, correct the child casually and, without delay, continue playing. In the future, when the text is well understood, encourage the accuracy of its presentation. This is important so as not to lose the author's findings. When reading poetic texts, involve children in the game if possible. Let them actively participate in the dialogue with you, play along with the main storyline, imitate the movements, voices, and intonations of the game characters.

It is difficult for a teacher to learn many poems and texts of various theatrical games. You can make a recording; it allows you to preserve the means of artistic expression of the text, the figurative expressions of the author. But don't rely entirely on the recording. Learn the texts yourself as much as you can. After all, reading a work must be combined with facial expressions. In addition, you can use poetry every day when communicating with children. For example, while washing toys - “She washed and caressed them for a long, long time.”

Participants in theatrical games must master the elements of transformation so that the character’s character and his habits are easily recognized by everyone. At the same time, give children more freedom in action and imagination when depicting the theme and plot of the game.

Every child wants to play a role. But almost no one knows how to do this in order to experience satisfaction yourself and gain approval from peers. Unexpressive intonations and monotonous movements generate dissatisfaction with oneself, lead to disappointment, loss of interest in the game, and, consequently, a decrease in its emotional impact on children.

Among the variety of means of expression, the kindergarten program recommends the following: in the second junior group, to develop in children the simplest figurative and expressive skills (for example, to imitate the characteristic movements of fairy-tale characters - animals); in the middle group, use artistic and figurative means of expression - intonation, facial expressions and pantomime (gestures, posture, gait); in the senior group, improve artistic and figurative performing skills; in the preparatory group for school, to develop creative independence in conveying an image, the expressiveness of speech and pantomime actions.

Before teaching children the means of expression, check whether you yourself are ready for this. For example, with how many different intonations can you say the words “hello”, “help”, “take”, “listen”, etc. that are so familiar to everyone? Try changing the meaning of the phrase several times by rearranging the logical stress (each time on a different word): “Here is my doll,” “Give me the ball.” Well, you certainly know how to read a fairy tale, changing your voice depending on the character, say, speaking either as Little Red Riding Hood or as the wolf. You will be able to convincingly express fear, compassion, complaint, request while reading K. Chukovsky’s poem “Doctor Aibolit” or any other. Challenge yourself before you speak in front of children. Don't forget that the intonation of your voice is a model for them. The understanding of a fairy tale, poem, story, its emotional and moral impact on children, and the expressiveness of their statements depends on how flexibly and consciously you emphasize the meaning of the work with intonation and characterize the images.

So, your speech in everyday communication, reading, recitation, theatrical games, which you initially lead yourself, serve as the first role models.

Next - some small exercises with children. They need to start with the younger group. It is better to conduct it immediately after the end of the theatrical game. Children are delighted with the way you drove the characters, how they spoke, and acted for them. It's time to invite them to play the same way. For exercises, use the statements of the characters who just spoke. For example, in the fairy tale "The Mitten" you need to ask to wear a mitten, like a mouse and like a wolf. As a rule, there are many people who want to speak out and listen. Make the exercise more difficult - let several mice ask to come into the house one by one. Who will say more plaintively? And then they are for the wolf. Who is more similar? The rest, of course, are burning with impatience, wanting to perform. Let everyone do this. But first, announce a competition - who is better? The winner receives applause.

Children find it more interesting when they not only speak, but also act like the heroes of fairy tales. Point out some of the character's driving techniques and let them try it themselves. The rest will also imitate role-playing movements. Draw children's attention to perform better. Ten minutes of such exercises will satisfy the children’s desire to participate in the game and will bring them joy. In addition, the necessary skills will be developed.

Next time, invite the students to act out a dialogue between two characters: pronounce the words and act for each. This is an exercise in intonation of dialogue. An example is the requests of animals to let them into the mitten and the responses of those who settled in it.

Children feel well and repeat intonations based on contrasts. For example, how the stepdaughter and stepmother's daughter refer to the months; how three bears talk. The exercise can be done like this. Name a fairy tale. And let the children guess which girl or which bear you were talking about. Then they themselves, using intonation, ask each other similar riddles. It is useful to use all suitable cases in everyday communication and play to train children in the varied intonation of the most common words: “hello” (joyfully, affably, benevolently, casually, gloomily); “goodbye” (with regret, grief or hope of meeting soon); “give” (confident, polite, impatient, offended, begging); “take it” (casually, reluctantly, affably, with a desire to please), etc.

Choose a quatrain and read it to the children with different intonations. Ask them to repeat, and maybe find new intonation options, for example: surprised/mocking, bewildered, sad, cheerful, compassionate. Say the phrase, placing emphasis on a new word each time. For example: “Don’t forget to feed the fish,” “I love my sister,” etc. Draw the children’s attention to how the meaning of the phrase changes depending on the stressed word. Be sure to continue to practice them on fragments from theatrical games, for example, “Grandfather planted a turnip,” “And Fedora became kinder,” etc.

In a circle of children, sit a child in front of you, give him a character in his hands, and take another one for yourself. Conduct a dialogue, involving your partner in it, so as to evoke intonations of surprise, objection, joyful amazement, etc. For example, take yourself a cube, give your child a ball.

Educator:

• -- What do you have?
• - No, look carefully.
• - No, not a ball, but a cube.
• - Yes, cube, cube!
• -- Indeed? So what?
• - Is it really a ball?

• - Ball.
• - I see: a ball.
• - Cube?
• - No, not a cube, not a cube!
• - Ball, ball...
• - Yes, here it is, the ball!

Swap the toys for fairy tale characters and invite other children to argue.

Similar exercises also develop pantomimic means of expression. For example, you can ask children: “Who walked along the path (on the bridge)?” Invite them to choose a character (wolf, fox, hare, mouse). Without naming him, you need to make a riddle about him by imitating his movements. Children guess who walked along the path. Or another exercise: everyone chooses the role of any famous character, but keeps their plan secret. They depict him in various tasks that you can come up with, for example, demonstrating a walk, searching for food, meeting guests, asking to be allowed into the house, running in a competition, the ability to sneak up unnoticed, catching birds, insects, dodging pursuers, etc.

While watching performers with children, teach the children to notice differences in the characteristics of the images. It’s good if you give everyone the opportunity to portray in their own way.

Music helps convey the character's character. For example, in music classes, you can use melody to encourage children to imitate the movements of various characters. For example, after listening to the song “Cockerel” by V. Vitlin, depict how the cockerel sings when he was sick and when he recovered.

The child, rhythmically striking the tambourine, shows how the bear walks and the hares jump. Other children guess which movements correspond to the movements of the bear and hares. Together with musical accompaniment, you can imitate the movements of a frolicking or tired horse.

And here are the musical riddles: “Show how the bunny jumps” (V. Agafonnikov. “Little, Little White”); “Show me how silently the cat moves softly” (V. Agafonnikov. “All furry”); “Show me how a cockerel walks” (V. Agafonnikov. “Not a rider, but with spurs”).

While the children are completing the task, you, along with the rest of the children, carefully look and note the features of each “actor’s” play, and involve the children in finding their own ways of showing. In the future, be sure to include these kinds of fragments in theatrical games to find practical use for them.

Each game requires its own means of expression and creativity. Therefore, we directly included many methodological techniques in the description of game plots. Your task is to find new, more interesting and perfect ones.