Card index of theatrical games in the senior group. Kindergarten teachers, school teachers and educators

Theater games with children

Hello, dear readers, guests, friends. Today I want to introduce you to a very talented mother, professional, actress, director - Yulia Belousova

We play in the theater - why?

And really – why? We don’t have the task of making an artist out of a child, and the vast majority of children are naturally okay with imagination, and they play role-playing games with great success without our adult help.

That's right. But acting training (and we will talk about it, only in a slightly adapted form) is an amazing and unique activity in that you do not get knowledge, skills, information, food for thought and impressions from the outside, from a teacher or from a book, but mostly you draw from yourself. And - equally - from your “colleagues”, if there are any (ideally, acting training is a collective endeavor, but it is quite possible to do it alone with your mother). That is, this is a great way to get to know yourself - different, contrasting, unusual, to realize your creative courage, try to be the director of your own ideas, and, of course, bring them to life here and now.

At what age can you play these games?

From anyone. Such activities can be interesting and useful for both children and adults. If desired, any game or exercise can be adapted for the baby and vice versa - made more difficult and varied, you just need to turn on your imagination. Therefore, the age range of our classes will be approximately as follows: from 2-3 years to infinity. I will deliberately not talk about what exactly develops this or that task - you and I understand perfectly well that any game develops absolutely everything in a child, no matter what is written in the manuals and on the boxes of games and toys.

Let's agree on the shore!

Before you and I set sail from the shore and sail along the theatrical and creative waves, I want to draw your attention to one thing in order to avoid disappointment later. What we are accustomed to consider the theatrical activities of our children - matinees in kindergarten, for example - actually have nothing to do with theater in any of its manifestations and forms. I don’t want to offend anyone: matinees are an excellent, interesting and useful thing in their own way, but... infinitely far from the theater. Therefore, in this article you will not find advice on “how to teach a child to speak in public and not be embarrassed,” “what to do so that the child reads poetry loudly and clearly,” etc. Today we will not “learn roles”, put on makeup and sew costumes. But we will play all sorts of stories, come up with real sketches and even master the basics of pantomime. Well, once everything has been agreed upon, go ahead!

Queen Fantasy and King Imagination

These are our friends and helpers; we can’t live without them. Therefore, a whole block of training will be dedicated to them.

Tell the news

– this is where every lesson begins. And I propose to share with you some of the most interesting and exciting news. Maybe you saw something unusual on your walk? Or were you visiting someone interesting? Did you buy a new car or doll? Or did some funny story happen to you this morning? Or maybe you were impressed by some incomprehensible piercing sound, the plush, so pleasant to the touch upholstery of a chair in a furniture store, the smell of linden blossoms in the park? Anything will do! The mother can push the baby’s thoughts a little and start sharing the news first. The trick here is simple: the child tells his story with pleasure, he sees it with his inner eye, it is interesting to him (otherwise he would not have remembered it). And a miracle happens: he tells it beautifully, contagiously, brightly, emotionally, trying his best to convey to everyone the beauty of his news. This is what we will need to strive for when mastering a “foreign” text, be it a poem or something else. After all, the task is not to remember the words and pronounce them “loudly and with expression,” but to see this story and convey it with pleasure to your viewer and listener.

Transformers

. And now we are all wizards. The game is somewhat similar to “the sea is rough.” I will clap my hands and say what we will turn into, and we all immediately become... a ball, a pencil, a flower, a toothbrush... And now it’s a little more complicated: a white rose bud, a faded chamomile in a vase, sad autumn rain, hot sand on the beach …. And now it’s even more difficult: rainbow, doubt, New Year, the letter “A”, cheerful mood, mother’s smile.

Now tell me, please, is it possible to play rain? No, not show it, but play it (or “play it” – whatever you want)? Of course you can! But you can only play a story, but you need to find out or create it. What does rain do? It's going... Great! What else? It’s pouring like buckets, drizzling... Wonderful! And he can also play on the roofs, like on drums, or draw drops on the asphalt, or play with a passerby, trying to drop a drop right down the collar, or blow bubbles in a puddle, or... And now we already have something to do, and the question is “how to play rain" is simply not worth it! And what kind of rain is it? What is his character? Gait? What's your mood today? Maybe he didn't get enough sleep or is angry with someone? And against whom and for what?... Or vice versa - he is very happy because his grandmother came to see him! By the way, can rain have a grandmother? And if so, what does it look like?... And now our rain becomes alive. And we ended up with a small sketch, almost a performance!

