From early childhood, life requires a fairly developed level of imagination. Already by school, a child should be able to navigate situations in which various transformations of images of objects, signs and symbols occur, and be ready to anticipate possible changes. The most successful development of imagination occurs in play and visual activity, as well as in those types of objective-practical activities where the child begins to “compose”, “imagine”, combining the real with the imaginary. It is important to note that this formation does not occur on its own, but in the process of targeted training and education.
In senior preschool age lays down the basic personality and character traits, forms of behavior in various social situations, the ability to relate own desires and needs with the needs of other people. In the process of creating and implementing a game plan, children’s ideas about the world around them and their attitude to a particular problem situation are reflected. Mastering the skills of facial, pantomimic, and speech expressiveness contributes to the development of children's creative potential and increasing the level of their social adaptation.
Along with the play action, the rudiments of the child’s imagination also develop, the capabilities of which are associated with entering an elementary play situation with the variable use of first individual objects and then chains of role-playing actions.
While playing a role, a child can not only imagine, but also emotionally experience the actions of his character. This certainly affects the development of the preschooler’s senses. Aesthetic experiences help the child experience admiration for those manifestations of life that he had not previously noticed, and convey them through movements, gestures, facial expressions and other means of expressiveness.
Game-dramatization is a type of theatrical plot-role play, director's acting. Retains the typical features of a role-playing game: content, creative concept, role, plot, role-playing and organizational actions and relationships.
The game - dramatization can be represented schematically - by a chain of sequential actions:
- The plot of the game is the choice of a fairy tale. Retelling, its discussion.
- Organization of the game - distribution of roles. Arrangement of the play space.
- Direct play of children
The game - dramatization is diverse and is represented by goals, objectives and forms that are different in content.
Organization of work with children
Work with children is carried out in two main forms:
Specially organized work teacher with children;
- an unregulated type of activity at the request of the child.
The time for specially organized work of the teacher with children is Friday - afternoon. Unregulated activities can be carried out by preschoolers daily (in the morning or evening hours) in the process of their free independent activity.
Co-creation between a child and an adult is of great importance. This is important not only for helping the child and encouraging him to work, but also for developing his imagination, which is activated in joint activities. First, the child is shown how to do the work, how to create new image, then there is a joint action, and only after that he acts independently. It is mandatory to update the child’s past experience with the help of questions, supporting words, and visual aids. An adult must manage this process.
The tasks we offer are grouped into blocks, each of which has primarily its own focus and corresponds to a certain stage of learning. We distinguish five stages of training and, accordingly, five blocks of games.
In all classes, we taught children methods of creative activity. Work was carried out to help the idea emerge; drawing up a plan for its implementation; highlighting the main thing; the process of creating an image or figurative situation; analysis of the results. An obligatory stage was the evaluation of one’s own work and the work of one’s comrades. To create a positive emotional state for children, we tried to provide everyone with a situation of success, so we provided various types of assistance during the game. The individual capabilities and characteristics of each child were taken into account.
When developing these blocks of tasks, we believed that the main condition for the formation of imagination should be targeted step-by-step training. It was planned to provide adequate assistance from an adult while simultaneously mastering the child's necessary structural and operational components of imagination and the gradual transition of his activity from the external to the internal plane. The training stages included a system of games that offered tasks for both reconstructive and creative imagination.
When developing the system, we took into account the principles of domestic and foreign psychologists about the unity of consciousness and activity, the development of the psyche in activity, the potential capabilities of the child, the “zone of proximal development.”
Stages of training
At the first stage (first block), the main goal is to create an atmosphere of goodwill, acceptance, openness and mutual understanding, psychological security and self-realization in the group.
The leading place in working with children on the development of imagination at this stage is occupied by games with singing (round dances). They allow you to get used to classmates and collective requirements, since children in these games are not required to behave actively.
Examples of games from the first block.
“Skvorushka Says Goodbye”, “Autumn”, “Little Workers”
Tasks solved during games: develop imagination, sociability; Maintain a happy mood and confident behavior.
Skvorushka says goodbye
The teacher recites each line of the poem, accompanying it with appropriate movements, then everyone repeats the text and movements to it together.
Children dance in a circle. Together with the teacher they perform the necessary movements.
At the second stage (second block), the main goal is the development of reconstructive imagination. Leading place on at this stage occupy games - dramatizations of poems.
Problems solved during these games:
Expand children's knowledge about the world around them; learn to convey your emotional state in facial expressions, gestures, movements, teach to understand the characteristics of animal behavior, reproduce them; develop the ability to empathize, imagination, coordination of speech and movements.
Examples of games from the second block
“Mushrooms”, “Silence”, “Autumn we’ll ask”, “Wolf and Fox”, “Fox and Rooster”,
“2 frogs”
“We’ll ask autumn”
Children choose autumn and rain with a counting rhyme. The rain is hiding, and children are approaching autumn. They speak in unison behind the teacher.
Hello autumn!
Hello autumn!
It's good that you came.
We, autumn, will ask you,
What did you bring as a gift?
(The dialogue between the children and the child in the role of autumn is reflected).
I brought you flour.
So there will be pies.
I brought you some buckwheat -
The porridge will be in the oven.
I brought you some vegetables
For both porridge and cabbage soup.
Are you happy about pears?
We'll dry them for future use.
And apples are like honey!
For jam, for compote.
I brought you some honey
Full deck.
You and apples, you and honey,
You brought bread too.
And good weather
Did you bring us a gift?
Are you happy about the rain?
We don't want it, we don't need it.
At the third stage (third block), special attention is paid to dramatization games - (table theater).
Tasks to be solved at this stage:
Teach expressive movements, onomatopoeia, learn to be attentive to the feelings and desires of other people; develop the ability to understand the emotional state, express it, develop the ability to mentally reproduce the image of oneself through one’s own vision of a person; develop imagination, speech.
Examples of games from the third block:
“Two greedy bear cubs”, “Kitsonka-murysonka”, “Bear and fox”
"Kitsonka - Murysonka"
The children ask one child in unison, and he answers.
Children. Kitty - Murysonka, where have you been?
Child. She grazed the horses.
Children. Where are the horses?
Child. They left the gate.
Children. Where is the gate?
Child. The fire burned.
Children. Where is the fire?
Child. The water flooded.
Children. Where is the water?
Child. The bulls drank.
Children. Where are the bulls?
Child. They went over the mountain.
Children. Where is the mountain?
Child. The worms have drained.
Children. Where are the worms?
Child. The ducks pecked.
At the fourth stage (fourth block), I occupy the main place creative games - dramatization. The goal of the work is to develop the child’s independent verbal creativity. Games reflect impressions received from the surrounding life, from favorite books; Relationships with peers and adults develop. Creative games contribute to the development of a sense of collectivism, imagination, initiative, intelligence, and organization.