Etude

. Now let's try to play a story that someone else came up with. I suggest turning to A. Usachev’s well-known book “Once upon a time there were hedgehogs.” The choice fell on this work, firstly, because probably almost everyone has read this fairy tale, and secondly, the events of this story are quite detailed, they can easily be looked at through a “magnifying glass” and turned into a full-fledged sketch-story.

The kids love to “paint with broad strokes,” so they are ready to show and tell an entire cartoon or fairy tale in two or three gestures. And that's great! And our task is to direct their attention to little things that are no less interesting and “tasty” than dashing plot twists.

Veronica the Hedgehog fell into a jam jar. This is a whole story! You just need to help the child live it in detail a little. To do this, right during our “performance” we can suggest to the child something that has escaped his attention, we can even come up with little things that were not in the book; the magic word “suddenly” is very important in this “prompting”.

Veronica was eating raspberry jam. The forbidden is important! So, she ate without anyone noticing. Delicious! At first she took the jam with one finger, and then she got carried away and began to eat it with her whole paw. And suddenly... it dripped onto the dress. Upset? No? Well, that’s right – jam is more important. She ate and ate and was full! The belly has become so big and the paws are sticky! Does he still want it or not? And this doesn’t matter anymore: the jam has run out anyway, and the last drop remains on the bottom. Suddenly Veronica realized that she was inside the jar... It's fun: you can press your nose to the glass, you can shout up - and you get a funny echo. How many games can you come up with! Oh-oh-oh... How do we get out now? Jump? No, I can’t reach the neck... Maybe I should climb up? But the paws slip... What if the can is broken? I don't have enough strength. Somehow I already feel uneasy... And I really want to go to my mother... What will Veronica do next? Call for help? Or will he come up with his own way out of this situation?

You need to be as delicate as possible with hints: if the child is good at coming up with options on his own, then you shouldn’t interrupt his thoughts, unless you offer some very unexpected circumstance - let him try to get out. And if the child strives to “jump” straight to the result, then the more detailed the mother’s monologue is, the better.

And here are more ideas for similar sketches from the same book: Veronica stuck to the oil can, Vovka plays football and pierces the ball with needles every time, Veronica peeks into a box of bronze medals, Veronica drinks daddy’s ink instead of compote, etc.

Music, let's be friends!

Without music, perhaps, there is no theater. She is a powerful means of expression, a character, the creator of the atmosphere of the performance and an exponent of the feelings and emotions of the characters. Let's listen to her. It is better if the music is classical, instrumental (without words). It’s good if it’s a small and easy-to-understand piece or a 1.5-2 minute excerpt. I.S. Bach, D. Kabalevsky, S. Prokofiev, P. Tchaikovsky, R. Schumann wrote music for children; in their creative heritage there are many such works that we need: small, bright and expressive, eventful. You can easily choose something interesting just for you and your baby. Here is a small list of musical pieces suitable for such games.

Now let's imagine who this music is about? About how the cat drank milk and sharpened its claws? Great! Can you show me this cat? But I wonder what happened to our cat during this “boom” - but obviously something happened, because the music screamed so loudly?!

The more questions the child is asked, the better. Pay your and your children’s attention to musical accents and all sorts of changes: suddenly the music became quiet, quiet, and now there is a pause - also for good reason, and now the tempo and tonality have changed - why is this? etc.

What is the character of this music? Is she kind or militant, thoughtful or playful? It is not necessary to listen to music while sitting, you can move, there is only one condition: listen to the music where it leads and calls. Or maybe we can draw or sculpt it? Let's try! Or compose a fairy tale (together with your mother, of course), and then play it to music, like a sketch?

Voice acting.