Examples of games from the fourth block:
“Winter Fun”, “Guess Who It Is”
“Winter fun”
The teacher invites the children to go for a walk in the winter forest. Children, answering the teacher’s questions, tell how they are getting ready for this walk: putting on winter clothes, taking skis, sleds, thermoses with hot tea, etc. Children come out of kindergarten on skis.
Teacher. What are skis talking about?
With our noses in the air, we glide easily,
Leaving a trace on a snowdrift,
Where others won't go,
We'll both get through it easily.
The teacher leads the children into the winter forest.
We approached the river, on the other bank was our forest. Now let's skate along the river. (Children perform movements imitating skating).
We approached the forest. The snow in the clearing is fluffy, silvery, and just begs to be played, let’s play snowballs. (Children play).
While we were playing, it began to snow, listen to how it falls. Cars were walking...
Children. They rustled and barked
Teacher. There were trams...
Children. They squealed and clanged. Motorcycles crackled and slammed...
Teacher. Passers-by were walking...
Children. They stomped and spanked.
Teacher. And it snowed the quietest of all.
(Children spread their arms to the sides, raise their faces up, as if snowflakes are falling on them).
Teacher. We went out to the edge of the forest, from there there was a descent to the river, we went sledding.
(Children sledding, then making a snow woman. We got a little cold, warmed ourselves by the fire, drank tea, it became warmer, and returned home on skis. We undressed and came to the group).
Teacher. We had a nice walk in the forest. What did you ride?
Children. Skiing, sledding, skating.
Teacher. Who did you see in the forest?
Children. Forest animals: bunny, fox, bear, wolf.
Teacher. Did you make a snow woman?
Children. They sculpted.
Teacher. Did you play snowballs?
Children. We played.
Teacher. What a great fellow you are!
At the fifth stage (fifth block), children become familiar with play - dramatization in prose. Dramatization games create a cheerful and joyful mood. A characteristic feature of such games is that in them children have the opportunity to maximally express their ideas, imagine, fantasize, and convey all the variety of impressions from the reality around them.
Problems solved during the games of the fifth block:
Examples of tasks from the fifth block:
“Magpie and Bear”, “Cat and Sparrow”, “Peacock and Turtle”, “Dispute”
Magpie and the Bear (according to N. Sladkov)
The bear slowly crawls out of the den ( the child gets up from his high chair), stretches, yawns, rubs his eyes, looks around. He notices Soroka and slowly walks towards her.
A magpie easily flies from a tree ( baby jumps out of his chair), flies towards the Bear, smoothly flapping its wings.
Magpie ( tilting his head to the side). Hey, Bear, what are you doing this morning?
Bear ( slowly moves his head to the sides). Am I? ( stopped thought about it). Yes I eat!
Magpie ( blinking in surprise). What about during the day?
Bear ( makes the same head movements). And I eat during the day.
Magpie ( jumping in surprise). And in the evening?
Bear ( waving his paw). And I eat in the evening.
Magpie ( eyes widened in surprise). And at night?
Bear. And I eat at night.
Magpie. And when do you not eat?
Bear. Yes, when I’m full!
Magpie ( flaps its wings in surprise). When are you full?
Bear (slowly spreads his paws to the sides). Yes never ( shakes his head negatively).
Senior preschool age is sensitive (sensitive) for the formation of imagination. It is at this age that the imagination is activated, first reproductive, recreating (allowing one to imagine fairy-tale images), and then creative,
(which provides the ability to create a new image).
Literature.
1. Borovik O.V. Development of imagination: Methodological recommendations. – M.: Center for Humanitarian Literature “RON”, 2000. – 55 p.
2. Vygotsky L.S. Imagination and creativity in childhood. – St. Petersburg: “Soyuz”, 1997. – 93 p.
3. Dyachenko O.M. Ways to activate the imagination of preschoolers // Questions of psychology. – 1987. - No. 1 P. 45 – 50.
4. Doronova T.N. We play in the theater. – M.: Education, 2004. – 125 p.
5. Zaika E.V. A set of games for the development of imagination // Questions of psychology. – 1993. - No. 2. – P. 54 – 60.
6. Subbotina L.Yu. Development of imagination in children. – Yaroslavl: “Academy of Development”, 1996. – 235 p.
7. Elkonin D.B. Psychology of the game. – M.: Pedagogy, 1978. – 304 p.
Description of the presentation by individual slides:
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Municipal budgetary preschool educational institution for children "Salgal" village. Ust-Elegest MR "Kyzyl kozhuun" of the Republic of Tyva Consultation for teachers "Dramatization games and its types" Prepared by Russian language teacher MBDOU d/s "Salgal" Shoilaa O.K. With. Ust-Elegest 2017
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Play is a special activity that blossoms in childhood and accompanies a person throughout his life. In modern pedagogical theory, play is considered as the leading activity of a child - a preschooler. The leading position of the game is determined not by the amount of time that the child devotes to it, but by the fact that: it satisfies his basic needs; in the depths of the game other types of activities arise and develop; Play contributes most to a child’s mental development. In a variety of educational systems, play is given special place. And this is determined by the fact that the game is very in tune with the nature of the child. From birth to adulthood, a child pays great attention to games. A game for a child is not just an interesting pastime, but a way of modeling the external, adult world, a way of modeling its relationships, during which the child develops a pattern of relationships with peers. Children are happy to come up with games themselves, with the help of which the most banal, everyday things are transferred to a special interesting world adventures.
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“Play is a need for a growing child’s body. Play develops the child’s physical strength, a stronger hand, a more flexible body, or rather the eye, intelligence, resourcefulness, and initiative develop. In play, children develop organizational skills, develop self-control, the ability to weigh circumstances, etc.” , wrote N.K. Krupskaya. In play, a child makes discoveries about things that have long been known to adults. Currently, a whole direction in pedagogical science has emerged - game pedagogy, which considers games to be the leading method of raising and teaching preschool and younger children. school age. And therefore the emphasis on play (game activity, game forms, techniques) is the most important way to include children in educational work, a way to ensure an emotional response to educational influences and normal conditions life activity. Dramatization games are one of the types of theatrical games. However, both have certain differences. Theatrical games, unlike dramatization games, have a fixed content in the form literary work, played out by children in their faces.
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In them, as in real theatrical art, specific images are created with the help of such expressive means as intonation, facial expressions, gesture, posture and gait. There are also differences in the child’s level of independence. Even children of older preschool age do not play dramatization games on their own. They are most interested in theatrical games at the suggestion of the teacher and under his guidance. But, if from the first junior group the children, with the help of the teacher, act out folk songs, nursery rhymes, small scenes, and in the second younger group, using toys and figurines of a plane theater, will continue to do this, then already in middle age, dramatization play is possible as an independent activity. There is several evidence to support this assumption. It was found that children of the fifth year of life, in the process of theatrical activities, actively strive to bring personal, individual, and original characteristics into the performance of roles.
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Dramatization games are a special type of activity for preschool children, in which the child acts out a familiar plot, develops it, or comes up with a new one. It is important that in such a game the child creates his own small world and feels like the owner, the creator of the events taking place. He controls the actions of the characters and builds their relationships. In the game, a child turns into an actor, a director, and a screenwriter. A child never plays such games in silence. Using his own voice or the voice of a character, the child pronounces events and experiences. He voices the characters, comes up with a story, experiences things that are not easy for him to live through in ordinary life. During such games, speech intensively develops and is enriched qualitatively and quantitatively. vocabulary, the child’s imagination, creative abilities, ability to control himself, maintain attention in accordance with the plot, logic and independent thinking develop. All this acquires special significance in cognitive development and further educational activities. Therefore, dramatization games are extremely useful and necessary for a child at different stages of his development.
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At an older age, it becomes possible to include fragments of theatrical activities using different types of theater in the system of classes for teaching children storytelling, as well as use classes on speech development to enrich theatrical games. It was also found that the effectiveness of theatrical activities largely depends on its integration with children’s visual arts classes. In the process of decorative and design creativity, children have the opportunity to think, reflect, remember and imagine, which also has a positive effect on expressiveness created images. In dramatization games, the child artist independently creates an image using a set of expressive means (intonation, facial expressions, pantomime), and performs his own actions in playing the role. In a dramatization game, a child performs a plot, the script of which exists in advance, but is not a rigid canon, but serves as a framework within which improvisation develops. Improvisation can concern not only text, but also stage action.
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In preschool educational institution Where the number of bilingual children predominates, difficulties arise in mastering the Russian language, since verbal communication in Russian has not been formed. The priority task in my work is the development of oral speech in children of non-Russian nationality. The formation and improvement of oral speech skills occurs through the use of oral folk art: nursery rhymes, proverbs, sayings, rhymes, ditties, fairy tales. The use of gaming technologies plays an important role in teaching Russian to bilingual children. Dramatization games develop not only oral speech, but also activate cognitive activity and enrich children’s vocabulary. After reading fairy tales, short stories about children, about animals, they are dramatized. Before the performances, a lot of preliminary work takes place: directing, making masks, preparing costumes. vocabulary work, improving diction. The use of dramatization games has a positive impact on learning and mastering the Russian language in bilingual conditions.
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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. There are several levels of dramatization games: -Games that imitate images of animals, people, and literary characters. -Role-playing dialogues based on text. -Stagings of works. -Staging performances based on one or more works. -Improvisation games with playing out the plot without preliminary preparation. At each of the listed levels, several types of L.P. dramatization games can be used. Bochkareva: 1. Dramatization works of art, when a child takes on the role of a character. At the same time, he enters the character and feels relaxed and free. As a rule, at the same time, his fear disappears, his speech acquires a bright intonation color, the gesture-facial side of speech and the ability to imitate develop.
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2. Tabletop theater with planar and three-dimensional figures - these are cardboard or plywood silhouettes on stable stands. All characters are colored on both sides and move by sliding on the table. The plywood analogue is more durable and extends the period of use of the theater. This is especially true in preschool settings.
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3. Tabletop cone theater. All the parts that make up the performing toys - geometric shapes. The head is a circle, the body and limbs are cones, the ears are triangles, and the mustache is rectangular stripes. The finished figurine body can be painted, supplemented with applique, etc. The dolls turn out to be voluminous and take up quite a lot of space on the table, so no more than three dolls are used in the performance. The semi-movable figure “slides” across the table. Since the field of activity with cone-shaped toys-actors in this type of theater is limited, since each set is intended for only one plot, and the cone figures have a low degree of mobility, all the creativity and imagination of the child is embodied in voicing the roles.
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4. Dramatization games with fingers. They are especially useful for development fine motor skills hands, and at the age of 5 - 6 years, the skill of finger theater prepares the hand for writing. In such a theater, all the characters, stage and plot are located... on one or two hands. There are special finger puppets for this. They are made of fabric and wood. The authenticity of the image can be considered one of the important signs of a quality toy. The dolls have softly drawn expressive faces without a hint of satire in the image, the animals have characteristic features this or that animal. Wooden toys can look like tiny character heads, or they can be a whole figurine with a head, torso, arms, legs or paws (if it's an animal). You can even find a wooden Snake-Gorynych with three heads. Details of fabric or combined dolls must be made of quality materials and attach well to each other. Wooden dolls have a recess for a finger, so when choosing a toy, it is important to pay attention to the size of this recess. The doll should fit your finger tightly without jumping out of it and vice versa, without squeezing too tightly. The thin and delicate skin of a child is vulnerable, so the wood must be well sanded. During the game, it is good to use a table screen, behind which the actors and scenery will change.
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5. Puppet theater. A marionette is a doll on strings. The head and joints are attached with hinges and suspended from a wooden base that controls the movements of this doll.
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6.Shadow theater. This theater is rightly considered one of the most conventional theaters. In it there are, according to Nina Yakovlevna Simonovich-Efimova, “no attention-dispersing impressions (colors, relief). That is why it is accessible and well received by children. It is precisely because the silhouette is a generalization that it is understandable to children. Because the art of the children themselves is generalized. Children's drawings are always beautiful, always pleasant. And the children draw with “emblems”.
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Most often, the basis of dramatization games are fairy tales. In fairy tales, the images of heroes are outlined most clearly; they attract children with the dynamism and clear motivation of their actions, actions clearly follow one another, and preschoolers willingly reproduce them. Children's loved ones are easily dramatized folk tales“Turnip”, “Kolobok”, “Teremok”, “Three Bears”.
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In dramatization games, poems with dialogues are also used, thanks to which it is possible to reproduce the content by role. It becomes obvious that the types of theatrical games are diverse. 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. You can also note some types of dramatization games. Conducting these games, their use in the educational process and making with your own hands attributes of various types of dramatization games, involving students in work depends on creative imagination teacher Games and activities with children charge so much energy that it lasts for a long time.
Dramatization games are special games in which the child acts out a familiar plot, develops it, or comes up with a new one. It is important that in such a game the child creates his own little world and feels like the master, the creator of the events that take place. He controls the actions of the characters and builds their relationships. In the game, a child turns into an actor, a director, and a screenwriter. A child never plays such games in silence. Using his own voice or the voice of a character, the child pronounces events and experiences. He voices the characters, comes up with a story, experiences things that are not easy for him to live through in ordinary life. During such games, intensive development of speech occurs, vocabulary is enriched qualitatively and quantitatively, the child’s imagination, creative abilities, ability to control himself, maintain attention in accordance with the plot, logic and independence of thinking develop. All this acquires special significance in cognitive development and further educational activities. Therefore, dramatization games are extremely useful and necessary for a child at different stages of his development.