Here's another interesting team game. True, it is not with music, but with sounds. Together we come up with a chain of simple actions. For example, I take a glass of tea from the table, put two lumps of sugar in it, stir it with a spoon and drink it. All this, of course, is not real, but imaginary. Now let's think about what sounds we hear during these actions? Footsteps, the sound of sugar cubes, the clanking of a spoon, the sound of drinking water... Perhaps something else? Now let's find suitable objects around us so that we can make these sounds - the most inappropriate objects at first glance can become excellent helpers. All is ready? Now, if there are more than two players, you need to distribute the sounds among themselves. One of the players performs all the actions with imaginary tea, and everyone else voices this process. The game requires close attention from everyone, because the task is not to catch each other, but, on the contrary, to voice the fragment as accurately as possible!

Living word

How we miss him, as soon as life puts us in a situation of some kind of “show”! The words of a memorized poem awkwardly fall down somewhere, and even try to forget themselves along the way! Horror! And how easily we talk about how we vacationed at sea, about the little kitten who has been living at our house since yesterday, about the holiday on the occasion of our birthday. It’s all true: a word can become alive and expressive, and therefore interesting to the listener, only if it is born as a “picture” inside. That is, first we imagine in our imagination what we are talking about - not the text itself, but a very interesting story! – and then we turn our picture into words. This is the main secret of “speaking” games: the birth of a living word.

A tale about...

Yes about anything! I have a bus ticket in my pocket, let’s write a fairy tale about it. The one in whose hands the ticket is located will begin to speak. At my request, the ticket is passed on, and the story is continued by another narrator. I wonder where the plot will lead by the end of the fairy tale? The passing of the “baton” occurs at the boundary of events: “and suddenly...”, “and one day...”, “and then...”

Say it as if...

Here's another game with words. I will suggest a short but not very easy to pronounce phrase: “too salty soup”, for example. For older children, the phrases will be more intricate and longer, but for kids, on the contrary, they will be simpler, you can even limit yourself to one or two words. The main thing is that it can be quickly and easily remembered. Now say it as if you don’t want to eat this nasty soup, and now as if salty soup is your favorite delicacy, the saltier it is, the better. And now it’s as if you cooked this soup, and now you’re apologizing for the fact that it came out too salty. And now this is not about soup at all - this is an encrypted message, it must be said in secret so that no one else can hear it. And now “too salty soup” is your name. Introduce youreself! And now you are the host of the concert and announce the next number of the program. You can go on for a long time.

"Mother"

What a wonderful word!
We say it very often. And for what reason? Let's remember in what situations we turned to our mother today. In the morning we drew a beautiful picture and invited
my mother to admire it.
And then we saw children walking on the street and began to persuade
their mother to go for a walk.
Then they asked me to help
tie my shoelaces.
And then the phone rang and we called
mom. And on a walk we met a large and scary spider, and out of fear we shouted: “Mom!” And after lunch, my mother lay down to rest, and we really needed to ask her something, so quietly, in a whisper, so as not to wake us up, and very affectionately: “Mom!” That's how many stories have happened today, and how different the same word sounded! Now let's play them like a sketch, like a small performance in which only one word will sound.

Two hands - two sorceresses

Hands are perhaps one of the most expressive means. How often, when telling or explaining something, we involuntarily gesture with our hands, helping our story. Their gestures can sometimes say even more than words.

Fly.

It seems to be flying around us and buzzing. And we have her - once! - and caught him in his fist. Let's hear how she's buzzing there? Now let's look at it, just be careful - it will fly away! We open one finger at a time - one, two, three, four, five - it flew away! Now let’s find it again with our eyes and catch it again, only this time with the other hand.

Glue.

Today we glued (by the way, what kind of craft did we make? Was it a gift or just for ourselves? Did it turn out beautifully?), and there was glue left on the palm. You need to clean it off with each finger of the same hand in turn. Happened? Now on the other palm.

Modeling.

You can sculpt from plasticine, from clay, from dough. Or maybe from your own hand. First you need to stretch your hands and warm them up. And now you can sculpt. Anything! Table, mushroom, boat, house, chair. Now let's blind some creature. It can be the most incredible and fantastic. Ready? How does it move? Can I pet him so he won't bite? What does it eat for breakfast and where does it live? What does he have - antennae or paws? He has friends? And most importantly: what is his name, because a name is destiny in some way?