Dramatization games should be distinguished from role-playing games. A distinctive feature of the former is not only the plot, but also the nature of the gaming activity. Dramatization games are one of the types of theatrical games. However, both have certain differences. Theatrical games, in contrast to dramatization games, have a fixed content in the form of a literary work, acted out by children in person. In them, as in real theatrical art, specific images are created with the help of such expressive means as intonation, facial expressions, gesture, posture and gait. There are also differences in the child’s level of independence.
Thanks to special pedagogical research conducted by L. Vyroshnina, N. Karpinskaya, E. Trusova, L. Furmina and others, the following was established.
Even children of older preschool age do not play dramatization games on their own. They are most interested in theatrical games at the suggestion of the teacher and under his guidance (L. Furmina). But, if from the first younger group children, with the help of the teacher, act out folk songs, nursery rhymes, small scenes, and in the second younger group, using toys and plane theater figures, they continue to do this, then already in middle age, dramatization play is possible as an independent activity (Sigutkina). There is several evidence to support this assumption.
It was found that children of the fifth year of life, in the process of theatrical activities, actively strive to bring personal, individual, original elements into the performance of roles (N. Karpinskaya). And in older preschool age, it becomes possible to specially teach children methods of artistic and figurative expressiveness (Kofman).
At the same age, it becomes possible to include fragments of theatrical activities using different types of theater in the system of classes for teaching children storytelling, as well as to use classes on speech development to enrich theatrical games (L. Vyroshnina).
It was also found that the effectiveness of theatrical activities largely depends on its integration with children’s visual arts classes. In the process of decorative and design creativity, children have the opportunity to think, reflect, remember and fantasize, which also has a positive effect on the expressiveness of the created images (E. Trusova).
In dramatization games, the child artist independently creates an image using a set of expressive means (intonation, facial expressions, pantomime), and performs his own actions in playing the role. In a dramatization game, a child performs a plot, the script of which exists in advance, but is not a rigid canon, but serves as a framework within which improvisation develops. Improvisation can concern not only text, but also stage action.
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.
There are several levels of dramatization games:
1. Games that imitate images of animals, people, and literary characters.
2. Role-playing dialogues based on text.
3. Performances of works.
4. Staging performances based on one or more works.
5. Improvisation games with playing out the plot without prior preparation.
At each of the listed levels, several types of dramatization games can be used (L.P. Bochkareva):
1. Dramatization of works of art, when the child takes on the role of a character. At the same time, he enters the character and feels relaxed and free. As a rule, at the same time, his fear disappears, his speech acquires a bright intonation color, the gesture-facial side of speech and the ability to imitate develop.
2. Tabletop theater with planar and three-dimensional figures - these are cardboard or plywood silhouettes on stable stands. All characters are colored on both sides and move by sliding on the table. The plywood analogue is more durable and extends the period of use of the theater. This is especially true in preschool settings.
3. Tabletop cone theater. All the parts that make up the performing toys are geometric shapes. The head is a circle, the body and limbs are cones, the ears are triangles, and the mustache is rectangular stripes. The finished figurine body can be painted, supplemented with applique, etc. The dolls turn out to be voluminous and take up quite a lot of space on the table, so no more than three dolls are used in the performance. The semi-movable figure “slides” across the table. Since the field of activity with cone-shaped toys-actors in this type of theater is limited, since each set is intended for only one plot, and the cone figures have a low degree of mobility, all the creativity and imagination of the child is embodied in voicing the roles.
4. Dramatization games with fingers. They are especially useful for the development of fine motor skills of the hands, and at the age of 5 - 6 years, the mastery of finger theater prepares the hand for writing. In such a theater, all the characters, stage and plot are located... on one or two hands. There are special finger puppets for this. They are made of fabric and wood. The authenticity of the image can be considered one of the important signs of a quality toy. The dolls have softly drawn expressive faces without a hint of satire in the image, the animals have the characteristic features of a particular animal. Wooden toys can look like tiny character heads, or they can be a whole figurine with a head, torso, arms, legs or paws (if it's an animal). You can even find a wooden Snake-Gorynych with three heads. The parts of fabric or combined dolls must be made of high-quality materials and be well attached to each other. Wooden dolls have a recess for a finger, so when choosing a toy, it is important to pay attention to the size of this recess. The doll should fit your finger tightly without jumping out of it and vice versa, without squeezing too tightly. The thin and delicate skin of a child is vulnerable, so the wood must be well sanded. During the game, it is good to use a table screen, behind which the actors and scenery will change.
5. Puppet theater. A marionette is a doll on strings. The head and joints are attached with hinges and suspended from a wooden base that controls the movements of this doll.
6. Shadow theater. This theater is rightly considered one of the most conventional theaters. In it, according to Nina Yakovlevna Simonovich-Efimova, “there are no impressions that distract attention (colors, relief). That is why it is accessible and well perceived by children. It is precisely because the silhouette is a generalization that it is understandable to children. Because the art of children themselves is generalized Children's drawings are always beautiful, always pleasant. And children draw with “emblems”.
It becomes obvious that the types of theatrical games are diverse. 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.
According to famous psychologist A.N. Leontyev “A developed dramatization game is already a kind of “pre-aesthetic” activity. The dramatization game is, therefore, one of the possible forms of transition to productive, namely aesthetic activity with its characteristic motive of influencing other people”
In addition, thanks to the scenery and costumes, children have great opportunities to create an image using color, shape, and design. However, it is also necessary to remember the sanitary and hygienic requirements for theatrical equipment. For example, pediatricians believe that not all types of puppet theaters can be used in working with children of older preschool age. Prolonged actions by a child with his arm extended and raised above his head are contraindicated at this age, while puppet theater, in which children act while sitting, is recognized as one of the most psycho-physiological types of theater for children of this age. The appearance of the dolls also plays an important role.
A significant contribution to the solution of this issue was made by the artist Natalya Vasilievna Polenova, the daughter of the outstanding Russian artist V.D. Polenova. Natalya Vasilievna's dolls were very original. They had no profile, due to which a convention arose that was close to the culture of the ancient ritual mask of the northern peoples of Siberia, and the dolls seemed to turn into works of plastic art with a measure of convention present in them.
This idea of Natalya Vasilievna was highly appreciated by artists, but was not picked up by teachers. Puppets for finger theater, puppets, etc. were and are being made in massive batches, with a molded head, in which facial features frozen in one expression are clearly indicated, which, by the way, are often not visible to the small viewer.
But the Waldorf kindergarten in its puppet theater makes extensive use of the plasticity and conventionality of doll images. Freya Jaffke writes about it this way:
“The appearance of the doll does not change throughout the entire action: whether she is laughing or angry, in a hurry or in no hurry - her face remains unchanged. Therefore, in performances for preschoolers, dolls with caricatured forms should be abandoned (for example, a witch with long nose); then children turn from observers into active participants in the performance. The character of a doll in its entirety can be expressed, first of all, through the color of clothes. For example, the king's yellow-gold robe with a purple mantle exudes dignity, and the red-violet dress of the old wise woman inspires awe. Evil images are never surrounded by gentle ones light colors, they use muted dark colors."
We agree with the approaches of Waldorf teachers in matters related to the organization of this work and the technology of making dolls. But we believe that more attention should be paid to the artistic development of children.
In older preschool age, children develop a number of qualities that are valuable for further aesthetic development: activity, consciousness, independence, holistic perception of content and form, the ability to participate and empathize, spontaneity of impressions, brightness in the expression and manifestation of imagination. Thanks to these qualities, the child is already able to make a doll himself for his performance and convey her image through the color of clothes. For example, in art classes, children use cones to make the base of a puppet doll, and then, by drawing the face, clothes, and adding various additional details, they create the desired image. In another case, teachers and parents can make a base for dolls from fabric. And the children themselves can make a wide variety of cloaks and capes and other attributes. When preparing for the performance, with the help of clothes and additional attributes, children can create any image at their discretion.
At the same time, we do not agree with F. Jaffke’s approach regarding color, in which the yellow-golden color is associated with dignity, and the red-violet dress with wisdom. This forms color stereotypes. It is much more important to organize work with children in such a way that each child is able to find a corresponding visible image for his plan.
Obviously, not every child will become an artist or actor in the future. But in any matter, he will be helped by creative activity and a developed imagination, which do not arise on their own, but, as it were, ripen in his artistic activity.
Therefore, when working with children in theatrical activities, one cannot limit oneself to the development of only performing creativity. The measure of a child's own activity can be very different.
For some performances they can do everything themselves:
Consider the content of the performance;
Determine a role for yourself in it;
Based on your own ideas, make a doll for the performance or make a costume for yourself.
In others, they act only as costume designers and performers.
Thirdly, to simply be spectators and participants in the performance that teachers and parents will prepare for them.
But no matter what level of independence and activity the child chooses, the leading role is always played by the teacher. It is on his professional skill and personal interest that the degree of a child’s involvement in the game, the maintenance of his interest and creative activity throughout the game, and the competent achievement of the set pedagogical and psychological goals depend. There are special requirements to the methodology of conducting and guiding dramatization games at different stages of preschool age. We will consider these requirements in the next paragraph of our work.
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Plan
1. The originality of dramatization games
2. Features of organizing children’s games in different age groups kindergarten and their management
3. Develop a scenario for a game-based educational travel situation
4. Write a dramatization game script
List of used literature
1 . The originality of dramatization games
Theatrical games are the most important form of play activity for a preschooler, contributing to the development of various aspects of the child’s personality, activation of his mental processes, emotional, speech and cultural development. Such games are indispensable for the effective socialization of children in preschool educational institutions; they help to discover and develop existing creative abilities. At the same time, theatrical games are characterized by a number of distinctive features and features, which we will consider below. preschooler theatrical game
First of all, it should be noted that in the scientific literature on this issue there is no single definition of theatrical play. Moreover, many authors do not even use this term as a generic term in relation to various subtypes of theatrical games, but confuse it with the concept of theatrical play activity, dramatization game or dramatic game. However, a general understanding of this term can still be distinguished: a theatrical game is understood as the intentional arbitrary reproduction of a certain plot in accordance with a given pattern - the game script. Moreover, it always acts as an activity for modeling biosocial relations and is limited to certain temporal and spatial characteristics.
Theatrical play is inherently close to role-playing games and games with rules. Thus, with a story game, they have a common structure: concept, plot, content, game situation, role, role-playing action and rules. At the same time, creativity lies in the fact that the child tries to convey the necessary feelings and emotions, the intention in the depicted action, changes his behavior in the role in his own way, and uses various objects.
In addition, plot-role play over time becomes the basis for further dramatic creativity of children, since it is the plot that attracts preschoolers in those literary works that are used as the basis for theatrical games. Another feature in in this regard is the desire of preschool children to truthfully depict the scene itself, and not expressively perform a given role.
The replacement of plot-based games with theatrical ones is explained by the fact that as children grow older, it becomes no longer interesting for them to imitate the actions of adults in games, while various literary plots (fairy tales, historical, heroic, and so on) attract more and more. At the same time, theatrical play is characterized by much greater limitations in actions, clearly determined by the content of the corresponding literary basis. This circumstance is one of the most important differences between these two types of games. As another difference, we can highlight the absence of a result in a role-playing game, along with its obligatory presence in a theatrical game (performance, dramatization, skit).
The presence of clear rules for children's activities within the framework of theatrical games makes them similar to games with rules, although the latter most often do not have a strictly fixed plot, and there is an element of competition, which is almost always absent in dramatized games.
The most important features of a theatrical game are its literary or folklore basis and the presence of spectators. Also in such games, much attention is paid to attributes, costumes and images of characters (dolls, toys, pictures, and so on), since it is these items that facilitate the preschooler’s entry into the role and determine the choice of his game actions. In addition, the image of the hero in dramatization games, his main features, actions and experiences are determined by the content of the basis.
The creativity of a preschooler within the framework of dramatization games lies in the truthful depiction of the character: imitation of his movements, facial expressions, intonations, conveying mood and state of mind. To do this, the child must understand his character, the reasons for his actions, his feelings and emotions, and correctly evaluate the actions of his character.
D.V. Mendzheritskaya notes the high value of pedagogically oriented theatrical play for the development of amateur forms of behavior, since it is precisely such play activity that predetermines the further emergence in preschoolers of the opportunity to outline the plot themselves (improvise) or organize a game with rules, find partners, and choose means to realize their plans.
In conclusion, it is also worth noting that theatrical play is the most important means of early introduction of children to literary, dramatic and theatrical arts, which contributes to their aesthetic, moral and cultural development.
2 . Features of organizing children's games in different age groups of kindergarten and their management
Age-related features of the development of preschoolers in various groups of pre-school educational institutions are reflected in the specific features of the organization of theatrical games in each age group, and also have a decisive influence on the content and nature of the process of managing such games. At the same time, work with children of all age groups is based on the following principles:
1) the principle of specificity of the gaming activity under consideration, combining free play and prepared, meaningfully experienced artistic components;
2) the principle of complexity, which assumes the relationship between theatrical play and various types art and various types of artistic activities of a preschooler;
3) the principle of improvisation, which determines the special interaction between the teacher and the child and children among themselves, the basis of which is the encouragement of children's initiative, the absence of a role model, a free atmosphere, the child having his own point of view, his desire for originality and self-expression;
4) the principle of integrativeness, in accordance with which purposeful work on the development of theatrical and play activities is included in the holistic pedagogical process.