Pantomime.

This is theater without words, but in this case they are not needed, everything is clear. Let's make an imaginary ball. We sculpt it carefully, it should be very, very round and smooth. Here it is getting bigger and bigger, and now let's make it denser and smaller, for this we need to put in more effort. Oh, it has become heavy and almost touched the ground, and it’s hard to hold it - your hand itself is reaching for the ground. And now he suddenly became light. And now you need to hold him so that he doesn’t fly away, you’ll even have to stand on tiptoe. Let's now release him into the sky, let him fly! And we look at him, and there he is, completely transformed into a dot.

Maybe now we can “blind” a cube and build a whole house from our imaginary bricks? You decide. We can go on forever. For those who want to play such games, I would like to wish them not to get carried away with “roles”, but to look for and notice what is alive and real in everything around them: in themselves and in each other, in their own and others’ reactions and emotions, in words, actions, impressions, in the surrounding world. Although they say that actors “play a role,” acting in this case is a process that is as honest as possible, akin to a child’s game: seriously, to the end, for real. This is the paradox of acting training: while acting, don’t act. Don’t grimace and pretend, but live and feel.

Try to play any of the proposed games with your baby, and your own instinct will definitely tell you the direction where you want to go next.

This concludes our lesson. With great pleasure I will answer any of your questions. Creative success to everyone!

Belousova Yulia

author of the blog “Happy Birthday, Belka!”

PS This article is copyrighted and is entirely intended exclusively for private use; publication and use of it on other sites or forums is possible only with the written consent of the author. Use for commercial purposes is strictly prohibited. All rights reserved.

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Theatrical games in preschool educational institutions

August 24, 2009

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

Objectives and content of the work

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

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

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

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

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

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”).
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.
The third group of skills is the ability to interact with other participants in the game: play friendly, not quarrel, take turns playing attractive roles, etc.

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

The main directions of development of theatrical play are:

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

Objectives and content of the work

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

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

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

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

The theatrical and play skills become significantly more complex .

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”).
The second group of skills is associated with improving the “artist” position, mainly this implies the ability to use non-verbal means (facial expressions, gestures, postures, movements) and intonational expressiveness to convey the image of the hero, his emotions, their development and change (Masha got lost in the forest - she got scared , saw a hut - I was surprised, figured out how to deceive the bear - I was delighted), to convey the physical characteristics of the character, some of his character traits (the old grandfather pulls the turnip with difficulty, but the granddaughter does not pull very diligently, wants to run away and play with her friends; the mouse He is so afraid of the cat that he pulls with all his might). The ability to “control” a doll also develops: holding it unnoticed by the audience, correctly “leading” a doll or a hero figurine in a director’s theatrical play, imitating walking, running, jumping, gestures and movements symbolizing greetings and farewells, agreement and disagreement.
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.
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.
The fifth group of skills, aimed at positive interaction with other participants in the game, includes the ability to negotiate, establish role relationships, and master basic methods of resolving conflict situations during the game.

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

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

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

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

Objectives and content of the work

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

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

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

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

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

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

The first group of skills is related to improving the viewer’s position as a “smart, kind advisor.”
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.
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.
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.
The fifth group of skills involves the use of positive methods of communication with peers in the process of planning the game, during its course (transition from the game plan to the plan of real relationships) and when analyzing the results of a theatrical production.

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

Principles of organizing theatrical play

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

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

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

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

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

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

https://www.pedlib.ru/

Consultation for teachers “Playing theatre”

Consultation
for educators “Playing theatre”
Form of organization: seminar - workshop

Plan:

The importance of theatrical activities in the development of a preschool child (speech by the deputy head of education and training).

Blitz – a survey of teachers on the topic of the workshop.

Types of theatrical games. (Speech by music director.)

Tasks for the development of theatrical activities in each age group and features of pedagogical management of theatrical play (performances by teachers).

The use of theatrical games in working with children. (Exchange of opinions with teachers. Work in micro groups).

Creative task “Making various types of theater for theatrical games.”

Homework: “Playing theatre.”

Summing up the results of the workshop.

Literature:

1. Shchetkin A.V. Theater activities in kindergarten.

2. Makarova L.P., Ryabchikova V.G., Mosyagina N.N. Theatrical parties for children.

3. Doronova T. N. Playing in the theater: Theatrical activities of children 4-6 years old: A methodological manual for teachers of preschool educational institutions.

4. Yaroslavtseva I. Puppeteering for kids: Basics of puppeteering in kindergarten.

5. Kartushina M.Yu. Fun for kids.

6. Grigorieva T.S. “Little Actor” program.

7.Zatsepina M.B. Child development in theatrical activities.

8. Gubanova N.F. Theatrical activities for preschoolers: 2-5 years. Methodological recommendations, lesson notes, scripts for games and performances.

Time: 2 - 2.5 hours.

Consultation progress

The importance of theatrical games in the development of preschool children. Children's whole life is filled with play. Every child wants to play their role. But how to do that? How to teach a child to play, take on a role and act? THEATER will help with this.

“The theater is a magical land in which a child rejoices while playing, and in play he learns about the world.” These words from Merzlyakova’s program “The Magic World of Theater” reflect the entire essence and meaning of theatrical play.

Theatrical games are a constant favorite among children. The large and diverse influence of theatrical games on a child’s personality allows them to be used as a strong, but not intrusive pedagogical tool, because the child feels more relaxed, free and natural during the game.

The developmental potential of theatrical play is enormous.

It activates his thinking, trains memory and imaginative perception, develops imagination and fantasy. In the game, the child improves his speech: masters the richness of his native language, its means of expression; uses different intonations and tries to speak clearly.

By participating in theatrical games, children get acquainted with the world around them in all its diversity - through images, colors, sounds, music, and questions skillfully posed by the teacher encourage them to think, analyze, draw conclusions and generalizations.

The educational possibilities of theatrical activities are also enormous. During the preschool period, the child begins to develop an attitude towards the world around him, character, and interests. In many children's plays, children are shown lessons of kindness, hard work, and the desire to help their comrades in deeds; at the same time, lazy people, arrogant people, and incompetent people are ridiculed, and their behavior evokes a negative attitude in children.

In the process of theatrical activities, children develop a respectful attitude towards each other. They learn the joy associated with overcoming communication difficulties and self-doubt. Children’s enthusiasm for theatrical play, their inner comfort, relaxedness, easy, non-authoritarian communication between an adult and a child, the “I can’t do it” complex disappears almost immediately - all this surprises and attracts.

Modern researchers write that theatrical play can also be a diagnostic tool for a child’s mental state and personality. The game can also act as a method for correcting deficiencies and developmental delays. Observing children's play gives the teacher a lot of information, both about the child's play and about himself.

Theatrical activities teach children to be creative individuals, capable of perceiving novelty and the ability to improvise. Our society needs a person of precisely this quality, who could boldly enter into a modern situation, be able to handle a problem creatively, without prior preparation, and have the courage to try and make mistakes until the right solution is found.

Blitz survey on the topic of the workshop.

Goal: to update teachers’ knowledge about the play activities of preschoolers.

Conventionally, all games of preschool children can be divided into 2 groups. Name them. (Plot-role-playing (creative) and games with rules)
What games are games with rules? (didactic and outdoor games)
What games are role-playing (creative)? (games on everyday themes, with industrial themes, construction games, games with natural materials, fun games, theatrical games)

Theatrical play is very closely related to the plot-role-playing game and is its variety. They both have a common structure (structure).

What are the main elements of this structure? (plan, plot, content, game situation, role, role interaction, rules)
Name the difference between role-playing and theatrical games. (In role-playing games, children reflect life events, and in theatrical games, they take plots from literary works. In a role-playing game, there is no final product, but in a theatrical game, the product is a staged performance or staging).

Types of theatrical games.

All theatrical games are divided into 2 main groups: director's games and dramatization 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.

Directing games include:

table theater,
shadow theater,
theater on flannelgraph.

In these games, a child or adult acts for all the characters (as a director). The tabletop theater traditionally uses a toy theater and a picture theater. Now other types of theater are emerging: knitted theater, spoon theater, mug theater, box theater, etc. Stand types of theater include stand-book, theater on flannelgraph, shadow theater.