Let's consider the features of organizing theatrical games in different age groups. groups of preschool educational institutions and the procedure for managing them.
Children of primary preschool age do not yet have sufficient speech potential to fully participate in theatrical games, however, it is at the age of three or four years that the primary mastery of dramatization games is noted. Work with younger preschoolers in the context of the topic we are considering is divided into three main stages: artistic perception of literary or folklore works; mastering special skills to become the main position - “actor”; independent creative activity.
At the same time, children’s gaming experience is gradually expanding; more and more new types of dramatization games are gradually included in it:
a) games that imitate individual actions of humans, animals and birds;
b) games that simulate a chain of sequential actions in combination with the transfer of the main emotions of the hero;
c) games that imitate the images of well-known fairy-tale characters;
Preliminary preparation of a teacher for theatrical classes is determined by a rather limited range of topics available to effective development children of primary preschool age. To the most relevant topics in in this case will include individual plots of folk tales, as well as short stories and poems that are similar to the role-playing games used in this age group. The presence of dialogues in the text is encouraged, since question-and-answer intonations are best learned by children of the age in question.
Preparatory work, as a rule, takes three to five weeks, during which the chosen artistic basis is expressively read to the children several times, then played out by them several times in fragments. Moreover, each child plays not one, but a number of roles, which allows him to better experience the plot of the work. The text does not require special learning, as it is naturally remembered by children, and the search for expressive intonations and movements is carried out by the teacher together with preschoolers, which contributes to a gradual familiarization with the chosen plot.
It is worth noting that in a junior preschool group, it is desirable to have the active participation of the preschool teacher himself as a presenter when playing out certain literary plots, while children should be spectators. This circumstance is due to the fact that only a few children of this age strive to participate in various performances. So, a teacher can use a flannelgraph, a tabletop theater of toys or pictures, and so on.
Features of management of theatrical and gaming activities younger preschoolers is the direct participation of the teacher in the process of preparing performances: presentation of the material, its discussion, teaching children to perform certain actions according to the model (for example, imitating the sounds of animals), as well as active work when conducting the dramatization games themselves - the direction of the children’s actions, prompting them necessary words and actions while maintaining the opportunity independent choice actions and variations in play behavior.
Preschoolers of the middle age group are already able to combine movement and speech in roles, and use pantomime of two to four characters. The most acceptable types of theatrical games at this age are various table theaters, shadow theater and flannel, as well as dramatization games (including those with elements of improvisation).
The teacher's guidance in this age group is based on the development of children's creative abilities, the formation of a sense of partnership between them, based on the equal participation of all children in productions. The last circumstance is especially important for the teacher when selecting a literary work, since all children should participate in the same or equal roles, regardless of the level of development of their abilities.
The choice of themes and plots for middle preschoolers is also quite wide. At the same time, the most the best option is the folklore of the peoples of the world, Russian and world classical poetry, poems by modern domestic and foreign authors. The teacher must carry out a preliminary analysis of the text with the children, ask them questions, demand an assessment of the events taking place and the actions of the characters. Poetic texts require preliminary memorization, which should also be taken into account by the teacher at the stage of preliminary work.
The search for various expressive techniques is also carried out by the teacher together with the children, although individual intonations, if they are difficult for preschoolers to perceive, can be demonstrated to them independently. In general, the management of theatrical activities of middle preschoolers is becoming more democratic, they are given greater freedom of action.
In older preschool age, approaches to the development of children in theatrical activities change, due to which such activities begin to have an obvious creative nature, which is ensured by the inclusion of the child’s knowledge about life, his desires and interests in its content. To do this, the teacher must provide greater freedom of action in preparing and conducting games of this type to all preschoolers.
It is worth noting that children of this age have access to almost all types of theatrical games, including improvisation and puppet theater, which greatly facilitates the choice of a literary basis for the game. Moreover, such a choice should be made together with the children. It must be said that in older preschool age children begin to be interested in works where there is a dramatic conflict, character development, acuteness of situations, emotional richness, short, expressive dialogues, simplicity and figurative language, which also largely determines the choice of work for theatrical play.
The text of the selected work is expressively read by the teacher several times, after which it is analyzed. Distinctive feature Here comes the fact that the analysis is carried out according to the content, that is, the teacher must focus children’s attention on the actions of the characters, their characteristics, and motives of behavior. At the stage preparatory work In order to assimilate the sequence of events and clarify the images of the characters, a variety of artistic and creative activities are organized: drawing, appliqué, modeling on the themes of the work, which allows you to consolidate its plot in memory.
The development of individual play techniques of an older preschooler is facilitated by his participation in various improvisations (sketches, dramatizations), especially if the audience is asked to guess who the “actor” was portraying. At the same time, the teacher should not show children the necessary intonations and expressive movements of the character, but can indirectly lead them to the necessary actions by reminding them of the feelings, mood and behavior of the character. It is also permissible to point out individual inaccuracies made by the child when acting out the chosen character.
In general, the theatrical activities of older preschoolers become more varied and interesting, the creative component is more clearly manifested in it, and performing skills reach a sufficiently high level. high level, which allows you to more actively include theatrical games in the pedagogical process.
3. Develop a scenario for a game-based educational travel situation
Game educational situation-travel on the topic" Travel to the African savannah" for children of senior preschool age
I:
1. Repetition and reinforcement educational material about the nature of the African savannah: about the climate, landscape, animals and flora and so on.
2. Providing preschoolers with new knowledge about the peculiarities of the nature of the African continent and the specific behavior of its inhabitants.
3. Activation of mental activity, development of imagination and play skills of children.
II. Venue: prepared classroom.
III. Conditions: the room should be well lit, unnecessary objects should be removed from children’s field of vision. A small part of the room should depict a ship (an imitation of a sail, various ropes and flags, as well as homemade telescopes are appropriate here). The main part of the room is a model of the African savannah: tufts of straw or any other indoor plants, a bowl of water (it can be used to illustrate a watering hole or drought), images of African animals and plants (photos and analogue toys), and so on.
IV. Materials and equipment: parts of the ship's equipment (sail, ropes, steering wheel, yards), indoor plants, straw, images of savannah inhabitants, homemade optical instruments (spotting scopes, cameras), water containers, a backpack for the teacher (you can also use a Panama hat, sunglasses, a flask) .
V. Progress of the lesson
The teacher plays the role of an experienced traveler. She invites the children onto the ship, and she takes the helm.
IN.: " Today we will go with you on a new journey. This time we will sail to Africa. I've been there many times and seen a lot. What do you know about Africa?" .
Children give several answers: " It's hot there" , " It rarely rains in Africa and there are droughts" , " Elephants and crocodiles live in Africa" and so on.
IN.: " Right" (additional explanations may be given) " It's really very hot in Africa. That's why there is the largest desert in the world - the Sahara. But in Africa there are also green forests and steppes, which are called savannas. All those animals that you know well about live there, and that’s where our path lies. And while we are still sailing, tell me what inhabitants of Africa you have heard about, where they live and what they eat" .
Children give several answers, the teacher listens to them, and then clarifies and gives additional explanations. The teacher asks one of the travel participants to look through the telescope and say whether land has appeared on the horizon (the tube should be aimed at one of the prepared zones), after which he announces that everyone should take their places, be attentive and careful, since the ship will now dock.
The teacher announces that the ship has successfully landed on the African coast. Under her guidance, the children carefully disembark the ship. The teacher counts the children, asks if everyone is here, and then reminds them that it is very hot in Africa, which means they need to wear panama hats and sunglasses (you can announce the game to parents in advance so that they provide the participants in the game with everything they need). At the same time, the teacher herself also puts on everything indicated, takes a backpack, checks the presence of water flasks, cameras and announces that it is possible to set off.
While the group moves around the room, looking at pre-prepared areas (this could be a herd of antelope, a pride of lions, a watering hole for a family of elephants, a pool with crocodiles, and so on), the teacher tells them about the climate of the savannas (change of seasons, features of the dry period), its vegetation (you can use harvested straw or indoor plants). When the children take their places near each zone, the teacher tells them in detail and clearly about what is “happening” there, explains to them the peculiarities of animal behavior, and answers the children’s questions. Children can look at the animals, hold them in their hands, or “photograph” them. For demonstration simple actions(a crocodile swims up to the victim, an antelope drinks water or plucks grass, and so on) anyone from the group can also be selected.
Let's consider this using the example of the description of an elephant's watering hole. Preschoolers approach a basin of water, near which there are analogue toys or photographic images of elephants (it is better to use toys).
IN.: " Who is this?" .
D.: " These are elephants" .
IN.: " Right!" (then you can give some information about the characteristics of the life of elephants) " Today was a particularly hot day, and the elephants came to drink. When there is a lot of water, elephants not only drink it, but also bathe in it. What do elephants drink with their trunk or mouth?" .
Children give answers. The teacher corrects them if they are wrong, explaining that elephants drink water with their mouths and points out where it is. " But elephants can suck in water through their trunk and then pour it on themselves or each other. Who knows what elephants bathe in when there is no water?" .
After all the prepared areas have been explored, the teacher sums up the results and asks the children several questions to consolidate the knowledge gained. Then she invites everyone on board the plane (children can stand in a wedge behind the teacher), after which the whole group “flies” home (you need to spread your arms to the sides, imitating a flying plane). Next, the teacher announces that the plane has successfully landed directly on the territory of the preschool educational institution, which means that the children can leave the plane.
The lesson ends, the children leave the room, and the room is returned to its original state.
4. Write scriptsth dramatization games
Scenario for a dramatization game using a toy theater based on a fairy tale" Teremok" (junior preschool age)
I. Lesson content:
1. To develop children’s interest in dramatization games and fairy tales as a genre of oral folk art.
2. Develop the ability to empathize with heroes.
3. Learn to distinguish between the most important moral categories of good and evil.
4. Develop expressive speech.
5. Develop attention, thinking, observation, creativity.
II. Materials and equipment: tower, toys (mouse, hare, bear), musical instruments(bells, metallophone, drum), ball.
III. Progress of the lesson
Before the start of the lesson, the teacher greets the children and says: " Guys, look what a beautiful ball I have in my hands. Now he will jump. My cheerful, ringing ball, where did you run off to?(the ball rolls along the floor towards the tower) There is a tower-house in a field, it is not low, not high.(points the children to the tower) Here is a mouse running across the field" .
One of the children pretends to be a mouse using the appropriate toy; he approaches the door with the mouse, near which there are bells, and begins to play with them.
" Mouse" : " Ting-ding. Who-who lives in the little house pi-pi-pi? Who-who lives in a low place pee-pee-pee?" .
IN.: " Nobody answers. The mouse began to live there alone. Here is a bunny running across the field, jump-jump, jump-jump" .
The second child also pretends to be a bunny, approaches the metallophone with a toy, plays it and says:
" Now I'll sing a song. The little bunny is jumping, the little white one is jumping. Bunny jump, bunny hop, sbaldbunny's voice. What kind of tower is this? He is neither short nor tall.Who's inlives in a little house?" .
" Mouse" : " I'm a little mouse. Come bunny to my little house" .
IN.: " The clubfooted bear is walking through the forest, stomping, stomping, stomping" .
The third child, together with a bear toy, approaches the drum and says: " Now I will dance! Top-top, top-top, the bear is dancing at the gate. Who, who lives in the little house?" .
" Mouse" : " I'm a little mouse" .
" Bunny" : " I'm a hop and jump bunny. Come bear to our little house" .
IN.: " The mouse, the bunny and the bear began to live happily and happily in the little house and sing songs" . Children perform a song together with their toys, everyone else sings and dances along with them : " The bunny and the mouse are clapping loudly, they are clapping loudly, look. The bunny and the bear stomp loudly, stomp loudly one, two, three!" .
IN.: " Well done guys! This is the kind of fairy tale we have today. And now it’s time for our friends to go to the tower. Say goodbye to them!" . Children say goodbye to their toys; they are placed in the little house.
In the future, new ones can be added to the production. characters(frog, fox, wolf), while expanding the circle of children involved in the dramatization game until the fairy tale takes on its original size.
List of used literature
1. Antipina E.A. Theatrical activities in kindergarten: textbook. allowance / E.A. Antipina. - M.: Sfera, 2018. - 128 p.
2. Artemova L.V. Theatrical games for preschoolers. A book for kindergarten teachers / L.V. Artemova. - M.: Education, 2015. - 127 p.
3. Gorokhova L.A., Makarova T.N. Musical and theatrical activities in preschool educational institutions: textbook. allowance / L.A. Gorokhova, T.N. Makarova. - M.: Sfera, 2015. - 64 p.
4. Gubanova N.F. Theatrical activities for preschoolers 2 - 5 years old: methodological recommendations/ N.F. Gubanova. - M.: Vako, 2016. - 256 p.
5. Okhlopkova M.V. Psychological and pedagogical approaches to theatrical activities of children of senior preschool age // Pedagogical mastery. - M.: Buki-Vedi, 2013.