Dramatization games include games based on the actions of a role performer (an adult or a child), who can use hand-held bibabo dolls or a finger theater, as well as costume elements. 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 with fingers - the child puts the attributes on his fingers, but, as in dramatization, he himself acts for the character. (For example, the fairy tales “Turnip”, “The Goat and the Seven Little Goats”, “Geese and Swans”. Such tales can be shown by two or three children who are located behind the screen).

Dramatization games with bibabo dolls - in these games a doll is put on the fingers. The movements of her head, arms, and torso are carried out using movements of the fingers and hand.

Improvisation is acting out a theme or plot without prior preparation; it is a very complex, but also interesting game.

Tasks for the development of theatrical activities in each age group and features of pedagogical management of theatrical play.

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

The game is an imitation of individual actions of humans, animals and birds (the children woke up and stretched, the sparrows are flapping their wings) and the imitation of the basic emotions of a person (the sun came out - the children were happy: they smiled, clapped their hands, jumped in place).

The game is an imitation of a chain of sequential actions combined with the transfer of the main emotions of the hero (the cheerful nesting dolls clapped their hands and began to dance; the bunny saw a fox, got scared and jumped onto a tree).

The game imitates the images of well-known fairy-tale characters (a clumsy bear walks towards the house, a brave cockerel walks along the path).

Improvisation game to music (“Cheerful Rain”, “Leaves fly in the wind and fall on the path”, “Round dance around the Christmas tree”).

Wordless improvisation with one character based on the texts of poems and jokes that the teacher reads (“Katya, little Katya...”, “Baby, dance...”, V. Berestov “Sick Doll”, A. Barto “Snow, Snow”).

An improvisation game based on the texts of short fairy tales, stories and poems told by the teacher (3. Aleksandrova “Christmas tree”; K. Ushinsky “Cockerel with his family”, “Vaska”; N. Pavlova “By the car”, “Strawberry”; V. Charushin "Duck with ducklings").

Role-playing dialogue between fairy tale heroes (“Rukavichka”, “Zayushkina’s Hut”, “Three Bears”).

Dramatization of fragments of fairy tales about animals (“Teremok”, “Cat, Rooster and Fox”).

A dramatization game with several characters based on folk tales (“Kolobok”, “Turnip”) and author’s texts (V. Suteev “Under the Mushroom”, K. Chukovsky “Chicken”).

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

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

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”).

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.

The third group of skills is the ability to interact with other participants in the game: play friendly, not quarrel, take turns playing attractive roles, etc.

Goals, objectives and content of work with children of middle preschool age. The main directions of development of theatrical play are:

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

Objectives and content of the work

multi-character games-dramatizations based on the texts of two-three-part fairy tales about animals and fairy tales (“Winter Lodge of Animals”, “The Fox and the Wolf”, “Geese-Swans”, “Little Red Riding Hood”);

games-dramatization based on the texts of stories on the topics “Children and their games”, “Guys and animals”, “The work of adults”;

staging a performance based on the work.

The theatrical and play skills of preschoolers become significantly more complex.

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”).

The second group of skills is associated with improving the “artist” position, mainly this implies the ability to use non-verbal means (facial expressions, gestures, postures, movements) and intonational expressiveness to convey the image of the hero, his emotions, their development and change (Masha got lost in the forest - she got scared , saw a hut - I was surprised, figured out how to deceive the bear - I was delighted), to convey the physical characteristics of the character, some of his character traits (the old grandfather pulls the turnip with difficulty, but the granddaughter does not pull very diligently, wants to run away and play with her friends; the mouse He is so afraid of the cat that he pulls with all his might). The ability to “control” a doll also develops: holding it unnoticed by the audience, correctly “leading” a doll or a hero figurine in a director’s theatrical play, imitating walking, running, jumping, gestures and movements symbolizing greetings and farewells, agreement and disagreement.

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.

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.

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.

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

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

from a game based on one literary or folklore text to a contamination game, in which the literary basis is combined with its free interpretation by the child or several works are combined;

from a game where expressive means are used to convey the characteristics of a character, to a game as a means of self-expression through the image of a hero; from a game in which , to a game in which a complex of positions is presented: “artist”, “director”, “screenwriter”, “designer”, “costume designer”; from theatrical play to theatrical play activity as a means of personal self-expression and self-realization of abilities.