6. Strelkova L.P. Dramatization games // Emotional development preschooler / Ed. HELL. Koshelevoy. - M.: Education, 2015. - 176 p.
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The fourth year of life is a period of high speech activity in children, intensive development of all aspects of their speech. At this age, there is a transition from situational to contextual speech.
Working with children of primary preschool age, we noted that the problem speech development children is also relevant for us. According to pedagogical diagnostics carried out at the beginning of the year, a low level of speech development was revealed in 20% of children. In addition, our team, according to FGT, has chosen the cognitive and speech development of children as a priority. In this connection, the question arose about how to develop their speech more productively and interestingly for children throughout their stay in a preschool educational institution.
The following are distinguished: factors influencing the development of speech in children of primary preschool age:
Speech environment (speech environment);
Pedagogical influences aimed at the child’s mastery of certain speech content.
Taking this into account, we have provided for the expansion of the environment through targeted pedagogical influences that can have an effective impact on the development of children’s speech, and above all through games - dramatizations.
IN game - dramatization dialogues and monologues are improved, and speech expressiveness is mastered. In the dramatization game, the child strives to understand his own capabilities in transformation, in the search for something new and in combinations of the familiar. This reveals the peculiarity of dramatization games as a creative activity, an activity that promotes the development of children’s speech. And finally, the game - dramatization is a means of self-expression and self-realization of the child, which corresponds to the personality-oriented approach in working with preschool children.
First of all, it is necessary to develop an interest in games - dramatizations, 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 by complementing individual phrases in the dialogues of the characters, stable turns of the beginning and ending of the fairy tale.
An important aspect of the teacher’s activity is the gradual expansion of gaming experience through the development of varieties of dramatization games. 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 behind 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 (“Cheerful Rain”, “Leaves fly in the wind and fall on the path”, “Round dance around the Christmas tree”).
A single-theme, wordless game of improvisation with one character based on 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 texts short 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”; E. 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 single-theme dramatization game with several characters based on folk tales (“Kolobok”, “Turnip”) and author’s texts (V. Suteev “Under the Mushroom”, K. Chukovsky “Chicken”).
Children of this age experience primary mastery of play—dramatization. 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.
So, the system of work on organizing games - dramatizations in early preschool age is divided into three stages:
Artistic perception of literary and folklore works;
mastering special skills to become the main position – actor;
independent creative activity.
The implementation of these tasks and the content of work with children requires taking into account basic principles of organizing the game - dramatization.
- The most important thing is principle of specificity of this activity, combining play (free, involuntary) and artistic (prepared, meaningfully experienced) components.
- The principle of complexity suggests the relationship between play and dramatization with different types of art and different types of artistic activity of the child.
- According to the principle of improvisation game - dramatization 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.
- All the above principles are expressed in principle of integrativity, according to which purposeful work on the development of children’s speech through the organization of games - dramatizations is included in the holistic pedagogical process.
Work organized in this way will contribute to the fact that the game - dramatization will become a means of self-expression and self-realization of the child in different types creativity, self-affirmation in a peer group, and most importantly a means of developing children's speech.
At 3-4 years old, children begin, especially if the child has tabletop theater figurines or bibabo dolls at his disposal. But there is no need to rush into dramatizations, primarily because only individual children show a craving for them. These kids need your help and your participation.
In their work on organizing games - dramatizations, they attached great importance to dialogues to involve children in role-playing interaction. For this purpose, they took poems with a clearly expressed form of dialogue. Question-and-answer intonations are easily learned by the players; the children performed the questions and answers in turns, changing. The games used plots similar to role-playing games: “At the hairdresser”, “In the store”, “At the doctor”, etc.
To work on long action, we usually took folk tales. Experience has shown that such work on a fairy tale is very worthwhile, since it takes several weeks (from three to five) from the beginning of the work to the presentation of the finished performance. During this period, the fairy tale is easily remembered by children; no special learning of the text is required, since it is involuntarily remembered by itself.
First, we read a fairy tale, then played it out in fragments, divided it into episodes, searching for expressive intonations and movements together with the children. The characters of the fairy tale were played out by all the children in turn. Thus, the text is mastered at the stage of familiarization with the plot, gradually, not in a hurry.
Children who played roles several times memorized the roles of all the characters and their role-playing dialogues. We noticed that children are quite interested in playing based on fairy tales. for a long time, if you constantly change approaches to it: either reading the text, then playing out episodes, then conducting sketches and exercises on a theme from a fairy tale, or working on the design (musical, pictorial).
It was through playing a role in dramatization that children learned various speech clichés.
Unhurried, expressive reading of a fairy tale gives our students a lot of pleasure and forces the mechanisms of children’s inner speech to work. The children imagined themselves as heroes of a literary work and, together with the teacher, repeated the role-playing dialogues of the characters. To do this, of course, it is necessary to read fairy tales several times so that children gradually learn first the general outline of the plot, then they see the details of the episodes more clearly, then the character traits of the characters are more clearly identified and their monologues are remembered. During a thorough acquaintance with the fairy tale, expressive reading was necessarily combined with the playing out of individual episodes. Replies, individual dialogues, improvised movements - all this contributes to the development of children's speech.
Understanding that for the development of the game - dramatization, for its emergence in the independent activities of children, quite extensive material is needed that children could use in their games, we created a theater corner in the group, which is constantly replenished with both various types of theater and various attributes: masks - hats, children's costumes, costume jewelry. By the end of the year, wigs even appeared in our corner own production from waste material. The kids willingly used all the contents of this corner in the game.
During joint games with an adult, the child hears many new words, more complex phrases, expressions, and game situations become clear to him. Thus, while playing with a toy, children came up with and pronounced game situations and used new words. We, in turn, aroused in the child a desire to reflect the impressions received during joint games with an adult in independent play.
Main specific methods of work on organizing games - dramatizations in order to develop children's speech are:
situation modeling method(involves creating model plots, model situations, sketches together with children);
creative conversation method(involves introducing children to an artistic image through a special formulation of a question and dialogue tactics);
association method(makes it possible to awaken the child’s imagination and thinking through associative comparisons and then, based on emerging associations, create new images in the mind).
It should be noted that the general methods of guiding the game - dramatization are direct (the teacher shows the methods of action) and indirect (the teacher encourages the child to act independently) techniques.
Games are planned in advance. The software task is determined, the game equipment (handouts) is thought out. Vocabulary work is thought through (reminded, clarified, reinforced). The organization of the game is also thought through (at the table, on the carpet, on the street, depending on what material is used). It is necessary to use the correct intonation in the game, think about how to interest children in the game. At the end of the game, the results are not summed up, but the teacher writes down the results obtained for himself.