Objectives and content of the work:

1.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.

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

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

4. Texts for productions become 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.

5. 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.

6. Children develop special skills that ensure mastery of a complex of playing positions.

The first group of skills is related to improving the viewer’s position as a “smart, kind advisor.”

The second group involves deepening the “artist” position, developing the ability to express one’s attitude towards the idea of the performance, the hero and the ability to express oneself using a set of means of non-verbal, intonation and linguistic expressiveness.

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.

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.

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.

The use of theatrical games. (Exchange of opinions with teachers. Work in micro groups).

Theatrical activities in kindergarten can organizationally permeate all regime moments: be included in direct educational activities, in the joint activities of children and adults in their free time, and carried out in the independent activities of children. It helps to make the life of children in the group more exciting and varied.

— How do you understand “Use of theatrical play in GCD?”

(During GCD, the teacher includes TI as a game technique and a form of teaching children. During GCD, characters are introduced that help children learn certain knowledge, skills and abilities. The game form of GCD helps to emancipate the child, creating an atmosphere of freedom and play).

— How do you understand “The use of TI in the free joint activities of children and teachers during sensitive moments”?

(This includes game situations of walking, organizing games in play corners, reading fiction followed by acting out plot episodes outside of class during the day, drawing games on a free topic, construction games with dramatization).

— How do you understand “Use of TI in children’s independent activities?”

(Independent children's games reflect characters and plots that excite children. Vivid plots, games, round dances, learned in joint free activities of children and adults, in games-activities, also contribute to the emergence of independent theatrical play for children).

Using theatrical activities in the system of educating children in preschool educational institutions, teachers can solve a complex of interrelated problems related to cognitive, social, speech, aesthetic and movement development.

— Please explain what tasks teachers can solve in each area.

(Teachers are divided into groups and, after a joint discussion, answer a question related to one area.)

- introduction to highly artistic literature; - development of imagination; — involvement in joint design activities on modeling costume elements, scenery, attributes; — creation of an expressive artistic image; Organization of collective work when creating multi-figure plot compositions; - learning to independently find image techniques and materials.

-coordination of actions and accompanying speech; - the ability to embody the mood, character and process of image development in a creative movement; — expressiveness of the execution of basic types of movements.

Creative task “Making different types of theater.”

To carry out theatrical activities in preschool educational institutions, various types of theaters are needed that are capable, on the one hand, of surprising a child with an interesting toy, attracting his attention with a game, an entertaining plot, expressive intonation, and movements. On the other hand, the main thing for a child is to gain joy from communicating with adults and peers.

And today you and I, dear colleagues, will turn into wizards and try to create different types of theaters for preschoolers. We invite you to plunge into the world of childhood, show your creativity and imagination. After all, only a creative teacher can educate a creative personality!

— teachers of the preparatory group (skeet theater);

- teachers of the senior group - theater of spoons;

- middle group teachers - theater on a mitten (glove);

- teachers of the younger group - theater on jars.

Homework “Playing theater”

In our world, saturated with information and stress, the soul asks for a fairy tale, a miracle, a feeling of carefree childhood. And now you and I, dear teachers, will show our creativity and imagination, turn for a moment into little children and play various theatrical games that you have prepared in advance.

(Teachers of each group offer one theatrical game for playing in accordance with the age of their children).

Summing up the seminar.

Dear teachers! During our workshop, we were once again convinced of the enormous developmental potential of theatrical games in childhood. Theatrical activity is integrative, in which perception, thinking, imagination, speech appear in close relationship with each other, manifesting themselves in different types of children's activity: speech, motor, musical, artistic. Through various types of children's theater activities, the child's self-realization takes place; he is transported to a fabulous, fascinating world and learns what friendship, kindness, honesty, and truthfulness are; learns to transform into a role using different means of expression: facial expressions, pantomime, intonation.

I would like to end our meeting with the wonderful words of B.M. Teplov: “The theater is a magical world. He gives lessons in beauty, morality and ethics. And the richer they are, the more successful the development of the spiritual world of children is…”